#There is a whole saga in the notes about musical instruments

[asmuchasidliketo]

[vettelsvee]

hiii!! 2 with oscar please?😭

YOU WANT THAT BOOK? I'LL BUY YOU THE WHOLE SERIES | Oscar Piastri

Oscar Piastri x Girlfriend!Reader

SUMMARY: Oscar takes you to a bookstore and, after he sees you fingerling over a saga, he decides to buy it for you (without knowing it was about fictional versions of Formula 1 drivers) ↳ REQUESTED: Part of VEE'S F1 PROMPTS LIST (VOL. I)! Feel free to request anything you want <3 Hope you liked it anon! 💖

WORD COUNT: 1891

WARNINGS: Brief mention of drugs, mentions to Dirty Air saga (spoiler free) with not much knowledge about it

VEE'S NOTES: Was I expecting posting a fic today? No. Did I have to write something to distress after the pretty bad exam I made today? Yes! Now writing this and thinking about Teacher!Seb fics has made me feel in a better mood (ngl I'm pretty disappointed with myself). Anyways, hope you like today's fic and remember that, if you did, feel free to comment me your thoughts and, also, reblog as it helps me a lot! Thank you so much for reading <3 ↳ TALK TO ME / REQUESTS! | FORMULA 1 MASTERLIST | BUY ME A COFFEE

© VETTELSVEE (2025). please, do not steal, copy or translate my works. thanks for reading!

The moment you crossed the doors of the bookstore, you felt like you were at home.

Maybe it was the scent of vanilla and coffee, or perhaps the instrumental music playing softly, just like the one you were used to listen to at home in the afternoons while spending hours lost in a book and its story. You were so excited that you gripped Oscar’s hand tightly, your heart pounding faster than usual at the movie-like moment you were living.

"Alright…" Oscar began, his gaze wandering in every direction, completely absorbed by the towering bookshelves surrounding you both. "I’ve taken you to a bookstore, so I think my job here is officially done."

You stared at him in disbelief before rolling your eyes.

"Osc, you don’t just take your girlfriend to a bookstore. You stay with her the whole time to live the experience, you know… that whole reader's boyfriend thing."

Now it was Oscar’s turn to roll his eyes, though he couldn’t help but smile as you spun around and rushed toward a nearby table. Despite having little to no interest in reading, unless it involved race reports or it was Mark Webber’s biography, he loved the passion you had for books. Though, much to your dismay, he had never actually finished any of your recommendations even you insisted on him a lot.

"Yeah, okay, sure. You lead the way, Mrs. Bookworm…"

You weren’t listening. Instead, you were completely lost, eyes darting from one book to another, unable to stand still from sheer excitement. The overwhelming number of stories in front of you didn’t help either.

Then, it happened. The moment you spotted the book you had been searching for longer than you cared to admit, you let out a small squeal. Oscar jumped at the sudden sound, hurrying over to you only to find you clutching a red book, turning it over in your hands, inhaling its scent like it was some rare artifact.

"Oh… my… god…" you whispered.

Oscar glanced at the cover. Throttled. His eyes flickered to the camera and polaroids, especially the one in the center, which showed a red car eerily similar to the one Charles had driven a few years back when he first joined Ferrari.

"Oh…" Oscar muttered as realization hit him. "So it’s a Formula 1 book…"

Do Formula 1 romantic books exist?, thought Oscar, a bit in disbelief.

You turned to him, shoving the book in his face.

"It’s not just a Formula 1 book! It’s THE Formula 1 book! Do you have any idea how long I’ve wanted it for?"

"Since before we started dating, or after?" he teased, smirking. "You’re dating an actual Formula 1 driver, and here you are, thrilled to read a love story about one."

"Noah Slade is different. Very different, actually."

"Oh, so I guess this Noah guy is gonna replace me now, huh?" Oscar feigned offense.

"Well… I like you more. A lot more. And… I don’t know… you’re you. No one could ever compare, so…"

It wasn’t just you who turned red. Oscar did too, lowering his gaze while you pretended to read the book, using the pages as a shield to hide just how flustered you were.

This wasn’t how you had imagined telling Oscar you loved him for the first time.

"Well…" you tried to speak, clearing your throat, but Oscar cut in.

"Are you getting it?"

You opened your mouth but hesitated. It was a limited edition, and also very expensive. If you bought this one, you’d have to get the rest of the series too, but you were broke because, of course, you had impulsively bought five books just last week.

"Uh… I don’t know…" you murmured.

He studied your face for a few seconds, and without thinking too much about it, he stepped closer and grabbed the book from you.  

“What are you doing?”  

“Buying it for you,” he said casually as he walked toward the checkout.  

“Oscar, don’t you dare!” you shouted, rushing after him and snatching the book from his hands to put it back on the shelf. “You don’t have to—”  

“You want that book?” he asked. You nodded timidly. “I’ll buy you the whole series.”  

You stumbled, nearly falling as you tried to stop Oscar from grabbing Collided, Wrecked, and Redeemed.

“Oscar, you can’t just buy me an entire series just because…” you whispered, trying to keep up with his hurried steps.  

“Oh, no? And why not?”  

“Because… Because…” You opened and closed your mouth, struggling to find a reasonable enough answer to make him stop. “Because… It's too much money, Osc, that’s not right!”  

Oscar laughed. You knew perfectly well that your boyfriend was a millionaire, and even though he was very careful with his money and his expenses, buying four books wasn’t much of an expense for him the way it was for you.  

“Besides, you already spend so much time around the Formula 1 world. I don’t think it’s necessary for you to spend even more time listening to me obsess over fictional drivers and talk about them nonstop.”  

“Don’t worry, love, I’ll be more than happy to hear you ramble about those cheap copies of us,” Oscar scoffed, smiling at the cashier as he handed over the books.  

“You’re impossible,” you muttered, giving up as the woman started scanning the books.  

“And yet you love me…”  

Your face burned instantly. Not knowing how to respond, you focused on watching Oscar swipe his card and chat briefly with the cashier about you, his girlfriend, before taking the paper bag with the books inside.  

“Boys nowadays should be more like you, son,” the woman commented to Oscar, beaming. Then she turned to you. “And you, sunshine, enjoy your books and your wonderful boyfriend as well!”  

You nodded shyly. Oscar bid the woman goodbye and headed for the exit, holding the bag in one hand while placing the other on your back, guiding you outside before wrapping an arm around your waist.  

You couldn’t stop wondering what you had done to deserve such a thoughtful and attentive boyfriend like Oscar.  

“So, I guess now you’re going to try to make me read this series… Dirty Air, am I right?”  

“Oh, absolutely,” you said, finally looking at him and pushing aside that lingering shyness, the feeling that you didn’t deserve such a gift. “I’m convinced you’re going to fall in love with Santiago Alatorre.”  

“Santiago Alatorre?” Oscar repeated, curious. “Wait, wait… Are these characters, like… completely fictional? Or are they based on any of us?”  

You chuckled softly, carefully taking the bag from Oscar because you were excited to carry it yourself.  

“Well…”  

“Oh, come on. Don’t act like you don’t know, because that’s already an answer in itself.”  

You bit your lip, unsure whether to tell him the truth. It was obvious, really, but you felt… weird about him discovering the fantasies the author had written based on some of them, and moreover the fandom surrounding those stories.  

“Okay, fine…” you sighed, giving in. “Yeah, some of them are based on you guys.”  

“And?”  

Oscar raised an eyebrow, though he wasn’t sure if he actually wanted to know more about what was written about them.

“What do you mean and?”

“Who each of us is who. If there are supposedly four main characters…”

“Oh, yeah, about that…” You played with your hands, mentally trying to stay calm and not go into full fangirl mode, like you always did whenever Oscar talked about something that excited him. “So… Noah is supposed to be Charles, at least physically and in terms of teammates… but his personality and life are much more like Max’s. You know, toxic father and all that…”

“So, this Noah guy is a menace? Like Max back during the 2023 season?”

“No, no! I guess he’s… ambitious, let’s say.”

“And the others?”

“Liam, the one from the second book, is a bit complicated,” you commented. “People see him as Pierre, and some others as Mick, but to me, since he’s German, he’s kinda like Nico Rosberg mixed with Seb’s personality from his Red Bull years… or at least the way teenage girls see him, like a playboy type. I think you’re too sure what I’m talking about”

“And not just teenage girls I must say,” Oscar added.

“Then there’s Jax, who is one hundred percent Lewis,” you continued. “Jax is Liam’s teammate, so it makes sense, you know… what I explained to you earlier.”

Oscar nodded, understanding very little but happy to see you so excited.

“And the last one, Santiago, the one I mentioned before, is Carlos,” you blurted out with a growing smile. “He’s Spanish and Charles’... I mean, Noah's teammate! And, well… they say he’s really cute, so I hope to read the first three books as quickly as possible to get to his.”

“I’m starting to think that, from the way you talk about him, he’s going to become your newest addition to you not so short fictional crushes list,” Piastri laughed.

“Oh, absolutely. You know I have a thing for the good guys, and according to the TikToks I’ve watched, Santi is exactly that.”

“I can’t believe you’re fantasizing over fictional versions of my rivals,” Oscar said, tilting his head as he laughed.

“Don’t be dramatic, Osc. Why do you think I like Santi so much from what I’ve seen? Because he’s supposed to be as much of a sweetheart as you!” you exclaimed. “But I promise that no matter how much I talk about these guys after tonight, once I start the first book, it’ll just be some kind of substitute for you or whatever ridiculous thing you’re imagining.”

“You know what?” You tilted your head. “I think you should write one of those Formula 1 romance books based on our story.”

Your eyes widened in shock, unable to believe what your boyfriend had just said.

“Excuse me?”

“I mean it. You should do it,” Piastri shrugged. “I know how much you love writing, and seeing how happy these books make you… Plus, I’m curious to see what kind of terrible personality you’d give me. You could make me the typical egotistical guy who constantly gets into PR trouble for, I don’t know, smoking weed? Like what happened with Zayn and Louis from One Direction. You told me about that once, right?”

You bit your lip, trying to hold back your laughter and look serious, but it was impossible.

“Bold of you to assume I’m not already writing a fanfic about us and posting it on Tumblr.”

Oscar’s jaw dropped.

“What?”

You laughed again.

“No, Y/N, that’s not funny. You’re joking, right? Tell me you’re joking…”

“Do you really think I am?” you teased, raising an eyebrow, feeling quite pleased that you had finally confessed one of your best-kept secrets, one you had been dying to tell him even you felt a bit ashamed.

Oscar stared at you, his mind struggling to process the information.

Were people actually reading a story about his life, possibly with real details, and thinking it was completely fictional?

“What exactly are you writing about… us, Y/N?”

You just giggled, took his hand, interlaced your fingers with his, and kept walking.

“I don’t know. I guess you’ll have to check out jellyastri81 on Tumblr and find out for yourself.”

[poppitron360]

saw your post abt epic & music theory! Are there any interesting time signatures (non-4/4), key signatures, or tempo changes in epic?

and/or something similar?

Yes!! Charybdis is actually in 5/4!!

For the normies out there, the “4” on the bottom refers to the fact that the bar is counted in Crotchets (or quarter notes if you’re American). The number on the top refers to the amount of them that there are- i.e 5/4 being five quarter notes. Most music you hear is gonna be in 4/4, but another song you might know that have 5/4 time is “tolerate it” by Taylor Swift.

Now Jorge has said many times that one of his main influences in writing Epic is videogame music. I recently watched a video about time sigs in music for nintendo games- linking that vid here (part 1, part 2)- and one thing I noticed is that the “weirder” (translation: more awesome) the time sig got, the more often it was used in a boss battle. Charybdis DEFINITELY feels like a boss battle.

“I told myself I’d never write a song in 5/4 […] And the one idea that kept coming into my head was this idea that Charybdis throws Odysseus’ balance off. The same way 5/4 initially threw my balance off.” - Jorge, in one of his videos explaining how he made Charybdis’ music. Now what’s special about 5/4 specifically, is that it’s SO CLOSE to 4/4. SO CLOSE to what our brains are accustomed to hearing, to what sounds “right” and “natural”, but it’s just that one extra note that throws us off.

At this point in the story, Ody has lost everything. He’s back after 7 years on Calypso’s island, and he’s changed. I love how with each progressing Saga the music gets darker and wilder (re: my post about Scylla being my all-time fav in Epic in terms of music production and composition). The fact that this is the only song in non-4/4 makes it stand out. It throws us off.

Also, the little intro bit to the song (before the electric guitar kicks in)- it’s hard to tell but I believe it’s in 4/4. This is showing that it’s before we meet Charybdis.

What’s interesting to me is that after Ody survives Charybdis and sees Ithica again after 20 years, his instrument switches back to his gentle nylon-string guitar, but the music doesn’t switch back to 4/4. It stays with that extra beat. Odysseus is still shaken.

Even though he’s home, he will always be looking over his shoulder at what’s behind him. He will always be flinching at every noise. He will always see the faces of the men he was responsible for in his nightmares.

It could just be that Jay didn’t wanna have to write the melody in mixed meter, but I prefer this interpretation.

In music, we often count odd time signatures in smaller chunks, which can differ depending on the way that it’s phrased (e.g 10/8 could be counted as “one two three, one two, one two, one two three” OR “one two, one two three, one two three, one two”). What’s interesting about this specific use of 5/4 is that it’s counted as “one two three, one two”. In the video I referenced earlier, Jorge explains his struggles to get a song in 5/4 to be “catchy”. The way he tackled this was to have each instrument + the vocals highlight this rhythm. So even though Ody is being thrown off by Charybdis, he is still in control.

Let’s look at how the melody in the verse reinforces this:

The first four beats of the bar are completely conjunct (moving in steps)- staying within three notes of the root note (1st note in the scale). Then on the 5th beat (the one that throws you off) goes lower than the root:

1 2 3 1 2

You be Her men

must who mes

tioned-

This solidifies the feeling of being thrown off, showing not only how Charybdis but this whole voyage has shaken Odysseus, which makes Poseidon’s appearance afterwards even more terrifying, because we as listeners are completely disorientated by this effect.

[liminalpsych]

So the EPIC: The Musical concept album is fully released and finished now. Ithaca Saga (the final saga) dropped on Christmas Day, and it's probably one of my favorites in the musical. Some of the most solid storytelling, and really consistently good music across the whole saga. I can't turn my writing brain off, though, and part of how I work on my own writing is dissecting what makes something work for me in media, and what doesn't work for me. So I figured I'd share instead of keeping it all bottled up. ;>

The Challenge: Beautiful, perfect, no notes. Anna Lea's vocals - incredible. "Though I never thought that these would be the lengths we'd go for love" hits so hard every time I hear it.

The only part that listeners seem to get confused on is "But I don't know how much longer I'll last since I saw that storm / And though it was so close to our kingdom, it was far from the norm / unless / Oh, could it be some kind of sign / that my world is all about to change" - many of the reactors I've seen spend a long while going "does she mean the storm from the Ocean Saga or the storm from 600 Strike? Does she think Odysseus is definitely dead or does she think he's maybe coming back soon?" - whereas I thought it was obvious that Penelope was talking about the 600 Strike storm, was hopeful that it was a sign that Odysseus was returning, and was buying him time to get back. Probably the right staging/animation/choreography would fix this confusion just fine.

Hold Them Down: Everything I hoped it would be and more (but that animatic by mircsy??? holy crap I did not expect that. incredible yet horrifying, as perhaps I should expect by now from mircsy). Appalling yet catchy villain song. Ayron Alexander's vocals are unfairly good. (I wasn't taken by surprise at the lyrics, I'd thoroughly spoiled myself with the demos.) Also that faltering cello at the beginning that seems to symbolize the failure to string the bow??? Brilliant. Jay's at his best when he's doing compositional/musical/instrumental storytelling, imho.

The brief, swift exposition of "don't you know the prince is not around / I heard he's on a diplomatic mission / and I heard today he comes back to town" works really well, I think, even if you don't know the Odyssey. Gives us a reference point in time, context, events. We don't have to linger on what he was doing, why, how long, etc; we don't have to follow the diplomatic mission; we just need to know he was gone and now he's coming back into town.

Lines that go unfairly hard: "break his pride, his trust, his faith, and his bones", "When the crown wonders where the prince is / Only the ocean and I will know", .....the entire sexual assault "hold them down" section but I'm not gonna quote it because holy crap it was also incredibly icky (but that's why it goes so hard, it was so effective at doing exactly that, while staying in the realm of allusions/imagery instead of explicitly stating it).

(I have been exercising such self-restraint at not engaging with people who are trying to use the Antinous depiction as fuel for Calypso discourse. So much self-restraint. I might have to rant about it on tumblr to avoid responding to people on other social media platforms. Engaging will not be productive and I need to continue to exercise this self restraint. aaa)

Odysseus was a wild ride, though probably the song most in need of revisions. So many callbacks that worked so well! The "O-DY-SSE-US" in the background mirroring PO LY PHE MUS? The lower register that I didn't realize Jay could even reach? Athena hints? Telemachus?? Scylla torches reference??? So good.

This song has some of the strongest and weakest lines in the whole saga. It could be easily solved by just scrapping the whole discussion of the weapons room door being unlocked. It's just confusing, everyone gets confused by it, it's unnecessary complication, I don't know why it needs to be emphasized so much. They find the weapons in the room where Odysseus hid them, no one comments on doors being locked or not because it's not important, Telemachus still shows up, fight ensues, song is now no longer 5 and a half minutes long, everything is improved.

Seriously. this line and its meter/scanning is just. bad. talky in a bad way. "I find it hard to believe that the sharpest of kings / Left his armory unlocked / So what?" ... Actually, you know what? They could even keep "Brothers, we've got company and he's made a grave mistake / Left the weapons room unlocked, and now they're ours to take" - like, I think that'll cover the whole "Telemachus unlocked the weapons room, not Odysseus" just fine. Mentioning it earlier, and mentioning Odysseus being sharp, just leads listeners to think it's a trap by Odysseus, and then because of that mental priming, it's really hard to pick up that the later line indicates that Telemachus left the door unlocked. (I didn't catch it until someone pointed it out, and then it seemed obvious afterwards.)

Strong lines: "I come back and find my palace desecrated, sacked like Troy", "In the heat of battle at the edge of the unknown", and ESPECIALLY "My mercy has long since drowned / It died to bring me home" like WHAT. what. that's so good. ("And as long as you're around / My family's fate is left unknown" is a little weaker, feels a little clunky, but I wouldn't know how to fix that one.)

I Can't Help But Wonder felt eerily like Dear Theodosia from Hamilton, though it was still very good in its own right. (Seriously though. Try singing "Dear Theodosia" while playing "I Can't Help But Wonder" - so many parallels and they overlap amusingly well.) Athena showing up was delightful. Loved the poignancy and bittersweetness. And was it just me, or did Athena's quickthought and piano sound almost... wounded? Limping, faltering? Heartbreaking. Again, Jorge's instrumental storytelling is so good.

Something about Odysseus's response to Athena bugs me. It's the delivery, maybe. I really like the approach of "Odysseus doesn't get to see a world where we don't have to live this way, he can't imagine it for himself, he's been through too much" and the long pause between Athena's verse and his response with the slow ticking. I looove that. I guess maybe I want the ache of it to be more emphasized on Odysseus's part. I think it really would just take a slight delivery difference to make it hit for me, which is a singing choice. Or an adjustment to that last pair of lines ("But I've got one endeavor / There's a girl I have to see") which just feels... not quite where it could be, I guess. (The A/B/A/B rhyme scheme with short lines sometimes feels amateurish and clunky to my ear, I think, especially if the phrasing feels a bit forced to make a rhyme.)

Could You Fall In Love With Me Again: Wonderful except for one clunky section, and I have a probably-controversial quibble with the end. Also, Gigi animatic in full color????? omg. So poetic to end with a Gigi animatic. I didn't recognize the style at first until Odysseus came on screen, because of the fully colored linework wtf. It was beautiful. And that swelling "Just A Man" instrumental reprise of specifically the section talking about the desire to go home?? aaaaa so good. I sing the lyrics every time even though it's an instrumental, I can't help myself: "I'm just a man / Who's trying to go home / Even after all the years away from what I've known / I'm just a man / Who's fighting for his life / Deep down I would trade the world to see my son and wife / I'm just a man".

The wedding bed / olive tree section... I was super excited when I heard the first line ("See that wedding bed"). I had thought for a bit there that we weren't going to get the olive tree reference, and I love that part of the original Odyssey. How outraged Odysseus is in the poem when Penelope asks him to move the bed. >D And he was just as outraged in the song! It was great - but the lyrics were... mm. It felt clunky. The line "How could you say this" could be cut entirely, the sentiment is shown just fine in the rest of the stanza and feels kind of forced/doesn't quite scan, he could just start with "I had built that wedding bed with my blood and sweat" - the rest of Odysseus' verse there is fine though.

Then Penelope's response of "Only my husband knew that / So I guess that makes him you" .... "so I guess"? really? ......it bothers me every time. EVERY TIME. It feels out of place, overly modern even for the modernization of EPIC, and it also weakens Penelope's (beautifully) impassioned response. Same vibe as "Dumbledore said calmly," you know? She's not guessing. She knows. "Only my husband knew that / Now I know that makes him you" maybe (I'm spitballing here, there's got to be something better. let Teagan at it, she's a stellar lyricist). Or, if the point is to prove to Odysseus that he's the same man, that he's not a monster / not an entirely different person than the man she fell in love with, then "Only my husband knew that / Don't you see that makes him you" could work to emphasize that point. But "I guess" does noooothing but undermine the tone.

This is probably just me (well, and a couple other people I listened to the musical with): I really. Really. Really feel like this song could have ended with "waiting, waiting... for you" + swell of Just A Man instrumental reprise. That felt like the end. It was a really good, solid end. I don't like the "how long has it been / 20 years / I love you" - we have reiterated that it's been 20 years so many times in this saga alone, they obviously love each other, that was shown beautifully in the entire "Would You Fall In Love With Me Again" song prior to this, they even said it - "I would fall in love with you over and over again" ... the afterword is extraneous and imho weakens the power of the ending. It feels like an afterthought. It feels tacked on and it feels inauthentically saccharine. Buuuuut in every reaction video I've seen, people seem to get extra emotional at it and seem to love it, so maybe I just have too little romance in me. ;)

...I actually do love this song, I think it's very strong, but that's why the above things stand out so much, because the rest of the song is so strong that they're jarring in contrast. Lines I think are incredible: "your smile torn", "left a trail of red on every island / as I traded friends like objects I could use", and of course "would you fall in love with me again, if you knew all I've done".

But overall, it was very satisfying, and I can't wait to see what the final version looks like after theater workshops and/or animation studio workshopping or... whatever form the final productions take.

...I should probably make multiple posts so I don't turn this into an even longer essay. Let's keep this one focused on Ithaca Saga and I'll post thoughts on the entire musical separately. (I might make one of these for each saga. We'll see how long the hyperfixation lasts.)

[anxiousalene]

The Ithaca Saga PT 2 👑🏹

I had to make this in two parts because of text limits. Ok, like I was saying JORGE AND MICO DID “I can’t help but wonder” SO WELL. the longing on both sides of wanting to know the other and not really knowing what to say because it’s been so long. For Telemachus, it’s almost this fear of like what if I’m not what he expected or wanted, and for Odysseus it’s like I’ve missed so much time, how do I make it up to you. ODYSSEUS TALKING ABOUT MAKING STORM CLOUDS CRY AND CAPTURING THE WIND AND SKY FOR HIS SON HAS ME BAWLING LIKE AHHHH 😭🥺. And the soft guitar in the background, while Odysseus is comforting him and then the “My son I’m finally home!” And “Father, how I’ve longed to see you!” AND THEN THEY HARMONIZE LIKE WHAT THE HELL JORGE. AND THEN ATHENA COMES BACK AND ITS LIKE A REPRISE OF WARROR OF THE MIND. THEYRE MEETING AGAIN BUT IDEAS HAVE SWITCHED, ATHENA BEING EMPATHIC AND ODYSSEUS HAVING NONE LEFT IN HIS HEART EXCEPT FOR HIS FAMILY. ODYSSEUS ACKNOWLEDGES THAT ATHENA HAS THE CHANCE TO CHANGE THE WORLD BUT ITS TOO LATE FOR HIM. AND HIS ONLY GOAL IS TO SEE PENELOPE AGAIN 😭. THEN ITS “Can you fall in love with me again” and Penelope notices all the differences between the Odysseus with all those years ago and Odysseus tries to explain that he has changed and isn’t the person she fell in love with but he wants her to. He basically confesses all his wrongs but they were to get back to her and that he knows she has been waiting for him for such a long time. Penelope then sings her final “challenge” for him to move their wedding bed and get rid of it. Odysseus is obviously hurt by this because he’s like “but like I made that of the tree where we first met, our palace is built around it?” And Jorge’s voice carries this emotion of like sadness but also with anger. Until Odysseus realizes that is wife, who matches him in wit had to put him through one last test. And then Anna comes in strong, and the whole scene is very emotional and Penelope says she’ll fall in love with Odysseus again and again wherever, whenever, and it’s just a very sweet song. They bring back the waiting Motif as she says he’ll always be her husband. Anna has such a beautiful voice on the higher notes as she sings waiting (which I think she does 8 times to represent each of the Sagas she has waited for him) and all of the instruments swell and it sounds like JUST A MAN. Still, instead of “Forgive me” SHE SAYS “For you” and it’s just so good with the just a man melody with the piano and what I think is a viola and guitar. THEN THEY HARMONIZE ON I LOVE YOU LIKE 😭😭😭😭 It is such a good way to end the show or Odysseus's Odyssey, and I’m so glad I got to come along for the ride. I have been here since the very beginning, and Everyone involved in every aspect of the show has done such a wonderful job and I appreciate all the time and effort that has gone into making Epic: The Musical. I absolutely cannot wait to see what will come next.

[keefessketchbook]

WISDOM SAGA THOUGHTS 🎉🎉🎉🎉

Guys, this saga had me in shambles. I had to wait til the morning of the 30th to listen so listening to it before breakfast WRECKED me.

Legendary 🐕

The instrumentals go so hard like it's so chill

In the first verse, Telemachus reminds me so much of Polites. like bring the world so light? open arms who?

the pre chorus has some of my favorite lyrics jay has ever written. like 'Cause I'm stuck with your stories/But no clue who you are/And no idea if you're dead or just too far/Somebody tell me, come and give me a sign/If I fight those monsters, is it you I'll find?

ALSO THIS SONG HAVING THE MELODY FROM FULL SPEED AHEAD THE "polites gear up, you and i'll go ahead" PART

the chorus i love because it references all the monsters Ody has had to fight

The second verse is so like real. like Telemachus is just singing his heart out about his problems

The suitors sound so much like the sailors, which hurts my heart. like these are the voices of the men that were friends with ody. now they are tryin to get his wife

Telemachus' last line is sending me like "If I fight this monster/Is it you I'll find?" like bro you find his old bestie, badass senorita

Little wolf 🐺

So this song sounds really good musically. I can see the evil sutiors from the "dark" and "evil" sounds jay uses

The chorus/ what the suitors are chanting is really cool

Athena coming to his rescue has my whole heart like its so cute

Telemachus is just a little baby like he's my little boy

love Love LOVE how athena turned the suitors chant into her own like she's in his corner rooting for him

Also Teagan's riff is so prettyyyyy

We'll be fine 👍

This is my favorite song in this saga. I just wish it was longerrr

Like Athena literally describing Ody and comparing him to Telemachus is just so sweet

Also the lyrics call back to my goodbye because ody said "What's a title that a goddess could lend/ If I'll never sleep at night?" and in this song Athena says "Maybe, if I helped you reach your goal/Life could be that bright/I could sleep at night"

Telemachus is just so gentle with Athena, I think that is what she needs because i guess she thought Telemachus would hate her because of what she did to his dad but Telemachus just has so much Polites energy like bro is precious

THIS LINE SPECIFICALLY "I don't think he'll mind/If not his friend, then mine" 😭😭😭😭😭

Both of their voices blend so well together like its so cute

"You're a good kid" AHHHHHHHHHH

Love in Paradise 🏝

Athena calling him old friend has my heart

The callbacks to the other songs is just amazing. they blend so well together, i kinda want to make it my ringtone

Calypso's beat is so good like its so beachy and calm

the "did you know you talk in your sleep?" line reminds me of the scene from PJO from the 4th book when Percy wakes up on Calypso's island

the silence after "she's my wife" is soooo funny to me

Calypso's verse is so good like the notes and beat are so pretty

the goddess can't die line beat is soo good like her laugh is so pretty

THE TIME JUMP !!!!!!

Ody calling back to the underworld lyrics is amazing to me

THE STAY IN MY OPEN ARMS LINE HAS ME DEAD LIKE DON'T DISRESPECT MY POLITES POOKIE

I literally was thinking last night, 'if i hear polites in the wisdom saga, i will be losing my shit' can confirm, have lost my shit

Polites, Eury, and Ody's mom's voices all blend together so well like OMG it hurts

and Ody calling out for Athena is so cute like for once he's admitting he needs help

So, this saga is officially my favorite. I'll post god games soon. That one has a lot more to unpack. I love this community sm. Kinda sad that we didn't get to hear any Penelope tho.

Stay weird, guys

[skylarkva]

Day After Thoughts on the Vengeance Saga

I was super hyped for the Vengeance Saga, as I am with every saga release, but after sitting with it and digesting a bit, I think Epic act 2 overall is having a pacing issue. (This is going to be super long)

Like here's the thing: the Thunder Saga? Perfection, absolutely nailed it. And then we get into the wisdom Saga, which — although I thoroughly enjoyed it— had something about it that felt off. Now with the vengeance saga I'm realizing that act 2 just doesn't feel long enough.

I loved God Games, but it felt like Athena won the gods over too easily. Hearing the snippets got me hyped, and then in context of the song, I realized those snippets being the whole verse for each god felt too quick. Most of the wisdom saga is paced alright, at least for me, but that last song has been hyped up since the planning stages, and it's a really important moment! A little more back and forth with the gods would have shown just how much getting Ody free meant to Athena.

Now I'm not just saying this because Wangui's vocals are heavenly— we desperately needed more Calypso. It makes me sad because I know Jorge had another song with Odysseus and Calypso that he cut, and I think it would have added so much had it stayed in to the final album. Ody has been trapped with her for seven years, and we see him hit his limit in Love in Paradise, but for the audience that limit is hit immediately. We aren't given enough time to really see Odysseus get desperate, Calypso not understand his needs and wants, and her trying and failing to win over a faithful married man. Because the thing is, now we get to Not Sorry for Loving You, and Calypso is absolutely broken over losing Odysseus. Why? Did she fall in love with him at first sight, or did they talk and she fell deeper in love with him the longer he was there, all while he tried to push her away? That "let me speak" moment stands out to me because of this too. Without the context of seeing those seven years, I'd assumed all Odysseus did was let Calypso speak, because what else can he do with a goddess? So is that the case and she's just being controlling here, or did she truly feel like Odysseus hadn't listened to her during their time together. Idk. It doesn't feel earned and it does a disservice to her character. Plus more Wangui wouldn't hurt. Oh the Calypso saga we could've had...

Then we get Dangerous which, I don't have many notes that song hurt me and then was funky. I love Hermes, moving on.

Charybdis felt underwhelming to me, I feel like it ended too soon. Which could very well be the point, I had just gotten hyped off of the snippets and felt the final battle wasn't as impactful as I'd been expecting it to be. The ending destroyed me though, Jorge did an amazing job there, knew exactly how to stomp on my heart.

Get in the Water was the other song besides Scylla that I had been waiting the entire musical to get to, and I think it was executed almost perfectly, I really have no notes there either.

Six Hundred Strike....oh Six Hundred Strike. It was epic, it was chilling....but the first half just does not fit into the rest of the show musically. I'm mostly talking about once the six hundred men chant starts up. I love Aeolus' theme being used as an instrument, like I actually adore it so much, but those dang drums... For me it shoots straight past "this is a boss fight so this is a video game reference" into "this is Poseidon's boss theme for the Epic fighting game". That part of the song is the first time I've really said to myself "I can't see this on stage". Especially considering where Get in the Water ends musically, this just feels really jarring to me. I actually don't have any problem with Odysseus stabbing Poseidon. This isn't a mortal vs a god anymore, this is a monster vs a god, and a monster that god created at that. I think to make it feel less overpowered though, it could've been fixed with Poseidon saying "alright, fine" instead of "alright, please" to get Ody to stop. Then it would've been less that he was begging and more that he was annoyed and just wanted to be rid of him and never deal with him again. Same with his line delivery of "after everything you've done, how will you sleep at night?". I almost would've liked to hear him laughing there, like in disbelief, or in a mocking tone, only for Odysseus to shut him up with "next to my wife". The wing bag jetpack is also too funny for me to take seriously so I'm gonna ignore that for my own personal head canon.

I love epic and I hope the Ithaca Saga sticks the landing. I'm just dumping my thoughts after last night lmao

[tsams-au-confessions]

Y’all can think light Yagami and the death note musical for this one (specifically the second song and act one, “where is the justice?”)

Tsams - the musical

I only just came up with this now, so there are so many things that I don’t know much for, but I have some motifs for some of the characters

Just a quick clarification for sound design, taking a bit of inspiration from epic the musical for all the Astrals having synth, but a little original thing here is that the animatronics get the techno sounding music

Specific instrument time:

The zodiacs have instruments that correlate to their signs (air signs get the woodwinds, earth, signs, get percussions, water, signs, get string, fire signs get brass)

All Astrals are also accompanied by the glockenspiel 

Earth: wind chimes

Lunar: Vibraphone

Motifs:

Ruin: in his first act, his riffs will be somewhat discord, though in a pleasant way, during his second act (pretending to be cured) it’ll be more sweet and melodic, almost friendly sounding, during his third act, monotone, no note changes like the other two unless he’s trying to emphasize something

Bloodmoon (OG): they never have a solo. Almost all the time it’s duets, taking over other songs, joining them midway through, or just screwing with them during the song. (this last one is directed at eclipse.)

Bloodmoon (copy): this one is actually the only one that doesn’t sing. At all.

Small plot points that would be in this musical

Ruin does reveal shortly after being in prison that blood moon two is not a revival of blood moon, but simply a flawed copy

Multiple people having to come to terms with the fact of many people have died.

General plot beats of the main show, spread down to multiple sagas (which would be spread across a few musicals)

Bloodcopy eventually learning, they are not the original, nor can they ever be free, and having to come to terms with it.

A slow realization from Sun about what might be happening to nexus during that whole situation (Solar assisting in the investigation once he comes back)

Copy clipse taking the copy twins & traveling dimensions, trying to see if there’s one they would fit in (as well as a short manhunt for them because this was not discussed with anyone.)

I want just purpose that this entire thing was just come up with on the fly a few minutes ago, had a good amount of these things. I just came up with on the fly here.

-🌙☀️

I have no idea what that is, but it sounds super cool!

[theexhaustedqueer]

My Very Coherent Thoughts About The Remastered Troy and Cyclops Sagas

(this is a long one)

Firstly, I’d like to say that no matter what these are the versions I’m going to be listening to now, period. Jay and the crew deserve to reap the rewards of their hard work, no question about it. But I do have a LOT of thoughts, some of them might even makes sense. So here they are.

Horse and The Infant feels the most changed to me. Some of it I like, some of it feels weird. It’s definitely going to be an adjustment listening to this version. But just because something is different doesn’t mean it’s bad

Jorge’s vocal performance is a lot gruffer, his voice is lower. It’s interesting, I think it definitely conveys more of that ‘soldier whose been at war for a decade’ energy but it also doesn’t sound as pretty.

The soldiers sound crisper and louder than they did before, which is great, but at least to me it kind of also makes it sound like there are less of them?

I liked the rap in the original better. Idk why, if it’s the vocal delivery, the instrumentation, or what. But this is the one part of the remaster that I can categorically say I like less now. To be clear, it’s still very good. This is just my opinion.

there’s something almost synthetic about the backing vocals in Horse and The Infant. I don’t know enough about audio mixing or music to know what to call it, but both the soldiers and Zeus’s backing vocals sound synthetic. It’s less weird with the gods at least, but my brain cannot stop telling me that human soldiers should not sound like that

LOVE Jorge’s new “Augh!” It sounds so real, especially paired with sword slicing sound effect

Luke Holt sounds SO good, as always. Love how crisp and clean his voice sounds in this version

The “I don’t think you’re ready” gets cut off early and it feels really weird to me

I LOVE the new overlapping singing between Zeus and Odysseus. The change is so subtle but so effective, love how much clearer it is what Zeus is saying

“This is the will of the Gods!” has the intensity behind it that I feel it always should have had. Same goes for “All you can choose is whose.”

I have less thoughts on Just a Man

the vocal performance is just as gorgeous as it was the first time, same goes for the instrumentation. It’s basically no different and that’s how it should be

I will say, when Odysseus starts singing the whole “when does a comet become a meteor,” etc, the instrumentation no longer includes a choir/vocal element. This makes sense given the lore of EPIC, ie, only Gods can summon their own backing vocals, but it takes a little bit away from the intensity of the moment (only at first though)

In a similar vein, it is now obvious that the backing vocals are the soldiers singing and really does a lot to clarify that moment to us as the audience. Unlike in Horse and the Infant as well, the soldiers’ vocals sound fantastic to me here

Time for Full Speed Ahead

the synthetic sound of the soldiers’ vocals is back in the lines “make it back alive to our homeland” and “it’s what lies in between”. Again, it sounds weird to me. Humans don’t sound like that when they sing together

LOVE Armando’s new vocals in this. So crisp. So clean. So clear.

Open Arms

Love that the Winions are easier to understand now.

yeah that basically it, Open Arms is just as fantastic this time around, no notes

Warrior of the Mind time!

Again, it’s almost completely unchanged, so I have very little to say

Jorge’s “hahahaha” is so cute, and I really do like it better than the first one

The emphasis on ‘Enlighten me’ is so funny knowing that it’s apparently something a lot of people misheard

The backing vocals when Ody is hyping up Athena are louder and more obvious this time which is also very funny (selfish and prideful and vain)

Cyclops Saga!!!

Listen, I thought the soundscaping of this saga was unreal the first time around. And this blew that out of the water a thousand times over

the sheep sounds, the arrow flying and hitting it’s target

The crackling of the torches!!!

when the Cyclops appears you can hear it’s heavy breathing, and you can hear it get heavier as he notices his dead friend!!!!! Incredible

On the topic of the Cyclops, the new vocals?!?! Hello?!?! Somehow just as distorted and terrifying while now being clearer and easier to understand?! AH! So impressive

The sound of the entire cavern shaking when Polyphemus stands up! You can hear the rocks crumbling and the dust!!! It’s so good!

the revamped Cyclops roars are SO good

Polites’ body hitting the ground sounds TOO real

I really REALLY like the new ‘Captain’ as Polites dies.

The club smashing the men sounds just as wet and bone crunchy as it did before, which is exactly what I wanted

Polyphemus falling to the ground has so much more weight behind it now. You really feel it just from the sound it makes.

Eurylochus’ voice fading in sounds so good

I love how the combination of the change of instrumentation and sudden lack of sound effects except for the clock ticking and distortion when Athena pulls Ody into quick thought really makes it feel like a different dimension

Ody’s “No.” is SO GOOD

Athena sounds PANICKED when she says “DON’T” in this version. I like this direction of her character being more concerned for Odysseus and not just angry, I feel like it gives her more depth and lends credence to her actions later in the story

Jorge’s shout of “Odysseus!” sounds so angry and almost deranged

Athena’s little growl on ‘waste’ is so good I love it

Athena sounds like the she’s genuinely hurt after Ody tells her she’s alone. It actually really hits

the “Just a Man” in My Goodbye is so punchy and that’s all. Overall I really love most of the changes and everything else is just something that’ll take some adjusting to. I’m so glad Jorge and every talented individual who worked on these gets to finally reap the rewards of their master pieces.

[marantis]

Bit late, but I think I've finally gathered my thoughts on the Vengeance Saga, so I'm putting them out here.

Not Sorry for Loving You: My least favourite of the Saga, it's a perfectly well written Song and honestly the lyrics are great, really get Calypso across to me (they are also creating all the brain worms for Qijiu. What you thought I could go talk about epic without mentioning Scum Villain? I don't think my brain is wired to do that at this point) Musically though, it's not my jam, not a fan of like this slow gentle power ballady love song type.

Dangerous: Favourite. I- the synth just really does it for me, somehow. The quiet at the start after 'Cause I only had one goal in mind' where the crew would go, is very good in a painful way. Then the middle part is just an aboslute bop, like I can't hold still while it's playing. Favourite is probably the 'when stranger's lurk around the isle(s?), when danger greets you with a smile' that double rhyme is so just so good. And my two cents on the, 'we went through so much to get this' I think Hermes isn't neccessarily directly referring to how difficult it was to catch the storm or get the wind bag. I think what he's reffering to is God Games, and how much effort, and pain it was for Athena to convince Zeus to even allow it

Charybdis: Is the song that I like more and more, the more I listen to it. The start really is just such a wonderful spin on typical Boss Music, I love how the notes stay the same throughout the whole song, but the instrumentation and the way they're sung changes giving the end such a warm, hopeful, wistful sound, like another emotional gut punch here.

Get in the Water: The one I've been most excited for and it is damn good, I love the piano at the start, oof it's just so dramatic. Now here, I have an opinion. At this point, I'm kinda getting the vibes that the fandom is thinking Ody is like full on monster, but honestly I don't think he's completely abandoned the open arms part that Polites tought him. Ody stil tries to convince Poseidon in Get in the Water to let it go, to go home. He still tries reasoning first, before escalating later on. Also am I the only one who thinks Poseidon sounds almost regretful when he says 'I can't' when Ody asks if they can't just go home? Like it makes my brain go absolutely bonkers, cause it implies he wants to but literally can't? Why? with how he sounds it can't just be because of his reputation, me thinks. But that's all conjecture.

Six Hundred Strike: I love the flute/Aelous/Windbag motive in this, and the chanting is so good. After the silence in Dangerous it's good to have them back. Also the scream sining all those raw emotion from both of them is soo good. Also the delivery on 'Exactly' shivers down my spine, it almost doesn't sound like Jay. Also I do think there's something going on after Ody (almost? I don't think it was almost honestly) dies, like the red eyes? Glowing eyes is a god thing, I'm suspicious lads, something is going on here, I just don't know what Also the title and line confused me so much on like the first few listen, cause gramatically it's weird right? it should be strikes, no? But I think I've got it at this point? What's missing isn't an s but a , (I think, that's at least how I'm making sense of it) cause it's a command, six hundred referring of course to the dead crew.

So that's all for now. The Saga is so good, y'all

[whencartoonsruletheworld]

The Thrilling Saga of Connie paying real life money for the Worst Sonic TV Show

Let’s begin with the simple fact that me and my sister, @birdsareblooming​ “Cori”, have both been hyperfixating on Sonic the Hedgehog since last March. During this hyperfixation, I was on Sonic Wiki to copy-paste song lyrics onto my stolen mp3s, and I called my sister in and pointed at the template at the bottom. 

“What is this Sonic Underground thing?” I asked. “It has one shit billion songs.” 

So we clicked on the page to read about it, and each sentence we read was a punch in the gut and this quickly became the funniest thing we’d ever read. Highlights include:

It looks like this:

“Sonic[...] is known to be a prince” 

Sonic has two siblings who actually have good characterization but their names are literally just Sonia and Manic. Like. Sonic split into two names. jesus christ 

Also Sonic and his siblings all share a voice actor. honestly Jaleel White does his best with it but 

“The three siblings possess enchanted medallions that transform not only into musical instruments, but also into weapons.”

“Some fans consider Sonia to be a clone of Amy Rose, minus the attraction Amy feels for Sonic.” YEAH I SURE HOPE IT DOES

“Manic is the most often captured of the siblings” himbo king 

Knuckles shows up, and for the first, like, two sentences his description is very similar to the game, and then you get immediately pulverized by “He has a pet Dinosaur called Chomps.”

Literally so many sentences on Sonic Wiki are lowkey salty about this show. The page features lines such as “Sonic Underground bears little relation to the often complex Sonic universe (including previous animated series, as well as Sonic comics and games), and shares only three established characters” and “many of the characters in the Freedom Fighter group that were in Sonic the Hedgehog are completely left out (including Tails).”

“The show met with mostly negative reviews.”

*checks air dates* It only lasted two goddamn months

So after seeing this we thought it was the funniest thing and we showed our older sister, @patema-introverted​ “North.” To our surprise, our at the time “knew nothing about this sonic bullshit” sister recognized the show. Turns out she’d seen trailers for it as a child and that was her sole exposure to Sonic canon. 

We were in quarantine at the time, so we ended up finding it on YouTube and binge-watching it all together as a sibling bonding activity. It was just as hilarious as we thought it would be- some stuff was legitimately good, like the sibling dialogue for instance, but good lord were the character designs ugly, the plot all over the place, and pretty much every song, um, not great. Also there was one episode that we skipped because it got, um, I think “stereotypical” is the nicest word I can use here. 

But the point is, we had a jolly good time watching it, and afterwards we binged all the other Sonic shows and bonded as a family. 

After quarantine, North and I go back to college. My roommate gets groceries at Walmart, while I get them elsewhere, so while she and North collect food I wander the DVD aisle to look at the cool movies and also dumpster-dive in the bargain bin for Cats (2019). I am also short as fuck, so the top shelf of movies I cannot see, I can only read the labels. 

So one day I was browsing the DVDs, and glancing over at the labels for the top shelf. I read over the final one before the shelves end. 

And then I stop, do a double take, and have a heart attack, because there is a label that reads “SONIC UNDERGROUND $3.74″

I immediately climb the shelf but there aren’t any DVDs atop the shelf. However, the label is still there. I excitedly tell my sister and roommates, freak out with them a bit, and then give myself a mission statement:

I will buy the $4 Sonic Underground DVD from Walmart

I did not want it as a gift, I did not want to find it online. I wanted to walk into a store, pick up the Worst Sonic Show on DVD, walk it straight to the checkout, and in front of the cashier and God, pay for it with my own money. I did not care if it was the whole series or two episodes; I needed to do this for my own serotonin.

We would go to Walmart about once a week. Every time, I would go to the DVD aisle, and go right to the end of the shelves. I would stare at the label SONIC UNDERGROUND $3.74 and empty space above it and wonder who the fuck was buying this other than me. I would occasionally ask employees if they had any copies in storage. I would build a shrine to Manic in my room. Okay, no I didn’t, but only because my RA would have murdered me. 

Christmas break comes, and we have to go home. We have a nice Christmas, and Cori and I infodump at each other about how we would make Sonic Underground a good show (note: we’re both galaxy braining) and also play Bendy and the Ink Machine. Fun times. 

When we finally get back to College, it’s late January- long story short we have a very long winter break. My roommate who gets food at Walmart got food without us the first week cause she showed up first, so we take her out to Walmart the first time in the year of our lord 2021 on January 29. 

I wander the Valentine’s aisle, immediately grabbing a sequin puppy. I go to the DVDs and see Animaniacs Season One, also grab that. 

And then.

There it is.

The Holy Grail. 

Above the label SONIC UNDERGROUND $3.74, is one DVD left. 

Already I am losing my mind. It’s roughly seven hours of episodes- I couldn’t find an episode list, but I think that’s half the show, for $4! And the cover is amazing. 

That’s a png of Sonic from Adventures of Sonic the Hedgehog (1993) with a medallion badly photoshopped over it. The medallion is too small. 

Manic is shoved into the corner. He doesn’t have his medallion at all. 

Sonia isn’t even pictured on the front cover, probably because they realized she was the worst designed of the bunch. I’m not ragging on her though, because she’s still one of the better designed characters of the show. Those background characters make me cry 

So you bet your ass I finally paid my hard-earned $4 for this shit. Upon getting home, I discovered that there was even wilder shit with this DVD than I thought. 

For starters: the bonus features listed are as follows:

Original Concept Art - did not expect that these character designs were the final draft

Storyboard-to-screen - did not expect they bothered to storyboard this 

Music Video Jukebox - that’s cute, they thought we liked the music 

Interviews with original screenwriter & executive producer - I fully expect the only questions to be “why.” 

On the left of this list are screenshots from the show, where people can finally see Sonia, who we Know™ is a girl because she is pink and has hair and also an actual body shape instead of just circles like her brothers. 

But wait... what’s that in the lefthand corner? 

That looks like some kind of robot. But it’s not a robot from Sonic Underground! That didn’t appear once. Why is it here? 

The mystery continues upon opening the DVD case: inside are advertisements for other collections, including other Sonic DVDs: two volumes of Adventures of Sonic the Hedgehog (1993) and the final episodes of Sonic the Hedgehog “SatAM” (1993)

First of all, the first volume of AOSTH has the exact same PNG of Sonic as the Underground Volume 1. Not even trying to hide it. But second... the second volume of AOSTH also has this robot on its cover. 

And THIS ROBOT IS ALSO DECORATING THE THIRD DISC IN THE SET?

So you may be asking, who is this robot? Is it from AOSTH or Underground?

IT’S FROM FUCKING SATAM. The one show that doesn’t have it decorating the DVD covers.

Also, not only is it from SatAM, it only appears in one fucking episode. Not a major character! AND IT HAS A DIFFERENT DESIGN ON THE PROMO ART, WITH HAIR AND FANGS.

Why is it showing up everywhere? What is going on? 

I have not yet had the opportunity to watch this glorious piece of animation, but I am so glad at the confusion I have felt upon receiving it. 

But before I go, I must share with you the best part of this DVD purchase. And it was flipping to the back, scanning the details, and discovering the exact runtime of the episode collection. 

Guys, gals, and enby pals, friends and enemies, Nintendo and Sega, the first Volume of Sonic Underground has a runtime of...

420 MINUTES.

Maybe I’m wrong and this IS the best Sonic show. 

[arlakos]

Miraculous Rant

Actually, you know what, while im still mad from the previous post I made, lets go off on a rant. No punches pulled. Lets do this.

The lovesquare is the most terrible ship in this fandom. One girl is a hyper obsessed stalker who tracks her crush with her planner for 3 whole seasons, while the boy couldn’t learn to take a hint and stop flirting for 3 whole seasons until he decided to move on with another girl. Ironically that makes them perfect for eachother, but its in a creepy kind of way, not a loving kind of way.

Adrigami and Lukanette in the S3 Finale were wasted events and never should have occured because they were immediately axed in the first few episodes of the next season. I feel sorry for those that were hoping their ships could be real for at least a short actual while, and it makes me want to curse the writers for their story-boner for the status quo of teases

Despite what I said earlier, none of the girls are good for Adrien. Marinette’s stalkery and a borderline yandere, Kagami’s somewhat controlling and too similar to Adrien help him grow as a person, Chloe is a queen bee beyotch and honestly too much like a sibling to Adrien, and Lila is garbage. Fuck it, have Luka date Adrien and they can play some sweet music together (not like that you pervs, I meant they both play instruments).

Nino needs more love. Not only that, but there needs to be more Adrien/Nino bro moments. If Marinette and Alya can have moments together, why not the bros?

Chloe’s character is a mess, and is neither redeemable, nor notably evil. Her role as a villain in season 1 is very hamfisted, such as in the episodes Mr Pigeon and Kung Food. Not only that, Chloe also lacks any of the qualities that makes a good “bully villain” or rival to Marinette, and her sympathetic moments (which are Written by Sebastien) are mostly overshadowed by the fact that Astruc wants her to be a bully, so it just makes her bipolar and confusing when her character is tugged between two writers.

Chloe should not have joined Hawkmoth in Miracle Queen, see my other post as to why I think so. TLDR, its kinda ooc  for her to go full on 2d villain like Hawkmoth especially after Miraculer, plus Lila was being build up to be the main antagonist of S3

Chloe got kicked from the Team in Miraculer because people know her identity? Fine. Kagami gets to be Ryuko again despite being known to Hawkmoth in Ikari Gozen? Not cool. Ladybug shouldn’t be a hypocrite and be willing to break her own rules just because “Kagami is my friend and Chloe’s not”. Same goes for her breaking the rule with secrect identities with Alya, only for her to go on and on about the rules to Chat when he pries.

Zoe is a bland character who’s only notable trait that she likes Marinette, which automatically makes her worthy of a miraculous after two episodes and no actual development.

Astruc is a petty frick who makes episodes that give the finger to fans of the show that have a different opinion than him. Queen Banana, Miracle Queen, and Reverser are good examples of this (Reverser did Nathaniel dirty).

Master Fu is a shit guardian. Read my post for more.

FRICK THE FEAST EPISODE. Not only did is ruin Fu as character, it ruined all the good theories as to why the order fell, and wasted the idea of a new villain being introduced or even taking over as the main antagonist! Speaking of Feast, despite the sentimonster destroying an order when he wasn’t even big, he still go beat by 2 kids even when he was supersized!

Marinette is not a good Guardian. Her ability to choose heroes does not make her capable, and just because “tradition is stupid” doesnt mean that Marinette shouldn’t be tested like others before her!

Despite the Kwami’s being ancient magical buildings, they seem to act like kids a lot, and that annoys me when in S1 they are supposed to apparently be mentors to their wielders, like how Tikki was before she was mentally de-aged.

Lila is trash and should be removed from the show. The only reasons her lies work is because the writers dumb down every other character in the show and ignore the fact the people have smartphones with google.

The “Miraculous” Ladybug spell should require both Ladybug and Chat Noir to cast, because not only does the power have nothing to do with creation, but it also “destroys” anything created by the akuma, which thematically makes no sense. Also it would place more emphasis on the two heroes being equals and “two halfs of the same coin”

On that note, Ladybug has too many powers. Not only is she the only one who can purify akumas, and can cast a spell that can fix Paris time and time again like its no one’s buisness, but she also now gets a new suit and the ability to nullify Hawkmoth’s akumas. Like COME ON! Give Chat some powers too.

Mayura’s feather’s shouldnt be able to be purified by Ladybug since they have no dark energy, and (thematically speaking) Chat should be given an ability that allows him to “vanquish” the energy in Mayura[’s feathers similar to how Ladybug can purify Hawkmoth’s akumas. At least it would develop a rivalry between Chat and Mayura, and would make Chat necassary against Shadowmoth rather than being replacable with any other hero.

The are too many temporary heroes. They should have just stuck with the 3 heroes from s2 and leave it at that. Sure, new heroes were cool, but the overuse has made the whole hero thing feel less special. It made sense for the first 3 to have them, but now it’s just like Oprah where everyone gets a miraculous. Except Gabe.

Chat Blanc was a stupid reason as to why secret identities cant be revealed, also Chat could have told LB who Hawkmoth once he returned back to normal was and the show would be over.

Hawkmoth should not be Gabriel. Frick the lore about Gabriel’s wife dying and him going evil to get her back, it makes the story feel too much like a star wars/Darth vader reference and leaves Gabriel acting bipolar, flipping from wanting to save his wife and doing this out of necessity to being a power hungry madman wanting to take over the world ( which is said in his canon music video). Having Hawkmoth be his own character means he can be an actual maniac who wants world domination and not just have villanous plot that rely on obtaining magical jewellery (perhaps doing other evil things/taking a more active role), while Gabriel being his own character means he can be a father that has become estranged from his son due to the lose of his S,O, and thus can have a plot about him reuniting with his son (I liked the end seen in Simon says, ok?)

On that same note, I think Mayura shouldn’t have been Nathalie. Considering Hawkmoth’s plans were repetitive as heck for most of the show, when I heard about the Mayura leaks back in Season 2 (when she was called “le Paon”) I was theorising that Mayura would actually being Hawkmoth’s boss, the villain the was responsible for giving him his Miraculous and the one who destroyed the Order of the Miraculous, and would take over as the main villain in season 3 due to Hawkmoth’s failures. However, that turned out not to be the case.

Not only that, but Mayuras power is a copy paste power with some modifications to make it complement Hawkmoth’s power, by basically giving his akuma’s magic pokemon.

Speaking of Hawkmoth’s power, for a miraculous that is supposed to be used for good, how can his power mind control people and make them become evil? More importantly, for a miraculous that is supposedly weaker than the main heroes of the show, having it be able to multiply and posses people to create an army is kinda strong.

Fuck the Maribat ship that the salt fandom came up with. Its trash, it was made to bash most of the Miraculous cast sans Marinette, and anyone thinks it is good are either those same salters or are the same people who think that Rey-lo and the Twilight Saga are masterpieces of romance.

Whew! I needed that vent. Hope you enjoyed it as as much as I did, and Tune in next time on the next episode of:  Arlakos loses his Mind and Rants for 2 pages of writing!

[betty-bourgeoisie]

51 , 35 , and 28 for the ask meme please !!

28) What are their thoughts on pet names? Do they have any?

Lamo, I'm so aro it took me like a good five minutes to realize this question wasn't about actual names for actual pets but anyways -

I think Alfred uses a lot of pet names. His go-to pet names for Emil are "sugar" or "sugar cube" but he also uses "honey" and "baby" a lot. If they're in a historical setting I'm also a big fan of Alfred calling Emil "doll" or "dollface". Sometimes if he's joking around/ being sarcastic he'll use "dear" "darling" or "dearest".

Emil doesn't use as many and the ones he does use are almost always in Icelandic. I honestly really like the idea of Emil using "Dúlla min" for Alfred - which I know is usually an endearment used between women who are good friends, but I always view AmeIce as being a relationship that's kind of between romantic and platonic and I headcanon both of them as being pretty genderfuck so it works for me.

35) Who's more artistic?

They're both artistic in different ways!

I think Alfred is very musical - he's the kind of person who's constantly singing show tunes regardless of the setting, and he has a collection of obscure instruments, all of which he can at least kind of play. He probably doesn't do too much composing himself, but he can tell you a lot about music theory and how it applies to different songs.

Emil's art usually takes the form of poetry, creative writing, or oral storytelling. Historically this probably meant working on things like eddas and sagas, beating his siblings in flying matches and spending a lot of time around monks, but I think in the modern-day he probably just does a lot of slam poetry competitions and writes fanfic.

51) What’s a non-verbal way they say I love you?

Alfred is a big gift giver! This man is out here buying a new book that he thinks Emil would like every week and writing little love notes on the cover page. He's taking notes on his phone every time Emil even suggests he might like something. It's all about the quality of gifts with him - Alfred is the type of person who will spend hours in a store looking for exactly the right present for someone he loves.

Emil shows love through quality time and acts of service. This can sometimes come across to outsiders like he's not as invested in their relationship because it's not always as visible or obvious as Alfred's gifts, but if Al ever needs anything Emil is right there. Alfred is dreading a boring political function? He's blocking out his schedule so he can come along and keep him company. Alfred's not feeling well? He's taking the whole week off to go look after him. If Emil doesn't have time for his loved ones he will make time for them - it's very important to him that the people he cares about think of him as someone they can ask for help.

[storybook-lili]

I’ve been re-reading Gail Carson Levine’s book Fairest for an assignment, which is set in the fictional kingdom of Ayortha, where music and singing is an important and key part of the kingdom’s culture. As such, it’s inspired me to make a post about my OC’s skills and experiences with music and singing.

Note: To better express Tara’s bigender identity, I will now be switching Tara’s pronouns every so often between she/her and he/him. I may make a post later on how I’m going to do this, but this is for anyone who are confused as to why Tara is now suddenly being referred here with masculine pronouns.

Etain Amell: She can’t sing. At all. Don’t ask her to sing, we beg you. If you value your hearing, you would avoid listening to her sing at all costs. Why use magic to defeat the darkpawn, when she could just wipe them all out with her singing? We don’t need Solas to destroy Thedas, Etain could do that just by singing. Please don’t ask her sing. P l e a s e.

She has absolutely no talent or knowledge in music, but to be fair, why would she? She’s lived in a Circle her almost her whole life, her time dedicated to her magical studies. Who has time to study something so trivial like music? She also tends to hate being in or near noisy areas, so she’s not a big fan of loud music. She does like listening to Leliana playing the lute once in a while, of course.

Tara Hawke: Everyone is always surprised when they first hear Tara’s singing, which is a beautiful, smoky alto. He’s able to express the emotions of a song very well, especially when the song is bitter or melancholic.

Leandra gave him some training when she realized he had a gift for singing, but otherwise he’s never been professionally trained in music. He can kind of read music sheets, but mostly just sings based on memory. Aside from singing, he can’t play any other musical instruments.

Kallen Lavellan: While she doesn’t have a grand or illustrious voice, Kallen’s singing is no less pleasant or comforting to listen to. Her singing voice is soft and silvery, and she’s able to sing fairly high if she puts enough effort into it. She prefers to sing in a group over solo, since she finds singing much more fun when in good company.

Her close friend, Iyo, had a far better singing voice, as well write her own music. Because Kallen always forgot the lyrics of a song, Iyo developed a unique style of singing for Kallen where the singer only had to sing the vowels of a song. It works well for Kallen, since she preferred singing with long vowels over consonants.

She can also play the ocarina, having been given her late-grandmother’s old one when she was little. She’ll sometimes separate herself from her clan or party and just play by a river, pond, or the sea. She’s probably a better ocarina player than singer.

Alaia Shepard: Her singing is only slightly better than her dancing, but that’s not much of a compliment. It’s not terrible, but it’s not great either. She’s never expressed interest in singing or music, so she possesses no musical talents or knowledge whatsoever.

Chloe Ryder: She has a perfectly nice singing voice, having a typical indie-girl style of singing. Singers like Amanda Palmer and Alanis Morissette had a big influence in the kind of music Chloe likes to listen to and play.

She’s self-taught in the guitar, and brought her acoustic guitar with her to the Andromeda Galaxy. She’s by not means a perfect guitarist, but she still enjoys playing and prefers playing her guitar over singing.

Also, have this funny comic of Chloe performing for Vetra I did a few years ago, lol.

Saga Peg’asi: ‘Beautiful’ doesn’t even come close to describing Saga’s singing. She has an alluring, almost ethereal singing voice that captures anyone within earshot. At the palace, Nerissa would refer to her as the ‘sirena of the stars’, while the crew of the Andromeda Six sometimes refer to her as the ‘space siren’. She likes to sing sea shanties when it's her turn to clean the ship, although sometimes she has to be scolded by Calderon to get back on track.

Along with singing, Saga is trained to play other musical instruments, but her favourite instruments are the harp, lyre, and kutiyapi. She had an especially beautiful harp back the palace that she loved to play, which she misses dearly. While she can’t have a harp on the Andromeda Six, she was able to obtain a small lyre that she’ll play in her room.

While Saga disliked most of her tutoring, she always looked forward to her music lessons. At the palace, she spent more time in the music room than anywhere else and would either sing and play instruments there, or sing on the balcony of her bedroom to herself. Sadly, no one but Nerissa showed interest or pride over Saga’s musical talents, but Saga was content with just performing for Nerissa. Nerissa would often request Saga to sing her favourite, “The Cost of the Crown”.

Music not only brought her joy, but she could express her feelings more clearly in her singing than any other way. It’s tied so tightly to her identity, that she feels she wouldn’t be herself without it. When she lost her memory after being rescued by the A6 crew, her songs were the first memories to resurface, and she would sing them to herself while exploring the ship.

Dana De Sardet: Her singing is fine, but it’s not one of her finest traits. Her singing can be best described as “technically competent”, but lacks real emotion or style. She was taught some basic music lessons when she was a child, but she’s always been more interested in science and medicine than art and music.

While she has no real love for singing or playing music herself, she enjoys listening to Constantin play or sing. Whether he’s actually musically talented is a matter of opinion, but she likes how enthusiastic and immersed he gets when performing, and always stops what she’s doing when he does.

[voodoochili]

My 75 Favorite Albums of 2020

Every year produces excellent music and 2020 was no exception. The exceptional thing about this year, though, is the loss of livelihood so many musicians suffered as a result of the pandemic. To better celebrate all I’ve listened to and loved this year, I’ve expanded my albums list from 50 to 75 albums and included a highlight track from each in the Spotify playlist below. If you like what you hear, why not throw the artist a few dollars on Bandcamp?

Check the Spotify playlist HERE.

Without further ado, my favorite albums of 2020. Happy New Year, and happy listening!

10. Playboi Carti - Whole Lotta Red: Carti’s long-awaited opus has only been out for a week, which is probably not a long enough time to give an album as sprawling and surprising as this one a full critical evaluation. But I do know when I’m hearing something that’s unlike anything I’ve ever heard: this album rearranges hip-hop at the molecular level. 

Whole Lotta Red is overstuffed with invention, the glitchy, expansive production giving Carti ample opportunity to glom onto the contours of the beat and experiment with his voice. That voice is the album’s main attraction: it squeaks, it squeals, it roars, it spits, it shudders, and organizes itself into irresistibly ignorant mantras (my current favorite is “Lamborghini parked outside, it’s purple like lean”). 

Across its 24 tracks (which feels like too many, sure, but only the 5-minute long Kid Cudi-infected droner “Metamorphosis” overstays its welcome), Carti plays with listener expectations, annihilating rap songwriting conventions (why do you need verse-chorus structure if every line is a hook) as he defiantly proclaims his desire to be unlike anybody else. Though it bears some resemblance in sound and subject matter to Future’s Monster (and much of the production owes a debt to the work of Lil Uzi Vert’s favored Working Of Dying collective), Whole Lotta Red firmly establishes Carti as a totemic figure connecting mainstream and underground sounds.

9. BbyMutha - Muthaland: BbyMutha is a natural born spitter, armed with a drawly stutter-stepping flow that routinely annihilates unconventional instrumentals. She glows with supreme confidence and comfort in her own skin, especially when she’s dripping with disdain with those who’d dare refuse her the respect she deserves. A 25-track opus that earns every minute of its runtime, Muthaland is an engrossing immersion into Mutha’s world, balancing a fascination with the occult (“Sorry I don’t fuck with n****s who don’t fuck with Satan”) with grounding interjections from close friends and her four children. Boasting rockstar fantasies like “Heavy Metal,” bad girl anthems like “Nice Guy,” and dancefloor-ready jams like “Cocaine Catwalk,” Muthaland is a tour-de-force by one of rap’s singular voices, and if she’s really finished with music as she’s claimed (rappers never really retire, but Mutha has indicated she wants to focus full time on her Apothecary), the game will greatly miss her incisive punchlines and crudely empowering perspective.

8. Westerman - Your Hero Is Not Dead: In 2020, Mid-’80s sophistipop grew into one of my favorite comfort foods. Westerman’s Your Hero Is Not Dead struck me directly in the sophistipop sweet spot, evoking the attention-to-detail and synth-heavy craftsmanship of that era and pairing it with harmonic complexity and a piercing emotionalism that recalls his idol Neil Young. On songs like “Blue Comanche” and “The Line,” Westerman constructs tales as twisty as his melodies, economically exploring how people relate to each other at the beginning and end of romantic relationships. Westerman complements his tasteful palette of synth sounds with intricate and lyrical guitar playing, most notably on the sighing, gorgeous instrumental “Float Over,” which softly segues into the title track to end the album on a gently-rising high note.

7. WizKid - Made In Lagos: The focal point of the sub-Saharan Afrobeats renaissance, Lagos is having one of the most exciting musical moments of any city since Kingston in the early ‘70s. WizKid is one of the scene’s biggest stars, with an ability to combine the sonic tapestry of his hometown with Caribbean-influenced beats and vocal styles. Made In Lagos is a masterwork of sound design, bringing creamy bass, chicken-scratch speckles of guitar, tasteful interjections of saxophone and brass, and an intoxicating mix of acoustic and electronic percussion, all offered in service to an immaculate vibe that matches the album cover’s shiny, monochromatic color scheme. Made with lockdown in mind, the album eschews uptempo dancefloor workouts in favor of stress-relief and romance. WizKid plays the perfect host, tamping down his melodic flights of fancy and embracing a song-serving smoothness. He’s a warm and inviting presence throughout, laying out the red carpet for a cross-continental cast of collaborators like H.E.R., Skepta, Burna Boy, and Damian Marley. The result is a truly global pop masterpiece, capable of brightening even the dourest day of a miserable year.

6. Ka - Descendants of Cain: Firefighter by day and rapper/producer by night, Ka is a master of allusion. He organizes his thoughts into themed collections of metaphor, illustrating the bleak realities of street life with gnomic symbolism. On Descendants Of Cain, Ka’s strongest work to date, the enigmatic rapper expresses himself through a litany of biblical references, drawing parallels between ancient parables (he goes far deeper than the Cain/’caine double entendre that rappers have been using for decades) and the stark code of morality with which he lives his life. The 48-year-old hermit produced the project himself, creating an immersive sonic realm, crafting expansive, noir-ish backing tracks populated by late-night saxophones, sparkling pianos, and the occasional shot of sweeping strings. Once again, Ka’s music comes almost entirely without drums (certainly without “beats” in the traditional hip-hop sense–every once in a while, he adds an open hi-hat or a subdued shaker), the artist preferring to let his music swirl around his half-whispered words of wisdom. The album ends on a tearful, sentimental note with “I Love (Mimi, Moms, Kev),” in which the artist ditches the biblical lyrical conceit and expresses his love for his wife, his mom, and his best friend atop light percussion and a warm soul sample.

5. SAULT - Untitled (Rise): Rise is the second part of a diptych that SAULT recorded in response to the movement that exploded in the wake of George Floyd’s death. Black Is, the first part, is a great album (you’ll find it in the lower reaches of my 2020 list), but the mysterious UK collective fulfilled their immense potential with Rise, a propulsive, powerful, and danceable album that doubles as a thought-provoking examination of the nature of freedom and liberation. The album tackles weighty topics–police violence, fake-woke “allies,” protest, cultural appropriation–but handles them with an inspiring effervescence and a propulsion meant to usher right-thinking people into the streets. The music itself is an intoxicating marvel, combining elements from every trendy musical movement from the early ‘80s (post-disco, post-punk, house, hip-hop, whatever the hell ESG was) into a percussive and surprisingly cohesive cocktail. The album immediately makes its greatness known with its first four songs, one of the strongest opening runs of any album in recent memory: the swaggering, funky, keep-your-head-up anthem “Strong,” which features a drum solo from SAULT architect Inflo, the soaring, club-ready vamp “Fearless,” concept-establishing, string-heavy interlude “Rise,” and especially “I Just Want to Dance,” the best song ESG never wrote. 

4. Fiona Apple - Fetch The Bolt Cutters: Fetch The Bolt Cutters arrived with the kind of universal acclaim that can make some people suspicious. The Pitchfork review got a lot of attention, not just for its perfect score but for its bold statement that “no music has ever sounded quite like it.” 

That statement might’ve been slightly hyperbolic. Fetch The Bolt Cutters has the kind of propulsive left-hand piano figures, chest-thumping percussion, and impassioned vocal performances that we haven’t heard since...the last Fiona Apple album. But the album deserves its experimental reputation. These songs mess around with song structure and melody in ways that resemble avant-garde singers like Meredith Monk, use overlapping vocals that occasionally evoke the works of post-modern composers like Luciano Berio, and echoing modernist composers like Edgard Varese in the way she wrings pathos out of rhythmic elements.

Though Fetch might be a slight step down from The Idler Wheel, it’s an invigorating listen, packed with the soul-baring confessionals that only Fiona is capable of executing. Combining literary wordplay with plainspoken directness, Fiona forces the listener to confront her trauma and contemplate her diagnoses of patriarchal ills. The songs are uniformly excellent–especially opener “I Want You To Love Me,” the most “traditional” song on the record, and “Shameika,” a burrowing childhood rumination with a happy ending–but Fetch The Bolt Cutters stands out to me as a collection of amazing moments: when the jig-like “For Her” fades into an unforgettably painful cadence (“Good mornin’, good mornin’/You raped me in the same bed your daughter was born in”), Fiona’s ground-shaking vocal intensity at the end of “Newspaper,” her dogs howling over the outro of “Fetch The Bolt Cutters,” the winking repetition of the title phrase on “Ladies.” Her albums display more than enough ambition to forgive the long gestation periods, but hopefully we won’t have to wait another 8 years for Fiona to bare her soul once again.

3. Drakeo The Ruler - Thank You For Using GTL: Embroiled in a Kafkaesque legal saga that shines a light on the worst aspects of our horrendous justice system, Drakeo The Ruler spent more than three years wrongly incarcerated for a crime he not only did not commit, but for which he was acquitted (for more info on Drakeo’s ordeal, read Jeff Weiss). He’s now mercifully a free man, mostly due to the work of his lawyer, but at least partially because of publicity generated by Thank You For Using GTL. Recorded over the phone from prison during the height of the pandemic, it’s a miracle that an album created under such sub-optimal conditions sounds as excellent as it does, but credit producer JoogSzn–who not only supplied the creeping, head-nodding backing tracks but recorded Drakeo’s phoned-in vocals–and engineer MixedByNavin for the project’s astonishing fidelity. Drakeo and Joog spent hours on the phone to record the album, in the process paying thousands of dollars to GTL, the predatory telecom company of choice for the L.A. corrections system, whose mechanical interjections serve as a constant reminder of the injustice that made the album necessary. Of course, a good story is a good story, but that alone doesn’t get an album on 2020’s most prestigious Best Albums list (mine). It’s a classic rap album, perhaps the best ever released by an incarcerated rapper, and a thumb directly in the nose of the D.A. and the LAPD. The album is a lyrical marvel, packed with winding wordplay and outlandish flexes, as Mr. Mosley takes aim at 6ix9ine, cackles at sorry-ass Instagram haters, and sneers at American-made cars (“To be honest, a Hellcat isn’t a foreign”). Each song has a carefully considered concept, the rapper’s punchlines building upon one another to make an airtight case for his status as L.A.’s top dog. He contrasts his own whip-crashing lifestyle with flashy wannabes on “GTA VI” and “Backflip or Sumn,” mourns a favorite department store on “RIP Barneys,” and proves he still doesn’t rap beef on “Maestro’s Tension.” The album’s masterstroke comes with “Fictional,” the final track, in which Drakeo exposes the prosecution’s use of his lyrics as evidence in criminal proceedings as the farce it is: “It might sound real, but it’s fictional/I love that my imagination gets to you.” Drakeo’s story was a rare bright spot in 2020, and a rare one with a happy ending. Just last week, the rapper released Because Y’All Asked, a studio-recorded version of Thank You For Using GTL, giving the album’s songs the clarity they deserve. But I think I’ll mostly return to the original, which will live on as an excellent album and a vital document of post-George Floyd America.

2. Pa Salieu - Send Them to Coventry: Hailing from the middle of nowhere–or, more accurately city in the English Midlands only known in the states for its middling Premier League team–Gambian-British artist Pa Salieu served up the most distinctive, visceral, and daring rap debut of the year. His style fuses elements of grime, drill, afro-trap, dancehall, and the darker edges of U.S. hip-hop into a percussive slurry, injected with the urgency of his struggle to survive. The magic of the album comes from the way Pa’s fluid flows interact with the shimmering and foreboding production (Felix Joseph and Aod lead the cast of the project’s sound architects), which is perfectly suited for cold city nights. He slips effortlessly into the pocket, toe-tagging the beats with a combination of aggression and trance-like meditation and uttering casually powerful pronouncements (“I'd make a killa riddim offa any riddim/The grind can never stop 'til I'm wrapped in linen”) that make you believe he’s Britain’s next great rapper. Pa keeps the vibe consistent throughout, but the moments that stand out are the moments when he locks into an unbreakable groove over no-frills production, like on singles “Block Boy,” “Betty,” and “B***K.” The artist’s wry sense of humor and brash confidence keeps the album from feeling bleak, but Send Them To Coventry wisely ends on “Energy,” a warm and bright ode to keeping your creative spark safe from the prying forces of fame and fortune.

1. Kassa Overall - I Think I’m Good: “I think I’m good”–a phrase that’s ran through my head throughout this shitstorm of a year. Sure, I postponed a wedding, cancelled trips, and saw my friends and family much less often than I would like, but I count myself among the lucky ones. Still breathing, still sane. Though it was recorded and released before the pandemic started, Kassa Overall’s I Think I’m Good became a lodestar of sorts for me. It’s a brilliantly introspective and deeply personal album about existing in enclosed spaces–whether a jail cell, an NYC subway car, or the inescapable prison of your own body.

Kassa Overall made his name as a jazz drummer, touring with icons like Geri Allen, but his solo music incorporates elements of hip-hop, classical, and trap to create a wholly original milieu. The album features contributions from over 30 accomplished voices, ranging from luminary Vijay Iyer, to Kassa’s saxophonist brother Carlos Overall, to virtuosic pianist Sullivan Fortner, to venerated activist Angela Davis. But all the disparate elements come together in service of Kassa’s deeply personal and engrossing vision.

Taking partial inspiration from Kassa’s struggle with manic depression, the music fluctuates between meditative calm and unbearable tension, mimicking the patter of an unquiet mind. Album opener “Visible Walls,” is a mesmerizing prayer for salvation soundtracked by fluttering harps, piercing woodwinds, and heartbeat percussion. “Find Me” buries a plea for help within a cacophony of sampled voices and rattling piano notes. Fortner’s piano guides us through the hauntingly devastating “Halfway House” and the Chopin-indebted “Darkness In Mind,” each highlighting a different stage of grief (despair and acceptance, respectively). The arc of I Think I’m Good concludes with the hopeful “Got Me A Plan” and “Was She Happy (For Geri Allen),” a Vijay Iyer-assisted tribute to his late friend and mentor. 

It’s ironic that an album that so deeply explores the feeling of isolation vibrates with such a collaborative spirit. I Think I’m Good feels like an answered prayer–a community coming together to check on a beloved friend who’s gone through a tough time: “You good, man?” “I think so.”

Here’s the rest of my list.

11. Yves Tumor - Heaven To A Tortured Mind 12. Shackleton & Waclaw Zimpel - Primal Forms 13. Bob Dylan - Rough & Rowdy Ways 14. Duval Timothy - Help 15. Lil Uzi Vert - Eternal Atake 16. Moodymann - Taken Away 17. Secret Drum Band - Chuva 18. J Hus - Big Conspiracy 19. Headie One & Fred Again - GANG 20. Tiwa Savage - Celia 21. Andras - Joyful 22. Bill Callahan - Gold Record 23. King Von - Welcome To O’Block 24. Flo Milli - Ho, Why Is You Here? 25. Chubby & The Gang - Speed Kills 26. Madeline Kenney - Sucker’s Lunch 27. Empty Country - Empty Country 28. Smino - She Already Decided 29. Destroyer - Have We Met 30. Yves Jarvis - Sundry Rock Song Stock 31. Ela Minus - Acts Of Rebellion 32. Creeper - Sex, Death & The Infinite Void 33. Alabaster DePlume - To Cy & Lee: Instrumentals, Vol. 1 34. Good Sad Happy Bad - Shades 35. The 1975 - Notes On a Conditional Form 36. Kate NV - Room For The Moon 37. $ilkmoney - Attack of the Future Shocked, Flesh Covered, Meatbags of the 85 38. Eddie Chacon - Pleasure, Joy and Happiness 39. Kenny Segal & Serengeti - Ajai 40. Bad Bunny - YHLQMDLG 41. Kahlil Blu - DOG 42. Califone - Echo Mine 43. Boldy James - The Price of Tea in China/Manger On McNichols/The Versace Tape 44. Bufiman - Albumsi 45. Moses Boyd - Dark Matter 46. Thanya Iyer - KIND 47. Jyoti - Mama You Can Bet! 48. Obongjayar - Which Way Is Forward? 49. Rio Da Yung OG - City On My Back 50. Young Jesus - Welcome To Conceptual Beach 51. Owen Pallett - Island 52. Oceanator - Things I Never Said 53. Shootergang Kony - Red Paint Reverend 54. Shabason, Krgovich & Harris - Philadelphia 55. Six Organs of Admittance - Companion Rises 56. Lido Pimienta - Miss Colombia 57. Kelly Lee Owens - Inner Song 58. Polo G - The GOAT 59. Actress - Karma & Desire 60. Phoebe Bridgers - Punisher 61. Porridge Radio - Every Bad 62. Yg Teck - Eyes Won’t Close 63. Mozzy - Beyond Bulletproof 64. Ratboys - Printer’s Devil 65. R.A.P. Ferreira - Purple Moonlight Pages 66. Ulver - Flowers of Evil 67. Rina Sawayama - SAWAYAMA 68. SAULT - Untitled (Black Is) 69. Ezra Feinberg - Recumbent Speech 70. Davido - A Better Time 71. Hailu Mergia - Yene Mircha 72. HAIM - Women In Music Pt. III 73. Half Waif - The Caretaker 74. Key Glock - Yellow Tape 75. KeiyAa - Forever Your Girl

[blackkudos]

Johnny Guitar Watson

John Watson Jr. (February 3, 1935 – May 17, 1996), known professionally as Johnny "Guitar" Watson, was an American blues, soul, and funk musician and singer-songwriter. A flamboyant showman and electric guitarist in the style of T-Bone Walker, Watson recorded throughout the 1950s and 1960s with some success. His creative reinvention in the 1970s with funk overtones, saw Watson have hits with "Ain't That a Bitch" and "Superman Lover". His successful recording career spanned forty years, with his highest chart appearance being the 1977 song "A Real Mother For Ya".

Early life

Watson was born in Houston, Texas. His father John Sr. was a pianist, and taught his son the instrument. But young Watson was immediately attracted to the sound of the guitar, in particular the electric guitar as played by T-Bone Walker and Clarence "Gatemouth" Brown.

His grandfather, a preacher, was also musical. "My grandfather used to sing while he'd play guitar in church, man," Watson reflected many years later. When Johnny was 11, his grandfather offered to give him a guitar if, and only if, the boy didn't play any of the "devil's music". His parents separated in 1950, when he was 15. His mother moved to Los Angeles, and took Watson with her.

Early career

In his new city, Watson won several local talent shows. This led to his employment, while still a teenager, with jump blues-style bands such as Chuck Higgins's Mellotones and Amos Milburn. He worked as a vocalist, pianist, and guitarist. He quickly made a name for himself in the African-American juke joints of the West Coast, where he first recorded for Federal Records in 1952. He was billed as Young John Watson until 1954. That year, he saw the Joan Crawford film Johnny Guitar, and a new stage name was born.

In 1953, Shorty Rogers had Watson as part of his Orchestra perform for the famed ninth Cavalcade of Jazz concert held at Wrigley Field in Los Angeles which was produced by Leon Hefflin, Sr. on June 7. Also featured that day were Roy Brown and his Orchestra, Don Tosti and His Mexican Jazzmen, Earl Bostic, Nat "King" Cole, and Louis Armstrong and his All Stars with Velma Middleton.

Watson affected a swaggering, yet humorous personality, indulging a taste for flashy clothes and wild showmanship on stage. His "attacking" style of playing, without a plectrum, resulted in him often needing to change the strings on his guitar once or twice a show, because he "stressified on them" so much, as he put it.Watson's ferocious "Space Guitar" single of 1954 pioneered guitar feedback and reverb. Watson would later influence a subsequent generation of guitarists. His song "Gangster of Love" was first released on Keen Records in 1957. It did not appear in the charts at the time, but was later re-recorded and became a hit in 1978, becoming Watson's "most famous song".

He toured and recorded with his friend Larry Williams, as well as Little Richard, Don and Dewey, The Olympics, Johnny Otis and, in the mid-1970s with David Axelrod. In 1975 he was a guest performer on two tracks (flambe vocals on the out-choruses of "San Ber'dino" and "Andy") on the Frank Zappa album One Size Fits All. He also played with Herb Alpert and George Duke. But as the popularity of blues declined and the era of soul music dawned in the 1960s, Watson transformed himself from southern blues singer with pompadour into urban soul singer in a pimp hat. His new style was emphatic – wearing the gold teeth, broad-brimmed hats, flashy suits, fashionable outsized sunglasses and ostentatious jewelry.

He modified his music accordingly. His albums Ain't That a Bitch (included funk blues singles "Superman Lover") and Real Mother For Ya(1977) fused funk and blues. Watson had album Love Jones in 1980. Reviewing Watson's 1977 LP A Real Mother for Ya, Robert Christgau wrote in Christgau's Record Guide: Rock Albums of the Seventies (1981): "Watson has been perfecting his own brand of easy-listening funk for years, and this time he's finally gone into the studio with his guitar Freddie and his drummer Emry and a bunch of electric keyboards and come up with a whole album of good stuff. The riff-based tracks go on too long but go down easy and the lyrics have an edge. Granted, Watson can't match George Benson's chops, but this is dance music, chops would just get in the way. And I prefer his Lou-Rawls-without-pipes to Benson's Stevie-Wonder-ditto."

Later career

The shooting death of his friend Larry Williams in 1980 and other personal setbacks led to Watson briefly withdrawing from the spotlight in the 1980s. "I got caught up with the wrong people doing the wrong things", he was quoted as saying by The New York Times.

The release of his album Bow Wow in 1994 brought Watson more visibility and chart success than he had ever known. The album received a Grammy Award nomination.

In a 1994 interview with David Ritz for liner notes to The Funk Anthology, Watson was asked if his 1980 song "Telephone Bill" anticipated rap music. "Anticipated?" Watson replied. "I damn well invented it!... And I wasn't the only one. Talking rhyming lyrics to a groove is something you'd hear in the clubs everywhere from Macon to Memphis. Man, talking has always been the name of the game. When I sing, I'm talking in melody. When I play, I'm talking with my guitar. I may be talking trash, baby, but I'm talking".

In 1995, he was given a Pioneer Award from the Rhythm and Blues Foundation in a presentation and performance ceremony at the Hollywood Palladium. In February 1995, Watson was interviewed by Tomcat Mahoney for his Brooklyn, New York-based blues radio show The Other Half. Watson discussed at length his influences and those he had influenced, referencing Guitar Slim, Jimi Hendrix, Frank Zappa and Stevie Ray Vaughan. He made a special guest appearance on Bo Diddley's 1996 album A Man Amongst Men, playing vocoder on the track "I Can't Stand It" and singing on the track "Bo Diddley Is Crazy".

His music was sampled by Redman (who based his "Sooperman Luva" saga on Watson's "Superman Lover" song), Ice Cube, Eazy-E, Snoop Dogg, Dr. Dre, Jay-Z, and Mary J. Blige. Snoop Dogg and Dr. Dre borrowed P-Funk's adaptation of Watson's catchphrase "Bow wow wow yippi-yo yippi-yay" for Snoop's hit Who Am I? (What's My Name?). Johnny also played the guitar on the G-Funk remix of Dr. Dre's Grammy award winning single Let Me Ride in 1993.

"Johnny was always aware of what was going on around him", recalled Susan Maier Watson (later to become the musician's wife) in an interview printed in the liner notes to the album The Very Best of Johnny 'Guitar' Watson. "He was proud that he could change with the times and not get stuck in the past".

Death and material loss

Watson died of a heart attack on May 17, 1996, collapsing on stage while on tour in Yokohama, Japan. His remains were brought home for interment at Forest Lawn Memorial Park Cemetery in Glendale, California and buried in the Great Mausoleum, Sanctuary of Enduring Honor, Holly Terrace entrance.

On June 25, 2019, The New York Times Magazine listed Johnny "Guitar" Watson among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire.

Influence

Watson, a recognized master of the Fender Stratocaster guitar, has been compared to Jimi Hendrix and allegedly became irritated when asked about this comparison, supposedly stating: "I used to play the guitar standing on my hands. I had a 150-foot cord and I could get on top of the auditorium – those things Jimi Hendrix was doing, I started that shit."

Frank Zappa stated that "Watson's 1956 song 'Three Hours Past Midnight' inspired me to become a guitarist". Watson contributed to Zappa's albums One Size Fits All (1975), Them or Us (1984), Thing-Fish (1984) and Frank Zappa Meets the Mothers of Prevention (1985). Zappa also named "Three Hours Past Midnight" his favorite record in a 1979 interview.

Steve Miller not only did a cover of "Gangster of Love" on his 1968 album Sailor (substituting "Is your name "Stevie 'Guitar' Miller?" for the same line with Watson's name), he made a reference to it in his 1969 song "Space Cowboy" ("And you know that I'm a gangster of love") as well as in his 1973 hit song "The Joker" ("Some call me the gangster of love"). Miller had also borrowed the sobriquet for his own "The Gangster Is Back", on his 1971 album Rock Love.

Jimmie Vaughan, brother of Stevie Ray Vaughan, is quoted as saying: "When my brother Stevie and I were growing up in Dallas, we idolized very few guitarists. We were highly selective and highly critical. Johnny 'Guitar' Watson was at the top of the list, along with Freddie, Albert and B.B. King. Watson influenced Jimi Hendrix, Sly Stone, Etta James, and Stevie Ray Vaughan.

Bobby Womack said: "Music-wise, he (Watson) was the most dangerous gunslinger out there, even when others made a lot of noise in the charts ～　I'm thinking of Sly Stone or George Clinton".

Etta James stated, in an interview at the 2006 Rochester International Jazz Festival: "Johnny 'Guitar' Watson... Just one of my favorite singers of all time. I first met him when we were both on the road with Johnny Otis in the '50s, when I was a teenager. We traveled the country in a car together so I would hear him sing every night. His singing style was the one I took on when I was 17 – people used to call me the female Johnny 'Guitar' Watson and him the male Etta James... He knew what the blues was all about...".

James is also quoted as saying: "I got everything from Johnny... He was my main model... My whole ballad style comes from my imitating Johnny's style... He was the baddest and the best... Johnny Guitar Watson was not just a guitarist: the man was a master musician. He could call out charts; he could write a beautiful melody or a nasty groove at the drop of a hat; he could lay on the harmonies and he could come up with a whole sound." Pearl Jam recorded a song entitled "Johnny Guitar", about Watson, for their 2009 album Backspacer.

Watson's 1976 song "Superman Lover" features on the soundtrack of the video game Grand Theft Auto V.