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ppersonna · 5 years ago

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the landlord - myg | m

↳ summary- your air conditioner breaks right at the height of a recordbreaking heat wave. good thing your hot landlord, yoongi, knows how to attend to any needs you may have.

↳ rating- explicit / 18+

↳ word count- 4.3k

↳ pairing- yoongi x reader

↳ genre- smut, light crack, PWP

↳ warnings- basically the plot of a porn, theres no plot, the plot doesn’t make sense, seduction, oral sex (m/f receiving), penetrative sex, dirty talk, fun laughing giggly time during sex, honestly yoongi is great and i love him, maybe exhibitionism if u squint ???, cum sharing, finger sucking, motorboating

↳ a/n- did i just write basically the plotline of a bad porno? yes. did i love it? also yes. this was lowkey inspired by my own landlord coming over to my place (that i DIDNT SLEEP WITH) and i answered the door in a state of undress :/ i hate myself lol. anywwayyss! enjoy yoongi the landlord! pls feel free to interact with me because i need constant attention uwu

The inside of your apartment feels hotter than the blazing sun outside. Your air conditioner chose the worst week to fritz on you. A record-breaking heat wave.

Nothing helps. You open windows, blow fans, sit in front of your fridge, take cold showers. All just momentary bliss that ends too soon.

It finally breaks you and you muster up the courage to text your landlord, Yoongi.

You inhale a deep breath as you click on the name. Min Yoongi, landlord. Your eyes flutter shut for a moment without realizing.

Your landlord who lives in the same building as you is likely the hottest and most attractive man you’ve ever met. You’d be lying if you said you didn’t have a crush on the man. Every month, paying rent was torture. You wanted to fling your legs open to him and request he takes his payment another way.

But you never did. He always remained cool and expressionless and it was hard to get a read on the man, let alone see if he’s interested.

Your fingers slide across the keys, nibbling at your lip as you decide what to say.

[to: yoongi] hi! sorry to bother you but my ac appears to have died and im afraid ill be next at the rate of his heat wave 😩 no rush but id appreciate help!

Perfect. Simple, slightly cutesy. Emoji to express how chill you are.

Your phone vibrates almost instantly and a smile curves on your face.

[to: me] oh no, we can’t have that. haunted apartments are hard to rent out 😉 im out until late tonight but i can stop by first thing in the morning if that’s cool?

A flirty line? Is this… working?

[to: yoongi] tomorrow is great! and don’t worry, if i die i won’t haunt this apartment, i’ll haunt yours 😌

[to: me] see you tomorrow, poltergeist 👻

You’re leaping through the air at the idea of the hot landlord semi-flirting with you over text when you notice your apartment. It’s disgusting. Your face burns red and you instantly work on the space before Yoongi comes over. He can't see you like this.

Sleep is out of the question. After your ravage cleaning and polishing and organizing, you’ve worked up more than a sweat. A cold shower helps for a moment but you end up lying in bed feeling slightly wet and very, very hot. The humidity is draining.

You change into an outfit of a crop top and g-string panties. You aim the 3 fans in your room to point around your bed for direct wind contact. It helps, somewhat.

Sleep finally comes as dawn breaks. It’s cooled off enough that the ambient air around you is finally tolerable. Exhaustion overwhelms you, and you pass out, hard. Finally.

You’re broken from your exquisite dream of being nailed by your landlord when a loud knock wakes you up. It’s disorienting. You’re so tired you’re not even sure where you are at the moment, let alone who is at the door. The knock sounds again and you scurry to turn off the loud fans and book it to the door.

The door swings open and reveals your landlord, Yoongi.

“Oh, hi!” You’re excited to see him, for reasons beyond fixing your air conditioning.

Yoongi steps in and looks like he’s about to speak but opens his mouth and remains silent. His cheeks tingle a light shade of pink and he’s staring at your body. Did you drool all over yourself all night or something? What was he staring—

Oh god.

You glance down at your body. The crop top you hastily changed into in the middle of the night hits you a little lower than where your breasts end. The G string is non-existent. It covers almost nothing, which is why you opted for it last night in your desire to get cooled off.

You take a step back from the sexy landlord still gaping at you and shyly cross your arms over your chest.

“I’m sorry, I—it was hot,” you mutter. “I’ll go change.”

Yoongi licks his lips, then snaps his eyes up to you and finds his voice. “It’s fine. It’s your home,” he swallows. “It’s hot in here, so stay comfortable. Don’t want to overheat you.”

His eyes stare down yours intensely. It feels like your veins sizzle, and it’s not related to the scorching temperature of your studio apartment.

He breaks the contact first and heads towards the panel in the wall where the inner workings of the air conditioner hide.

You wait in your kitchen, enjoying the natural shadow and shade from no windows and a spot to hide from Yoongi.

What if he thought badly about you? What if he doesn’t find you attractive and thinks of this as a ploy to get him to lower your rent or something? How could you recover from this? Would it ever go back to being the same?

You’re anxiously tapping your fingers on the kitchen countertop, listening intently as the landlord fiddles with pipes and belts and mutters under his breath every so often. Eventually, you hear a soft ‘aha’ and your air con kicks right on. You think it’s the most beautiful sound you’ve ever heard. Instantly you feel the machine push out air. It’s lukewarm now from disuse, but soon it will be frigid cold. You stand in front of the breeze and bask, arms open to let the wind blow through you.

Yoongi clears his throat, and it startles you, making you realize you’re standing in your house nearly naked, ass cheeks out on display, under-boob surely peeking out to say hi. Your face burns and it makes him chuckle as you jump and attempt to cover yourself somehow.

“How long was I standing there?” You ask quietly.

Yoongi can’t wipe the amused smirk on his face. “A few minutes,” he shrugs. “Glad it’s working now for you.”

The air rapidly cools as the machine continuously pumps out colder and colder air.

“Thank god. I owe you,” you sigh.

“Nah, that’s what rent pays for,” he smiles.

He makes his move to leave you alone, and you recognize this is it. This is your chance. You can ask him to fuck the shit out of you now. If he declines, well, the first of the month would start being more awkward. But if he accepts… it’s too blissful to imagine.

You grab at his arm as he walks past you. He stops in his tracks, and his eyes travel to where your hands meet his skin.

“I’m serious,” you attempt to sound as confident as you can. “I owe you.”

He arches a brow at you and turns completely to face you. Your hands hover at the hem of your tiny shirt, lifting a sliver to give him a glance of the bottom of a rounded globe.

“Let me repay you somehow?” you ask.

A smirk lifts at one side of his lips. “You think that will cover the cost?”

Your cheeks heat and you pull the shirt up higher, determined to get him in your bed or die trying.

“I’m hoping.”

Yoongi’s eyes zero in on your tits. Rounded and full, nipples prickling in the fresh and rapidly cooling air. He contemplates for a moment as he lets his eyes get their nice, long drink of you.

“Yeah, now that I think of it, that should be exact change.” He drops his bag of tools and approaches you quickly, hands cupping your head as he kisses you intensely.

He kisses you with all the fire of the heatwave outside, melting you from the inside out. You’re sure to be sweaty and clammy after you’re finished with him. He swipes his tongue over your lips, and there’s no hesitation to let him in. Your hands grip at his sides, pulling his shirt up as much as you can while trying to focus on making out with the hottest guy you’ve ever met.

He chuckles against your lips at your weak attempt to disrobe him and he reluctantly pulls a step away from you to take the shirt off. He stands there and allows you a quick look before he’s back on to you. His skin presses against your chilled nipples and the fire and ice sensation makes you shiver.

Yoongi kisses you passionately, you notice. Like a lover. It’s laced with deeper intention and you hope you’re not overthinking it. You will your brain to just shut up and enjoy. Emotions can come later.

Now, you’re the one to remove your lips from his and he pouts slightly at the loss. You smile and slide down to your knees, hands undoing the button of his tight jeans and tugging them down.

“Shit, babe, I think you may be overpaying me,” he admits. “Wasn’t that hard to fix.”

As a finger pulls down the front of his boxers to let his cock spring free, you flick a smirk up to his face.

“Then consider this my repayment for being late on rent all those months,” you state before shifting your gaze back to his hardened cock. It’s gathered pre-cum at the head and you wonder if he’s been hard and wanting since he got here and first saw you. The thought is intoxicating and spurs you on.

Your tongue licks up the slick at the tip that threatens to drip off, before it swirls around the bulbous head. Yoongi isn’t afraid to be loud, it seems. You supposed you wouldn’t be afraid if you owned the building too. Who will complain? And to who?

“Hoooooly fuck,” he gasps. “Sh—shit I might let you pay rent like this for the rest of your lease.”

You pop your mouth off and lick your lips, allowing your hand to grip his shaft and begin stroking him.

“I don’t want to pay rent this way. How about we consider it a perk?” You smile, pressing forward to kiss his tip teasingly.

“God, a girl who doesn’t want to fuck me just to take advantage of me? And she’s hot as fuck and wants to blow me for fun?” he quirks his head. “Shit, be careful or I’ll end up falling in love.”

It makes your head spin a little and you suckle at the tip a little longer, making him keen, before you pull away again.

“Maybe that was the plan all along,” you simper, then take him in fully, letting his tip glide down your mouth to the back of your throat. He groans loudly, and it’s the most satisfying sound. It makes you want to do this more. Every day if you could.

You get to work, sucking him in, allowing him passage to your throat, vacuuming your cheeks to add additional pressure, gliding your hands up and down the slick shaft to assist you in touching every single bit. Yoongi is thriving. He can’t believe his luck. The hottest girl in the complex, the girl he’s secretly pined over, is sucking his cock as if her life depends on it.

You’re salivating at the act now, saliva spilling out your mouth as you continue to envelop his cock quickly. You slip it out of your mouth to lean down and lick and suck at his balls, which makes him hum in absolute pleasure. You don’t remain long—his cock is nearly pulsating with desire. Your mouth returns to its rightful place and as you’re licking and sucking and pumping and stroking him, you maintain even and sensual eye contact with him.

You want him to know this isn’t a chore, a means to an end. You want him to know you’ve dreamt of him fucking your throat raw every night since you moved in.

Yoongi got the picture pretty quickly. His mouth drops open as he openly gapes at your work, giving him probably the best and hottest blowjob of his life.

Your tongue swirls at the ridge of his head and Yoongi feels it snap—the tightness that holds everything back. He fucks desperately into your throat, relishing in the feel of your gagging and moaning. It didn’t take long until he was seeing it through to the end, pumping hot white ropes down your throat while he moaned out your name with a string of expletives.

The immoral pop noise your mouth made as you pull off his cock makes the blue-haired landlord standing above you moan.

“Fucking hell—where the fuck have you been all my life?” he sighs as he cups his hand under your chin. He beckons you back up, desperate to kiss you. You oblige and return to standing, pressing against his body to pull him in to a dirty kiss.

“Upstairs, apparently,” you murmur.

He swipes his tongue on yours, tastes himself there, and decides he wants to taste himself on you all the time. His hands slide down to your ass, the g string still curving down the line. He snaps at the straps as you kiss, making you puff a laugh against his lips before pulling away.

“I’d be willing to fix your leaky faucet in the bathroom if you let me eat you out,” he offers.

You’re tugging him towards your bed, knocking over multiple fans in the process, and flopping onto the mattress, landing on your back.

“Throw in fixing the squeaky wheel on my closet, and you’ve got yourself a deal,” you joke, spreading your legs to give him the tiniest clue of what lays between.

He sighs dramatically with a smile, “Needy tenant,” before he slips down to hover over you. He intends to kiss and lick every part of your body, starting with the tits that hypnotized him.

“Can’t believe you opened the door like that,” he chuckled as he plucked a nipple between his fingers and lightly rolled it. “I thought I was dreaming.”

The feeling is instant, electricity sparking at the tips of your nipples and warming its way around your body, directly to your cunt. You’re absolutely certain that by the time Min Yoongi reaches his mouth to your core, he’ll drown in it.

He moves forward and wraps his lips around the bud, allowing his hands to travel to the neglected one and to squeeze and pinch and prod. He’s rewarded with your beautiful sighs and gasps—it’s sweeter than any song he’s ever heard.

He presses your tits together and rubs his face in the cleavage there, making you gasp and laugh at the same time. He gazes up at you and flashes his gummy smile.

“I’ve really wanted to do that,” he admits, which makes you giggle again.

“Be my guest,” you approve. He takes your reply and does it again for just a moment, before he’s kissing and sucking at the flesh of your breasts. He wants to mark you, leave a piece of him for you to remember every time you see yourself. You moan in appreciation and rub your thighs together, desperate at the ache that grows with every nip and nibble of Yoongi’s lips and teeth.

He seems to understand and trails down, kissing and sucking at your long torso, abdomen, hips. He leaves little bruises everywhere and you want them to last forever. You want him to mark you and claim you as his own.

His fingers slip around the thin straps of your underwear, and he tugs them right off. He’s unable to stop the loud moan when he notices the slick that strings between them and your folds. You’re drenched, and he marveled at how excited you were about him.

“Fuck, babe—” he sighs as he lowers his chest down to lie in front of your spread thighs. Your center is weeping, slicked with your arousal and he can tell you’re desperate for friction, for anything. “Look at this perfect fucking pussy.”

You whimper as you can feel his breath so close to where you need him.

“Yoongi, please,” you whine. “I’m so fucking horny.”

“I can tell,” he hums. “Keep moaning my name like that and I’ll make sure you’re always horny and ready for me.”

He lowers his lips, hovering millimeters from your slit. He holds it there as he watches your anguished face nearly burst at how close and yet how far he is, before he obliges you and presses into you.

You gasp at the first swipe of his tongue on your clit. He maintains a soft up and down motion on the nub and you’re already seeing stars. He steadily increases the pressure and the speed, then spices it up by swirling his tongue around in different shapes, spelling out his name on your cunt with his tongue to remind you just who got you this fucking soaked.

Your legs falter and quiver as he slips his tongue deeper inside you, licking into your hole and nearly drinking you up. He pulls back and devotes his attention to your clit and your moans turn from soft gasps and pleas to loud whines as he slips his fingers into your cunt and slowly fucks you, spreading you out. He’s not small by any means, he feels he can get you ready to go.

“I want you to cum for me on my tongue,” he states, matter-of-factly. “I want to feel you on my fingers.”

You nod, plucking at your own nipples with one hand as the other seeks purchase in his hair.

“Can you do that for me, babe? Can you cum for me and get my hand nice and drenched? I want to lick it off my fingers.”

His fingers get frantic and he splits his time between suckling and laving at your clit and encouraging you with illicit requests and praises.

Yoongi continues, never letting up or even giving an inkling of a hint he’s tiring. His hand works like a machine and he slips yet another finger inside your heat, making you arch off the bed. He licks at your clit with just the right pressure, and he picks up the speed and it sends you tumbling towards your orgasm. You feel the breath leave your lungs as it hits you, core and channel muscles squeezing him tight and legs shaking around his body. Your moans echo off the small apartment walls, only drowned out by the sound of the fresh air-con still running.

“Oh, my god Yoongi—” you pant. “I’ve never cum so hard from oral in my life.”

He pulls his fingers from inside you as you come back down from your high and chuckles at your words. True to his promise, he lets the slick glisten on his finger and marvels at it, before he’s popping the fingers into his mouth and sucking them clean.

“You taste so fucking good,” he compliments, and it makes your chest tighten and tips of your ears turn red. “Fuck, I could eat you every fucking day.”

You smirk, still sensitive but feeling the desperate ache inside you needy for him and his thick cock. Your legs spread open as he lays between them and you’re wiggling your hips to get his attention.

“I’m sure we could arrange something in my lease for that,” you tease. “I could suck your cock hourly, honestly.”

He groans as he sits up between your legs, cock resting heavily on top of your mound. It’s so close, so close to where you need it to be. You appreciate the thick member as it rests and as Yoongi catches his breath. It’s thick and long, on top of your mound the tip reaches to the tiny swell of your stomach. You know you will not be able to walk tomorrow, that’s for sure.

“You’re telling me I could have been going down on you and been getting my dick sucked by the hottest girl on the planet this whole time and all I’ve done is give you shit about rent?”

You stifle a laugh and spread your legs open wider. “Looks like it. We better make up for all that lost time, don’t you think?”

His cock is rigid, almost stone, and he agrees heartily.

“Fuck yeah, we should. I’ve been dreaming about being inside you.”

He sounds so dirty, looks so sinful—it’s all so much and you’re almost begging for him to take you.

He reaches down to the pants on the floor that dropped and shimmies a condom out of his wallet. You send him a look that he silences with a roll of his eyes.

“Every dude has one, chill,” he mumbles. “I haven’t gotten laid in like a year and a half.” He pales as he realizes what he just said. “Not that it matters. Or that I care. Or that you care—christ can we fuck now please?” He asks as he rolls the rubber onto his stiff cock.

You’re laughing a bit, not at him but with him, and you lean up on your elbows to kiss his lips. “If it makes it better, I haven’t gotten laid in 3 years so I’m the loser by comparison,” you assure.

He wants to ask you how the fuck you haven’t gotten laid in that long because you’re the hottest god damn person he thinks he’s ever seen, but he realizes he doesn’t care and that it works out in his favor because Yoongi doesn’t like competition.

“Looks like the landlord needs to fix yet another problem of yours,” he winks as he lines himself up. You lean back onto the pillows and sigh as you feel the touch of his head right at the opening of your slit.

In one slow motion, he slides himself to the hilt. It’s tight, so fucking tight even after one orgasm, and Yoongi nearly hollers at the feel. He’s sure his eyes are rolling back in his head. It’s warm and tight and wet and even through a condom he’s in absolute bliss. He’s hoping one day he can try it without—fuck you raw and stuff you full of his cum.

He’s still inside you, and after a moment to breathe and adjust to the thick girth of him, you’re whining. “Yoongi, fuck me, I need you so fucking bad.”

A feral groan leaves his lips, and he’s off, beginning a pace that has him hoarse from moaning in no time. He’s never felt so good inside a cunt before, never understood how some men could do crazy shit for ‘magic pussy’, but now he gets it—he realizes he’d probably do some dumb things for a chance to be inside you again.

“Oh, yeah—” you whine. “S-shit, you’re so fucking big, Yoongi. Fuck me nice and deep.”

“Mmm, yeah? You want me to bruise your cervix? Want me to make this cunt remember my fucking cock?” He thrusts harder, pushing into you with diligent speed and intensity. “Gonna make sure you can never cum from another cock again, only mine.”

You’re losing your breath with how hard he’s fucking into you, both your moans and pants coming out in quick little bursts between his thrusts.

“Y-y-yes! Yo-o-ongi! Right there!” He hits a spot that feels so good, and you feel the pull towards orgasm tighten.

“God—you feel so. fucking. good.” he emphasizes with a thrust. “Need to feed your tiny pussy my dick every day, hm? Needy little cunt needs my thick cock.”

Tears form in your eyes. The depths he reaches inside you nearly scrambles your brains—you forget everything that isn’t Yoongi and his perfect thickness spearing inside you.

“Yoongi! Gonna c-cum!”

He goes harder, becomes rabid for your second orgasm and wants to feel the way you squeezed his fingers on his cock, knowing the channel will feel even impossibly tighter.

“That’s right, good girl,” he praises while he maintains a punishing pace. “Let me see you cum on this cock, baby, wanna see that pretty little pussy all creamy for me.”

His thumb rubs at your clit, moving it in circular motions, and diverts his eyesight between watching your full tits bounce and your lips open and close in pure bliss. You’re the definition of fucked out and Yoongi feels a surge of testosterone at the sight—knowing he was responsible.

“O-oh! Th-there!” You’re frantic and he can tell you’re right on the edge. He goes even faster, deeper and harder, and it’s the final straw. You’re catapulted off the edge and thrown headfirst into your orgasm. As he suspected, your perfect cunt pulsates around him like a fist and he’s groaning and stuttering as it triggers his own release.

It takes a few moments for both of you to come down, before he pulls his softening cock from within you and disposes of the condom. You’re breathing hard, and he’s smiling at the sheen of sweat on your body.

“Good thing I got that AC fixed today, hm?” He asks as he leans over to kiss at your lips.

You grin and pull him down to lay next to you, snuggling into his body. He holds onto you and kisses your head. He feels a level of contentment he’s never felt before.

You break the silence. “Now, as the landlord’s girlfriend, do I get any special perks? Like you’ll throw the utilities into my rent? Free cable?”

He chuckles against your forehead. “Not a fucking chance, babe.”

#bts #bts imagine #hyungsmutsociety #ficswithluv #ksmutclub #bts smut #bts yoongi #bts suga #yoongi smut

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sinceileftyoublog · 4 years ago

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Small Isles Interview: Filmless Music

Photo by Dustin Aksland

BY JORDAN MAINZER

It’s rare that you find a record with a genesis as specific as The Valley, The Mountains, The Sea, the debut album from Small Isles. The new project of guitarist Jim Fairchild (Grandaddy, former Modest Mouse) and songwriter/composer Jacob Snider has its basis in film scoring. The catch? The films don’t exist. The Valley, The Mountains, The Sea is presented as an imaginary score to an imagined sequel to Ang Lee’s 1997 familial drama The Ice Storm, itself based on Rick Moody’s 1994 novel. And the band’s upcoming, unfinished EP, with strings arranged by Snider and recorded by collaborator Sienna Peck, is, according to the band, a distillation of the concept of the band, one that consciously combines film scoring motifs with traditional songwriting. In a way, you could say that Small Isles is music about film scoring as much as scores itself.

Fairchild and Snider hold the belief that film scores should hold their own as a piece of music independent of visuals, and on The Valley, The Mountains, The Sea, they announce themselves convincingly. Opening track “The Concept”--essentially the prototype for the band--combines vaguely harmonic deep bass sounds with pristine, echoing string plucks, and wordless vocals, building up like an Explosions in the Sky tune. Other tracks, too, juxtapose the ambient with recognizable structures. “Fort Wayne” shimmers atop a drum machine, while the vocal samples of “Maybe We Will” cut in and out among the beats and arpeggios. Each track also has a pristine sense of place, as much of the album was written while Fairchild was on tour with Modest Mouse, tracks like “Fort Wayne” and the washy, atonal “Lake Superior” started in those locations.

I spoke with Fairchild (calling from his home in Ojai, California” and Snider (calling from near Philadelphia) last week, a few days prior to the release of the album via AKP Recordings. (The album comes out on vinyl next month). Read our conversation below, edited for length and clarity, about the band’s artistic process, The Ice Storm, adapting the songs live, and what Small Isles has in common with Olivia Rodrigo’s Sour.

Since I Left You: You’ve called this record an imaginary score to an imaginary film. Did you think of the sequencing of the record in a narrative arc?

Jim Fairchild: Kind of, but honestly, there’s a sequence that originally existed, and I don’t remember what it was, and it would have been more aligned with what I pictured from the movie, but it didn’t work as well as a comprehensive piece of music. The last song on here, “The Plot to Take Clover”, that was earlier before. “Life at One”, the first single, really kicked off me and Jacob’s partnership. It was designed that way; it’s not the way the record plays out. I wrote all of the principle themes, the underpinnings of all the compositions, as an imagined score to some sort of a sequel to The Ice Storm. I don’t know exactly how it would play out with Rick Moody. The first one was really successful. I have this idea for a similar type of movie that takes place in contemporary California and all these cues I can use as a mood board. Like, let’s sit down and figure out what this palate is. Let’s write a movie around it. That’s what I was thinking.

SILY: You wrote a lot of this while on tour. Had you conceived of the idea before then and wrote while on tour because of your downtime, or was the downtime the launching point for the idea?

JF: I was totally inspired by the idea. I started some of the themes that popped up, but once the actual Ice Storm Ang Lee idea came to mind, it was really generative. It’s how a lot of this stuff works with me. It kind of floats around for a while, reaching out this way or that. Once the real kernel appears, it’s like, “That’s it!” It all happens pretty quickly. That was definitely the case with this. It was the real fine-tuning that’s the most time consuming. That’s what Jacob and I have experienced. The EP that we’re releasing later this year, basically how it’s worked so far is I send him a sequence of chords and basic rhythm, which happens pretty quickly. Then--and we’ve only done it on Zoom with the new EP, though it was the same with “Life at One”--there was this theme. Jacob came in, we were gonna write some other stuff. He came in with a mic and sang some stacked harmonies. Then it’s carving out all the other elements around that to make it.

These are unconventional compositions. They’re meant to accompany visual ideas. With that in mind, cues and scoring music doesn’t always work in recorded music, traditionally speaking. There’s all these lengths, sometimes time signatures shift, a melody might exist in an unconventional way to fit what’s happening visually. I really wanted to embrace that. With “Life at One”, Jacob did all this stuff, and there’s this really interesting sound I don’t know how to describe. He asked, “What are those over there?” [My partner Natasha Wheat] had made these ceramic bells for me, and that’s the most fun part about working with Jacob. A lot of the people who are trained as Jacob is--and I say this with great admiration for his abilities--are stuck in certain modalities. This is a perfect example. He looked at the bells and said, “Let’s do that.” He grabbed a drumstick and played the edge of these bells and processed them. That was a big feature in the composition of “Life at One”. This all happens very thematically and reflexively, but to then carve it up and get it to have purpose, meaning, ebb, and flow and make it work visually--that’s where the dirty shit happens. [laughs] I also look forward to when Jacob and I can be in person more. We’ve made a lot happen over the past 7 months, but it’s hard when you’re not in the same room. Plus, I’d like to show off. If he’s sitting right next to me, play some fast guitar...[laughs]

SILY: The title of the record refers to various aspects of topography, and there are song titles that refer to specific places, like “Fort Wayne” and “Lake Superior”. Do these aspects exist within the narrative of the film?

JF: “Lake Superior” and “Fort Wayne” were just started in those places, literally. I picture the Ang Lee movie--the new Ang Lee movie that is inevitably gonna take form because he’s gonna hear me and Jacob’s music and think, “You’re right, we gotta do this,”--in this zone a little bit east of Berkeley. It’s the West Coast equivalent of the Connecticut zone where The Ice Storm exists. It’s this affluent, green place. But the reason I chose to keep the others as titles is like, Fort Wayne, that’s pretty grand and has Batman implications. And Lake Superior, what a fucking great name for a lake, you know? I like the power of those, and if I were sitting down and writing a movie, those titles could be at least generative of a conversation.

SILY: What about the other song titles? What inspired them?

JF: “The Concept” is literally the concept for our band. The concept has expanded since then, but out of the ordinary--no sounds are out of the ordinary in modern production--but in the film scoring landscape, out of the ordinary, ambient, or textural sounds. But then big, beautiful melodies. Jacob’s voice. All that stuff. Synthesizing our two strengths. Jacob’s also a songwriter and makes amazing songs, but my background’s in bands, and so I treat our relationship as if it’s a band. Taking our two strengths. Jacob’s more conventionally trained, schooled, and knowledgeable than I am. He has a richer depth of knowledge in theory and orchestration. I can arrange that way, but he knows what’s going on. Mine is more reflexive--I don’t want to say auto-didactic because that’s kind of an arrogant term--but learning through mistakes. I think Jacob’s made fewer mistakes than I have.

SILY: What were all the instruments used on the record?

JF: There’s a lot of found stuff. 12-string guitar. I was writing it using this Rosewood Fender Stratocaster that Fender made for me. The 12-string is prominent on “Life At One”. There’s a piano Jacob played. There’s a lot of me coming up with drum beats. A lot of the initial stuff was in the box. I’d roll in my portable studio backstage, I’d have a guitar, Universal Audio space, whatever drums and synths I had.

SILY: What is your background in film scoring?

JF: I don’t have a specific background. From a very early age, I’ve been into film scores. I’d buy them starting when I was 15 or 16. CDs. Pretty obvious releases, but things like Danny Elfman’s Batman score, The Good, The Bad and The Ugly. Sort of getting into Jerry Goldsmith. Elfman, Morricone. I like some of the Bernard Hermann stuff. I started studying it from the way I study everything: figuring out chord sequences, the way the melodies work, to the degree I was able. In the early 2010s, I was making a lot of music that was getting licensed for TV. Once Modest Mouse really started touring [2015 album] Strangers to Ourselves, I let a lot of those pursuits wither a little bit. But I’d always longed for a collaboration. A lot of that stuff was done in a solitary way, so I felt very fortunate when Jacob and I met. He was into that idiom but has a range of skills I don’t have. We also really work well together. All the reflexive stuff that happens, the melodies, it’s easy for us to go back and forth and see what we’re into and where to keep going. Neither of us get upset when the other person isn’t feeling whatever the direction is.

As I get older, I realize the value of stimulating multiple senses. I look forward to Jacob and I doing more of this stuff in collaboration with people. The Riley Thompson video for “Life At One” was him responding to a finished track, but in an ideal world, filmmakers would come to us and, in the way Trent Reznor and Atticus Ross work with David Fincher, where he says, “This is the concept for the new film,” and Jacob and I come back and say, “This is the sonic and melodic landscape we’re thinking of, and here are some character cues. Let’s take it from there.” I love being in conversation with people collaboratively and am attracted to the idea of it across media.

SILY: Do you think the idea that the music might not be responding to a finished film would make the score stand on its own more as a piece of music?

JF: The scores that I like totally stand on their own as music. When Morricone passed away, I read that John Zorn had a quote when they were hanging out in the late 80′s or early 90′s, Zorn said, “Don’t do it unless you’re thinking about what the soundtrack record is gonna be like.” The music needs to be cool enough to just be music.

SILY: Tell me about the album art.

JF: Natasha and I sold our place in Los Angeles last year and moved to Ojai. We thought it was a temporary transition, and now it’s somewhat permanent, because we bought a place here. We’ve been in this guesthouse next door since November. I like taking pictures at night with whatever ambient light [there is], so I took that picture from our place. I wanted there to be contrast with this technicolor paint and silver border on the upper and lower parts of the image. Homes are very interesting to me, and there’s a lot of that in The Ice Storm. There’s that shelf people look at from the outside and think, “It could be dilapidated, it could be beautiful.” People think of it as a thing. But there’s this whole other world that only exists inside of there. It’s always fascinating to me when walking by the place. Stories in the shell. I like the idea of a structure having implications. I don’t have an agenda for what those implications might be, but I like the idea that there could be implications there.

SILY: Jacob, when Jim came to you with this idea, how aware were you of The Ice Storm?

Jacob Snider: I had seen it. I don’t know if in our first meeting, it came up that specifically and clearly that this is where the music was going. In fact, it started more as a casual meeting of creative types. When I came over to Jim’s studio, he just showed me the latest thing he was working on without any huge idea behind it expressed to me in that moment. Jim might have been thinking it in that moment, but that day was more, “Alright, I’m working on something, what do you hear and is there something you think you could contribute to it?” It was really organic. Like Jim mentioned before, the best thing you can do when making something is show it to somebody else, because they’re gonna hear it in a different way or they might suggest something if you’re open to it. People can make amazing solitary music, but it will always be just their thing. You bring in someone else, there’s a different energy, a different perspective.

As it stands, I do love that film. It’s really haunting. Jim and I talked before that it’s not a movie you can watch every week. It’s heavy, and the themes are deep: family, loss, grief, betrayal. It’s a great one. I think it’s a movie that’s cinematic but also has a lot of depth. I think that’s what we’re going for with Small Isles. It has shades of film music but also shades of rock and roll and romantic string writing from the orchestral traditions. I think we’re trying to combine a few things at once, and we’re really curious how it starts to strike people and how some filmmakers respond to it.

SILY: Are you both generally Ang Lee fans?

JF: I haven’t devoured all of his work. There’s plenty I like. But I’m so in love with [The Ice Storm]. I was in love with the book before the movie came out. He treated it so beautifully. As high in the sky as it is for two nascent film composers to say, “I want to work with Ang Lee,” it’s very important to know where you want to go. It may take a long time to get there, but [it’s important] to have a place where you’re headed. That was definitely the case in the early Grandaddy days, and having watched [Modest Mouse lead singer] Isaac [Brock] for as long as I did, I think it was the case there, too. It may not be as specific knowing that I’m traveling in this direction, but that direction can totally change. There can be diversions that knock you off your course positively or negatively, but thinking about how beautifully he treated that material, that’s where I want to go.

SILY: How are you adapting Small Isles to a live performance?

JF: We’re gonna play at least some of this, maybe all of this live. I’m really looking forward to it. Jacob’s only on half this record, and the 5-song EP we’re releasing later this year, he’s on all of. That’s a straight-up 50/50 collaboration. I’m looking forward to the stuff Jacob didn’t contribute to on the record, hearing what he does with strings. We’re still figuring out how we’re gonna approach it. Jacob will be on keys and vocals, and I might sing a little bit. I’ll be on guitar. Our friend Sienna who Jacob went to school with, who’s doing the strings, we’re talking about having her lead a double string quartet. I would like to have a drummer doing some electronic drums and maybe a kit as well. I definitely don’t imagine we’ll totally nail it on night 1. There’s a lot of stuff we have to work out. There aren’t many antecedents in this zone, but something like Explosions in the Sky mixed with Johann Johannsson. I saw [the latter] in 2010 in San Francisco; there was a little bit of strings, various electronics, and he was on piano. That was a very striking performance. So the explosiveness of a big arena rock show with lots of subtleties and nuance that can come from strings and orchestral.

SILY: What else is next for Small Isles?

JF: We wanna finish this EP. I also really love the way a lot of rap and hip-hop people have gotten it right over the years. Using current listening habits and technology to get out as much music as possible. I definitely have the seeds for at least another EP behind this. Once we get this EP done--there’s just a little bit of tinkering to be done over the next month before going into the mixing stage--I want to make as much music as possible and release it. With the spirits of the world willing, I want to get off the ground live and collaborate with filmmakers, dancers, artists, people in the visual medium. I just love making music with Jacob and this type of music. I’d like to have a few releases a year. EP length [or] album length. I have a number of concepts written down. The seeds that Jacob and I have been playing with to make the EP. I was thinking about The Last Black Man in San Francisco when making this EP, and I’d love to collaborate with those filmmakers. Even just being in person, to tell Jacob, “What do you think of this sequence?” and have him respond without dealing with latency issues and dodgy DSL.

SILY: Anything you’ve been listening to, watching, or reading lately that’s caught your attention?

Jacob Snider: I’ve been listening to a lot of pop. I’ve been listening to the Olivia Rodrigo record [Sour]. I think there’s great writing on there, great production. Watching, I’ll just piggyback on The Last Black Man in San Francisco. It took me a while to finally see it, but I had a filmmaker friend tell me I had to, and I loved it. Also the other film Emile Mosseri did the score for, Kajillionaire, the Miranda July film. Reading-wise, I’m about to jump back into Louise Erdrich’s The Round House.

JF: I’ve been digging the Olivia record, too.

JS: There’s some cool strings on there too from the guy who does a lot of the strings for Portugal. The Man, [Paul Cartwright]. They created a string orchestra sound with just one guy layering violin and viola, which is really cool, and that’s what we’re doing with our collaborator Sienna Peck. There’s totally room for that now, the way the world has been so remote. We can’t put 16 players in a room right now due to public health restrictions, so let’s get one person. It’s really hard to do--you can be a great violinist and not be able to layer yourself in a way that makes it sound like a string orchestra. You have to change your position in the room, the way you’re playing slightly, pretend to be three different people sharing a stand. That’s what you’ll hear on the next record.

JF: I just got into How to Change Your Mind, the Michael Pollan book about psychedelics, which I really loved. I just started a book called The Magic Years, which is about child development. I have a three-and-a-half-year-old son, and I’m very fascinated by what’s going on in his brain and what makes him make the decisions he makes. Just how to be a better dad. I am always a religious reader of The New Yorker, every week it comes out. Natasha and I watched The Kids, a documentary [about the making of Larry Clark’s Kids]. When that movie came out, Grandaddy were skateboarders, so it was important to us. But even as a young kid, I felt that it was really exploitative, and the documentary verifies it. It’s heartbreaking. Larry Clark is a really derelict dude. Truly lecherous. But [The Kids] is a beautiful movie. We’ve been watching Los Espookys. I’m really excited about Vince Staples’ upcoming record. My friend Nik Freitas put out a new song. My musical diet’s gotten really regressive in a way because my son is very into the Super Furry Animals record Radiator. It’s all he wants to listen to in the car.

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fieldsofplay · 4 years ago

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Favorite Albums of 2020

25. Dehd – Flower of Devotion

Rather than look back on the shit year that was 2020, lets keep our eye on the hope of the horizon. Speaking of which, Dehd herald much of what’s to come on this here list. While as previously mentioned a shit year for most everything besides presidential politics, 2020 proved to be a great year for good old fashioned guitar music. Could I be accused of curling up with my version of musical comfort food? Perhaps. But starting off with Dehd, we have a type of band that used to be everywhere and now seems to be almost nowhere. Jangly lo-fi guitars, perky drums, and straightforward unadorned singing. About five years ago you couldn’t throw a rock in Brooklyn without hitting a band like this, but now that that fad is long gone. I’m glad that Chicago’s Dehd are still carrying the torch.

24. Perfume Genius – Set My Heart on Fire Immediately

I’ve always liked Perfume Genius, but for whatever reason Set My Heart on Fire Immediately is the album that took him out of the realm of casual background musical encounter to something I sought out. Chamber pop has never really been my thing (except for those couple summers where Grizzly Bear was totally my jam), but here the torch songs catch fire by the compressed force of Michael Hadreas’ longing. This record also pulls off the impressive feat of each song gradually morphing just a bit from what proceeds it, so that the whole record sounds similar and yet each song carves out its own little generic niche, the whole thing united by the quivering power of that pleading voice.

23. 2nd Grade – Hit to Hit

If you ever found yourself wondering what Guided by Voices would sound like if they wanted to be Big Star instead of punk rock Kinks, we now have the answer, and it’s Phily’s 2nd Grade. In the noble tradition of Bee Thousand and Alien Lanes, Hit to Hit’s 24 tracks breeze by in a mere 41 minutes and 8 seconds. An earworm sunny melody, a quick guitar hook, a second verse (maybe), and poof, each song is gone before you could ever miss it. You would think variation would be difficult working within such tight musical corners, but while each song clearly shares common DNA, there is actually a lot of variance here, from weepy country ditties (“Bye Bye Texas”) to overdriven stompers (“Baby’s First Word”) though they all tend to orbit the same (big) star.

22. Tame Impala – The Slow Rush

I’ll be the first to admit that The Slow Rush isn’t my favorite Tame Impala record, not by a long shot. Having said that, this album still feels like it got short shrift this year (not that anyone can really complain about that in these here times). If we never knew that Lonerism or Innerspeaker or Currents existed, I wonder how much people would be head over heels for this album. “One More Year” “Is It True” and “Posthumous Forgiveness” are all top notch Impala jams. Seems like this album is the soundtrack for the chilled out summer hangs that we never got to have, and thus it’s fitting that it seems condemned for the ash-heap of history rather than the late-night come downs we never got up to.

21. Against All Logic – 2017 – 2019

Ah, speaking of complicated musical relationships, I can never seem to chart a clear course with Nicolas Jaar. The music he puts out under his own name never seems to do much for me, but I dug his collaboration with Dave Harrington as Darkside, and I really love most everything he’s put out as Against All Logic. While admittedly not a great year for house music—normally a liberating genre of communal interconnectivity, now a cruel reminder that we all live in Footloose—a banger remains a banger, and 2017-2019 is full to the brim with them. While I honestly can’t remember the last time I went dancing, I’ll still crank up “Fantasy” and bop around my living room, literally dancing by myself (lets be honest, something I would have done pandemic or no).

20. Fiona Apple – Fetch the Bolt Cutters

Fetch the Bolt Cutters has had a lot of great things said about it this year, so I don’t really have to add that much. What I will say is this is perhaps the most interesting percussion I’ve ever heard on a record. There is percussion all over the place, but almost none of it in the form of full-kit drumming. Fiona always used the left hand on the piano as the rhythmic center of her songs, but here there is drilling, tapping, rapping, patting. The phrase DIY gets tossed around all the time (and almost never applied to big money, big label Fiona) but to me the most impressive thing about this record is how it always sounds like she is sitting at a rickety upright piano in the corner of a living room, while everyone congregating around keeps the beat by tapping on pots and pans, the walls, whatever is at hand. I’ve truly never heard anything like it.

19. Advertisement – American Advertisement

Godbless Seattle’s Advertisement. So long as there is cheap beer, old shitty cars driving with the windows down, and the U-SofA, there’ll be bands like Advertisement. Straight out of the vein of Cheap Trick and the more recent White Reaper, Advertisement play power pop with the emphasis on the power. Sometimes this type of music gets called sleazy, but honestly I don’t get it. I think its probably because you can imagine it playing while Wooderson drives around Austin looking for redheads. While we rightfully cancelled the song of summer this year, “Upstream Boogie” would have gotten my vote, perfect for backyard bbqs and cannonballing into creeks.

18. Nation of Language – Introduction, Presence

I didn’t set it up this way, but if Advertisement has a diametric opposite, its probably Nation of Language. Where Advertisement is all frayed edges and foam, Nation of Language is as buttoned up as those terrible sports jackets people wore in the early ‘90s. While its not as good as my beloved Black Marble, those bands share enough DNA to make me a big fan of this synth pop gem. It’s not as dark as the cold-wave Black Marble, but it does share that bands fondness for stark baselines and crisp arpeggios. If you’ve ever envisioned your life as a scene from a John Hughes movie, Nation of Language could easily be playing in the background.

17. The Soft Pink Truth – Shall we Go on Sinning so that Grace May Increase?

Indulge me in a moment of naval gazing. Every year as I put these things together I reach a point where I’m lack “damn, this album is this low on the list?” And the point at which that thought enters my head is usually indicative of how good a year for music it was. Now 2020 wasn’t a good year for anything, and I probably spent the least time of any year listening to music, new, old, whatever. For the most part I just listened to the Grateful Dead and ambient albums. However, for my idiosyncratic tastes, 2020 was actually a pretty fucking incredible year for new music, as evinced by the fact that this album is all the way down at 17.

Earlier on in 2020 as I was bombarding my poor local music text thread with yet more of my inane musings, I think I declared this a top 3 album of the year. And I wasn’t lying! “Pretty” is often a dirty word in aesthetic appreciation, but this is certainly the “prettiest” album of the year in the best sense of the word. From the Drew Daniel half of Matmos comes Shall we Go on Sinning so that Grace May Increase? A record that is somehow simultaneously deep house and feather light, so much so that it needs its own dumb internet music writing moniker—shallow house? wide house? vacation house? (actually kinda like that last one). With vocals from Jana Hunter, Angel Deradoorian, and Colin Self (with whom I wasn’t previously familiar) this thing will simultaneously make you want to tap your foot and drift off into the clouds. This is album is like the prayer Madonna sang about all those years ago.

16. Kurt Vile – Speed, Sound, Lonely KV

It’s not at all surprising that if Kurt Vile decided he wanted to go country western he’d be really fucking good at it. First of all, he’s an exceptional acoustic guitar picker. Secondly, his voice, while always befitting his hazed out urban rockers, has just enough twang to it that in retrospect it always sounded a little bit country. This record also gives me room to offer up an homage to the late great John Prine, for whom the EP is essentially a tribute. Vile covers two Prine songs, dueting with the man himself on “How Lucky.” Saying goodbye is never easy, but on Speed, Sound, Lonely (both the album, and the song more or less by that name) Vile manages a fitting tribute to a lost legend.

15. Lomelda – Hannah

The reviews of Hannah really did Lomelda a disservice. Sure, they were glowing, but they made it sound like this was some weepy milquetoast singer songwriter affair, when it’s actually a knotty album full off elliptical piano and fuzzed out electric guitar. Its 14 tracks hurtle by, largely due to the fact that almost all of them are under 3 and a ½ minutes. Things really get going with the second track, “Hannah Sun” with is squiggly synth effects and driving acoustic strums carrying on Hannah Read’s musings. It’s an album of relentless forward musical movement even if the vibe feels like it’s always looking back over its shoulder. Basically this album is what emo would sound like if it wasn’t made by the worst people in the universe.

14. Shabaka and the Ancestors – We are Sent here by History

Jazz! Another great year for jazz (Asher Gamedze’s Dialectic Soul and Keefe Jackson, Jim Baker, & Julian Kirshner’s So Glossy and So Thin are with a strong group that just missed the cut). In the midst of an excellent jazz renaissance (you gotta use super annoying words like “renaissance” when talking about jazz) Shebaka Hutchins remains my absolute fave of the bunch, and We are Sent here by History is probably my favorite thing he has put out so far.

13. Waxahatchee – Saint Cloud

While I really liked Waxahatchee’s low-fi emoish debut—American Weekend—I’ll readily admit I wasn’t much about the popier albums that followed, frequently jesting, honestly, that Allison was my preferred musical Crutchfield sister. All that changed for me with Saint Cloud. I’ve certainly drifted far off into country and Americana as I’ve aged, and it appears the same came be said for Katie Crutchfield. These songs have a giddyup to them but they never break out into a gallop, allowing the strength of the melodies to carry them along across the plains, with just the right hint of twilight. Saint Cloud is the sound of Patsy Cline if she played to roadside inns rather than the Grand Ol’ Opry.

12. Neil Young – Homegrown

This was the hardest album to place on the list this year. For starters, should it even count? Clearly I say yes. While some of these songs have been available for over 30 years, as an album, Homegrown was a “new” release here in 2020, even though it was originally slated to come out in ’75 between On the Beach (my personal fave Neil record) and Zuma. As a pure piece of music, is it better than most, if not all, of the records that follow? Of course yes. But what does a new Neil Young record mean in 2020? As a thought experiment its fascinating. Do we value this album within the musical context of 2020 or 1975? Fortunately, it’s an even more enjoyable listen than it is a thought experiment. From the first strums of “Separate Ways” you’re like “oh shit, this is the vintage stuff.” Gentle amber acoustic numbers (“Try”) share space with electric stompers (“Vacancy”). The best thing you can say about Homegrown is that if Neil had originally decided to release this instead of Tonight’s The Night, it would have fit right in amongst his unimpeachable run from Everybody Knows This is Nowhere up through Zuma. A classic is still a classic, no matter what year it finally sees the light of day.

11. Destroyer – Have we Met

Ah Dan Bejar, boy was I wrong about you. I kinda got into Destroyer’s Rubies, I loved his contributions to Swan Lake and The New Pornographers, but yet when Chinatown started really making waves, I just couldn’t do it. It was soft rock! I hate soft rock! I hate everything about it! This preconceived notion wasn’t helped by the fact that I saw him open for the War on Drugs in Pontiac once and he was so drunk he could barely stand up and had to read his own lyrics from a sheet. And yet, for some reason I never really gave up on it. I can’t tell you why exactly, but two summers ago Chinatown just slowly became my go-to for early morning / late afternoon strolls. I found comfort in giving myself over to its pillowy soft embrace / cheating on my own aesthetic judgments. Now that I’m card-carrying Bejarhead, I greeted Have we Met with open arms, and I was not disappointed. The synths glimmer, the guitars add just enough punch, and his lyrics remain sharp as ever. Its fitting that this was the last concert I saw before the iron curtain fell. The one thing I had always turned my back on ended up being the last memory of dionysian group enthrallment I had to carry with me out into the desert of social isolation. Come back soon Destroyer, come back soon, everyone.

10. Deeper – Auto-Pain

Ladies and gentlemen, get ready, because post punk is back! I always say my favorite genre is ‘sad songs you can dance to’ but post punk is a close second. When I was in college post punk underwent a bit of a renaissance in the form of Interpol (back when they were still good), Bloc Party (ditto), Franz Ferdinand, and a whole slew of British one hit wonders (Maximo Park, Futureheads, Art Brut, the Bravery). Fortunately, as is always the case, what’s old is new again, and stark melodic bass lines, angular guitars, and moody introspective speak-singing are back in full force. Of the three post punk bands gracing this here top ten (Deeper, Fontaines DC, and Crack Cloud) each has its own little slice of the generic pie. Fontaines have the deep gloom of Interpol/Joy Division, Crack Cloud ripple with the staccato energy of Gang of Four, and Deeper have the wiry dancieness of, well, Wire. So long as leather jackets and black and white photography remain cool, there’ll always be bands like this, and thank god for that. In a true sign o’ the times, I learned about this band from some random girl’s Tik Tok in my for-you feed. She repped five bands, two of which are in my top three, so I was like, sure I’ll give this band Deeper a go. God bless the internet. Finally, Deeper get bonus points for naming a song “This Heat,” who I’ve been spending a lot of time revisiting this year, and whose spikey guitars are all over this record.

9. The Flaming Lips – American Head

There are few things as satisfying in art as being genuinely surprised by a beloved artist you had given up as culturally dead. Since putting out their last masterpiece (2009’s Embryonic) the Lips have put out a string of good, if inconsequential, albums that befitting the ethos of the band could best be described as half baked (The Terror, Oczy Moldy, and a series of collaborative experiments). Basically, they had reached that dreaded nadir where I was no longer interested in listening to their new output (cough The National, cough cough Arcade Fire). So what made me give American Head a chance? That reader, is the point of art criticism! I can’t remember how the blurb on pitchfork read exactly, but I knew it referenced Tom Petty and a return to a preoccupation with more Earthly concerns—namely ‘70s heartland rock. Well, this sounded intriguing, and boy was I not disappointed. Sure, the Flaming Lips have already reached their sell-by date twice over (first in 1992, immediately followed by their MTV reinvention on 1993’s Transmissions from the Satellite Heart; and then again in the late ‘90s with the departure of guitarist Ronald Jones, followed by their creative pinnacle, ‘99’s symphonic masterpiece The Soft Bulletin), so it shouldn’t be all that surprising that this band could rise from the dead a third time. Only, for the most part, they didn’t. I guess I’m not surprised that American Head failed to reach a broader audience. Most people probably aren’t even aware that they are still a going concern, and after the failures of the last decade it makes sense that most weren’t interested in more tunes from the Oklahoma freaknicks. But for those willing to give the band another chance, American Head easily delivers their best album since Embryonic, if not all the way back to Yoshimi. Mixing ‘70s Americana with the star gazing of Soft Bulletin’s “Sleeping on the Roof,” the Lips deliver their best album in decades by foregoing the parlor tricks and returning to what they do best, taking trips to distant galaxies while keeping their feet firmly planted in the soil and songcraft of Oklahoma.

8. Cut Worms – Nobody Lives Here Anymore

This one is pretty easy. Do you like George Harrison’s All Things Must Pass? If yes, listen to Nobody Lives Here Anymore and revel in this double album’s upbeat acoustic rock mediations. If no, well there’s plenty of other good stuff out there. Not quite as metaphysical or orchestral as All Things Must Pass, Nobody Lives Here Anymore still manages to hit that rockabiliy-pop sweet spot that Harrison used to mine. I’m not quite sure what the definition of “troubadour” is, but it feels safe to call Cut Worms a troubadour, which is certainly better than his terrible stage name.

7. Cigarettes for Breakfast – Aphantasia

Similar to Cut Worms, Cigarettes for Breakfast also involves a simple influence equation. Do you pray at the altar of Loveless? If so, Aphantasia is just the record for you. Sure, it’s a bit of My Bloody Valentine paint by numbers (“Breathe” even features the same squally guitar noise [it’s really hard to try and describe My Bloody Valentine effects ha] as “Soft as Snow (But Warm Inside)”) but when you’re as into shoegaze as I am, that’s never really a bad thing. Plus, I’m being a bit unfair. Everyone with textured tremolo heavy wall-of-sound guitars and cooed vocals is going to inevitably be compared to MBV, and Cigarettes for Breakfast do enough to chart their own course. Perhaps most interesting is the musical journey this record charts. Its loudest moment is its opening, where pummeling guitars more reminiscent of Sonic Youth with a touch of Dinosaur Jr. rip across hardcore style drumming. From there each song becomes a little more ambient, until closer “If Someone Could Help Me, Please” more or less floats away on its shimmering sheets of beautiful noise clouds. In this sense, it bears a resemblance in structure, if not in sound, to Deerhunter’s Cryptograms, another album I spent a lot of time revisiting this year. A shutout here is owed to the fine folks at Radio K, who had me diving for my shazam as this thing ripped across their airwaves. So long as there is college radio, there’ll be a new crop of kids discovering via Kevin Shields that the electric guitar contains endless sonic possibilities.

6. Fontaines D.C. – A Hero’s Death

The second entry in our top-ten post punk trio is A Hero’s Death by Fontaines D.C. I’ll admit, on first blush it’s kind of a dumb band name (I just assumed they were some hardcore band from Washington DC chasing those Dischord Records glory days), but when you learn that the “DC” stands for Dublin City, it all clicks, as this band is sorta inescapably Irish in the way that James Joyce is. Now this fact at first was also off-putting—if I went the rest of my life without ever hearing the Dropkick Murphy’s again I’d be quite content—but eventually it becomes integral to their sound, and not just because of the brogue in Garin Chatten’s vocals. “Love is the Main Thing” is an incredible song in many ways, most notably because of the hypnotic quality of the drumming with its counterpoint between riding cymbal and staccato toms, but perhaps in the main (*wink*) for the way it manages to connote the weariness of a grey urban environment without ever being explicitly about it. Just as Turn on the Bright Lights managed to perfectly capture New York in 2001, A Hero’s Death to me is the aural equivalent of a dense urban center like Dublin, especially after nightfall.

5. Imaginary Softwoods – Annual Flowers in Color

It should come as no surprise that I listened to A LOT of ambient this year, and to me there was no better electronic record to chill the fuck out to during this insane year than Annual Flowers in Color. I absolutely loved Emeralds’ Does it Look Like I’m Here? and was devastated they never followed that gem (*wink*) up. In the immediate aftermath of the demise of Emeralds Mark McGuire’s solo albums got a lot of attention, but apparently the person I really loved in Emeralds was Imaginary Softwoods’ John Elliot. Annual Flowers in Color is like if Dead City’s, Red Seas, Lost Ghosts were waiting in the departure’s lounge of Eno’s airport. At the heart of the album lies the 10 plus minutes of “Another First/Sea Machine.” I could listen to this song forever, and on some particularly WTF 2020 lakewalks I more or less have. Chunky synths, arpeggios that drift off to infinity, ‘80s soundtrack nostalgia. I could live in these Softwoods for the rest of my sonic days.

4. Pottery – Welcome to Bobby’s Motel

In another moment of nostalgia for my college years, Pottery are a welcome return to weird ass experimental Canadian bands. They don’t sound anything like the Unicorns, but in spirit Pottery kind of remind me of them. I’ve spilled a lot of digital ink here and elsewhere bemoaning the fact that Pitchfork (or perhaps, me) isn’t cool anymore, and to me no band embodies this more than Pottery. They take a bunch of fun disparate elements—Talking Heads dance art rock, periodic weird pitch shifted vocal effects, hazy deep purple style guitars, and Queen style machismo disco—throw them into a witch’s cauldron, and come up with something off the wall that sounds like nothing else but is also instantly familiar. This is the type of thing Pitchfork would have been all over in 2007, but instead now they’re too busy chasing conde nast clout clicks. Oh well, nothing gold can last. But enough negativity, this here is a celebration of the joy of new music, and no new band embodies that unbridled joy like Pottery. Along with Fontaines DC, this is the band I wish I most could have bopped around to with a bunch of sweaty strangers in the 7th St. Entry or Turf Club. You can just imagine the call and response vocals and funky grooves getting the people moving. Oh well, hopefully we’ll soon all be rocking the vaccine, they can breeze through town, and I’ll be the first person on the dance floor embarrassingly pumping my fist a half beat behind the rhythm.

3. Pure X – Pure X

To paraphrase Same Elliott in the Big Lebowski, sometimes there’s a band, and well, sometimes there’s a band. For me this year, that band was Pure X. I absolutely loved their debut Pleasure way back in 2011, when lo-fi reverb heavy slow guitar music (ie, Galaxie 500) was all the rage. Their follow up Crawling up the Stairs was so bad I didn’t even bother listening to Angel, though perhaps that also owed a decent amount to just how terrible the art on that record is. (I’ve since remedied this mistake; turns out that record rules). Being that as it may, I can’t particularly tell you what drew me in to this year’s self-titled album, a full nine years after Pleasure first graced the stage. In one sense it’s probably because Pleasure is one those albums that just never went out of my rotation. Whenever the fahrenheit tips past 90 and the walk to the bodega is a few blocks longer than you’d like, that record always hits the spot. Maybe I just knew this was the record I needed this year. Either way, from the first bars of “Middle America” I was hooked. The guitars crash over you, but never in a threatening way. Rather, they envelop you like a weighted blanket, comforting you in their sonic embrace. Nowhere is this more true than on “Fantasy,” easily my favorite song of 2020 (especially since this was a year entirely devoid of dance floor bangers). If this album came out in 1999 rather than 2020 I would have hit the repeat button on my discman and listened to this song forever.

2. Crack Cloud – Pain Olympics

Pain Olympics is the answer to the question that no one asked: what if Arcade Fire’s (back when they were good) communal uplift was paired with Gang of Four’s stark anthem’s of industrialism’s collapse? While on first blush this might sound like your standard album of punkish fist pumping angst, from when the female vocals (sorry there are too many people in this band for me to be able to figure out whose who) come in on opener “Post Truth (Birth of a Nation)” Pain Olympics reveals itself to be a very strange animal (likely a unicorn of some sort), especially as little orchestral swirls creep into the mix, giving it an almost Judy Garland (in hell) quality. This subtle genre pastiche is given its best effect on stunner “The Next Fix.” That song starts out as an elastic spoken-word call and response addiction rumination, at the minute mark it starts to segue into a vocoded chill raver, then some horns crop up out of nowhere, then a spoken word passage, then at the two minute mark a chorus of voices come in, doing their best Broken Social Scene in the truest sense of the phrase. This is perhaps one of the strangest records I’ve ever heard, but what is strangest of all is just how beautiful it is. Crack Cloud are not for everyone, but if you really give it a chance, the returns are limitless.

1. SAULT – Untitled (Rise) / Untitled (Black Is)

You cannot tell the story of 2020 without SAULT, which is why this pair of records is here at the top, even if under the influence of sodium pentothal (lets be honest, veritaserum) I might lean more towards Pain Olympics. In June, the “anonymous” London project put out Untitled (Black Is), and then quickly followed that gem up with September’s Untitled (Rise). Perhaps more amazing still is that these two albums, released so close together, have unique personalities. Black Is is more pop/R&B whereas Rise has a dancy, electr(on)ic feel. I lean more towards the latter, but honestly, both albums are so overstuffed with amazing moments that it’s borderline unbelievable that one outfit could put out so much amazing music in such a short span. While these records would chart high even if sung in Hopelandic, there’s no escaping the social import of the lyrics. One need look no further than Black Is’s “Don’t Shoot Guns Down” for the 2020 dance party at the end of the world. As if that weren’t more than enough, it finds its analogue on Rise’s “Street Fighter,” and that’s SAULT in a nutshell: two albums in constant communication with one another, and more importantly, with the state of the world. Guns down. Don’t Shoot. Let’s dance.

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sunshinesholland · 5 years ago

Text

the one (and all the others) [2] | t.h.

Pairing: Tom Holland x Reader

Word count: 5.35k

Warnings: swearing, angst/pining, allusion to abusive past relationships, PTSD mention

Summary: It’s possible Tom would have outgrown the crush, but after one night where feelings were confessed and tears were shed, everything changed. And the worst of it all is that the two of you don’t talk about it, or even acknowledge that it happened. But that’s how it always goes right? It’s good until it’s not.

A/N: This part is a flashback to the night Tom alludes to in part one (see summary above). This is just some exposition to explain their relationship and past. I also just want to say a huge thank you for such a great reaction to my writing so far. It’s something I used to be so passionate about and it feels lovely to get back into it :) Let me know your thoughts, or if you’d like to be added to the taglist!

part one || part two || part three

eighteen months ago

Tom and you are sat on the couch, tangled up in your favorite blanket with Iron Man 2 playing in the background. Zendaya is away on a family trip, so naturally you and Tom are spending the whole weekend watching your favorite movies and eating lots of takeout. It’s not too different from your usual time spent together, but it’s always nice to not feel like you’re bugging her. You’re about tell him the things you’ve learned in your psychology class this week, but instead he’s trying to get you to thumb wrestle him, determined to win.

“Okay, you know what? You’re the one who wanted to watch this movie! The second one isn’t even my favorite and now you’re thumb wrestling me instead of even watching it,” you say exasperated, though the grin on your face shows you’re enjoying your time together all the same.

“Well, you’re the one that wanted to talk instead of watch so technically this is all your fault. I just want something to do while you tell me about… about, uh,” he pauses, long enough for you to tuck his thumb under yours.

“About arousal theory,” you finish, knowing he won’t remember what you’ve been trying to tell him the past five minutes.

“Oh, now all of a sudden I’m interested, continue,” he grins at you, putting his hand under his chin to (dramatically) show he’s averted his full attention to you.

“If you were paying attention, you would know that’s not at all what that means, Tommy,” you laugh, and face away from him to watch the movie.

“Well, if it was maybe then--” he’s cut off by your phone ringing and vibrating on the coffee table.

The caller ID shows a picture of your friend George that lights up the screen. Since most people don’t opt for calling, especially in your friend group, you answer quickly.

“Hello?” You question, nervous something’s wrong with him or another of your friends.

“Y/N!” He excitedly shouts in your ear, so much so that you have to take it away from your ear. At least now you know there’s nothing wrong but your bleeding eardrums.

“I tried calling Tom’s phone but it went straight to voicemail! I’ve got some exciting news and I figured he’s with you though, yeah?” He continues to shout over the noise on his side.

“I’ll put you on speakerphone,” you reply and do just that, before you place it on the coffee table.

“Is there a congratulations in order?” Tom asks, a knowing smile on his face. You look at Tom, confused as to what he is talking about.

“Hell yeah there is! She cried and I cried but she said yes! Her family is over right now but the whole gang is coming over for celebratory drinks later, are ya in?” George asks, and you quickly connect the dots.

“Wait, you proposed to Gwen?! And you didn’t tell me? And more importantly, you didn’t ask for my help?” You question in quick succession, because as resident hopeless romantic, you should really be the first one your friends come to for things like this.

You then turn to Tom who’s chuckling at your excitement, and now you’re yelling at him, “but you knew? And didn’t tell me either?!”

You chuck a pillow at him, which he dodges before laughing harder at. He ignores you and leans towards the phone to reply to George’s invitation.

“We’ll be there, George. Just text me the details, oh and tell Gwen she’s a div for saying yes,” Tom replies, laughing when George replies with a ‘sure thing!’ before hanging up. He’s so excited he didn’t even register Tom’s comment as a jab, or needing a comeback (which is especially amusing considering how quippy George usually is).

Gwen and George are a few years older than the rest of your friend group, so you’re a little unsynchronized in your points in life but they’re close friends with you all nonetheless. They have been going out since before anyone in your group has known them. They’re high school sweethearts, best friends, lovers and everything in between. They’ve been through so much in all their time together. They had been told they would never last for the first four years of their relationship. When they ended up on opposite coasts since George left to a startup business and Gwen stayed home to go to culinary school, they were told that one of them would cheat if they didn’t get bored of the distance and each other before then. When they ended up on the same coast in recent years, people assumed Gwen wouldn’t want to stay with him as he wasn’t making much money and had yet to pop the question. Neither Gwen or George paid any mind to any opinions or judgements and were happy taking their time. They were secure with where they were at and whether a shiny ring on her finger and piece of paper happened tomorrow or years in the future, it didn’t matter to either of them when it happened when they knew how they felt.

Now two years later, George’s business has taken off, they live upstate in a nice apartment with their sweet little French bulldog and they’re stable enough to plan the big, romantic wedding they both want. It’s heartwarming every time either of them tells you about their story, or talks about each other at all. Which is why you’re pissed you’re only finding out now.

“I cannot believe you didn’t even tell me,” you mumble, crossing your arms across your chest with your eyes trained on the TV, “you’re shit at keeping secrets, but this one you decide to not tell me.”

“You’re just jealous that he came to me advice rather than you,” he grins, laying his head in your lap to look up at you.

“Well yeah! You’re not even into all that lovey-dovey, romantic stuff, I am. When you dated that girl last year you couldn’t even think of a gift to give her for Christmas, I had to pick one out. And Harry said you never even said ‘I love you’ to any of your girlfriends growing up and I’ve never heard you say that either.” you pout at the TV, despite not paying attention because it’s just your excuse to not look down at him.

Except that he is into all that lovey-dovey stuff. Or at least he has been since he met you. It’s cheesy, but it’s like you’ve lent him the rose-colored glasses you see the world through and he’s eternally grateful for it. Of course, it helps that he’s in love with you and watching you admire romance and the idea of a fairytale ending is enough to make anyone fall just as hard as he has. But all of that is just too heavy considering you’ve only recently returned to your usual self. Tom can’t be selfish and risk hurting you when you’ve only just begun to heal from your shitty ex-boyfriend. What you need now is your friend and so instead of any declaration of love, he jokes with you.

“Guess the ladies love me because I love hard enough in other ways,” he says, winking at you.

“I live across the hall, so I know definitely not hard enough, Holland” you retort back, grabbing the last pillow on the couch to throw at his face.

The both of you are in Tom’s car, on the way to Gwen and George’s apartment. The setting sun streams through the passing trees, while Tom’s playlist (the one full of all the songs you like, that he’ll always deny was made specifically for you) plays throughout the car.

Tom glances at you as you lean your head against the window. You’ve been silent the whole car ride. Not singing along to your favorite song or blabbering about the romance of the engagement, which is unbelievably out of character. He turns down the volume on the stereo so it’s quiet enough to hear the wind whip against the car.

“What’s on your mind?” He questions, sneaking a glance at you before returning his eyes to the road, pulling onto their street.

You don’t say anything for a few minutes, making him think you didn’t hear him. He pulls into a parking spot, thankful for not having to parallel park, and is about to repeat the question when you finally reply.

“Nothing important.” You say and of course Tom doesn’t believe it. Before he can question the honesty of your reply, you’re opening the passenger door and beginning to walk up to their apartment.

Tom takes the keys out of the ignition and exits the car, quick to catch up to you. It's colder upstate, allowing the snow to form a thick blanket on the ground. It’s fresh and fluffy, effectively dampening all ambient sound outside. While he really wants to ask you again, he can tell you’re not ready to talk yet so he stays silent on the walk up to the apartment building as well as the elevator ride up.

You reach to knock on the door, greeted immediately by George.

“Hey guys! I’m glad you could make it,” he smiles, practically beaming. They’ve both always known it was in the cards for them to get engaged and of course married, but damn if he wasn’t ecstatic about it finally happening.

“Gwen’s in the living room, on her fourth glass of champagne so naturally she’s already started her own acapella concert in there,” he tells you, looking absolutely smitten just thinking about his future bride, even as a drunk, goofy mess.

“Oh, and Jacob brought some celebratory cigars and since you were such a huge part in helping me plan this, I’d love if you’d join me for one,” George offers Tom.

Tom looks towards you, not wanting to leave when your mood seems off like this. He doesn’t want to flat out say no to George, but you can tell this is his silent way of asking.

“You can go, I’m gonna go see Gwen. I hate the smell of them anyways,” you reassure him with a smile and congratulate George before walking through the apartment to find her.

Gwen is surrounded by people talking to her and congratulating her but as soon as she sees you, she comes running.

“Y/N! Hi! I’m engaged!” She shouts despite the music not being at a loud volume, champagne in one hand and flashing the other with the ring on it at you.

“I know you did, that’s why I came,” you reply with a smile, leaning in to greet your tipsy friend with a hug.

For a while you’re chatting with her and some other friends, not really as energetic as you would be but most people have been here longer than you and are already a little tipsy, so no one notices. You’re in the middle of half-listening to one of Gwen’s co-workers tell all of you about their upcoming trip to somewhere you don’t really care about, when a hand is placed on your back.

“Do you mind if I steal Y/N away from you for a moment?” He asks and he’s behind you but you can just tell he’s got on a charming smile (but isn��t it always charming to you?)

All of the intoxicated girls grin at his English accent and endearing smile, nodding simultaneously and encouraging him to take you away. You think one may have even said ‘hell, you can take me!’, but regardless, Tom utters a thank you regardless. With his hand in yours, he leads you through the apartment and onto the balcony. The smell of cigar smoke lingers outside and the night air is chilling against your bare arms, having left your jacket inside.

“You brought me away from friends, free booze and the warmth of the indoors to… have me smell some cigar smoke?” You joke, arms hugging yourself in an attempt to keep warm.

“You’re being weird,” he replies before sliding glass door shut, blocking out the music and talking from inside.

“Excuse me?” You question, furrowing your eyebrows at him, “so you’re gonna force me to be cold, smell cigar smoke, and call me weird? I’m going inside then.”

“Okay I’m sorry for saying you’re being weird,” he says quickly, “But, can you please sit down with me? You can even have my jacket,” he offers, and shrugs it off to hand to you.

You eye the jacket, then the table, before grabbing his coat and sitting down. Bundling yourself up in his warm jacket, the smoke scent lingers on his coat, but it's mixed with his familiar cologne and that’s enough to be comforting.

“I just, I really love engagements and romance and I realize I haven’t really been excited for two of my closest friends when that’s all tonight is about. It’s just kind of weird behavior on my part and I wanted to talk to you about it,” Tom replies dramatically (the damned acting major).

You look down at the table because you know exactly what he’s doing. Really, it’s hard not to, he knows how stubborn you are and reads you better than anyone, so voices his concern this way. If he says something flat out, you don’t really have a chance to deny it.

“Oh, no wait. That’s you.” He finishes his sentence and pulls out the chair on the opposite side of the table to sit down in.

“Haha, that never gets old.” You reply sarcastically, running your fingers across the glass that covers the top of the table.

He places his hand atop of yours, stilling your movements. You look up to him, unblinking and expressionless.

“Really, N/N what’s wrong? You were excited earlier and you’re practically the president of the Gwen/George fan club so if you don’t get excited, they’re going to find another leader.” He jokes but stops when you don’t smile.

“It’s nothing,” you reply, biting at your cheek. You’re trying your best to not rain on their parade, and no one notices but Tom. But if he keeps pushing, you’re not going to be able to hold your stupid emotions in.

“That’s bullshit and you know it,” he reprimands, squeezing your hand, “you know you can tell me anything.”

You look at the closed door and no one else is out here, or paying attention and Tom is your best friend, and maybe if you talk about it, you’ll be able to enjoy the party.

“Sometimes I just worry it will never happen for me,” you start, looking down at your hands, “getting married I mean. Or anything relatively close, like finding someone who loves me long enough to even stay more than a few months…”

“And I know I’m only 23, and they’re 28 so they’re at a different point in their life and they’ve been going out forever but..” you pause, and Tom doesn’t interrupt, just listens.

“After what happened with him, I’m scared of ever trying again. More than that, I think I just feel like that maybe that’s the best I’ll ever get, or even deserve,” you finish, with tears welling up in your eyes, and you look away, out over the balcony.

Tom gets up and you close your eyes, letting the tears fall because maybe he thinks you’re selfish for making this night about you somehow and he’s leaving. But instead, he pulls you up out of the chair and brings you to his chest and holds you tightly. You stay like that for a while, until the tears slow to a stop and your breathing has slowed to normal.

“Why would you ever think that’s the best you’ll get?” he asks and you look up at him, expecting some sort of joke because there’s no way he’s serious.

“Why wouldn’t I? I must deserve it in some regard after how deeply and unapologetically he hurt me. After all that happened and how long it went on for, it's hard not to think somehow, it’s my fault. I must have done something wrong.” The tears are welling in your eyes again, threatening to fall.

“You cannot seriously believe that,” He softly rubs his hands up and down your arms, “hey, look at me.”

He puts his hand under your chin, lifting it so your eyes meet his.

“Why would you ever think you deserve the kind of treatment he gave you?” He questions, and then repeats himself when you don’t answer, gingerly as though speaking too loud would scare you away.

“He wasn’t all bad,” you reply meekly, biting the inside of your cheek, “sometimes he--”

Tom cuts you off, “No, there’s no ‘sometimes’ for treating someone you’re supposed to love well, it’s not something you need to earn or something that’s rationed. He was a dick all the time, he just pretended not to be sometimes to manipulate you into staying.”

Your heart throbs at the blunt veracity of his words. Deep, deep down, under everything that has happened, all of the trauma and damage done, you know it’s true. Internally you’ve just been at a constant tug of war, trying to rationalize all that happened. Was he in love with you at all? Did you do something to make him hurt you like he did? Could you have fixed him? Was he good under it all and just hurting? Did you imagine it all? Were you not good enough in the end, even for him?

“Why manipulate me into staying if he was the one who ended up leaving in the end?” you question, and his own heart hurts at your words.

Tom’s not sure what to say because he saw your ex leave you and come back so many times. Saw how it slowly chipped away at you each time. When someone does that to you, time and time again, it takes away all your power. You feel helpless and like you can’t go on and the only thing you can do is wait for them to come back. While all of that makes Tom furious, and he wishes you were the one who dumped that asshole because he deserved it, he instead says what will best comfort you.

“Because he’s a blind idiot. But it’s probably the kindest thing he’s done your whole relationship,” he replies, before moving his hand from under your chin to your face, his thumb stroking your cheek, “and I know that sounds insensitive because you hurt for so long and you’re just getting over it, but it’s true.”

“You’ll find someone who fulfills all of those fairytale expectations, because you shouldn't settle for less and you don’t have to. Someone who is kind, and cares for you, and appreciates everything you are and have to offer. I’m not saying it will take away all the hurt you have felt, but they will love you so deeply that you’ll wonder how you ever thought you deserved any less,” he promises, leaning forward to press his forehead to yours.

He wants to say he’s that someone, confess the way he felt about you since the very beginning but that’s not what you need now. Instead he gives you one last squeeze and brings you down inside, out of the cold. He’s gotten you to at least talk about it and that at least means you won’t hide yourself away, hurting and staying silent in an attempt to not burden anyone. Not that you could ever be a burden, not to Tom.

It hurts a little less when you have someone like Tom by your side. Maybe people look at you two and think he’s suffering from white knight syndrome, like you need to rescued because you’re a damsel in distress. Maybe they think you love him because he’s doing the saving and you love him for such a shallow reason. Except it’s not that, you’re just healing on your own with your best friend being there to support you and love you. It is deeper than a fleeting attraction because someone has helped you. This love is patient, kind and unwavering. As cheesy as it sounds, Tom is someone you fell for slowly, and then all at once. You went to bed one night thinking of him as your best friend and woke up the next with the thought crossing your mind while you were in the shower; ‘I love my best friend so much’ and by the time you were done rinsing away your shampoo, you realized ‘shit, I love him’.

After that it was all you could think of for weeks, noticing all the ways he cared for you. Something as simple as asking if you had gotten enough sleep last night or giving you the cherry from his drinks because you love them so much. The way he locks eyes with you in a boring lecture to make sure you’re awake, the way his hand immediately grabs yours in crowds. Picking up your favorite chips when he goes grocery shopping, just so he always has them in the cupboard for you even though he doesn’t like them. The way he doesn’t just tolerate the things you like, and he doesn’t but gets excited for them simply because he likes seeing you enjoy things. The two of you are the other’s first person to tell both good and bad news alike to. The two of you may fight but neither of you are too embarrassed to admit you’re in the wrong to the other. He makes mundane things like getting gas or going grocery shopping entertaining. While you should be scared of him leaving or being hurt again, you’ve trusted him for so long with matters regarding your heart, it only seems right that he’s the one you trust to hold your it and not harm it. But you don’t want him to think he’s a rebound from the man who’s broken your heart only months ago, because it is so much deeper than that. Your love for him is so much deeper than that. So, you keep quiet, loving him silently.

You both have fallen so deeply into each other, but both too worried about caring for the other to say anything and tonight isn’t any different. The rest of the night is spent celebrating your friends’ engagement: dancing and drinking the night away. The two of you exchange longing glances throughout the entire evening, scared to break the silence regarding your feelings.

—

Tom pulls into your own apartment complex, parking before glancing over at you. Your eyes closed, mouth slightly opened, high heels in your lap while you’re curled up in the passenger seat. Tom unbuckles, reaching his hand over to softly shake your shoulder in an attempt to wake you gently. You continue your slumber, unphased by his disturbance.

“Y/N,” he calls softly. You’re still sleeping soundly, and you look so peaceful that Tom can’t help but reach over and tuck your hair behind your ear, letting his hand linger there.

Out of all the ways you could wake up, this could very well be the creepiest way to, Tom thinks. His thought must have manifested it because your eyes flutter open slowly. While he thinks to withdraw his hand and pretend he wasn’t just thinking about how breathtaking his best friend is (and how in love with her he is), you instead lean into his hand.

“Mm, hello,” you mumble, blinking to adjust to the darkness of the car. The few streetlights lining the parking lot let in just enough light for you to see his lovely face. Tom hasn’t shut off the car yet so heat is still on and his (really, your) playlist continues playing at a low volume.

“We’re home,” he says gently, trying not to be too loud as you shake off the effects of sleep.

The words make you feel warm, hearing him say ‘home’, despite the fact that you’ve definitely referred to the general complex as ‘home’ before. Maybe it’s just the circumstances; him waking you up tenderly from a night spent out together, like you’re lovers and he’s waking you so you can go inside to the bed you both share.

“Oh, okay,” you reply, rubbing at your eyes despite the presence of makeup.

“Want me to carry you up?” He asks, innocently enough. Except that it just furthers that fantasy of being together: being carried up to your home together.

“I mean, because you’re tired and you’ve had a bit to drink everything,” he quickly adds, “and I know they’re the lace up ones and you hate doing them up.” He points to the heels in your lap.

Of course, he’s just being his usual sweet self. He’s heard you complain about these shoes enough and knows the only reason you wear them is because you say the way they look is worth the effort. But he also knows when you’re drunk and the shoes come off, you’re past the point of no return and you’ll only ever get less put together, not more. Because he remembers things like that.

The thudding in your chest quiets a little, “Yeah, that’d be nice.”

He turns off the car and gets out to walk around to your side. He opens the passenger door and grabs your shoes from you and allows you to wrap your hands around his neck. He adjusts his hold on you so he’s carrying you bridal style (great, that helps your romantic mindset) and you bury your face into his chest, telling yourself its only to shield your eyes from the change in lighting. He places you on the floor, since you’re safe from the slushy snow outside now. While he wishes he could have you in his arms the whole way up, there’s no reason for it and it would look strange since you’re just friends.

You walk barefoot beside him to the elevator, both of you silent on your way up. You’ve managed to make it home before 2 AM, but the hall and the whole complex is peacefully silent. When you reach your apartment, you both begin talking at the same time.

“I just wanted to say—”

“I hope you know—”

“Oh sorry, you go.”

“No, it’s okay, you go.”

You both laugh quietly as not to wake any of your neighbors, until Tom gestures for you to go ahead first.

“I just wanted to say thank you. For talking to me about everything tonight. And for not thinking I was absolutely awful to be thinking about myself during Gwen and George’s happy night,” you glance down at your bare feet, shy at tonight’s actions.

“You don’t have to apologize,” and he continues before you can interrupt, “you really don’t. I know you and so I know it wasn’t something you did out of selfishness.”

He reaches for your hand and holds it between you two, while the other reaches up to stroke your cheek, which you lean into again. It’s an intimate gesture he doesn’t usually do, but has managed twice tonight, and it feels like walking the line of friendship and lovers.

“You deserve so much better than anything he ever gave you, or anything anyone has ever given you. You deserve the world and I can’t believe you would ever think otherwise. I will always fight for your fairytale ending, even if you give up or think you don’t deserve it.”

Your heart swells and you want to thank him for all that he’s saying, but he only continues.

“I always want you to feel like you can talk to me, because I will always be here because I, I lo-“ he stops himself and your heart begins thudding again, because maybe he feels the same way you do.

“I-I look out for you. And you look out for me, right?” he finishes, his voice unsteady and you’re beyond disappointed.

You rest your hand atop the hand of his that cups your face.

Despite how nervous you feel, and how clammy your hands are getting and the thumping in your chest, you look into his eyes bravely and ask, “Tom, do you love me?”

“Of course I do, you’re my—”

“No. I am asking you; do you love me?”

When he doesn’t say yes, but he also doesn’t say no you decide to make the first move. You lean in to kiss him, but quickly his hands pull out of yours, pressing gently against your shoulders. Your brain goes into full panic mode: you cannot believe you misread the signals so badly, you cannot believe you tried to kiss your best friend. You turn away from him, fumbling with your keys and shoving the apartment key into the lock, shoving it in, scrambling to escape from this mess.

Tom certainly isn’t drunk since he had to drive home but the emotion bubbling inside of his chest is far more intoxicating than any amount of alcohol could be. He’s grasping at words, trying to try to express what he’s feeling right now but his thoughts are jumbled and clouded.

“Y/N,” he breathes out, walking to follow you into your apartment, desperate to explain himself.

Your turn around, pressing your hand against his chest, leaving it there for a moment, not meeting his eyes. He doesn’t say anything, doesn’t try to hold your hands or assure you in any way, so you turn around to enter your apartment. You close the door softly and turn the lock, and maybe that’s scarier than you slamming the door in anger. You press your forehead to the door, eyes closed and attempting not to feel all that you are right now, as deeply as you are. You could not be more thankful for Zendaya’s family trip as she is unable to see the stupid attempt at an advance. She is not here to pretend that what you did wasn’t stupid, or that you didn’t make the biggest mistake.

You’re frustrated and annoyed that you’re hurting like this. You’re frustrated that you were stupid enough to think you’re not a broken mess, that you’re deserving of him, of love. Of course he doesn’t want anything more than friendship from you, he’s seen the train wreck that is your love life. Why would he willingly dive into that mess? To soften the ache in your heart you tell yourself that it’s better this way, you tell yourself you haven’t felt this way for as long as you have, that it's just the alcohol and the influence of the romance of your friend’s engagement. You pretend that you don’t feign sleep on Saturday mornings to stay in his arms just a little bit longer. Those longing glances at him from across the room at parties or class don’t happen. Even more, the times where he catches you and smiles before joining you, and makes you laugh and nothing else matters doesn’t happen either. All those times he comforts you and says things that straddle that line of friendship, and you just so badly want to say something back or kiss him, those don’t happen either. You’re friends and that’s it. Friendship is safer, it won’t end in your heart broken, and a little bit of Tom in that way is better than all of him romantically. You’ll settle for loving him softly and quietly, like a friend would, and you ignore the way your chest hurts like you’ve just lost the love of your life as you fall asleep that night.

Tom is left outside of your door, stunned at all that has happened. You are hurt, alone and without your best friend and the fact that he is the cause of it is what hurts him the most. He may have had a few drinks (and barely slept that night), he remembers it vividly. He doesn’t for a moment question the authenticity of his memories when you pretend like nothing happened the next day.

Taglist: @averyfosterthoughts @martinafigoli

#emi writes #tom holland #tom holland x y/n #tom holland x reader #tom holland blurb #tom holland fanfiction #tom holland writing #tom holland fluff #tom holland one shot #tom holland imagine #tom holland fic #tom holland fanfic #the one (aato)#tw: abuse mention #tw: ptsd

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anti-anti-a-la-bi-bi · 4 years ago

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Can you rant about pkmn sword? Rants are enjoyable to read

Alright, so it took me a bit to get my thoughts in line. Lets start with how I feel about the pricing: I am all for having 30 euro DLC over a third version for the full price, however, I do think that if they do that, as well as with the dex cut, they should quit with having there be two versions. Nowadays, with internet communication, it doesn't really do much for social interaction, it's just another hurdle for those of us who wish to complete the pokedex(and especially when they remove the GTS and make you pay for it later). It's still a scummy tactic, and no one will complain if there's just one version+DLC. It makes a big difference in the pricetag, since being forced to buy nintendo online, or two switches and two games to trade, are both mandatory payments to make in order to achieve one of the encouraged goals within the game. Furthermore, people within one family will likely be using the same cartridge, so if there is only one version, all in all, it'll make a huge difference for people who use a whole switch as a family as well. Also, I do not think that sword and shield are worth 60 euros. I think they're worth 30 at most, since the base game is worse than x and y/sun and moon. They also locked following pokemon behind a paywall, which is bullshit and yeah, fuck that. I think swsh are enjoyable, but not when they sell at the same price as games with way more content, games that look much better, and usually both combined. For what the switch can do, swsh look really bad, actually. There are a few pretty spots, but that's the exception, not the rule. To add on to things that I think are horrible; the raid battles, especially the more difficult ones, in single player. I don't have switch online, and as such, I need to do all raids alone. But, the raids are near-impossible in a lot of cases unless you get really lucky with the npcs and ai. I got two gmax Toxtricity by using wide guard with Zamazenta for over four hours until I finally got lucky for each. This is both to blame on the ai, and the horrible selection of pokemon. Pokemon that should have evolved at level 60, well, they are still in their first form, so you have magikarp and mudbray at a 5 star raid. At least have them evolved. They have good moves, yes, but their base stats are so low that it doesn't matter. Also, the shield mechanic. It is predetermined how much damage you can do, and if you land a supereffective hit, it's not unlikely for it to only do a sliver of damage and then the shield goes up. It's annoying, makes battles extremely difficult because a lot of npcs just won't attack while the shields are up, and it just becomes a waiting game if your pokemon is just there to act as support(such as my Zamazenta with wide guard to prevent Toxtricity from 2-hit ko-ing all my teammates). Also, the fact that even if you beat a gmax pokemon, there is still a chance not to catch them. It often takes ages to even defeat them, and then, 'Congratulations! You just wasted over half an hour of your life! Get fucked!'. I had this happen with Applin t w i c e. Also, the wild area is... It's okay, really. Nothing exceptional, my immersion is ruined by the sheer amount of pop-in, something that happens even when there aren't a lot of models on-screen, the Onyx in Motostoke being a rather infamous example. The trees look like shit, the berry trees look like they don't belong, to put it bluntly, it looks like something a student would make in unity. You'd expect something better from the highest grossing franchise in the world. The ai of the pokemon is often pretty bad, with them just moving in circles, I have seen so many synchronized pokemon at this point that it's just... Egh. Also, the customization options are still so limited? Can't choose eyeshape, can't choose clothes that actually make your character stand out, and you can't even choose your challenger uniform after you become the champion. Why does Leon get a special uniform? I have never seen a pokemon game so set on making you feel like a celebrity after you win, yet you don't get to have much of an identity in the game even after you win. It didn't have to be difficult, just a customization screen inside the dressing room of the Wyndon stadium, perhaps some extra clothing options? As for things I like: I like the atmosphere. The music, though sometimes repetitive, does help my immersion. The gym leader theme is dynamic, shifting with what happens in the battle, making me feel like I'm actually standing there, and the ambient themes work well as well, though those were rarely encountered at all. I love the characters, the trainer cards giving you some backstory on them, they are, together with the Unova leaders, the most present gym leaders today, with a history of their own. It felt amazing to just read the trainer cards(and I enjoyed making my own as well). The towns have their own themes, and while I can't remember the names, I do remember each location well. But. There was so much wasted potential. The castle in Hammerlocke? The large building in the east? Hammerlocke's castle: the vault, 1 room and a roof. The large building? Nothing. You don't even get to see the attraction inspired by the London Eye. Wyndon is so small??? It has a small shopping street, the stadium and the inn and that's about it. Castelia City was bigger than that. Overall, the game feels rushed. The gym challenges at the start were cool, but by the end it's more of "battle these trainers in a row haha". Also, the animations. Gamefreak claimed to need to remake all models(they did not, the 3ds models were used with better textures), and to make better animations(only for newer pokemon, most pokemon used their pokemon amie animations and further animations from the 3ds titles). The animations are still bad, especially for something as powerful as the switch. I enjoyed the lore behind the region, but I really, really dislike Dynamax. I like gigantamax because the pokemon usually changes in a way that is distinguishable, but regular dynamax... Nah. Give me mega evolution back, perhaps update its mechanics so it changes the gameplay more and requires more strategy, but Dynamax just feels like something that is so low-effort. Pokemon but beeg. The curry making, on the other hand, I love. Pokemon should not be a cooking game, but it made me feel like I was actually bonding with my pokemon, that they were present in the mc's daily life. I would love to see more additions like that, the possibility to become the kind of trainer you want. Enjoy swimming? Perhaps go for a swim with your pokemon? It doesn't need to be complex, but I'd just love to see my pokemon interact with each other and with my actual character more. The routes are too linear. The last route is literally a straight line with some trainers, with next to no effort in it. I also think that the handholding needs to be talked about. When you get to Motostoke and have signed up for the gym challenge, a staff member will lead you to the in, which is literally one screen to the left. Such examples are found all over the game, and I hate it. They do let you skip some tutorials, which is a welcome change, but characters are so willing to force you to stop with whatever you're doing and make you listen to their speeches that it still often feels like a slog, especially because you don't get to do shit besides gyms until the very, very end, in which the fucking champion tries to catch a legendary in a regular pokeball, not even a great or ultra ball. The lore is great, but the actual story is so nonsensical that I just didn't bother to pay attention. Hop literally recycles Hau's animations. I would love for him to have his own, so he'd feel more separate, because they ARE different characters, with different goals. But Hop is even more annoying than Hau because he just won't shut up. You walk 5 steps and he shows up somewhere, for no reason at all. Meanwhile, there's this big event going down, a crowd has gathered, you get there and... Leon has already resolved it. You just get a picture, that was what you wanted, right? That sums up most of the game 'the adults will deal with this!' . The picture doesn't even look good. Swsh is fond of just showing you pictures, for example, right before the climax when Rose and Leon are talking. There's no background music or anything, just pictures and the sound of the textbox. It feels so low-effort. Also, if you have a character that is a singer, and he uh, he sings, it MAY be a good idea to include VOICE ACTING. They had someone sing in Black and White 2! Surely they can do it on the fucking switch, several years later? The mouths flapping about just feels incredibly awkward. I would recommend the game if you can find it somewhere for cheap, not for the full price. There is enjoyment to be had, but it's subpar in comparison to other games for the same price. I may rant further depending on how much time I have.

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vinylandcoffeecollection · 5 years ago

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Notes On a Conditional Form- The 1975

(This is my review of Notes, which, obviously, I adore)

People tend to have a fixed idea of what the 1975 are, love or hate them. To some, they’re a plastic pop band who write (great) 80s-influenced songs like “The Sound”. To others, they’re the millennial Radiohead or U2 (pick your comparison depending on how much warmth you feel towards Matty Healy), obsessed with chronicling and holding forth on the State of the Nation, embodied by perhaps their best and most critically lauded song “Love It If We Made It”. The mixed reviews of their fourth album probably stem from the disappointment of both camps above: for the first group, superstar single “If You’re Too Shy (let me know)” is evidence that the band could continue to be great if only they mined this genre more. The second camp desperately searched for proof that Notes... has Something to Say, didn’t really find it, then concluded that it’s a weak or inferior album. In reality, though, 1975 are neither of the ostensibly polar identities above. As they are fond of saying, they create as they consume, and they consume a vast landscape of music constantly: it’s their life’s passion and one that has been apparent since their earliest EPs. Even though their last two albums appear on the surface to be perfect examples of the plastic pop (ILIWYS) and political polemic (ABIIOR), in reality each blends both and throws in some ambient instrumentals and other left field moments for good measure. No one who has heard Matty Healy and George Daniel talk about their creative influences and processes could ever confuse them with any other conveyor belt pop band or be in any doubt about their commitment to their art.

Following up 2018’s critically lauded A Brief Inquiry Into Online Relationships was always going to be a tall order but the 1975 can always be relied on to do the unexpected. This is a band who by the point of becoming massive had given up on ever actually becoming massive, so made a first album full of songs that they loved, that they now admit they might never have made if they had had any idea that global stardom was beckoning, because it’s just a bit weird. They apply the same kind of logic to Notes...: on the back of huge critical acclaim from A Brief Inquiry...they went inwards and simply made the kinds of music they loved consuming and playing, heedless of expectations. Notes.... has long been spoken of by the band as a metaphorical notebook, a looking back to their roots, collected and recorded around the world on their global tour last year. Originally due in May, then August 2019, then February, then April 2020, it’s been a beneficiary rather than a victim of unimaginable global circumstances, more relevant and strangely prescient than ever now. It turns out it does have something to say, but in lowercase rather than capital letters, and it’s a better album for it. Any capital-lettered statement, after all, could only have appeared completely outdated and irrelevant in the midst of a global pandemic.

Conditional verbs are “if” verbs, used to imagine events in certain conditions, and this is what Notes... is: a collection of songs posing questions and examining sets of circumstances and relationships that make us who we are, for better or worse. It’s an ending to these four albums of sorts (“I just wanted a happy ending,” Matty pleads in “If You’re Too Shy,”) but also an exploration of the impossibility of tidy, definitive endings. The final track of A Brief Inquiry... , the vital and unexpectedly uplifting “I Always Wanna Die (Sometimes)”, began with the line “I bet you thought your life would change but you’re sat on a train again.” That’s where we are on Notes and why its third track, not the final track, is called “The End”, to underline the point. This instrumental re-works the instrumental track “HNSCC” from the band’s 2013 EP Music for Cars, making it more orchestral. It’s a lovely way to develop this theme: that everything that happens to us is conditional to other events in the past, present or future. It also explores the idea that concepts of linear growth as people are artificial. Notes... embraces the lack of any kind of coherent narrative in life that we can tie our experiences together neatly with, the struggle to know and accept yourself, to be that person that you present to the outside world.

Anais Nin wrote: we do not see things as they are; we see them as we are. A Brief Inquiry.... is a great album but it also captured a moment in time both culturally and for the band, particularly Matty Healy personally. Having derided him for years, there seemed to be a huge will amongst the press to make this album succeed because of everything he had been through with addiction and rehab between 2013-2017. That was the narrative- he’d fucked up, now he was clean, gleaming and healthy in tasteful fitted jumpers and suits, with the haircut of a Mature Man, and they’d made a Political and Important album. The band were apparently finally deserving of the acclaim afforded to serious artists. But there were notes of caution: an interview Matty did where he spoke of being wary of being a poster boy for sobriety because he hadn’t been sober for long enough. I remember worrying about him when listening to all of this- what if he couldn’t hold it together? What then for him and the position in culture that he and the band were now occupying? It was almost a relief when he confessed in a 2019 interview to briefly relapsing: it was honest and it was real.

Notes sees Matty embracing the honest and the real like never before, and it’s apt that the album moves through the idea of Endings to “Frail State... “ “Streaming” and “The Birthday Party”, a hauntingly beautiful song about sobriety, questions of shifting identity, growth and relationships (“We can still be mates because it’s only a picture,” is the narrator’s rejoinder to a friend taking the piss out of him for buying an expensive artwork that the friend can’t relate to). It’s a song that narrates a tale, in the tradition of A Change of Heart, Milk or Paris, that is both humorous and devastating, particularly in its last line: “I depend on my friends to stay clean. As sad as it seems.” Maybe you do need to be knowledgeable about the band’s personal circumstances to understand that “The Birthday Party” isn’t just a dull and over-long tale about being bored at a party, as Rolling Stone appears to have taken it, but to paraphrase “Frail State of Mind”, it seems unlikely. In any case, Notes.... is a deeply honest album, one that paints Matty Healy in as unvarnished a form as he has ever appeared, talking candidly and literally about piss, shit and erections. As he has said, it’s an album without ego.

Appropriately for an album looking back, making notes on all those “if...then”s, Notes... is more eclectic than ever before, a distillation, as the band say, of their previous sounds as well as the music that has inspired their own creativity over the past nearly two decades. The reaction of the album’s detractors to this has been to see it as a jumbled mess of Too Much-ness, which is to completely miss the point. Notes... is deliberately and thoughtfully structured, each track including threads and connections to other songs and iconography of the band’s world, an intertextuality that is sometimes darkly humorous, sometimes poignant and very much underlining that theme of honesty. “I never fucked in a car, I was lying,” opens “Nothing Revealed/Everything Denied”, Healy lacerating his ego by referencing Love It If We Made It’s memorable opening line as well as their early song “Sex”, and later “you can’t figure out a heart. You were lying,” undercutting the swagger of 2013’s 80s-maximalist “Heart Out”. More poignantly on “Roadkill”, again recalling the lie of linear growth and maturity, he sings “if you never eat you’ll never grow. Should have learned that quite a while ago,” looking back to one of the band’s most loved and most “apocalyptic adolescent” songs, as they term it, from their debut album, “Robbers”. The intertextuality is there in the music too, from the re-working of instrumental track “HNSCC” in “The End” (a connection missed, unforgivably, by seemingly every critic) to the inclusion of original demo of standout track from A Brief Inquiry... “It’s Not Living (If it’s not with you)” at the start of the surreally titled “Shiny Collarbone”. This is the largely instrumental EDM track sampling Cutty Ranks that for a number of critics seems to represent the fact that the band have lost their way and just started putting out random filler. They haven’t on either count, and the sample is a lovely reminder that even when farming seemingly the furthest reaches of the 1975’s discovered land, the music is always quintessentially theirs.

Perhaps the farming metaphor isn’t the most appropriate though. The band have spoken before about the choice that they have as artists to be “cowboys or farmers”, to keep re-working old ground or move forward and discover new places. To the charge that the songs here are just not as good as their earlier albums, well that depends on your perspective. Even the poor reviews aren’t quibbling with the strength of “If You’re Too Shy...” but truly that’s not the best songwriting on display here. The 1975 can write songs like “Too Shy” while knocking about having a laugh, stoned out of their heads. As they say themselves, it’s not a stretch. They’d rather push themselves, which they do. Regardless of genre, though, any band will stand or fall on whether they can write a catchy tune or not. The 1975 have always been able to write a catchy tune and it says something that over 22 tracks, each one has that catchiness and each one is distinctly itself. “Tonight (I Wish I Was Your Boy)” begins with a pitched up sample of “Just my Imagination” by the Temptations, it’s a love song in the 1975 tradition: bouncy and irresistible major key melody juxtaposed with an emotional sucker punch: “She said they should take this pain and give it a name.” They cleverly subvert the genre, pairing the beauty of the melody with the brutally honest: “Tonight, I think I fucked it royally.” It’s one of the best songs on display here and another perfect example of how the 1975 can take that most over-done of genres, and make it completely their own.

Because of the evolution of the album, seven songs, not including “The 1975” with Greta Thunberg, were already well known before its release. “People”, the first of these after Greta, is fantastic pop punk, a track that has lost none of its impact in the 9 months since its original release. “Nothing Revealed/Everything Denied”, the self-referential track referred to above, is a catchy treatise on the search for meaning in our lives, fusing a soaring choir-sung chorus with Matty’s witty rapping. A trio of tracks explore what some critics have labelled “emo garage”: a thread that begins with the pulsing and affecting “Frail State of Mind” (“Go outside? Seems unlikely,” and is followed through with the standout “I Think There’s Something You Should Know”, surely a future single that would be perfectly at home on Radio 1, and “What Should I Say?” In the instrumental vein, the George Daniel-created masterpiece “Having No Head” transports the listener to another sonic world. There are several throw-backs to the band’s previous emo-indie incarnation Drive Like I Do with “Then Because She Goes” and “Me and You Together Song”. And then there’s a couple of gorgeous ballads: the profound “Jesus Christ 2005...” and the love letter to the band “Guys”. In a way this closing track is almost a microcosm of the band: love them and this is a beautifully turned love letter to friendship and loyalty in the face of life’s challenges. Hate them and it’s a cringeworthy, naive irritation.

Of course, there is no happy ending or neat bow tied round Notes.... at the conclusion of its 22 tracks. We leave Matty still struggling with himself, life and his conflicted desires but with two tracks- the gentle “Don’t Worry”, a Tim Healy- penned song that is performed as a father/son duet, and “Guys”- we are reminded that it’s our relationships that will help us through, the connections we build. We are all conditional forms in this sense.

The vinyl of Notes... is poignantly inscribed with the words 'If this is to be read in the future, please know that this was us trying'. It would be very easy at this stage in their career for the 1975 to put out albums filled with variations on “Chocolate” or “The Sound”, and it might make some fans and critics happy, but they don’t want to. They are triers. Perhaps it’s this very workaholism, their obsession with pushing boundaries and experimentation, speaking up and refusing to stay in their lane that so riles up those ready to sharpen their critical knives. They are those too clever and too keen kids at the front of the class, annoying the fuck out of those who can’t be bothered or just can’t compete. Having spent last year taking political stands on issues ranging from misogyny in music to abortion laws in the US to the treatment of the LGBTQ& community in the UAE and doing their bit for the environment by commanding fans to be quiet and listen to a Greta Thunberg monologue for five minutes at their live shows, selling recycled merchandise and planting trees for every ticket sold, they are still unable to rest in the midst of a global pandemic, engaging with fans through Twitter listening parties and an interactive website called Mindshower where fans can create their own music and artwork and reflecting on what live music might look like in the future when we can finally get out there again. It all sounds a bit like Radiohead in the 2000s, except Radiohead never made an album as sonically beautiful or coherent as Notes... either immediately post-OK Computer or in the 19 years since. The 1975 are many things but they’ll never allow themselves to become stale or apathetic or lazy and for that at least they should be recognised: they simply care too much. And as for that vinyl inscription, in the future they won’t just be remembered for trying but for achieving what most bands never do even in a lifetime of striving.

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grimelords · 5 years ago

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My August playlist is finished and while it does unfortunately begin with Tool it also has two of Elvis’ gospel songs on it so please believe me when I say it takes a turn! Everything you could ever want over three hours of music from 70s christian hippie cult music to a funky remix of Also Sprach Zarathustra to Ante Up.

If you’re interested in getting these emailed to you instead of having them mysteriously appear and clog up your dash, I’ve started a tinyletter you can subscrine to at tinyletter.com/grimelords

but in the meantime,

listen here

Lateralus - Tool: Tool is on streaming now and they've got a new album out and so it's a very nice time to reinterrogate a band that meant a lot to teenaged me that i have almost completely exorcised from my life since. What's interesting firstly is how much better it is to consume their music digitally than it ever was in any physical format. They apparently resisted making it available for so long for nebulous reasons of artistic control and intention, wanting a say in how their music is listened to - they design these long and overwrought albums to be experienced as a whole. My contention is that as a whole album, start-to-finish, is one of the worst ways to listen to this band. Tool have maybe 12 great songs across four albums and every single album is around 70-80 minutes, pushing the limit of the CD. Which means for every great song there's at least two ambient interludes, Bill Hicks samples, 90s alt comedy bits (Die Eir Von Satan is just menacing music and a menacing voice reading out a weed cookie recipe in german, now that's what I call comedy) that really add nothing to the experience of the album on a casual listen. Being actually able to listen to these songs on their own, and playlist them and pull them apart from the mire is so refreshing and makes experiencing this extremely exhausting band actually pleasant for once. That's not to say ambient interludes and sketches and whatever aren't worth it, I absolutely love that shit and a lot of my favourite albums are absolutely chock full of that sort of thing - just like, don't make me do it every time. Their new album seems to reflect this at least a little bit, with the more overarching themes and arcs of the previous albums replaced by more singular and self-contained long songs interspersed with dedicated 2 minute interlude tracks. The runtime blows out to an hour and a half unrestrained by physical limits but it seems to contain more actual music and less funny than any other Tool album which is a welcome change. I'm still lukewarm on the album itself, it seems to just be a complete rehashing of the ideas on 10,000 Days (to the point of almost note-for-note repetition of some old riffs and themes) which is a bit disappointing considering how long they've apparently been working on it. I'll give it more time because Tool albums always unfold over multiple listens but for now they kind of just sound like the dad-rock version of a once extremely edgy 90s band - which I guess they are now so that makes sense. As for Lateralus, I think it's their best song. The perfect combination of Joe Rogan spirit science woo-woo sacred geometry fibonacci sequence 'open your mind' bullshit and good old fashioned riffs, it's the best of both halves of Tool and great starting point if you've never listened to this band and are interested in becoming insufferable.

Mars For The Rich - King Gizzard And The Lizard Wizard: This album is so good and it's finally converted me to being a full time King Gizz guy so look out for a lot more of that in the future. It's a thrash metal concept album about ecological collapse forcing the rich to flee to mars and the poor to flee to venus where they lose their minds and fly into the fire. I spent a little while the other day obsessing over the insane vocal leap in this absolutely incredible song when he jumps down an 11th on 'mars for the riiiiiiich' somehow effortlessly.

Pattern Walks - Cloud Nothings: The interplay between Cloud Nothings second and third albums is something I think about a lot. Attack On Memory is a visceral experience of depression and living in your own head where Here And Nowhere Else is about being able to finally move past it, and living with it. There's a good quote from the singer on the Genius page for this song where he says "It was almost a response to “Wasted Days” on the last record. It ends with “I thought I would be more than this” over and over and this one ends with “I thought” over a beautiful bit of music which is an easy way to explain the way I was thinking when I was writing this record. I wasn’t as depressed as I was when I was making the last album. Before, I felt like nobody liked the band and I was doing it for three years. I was not in a good place. Now, I had more time to think about why I felt that way. It’s a positive song."

M.E. - Metz: Metz put out a B-sides and rarities album a couple of weeks ago and then they put out this Gary Numan cover on it's own for some reason. It's very very good! I love just putting a generally harder edge on it without taking anything away from the spirit of the original. I also, somehow, didn't realise that Where's Your Head At by Basement Jaxx was a Gary Numan sample until I heard this cover so we're all learning every day.

The Ocean And The Sun - The Sound Of Animals Fighting: Here's what's good: having the last third of your song just be a monotone voice reading from a CrimethInc anarchist zine over swirling guitar ambience. The drums are so good in this, Chris Tsagakis makes me want to muscle through the ska and listen to RX Bandits more, he’s just that good. The extremely crunchy part in the chorus especially, it switches through like three different distortions and sounds absolutely great. I’m a big fan of anyone that can make a very straightforward groove like the main one here really work just by absolutely leaning into it.

Uzbekistan - The Sound Of Animals Fighting: Uzbekistan is the most out-there and wild song on this album which was sort of mostly a way back into post-hardcore for TSOAF after Lover, The Lord Has Left Us.. which was perhaps a little too-out there for most. (seven minute closing track of a guy singing John Cage's Experimental Music essay over formless tabla and mandolin). The drums alone in this are worth it. The way they transition in and out of the super distorted electronic parts is so good. This song fortunately also has a section where someone recites poetry over electronic noise and a second voice whispers 'who holds your strings? wake up..." over the top near the end. I will love and defend dum-dum pretentious music until the day I die.

Gangsta - Tune-Yards: I love Tune-Yards and I'm incredibly interested in the way she interrogates whiteness. It's a complicated thing to get into in this playlist post but when she first turned up, a lot of people assumed she was african american just by the sound of her voice and music - it reaches and pulls from a lot of african music in a very postmodern sort of way and when people found out she was white, straight, cis and from New England it kind of felt like a betrayal for some people. On her 2018 album I Can Feel You Creep Into My Private Life she digs into it a lot in a way that becomes almost uncomfortable for what is ostensibly a pop album. An NPR article about it at the time said "Ever the student, the Smith-educated Garbus, who writes most of Tune-Yards' lyrics, designed an anti-racist curriculum for herself. She attended a six-month anti-racist workshop at the East Bay Meditation Center. She read the work of noted anti-racist educator Tim Wise and explored the activism of Standing Up for Racial Justice, a nationwide, progressive activism network dedicated to "moving white people to act as part of a multi-racial majority.". That's a lot. This song, Gangsta, from her 2011 album when all the hype was fresh feels like a pretty early look into the mindset she'd later fully fledge out of interrogating white identity and cultural appropriation while also participating in it. The lyrics are simple but they get to a simple point, "What's a boy to do if he'll never be a rasta?" is basically making the same point as Ras Trent by The Lonely Island except it's asking where else does Ras Trent fit? Can a white guy participate in anything like that in a way that's not cultural appropriation, and how can a culture like that participate in the larger world without being appropriated? It's 2013 tumblr discourse but it's still churning for a reason I suppose.

Ante Up (feat. Busta Rhymes, Teflon & Remi Martin) - M.O.P: An all time great Violence Song, in the same genre as Knuck If Ya Buck and X Gon Give It To Ya. Opening with "'this shit feel like a whole entire world collapsed" is such an insane way to open a song but the absolute whirlwind of threats that follows makes it feel warranted. "Fuck hip-hop, rip pockets, snatch jewels" is sooo good. I don't even care about this song I am just straight up robbing you. The absolute power in the rhythm of the overlapping getemGETEMgetem hitemHITEMhitem part is just so, so strong. It's like a VR experience of being fucking robbed.

Awake (feat. JPEGMAFIA) - Tkay Maidza: It seems like Tkay is finally nailing down her sound and she’s absolutely killing it. She’s been through a few different styles since she started out and now she’s really hit on something that’s very distinctly her with this and her other new song Flexin and I cannot wait for the album.

Big Head - Ms. Jade: Ms Jade had one album in 2002 and then basically disappeared which is a shame because she's got a very interesting approach. The star of the show is as usual, Timbaland. The man is a singular voice somehow making the tabla and a wikiwiki noise his signature sound. I love the drone of the raps interspersed with the vocal spikes and I love the chorus as the gospel vocals surge up from underneath. This whole song is just completely bizzare in its construction in a way that works perfectly and feels strangely.

Titanium 2 Step - Battles: Battles are finally back and I’m fucking bouncing off the walls. They’re a two piece now and it does not seem to have slowed them down at all which is very exciting. I can’t think of any band that has ever continued with only half of their original members and also moved forward radically every time. Everything about this song is great: the super strength drums, the hypercolour guitar and the vocals that are just screaming absolutely whatever you like whenever you like. It feels closest to Ice Cream, and Gloss Drop in general more than La Di Da Di but i’m so excited to see how the new album sounds - and how they adapt their old material live now that there’s only two of them.

Dancing Is The Best Revenge - !!!: I’ve never actively listened to !!! for no good reason, but plenty of times in my life I’ve heard a song playing and been like damn what the FUCK is THIS?! and it always turns out to be !!!. This is yet another example.

Skitzo Dancer (Justice Remix) - Scenario Rock: The first clap in this is one of the best sounds ever. Right after 'so you think you've seen and heard it all' everything drops out of the mix for this one very comedy clap and it makes me smile every time. The rhythm of the Disco!... Disco! Disco! part near the end is one of those things that's just always playing in the back of my mind, which as far as constant reminders go it's not the worst. I've also over the last week or so been a big fan of this 11 year old youtube video I found of some guy covering the bass on this song. https://www.youtube.com/watch?v=G0DLAUaV3f8

16:56 - Danger: Danger had a new album this year that I don't think I gave enough attention to because I relistened and it's very good. He spends the majority of it refining his original sound but it's such a distinct and original niche that it works out great. The songs are so densely layered and frankly just sound so beautiful! Which is a strange thing to say about 80s inspired electro but it just does. The strings and timpani in this about halfway through are just a gift as well, I love it.

Also Sprach Zarathustra - Deodato: As part of my ‘thinking about Elvis’ I was looking up a live album of his called Aloha From Hawaii Via Sattelite which has a very good cover which doubles as an illustration of how my proposed international peacekeeping satellite will function, projecting an immense Elvis themed blanket of darkness over ‘troublemaker’ regions to immerse them in an eternal freezing night until they’ve settled down. Anyway his entrance music for this this concert in Hawaii is Also Sprach Zarathustra, which is a very very funny thing to do and I think gives an appropriate measure of his status at the time. When I told my girlfriend about this she directed me to this bonkers jazz funk version of it by Deodato which deservingly won a grammy in 1974 for Best Pop Instrumental Performance.

Hollywood Forever Cemetary Sings - Father John Misty: I’ve resisted listening to Father John Misty for a long time because he just seems like a real asshole. A big brain man genius that saw what Lana Del Rey was doing and thought “what if.. me?”. But I can’t deny this song, it’s absolutely magical and as far as songs about fucking in a cemetery go it’s definitely one of the most singable.

Remember / Medicine Man - Yma Sumac: In reading about the Hollywood Forever Cemetery and who was buried there, I learned about Yma Sumac. Yma Sumac was a Peruvian soprano with one of the most incredible voices I've ever heard who was an absolutely huge deal in the 50s when Americans were clamouring for the exotic, real or imagined. She made extremely good mambo music and claimed to be descended from the last Incan emperor. Her popularity faded after the 50s and then for an unknown reson in 1971, ten years since her last album, she made this rock album. It is insane. It's the best example of 'voice as an instrument' that I've ever heard. She is making every kind of sound possible with a human voice and her range seems completely limitless. She's just as comfortable in a piercingly high whistle register as she is in deep guttural growls. About 2 minutes into Remember she just straight up jumps four octaves in a row just to flex. She also sings in a way in the second verse of Medicine Man that I've never heard before that sounds like she's blowing out her cheeks and then singing with her mouth almost closed. It's absolutey bizzare and I love it so much.

This Thing - King Gizzard And The Lizard Wizard: Listening to the other album that King Gizzard put out this year is really making me appreciate how much of 180 Infest The Rats Nest was for them. This album is basically a Black Keys album of groovy fun songs about fishing for fishies with fantastic harmonica work and it makes it look even more like they just snapped when they did the next one.

The Warrior (feat. Patty Smyth) - Scandal: I've been very passively watching GLOW since the second half of season 2 and now I'm very passively watching season 3 and this song was the opening credits theme for the first episode. It fucking rocks I don't know why they don't just make it the theme song all the time. This sort of 80s hard-rock pop is very good when it's good and extremely bad when it's bad and I wonder if we'll ever see any sort of revival of it once 80s nostalgia nostalgia takes hold in 2030. Being a singer named Patty Smyth is very funny also. She's billed as a feature even though she was in the band because she left to try a solo career as soon as it was released, possibly even before. She is also John McEnroe's wife I just found out. What a life.

A Girl Called Johnny - The Waterboys: I found this song because I was googling to see if it's possibly to get a random album from spotify and instead foumd a guy on rateyourmusic who was generating random rym album pages and then listening to whatever came up if it was on spotify - which seems just as good. This was one of the albums he talked about and he seemed to like it so I listened and I did as well. Sometimes the best way to find new music is throw dice on the internet and see what comes up.

New Year's Eve - City Calm Down: The new City Calm Down is one hundred percent great and I have such admiration for them for making a complete left turn with their sound and sounding like a completely different band since their last album but being equally as great in both forms. It's very inspiring and it's also the second song of the month I've heard for the first time while walking around Richmond that's mentioned Richmond. Very spooky.

Cruel Summer - Taylor Swift: It's fucked up how good Lover is when ME! and You Need To Calm Down were so bad. It feels like they changed direction at the last minute and changed the tracklist dramatically because those two songs seem sort of wildly out of place, along with London Boy. It's so uneven it's basically two albums in one but when it's good it's extremely good. This song is fucking powerful. The way she straight up screams "he looks so pretty like a devil"? Amazing. What a crazy thing to shout. If you're interested I also resequenced Lover and took London Boy off it and it's a far better album in my opinion https://open.spotify.com/playlist/3LN1uAhp8BS8Ms4bgmHiVP

Kelly - Van She: I have no idea why but this is in the opening paragraph of Van She's wiki page: "Their label introduced them as a "new band from Sydney fresh on ideas, fresher than Flavor Flav, fresh like coriander, fresher than the Fresh Prince, fresher than fresh eggs."[2] Despite these claims, the band began with a sound very much rooted in the 1980s, heavy on synthesizer." which really makes me laugh. Van She had a very specific mid-2000s indietronica thing going that was really good as this song proves but they also did a bunch of remixes under the name Van She Tech that are very out there and completely different to the main band. Their remix of UFO by Sneaky Sound System I'm sure I've yelled about in these posts before, it's absolutely phenomenal. Anyway I guess what I'm saying is get you a band that can do both.

Shadow - Wild Nothing: Somehow I missed Wild Nothing back when they were a big thing and only listened to them this month. I listened to this whole album while I was doing housework and when it finished I though 'that was nice' and could not remember a single thing about it. That's the beauty of shoegaze! I had to listen to it about five more times for it to stick and now I'm getting more and more out of it every time, I love it.

Heaven's On Fire - The Radio Dept.: Years ago when I was having a major 'depressive episode' for about a fucking year I listened to this album Constantly and as a result for a very long time I couldn't listen to it without inviting megawatts of bad vibes back into my brain. Thankfully through hard work and time passing it appears I've fully healed my assosciations with this album which is fantastic news because it is delightful start to finish and worth getting obsessed with again.

Crystalised - The xx: It's nice to see news articles posted almost every day about which albums are turning ten years old. It makes me feel one million years old and viewing the world from a television in my hermit's cave. It feels hard to overstate just how much quiet influence the xx have had over the music landscape since 2009. Without The xx we don't have Royals and without Royals we don't have You Need To Calm Down, so. Something beautiful of theirs that I think is sad hasn't caught on in the intervening years is the idea of writing romantic duets when duets had been out of fashion for so long. They wrote a whole album of them and continue to! There's a beautiful contextual depth to it, in that it's two queer people singing not exactly to each other but with each other. In an interview they've called it 'singing past each other' which is a very nice way to put it.

Aspirin - Tropical Fuck Storm: I really appreciate the continual development of the guitars in Tropical Fuck Storm where they sound so pencil-necked and reedy in these angular little melodies and then sometimes explode into thick cacophanous howls, but what's especially good is in songs like this when they don't explode and instead just sort of sprout tendrils and crawl around each other. They're really drilling down on a very singular and very unsettling sound and I really love it. It is also a very interesting feeling to be walking around Richmond listening to this album for the first time and having him mention Richmond. Spooky even.

Pasta - Angie McMahon: "My bedroom is a disaster / my dog has got kidney failure" is an all-time great opening lyric for me. I love the way this song kicks up from the doldrums, like forcing yourself to do something just so you've done something today. Angie McMahon is so great and I'm getting more and more out of her album every time.

If I Had A Hammer - Johnny Cash and June Carter Cash: The way this song is performed here is so fucking cool. The guitar tone, June's voice and the general energy of it is just absolutely electric. It feels like Highway 61 Bob Dylan where it's still folk but it's got this massive power in it. The solo fucking rips in that very old fashioned way and when it finishes and that riff comes back in by itself it's just great.

Elvis Presley Blues - Gillian Welch: I was thinking about this song because I too was thinking about Elvis. I thought for a long time that the lyrics to this were ‘didn’t he die?’ and not ‘day that he died’ and I think I prefer mine more. Idly thinking about Elvis like “whatever happened to that guy? Must be old now. Wait, didn't he die? No way to know I suppose.”

Everything Is Free - Sylvan Esso: Rolling Stone had a very good article and interview about how this song about napster has had a resurgence and remained relevant through the streaming era which is a very good read. I love the original and really this version is very similar except for the one key difference where they really dig into the anger and frustration at the heart of it in the 'fucking sing it yourself' line. https://www.rollingstone.com/music/music-features/gillian-welch-everything-is-free-courtney-barnett-father-john-misty-725135/

It's Nice To Have A Friend - Taylor Swift: This is the strangest song on Lover and one of the best, I absolutely love it. It's a very old fashioned kind of Taylor Swift Love Story type song but it also has a a fucking trumpet reveille in the middle, so that really spices it up a bit. I also keep accidentally listening to this backwards - there's a few phrases like when she sings 'it's nice to have a friend' where the 'friend' lands on the offbeat but is accented like it should be ON the beat and because of the way the music is in this where it's just the steady pulse it's hard to tell whether the chime is supposed to be on the beat or on the offbeat. It feels like it sort of slides back and forth throughout the song depending on what everything else is doing around it. I don't know if that's intentional or not but it's a very interesting effect. This song is also, in my estimation, about a woman and is detailing a fantasy Taylor Swift is having where she can come out to the world with no fuss and enjoy a simple fairytale love story as a gay woman.

Psalm 42 / Chant For Pentecost - The Trees Community: I have a mental list of albums I google every few months to see if they've been added to streaming and by the grace of god one of them finally has been. Years ago I used to listen to this almost every night to fall asleep and I think it brainwashed me slightly in a delightful way, and now I finally have it back again! This is proper hippie music: a bunch of long haired new york christians who drove around the country in the early 70s in a school bus playing their elaborate and beautiful music for anyone who wanted to hear it. The multilayered, multi-movement construction of these songs is completely entrancing to me. It's not a hollow beauty, but one that brings new meaning to old words in the way they stretch and snap and waver throughout the song, moving past each other and through each other as it moves forward. I absolutey love it. Chant For Pentecost is a good illustration of the other side of them, a short song that starts sweet and turns almost maniacal. There's a wild-eyed feeling to the harmonies and the way this melody sits on a single tone for such long stretches before the frankly scary conclusion.

In My Father's House / Working On The Building - Elvis Presley: The backing vocals in these, and especially the bass vocals are so incredible. The way they work in the second verse of Working On The Building is so great, Elvis is the lead vocal but the middle harmony and somehow it just works perfectly. The harmonies is In My Father's House are amazing. The bass solo is mind blowing and the part about halfway through where Elvis swallows the mic and says "jesus died upon the cross [VRRMER] sorrow" is very funny. It's got it all.

The Greatest - Lana Del Rey: Norman Fucking Rockwell is an absolute masterpiece and this is the best song on it. Lana has always had a knack for this apocalyptic feeling but this is a whole other level. https://www.stereogum.com/2056565/lana-del-rey-norman-fucking-rockwell-review/franchises/premature-evaluation/ The Stereogum writeup for this album was really great, and really nailed my opinion of her whole character thing as well, but he described this song as her version of that video that Ted Turner commissioned for CNN to play at the end of the world and it's really a perfect description. The part at the end where she says 'Kanye West is blonde and gone' is so chilling to me. Like Kanye losing the plot makes sense because he's only a few months ahead of the rest of us. He’s been a thought and culture leader for so long and it only makes sense that he’s spun off into space in these last days before it all wraps up.

listen here

#playlists

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interesting-blog-name · 5 years ago

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LOOSE REVIEWS (It Looks Sad., Pablo’s Paintings, Vancouver Sleep Clinic, Steve Lacy)

Just a bunch of very quick, very throwaway reviews that I put together while I’m writing the Björk discography post (I’m currently at Vespertine, so this shit is gonna take a while). Mostly slightly underground bands, all very short projects and one of them don’t even have a project, but you should check them out. Anyway.

It Looks Sad. – Songs For Quarantine

Not much to say about this. It is a 9-minute EP, obviously not meant to be taken as a serious, ambitious release, but it’s from a band I wanted to check out: It Looks Sad.. They’re categorized as emo, but their style reminds the listener a lot more of shoegaze and dream pop, at least from what I’ve heard by them (right now, this and Drool, which fits cozily in my Summer playlist).

If you want some moody music for the quarantine (if it’s still going on by the time I post this) and you don’t care if the songs sound like they were recorded in an underwater cave, then go ahead and listen to this I guess. It’s average as fuck but whatever, that’s the point.

WORST TO BEST: Eyes, Love, Waves, Bug

bedroom music/10

“*insert shoegaze mumbling here*”

It Looks Sad. - Kaiju

2015 EP. Two tracks, one sucks and the other is tolerable. Like I really don’t know what the fuck the singer was trying to do with Creature, he’s hollering all over the place, and the delivery would be more at home in maybe some poorly-recorded punk song, but the instrumental is nothing like that, as it’s pretty much indie-rock 101; not to mention the lyrics, which are the blandest broken-hearted songwriting I’ve heard yet, probably. I now understand how truly emo they were.

For Nagoya, I can at least say the hook is pretty cool, but that’s it really. I guess I’m grateful they changed their style.

2.45/10

“Best friend this is terrible. You know it’s inevitable. I hope you come back, I hope he comes back.”

Pablo’s Paintings

Just wanted to give a shoutout to the underground Leeds, Yorkshire band Pablo’s Paintings. I had listened to Lizard a long while ago, and loved it, so I decided to check out the rest of their stuff today (May 25th), and it’s very solid. The track You’ve Got A Long Way To Go draws heavily from a psychedelic influence, while Paint’s Gone Dry and So Long (All Your Friends) sound like something The Beatles would maybe write.

I guess you could call them formulaic, but their mixing and distinct sound are all pretty good for a band that hasn’t gotten a song with over 2000 streams on Spotify. Their songs can be a little to bubblegum-ish, such as So Long (All Your Friends) which doesn’t really stand out as many others, but for the most part, they deliver. Can I Draw You Something? has a slight edge to it, in comparison, but still sporting cute lyrics about just drawing for someone, and Ghost In The Machine has a great progression to it, and a very cool cover art to accompany it. It’s clear the band has a taste for visual arts, from the lyrics to the band’s name.

In short, they do have a long way to go, and I hope they release an album soon, considering all but two of their Spotify singles were from last year; I’d be the first to listen to it.

WORST TO BEST: So Long (All Your Friends), Paint’s Gone Dry, You’ve Got A Long Way To Go, Can I Draw You Something?, Lizard, Ghost In The Machine

good band check them out/10

“I draw these lines and take them for a walk. I find that I say things better when I don’t need to talk”

Vancouver Sleep Clinic – Winter

Contrary to the name, the band Vancouver Sleep Clinic is from Australia. Led by ambient singer (a term I didn’t know existed until today) Tim Bettinson, from my understanding, the band have partly built their audience by reeling people into the music by putting having the songs feature in TV shows and movies and whatnot, since there’s a hefty list of times their songs have appeared in this type of media on their Wikipedia page. I decided to listen to Winter because I discovered Stakes from the fact that the $uicideboy$ sampled it on the song Sold My Soul To Satan Waiting In Line At The Mall, and liked it a lot. The EP as a whole, however, not nearly as much.

To start off with the main problem I have with Winter, the tracks are all the same. Seriously, I cannot distinguish one from the other; all the songs are soaked in reverb and mainly center around simple acoustic guitar chords and generic pianos, mixed with Tim’s head voice and sometimes the dumb decision to include a synthesized drumming track, like in Vapour, where the fast-paced hi-hats sound so out of place and clip so badly in your ears, it sounds like your earphones are having a mini seizure, but not in a cool way. Meanwhile in Flaws, there’s this unnecessary, wack finger-snapping that makes it sound like I’m listening to some techno song with around 3000 views on YouTube (I do like his backing vocals in the track though).

At its best, tracks like the opener, Collapse, offer an actually powerful passage, in that song’s case, the hook breakdown, where the 808 drum patterns are actually very welcome, and the synths under it are very beautiful and harmonize really well. The final track, Rebirth, also attempts a grand breakdown of sorts, but falls flat because the song is so unnecessarily stretched out and weirdly segmented, and it’s so unexpected: the song is a slow piano/guitar ballad as usual, and then, around 3 minutes in, after the song fades out almost entirely and tricks you into thinking it ended, the drum kicks start rising and all of a sudden there’s... something? I don’t even know what instruments are playing apart from the superimposed drums and what I think is an electric guitar, because it sounds like god knows what, an overheating computer mixed with some shrieking sound, which I assume is the guitar, way off in the background. And then Tim sings a last verse and the song suddenly ceases to exist. Same thing happens with the shortest track here, (Aftermath), consisting of 4 lines, your average piano and strings, and of course, the reverb. It builds up an epic instrumental, and after the brief singing section, just ends. No further instrumental work, just woosh. It’s gone.

I will give credit to Tim’s verses. Even though they’re always delivered with the same intonation, his lyrics are alright, and at least in Stakes, he employs some backing vocals that really make the track, and the hook is magnificent. They tend to blend into one another, with constant themes being metaphors for words he should have or regrets saying, the cold (obviously, given the EP title), sometimes drowning/large bodies of water, and of course, all tracks are about melancholy and heartbreak. But in some parts of the EP, his verses really do feel like some alright poetry, such as the awkward last verse in Rebirth (“I’m starting again, tearing my flesh, stripped to the bone, the all that I’ve grown. Leaving behind, breathe like a child. It’s taken the winter to find who I am”) or the already mentioned beautiful hook in Stakes. In most of the songs, however, I find his themes to be too repetitive and, I wouldn’t say uninspired, but run-of-the-mill.

So overall, the EP doesn’t amount to much. All the tracks attempt to go this emotional route, but they’re very repetitive, and that numbs them and robs them of their emotion a lot. Listen to it if you want to relax, or maybe even sleep to it if you want to take their name literally.

WORST TO BEST: Vapour, Flaws, (Aftermath), Rebirth, Collapse, Stakes

4/10

“I sunk in oceans blue, now they’re all frozen over. I should have took your hand, we should have crossed the border.”

Steve Lacy – Steve Lacy’s Demo

Member of The Internet, singer-songwriter, guitarist, bassist, drummer and producer Steve Lacy is an artist I’ve wanted to check out for a while. I have at some point in my life heard his song Looks, off this demo, but thankfully I forgot how it went so I can check it out again. It’s gonna be a quick listen and review, but I’m curious (and while looking him up I found out he won a Grammy with Kendrick’s DAMN., for producing, backing vocals and songwriting, so that’s cool, congrats Steve).

Right away, I’ll just mention this project is very lo-fi. As in, the drums and his voice are poorly mixed. I’ll give it a little bit of a pass because this man played all the instruments in here and I appreciate the fuck out of that, but anyway. You can tell right at the first track that singing isn’t Steve’s forte, at least in this album, at this time. The hook in that song is just bad, the good part are the instruments, the guitar riffs and the very dynamic bassline, plus the fun little bongos. However, just like all songs here except Dark Red, this is waaaaaaaay too short. It has two short hooks, the verse, and that’s it. The songwriting, I feel, is one of Steve’s more substantial talents; this song I just mentioned is mainly about how a relationship can’t progress because the two involved don’t like much about each other apart from their looks, and Ryd is all about taking a girl to your backseat, but even though these themes are very simplistic, Steve fleshes them out into something more interesting and melodically rich. In Ryd, his smooth vocals surf over the sunny riffs, but what takes away from it are the weirdly mixed drums, as they sound like they’re playing way louder than they should be. The track is groovy though.

The most focused song here, Dark Red, tells the story of a man who’s worried his girl might leave him soon. The instrumentals are nothing special, very basic, and same with the vocals, even though they’re more rooted and solid in this song. The next song, Thangs, emphasizes its bass way more than other songs, but once again, Steve’s voice is not pleasing to listen to, specifically his high-pitched backing vocals, they’re awful. The lyrics are the most basic here, and this song just goes by without leaving any impact after ending pretty abruptly.

Haterlovin is weird. The vocals are way too low, but I like how they differentiate themselves by not going the melodic route, instead Steve chooses to rap them, and his flow in the verse is impressive, but at the same time the hook is way too repetitive for the song to work, and even though it’s nice he switched up and focused the track on the drums, it still leaves it pretty bare.

To close it up, Some brings some promise, with a pretty funky bassline and hook, but then ends out of nowhere and starts a hidden track, Snaily, which I admit has nice falsetto vocals from Steve, but I don’t know why I couldn’t be a separate track. Overall, the album isn’t great, but I appreciate how organic and talented Steve is. Throughout the songs, his creativity is pretty noticeable, so I can’t hate his efforts, but unfortunately his ideas don’t find the right light to shine here.

WORST TO BEST: Thangs, Haterlovin, Looks, Some, Dark Red, Ryd

4.5/10

“Next thing I know she was feeling on me, and I was in the M double-O D when she said park my car down the backstreet”

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thats-the-teen-spirit · 6 years ago

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Bring Me The Horizon - amo album review

I’ve been a fan of BMTH since the late-There is a hell era and obviously they surprised me once again. I’m gonna go song by song on the album because each of the songs have something in them that differs from the one before.

i apologize if you feel something, the first track is already a lot more different than the previous BMTH albums. It begins as a typical intro with long silences between the melody. Then Oli starts to sing on a really high pitched poppy autotuned voice. You can hear no instruments whatsoever except the synth that plays the melody. Then it changes to this ambient style that somehow suits the band’s music but feels awkward without the guitar and drums. When I first heard this song I already realized it was nothing special, just a little intro that might hype up the crowd before they start performing.

MANTRA, the first single of the album is a little less heavy than the That’s The Spirit era songs. A lot less heavy if you think about how Oli’s vocal style changed since 2015. It finally has drums and heavily distorted low tuned guitar and even screams in the background but it still feels like an alternative rock song just because of the verses and the high pitched bridge. The guitar riff is banging, the chorus is catchy, not a bad song afterall but it will still disappoint the old fans of the band.

nihilist blues is definitely the weirdest song on the record. It’s basically a trance/europop song that divides the listeners to two types: the first one would say: what the fuck is this shit, i’m not listening to this album anymore, and the second one would be: wow they’re brave as hell for doing this, I’m looking forward for the rest. I’m not a big expert on europop or trance or whatever electronic music genres there are but it really reminded me of an Armin van Buuren beat and apparently they copied a little from a relatively new Evanescence song as well. Grimes is featured in the song and her vocal style fits it really well. It has a creepy feeling that makes the song feel like you’re in a club full of drug addicts and the only thing left for you to survive is becoming an addict (for the music). Personally I think probably something like this was on the band’s mind when they wrote this. You definitely won’t like this one unless you like electronic music. You can hear the drums and guitars in it (they’re playing the electronic distorted thing with a tremolo pedal probably) but it’s barely recognizable.

in the dark, the next song has a really strange feeling. It sounds like a pop song because of the samples it uses but it still has the guitar (both clean and distorted) that reminded me of Doomed from the previous album. Both the guitars and the vocals are catchy as hell and after the first few listens you can hear what was the point of writing this song, here that “gateway band” thing begins that Oli mentions in a lot of his recent interviews. They want to be a gateway band that shows people the grand spectrum of music from electronic to heavy metal (or metalcore if you’re a genre-nazi) and do the same thing that Linkin Park or Limp Bizkit did for popularizing the crossover of rap and hip-hop and screamy, heavy rock music. It has the same experiencing feeling that got me into Linkin Park and even tho the song and its lyrics are kinda forgettable, the intention is clear and I personally like it a lot.

wonderful life, the second single of the album is without a doubt one of the heaviest ones on it. The intro seems like a classic BMTH style guitar intro with a little less distortion and a really weird, progressive time signature (for my ear at least). The main riff is simple, heavy and you can definitely bang you head to it. The chorus is catchy, the lyrics are relatable for the emo kids, it has a squealing scream from Dani Filth, which makes it seem like the metalcore days are creeping on the band. The outro chorus reminded me of their song ‘Oh No” from the previous record just because it’s so monumental but maybe that’s just me.

ouch is a cheap interlude in my opinion. It’s not even 2 minutes, the samples get boring in the end. It has a drum and bass kind of feeling to it. It reminded me of Cure For The Itch by Linkin Park, just because of the placement and the “drum” beats on it. The nanana thing that goes on in the chorus also gets boring really quickly. The lyrics are about Oli’s ex-wife Hannah Snowdon and it has a nice throwback to their 2015 song, Follow You with the “under your spell” lines, and it’s clear that he left that time behind with this song.

medicine, the song with the weird-ass video is the next one on the album. If you haven’t heard a single BMTH song in your life and you’re into the more pop-ish side of alternative you’ll probably say: holy shit this is a banger. The first couple of lines in the chorus are really far-fetched in my opinion, it’s the “we’re edgy and cool kids” vibe that is either cringy or makes you feel like the band got old and they still want to appeal to teenagers and young adults. The message of the song is the same as the previous one. The melody of the chorus and the vocals overall are not that bad, they’re catchy, but just like the intro of the album, it still misses the guitars, although this one has some really quiet clean guitars in the background. It’s clear that the vocals are in the focus and it’s stressed by shoving autotuned Oli’s voice down our throat.

sugar, honey, ice and tea is one of my favorites off the album without a doubt. The riff is heavy, the song still feels like an alternative rock song but this time the guitar tone for me seemed like an old HIM song that’s mixed with a That’s the spirit era beat, lyrics and melody. It has the same feeling when I heard Happy Song for the first time but this one has a Throne-like chorus with the samples going instead of Oli’s voice. In the outro Oli goes crazy and lets out Count Your Blessings-era styled screams which definitely help the song appeal to older fans. It’s gonna be played at concerts for sure.

why you gotta kick me when i’m down, oh boy where do i begin. Imagine Post Malone writing a song for a no name alternative rock band. Add overdistorted guitars and a mumble rap beat and lyrics. You’re done, you get this song. It shifts genres so fast that it seems like Oli went from ‘Lil Sykes’ and back to himself a couple times in just 4 minutes. It’s not a terrible song but if you don’t like the style of modern soundcloud rappers and the whole mumble rap mixed with guitars thing you’re gonna hate this one.

fresh bruises, after the mumble rap song the boys in the band were probably like: hmmm what’s the next popular thing in 2019 that has nothing to do with rock. That’s right:”lo-fi hiphop for sleeping and studying” radios. The lyrics are only 2 lines, the beat gets faster but it’s still boring, even for an interlude. Definitely the most forgettable song in the album.

mother tongue, is the last single before the album came out. It’s the most honest love song from Oli that he’s probably ever gonna write. For personal reasons right now I can relate to it but if you can’t, you’re gonna forget this song even after a couple of listens. It has a powerful chorus, a radio friendly pop beat, cute ass lyrics and the most important thing: it has the potential to infect the radio stations and get the band even more recognition. The chord progression is really popular, (has the same chords as Africa by Toto), the vocals (with the help of autotune) are great. It has the Follow You vibes all over again but here you get an impression of a happy Oli Sykes that is in a fulfilling relationship and has a stable mental state. This progression is really respectable even if you don’t like the song itself.

heavy metal is my most favorite track from the record. It’s basically a huge “fuck you” to the oldest fans who only play Medusa and Pray for Plagues on repeat to this day, 13 years after their release. It’s got that middle finger in the lyrics that makes you think: damn this band really wanted a change and nothing can stop them. The song made me feel like Meteora days Linkin Park once again because of its beatbox styled bridge and the dropped, heavy guitars. This song shows the new direction of the band once and for all: they wanna make all types of music for both new AND old fans (listen to the last couple of seconds for the Pray for Plagues style vocals from Oli) but still says that nope we’re not gonna change, we grew up, we still like our old songs but you’re not gonna hear them from us because we’re different people now. Big props to the band to be this brave and say: this shit ain’t heavy metal.

i don’t know what to say, the last song on the record for me seemed really off topic from the album until I read what it’s written about. It’s about a friend of Oli who passed away from cancer. Oli didn’t write a song posthomously but the lyrics make it seem like he did. The song itself would sound like an 80′s power ballad from a classic rock band for me if I wouldn’t notice Oli’s vocals and the modern drum beat at some places. It even has a damned guitar solo, an acoustic guitar throughout, and orchestra. (which again reminded me Oh No, the closing track of That’s The Spirit) The song is forgettable for me, even though the message is really touching and meaningful. For a closing track it’s good but since it’s really different from the rest of the album it seems that they only put this song on just to honor that friend that it’s written about.

The album is one of the weirdest concepts I’ve heard from any rock band since A Thousand Suns by Linkin Park. The band put their heart and soul in it, you can tell by the level of production. On some songs it’s really well executed, others seem cheap and boring. My summary is that old BMTH is dead, they’re still gonna play rock music as they did with their previous records but they’re gonna expand and experiment to other directions, making it as progressive as possible just to keep the music entertaining.

#amo #bmth #review #album review #record #bring me the horizon #excuse my english #song by song

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borisbubbles · 6 years ago

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ESC2019 Preshow #04

04. PORTUGAL Conan Osíris - “Telemóveis” SemiFinal 1, #15

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🎼 NONG / NANG 🎵/ NONG 🎶

Thus clangeth the dulcet sitar tones which introduced us our Lord and Savour, Pharaoh Conan VIII of House Osiris. Harnessing the powers of Saudade, contemporary dance and tons and tons of goldleaf, He has come to deliver a message most grave.

ENTRY ANALYSIS

Let us dive in immediately with the clarion of praise Cona deserves, for “Telemóveis” is nothing but a stunning piece of art. It’s really isn’t as much as a song, as it is an experience and although the fado/oriental punk fusion was an acquired taste for me at first, I was #AllAboard once I saw this:

I think you can tell how *much* I loved “Telemóveis” by the fact that I bothered DL’ing the vids (plural!) and making gifs, yes? I mean, why shouldn’t I? “Telemóveis” is a brilliant dirge mourning the loss of saudade to acute iPhoneitis; Saudade which longs for a return to the halcyon days where people went to café’s to have conversations over a cup of coffee and some brigadeiros, instead of resulting to incessant hunchbacked texting. In other words, IS THERE A MORE QUINTESSENTIALLY PORTUGUESE SONG IN EXISTENCE THAN THIS ONE? I don’t fucking think so.

Of course our Lord and Saviour blessed us not only with song but with an epic act to go with it. I think the best way to put it into words it by saying that “Telemóveis” is clever... in its cleverness. The act is drenched with symbolism that matches the lyrics but also triggers my inner history nerd (the egyptian beardmask is an amazing touch). The exploding rose backdrop is show-stopping and man, so is that death drop

(and Conan somehow improved on that by showing up in the finale with like... spoon fingers which clicked together into a wee gilded crossbow <3 <3 <3)

It may seem weird cutting Conan now, as opposed to later, (especially since I don’t have any fancy gifs of my top three), but of the four remaining entries, His the act I’m actually the least invested in lol. Don’t get me wrong. I never stopped loving Conan and memefying the shit out of Him, but He’s not as consistently good as the top three are. Largely because I still cannot figure out what “Telemóveis” is. Is it a masterpiece and a hallmark of free artistry, or is it just, you know, random insanity that spawned from a marihuana-addled brain. Probably both? Whichever the case, ConanGOD’s reprise after winning FdC is probably the best thing i ever seen in my life. I’m saving my bandwith for the NF Corner though, so these gifs will have to do instead:

Yes he actually got *THE ENTIRE LINE-UP FOR FDC*, including the crew members *AND* presenters who were also on the stage (one of them being the phenomenal Filomena Cautela), to death-drop en masse. 😍 If the world of Our Lord be a fair one, this is what precisely will happen in Tel Aviv in four weeks’ time.

NF CORNER

Here’s another sentence I never expected to write down in a post ever:

Festival da Cançao was fucking awesome this yea

r. It might’ve been the best NF of the entire year? It’s definitely top three with EMA and Vidbir, in some order.

Holy shit though. So MANY amazing indie songs owning shit left and right (Except for "Perfeito”, which is a walking cauchemar, but that one was murdered by the national juries before it could become a threat. 🤗)

Anyway; I *AM* going to spend 4 vids on this because any less would be a disgrace to this wonderful NF.

Conan’s biggest competition was NBC who was pretty awesome in his own right:

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This feels like the sort of song that would do well in San Remo? (It fits the charming aged indie rocker ballad vid I get from some of its participants), except NBC is also a HILARIOUS OVERREACTIONS DEITY 😍 (exhibit A: see gifs above) and thank fuck he was because it meant he could finish a ~long~ distance behind Conan (in second because lol ofc He was a blowout winner)

Probably the weirdest performance of the entire season (and perhaps, in life) belonged to SURMA

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Lol this just straight-up performance art and not a song, but I’m happy she was there anyway. “Pugna” makes “Telemóveis” appear normal and well-adjusted by comparison and that’s an impressive feat 😍

Fave #3 was this beautiful, moody, ambient powerballad by Ana Claudia:

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"Inercia” a poor man’s ZalaGasper song, but I really looooooooove ZalaGasper, so I obviously love this one as well. Sadly she had to perform directly after Conan and it neutered her beyond repair, but when even your last place delivers, you know you have a great NF!

I think I’ll close with another wonderful Fado fusion, in this case with bluegrass country pop: Meet Madrepaz

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YESSSSSSS the facepaint is about 70.3% of their appeal 😍 😍 😍 but the song slaps as well. What a beautiful, desolate ambient sound. Am I deluded to think this could qualify in a Eurovision semifinal? (well some of them, anyway)

All in all an amazing selection, and definitely in contention for The Best NF of 2019 (I’ll decide once I’ve posted Slovenia’s entry, I guess)

Qualification Odds: Borderline (-)

Ugh, this BREAKS my dark chocolate heart, but Conan isn’t at all safe. Conan’s main problems rise from the fact that he tries to be artistic and humorous at the same time, and the two cancel each other out somewhat.

It’s same problem Gabbani had really, except this is Portugal, not Italy, so the stakes are much higher here. There’s a very high chance “Telemóveis” highbrow message will fly over the heads of the audience and there’s an equally high chance it will backfire on Conan when it does. Portugal faces severe competition from the other acts. They compete with Slovenia for the “This Is High Quality” value-seeking vote, with Iceland and Australia for the novely vote and with Czech Republic and Greece for the “yeah this is actually really fucking clever” highbrow vote. He even competes with Serhat somehwat, both being OTT acts that are on later in the semi. It could very well mean death by a thousand cuts for Portugal.

The draw, which is usually brought up as the main justification for an NQ, doesn’t bother me though. Coming on before Queen Katerine, the Elegant and Supreme, isn’t a gift if she finds her voice, but she’s hardly consistent and coming after Estonia, which has the same flavour and texture asa wad of chewed gum will make any song after it a fucking revelation by comparison. Overall, I think BL- is the correct call. There are several high odds Conan needs to overcome, the biggest of which probably is Conan fans breaking their Telele’s before actually voting for him! WAIT UNTIL AFTER THE SEMIFINAL, people. Our Lord and Saviour NEEDS your support.

Projected Placement: 6th-15th in the SemiFinal. If he qualifies, 12th-23rd in the Grand Final.

Link to the masterpost

#Eurovision #Eurovision 2019 #Eurovision Song Contest #ESC2019 #Portugal #Conan Osiris #Telemoveis #O Telele

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illustratedtapes · 6 years ago

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Welcome to Illustrated Tape’s favourite releases of 2018 that sounded and looked good, chosen by this year’s contributors. We’ve put together a playlist featuring one track from each of the releases featured so you can check out the sounds we were digging this year. Happy listening!

➔ spoti.fi/2LCgrQp Listening in order recommended

Delta Sleep - Ghost City Big Scary Monsters, 10 August Artwork: Owen Findley at Or8 Design Selected by Megan Reddi // IT014

This is my favourite music/artwork combo of 2018! The whole album is just amazing - it is beautifully arranged and has this lovely dreamy quality to it, with repeated musical motifs woven throughout to really pull the whole album together. Not only is Ghost City musically fantastic, but the artwork is beautiful and so fitting for the album. It is designed and screen printed by Owen Findley and the warm colours, imagery and textures are just spot on.

Definitely my favourite release of 2018. It is my go-to driving album and I will be blasting it while we’re driving around this Christmas!

➔ Listen to Illustrated Tapes 014: Nautical Dusk by Megan Reddi

Okay Kaya - Both Heavy Body, 1 June Artwork/design: Kaya Wilkins, Aaron Maine, Phillip Wong

Selected by Hannah Buckman // IT016

Okay Kaya’s Both as an album that came out this year which I enjoyed, and which I feel has a strong visual component to it. To me the album feels sickly (in a good way), gloomy but still pop. I think the mood is conveyed really well through the Adinah Dancyger directed music vids and the album art.

I liked finding out more about Kaya’s thinking behind the project, like how the twin in the videos is like a physical manifestation of trauma... it’s something that once I read I couldn’t stop thinking about. The idea of something traumatic inducing this birth of a second self, a kind of split off part that is still attached in some way to the whole, but there being a kind of safety in acknowledging what might be a darker part of yourself, from a distance. Also the album art kind of conveys the idea of duality and how that relates to race/sexuality, but I didn’t feel like that was really explored as much. I think I like this album ‘cos it kind of ties in with things (mentioned above) I’m currently interested in, but maybe it feels a bit surface-y at times.

➔ Listen to Illustrated Tapes 016: Protect Your Extremities by Hannah Buckman

Quavo - Quavo Huncho Capitol / Mowtown / Quality Control, 12 October Artwork: Mihailo Andic

Selected by Conner Perry // IT020

I think my favourite music/design combo of this year has to be Quavo’s Quavo Huncho. Not only is it full of bangers, the cover by Mihailo Andic is just brilliant. It really sets itself apart from the Migo’s visuals and changes the way you listen to the record. Definitely check out the rest of his work, especially the stuff for Lil’ Yachty.

➔ Listen to Illustrated Tapes 020: Nice one bruva by Conner Perry

Parquet Courts - Wide Awake! Rough Trade, 18 May Artwork: A. Savage

Selected by Holly St Clair // IT021

I was really late to the Parquet Courts party, but actually both of my initial encounters with their two recent releases have been solid arguments for the importance of decent album artwork. For both Wide Awake! and Human Performance I ran into - literally - the artwork before the music. Twice, two years apart, whilst wandering around London I turned a corner and came face to face with Adam Savage’s superb cover work. He smacked me in the face with poppy colours and amorphous dancing forms and I loved every moment. Add in an anarchic use of type and you’ve got me shouting, “Oh shit! A new Parquet Courts album!” to no one in particular outside an old meat market in Shoreditch.

A. Savage is both front man and painter and that adds a special flavour to the whole affair. Album marketing can be a laboured, commercially driven affair, there’s something authentic - a little DIY flavour - about this relationship between artwork and music. It’s a nice parallel to the musical throwbacks typical of the bands style. Wide Awake! dropped earlier this year and it’s fab. (Although, I love the artwork so much even if it was god awful I’d still buy the record and hang it on my wall.)

➔ Listen to Illustrated Tapes 021: To: You, Love: Me by Holly St Clair

D.A.L.I - When Haro Met Sally Burning Witches, 23 May Artwork: Luke Insect

Selected by Thomas Hedger // IT017

According to my recently played, I’ve been stuck on a pre-'90s loop. I've crept slowly into 2018's releases picking out albums like books - by their covers - and it really paid off! I don’t often delve into electronic but I love this album, it’s a perfect blend of hopping on your bike and hitting the tracks, nailing the look of how the album feels in all its haze. A solid sunny day good time.

➔ Listen to Illustrated Tapes 017: Sink by Thomas Hedger

Young Fathers - Cocoa Sugar Ninja Tune, 9 March Artwork: Tom Hingston

Selected by Katie Chandler // IT003

This cover was immediately striking and memorable to me. Upon listening to the album, I found that the artwork resonated with this feeling of odd, unrestricted expression. It's a little unsettling, ultimately bold and intriguing. Much like the music, it feels hot and cool all at once, like a burst of energy that leaves you in a sweat. It's the exhilarating soundtrack to your runner's high, and you're not really sure why you're running or what you're running from.

➔ Listen to Illustrated Tapes 003: Porch Light by Katie Chandler

Gesu no Kiwami Otome (ゲスの極み乙女。) - Suki Nara Towanai (好きなら問わない) Taco Records, 29 August Selected by Greg Stasiw // IT009

Although it’s not the ambient and electronic fare I usually enjoy, Suki Nara Towanai (好きなら問わない) by Gesu no Kiwami Otome. (ゲスの極み乙女。) is a hoot. The artwork features a stylized neon pachinko machine. Or maybe it’s a console in a rad indie pop spaceship, which would also make sense for this funky fresh group! It feels somehow familiar, somehow alien, and altogether really, really cool.

The neon suggests something retro, and there are some retro leanings in their funkier tracks, but it's definitely neon as seen in 2018. Modern pop (and J-Pop) tropes emerge, but infectious basslines, tight drumming, and smart keys make this album something special. Some math rock even surfaces at times, and the remix included proves that this group goes for whatever feels fresh. One look at the artwork reminds me that this is one of the funnest albums I've listened to in a while. “Funnest” is definitely a word when you’re talking about this band!

➔ Listen to Illustrated Tapes 009: Atmospheres by Greg Stasiw

Aphex Twin - Collapse EP Warp, 14 September Artwork: Weirdcore

Selected by Alex Vissaridis // IT002

2018 was a great year if you grew up listening to the music I was into. Some of my all-time favourite artists released new stuff this year, and they didn’t disappoint. The artwork was pretty excellent too, but nothing grabbed my attention like the world created around Aphex Twin’s Collapse EP. Album art doesn’t seem to mean as much as it once did, so it’s always exciting when it appears outside of the little square on your screen in unexpected ways.

This year, Aphex Twin logos appeared all over the world, from Elephant & Castle tube station to the side of a record store in Tokyo, designed in a way that made it look like the logo was collapsing into the environment around it. I’m a sucker for stuff like this; random cryptic messages that send internet detectives into a frenzy. It was eventually announced as marketing for the Collapse EP, but they kept the ‘collapsing logo’ visual going on the EP artwork, in the music video for the track ‘T69 collapse’, and even through to projection-mapped videos around London (again announced in typical smoke-and-mirrors fashion) and a collaboration with Crack magazine. Way more than just a collection of pixels.

➔ Listen to Illustrated Tapes 002: Tape Fuzz by Alex Vissaridis

Flohio - Wild Yout EP Alpha, 2 November Selected by Rachel Maughan // IT012

I got into Flohio after I saw her on COLORS in January with 'Band'. She's fucking explosive on that track, you can feel her spitting straight into your chest. She's been savvy with her producers and killed her work with God Colony - 'SE16' was my most played track of the year. Her 2018 EP, Wild Yout is a cocktail of perfection.

Mashing up genres it's a high energy listen with punchy, grimey hip-hop that is uniquely South London. The artwork is beautiful simplicity - her achingly slick androgynous aesthetic, the clean photographic composition, with a flowing chain to bring it tightly back to SE. Gorgeous.

➔ Listen to Illustrated Tapes 012: High Rise by Rachel Maughan

Sudan Archives - Sink EP Stones Throw, 25 May Photography: Jack McKain Design: Jeff Jank

Selected By Tom J Newell // IT004

Sink submerges the listener in flowing loops and beats, with splashes of violin and vocals floating above the sunken monolith, which stands tall on the deep blue cover art. The composition is reminiscent of two of Jank’s other iconic Stones Throw sleeves, Donuts and Madvillainy and continues his striking yet varied art direction for the label.

Check out the ‘Nont For Sale’ video from the EP too, which adds powerful choreography and styling to create another successful visual accompaniment to the music. Much love to Sudan Archives and hats off to Jeff Jank. I painted a tribute to the cover art on a 12x12” piece of wood.

➔ Listen to Illustrated Tapes 004: FEAR. by Tom J Newell

Drinks - Hippo Lite Drag City, 20 April Selected by Molly Fairhurst // IT015

Hazy, dazed, an album I hold dearly to 2018 (and many strangely lit walks in a then new, unknown city).

A collaboration between Cate Le Bon and White Fence’s Tim Presley, the pair took an (isolated) retreat to St Hippolyte-Du-Fort in the south of France to record, frankly, crudely, seemingly, whatever the fuck they wanted to. Hippo Lite is born, a joyful, playful, sometimes quiet, sometimes screaming object.

What senses like an eavesdrop through closed doors rightly has a cover that can’t be quite understood- a narrow column of, at the glance of the reader, ‘nonsense’ notes, which flank photos of Le Bon and Presley. Both are snapshots of an absurd holiday we have been invited along to, so long as we sit across the table. A tender and private piece.

➔ Listen to Illustrated Tapes 015: The Wilder Woman by Molly Fairhurst

Pigs Pigs Pigs Pigs Pigs Pigs Pigs - King of Cowards Rocket, 28 September Artwork: Sophy Hollington

Selected by Drew Milward // IT010

First off, this album is wall to wall, solid gold bangers. Kind of like the lovechild of The Fall and Black Sabbath, who has been cautioned by the police for possession of a massive bag of skunk, a bong in the shape of a skull and a copy of ‘The Holy Mountain’ on DVD.

Aside from the fact it’s a full on riff-o-rama, the artwork by Sophy Hollington is absolutely incredible. It summons up the sound of the band, via folk horror infused wildness. It really captures the sonic landscape of the album, yet completely avoids any of the cliched imagery that could so easily have taken its place. It really is the whole package.

➔ Listen to Illustrated Tapes 010: BE GONE, YOU CREATIVE GREMLINS! by Drew Milward

Djrum - Portrait With Firewood R&S, 17 August Artwork: Michael Mitsas

Selected by Sam Ailey // IT001

Portrait With Firewood is one of those rare gems within the electronic genre - a true ‘album’. With holistic production, emotional range, and a captivating narrative, this really is a stunning listening experience from start to finish. Felix Manuel combines electronic and acoustic sounds seamlessly on this intimate record, with exceptional attention to detail in his sampling and tender piano sections played by Felix himself.

Michael Mistas’s cover art is a real departure from the typical design aesthetic of electronic albums and caught my attention straight away. I love its composition and rough, imperfect execution. To me these feels reflective of the range and depth of emotional states explored across the album, and the feeling that some things are easier to express through your craft than with words. Plus I’m a sucker for pink things.

➔ Listen to Illustrated Tapes 001: Quiet by Sam Ailey

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boobdolan · 6 years ago

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a review of melodrama (2017) by lorde

hey what’s up it’s your boy b-dawg. the b is for boobs as in breasts. this post is a track-by-track review of melodrama, the grammy-nominated sophomore studio album by ella yelich-o’ connor (aka lorde), a new zealand singer-songwriter who likes to dance funny and eat onions. her first album was pure heroine which was pretty big bc i think people (angsty teens) related to her songs about being an angsty teen.

i’m gonna keep it real with you chief. when i first heard green light (the lead single from the album) i thought it was pretty ass. but you know what. i’m an ass man despite my username. so eventually by some karmic circumstance i was reintroduced to the album and i realised: “hey! this is pretty dope! 😎” and then i ended up writing a 4000-word extended essay on it for the IB. but that’s another story.

green light is also the first track on the album, and it’s a hella effective one. with its intro bringing listeners acapella ella™️ over sparse piano chords, it kicks open the door to the sound of melodrama and immediately subverts any expectations for a pure heroine 2.0. as the song progresses we get additional elements of new and old - the boom-bap drums recall the hip-hop influences that permeated pure heroine, while her high-pitched backing vocals in the chorus introduce listeners to new vocal stylings from a singer who was previously known for being a Cool Bean who was Too Cool for all that stuff.

as the maximalist bop green light ends, listeners are thrown even further away from the sound of pure heroine with sober. personal note: sober was the song i most liked on the album upon first listen. and I can see why. it’s because i’ve got good taste! from the spacey uber-processed backing vocals to the bongo beat to the horns in the chorus, the song’s really unlike much else in the pop scene today. i especially like the “night, midnight, lose my mind” intro because when i first heard it i was like “wtf???? cool 🤠” anyway, point is, ella and her bf did well on this track.

at this point one might think, “this girl has a thing for acapella intros to her songs”. and she does! homemade dynamite starts, like an action movie, in situ, with its musings about top gun and the house party that the album is conceptually based around. one thing i love about the song is its synths. the 80s inspiration is obvious, with the synth pad emulating the iconic Fairlight sound on kate bush’s running up that hill. however, the moodiness of the synth pad is contrasted with a sprightly riff that comes in every now and then, emphasising that Potent Teenage Mix of Emotions™️ that the album is focused around. lorde also uses contrast in her lyrics, pairing wordy, literary, stream-of-consciousness style verses with almost childish phrases like “know I think you’re awesome, right???” it’s things like this that really encapsulate the state of being teenaged to me - that uncertain transitional period between adolescence and adulthood.

the following song starts with a very indie-sounding guitar, which is an unconventional sound for a lorde song. but the louvre is so typically lordey in that it shows off one of her greatest skills - the ability to create memorable, quotable lines with unique phrasing. who else would think of stammering the line “i overthink your punctuation use”?? who else would think of using a spoken “broadcast the boom boom boom boom and make ‘em all dance to it” as a hook??? another thing of note in this song is its extended U2-esque instrumental outro, courtesy of jack antonoff. sometimes when i listen to it, i understand why ella is banging him.

jack then mumbles the intro to the next song and starts playing the piano. after a few bars, ella joins him and her voice basically has sex with his tinkling on the ivories. liability is objectively great. lyrically, she reaches mind-bending extremes that many of her contemporaries can only dream of achieving. there’s a verse where she goes “home, into the arms of the girl that [she] loves” which is very interestingly constructed - it hits listeners with the initial shock of “oh wait is ella coming out” and just Leaves It for a few lines. and theN BOOM!!!! she’s actually talking about herself. that’s pretty cool. one other thing is her rhyme scheme in the line “the truth is, i am a toy that people enjoy ‘til all of their tricks don’t work anymore” which has a devastating effect that always gets me, even though it greatly takes advantage of her bananies voice.

now the listener is halfway through the album, and at this point they’re likely as hard as the feelings in the title of the next song. hard feelings/loveless brings us back into the world of electronic drums and synths after the minimalism of liability, and it does so excellently, providing an ambient atmosphere with its muffled beat and echoey distorted guitar. this song used to be one of my least favourites on the album because I thought the L O V E L E S S chant in the second part sounded kinda dumb and edgy. but then i watched lorde’s performance of the song for VEVO and ?????? WtF????? it really shines with a small choir and a boombox. fantastic. i also appreciate the little paul simon sample that bridges the two parts together - it’s a rare example of lorde wearing her influences on her sleeve for this album. also paul simon is one cool mf. i pop my pussy to graceland 24/7. 😎👌

taking a note from jack antonoff’s albums, the next song is a reprise, which have been used by many artists after the beatles to say “hey look my album is cohesive!” even though the only reason why it’s cohesive is because it’s cohesively shit. that’s not the case with sober II (melodrama), which functions as a response to the first sober. the parent song’s repeated calls of “can you feel it?” are immediately countered in sober II’s first line: “you asked if i was feeling it, i’m psycho high”. that’s cool because it reinforces the house party concept of the album. however, while i think the strings and trap drums combo sounds cool on paper, this production choice is the album’s first misstep because it sounds like jack put together 2 apple loops on garageband that didn’t quite fit.

luckily, before lorde turns into one of the migos, we’re treated with another piano song - writer in the dark. a word about lorde’s vocal performance in this song: WOW!!!!!!!!!! 😃😃😃 good stuff! in the verses, her raspy, imperfect voice highlights the intimacy and personal nature of the lyrics. in the chorus, she double tracks her voice and sings with a more round tone, which gives the eerie effect of sounding a bit like kate bush. it’s ok. i’m a bush man too. jack does a little production trick in the outro where ella sings the hook progressively louder as he fades out her vocal and lets the song be overtaken by strings. while it’s cool, i feel like he quite obviously snagged it from the outro of david bowie’s “heroes”, where a similar trick was achieved by the production god brian eno. jack then did it again on the song slow disco by st. vincent later in the year. side note: i’m still kinda pissed about what he did to st. vincent’s masseduction. more on that another time.

the next song, which should’ve been a single, features the metaphor of a supercut. i’m not sure how i feel about that because, on one hand, the term feels very millennial, like a better-written version of katy perry’s save as draft. you know what i mean? like those songs that aged fast - crazy in love with its pager reference, and payphone with its..... payphone reference. on the other hand, a supercut is pretty timeless, as montages have been used in cinema since the french first figured out how to make moving pictures. and the word sounds cool, so it’s ok i guess. but that’s beside the point. the song’s really nice, with some very interesting moments. one notable instance is lorde’s phrasing and the instrumentation in the prechorus - “in your car, the radio on”. the instrumentation just stops for a beat after ella sings the line, in a genius move that makes the song Even More Boppable!!. another moment is how the beat changes during the final choruses - from mellow, with her voice sounding like it’s coming out of a cassette player, to full, regaining all the instrumentation of the original choruses. then the song ends with a weird echoey vocal outro that’s a fantastic moment for me, especially after the intensity of the final choruses. boner time!!!!! 😃 one last cool thing about the song is that i feel the line “so I fall into continents and cars” is an Excessively paul simon thing to say. it’s one of those abstract things that just sounds GREAT, like “fat charlie the archangel sloped into the room” from his song crazy love, part II.

speaking of part twos, the end of supercut transitions into the bassy, atmospheric synths of liability (reprise). unfortunately, i still haven’t gotten round to fully appreciating this song. to me, it’s the biggest misstep on melodrama. don’t get me wrong - it’s a nice enough song, it’s really chill, but it feels slight because of its association to the majestic, melodic liability. apart from their lyrics, there’s not much that links the two. i feel that liability needed no reprise; it’s a work that stands on its own. i felt the same way about yandhi when kanye west announced it. yeezus doesn’t need another album associated to it! it’s perfection by itself. also, someone pointed out that the drums on liability (reprise) are the same as those on taylor swift’s call it what you want, and the last time taylor and jack screwed up a great indie artist’s work was fast slow disco, which we don’t talk about in this house.

finally, we come to the end of lorde’s house party with perfect places. and what a brilliant ending it is. there’s something so stirring about the drum beat, with its crunchy, decisive snare. there’s something equally moving about the synths and chord progression in the chorus, which give me chills like loud organs echoing in a church. when put together, they sound industrial, menacing, as if they move into your soul and alienate you from your own body. but at the same time, they’re an emotional release, a source of comfort like bruce springsteen’s cathartic 70s and 80s albums. another cathartic element - the use of the word “fuck” in the chorus. i could write a whole essay on it tbh. to me, it represents an intensely freeing release of the bad vibes and negativity in one’s life - for lorde, perhaps, her failed relationship and the state of the world in 2016. you know how studies have shown that when you shout “FUCK!!!!😡😡” after hitting your toe on furniture, it helps ease the pain? it’s like that. so while saying something taboo on the record is such an edgy angsty teenage thing to do, but also reflects lorde’s release from her pain. or maybe i’m reading too much into it.

the album ends as it begins, with ella’s bare vocals, reminding us that she is once again the Queen of Indie Pop. overall, melodrama gets a

9/10

for being really cool. peace out bitches. 🤠

#lorde #melodrama #review #music #music review #album #album review

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dramarising-replacement · 7 years ago

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What we REALLY learned from BotE lore

I know I’m about a month too late for this but…. (Dadmin feel free to put a keep reading here if you think it’s too long)

Jailbreak- -Tundra??? Skydancer??? Eating fish??????? There’s like 6 different plant food granola ration items that would keep just fine??? -Either the breed diets are more of a preference or the writers just forgot their own lore, I’m inclined towards the second but the first is a plausible in-universe plot bandaid

-Dragons have surnames and with little exception they’re all warrior cats adjectivenoun shit. Because of course they are.

-Feathers can be unusually thick, apparently -Isolated beastclans unaware of/apathetic to the uprising are a thing -Most of the icefield is too dangerous to fly in -The fortress of ends is far from the only prison location -New location: Dripcave dregs -Icefield’s government so far seems to consist entirely of the (very harsh) prison system, so i guess the southern icefield is ice age america -[Racial tensions intensify] -Dragon money is accepted by at least some beastclans -Racial tensions not helped by language barrier -Rations stashed at key points along the mountains -Tundras become amnesic when stressed -Who/What the wardens are does not seem to be common knowledge -Oh hey look a new canon breed for one of the flights that only has one breed which isn’t very popular, which has unique lore, and a design that perfectly matches with many people’s wishes for “Something like a tundra but fiercer”, that i guarantee will be eternally left right next to couriers as “Perfectly good breeds that will never be implemented and the admins will never even tell us why” -They don’t seem to know much about other breeds -Like genders, for example -They also might be psychic -May or may not be ageless on top of that -Tundras are descended from them, which means at some point in the distant past some left for the surface and stayed there, which means these things are perfectly capable of joining surface society again -It seems a lot of the deities have disappointing giant first children that they want to hide/kill to bury their shame Ten Eyes- -New location: The Oculus of the Eleven -Like if the UN was also a wizard council -So far implied there haven’t been any major interflight wars for at least a few generations -Leylines are Serious Business™ -SMARK -SMARK -Mirror pack instincts are very strong -Dragons supposedly don’t have computers, but the leyline monitor things sound an awful lot like computers -Crystalspine mountains grow in response to ambient magic -Oculus seems to have been anticipating eventual sabotage of some variety for a long time -Age discrimination -Not only are dragon/beastclan racial tensions insanely high, but racial tensions between flights and breeds seem to be immense as well -Mirrors revert to base aggressive animal instincts when stressed -Even if they act like they’re friends they all actually hate eachother and will totally throw eachother under the buss at the first sign of trouble -Dragons know about the two arcane apocalypses(the first of which wasn’t technically the arcanist’s fault because he wasn’t fucking born yet but that’s a rant for a different time) -Mirrors can be blinded by enough heat -Uuuh -Uuummm -What, you wanted useful bits on what it’s actually like in arcane in general? Fuck you, have this rushed and thinly-veiled segway into lightning’s bit that takes place entirely inside an isolated dragon UN base with no elaboration on the outside world Temper, Temper- -Fire has kind of an Industrial revolution/great depression theme going on -Funding cutbacks -Railways confirmed -Imported materials confirmed -Racism again -Economic class divide -Angry coatls puff their feathers -Fire treats their working class like shit, and apparently has been for a very long time -Vocal Accents confirmed -I have no idea why Haemil isn’t overwhelmed by heat signatures all the time if just a few angry people was enough to blind Beatrix -Worker’s guilds are a thing. We have no idea how they work, but they’re a thing, and they have some amount of power. -Only the blacksmiths can withstand the great furnace -Volcano heartshaft -Dragons have explored at least as far down as the upper mantle -“Forgemasters” who seem to be greedy slavedriver corporate aristocrat types -Forgemaster council of some sort exists, and apparently is the closest there is to a central government -There’s a main cavern where the great furnace’s blacksmiths work and it has a big-ass gate on it -Fire tundras crop their fur and still get burned anyway -Ashfall wastes are the main exporters of tools and weapons -So, who wants to break the news to Por and Ventik that they literally cannot physically speak to eachother? -I suppose you could make the excuse that one of the others is translating, but i think they just forgot their own lore again. -Ashfall provides the tempest spire with bolts, rivets, and sheet metal -Arftificial scarcity to drive up demand is a thing in sornieth’s economy -Also, international economy is a thing -Apprenticeship is a thing -Giant bellows in the great furnace, operated by big tattooed imps who may or may not be exaltees -Non-arcane archmages -Other flights are required to construct sanctums whenever concentrations of magic are found -The Oculus doesn’t have anywhere near as much power across sornieth as it thinks it does-their efforts are easily foiled pretty much whenever the local government feels like it -They don’t seem to be very well-respected or even liked anywhere either -Magically-charged magma (and presumably other things) exist, and have useful scientific properties -Government’s first reaction to discovery of new resources/tech is to use it as an excuse to lay off most of their already-struggling workforce -Government cover-ups are also totally a thing -Apparently, tundras rarely frown -Parties of blacksmiths are sent to chart any caves discovered -Steel crates -New location: Flintlock Fumaroles -Professions are often handed down through families for generations -Individual clans are capable enough of reliable communication for a worker’s strike of this magnitude to be assembled in only days. -Flamecaller isn’t really present, and has fallen almost entirely into legend -You don’t have to be a skydancer to sense high levels of magic -There’s another volcano now, apparently even bigger and badder than the great furnace -Everyone’s been fired(lol), There’s a worker’s revolution going on, and there’s a whole new fucking island, all of which i’m sure will never be spoken of again. -If you claim it they will come A New Direction- -Ashfall wastes and Scarred wasteland are visible from the plateau -Dis place high yall -Dragons have trouble flying in stagnant air -Dragons sometimes rob couriers -Couriers run in an awkward waddle -The twisting crescendo is sentient, capable of appearing as a dragon, and, apparently, female -The windsinger can send magic statues in the mail or something idk i’m not sure anyone entirely knows what’s going on there -Windmills confirmed -That’s it -This one’s kinda simple -What, you wanted more useful detail on what life in the plateau is like? Fuck you, have this folk tale-sounding glorified space whale aesop Kindred Crossing- -At some point in the past, light and shadow made a failed attempt at an alliance that involved building portals that seem to only be able to activate during a lunar eclipse with the correct keystone like some lonely mountain shit(At least if admin comments on the forums are to be trusted) -Apparently the technology to make said portals was lost and the incident was forgotten about -Somehow this created the hewn city by bleeding the two together. Why shadow doesn’t have an unusually light-y area near the portal, i don’t know. -New location: thorndark altar, for all your cliche cultist needs -Lots of shadow pool and moon-related religious stuff -Creepy cult clans confirmed -Shadow goo smells like shit -Shadow goo puts out feeding tendrils -Awful mothers confirmed -Action figures confirmed -Whiny edgy teenagers confirmed -Some sect of shadow religion that multiple clans apparently follow involves elders in robes passing around candles with purple flames, creepy cultist chanting, and throwing prized possessions into the goo -Presumably this “sacrificing prized possessions” thing is not an isolated practice -“Voidling” seems to be an insult or derogatory title of some sort, in other news awful mother is awful. Something tells me her son being such a screwed-up asshole isn’t entirely his own fault. -“It’s not like he’ll remember it anyway”- That’s racist -The descriptive phrase “Dark hovels” is telling. Make of it what you will. -Lots of crazy ancient shit like this is absolutely hidden under pools and growth throughout the tangled wood -There are specialists trying to map the hewn city -I can’t help but feel like the specific wording of the description “A primitive hook-shaped runestone” says a little bit and the light flight’s attitude -Shadow flight has assassins specifically for the purpose of ruining light scholar’s work Ancient Fascinations- -Preservation guild is a thing, and presumably other guilds of similar function are too -Archeology confirmed -Most places still rely on torches and candles for light -Secretaries are a thing, which also means all the things that necessitate secretaries exist -Some weird monsters or some shit like that have popped into existence under dragonhome, and apparently are turning people into fossils or something -The things in question looks sort of like beastclans. Maybe undead second age creatures? -Government coverups: Archeology guild edition -Organizations take funding from wealthy sponsors -Imperials can be just as self-important as pearlcatchers -A very ominous, mysterious, wealthy, anonymous organization that if fiction has taught me anything can’t be up to any good -Even in fantasy dragon land you can acquire just about any historical artifact for your private collection by throwing enough money at it -What, you wanted more on what dragonhome is like for the average dragon? Fuck you, here’s a boring ametuer SCP story taking place entirely in an isolated archeology site. Workplace Hazards- -Lightning farm has monitoring equipment -Uhhh -Ummmmmm -Flying in storm bad -Shock switch is a real thing…? Maybe…? -Computers don’t exist yet, everyone still uses papers -… Even though that lightning farm monitoring equipment from just a few lines ago sounded an awful lot like a computer -Errrrrrr -Electrical engineer guild…..? -The shifting expanse does in fact have money -Cactus tea? Cactus fucking tea? -Aaaaaahhhh…? -Whelp lightning has effectively just withdrawn from the dragon un, secretly declared war on them, and pissed on their embassy just for good measure. you know, just in case the whole “Antithesis of all magic and nature, making them effectively the closest there is to a shade faction” thing wasn’t enough. -Unless the lore in the next one does a complete 180 and it turns out this is fine somehow or it’s because of a secret conspiracy unrelated to the flight or something, lightning is now likely THE designated antagonist faction and enemies with the entire world -Oh nooo sciency scientists with no morals are gonna destroy the world again with their scientific hubris!1!1! No bad things would ever happen if those darned scientists would just stop messing with nature and poking around where they don’t belong!1!! -Yeah, salary cycle.. That’s certainly……. A word……. That probably means something…… Which is never explained…. -Scientific scientists destroy non-sciency things because of science reasons, Next up our special guest Vulcan with ��Emotion is illogical and must be destroyed” -Have fun being the designated wholly evil faction, nerds. Technology eats your soul. -What, you wanted lore that provided any insight whatsoever into what the expanse is like on any level, or at least something that didn’t spend every line it could going out of it’s way to emphasize how one-dimensionally amoral everyone and everything here is? -That’s stupid -You’re stupid -Fuck you and that train you rode in on -Here, have a bland thinly-veiled tacked on continuation of arcane’s story that pointedly goes out of it’s way to avoid introducing any significant new elements whatsoever because that could potentially humanize lightning on some level and interfere with our pushing the totally irredeemable mad scientists that need to be wiped out for the good of the world narrative, set almost exclusively in an equally bland extension of the dragon UN building that gets knocked over to make an evil hubris reactor because scientific scientists sciencing sciencly oppose all non-science. -Watch as all lore from now on is about how everything is lightning’s fault and they’re the enemies of all life or something -durr hurr science is scary thomas edison is a witch The Seed and the Sickness- -Plague and nature getting lumped together for no goddamned reason, as usual -If the excuse is because they’re twins then light and shadow should get lumped together too, light’s story is certainly short enough and they’re already semi-connected -Plague and nature have had an armistice for thousands of years -Why yes, let’s trade nukes every decade. How could this possibly go wrong. -Plague dragons have lots of scars and war paint and wear bones confirmed -Earth flight mediates because of course it does -Dragons know about the first battles of the plaguebringer and gladekeeper -Scarred wasteland is humid -Nature dragons tell horror stories about it -Quarantine zones for testing diseases -Plague actually specifically develops and tests diseases -Nature dragons can’t live in the scarred wasteland without special measures -Bonerguards -The behemoth is sick, possibly, maybe, it’s not entirely clear, probably just hallucinations -Secret ninjas poisoning ambassadors -“Be strong, survive” -Bone spears. *immature giggle* -Nature magic can do some pretty gory, fucked up stuff. Impaled corpses hanging from trees, anyone? -It’s nice to know the admins are allowed to write about shit like that but even having an argument written in a playermade bio puts it in the danger zone -Weaponized carnivorous plants -Plague breath is toxic gas and yellow goo -Other plague magic includes giant rotting membrane cocoons -Nature and plague are probably gonna go to war again, and might drag earth into it too -Now there’s a sick lady with a plant-nuke fused to her out there somewhere -In plague, if you’re hurt, too bad. Medical treatment is for the weak. Either you survive your open wounds or you don’t. Plague dragons covered in bloody bandages are not lore-freindly, because bandages mean they weren’t strong enough to tough it out themselves. -Also implied that plague looks down upon the dead in some way

-Plague also DEFINITELY hates doctors and medicine -Ohh nooo EEEVIL plague conspiracy involving the plague ambassador -You thought there would be equal sections for both ambassadors? The plague ambassador’s section is all of 3 sentences long and only exists to tell us how evil she is. -What, you wanted lore that expanded on what it’s like in nature in any significant way? Fuck you, have a bland sabotage plot that takes place entirely in the scarred wasteland with no mention of anything at all in the viridian labyrinth. -What, you wanted lore that expands on what it’s like in plague in any significant way? Fuck you, have a bland sabotage plot that takes place entirely in an isolated nature embassy with no mention of how anything outside it works. Hear Today, Gone Tomorrow- -Pearlcatchers have slings and bags to carry their pearls -New location: shoredeep presage -Divination caves that direct the tidelord’s prophecy bubbles up from the deep for rite-of-passage rituals -Prophets have multiple levels of rank based on age -Water dragons carve handholds to use in areas with strong tides -Divination requires specific rituals seemingly similar to alchemy, along with a blindfold and special chant -Braziers made of dried coral and shells -Dragons swim with their wings -Not all water dragons have divination powers, and the ones that don’t seem to be considered lesser -The first prophecy is meant to be carried to your grave -Dragons breathe water. With their lungs. -Fishing shacks exist -The weather in wind has a direct effect on the weather in other flights, in this case leveling the whole damn water flight because the crescendo decided it wanted to spin the other way -The crescendo also does not have a monopoly on the “gigantic magically-charged supercell” game, it’s just the most consistent one -Giant whirlpool. Maybe the spiral keep collapsed? -Prophecies tell you whatever the fuck they feel like telling you, not what you want them to -All the currents in the ocean have also changed thanks to the reversed wind -Fish daddy’s not talking anymore Raising a Family- -Did you really just use a Necromancer pun? Is the next line going to be about doing it on a budget? -Very short -So short it may as well be fused with shadow’s like they did with plague and nature -Emperors generally have extremely simple, childlike minds, with varying levels of decay, and are often deliriously happy -Always hungry -Think of eachother as siblings, it’s unclear if they really are or not. Technically siblings of multiple elements are possible if their parents traveled a lot. -Have fragmented and hazy memories of their past lives -Something about “Mother and other siblings”, possibly lightweaver -Hewn city has a border patrol -Emperors with less then 4 heads DO have enough juice to go apocalypse mode, despite what the encyclopedia says -The only one i genuinely enjoyed and felt was well-written -Except now there’s a fucking hydra-zombie rampaging through light flight. i’m sure that won’t be a problematic place to leave a cliffhanger dangling for months at all. Voices- -Leafmom’s worried, Germmom’s pissed -Droolmom thinks this is the funniest shit she’s seen in 10,000 years -Something’s wrong with sornieth’s molten core, i think -Icepop bragging about his limited edition Cthulhu collection -GLITTERMOM NO YOU RACIST FAVORITE-CHILD-PICKING BITCH I SWEAR IF YOU DO ANYTHING TO THOSE MURDERNOODLES -Noddledad don’t give a fuck -Daddy Cave Johnson definitely sanctioned this evil scientific hubris reactor. Goddammit Cave. -*Space dad creepily floating outside everyone Else’s window with binoculars* -Earthdad got a playmate, but they don’t seem friendly -*Goes around putting up missing posters for tidepapa*

#Drama #Dramaadmin #Dadmin #Rant #Flight Rising #Cursing #Sarcasm #Staff #Festival #Lore #Long post #Forums #Petty #submission

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airadam · 4 years ago

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Episode 146 : Rise.

"Put on the wings of the morning and fly."

- Capleton

It somehow feels like an awful long time since the last episode - the new job has been keeping me extra-busy and the speed of world events just seems to keep accelerating. Sadly, one of those events was the passing of Biz Markie - another legend lost too soon. I've selected one of his most famous tracks to close the episode, but I hope you enjoy the fifty or so minutes before that as well.

Twitter : @airadam13

Twitch : @airadam13

Playlist/Notes

Above The Law : 100 Spokes

Air Adam trivia : I own four copies of this on 12"! I had a beat-juggle routine with one of the remixes, and in the old days, you couldn't just hit "instant doubles" on Serato - plus the records do wear out! The original is the better track for a straight listen though, with Cold 187um handling the production and the first verse, with the late great KMG bringing his trademark low-key style to the second. This is more easily available on the excellent "Time Will Reveal" album - which I actually have twice on vinyl, and once on CD...

The Rattler Proxy : Death Machine (Jokers of the Scene Remix)

I don't know if this will be everyone's cup of tea, but it's a track I've been playing heavily since I first heard it on one of Victoria Rawlins' Twitch sets. If you've got great headphones, or big speakers, you'll be amazed at how the low end comes in and envelops you after the long ambient intro. The Rattler Proxy were a Greek duo who broke up last year, but this remix of one of their 2014 releases feels like a lasting classic to me.

Semi Six ft. Tha Essence & 5'4 : Heaterz

Fellow Polo enthusiast and Detroit native Semi Six is back with a new EP "Assorted Fries", and brings a couple of spitters along for the ride on this single. Atlanta's Tuamie provides the crispy-clean instrumental, and the whole track is no hook, pure bars.

Elzhi : Light One, Write One

Last year saw the release of Elzhi's third solo LP "Seven Times Down Eight Times Up", which follows the old-school tradition of having the same production personnel from beginning to end - in this case, JR Swiftz out of Brooklyn. Always a skilled writer, El gets busy over the nice soulful jazz/vocal sample and classic boom-bap drums.

* as an aside - you only have to get up as many times as you fall down...

Capleton ft. Method Man : Wings Of The Morning

I remember having to look up the meaning of the title; it's shared with a 30s film, but originally from the Book of Psalms. This is a winner from the era when US artists began to collaborate with reggae and dancehall stars - with results of varying quality, it has to be said! It shows how well it really can be done, with Capleton's Rastafari lyrics and deejay style meshing with the characteristic grittiness of the sound of Wu-Tang's Method Man. The piano sample will be familiar to many, hooked up by Stuart Brown, and the drums are rugged enough to do justice to the vocalists. The 1995 "Prophecy" album was a strong release, and this was one of the best cuts from it.

Lone Apostrophe : Take Me

Manchester's own Lone Apostrophe is a true student of beatmaking, and his new "Webs" collection is a great pickup for anyone with an attachment to the golden age of the boom-bap. Those echoed/delayed horns take you back to mixtapes in 1993...a mood.

1982 ft. Skyzoo and Jared Evan : Summer In New York

If ever there was a track that announced the title before you hear it, it might well be this one! The combination of Statik Selektah and Termanology is also known as 1982, and their compact new release "The Summer EP" is headed up by this sunny track, which is definitely lifted by Jared Evan's hook .

Nas ft. Cordae and Freddie Gibbs : Life Is Like A Dice Game

"When I finish this shit, sure to be a hit..." I was extremely surprised to see this one pop up recently! Many years ago, there was an unreleased Nas track with the same title, ropey sound quality but as dope as you'd expect. It was recorded around the time of "Illmatic", and leaked on the underground but never made an official release. Apparently, Spotify recently asked Nas if he'd resurrect it and so the production was re-done (by Hit-Boy) and he brought in Freddie Gibbs and Cordae to join him for a memorable recording. This deserves to be the hit Nas predicted it would be over twenty-five years ago.

Sadat X ft. Jigmastas : Don't Get It Twisted (PUTS Remix)

One of those great independent 12" releases that illustrate why the streaming services aren't (at least yet) in a position to replace a collection built over years. This remix by People Under the Stairs was on the B-side of the "Plan X" single, and pairs up Sadat X with Kriminul of Jigmastas - as you'd expect, the original was produced by DJ Spinna.

Tanya Morgan ft. Kooley High : So Good

Sonically, seasonally appropriate once again - this 80s soul club-sounding cut has summer written all over it. Tanya Morgan (Donwill and Von Pea, if you didn't know) will be releasing their fifth LP "Don and Von" in August, from which this is the second single. The North Carolina crew Kooley High come along to deepen the MC roster for this one, which whets the appetite for the album perfectly.

Buckwild : Mad Ammo (Instrumental)

A vintage SP-1200 beat from the disk boxes of DITC's Buckwild, as originally heard when it was dug out and rhymed over by Celph Titled on the "Nineteen Ninety Now" LP.

REMI ft. Konny Kon : Good Mates

I'm glad Michelle Grace Hunder put me up on the latest (and final) album by this crew out of Melbourne, not least since I happened upon a Konny Kon guest appearance I might otherwise have missed! "PTSD in the hood runs undiagnosed" - isn't that just the truth? Remi and Konny spit raw reality on their verses, with Sensible J on production. Definitely peep the "Fried" LP.

Pete Rock ft. Pharoahe Monch : Just Do It

We go back to the "Soul Survivor 2" collection for this track - not quite up to the mark of the first, but still an excellent LP. Only great producers can make a beat as sparse as this and make it sound complete, not unfinished. The spaced-out keys on the hook are an added bonus, a nice bit of additional polish. Pharaohe Monch can sound good on pretty much anything, so when he gets quality material like this then it's an easy win.

Roots Manuva ft. Ricky Rankin : Bashment Boogie

I've been meaning to play this one for years - originally thought it would be one to open a show with, but I think it works well enough here! One of the early tracks on Roots' critically-acclaimed second LP "Run Come Save Me", this one bumps along with a digital flavour (Lotek on the beat) as he tells the story of getting ready to go out of town for a jam. One of the great artists ever to come out of the UK scene, Roots drops plenty of references that the home crowd will get, and it still stands up twenty years after release.

Khadejia ft. Product : Here We Go

A slightly obscure track, despite all the personnel involved! This was on Funkmaster Flex's "60 Minutes of Funk - The Mix Tape Volume III" release, and he produced it along with Wyclef and Jerry Wonder. I believe this is Khadejia's only headline release, but she's got a fair few features in her discography, including "Can't Help It" by Royal Flush which I love. Accompanying her are the duo The Product, whose releases I must say passed me by at the time! They borrow a classic Boogie Down Productions lyric and build around it for a nice little jam.

Flamingosis : Jet Skis & Hennessy

Flamingosis just has that knack of cooking up instrumentals that make you feel great. This selection from "Flight Fantastic" is no exception, and perfect for a summer's evening.

Biz Markie : Nobody Beats The Biz

What can I say that hasn't been said about this certified classic from a recently-departed giant? Well, maybe I can give you some trivia gems you may not have been aware of - it's got to be one of the most-sampled Hip-Hop tracks of all time, the title/hook is based on commercials from an 80s electronics chain in NYC, and Biz bought every copy of the Lafayette Afro Rock Band record containing "Hihache" (used for the drums here) from one shop to replace Marley Marl's scratched-up copy! A legendary track from the "Goin' Off" LP, which will be played as long as this culture lives.

Please remember to support the artists you like! The purpose of putting the podcast out and providing the full tracklist is to try and give some light, so do use the songs on each episode as a starting point to search out more material. If you have Spotify in your country it's a great way to explore, but otherwise there's always Youtube and the like. Seeing your favourite artists live is the best way to put money in their pockets, and buy the vinyl/CDs/downloads of the stuff you like the most!

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