#R&B Version

[newleasemusic]

Tamera shares acoustic version of '40 Days' featuring CKay

Tamera shares acoustic version of '40 Days' featuring CKay

Rising R&B superstar TAMERA follows her latest EP ‘L.I.T. (Lost In Translation)’ with an incredible acoustic version of the lead single ’40 Days’ featuring CKay. Recorded in Paris, this stripped back version lays it all on the line, with Tamera and CKay’s vulnerable vocals taking centre stage. Laying her emotions bare across six tracks including recent singles ‘Poison’ and ‘Diversion’, L.I.T is…

[maximuswolf]

Bekim! - Look into Your Eyes (Alternate Version) [R&B]

Bekim! - Look into Your Eyes (Alternate Version) [R&B] https://youtube.com/watch?v=pZolQQZMdes&si=tc1n84lyP_RngeFx Submitted November 30, 2024 at 06:19AM by ChicagoboyTechno https://ift.tt/fojvA2b via /r/Music

[musicarenagh]

Bury The Pines on Blending Emo, Pop-Punk, and Kingdom Hearts in “Destiny” For this interview, we sit down with *Bury The Pines*, a dynamic band blending influences from 2000s emo, pop-punk, post-hardcore, and math rock. Hailing from Cleveland, Ohio, this group of long-time friends is making waves with their latest single, "Destiny," inspired by the popular video game *Kingdom Hearts*. With its energetic sound and heartfelt lyrics about reuniting with a lost loved one, the song showcases the band’s ability to channel raw emotion into a powerful listening experience. Recorded, mixed, and mastered by band member Evan Hendrix, "Destiny" stands out with its playful yet intricate instrumentals, positive energy, and epic storytelling. As the band prepares for the release of their upcoming EP, they reflect on their journey so far, their inspirations, and the growing momentum behind their music. Join us as we dive deeper into the story behind *Bury The Pines* and their bold new single. Listen to Destin https://open.spotify.com/track/7FhcVWHeNdFtLVZig9ex3q?si=ba9361c1e4a64905 Follow Bury The Pines on Facebook Spotify Bandcamp Youtube Instagram Let's start with the basics - can you introduce the members of Bury The Pines and tell us a bit about how you all came together? We are Bury the Pines from the Cleveland/Akron area of Ohio. We say we are a little Emo & Pop Punk, a little Math Rock, a little Prog, and a little R&B. Swancore adjacent. The band consists of Joe Skowronski on Guitar, Mat Markuz on drums, Nick Fischer on Bass and vocals, Marcus Smith on lead vocals, and Evan Hendrix as our rhythm guitarist and Recording engineer. Your new track "Destiny" just dropped. What's the story behind this song? At its core, Destiny is about a journey to find a loved one. Lyrically it takes it a step further, and draws a lot of inspiration and themes from the game Kingdom Hearts. How would you describe the sound of "Destiny" to someone who hasn't heard it yet? It is definitely a journey! Instrumentally this song is probably the most all over the places in terms of its ups and downs. The split verses turn on a dime from vibey to full of energy. There’s a soft build up into one of the biggest outros we have. I think it would be be described as “tension and release”. Did you try anything new or experimental in the recording process for this track? The most experimental thing we did with this track was the intro. Live were usually on stage making a lot of amp noise with the kicks and bass doing the heartbeat thing. In the studio, Evan used that as inspiration for the track version and we think it came out very well! [caption id="attachment_57524" align="alignnone" width="1179"] The most experimental thing we did with this track was the intro.[/caption] How does "Destiny" fit into your overall discography? Is it a new direction for Bury The Pines? It’s not necessarily a different direction for the band, it fits in very well with the rest of our current discography, but we did want it to stand out a bit. The rest of our songs have some darker undertones and the instrumental feels a little more “emo”. In Destiny we wanted to keep it upbeat and draw from our pop-punk roots a little more, but still throw in a few things here and there that make it unique to us. Can fans expect a full album or EP to follow "Destiny"? Yes! We are currently putting the finishing touches on the full EP that will be coming out within the next couple months. Our three singles will be on it, and an addition 3 songs that you’ll definitely recognize if you’ve seen our live show. Who are some of your musical influences, and did any of them particularly inspire "Destiny"? So three of us are also in a pop punk tribute band. We definitely pulled a lot from our experience there in this track with the overall feeling of it. In the intro we also sprinkled in some Midwest emo with all of the tapping in the guitars and the end we channeled our more progressive rock side of things.

If "Destiny" was the soundtrack to a movie scene, what would be happening in that scene? This is one we get a lot actually! Most people’s first impression when they hear our music is that it sounds like “anime intro music”. That was never something we directly set out to do, but after hearing it a few times it made sense. This intro would definitely have a lot of running, a few quick cuts into fight scenes, and that one little section that seems like it’s about to get sad but ends triumphantly. https://open.spotify.com/artist/7oNRTQ5JDMlrssCDLkgo5s?si=OByaH7FGRai-U-1i1wWmsg What's been the most challenging part of creating and releasing music in the current music industry landscape? I’d say the most challenging part right now is just time. We have no shortage of aspirations and ideas that are ready to be new material, but we all are in a spot where we are working a lot of hours outside of the band, so when we come together we make sure we are as productive and efficient as possible so we are always moving forward. Are there any plans for a music video or live performances to support "Destiny"? Definitely! We’re putting together some shows over the next couple months to support the release of the full EP before we get back into writing. We’ve tossed some music video ideas around, but those might be a little further down the road. Lastly, if you could have fans take away one thing from listening to "Destiny", what would it be? “Destiny” is our feel-good song, so we hope it has you feeling good by the end! And if you enjoyed it please check out our other music and follow us to stay up to date on the full EP release!

[reasoningdaily]

1. Watch Black Music Honors and other Black Music Award Shows

Watch the full two-hour special on the Stellar Network on June 3 and nationally broadcasted from Saturday, June 10 to Sunday, July 2, according to Billboard.com. See special Youtube footage of Gary With Da Tea on the blue carpet chatting with some of your favorite black artists!

2. Attend Live Performances and Concerts

Whether it’s a local jazz club, a community festival, or a major concert venue, supporting black musicians in person is a powerful way to appreciate their artistry. By attending live shows, you not only get to enjoy exceptional performances but also contribute directly to the thriving black music industry.

3. Support and Stream Black Artists and Record Labels

Discover new talent by exploring a diverse range of genres like jazz, gospel, blues, hip-hop, R&B, reggae, and soul. Additionally, seek out and support independent black-owned record labels that are dedicated to promoting black artists and preserving black music traditions.

4. Create and Trade Black Music Playlists

Crafting a playlist dedicated to Black music can be a personal and meaningful way to honor the month. Curate a collection that spans different eras and genres, including both well-known classics and hidden gems, then share and trade playlists with friends.

5. Watch Interviews of Your Favorite Black Artists

Watch interviews of your favorite figures in black music, then share on your social media platforms. This can give you an inside look to the both their journey and the makings of their craft, and also help introduce their work to a wider audience.

6. Visit the National Museum of African American Music

To truly appreciate the breadth of black music, take a journey back in time and explore its roots. A great place to begin is at the National Museum of African American Music in Nashville, TN.

Black Music Awards Blue Carpet: SWV, Robin Thicke, Tweet, Roxanne Shante + More! [WATCH EXCLUSIVE]

R&B Albums To Listen To For Black Music Month [Listen]

10 Worst Cover Versions Of Songs Originally Made By Black Musicians

6 Ways to Celebrate Black Music Month  was originally published on rickeysmileymorningshow.com

[tuesdaynightmusicclub]

Tonight we bid farewell to Garth Hudson: Professor of Rock, multi-instrumentalist, and last surviving original member of The Band, that ragtag troupe that helped define what adult-orientated music could be in the late 60s and throughout the 70s.

Formed in 1957 in Toronto as The Hawks, the group recruited Hudson last, him wanting to keep rock 'n' roll as a hobby while being a music teacher. Eventually they won him over by promising him a new organ and an extra $10 a week to be their music instructor. His expansive style of organ-playing was what caught their ears, but he was also proficient at piano, accordion, synthesisers and multiple saxophones. Garth Hudson was one of the best Other Guys in popular music, much in demand as a session player outside of The Band's duties, offering considerable knowledge in music theory as well as technical skill and know-how. For instance, in his time with The Band he pioneered using a Calvinet keyboard through a wah-wah pedal, this tweak becoming a staple in funk music beyond his group.

The Hawks would later rename themselves The Band after a stint backing none other than Bob Fucking Dylan, a musical deity by the mid-1960s. After making the recordings that would be released much later as the legendary The Basement Tapes, they used that experience as a jump-off point to create their masterful first album, Music From Big Pink. This record is incredibly fully-formed sounding for a debut, thanks to more than a decade of professional growth and experience, as well as time spent with arguably the best songwriter of the era.

Garth's handprints are all over Big Pink, as well as of course the rest of the Band's output. Everything they played had a wonderfully rich, rustic musicality to it, from the songs, instrumentation and performances down to the careful tweaks in recording sessions and production. Their sound is hard to categorise (tremble, music critics), drawing upon rock, country, soul, jazz, folk and R&B, creating something that would be highly influential on later roots and Americana music. The sheer time they'd spent together as a group lent itself to intense familiarity and chemistry with each other, displayed not just on beautifully crafted studio work, but also their robust and energetic live shows. Case in point: the above, selected from their 1972 live album Rock of Ages.

'Chest Fever' is a bit of a deeper cut, at least as deep a cut as you can get from an album as lauded as Big Pink. Opening with hearty organ noodling from Garth (often a jamming opportunity in their live gigs), it settles into one *killer* riff, with drummer/bassist/backup singers Levon Helm and Rick Danko kicking off a mean groove, and featuring licks from Robbie Robertson on guitar and Richard Manuel on vocals and piano. This song, like everything else on Big Pink, is such a treat for enjoyers of the sheer feel of subtle musical mastery. This live version is somehow amped up even more with horn arrangements from New Orleans maestro Allen Toussaint, adding some serious meat to this already fine soup. That amazing riff is brass-bolstered, and the tempo made livelier, making 'Chest Fever' into an even bigger jam than it already was. The horn section received richly deserved standing ovations from audiences, prompted by Levon Helm at the concerts' conclusions. I rarely pick live versions over studio ones, but this is one that just had to be made lol.

The sound of The Band is that of expertise. Forming shortly after that first rock 'n' roll explosion and absorbing from every American genre of the time (funny for a gang of four Canadians and a fella from Arkansas), they then learned straight from the lead rock poet of the era. Other groups would struggle to form an identity distinct from a contemporary icon such as Dylan, or even just in the tumultuous musical times of the late 1960s. But they did. Their music holds up so beautifully, aging as sweetly as strawberry wine, and is still impressive today with all its heart and soul. Somehow it feels fitting that their initial guide Garth was the last to cross the great divide, throwing covers over the gear and turning off the lights in Big Pink as he shut the door behind them for the final time. The house is quiet now, but you can hear the echos any time you want. Thanks Garth, and thanks Richard, Rick, Levon and Robbie.

Tuesday Night Music Club No. 65 - 'Chest Fever' by The Band

[lordsintacks]

Been forgetting to share this here. Unfortunately, Shelter has now closed and this will be go down as the last event we got to throw there. Thanks for the memories. You’ll be remembered as one of the most badass venues in Nagoya for your true punk rock DIY spirit. Now, enjoy the read if you have time. It’s that time of year. The leaves have fallen and the spirits have risen. We all look forward to that special part of the year when the dead may walk, and this year a very special tradition of Nagoya live music has been reanimated… HallowFest!

Due to the global pandemic, HallowFest has been dormant since it last took place in 2019. That particular edition featured the likes of TROYL, Ghost of Matsubara, Bend’s, Sugar Riser, and Mosaic. Originally intended as a fun Halloween-themed local show, it became dedicated to the headliner TROYL’s beloved bassist, Isamu, who had recently passed away. It remains one of the most packed and festive nights that Shelter Rock Bar has ever seen.

With COVID restrictions easing in 2022, Small World and Shelter felt it was time to bring the event back along with the original co-organizer Tom Fallon’s blessing. Joshidai is a notorious nexus of Nagoya’s nightlife where Shelter stands as one of very few rock bars. Though in a rock setting, HallowFest aims to showcase a variety of Nagoya’s finest local acts.

On this evening, the schedule was divided into two sections: three solo artists and three bands. With the solo artists playing first, the acts of this night showed us a range of heart-felt, comedic, and experimental tunes that Nagoya has to offer. Opening the show was Hiroki who welcomed the crowd with original acoustic songs draped over by his unique song-writing and signature voice.

Next was May Chu Chu, a comedy legend whose Small World debut was long overdue. Known by some as “Aimee Clark” or “that British lady who’s always on stage somewhere”, she had the house dying of laughter with her staple parody songs that cleverly present observations anyone living in Japan can relate to. May Chu Chu always delivers, not just in terms of funny songwriting, but she also proves her worth as a strong vocalist.

Rounding out the solo acts was S. Shah. Many might know Steven Shah as the guitarist and singer of the local psychedelic stoner rock band, Blasting Rod. Though he wasn’t with his full band tonight, he was armed with a special pedal board and Orange amp that filled the house with a wall of sound that took us on an abstract journey into our next section of the night.

To start off our chapter of live bands was Lostnote. Lostnote are a group of Filipino rock guys living in Aichi who have found a home at bars like Shelter doing what they love most, playing music. These pinoys had everyone smiling and grooving to reggae tunes for the first half of their set, until they kicked it up into sixth gear with some 90s rock covers. A moshpit even erupted as the crowd couldn’t hold back for “Enter Sandman”.

Following Lostnote was the sensational pop/R&B/soul group Cheapwine Squad who surprised everyone by showing up dressed as six different versions of Spider-Man. If you can recognize the different Spider suits, kudos to you. You’re a true nerd. They blew the roof off with a wide range of recognizable, fun covers as well as their new original tracks like “Do You Want a Good Time”.

Of course Shelter was most packed with the headliner Crocodile Bambie. Their sound can be described as progressive doom metal with dirty stoner rock riffs. They are one of the most legendary bands of the local Nagoya metal scene and they don’t play often. Singer and bassist Yoshi Yasui was just portrayed by actor Yuma Kato in a film across theaters called “鋼音色の空の彼方へ“, centered around the history of his other band Outrage. Some fans came as far as Yokohama and the band did not disappoint. Even though they played one man short of their usual four-piece, they delivered with their groovy licks, their classic fuzzy guitar tone, and their ever-precise musicianship. They proved this night as they do every other night why they are kings of the city.

The real winners of the night, though, were the audience who got to drink loads while meeting and mingling with one another and enjoying Shelter’s signature Brazilian cuisine. There were Japanese fans of live music along with an equal number of foreigners from all around the world there for a good time. Who do you want to see at HallowFest next year?

[lucienballard]

The Velvet Underground’s 30 greatest songs – ranked!

30. Ride Into the Sun (1969)The Velvets recorded two versions of Ride Into the Sun: a fabulous 1969 instrumental laden with fuzz guitar and a hushed 1970 vocal take backed by organ. Somewhere between the two lies one of their great lost songs; Lou Reed’s disappointingly flat 1972 solo version doesn’t do it justice at all.

29. Run Run Run (1967)For all the shock engendered by the lyrics of Heroin and I’m Waiting for My Man, the most malevolent-sounding track on the debut album might be Run Run Run, a powerful R&B groove lent a gripping darkness by Reed’s noisy guitar playing and the screw-you-I-take-drugs sneer of his vocals.

28. Beginning to See the Light (1969)The title suggests awakening, the melody is bright, but the lyrics are dark and bitter. They may have been directed at John Cale, who played on an initial version of the song, which was subsequently re-recorded after Reed sacked him, against the wishes of his bandmates. A ferocious 1969 live version amps up the tension.

27. Foggy Notion (1969)Reed was a lifelong doo-wop fan. His passion usually found its expression when the Velvet Underground recorded backing vocals for their ballads – as on Candy Says – but the tough, rocking Foggy Notion went a stage further, gleefully stealing a chunk of the Solitaires’ 1955 single Later for You Baby.

26. The Gift (1968)In which the band set a two-chord grind that may, or may not, have been based on their instrumental Booker T in one channel and a blackly comic Reed short story read by Cale in the other. “If you’re a mad fiend like we are, you’ll listen to them both together,” offered the producer, Tom Wilson.

25. Guess I’m Falling in Love (1967)Recorded at the White Light/White Heat sessions, but never completed, the April 1967 live recording of Guess I’m Falling in Love – taped at the Gymnasium in New York – will more than suffice. It boasts three chords, a distinct rhythm and blues influence, Reed in streetwise, so-what punk mode and explosive guitar solos somehow potentiated by the rough sound quality.

24. Temptation Inside Your Heart (1968)“It was not Mein Kampf – my struggle,” the guitarist Sterling Morrison once reflected of the Velvet Underground’s career. “It was fun.” A delightful late Cale-era outtake that inadvertently captured Morrison, Cale and Reed’s giggly backchat as they recorded the backing vocals, Temptation Inside Your Heart bears that assessment out.

23. New Age (1970)New Age comes in two varieties. Take your pick from the world-weary, small-hours rumination found on 1969: The Velvet Underground Live, or the more epic studio version that the Velvets biographer Victor Bockris suggested was “an attempt to present some encouraging statements to a confused audience as the 70s began”. Both are superb.

22. After Hours (1969)The Velvets’ eponymous 1969 album ends, improbably, with the drummer, Moe Tucker, singing a song that could have dated from the pre-rock era. The twist is that her childlike voice and the cute melody conceals an almost unbearably sad song, ostensibly a celebration of small-hours boozing, but filled with longing and regret.

21. I Can’t Stand It (1969)Amid the Velvets’ songs about drugs and drag queens lurked the plaintive sound of Reed pining for his college sweetheart, Shelley Albin, the subject of Pale Blue Eyes, I Found a Reason and I Can’t Stand It. The latter’s cocky strut is disrupted by a desperate lyrical plea: “If Shelley would just come back, it’d be all right.”

20. The Black Angel’s Death Song (1967)There is something folky and vaguely Dylan-esque at the heart of The Black Angel’s Death Song, but by the time Cale had finished with it – alternately strafing it with screeching, insistent viola and hissing into the microphone in lieu of a chorus – it sounded, and still sounds, unique.

19. I Found a Reason (1970)It is one of the ironies of the Velvet Underground that the most forward-thinking, groundbreaking band of their era could occasionally sound like old-fashioned rock’n’roll revivalists. Buried on side two of Loaded was one of the loveliest of Lou Reed’s loving homages to doo-wop, complete with spoken-word section.

18. Some Kinda Love (1969)Musically straightforward, sensual in tone, Some Kinda Love is a complex business, part seduction soundtrack, part refusal to be hemmed in by standard categories of sexuality – “no kinds of love are better than others … the possibilities are endless / and for me to miss one / would seem to be groundless”. Killer line: “Between thought and expression lies a lifetime.”

17. European Son (1967)European Son isn’t a song so much as an eruption. It sounds like a band overturning the established order of rock’n’roll, almost literally: after two brief verses, it bursts into thrilling frantic chaos with a verbatim crash, like the contents of an upended table hitting the floor.

16. Rock & Roll (1970)It is hard to see Loaded’s driving, joyous hymn to music’s redemptive power – “her life was saved by rock and roll” – as anything other than disguised autobiography on the part of Reed. The suggestion that music will endure “despite all the amputations”, meanwhile, seems to look forward to his departure from the Velvet Underground.

15. Candy Says (1969)No one else in 1969 was writing songs remotely like Candy Says, a stunning, tender pen portrait of the transgender Warhol superstar Candy Darling set to a gentle doo-wop inspired backing. Its melancholy seems to presage the note Darling wrote on her deathbed in 1974: “I had no desire for life left … I am just so bored by everything.”

14. Sunday Morning (1967)Sunday Morning was written at the behest of Wilson. He wanted a single that might conceivably get on the radio; he got a haunting, melancholy sigh of a song, its battered wistfulness and undercurrent of paranoia – “watch out, the world’s behind you” – the perfect encapsulation of morning-after regret.

13. What Goes On (1969)Morrison maintained that the studio incarnation of What Goes On wasn’t a patch on the live versions the band performed with Cale on organ. Maybe, but the studio incarnation featuring Cale’s replacement, Doug Yule, is great. It prickles with nervous energy, Reed’s guitar playing is amazing, its churning coda takes up half the song and it still feels too short.

12. Femme Fatale (1967)Apparently provoked by the damaged, doomed Warhol superstar Edie Sedgwick – with whom Cale had a brief affair – Femme Fatale is as beautiful and fragile as its inspiration. The story of a wary, ruined former suitor warning others off the titular anti-heroine is lent a chilly edge by Nico’s delivery.

11. I Heard Her Call My Name (1968)In the Velvets’ early days, Reed purported to be “the fastest guitarist alive”. A berserk claim, but his Ornette Coleman-inspired solos on I Heard Her Call My Name are some of the most extraordinary and viscerally exciting in rock history, frequently atonal, spiked with ear-splitting feedback and pregnant pauses.

10. Ocean (1969)The Velvet Underground recorded Ocean several times – one version is supposed to feature the return of Cale on organ – but never released it in their lifetime, which seems extraordinary. It is among the greatest of their later songs, its atmosphere beautiful, the epic ebb and flow of its sound completely immersive.

9. I’m Waiting for the Man (1967)An unvarnished lyrical depiction of scoring drugs tied to music on which Reed’s rock’n’roll smarts and Cale’s background in minimalist classical music – the pounding, one-chord piano part – meld in a kind of relentless perfection. Amusingly, there is now a pharmacy at the song’s fabled location of Lexington 125.

8. I’ll Be Your Mirror (1967)A song about Reed’s affair with Nico that could just as easily be about Andy Warhol’s approach to art, I’ll Be Your Mirror is one of those Velvet Underground tracks that makes their initial commercial failure seem baffling. How could a pop song as wonderful as this fail to attract attention? Nico and Morrison on stage at the New York Society for Clinical Psychiatry annual dinner in 1966.

7. White Light/White Heat (1968)A delirious paean to amphetamine, its subject reflected in the lyrics – “I surely do love to watch that stuff tip itself in” – and the turbulent, distorted rush of its sound. The band appear to be barely in control as it careers along; the chaotic finale, where Cale finally loses his grip on the bass line, is just fantastic.

6. Heroin (1967)Heroin was the deal-breaker at early Velvets gigs, provoking a “howl of bewilderment and outrage”. The shock of its subject matter has dulled with time, but its surges from folky lament to sonic riot still sound breathtaking. Oddly sweet moment: Reed’s chuckle as Tucker loses her place amid the maelstrom and suddenly stops playing.

5. Pale Blue Eyes (1969)“High energy does not necessarily mean fast,” Reed once argued. “High energy has to do with heart.” Hushed, limpidly beautiful and almost unbearably sad, Pale Blue Eyes’ depiction of a strained, adulterous relationship proves his point. In its own vulnerable way, it is as powerful as anything the Velvet Underground recorded.

4. Sweet Jane (1970)Sweet Jane started life as a ballad – see the versions recorded live at the Matrix in San Francisco in 1969 – but, sped and toughened up, it became as succinct and perfect a rock’n’roll song as has ever been written, based around one of the greatest riffs of all time.

3. Venus in Furs (1967)For a band who inspired so much other music, the Velvet Underground’s catalogue is remarkably rich with songs that still sound like nothing else; they were as inimitable as they were influential. Venus in Furs is a case in point: umpteen artists were galvanised by its dark, austere atmosphere; none succeeded in replicating it.

2. Sister Ray (1968)A monumental journey into hitherto-uncharted musical territory, where a primitive garage-rock riff meets Hubert Selby-inspired lyrics and improvisation that sounds like a psychological drama playing out between Reed and Cale, all at skull-splitting volume. Fifty-three years later, it is without peer for white-knuckle intensity.

1. All Tomorrow’s Parties (1967)Ninety per cent of the Velvet Underground’s oeuvre consists of no-further-questions classics. The astonishingly high standard of almost everything they did makes picking their “best” song a matter of personal preference, rather than qualitative judgment. So let’s go for Warhol’s favourite, on which the sour and sweet aspects of their debut album entwine faultlessly. The melody is exquisite; the music monolithic and unrelenting, powered by Cale’s hammering piano and Tucker’s stately drums; Nico’s performance perfectly inhabits the lyrics, which turn a depiction of a woman choosing what dress to wear into a meditation on emptiness and regret. It is original and utterly masterly: the Velvet Underground in a nutshell.

source

[outandaboutnycmag]

9/9/17 O&A NYC SATURDAY MORNING CONCERT: Prince- Thieves In The Temple (Extended Version)

9/9/17 O&A NYC SATURDAY MORNING CONCERT: Prince- Thieves In The Temple (Extended Version)

Thieves in the Temple is a song by American musician Prince from the 1990 soundtrack album Graffiti Bridge. Added at the last minute, it was the final song recorded for the album. (more…)

[writingawaymylife]

NSFW Alphabet Higgs 18+

A/N: This has me now writing a Higgs smut. So that’s exciting! Also, everything under the cut because this is mature shit - so please be aware of that!

A = Aftercare (What they’re like after sex)

He isn’t one for cuddling or gently helping you come down. After you’ve both come undone he’ll hover over you, or hold you on top of him for a moment. Just enjoying the comedown, and the heat and warmth of it all. Eventually, he’ll need to either get off of you, or get you off of him. Might go have a shower, get something to drink, have a smoke - whatever he feels he needs in that moment. 

If it was a particularly rough session, he would probably be more keen on how you’re doing. Asking if you’re alright, sticking beside you and just talking. No cuddling. He doesn’t really enjoy clammy, hot bodies after it all. 

B = Body part (Their favourite body part of theirs and also their partner’s)

He doesn’t really have a favourite of his - but, if he had to chose, it would probably be his hands, or his tongue. This man has got some big hands, and those fingers? Just as skilled as his tongue. This man knows how to use his hands and mouth. Trust me.  

Higgs loves your neck and jaw. Leaving marks along your throat, a small bruise underneath the corner of your jaw. Drives him crazy seeing those pretty little marks once they start appearing. 

C = Cum (Anything to do with cum basically… I’m a disgusting person)

Loves coming in your mouth. The way your lips press a little tighter around him, how your throat constricts as you try to take it all down. And when you come up, and some slips onto your lips and you lick it off? This man will turn to putty just at the sight - or go absolutely feral. 

D = Dirty Secret (Pretty self explanatory, a dirty secret of theirs)

Tie this man up. Make him your whore. He tries to act like he is 100% into only having control, that he would never let someone make him scream. But if you give him that look, and hold his hands down? He wouldn’t be able to find it in him to fight it. He would just nod at whatever orders you gave him, let you completely bend and take him how you pleased, and he would love every minute of it.

E = Experience (How experienced are they? Do they know what they’re doing?)

Higgs has most definitely had some experience. Maybe not a lot, but he knows what he’s doing. Trust me, this man is a quick learner. Whatever you like, however you need to be pleased, he’ll find it all out, and he’ll have you crying before he’s even close to being done with you. He loves having you melt underneath him like that, and he’s willing to be as observant as possible to make it happen. 

F = Favourite Position (This goes without saying. Will probably include a visual)

He loves when you ride him. When he’s sitting up, back against the headboard and hands on your hips, moving you how he likes. You might be on top of him, but trust me, this man will still have control. Have you begging as he keeps to pace just below what you need, able to kiss along your neck and down your chest. Able to grab whatever he wants without anything obstructing his hands. 

G = Goofy (Are they more serious in the moment, or are they humorous, etc)

Depends. Sometimes he’s in a mood. He doesn’t want to talk or think, he just wants you and you alone. 

Most times, he’s unable to keep a straight face. Either through teasing you, driving you crazy and making you want to almost throttle him from his taunting words - or through random, dry humoured comments that have you laughing, and totally ruin the atmosphere for the moment. Too serious and he gets uncomfortable, it feels to professional for a situation that is anything but. So expect him to make some stupid, offhanded, sassy comment in the middle of everything, sometimes without him even thinking about it.

H = Hair (How well groomed are they, does the carpet match the drapes, etc.)

He keeps himself clean down there. Trimmed - neat. Nothing too fancy or overly high maintained. 

I = Intimacy (How are they during the moment, romantic aspect…)

Not the romantic type. The man isn’t one for soft, romantic, “making-love”. It just makes him uncomfortable, being that intimate. But eventually, as he gets more comfortable with you, he will take on his own version. 

The moments are far more sensual, if anything. Firm, sharp. Hands grabbing at your hips and dragging you close. Teeth nipping at skin and leaving small bruises, if you let him. Kisses are slower, more intimate in these moments, but there is still teeth and nips. Words mere whispers as he tells you how good you are for him, how amazing you’re making him feel.  

J = Jack Off (Masturbation headcanon)

If he has to. Not against it, not really for it. He’s far more into fucking you over his hand, but if he has to he will. Quick tugs in a quick moment, eyes closed as he thinks about you and your lips and hand as he brings himself over the edge. 

K = Kink (One or more of their kinks)

Being tied up or tying you up - whichever works at the time, whichever you’re comfortable with. This is probably his go to. Loves feeling that twist in his stomach when his hands are tied over his head, only for you of course. 

Edging: This man can and will edge you for hours, when given the chance. Loves watching you squirm and beg, the way your body shakes as you get close, how your muscles clench tight when he leaves you just on the edge. And the way he can just take you for however long he wants. 

Edge play: He isn’t keen on actually cutting into your skin - he doesn’t want to cause any real harm. But he loves trailing his knife along your body, pressing it just enough where there’s that slight sting - cutting off your underclothing with a slightest flick of his wrist. Loves it. 

L = Location (Favourite places to do the do)

Literally anywhere. Take you on the kitchen counter, the couch, the bed, the shower. Outside? He doesn’t care. Fuck you right on the ground - or maybe even against the truck or on the reverse trek. However, he can’t complain that a bed is the most comfortable - and that shower sex is amazing - so he would probably say those two are his favourite. 

M = Motivation (What turns them on, gets them going)

Anything. Though he loves when you lean down a little more than needed to grab a cargo box, and the way your Timefall suit clings to your ass… drives him crazy. Sometimes you just get a little more snarky with him than usual, maybe your sass turns a little mote flirtatious, or maybe you just kicked ass in some MULE camp, and it just gets him going. 

N = NO (Something they wouldn’t do, turn offs)

Voyeurism isn’t something he’s particularly keen on. Even when you’re out in the middle of the day, he tries to make sure it’s private. The risk of being caught is something he finds hot, but the actual act of getting seen while in the middle of something like that? He doesn’t like that idea, and he doesn’t like the thought of others seeing you like that, either. 

He also won’t do anything that causes too much harm. He doesn’t like when hands touch his throat, and he doesn’t really like wrapping his hand around yours either. Hitting, spanking, anything with blunt force makes him uncomfortable and can easily trigger him. Also there’s bathroom play - but I don’t really think I need to explain why on that account. 

O = Oral (Preference in giving or receiving, skill, etc)

As much as he loves seeing your mouth around his cock, he loves giving. He loves the fact that he is the one making you feel this way, and that you are completely at his mercy. If he wants to stop he just can, leaving you breathless and begging. If he wants to push you a little further, have you come undone even further, drive you blind with pleasure? He can. He loves it. 

And trust me - you will too. This man knows what he’s doing. 

P = Pace (Are they fast and rough? Slow and sensual? etc.)

Depends. He’s more into rough, firm, slow. Taking you in just a way where he can drive you crazy with want, along with himself, before finally giving in to what you both need. Sometimes he’s fast and rough - but he prefers to take his time, to watch you slowly come undone until your falling apart at the seams. 

Q = Quickie (Their opinions on quickies rather than proper sex, how often, etc.)

He really would rather take his time, but if time doesn’t allow that, he will most certainly go in for a quickie. 

R = Risk (Are they game to experiment, do they take risks, etc.)

Absolutely loves to experiment. As long as it isn’t anything part of the no subject, he will give it a shot. 

Once you two got stuck in BT territory in your truck, were stuck there for a while. Higgs, being the creative bastard he is, came up with a very fun idea - seeing who could stay quiet the longest. Whoever made the first noise above a whimper or a muffled moan? They were at the will of whatever the other wanted when they got back home. 

S = Stamina (How many rounds can they go for, how long do they last…)

He can go for a few rounds. 

Unless he is really excited, he will probably last a long while too.

T = Toy (Do they own toys? Do they use them? On a partner or themselves?)

If you had some toys, he would probably be up for using them. Whether that be on himself or you, he doesn’t mind. But he doesn’t own any of his own.

U = Unfair (how much they like to tease)

He loves teasing. Edging, getting you amped up without even touching you properly? Loves it. 

V = Volume (How loud they are, what sounds they make)

He’s pretty quiet when you first start exploring with him. Keeps things to grunts and groans, definitely strings of curses - though he is definitely vocal when it comes to comments and jokes. However, eventually he starts getting more comfortable with you, and he gets a bit louder. He isn’t one for growling and crying out - not unless you are on top and your pulling them from him - but they will slip out. 

W = Wild Card (Get a random headcanon for the character of your choice)

Loves watching you tease yourself. When you’re completely at his mercy, and he has to tell you how fast or where to touch, it’s a giant boost to his pride. The fact that you are technically in control, and yet still gave him the wheel of the bus. 

X = X-Ray (Let’s see what’s going on in those pants, picture or words)

Higgs isn’t the thickest, but man has he got some length to him. 

Y = Yearning (How high is their sex drive?)

He’s a slut. You could look at him from across the room and he’d already be taking off his clothing. 

Z = ZZZ (… how quickly they fall asleep afterwards)

Usually takes him a while. He has a hard time falling asleep in general. So, while sex does help calm his mind and tire him out more, he still finds himself awake for a while afterwards. 

[callmebrycelee]

Album Review: Confetti by Little Mix

During one of the bleakest years in human history, Little Mix has delivered us pure joy and happiness in the form of their sixth studio album: CONFETTI. I became a fan of Little Mix, a Mixer is what we’re called, a few years ago when I clicked on one of my coworker’s Spotify playlists. The first song of theirs I can recall listening to is “F.U.” from their fourth album Glory Days. After looking up their other albums I then ventured over to YouTube so I could watch a few of their music videos. I instantly fell in love with the choreo-heavy “Touch” and the slumber party-themed “Hair”. I then started looking at their live performances and I was blown away. For me, Little Mix is everything I ever wanted out of Fifth Harmony. Now before I get some hate, Fifth Harmony is/was a great pop group and without them we wouldn’t have Normani, but whereas some of the girls in Fifth Harmony are/were more vocally talented than others, each of the members of Little Mix - Jade, Jesy, Leigh-Anne and Perrie - have amazing voices and those voices blend together so perfectly.

I’m so glad I discovered Little Mix when I did because it gave me enough time to binge their albums, music videos and live performances just in time for their fifth studio album LM5 to drop. If I had to rank the albums prior to CONFETTI, LM5 would definitely be at the top of my list. Realistically-speaking, the album didn’t perform as well as their other albums but the album is damn near perfect in my opinion. I then later learned the girls were going through a separation with their then-record label Syco which is a major factor in why the album didn’t perform as well as it could. 

CONFETTI is Little Mix’s first album since leaving Syco so many of us were very much looking forward to what the girls were going to deliver without having Simon Cowell standing on their neck. Our first taste of a newly emancipated Little Mix came in the form of the 80′s-inspired “Break Up Song”. They released their second single “Holiday” in the middle of the summer and their third single “Sweet Melody” was released a few weeks ahead of the album’s November 6 release. Being in the United States, I stayed up past midnight so I can listen to the album and since it’s release it’s been in heavy rotation on Spotify. I thought it would be fun to review the album and rate each of the tracks. There are 13 tracks on CONFETTI and I will be giving my thoughts on each track as well as a score based on a scale of 10. For those of you reading this, keep in mind, I am one of way too many Little Mix fans to count so if there are tracks that you like that I do not rate as high, just remember this is my opinion so forgive me, HAHA. Without further ado, here’s my review of CONFETTI:

BREAK UP SONG: The first track on the album is also the album’s first single. Break Up Song is not only a total vibe, it’s a total 80s vibe. I was delightfully surprised when Little Mix released this song earlier this year. I love that this song is yet another reminder of just how freakin’ talented these ladies are. My favorite part of the track is Jade’s bridge towards the end of the song. The song is bright and fun and I simply cannot resist busting out some serious 80s dance moves every time the song comes on.  Rating: 10/10

HOLIDAY: While Break Up Song gives up 80s pop vibes, Holiday sticks its toes in the contemporary pop pool. It makes sense that this song was released smack dab in the middle of the summer because it is the perfect summer jam. I especially love the accompanying music video which features the girls luxuriating in a spa somewhere on the moon or maybe Mars. It’s sugary and sweet and just like Break Up Song it’s one of those songs you can’t resist dancing to. It should be noted Holiday is the second single off of CONFETTI and it is one of my top 3 favorite tracks off the album. Rating: 10/10

SWEET MELODY: When I first heard the reggaeton-infused Sweet Melody, my initial reaction was meh. Thank God I listened to the song again ... and again ... and again ... because on the second, third and fourth listening, I realized just how truly epic this song is. The lyrics are quite brilliant with my favorite being the Perrie-led second verse: “He would lie, he would cheat, over syncopated beats.” Not only is the song a banger, the music video is one of the best visuals Little Mix has ever released. The choreography is fire and you can tell they put their blood, sweat, tears and spinal cord into their dancing. Sweet Melody is my favorite track on CONFETTI. Rating: 10/10

CONFETTI: Prior to the release of CONFETTI, this track was made available. This song gives me late-90s/early-2000s R&B vibes and I quite enjoy it. It doesn’t hit as nearly as hard as Sweet Melody but this is yet another song I can picture being played in a club. If Little Mix releases any more singles from this album, which I believe they should, I think Confetti is a strong contender. I imagine the music video will be very heavy on the choreo.  Rating: 9/10

HAPPINESS: Category Is: Songs That Could Have Been Released By Britney Spears in the Early 2000s. Happiness is yet another track that was released ahead of the album. Unlike the first three tracks of the album which are very much songs about relationships, past and present, Happiness is the self-empowerment anthem we never knew we needed, especially in the year of our Lord 2020. Happiness is a splashy pop song but it doesn’t elicit the strong emotions I felt when listening to Break Up Song or Sweet Melody.  Rating: 9/10

NOT A PROP SONG: One of the things I like about Little Mix is every so often they’ll release an acoustic version of their popular songs, i.e., Black Magic, Touch, Holiday. This song is acoustic rock and it is not a sound I was ever expecting from Little Mix. If there was a sequel to National Manthem, it would be Not a Pop Song. I like to think of this as Little Mix’s emancipation proclamation after fleeing the clutches of one Simon Cowell. My favorite lyric from the song is in the chorus: “No more singing songs bout breaking my heart or my lonely nights dancing in the dark.” I absolutely adore this song and it gives me early Kelly Clarkson vibes.  Rating: 10/10

NOTHING BUT MY FEELINGS: This song from beginning to end is an absolute treat. I love how lowkey the song starts off and after the chorus, you assume the song is going to keep amping up but at the start of the second verse it goes back to being lowkey again. I love a song that keeps me guessing. I especially love the theme of the song, the struggle of wanting to keep things super casual with someone when deep down you are developing strong feelings for them even though you know you shouldn’t. If there was any doubt the ladies of Little Mix are not grown, this is proof. Rating: 9/10

GLOVES UP: One thing I like doing whenever a new album by one of my favorite artists is released is heading over to YouTube and watching people’s reaction the albums. It seem likes Gloves Up is a favorite off of this album and I just don’t get it. I don’t like to skip tracks, especially on Little Mix albums, but admittedly this is the one I’m tempted to skip when I’m listening to CONFETTI. I like the message but the song is a bit cliché. I hope that repeatedly listening of this track will make me like it, especially since I have a very strong feeling this is going to end up being a single. Rating: 6/10

A MESS (HAPPY 4 U): If Break Up Song had a sequel it would be this track. I love the lyrics and I love the instrumentation. It’s a gorgeous track and again something unexpected from Little Mix. I love Jade’s falsetto on this track.  Rating: 9/10

MY LOVE WON’T LET YOU DOWN: I feel like in addition to giving us great dance bops, Little Mix also delivers when it comes to ballads. The gospel-tinged My Love Won’t Let You Down is absolutely gorgeous and will be the perfect closing song on one of their tours. There are Little Mix songs where I think, wow, I’d love to see what the music video would look like and then there are Little Mix songs where I think, wow, I’d love to see how they’d perform this. This track is definitely of the latter variety. All four of our queen’s vocals are on point.  Rating: 10/10

RENDEZVOUS: Remember how I said there are three songs on this album that are my favorite? Sweet Melody is my fave track on the album and Rendezvous is my second-favorite. Rendezvous is sexy and sleek and reminds me of something Ciara would’ve released early on in her career. I also love that it samples the song Sway. I cannot wait to see how they perform this song on tour and I would love for this to be a future single because I would love to see Little Mix turn up the sex on one of their songs. This song reminds me of Notice for some reason from LM5. When Little Mix does sexy, the do sexy right! Rating: 10/10

IF YOU WANT MY LOVE: Like Gloves Up, If You Want My Love is another meh track on this album which sucks because it’s literally sandwiched between two perfect songs on the album. Perhaps this is another one I’ll have to keep listening to in hopes that it will grow on me. Right now I’m feeling pretty blasé about the track. Rating: 6/10

BREATHE: Yay! We get not just one ballad on CONFETTI but two! This is the perfect close to a pretty awesome Little Mix album. I’m happy to report the album ends as strong as it begins. Of the two ballads, I prefer My Love Won’t Let You Down but that shouldn’t suggest I don’t like this song. I love it and it’s another one I’d love to see performed live. Rating: 10/10

ALBUM OVERALL RATING: 9

[dustedandsocial]

Top Several Hundred Records of 2020

My Top 11: 1. Slum Of Legs - Slum Of Legs (Harbinger Sound / Spurge) 2. Oily Boys - Cro Memory Grin (Cool Death) 3. Model Home - SE (Future Times) 4. Valentina Magaletti & Marlene Ribeiro - due matte (Commando Vanessa / Horn of Plenty <O) 5. Kris & Tavi - Kris & Tavi (Misophonia) 6. Still House Plants - Fast Edit (Bison) 7. None - Khneï Khneï Thnacapata Thnacapata (Unknown Precept) 8. Rychlicki / Kostkiewicz - Zapis (Absolute Fiction / Maternal Voice) 9. Rosso Polare - Lettere Animali (Klammklang) 10. Patois Counselors - The Optimal Seat (ever/never) 11. Impatiens - Scene At The River (Altered States) Favorite 20 That Weren't My Top 11: 12. Irma Vep - Embarrassed Landscape (Gringo) 13. FRKSE - Desecration Anxiety II (Iron Lung) 14. Merula - Sleep (Men Scryfa) 15. Al Karpenter - If We Can't Dream, They Can't Sleep!! (ever/never) 16. BbyMutha - Muthaland (the muthaboard) 17. Pose Dia - Front View (Bureau B) 18. SIR E.U - Midnight Train To Velvet (Self-Released) 19. Nightshift - Nightshift (Cusp) 20. Massicot - Kratt (Harbinger Sound / Spurge / Bongo Joe / Red Wig) 21. Alessandra Novaga - I Should Have Been a Gardener (Die Schachtel) 22. Zeroh - BLQLYTE (Leaving) 23. Swallow - Body Horror (ANA) 24. Pink Siifu & Fly Anakin - FlySiifu's (Lex) 25. Balans - Sam pravm (Kapa) 26. Bruch - The Fool (Trost / Cut Surface) 27. P22 - Human Snake (Post Present Medium) 28. ovrkast. - Try Again (do more.) 29. Chapelier Fou - Méridiens (Ici d'ailleurs) 30. Schisms - Speech Copy Rap Master (Fort Evil Fruit) 31. Új Bála - How the Cookie Crumbles (Czaszka Records)

Mozo Mozo - Mozo Mozo (Epileptic Media) Orion Moustache - EP02 (Noorden) Mentira! - Mentira! (Harbinger Sound) Leyden Jars - Gone (Outer Reaches) Last Call At Nightowls - Ask the Dust (Subsound) Gaffer - Gaffer (Helta Skelta) Inturist (Интурист) - Action! (Incompetence) Директор Всего (The CEO of Everything) - Самый занятой гражданин (Doing Great Music) Christos Chondropoulos - On Nature (12th Isle) Uptown XO - Culture Over Corporate  (1 Force United) Lichen Gumbo - Altered Village (Ikuisuus ‎/ Jumatsuga ‎/ Lal Lal Lal) The Worms - Back To The Bog (Hidden Bay) Kneeling In Piss - Music for Peasants EP (Anyway) Taste - Rope In The Closet ( If Society / Half Bear Half Cat / Roge Records) Flogging A Dead One Horse Town - Old Scum EP (MUZAI) BIG $ILKY (Psalm One & Angel Davanport) - BIG $ILKY Vol. 2 (Self-Released) Dame Area - La Soluzione É Una (Màgia Roja / B.F.E Records) Enir Da - Silence (Too Soon Tapes) Obnox - Savage Raygun (ever/never) Mike Cooper - Playing With Water (Room40) Nape Neck - Nape Neck (Self-Released) S.U.V. - Neoliberal Folk Songs II (Otomatik Muziek) Patrick Shiroishi - Descension (Thin Wrist Recordings) Pink Siifu - NEGRO (Self-Released) En Attendant Ana - Juillet (Trouble In Mind) Sergei Demin - Not Music Of The Day (Klammklang) Brandy - The Gift Of Repetition (Total Punk) Nyx Nótt - Aux Pieds De La Nuit (Melodic) Bearer - Precincts (ANA) Norms - Háború és fű (Mindig Otthon Punk Discs) Vertical Slump - Oubliette (Blank Editions) Lau Nau - Själö (With Sound Environments by Janne Laine) (Fonal) Model Home - One Year (Disciples) WOW - Falene (Maple Death) Santa Sprees - Sum Total of Insolent Blank (Leapantique) Edd Sanders - Sun Bleached & Hollow (Cadmus) Charlemagne Palestine - Ffroggssichorddd (Staalplaat) Loopsel - Loopsel EP (Mammas Mysteriska Julebox) Kuupuu - Plz Tell Me (KRAAK) (I forget whether I put the oriinal version of this on my year-end list last year. Here it is again though) QQ - Vanguard Youth (Skrot Up) DJ Speedsick - (All Releases) Armand Hammer - Shrines (Backwoodz Studioz) Lewsberg - In This House (12XU) Ubiquitous Meh! - Fecund With Love (Buried Treasure / Damnsonic) Schulverweis - Suppe (Neoprimitive) La Chasse - Meretrix ∕ Doloris (Donnez-moi du feu) No - Vol. 1 (Faustian Haus) David Nance - Staunch Honey (Trouble In Mind) Hun Bed - Brood I (Het Generiek) Młody Kotek & Niemy Dotyk - New Age Speedball (Enjoy Life) Aurat - Zeher (Etang Brulant) Addict Ameba - Panamor (Black Sweat) Sunset Flips - Between Two Sheds (Altered States) Small Bills (E L U C I D & The Lasso) - Don't Play It Straight (Mello Music Group) Nail Club - Collected Methods (Hot Releases) Maximum Ernst - Time Delay Safe (ever/never) Tim Hicks X The Dirty Church - Bullets (Humble Monarch) Lord Jah-Monte Ogbon - GOD Body & Soul Side B (Self-Released) Red Bennies - Futurist, Nihilist Post-Rock, Cyberpunk, Anti-Humanist Music (Chthonic) Tsap - Flickering Lyghte In Campsite (Altered States) Latex Cop - Privacy Policy (Cadmus Tape) Ka - Descendants of Cain (Iron Works) Violent Quand On Aime - The Movie Star (Simple Music Experience) Flaner Klespoza - Przygody i tajemnice (Nagrania Somnambuliczne) Budokan Boys - So Broken Up About You Dying (ever/never) Datblygu - Cwm Gwagle (Ankstmusik) Pays P. - Pays P. (Gravity Music) Somaticae - Amesys (In Paradisum) Kipp Stone - Homme (Self-Released) Sada Baby - Bartier Bounty 2 Tribalism3 - April on Mars (Collectif Coax) Men With Secrets - Psycho Romance and Other Spooky Ballads (The Bunker) Brainbeau - Infinite Ways (Good Samaritron) Landowner - Consultant (Born Yesterday) Jay & Yuta - Condemned Compilations (Research) Machine Woman - Dj Dolfin Snare 808 Machine (Take Away Jazz) Slowburn - Folketro (momeatdadrecords) Twinkle³ - Minor Planets (Marionette) Unglee Izi - notice & initiation au monde alterné T.1 (Lost Dogs Entertainment) Sick Urge - Structures of Domination (Puukotus-Levyt) German Army - Pulling at Principles (Flophouse) NAPPYNAPPA - IFEELJUSTLYKTHEIRART (Bad Taste) Social Stomach + Body Shame - Split (Bento) Pacific Yew - Squeeze Demo (Hot Record Societe) Isabella - Magnetica (Ehse) Trrma´ & Charlemagne Palestine - Sssseegmmeentss Frrooom Baaari (Jazz Engine) Astute Palate - Astute Palate (Petty Bunco / Eternal Soundcheck) Axel Larsen - Les Éléments Du Crime (Macadam Mambo) Post Spiderhole Ensemble - False Alarms and Excess Baggage (Kitchen Leg) Cash Kidd - No Socks Senyawa & Stephen O'Malley - Bima Sakti (iDEAL Recordings) Henny L.O. - Sages (Mutant Academy) True Sons Of Thunder - It Was Then That (Total Punk) Tim Gick - Não Há Laranja ∕ Scrying Glass Eye (Working Man Lay Down) Junk Magic - Compass Confusion (Pyroclastic Records) Person of Interest - All Tomorrows Parties (Exotic Dance) Pumice - Table (Soft Abuse) Max Nordile - Building A Better Void (Gilgongo) Mrs. Dink + Magnum Opus - Mrs. Dink / / Magnum Opus  (Soil) Swamp Harbour (Stinkin Slumrok, Bisk, & Sam Zircon) - Swamp Harbour (Blah) Camden Malik - Understand Me (10k) Heckadecimal - Critters (Kajunga) Geld - Beyond The Floor (Iron Lung) Drakeo the Ruler & JoogSzn - Thank You For Using GTL Senketsu No Night Club - 沈丁花 (Signora Ward) Jef Mertens - NO AMP (291) Tomaga ‎– Extended Play 2 (Self-Released) [R.I.P. Tom Relleen] Boldy James & The Alchemist - The Price Of Tea In China Shoreline Mafia - Mafia Bidness pisse - LP (Phantom / Harbinger Sound) Reymour ‎– Sarabande A Deux (CAF?) Goldblum - Goldblum (Het Generiek) Phil Struck - Schleswig-Holstein Aufnahmen (Séance Centre) Maths Balance Volumes - A Year Closer (Penultimate Press) Body Double - Milk Fed (Zum Audio) Low Flung - Oil in the Mangroves (Bedroom Suck) Chris Crack - White People Love Algorithms (New Deal Collectives) Krypton 81 - Tranquility Base EP (Dalmata Daniel) Akai Solo - Ride Alone, Fly Together (Break All Records) Gad Whip - Fanimal Arms (Gad Whip Recordings) Tygapaw - Get Free (NAAFI) Pamela_ and her sons - Pink Room (Self-Released) Etceteral - Ama-Gi (Kapa Records) Ghostie - Self Hate Wraith (Self-Released) Young Nudy - Anyways DrxQuinnx & Chase Baby - God Gooch & Blue Jesus EP (Bit Tape) Museum Of No Art - Museum of No Art (Séance Centre) Terrible Signal - The Window (Heart of the Rat) Bambi OFS - Yakka (B.F.E Records / Subsist) Zarabatana - Cum Raio (tsss tapes) Soberin Exx - Normal Islands (Liquid Library) Sylvain Darrifourcq, Manuel Hermia, Valentin Ceccaldi - Kaiju Eats Cheeseburgers (Full Rhizome / Hector) Günter Schlienz + Jeans Beast - Split (Econore) Hasufel - Lamentations of the Foul High Priest (So Called Hell) Delphine Dora - L’Inattingible (Three:four / Meakusma) Suburban Cracked Collective - Swimming Amongst The Dregs (A Colourful Storm) Military Genius - Deep Web (Unheard Of Hope) Mesa Of The Lost Women - Les Tables Noires (Specific) Ferocious (Bill Direen, Mark Williams, & Johannes Contag) - Ferocious (Rattle) Domestiques - Vol. 1 (Glass Modern) gogoj a.k.a Sheng Jie - oviparity (Maybe Noise / WV Sorcerer Productions) Midnight Mines - Live From The Mystery Plane (Independent Woman) Muro - Pacificar (Beach Impediment) Satan - Toutes Ces Horreurs (Jungle Khôl / Throatruiner) Scarlatine - Mimosa (Le Syndicat Des Scorpions) Vanligt Folk - Allt E'nte (Kess Kill) VOLE - Dej Bůh Pěstí (Stoned To Death) Upsidedown Flames - Creeps At Shows EP (Fuck Yoga) Zurich Cloud Motors - Do More Than Deconstruct​-​o (Zazen Tapes)

Buncha other records

Sweeping Promises record wasn't that good though. But if you guys like it when people take singing seriously, you should check out some of this music called "R&B"

[maximuswolf]

I need help finding a specific cover of Bridge Over Troubled Water by Simon &amp; Garfunkle.

I need help finding a specific cover of Bridge Over Troubled Water by Simon & Garfunkle. When I was in high school (2012-2013), our chorus director had us sing this song. But we were singing based on a track that sounded like maybe 3 people? I'm pretty sure it was one guy and two girls. I can't remember all the details aside from the fact that it had more of a slow R&B feel to it. The vocals are amazing, and I think about this version of the song so much that it's literally eating me alive. Someone help, please.Edit: this was a chorus version that started alot like Clay's version "ill be your bridgeeeee, on troubled water, I will layyyyyy, me downnnnn,- then it started with a male "when you're weary" that whole verse is a guy then I think it switched to a female. I'm to the point where I'm gonna try and get in touch with my old chorus teacher to figure this shit out but I feel like that will be harder than asking yall lol Submitted September 06, 2024 at 05:41PM by yeetyeetnonya https://ift.tt/RgK3yf7 via /r/Music

[stereostevie]

The Rap Grammy Nominations Are Weird As Hell | Nov 25, 2020 11:12 AM BY TOM BREIHAN

The very first time that the Grammy Awards recognized rap music, it was an utter fiasco — a clear case of an aging pop-music establishment failing to understand this vital new youth music that had sprung up and rewritten the rules. For the 1989 awards show, the Grammys added one rap category, Best Rap Performance. DJ Jazzy Jeff & The Fresh Prince won it for “Parents Just Don’t Understand,” beating out LL Cool J and Salt-N-Pepa and Kool Moe Dee and JJ Fad. The show didn’t deign to recognize Public Enemy, N.W.A, EPMD, Slick Rick, Big Daddy Kane, Eric B. & Rakim, or Ice-T, all of whom had released classic albums within the voting window. The award wasn’t televised, and most of the nominees, Jazzy Jeff and the Fresh Prince included, skipped the show, attending a “Boycott The Grammys” party instead.

Since that night, the history of rap at the Grammys has been a series of baffling, embarrassing decisions. It’s Steely Dan winning Album Of The Year over The Marshall Mathers LP. It’s Gretchen Wilson winning Best New Artist over Kanye West. “It’s weird and it sucks that I robbed you.” It’s also a history of rappers getting angry over the Grammys: “I never let a statue tell me how nice I am,” “You think I give a damn about a Grammy?” In 2019, Drake showed up to accept Best Rap Song. In his acceptance speech, he talked about how the Grammy voters weren’t necessarily the right people to define rap success. The broadcast cut him off mid-speech. Earlier this year, Kanye West, a man who once cared more about Grammy Awards than anyone else not named Neil Portnow, tweeted a video of himself pissing on one of his Grammys. (The Grammys still nominated West this year, for Best Contemporary Christian Music Album.)

Yesterday, the Grammys nominated Freddie Gibbs and the Alchemist’s Alfredo in the Best Rap Album category. That’s great! Freddie Gibbs is a great underground rap success story, a guy who bet on himself and kept doing great work in his own lane even after multiple major-label situations fell apart. Gibbs has never made a hit song in his life, and he’s gotten himself into a position where he doesn’t need to make hit songs — where he can just follow his instincts and keep his own style intact. Alfredo isn’t my favorite rap record of the year. (Even in the field of Alchemist-produced 2020 rap albums, I’d give the slight edge to Boldy James’ The Price Of Tea In China.) But the nomination for Alfredo is still a very cool surprise, the kind of thing that I would’ve never expected to see from the Grammy nominating committee.

And yet Gibbs’ nomination doesn’t exactly announce a new golden age of Grammy rap consideration, a time when Recording Academy voters are finally figuring out how to approach the genre. Instead, his nomination points toward something else: An institutional recognition of middlebrow, middle-aged, respectable rap music.

All of this year’s Best Rap Album nominees are Black men between the ages of 35 and 47. The oldest nominee is Nas, who is now on his fifth Best Rap Album nomination and who has never won the award. (The Best Rap Album Grammy didn’t exist in 1994, when Nas released Illmatic, but there’s no way in hell that Nas would’ve won it anyway. The Academy would’ve given the award to Coolio’s It Takes A Thief or something.) The youngest nominee is D Smoke, a former high school Spanish teacher who is also the brother of the TDE R&B singer SiR. D Smoke made his way into Grammy contention after winning the first season of Rhythm + Flow, the Netflix rap-competition show. (Two of the three judges from Rhythm + Flow, Cardi B and Chance The Rapper, have won Best Rap Album themselves. T.I., the other judge, has been nominated three times and never won.)

D Smoke isn’t exactly a revered or popular rapper, and I have’t seen anyone calling his perfectly-OK album Black Habits a masterpiece, though the man has certainly done better than anyone could’ve expected from a rap reality-show winner. But D Smoke raps exactly like a diet version of Kendrick Lamar, so his nomination works as a clear indication that the Grammy voters really, really wish they had a Kendrick album to nominate. D Smoke is also up for Best New Artist, alongside fellow rappers Chika, Megan Thee Stallion, and (I guess) Doja Cat. Presumably, Megan’s Good News would also be nominated if it had come out early enough to be eligible. Meanwhile, Chika hasn’t released an album, and Doja Cat is nominated in the pop categories, not the rap ones.

Instead, then, we’re looking at five guys hovering around the age of 40, all of whom are respected technicians with boom-bap inclinations. Jay Electronica, who’s nominated for A Written Testimony and who should probably be considered the front-runner, is technically a New Orleans native, but nobody thinks of him as a Southern rapper. (Jay-Z is all over A Written Testimony, to the point where anointing Jay Electronica feels a bit like throwing awards love to Jay-Z in a year with no Jay-Z album.) All the albums up for Best Rap Album are, at the very least, solid. A couple of them, Alfredo and A Written Testimony, are very good. But this is still a remarkably stodgy list — one that shows that the whole middle-aged respectability fetish that’s long plagued the Grammys is now embedded in its rap voting wing.

Freddie Gibbs and Nas and Jay Electronica and D Smoke and Royce Da 5’9″ are all gifted rappers who have done great work. Most of them could justifiably be considered legends. But none of them really show the world where rap music is, let alone where it’s going. By recognizing those albums, the Grammys have pointedly elected not to recognize something like Lil Baby’s My Turn, which is probably 2020’s most popular album in any genre and which is also a fine example of the 808-heavy depressive melodic-goo rap music that currently dominates the genre’s mainstream.

Other hugely popular, artistically important albums are also absent: Lil Uzi Vert’s Eternal Atake, Roddy Rich’s Please Excuse Me For Being Antisocial, Polo G’s The Goat, Gunna’s Wunna, Rod Wave’s Pray 4 Love. Instead, the rap albums getting nominated are the 2020 equivalents of the Steely Dan album that famously beat Eminem. That’s not an indictment of the nominated albums. It’s an indictment of the stuff the Recording Academy values. It’s also a cautionary look of how things might look if the Recording Academy ever gets its way, if rap comes to rely on accepted ossified skill-sets instead of its current state of constant, furious stylistic evolution.

As someone who’s around the same age as this year’s Best Rap Album nominees, I’m not all that amped to see emotionally troubled, pill-gobbling 20-year-olds dominating rap music. But those kids are crucially moving the genre past whatever old men like me might want it to be. Fortunately, there’s at least one Grammy category that has done a pretty good job capturing where things are right now, and that’s Best Rap Song. The list of nominations there — Lil Baby’s “The Bigger Picture,” Roddy Ricch’s “The Box,” Drake’s “Laugh Now, Cry Later,” DaBaby’s “Rockstar,” and Megan Thee Stallion’s “Savage” — isn’t necessarily perfect, but it’s a fairly accurate representation of the kind of rap that moves people right now. I don’t know why the division between the Best Rap Album and Best Rap Song nominees is so stark. Maybe it’s a signal that the album is increasingly irrelevant. Maybe it reflects two different voting bodies. Either way, it’s striking.

Look, the Grammys are weird. They are always going to be weird. Fiona Apple’s Fetch The Bolt Cutters should’ve been the biggest lay-up in the world, but it isn’t up for Album Of The Year. Instead, the Academy’s voters went for Coldplay and Jacob Collier and a deluxe edition of a Black Pumas album that didn’t even come out in the eligibility period. “Rockstar” and “Savage” are both up for Record Of The Year, but Post Malone’s Hollywood’s Bleeding is the only album that’s even rap-adjacent that’s nominated for Album Of The Year this year. I thought for sure that Lil Baby’s My Turn would be the token rap album that would inevitably lose to Taylor Swift. Instead, we didn’t even get one of those, and My Turn got snubbed even in its own category. Nothing makes sense.

But this year’s Best Rap Albums nominations still show a weird alignment between Grammy Voters and a certain streak of real-hip-hop rap conservatism. Watch out for that. Nothing good, except maybe a Freddie Gibbs Grammy win, will come out of that.

FURIOUS FIVE

1. Roc Marciano – “Downtown 81” It’s not on streaming services yet, but Roc Marciano’s new album Mt. Marci is out in the world now, and it is marvelous. (I can’t tell you whether the digital download is worth the $40 that Marci is charging on his website. Make your own financial decisions.) Right now, the only song out for general consumption is one of the few that Marci didn’t produce himself. (It’s a Jake One beat.) But otherwise, “Downtown 81” is exactly the sort of laid-back, intricately worded deadpan splendor that you can expect to hear on the LP, whenever it goes wide. So maybe that’s worth the price of a full tank of gas.

2. Meek Mill – “GTA” (Feat. 42 Dugg)

Meek Mill released his Quarantine Pack EP on Friday, and the track currently getting the big push is the downbeat Lil Durk collab “Pain Away.” But the real thrill here is in hearing Meek and 42 Dugg getting bracingly urgent over a Detroit-ass bassline.

3. Chief Keef & Mike Will Made-It – “Status” Sosa and Mike Will have evidently chosen to name their new song after this column. Gentlemen, I see this tribute, and I appreciate it. I love you too.

4. Willie The Kid & V Don – “Mother Of Pearls” (Feat. Eto) This is pretty.

5. Statik Selektah – “Play Around” (Feat. Conway The Machine, 2 Chainz, Killer Mike, Allan Kingdom, & Haile Supreme)

Once upon a time, maybe 13 years ago, I was apparently such a recognizable and influential part of the New York rap press that Statik Selektah noticed me at an MOP show, introduced himself, and tried to get me to listen to his mix CD. All these years later, Statik is a globally acknowledged boom-bap specialist with enough juice to put three of the world’s greatest middle-aged rappers on a track together. I’m proud of Statik. I bet he gets nominated for a Grammy someday.

[aminaswriting]

UMI Heals the World Through Music

With over three million listeners a month on Spotify, Umi spreads healing lyrics that lead her listeners to soul searching and growth. This artist is closely related to the lo-fi hip hop scene, neo-soul, and contemporary R&B. Her steadily growing fan base proves that her music is genuinely hitting home to many listening in.

If there is anyone new artists should look up towards for encouragement to start producing music, Umi should be it. She started producing music in her bedroom during high school and after getting flagged on SoundCloud, the artist released originals. Her music dates to 2012. With almost a decade of musical experience and parents with musical backgrounds, writing music became second nature to her providing her with the opportunity to share every emotion with all her listeners.

Umi is known for her relatability and openness in her music. By mixing her lyrics full of candor and real life connection, Umi is able to stimulate the movement for her audience to grow from their past and move on. This may relate to relationships or even search for their own identity. In fact, Umi’s own identity of being half-Black and half-Japanese flows through her music, especially with the primarily Japanese song “Sukidakara” off of her latest EP Love Language. The song itself is a peaceful melody that brings a sense of nostalgia to the listener. Ultimately, it is an ode to her mixed identity and paints the picture of what it truly means to be Umi (in this case in love).

Another song that almost all people can relate to is the pop-based song “High School” where Umi talks about a small relationship that occurred during her years of high school. She admits,“I would tell you that I loved you so much but the problem is I didn't even know what love was” and continues to sing about how she has the ability now to love the person for real. She asks them to give her another chance and promises that it will be better than the relationship they had in the past. This song is a perfect example of the various feelings that those who experienced a first love and the brutal reality that perhaps we were too young to know what love was back then.

Most recently, Umi came out with her Introspection EP that contained three songs. The first song, “Introspection”, talks about her emotional baggage. Umi says, “It's all in my mind, it's only emotion, Just look for a sign and swim into the ocean” which relates to the popular phenomenon that the world will give her a sign to move on from what she is thinking about. Recently on social media, users have created a trend to post supposed “signs” to their followers. Umi wishes her thoughts to go away because they haunt her and she just wants to swim in the ocean so she can escape. She cannot face whoever or whatever she is thinking about. Plenty of us in the world try to escape from our thoughts. It can be partying and drugs, videogames and television, or excessive exercise but whatever it is it’s able to distract us from our own emotional problems.

The second song “Open Up” is a deeper version about her emotions and actually dealing with the “pain in her soul making it hard to breathe” to show the person she really loves them. She doesn’t feel good enough and she is confused about what she should do because she doesn’t want to pass them up. She talks about how she didn’t mean to break their trust and she should have known that she hasn’t really changed that much. She needs to open up to make this better but she struggles, just like everyone else can struggle with revealing their emotions. It’s another track that most people can relate to and sounds very similar to that of other modern R&B songs and less like her lo-fi songs.

The other two songs “Mother” and “Picture Perfect” were released earlier in the year.

“Mother” has gained over one million releases since its release on Earth Day of this year. Umi calls it her most conscious and aware song so far. It talks about her connection to the Earth, motherhood, and nature in general. Alternatively, “Picture Perfect” is about dealing with the aftermath of a toxic relationship. With her soft vocals and slow guitar strumming, the first chorus makes it clear that she is over the relationship with this person. To her, “it’s too late for [them] to come back” and that the “damage is done” now. She even states that perhaps it’s the “pain that [they] miss” instead of actually missing each other which is common with toxic relationships. She realizes that the person in question is perfect only on the outside because deep down they’re not or otherwise their relationship wouldn’t end up like that.

All in all Umi is an ideal embodiment of an artist that can actually connect with her audience. There is plenty of pain in this world but Umi encapsules it unto her songs and makes her audience aware of their own emotions, relationships, and progress. By releasing more singles about these things Umi is slowly healing the world through her songs.

[prosemist11]

6 Benefits Of Collagen Supplements.

Comparing Archaeological Sheep And Goat Bones Utilizing A Single Collagen Peptide

Content

Sarms Are This Year's Big Muscular Tissue Drug However Are They Risk-free?

Uk Neqas Guildford Peptide Hormonal Agents.

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Is Ostarine a drug?

Enobosarm, also known as ostarine or MK-2866, is an investigational selective androgen receptor modulator (SARM) developed by GTx, Inc. Enobosarm.Clinical dataLegal statusUS : Investigational New DrugPharmacokinetic dataElimination half-life24 hoursIdentifiers20 more rows

It is alluring to believe outcomes for clients with cardiac arrest might be improved by titrating therapy to BNP degrees. Trials were performed in professional clinics, made use of a selection of BNP monitoring approaches, and also did not determine a BNP target to deal with. This research study is appealing, however further examination of which people with cardiac arrest may benefit is probably required prior to this ends up being basic technique. BNP surveillance might be reliable for younger individuals with minimized ventricular ejection fraction. However, the populace with heart failure that is challenging to manage is often older and also commonly have various other illness besides cardiac arrest.

Sarms Are This Year's Huge Muscle Medicine However Are They Safe?

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The 2010 National Cardiac arrest Audit approximated that one in 100 people in the UK has heart failure. It has a poor prognosis; around a third of people confessed to health center with heart failure pass away within one year. Monitoring presently costs the NHS around ₤ 625 million a year.

Bikes resolve healing requirements and also medical applications that can not be gotten to with existing treatment modalities. , Inherent versatility as well as structural flexibility of Plasticins membrane-damaging peptides as a strategy for useful convenience, Eur. , Secondary framework and also strength in version proteins, Soft Matter, 2013, 9, 9548 RSC. Recognition of prolongation variable G as the saved mobile target of argyrin B, PLoS One, 2012, 7, e42657 CrossRef CAS. The establishment of one or possibly several constricted cyclic themes assists to decrease this negative thermodynamic account of a peptide. Obviously, this benefit can just become noticeable when the applied setting of rigidification does not conflict with binding (e.g. through steric clashes), providing the sensible layout of appropriate loop structures a challenging, yet, beneficial venture.

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The study does not appear to sustain a change to clinical practice. The 2010 NICE standard on the administration of chronic cardiac arrest suggests that BNP (or its derivative N-terminal pro-Btype natriuretic peptide, NTproBNP) is gauged in individuals with suspected heart failure that have no history of cardiac arrest. Urgent reference and echocardiogram evaluation are advised for those with a BNP level above 400pg/ml. Levels listed below 100pg/ml are claimed to make the diagnosis of cardiac arrest not likely. In the friend study, the overall death price was 142 people per 1,000 per year.

This does highlight the demand for many years complete of competition testing.

I assume in pharmaceutical terms the concept is to utilize SARMS rather than androgens sometimes, as you point out they can be selectively adapted to create tasks in a different way to androgens.

Though there's no way to recognize just the amount of people are acquiring them, analysis of London's well-known "fatberg"-- the mass of oil and organic matter found in the funding's sewers-- located SARMs existing in greater amounts than both MDMA as well as cocaine.

I would certainly suggest that anabolics aren't observable for months however, lots of will certainly have a really comparable time training course to ostarine, depending on the dosage and also approach of administration.

Over the past 5 years, on the internet look for SARMs (or "discerning androgen receptor modulators", including andarine as well as ostarine) have actually been rising gradually.

It has been reported that Andarine is no more a target medication.

The variety of instances is anticipated to increase with the aging populace. The research was limited by the high quality of the previous tests, the schedule of data and the shortage of monitored individuals generally method. Additionally, there was no evident system found that might discuss the tiny benefit. So, these findings need to be regarded as tentative and are not conclusive enough to sustain an adjustment in technique. Various other study is underway that might much better define the location for this test. The relevance of over expression at the mRNA degree is verified by redetection of picked TUMAPs from action 3 on tumour cells and optionally by quantification of the TUMAPs themselves.

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Absorption enhancers are the components which temporarily disrupt the intestinal barrier to improve the medicine permeabilization. https://spain.direct-peptides.com/ of peptide is due to the proteolytic bosom of the peptide backbone. NIHR is the country's largest funder of wellness as well as care research as well as supplies individuals, centers and also modern technology that makes it possible for research to thrive. NICE guidance suggests the dimension of BNP in people with new-suspected cardiac arrest; even more, plasma NP degrees typically fall after therapy.

What does MK 2866 do?

Ostarine (MK-2866) (Enobosarm) This selective androgen receptor modulator (SARM) has been studied and proven to improve lean body mass and physical function. It also increases tendon strength, ligament health, bone density and encourages collagen turn-over.

High levels of c-peptide with a reduced level of blood glucose could be an indication of insulin resistance, either kind 2 diabetes mellitus or Cushing's disorder. Reduced degrees of c-peptide as well as high blood glucose degrees could be a sign of kind 1 diabetes.

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Long-distance runner Kiranjeet Kaur fails dope test - Sportstar

Long-distance runner Kiranjeet Kaur fails dope test.

Posted: Wed, 04 Mar 2020 08:00:00 GMT [source]

Fatality rates were higher in the BNP-monitoring group than in the BNP-testing and also never-tested groups. This most likely shows that this little group were sicker than various other individuals. BNP-guided treatment had no overall result on risk of fatality from any kind of cause (hazard ratio 0.87, 95% confidence period 0.73 to 1.04). Sub-group evaluation found it decreased mortality for individuals aged less than 75 years (Human Resources 0.70, 95% CI 0.53 to 0.92) yet except older people.

This program of job set out to assess the scientific as well as cost-effectiveness of BNP-guided therapy for people with a brand-new medical diagnosis of heart failure between January 2007 and March 2013. Cardiac arrest is a condition where the heart can not pump blood efficiently sufficient to satisfy the demands of the body. It has many causes, typically, previous cardiac arrest or high blood pressure.

RMTC Publishes Research On Ethylphenidate, Announces Funding For EPO, SARM Studies - Horse Racing News - Paulick Report

RMTC Publishes Research On Ethylphenidate, Announces Funding For EPO, SARM Studies - Horse Racing News.

Posted: Thu, 25 Oct 2018 07:00:00 GMT [source]

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XPRESIDENT, a technology system initially produced in the laboratories of the pioneering immunologist Hans-Georg Rammensee and associates at the University of Tuebingen, and continuously enhanced at the spin-off immatics biotechnologies. displays the targeting ligand for binding to a mammalian receptor.

A C-peptide examination is a blood examination which is performed to find out how much insulin your body is producing. This may serve for establishing whether you have kind 1 or type 2 diabetic issues or whether you have insulin resistance. DNA inoculation by means of RALA nanoparticles in a microneedle shipment system generates a powerful immune response against the endogenous prostate cancer stem cell antigen. DNA vaccination for cervical cancer cells; an unique technology system of RALA mediated genetics distribution using polymeric microneedles. Scancell is creating novel immunotherapies for the therapy of cancer based upon its ImmunoBody ® and Moditope ® modern technology systems.

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Hey Gorgeous - Under Your Skin 5

Part 1 | Part 2 | Part 3 |  Part 4 | Part 5 | Part 6 | Part 7 | Part 8 | Part 9 | Part 10 | Part 11 | Part 12 | Part 13

A continuation of Hey Gorgeous Part 1| Part 2 | Part 3 | Part 4 | Part 5 | Part 6 | Part 7 | Bonus Scene | Now on AO3

A continuation of Hey Gorgeous Part 1| Part 2 | Part 3 | Part 4 | Part 5 | Part 6 | Part 7 | Bonus Scene | Now on AO3

I’m supposed to be doing other things right now but I’ve rewritten this thing several times and I’ve finally got a version I’m happyish with and I’m gonna put it up so I won’t keep poking at it and ruin it.

The music building was old and stuffy, but Luka preferred it to the more modern buildings on campus, all of them sterile and pretentiously artsy and too bright. The music building squatted there like a protester at a sit in, unabashedly itself and refusing to be anything else, and Luka had always loved that about it. It reminded him of his mother. Marinette giggled at the comparison when he told her as they walked up the steps.

“I didn’t want to carry it all night, so I stashed it here on the way over to your place,” he explained, pulling his guitar case out of the locker. “And I really wanted to play the electric for you first, and I need a practice room with an amp for that. Hang on, let me just go get a key,” Luka squeezed her shoulder and jogged over to the administrative desk.

“Hey, I need a practice room,” Luka told the young man at the counter. The guy looked at Luka and then looked over his shoulder to where Marinette was waiting, and gave Luka a skeptical look. 

Luka ignored the look and put his student ID on the counter, sliding it over. They both knew that the clerk had no grounds whatsoever to deny the request. He grudgingly took Luka’s ID and handed over the key in exchange.

“Don’t make a mess,” the clerk said.

“Thanks,” Luka said brightly, pretending he hadn’t heard. 

He led Marinette downstairs to the row of practice rooms with their frosted glass doors. Several others were in use, which made him feel better. He didn’t want Marinette to feel uncomfortable being down here with him. He checked the number on the key and unlocked the corresponding door.

The tiny room had an upright piano against the far wall, and an amp in the corner, along with some other electronics. Luka pulled out the piano bench and invited Marinette to sit while he got his guitar plugged in and tuned, making sure he kept her between himself and the door so she wouldn’t feel trapped. When he was satisfied, he played a few simple warmup exercises, and then gave her a cheeky grin and played the riff from Sweet Child of Mine.

“Always a crowd pleaser,” he said almost absently before shifting into Sweet Home Alabama, then You Shook Me All Night Long. He lifted his head and grinned. “That’s what I do when I want to show off for people who aren’t musicians,” he confessed. “Just play one after another.” He moved over and sat next to Marinette on the piano bench. “Not exactly romantic date material though.” He improvised a sappy-sounding tune, and Marinette giggled. 

“But then again, you’re a Jagged Stone fan,” he commented, playing the riff from Rock Me Eternal, “So maybe it works for you.”

Marinette groaned. “I’m n-never going to l-l-live that d-down.” 

“Hey, it was brave.” Luka nudged her with his shoulder. “Maybe someday I can get you to sing for me.”

“I c-could b-be c-completely t-tone deaf,” she huffed. “You d-d-don’t know.”

“But you’re not, are you, Gorgeous.” Luka’s knowing tone and slow grin brought heat rushing to her face. “You can’t tell me a love song from your lips wouldn’t sound like heaven. I don’t believe it.”

Marinette scrunched up her face. “Y-you r-really are a shameless f-flirt.”

“Baby with this in my hands I can be anybody you want me to be.” His words were flippant but he smiled fondly at the guitar, wiping a smudge of dust off the black body with his thumb. “Tough?” He played the riff from La Grange. “Intense?” He played Every Breath You Take. “Sappy?” The guitar sang It’s like catching lightning, the chances of finding someone like you. “Emotional?” The guitar wailed but I’m only human, and I bleed when I fall down. “So what’s your pleasure, babe?” He winked at her. 

“I w-want to h-hear the r-real you,” she said softly. “Are you r-real, Luka? Or are you actually j-just a flirt looking for a g-good t-time like my r-roommate says?” 

For a moment they just looked at each other, and then Luka looked down, fiddling with the pick on his fingers. “Can I play you something I wrote?” he asked finally.

Marinette blinked. “I’d r-really l-like that.”

Luka nodded slowly, and squared his shoulders. “Okay.” He took a slow breath, and repeated, “Okay.”

He played. He played kindness and surprise, an unexpected, skipping beat with a thrilling tenor line. He played cold water on a hot day and breathtaking blue eyes. 

“Luka, th-that was beautiful,” she breathed. 

“I wrote that the week after we met,” he told her, watching those beautiful eyes. They went a little wide, and he heard her gasp. “And this…” He played another melody that started out more playful, with that same skipping beat, then a note of surprise and a rush of warmth that turned the melody deeper and brought a blush to Marinette’s cheeks. “You remember that time you tripped off the last step?” he said, eyes on his guitar. “You were wearing flavored lip gloss—you must have just put it on because I could smell strawberries when I caught you.” Luka smiled as he looked at her, “And this one...the black dress?” He played a melody that thrummed and pulsed, but there was something sad about it. 

“That’s amazing,” she breathed. “I mmean, it was l-like I c-could really hear what you were f-f-f-.” She swallowed and looked away, tucking a loose strand of hair behind her ear. “Feeling,” she managed at last.

“You wanted the real me,” he said quietly, dropping his eyes to the guitar, playing the black dress again just for something to do. “And the real me thinks you’re pretty special, Marinette. You know how they call Helen of Troy the face that launched a thousand ships?” He glanced up at her, and then down again. “Well since I met you, I can’t seem to stop writing songs. I’m not up to a thousand yet, but—“ he gave her quick smile. “I’m working on it. And...after tonight I’ll have a new song to write.”

Luka heard Marinette’s breath catch and he straightened, caught her eyes, and listened. “Something like this,” he murmured. His hand slid along the fretboard almost without conscious thought, his pick dancing across the strings with purpose. The melody that came to his hands was richer than anything he’d played up until now, but tense, a little bit reverent, a little bit disbelieving, a little bit eager. This was his true talent, the thing that made people sit up and take notice of him, his ability to take feelings and put them to music, and showing it to someone one on one always felt a little bit like being laid bare. 

Showing it to her, like this, was terrifying.

They were silent for a moment as the chords died away. 

“So you see,” he said with a self-conscious half-shrug, slowly sliding his pick behind the strings, shrugging out of the strap, and leaning the guitar carefully against the piano before turning slightly towards her and meeting her eyes. “The real me is just a lovesick idiot who’s been dying to kiss you for weeks.” 

Marinette’s breath was shaky and her cheeks reddened further, but she didn’t look away. “W-well,” she said, and cleared her throat. “H-how mmuch l-l-longer are you p-p-planning to wwwait?”

“As long as it takes for you to say yes,” Luka replied, voice low. He reached one hand across the small space between them to slip his fingers between hers, the other coming up to caress her cheek, his thumb brushing across her lips. “And not a second longer. Can I kiss you, Marinette?” 

Her fingers came up and curled into his shirt, tugging lightly. “Yes.”

Part 1 | Part 2 | Part 3 |  Part 4 | Part 5 | Part 6 | Part 7 | Part 8 | Part 9 | Part 10 | Part 11 | Part 12 | Part 13 | Part 14 | Part 15 | Part 16 | Part 17 | Part 18 | Part 19 | Part 20 | Part 21 | Part 22

A continuation of Hey Gorgeous Part 1| Part 2 | Part 3 | Part 4 | Part 5 | Part 6 | Part 7 | Bonus Scene | Now on AO3