#WAH demo is over....

[picory]

Pikmin 3 - Today's Report

[anonymous-astronaut]

Mercs vs one of those fake mechanical rodeo bulls

Scout

Confidence 100%. Execution… 0%. Scout goes in thinking he is about to beat every record ever set at the venue, he already has his rodeo bull trophy acceptance speech fully planned out in his head. But the second it starts to move he is tossed head-over-ass into the air like the worlds gangliest Frisbee. The only thing he broke was his ego and the record for how far anyone has ever been thrown. 2/10

Soldier

He is roaring out war cries before the machine even starts bucking, but he holds on for a pretty decent amount of time once it gets going. He treats it more like a wrestling match, and when he starts sliding off the side he tries to put the fake bull in a chokehold. Perceives the bucking as it fighting back and starts throwing punches. He has to be dragged away. 4/10

Pyro

They just want to pet it! If they did try to ride it they would be perfectly capable of staying on, but they see no reason to make it upset. 🐮/10

Heavy

He is very reluctant to give it a go, thinking he’s simply too big for the machine. If someone does manage to convince him to get on, it’s like watching a grown ass man trying to ride one of those spring-horse things at the playground. Staying on isn’t even a challenge for him. 9/10 (-1 for lacking enthusiasm)

Demo

If he is only slightly wasted, there isn’t a doubt in my mind that Demo is just that guy who straight up stands on the mechanical bull ans rides it like a god damn surfboard.

If he’s too wasted however, Demo will be clutching at the bull with all four limbs, clinging on for dear life and wailing until he slides off pathetically. 11/10 - 1/10 depending.

Engie

Oh. Oh this is his time to shine. Engie is making this his MOMENT. He’s got yee-haws and wah-hoos for days, riding like he’s straight out of a western film and headin for the sunset. Out of everyone who attempts it, he’s the only person who actually does it correctly. Them hips be rollin baby, and Engie is mesmerizing and living his best life. Doesn’t even spill his beer. 100/10

Medic

This man is… shockingly bad. He can’t stay on for the life of him, either spinning off in a twirl of limbs or flopping headfirst over the front. He does think it’s great fun though, and attempts it multiple times much to the enjoyment of the crowd who get to watch him eat shit every single time. 4/10 (bonus points for being a good sport)

Sniper

Sniper isn’t ridiculously bad, but he isn’t exactly great at it either. He can hold his own for a while, but it certainly isn’t pretty. This man has about as much grace as a bale of hay. It’s like watching an inflatable tube man in a hurricane, he just flails around until it finally throws him off. At least he put some real effort in. 5/10

Spy

An absolute disgrace, and the best show of the night. Someone would have to literally blackmail this man in order for him to actually do it, but by god it’s worth it. It’s like the bull is actively tying to beat him up. He’s light enough that it tosses him up in the air but his cat-reflexes and death grip means that it can’t quiet get rid of him. He ends up just getting tossed around like a cartoon character, somehow always landing on it just to get thrown again. Perfect combination of desperately wanting to get off but far too scared to let go. 3/10 skill, 10/10 performance

Miss Pauling

She’s way more focused on having a good time than staying on for as long as possible or beating anybody else. Still, she probably sets it to the highest setting just for the fun of getting tossed around, and she manages to stay on for an impressively good run. She has a fucking blast, as she should. 8/10

[kyururun]

Kyururin te shitemite - Love Kyun♡Wanted (Lyrics + ENG Translation)

ROMAJI

Are you ready? RABU Kyun ♡ Wanted "Nee nee kimi ni tsugeru! Shuui wa mou houi sareten no!" "nigeru no nante akiramete?" "kimi wo ichiban suki na no wa watashi da mon!!" "Aa~ doko iku no?! sekaichuu ni shimei tehai shiteyaru~~!!"

kawaii ko nara dare demo ii no? (sou! PURINSESU wa hitori de OK!) warui ko wa tejou shinakya ne (INSUTA FOROO wa juuzai!!) Kyou mo Hide & Seek mitsuketa nantsuu IIJII GEEMU (omoi wa omoi joushiki ◎) kimi kentei wa hyakuten watashi shika katan no desu

joshi da toka danshi toka, kankei nai yakimochi motto hitori jime sasete yo (iya!! watashi ni dake yasashiku sun no!!) yappa yappa yaba yaba see no de nerai uchi ♡ (ban♡ ban♡)

shuki chu bakyun!! HAATO meichuu RABU sugite tsumi tsumimi (ban♡ ban♡) doki chou makyuu, wa! gorinjuu soku taiho desu (wanted♡ wanted♡)

doushiyokka Merry sore tomo Killing docchi tomo eien da ne wagamama datte nakimushi datte, zenbu wo aishite ne Are you ready? RABU Kyun ♡ Wanted

sansei!! numaru kei ni shiteyaru ♡ hantai!! "kao wa ii" tte hometenai yo ne?! koi kogare chuu demo (hai~) reiji ni wa nemasu ♡ sensei!! ganbaru mon, ashita kara, ita!!

Aa~ mou High & Sick barechatta wan tsuu EGOSAACHI "teiki haishin chuu BADDO MOODO" shoubu wa mata gyakuten kimi no omoi doori nan desu

koutei mo hitei mo todokanai unmei datte kamisama ga kimeta no (uso! akai ito nakutatte shinjin no) yappa yappa yaba yaba see no de midare uchi (ban♡ ban♡)

shuki tte babu? HAATO meikyuu menbure shite daru KIRUMII (ban♡ ban♡) doki tte bagu, ma! muchuu ichuu soku taiho desu (wanted♡ wanted♡)

koi tte sa Beauty sore tomo Dirty docchi demo bigaku da ne konna hiroi sekai sagasechau kurai zenbu wo ashiteru Are you ready? RABU Kyun ♡ Wanted

ichizu wa seigi desho YES ka ne YES kotaete nari hibiku SAIREN tokimeki bousou chuu!

shuki chu bakyun!! HAATO meichuu RABU sugite tsumi tsumimi (ban♡ ban♡) doki chou makyuu, wa! gorinjuu soku taiho desu (wanted♡ wanted♡)

doushiyokka Merry sore tomo Killing docchi tomo eien da ne wagamama datte nakimushi datte, zenbu wo aishite ne Are you ready? RABU Kyun ♡ Wanted

♡♡♡

EN TL

Are you ready? Love Kyun ♡ Wanted

Hey, hey, I'm telling you, you're surrounded. Can't you just give up on running? After all, I'm the one who loves you the most! Aah~! Where are you going? I'll make you wanted all over the world!

Anyone's fine as long as they're a cute girl? (Right, only one princess is OK!) Bad girls need to be handcuffed, right (Instagram following is a huge crime!)

It's hide & seek again today, I found you ♡ What an easy game "Feelings are a heavy common sense" ◎ You get 100 test points There's no one better than me!

Boys or girls it doesn't matter, I get jealous either way Let me keep you to myself more (No way! Only be nice to me!) After all, afer all, it's bad bad 1, 2 - I'm aiming for you (Bang♡ Bang♡ )

I wuv you, mwah, shoot~! A direct hit to the heart I love you so much my crimes are at the limit (Bang♡ Bang♡ ) Heart thumps, a super miracle ball. Wah, I'm on my deathbed I'm going to arrest you immediately! (Wanted♡ Wanted♡)

What should I do, merry or killing? Both will last for eternity right? Love all of me even if I'm selfish or a crybaby Are you ready? Love Kyun ♡ Wanted

In favour of! Sentencing you to being obsessed with me Objection! It's not a compliment saying "you're pretty", is it?! Even if I'm deeply yearning for you (Okay~) I'll be in bed by midnight I declare! I'll try hard as of tomorrow (ugh)

Ahh, I'm high & sick. I've been found out 1, 2 and search up my name online "Bad mode during the scheduled live broadcast", the match is back to square one It's exactly as your feelings say

A destiny that neither affirmation nor denail can reach After all, it's all decided by God (No way! I believe in the red string even if it's not there) After all, afer all, it's bad bad 1, 2 - I'm gonna shoot like crazy (Bang♡ Bang♡ )

I wuv you, am I being childish? My heart is a maze I'm losing my mind, how cringe, kill me (Bang♡ Bang♡ ) My heart thumping is a bug, well! I'm totally obsessed I'm going to arrest you immediately! (Wanted♡ Wanted♡)

Love is, y'know, beauty or dirty. Both are just aesthetics, right I love everything about you so much I'd go to the ends of the world to find you Are you ready? Love Kyun ♡ Wanted

Being earnestly devoted is justice, right? Yes, right? Say yes A resouding siren, I'm being reckless with heart-pounding emotion!

I wuv you, mwah, shoot~! A direct hit to the heart I love you so much my crimes are at the limit (Bang♡ Bang♡ ) Heart thumps, a super miracle ball. Wah, I'm on my deathbed I'm going to arrest you immediately! (Wanted♡ Wanted♡)

What should I do, merry or killing? Both will last for eternity right? Love all of me even if I'm selfish or a crybaby Are you ready? Love Kyun ♡ Wanted

[itzynabi]

deserve it

summary: in which eve is in need of encouragement

set: late april 2022

word count: 1.3k

warnings: mention of food and some cute little swear words

an: nalia have my heart 😩. words in bold are english. mediocre writing from a mediocre writer 💅. send asks or messages to be added to the taglist. feedback and reblogs are much appreciated 💘

eve’s masterlist

Preparing for a solo debut was a lot of fun. But way more stressful. Eve had to do everything on her own — recording songs, shooting the music video and attending dance practices. Let's not even get started on music show performances. And the crazy thing was, Eve had only recorded two of the songs so far. Just thinking about everything she had to do made her want to flee the country and never return.

So there she was. On the floor of the dance practice room after fooling around with choreography ideas with one of the dance trainers, thinking about what she had planned for the next day.

“Nabi, don’t forget to do cool down stretches,” the trainer, Jongseob, instructed her, picking up his things. Eve raised her hand and did an ‘okay’ sign, letting it fall to the ground soon after. He shouted out a goodbye over his shoulder and exited the room, leaving her alone.

Eve exhaled deeply. “Go over it one more time, and then go home,” she told herself. She stood up and went to the speaker. Turning it on, she danced to glassy again, coming up with her own choreography at the parts they hadn’t come up with anything yet. She was so busy dancing that she didn't notice Lia walking into the room. When the song ended, Lia started clapping, alerting Eve of her presence.

“Yah, don’t scare me like that,” Eve scolded, holding her hand over her heart.

Lia raised her hands in mock surrender. “Sorry. I forgot you’re jumpy.”

Eve skipped over to Lia, engulfing her in a hug. “What are you doing here?”

“I came to visit you,” Lia answered after Eve pulled away. “And bring you food,” she shook her hand, bringing Eve’s attention to a plastic bag in her hands.

“Wah, thank you!”

Lia and Eve went to the bench in the back of the room, putting the plastic on the seat and sitting on the floor against the benches, facing each other.

“What did you bring for me?” Eve asked, clapping her hands excitedly as Lia took the food out.

“Bibim nengmyun,” Lia answered, opening one of the containers with a flourish.

Eve groaned. “Just what I needed.”

Lia handed Eve her container and opened her own one. They both took bites of their food, groaning in pleasure.

“You… are heaven sent,” Eve told Lia, who smiled in response.

The two girls finished eating their food in silence, turning around so they were sitting side by side against the bench.

“What did you do today?” Lia asked, reaching for the water bottles in the plastic bottles.

Eve accepted the bottle Lia gave her and twisted it open, taking a sip. “We just fooled around with choreography. Trying to come up with something. We’re obviously also using the demo’s we got sent, but we’re also changing some of the choreo to better fit the song.”

Lia nodded. “Have you practised with the dancers yet?”

“No,” Eve said with a shake of her head. “Trainer Jaebom said we’ll all practice once the choreography is done. No point in learning the dance together when there is no dance, right?”

“Did you record a song?”

“Um, I finished glassy yesterday, so it’s all up to the producers to come up with a finished product. And I did only last week, I think.”

Lia looked at Eve intently. “It must be hard. Doing this by yourself.”

“It is,” Eve confirmed. “But it is what it is. I’m just trying to prepare for my debut safely and healthily. And then we’ll start preparing for our comeback.”

“Don’t overwork yourself,” Lia instructed. “We need you in good health.”

“Okay,” Eve said, nudging Lia’s shoulder with hers. “What did you do?”

“Yeji and I went to a spa,” Lia said. “We got massages and my body feels like jelly,” she finished with a laugh. “The members were wondering if you’d want to go on a walk tomorrow? Just around the neighbourhood, get some fresh air and spend some time together?”

Eve furrowed her eyebrows. “I would seriously love to, but I’m supposed to get the first demo for the choreography tomorrow and then I’ll have to review it — say what I like and don’t like — and then learn and practise it and–” Eve cut herself off with a sigh. “I’m sorry.”

Lia shook her head. “It’s fi–”

“It’s not fine!” Eve shouted, causing Lia to flinch at the sudden loudness. “Sorry,” she whispered. “You guys keep asking me to do things and I keep saying no all the time and it’s just… so fucking frustrating to not be able to do things with you.”

Lia nodded, putting her hand on Eve’s knee and squeezing. “We understand why you say no, though. We just want to help you relax when possible.”

Eve smiled at her and looked at her hands. “Should I just say I don’t want to do it? That I don’t want to debut? Then I’ll get to spend time with you guys and it’ll give me more time to focus when we start preparing for our comeback.”

“Unnie, that’s crazy,” Lia said, shaking her head.

Eve continued speaking, seemingly not hearing her, “I mean, it makes sense. And why is my debut so close to the comeback anyway? That doesn’t matter. I ‘ll just tell PD-nim that I don’t want to debut anymore. It’s not like I deserve it anyway and since we’re sti–”

Lia interrupted her, “What do you mean you don’t deserve it?”

Eve looked up at Lia. “Hm?”

“You–you just said that you don’t deserve to debut. What do you mean by that?”

“Oh. Just that, out of all the members, I don’t think I should be the first to debut,” Eve explained. “I always thought that if we were to have solo debuts, Yeji or Ryujin would debut first. They’re arguably the most popular members–”

“So are you!”

“–and they just have the aura of people that would be great soloists — like Chungha sunbaenim — so it makes sense that they would debut. Me however–” she sighed and rolled her eyes– “it just doesn’t make sense. And so early in my career? I guess the public wasn’t lying when they said JYP treats me like a princess–”

“Unnie!” Lia sharply interrupted, cutting Eve off. “First of all, you’re an idiot.” Eve opened her mouth to protest but Lia raised her hand to silence her. “You work so hard! Doing so many things for us - half of them you don’t even want to do! But you do it for us. For our team. And now, you have an opportunity to do something that showcases you and your talents. You can’t give it up. Or I will fight you,” she threatened. “And PD-nim shows favouritism to more than one member, let’s be honest. He didn’t give you this opportunity because you’re the apple of his eye or some dumb shit like that. He gave it to you because he trusts that you’ll do good. You’re our team's ace, you’re literally good at everything.” Lia rolled her eyes playfully.

“As for not having enough time to spend with the members… we can work something out. But don’t you ever, for a second, think that you don’t deserve this. You deserve this and more.”

Eve gulped. “If I didn’t have the emotional capacity of a table, I’d be in tears by now,” she joked, leaning forward to hug Lia. Lia wrapped her arms around Eve, tightening and squeezing. “Thank you, Jisu,” Eve whispered.

“You’re welcome, Nabi unnie. We’re supporting you every step of the way.”

Whilst Eve didn’t feel any less stressed, she did feel a weight get lifted off her chest. What Lia said to her were words she didn’t know she needed to hear, but was thankful that she did. All she needed to do now was keep pushing forwards until her debut. She deserved to, afterall.

tagging: @seolboba @ateezivy @ateezjuliet @cafemilk-tea @smh-anon

©️ kim nabi

[the-reconstructor]

As most of you who have seen Get Back probably know, at one point John suggested that George record a solo album to "let all of his songs out" and come back reenergized for the next Beatles project. For a myriad of reasons, this ended up not happening, even if Harrison seemed to favor this idea and even held a solo demo session on his birthday that February. But what if George Harrison had recorded a solo album while the Beatles were still together?

So, in order to create this fantasy album, I put together the best songs George wrote between 1966 and May 1969 that weren't used by the Beatles, and to avoid the heavily Spectorized and reverb-y sound of the All Things Must Pass album, only used alternate takes of the songs. Here's what I ended up with, as seen over at The Reconstructor:

GEORGE HARRISON - GEORGE HARRISON (1969)

What is Life? (Take 1) Let it Down (Take 1) The Art of Dying (Take 1) All Things Must Pass (Day 1 Demo) Isn't it a Pity (Take 27)

-

I'd Have You Anytime (Take 5) Wah-Wah (Take 1) Window, Window (Day 2 Demo) Run of the Mill (Take 36) Hear Me Lord (Take 5)

[sinceileftyoublog]

The Who Reissue Reivew: Who's Next/Life House (Super Deluxe Edition)

(UMe)

BY JORDAN MAINZER

After listening to all almost 10 hours of the latest reissue from The Who, I've come away with two thoughts: I'm glad Pete Townshend's vision for Life House has been totally documented, and I'm thankful Who's Next ended up exactly the way it did. The London band's 1971 opus is, full stop, a perfect album, and remastered over 50 years later, it sounds as vital as ever. Hearing "Baba O'Riley" doesn't just excite people experiencing it for the first time but wows those listening for the thousandth, from the opening chords to Dave Arbus' violin at the end. "Bargain" is the band's most underrated song in their entire catalog, Keith Moon's drums acting as a lead instrument, with John Entwistle's bass and Townshend's guitars providing the backbone. Nicky Hopkins' piano graces the two dramatic treatises on the very act of songwriting itself, "The Song Is Over" and "Getting In Tune". "Won't Get Fooled Again" remains a wildly anarchic song from a band that only went so far as to lightly poke fun at consumerism but was otherwise apolitical. And as much as Roger Daltrey was at the height of his vocal powers, belting during "Baba O'Riley" and unleashing one of the most famous screams in rock and roll on the final track, the two songs without him--Entwistle's "My Wife" and Townshend's brilliant choogle "Going Mobile"--shine bright.

So when you hear the demos from the failed Life House rock opera that turned into Who's Next, as well as sessions containing fan favorite songs recorded around the same time, do you question what made the cut? Could Who's Next have been even better? The short answer, and the only answer, is no. But the extended material, in conjunction with live recordings of two concerts in 1971 before and after the record was released, paints a fascinating picture of a band trying to figure out what it's best at. They were the first to advertise a rock opera in 1969 with Tommy, and Townshend was eager to write another one in Life House, an astonishingly ambitious, multi-media project with a convoluted plot and a desired presentation that seems to foreshadow postmodernism, the Internet, and the metaverse all at once.

Appropriately, the Lifehouse Chronicles demos (referring to the box set Townshend released in 2000) indicate a band where he's at the forefront, Moon's drumming notably taking a back seat on a groovier "Bargain". "Teenage Wasteland" shares some lyrical elements with the eventual "Baba O'Riley" but is structured like a prog rock song, and the gist of the lyrics emphase the quintessential masculine impostor syndrome that pervaded the band's earlier songs. "Love Ain't For Keeping" is less of a country ballad and Daltrey showcase, more an opportunity for Townshend to sneer over psychedelic wah-wahs. A 13-minute instrumental version of "Baba O'Riley" starts out exactly the same as the eventual version until the drums swallow in on themselves, the song growing quieter, delving into experimental ambiance, and warping in and out as if it were an electronic remix of the original. What the Lifehouse Chronicles does make you appreciate, on the other hand, is the individual greatness of gorgeous songs that stand on their own merits but wouldn't have sounded sonically cohesive within the Who's Next framework: the strummed "Greyhound Girl", barroom piano jaunt "Nothing Is Everything (Let's See Action)", and the layered "Pure and Easy". Plus, hearing a rawer, more fried version of "Going Mobile" is the closest you'll ever come to witnessing a live recording of the Who's Next standout the band never played in concert.

The two sessions included in the reissue pinpoint where Life House turned into Who's Next. The first contain recordings at New York's Record Plant with band manager Kit Lambert (that Leslie West of Mountain famously played on). Sonically, they're a bit muddier than the Olympic Studios sessions or what ended up on Who's Next. "Won't Get Fooled Again" is plodding, as is "The Note", an early version of "Pure and Easy". When Lambert and Townshend had a falling out about what, exactly, Life House was (Townshend had rejected Lambert's Tommy film script and told Universal Pictures that Life House was a new version of Tommy), the band went to Glyn Johns to produce, who suggested The Who make a single album instead of a rock opera. It's here that we hear versions of songs like "Love Ain't For Keeping" and "Bargain" that sound familiar, as well as stellar versions of tracks recorded for Life House that didn't make Who's Next. "I Don't Even Know Myself" sports clacking percussion from Moon, "Relay" chugs along wonderfully, and "Put the Money Down" juxtaposes Daltrey's huge vocals and Townshend's guitars, the closest the band ever got to Southern rock.

The sixth disc, containing alternate mixes and sessions from Townshend's home studio in Twickenham, is by no means essential, but it reminds you just how good The Who sounded as a result of participating in so many sessions, fine-tuned while at their creative peak. Versions of "The Seeker" highlight Townshend's fast-picked guitar and Moon's drumming, Daltrey's full-throated wails exemplifying what made this era of the band so thrilling. In a call to Live at Leeds, one of the best live albums ever, and one that the band simply released as a way to tide over hungry fans post-Tommy, The Who here include a stereo remix of Leeds favorite "Heaven and Hell". "Water"'s piano trills and call-and-response vocals preview the storming grandiosity of Quadrophenia, while the undeniably silly "Waspman", with its harmonica and vocal zipping, recall earlier, more absurd albums like The Who Sell Out.

The band's concert at the Young Vic Theatre in London, impromptu during album recording, and the site where the band planned to record sonic and visual footage as part of the Life House experience, proved to be the rock opera's death knell. Perhaps that was because fans were quick to shout requests for "My Generation" and "Summertime Blues", disappointed when Townshend announced "Water" instead. I like to think it's because the Who's Next songs sounded good on their own: "Love Ain't For Keeping", the upcoming single "Behind Blue Eyes", and a guitar solo-laden "Getting In Tune". By the time they played later that year at The Civic Auditorium in San Francisco, Who's Next was already out, and it's this concert, presented in full for the first time ever, that documents a band realizing where their newer, more ambitious material fit in with their classics. While they still opened with "Can't Explain" and "Substitute", by the time they performed the synth intro of "Baba O'Riley", fans started to cheer for the new material, too. Naturally, the biggest reaction erupted for a 17-minute version of "Magic Bus", Tommy material like "Pinball Wizard", and a blistering "My Generation". In due time, though, the band would be playing to true arenas, on the strength of, not in spite of, Who's Next. What this box set shows is a potential alternate timeline: If Townshend's vision had panned out, who's to say we'd still be talking about The Who in 2023?

[mirandamckenni1]

Liked on YouTube: BDSM 101: Abrasion Play || https://www.youtube.com/watch?v=IS89QxDwWU0 || Looking for more info mentioned in this video? My social media? How to support this channel? Just click "show more" below! ヽ(´･ω･`)､ ▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬▬ ▼▼▼ SUPPORT AND SUBSCRIBE ▼▼▼ Subscribe to my channel: https://www.youtube.com/c/EvieLupine My Patreon: https://ift.tt/PSB7IqK & For 1:1 Chats, Advice & Video Calls: https://ift.tt/Lf14Rjq Twitter: @EvieLupine Watch me LIVE on Twitch! https://ift.tt/vsXYQgu Looking to meet kinky people? Try Feeld*: feeld.pxf.io/9gLNnQ Want Even MORE BDSM Education? Check Out Dom Sub Living*: https://ift.tt/aHTr0cZ https://ift.tt/cwR8Cf2 FREE resource Library: https://ift.tt/k5Nhze2 My BDSM Merch Store: https://ift.tt/FRH3wrb Business Inquiries ONLY: lupineventide@gmail.com [DO NOT SEND YOUR PERSONAL QUESTIONS HERE] ▼▼▼ RELATED VIDEOS ▼▼▼ BDSM 101 Tickle Torture: https://youtu.be/mBIfI1y9N6c BDSM 101 Mummification: https://youtu.be/a4xDXV_GwOM The Secret To Pain Tolerance: https://youtu.be/GGa4VgIjeE4 All About Subspace: https://youtu.be/iilCgSjvCIc ▼▼▼ VIDEO INFORMATION ▼▼▼ FOR EDUCATIONAL PURPOSES ONLY. All of my videos are intended to provide safety information for adults that choose to engage in these activities as well as combat stereotypes and misinformation. In addition these videos may contain educational commentary on queer issues, pop culture, and news items. No portion of my content is meant to be used for gratification, nor is it intentionally salacious. In this video, we'll be talking about the under-appreciated world of abrasion play. Scratching, poking, prickling and scraping are all wonderful ways to play with masochism and experience extreme sensation but so few people know how to use them! We'll be going over common techniques for abrasion play, why people enjoy it, how you can use it in scenes you already do, and so much more. Youtube made me remove all of the example pictures and demos I had included in this video... wah. :/ 00:00 - introduction 01:02 - what is abrasion play? 04:10 - what makes abrasion different 06:00 - how to introduce abrasion 06:55 - using abrasion for marks or pain tolerance 08:20 - abrasion as a punishment tool 11:37 - birching 12:26 - abrasion as service 13:36 - abrasion play in bondage 14:51 - abrasion play in petplay 16:00 - heavy abrasion play 18:44 - final thoughts ▼▼▼ EVERYTHING ELSE ▼▼▼ Art by: @animositi on Instagram Credits/Attribution (Music): Artist: Audionautix Website: http://audionautix.com/ Track: Transportation Licensed under a Creative Commons Attribution license (https://ift.tt/gcyUJmD) All content used falls within fair use guidelines for education and commentary purposes. * = affiliate link ▼▼▼ P.O BOX ▼▼▼ Evie Lupine 4233 SE 182nd Ave # 357 Gresham, OR 97030

[dustedmagazine]

Listed: Tomten

Photo: Tony Kay

Tomten are a baroque pop quartet based out of Seattle, Washington. Brian Noyes (vocals, keys, guitar) and Lena Simon (bass, vocals) (Kairos Creature Club, formerly of La Luz) met in 2008 and began demoing each other's songs at Cornish College of The Arts. Their latest album, Artichoke, is less prickly than the name suggests, drawing influence from the acid folk of the Incredible String Band, Bridget St. John and John Martyn, the lushly arranged soul of the Delfonics and the country pop of Gene Clark. Jennifer Kelly wrote about the disc in the last Dust, noting that “Tomten’s songs billow and swell in that frictionless, effortless way that often indicates great care and craft.”

Here Brian Noyes digs deep into the archives via two compilation series. He writes, “There are two compilation labels that have meant a lot to me over the past few years, Grapefruit Records is a subsidiary of Cherry Red and issue primarily British Psych and Folk, and Cairo releases incredible 1960s-1970s soul comps. I decided to pick five of my favorite tracks that Grapefruit and Cairo turned me onto.”

Jackie McAuley — “Turning Green”

I was familiar with Jackie McAuley being the former keyboard player of Them and the other half of the amazing and underappreciated folk pop duo Trader Horne with Judy Dyble (Fairport Convention.) But I wasn’t familiar with any solo work he had done. This song instantly stuck with me. I love the string arrangements and stately piano. In an alternate universe it could’ve been at the end of a 1970s Hal Ashby or Robert Altman movie.

Carolanne Pegg — “Open The Door”

I could listen to this song over and over, it’s so fun. I love Carolanne’s vocals on it, kind of shrill and mystical, like proto-Kate Bush. I also love the cosmic banjo rush during the later chorus and the throaty guitars.

Matching Mole — “O Caroline”

I’ve always loved Robert Wyatt, but I’d missed out on his earlier group Matching Mole. This is such a sweet and touching song. I love the mellotron and wah guitar and the line — “if you call this sentimental crap, you’ll make me mad.” Gotta love Robert Wyatt’s wooly little voice.

Robin Williamson — Strings In The Earth and Air

This is the opening track off his 1972 solo record “Myrrh.” Strangely enough, I first heard Dr. Strangely Strange’s cover of it — I love both but prefer Robin’s. Such a haunting and beautiful song. I believe the first half is part of a James Joyce poem. I want it played at my funeral… I also love Mike Heron’s solo record from a year or so earlier, Smiling Men with Bad Reputations. Two over-looked solo efforts from the Incredible String Band.

Heron — “Take Me Back Home”

Tomten has loved Heron for a long time, so much so that we covered their tune “Yellow Roses.” They are all over Grapefruit Comps, so I wanted to include them for that reason. This song is off their second record Twice as Nice & Half the Price and it is my absolute favorite. It’s such a loose and lovely performance. Makes you wish you’d been hanging out in the house with them having some frothy ales.

Bettye Swann — “Then You Can Tell Me Goodbye”

Bettye Swann has so many killer songs, this one really sticks with me. Great morning song. Love the production and backups too. John Holt has a cool version on A Love I Can Feel as well, but Bettye is best.

Diamonettes — “Don’t Be Surprised”

Great tune from a somewhat obscure Miami group. Classy strings. They also have another tune I love called “Rules Were Made to Be Broken.”

The Raelettes — “Many Rivers To Cross”

A fantastic song and so many good versions, Jimmy Cliff and Nilsson… But I hadn’t heard this version until semi-recently and I love the mood of it — somber smokey horns. The Raelettes were backup singers with Ray Charles for a time, and later changed their name to The Cookies.

Eddie & Ernie — “I’m A Young Man”

I LOVE EDDIE & ERNIE! Their voices together are fabulous, this is one of my favorites. There is an awesome comp called “Time Waits For No One” everyone should go out and buy now!

The Ordells — “Sippin’ a Cup of Coffee”

A good song for ruminating… Eerie, dreamy and gorgeous.

Various Artists — Strange World

On a final note, there is a compilation by a partner label of Cairo, Pyramid Records that did a release called Strange World described as “Cosmic and Earthly Doo Wop and R&B from America and Jamaica” that if you come across you should absolutely purchase. I probably play it at home once a week, hehe.

[paulodebargelove]

Maxwell - Sumthin' Sumthin' (Official 4K Video)  HAPPY BIRTHDAY to Gerald Maxwell Rivera, (born May 23, 1973), better known by his stage name Maxwell, is an American singer-songwriter, record producer, and actor. Along with fellow musicians D'Angelo and Erykah Badu, Maxwell has been credited with helping to shape what has been termed the “neo soul” movement that rose to prominence during the late 1990s.Early lifeMaxwell was born in Brooklyn, New York, the son of a Haitian mother and a Puerto Rican father. His mother grew up in a devout Baptist household in Haiti. Maxwell’s father died in a plane crash when Maxwell was three years old. The experience made him a deeply religious child, and during his childhood he sang in a Baptist church.CareerBeginningsAfter receiving a low-cost Casio keyboard from a friend, the Brooklyn, New York-native began composing music at age 17. Raised in the borough’s East New York-section, Maxwell’s previous musical experience included his beginnings as a singer in the congregation of his Baptist church, which had become an integral part of his life after the death of his father in a plane crash. Already a fan of what he described as “jheri curl soul”, which was the trademark of early 1980s R&B acts such as Patrice Rushen, S.O.S. Band and Rose Royce, Maxwell began to teach himself to play a variety of instruments. According to him, the R&B of the early 1980s contained “the perfect combination of computerized instrumentation with a live feel”, and that the genre’s dynamics later became lost due to the influence of hip hop on R&B. Despite facing ridicule from classmates for being shy and awkward, he progressed and continued to develop his musical abilities, and he also adopted the look of a more bohemian style outwardly in his clothing, growing long sideburns and letting his hair grow out wildly and combed in an extreme style, or sometimes putting his hair in long dreads.Initially influenced by early-1980s urban R&B, Maxwell progressed rapidly, and by 1991 he was performing on the New York City club scene. Maxwell was able to gain access to a 24-track recording studio and started to record songs for a demo tape, which he circulated among his friends. The demo engendered interest, and his official debut concert performance at Manhattan nightclub Nell’s drew a crowd. During the next two years, Maxwell wrote and recorded over three hundred songs and played frequently at small venues throughout New York City. Maxwell’s performances continued to draw interest and increase the buzz about him, and he was called “the next Prince” by a writer from Vibe magazine who attended one of his shows. After earning a considerable reputation, Maxwell signed a recording contract with Columbia Records in 1994. He adopted his middle name as a moniker out of respect for his family’s privacy.Maxwell’s Urban Hang SuiteMaxwell began working with songwriter Leon Ware and noted guitarist Wah Wah Watson to record his debut Maxwell’s Urban Hang Suite in the early 1990s. Recording sessions for the album took place in 1994 and 1995 at Electric Lady Studios, RPM Studios, Sorcerer Studios and Chung King Studios in New York City, and at CRC Studios in Chicago, Illinois. After production for the album was completed in 1995, the finished product was presented to Columbia Records in Spring of that same year. However, it was shelved for nearly a year, due to issues with Columbia’s management, the label’s extensive reorganization and record executives’ doubts of the album’s commercial potential.Initially, the album was slow to obtain commercial interest. On April 20, 1996, the album made its chart debut at number 38 on the Top R&B/Hip-Hop Albums chart. From August to October 1996, Maxwell’s Urban Hang Suite experienced chart growth on both the Top R&B/Hip-Hop Albums and Billboard 200, peaking at number eight on the former and at number 36 on the latter. It spent seventy-eight weeks on the Billboard 200 chart. It became a Top 30 hit in the United Kingdom. The album was later ranked as one of the year’s top-10 best albums by Time, Rolling Stone and USA Today. and was also nominated for a Grammy Award for Best R&B Album at the 39th Grammy Awards, losing the award to The Tony Rich Project's Words.The album spawned four singles. The first single released, “…Til the Cops Come Knockin’”, debuted on the Hot R&B/Hip-Hop Singles & Tracks at number 87 in May 1996. Peaking at number 79, the single spent 12 weeks on the chart. The second single, “Ascension (Don’t Ever Wonder)”, debuted on the Hot R&B/Hip-Hop Singles & Tracks in August 1996 at number 11, eventually peaking number eight. It spent eighteen weeks on the Billboard Hot 100, peaking at number 36 on September 28, 1996. The third single, “Sumthin’ Sumthin’”, peaked at number 22 on the Hot Dance Music/Maxi-Singles Sales. The album’s fourth single, “Suitelady (The Proposal Jam)”, entered the Hot R&B/Hip-Hop Airplay component chart in May 1997, peaking at number 64. (Maxwell contributed the song “Segurança (Security)” to the AIDS-benefit album Red Hot + Rio, produced by the Red Hot Organization.)Despite only having released only one album, the music video television channel MTV saw his burgeoning popularity and asked him to tape an episode of the concert series MTV Unplugged in New York City. The show was taped live on June 15, 1997, and he performed his own songs as well as covers of songs by Kate Bush (“This Woman’s Work”) and Nine Inch Nails (“Closer”). (Unfortunately he clashed with his label about the release of a full album of his session, resulting in the release of only an extended play, or EP instead, containing seven songs.) The episode of MTV Unplugged first aired on the network on July 22, 1997".Embrya and NowMaxwell’s second studio album, Embrya, was released in early 1998, and upon its release it was panned by contemporary music critics. The album received mixed criticism for its more “indulgent sound.” With its internal focus and esoteric grooves, the album served as a departure for Maxwell, who did not regret risking his reputation with urban listeners for a more challenging record. The album experienced a critical backlash similar to that of other artists’ work that broke their previous releases’ successful formulas in favor of more compelling projects, now being termed “neo-soul.” In 1999, it won the Soul Train Music Award for Best Male Soul/R&B Album. In a retrospective review for Allmusic, Stephen Thomas Erlewine wrote that Maxwell “overstuffs his songs with ideas that lead nowhere” and called Embrya "a bit of a sophomore stumble, albeit one with promising moments.“ Arion Berger, writing in The Rolling Stone Album Guide (2004), found the songs monotonous and called the album "unfocused and pretentious … full of overwrought, underwritten songs with obscure, fancy titles revolving around a sort of sexual gnosticism.”Despite the negative press, the album sold more than one million copies and garnered Maxwell a new alternative fanbase, but confounded the traditional urban consumers. On May 26, 1999, the album was officially certified platinum by the Recording Industry Association of America (RIAA). Embrya was nominated for a Grammy Award for Best R&B Album, losing to fellow neo-soul artist Erykah Badu's Baduizm (1997). Later in the year he released “Fortunate”, a single written by R. Kelly and featured on the soundtrack for the 1999 film Life. The single peaked at number one on Billboard magazine’s Hot R&B/Hip-Hop Singles and Tracks chart. To date, the song is Maxwell’s most successful single and was Billboard’s number-one R&B single of 1999.Now, Maxwell’s third album, was released on August 14, 2001 on Columbia Records in the United States. Following the lukewarm radio success of his previous album, Maxwell has stated he felt more comfortable with his artistic direction in the creation of his new album, which does not exhibit his previous work’s conceptual style. The album sold over 296,000 units in the U.S. in the first week, according to SoundScan, to earn him his first-ever number one album. The second single off the album, “This Woman’s Work”, a live staple of Maxwell’s, charted at number 58 on the Billboard Hot 100 and at number 16 on the Hot R&B/Hip-Hop Songs chart. Once again, despite some criticism towards Maxwell’s songwriting, La Weekly stated “Now is a disappointment in the wake of 1996’s Maxwell’s Urban Hang Suite and its 1998 follow-up, Embrya." Now received generally positive reviews from music critics, based on an aggregate score of 78/100 from Metacritic. The album also served as Maxwell’s last release before quietly entering a self-imposed an almost seven-year hiatus from performing, and no tour was planned to support the album.BLACKsummers'nightRecording sessions for a new album took place during 2007 to 2009 at Chung King Studios, Bowery Digital, and Platinum Sound Recording Studios in New York City. The album was produced entirely by Maxwell and musician Hod David. The album was to serve as the first part of his scheduled trilogy of albums.During this time, and after seven years of not performing, he appeared as a surprise musical guest on the 2008 BET Awards, where he performed the song "Simply Beautiful” in a tribute to soul singer Al Green, shocking fans and the audience alike with his ability to still perform well, but also with his new look, his trademark dreadlocks and pork-chop sideburns gone, replaced with a more relaxed and mature look.The album BLACKsummers'night was released on July 7, 2009 and received universal acclaim from music critics. Commercially the album was a success, debuting at number one on the US Billboard 200 chart in July 2009, with first-week sales of 316,000 copies, serving as Maxwell’s highest first-week sales.The album produced four singles. The lead single “Pretty Wings” debuted at number one on the US Billboard Hot R&B/Hip-Hop Songs chart, ultimately spending 47 weeks on the chart. It also spent 18 weeks and peaked at number 33 on the Hot 100 and at number 12 on its Radio Songs component chart. The second single, “Bad Habits”, peaked at number four on the Hot R&B/Hip-Hop Songs, spending 46 weeks on the chart. It peaked at number 71 on the Hot 100, at number 38 on the Radio Songs chart, and at number 16 on the Hot Dance Club Songs chart. The third single “Cold” spent one week at number 62 on the Hot R&B/Hip-Hop Songs. The album’s fourth single “Fistful of Tears” spent 24 weeks on the Hot R&B/Hip-Hop Songs, peaking at number 11. It charted at number 94 on the Hot 100 and at number 63 on the Radio Songs chart. Maxwell received six nominations for the 2010 Grammy Awards, winning “Best R&B Album” for BLACKsummers'night and “Best Male R&B Vocal Performance” for “Pretty Wings.” “Pretty Wings” was nominated for the “Song of the Year” which was written by Maxwell under his publishing moniker Musze.On April 17, 2012, Maxwell announced that he and his eleven-piece band would embark on a six-day tour, MaxwellTwoNight -M2N tour 2012 – two nights in three cities, scheduled for the cities of Los Angeles, California – Staples Center (July 20 and July 21); Atlanta, Georgia – Phillips Arena (July 27 and July 28); and Newark, New Jersey – the Prudential Center (August 3 and August 4). Maxwell was to perform his discography in its entirety. The first day of the tour Maxwell was to perform songs from his first album Maxwell’s Urban Hang Suite and second album Embrya. The second day of the tour Maxwell was to perform from his third and fourth albums Now and BLACKsummer'snight, respectively. Maxwell was to debut never-performed songs from his BLACKsummer'snight trilogy. lt was also announced that proceeds from the M2N tour merchandise would support the “Obama-Biden 2012” re-election campaign. However, the tour was canceled due to vocal hemorrhaging.blackSUMMERS'nightAfter two years of occasionally performing and planning, he disclosed during an interview with Rolling Stone magazine in May 2014 that he had been working on his fifth studio album for “the past three years” and has been recording in Miami. On December 18, 2014, Maxwell announced on the social media site Twitter the second installment of his trilogy blackSUMMERS'night would be arriving sometime in winter 2015.On April 7, 2016, Maxwell released his first solo single in 6 years titled “Lake by the Ocean”, and also revealed his long-awaited fifth album blackSUMMERS'night. He performed it on The Late Show with Stephen Colbert on May 5, 2016. It was his first television performance in seven years.The full-length album was released on July 1, 2016.Neo soulAlong with fellow musicians D'Angelo and Erykah Badu, Maxwell has been credited with helping to shape the “neo soul” movement that rose to prominence during the late 1990s. Along with D'Angelo's Brown Sugar (1995) and Badu's Baduizm (1997), Maxwell’s Urban Hang Suite has been recognized by writers for beginning neo soul’s popularity and helping the genre obtain commercial visibility. However, in contrast to D'Angelo, Maxwell was more conventional in his approach on his debut album.In commenting on the “new soul revival” in music, Maxwell told Entertainment Weekly in 1997 that “everything out there musically was inspired or influenced by something from the past. It’s not about creating some super-fresh new thing. If it doesn’t lend itself to your history, how is it going to extend to your future? That’s what’s really brilliant about looking into children’s eyes—you can see their parents in them." The Washington Post called him "the Marvin Gaye of the ‘90s”. Its columnist wrote that Maxwell’s Urban Hang Suite "heralded the arrival of a top-of-the-class graduate of the old school of soul, one who could sing about romantic aspiration and tribulation with heart-wrenching emotion. It was as if the aesthetic that Gaye ascribed to — 'music that has feeling, hope and meaning – all the things people are looking for’ — had been rediscovered after a long, hedonistic interlude.“Maxwell’s role in writing and producing the album exhibited a level of artistic control by an R&B artist that was uncommon in the recording industry at the time. On his emergence with Maxwell’s Urban Hang Suite, writer Carol Brennan cited him, along with the Fugees, D'Angelo and Tony Rich, as neo soul musicians that "exhibited the identifying characteristics of this new breed of R&B artists: lyrics that give voice to intense personal expression, creative control over the music, and a unexpectedly successful debut.”DiscographyMaxwell’s Urban Hang Suite (1996)Embrya (1998)Now (2001)BLACKsummers'night (2009)blackSUMMERS'night (2016)ToursHeadliningUrban Hang Suite Tour (1997)Now Tour (2001–02)Maxwell Live (2008)BLACKsummers'night Tour (2009)Summer Soulstice (2014)Summers’ 2016 (2016)Co-headliningSony Music Black College Tour (1996) (with George Clinton, the Fugees, Groove Theory and UBU)Maxwell & Jill Scott: The Tour (2010) (with Jill Scott)Annual Summer Jam (2016) (with Fantasia Barrino)King and Queen of Hearts World Tour (2016) (with Mary J. Blige)Cancelled toursMaxwellTwoNight (2012)Awards and nominationsAmerican Music AwardBET AwardsGrammy AwardNAACP Image AwardSoul Train Music AwardsTodas as reações:111Compartilhar

[harrietteb]

Intro to Digital Techniques

I am going to begin this blog by saying that I wrote the idea for Suburbia in 2021 while working in Queensland. I think I was projecting at the time my longing for my childhood (I graduated in 2020) and simplicity again and I like how “immature” the lyrics kinda are. I picture my 14 year old self walking home on a hot afternoon in my school uniform after a hard day when I listen to this song. My initial recording has the piano, harmonies, bass and drums and over the past month I have re-recorded each and beefed up the piece with synths, more drums and a clav. I also am adding in the inspiration section things I was listening to heavily at the time and had in my world. 

Inspiration and Listening ideas

60’s pop inspired, close harmonies (think The Mamas and The Papas, Beach Boys, etc)

Unnerving, satire, punching bass. 

Taking an older idea and producing it - I have attached the original MP3 from the first version below. 

Lyrics are a sort of satire about a 14 year old me, a middle class white girl in the suburbs who is searching for oppression to make herself feel better. 

I was told by a friend that “no one makes songs that fade in and fade out like a Taylor Swift song anymore”, so that's where the intro and outro came from. 

I was inspired by the harmonies and synths in Flood by Stella Donnelly in the more modern version of my song. 

SPOTIFY INSPIRATION PLAYLIST 

Initial thoughts

The original idea I wrote 2 years ago with no music theory knowledge, but I love the A Asus movement, it makes it feel unnerving and unfinished. It makes the chorus more obvious I think. Also the movement from the A to the F chord doesn't really make sense in the key of A, I know that much but I am also still very lost on music theory. But I still really love that movement, I think it’s strange and satisfying. 

ATTACHED MP3 OF ORIGINAL SONG -> 

Composition ideas

Block harmonies and counter melody harmonies. I’ve used these before in other compositions.

Synths that pan and move around the listener.

Simpler backing to focus on the harmonies and vocals. 

I also wanna make it sound like all the instruments are sorta having a conversation with each other, the harmonies, synths and drums are all talking to 14 year old me. 

I want it to sound sorta nostalgic, that's why I’ve used electronic and retro sounding synths, I do want it to sorta sound like something you’ve lost. I think also specifically the main synth (the “Wide Suitcase”) sounds like a hot day, I think of the dreamy bell quality. 

The lyrics and title “Suburbia” are inspired by both the place I grew up (Berowra Heights) and the effect capitalism and social media had on me as a teenager. 

Elements

The bass and the kick are vital to making the movement of this piece make sense, I used the EQ trick we learnt in class and allowed both to have their own space in the lower sections. I have attached images.

I also EQ’d the vocals and harmonies in order to cut out any rumble from the high and low end. I made the cutoff a bit more intense on the vocals, this pulls them further back from the lead vocal line. 

I also added a Clav on top of the bass to create more of a “wah wah wah” sound, I think it creates more movement and the bass line more iconic. I also put them into a track stack and compressed them to squish them together. 

I also put all the harmonies in a track stack, I panned 2 to each side (4 tracks in total) and neglected adding any reverb on the harmonies. 

I added “Retro Vibes Synth Bells” and “Suitcase Mk I Overdrive” synths to create interest. I also added a slight chorus onto the  “Suitcase Mk I Overdrive” to help add to the unresolved feeling. They also each have some panning, the Retro bells move from right to left when it plays at the end of the second verse. The Suitcase has two tracks each playing a different note in its counter melody, they’re each panned to one side. This makes it sound like a call and response. 

I am using 3 different types of drum kits and I have gone through to each repeat and changed the velocity, this helps them sound more like live drums. 

The melody changes in the first verse to the second, this I think adds to the unfinished feel and also allows me to experiment with harmonies and rhythms. Same as the drums. 

SOUNDCLOUD LINK

[kyunkyunscans]

Volume 3 has three different extras, so they're each getting their own post. This one takes place just before Chapter 11, which is the pajama party with i7.

PG 135 Extra Manga 1 Re:vale Pajama Preparations

The pinnacle of the current idol world. The name of that unrivaled group is Re:vale.

Gelatte pajamas

Momo: Look, look, Yuki! Yuki: It really suits you, Momo.

Tag: Men’s Line

PG 136 *kyan kyan* Okarin: (It’s time, you two!)

*door click* Momo: Okarin, will you put on the demo of the new single? Okarin: Sure

Momo: By the way… (Momo’s Drawing Board)

*Kyun* (Writing board game instructions)

Yuki: You really like entertaining people, don’t you Momo. Yuki: Did you say you planned for food afterwards? (Today’s Script)

(fufu) Momo: Thanks for always helping me, Yuki!  Momo: Moving people is my specialty, but you really save me with the details! Yuki: You are good at moving people.

Yuki: Okarin, after we get to the hotel, can you lend us a white board?*To stick the game on* Okarin: Yes! I’ll plan to bring it over the day of.  Momo: Thanks! Sorry for asking you even outside of work~!

PG 137 Okarin: No problem! If there’s anything you two need to do your work Okarin: Anything at all, please tell me! 

Momo: That’s our Okarin! I looove you! *glomp* Okarin: Wah! Yuki: Momo, give him my share too. Momo: OK! *squeeze* Okarin: Ah, thank you!

Momo: Now then, what should we do for the crucial i7-kun group’s pajamas?

Yuki: Is there something funny?

The long-awaited sailor uniform that you can wear anywhere has arrived! Sweatshirt fabric! Also available for men!

PG 138 I7 School ~Secret Flower Garden Edition~ *bwah!!!*

Yuki: You can’t, Momo, they’ll go right back home… *snicker* Momo: But we might be able to use them in a punishment game so I’m buying one anyway! Yuki: You’re not wrong!

Yuki: Ah

PG 139 Yuki: Okarin, play that B melody just now again Okarin: Got it!

Momo: Other pajama ideas….. Ou-sama Pudding Kigurumi Pajamas

PG 140 Yuki: They might actually go for that one… Momo: They’re probably used to it from variety shows

Okarin: Um, is it a bad thing if they go for it? Momo: That’s our Okarin!!!

PG 141  Dance Studio Instructor: One! Two! Three!

Momo: (Okay so for the pajamas, I was thinking this…)

“The immovable top idols”

The end

Masterlist

[eppysboys]

Top 5 solo beatles songs?

Thank you, love!! 😊 I'll have to do the top five for each beatle seperately, otherwise it's too hard!! (in no particular order)

George:

All Things Must Pass

I Dig Love

The Art of Dying

Wah Wah

Love Comes to Everyone

(slightly influenced by the recent release of atmp!!)

John:

Going Down on Love

#9 Dream

Whatever Gets You Thru the Night

(Just Like) Starting Over

Every Man Has a Woman Who Loves Him

Paul:

Junk

Lovers That Never Were (the demo)

Call Me Back Again

Temporary Secretary

Mr H Atom / You'll Know I'll Get You Baby

Ringo:

Back Off Boogaloo

It Don't Come Easy

Photograph

Goodnight Vienna

Have You Seen My Baby

[doomedandstoned]

In Conversation with CRYSTAL SPIDERS

~Interview & Photographs by Randy J. Byrd~

Illustration by Jonathan Grimm Art

Longtime Doomed & Stoned contributor Randy J. Byrd brings us an interview with N.C. fuzz freaks CRYSTAL SPIDERS. Since 2018, Brenna Leath (bass, vox), Tradd Yancey (drums, vox), and crew have released a demo and two full-length records, the most recent of which is 'Morieris' (2021). Get to know the band, what drives them, and their favorite places to hang around Raleigh in the discussion that follows!   (Billy Goate, Editor in Chief)

MORIERIS by CRYSTAL SPIDERS

What is the central theme of your latest album, 'Morieris'?

BL: Almost all of the songs loosely reference classical mythology. Our album art and title are a play on “memento mori” - the art is our take on a “white trash still life,” with trashy ephemera from the last couple decades instead of the traditional (e.g., VHS instead of books, a bag of tobacco instead of flowers, a moonshine jar instead of a wine glass). Tradd and I collected items to assemble the still life and my tattoo artist Tyler Pennington of Talon Tattoo in Winston-Salem, NC, did an amazing job painting it.

Is there one particular person that writes the lyrics or is it a group effort?

BL: I write the lyrics. My background is in writing and literature, so rhyming/poetry are pretty second nature.

Do you all write your own parts or are there collaborative efforts going on during the process?

BL: We write our own parts, although sometimes we have suggestions for each other on tweaks or additions. For this album, writing for the guitar parts was a joint effort between me and Mike Dean, and Tradd and I wrote the keyboard/synth parts together.

Tell us about your special guests on the record and how their roles came about.

BL: Mike Dean is a good friend of ours. He is my bandmate in Lightning Born and has worked on the last few albums I’ve been a part of, so when he offered to do guitar work on the album, that was a no-brainer. He is crazy talented and very easy to work with. We have a good dynamic with him in the studio. He’s a stickler for the fundamentals, but he’s always game for an experiment, which we appreciate. For “En Medias Res,” we wanted some orchestral instruments to add some atmosphere and fill out the space. I think we all got excited about the creative potential for something like that. High Priestess Nighthawk from Heavy Temple is an excellent cellist. We had been talking about collaborating for awhile, and this was the perfect opportunity. Meredith Mitchell is a new friend who is a classically trained violinist, so it was exciting to have her in the studio.

Where was it recorded, mixed, and mastered?

TY: Another reason we love working with Dean is that he’s right down the hallway! We recorded everything at a pretty comfortable pace in his studio over a couple months. Nothing’s worse than feeling rushed to get a particular track/part done due to financial or scheduling constraints and we never feel that way working with Mike. He mixes the tracks as well, which we all collaborate on in a back and forth, try-out-on-every-speaker-we-own kinda way. We did that for Molt as well and it’s helped us get that vintage sound while making sure all the individual parts are clear and stand out. Brad Boatright from Audiosiege did the mastering and is great at making the car mirrors shake, so to speak.

Any special gear used during recording to help put the icing on the cake so to speak? I.E. Amps, Guitars, basses, effects units, drums.

TY: Brenna would definitely say her Kramer Vanguard bass. I’ve been using a custom Anchor drum kit for recording which has been known to summon a demon or two, and I know Dean loves his wah that he holds in place with a bottle opener. Straight-to-tape is also a must in terms of that classic sound we all love. We’ve all got our fave piece of gear, but we’re never opposed to playing something else or trying out new sounds. The search for tone never ends!

Molt by CRYSTAL SPIDERS

Any long-term goals, i.e. merch drops, special editions, and splits?

TY: We were talking about splits while making Morieris, and would love to do some longer-form stuff for a split or an extended EP. It never hurts to have extra recorded stuff in the back pocket and be okay with waiting for the perfect home. Special editions are cool as well. As a fan, I’m a sucker for special/limited edition stuff, like the new Boris/EarthQuaker pedal collab or Big Business’ tour EPs. Take my money!

When coming up with new material do you all reflect on past material to move forward?

TY: I think it depends on the release and where we are in the process. When we’re in the initial writing stages, each song is like an island unto itself for the most part. Only after the pieces are mostly in place do we judge how it will fit in the record holistically, or if it fits in at all. When constructing a live show, we absolutely review older songs so everything can flow nicely for the audience. But Brenna and I are seemingly always in the writing stages for other projects as well, so we rarely sit down to listen to the older stuff and go “we need another one of these” or “definitely not doing that again.” The creative train must always move forward.

Are there any side projects that keep your creative juices flowing?

TY: Brenna and I are like sharks. If we stop swimming, we die. She has Lightning Born (with Mike Dean) and The Hell No to keep her creative train rolling (she writes like most people binge-watch TV, btw) and I have Doomsday Profit, which allows me to experiment with a more heavy-hitting, Conan-type style and Positive Punishment, which leans heavy on experimental music and improv. Unless you’re Johnny Ramone, I’m pretty sure every musician has a side-project, even if it’s just in their head. Not every riff will fit with every project, so having a lot of fingers in a lot of pies can provide the perfect home for the perfect riff.

What are you all listening to nowadays?

TY: With all these best-of-2021 lists out, we have a lot of catching up to do. So many excellent releases came out last year; it’s gonna take a couple months to go through them all. Brenna really loves her dark wave and I dig obscure blues, but those will be on hold until we check out all that 2021 brought forth.

BL: I haven’t done a proper year end list yet, but some of my favorite releases this year have been Heavy Temple, Witchcryer, Book of Wyrms, and Erik Larson. The new Monolord and Green Lung were choice, as we knew they would be! My current darkwave jams are Molchat Doma and She Past Away, but Drab Majesty is always in heavy rotation.

Communication Breakdown (Led Zeppelin cover) by The Redux Project

Who inspires you to do what you do?

TY: A major inspiration for me would be Erik Larson. He is such an excellent player, insightful songwriter, and overall good dude, it’s hard not to want to emulate his contributions to the music community, both behind the kit and in front of it. A couple months ago, I had the opportunity to open for US Christmas and Nate Hall would be another individual that inspires me. Eat the Low Dogs was one of those records that stayed in my car for a decade and to share a stage with USX was a dream come true.

BL: That is a tough one. It’s hard to balance the need to create and hone art with. Everything else we have to do to keep the capitalist train trudging forward and daily life on the rails, so I am always amazed by people who do it with flair. I think there are several people I know personally who are big inspirations, like my drummer in Lightning Born, Doza Hawes, who is always pushing himself in every arena (fitness, family, music career). He seems to need a lot less sleep than I do, to be fair!

Any superstitions?

TY: This one I learned from Larson, the hard way: Never ever ever speak ill about your transportation, even jokingly. They’re always listening. Your van is your home and karma can remind you very quickly how important they are in regards to finishing a successful tour. So, Vandolf, if you’re reading this (and I know you are). I love you, buddy. You’re the best and you’re getting more cassette tapes for your birthday.

BL: Beer before liquor, never been sicker; liquor before beer, you’re in the clear. Also, I haven’t personally experienced this, but Rich from Scattered Hamlet told me to never listen to Dokken on the road. Apparently, there’s an associated curse where everything that can go wrong will go wrong. No Rockin’ with Dokken allowed!

Favorite place to eat in your hometown?

TY: Snoopy’s Hot Dogs. Been a Raleigh staple since I was a kid. Plus, depending how hungry you are, you can titrate to the perfect amount of full with the number of dogs you order.

BL: NC is famous for BBQ. For vegan/vegetarian, Fiction Kitchen is an amazing spot in downtown Raleigh that has killer vegan BBQ; for the classic Eastern NC pulled pork style, there’s a spot down the street from me in Garner called (creatively) Carolina BBQ. Although for pescatarian/any-tarian, St. Roch is a killer oyster bar and Cajun/Creole style joint that is one of my current favorite haunts.

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[cheiyunn]

Spooky Halloween Night [Prologue]

---Studio--

Wataru: Kurokawa-san, are you able to reach Suzaki-san?

Tomoru: Well, the phone isn’t connecting and my messages aren’t even being left on read…

Felix: Apologies for making you wait. A shame that we even have Argona waiting here 

Yuto: Don’t worry about it. We were the ones who suggested a joint recital after all

Rio: Is Suzaki-san okay

Koharu: ...Its him after all, he’s probably meeting some misfortune somewhere along the way

Ren: ...eh?

Banri: Misfortune…?

Koharu: Ah, its not a worrying story. On the way he always-

Jun: I’m sorry for being late! uuu...I don’t wanna go out anymore..

Daimon: Speak of the devil

Jun: The train suddenly went out of service then I couldn’t seem to catch a taxi and when I tried to take a shortcut the road turned out to be closed and..

Jun: and when I tried to look up a map of the road I dropped it on the street and a car came over and

Wataru: wah… its smashed beyond repair

Jun: Because of that I couldn’t contact anyone… I’m really sorry

Yuto: What do I even say… that sounds like a disaster

Jun: Ahaha...its a normal occurrence of my misfortune after all

Yuto: Wow.. when you’re an adult, you can laugh it off when something like your smartphone breaks..

Wataru: Is that so..?

Felix: As expected of Jun! It feels as if I’ve received an early halloween prank

Jun: Give me a break… I want treats too, not just tricks…

Koharu: Since Jun has arrived, lets start the meeting. We only have a month ‘til the live

Tomoru: The direction has been pretty much agreed on. After that, its what we’ll all be doing individually before it

Yuto: Since there’s still time, lets practice a little bit!

Felix: Ah, can everyone start without me? I want to arrange the new song a bit with Jun before practice

Yuto: oh, you’re making a new song?

Felix: I wanted to add more flavor to the song for our halloween live. Can you play the demo?

Jun: Um… in front of everyone? Its kinda embarrassing..

Felix: Its nothing to be shy of. Lets start

Rio: We’ll also be practicing on our own, so you don’t have to worry so much

Ren: I wanna listen to it…

Banri: Don’t say that Ren-kun! Can’t you see Suzaki-san is nervous?

Jun: uu...its hard…

[sinceileftyoublog]

George Harrison Reissue Review: All Things Must Pass [50th Anniversary Super Deluxe Edition][Box Set]

(Capitol/UMe)

BY JORDAN MAINZER

You wouldn’t think that the album most often described as the best of the Beatle solo albums would need the reissue treatment, even for something as monumental as a 50th anniversary. Plus, George Harrison’s All Things Must Pass is already a bloated masterpiece: Will additional material really enhance its legacy? Surprisingly, yes. The Super Deluxe edition contains a remixed and remastered version of sides 1-4 and a remastered sides 5-6, plus two discs of demos and one of alternate takes. The combination of a pristine mix, new arrangements and genres, and unexpected contexts and influences presents the classic record as the gift that keeps on giving.

The triumph of Harrison’s first solo work post Beatles breakup seems inevitable in retrospect; after all, they had explored the mix of pop songwriting brilliance and Eastern spirituality to much critical acclaim and commercial success, so why couldn’t Harrison do it? Though the harmonies around the words “Hallelujah” and “Hare Krishna” could have fit on Revolver, “My Sweet Lord” was, at the time, a surprise spiritual hit. Re-listening to the most popular songs on All Things Must Pass only reinforces the influence of the record and Harrison’s guitar style on everyone from folk singers thereon after to the surf-rocky Mac DeMarco types. And while the experience of realizing that influence isn’t necessarily unique to this reissue, the new mix renders these the richest sounding versions of the album’s songs to date. Harrison’s vocals shine upfront on “My Sweet Lord”, his guitar effects on “Wah-Wah”, “Beware of Darkness”, and “Art Of Dying”. The brass is that much bigger on “Let It Down” and the epic, soulful “Hear Me Lord”. The percussion crackles on “Wah-Wah”, the B3-imbued “I Dig Love”, and mountainous jams like “Out Of The Blue” and “I Remember Jeep”.

Starting with the demos--divided over two discs, each corresponding to consecutive days recording--the reissue begins to reveal the versatility of the material on All Things Must Pass. A raw version of “Behind That Locked Door” sans Pete Drake’s pedal steel presents the song as a terrific country folk tune. Fuzzed-out and/or shimmery guitars dominate otherwise sparse versions of “Awaiting On You All”, “Isn’t It A Pity”, “Hear Me Lord”, and “I’d Have You Anytime”. And for every unreleased spiritual strummer like “Dehra Dun” and “Om Hare Om (Gopala Krishna)”, there are cultural homages, like the rockabilly-style “Going Down To Golders Green” and an especially Dylan-impersonated version of “If Not For You”, the acoustic guitar and Harrison’s nasally voice making you double take to make sure you haven’t turned on New Morning.

Harrison’s sense of humor also stands out on both the demos and the final disc of alternate takes. He interpolates The Pajama Game’s “Hernando’s Hideaway” during the final moments of a demo of “Art Of Dying”--the moment you realize that song was perhaps an inspiration for the melody. Of course, many of the now officially released demos came from the bootlegged Beware of ABKCO, which takes its name from a line on the “Beware of Darkness” demo, referencing Allen Klein’s management company. On an alternate version of “Isn’t It A Pity”, Harrison sings, “Isn’t it so shitty,” describing the grueling number of studio takes to record the final version.

Perhaps the most worthy selection on the whole reissue is “Nowhere To Go”, a song where Harrison admits dissatisfaction with fame, explicitly contextualizing the spirituality he sought. “I get tired of being Beatle Jeff,” he sings, plaintively. All Things Must Pass certainly has some similarities with past Beatles records, maybe even somewhat due to the chronological proximity of its writing and recording, but it remains not just “the best” of the solo Beatle records but the strongest statement of identity and purpose, one of the best debut albums of all time.

[tf2-parqcxsm]

Demoman x Reader: After a Long Fight

a request from one of my favorite writers from wattpad. enjoy some demo love!

You woke up to the sound of creaking. You fluttered your eyes open, your vision immediately met the bright light that was coming out from the window. It looked like the sun had already rosen up, a few clouds barely doing their job to cover the sunlight. Squinting your eyes, you rolled over to the other side of the bed, reaching for someone to wrap your arm around. But your arm merely slouched off and landed on the bed. You fully opened your eyes and saw that nobody was there beside you.

Confused about the absence of a warm body, you sat upright. You looked around and your sight landed on your lover, who was standing in front of the cabinet. He must be preparing to go to work.

A frown crept its way on your face. He was going to leave early. "Tavish?" You called out softly, to which he responded quickly and turned around to while he was putting on his belt. As soon as he laid his eye on you, he grinned cheekily. "Mornin', lass. Did I wake ye up?" He questioned you, and you shook your head. "No. You're going to work already?"

The Scot noticed the sad tone in your voice. He knew you hated being alone for hours. "That's right, lass. That old hag who yells at us while we fight called as soon as I woke up." He explained, then almost immediately he perked his head up towards your direction. "But don't ye worry! I'll come back once we're done kicking the enemy's asses." He walked to you and sat down, putting his huge hands on your face and playing with your cheeks. You couldn't help but giggle while he held you softly in his touch. You opened your mouth to say something, but Tavish already planted his lips against yours, shutting you up completely.

The feeling of his rough lips suddenly making contact with your soft ones caught you in surprise, but your shoulders quickly slacked off and you melted into the dancing process. He was gentle in kissing you, tilting his head to give you more space to move around. Your hands brought themselves up and snaked around his neck, keeping him close to you. He pulled away for a breath of air, his hands still on your face, holding them ever so tenderly. He smiled when he saw the blush that had taken form on your cheeks.

"Yer breath smells terrible."

Your eyes widened. "Wh- TAVISH!!" You hit his chest jokingly and kicked him away from you, while he laughed contagiously.

He really had to ruin the mood.

"Anyway, I'll be going. Make sure to brush yer teeth!" He said teasingly with a cocky grin on his face. You turned your gaze away, grumpily crossing your arms, which he laughed at. He thought you were adorable. "I love ye!" He said one last time before closing the door.

"...I love you too." You responded, slightly delayed. A sad sigh came out of your lips, now you were all alone again. You always felt lonely and bored whenever your Scottish boyfriend goes away for work. You basically had nothing to do in the house except to watch TV and eat. But those were the boring stuff! It's always exciting with Tavish.

You shook away the thoughts. You didn't want to be sad for the whole day. Standing up from the bed, you made your way to the bathroom, brushing your teeth just like he reminded you to do. Right now, it was a new day to start off with.

For the next several hours, you decided to go out and buy a few groceries. You fumbled on your house keys as the heavy grocery bags swayed off from your arms. Once you've inserted the right key, you immediately dropped the bags on the table and walked upstairs, entering the bathroom. You needed to take a quick shower after being covered in sweat!

It only took you a few minutes before coming out of the bathroom with a towel around your body, the water was freezing cold and you didn't want to stay any longer. "Jeez, what a day." You mumbled to yourself as you approached the cabinet that contained your clothes, as well as your lover's. You stared at his clothes for a little bit. You snickered at the size difference, his shirts were huge compared to yours. You decided to wear one of his shirts, so you can show it off to him and capture his attention. They looked baggy on you, but Tavish would always think you're cute in them.

As you wore your shorts, you heard the sound of the front door closing. He must be back already! The thought excited you and you quickly ran downstairs. Maybe today wasn't a bad day, after all.

Arriving in the living room, you didn't expect to see Tavish rummaging through the fridge.

You smiled at the sight. "You're early." You crossed your arms and leaned against the railing of the stairs, Tavish jumped at the sound of your voice, hitting his head on one of the shelves. You half-heartedly laughed at his silly action.

He swiftly turned around with a terrified expression, but when he saw you, it dissolved to a more relieved one. "Oh, (Y/n), it's just ye, lass." He said with a relieved tone as he closed the fridge door, a light slamming sound barely heard when it made contact with the huge appliance. He stretched out his arms upwards as he moaned a sleepy grunt. Once his arms dropped at his sides, his body swayed even though he's merely staying at one spot. "Did ye need somethin'?" He asked with a clearly drunk tone.

You couldn't bring yourself to bring up the topic, but you definitely felt your cheeks perking up, a smile making its appearance on your face. Shaking your head, you walked towards the counter that separated you and Tavish. You brought your upper body to the height of the counter, you then placed your arms on it as you kept your focus on your lover. "No, but what I do need to know is why you smell like alcohol." As you finished your sentence, you narrowed down your eyes to give him a suspicious look. He looked at you silently for a quick moment before bringing his hand up and putting up a finger. He seemed ready to say something as his mouth was open.

What you weren't expecting was that he would suddenly boop your nose. You were taken aback at the unanticipated action, he chuckled loudly at your astonished face. He used that same finger he used to boop you, to point it at you mockingly. "Ye think I'm drunk, don't ye?" The smug grin that always ticked you off had worn itself on his face again, and when you caught sight of it, a huff of frustration escaped your lips. "Well, that's how you always come back from work." You quickly shrugged your shoulders as you spoke.

Tavish shook his head, his shaking stopped as he looked to another direction. "Well, yea, I am drunk." In contrast to what he said, you rolled your eyes, but a small smile was still present on your facial features. "But not that kind'a drunk." His statement confused you. You tilted your head and knitted your eyebrows together, showing how confused you were at that moment. "What do you mean?" You asked simply, but Tavish didn't bother to answer at all. He merely neared towards you and knelt down to your height, and while you were too focused on him, he found the opportunity to gently grab your chin. His face got really close to yours, to the point you can feel each other's breaths.

You both had a staring contest before the moment broke. You would always get so invested in his stare, not that you do it intentionally, but you just can't help but feel helpless whenever you set your eyes on this man. Despite the fact that he lost his other eye, his chocolate-colored eye always struck you with countless spears and made you feel like you're floating in heaven.

He smirked when you were starting to stare off into space. He used this chance to whisper in your ear and say,

"I'm drunk from yer luv."

Once you snapped out of your senses, you suddenly felt the urge to laugh out loud. You moved away from him and gave him a bewildered look, he looked back at you with a wide grin. You stood up from your position and ran your hand through the side of your face. Scoffing a hearty laugh, you whined, "Oh my god, Tavish, you are sooo— lame!" At the same time, he was cackling loudly. You could have sworn you saw him slap his knee for a second.

"Haha! I know, right!" He forced himself to downgrade his laughter into soft chuckles. He wiped a tear away from his eye, probably from laughing too hard at his own joke. "That's why I'm so glorious, ain't I?" He did a terrible curtsy bow, which nearly made him stumble. You scrunched up your face and shook your head in disapproval. "Ew, corny." You jokingly said.

You heard an audible gasp coming from him. He brought his hand to his chest and looked at you in disbelief, acting like he was deeply hurt from your words. His dramatic reaction made you snicker. "That hurts, lass."

"Oh yeah? What are you gonna do about it?" This time, it was your turn to mock him. You placed your hands on your hips and smiled teasingly at him. You awaited for his response while he tapped his chin in thought. Something must have popped in his mind when his face went from thoughtful to shocked and until a wide grin plastered itself there again. He brought his gaze to you and you tensed up at your spot. You immediately regretted the things you've said.

He was gonna launch at you.

"Tavish- Don't even- WAH!"

Before you knew it, Tavish threw himself over the counter. All you could do was yelp in surprise and brace yourself for any impact. It happened so quick that you didn't even feel his arms around you until you opened your eyes. That wide grin was still present on his face, now that you have the chance to take a closer look at him, he looked genuinely happy. "Heh! Gotcha!" He wiggled you around while he kept his grip on you.

You giggled to the movement, placing your hands on his chest after he stopped. Sharing another wholesome moment like that, you couldn't stay annoyed with him. You always appreciated the times when he would just make you laugh even with the most annoying ways possible. Still, you're grateful for being able to be with this guy.

He's your ideal man, after all.

You sighed lovingly, your thumb fondling with the belt that he's still wearing. "I'm just glad that you still come home even if you're tired." You murmured, although it was loud enough for him to hear. He smiled back at you, his hands making their way to hold your face — just like he did earlier this morning. His touch felt so gentle and soft, you were practically falling against his body.

He held your face to make you look at him. "I do it for ye, lass." He simply said. Your heart once again pumped when you heard those words. You felt yourself leaning into him, wanting to seal those lips of his with yours. He noticed this stance from you, mirroring your actions as he started to lean to you as well.

Not until you pushed him away with your hand. "Actually, maybe you should go shower first."

He groaned. "Augh, come onn..!" You giggled and brought him upstairs to share a shower with him. You wouldn't want to waste your relationship for something so cliché, why not spice it up a little?