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today-only-happens-once · 4 years ago

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Thoughts on “Flirting with Social Anxiety”: Roman, Virgil, Bravery, and Self-Worth

I originally started by just keeping a running list of thoughts in my head as I watched the “Flirting with Social Anxiety” video for the second time through. But then it started getting long and involved, so I elected to just make a specific post for some of the reflections and analysis my thoughts started to follow down the rabbit hole.

Obligatory reminder that this is just my interpretation of the canon work. You may disagree or interpret things differently, and that’s totally valid. These are just some of my thoughts and where this video (deemed “essential viewing” for the canon story by Thomas) fits in the broader narrative with relation to character arcs (specifically Roman).

Without further ado, here are some thoughts on the new Sanders Asides video. Apologies for the length. Turns out, I have a lot to say.

I first found it interesting that the beginning of the video involves a series of scenarios in which Virgil and Roman repeatedly call out Thomas’s lying. First is the movie ticket (though Thomas rightfully defends that it’s not his fault), then the store alarm, and then several other examples--most of which we do not know the actual scenario involved. Given that Virgil has been at odds with Janus repeatedly and heatedly in the past, and the way things ended in “Putting Others First” between Roman and Janus (specifically Roman expressing concern that Thomas will not know where to draw the line between selfishness and taking care of yourself), it makes sense that they would be vigilant against Thomas lying. Perhaps it’s even directly a result of Janus becoming more accepted as a part of Thomas, though we don’t know that for sure.

I think the first big hint we get regarding Roman’s lingering and worsening self-worth issues is a brief line during the food court scene. Roman is forcing Thomas up while Virgil is pulling him back down to sit. When Virgil snaps “Roman, you’re making a mistake!”, Roman immediately shoots back, “If I am, I’ll add it to the list!” and shoves Thomas forward. And honestly, it’s not an unfounded thing for Roman to say.

He makes a mistake in the way he treats Virgil early on, he makes a mistake trying to convince Thomas to win back his ex during the Moving On arc, he makes a mistake with the lyrics in 12 Days, he makes a perceived mistake by causing Thomas to choose a cute boy over Joan’s play in Can Lying Be Good, he makes a perceived mistake wanting the callback, and then another mistake by forcing Thomas to attend the wedding instead... The list goes on. (Is it any wonder that he says “mistakes” when Thomas asks how he used to learn things in “Learning New Things About Ourselves”?) It might also be worth noting that nearly all of these mistakes are rooted in somethin Roman wants for Thomas.

And it is the most recent mistakes (relating to the callback) that have the most narrative weight at the moment. Even though the plot surrounding the callback has moved on, the aftershocks of its ramifications still are impacting characters--perhaps Roman especially. And this video works specifically to make that apparent. Just take a look at the reactions and camera/POV choices during the mirror monologue.

Thomas mentions a few times in the course of that monologue the idea that he isn’t sure what he wants anymore; the first being acknowledgement that the mall is the place you go when you’re not sure what you want, and again when Thomas says specifically that he doesn’t know what he wants. Both times Thomas speaks to that, the attention is on Roman. In fact, the second time where Thomas is speaking directly about himself and how he doesn’t know what he wants? Roman is looking at Thomas, which makes sense because Thomas is really speaking about Roman when he says that. Because all the times in recent canon that Roman has wanted something for Thomas, it has backfired and it has hurt parts of himself (i.e. other “Sides”, and sometimes Roman himself).

Though it’s also worth noting, through the course of the mirror monologue, the moments the camera/POV focuses on Virgil. Thomas makes the comment that he doesn’t know anything, least of all himself (and the focus on Virgil in that moment brings to mind that the reveal that Virgil used to be one of the Others). He also says “I know that if I don’t act on these feelings right now, I’m going to regret it” and again, we see a focus on Virgil. Because in this video thus far, Virgil is the one that has been keeping Thomas from “acting on these feelings”.

I’m not saying anything you all don’t already know. But this is sort of a “present the evidence before you state your case” kind of situation. Heh.

The vigilance and call-outs against lying that I mentioned earlier lends a certain credence to the confrontation that Roman and Virgil have with Thomas after he exits the bathroom. The fact that it is Virgil that initiates that confrontation I think is especially interesting. Furthermore, Virgil goes so far as to use the term “deceit” when he says “will deceit continue to be the answer to all of your problems?”. That term carries a very specific weight in this series. I don’t mean to suggest (necessarily) that Virgil is speaking directly about Janus. Time will tell when the script releases, but I don’t think Virgil means “Deceit”. But I also don’t think that it’s an accident that he uses that word (or that the team wrote the script having him use that word). Given that Virgil was absent in the last video, where Janus became a more accepted part of Thomas, this confrontation about Thomas’s pattern of behavior in this episode is a useful reminder for the character of Thomas and us as an audience that all Sides of Thomas need to be kept in check once in a while.

But relatedly, Thomas’s conclusion that “he’s better off without me” is an interesting echo of his on-going canonical crisis about whether or not he’s a good person. In this confrontation scene, Roman and Virgil establish that starting a relationship with lies means that the relationship itself won’t be a good one. The blow that seems to cause (or rather, bring to the surface) on Thomas’s self-esteem is an interesting turn--precisely because Roman is no small part of that self-esteem and the issues it’s having. I think it’s a useful and telling glance into some of Roman’s psyche that, while he may be reluctant to admit it, is directly influencing Thomas.

And that issue of self-worth that is first suggested by the aforementioned “he’s better off without me” gets echoed directly by Roman only a moment later. When he says “one more chance at happiness squandered”, the use of more suggests that he’s not just talking about talking to a cute boy at the mall. He’s talking about all the other chances at happiness that have been squandered--most recently, the callback. The fact that Roman follows it by saying “it’s probably for the best” is an indirect reflection of just a moment ago with Thomas’s “he’s better off without me”. They are, effectively, saying the same thing there. And it strengthens the notion that the comment from Thomas is really rooted in Roman’s self-worth issues.

Which is precisely why Virgil bein the one to shove Thomas forward to talk to the boy is such a big deal. Because Virgil--anxious, panicky (in this video) Virgil--essentially decides no. No, it’s not for the best. That chance of happiness matters, and is worth the perceived risk. What Roman wants matters. And Virgil backs that idea up with decisive, meaningful action more than just words. (I will never not be emotional about it).

And also... it pays off. And that’s so important for Roman. Because when was the last time that what Roman wanted paid off? I listed his perceived mistakes earlier. None of those, as far as I think Roman would understand, have paid off for him. It’s been a long time since what Roman wanted paid off and was seen as good by others, y’know?

I think that’s why Roman describes Virgil’s shove as “bravery”. I think it’s more than just Roman saying “I know that was scary for you and thank you for doing it anyway” (though there’s an element to that). I think Roman was afraid. I think calling what Virgil did an act of “bravery” might also be Roman saying “you were braver than I, and I am grateful for that”. Because Roman could have been the one to shove Thomas forward. He didn’t. Virgil��did. And for Roman, that’s maybe a sign that someone else still thinks that what he wants can be good and right and worth it.

(Side tangent that it’s also an interesting reflection back to that first episode when Roman claimed “rejection” as something he fears, and again in Fitting In when he acknowledges that Virgil has “been a little too familiar with rejection nad has had his fill”. Just another layer added to the continuing thematic thread about bravery and fear and rejection).

Right now, its impossible to know for sure exactly why this video was deemed as “essential viewing” for the broader narrative of Sanders Sides. Maybe Nico will be mentioned in videos going forward, or maybe not. But this video definitely seems to have significance for Roman’s character arc and his continuing development, particularly as it relates to his worsening self-esteem issues. I am beyond excited to see where exactly this leads us, and the broader narrative implications of this key moment for Roman (and Virgil too).

#sanders sides #roman sanders #sanders asides #sanders sides meta #sanders sides analysis #virgil sanders #sanders sides spoilers #ts spoilers #long post

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hellomynameisbisexual · 4 years ago

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Here's a shortlist of those who realized that I — a cis woman who'd identified as heterosexual for decades of life — was in fact actually bi, long before I realized it myself recently: my sister, all my friends, my boyfriend, and the TikTok algorithm.

On TikTok, the relationship between user and algorithm is uniquely (even sometimes uncannily) intimate. An app which seemingly contains as many multitudes of life experiences and niche communities as there are people in the world, we all start in the lowest common denominator of TikTok. Straight TikTok (as it's popularly dubbed) initially bombards your For You Page with the silly pet videos and viral teen dances that folks who don't use TikTok like to condescendingly reduce it to.

Quickly, though, TikTok begins reading your soul like some sort of divine digital oracle, prying open layers of your being never before known to your own conscious mind. The more you use it, the more tailored its content becomes to your deepest specificities, to the point where you get stuff that's so relatable that it can feel like a personal attack (in the best way) or (more dangerously) even a harmful trigger from lifelong traumas.

For example: I don't know what dark magic (read: privacy violations) immediately clued TikTok into the fact that I was half-Brazilian, but within days of first using it, Straight TikTok gave way to at first Portuguese-speaking then broader Latin TikTok. Feeling oddly seen (being white-passing and mostly American-raised, my Brazilian identity isn't often validated), I was liberal with the likes, knowing that engagement was the surefire way to go deeper down this identity-affirming corner of the social app.

TikTok made lots of assumptions from there, throwing me right down the boundless, beautiful, and oddest multiplicities of Alt TikTok, a counter to Straight TikTok's milquetoast mainstreamness.

Home to a wide spectrum of marginalized groups, I was giving out likes on my FYP like Oprah, smashing that heart button on every type of video: from TikTokers with disabilities, Black and Indigenous creators, political activists, body-stigma-busting fat women, and every glittering shade of the LGBTQ cornucopia. The faves were genuine, but also a way to support and help offset what I knew about the discriminatory biases in TikTok's algorithm.

My diverse range of likes started to get more specific by the minute, though. I wasn't just on general Black TikTok anymore, but Alt Cottagecore Middle-Class Black Girl TikTok (an actual label one creator gave her page's vibes). Then it was Queer Latina Roller Skating Girl TikTok, Women With Non-Hyperactive ADHD TikTok, and then a double whammy of Women Loving Women (WLW) TikTok alternating between beautiful lesbian couples and baby bisexuals.

Looking back at my history of likes, the transition from queer “ally” to “salivating simp” is almost imperceptible.

There was no one precise "aha" moment. I started getting "put a finger down" challenges that wouldn't reveal what you were putting a finger down for until the end. Then, 9-fingers deep (winkwink), I'd be congratulated for being 100% bisexual. Somewhere along the path of getting served multiple WLW Disney cosplays in a single day and even dom lesbian KinkTok roleplay — or whatever the fuck Bisexual Pirate TikTok is — deductive reasoning kind of spoke for itself.

But I will never forget the one video that was such a heat-seeking missile of a targeted attack that I was moved to finally text it to my group chat of WLW friends with a, "Wait, am I bi?" To which the overwhelming consensus was, "Magic 8 Ball says, 'Highly Likely.'"

Serendipitously posted during Pride Month, the video shows a girl shaking her head at the caption above her head, calling out confused and/or closeted queers who say shit like, "I think everyone is a LITTLE bisexual," to the tune of "Closer" by The Chainsmokers. When the lyrics land on the word "you," she points straight at the screen — at me — her finger and inquisitive look piercing my hopelessly bisexual soul like Cupid's goddamn arrow.

Oh no, the voice inside my head said, I have just been mercilessly perceived.

As someone who had, in fact, done feminist studies at a tiny liberal arts college with a gender gap of about 70 percent women, I'd of course dabbled. I've always been quick to bring up the Kinsey scale, to champion a true spectrum of sexuality, and to even declare (on multiple occasions) that I was, "straight, but would totally fuck that girl!"

Oh no, the voice inside my head returned, I've literally just been using extra words to say I was bi.

After consulting the expertise of my WLW friend group (whose mere existence, in retrospect, also should've clued me in on the flashing neon pink, purple, and blue flag of my raging bisexuality), I ran to my boyfriend to inform him of the "news."

"Yeah, baby, I know. We all know," he said kindly.

"How?!" I demanded.

Well for one, he pointed out, every time we came across a video of a hot girl while scrolling TikTok together, I'd without fail watch the whole way through, often more than once, regardless of content. (Apparently, straight girls do not tend to do this?) For another, I always breathlessly pointed out when we'd pass by a woman I found beautiful, often finding a way to send a compliment her way. ("I'm just a flirt!" I used to rationalize with a hand wave, "Obvs, I'm not actually sexually attracted to them!") Then, I guess, there were the TED Talk-like rants I'd subject him to about the thinly veiled queer relationship in Adventure Time between Princess Bubblegum and Marcelyne the Vampire Queen — which the cowards at Cartoon Network forced creators to keep as subtext!

And, well, when you lay it all out like that...

But my TikTok-fueled bisexual awakening might actually speak less to the omnipotence of the app's algorithm, and more to how heteronormativity is truly one helluva drug.

Sure, TikTok bombarded me with the thirst traps of my exact type of domineering masc lady queers, who reduced me to a puddle of drool I could no longer deny. But I also recalled a pivotal moment in college when I briefly questioned my heterosexuality, only to have a lesbian friend roll her eyes and chastise me for being one of those straight girls who leads Actual Queer Women on. I figured she must know better. So I never pursued any of my lady crushes in college, which meant I never experimented much sexually, which made me conclude that I couldn't call myself bisexual if I'd never had actual sex with a woman. I also didn't really enjoy lesbian porn much, though the fact that I'd often find myself fixating on the woman during heterosexual porn should've clued me into that probably coming more from how mainstream lesbian porn is designed for straight men.

The ubiquity of heterormativity, even when unwittingly perpetrated by members of the queer community, is such an effective self-sustaining cycle. Aside from being met with queer-gating (something I've since learned bi folks often experience), I had a hard time identifying my attraction to women as genuine attraction, simply because it felt different to how I was attracted to men.

Heteronormativity is truly one helluva drug.

So much of women's sexuality — of my sexuality — can feel defined by that carnivorous kind of validation you get from men. I met no societal resistance in fully embodying and exploring my desire for men, either (which, to be clear, was and is insatiable slut levels of wanting that peen.) But in retrospect, I wonder how many men I slept with not because I was truly attracted to them, but because I got off on how much they wanted me.

My attraction to women comes with a different texture of eroticism. With women (and bare with a baby bi, here), the attraction feels more shared, more mutual, more tender rather than possessive. It's no less raw or hot or all-consuming, don't get me wrong. But for me at least, it comes more from a place of equality rather than just power play. I love the way women seem to see right through me, to know me, without us really needing to say a word.

I am still, as it turns out, a sexual submissive through-and-through, regardless of what gender my would-be partner is. But, ignorantly and unknowingly, I'd been limiting my concept of who could embody dominant sexual personas to cis men. But when TikTok sent me down that glorious rabbit hole of masc women (who know exactly what they're doing, btw), I realized my attraction was not to men, but a certain type of masculinity. It didn't matter which body or genitalia that presentation came with.

There is something about TikTok that feels particularly suited to these journeys of sexual self-discovery and, in the case of women loving women, I don't think it's just the prescient algorithm. The short-form video format lends itself to lightning bolt-like jolts of soul-bearing nakedness, with the POV camera angles bucking conventions of the male gaze, which entrenches the language of film and TV in heterosexual male desire.

In fairness to me, I'm far from the only one who missed their inner gay for a long time — only to have her pop out like a queer jack-in-the-box throughout a near year-long quarantine that led many of us to join TikTok. There was the baby bi mom, and scores of others who no longer had to publicly perform their heterosexuality during lockdown — only to realize that, hey, maybe I'm not heterosexual at all?

Flooded with video after video affirming my suspicions, reflecting my exact experiences as they happened to others, the change in my sexual identity was so normalized on TikTok that I didn't even feel like I needed to formally "come out." I thought this safe home I'd found to foster my baby bisexuality online would extend into the real world.

But I was in for a rude awakening.

Testing out my bisexuality on other platforms, casually referring to it on Twitter, posting pictures of myself decked out in a rainbow skate outfit (which I bought before realizing I was queer), I received nothing but unquestioning support and validation. Eventually, I realized I should probably let some members of my family know before they learned through one of these posts, though.

Daunted by the idea of trying to tell my Latina Catholic mother and Swiss Army veteran father (who's had a crass running joke about me being a "lesbian" ever since I first declared myself a feminist at age 12), I chose the sibling closest to me. Seeing as how gender studies was one of her majors in college too, I thought it was a shoo-in. I sent an off-handed, joke-y but serious, "btw I'm bi now!" text, believing that's all that would be needed to receive the same nonchalant acceptance I found online.

It was not.

I didn't receive a response for two days. Hurt and panicked by what was potentially my first mild experience of homophobia, I called them out. They responded by insisting we need to have a phone call for such "serious" conversations. As I calmly tried to express my hurt on said call, I was told my text had been enough to make this sibling worry about my mental wellbeing. They said I should be more understanding of why it'd be hard for them to (and I'm paraphrasing) "think you were one way for twenty-eight years" before having to contend with me deciding I was now "something else."

But I wasn't "something else," I tried to explain, voice shaking. I hadn't knowingly been deceiving or hiding this part of me. I'd simply discovered a more appropriate label. But it was like we were speaking different languages. Other family members were more accepting, thankfully. There are many ways I'm exceptionally lucky, my IRL environment as supportive as Baby Bi TikTok. Namely, I'm in a loving relationship with a man who never once mistook any of it as a threat, instead giving me all the space in the world to understand this new facet of my sexuality.

I don't have it all figured out yet. But at least when someone asks if I listen to Girl in Red on social media, I know to answer with a resounding, "Yes," even though I've never listened to a single one of her songs. And for now, that's enough.

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trentsleatherboots · 4 years ago

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Carach Angren, interview translation Dutch > English

Published in the magazine Rock Tribune, edition June 2020, nr. 192.

Text by Morbid Geert. Fotos: Stefan Heileman.

WILL THE REAL FRANKENSTEIN STAND UP NOW?

At the end of last year you could already read about how we kept close watch on Carach Angren. Back when they were still heavy in the production process, on Halloween Day we went over to Ardeks homebase and studio to see the first glimpse of their new work and later Rock Tribune got invited to listen to the album in Germany. Now it's almost time for 'Franckensteina Strataemontanus' to be shown to the world and that's why we wanted to take an even deeper look. Weaponed with an oil lamp and shovel we went onwards towards the graveyard to uncover the soul stirrings of Ardek. (Text: Morbid Geert)

---

Ardek, the last time I talked to you the songs were still in a very early stage and what we heard was more of a pre production. Did you tinker more afterwards to come to an end result or did you purposely keep your hands off to avoid overproduction?

"In terms of song structures and lyrics not much changed on the premature songs that you heard. What followed however was another production-finish, where especially the mix and mastering made a big change. That last stadia really lifted it all to another plane and you can really hear that."

A FRESH LOOK.

As far as I knew, Patrick Damiani was still fully onboard working on the songs at Tidal Wave Studio in Germany. How important was it for you to pull an extra producer into the process? After all, you are very much at home with that as well? Or maybe not as much as you'd like?

"Back then he worked on drumediting and played the basslines, but his role is way bigger than that. We've worked together a lot and now we're doing something for L'Âme Immortelle, where we vibe together perfectly and know exactly how to handle such a project. When he takes on production for Carach Angren however, I notice how much better he controls it. He has so much knowledge about drum sounds, mixing,... and he's really specialised in it. It is nice to add that knowledge, it brings a lot of added value. These days a lot of bands record at home and that all makes it a lot cheaper, but a good producer brings a lot of experience and equipment, it ends up with a whole different result. Besides, we left the mix and mastering to Robert Carranza."

That last one is a pretty big name, who among others worked with Marilyn Manson. I can imagine that has a big impact on your budget, but was it worth it?

"I think so. When I listened to 'Killing Strangers' by Marilyn Manson on headphones and heard the bassline, it went so deep that it turned me upside down. Apparently Robert Carranza mixed that album. Furthermore he does a lot of different things such as make latin music and win grammy's, but in the extreme metal scene he is totally unknown. However, he wanted to help himself to our record and yes, the price was steep, but I managed to convince both the band and the label… even though that wasn't without some doubts, since all eyes were on me for a bit. I had a good feeling about it and shared it, with the result being having a record now that doesn't sound like the others. He had a fresh look on our work and thus we could avoid the recognisability of the average metal producer. There are too many records that when you hear them you know exactly who had their hands on them and in which studio they were recorded. Contrary to what you might think, there was constant contact with him (Robert) and a lot of talking about how we wanted it to sound. In particular the clarity of the sound is massive and gives it a bit more of a cinematic effect. There was no compression applied where everything sounds constantly loud and where as a listener you'd get easily tired, but the dynamics were preserved."

DIDN'T FEEL LIKE IT ANYMORE.

To refer back to Patrick Damiani: if he does so much and even plays the basslines, do you see him as sort of a 4th band member or is that just a bit too much credit?

"That's not how we see him. He's an amazing producer and musician, who gives us his opinion and helps us out. On the other hand he is not part of the creative process and he isn't on stage with us… but it is a relationship that's been going on for 12 years and something we get a lot out of."

Now I'm saying '4th band member', but after the recordings of your new record ended, your brother and drummer Namtar left the band. Can I ask what happened and if you saw this coming, or whether it was a bolt from the blue?

“In November he recorded his drum tracks and back then everything went fine, but then there came an offer to play at '70000TONS OF METAL'. Since we always looked at the financial side of the band together, we talked about the offer and he was immediately against it. I thought that was strange and to me it seemed better to sit around the table with three to talk about it. Then it became apparent that he'd been wrestling with it for sometime and in brief didn't feel like it anymore. We offered him to take a break of a few months instead of just throwing away what we've worked for the last 20 years, but that wasn't a solution. It wasn't an easy decision, but afterwards we saw it had been an issue for a long time and at that point you rather put a stop to it. That hit us hard, but you can never force somebody to stay in a band. To keep our motivation high we played '70000TONS OF METAL' after all with Michiel van der Plicht of God Dethroned as replacement. That pleased us all and he's willing to help us out in the future."

Michiel van der Plicht in indeed an amazing drummer. Are there any plans to keep him in the band permanently or is this an emergency solution and is there an offer still standing?

"I discussed that extensively with Seregor, but together the two of us stay the core of the band. We already have an extra guitarist live and in the studio we will definitely have those people join again, but all decisions will be made by us two in the end. We want to avoid that other people leave a mark on the band, causing us to lose our individuality (personality). It's about so much more than just making music: the stage decor, our own stage outfits,... for us it is very clear and it's going well, so we only need help to fill in with the music in the studio and during lives."

MILKED OUT?

Let's get to the core of business. At the end of this month is the release of your 6th album, 'Franckensteina Strataemontanus'. Now lends the Frankenstein story itself perfectly for a horror metal band, but I wondered if the story isn't too milked out by other bands… unless you do it with a completely new vision. After all, that's what you did with 'This Is No Fairytale', where Hans and Gretel were transported to the now and the horror became bigger than ever.

"When we started, I had the same feelings about the Frankenstein story, but there's a twist to it. Everything started for me as a dream, where I flew through an old house. There, I heard dissonant piano tunes and I got sucked into a room where a portrait of an old man hung on the wall. Later I made a drawing of that portrait and it got stuck in my head. When I began doing research for the album months later and even read Mary Shelley's amazing book 'Frankenstein', I found out that there is a theory that when she wrote her book she was influenced by Johann Konrad Dippel, an 18th century alchemist. Then when I looked him up, he turned out to look like what I had seen in my dream, which personally motivated me to dig deeper. Dippel is an unknown figure for the masses and that's why it seemed fascinating to us to do something with it. There is fiction and truth mixed in our story. By the way, Dippel lived in Frankenstein Castle near Darmstadt, where he was looking for the elixir to eternal life. He was also a theologist, but he clashed with the church and was therefore cast away. Because he also did experiments on cadavers and sought life extending resources, he would've inspired Mary Shelley for her story. What we did was make a concept around the source of her story instead of following the clichés. That monster with screws in his head, we've seen it already before…"

Yet it doesn't seem like a concept album, because I notice that you address very diverse subjects.

"It is definitely a concept, since all stories are connected to one another, even if it's not noticeable. 'Operation Compass' is about the North-African desert war between the Brits and Italians. In official documents the Brits were ordered that if there were to be a fallback, to make all sources unusable for the enemy with 'Dippel's oil' (a nasty substance that made water undrinkable but did not poison it, so it was in battle with the Geneva protocols). In our story it leads to a demonic outburst that went towards the soldiers. So you see, Dippel comes back throughout different moments in history. 'Der Vampir von Nürnberg' is about a real figure that is still alive. He committed necrophilia, killed people and drank their blood, … but is now at large. In our story he lost his ways after reading Dippel's books, which once again links it with the core story. 'Here In German Woodland.', the opening song, is about a boy that gets lost and dies in the forest surrounding Darmstadt, but later comes back and eats his parents. In the closing song 'Like A Conscious Parasite I Roam' it all comes full circle: Dippels life elixir only works for his soul, and his body rots away, so he searches for a guest body and his spirit creeps into that little boy."

In a few songs, some German lyrics show up. Is that besides the concept also because of the grim sound of the language or is it simply because you live so close to Germany and it has a certain impact?

"The subject lends itself to it of course and Seregor speaks German very well, which made things easier. And yes, the sound does play a certain role. 'Der Vampir von Nürnberg' sounds way better than the English translation, it immediately sets the right tone."

Some of these stories are the result of reality, but are often at least as gruesome as many fantasy stories: such is the bonus song 'Frederick's Experiments' about the sick science experiments of emperor Frederick II, a man who apparently was not inferior to the Nazi doctors?

"Yes, you can say that he set a good example! Seregor came with the idea and somewhere the story did fit within the total picture, even though we couldn't fit it into the big story. Our label Season Of Mist however asked for a bonus track and that's how we managed to include the song after all."

CROSS-POLLINATION.

What I noticed with the first sneak preview, but what has become clear now, is that Carach Angren this time worked very innovative musically. Watch out, it is immediately clear that it is from Carach Angren, since you already have your own sound, but at the same time there are noticable things we haven't heard from you before. The title track has a considerable industrial touch and we also hear something from Laibach in it, just like 'Monster'. Is that something you've only recently been getting into or have you maybe secretly been an industrial fan for years?

"It is more recent, even though I've always been appreciative of it. By also collaborating with Till Lindemann for his project Lindemann, I also came into contact with it more and started taking it up unconsciously. Afterwards I got to experiment with it for my solo project and that's how I came up with the song 'Monster'. Seregor tested some things out for singing for that song and it just made sense. It was very cool to experiment like that, which you should when you're making a record based on Frankenstein…"

It became a musical experiment instead of scientific experiment, but you do create a parallel, yes.

"Inside Carach Angren we like to put a lot of variety in the songs and if you can also give that a different look, then that is something you should try. We ourselves are absolutely crazy about it! Some fans will have to swallow when they hear those songs, but for them there are plenty of old school songs on it."

To come back to Lindemann: he and Peter Tägtgren got you involved since you are so good with classical orchestras and arrangements, but in the end it seems to have become two-way traffic, doesn't it? Have you learned a lot from it and developed other visions?

"We worked together in a very awesome way and you do learn a lot from that. You grow as a componist, as musician and as producer. It made me compose more compactly and I sometimes pursue slightly less complex songs, like the two more industrial based songs. Always great to be able to take a different approach."

Both those songs have an easier buildup, but in the other songs you go back to the complexity that you left out purposefully 'Dance And Laugh Amongst The Rotten'. Is it a way to generate more contrast?

"In some ways yes, but it depends on how it works out in a song. We tried to make the title track a bit longer, but then the effect fell away and it didn't feel right anymore. But strangely enough I write a complex song like 'Der Vampir von Nürnberg' easier than a less complex piece like 'Monster'. With less arrangements it quickly becomes hard to keep it exciting(engaging), but seeing as you want to keep the concept to level, you need to have enough variation. The industrial songs sound a bit less complex, but there is a lot happening in the background and they are full of tiny details that make the difference."

MIXING COLOURS.

With the new approach you have opened some doors to maybe do more experimenting in the future. Is that actually your goal or is there nothing reasoned behind it and do such new influences pop up sooner when they seem to be able to improve the song?

"It all almost comes down to what the concept of the album requires. Back when we wrote 'Death Came Through A Phantom Ship' we added swirling waves and custom/adapted sounds to it. With the new record the 'marching' of the pulsing industrial beat seemed to work the best with our Frankenstein theme. You have to see it like a painter who is mixing colours to make a new colour to fit his vision. We don't do any different and we would love to experiment more in the future. If we see what we've already tried with singing now … in the long run we were completely out of control trying to do crazy things."

The singing is indeed a very remarkable part of 'Franckensteina Strataemontanus'. We always thought Seregor had a good black metal voice, but we were very impressed by the way he twisted his voice this time around and helped set the mood.

"We are very happy about that ourselves. He delivered an excellent job and we really pushed everything to get to that point. We actually took several weeks to make sure my home studio was in perfect condition and sometimes Seregor had to redo a certain part up to 10 times to get the result we wanted, but he did it without struggling. A lot of singers that ask so much from their vocal chords are dead on their feet after an hour, but then there is Seregor who gets through the day without complaining, even while screaming his lungs out. While recording 'Operation Compass' we did however find out it is better to record a deep grunt in the early morning, since your voice is still a bit slow and heavier from sleep.”

MUSIC AS A BOOST.

The whole corona crisis made it so that as a band it is way more difficult to promote an album now, since all concerts got cancelled. Did that have a big impact on Carach Angren or can you make it?

"I myself am very concerned with the people who are really affected by the disease and that is why I can partially ignore the inconveniences for ourselves. Nevertheless, it has a serious effect on the music industry, although that is secondary to me. We are dealing with a pandemic, people are dying and we all have to work to keep everything under control. In addition, it is strange to release an album in a full crisis, but we decided to go for it anyway. It's a cool record and we already started the promotion, so we just keep going. For now, tours are not planned, but that does not mean that we will now stream all kinds of performances to attract attention. We are not that type of band… what is a shame is that our plans for a very cool video clip are now also being abandoned. We had to go to Germany and there are also the social distancing rules, which make such a recording impossible. But should we really want that and turn it into drama? Of course it sucks to have to promote the release like this, but the whole world is just not what it was a few months ago."

Do you have any alternative ideas to bridge that gap? I know that you guys always have enough visual ideas and there already is a lyric video for 'Monster', but I can imagine that there is more to come.

"We are working on that yes, because last month we made one for 'Der Vampir von Nürnberg' and next month we might take another song in hand. We will keep doing those sorts of things together with some 'making of-' videos that we recorded in the studio, that way we can give the album some extra promotion. Nothing for us to worry about so… by the way, there is something about releasing a record in times like these. The people have been stuck at home for months and have nothing to do, so if we can give them a new piece of music to listen to to get through the day, then that is awesome too. It would be disappointing for the fans if we just put our new work on the shelf because of this pandemic. Every band should do what they think is best, but we had already started our press campaign anyway and we would also be a lot less driven if we only had to arrive 'with old stuff' within six months or later."

Carach Angren already has a few beautiful video clips which are build up with a real story and don't only have something musical to offer. In addition, there are also the lyric videos, where certainly those for the complete album 'This Is No Fairytale' with comic images by Costin Chioreanu stand out from the crowd. Have you never thought of bundling everything on a DVD?

"We've honestly never thought about that, but that's actually a really great idea! I think it would be nice to bundle everything together and that way we immediately remove some (away) from youtube. That can always be a good idea for the future."

LEARNING SCHOOL.

As songwriter of Carach Angren you may have previously absorbed a lot of influences that shaped you into the musician and songwriter you are today. Can you list the five most essential records or artists that shaped you personally and what exactly were their interests?

"That is a good question that doesn't let itself be answered very easily. In the classical field and orchestras I think Tchaikovsky and Stravinski are very important. They both had a lot of influence on me as a componist. Another important inspiration to me in that respect is John Williams (modern componist famous for his film scores for Star Wars, Jaws, Jurassic Park..) They helped shape me even more when it comes to layered composing, although I don't come close to what they do. As a child I followed keyboard lessons for 8 years, I did a year of conservatory and studied a year of music and media, as well as cinematic orchestration. Those last two were online, but on a serious level and you really had to write pieces for an orchestra. I learned a lot there, but ever since then I kept learning by actually doing it myself, looking through books and analyzing musical pieces. But if I hadn't gotten the theoretical basis I had as a child, I would've never been able to do this today. On production level I have to mention Nine Inch Nails and, something you'd might find strange, Michael Jackson! If you see how well their albums are produced, and how many layers are incorporated, it's amazingly well done! You can say about Michael Jackson's music what you want, but the way the songs are built up and how much dynamics are in there thanks to the arrangements by Quincy Jones, it is absolutely astounding. There is no lack of bells and whistles and sometimes, for example, the snare drum comes in in four layers, something you don't hear so loudly even in extreme metal. I mainly listen to those albums as an audiophile to analyze them and see what I can get out of it as a producer. Last week I checked the solo record of Roger Waters, in which I heard effects that seemed to be situated outside the loudspeaker field. Then I want to know how that is done and whether I can integrate it with Carach Angren. That kind of thing is the reverse of the compression they use too often today and you wonder why we don't all go in that direction anymore."

---

Translated by Jeordie/Trentsfishnets.

(For the record, if this interview already exists in English, I will just see this as translating practice C:)

#carach angren #metal #death metal #black metal #european metal #carach angren interview #carach angren 2020 #corpse paint #new black metal #Dennis Droomers #Dennis Seregor Droomers #Clemens Ardek Wijers #Clemens Wijers #Seregor #Ardek #Ivo Namtar Wijers #Ivo Wijers

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sodone-withlife · 4 years ago

Text

it's a sad song

heavily inspired by Hadestown, will feature lyrics from How Long? and Epic III. thanks to @yourlocalheartbreaker for indulging me and my rants about how much i love this musical

the musical's interpretation of Hades and Persephone's story is perfect for Hotch and Haley, so here is the self-indulgent cliche songfic. as usual, i did little to no proofreading so apologies for any grammatical/spelling errors. it's also more choppy than i'd like, but i really wanted to get it out so i can force myself to work on another angsty Hotch fic

warnings: canonical character death, non-canon character death, suicide

word count: 4k words

(And what has become of the heart of that man, now that the man is king? What has become of the heart of that man, now that he has everything?)

In the grand scheme of things, Hotch was lucky. He was further away from the bomb when it went off and only needed a day and a half in the hospital before he was back at the field office, taking the reins in handling the press and brass that was ready to tear Gideon apart.

The inquisition that followed in Virginia was vicious and by the end, Gideon was on indefinite medical leave and the unit was under the brass’s close scrutiny as Hotch took charge of the unit. As much as the word “temporary” was being parroted around in regards to the new chain of command, it was tacit knowledge that it was a permanent arrangement. A fiasco on the scale of Boston was enough to get an agent fired, and it was only Gideon’s seniority and excellent record that kept him with the bureau.

For Hotch, Boston and the months following only reinforced three lessons that were already hardwired into his brain:

Do not break and do not allow yourself to bleed where others can see, for there are always sharks waiting to tear you apart.

(Give them a piece and they'll take it all Show them a crack and they'll tear down the wall)

Nothing is certain. Even the strongest, the smartest, the most experienced, can fail. Do not fall victim to your own hubris, for it will be your undoing.

(Lend them an ear and the Kingdom will fall The Kingdom will fall for a song)

Death awaits everyone. It takes without mercy or regard for the lives left behind.

He was the new face of the BAU within the bureau, and even his prosecutorial and investigative record could not help protect the team from scrutiny.

So he straightened his spine and hardened his already severely sharp features, throwing himself into work and restoring the unit’s reputation.

Then Hotch came home one day to Haley’s brilliant smile and delighted excitement, and for a moment, he was reminded of the first time he talked to her nearly twenty years ago, when he told her he was quitting his smoking habit.

He had frozen when she first approached him in his dark corner a few weeks after school had resumed in the fall. She had smiled amusedly, his social ineptitude clear as day as he struggled to find words to greet her, to apologize for seeming like a creep over the summer when he first saw her outside on the sports field coaching younger students through vocal warmups before they started rehearsing the musical that was being put on that year, only to completely blank she plopped herself down next to him with her own school bag and lunch.

By the end of that day, he had convinced himself it was only going to be a one-off thing, that she wasn’t going to come back. If he had been honest with himself, part of him, the part that knew so intimately that his mother’s skin only remained free from bruises after his innocent baby brother was born was because his damned father finally had a son he could look at without being reminded of his self-hatred, wished it was.

But then she came back the next day, the day after that, and the day after that, apparently content to sit beside him in silence only broken by periodic comments about the going-ons in her life and the musical. And she continued going to sit next to him, even as he watched as others tried to warn her away, tried to physically guide her away from the bleachers.

What was stranger, he thought, was that she stayed even in spite of his silence, and in spite of his vices—he could tell she didn’t like his habit, but she didn’t comment. She just kept him company.

It was a few weeks into this arrangement, when he saw his still mostly full pack, that he realized that he hadn’t itched for a smoke during lunch for weeks, not while she was there and talking to him in ways he’d never been talked to before.

Sometime later, as the number of cigarettes in the pack remained unchanging, as the pack itself went untouched in his schoolbag, he finally threw it away.

That was the first time Hotch talked to her, to tell her that he’s giving up the habit. That small, but no less proud or bright, smile that spread across her face, he decided, was something he wanted to see again.

Slowly, he started talking more, and on good days, the two made conversation on topics ranging from classes to their favorite books all the way to whatever shenanigans Sean or Jessica was getting into. On other days, on bad days, the silence was never awkward, and she simply kept him company as he struggled to control the storm in his mind.

Those were the days his fingers itched for a cigarette, and those were the days she introduced to him a new book that he would finish within the day. The next day at school, they would once again be stuck in an in-depth conversation about the characters’ flaws and the absurdities of the antagonists, and the itch would be gone.

And it went on like this, even after he threw all caution and his doubts to the wind and asked her out on the first day of their senior year, even as they faced the townspeople’s questions about why such a good girl like Haley Brooks was dating someone of the likes of Aaron Hotchner, who, despite being so coldly brilliant, was just that.

Cold.

Dangerously unfeeling.

Barely human.

But she had seen behind the facade and she knew that he loved with the fierce burning of a thousand suns. She knew how terrified he was of losing everything, that he would be left alone and floundering in a world that was not kind to the lost.

So she stayed, through college, as she went into teaching and him into law, as the final straw came and went and he registered for the Academy and started training, breaking records along the way before finally being assigned to Seattle and quickly climbed his way up the ranks until he caught David Rossi’s keen eye and transferred back to Virginia for the BAU.

Every night, Hotch came home to his wife, the light of his life, and was reminded of why he was working himself to the bone. That day, when he came home a month after Boston for Haley to press a simple rectangular box into his hands, the stakes were raised once again, and he knew he had to fight twice as hard.

Not only for his team, the people he protected so fiercely under that steel mask, but for his son.

Early mornings and late nights became the norm as he threw himself into more and more work, and slowly, the unit began to recover as Spencer Reid and Jennifer Jareau joined the expanding unit, as Gideon returned as a senior agent, and as Elle Greenaway was pulled from Seattle just like he was all those years ago.

Then Jack was born, and he used his accrued vacation time to finally take a month off. Never had he been more terrified than in the moment he first held his son in the delivery room, acutely aware of his tiny size and sheer vulnerability to the dangers of the world.

That night, sleeping in the hospital bed with an exhausted Haley and their child in his arms, he swore to do whatever he could to make the world safer for his family.

His world.

So he tried. He tried and he tried, forcing himself to leave when cases that required their presence in the field came in, forcing himself to take on the heaviest burdens of the job so his team might be protected and his family would be safe.

Maybe a part of him was trying to get him to stop in his tracks and look up, to take a moment so he could clearly see that he was being consumed by the chase.

Maybe if he was strong enough, he could have lifted the weight of his world just enough to change the direction he was going.

But he was scared.

Scared that the moment he looked up, the moment he let go, he would lose everything he was defending.

And so he did not stop—not as Elle was shot in one place she had a right to feel safe in, not as Elle resigned and prevented him from making a terrible choice, not at Reid was suffering in a hell that could only be created by the lure of potent drugs, not as the unit was once again put under scrutiny because of her and Gideon’s actions.

Not even as he was forgetting important appointments, as he was struggling to be present for the important events and early milestones in his son’s life.

Not until he was suspended for two weeks because of the vow he made to himself the moment he stepped into the leadership position to protect the team to the best of his ability.

He stopped, looked up, and put in for a transfer.

But it was too late.

(It's true the earth must die But then the earth comes back to life And the sun just goes on rising)

(I’ve had enough)

The divorce did nothing to lessen the weight on his shoulders or the utter terror he felt at the prospect of stopping.

As more and more cases started piling on his desk, he kept his back bent and head down for hours as he pushed himself to the brink with a mental image of the smile that had not dimmed for twenty years and of the only proof of his humanity at the forefront of his mind.

Every day, he bent lower and lower, but he never let himself crumble, forcing himself to remain Atlas as Kate fell and Morgan nearly followed in New York, Reid and Prentiss in Colorado—

—as JJ and Will brought their first child into the world and he promised to protect her as best as he could so she would not make the same mistakes he did—

—as he wrangled politicians and major corporations in the aftermath of him fulfilling the promise he made to Megan Kane—

—as he called in favor after favor to get to the Vatican so Prentiss could get justice for her friends—

—as he compartmentalized as best he could when he found out about the anthrax attack at a public park he knew Haley and Jack frequented whenever they visit her parents’ house and when Reid got infected—

Then the Reaper returned after ten years of silence and ten years of being a silent spectator in Hotch’s nightmares to become an active participant in his night terrors for months.

But the night Hotch returned to his apartment with the intent of pulling out a glass of scotch and staying on his couch with a book, those dreams that left him nearly paralyzed with fear every night became his reality.

That night, as his team was sleeping in their beds, dead to the world while he was slowly bleeding out from nine stab wounds and floating in and out of consciousness in his own apartment, he only felt fear—fear for the team, fear for Haley, fear for his son.

He faded into unconsciousness with the expectation that that was it, that his hubris finally caught up to him.

Less than twenty-four hours later, Hotch was staring at the dried streak of red on the photo of his whole world and wondering if he had made his way into hell without realizing it.

When Haley and Jack visited him in the hospital, he could barely look at their faces, not wanting the scared and confused expressions they wore to be the last memory he might have of the two people whose lives he sought to protect in throwing himself into work but ended up putting in danger.

Then they were walking away, and he felt his walls slowly building themselves back up to a height and with fortifications that he had not needed since he last wore them in his youth to protect himself against the people in his hometown who had treated him with suspicion and derision.

The months following the day his world was ripped from his weakened grip was its own brand of hell, and more than once he wished he had been less of a coward and let himself look up from his chase.

Soon he was stepping down and ignoring all reason as he threw himself back into work yet again, wearing a facade that his teenage self would have been proud of while desperately trying to fulfill the promise he made Haley, that he would spend the rest of his life making everything up to her.

But of course, life has a funny way of reminding people of the promises they made and the important lessons they have learned at the worst times.

Suddenly, the sound of three gunshots was ripping through his head.

Suddenly, he was forcing himself to look away from Haley’s body, strewn on the floor like a doll with its strings cut, forcing himself to keep it together so he could clear the room.

Suddenly, he was straddling George Foyet and unleashing upon him years of pent-up hurt and anger that he had never allowed himself to feel in favor of remaining strong for the people he loved so fiercely.

Do not break and do not allow yourself to bleed where others can see, for there are always sharks waiting to tear you apart.

Nothing is certain. Even the strongest, the smartest, the most experienced, can fail. Do not fall victim to your own hubris, for it will be your undoing.

Death awaits everyone. It takes without mercy or regard for the lives left behind.

That day, Hotch was reminded of all three statements that he swore to live by after Boston.

Foyet was witness to his unraveling and poked and prodded at him, so much so that he uncovered the rage he inherited from his father and had vowed long ago to never express.

His hubris, his confidence in assumptions that had been made so many times in the past, his confidence that denying the deal that had been offered to him just over a year ago was the right thing to do, cut the threads of over ten people far too early.

Haley was lost to him.

Forever.

But in the years afterward, as Hotch found himself stuck in his head and mentally removed from the team’s present more and more often, he wondered if that was actually the moment that he lost her.

Perhaps the time he had to fly out to Mexico on his birthday weekend was the start and the stress of his suspension the catalyst.

Was he simply too destructive and too desperate to have a happy ending? Was anyone closely associating with him doomed to fall along with him?

Why else was his mother spared from bruising when she was able to focus on raising Sean, a son whose looks did not remind his father of the sheer hatred he felt for himself?

Why else had his brother, who he was estranged from, done so well in life and remained so carefree?

For what other reason could Haley have been murdered than the fact that she was collateral damage in a psychopathic narcissist’s dream to cause him as much pain as possible?

For a short time, Haley’s murder had given Hotch a chance to look up, to free himself from all the responsibilities he had taken on, but it ultimately only served to increase his fear and paranoia. The team had seen the tail end of his unraveling in that house, and he knew it had shaken them to the core, so the walls remained up. Strangers in the street were unsubs, and he was never far away from a weapon if he could help it, always fearing that he would be too late to be of any help.

Four years to the day he locked himself away, he was seeing Haley smiling radiantly at him and wearing the same dress she was wearing when he proposed as she waved him over to sit next to her in an empty movie theater and he was struggling to articulate her beauty.

The large screen in front of them was playing scenes from his life in the years since she was stolen from this life. While her eyes were glued to the projection of his memories, he was left unable to tear his eyes away from her, the woman who had been such an integral part of his life, whose death he would probably never forgive himself for, whose presence in his world he had so desperately missed.

Then he was looking down from the screen when their moment was interrupted by the man who had become a permanent fixture in his night terrors and surprising himself with just how prepared he was to kill again to protect Haley like he had failed to do years ago. It was only Haley’s repeated assurances that finally got him to look back up at the screen, and in the next moment, he was once again experiencing his nightmares in real-time.

His voice cracked as he tried calling out for help, becoming more and more desperate as it became clear no one was coming, and then—

You’re not meant to.

They were suddenly standing face to face in that dark corner of the school where they first met. Hotch froze, rooted to the spot by the uncharacteristically cold expression on Haley’s face.

Where is he?

It wasn’t right, the hard tone, the way she was looking at him as if he were a stranger—

I don’t see Aaron Hotchner in front of me. Where is he?

Then her face softened, and she walked over to sit against the wall, uncaring of the dirt that was gathering on her dress. She stared at him pointedly until he made his way over to her and joined her on the ground. It was with great surprise that he felt her lean onto him, a long-forgotten and now unfamiliar warmth settling over him.

I want to tell you a story.

She told him the story behind an old song, the story about the queen who brought spring and summer with her every time she walked the earth and the king who ruled the shades and the underworld. And though the king loved his queen so desperately, every time she walked the earth while he remained in the underworld, he doubted that she would come back to him, for what could he offer her except his darkness?

So he worked and he threw himself into building a kingdom of metal and glaring bright lights that might compensate for his darkness, but he could not bring himself to look up for fear that he would lose everything the moment he stopped. In his fear, he kept his head low and his back bending, he locked his love away so it wouldn’t be a distraction.

(But what he didn’t know is that what he is defending was already gone.)

When Hotch found himself on the edge of a roof being held against Peter Lewis, who had a gun at his temple, facing the team’s desperate and fearful faces, he could only think about that story Haley had told him and the questions she had sent towards him right before he woke up in the hospital four years prior.

(Where is the treasure inside of your chest? Where is your pleasure? Where is your youth? Where is the man with his arms outstretched to the woman he loves with nothing to lose?)

That was the first time he could remember crying in front of Jack—when the two were clinging to each other in the hospital bed after yet another close call—and he resolved it wouldn’t be the last. It hurt to tear down the walls he had so meticulously built around himself over the course of nearly five decades, but to see the smile that his son inherited from Haley…

He could only lament that he hadn’t started earlier.

Slowly, he rebuilt his world, and it was filled with a warmth that hadn’t been since those golden years between first meeting Haley and becoming a prosecutor.

But then Peter Lewis came and turned his mind against him, forcing him to watch his nightmares come to life. And when he found himself at MPD’s gunpoint with Jack watching, his world cracked.

And in that interrogation room, watching the recording of Lewis’s testimony against him, his world cracked again.

And seeing his son’s withdrawn affect, trying to get him to understand that he wasn’t leaving, that he wouldn’t ever abandon him of his own free will—

Then they were called to Arizona and he found his name carved into a victim’s forehead, and he knew it was only a matter of time before the attacks would become more and more personal.

Favors were called in, calls were made, and all the while Hotch tried to keep Jack as ignorant as possible to the way his world was going up in flames around him. For a moment, it felt like the immediate aftermath of Boston, with all of the non-stop workdays and the scrutiny of the brass falling onto him and the struggle to balance his work and Jack—

And then one day, Jack disappeared in the middle of the school day.

A day later, Rossi and Luke were holding him back, trying to keep him away from the security checkpoint at the entrance of the Academy office buildings that had been taped off as a crime scene. His eyes caught a sudden movement, and all the fight left him when he saw the white sheet being unfolded and lowered over the small body that was on the gurney.

Maybe he was supposed to be more grief-stricken than he felt.

Maybe that’s why the team tip-toed around him in the months afterward—they were waiting for the sand to run out, for the inevitable breakdown that was expected from a man such as him.

And the sand did run out, only it wasn’t where any of them expected.

The cold metal digging into his temple provided him an odd moment of clarity as he thought about the questions he had asked himself—because that wasn’t Haley, she never looked at him with such cruelty, not even when he probably deserved it, it was always that voice in the back of his head, the voice that led him down the road to hell.

That treasure that he kept in his chest—it was buried in the ground with Haley and Jack.

His pleasure, his youth, it was left behind in his past with that first strike he felt from his father.

A smile spread across his face for the first time in months and he closed his eyes, a strange peacefulness settling deep in his bones. He flung himself backward, letting himself become dead weight as he suddenly heard shouts of horror through the sound of the wind rushing around him and Peter Lewis as they fell.

Didn’t you tell me to find the man who was reaching out with nothing to lose?

I found him.

I hope you and Jack waited for me, Haley.

#criminal minds #bau #aaron hotchner #haley hotchner #hurt aaron hotchner #aaron hotchner whump #aaron hotchner x haley hotchner #hadestown #tw death #tw character death #tw suicide

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technicallydeliciouspainter · 3 years ago

Text

How we got duped into cooking with gas

Gas stove actually unleash indoor air pollutants like soot, formaldehyde, carbon monoxide, and nitrogen dioxide. Beyond that, greenhouse gas emissions from fossil fuels like natural gas drive climate change. That’s why there’s a push now to electrify homes; electric stoves can run on clean energy.

The history of how “cooking with gas” campaigns have made a source of fossil fuel combustion in our homes seem completely innocuous gets pretty ridiculous. Leber dug up a rap video from 1988 that spends an entire four minutes hyping up gas stoves in rhyme. “Gas is so hot, it’s not on when it’s off / it’s the only way to cook, that’s what I was taught,” the rap starts off.

Fast forward to about two minutes into the video, however, and there’s a disclaimer in the lyrics that my colleague Sean O’Kane noticed: “Safe cooking begins with range location / avoid main traffic paths and also isolation.”

Today, gas groups pay social media influencers to advertise the supposed benefits of cooking with the fossil fuel, Leber reports. A public relations representative even posed as a resident in a neighborhood to stir up backlash against building codes that would discourage natural gas hookups in new construction, she writes.

You have to read the truly bizarre and alarming history of gas that Leber traces in her article. With many of us spending more time working and hanging out at home during the pandemic, it’s more important than ever to be aware of what we’re exposed to inside the place that’s supposed to be our refuge.

How to Deep Clean Your Gas Stove Burners Using Natural Cleaners

No library of kitchen cleaning tips would be complete without an article on deep cleaning gas and electric burners! Dirty, greasy gas burner grates and drip pans not only age the appliance, but they also can affect your cooking and present a fire hazard. Cleaning stove burners is simple when you use these tips from the pros. Read on to see how you can get your stove sparkling clean with gas stove cleaner made from natural ingredients.

How Often To Clean Gas Stove Burners

Tempered glass gas stove is easy to maintain. However, when the flow of gas gets blocked, the burner heads can’t burn efficiently. Check the gas burners for irregular flame patterns and yellow flames. These are the best indicators that it’s time to grab your gas stove cleaner and get to work. Other than that, cleaning your gas stove monthly should keep it working at its best.

Here’s what you’ll need to get your gas burners clean:

Dishwashing detergent

Baking soda

Non-abrasive scrub pad

Cleaning cloths

Old toothbrush

Paper clip

Cleaning Gas Stove Burners and Caps

If you have a cooktop with a pilot light, you’ll need to shut off the gas valve first. Gas burners have a removable ceramic cap that diffuses the flames. Beneath the caps, the burner head sits atop the gas tube. Remove the caps and the burner heads by carefully lifting them straight up. Avoid damaging the ignition electrode if you have one.

Soak the burner heads and caps in soap and warm water for 30 minutes. Scrub buildup from the burner heads and caps using a non-abrasive scrub pad and an old toothbrush. If the port openings are clogged, use a paper clip to clear them. Be careful not to damage the metal.

How To Clean Electric Stove Burners

Here’s what you’ll need to get your burner stand clean:

Dishwashing detergent

Baking soda

Non-abrasive scrub pad

Microfiber towel

Cleaning cloths

If your coils and drip pans have caked-on grime, turn the burners on for a few minutes to burn off residue. After they cool, wash the drip pans with warm soapy water and cover them completely with a mixture of 2 parts baking soda and 1 part water. Let the drip pans sit for 15 minutes.

While the drip pans are soaking, wipe down the stove coils with a damp cloth to remove stains and residue. Scrub the drip pans and rinse the baking soda mixture. Use fresh soapy water to wash off the residue, then rinse and dry. Buff them to a nice shiny finish with a microfiber towel. Now, on to your stovetop.

How to Clean Your Stovetop

For gas stovetops, use caution and avoid getting the electric starter wet. Degrease the stovetop by wiping it down with a damp cloth to loosen up the top layer of residue. Use a sponge and soapy water to cut through the grease and wipe down your stovetop with a damp cloth to remove the cleaning solution.

For tough buildup, turn to your homemade baking soda mixture. Spread your cleaning paste over the entire stovetop and let it sit for at least 15 minutes. Scrub the stovetop and wipe off the baking soda cleaner with a clean, damp cloth.

If you are intimidated by cleaning your gas or electric stove, or any other place in your kitchen, don’t fret. Call The Maids for a free estimate and get that good-as-new, clean home feeling you love.

Gas stove tops offer quick temperature control and are more affordable to use than electric stove tops.

The best material for a gas stove is one that can conduct and distribute heat evenly, and respond quickly to temperature changes.

For the best cookware for gas stoves, look for ones that are made of stainless steel with aluminum or copper layers.

The average household gas stove looks like it can handle quite a bit. Its sizable build, durable fabrication, rugged cast iron grates, all signify a hard-wearing kitchen appliance.

Still, as with any appliance, especially one used practically every day to prepare food, it’s important to handle gas stoves with care. This means making sure the stove is well-maintained, properly cleaned, and used with the right cookware.

While technically any pot or pan can be used on a gas stove, there are certain materials that are better suited for its open-flame style of cooking. We recommend our own stainless steel cookware for gas stoves. In this article, we’ll share what those materials are, explain why they work so well, and round up some of the best cookware for gas stoves available today.

The Features of a Gas Stove

Iron gas stove may be older than electric stoves, but they’re still the preferred option for a number of reasons.

First and most important is how easy it is to adjust the heat of a gas stove. A burner can be turned on and off in an instant. And every twist of the control knob creates an immediate corresponding change in the burner’s flame level — a lightning quick heat response that’s crucial in cooking.

Many cooks also like how the flames provide a convenient visual cue about the stove’s current heat setting. This can be a bit trickier to gauge with the dark glass tops of electric or induction cooktops.

An added bonus of the open flame is that it lends itself well to quickly roasting a few small items, like corn tortillas, bell peppers, or marshmallows.

Cooking with gas is also comparatively cheaper than cooking with electricity. Gas stoves generally run on propane, butane, petroleum, or natural gas, all of which are quite affordable. This gives gas stoves an advantage, not only for the cost-conscious home cook, but for anyone who finds themselves in the middle of a power outage.

As for cookware, gas stovetops easily accommodate a wide range. They can be used with just about any type of cookware material and shape — from small skillets to tall stockpots. Woks in particular were designed to be used over an open flame.

Flames, however, don't naturally distribute heat in a uniform manner. Some parts of a pan will have more contact with stronger flames than other parts, and the heat can be very concentrated, especially on a low setting.

Add this to a gas stove’s ability to change temperatures in an instant, and it's easy to see why it's so important to use cookware that can ably withstand these variations.

Choosing the Best Portable Gas Stove

Portable gas stoves are crucial gear for the gourmet on the go. These stoves usually come with a burner and a cooking surface, and they let you boil, simmer, sauté, and fry. If you can do it on a stovetop at home, you can do it on a portable stove.

Folding gas stove is different than a portable gas grills. Portable grills are similar to the grills you use at home. If you want to grill up hot dogs, chicken, or vegetables, you’re good to go with a portable grill. But sometimes you want more than your standard backyard barbecue menu, and that’s where a portable gas stove comes in. These have burners more like a traditional stove. They often come with containers to cook in, but many can also be used with other types of pots, pans, and skillets like a regular stovetop.

What Kind of Portable Gas Stove Do You Need?

The adventures you have on the trail aren’t like anyone else’s. Your needs and your priorities are unique. That’s why there are stoves for every type of outdoor explorer, from long-distance backpackers to car campers.

As you think about your needs, there are some specific features you may want to think about:

Size – If you’re hiking, you’ll want to save as much space and weight in your pack as possible. If you’re getting to base camp and setting up quickly, you might be more willing to haul a little more gear in the name of having the perfect home away from home.

Fuel type – There are three main liquid fuels. Each have their own considerations and limitations. Then there’s our Jetpower fuel, which combines the benefits of both.

Propane is the most common camp stove fuel. It’s high-performance, and you can find it just about everywhere. Propane is what powers the Genesis base camp system, and Jetlink technology lets you build a high-efficiency network of burners from one propane tank.

Isobutane has a lower boiling point, and it’s lighter. That means it’s easier to carry, and it’s more efficient in colder environments. However, it’s also more expensive.

Butane is the cheapest fuel for a portable gas stove, but it’s also the least efficient and reliable. It has the highest boiling point and the lowest vapor pressure of the three gases.

Jetpower is Jetboil’s engineered blend of propane and isobutane. It’s a unique mix that combines the best aspects of both, and it’s what we trust to power most of our stoves. Jetpower delivers high vapor pressure in all four seasons.

Cost – Cost is certainly a factor in choosing a portable gas stove, and there are options at every price point. However, it’s worth noting that sometimes paying more up front can save money in the long run. A high-efficiency stove means you’ll spend less on fuel over time, and durable equipment means you won’t have to buy a replacement for a long time.

Durability – Most people want a stove that holds up outdoors as well as they do. Knowing that you’ve got a well-engineered stove means knowing you’ve got a reliable one.

Number of burners – How big is the group that you’re feeding? If you’re solo, or just out with a partner, you can probably get away with one. But if you’re feeding a group, you may want a setup like the Genesis, which starts with two burners and can expand as your group dose.

Utility – What are you cooking? Are you boiling soup? Are you making a three-course meal? The meals you plan to cook may be the biggest factor of all in choosing the stove that suits your needs.

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stygiantarot · 5 years ago

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Modern Divination Methods

(originally taught in The Alexandria Archives on 4/9/2020)

Divination is most certainly one of the oldest practices of witchcraft. Reading omens, trancing for prophecy/scrying, and using tools to read symbols or patterns have all been used in some form for practically as long as society has existed. Many people are familiar with the mainstream ones: Tarot, runes, tea leaves, scrying, etc. Last time I went over some more unusual methods. Today, in light of the current global situation having many person’s stuck in limited spaces with limited supplies, I thought we could touch on some modern methods. Most require nothing more than what you already have at your fingertips!

We will explore in some detail:

Shufflemancy: divination using randomized songs

Stichomancy: divination using passages in a volume of writing

Traffic omens: Modernizing weather style omen reading using things like cars, stoplights, types of buildings passed, etc.

We’ll also touch on a couple other ideas you might try expanding on:

Online Randomizer: Think like the old web extension Stumble upon or even those websites that give you random quotes, images, names, etc.

Social Media Image Scrying: using a collection of images online to select a particular one for interpretation.

~~~~~~~

Shufflemancy

Many of you have probably heard of this method, likely even tried it! Shufflemancy is the method of divination that uses a platform or application to randomize a selection/playlist of songs for interpretation. You can either just hit the shuffle button once and go with that initial song or you can incorporate a more personalized experience by having the querent choose a number of skips to hit. It can also be tailored by using specific playlists you’ve compiled or certain genre options on applications like Spotify or Pandora.

You can expand on this with applications like Youtube to include videos. It’s my fantasy that platforms like Netflix or Hulu will come up with a “randomizer” or shuffle type option someday. It would be such a blast to play a random video and then use that for divination!

It’s important to take into account both the lyrics and the melody/mood of the music when your selection is being interpreted. If you aren’t sure if you’d be comfortable with that initially, I recommend building a “beginner’s” sort of playlist that is filled with songs you know very well and have personal feelings about. It makes the interpretation that much easier. Much like using a Tarot or Oracle deck that has art styles or characters you’re familiar with. You may also incorporate the visuals of a music video if there is one for the song. Shufflemancy usually works better for more expansive readings rather than just yes/no questions. Although you can sometimes get that sort of immediately “positive” or “negative” impression from many songs, assuming it doesn’t have both!  

This method is a therapeutic way to delve into some modern divination. The emotional and cathartic aspect can be soothing for both the reader and the querent. Not to mention the connection it builds as you share music between you. A feel good way to practice some divination with no physical tools beyond some technology access.

~~~~~~~

Stichomancy

This method of divination, sometimes called bibliomancy, uses a book or similar volume of writing to select passages from to interpret. Most people use the page number as the way to select, telling the querent to select a number between the first and last page (and what the highest number possible is). But there are intuitive methods as well. Using the physical shuffling of pages until it feels right to stop rather than a selected number. I find the latter method more useful when reading for myself and the former method more cooperative when I’m reading for others.

Like with shufflemancy, stichomancy is much affected by your personalizing of the tool. Use books you love! Use books that have specific genres for specific queries (a romance book for a relationship reading?). Use anthologies (short story or poetry collections) to get a variety of styles and language to work with.    

You can also use books that are more visual, like my headstone symbolism book pictured above. It makes the reading more akin to Tarot, but you can use captions to help expand on the interpretation. Practice trial and error with multiple books until you feel comfortable and confident that the results are accurate enough. The books I have in the photo I shared are the five I’m comfortable using in regular readings. I play with others for myself or specific queries for friends or family but often I’m not comfortable adding them to my regular repertoire. I have a series of dimestore style paperback mysteries that love to give readings for a dear friend but are useless in accuracy for anyone else. Books have personalities- if you didn’t already know that this method will teach you that fact quickly. You can also create your own specific stichomancy book using a notebook with numbered short passages and poems of that have significance to you. It can be an enriching process to collect all the passages to add to your own book and you can give them more specific and more easily remembered associations when compiling them yourself. Do remember to give proper credit/sourcing to all your collected passages though! 

You don’t need the largest book possible to be effective with this method of divination. “Desperation” and “Chilling Ghost Short Stories” are my thickest books, but honestly I’ve gotten more insightful readings from my two slim fairy tale volumes. It’s truly a method you make your own. I have friends who prefer to exclusively use books of poetry rather than fictional prose. That is good too!

A note: don’t feel like you need to have a physical book- I’ve had some success with ebooks! It can be trickier to do the flip-through for sure, but not impossible. 

 ~~~~~~~

Traffic Omens

I was probably about 8 years old when I first played the “If, Then” game. “If this next light turns green before we reach it, then I’ll get McDonalds for lunch.” A simple and almost childish game of course. But essentially, traffic omens. I expanded on it as I got older to include seeing certain makes and colors of cars during my commute. Or a certain number of common buildings like churches or banks. A type of architecture or statues featuring certain things. It can be as common or uncommon as your needs require.

This is a method that’s a little trickier to lay out for others in step-by-step ways because it is omen based and therefore requires you to select what works for your specific area/region, what type of commute based omens you feel comfortable noticing, what meanings they have for you, etc. And since this is omen-based, it isn’t exactly ideal for actively standard divination reading. It’s more ideal for a passive style, or personal predictions in your own life.

You can build a system that works for you and could predict luck in a career, prosperity in the home, or a new friend. I recommend starting a journal of the sort of “omens” you notice on your commute. Follow up with a short blurb about how your day went and how you felt. Then you can refer back to it and create the personal system from there. You can vary the more common with uncommon omens- just remember to ascribe the appropriate association. Seeing a certain number of bank buildings can be good for meaning an increase in general finances but you’d likely want something more uncommon like an usual make and model of a single car for snagging a dream job. You can also create variations for when you’re walking during your day instead of commuting! 

 A bit more involved but something interesting to experiment with in our modern society. And keep a bit of that childlike wonder!

~~~~~~~

Online Randomizer

Did you ever play with the web extension “Stumble Upon” back when it existed? The idea was that you installed it in whatever web browser you happened to be using and then clicked it to get directed to an entirely random website. Though it’s intention was obviously to curb boredom, it is definitely something interesting to try as a divination tool. Stumble Upon no longer exists (as far as I know), however there are similar extensions or webpages that let you do the same thing (this one comes to mind: https://theuselessweb.com). There is also options like Wikipedia’s “random article” ability that works along the same lines. This method is similar to stichomancy in that you’ll likely be working with text a lot of the time. But be aware of the medium you’re working with- a webpage is more than just a page in a book. What is its purpose? How well is it designed? What sort of visuals does it use? What emotional impressions do you get from it? It can start simple, but you can see the options are there for expanding an interpretation pretty elaborately. And again, a number of clicks can be incorporated if you like.

~~~~~~~

Multi-Image Scrying (Social Media Image Scrying)   

It’s hard for me to come up with a concise name for this. But it’s possible you’ve come across persons doing this on various platforms like Twitter, Tumblr, Facebook, etc. There is a selection of images in a format similar to a moldboard to view. The reader has a querent select an image that stands out to them and builds a reading based on the selection. Similar to a random draw from a Tarot or Oracle card with symbolism and art imagery lending itself to the interpretation. This can be great to try if you are into color symbolism or can easily see how certain artwork evokes certain emotions. Similar to what websites like Buzzfeed or the astro.com color chart quiz is! Almost like an alternative horoscope based on visual selections you are drawn to.

Be sure to ethically collect images for something like this if you plan on offering it to others. There are many websites that have royalty free images you can use for projects like this. Or you can even use ones you have yourself! These don’t have to be high art photographs, simple ones on your phone can absolutely work. The biggest goal is to make sure they are varied so a large amount of interpretation is possible.

There is a version of this using face down Tarot (or oracle) cards as well. You take a photo (or have video) of them face down and then have your querent select one at random without either of you knowing what it is. Then once you flip it over you can giving a reading based on that. It’s not especially different from a standard long distance Tarot reading except it can be used on a mass scale. For example, I’ve done this for my business Facebook or Instagram where I have a grid of numbered face down cards. Then I put the meanings of each card in the comments so someone can select the card before reading the comments and get a low-tech daily reading without an app.

~~~~~~~

Even though many of these methods evoke playful games of childhood, that doesn’t mean it doesn’t have potential as a valid form of divination. Many forms of divination in the past started as games or ways to pass time before they were built into the forms of divination we know today. A modern technique may seem “sillier” to traditionalists but just like younger generations are proving the further reaching use of modern technology to previous generations; it is time to prove the modern forms of divination as valid to the traditionalists!

#divination #stichomancy #shufflemancy #types of divination #witchblr #TAA #fortune telling #witchcraft class #witchcraft 101 #modern divination #modern witchcraft #witchy #modern omens

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doomedandstoned · 4 years ago

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Maestus Break The Day with Astonishing New EP

~Doomed & Stoned Debuts~

By Billy Goate

Photograph by SP

I liken Eugene, Oregon to a Hobbit's village with people tucked away here and there amidst forested hills and concrete pathways living their lives much the same as in other places, only the residents of this world are disproportionately musical in nature. It means that every so often novel projects will spontaneously burst to life, some eclectic and brilliant (see: Psyrup), others ferociously inspired (see: Yob), all of them intricately tied to the sights, sounds, and workings of Mother Nature.

This "Great City for the Arts and Outdoors" (as our hometown slogan goes) has led to some fascinating collaborations over the years, albeit many of them short lived. The ones that remain and persist, have the potential to blossom into something really special that can spread its seed to the entire world.

From my first encounter with them in the upper room of a local tattoo parlour on a spring night in 2015, MAESTUS struck me as a band to keep an eye on. Growing at their own pace and blooming in due season, this powerful and atmospheric death-doom outfit is on the move yet again.

We last crossed paths in January of 2019, when Doomed & Stoned debuted the music video for their second album Deliquesce. It has always struck me, then as now, how Maestus want the music to stand preeminently above all else, only hinting at personal recognition by lending us their initials paired with their respective instruments.

Maestus is:

SP: vocals, guitars SB: keyboards CL: drums NK: guitars KRP: bass, vocals

While this once bugged me as a music journalist and neurotic completionist wanting all the usual details, it doesn't any longer. Though I'm familiar with several of the musicians from bumping into them here and there at the various musical watering holes about town, I can say that Maestus lingers in my mind as an entirely distinct entity. This is because their music has a tendency to proverbially take on a life of its very own.

When you listen to the latest EP, 'Daybreak's Advent' (2020), for example, you're bearing witness to creation, not simply of a musical composition but of an entire reality built upon the foundation of sound. Starting with "Adamacy Feined," Maestus work methodically, to borrow an old Biblical stanza: "line upon line, precept upon precept, here a little and there a little." With each well-appointed note, Maestus unfurls the cosmos in intricate strands of sound.

True to their name, the world that Maestus reveals to us is touched by melancholy. Melancholy is not a singularly dark concept, either. It can be (and sometimes is) quite beautiful and its mysteries will be experienced differently when met by different ears. To my perception, the opening minutes of Daybreak's Advent perfectly conjure a crisp November's dawn with a landscape filled with trees of deep red and gold dancing in the early morning breeze, the green grass (yes, it stays green in Oregon all year 'round, folks!) still damp with the morning dew. The winds of drama stir the leaves about and, as the sun further makes its presence known, a certain worshipful awe overtakes the mood, scored by majestic voices layered together for warmth.

"My Hope, the Destroyer," turns the page on this two-track epic by introducing us to stern sound of strings (that's Andrea Morgan of Exulansis making a guest appearance), which preludes an eruption of growling vocals, stout guitars, and a hearty, tribalesque drumbeat. In my mind's eye, I see a flurry of activity in the air about me and suddenly become aware of a symphony of clackety insects scrambling beneath my feet, as well. The song's title intrigues me, as the music is full of exuberance and makes me wonder if it is meant to embody hope.

I've seen references to the destruction of hope in poems and literature, but here it seems hope is the great Destroyer itself. Perhaps that's why dad would always tell me as a boy, "Don't get your hopes up," wanting to spare me the pain of delayed (or ruined) expectations. We're told to keep hope alive as we grow older, but at what point does hope itself become a problem? Maybe it's not hope that is at issue, so much as it is my hope as the song title seems to imply. Something to ponder, perhaps, as you listen. Or better yet, enter Maestus' world with no expectations at all and a fresh perspective.

The band had this to share with us about the new record:

"Daybreak's Advent was recorded during December 2019 in our hometown of Eugene, Oregon with SP at the helm. The original track 'Adamancy Feigned' was drafted many years ago by NK, who later collaborated with SP, SB, and CL on string arrangements and composition. The EP is graced by the heartbreaking violin & viola work of Andrea Morgan, whose approach to the tracks helped to shape the cassette's atmosphere. Lyrics were co-written by KRP & SP.

"The release represents our synthesis of funerary melody and tectonic death-doom. But we'll never disregard our origins. Our inclusion of 'My Hope, the Destroyer' is a tribute to My Dying Bride, one of the world's greatest doom bands. This also marks our first (released) cover song."

Daybreak's Advent was recorded and mixed by SP at Sprout City Studios in Eugene and mastered by Markus Stock (Empyrium) at Klangschmiede Studio E, in Mellrichstadt, Germany. It officially releases on Friday, November 13th via Glossolalia Records (pre-order here). Now, it is time for your own day to break, as Doomed & Stoned brings you the new EP by Maestus in all its fullness.

Give ear...

Daybreak's Advent by Maestus

Lyrics

The advent of daybreak Poisons lips with a bitter wind The cowering night Bereft of light

Fractures in the ice Proclaim alluring calls Fractured in the ice Uphold alluring calls

Malady woven into ropes Measureless thunder Rends expanses starless Come, rescuing death Come, rescuing death

Fractured in ice In retreat from pain In dimming light In retreat from pain

Follow The Band

Get Their Music

#D&S Debuts #Maestus #Eugene #Oregon #Atmospheric #Doom #Death Doom #Metal #Glossolalia Records #My Dying Bride #D&S Reviews #Doomed & Stoned

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courage-a-word-of-justice · 4 years ago

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Akudama 2

I think one or two of the reviews I read of this anime picked up the names of each episode are based on movies and it seems they’re right. Namely, episode 1 is Se7en while episode 2 is Reservoir Dogs...so they’re crime movies specifically.

Kanto, Hikari etc. are the names of certain shinkansen.

Playing with your own blood in front of a no violence sign and smoking in front of a no smoking sign…LOL. So edgy and yet simultaneously so fun.

…*blinks* Welp, that OP was…an experience.

…hey, Funi are hypocrites…they gave HypMic a language warning, but not this???

Come to think of it, this anime is already exactly how I’d imagine the HypMic MTC episode to go…but with more cyberpunk, of course.

…why is “are you gay?” an insult…? I thought we were past this point years ago.

…what’s up with these puppets? The shark’s shirt says “fool” on it…

The rabbit and shark’s shirts keep changing every time they spin. When they talk about poverty/rich, the rabbit shirts says “poor” and the shark’s “rich” (or something of the sort). When the shark talks about Kansai burning to the ground, his shirt says “nervousness”.

Wow, Hiroshima vers. 2…Rabbit: peace/shark:war

Hoodlum’s just a sycophant…

…ooh, so if the girl and Hoodlum aren’t part of the plan…they could f*** s*** up?

LOL, plasma shield.

“Lil’ stick”? That’s a jitte! A non-bladed weapon which is still plenty nasty by itself!

Ken the 390??? I knew UraShimaSakataSen were on this ED and I knew this was a rap ED because I heard it in AMQ before I was able to finish this ep, IIRC, but I didn’t expect the guy from BATTLE BATTLE BATTLE....

Taiso 2

A-hah! I was right on the money! Tomoyo is an actress!

Oh, it’s senu. That’s an old-timey way of negating your verbs (it’s shinai now), hence “retires not”.

I think they’re hailing Minamino as the first winner in 45 years if I understood the newspaper article on the screen right…?

Does this mean Minamino will join Leo and Aragaki…? The OP shows him with them.

The AnimeLab translation of the title is “Duelling Samurai”, but the translation on the hardsubs is “Rock-Bottom Samurai”. The word donzoko indicates the latter is correct.

I think Leo said “Rei-chan”, not “Rachel”. It’s a bit hard to hear because he’s eating though…

I think there’s only one line where he doesn’t talk like a ninja in his intro to Ayu and that’s the line where he uses keigo instead.

I think the card says “acupuncturist Kawa????” (can’t read the last character due to Britney’s thumb), but…welp, Britney’s kinda disturbing in their (not sure what pronoun to use) own way. There also appears to be an address in Ikebukuro on the card.

I wouldn’t be surprised if Leo learnt how to speak Japanese fluently from ninja movies – that’s a pretty common anime trope, like in Tada-kun’s Rainbow Samurai case. “Always make your heart rainbow!” and all that jazz.

…so that’s what the card said - Kawamoto Orthopedic Clinic.

“My shoulder would…”

Seriously, this anime is just an excuse to look at Aragaki in different outfits (and also shirtless) and I love it, LOL. (I’m such a simpleton.)

Ah…sometimes, people ask me about the days when I used to learn piano and I bring up the fact there is such a thing as “overpractice”. I thought gymnasts would know when they hit their limits in that regard, but…I guess they don’t because they’re so consumed in their passion, or they can’t see what they’re doing to themselves (because it occurs under the skin and doesn’t ache)…?

Minamino is basically Yurio…LOL.

That’s a cute, laidback ED. It’s called Yume? (yes, with the “?”) and it’s by Hatena, hence Leo’s shirt saying “Hatena”.

Welp, I don’t think anything supernatural will happen anymore, but…it’s still a fun anime. They toned down BB too, which should please a huge number of reviewers who found him obnoxious.

Yashahime 3

Hitokon? Short for “hito control” (hito = person)? Update: It seems the name was also kanji for “flying head root”.

“…puts one to sleep.”

“…from a place like that?”

Can a Dream Butterfly steal memories?

Moriarty 2

“Colum” (sic).

These CGI horses are gonna bug me, aren’t they…?

There is this sentiment that people need to be “saved” from poverty, especially when it comes down to African and Asian people living in slums (these days). I get the same feeling from this.

Maou-jou 3

Free advertising for Maou-jou’s home magazine! LOL!

I was wondering why those things were called “Show the Mary”…remember Mezo Shouji from Boku no Hero Academia? Same pun (the walls have ears and the doors have eyes, or something of the sort).

LOL, instead of yokudekimashita (literally, “you did good”) it’s makura ni narimashita (“you made [the book] into a pillow”). The common sentence ending for verbs means it’s funnier in Japanese, I think.

…argh! I can’t read all of Alazif’s info because of the hardsubs! Umm…”Current worry: Princess” and “Worry of the past hundred years: Destroying the demon clan” is in the box next to the logo. “Powerful magic techniques are recorded inside this book, so the demons feared it and sealed it away as a ‘forbidden grimoire’.”/”Currently, under the control of the princess, they’ve been bestowing magic and magic techniques to her, so they haven’t been used for the purpose they were made for and they’re wishing the princess would use them for not-so-stupid things” (I don’t know what pronoun to give Alazif, so I gave them 3rd person “them)…ah, someone translated the stuff for me! (That saves me a lot of time.) So Alazif is a “he”, huh?

OHKO to Demon Cleric, LOL.

SAN…? Oh, “sanity”?

Oh, Demon Cleric’s ears are black goat ears. No wonder you can’t see ‘em.

This sword is like Ex from Princess, ‘Tis Time for Torture!

HypMic 4

From here until episode 6-ish, I’ll be paying extra attention to characters’ role language. I normally do that, but I picked this anime for an assignment because I knew it had a lot of examples…yes, you heard me right. An assignment! I should be happy, but I’m wondering if my taste is going to get roasted by the normies or if I’ve gone too far with my unabashed love…

I was discussing with some of my peeps in a Discord server and…is it possible MTR will get an ED from here on out if you divide the episodes up for an almost equal amount for each division? We’ll have to wait and see.

…Oof. I’m sort of scared for this episode. It’s gonna have swearing galore…and yup, there it is, right out the gate.

Wait, why not translate wakagashira? It just means “young head” or “2nd in command”.

…well, at least they got some variation in their swearing this time…?

Hmm, normally the translation is “rabbit cop” or something toned down like that. They dialled it up to “rabbity-ass cop”. (Yakuwarigo: Samatoki = na, on the whole = very, very slang – as a former naval officer, you would expect Riou to speak formally, but he speaks as casually as almost everyone else (yamero etc.))

I’ve never seen anyone refer to Samatoki as “Kashira”. *laser stares Rentei for guest VA roles*

(Yakuwarigo: Samatoki (?) = zo)

“…why don’t you ask the cops to deal with it?” – Uh, Samatoki? Jyuto is the cop. (Well, a cop.)

I still have no idea why they subtitle the laughing…

Wait, if there’s a casino…is Dice there?!

…yup, right on cue. I didn’t think Tom and co. would be there too.

Oh, LOL. HypMic is a tourist trap anime = see those buns Tom’s eating? They’re chuukaman (Chinese buns). Makes sense in Chinatown.

It took me several watches to realise who’d passed by, but it’s…MTC in formal clothes?! (You can see part of Jyuto’s face, just to confirm it.)

Why are they wearing glasses? Even Jyuto’s wearing different glasses to the usual, LOL.

I learnt how to do some of the casino stuff while trying to get a job as a gaming customer service assistant in a huge casino joint one time. In a sense, this brings me back to then. (Update: I mean, the sound of the roulette, the sight of the board, the chips and the like. That’s what takes me back.)

(Yakuwarigo: Dice slurs his words a lot, especially when yelling things along the lines of “Please lend me moneyyyyyyyyyyyyy!” This is also true in the game.)

Dice seems to have jumped straight to “Riou”, rather than “Riou-san”.

I wonder if anyone will ever elaborate on that incident where Dice and Riou met?

(Yakuwarigo: Samatoki speaks coarsely, but not outright swearing in the source language…for an example, he says kussotare when roped into being Jakurai’s “female counterpart” for the ARB Halloween event, but he doesn’t do anything of the sort here.)

Even Ramuda uses “san” with Samatoki, most likely to emulate how Samatoki calls himself “oresama” (but with lower formality).

Ramuda-chin? That’s new.

Yakuwarigo: Gentaro spoke normally, just with desu/masu. Maybe the “perchance” was to make it blend in with his -de aru?

Uh-oh…Ramuda’s favours always are things like “dress up for me” and “hang out with me”, if the game is any indication. (One of them happens to be how Ichiro was roped into being a sorta-Kirito for the ARB Halloween event.)

This CGI…it’s not the jankiest, but it is gonna bug me ever so slightly.

I’ve noticed a lot of people in the English-speaking fandom, when they watched the anime, took a shine to MTC (because they seem to embody the entire “refuge in audacity” thing they’ve picked up on…plus that one hamster lyric people got attached to). You can see them being all “cop/gangster husbands” here if that’s your gig – it’s kind of my gig, but to be real HypMic is not a scene where I ship dudes. I’m sorry, but I just like watching pretty boys kick butt.

What warranted the dramatic glasses drop…? (LOL anyway)

That whistle…LOL. It’s like “Look at my boy fight” and “Riou’s got some sweet fightin’ moves” rolled up in one.

For some reason, when I saw the sign for the Organised Crime department, I heard the Student Council theme from Boueibu play in my head…? (Remember that harpsichord theme?) *shrugs* I dunno why that happened.

Hmm…they crossed out the subtitles using Swedish letters instead of strikethrough, huh? Didn’t know that was a limitation.

(Yakuwarigo: Jyuto = dazo)

“Wouldya look at that forlorn mug of his?” – Seeing a man taller than you (Riou is a good 190 or so cm, mind you, making him the tallest member of his division above Samatoki’s 180-something and Jyuto’s 170-something) making a sort of demented puppy-dog face…LOL.

(Yakuwarigo: Jyuto elevated himself to kimasuyo…maybe to win back Riou’s favour?)

(Yakuwarigo: The translation elevated Samatoki’s “nanda” to “the f***”. “Nanda” is not that bad – it’s casual, but doesn’t imply swearing like “ittai” is supposed to mean “the hell”.)

(Yakuwarigo: Jyuto doesn’t finish when he says “ore wa hanashi ga”. That’s called an omission, plain as that may be.)

(Yakuwarigo: Taihendaze!...Maybe that’s a bit far to call it “we’re f**ked”…? It could just be “we’re doomed!” or “we’ve got trouble!”)

(Yakuwarigo: Jyuto uses desune. He’s the most feminine of the trio by virtue of being the smallest height-wise and most polite due to his job, but he seems to bounce between casual and polite a lot.)

…wow, even the rap lyrics have the F bomb…and this time, you can see the evidence.

Natsu no mushi = bugs in the summer. Not a perfect match, but it works. (Notably, things like Gentaro’s speech and rap lyrics don’t play by the same yakuwarigo rules because you can play characters within it – e.g. the evil doctor Jakurai sometimes plays. I’ve noticed most of the songs use casual or whatever rhymes, even for someone like Doppo who’s considered more polite than most.)

…Despite the swearing…that song slaps, man! That’s great.

MTC seems to have more tragedy on average than other divisions. This is because FP and BB are quite light-hearted and mostly family-friendly with hidden depths, but MTR mostly has stalker stories. Update: That’s when they’re focussing on MTR solo. FP’s currently could get pretty dark soon and a lot of the dark/tragic stuff is not actually going to make the anime because it’s in the drama tracks/manga.

My gosh, we got to see Nemu animated!

Okay, I’m not well-versed in yakuza slang but kumicho = boss, so Samatoki would have to answer to a kumicho.

(Yakuwarigo: Notably, when Riou bows, he doesn’t elevate his speech.)

(Yakuwarigo: Jyuto = desukane)

…and randomly, rock solo postcard memory away from the sunset. (LOL) (Also, I believe I befriended Zainou during my time on WordPress. This episode title really does mean things, in a certain sense.)

Ah, it did switch! It’s just…uh, gone to an MTC version of itself (and it has the same name, “Kizuna”). So that means we wait another 6 episodes for MTR. On the other hand…what will the final version be? A whole cast version? A different song? No song at all? *shrugs* Only the future can tell us these things. (Also, why is Jyuto so loud…? That’s why I’m not a bigger fan of him. Much like Ramuda’s minna genki?, his iconic quotes like “In the building!” are so loud and silly-sounding, you just can’t get them out of your head.)

The cityscape in the middle of the disc at the ED’s start seems to have changed. I would assume that’s a Yokohama skyline.

Keiichi Nakagawa is the voice of Rentei…I should stop burning myself on guest VA appearances, this guy’s a rookie. This Nouzenkazura VA (Kenji Hamada) though is voiced by the guy who does Otegine in Touken Ranbu and isn’t as much of a rookie as Rentei’s.

Notably, where BB do the “BB sign” (as it seems to be known), MTC do a finger gun. MTR have the wolf fang, but…what is FP’s, then? Update: It’s a peace sign to the side to make an F.

Today’s new music was “Red Zone (Don’t Test da Master)”, by KLOOZ and DJ WATARAI.

*cringes at the airhorn* *briefly presses fingers to forehead, as if going to massage temples, but then removes them* The airhorn reminds me of crazy sport fans. Crazy anime fans are more civil than them, which is one reason why I don’t follow sports on the regular.

Update: Oh! The pond owl cafe in episode 2! It means Ikebukuro!...Sort of. Fukurou rhymes with ‘bukuro and ike = pond.

Akudama 3

Hmm? Is it just me or is that T in the code the kanji for “bird” (tori)?

“It’s where I belong.” – I know my reason for pursuing Japanese is a purely selfish reason – so I can stay above others in the topics I think matter to me and pursue the endless natural high that comes from the thrill of translation (which may be all one reason or two, depending on how you look at it).

Oh, the bunny and shark again.

The bunny’s shirt said “life” at one point, I didn’t understand the shark’s though.

At one point, shark: Ka (from “Kansai”), bunny: ken (authority).

At the end, shark: heaven, bunny: hell. These broadcasts look like NHK broadcasts at the end.

Most of these words are katakana, making them look foreign.

Kansai 300, 25-1.

“Move-you-s**t!” – It…seems a bit out of character for Swindler to say the swear word there.

Taiso 3

That CGI…is not the greatest.

According to Moon Land, gymnastics operates on a deduction/addition system. You add points for difficulty, but deduct points for errors like how Minamino’s feet are apart.

*sees montage* - Those CGI scenes really take out the budget, huh…?

Gymnastics moves are named after their creators…kinda like scientific names and finders.

There was a lot of commentary in Moon Land so I’m not sure what the moves are called from memory (the dialogue always did that for me), but having the reactions speak for themselves…I think the anime team has enough faith the reactions will convey everything. They did, by the way.

You can see the bone at the base of Minamino’s neck, under the skin…it’s sort of scary.

The fact you couldn’t see Jotaro’s eyes for a shot or two…that kind of unnerved me and built tension.

Oh! The men in black appear after the credits!

#simulcast commentary #akudama drive #HypMic #Hypnosis Mic #Hypnosis Microphone #Hypnosis Mic: Division Rap Battle - Rhyme Anima #Taiso Samurai #hanyo no yashahime #Moriarty the Patriot #Yuukoku no Moriarty #maou-jou de oyasumi #Chesarka watches Taiso Samurai #Chesarka watches Yuukoku no Moriarty #Chesarka watches HypMic #Chesarka watches Akudama Drive #Chesarka watches Yashahime #Chesarka watches Maou-jou

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dearmrsawyer · 5 years ago

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Self Care Tag List

Le @candybarrnerd tagged me to do this soo long ago i’m so sorry but thank you for tagging me!!

🌿 Favorite comfort food: Mmm either mashed potato or i love chopping potatoes into little cubes, frying them up with a little salt and sometimes some lemon juice! til they’re nice and crispy. and towards the end i chuck in a can of (drained) corn kernels. It’s something my mum did a lot growing up, i love it. Um no other components necessary lol, just a plate of potato thank you

🌼Favorite alcohol (or hot drink): I don’t drink alcohol and my favourite hot drink is peppermint tea with a generous teaspoon of sugar

🌷Favorite relaxing activity: Any chance i get to lay a blanket down on the grass in my backyard and read under the sun. Usually Sawyer will join me

🌸Favorite fluffy/feel good fic: anything by @1000-directions @dinoflangellate and @magicalrocketships, or the mockingbird series by ont. not everything is strictly fluffy but its all feel good to me. i’ve reread everything 400 times and there’s no stopping me.

🌻Favorite calming scent: when i bury my face in my cat. its hard to describe the smell of your pet, they’re like people, they just smell a certain way and its familiar and soothing.

🌺Favorite relaxing or uplifting song: oh those are very different things! i think relaxing music for me is instrumental stuff, soundtracks. i don’t find music with lyrics particularly relaxing, no matter the vibe. like i’m always ~~feeling~~ something so hyping up any emotion is not really relaxing lol. uplifting, the majority of Louis Tomlinson’s debut album Walls :)

🌵Favorite white noise: rain i think. i’m not big on white noise but it is always really nice to listen to the rain outside.

🍄Favorite book to get lost in: i don’t tend to reread books because i feel immense pressure to get to all the books i haven’t read!!! (it is so interesting that i don’t feel that pressure with fic, like sure i am super super keen to read the many fics i have marked to read, but i don’t feel PRESSURE to read one of those rather than reread a fic i know and love!) but thinking about books i’d want to reread, to get swept up in the emotional experience again, DEFINITELY any of Cassandra Clare’s series. i know she’s got a dodgy fandom history but UGH the emotions. truly the pinnacle experience of YA reading for me

💐Favorite chill out tv show: ohh... i consider most tv i watched chill out tv. The only shows that wouldn’t be chill out tv are things like Lost, which is a very important emotional experience and must only be rewatched with the utmost attention and investment. but all the shows i watch would be considered family entertainment so it all lends itself to chilled out rewatching. and i do that a lot. if i have to pick something, Stargate SG-1 and Atlantis are really wonderful feel-good chill tv

🌹The best advice you’ve ever had: gosh its so hard to recall any advice when asked this question D: well, i have obviously received advice since then but back in my senior year of highschool i had mentoring sessions with my maths teacher. the sessions weren’t maths focused, they were more like general advice/support with whatever you were struggling with. and i remember her telling me that when i’m overwhelmed by the amount of work i have, to break it down into smaller components and focus on the pieces instead of the whole. i’m sure i would’ve figured this out eventually lol but i think she was the first person to tell me that. and that’s how i operate every single day! whether its a work day or a me day, every single day is a list, and everything on that list is broken down into its own list, everything i do (no matter how big or small) is a tick on the list. Thanks Ms Macci!

Okay i would like to tag @silveredsound @nightwideopen @1000-directions @queerindeed @astorytotellyourfriends

#i'm gonna spread out the memes i've been tagged in so its not too much and also so i don't tag anyone six times in one day lol #as always tagged friends only do it if you feel like it :)#i need to make some cubed potato and corn very much #meme

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dustedmagazine · 4 years ago

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Dust, Volume 6, Number 11

HAAi

As it was with September, so it is with October. After what felt like the dam breaking on all those albums optimistically held back by the pandemic, October continued to rain down releases and there was no shortage of them to cover. As ever, if diversity’s your thing, we have it: From pimp-rap to free jazz, death-metal to AM gold, jungle to Azerbaijani guitar jams, we got it all for you to peruse. Contributions this go ‘round come care of Ray Garraty, Ian Mathers, Bill Meyer, Jonathan Shaw, Andrew Forell, Tim Clarke, Justin Cober-Lake, Patrick Masterson and MIchael Rosenstein.

AllBlack — No Shame 3 (Play Runners Association/Empire)

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Just when we thought that pimp-rap was going out of business, AllBlack blessed us with No Shame 3. It is a lot of what it claims: playfulness with no shame, ignorant beefs, endless balling during California nights and showing off in earnest. AllBlack alludes to the fact that even though he’s getting that rap check, he’s far from quitting the pimp game: “Made 40K in eight days, that was just off pimpin'.” But behind this happy façade is something darker that’s looming on: “As I got older, I ain't scared, I guess I'm cool with death / You speak the truth and they gon' knock you down like Malcolm X.” While admitting that rap is a cutthroat game, AllBlack is only one of the few artists of a younger generation who is ready to pay respects in his songs to the OGs — the godfathers of pimp-rap, to Willie D, Dru Down and Too $hort. The standout track here is “Pizza Rolls,” where DaBoii and Cash Kidd drop in to deliver the funniest lines.

Ray Garraty

Bardo Pond — Adrop/Circuit VIII (Three Lobed Recordings)

Adrop / Circuit VIII by Bardo Pond

There are plenty of reasons to do small, limited runs of certain releases, in music as in other artistic fields, ranging from the brutally practical/logistical to the aesthetic, but when the material released in that fashion is good enough, it can be a relief to see it given further life (and not just digitally). This year saw the mighty Three Lobed Recordings (who we featured in an anniversary Listed here) has seen fit to reissue on vinyl two Bardo Pond LP-length pieces that were originally issued in limited run series back in 2006 and 2008. They were in good (and varied) company then, but resonate together in a pretty special way, whether it’s the tripartite Adrop wandering from gnarled, crepuscular grind to violin-powered epiphany or back down to delicate nocturnal acoustics. The longer Circuit VIII doesn’t have as distinct phases but still builds to an all-time Bardo Pond-style crescendo, featuring Isabel Sollenberger’s only vocals of the duo. Even with a band and label this consistently on point, these particular recordings are worth the wider dissemination, whether considered as archival releases or just a hell of a double album.

Ian Mathers

John Butcher & Rhodri Davies — Japanese Duets (Weight of Wax)

Japanese Duets by John Butcher & Rhodri Davies

There’s a bittersweetness about Japanese Duets that’s as pungent as the puckered, perfectly placed reports that English saxophonist John Butcher sometimes punches out of his horns. This is the third in an ongoing series of download-only releases that Butcher, idled by COVID-19, has culled from his archive, The Memory of Live Music, and the unbearable lightness of its format, only accentuates the sense of lost opportunities and experiences. One of the things that a touring musician gains in exchange for their embrace of uncertainty is the chance to go to some unlikely place and undergo something extraordinary. The four-page PDF that comes with this download reproduces photos from Butcher and Welsh harpist Rhodri Davies’ 2004 tour of Japan, which took in swanky museums and shoebox-sized jazz cafes; each image looks like a moment worth living. But if all you can do is hear the evidence, that’s not exactly settling. This improvising duo was audibly on a roll, pushing reeds and strings to sound quite unlike their usual selves, and challenging each other to move beyond logic to the rightness of jointly made and imagined moments. Thanks, guys, for sharing the memories.

Bill Meyer

Ceremonial Bloodbath — The Tides of Blood (Sentient Ruin Laboratories)

The Tides of Blood by Ceremonial Bloodbath

Yikes — talk about truth in advertising. Canadian death-metal band Ceremonial Bloodbath delivers the goods promised by their moniker and this new LP’s title. It’s a repellent record created by dudes that play in a bunch of other death-metal bands based in British Columbia: Grave Infestation, Encoffinate (not Encoffination), Nightfucker and numerous others that tunnel even further under the broader public’s attention. Give these guys credit for their single-mindedness: None of those bands is likely to make you feel any happier about the human condition. Neither will listening to The Tides of Blood, but it’s a better record than any that those other acts have released. The songs are low-tech, dissonant and about as subtle as a bulldozer’s blade knocking through your front door. In other words, the record is largely in line with what we’ve come to expect from the death-metal recently dug up by Sentient Ruin Laboratories, and for a certain kind of listener, that’s a good thing. Check out “The Throat of Belial,” which comes on hard and fast, then downshifts into second gear and unleashes a tangled, coruscating sort-of-guitar-solo. The mechanical chug reasserts itself, then speeds up again, unleashing steam and the smell of something… organic. The song has a ruthless momentum, as does the rest of the record. Pretty good Halloween music if you want to scare all the trick-or-treaters off your lawn.

Jonathan Shaw

Cut Worms – Nobody Lives Here Anymore (Jagjaguwar)

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Max Clarke evokes a wistful nostalgia for an America that existed perhaps only in the mind, the warm campfire glow of an era personified by The Everly Brothers’ harmonies, the twanging guitars of country rock and 1970s singer songwriters. On his new album as Cut Worms, Clarke literally doubles down on his musical project. Nobody Lives Here Anymore comes in at 17 songs that, while individually fine enough, meld into one another and gradually fade from the memory as the album unwinds. Clarke never quite transcends his influences and is not a strong enough lyricist to engage at this length. The effect is similar to that of The Traveling Wilburys where the whole is lesser than the sum of its parts. That said, Clarke is engaging company with a voice that splits the difference between the aforementioned siblings, Roy Orbison and Tom Petty. He has an ear for a melody and skillfully recreates an AM radio sound that trips the memory for anyone who grew up with this music either as inescapable background of their lives or soundtrack for their teen dreams and heartaches.

Andrew Forell

Dead End America — Crush the Machine (Southern Lord)

Crush the Machine by Dead End America

This new EP by Dead End America (DEA — see what they did there?) comprises four short, piledriving hardcore songs, all directly addressed to the current occupant of the Oval Office. “Bullet for 45 (Straight From a .45)” neatly captures the EP’s essential sentiments, and also suggests the general level of restraint exercised by the whole enterprise. Hint: Restraint and nuance are not Dead End America’s strong suits. That’s not surprising, given the folks involved. The band and record were conceived by Steve “Thee Hippy Slayer” Hanford, late of Poison Idea, and of this world. It’s pretty wonderful that this is some of the last music Hanford produced — pissed off and irreverent to the very end. Additional contributors include Nick “Rex Everything” Oliveri (the Dwarves), Mike IX Williams (Eyehategod), Blaine Cook (the Fartz) and Tony Avila (World of Lies). Sort of remarkable that a record including players from all those legendarily vile, venomous bands doesn’t just spontaneously self-combust; maybe it helps that they focus their collective rage on such a deserving target. RIP Steve Hanford. The wrong people are dying.

Jonathan Shaw

Chloe Alison Escott — Stars Under Contract (Chapter Music)

Stars Under Contract by Chloe Alison Escott

Chloe Alison Escott is the frontwoman of Tasmanian post-punk duo The Native Cats, and her pre-transition solo album, The Long O, released on Bedroom Suck back in 2014, received justified plaudits upon its release. (It remains a low-key favorite of mine.) New solo piano-and-vocals album Stars Under Contract was all recorded in one day by Evelyn Ida Morris (Pikelet), which lends these performances an on-the-fly liveliness. For the most part, it’s rollicking fun, with some wryly funny lyrics that betray Escott’s sideline in standup comedy. This performative confidence comes through in early highlight “There’s Money in the Basement,” which has the jaunty barroom bounce of “Benny and the Jets.” Later, Escott reaches for the heavens on single “Back Behind the Eyes Again,” with a truly heartbreaking piano progression. Though the 16 tracks are wisely interspersed with short instrumentals such as “What Are You Reaching For,” “Evening, Sunshine” and “Playfair,” 43 minutes is a lot of piano-and-vocals songs to get through in a single sitting. On closing track “Permanent Thief,” there’s a tantalizing flash of drum machine and bass, which could be a nod there’s another Native Cats album on the way soon.

Tim Clarke

Eiko Ishibashi — Mugen no Juunin - Immortal - Original Soundtrack (King)

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If you sit up nights fretting about how Eiko Ishibashi and her partner, Jim O’Rourke, pay the bills, this music may be your melatonin for your worried mind. Immortal is the soundtrack for Blade of the Immortal, an anime adaption of a popular manga that’s been picked up by Amazon Prime. Ishibashi composed and played the music with contributions from Tetuzi Akiyama, joe Talia, Atsuko Hatano, and O’Rourke, who also mixed the music. Ishibashi’s music echoes the affect-stirring melodies of her song-oriented material and the careful sound placement of her recent electro-acoustic work for Black Truffle; when the swirl of keyboard tones looms over her piano on “Animal,” there’s no mistaking it for anyone else’s work. But this is still made for a mass market, with unabashed classical music lifts and big, booming electronic percussion that would make a multiplex’s walls throb if you gave it a chance. There’s no physical release or Bandcamp option, so if you want to check this out, Apple Music and iTunes are your options.

Bill Meyer

Ela Minus — Acts of Rebellion (Domino)

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Colombian musician Gabriela Jimeno’s debut album as Ela Minus is a collection of original tracks that merge songcraft and club sounds into an assured mix of electronica on which she plays all the instruments and sings in both Spanish and English. After spending her teenage years drumming for hardcore band Ratón Pérez, Jimeno studied jazz drums as well as the design and construction of synthesizers, and she eschews the use of computers to create her music. She brings a DIY spirit to her work combined with meticulous production style that gives acts of rebellion the experimental edge of early 1980s independent synthpop. The highlight "Megapunk” is musically close in spirit to Cabaret Voltaire, its defiant lyrics — “There’s No Way Out But to Fight” — tying freedom of expression to wider human progress. A textured and nuanced album, Ela Minus joins an ever-growing group of South American producers to tune into.

Andrew Forell

Erik Friedlander — Sentinel (Skipstone)

Sentinel by Erik Friedlander

Cellist Erik Friedlander seems to pop up in the oddest places, playing now with the Mountain Goats, then with Dave Douglas, and finding a little time for film scoring on the side. It's reasonable that for new album Sentinel, he'd connect with a couple of other artists — guitarist Ava Mendoza and percussionist Diego Espinosa — equally comfortable with finding unexpected sounds in a variety of styles. The group, given their background, sounds their best when they're blending genres. “Flash” starts off as new jazz, turns into rock for a moment, then some strange cello lead pushes it into alien territory. At the edges of the trio's work, heavy rock often feels about to break out, but the group refrains from ever indulging that impulse. “Feeling You” even provides some light, pretty pop, allowing the band to show its full breadth.

Friedlander's compositions provide the basis for the album, but Sentinel never feels like just his album. The band, assembled for what sounds like a hurried set of takes, found their partnership quickly, turning the pieces into fluid performances. “Bristle Cone” lets all three members shine and functions like a microcosm of the disc as a whole: As soon as you think it's a guitar album, you start paying attention to the percussive elements; as soon as you remember it's experimental cello work, you're back to guitar rock. The trio's engagement with the music and with each other comes through, the playful innovation guiding each piece into a multifaceted whole.

Justin Cober-Lake

HAAi — Put Your Head Above the Parakeets EP (Mute)

Put Your Head Above The Parakeets by HAAi

Though it was Teneil Throssell’s mixes that initially made her name as HAAi (and remain strong even amid the pandemic, her latest for XLR8R another beauty), her own productions are a wonder unto themselves that demand repeat listens even as they come a trickling single or carefully cultivated EP at a time. The Karratha, Australia native, Coconut Beats hostess and Rinse and Worldwide FM veteran’s latest is the delightfully titled Keep Your Head Above the Parakeets EP, pure headphones music meant for sunrises, sunsets, walks in deep snow, rain-swept moors, you name it. Her talent is in balancing airy synth melodies with ever-shifting percussion influenced primarily by jungle, breaks and (ultimately) house; when people talk about psychedelic dance music, this is something like what I always hope to hear. Another unmissable missive.

Patrick Masterson

Hübsch, Martel, Zoubek — Ize (Insub)

Ize by HÜBSCH, MARTEL, ZOUBEK

Decades have passed since Derek Bailey wrote his book, Improvisation. At that time, it was already clear that the intentionally non-idiomatic music he pioneered and practiced was a subset of the more universal matter of improvising as a necessary aspect of playing music. It was also becoming clear that non-idiomatic improvisation’s aspirations and proscriptions amounted to a new but quite identifiable idiom, and this Swiss trio is okay with that. If you told Carl Ludwig Hübsch (tuba, objects),Pierre-Yves Martel (viola da gamba harmonica, pitch pipes) and Philip Zoubek (piano, synthesizer) that the music on Ize sounds a bit like the British ensemble AMM’s, they’d likely nod and thank you for noticing. They’re not trying to make a new kind of music, they’re trying to be good at a kind of music that they love, and on those terms, they succeed. Aside from the occasional Feldman-esque piano phrase, they mostly trade in layers of tone and texture, operating in complementary parallel to one another, taking the listener through states of meditative stillness and slow-motion vertigo.

Bill Meyer

J Majik — Your Sound - Photek & Digital V.I.P 12” (Infrared)

J Majik - Your Sound - Photek & Digital V.I.P by J Majik / Photek / Digital

Released on the same day as the “This Sound” single that allegedly was refashioned from “unfinished jungle project from the vaults,” “Your Sound” was further proof that UK drum n’ bass vet Jamie Spratling bka J Majik still has plenty of material from the golden era to get out into the world. The original is a certified mid-’90s Metalheadz classic, but Photek and Digital’s reworking on the a-side “originally only destined for the dubplate boxes of the ultra-elite” has been floating in the ether for years as an alternative; its light Amen sequences and booming bass will have you yearning for every closed club you can’t attend. J Majik’s remix of his own tune on the flip was originally the b-side to a 1997 Goldie VIP edit, so having a more readily available remaster here does it a world of good. One for the headz, obviously.

Patrick Masterson

KTL — VII (Editions Mego)

VII by KTL

Most of KTL’s recordings have been seeded by theater and film soundtrack commissions. But when Stephen O’Malley (Sunn 0))), Khanate) and Peter Rehberg (Pita, Fenn O’Berg) found themselves in Berlin this past March with more time on their hands than they expected, they booked themselves into Mouse On Mars’ MOM Paraverse Studio sans portfolio and set to work. The first track, “The Director,” seems to acknowledge the situation by introducing the Shephard-Risset glissando, a repeated scale that sounds like it is endlessly ascending or descending. The titular figure never arrives, but while you’re waiting, fat looped electronics impart the experience of going somewhere while leaving you exactly where you’re at. The director isn’t the only value missing from this equation; O’Malley’s default sonic signature, a massive metallic wall of sound, has been softened to a close-shaving buzz that rattles and circles around within Rehberg’s synthetic/sonic biodome. That’s right, while you’ve been baking bread and putting on that COVID-15, KTL has actually lost weight!

Bill Meyer

Lisa Cay Miller/Vicky Mettler/Raphaël Foisy-Couture — Grind Halts (Notice Recordings)

Grind Halts by Lisa Cay Miller/Vicky Mettler/Raphaël Foisy-Couture

Montreal-based guitarist Vicky Mettler, bassist Raphaël Foisy-Couture and Vancouver-based pianist Lisa Cay Miller are all new names to me. For their trio collaboration on Notice Recordings, the three work their way through a set of eight free improvisations that range from one and a half minutes to eight minutes long. The combination of piano, guitar and upright bass is striking from the start: Miller slips seamlessly between the keyboard and inside-string preparations, mostly eschewing readily identifiable sonorities of her instrument. Mettler’s resonant, brittle electric guitar is the perfect foil to Miller’s piano and one often has a hard time teasing apart where inside piano strings end and guitar strings begin. Add to that Foisy-Couture’s dark low-end bass, which he attacks with groaning scrapes, shuddering arco and assorted string treatments. The three engage in active improvisations, plying their respective instruments into a collective whole while steering clear of garrulous interaction. The fourth piece, “Lower” is as close to trio exchanges as things get, opening up the ensemble sound to allow shredded guitar textures, resounding piano chords and scabrous bass abrasions to accrue into pulsating timbral layers. A piece like “As It Spins” is more about process, adding in the rumble and clatter of assorted percussive detritus, used on their own and to activate the strings of the instruments, which jangle with resultant shimmering overtones. The pieces often segue one into the other, creating an enveloping sound-space throughout. Based on this one, I look forward to hearing more from each of the participants.

Michael Rosenstein

Mint Field — Sentimiento Mundial (Felte)

Sentimiento Mundial by Mint Field

Mexico City-based duo Estrella del Sol Sánchez (voice, guitar) and Sebastian Neyra (bass) enlist drummer Callum Brown to expand the range of their dreamily psychedelic shoegaze on Mint Field’s second album Sentimiento Mundial. Sánchez has the breathy cadence of Rachel Goswell and moves easily between an almost folky introspection in her guitar playing to squalling walls of sound underpinned by Brown’s often motorik drums on tracks like “Contingenicia” and “No te caigas.” The bulk of the album is more reflective, Sánchez’ Spanish vocals close to your ear as she concentrates on atmosphere and dynamics. The result is a dreamscape that lulls, then hits with febrile bursts of restless dread, an impressive collection that fans of 4AD in particular should recognize and embrace.

Andrew Forell

Takuji Naka/Tim Olive — Minouragatake (Notice Recordings)

Minouragatake by Takuji Naka/Tim Olive

Minouragatake (a mountain outside of Kyoto, Japan) is the fourth recording by Takuji Naka and Tim Olive, a duo that has played together for close to a decade now, melding together music of slowly evolving rich timbral abstraction. Each are consummate collaborators and for this session, they make their way across the seven untitled tracks with steadfast focus to the nuanced details of their respective sound sources. Naka utilizes “long loops of sagging/distressed cassette tape winding into and out of similarly distressed portable tape players, with real-time analog processing.” Olive uses his regular array of magnetic pickups and low-tech analog electronics, drawing out volatile hums and changeable striations that coalesce with his partner’s slowly devolving layers of sound. These pieces are imbued with unflappable deliberation, each sound integrated into the cohesive, gradually unfolding improvisations. Each of the pieces sound as if one is tuning in mid-stream and end with a sense that they could continue on indefinitely. Rather than adhering to any formal developmental arcs, the two patiently sit within unfurling sonic worlds as layers ebb and flow. Naka’s degraded tapes lend an aura of catching wafts from some distant celestial emission which Olive subtly shades and colors with hisses, whispered mutable fuzzed gradations and aural grit. Snatches of scumbled lyricism morph into static-laden swirls; washes of flaked and tattered textures disperse into shuddering thrums. Naka doesn’t record much so it’s good to hear another project from him. Olive has been on a particular roll as of late and this one is a laudable addition to his discography.

Michael Rosenstein

Okuden Quartet — Every Dog Has Its Day But It Doesn’t Matter Because Fat Cat Is Getting Fatter (ESP-Disk)

Every Dog Has Its Day But It Doesn't Matter Because Fat Cat Is Getting Fatter by Okuden Quartet: Mat Walerian/Matthew Shipp/William Parker/ Hamid Drake

Put aside the bleakness of this double album’s title because this music embodies the idea that things can get better. Not that there was anything wrong with Polish woodwinds player Mat Walerian’s previous recordings, which have all involved some combination of the musicians on this one. But Walerian has never sounded so strong on his various instruments (alto saxophone, bass and soprano clarinets, flute); so clear on how to get the most out of Matthew Shipp, William Parker and Hamid Drake; or so engaged with jazz, and not just the free jazz that he’s made with these gentlemen to date. By turns subdued, impassioned and bathed in all the shades of the blues, Walerian no longer sounds like a guy who has great taste in sidemen who happen to have played with some of the greats of our time, but a guy who sounds like he belongs in their company. Each lengthy track (they range from 11 to 18 minutes long) imparts a narrative feel without dispelling the mystery that makes you want to hear them again. Here’s hoping that when things start moving again, this band finds a way to move around the world and move us in person.

Bill Meyer

Om — It’s About Time (Intakt)

It’s About Time by OM - Urs Leimgruber, Christy Doran, Bobby Burri, Fredy Studer

To a fan, It’s About Time might sum up the feeling upon learning that the Swiss quartet Om finally recorded a new studio album 40 years after its predecessor, Cerberus (ECM). It also captures the existential question facing a quartet of improvisers, some of whose paths have often crossed during that time, but some of whom have taken very different roads. On the one hand, drummer Fredy Studer and guitarist Christy Doran play in a Jim Hendrix cover band with Jamaladeen Tacuma; on the other, soprano saxophonist Urs Leimgruber works mainly in freely improvised settings with the likes of Alvin Curran and Joelle Leandre these days. Burri seems to be the guy who has maintained connections with everybody. How to make sense of such a history without denying anyone’s musical identity? During their first go-around, between 1972 and 1982, Om was played polyrhythmic electric jazz. During the mostly low-profile gigs they’ve played since reconvening in 2008, they’ve had time to forge an updated vocabulary that is less groove-oriented but takes full advantage of the timbral resources on hand. While it’s evident that time has passed, it’s by no means a waste of time.

Bill Meyer

Rüstəm Quliyev — Azerbaijani Gitara (Bongo Joe)

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Azerbaijani music, by and large, hasn't broken through to the American mainstream. That might not change, but the new anthology release of Rüstəm Quliyev's work, titled Azerbaijani Gitara, at least makes a case against our insularity. Quliyev's work, even for an insider, would be hard to pin down given that the overriding goal seems to be the synthesis of as many styles of music as possible. Western ears will be most comfortable with the psych-rock influences here. Quliyev also reworks Bollywood, folk, Middle Eastern dance and more on his electric guitar. Taken from recordings from 1999-2004, this nine-song collection sounds more coherent than that idea might suggest, but no less frantic. Quliyev plays with a persistent energy, his kinetic approach matched my his chops, often with a tone reminiscent of Carlos Santana (if we reach a little). On songs like “İran Təranələri,” he allows the piece to develop patiently, but these cuts rely on movement and virtuosity. Quliyev had a challenging life cut short by lung cancer, but his music finds itself unleashed through apparent joy.

Justin Cober-Lake

ShooterGang Kony — Still Kony 2 (Empire)

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A fortnight shy of his 22nd birthday (this coming Wednesday, mark your calendars and send best wishes), Sacramento rapper ShooterGang Kony has dropped his second full-length project of the year in Still Kony 2, a skit-free set of songs with a Biggie homage as the cover that explores further his emotional depths while still retaining the bouncy Bay Area nature of his livelier side. There’s stuff like “Red Ice” and “Fasholy Good,” of course, but there’s also the stretch of sobering songs later in the tracklist, including “Overdose,” “Flaggin” and the particularly affecting “Do or Die.” No matter the type of beat, though, Kony feels completely at ease with his cadence and wholly in control of his verses despite occasionally verging on a Detroit-like dismissal of the beat. Even if you can’t see the geekin’, you can certainly feel it.

Patrick Masterson

Suuns — Fiction EP (Joyful Noise)

FICTION EP by SUUNS

For better or worse, Suuns’ new Fiction EP is pretty much the sound of 2020 encapsulated, not in the sense of distilling current musical trends, but rather in succinctly conveying the disorientating feeling of living through a year that has been such a traumatic mess. Across these six tracks, the Montreal-based band creates a fuzzy, feedback-streaked, claustrophobic racket that just about coalesces into song forms around breakneck rhythm tracks. “Fiction” and “Pray” will meet the expectations of anyone expecting Suuns to continue sounding like fellow noise-rockers Clinic, but elsewhere there’s surprising variation to the band’s sound palette. Opener “Look” emerges out of the darkness like a warped apparition, concluding with a chant of what sounds like “Sheep, sheep, sheep.” They enlist the help of Jerusalem In My Heart for droning instrumental “Breathe,” and Amber Webber lends ghostly vocals to “Death.” At the EP’s end, the Mothers of Invention’s wailing blues-rock classic “Trouble Every Day” is barely recognizable, foregrounding Zappa’s lyrics and chewing them up into a garbled rush of splenetic invective. Though short, there’s something satisfyingly ghastly and cathartic about this EP that really cuts through.

Tim Clarke

Women — Rarities 2007-2010 (Flemish Eye/Jagjaguwar)

Rarities 2007 - 2010 by Women

Some outlets rode much harder for Women than others when the band was still a dysfunctioning unit (RIP Cokemachineglow, namely), but there’s little doubt left a decade on that what the Calgary quartet had going was a volatile yet beautiful indie-rock ideal that hasn’t been duplicated in Viet Cong/Preoccupations or Cindy Lee since. These rarities, affixed to a deluxe decennial reissue of Public Strain due out in November, could all have made the final tracklistings of either of their full-lengths. The music veers between sunny ‘60s singalongs and dark guitar dissonance; I find myself thinking of The Walkmen’s first LP on “Bullfight” (a free release from 2011 in the aftermath of the band’s collapse the year before) and of The Chameleons on “Group Transport,” which is considerably more Janus-faced with its juxtaposed harmonies, for example. It took me much longer than it should have to come around on Women, but in case you’re still on the fence or also just never got around to them in the first place, perhaps this small coda will sway you in their favor once and for all.

Patrick Masterson

Yo La Tengo — Sleepless Night EP (Matador)

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In July, Yo La Tengo released the abstract, droning instrumental EP We Have Amnesia Sometimes, harking back to the sound of their excellent soundtrack album The Sounds of the Sounds of Science (2002). This new Sleepless Night EP brings together five covers and one original, first released in conjunction with an L.A. exhibition by Japanese artist Yoshitomo Nara, who helped the band pick the songs. Sleepless Night opens with “Blues Stay Away” by The Delmore Brothers and “Wasn’t Born to Follow” by The Byrds, both fairly straight renditions of the blues and country-rock originals. The real keeper in this collection comes next in the form of Ronnie Lane’s “Roll On Babe,” beautifully sung by Georgia, which hypnotizes with its languid sway. Their cover of Dylan’s “It Takes a Lot to Laugh, It Takes a Train to Cry” also has Georgia take the lead over beatless organ, bass and guitar. “Bleeding” is the sole original, a shimmering atmospheric piece with ghostly vocals from Ira, which dissolves in a pool of pitchshifted reverb. Finally, “Smile a Little Smile for Me” strips out the rhythm section from the Flying Machine original and slows the tempo, Ira’s measured vocal performance lending the song an affectingly forlorn slant. Though the material here offers few surprises, it’s a reassuring release from a justifiably loved band at a time when we could all use a little more reassurance.

Tim Clarke

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natsunoomoi · 4 years ago

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Chinese Romance Novels in English

So by chance and obviously successful marketing, I’ve had a lot of web novel apps being advertised to me and out of boredom I downloaded one and got hooked real bad.

The first app I got I think I might delete because most of it seems like trash and was clearly like American wannabe writers. I kind of just read the first few chapters of one story that they happened to put into an advertised Facebook post and I just wanted to continue the story 1 or 2 chapters just to get off the cliffhanger, but the story itself actually isn’t that good and the character motivations seem kind of stupid. The main character also seems kind of like a Mary Sue where like she is just special by some huge coincidence of fate and it’s kind of annoying. Like the beginning part was alright, and then it took a sharp turn when the first guy she was into that rejected her decided for some stupid reason to challenge her new guy who accepted her and then when he claimed to not concede a fight to the death, he went absolutely apeshit and somehow it traveled into dark magic. Idek. Plus like...almost all the stories on that app for some reason have to do with wolf people and packs? Like it’s obviously some kind of trend inspired from Jacob and Twilight and I don’t even like that series. And in addition to that, it’s like on par with the famously former Twilight fanfiction 50 Shades where it has some really uncomfortable unhealthy depictions of BDSM relationships. Like it’s just kind of thrown in there for no reason...? Like whatever floats your boat, but you can totally write it in there in a more sensible way and not just like throw it in randomly. In that sense, maybe it’s actually worse than 50 Shades. Seriously a lot of the stories on there read like horribly written fanfiction by a 12 year old. I was 12 once and my stories then were no better because I had too many ideas and wanted them all in. That’s how much of a mess those stories are. This one I just mentioned is the better one. There’s another one I started reading that’s much worse that’s like a high school drama that I barely remember the story too, but I remember the person putting in a whole ton of One Direction lyrics, which I think is going to get the person and the app sued because lyrics are copyrighted and the writer shamelessly pointed out they are a Directioner and to unlock new chapters you need certain items that you can earn or buy and basically they’re definitely making money off of it.

But then similar to how I found this app, I found another app that had Chinese romance novels translated into English in the same way I found the previously mentioned app through a Facebook ad, which is cool cuz I don’t often get to read literally anything with main characters that are Chinese let alone Asian. Most of the Asian protagonist media I consume is from Japan and I just gave up on looking up anything in Chinese cuz I honestly didn’t know I could find any in English.

But damn, the quality of writing is rather good. The translations could use some work and consistency where sometimes the translator doesn’t know common English expressions or there’s grammatical mistakes in newer chapters or sometimes I think they’re speed translating too fast and accidentally mix up characters. But the story itself is top notch and suspenseful. I’ve been reading non-stop for the last week and a half and caught up and am awaiting new chapters. Sometimes there’s bits where character decisions are a little frustrating or like some of the plot twists are like again or like how come this person can’t catch a break, but I got invested in the story so quick.

There’s two in particular I’m enjoying right now. One is Irresistible Romance and the other is Thorny First Marriage on Bravonovel. It’s actually a bit pricey to charge for diamonds and pearls to continue the story, but I felt like it was worth it because I did want to read more and didn’t regret it. I actually started a third today just because I ran out of chapters in those two. Both are similar in that the male lead that the female protagonist is with or trying to get with is like a rich Chinese business man that is so well-known for their business acumen and power via their company that they can strike fear into the hearts of other people and companies. So there’s like some intrigue and like really fascinating maneuvers and media manipulation.

In Irresistible Romance, the main character is an actress that had a really shitty relationship with the loser President of her management company who was cheating on her with another actress and he had convinced his fiancee (the main character) to basically give up her life for him and help him to push the actress that he was ultimately having an affair with. The main character, Yan Wen, gives up the final straw when like he ditches her at the Marriage Registration Office for some lame excuse where he’s with his mistress and by chance the rich guy in this story shows up at the Registration Office and gets stood up by his own prospective fiancee although for him it was a random girl he picked from a pile just to satisfy his family getting on his case about not finding a wife. So basically because the main character grows a spine and decides fuck her fiance she’s not going to just take his bullshit, she asks the rich guy, Jiang Sui-an, if he’d mind marrying her. He totally accepts though and they get married on the spot. He seems at first to be kind of a cold-hearted jerk, but he’s actually super cool. Like he marries Yan Wen just to get his family off his back, but then after he does some research into his wife and finds her super interesting and as she begins her journey of trying to take back her life from her ex-fiancee and his stuck up bitch mistress, he like finds out and helps from the shadows and like realizes she’s actually super cool too. And then like through the whole process they actually fall for each other and are super sweet and have each other’s backs. They have a really beautiful and healthy relationship where they can each have their own separate lives and do their thing, but they get supported and help when needed.

It was so refreshing cuz like the rich CEO thing was like a huge fetish for sure especially after 50 Shades, but like a lot of people noted, that relationship was hella unhealthy. This story though, Sui-an lets Wen take her time fixing her career and life in her own way and like postpones announcing their marriage so she can set things right herself. He totally supports her space and her own decisions, but if he ever sees that she needs an extra boost or gets backed into a corner by some unexpected thing, he steps up and lends a hand. But ultimately he leaves everything up to her decision. And like on her end too, she’s totally a really good supportive wife and tries to make sure she doesn’t worry him too much and that he gets plenty of sleep and eats regularly, and she even tries to help him where she can with his work. They are so cute together. Along the way a lot of other people try to defame Wen or pull some shady entertainment world tactics, but she stays poised and lets the truth come out on its own or even does some defensive research and stuff. It’s so good.

Plus, writing-wise it’s really fascinating how they intertwine the online commentary tabloid headlines into the story so you can see different angles. And then when they write the antagonists’ sides they give you their internal dialog POV so you can understand the situation the best. The actual story and plot development is so good.

Then Thorny First Marriage, holy shit the intrigue. Plus for the most part, the main character is most like my personality only I’m not a former journalist. It’s just a lot of her reactions and sassy thoughts to things are really similar to me and how I feel like I would react if I was in her position. There’s a few times where she does things that I don’t think I would necessarily do or I would do things a bit more drastically, but so good and I identify with her. Writing-wise I don’t think it’s as good as Irresistible Romance because there’s been two times where they kind of forgot about something that they mentioned in an earlier chapter, so they have some issues keeping track of their plot twists, and there’s a few times where I’m reading like, “Why don’t you just tell them what happened and then they’d STFU?”

But yeah, this story starts out with the main character, Xia Zhi, waking up in the presidential suite of a hotel and not knowing how she got there and distinctly feeling like she was raped and finding some...remnants on the bed next to her. As the plot develops you find out that her asshole husband, who had never touched her himself for some reason and has the spine of jellyfish, sold her to some rich guy for 2 million bucks (she finds out later). What the actual hell? What kind of husband pimps his wife to another man?! And like she gets a pregnancy test later and somehow someone blabs to her mother-in-law and her mother-in-law totally doesn’t believe her and she knows that her son and her were never intimate, so she throws her out of the house. Then some dude that’s like some kind of secretary or assistant just comes by all stalker-like that appears to be from some rich guy that knows her and basically coerces her into going with them and going to some mystery safe house mansion. She’ll be cared for there by two staff, but she also tries to escape and find out who tf this guy is and if he’s the Dad. She still has a job and goes to work as a journalist, but gets assigned to interview some rich VP of a famous company. All the while she’s trying to get a hold of her asshole husband to find out what the hell happened to her that night she didn’t remember where she got super frickin’ drunk at his company party. This dick has been in hiding and trying to avoid her for some reason since that night and he finally calls back in the middle of her interview and because she’s freaking out about her unexplained pregnancy she unprofessionally takes the call. The rich VP, Sang Qi, ends up calling her boss and getting her fired, which I mean, obviously. That’s a thing where I probably wouldn’t have taken the call. One of the differentiating things between her and me. But how she reacts to being fired, yeah, that’s totally me. She runs into Sang Qi later at a rich people shopping mall shop and somehow manages to steal his phone and starts a plotline where she tries to use it as leverage to like get back at him and make a living for herself that also involves him being crafty and like kind of tricking her into some situations like confronting her ex-husband. And then like at some point she remembers a custom cufflink she remembered finding in the room she woke up in that one time and starts to wonder and suspect if maybe Sang Qi was the guy cuz he does have those kinds of things. And she like looks at the cufflink she has that she took from the room as evidence, but she has to do a direct comparison. He like uses GPS to find her mansion prison and tries to take back his phone and Zhi gets like even more suspicious that he is the guy cuz for some reason he knows how the balcony door at the place works even though it has a weird af lock, and they have witty banter and somehow he ends up staying over and she tries to sneak in his room at night to check out his cufflink but he catches her. And like hot damn, so much intrigue. After like a ton of frustration with trying to interrogate everyone around her about who the baby Daddy is she’s just like f it, I’m not going to be your baby incubator and tries to go get an abortion (I would’ve gone way sooner) and before they can start the procedure Sang Qi shows up and claims to be the Dad, and then afterward also takes care of her because she’s allergic to anesthetic. Since she knows who now they like stay together and stuff and she tries to question him about that night, but he actually has no memory of it either cuz he was super frickin’ drunk too. It’s just a lot of unanswered questions. And like since he’s supposedly the Dad, he tries to get closer to her, but she won’t let him really. There’s a lot of witty banter between them and like he even helps her out with her loser husband by getting him demoted. Over time they actually become fond of each other and like used to each other, and it’s really sweet. He actually is there for her and helps her on a number of occasions even though she doesn’t really trust him cuz of course he bought her right? But then little by little you see them really start to like each other and it seems like he might be more interested whereas Zhi is like more reserved because he’s her captor as far as she knows. But then just when you think that maybe they’ll get together, Qi disappears and then the process of him showing up you find out who the actual Dad is and a whole lot of family drama, and other drama where like you actually don’t know where Qi stands, and it like isn’t until like where I am that you find out he was actually upright the whole time. It’s so stressful but it’s so good.

There was a couple of times earlier one where there’s misunderstandings with other people, where I was like, dude, just tell the people your asshole husband sold you for money. I think they’d be more understanding of your situation if they knew.

And then like...for me, I like Qi and I came around to him after awhile, but like I suspected him and didn’t like him toward the beginning especially because he didn’t do or say anything that made him seem trustworthy. He never really lies except for one thing (about being the father), but also he like isn’t that truthful either, or rather, he doesn’t stop to actually explain himself properly which would have made Zhi not like freak out or mistrust him and would have made me not mistrust him. Like I shared a lot of Zhi’s fears because she was in an unfamiliar situation and being manipulated like a puppet by someone with money, and this guy claims to be the one that bought her like an object to be a baby incubator. I and the main character can’t respect that no matter how nice he is. If he admit he didn’t do it at the beginning it would have made all the difference. It’s a trek to find out who though. And at first even that guy sounds disgusting, but like where I am in the story maybe not? Like almost sympathetic.

The only one that I like really hate and disgusts me is her original husband. Like eww. He’s such a greedy asshole. And like later on you find out that actually he lied to her about how much he sold her for and it was actually more. What the actual fuck?! It wasn’t bad enough that you sold your wife for money, but you had to lie to her too about how much it was so you can hide the money from her? And for such a long frickin’ time he tried to coax her to come back and to not divorce him. What the actual hell? What kind of delusion is he living in?! But like also her original husband reminds me of someone I knew in real life when I was in uni. He was a friend of mine initially, but at some point he started making really uncomfortable jokes and it seemed like he liked me or something. I never viewed him that way, but we just hung out. And then at my uni because there was a huge rush to like try to figure out 2nd year housing, we arranged to do a co-ed roommate situation where like me and another girl and him and his friend would stay in apartment from our second year. To me that seemed normal cuz other friends of mine did that too because there’s only so many people you know and you have to try to snatch up and apply for apartments as soon as possible. There were long wait lines and I actually hadn’t thought about it until the last minute, so I didn’t see it as having much of a choice. But he started making cracks and fantasizing about neighbors and people misunderstanding and thinking we were married, which I didn’t find funny and how and why when there were other people we were living with too? It made me super uncomfortable and during the summer he was kind of like a stalker and tracking where I went so I just started avoiding him every chance I could. After awhile thinking about him made me feel physically ill. The next year after that my roommate decided to move out with two other girls into a different apartment (after unsuccessfully trying to make him leave). But the whole thing with how Zhi’s first husband was written totally reminded me of that guy. Especially with the lame excuses when confronted and stuff and not thinking and his unhealthy tie to his parents’ way of living.

That said, finding these stories are kind of like an unexpected comfort. I wish I could find someone as supportive as Sui-an or Qi. Especially when the men I’ve met in my life were just as bad as some of the other male characters or arguably worse. I’ve been bullied by the guys I fell for, I’ve liked some guys that were way too moody, I’ve had guys that liked me that were not creepy too, but I just wasn’t interested in them or the timing was just wrong, I’ve given up someone I really cared for because a mutual friend of ours crossed a line and then posthumously went kind of crazy from the grief, and I’ve met guys that were really fucking stupid and didn’t know how to act appropriately in a professional situation and actually sexually harassed and retaliated against me. I’m so tired and almost 4 years into living in Japan, I’m starting to realize that because of that last one, I think I gave up on my life because of trauma. Just hurt too many times, so don’t even think about love anymore cuz why bother? It took awhile for me to even be able to become a functioning human being again after the PTSD of harassment. I was really bad and freaking out because the guy that did it was so frickin’ stupid that he like wasn’t actually responsible enough to know the things he shouldn’t do and it was freaking me the hell out that he just didn’t know when he crossed a line. So I ran away to another country and tried to rebuild some semblance of a life for myself. Now my home country is a goddamn mess and I’d be in a worse position to go home, but at the same time, although my heart has healed enough to the point that I can function as a human. I am not at all motivated to look for anyone or let myself care for someone ever again. When I was younger I had so many dreams and really wanted a family. But now I am sad to say I have resigned myself to believing that that will probably never happen because I am apparently plagued by horrible people. I haven’t met horrible people since I’ve been in Japan, but I also don’t go out and talk to anyone other than co-workers and students because I’m busy and in my free time I want to introvert. It’d be kind of nice if I was lucky and had a kind of random chance like Yan Wen cuz like, I just can’t and don’t want to put up with low quality people.

That said, I was talking with my boss and co-worker the other day and we were discussing how China’s population problem with the bachelor society so there’s a lot of men but less available women to be their wife, so I was kind of wondering if that was also kind of how come so many modern day Chinese romance novels seem to involve a rich CEO. I suppose in China right now the chance that you could marry one is greater than anywhere else in the world because of the population problem, so maybe they’re trying to promote moving there and marrying them. LOL I’d be kind of suspicious of whether or not they’d be able to be like actually good husbands for real, but I suppose there probably is some sense of desperation.

And then because I ran out of chapters to read for today because I have to wait for them to translate more, I started another one about a Bossy Ghost Husband? It’s kind of creepy at the beginning, but the ghost husband thing has been something I was kind of curious about because you can marry the dead in China. But like for real I also wondered if youkai really are real or not and if you could unknowingly marry a youkai or something too, so basically it’s right up my alley too. And then also because my life is garbage I was like seriously thinking and wondering if it would actually be so bad to be single to the people who know you around you, but married actually to a ghost and have a ghost husband to go home to? Like would that actually be bad? I suppose in that same vein, it’s not much different from WoL having a secret relationship with Emet-Selch, but yeah.

Anyway, all of this gave me a lot to think about.

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thesinglesjukebox · 5 years ago

Video

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HAIM - NOW I'M IN IT

[7.54]

Hard times...

Ian Mathers: Sometimes adulthood feels like the process of realizing you've been "trying to find [your] way back for a minute" for years now. Part of that is that you can never get back (to fewer responsibilities, a younger body, a less complicated life) and part of that is that you don't need to because you've grown in ways you didn't expect or notice and part of that is just that feeling like you're in it is just the condition of being an adult (at least here and now). Of course, Danielle Haim has said the song is about depression. I'm not the only person I know for whom adulthood and depression seem inextricable. [8]

Wayne Weizhen Zhang: Like grey clouds drifting slowly overhead, depression can manifest itself gradually. You may not even notice it happening. That is, until it's too big to ignore: suddenly, there's an underlying sadness that keeps popping up, and you're too anxious to reach out to others, too unhappy to look in the mirror, too tired to leave your apartment. You're just in it. "Now I'm In It" perfectly captures the moment you realize this -- and while so many songs that discuss mental health can seem condescending or sloganeering, the introspection that Haim does here is genuinely powerful. This is art about depression without wallowing, set to an undulating guitar rift that recalls the strength of "Dancing on My Own." At face value, "Damn I'm in it/ And I've been tryna find my way back for a minute" sounds so simple as to be mundane, but to me, it feels like liberation that can only come from being honest with yourself. Every time I hear it, it feels like air in my lungs, sunshine on my skin. There's a moment during the music video (at 3:20) when, after making it through a shit day, Danielle Haim musters the energy to go out with her sisters. As they cross the street, drums beat triumphantly and a sample of what sounds like cheering plays -- and then, inexplicably, she breaks the fourth wall, shooting a glance directly into the camera, almost like she's looking directly at her depression and giving it the side eye. I have yet to give a 10 since starting to write for TSJ, but that moment alone merits my first one. [10]

Michael Hong: Perhaps the best shot of the music video is the one in which Danielle Haim goes through a car wash, but the most emblematic is likely the penultimate one, where she downs a shot, grimaces and takes one breath. The song is its "before image," a tightly wound version of Danielle Haim over a tense guitar that feels synthetic as it pulses across the track. As it progresses, Danielle loosens up and regains some of that confidence symbolic of Haim. The instrumental also gradually shifts, focusing more attention on other more organic elements. The piano line on the bridge allows her to take stock of her surroundings, backed in harmony by her sisters, but it's those drums on the last chorus that deliver the track's final moment of catharsis. Like depression, that guitar vamp remains, but Haim push it to the background, mostly stopping it from overpowering themselves. It's Danielle Haim, defiantly rejecting depression and taking back control for what feels like that penultimate shot -- the ability to finally breathe after a particularly difficult episode. [8]

Isabel Cole: If it hadn't been for Danielle Haim's Instagram post, I probably wouldn't have known to read this as a song about mental health. But once I saw that it made an immediate intuitive sense: the anxious thrumming that won't relent even as the melody opens up in the chorus, stumbling-fast lyrics sketching a harried picture of isolation, an atmosphere of panic and dread like pacing restlessly in a room you can't make yourself leave. The sigh of regret in the bridge, the dawning realization that you can no longer deny. I've spent a lot of hours looking for something I knew I wouldn't find in mirrors, too. Haim build a gorgeous encasement for the sentiment, lush and textured and perfect, actually, for listening to on repeat on a long walk taken trying to get a little further back to yourself; I particularly love the moment the second verse starts and everything deepens and opens at once. Would love this even if I weren't spiritually obligated to give at least a [7] to any song that closes by layering one of its parts over the other. [9]

Alfred Soto: Whenever they use a skittering rhythm track that forces them into breathlessness, I swoon, but then I liked but then Something to Tell You more than most. The ghost of "I Love You Always Forever" haunts -- will Haim's next album study their idea of '90s-ness? [7]

Will Adams: Haim, always ones to wear their references on their sleeves, take their soft-rock aesthetic to the extreme by synthesizing "I Want You" and "I Love You Always Forever." Those choices alone make "Now I'm In It" great, but Danielle using her signature patter to evoke racing thoughts is the cherry on top. The verse barges in by the second chorus, words tumbling over each other resulting in sensory overload. And then, finally, gloriously, the bridge arrives, when everything falls away and a moment of clarity is reached. The ensuing chorus is the same as it was, but now it feels assured, confident amidst the chaos. "Now I'm In It" is a song about going through it that goes through it. [8]

Tobi Tella: The frantic, almost falling-on-top-of-each-other speed of the lyrics is the real secret of the song -- it puts the listener on edge from minute one. I wish it built to more in certain ways, but I think the tension with such little release feels deliberate -- I feel like I'm still in it too. [7]

Kylo Nocom: Never trust a man who will gleefully scrutinize a Haim track's influences as a marker of unoriginality and yet ignore any accusation you throw at LCD Soundsystem. "Now I'm In It" bubbles, springs, and thrusts forward until the sisters reach a bridge that would make Vampire Weekend circa Modern Vampires proud. [8]

Oliver Maier: Rostam and Rechtshaid's production team-up unsurprisingly results in shades of the bleary, melancholic sound of Modern Vampires of the City, notably in the bluesy piano, ambient noise and thudding drums that filter in after the second chorus. That moment also happens to be the point at which Haim often run out of ideas (even in their best songs) and resort to padding out the remainder of the track with repetition upon repetition to the point of indulgence. Here they're more economical, more conscientious of the song's arc, and the final chorus feels earned rather than copy-pasted as a result. A shame that said chorus is not quite as catchy as they're capable of, though "I can hear it/But I can't feel it" is as succinct and lovely a lyric about depression as has ever been penned. [6]

Jacob Sujin Kuppermann: "Now I'm In It" turns the corner well-- that slowdown after the two-minute mark, when the piano and harmonies come in and the fervent pulse of the rhythm guitar stills a little, is genuine catharsis. But the rest, both before and after, feels nervy and formless. Danielle remains a great pop vocalist, but the words she sings are sketches and the beat below it sounds like something Katy Perry and Zedd would've thrown out earlier this year. [5]

Thomas Inskeep: The song throbs and thrums, yet the Haim sisters just sound bored, and I'm unmoved. Actually, worse than unmoved: I'm annoyed. [3]

William John: While the track motors along behind her, Danielle Haim here breathlessly corkscrews her way through the awful, disenfranchising inertia that most of us are prone to from time to time. When paired with preceding single "Summer Girl", "Now I'm In It" seems to indicate that a central theme of Haim's putative third album will be the power of the collective in providing a fulcrum for those experiencing trauma. Though the lyric sheet suggests the protagonist remains in the widening gyre, the music video powerfully reinforces the notion that help is always available, even when it seems like it isn't. And maybe the gyre remains, but maybe also, with others around to lend a hand, it might stop widening, or even get a bit narrower. Haim have always been about "the sisterhood," in the most literal sense, but the image of Este and Alana, scuttling down a street and carrying Danielle on a stretcher, nursing her through the rut, might be their paradigm illustration of that concept. [9]

Kayla Beardslee: In the past month or two, as I've built up enough reviews to start referencing my past scores as a consistent standard, I've latched onto two regrets over too-low scores. One of those regrets is "Summer Girl": I was initially impressed and gave it an 8, but as the song kept growing on me in the following weeks, I realized I loved it enough to be a 10. The brilliance of Danielle Haim's restrained vocals, the quiet intensity of the lyrics, the sax riff that carries it all along -- it was quickly becoming my favorite Haim track. Well, the good news is that I was wrong: "Summer Girl" is still an 8 or 9. This is a 10. "Now I'm In It" sounds, somehow, both clean and impossibly hazy. The production is mixed clearly, but allows each bouncing bass note and subtle sound effect to shine; in contrast, Danielle's voice, as impressively agile as ever, folds itself into reverb and whispered backing vocals. Even the fuzz of static in the background of the bridge feels like purposefully crafted chaos. The sisters have said that the song is about Danielle's struggle with depression, and the lyrics reinforce that idea of being stuck in a mental fog. Like the bridge of "Summer Girl," the heart of "In It" boils down to a specific moment: in this case, it's when Danielle sings, full of longing, "And the rain keeps coming down along the ceiling/And I can hear it/But I can't feel it." I love that line, not only because it's absent from the first chorus and comes as a total surprise in the second, but because of how well it works as a metaphor on two levels. Being numb to "the rain" can signify detachment from the outside world, but it can also mean refusing to acknowledge your own depression: this track is smart and detailed enough to express both. And yet the music itself is a rejection of the lethargy of depression. With layers of instrumentation being constantly added and dropped, each section of the song is unique, and all of it builds up to that forceful, cathartic final chorus. In a lesser song, this clear sense of musical growth working against the stagnant nature of the lyrics would feel contradictory, but here, it feels instead like an intentional message of hope. Things will change, even in the storm -- and, if "Now I'm In It" is any indication, Haim will only keep getting better. [10]

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aparticularbandit · 5 years ago

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tagged by: the wonderful @only-freakin-sunflowers who i don't get to tag below because has already done the fun thing.

author name: bandit! for my fanfic, i'm bandit. it's different on ff.net - slightly - but since i don't really post stuff there anymore, that's irrelevant. i'm also aparticularbandit on ao3.

fandoms you write for: right now, primarily jtv with a dash of the tick because i love miss lint. i sometimes pull in characters from other fandoms i've written with/for - typically hannibal, who framed roger rabbit, ouat - and i plan on pulling in characters from agent carter, supergirl, timeless, and the x-files for the upcoming epic superhero crossover series (i think it might be done like the soulmate timer au is now...sort of) and then plan to pull in hp and supergirl characters for the roisa hp au - like beyond other fandoms i normally pull characters from - but that's upcoming stuff and not current stuff.

where you post: ao3. haven't posted on ff.net recently, i don't think, and while i have posted something here (and sometimes have posted drabbles/one-shots for various rp characters on their blogs), i primarily post on ao3 now.