#and he said in an interview how their music inspired a lot his album

[withacapitalp]

All this was inspired by listening to She’s So Overrated by Madilyn Bailey so fair warning LMAO. Also this got SO MUCH LONGER THAN I MEANT IT TO IM SORRY IT WAS JUST ME WRITING DOWN AN IDEA......

Okay so I’m having thoughts about modern AU lead singer Eddie Munson who’s been in the industry for years with the boys. Corroded Coffin is a staple of the metal industry, but for a few years he’s been feeling really stalled in his career and just stuck in place. He’s still making music, still performing, but he feels like he’s getting farther and farther from that kid who used to scream and sing in his closet bedroom in the shoebox apartment he used to share with Wayne. 

So when he and the boys are in an interview and the interviewee brings up how “King” Steve Harrington from The Four is trying to reinvent himself with the help of former bandmate Robin Buckley, Eddie goes off. He works himself up into a little tizzy, ranting Munson Doctrine style about how a former teen pop star trying to become some second rate folk singer isn’t anything special, and that he wouldn’t be caught dead cashing in like that. 

That Steve’s music is bad (even though he’s honestly never listened to it) and “King” Steve is overrated. How even Beiber is better than him. He’s just bullshit. 

Of course the interview goes viral, and finds its way to Steve and Robin. Robin listens to it first and she doesn’t want Steve to watch it. She knows how close things like this cut him (especially that word), and how he’s been dealing with a lot of hate from everyone even from former fans who are confused by the sharp contrast of his new music- aka the music he’s finally being allowed to write now that he’s broken away from his momager- but Steve makes her show him. 

She’s sure that she’s going to have to spend the next week rebuilding his confidence. 

And instead, Steve’s lip curls into a smile, and he grabs his songbook, telling her to find her guitar. 

Eddie wakes up five days after the interview to a huge flood of social media notifications, a dozen missed calls from the boys and his manager and his uncle. He ignores them all and goes to see what he fucked up this time. 

Eddie opens Youtube and it’s at the top of his recommendations. The thumbnail is Steve and Robin sitting together with a guitar in her lap. The title of the video is just one word. 

Bullshit. 

This can’t be good. 

Eddie listens to it even though he doesn’t want to. He’s a lot of things, but he’s not a coward. Not anymore. He listens to it because he has to know how much he’s fucked up. 

And then he listens to it again. And again. And again. 

It gets stuck in his head. All of it. Not just the song (which admittedly is pretty killer) but also hearing the flippantly mean words he had casually thrown at Steve being shoved back in his face. He had seen Steve as an abstract thing, just a symbol of everything wrong with the industry, not a real person. And now this actual human being that he’s hearing has turned all of that garbage into a song that feels more genuine then most of the music on the last two albums he wrote himself. A song that has heart, joy, and a strong current of pain underneath, especially in the bridge where Steve just sings the word bullshit over and over. 

There’s even more than that. He also sees the way Robin and Steve interact while they’re working the smiles, the jabs, the silly little way Steve bobs his head along as he listens to her play, the way they both collapse into giggles at the end as Steve directly quotes the part of the interview where Eddie said that Steve “is just another laundry basket devil trying to act like a big shot now that he’s too old for teen girls to moon over.” 

He can’t remember the last time he and the boys had that much fun making a song. 

Hell, Eddie even sees their apartment. It’s a pretty nondescript room, but he can see the wear and tear on the furniture, the cobwebs in the corners of the room, the slightly drooping houseplant with the name “Dart” lovingly painted on its pot. It feels like a home, and as Eddie looks around at the bedroom in his far too big mansion, he feels even more like a fraud. 

Eddie listens to the song on repeat for most of the morning. In the afternoon he finally answers everyone, and starts to put his plan into motion. 

By that evening he’s on the phone with Steve asking him and Robin to help Corroded Coffin write their next song. 

[likeadevils]

Midnights Timeline

This is a very long post that puts all the songs on Midnights in order of Taylor creating them. I’ve also included a few other songs she worked on while writing Midnights and quotes from Taylor and her collaborators talking about her process.

If you don't want to read all that, check out this playlist of the album in order, or this playlist of her entire discography. WARNING: there is a very large chunk on the playlists that I have no information on (Maroon-Dear Reader).

I’ve also added this color coded scale of how sure I am of the date: 

Confirmed: There is some type of official source for the date

Inferring: Nobody has officially said “This is when we wrote it,” but all available evidence points to that date

Speculation: This date is based off pure vibes and guesswork and is highly likely to change.

Unknown: All that is known is the year (from the US Copyright Offices

Renegade: March 7-15, 2021 (Confirmed)

Aaron: “I wrote the music [for Renegade] at some point after we finished [evermore], and sent it to her, because she was inspired by a llot of the Big Red Machine stuff we were working on. And she had already sung on Birch, a song that hasn't come out yet but is one of the major ones on the record. And I think she wanted to write a song for Big Red Machine. She very much feels like part of this community to me. So I wrote Renegade, the music, and sent it to her. And not unlike a lot of the things we've done together, one day I woke up to a voice memo from her and she had written this incredible song about how anxiety and fear get in the way of loving or being loved. And she was clearly thinking about Big Red Machine. And then we recorded her vocals and everything the week of the Grammys, when I was there in LA, and it was really nice to have something to think about that wasn't related to the Grammys - just to make music because you feel like making it." (transcript from jaimie)

High Infidelity and Would've Could've Should've: March 7-15, 2021 (Confirmed)

Aaron: [Would've Could've Should've], we wrote that song together, and recorded it while we were together in LA for the folklore Grammys. It goes back that far. And the same with High Infidelity. Those songs, we actually recorded in her house, the vocals, we recorded them then. And I just kept making music, and it was kind, after we had made folklore and evermore, I started to have ideas which I would share. And eventually, she obviously made most of Midnights with Jack, and it became something different. But High Infidelity, and Would’ve, Could’ve, Should’ve, and The Great War, and we made Hits Different with Jack and Taylor and I also, and it was great to be part of that record in that way. (transcript from @cages-boxes-hunters-foxes)

The Great War and Hits Different: between April-October 2021 (Speculation)

In the above quote talking about his songs on Midnights, Aaron says "Eventually, she obviously made most of Midnights with Jack, and it became something different," implying his stuff was written before the bulk of midnights in fall. He also says High Infidelity and Would've Could've Should've "[go] back that far," which implies they were some of the earliest stuff on Midnights, so it's safe to assume TGW and Hits Different come sometime afterwards.

Summer 2021: Jack has a session with Sounwave, Sam Dew, and Zoe Kravitz, where the instrumentals for Lavender Haze and likely Glitch are written

Rolling Stone interview with Sounwave: Before Antonoff began to work on Swift’s tenth album, he was cooking up tracks with Spears, Dew, and Zoë Kravitz [...] During a brainstorming session, the quartet put together a track that would eventually become “Lavender Haze.”

November 3 2021: It was announced that Joe has been cast in Stars at Noon, alongside Margaret Qualley, Jack Antonoff's then girlfriend now wife. Since Joe was parachuted into the film last minute, filming had already started, making it likely he left as soon as possible.

Taylor: We’d been toying with ideas and had written a few things we loved, but Midnights actually really coalesced and flowed out of us when our partners (both actors) did a film together in Panama. Jack and I found ourselves back in New York, alone, recording every night, staying up late and exploring old memories and midnights past.

November 8: Jack gets back from touring with Bleachers. Let the games begin.

Vigilante Shit: November 2021 (Speculation)

Vigilante Shit is the sole solo writing credit on the album, which implies it was written before her and Jack were holed up together 24/7. Also Scooter and his wife divorced in July. Beyond that there's no evidence this is early in the process, besides it making sense that Taylor wrote this alone, brought it to Jack, and then fell into a creative inferno.

Maroon, Anti-Hero, You're on Your Own Kid, Midnight Rain, Bejeweled, Labyrinth, Mastermind, Paris, and Dear Reader: November/December 2021 (Inferring)

I don't have enough info on the making of any of these songs to give them each their own little blurb, but if anything pops up I will update this post and reblog it letting y’all know.

Question..?: After November 21, 2021 (Inferring)

We know Rachel Antonoff, Dylan O'Brien, and Austin Swift were there the day they recorded it thanks to this behind the scenes footage of them recording the cheering vocals. Dylan was filming The Vanishings at Caddo Lake in Louisiana sometime between October 5 and November 20. I don't know exactly which dates he was filming-- he was in New York for All Too Well filming in late October and to attend the premiere on November 12, but since we know for sure he was in Louisiana on the 20th, I'm just gonna Occam's Razor it and say Question was written sometime after he got back from that.

You're Losing Me: December 5, 2021 (Confirmed)

December 17, 2021: Filming wraps on Stars at Noon, and with it the bulk of recording for Midnights.

Lavender Haze: Early 2022 (Speculation)

Lavender Haze, Snow on the Beach, and Karma are the only songs to have Henson Recording Studios credited (I can't find studio credits for the 3am tracks so there is possibly more on there). This could point to them all being recorded around the same time time, or it could be in reference to Jack and Sounwave's original recording sessions taking place at Hensen. I lean towards the former, since 1) it seems like the Winter 2021 sessions were mostly between Taylor and Jack, and the spring sessions have other collaborators, and 2) the tabloid rumors about Taylor and Joe getting engaged really started heating up in February 2022. On the other hand, Sounwave implies that there was a notable stretch of time between Lavender Haze and Karma, so I totally understand if you want to put it with the rest of the Winter 2021 sessions. Rolling Stone interview with Sounwave: A few months [after Jack and Sounwave wrote the instrumentals], Antonoff reached out to Spears, Dew, and Kravitz to see if he could pitch [Lavender Haze] to Swift, who loved it immediately. She wrote lyrics inspired by a Mad Men scene, numerous tabloid rumors and online gossip about her relationship status, and “1950s expectations.” “When Jack brought us in the hear for the first time, all our mouths dropped. She took it to a whole new world and made it her own. She created different pockets we did not hear.”

Glitch: Early 2022 (Speculation)

Rolling Stone interview with Sounwave: "Glitch,” one of the bonus songs on the Midnights (3am) edition, was born from the same studio session as “Lavender Haze.” I don't know if this means the instrumentals to Lavender Haze and Glitch were done in the same session, Taylor wrote the lyrics in the same session, or both. For the same reason as Lavender Haze, I lean towards this coming later in the process, as well as Glitch mentioning being together for six years, and in November 2021 Taylor and Joe had been together for a little over 5 years. That being said, Taylor could've assume the album was going to come out in 2022, and that she would stay with Joe until then, and bump up that date a bit. It's still very up in the air.

February 5, 2022: Taylor is photographed leaving Jack's house holding a keyboard.

Sweet Nothing: Spring 2022 (Inferring)

Joe is a co-write on this, meaning they likely wrote it after he got back from filming. It also mentions their trip to Ireland in 2021 and refers to it as "last July", implying it was written in 2022. While I was writing this timeline Taylor liked this post on twitter, implying that at least the second verse is in reference to Paul and Linda McCartney. The quote is from his poem Blessed, which you can read in this interview (TWs for death and cancer)

Bigger Than The Whole Sky: March 2022 (Inferring)

Claire Winter, a close friend of Taylor's, posts on Instagram that she miscarried. (I toyed with whether or not to add this, but seeing as Claire Winter made the information public herself, I decided to put it in. If she ever takes that Instagram post down, let me know and I'll delete this part.)

Snow on the Beach: April 1, 2022 (Inferring)

On April 1, Lana Del Rey posts a video on Instagram of Jack in the studio with an unidentified female voice in the background. Two days later she posts this photo, which Taylor and Jack both include in posts about Midnights/Snow on the Beach. Lana: Well, first of all, I had no idea I was the only feature [on that song]. Had I known, I would have sung the entire second verse like she wanted. My job as a feature on a big artist’s album is to make sure I help add to the production of the song, so I was more focused on the production. She was very adamant that she wanted me to be on the album, and I really liked that song. I thought it was nice to be able to bridge that world, since Jack [Antonoff] and I work together and so do Jack and Taylor. Taylor: And with Snow On The Beach, which features the genius Lana Del Rey, very lucky to have collaborated with her on that. And Dylan [O’Brien] was actually in the studio with me and Jack, because a lot of the time we record at his place, and Dylan was just hanging out, drinking wine with us, and listening to stuff, and he was just trying out the drum kit there. He wasn't serious. But we were drinking wine, and we were sort of like, 'We haven't recorded the drums for this one yet! See if you want to...' and he played the drums on the song. Sometimes it just happens like that. (transcript once again from jaimie)

Karma: Spring 2022 (Speculation)

Rolling Stone interview with Sounwave: The bubbly “Karma” came later [than Lavender Haze and Glitch], when Antonoff reached out to Spears for any other ideas he may have to contribute to the album and its synth-pop vision. “‘Karma’ was just a last-minute Hail Mary,” Spears says. “I remembered I was working with my guy Keanu [Beats] and had something that was too perfect not to send to her. As soon as I sent it, Jack was instantly like ‘This is the one. Playing it for Taylor now. We’re going in on it.’ The next day, I heard the final product with her vocals on it.”

April 19, 2022: Elle's interview with the Conversations with Friends cast is released, and when Joe is "asked if he hopes to continue writing songs, Alwyn simply says, “It’s not a plan of mine, no.”" It's possible this means Sweet Nothing was yet to be written, but I think it's more likely Joe was just denying in order to not create hype around a song that wasn't officially announced yet.

May 2022: Taylor teases Labyrinth lyrics in her NYU Commencement Speech and says m i d n i g h t very prominently on this instagram post, meaning by early summer she was likely confident in the album's name and which songs would make the tracklist.

And that's all for this timeline! Check out my others:

TIMELINES: debut • fearless • speak now • red • 1989 • rep • lover • folklore • evermore • midnights PLAYLISTS: debut • fearless • speak now • red • 1989 • rep • lover • folklore • evermore • midnights • entire discography GENERAL: tag

[cityofmeliora]

notes / thoughts on the Papas' (lack of) involvement in the songwriting process and their connections to the concepts / themes of their albums

thanks for the kind words and thanks for the ask! these were great questions and really enjoyed writing this response. your questions really made me think! (and when i start thinking i always think too hard and take forever to answer– sorry this took so long!)

i'm putting these questions together because i feel they are closely related. this is a topic i've recently been thinking about a lot, actually.

A Ghoul Writer was first mentioned in that 2010 interview with Primo. the Ghoul Writer is Special Ghoul, the Nameless Ghoul character who gave interviews in Eras 2 and 3. in interviews with him, either he himself or the interviewers would usually mention he's the Writer. i'm not linking anything specific here because you can find this happening in pretty much any Era 2 / 3 interview. (though there's one Era 2 Nameless Ghoul interview that refers to the Writer as a separate character.)

the only Papa who wrote his own music was Nihil. the music video for The Future Is A Foreign Land shows that he and his Nameless Ghouls wrote the song together, and he's credited as a writer on Seven Inches Of Satanic Panic. (pic: back of the SIOSP record)

after Nihil, none of the Papas were involved in the songwriting process. everything after Nihil was written by A Ghoul Writer.

PITCHFORK: On the new album, the songs/lyrics are credited to "A Ghoul Writer." Are you this "Ghoul Writer"? If so, what inspired the words? PAPA EMERITUS: I am not the Ghoul Writer. Pitchfork (April 2013)

Does Papa contribute to the composing process? NAMELESS GHOUL: No, Papa doesn’t contribute to the song-writing. Metal Paths (August 2015)

so the later Papas were interpreters of the music, not writers.

as for the question of whether the Papas embody the sins of society or criticize the sins of society by parodying them, i think it's a bit of both– and i think it depends on which perspective we're looking from.

obviously from a real-world perspective, Ghost as a whole is meant to criticize and parody the issues the music is about, and the personality and characterization of each Papa is closely tied to the themes of his album.

from an in-universe lore perspective, as interpreters of the music, each Papa has his own relationship with the themes of his album. i think the Ghoul Writer writes each album for / about the Papa who's going to perform it. however, this is not necessarily a positive gesture.

here are my notes / thoughts on how each Papa relates to the themes of his album:

(trigger warning for mentions of misogynistic violence / rape / forced pregnancy)

Opus Eponymous and Primo: Primo refuses to comment on his interpretation of Opus Eponymous, but it's pretty clear what he thinks. Primo is a misanthrope who believes humans are “vermin” that have doomed themselves due to their “intellectual decline”. in his eyes, humanity is unworthy of life and will eventually be destroyed. Opus Eponymous has been described as an "orthodox devil-worshipping" album, and it is a very violent album, which is great for Primo because he's an orthodox devil worshiper and he loves violence and murder and wants everyone to die. 'Elizabeth' celebrates an alleged serial killer who is said to have killed hundreds of women / girls. 'Stand By Him' is about a woman being raped by a priest, who then accuses her of witchcraft and has her burned at the stake in order to cover up the assault. and the overall narrative of Opus Eponymous is about a woman being raped and forced to carry + birth the Antichrist, which will eventually kill her. this is something Primo thinks is good and anticipates happening because he believes in the cult very literally and agrees with its message / mission of human extinction. Primo is definitely a villain.

Infestissumam and Secondo: interestingly, there is actually an instance of Papa telling us about his interpretation of this album. in Secondo's own words, "the new album is about the presence of the Devil. The title, Infestissumam, means 'the biggest threat' and refers literally to the arrival of the Antichrist, but what it is also is about is what man has traditionally regarded as diabolical presence– namely female form and swagger." Infestissumam is about how humanity can connect to the presence of the Devil, both physically and spiritually. i think this theme really shows through Secondo. to him, all the things traditionally regarded as sin –especially sexuality– are good things. to him, Satan is the way to freedom and enlightenment. on the flipside, all the things promoted by christianity –holiness and virtue and repression– are stupid and stifling. Secondo is a jerk and he loves to have sex and party and he just doesn't care. Secondo, more than any other Papa, is dedicated to indulging in sin and saying "fuck you" to christianity.

Meliora and Terzo: it's complicated. i don't want to give a detailed explanation right now because i already have a separate post in my drafts about my analysis of Terzo's relationship with the themes of Meliora (it will be long). for now, this is what i'll say: Meliora is about the absence of god, and it's described as futuristic and "pre-apocalyptic." the title "Meliora" means "for the pursuit of better", but it's meant to be ironic. it's about the mistakes people make / the bad things people do in pursuit of better. so as your ask states, it criticizes ambition, greed, and abuse of power. i think Terzo wants to criticize those sins. but i think that he also embodies them, to a certain extent, and i think Meliora is also criticizing him.

Prequelle and Cardinal Copia: we don't really have any canon material that indicates Cardi's personal opinions on the album, but there is certainly a connection between the character and the concept / themes of the album. Prequelle is described as a "positive" album about the plague. it's an album about society falling apart during the apocalypse. it's also an album about celebration and survival in spite of being faced with the inevitability of death. i think Cardi certainly embodies this. Cardi is surrounded by death. Prequelle Era begins with Papas I, II, and III being murdered in order to promote Cardi's success, and it ends with Papa Nihil dying, which allows Cardi to ascend and become Papa IV. in a way, Cardi is both a plague rat and a survivor. it's not his fault they died. he didn't ask for them to be killed, and he was not their killer. but he is the herald and the carrier of the true killer, the actual driving force behind everything (Sister Imperator). through all this, Cardi is having a good time! he's dancing the night away! he's glad everyone standing in his way has dropped dead! he is a rising star and he feels invincible! and he is certain he will survive this.

IMPERA and Papa Emeritus IV: the main themes of IMPERA are "spiritual annihilation", reactionary sentiment, and regression. it's about how people who fear progress are afraid of losing their sense of meaning / purpose and their place in the world, so they turn to misogyny, violence, religious dogma, and fascism. they cling to the idea of having a cause to fight for. i think Cardi is certainly criticizing these issues. he doesn't agree with any of this at all. however, there's still a connection between the narrative of IMPERA and Cardi's character arc in this Era. narratively, IMPERA is a concentrated / condensed version of the apocalyptic narrative that plays out through the first 4 albums. it's about the cyclical nature of the rise and fall of empires. IMPERA Era begins with Cardi ascending to the title of Papa. but after the feeling of triumph wore off, Cardi became very aware of and very fearful of his own inevitable end. he knew that no matter how great his achievements were, he would be forced to step down so his successor could take his place, just like his predecessors had for him. Rite Here Rite Now is about Cardi struggling to make peace with this idea. as a side note: i really like the irony of the fact that Cardi was never actually the leader of his own empire– he was a puppet emperor who got his marching orders from his mother. it connects to IMPERA's theme of political manipulation.

[noahsmuse]

close to you ♡

✮ PAIRING: noah sebastian x popstar!reader

✮ SUMMARY: headcannons showcasing the relationship between two opposing ends of the music industry with a popstar!reader and noah sebastian !

✮ A/N: again, thank you all for the support on my last few posts !!! if you have any requests for something you’d like to see me write, don’t hesitate to send it in ᵔᴗᵔ

moodboard inspired by headcannons located -> here !!!!!!! 🪩🎤✨

୨୧ it all started when you mentioned how Bad Omens was one of your favorite bands in a magazine interview and people went CRAZY. bad omens fans eventually found it and started sharing it around, so happy that they share a common interest with an artist they’re very familiar with.

୨୧ this takes noah a few days until he sees what you said as he isn’t on social media as much anymore, i feel like one of the guys would ask if he’s seen it and then they’d show it to him which is how he’d probably find out

-> he had known about you before just from listening one of your songs that has recently blown up and thought it was really good but didn’t think too much about it

୨୧ because you both share the same record label, at some type of party they were throwing is where you both met !!!!! i feel like noah would spot you out first and try to make some type of conversation with you since he remembered about how positively you talked about the band

-> the night ended with you walking out with noah’s number and ever since that night, there wasn’t a single day that went by without either of you having a conversation whether it was via text, call, or facetime. you both also ended up finding out that you had A LOT in common, by the ways you make music, the media you both consume and are really into

୨୧ as your relationship progresses over the phone, the opportunity finally shows itself since you both are on a break from touring, he decides that it’s a perfect time to ask you on a date !!!!

-> he picks you up with some of your favorite flowers in his hand that he had just bought earlier while thinking back to a random conversation you two had on the phone about flowers, opens the car and door for you, and ends up paying for both of the sweet treats & drinks you both order. he’s just such a gentleman and wants to impress you :(

୨୧ and while the date seems to be going well when the two of you end up leaving, your bombarded with flashing lights and cameras all in the both of your faces. noah tries his best to cover you both up the most he can while taking the lead back to his car

-> when he drops you off and walks you back to your house door is also when he officially asks you to be his girlfriend and obviously you accept ?!?!

୨୧ i definitely think that your relationship would be more of a “private but not secret” situation since you’re both in the spotlight with fans and paparazzi everywhere waiting to make a new headline about how perfect you both look for each other :)

-> also along with the “private but not secret” idea, people notice how you wear a lot of his hoodies and shirts in your off time along with some bad omens merch that you’ve either stole from him or that he’s gave you (people also see him wearing your merch & putting some of your songs into his spotify playlists as support for you)

୨୧ he’s VERY protective of you considering how much of a following you and him have combined so he always loves to hold your hand or waist just to make sure you’re safe at all times :)

୨୧ you’ve both definitely helped each other through the negatives about being in the music industry with things like writers blocks, burnouts, insecurities, and doubts throughout your careers

-> (since he’s so talented & amazing) he’d definitely help record, write, and engineer songs for your next album or maybe just for fun because he just loves spending time with you while doing something you both enjoy !

୨୧ he LOVES to come and support you during your performances wither it’s at a festival or during your own headliners !!!! fans usually notice him either sitting side stage or in the grassy areas around the pit where he’ll be watching you, sometimes they see him singing along to your songs and even taking photos & videos of you up on stage, he just loves watching you doing what you enjoy :)

-> and same thing for when you go to their concerts & festivals that bad omens is performing for ♡

୨୧ whenever the both of you start going down a flight of stairs or a hill, he’ll always run in front of you so he can hold your hand to “prevent you from falling” (when really this is just a way for him to hold your hand) because of how you’re usually always wearing shoes with a heel that could potentially harm you

୨୧ he’s always talking about you no matter it’s whether about making music with you or the cute little date you both went on the other day, he’s just so obsessed and amazed that he’s your boyfriend

-> and yes, the boys do make fun of how he doesn’t shut up about you but they also usually ask about how you’re doing or how the date that he mentioned he was going on with you went :)

୨୧ you two are like the people’s prince & princess !!! everyone loves you guys & the little “opposites attract” dynamic since you’re usually in brighter colors with sparkles while he’s wearing all black. interviewers are always asking about y’all’s relationship, the fans love you both and everything you guys do is iconic !!!!!!!

🪩 ☆⌒｡˚✧✨

[vampylily]

Notes from the new Rolling Stones Japan article with Pete and Patrick Pt.1 :

[WARNING: The article is in Japanese, I'm not a Japanese speaker. I'm machine translating the article from Japanese to Korean & English, and then doing paraphrasing in English. Thus, the wording is not entirely accurate, and may contain errors. Please don't consider this as a proper translation. This is so I can have a reference more than anything. ]

When the interviewer noted Patrick's Los Crudos t-shirt, he responded enthusiastically that it was a Chicago band! Pete was in a Napalm Death t-shirt.

Interviewer asked about how Summer Sonic was, especially since it was their first since 2019. Patrick said the show went like they hoped, which rarely happens (lol). Said Japanese audiences are special. He gets asked about how concerts in Japan are, but it's hard to explain unless you experience it. Said can't explain it well, but there's a lot of give and take of energy.

Interviewer asked about Pete saying there was a song inspired by Japan on the SMFS album. Pete said "The Kintsugi Kid" was the song about how he felt when he was in Japan, it's obvious by the title. "The Kintsugi Kid'' bridges "I Am My Own Muse" and "So Much (For) Stardust." Said Patrick wrote the songs but in his interpretation, the sonic landscape of the song reminds him of Japan.

Patrick said he's always been quite influenced by Japan, especially on this album. Said people might not register it from the sound, but he's been influenced by the Yellow Magic Orchestra & their synthesizer sounds. He didn't use much synthesizer on the album but a lot of the songs started with synthesizers. He got the same synthesizer Yellow Magic Orchestra used and started writing songs from there. He's a big fan of Studio Ghibli movies and loves Joe Hisaishi's music. Said when doing string/orchestra horn arrangements, he wanted to create a sound that was as appealing to the heart/poignant as his. Even though their music/sound was completely different, he wanted to try it. Said he especially tried to evoke the feeling he got on "The Pink Seashell."

Interviewer asked about TTTYG's 20th anniversary and how they could have done an anniversary tour but they didn't and instead released SMFS with gusto.

Pete said the most important thing is that you stick to what you think is right. Said there was a punk band he liked when he was younger, and they didn't change at all. Talked about how artists like David Bowie or the Clash changed their styles to almost unrecognizable lengths and how some fans left because of it. But when he listens to the albums after getting older, he can reflect on his own changes and find new appreciation for songs he might not have liked at the time.

Pete said celebrating the past too much feels patronizing and not very fall out boy-like. They continue making new music, sometimes they succeed, sometimes they don't. Even if something doesn't work out as well, he's like [it is what it is/that happens], and that some people might say they liked it. He's got albums he likes and albums he dislikes from his own favourite artists. Said they always make new albums that challenge their past works. Of course they hope people like it, but getting good reviews/being appreciated isn't the only reason they continue making music.

Patrick said he doesn't like making an album to celebrate the 20th anniversary, or having an anniversary to showcase past songs. Reasons was that first, the past songs are always in rotation in their sets so they don't stop playing them. Second, like Pete said, they prefer to keep pursuing new music and that stance hasn't changed from 20 years ago. Said deviating from that feels dishonest like they're lying to themselves.

Pete was like [it's how Steven Spielberg didn't make E.T. Part 2.] Patrick was like [exactly!] and said that being honest with themselves was their pure form.

also there's a page 2 to the article but i'm tired :[. they talk about "emo" changing from a specific music genre to the word entering the mainstream vernacular, patrick talked about how when they started out they didin't consider themselves "emo," they were a hardcore band. said he liked playing hardcore though when he sang people used to tell him his voice was too cute. they focused on making the music they wanted to, and before they knew it, they were being called "emo." Pete talked about the word, how it encompasses too much, feeling restricted by that in the past, etc. Talked about wanting to become like Metallica in that the word Metallica has becomes its own thing, Metallica doesn't need a description, etc. Patrick talked about perfoming in Japan, from small venues way earlier to now, etc

-

-

I love long FOB articles and I quite liked this one.

Love that Patrick talked about musical inspirations and SMFS. It’s so cool to hear because I love how beautiful and grand the sounds are in SMFS, even with spoken tracks like The Pink Seashell or Baby Annihilation. 

Also him buying the same synthesizers is so real. He’s a music nerd <3 

They’ve been consistently talking about always wanting to make new music and looking to the future instead of the past. And getting questions about their sound changing since forever haha.

It's really cool that they're very self aware and how convinced they are about making new music. Love that Pete can look back at older albums and find new appreciation for them. I’d be down for another half dozen FOB albums if they are, so (๑•̀ㅂ•́)و✧

The new Pete and Patrick photos!!! They've got such pretty eyes <333

[thetaoofzoe]

‘It Was Fun to Be Wanted by Someone Like Elvis Presley’: An Interview With Darlene Love

The gifted singer reflects on Elvis’s collaborative presence and his relationship to gospel music

by MICHAEL MUSTO August 7, 2018

The swaggering real-life Jeff Koons statue named Elvis Presley is hot again. Eugene Jarecki’s June-released documentary The King involves a road trip taken in Elvis’s old Rolls to survey his impact on the culture and determine that the American dream the singer represented is officially dead. (But oh, when it lasted!) Even darker is the film’s exploration of Presley’s appropriation of African-American culture, covering songs like “Hound Dog” — originally a non-hit for the brilliant Big Mama Thornton — and making them rock and sell. For singers like Thornton, the American dream never existed.

Enter powerhouse singer Darlene Love, who is represented on another new project, Where No One Stands Alone, a fourteen-track compilation of Elvis’s gospel work due out August 10 on RCA/Legacy. The L.A.-born minister’s daughter started singing in the church choir at ten, on the road to being scooped up by producer Phil Spector to belt hits like “He’s a Rebel,” “Today I Met The Boy I’m Gonna Marry,” and “Christmas (Baby,Please Come Home).” The lead voice of such groups as the Blossoms and Bob B. Soxx & the Blue Jeans, Love ended up working as a maid in the Eighties, but when she heard one of her old hits on the radio while she was scrubbing, it inspired her to get back into performing full-time. Her appearance in the Oscar-winning 2013 documentary 20 Feet From Stardom was memorable, especially when it addressed the way Spector promised her a solo career, but gave other singers credit for her work.

I recently talked to Darlene about her backup singing for Elvis, and how she feels about the King’s relationship to the music he both co-opted and celebrated.

Hi, Darlene. What is some of the gospel work you did with Elvis?

There is “Let Us Pray,” the one from the movie we did with Elvis, Change of Habit. That was his last film.

It was in 1969, with Elvis as a doctor and Mary Tyler Moore as a nun.

We, the Blossoms, are in the first scene. And we were in his 1968 comeback special [Singer Presents … ELVIS].

His new gospel compilation album should be quite interesting.

They [recently] had me do some fill-ins, what we call ad libs, throughout the album to make it sound more gospel. I haven’t heard it yet. Hopefully it’s a wonderful thing.

Elvis went to church and listened to gospel singers to soak up what they did, right? 

Even today, it’s more mixed than it was in the Fifties and Sixties. Whites and blacks didn’t go to church together back then. What Elvis told me he would do — we had night service on Sunday night when we did what we called “praise songs.” A lot of them were songs he loved, what we called “hymn songs.”

We didn’t have air conditioners. We had pushup windows, with a little rope. Elvis said he would stand outside the church rather than going in, because they didn’t think black and white should be in the same churches together. He said he would listen through the windows. It gave him such a thrill. It’s a big difference between the way blacks sang gospel and the way whites sang gospel.

Do you feel he was dedicated to the music or he was just taking it for himself? 

I found out years later, when we were doing the comeback special, that his mother’s favorite music was gospel. He would always sing gospel around her. I think if he could have had a big career in gospel music, that’s where he would have been. But you can always make more money off secular hits. Elvis had 10 or 15,000 people come to his shows to see him. Today, they have mega churches that hold 25,000, but back then, you were doing great if you had 500 people.

I bet they have air conditioning now.

Oh, lord, yes. [Laughs] I lived in Texas for five years as a young kid with my father, and it was so hot we couldn’t even breathe. There was no air conditioning in church or the house. What a difference it makes to have a cool ensemble. You still sweat because of the energy, but back then, we were soaking wet, when we sang in church.

I love gospel music. If I had a calling — meaning from the Lord — just to sing gospel, I would have, but the secular music got to more people. I bet a lot of secular singers like Sam Cooke and Aretha Franklin felt the same way. They never paid us no money. “Do it unto the Lord.” “OK.” [Laughs] We would drive to the gigs and they’d give you an offering — gas money. They were hardly giving us a whole lot of money. But it was worth it, every penny of it. It was a wonderful experience singing gospel.

But was Elvis appropriating the music, or that’s just the way it was?

That’s just the way it was. A lot of people think a white person is copying the black person. He just loved the music and he was singing it the way he felt. He sang “Hound Dog” completely different than Mama Thornton. [Elvis’s version was rock, whereas Thornton’s was blues.] Even today, they take secular music and put it in gospel, and vice versa. You know, Elvis won three Grammys, and they were all for gospel records. 

What were your experiences like with Elvis?

One time, Elvis decided we’d all go to the movies. He bought this theater out that night.

What did you watch — Change of Habit?

Don’t even ask me. I don’t remember. [Laughs] We had a lot of free time when we were recording and when we were making the movie. That’s when the Blossoms and myself got a chance to know the gospel side of Elvis. He’d want to know the songs we knew. He’d get his guitar and say, “You know this song?” “Yes, we grew up on it.” He’d say, “Let’s do it.”

Was he funny or serious?

He was funny and he was serious sometimes. If he didn’t think he was doing great, he’d say, “Hey, girls, how’m I doing?” He was very, very funny. I call it that “country funny.” He would do his moves in the studio the way he was gonna do them onstage. It made it easy to be around him, but sometimes it was not easy because his bodyguards were keeping people from him. He wanted to be with the Blossoms, where he could pull out his guitar. We’d say, “We think you’d better go. You’re gonna get us in trouble.” We’d never forget, because he’d be giving us his personal time.

You’d just be hanging out and singing?

Yes! Whatever song he knew — “Amazing Grace” or “River of Jordan” or “Heaven Is a Wonderful Place” or “Sweet Hour of Prayer.” We called them hymns of the church. There was another one called “Pass Me Not, O Gentle Savior.” The Blossoms were known for their harmony. We’d harmonize with him. There’s something we had with Elvis that others didn’t have. It was fun to be wanted by someone like Elvis Presley.

He had tremendous respect for you.

Yes, he did. That was great. I always say he left us way too soon. He is where I plan to go one day, so I’ll see him again.

You were all rather young and great-looking. Was there any sexual tension in the air? 

There was. It could have been. But I was too scared to do anything.

You fool! [Laughs] Kidding. You wanted to keep it professional.

And I definitely did. Something about dating someone you’re working for, it takes away from that. “I know he’s never gonna look at me the same after this.” [Laughs] He’d start playing with me. He’d tap you on the shoulder or do a hip shake, and me and Elvis knew what that meant.

Flirting?

Yeah, I think so, and I think it showed his human side. I wasn’t bad-looking — and I was thin, too. [Laughs] He wanted to take out time and be around us. The reason we sang on his ’68 comeback special is he was the one that insisted that the Blossoms sing in the music section of the show.

So Elvis treated you better than Phil Spector did?

Oh my God, I’d say so.

That’s an easy one.

That’s a real easy one. Phil took advantage of me and my talent. With Elvis, he wanted us to work, and we got paid well. It wasn’t like Phil Spector cracking the whip and us running around!

[dlstmxkakwldrlarchive]

(article) ONEW of SHINee steps outside comfort zone

For Onew, who debuted as a member of the legendary K-pop boy group SHINee in 2008 at 18, buying tickets for public transportation while on a trip was something he had never done by himself until recently.

“I’ve never traveled by myself before visiting Vienna a few months ago. It was the first time that I made reservations for accommodations and bought train tickets by myself. That’s when it hit me that I was just a frog in the well, knowing nothing of the ocean. I wanted to explore the challenges outside of my nest, so I left SM Entertainment,” said Onew during a group interview in Seoul on Thursday.

In April, Onew signed with Griffin Entertainment for his solo artist activities while SM Entertainment continues to represent him as a member of SHINee.

His third solo EP, “Flow,” being released on Tuesday, is the first album with the new agency.

"The trip to Vienna inspired me to create this album. It was during this trip that I began to contemplate how to share happiness with others through music,” said Onew.

“Flow” is also the first album that Onew credited with producing. He took part in writing the lyrics to all six tracks in the EP.

“I overflow with happiness when I get to go to a concert of an artist that I like. I feel happy the moment I buy the concert ticket, when I am on my way to the show, and when I wonder what songs the artist will perform on stage. That’s why I wanted to fill this album with songs that everyone can easily sing along to and enjoy at a concert,” said Onew.

The new EP is led by the lead track, “Beat Drum,” an upbeat pop number with disco drum beats.

“The lead track tells listeners that every single person has their own charm. One gets to feel happy when others realize and love its charm that becomes one’s forte. I wanted to give that kind of happiness through this song,” explained the artist.

One thing Onew prioritized when signing with the new agency was that he got more opportunities to perform live on stage.

“I won’t be performing on TV music programs as I want to use that time to plan for my live shows to meet with as many people as possible. I’ve been putting a lot of effort into performing at outdoor music festivals because that’s where the audience is diverse. I want to use it as a chance to introduce my music to the general public and not just my fans,” said Onew.

Despite having embarked on his solo journey outside of SM Entertainment, Onew says he and the SHINee members have promised to prioritize group projects.

“Now that we are in different agencies, we are trying to work out our schedules for group projects. The good news is that we are likely to make a group comeback soon,” hinted Onew.

“The happiest moment as an artist in the past 16 years was when SHINee had its Tokyo Dome concert in 2018. Our teamwork at that time was amazing and all of us enjoyed that concert. I hope to relive that moment,” he said

(This article is now trending at #3 in the hot category)

[keepingupwithzaynmalik]

How Zayn Drew Inspiration From Chris Stapleton and Embraced Honesty on New Single ‘Alienated’

On the latest episode of The Breakdown, the musician explains how listening to Stapleton and Willie Nelson inspired the songwriting on his upcoming album Room Under the Stairs, out May 17

Zayn could have easily wrapped his real-life experiences around convoluted metaphors and hidden messages on his latest single, “Alienated.” And he might have on previous records, but as the musician explained on the latest episode of Rolling Stone‘s The Breakdown: he isn’t trying to trick you.

“I feel like the whole intention behind this record is I’ve sang a lot of stuff in there that’s real straightforward. There’s not too many mind games going on. So I’m hoping people will understand the concept themselves and get with it,” Zayn said. “It’s a special song, in that sense, because it really solidified that I could do something in this space for myself.”

“Alienated” marked a significant starting point for his upcoming album Room Under the Stairs (out May 17), which Zayn wrote and produced with a technician before bringing on Dave Cobb as co-producer. It puts aside the glossy R&B of his earlier releases in favor of a more rustic and soulful sound inspired by the likes of Chris Stapleton and Willie Nelson.

“First idea for this song came to me maybe about five or six years ago now, when I was living in [Pennsylvania] and just in a place where felt like I wanted to write something that was a little bit more elevated, and a little bit more insightful than the music that I’d been putting out at that point,” Zayn explained. “I just got in the studio and kind of felt it. I was just feeling alienated at the time in certain situations. That was kind of the sentiment behind the whole idea of the song, so that’s why I felt it fit as the title. And I explain in the song exactly why I’m feeling that way, how I have dealt with those situations, and how it’s felt in that place.”

Zayn sums up “Alienated” with an equally straightforward description: “It’s fucking honest.” And that descriptor extends beyond the songwriting, influencing his approach to the record’s production as well. “Everything that was in there from the beginning stayed to the end. I didn’t feel myself having to censor anything,” he shared. “And that was obviously another great thing about making music like this, you know, all the imperfections and all the things that are in there are intentional and genuine. I kept them in for that reason, I wanted it to feel that way.”

He added: “Obviously, Dave Cobb just elevated it, made it sound way better because that’s what he does. We brought him on to to bring the final magic to the song, but the original production was just me and my technician. I think the main focus on this record for the instruments was always guitar. It was always going to be that. Originally it was gonna be just an acoustic-sounding record where it was just gonna be guitars and maybe drums. And then eventually, as the idea developed more and built more identity, we started to figure out homes for other instruments that could be used on that, too.”

Speaking about collaborating with Zayn in a recent interview with Rolling Stone, Cobb praised his approach to retaining the raw emotions in his performances. “What got me about Zayn was his voice, you can hear love, loss, pain, triumph and humanity in it. I feel as if this record is removing the glass from his spirit directly to his fans,” he said. “Zayn has really created his own universe on this record, he really has no fear and is speaking straight from his soul.”

VIA ROLLING STONE

[daily-hanamura]

I was wondering if you had any analyses on yosuke's dances in P4D, especially his partner dances wrt his character/personality... or even just generally what you thought of his moves. I think atlus/p-studio enjoy putting more than meets the eye into the choreography for the dances, but i wondered what the account that does really good yosuke analyses thinks. >:) Cheers

Oh wow you're very kind!! but this is also a very high level ask as I am not at all a dance expert and I'm still working my way through all of the dances, but I will do my best! o7

Long post incoming!

I remember reading an interview which said that Yosuke's dance style is very much inspired by male idols with a hip-hop flair, and I can definitely see it in his dance? iirc there was a pretty strong influence of hip-hop in jpop of that era - I'm thinking about Johnny's entertainment boybands which I think pretty much dominated the jpop male idol scene around 2010 - just look at Arashi's Monster dance routine, which imo is a super quintessential dance of that time. Like Jun's breakdance around 0:45, but also more generally, the sort of precise, rapid-pace footwork and moves that is also very evident in both Backside of the TV and Your Affection. I think it really suits him for a few reasons

Yosuke generally has the highest agility stat and tends to be the fastest char (for me at least? but i've also seen enough fics that reference how quick he moves), so it makes sense that this sort of high-pace dance suits him. Obviously Yosuke has a very good sense of beat listening to music all the time in combat and moving with it, so despite his real world clumsiness, he's well equipped to take on the kind of rigorous idol dance style that's typically very demanding to learn and perfect.

At the same time, it also matches his narrative - Yosuke in canon is very familiar with idol culture, both with Risette and Kanamin Kitchen, so it's not too surprising? But what I thought was kind of interesting was that there aren't really any references to male idol groups in world, and even his bedroom in p4au only shows female idol posters and some mainstream American albums. However, in the interview scene at the end of p4d, he mentions to Yukiko that he's tried to copy moves from stuff he's seen. But his dance style is more similar to boy idol bands - with the hip hop influence especially - as opposed to being similar to female idol bands - which tend to be preppier in dance style (see AKB48 for example). (Or just compare Rise's dance with Yosuke's.) So idk if this is a random oversight on Atlus/P-Studio's part, or if Yosuke is a closet male idol enjoyer (which would be very funny but also on brand for him, especially if he's still in the closet).

The other thing about idol music and group idol dance styles more generally is how much emphasis there is on harmony. If you look at the Arashi video again, there's kind of the expectation that all members are dancing in sync with each other. The thing about that sort of group dance is that you don't really have "leads" and "backup" dances, because no one member is really supposed to stand out or take centre stage since they're all equals. And I think that's a fun thing to think about because, you know, Yosuke Rank 10. But it's also in his partner dances with the others - I feel like Yosuke tends to harmonise with the others and their dance styles the most, maybe he's second to Yu? But Yosuke tends to match his dancing to the style of the other person when he joins them in Fever, like in Naoto's or Chie's (caveat, maybe I'm just Yosuke-biased LMAO). I think there's a lot to say about it because on the one hand, his captain ressentiment attitude means he sees his friends as better but he also wants to catch up to them and be their equals! but also, on the other hand, Yosuke doesn't want to stand out? And him keeping his head down is very much in character for him throughout most of the game, so :')

(but also souyo lens time his partner dances with yu is SO GOOD they mirror one another so well and it makes me so weak)

I think my final point is on how idol dancing is kind of on brand for him as well? Yosuke is kind of a vain person - he likes fashionable clothes! He likes to look cool! (and we love him for it!!) - and I think one thing that kind of marks idol dancing compared to, idk, interpretive dancing as an extreme example, is how idol dances tend to emphasize... looking good? The whole point of idols is to sell them on their aesthetics, after all, and good looks are kind of a minimum criteria to being in an idol group. The dances are choreographed to maximise the dancer's appeal, so it's all smooth moves that present them in the best light.

Those are my extremely long thoughts!! but yeah tldr I think his dance style really suits him on every level I can't imagine anything better for him ngl. Anyone with more expert knowledge feel free to pitch in though

[raytorosaurus]

hi Raytorosaurus, in the beginning of your post you said Ray has done interviews, podcasts, and blogged in recent years, can you please link me to those things? I would be extremely and eternally grateful <3

yes ofc!! this one by tom bryant (author of not the life it seems) is my favourite! and not just because ray talks about how much he loves being a stay at home dad doing chores while his wife gets her master's degree. it's just sweet, and goes a little more in depth into remember the laughter's concept than some of these other interviews.

this one isn't remember the laughter related, but tom bryant also did this interview with him the year before, after he released for the lost and brave dedicated to leelah alcorn (cw non-graphic discussion of suicide). it's really fucking sweet. ray talks a lot about his family and about fatherhood and about how he wants to raise his kids to be as kind and socially conscious as possible in pretty much all of the interviews i've linked here, but i really fucking love this thing he says in this one in particular:

"If ever my son was having a rough time I would just hope that he would trust me and allow me to be there for him. It’s common for parents and older people to look at youth in a negative way and to not respect the young as people. My wife always says that a lot of parents treat their kids like property – the whole, ‘this is my house, these are my rules and you must abide by my law’. You have to put yourself on the same level as your kid, you have to relate to them as a person. I hope that there’s more understanding about the differences between people in the future that my son grows up in.”

at the risk of sounding like a broken record, this one is also really fucking sweet. again he talks about the values he wants to impart on his kids, and how his son is featured in the lucky ones playing his child's percussion set :'''')

this one is a bit longer and just rly cute lol like just fun vibes

there's a couple of shorter ones here and here that are also worth a read. there's also this review that i like - it's not 100% positive but the writer does make a point of saying he's shocked the album didn't get much attention despite ray having been in mcr. yeah me too dude :(

this is a podcast he appeared on - he did at least one or two others but i think sadly they've been lost to time :(((((( but god this one is so sweet he's just sooooo. so <3. ray also says the band broke up a few weeks after his son was born in september 2012 which is interesting lol.

sadly a bunch of his blog stuff has been lost to time because the wayback machine has done a spotty job of archiving it but you can try to explore around the archived pages a bit. if you click around to different dates or subpages you can see some of his photography (tho sadly a lot of it hasn't been saved :((( ) and a few blog posts. you might even come across his shitty vent poetry lol <3333

and then i love this interview sooooo much too like this writer really gets it. ray talks about how he got obsessed with this free climber after watching a mountaineering documentary which inspired the great beyond, so the great beyond actually features a fucking chalk bag as a percussion instrument because he's insane and i love him. it also has the line "enthusiasm leaking from him like a punctured capri-sun" LOL. and then it wraps up with this statement that i really love:

Mixed, engineered and almost entirely performed by Toro, ‘Remember The Laughter’ is very much this man’s pride and joy. Every nuance of the record is explained with intricate detail and the subject matter held within comes straight from his heart. Whether you like it or not remains to be seen, as its influences are often drawn from well outside the My Chemical Romance sphere. Whether you listen to it or not, though, really comes down to this: do you want to hear some honest music?

because honestly that's the one common thread through all of mcr's discography and every single one of their solo projects. they are all 100% earnest. they all access that honesty in different ways and ray's definitely not a super accomplished lyricist so some of the lines on rtl verge on corny or schmaltzy sometimes but they never, ever sound fake or inauthentic. he wrote the album imagining he was speaking the lyrics to his son to instill a sense of hope in him about the world so he'd grow up with the belief that he was capable of making it a better place and he fucking means every word of it bro. he's ray toro :( i like him :((((

[spinef0ryou]

Q and A interview with Will Ramos in Metal Hammer Magazine. Transcript under the cut.

ARE LORNA SHORE BRINGING DEATHCORE BACK?

Lorna Shore's growler-in-chief, Will Ramos, answers your questions on goblin screams, dream collabs and singing with a camera down his throat

SINCE WILL RAMOS joined Lorna Shore in 2021, the US deathcore band have been on a mission that's seen them leapfrog to the forefront of their scene. Will's mind-boggling vocal abilities have turbocharged them, and Hammer crowned last year's sprawling symphonic fourth record, Pain Remains, "the most essential deathcore album of the decade". Last summer, Will sang with a camera down his throat so we could all see what the hell was going on in there, but now, in his biggest challenge yet, he takes on your questions...

What's your favourite type of scream to do? - N4turalbornkll, Twitter

"They're called 'tunnel screams, like if you're going through a tunnel. But I like calling them 'goblin screams'. It's like two different tones going on at the same time. It sounds really cool."

What bands got you into metal? - Ben Ryan, Facebook

"Linkin Park was definitely one of them. Meteora... freaking Hybrid Theory! I listen to albums from my childhood all the time - I still love them and they still hold up; Bullet For My Valentine, Lamb Of God, AFI... I had a couple of friends that listened to metal that I used to play videogames with, and one of the bands they played me was AFI. One song, Affliction, was just straight-up screaming the entire song. I was like, This. Is. Crazy?' Then my friend said, 'Dude, here's a bunch of bands that you should check out?' It was Lamb Of God, Whitechapel, Linkin Park."

How long do you think you'll be able to maintain your iconic screaming voice? Ten years? Thirty? Forever - Nettels_, Twitter

"I haven't fallen off yet. I don't know. Hopefully forever, but every day I make a joke, I'm like, This is the one. This is going to be the last one, this is it!"

What other genres do you love? - Jordan Bonvicino, Facebook

"I don't listen to a lot of metal so much anymore. I was looking at my Spotify Wrapped from last year... It was ap, psychedelic rock, indie music, and metal was fourth. I love bands like [Japanese singer-songwriter] Joji. I love Mac Miller. I love Drake. And I love sad music, so stuff like (post-hardcore artist] Bilmuri. They're metal, but they're also very sing-y. And I like that because now that I've been doing so much screaming in my life, I want to get better at something that's not screaming - so, singing. That's the next tier for me right now."

Are Lorna Shore bringing deathcore back? - Ed Burns, email

“I don't know if we're 'bringing it back'. We're doing really good for ourselves, and I love that people are hopping onto the train. That's incredible. Ilove that it's inspiring other people to even do more metal music. I just do what I do and I can't think about what I'm doing. I still can't look at myself in the mirror and be like, 'That's one of the big guys."

Hammer: Who were 'the big guys' to you?

“The ones that inspired me were late Suicide Silence vocalist] Mitch Lucker, Phil Bozeman (Whitechapell and Trevor Strnad (late Black Dahlia Murder vocalist]."

Do you avoid certain foods before singing, and if so, which ones? - Matt Doherty, Facebook

"I'd say eat light foods - if you eat something crazy heavy, you're going to feel very tired. I have maybe a slice of pizza, but you won't see me eating five or six slices. Ilove ramen and ramen is something that I'd have all the time when I'm on tour just because it's spicy, so it clears your nasal passages and it's soup, so it's good for your stomach."

What's your favourite Lorna Shore breakdown? - Undeado8, Twitter

"I think it would be Hollow Sentence off Immortal (2020 album, featuring ex-vocalist C] McCreery]. If we're talking about the newer stuff, Sun//Eater is definitely my favourite breakdown. It's the hardest song in the set. We have a sample of a katana [samurai sword] coming out and slicing something open. This specific sound is the unsheathing of the sword. It's halfway in, where the breakdown gets even heavier, so I just imagine a moshpit of people with inflatable swords killing each other."

Would you ever re-record Immortal? - Corey Hunter, Facebook

"I have, and I'm doing it for myself. I made a Patreon, and I told myself, I'm going to start redoing all of the old Lorna Shore albums."

Hammer: Would the band ever re-release the older albums with you on vocals?

"As a band we wouldn't - we want to have forward momentum. Art is always going to get better as long as you don't go back and start fixing things. We're like, 'What's the next thing? I'll put out Immortal on my own, but that's it."

What is your favourite song on Pain Remains? - Alex Chiczewski, Facebook

"Pain Remains I: Dancing Like Flames. It's the saddest one. I told you, Ilove sad music! You get to a point where you listen to breakdowns so many times, you become a little numb to them. For me, the only thing that holds me onto music after the breakdowns, is how do I feel about it? It's not about the melody or the breakdown. It's hearing the lyrics and I feel what this person is feeling and that it feels real. That's why I love Pain Remains I - it's the most genuine."

What is your best advice for dealing with crippling depression? - Zare Ralf Karadzin, Facebook

"Distract myself. Everyone alwavs sees me as Labradoodle Will. That's great, but I'm just like everybody out there and everybody gets sad sometimes. I dealt with depression a lot when I was a little kid, and if there's anything that's helped me, it was trying to distract myself with things Ilike to do, whether it be screaming or my little RC (remote control] cars, or playing Minecraft. Take everything day by day... conquer this day. Then you know tomorrow is another day, and you beat that day. Eventually you start putting yourself in the cycle where you'll have more good days than you have bad days."

What bands would you like to collab with in the future? - Notabumbleb88, Twitter

"Id love to collaborate with Sleep Token. They're my favourite freaking band right now. They are so incredibly good; Vessel and I have very similar singing ranges, too. Also, I Declare War, because they're just so incredibly heavy... In Flames... and Ilove Oceano - their vocalist Adam Warren is so good."

Hammer: What do you think a Sleep Token/Lorna Shore collab would sound like?

"It’d be insane. I don't know if our fans would love it, but I would. Let's go!"

What does it mean to you to be the Latino/Hispanic representation of deathcore and heavy music in general? - Shaun Fontanez, Facebook

“It's incredibly stressful. I don't speak Spanish, so a lot of Hispanic people will come up to me just like, 'Yo, dude, I'm so happy that you're here; you're Hispanic, I'm Hispanic!' I'm like, 'Thanks, man, appreciate that. I'm going to tell you right now I don't speak Spanish' and see that shock on their face. I do wish to speak more Spanish. I am a bad Puerto Rican... Or maybe I am the perfect Puerto Rican, because if you know anything about Puerto Ricans, half of them also don't speak Spanish. So, shout out to Puerto Rico."

How does it feel to have such a sudden and rapid growth in notoriety? - Christopher Andrew Ryan, Facebook

"It has been very big. Honestly, it's an incredible thing to see. We're very happy that we're all able to live off the art that we're putting out, not a lot of people can sav that. We're so caught up in the race, though, we're focused on what's next so that we can stay up here. If we fall off, you can only get to this point once, and then you lose it. We're trying to ride it for as long as we can."

How difficult was it singing with a camera down your throat? - Andy Pierce, email

"I didn't think it was going to sound good at all because I was so numb and mucus-y. When you’re doing vocals, you don't want mucus because it gets in the way and you can't even feel anything down there. It's almost like if you sang out loud and you just covered your ears, and you couldn't hear what you're putting out. That's what it felt like! Hopefully it'll be better next time (now I know what to expect!)”

PAIN REMAINS IS OUT NOW VIA CENTURY MEDIA. LORNA SHORE PLAY DOWNLOAD IN JUNE

[fyeah-chanyeol]

Chanyeol, a member of EXO under SM Entertainment, is set to reveal his first solo album ‘Black Out’ today, August 28, at 6 PM KST on various music platforms. The music video for the title track ‘Black Out’ will also be released simultaneously on SM’s official YouTube channel.

The album includes six tracks: the title song ‘Black Out,’ ‘I’m on Your Side Too’ and ‘Clover’—both of which Chanyeol contributed to as a lyricist—along with ‘Hasta La Vista,’ ‘Ease Up,’ and ‘Back Again.’ This album promises a mix of new genres and familiar emotional tones unique to Chanyeol.

In an interview accompanying the album release, Chanyeol shared his thoughts and experiences:

Q1. How does it feel to release your first solo album after 12 years of debuting? Chanyeol: It feels refreshing and joyful. It’s been 12 years since I debuted with EXO, and I’m excited to show a new side of myself. I’m thrilled to finally present my solo album to EXO-L (EXO’s official fan club), who have been waiting for so long.

Q2. How would you describe your first mini-album ‘Black Out’ in one word? Chanyeol: I’d describe it as ‘beginning.’ Since this is my first solo album, I see it as the start of something new. I wanted to create music that I’ve always wanted to make, showcase concepts I’ve wanted to share with fans, and present a variety of charms. Please look forward to it!

Q3. Can you tell us more about the title track ‘Black Out’? What should we pay attention to? Chanyeol: The charm of ‘Black Out’ lies in the combination of melody, lyrics, and emotions. It’s a pop-rock track with a fast tempo, minimal acoustic guitar, and a lyrical synth melody. The lyrics compare the post-breakup experience to a ‘Black Out’—a time when everything feels like a mess, much like a phone screen that’s turned off without any notifications.

Q4. You participated in writing some of the lyrics for this album. Did you try anything new this time? Chanyeol: I usually combine my experiences with imagination when writing lyrics, but for this album, I focused more on my cherished memories. Since this is a solo album, I wanted to share more personal stories. For example, I wrote ‘I’m on Your Side Too’ while recalling the happiness I felt looking at EXO-L during performances, and ‘Clover’ was inspired by spending time with my dog, Jjaru.

Q5. You explored various genres for this album. Which one do you like the most? Chanyeol: It’s hard to choose just one (laughs), but I really like ‘Back Again.’ It’s an old-school hip-hop track with a strong rock base, and I think it shows off a new side of me. It was the first song I recorded for the album, and although it was challenging, it made me want to push myself even further.

Q6. You filmed the album jacket and music video entirely on location in Hong Kong. How was that experience? Chanyeol: It was a lot of fun (laughs). I fell in love with Hong Kong’s beauty all over again. We filmed mostly outdoors, exploring everything from the city center to lesser-known alleyways. I especially enjoyed shooting on a double-decker bus, taking in the city views as we went along.

Q7. You’ll be holding a live tour next week after the album release. Can you give us a sneak peek? Chanyeol: You’ll see both the sides of me that you’re familiar with and many new aspects as well. I’ve been preparing hard every day, so I hope you’ll love the album and the performances.

Q8. What did your fellow EXO members think of the album? Did they offer any support? Chanyeol: I played the songs for Suho, and he said he could tell how much effort and thought went into it. He told me he’s looking forward to it and cheered me on (laughs). We often talk about music, and his support always motivates me to work even harder.

Q9. Is there a moment in your life that you never want to ‘Black Out’? Chanyeol: All the moments I’ve spent with EXO-L during our concerts. Those are precious memories I never want to forget.

Q10. Lastly, any message for the fans? Chanyeol: First of all, thank you for waiting so long. I’m so grateful for your constant support and love. Preparing this album was a joyful experience, and I’m excited to finally share it with you. Without you, this album wouldn’t have been possible. This is just the beginning, and I hope we can continue to share happiness together for a long time. I love you all so much!

Translation by Allkpop.

[thebreakfastgenie]

i'm provoking you about vienna. elaborate

Billy Joel always says Vienna was partially inspired by “friends” of his who needed the message and I’m sure that’s true but it’s also such a thing he needed to hear (and probably still does). A lot of us who relate to the song are neurotic perfectionists and, well, it take one to know one. In interviews he's talked about having a whole life to live and my unsubstantiated theory is that that's something he consciously reminds himself of, or at least did at that point in his life. He self-produced his previous album, he started playing musically professionally when he was 14, his biographer described him as only caring about the music when he was 18. He was the ambitious juvenile not so long before.

At 21 he wrote the lyric “I’ve seen a lot of life and I’m damn sick of living it” in his suicide note because “the world doesn’t need another failed musician.” At 28 he wrote “slow down, you’re doing fine, you can’t be everything you want to be before your time.” I don’t think it’s a coincidence that he wrote that in his late twenties, having made four albums without really finding commercial success. His breakthrough was The Stranger, the album Vienna is on.

I think there's a lot of symbolism behind the choice of Vienna that's very personal. He talks about writing that song after visiting his father (who he had recently gotten back in touch with after he left him when he was 7) and seeing an old woman sweeping the street (this is alluded to in the animated music video that was released recently) and seeing that the elderly had a place in Vienna and didn’t get “put away” like in the United States. Billy Joel's father was a talented musician who wasn't able to pursue music professionally when he was young, and it's hard not to think about "you can get what you want or you can just get old" when I think about his connection to the song. Vienna is a city with a lot of history and a lot of music history and I don’t think that’s coincidental either because Billy Joel loves history and being weird about classical music is basically his main pastime. He recorded his classical album in Vienna (Richard Joo played the music but he was there for the recording process).

Also for all of his "you have a whole life to live, you don't have to do everything when you're young" talk, Billy Joel also said many times over the years he didn't think his career would last into old age and that he used to buy into the idea that success in pop music came with a time limit. That's not how his career turned out, of course, but he didn't know that back then, and he felt that pressure.

So when he says "I had all these friends" it's like "asking for a friend... how do I cool it off before I burn it out?" The second person distracts a bit from how applicable it is to the singer. I do believe him when he says he saw how his friends were stressing themselves, he has a lot of observational songs like that (James, for example) but I don't think it was just his friends. I think it's such a good song and relatable to so many people because it was written by someone who understands. But he never talks about the song that way, he always makes it about other people.

[ourshadowstallerthanoursoul]

Getting the led out - interview to JPJ

(by Gail Worley, Ink19 - April 26, 2002 - x)

This has to be THE interview. It's Jonesy's best interview I've found so far, so READ IT. You won't regret a single second spent reading it, I promise you.

I saw the interview you did with Jim DeRogatis at South By Southwest in 2000. In that interview you said – perhaps jokingly – that one of the reasons it took you so long to make your first solo album is that you don’t sing. 'The Thunderthief' has your first recorded vocals ever. Was singing on a record with no previous experience a scary thing for you?

Yes. I mean, I had to make sure I could sing well enough to put [the performance] on record, so it wasn’t totally scary, you know what I mean? I sort of crept up on it [laughs]. The scary thing was actually doing it live on stage the first night, in Nashville (when Jones opened for King Crimson on their last tour). That was scary. What I wanted to do was do three songs from 'Thunderthief'. We started with 'Leafy Meadows' and then I did 'Hoediddle' and then I did 'Freedom Song' – which is scary enough. However, I suddenly thought, "I can’t just sing one song" (two of these three songs are instrumentals). So I thought, I need another vocal [laughs]. I didn’t want to do anything else off 'The Thunderthief', so I, in my bravura, decided to sing 'That’s The Way'. Singing a Zeppelin song was even scarier, I can tell you.

I bet.

What I used to do on the tour before, I played an instrumental version of 'Going To California' on the mandolin, and I used to team [those two songs]. I would start with 'That’s The Way' – because I played those mandolin parts on the original record. [Hums the tune] Then I said, "You didn’t think I was going to sing, did you?" [Laughs] But this time I did it and I sang it, so people who went to both concerts thought it was some kind of a trick [laughs]. But it went down alright. Nobody killed me for it, ‘cause I can’t possibly sing it like Robert Plant. I don’t have that voice. But I did it in this other way, and it worked, but the first night I was terrified. Remembering words is the hard part. I put the lyrics on a music stand, so I couldn’t fuck it up. But I’m learning, I’m getting better.

How has working with a guy like Robert Fripp influenced your own writing and playing?

Well, I haven’t actually worked with him that much. The biggest connection is being on his label. [Long pause] I mean, when Zeppelin first started in 1969, and people would say, "What sort of band is it?" I used to say "progressive rock", because in those days it meant rock that progressed [laughs]. You know, it was a very literal term; "Well, you know, we’re trying to advance the form of it, and this is what we’re doing to make it go somewhere." But of course, that title came to have all sorts of different meanings. When it started to mean 'classic', that’s when I stopped saying it was progressive rock. But then we’d say it’s 'blues rock', because people love to label things. I didn’t really hear an awful lot of King Crimson [music], to be honest. But being on his label is great, mainly because of the fact that you get, obviously, total artistic freedom. There are no contracts, either. He really hates the music industry with a passion, and he’s not afraid of telling everybody [laughs] at every available opportunity, which is great. And the artist maintains the copyrights to all their material, so I just agree with him on that whole side, and I really like the way he approaches music, and musicians. He’s so passionate about everything and has a definite way that he wants to do it. It’s inspiring to know that people can say, "This is the way I want to do it!" and off he goes! He’s always kind of been around in the background, but the first time Fripp got my attention was when Brain Eno called me and asked if I knew a piano player who could do some avant garde piano. He asked if I knew anybody who could do some spacey sort of piano, and I couldn’t really think of anybody. I asked him to describe what he wanted and then I said, "Well, I can do that" [laughs]. Alright then, so I said, "What’s the track?" and he said, "Fripp’s doing a solo on it, and I want you to do the counterpart." So I went along, and it was just this rhythm track, and I played this sort of spacey piano. The next time I heard it, Fripp had put his guitar solo on afterwards, so there’s this sort of alien spacey piano and suddenly this guitar comes in like [makes sounds of cars crashing], and I was like, "Fuck! I wish I’d known he was doing that! Jesus Christ!" Like "Who is this guy?" [laughs] Then, when I met him, he was like [imitating Robert Fripp’s gentlemanly nature] "Oh, Hello John. How are you?" I’m thinking, "Now, this isn’t the same guy who was like [makes car crash noises] on that record?" But it was. And that’s what he did on "Leafy Meadows". He walked in and he puttered about and set his pedals up and had tea and cake and then he went, "Whaaaahh!!!!" [Laughs] I really like that. It’s quite a paradox. That’s what I like about Diamanda [Galas] as well. When you meet her she’s terribly nice and sweet. And then you see her sing and [makes exaggerated face of terror].

I had to smile when I saw that Nick Beggs plays the Chapman stick on the album, because I remember him as the bassist for Kajagoogoo. How do you go about finding the various players who are involved with your solo projects?

Well, on 'Zooma' I had Pete Thomas on drums and Trey Gunn on stick. I wanted a stick player because they think differently. They’re often bass players as well, and they just approach it differently. Plus, from a very practical point of view, in a trio, it’s great, because I’m a bass player and a keyboard player and I play quite a lot of lap steel in my show. If I’m doing bass, then [the stick player] can play all the lead parts. If I go to the keyboards, he can then switch to bass in mid-song, if necessary. So, it’s very practical and it means I haven’t got someone standing there with a guitar, who feels like, "Well I should be playing something, because I’m standing here" [laughs]. There’s loads of space in a trio – which is what was nice about Led Zeppelin, because when Robert wasn’t singing we were a trio. There’s loads of space and you can go anywhere you like. So, Trey Gunn was on that album and originally I had asked him to come out with me on the road, because the idea, of course, with 'Zooma' was to get out and play it. He was going to [come out with us], but then King Crimson had resurfaced and he said his first loyalty was to go with them. Then I asked Robert [Fripp] if he knew of another Chapman stick player, and he said [adopting Fripp’s accent], "Well you won't believe it, but Nick Beggs is a really good player." I went, "Nick Beggs from Kajagoogoo? ��Too Shy’?" And he goes, "Yeah, try him out." So I did. Then I went through a few drummers and eventually Nick said, well, "Terl Bryant is a really good drummer." So he came on board and he was great, and their attitudes are just awesome. It’s a happy family, they call me 'Pater' [laughs]. But it really is just like a family on the road, it’s really sweet. And they’re just full-on, enthusiastic, 100% committed, and it’s great.

Will you be taking 'Thunderthief' on the road now that your tour opening for Crimson has passed?

Well, yes. We’re trying to get some dates together at the moment, to do 'The Thunderthief'. But the thing is, I’d like to headline again, because then I can do my long show with the keyboards and things. But I may have to open for somebody else, again, because we really need to play to more people. It’s just maddening. I mean, we can sell out Irving Plaza [mid-size venue in NYC], but there comes a point where that’s the biggest one we can sell out, because nobody knows us. Everybody comes to the show and goes away going [adopts American accent], "That was the greatest thing I’ve ever seen! It was fantastic!" and then they tell their friends and we get people going, "Wow, I wished I’d known he was playing there." We really just need to play to more people.

Here’s a quote from a review of 'The Thunderthief': "Since his days as a top sessioneer, his abilities as an arranger and multi-instrumentalist have equipped him to add musical finesse to any genre." That’s a pretty nice compliment. Is that part of the reason you’ve been attracted to such genre diverse projects? You know, from Cinderella to The Butthole Surfers?

[Laughing] Cinderella…

Oh come on, I love Cinderella.

Yeah, they were alright. The drummer owns a bus company now. Yeah, it’s all the same to me. As long as it’s good [music] I don’t care what it is. I mean, I’ve done classical composition and string quartets and [sighs] I don’t really care what it is. If somebody asks me to do something and I don’t know how to do it, I’ll find out.

In a criticism of the song 'Angry Angry', one reviewer said that you were "Always too accomplished to achieve something so off the cuff." I guess you’d call that a back-handed compliment.

Yeah, he didn’t get it. The Brits don’t like 'Angry Angry'. For a start, they understand the accent [I sing that song in], which they hate, ‘cause it’s "music hall", basically, is what it is – like a vaudeville accent. And they don’t like it because I think they think I’m taking the piss out of punk, which I’m not. I don’t do parody at all. It’s actually terribly prosaic, how it all happened, but music is just like that for me, basically. 'Angry Angry' is at the speed it is because I heard Adam Bomb (Pink Gibson from NY based rock band, Get Animal, who plays guitar on this song) play at the Borderline in London and I immediately heard what I wanted him to do [on the record]. I went back into the studio and put a riff down, which was on bass, mandolin, and drum machine which was [sings hyper-speed riff from song], at that speed. I got it to play for three minutes, just that riff, and then I wrote the song and thought, "Now, what do I do with it?" It was at that tempo and had that intensity and the phrase 'Angry Angry' just came to me, so I wrote the lyrics from there. And I had to do it in that voice because it sounds stupid any other way [laughs]. But the Brits hate it. They think I’m trying to be something that I’m not.

Oh, those Brits are so serious about everything.

Well, you haven’t met the Germans. They’ll go right into anything and find all the symbolism and the lot.

'Ice Fishing at Night' is a really beautiful song with some dark lyrics. What inspired you to write that song?

Well, I didn’t write the lyrics. They came with 'The Thunderthief'.

What does that mean?

What happened was, halfway through what was basically going to be an instrumental album, but was also a continuation from 'Zooma', I decided it’d be really nice to have voices [laughs]. As I’ve said before, I didn’t want to get a guest vocalist in, for a couple of reasons actually. One is that I know that I’d forget what I was doing and work on producing them, whoever the vocalist was. I would immediately turn into a producer and it would go somewhere else. The other reason is that, being a bass player, I don’t actually have a distinctive sound. I mean, some people will listen to a record and go, "Oh yeah, that’s a John Paul Jones record", but if you just heard one song in isolation, [you couldn’t tell]. Like, if you’re Santana, that record he did, every time he hits that guitar you know that’s Santana. It’s what he does. He doesn’t do anything else except for that sound. I don’t have that, because of the instruments I play. I thought, guest vocalists will only dilute that and just diffuse it even more. I decided, "I’m going to try and sing myself." Then I thought, "well, I’ve got nothing to sing." Then I was thinking that I don’t want to become a singer and a songwriter all at the same time. One thing at a time, you know? So, I knew Peter Blegvad, he’s a singer/songwriter, and a cartoonist as well – he did the album cover. He’s got a weird way of looking at things; just a strange, twisted sort of dark view. I thought he’d be the ideal person to write some lyrics. I asked him, "Have you got any lyrics that you haven’t got music to? Any lyrics just laying around?" He had about four songs that he gave me and I picked up 'The Thunderthief' and 'Ice Fishing at Night' and set them to music, and basically, just experimented with singing to see whether I liked what I did. I thought I could work with these songs and I could sing enough to do what I wanted to do. I don’t have a great technique or a great voice, but as long as I could convince myself that it sounded alright, then it would be OK… which is how I do everything [laughs]. You know, I’m not a great technician on any instrument, but as long as I can convince myself that it sounds real, then I’ll do it. I sang those two songs and then I thought, "well I can’t just sing two songs" [laughs]… I think like this all the time… it’s boring really. "You can’t just have two songs… how about trying to do some more?" Now that I know I can sing, I’ll try and write some lyrics and see how easy that is. So, I learned another trick. I discovered, like many people I’m sure have, that with the onset of the computer, I enjoyed writing emails. And since I enjoyed composing emails, I thought, "I wonder if it works for writing lyrics?" [Laughs] I tired writing some lyrics on the computer and – sure enough – I wrote three songs in an hour… one of which was 'Angry Angry'. I thought, "this is fun!" I could finally master the song form on the next album, ‘cause there’s no rules, you see? It’s great!

You make it up as you go along.

Absolutely, you get away with it yet again. [Laughing] I’ve had a lot of encouragement, but at the beginning of 'Zoom'a I thought, "They’re all going to go, 'it’s boring!'"

You’ve influenced so any modern rock bassists, from Tom Hamilton and John Deacon of Queen to Krist Novoselic and Flea. It’s almost like, if you drew it all as a Family Tree, you’d be the father of rock bass playing. What’s that like?

Well, it’s just that they haven’t bothered to look further than me. I mean, I’m just lower down the food chain than somebody else is. It just depends on how far you want to go back, really. It’s very nice, it’s very flattering… but I’m imparting stuff that I probably learned from James Jamison and [Donald] 'Duck' Dunn and Charles Mingus. But it’s very nice [to hear that I’ve influenced somebody]. I met some guy in New Orleans on the last tour and he says, "You probably don’t remember me but I came to see you with my Dad when I was 12 years old. You really influenced me and you got me playing the bass and you told me I should practice." He was, like, in his twenties now. I asked him if he was still playing and he said yes, he was the principal bass for the New Orleans Philharmonic Symphony [laughs]. Right! Nice to meet you!

How did it happen that 'Rock & Roll' is now the theme music for a Cadillac commercial?

Ah! Because they asked us if they could use it [laughs]. Cadillac’s kind of a romantic thing – for Englishmen, especially. You think, "Pink Cadillac", and it was Elvis’s car, and it’s a Limo and it just has this aura. I don’t know whether it’s the same in America; probably not, because you have them over here all the time – you’ve lived with them [laughs]. I can see a Cadillac now, and it’s BIG, with big fins and whitewall tires. But they asked us if they could use the song, and they didn’t get it for nothing. And why not?

Do all three of you – you and Jimmy and Robert – all have to make a decision like that? It’s not like Page did it when you weren’t looking?

No, all three of us make those decisions.

Well, on one had, you can think, "Classic car, classic song", but it does kind of bother me that I hear The Who’s 'Bargain' now and instantly think of a car commercial.

Well, yeah… I haven’t actually seen the commercial yet.

Before Led Zeppelin ever came into being, you had a successful career as a session musician and arranger. How much of Zeppelin’s unique sound is owed to your work on the arrangements?

Eh… some. But then it’s equally the way Bonham approached the drums and it really was a group effort. Even if the original idea wasn’t a group effort, the final thing was a group effort. It really was, more than any band I was involved in. It was never like the songwriter ruled the band. Robert wrote the lyrics last, usually.

But there wasn’t any other band that sounded like Led Zeppelin, and there never has been since. That’s kind of a big deal when you think about it. Especially now, in this day of everybody sounding like everyone else.

That’s because people in bands these days always listen to the same music. They all start a band because they all like U2 or they all like Pearl Jam. Consequently, their field of reference is very narrow. Our field of reference was huge. Page and I were very hard working session musicians, and when you walk into a session it can be absolutely anything. Country and western, to Champion Jack Dupree, to Englebert Humperdink, to a big band session. You walk through that door and you don’t know; it could really be anything [laughs]. You name it, I’ve done it. I played weddings, I’ve played Bar Mitzvahs, I’ve done Irish weddings, Jewish weddings, Greek weddings, Italian weddings. I can play it all. Musicians these days, they don’t seem to do that anymore, and bring it all into the mix. Bonzo used to like soul music and knew the words to every Chi-Lites record, ever [laughs]. He was the biggest Smokey Robinson fan, he was into Motown, he loved The Beatles and James Brown. I was into all that soul music, jazz, and classical. Robert was really into blues and all the rock stuff and doo-wop. Page had all these other interests. It was just a huge range of influences, you could go here or there or this way or that. And that’s what I do now, with this music.

What was the dynamic like between you and John Bonham as a rock rhythm section?

Well, we weren’t like a lot of rock rhythm sections, we swung like a bastard! [laughs] Groove was extremely important in Zeppelin and it wasn’t in a lot of those bands [that were popular at the same time]. It was extremely important, which is what, to me, made the band [so great]. We used to have a lot of women at our concerts – and I loved having women at our concerts because they’d dance. [Laughing] It’s great, because the guys stand there with their arms folded and the girls are dancing. Zeppelin was great because it was music you could dance to, and you can’t say that about too many rock bands.

How did your work with Diamanda Galas on her record 'The Sporting Life' and its subsequent tour, end up affecting your own career?

Oh, wow, she’s my favorite piano player. She’s just very inspiring as an artist, she’s very passionate, very committed, always knows what she wants to do. I have several other things to thank her for; she got me playing steel guitar again, which I hadn’t done for years. She saw it in the studio and said "What’s that?" And I said, "Steel guitar", "I want to hear it." So we put it on one of her songs and we did two songs with it in her shows. It was good because it gave me some sort of "high voice" as well as being in the back playing bass. And I thought, "this is a way I can work, this is a way I can actually do a solo show without being a bass player and having other people take over all the fun stuff."

Didn’t she also inspire you to start playing live again?

Yes, she did. I mean… somebody actually said, I think this was a German interview, [the journalist] said that he thought that these records – this is interesting – that 'The Thunderthief' was the third record in a trilogy, starting with Diamanda’s record. And in fact, he’s right in that way, because that was the first time I’d tried using that sort of riff, drums and voice. A lot of people didn’t like it, but to me it was blindingly obvious. I couldn’t see why nobody had thought of it before, especially with her voice, because she has all that range and passion. Plus, her lyrics are great! These homicidal love songs are wonderful [laughs]. She came along with, "Hide the knives, baby’s insane!" [laughs]. 'Skotoseme', that first track [on 'The Sporting Life'], she did it in one take. Me and the engineer were shaking at the end of it, and she just went [adopting a woman’s voice] "Is that OK? I’m going to get myself some coffee" [laughing]. When someone suggested we work together, I could hear it all in my head. I just went [snaps fingers], "I know what we’re going to do as well." I sent her these riffs, to New York, and she sent back some ideas. Then she just turned up and stayed for two months, and we made the record. It was just brilliant. I thought, "This is great! We can do what we like again." I was just so inspired. Then she also told me – cause she’s collaborated with everybody as well – that she’d said in interviews, when they’d say, "Well, why don’t you collaborate anymore?" She’d say, "Well, I’ve put effort into everybody else’s music. If I’m going to put that much effort into music, it’s going to be my own." And I went, "Yeah!" [laughs].

She kinda scares me, to tell you the truth.

She scares us all! That’s the fun part. But she’s so committed to her music. She’s just having fun. She was great on stage one time, [laughs] there was that perfect moment in this theater in Chicago, she was there at the front of the stage and – you know how everybody shouts out song titles? – a little voice comes up in this slight lull between songs and goes "Song Remains the Same!" And she just looked at him and she goes [makes malevolent face], "No, it doesn’t, motherfucker." [Laughing] You could see the crowd part.

As a way of wrapping this up, I surely don’t have to tell you this, but thinking about how Led Zeppelin always gets the nod as the greatest hard rock or metal band of all time – on VH1 shows or magazine polls, or radio countdowns or whatever – do you think the endurance and greatness of the Led Zeppelin legend has much to do with the fact that you guys called it quits after John Bonham died, while you were still a hot item?

[Pauses] I suppose with hindsight, maybe that did have something to do with it. I mean, there was no point in carrying on, it would be a different band, because no John Bonham, no Led Zeppelin, it’s as simple as that. He was so integral, to have gotten someone else would have made it more of a tribute band, if you were playing Led Zeppelin songs, because anyone else would have to be in his shadow all the time. However, he died at a time when there was like a new lease on life, a new awakening in Zeppelin. Punk had severely embarrassed us [laughs]. We’d stripped down and just went, [shrugs] "Oh, OK, right. This is over, off we go again." It was a very hopeful time, despite the darkness of having lost John. That was terrible. So, yes, [had he not died] we would have gone on and… who knows what would have happened.

[cherrylng]

ROCKIN’ON - MUSE (November 2009)

DOMINIC HOWARD INTERVIEW

●First of all, what was the goal you set at the starting point of this album? 「First of all, well, I think we finally found the confidence to produce the album ourselves. Then, we experimented and tried to discover the direction of the songs by ourselves. Well, that said, I did give it some thought, like, "Well, what are we going to do this time?" And one of the possibilities we considered was to make a very radical work, something completely different from what we had done in the past. It would be the kind of work that would revolutionize the band itself and everything. But… in the end, we settled on the idea of experimenting a little bit, but not straying too far from what we had done in the past. We also wanted to make an album that would be the "definitive Muse" album. So we wanted to bring all the best elements from everything we have done so far. Then, we decided to condense and narrow down the best elements and make it easier to understand. I think this album sounds completely different from the other Muse albums, and the sound is already very clear, and I think there is a lot of space in the music. In contrast, the previous album "Black Holes" didn't have that… For me, that album is very, very claustrophobic. Every single space is filled with something. There is the sound of instruments, or whatever it is that is hidden (laughs). So we decided to use a lot of what we had absorbed so far. And in doing so, somehow we ended up with a "Muse-defining" album.」

●What was the process and when did the concept for this album take shape? 「First of all, I think this album is more concise and to the point than the last one, especially the lyrics. I think the lyrics are much clearer, because I think Matt was much more ambiguous in the past. Not that the lyrics were bad, but they were more unclear anyway. But this time around, there are some songs that are very straight to the point and direct in what they want to say. At the same time, there are songs that are very personal, based on love and relationships with loved ones. As for the concept, I don't think it was made up in advance. Rather, it took shape as we were making the album. So I think the album has a consistent theme, and there are certainly similar themes running between the songs. However, I think that these aspects developed gradually and very naturally over time. The themes we are dealing with on this album are very current, very contemporary, and a product of the times we are living in and the things that were actually happening while we were making this album.」

●You expand the idea based on the environment, the actual experience of the situation, and the actions that are born from it, and then add elements of storytelling and romance, right? 「Yeah, yeah, the lyrics are always last. Matt does this (and imitates writing something in his notebook), always writing some kind of lyrics (laughs), but sometimes it's the very last thing he writes. So, in most cases, the music comes first, and sometimes it is the emotion or feeling stirred up by the music that inspires the lyrics. So lyrics are always strongly influenced by what is happening and what we are experiencing right now. So, with the exception of songs about love and lovers, the things that are relevant to our reality today, I think, are going to be political.」

●The lyrics are at the end, which means that when you actually record the whole track and listen to it again, you may be surprised to hear, "This is what the song is about!" I'm not sure I understand what Matt is trying to do here. Or do you understand Matt's intention? 「No. Sometimes I am surprised. After all, I don't really know what the lyrics are until Matt sings them (bitter laugh). So, yeah, I guess there are a lot of people who are surprised and think, "Oh, I see, this is how it's going to turn out." When we're working on music, we really always think about it from the perspective of an instrumental song. We often work on songs without lyrics, without words, or even without a melody. So we're going to have a deep encounter with something that's just music without words, and (as I suddenly realized) that's really what we've been doing since the beginning of this band. In a way, when we record an instrumental section, we want it to be great on its own, and to be listenable without the lyrics. If you add lyrics to that, it's twice as great! That's what we were thinking (laughs).」

●The last three songs are a suite. Was this composition decided from the beginning? 「Yes, those songs are actually familiar to Chris and I. We've heard some of the piano parts in them before. Sometimes during soundchecks, Matt would play those parts and we would start jamming a little bit. But that was the end of it (laughs). And I think there were times when we were playing live and Matt would lightly play that phrase in between songs. But that song has evolved a lot. There was actually another part that was the third part of the song, but we decided to use a completely different part, and that's how it came to be.」

What we had in mind was to make an album like "Muse: The Definitive Edition".

●It's a very fantastic ending, isn't it? 「Yes, but before that it was a completely different type of part. But I think we made the right choice with that one, and especially that part 3 is fantastic… It has a beautiful, tragic feeling. There's a kind of sad beauty that I feel when I listen to that part. But it was definitely a big job. I mean, we definitely had the idea of doing something orchestral and cinematic this time, but we weren't sure if that song was actually going to be on the album. But somehow, when we started working on it, we realized that it would fit easily on the album. We were like, "Oh, this is great! And once that happened, it seemed obvious that that song was going to be the last song on the album. It's also the only song on the album that is a bit detached from the world. Unlike the other songs, which deal with realistic themes such as politics and love (bitter laugh). So it's kind of like the soundtrack to a sci-fi fantasy movie about going somewhere new and starting over.」

● (laughs) What new elements, if any, did you bring to this work? 「Hmmm… What I brought to "Undisclosed Desires" was a complete change of genre. We took that song and turned it into a very electronic, even hip-hop-influenced backing track, which was almost new to me and took a lot of learning, sampling, programming, etc. I had dabbled in it before, but I had never taken it as seriously as I did this time. And we didn't have a producer, so I had to fight with the computer by myself (laughs). Since the two of them (Matt and Chris) were not involved in the project, it was almost entirely my own work. I was exploring this and that, trying out lots of different ideas. When I let them listen to it, they said, "It's really cool, let's go with it." Matt added the string part, and I said, "Well, where do we go from here? So we started adding more electronic grooves, darker synths, distorted, grating synths, that kind of thing. I think it became a Depeche Mode kind of dark electro thing. It was a lot of fun for me to get out of my usual safe zone, which is behind the drum kit. I felt like I was now a full-fledged producer (laughs).」

● (laughs) That song is the one you are most proud of and the most important song in this work? 「Yeah. It's a very important song for the album, that one. So I think we'll probably cut it for the next single. That song is really a big step out of the usual sound for the band. Well, we tried to go into a different area with “Supermassive Black Hole” to some extent, but the way we went with this song is nothing compared to that. After all, I didn't even use a guitar on that song (laughs). But I really like “I Belong to You,” too. From the arrangement, to the instrumentation, to the percussion, it's really… I tried to give it a little bit of a strange vibe, a little bit like the Beatles' "Sgt. Pepper's" song. I don't think it was inspired by Paul McCartney, but I realized, “Wait, doesn't this sound like one of those weird songs McCartney wrote for Sgt. Pepper's?” So we all decided to push that kind of ridiculous vibe further (laughs).」

●I'm sure that the period of time that the three of you were working alone at (Lake) Como was quite long. Can you tell me, for example, what a “typical day” was like for you during that period of time? 「I would get up late, maybe around 12:00 or 1:00 in the afternoon. But I wouldn't do anything until after lunch.」

●It's the Italian way, isn't it? 「Yes, because lunch is very important in Italy! (laughs). And that's when we started working. While I was working on something in one room, Matt was working on vocals in another room. So it was very productive for all three of us to be in the same place but doing different things at our own pace. Well, we did move all the recording gear out of the studio a while back, and it was kind of sad. It was a little sad to think that it would be a while before I could come back here again (laughs).」

●What were your sources of inspiration during the making of this album? 「I think we didn't listen to as much music in the studio as we did on the last album. I would say that this time we tried to keep it within the three of us. We wanted to bring out all the ideas from within ourselves. Not from the outside. On the last album, Rich (Costey, co-producer) let us listen to a lot of different things, and there was a lot of, "How about this," and "There's this," and so on.」

● It's like a kid in a candy store who gets recommended one after another and gets lost in them. 「Yes, yes! We heard it and thought, "Wow, that's cool," and to some extent it inspired us. But this time, the theme was to dig deep inside ourselves. But, yeah… My favorite album of the moment is the Justice album. I also used to listen to the Beatles a lot. So, I think "I Belong" may have been unconsciously influenced by them.」

Matt's Interview

[lucy90712]

Hey can u do something with Gavi

He falls in love with a singer but they can’t be together because she’s going on tour.. and he can’t let go easily😅🫣

WC: 2.1k

Being a singer has always been my dream since I was little so I worked tirelessly taking singing lessons for many years and now I've made it. I was lucky enough to have one of my songs blow up on tiktok and since then I have only grown in popularity. As much as this is something I wanted growing so much fame in such a short amount of time and only at the age of 18 is a lot to handle, I have had to grow up really quickly as everyone always expects so much of me and I don't want to disappoint. It all means I don't really have much of a normal life I am always away from home and I don't have any friends anywhere near my age as I just don't have time for them and don't even get me started on relationships my love life is literally nonexistent. 

As much as there is a lot of pressures in my life there are times that I really enjoy myself and the last few weeks has been one of those times. I have spent the last few weeks in Barcelona exploring, writing and recording songs for my next album. My management suggested that I go somewhere more peaceful than busy London to write so I chose to go to Barcelona as I've always wanted to go and I thought that being somewhere new and exciting would help inspire me. Being here really has helped I've never written such good songs so quickly it's like just being in the city has got my creative juices flowing like never before. I wrote so many songs I had to have multiple meetings to decide which ones to actually put on the album, which ones to save and other ones we could offer to other artists as there is no way I could use them all. 

Sadly now my quiet time has come to an end as I am doing a whole load of interviews to promote my new album and the new single from it which is due to come out first. As I didn't have any say the schedule is pretty hectic so my alarm woke me up at 6am this morning to be ready for my first interview on morning tv at 7. From there I had a few radio interviews before finally getting a bit of a break to eat lunch which I desperately needed. On my break I went on tiktok like I often do but my for you page was just filled with edits of Barcelona players. It is partly my fault as I keep liking them but still they started popping up as soon as I got here without me even doing anything. I must admit some of the players are definitely hot but watching the edits has got me into watching the games on tv at the weekend and I'm really enjoying them. 

My break didn't last long as I had to head to film a few videos with a company the first of which was just a little Q&A which I've done plenty of so I pretty much know what will be asked. When I arrived I was asked if there was anything they weren't allowed to ask so I said no as I don't mind sharing most things. They fit me with a microphone and then we got started pretty much straight away. To begin with it was all just simple things like how I got started in music and things about my life but then we moved on to more juicy questions.

"So everyone wants to know are you single?" The interviewer asked 

"Yes I am despite all the rumours I'm still single now is just not the time for a relationship as I'm so busy" I said

"Then what do you think about what Barcelona player Gavi has said about you?" She asked

"I haven't seen what he's said actually" I replied

"In an interview yesterday he was asked who his celebrity crush was and he said you" she explained 

"I don't think anyone has ever listed me as their celebrity crush so that's pretty cool and being honest Gavi's pretty attractive so it feels good that he likes me" I admitted 

"So can we expect to see the two of you together at any point?" She asked 

"Well I've never spoken to him but I'd love to go to a game before I leave so maybe one day we will meet each other" I said 

I was asked a few more questions but the whole time I was thinking about the fact that Gavi actually knows who I am and called me his celebrity crush. Out of everyone he could pick he chose to say me which makes no sense to me but I can't lie I quite like it. 

Gavi's POV

Just as I got out of the shower after training I had about 5 phones shoved in my face and all the boys were talking at once so I couldn't understand a thing they were saying. Eventually they stopped freaking out and Pedri handed me his phone so I could see what had them so excited. In front me me was a video of y/n being asked about me after I stupidly said she was my celebrity crush in an interview but to my surprise she said that she thought I was attractive too. That's when I started freaking out just like the boys I mean it's not every day that the most attractive girl you've ever seen says she likes you too especially not a famous one. All the boys were trying to encourage me to dm her and I wanted to but what do I say and what if she never sees it I mean she must gets thousands of dms a day. 

"Come on bro just do it what could go wrong" Pedri said 

"What if she never sees it and even worse what if she sees it and ignores it that would be so embarrassing" I said 

"You have to dm her this is your chance she's here in Barcelona and she just said you're attractive in an interview this is your chance to get the girl" Ansu encouraged 

"Ok fine I'll do it but what do I say?" I asked 

~~~~~~~~~~

Pablogavi: hey I know you are in Barcelona at the moment and you said you wanted to attend a game could you make it this weekend I'd love to show you around 

Seen 

~~~~~~~~~~

Your POV

When I first saw the dm from Gavi I freaked out for ages before being able to think of a reply that didn't sound wrong but eventually I managed it. That weekend he got me tickets to their game and then afterwards we met so we could actually speak to each other for the first time. He was so incredibly sweet and even more attractive in person which I didn't think was even possible. After talking for a while he showed me around the stadium quickly before inviting me out to celebrate their win with the team. 

Since that day we have spent quite a bit of time together, when I can I go and watch his training sessions and then at the end of the day I go to his place and we spend the evenings watching movies together. I have had the best time but sadly it must come to an end as I leave to head back to the UK in a few days to continue doing more media. The worst part about it is that Pablo has an away game this weekend so when I leave he won't even be here to say goodbye which means today is the last time we will see each other until one of us has some free time. Even the thought of leaving him is making me really sad as I've really enjoyed every second I've spent with Pablo but that's not it I've really developed feelings for him over the last few weeks and to leave that behind and just forget about it will be hard. Part of me wants to confess my feelings tonight but the rest of me knows it's a bad idea because us being in a relationship could never work as we would never get to spend any time together. 

As it's my last days here I made sure I had nothing to do so I could actually enjoy my time plus Pablo has a free day too so we can spend the whole day together. Even though I wanted to sleep in I got up as Pablo said he wanted to go for breakfast together so I dragged myself out of bed and into the shower. By the time I was ready I already had a text from Pablo telling me he was on his way to the apartment I've been staying in. Having got to know Pablo I knew he would be forgotten to text me and would've text while stopped somewhere so he was probably almost here so I grabbed my bag and shoes and waited by the door. Just as I finished tying my shoes the doorbell rang and the second I opened it Pablo engulfed me in a hug. As he pulled away he quickly kissed my cheek which I learnt is just something he does as the first time it took me by surprise but it still makes me blush every time.

After breakfast Pablo took me to back to my apartment so I could get changed as he wanted to take me to the beach. Once we arrived we walked along the waters edge together until we found a spot to sit that was quiet and where we would hopefully not be disturbed at all. Just as I finished putting on sunscreen and went to lay down in the sun Pablo picked me up over his shoulder with ease and ran towards the water. Before I knew it Pablo had thrown me into the cold water but luckily my reflexes are quick enough to allow me to grab onto him so that he came down with me. As we came up from the water we were slightly further in than I anticipated so my feet didn't reach the floor which meant I went back under the water for a second but before I could begin to keep myself afloat Pablo put his hands on my waist to hold me up. 

Blood rushed to my cheeks in an instant and butterflies formed in my stomach as I felt Pablo's hands on my skin. Time seemed as if it was standing still as our eyes were locked together and a pink tint was evident on our cheeks. I have never felt so strongly for someone like I did in that moment it just felt right having Pablo's hands on me and I couldn't picture being in that moment with anyone else on earth. 

"Y/n" Pablo whispered bringing me back to reality 

"What is it?" I asked

"I know you are leaving soon and I can't let you go without telling you that I've really fallen for you in the last few weeks" he admitted 

"I've fallen for you too but it's never going to work out" I said 

"Why not?" He asked desperately 

"Because we are never going to see each other my management are already talking about a tour and you are always away playing and I don't want a relationship where we only see each other when we happen to both have a spare moment" I explained 

"Then it won't be like that I know any chance I get I would come and see you wherever and any breaks you get I know you would come and be with me plus we can talk on FaceTime everyday in the meantime" he said 

"Please I've never felt like this before and I can't just let you go you can't tell me you don't want to at least try and give it a go" Pablo practically begged 

"You're right I need to not be so scared and give this a go, so does this mean we're dating now" I said 

"Absolutely it does I don't want another second to go by where you're not mine" he said 

As soon as he finished talking Pablo pulled me in and pressed his lips against mine in the most magical kiss I think I've ever experienced. In that moment I knew I made the right decision as when something feels so right I don't see how it could go wrong. I trust the universe to make sure things work out for us and to help us get through the hard times that are bound to arrive. Who knows maybe soon I'll be able to write a love song that actually means something to me about the unexpected romance I have found myself in.