#anyway i've listened to the new soundtrack...so much

[counting-stars-gayly]

something something hallucination silco telling jinx "we build our own prisons—bars forged of oaths, codes, commitments—walls of self-doubt and accepted limitation. we inhabit these cells, these identities, and call them 'us'" something "lock me up. I've gone and jinxed it" from vi's pit fighter music video something cait opening the door to the cell vi's locked up in something "i’m at the bottom it’s a long way down" from vi's pit fighter music video something something "I'm up here, higher than god" from the caitvi sex scene...I'm cooking I swear

[kuiinncedes]

lmao

[shooks-stupid-stuff]

did you know: evangelion good

[earlycuntsets]

translation: "my chemical romance interview. "for us, the live stage is the only place where we can be ourselves."

The songs are like a collection of rock anthems from all over the world, past and present, and it sets the hearts of listeners ablaze.

Who is the emo band that rocked the Summer Sonic stage?

My Chemical Romance, from New Jersey, who just released their major debut album "THREE CHEERS FOR SWEET REVENGE" in July, came to Japan for the first time at Summer Sonic 04. MCR's music is called "screamo" because of their friendship with their friends, including THE USED, and their style, and it contains the street/garage sensibility unique to the generation that went through American punk in recent years… but if you listen to it with a calm ear, you can see that although the vocals are "screamo style," the songs have a beautiful structure and tearful melodies that are related to British heavy metal, and they also feature beautiful guitar solos. In other words, MCR is a band that plays heavy metal at the street level��� That's why they must have been so welcomed right from the start in Japan, a country that has a strong tradition of heavy metal music (probably) - their first performance in Japan was a big success.

45 minutes after the end of the thunderous "Summer Sonic" stage

We caught up with the two excited guitarists!

I've never been to a show like that before! I'll never forget this experience.

--Now Frank Iero (FI): This isn't real.

How was the live show you just finished?

FI: Seriously! I've never done a show like that before. It was a memorable moment in my life. I'll never forget it!

--You seem very excited. What was so amazing about it?

Ray Toro: No, not "What". WTF! I mean, they were so welcoming! I wasn't expecting that kind of reaction at all. It felt like a hometown show. Oh, what can I say… ahhhh… anyway, it feels great!-- (Laughs)

Was the positive reaction because the new york was great? Especially the first single "I'm Not Okay" it's really exciting… It's a great song, and the song structure is well-crafted, building up from the intro, and the solo is uplifting too. Did you feel any magic when you made it?

FI: Well, let me tell you something. This song is something that you can't really call "written".

Really? Is that so?

FI: That's true. The song itself only has four chords, right? Except for the solo, it's all four. So at first, I thought it would be a boring song. But when we got together in the studio and Ray was playing those four chords over and over… Gerald (Way/vocals) started singing. The other members were silent. I closed my eyes and listened carefully. Then I realized it was an incredibly beautiful song. I felt it was worth completing. So I tried to change it up with the chorus. The root remained four.

---The guitar solo in this song creates a harmony with the guitar, creating a grandeur that is reminiscent of Queen. How did this come about?

FI: That solo was all Ray!

RT: Of course we were totally inspired by Queen! We were all saying, "Let's have a big guitar solo. Nobody does that anymore!" So I layered the guitars on it and made it as epic as possible. Also, when we were writing the song originally, we talked about making it as production-heavy as possible in the studio… Another thing I did consciously was to think of all the '80s pop and '70s bands I liked. I thought, "What would they do to make a song that's really epic…?" That's also where the two-second piano in the middle of the song came from. It doesn't really mean anything, but it's a bit like a soundtrack.

In terms of age, he was still very much alive.

FI: To tell you the truth, that second part is from the live album "CHEAP TRICK AT BUDOKAN" (1978) [laughs] I really wanted to include it. To begin with, even though some people have performed it live, I've never heard it performed in a studio album. I tried to include that as well and create the biggest anthem I could think of.

Q: Not just "I'm Not Okay," but all of MCR's songs…The composition is designed to make the listeners excited. They are all uplifting and dramatic. Is this something you do consciously?

FI: I'm totally aware of it.

RT: Yes. You can hear it in the song, but I change parts one after another. For example, We never repeat the same parts twice, and as the song progresses, new elements are added. We want it to feel like it's building from one thing to the next. Every member of the band contributes to that. The drums, the vocals, the melodies…everything helps the song to go higher and higher.

FI: Especially the new album, "It's Not A Fashion Statement, It's a Deathwish" crescendos all the way through. It just gets stronger and stronger. It all comes together in a spectacular finale. The whole band sings together for an anthemic ending. Because I like it! Our styles are completely different, maybe that mismatch is a good thing?

MCR's music tends to be dramatic. Is that due to the influence of the music you've listened to up until now?

RT: I grew up listening to heavy metal, like Ozzy Osbourne. I was obsessed with guitar heroes. I like bands that feature guitar players such as the late Randy Rhoads (g/Ozzy Osbourne) and Joe Satriani, Jimi Hendrix… In other words, Randy is the one who combined heavy metal with classical music, but his guitar playing I think he is the person who has had the biggest influence on my style. It's a bit old-fashioned, but it has a melody. And it's timeless. Melody.

FI: Richie Havens. My first woodstock. He was the opening act for the concert. He took me to an acoustic I just played it with one guitar, like a solo. There wasn't much, just sitting on the stool. He played very melodic and rhythmic guitar. But it's a completely unique style that can't be imitated. He had tiles… Such a great performer. I've never seen him before! I've seen Richie on stage about 10 times now, and I'm blown away every time. He's one of the reasons I don't stop playing guitar. I also love Greg Ginn (guitar/Black Flag) and Thurston Moore (vocals, guitar/Sonic Youth). In other words, I like dirty and emotional guitar more than intellectual style.

——————Hmm. You two have completely different tastes…

FI: Well, we are completely different types of guitarists, but maybe that mismatch is a good thing.

--You mentioned a lot of artists, but listening to your album I can sense a strong influence from heavy metal. But you also listen to a lot of different music from the '70s and '80s, right?

RT: Well, you can't just listen to one type of music, you know? There's so much good music out there. We can't just pretend not to notice it! All of us in the band try to listen to as much as we can and want to absorb as much as we can from all kinds of music.

FI: What we heard was an influence in some way.

FI: I like to use a Marshall JCM900 connected to a SUNN cabinet, and an Epiphone Zak Wylde model Les Paul as the only guitar. I turn up the bass all the way (laughs). Treble is about mid-range. I add gain here and there. But I like to keep it sounding like a real guitar. Not a "buzzing" sound with too much gain, but more of a solid sound.

RT: Yes! And we both try to only use effects when absolutely necessary, and usually plug them straight into the amp. Oh, but we do use wah pedals. Personally, I'd love to see the wah come back!

--I see. So with Frank on the bass and Ray raising the middle, it feels like you've managed to balance the band sound well?

FI&RT: Exactly!

FI: That's how I make it clear that there are two guitars. It's better to have a difference where you can hear each guitar part and it doesn't sound too cluttered.

――――So, let's talk about your playing, not just the guitar sound.

RT: I've been in the middle of it all. But the best thing to do is come to a show and see for yourself! I think there have been times when people thought it was Frank and it was me, and vice versa. We've influenced each other so we have some similarities.

---So you're influenced by each other's playing?

RT: Yeah. At least I got it from Frank.

I learned to play dirty. Not just clean, but more emotional. Instead of being super technical and perfect, I gave myself a little more leeway and tried to avoid feedback and pick-squeezing.

Frank is especially good at pick slides. He likes to make noise out of the guitar, rather than a pretty sound.

He's really good at bringing that out. Making noise, not just playing, is something I'm still learning.

FI: I'm the opposite, I'm learning to play clean, to keep things under control, but still let out emotion when necessary.

RT: A classic example of what you're talking about is "The Jetset Life Is Gonna Kill You." Frank has a really great part here. After the second chorus, it gets really quiet.

"THREE CHEERS FOR SWEET REVENGE" Warner Music Japan [CD] WPCR-11883 Sensual vocal melodies and emotional guitars, as heard on the 1st single.Their popularity is on the rise thanks to the explosive emotion of their vocals. This is the band's second album and their major label debut. Ray's strengths are in his guitar playing, which always lifts the listener up. While talking about the existing screamo sound, such as the "screamo" part, a new sense of flavoring with the essence of gothic and metal shines. And it's the same with everyday experiences! Everything that comes out of it naturally comes out in the work, and the more I shut out certain types of music or certain experiences, the less fertilizer I have. The goal is the stage. Keep playing to the limit. From what I saw on stage a while ago, the live equipment was, you both used similar things. How do you differentiate between the sounds?

RT: I'm more into distortion. I play a lot of riffs and generally like to emphasize the mid-range.

My model was the crunch guitar sound of Metallica's "Master of Puppets" (1986).

FI: On the other hand, I only use distortion to a natural degree.

Can you tell me the specific equipment names?

RT: The amps are Marshall "JCM2000" and "1960".

Cabinet. The guitar was bought by my brother for Christmas 10 years ago.

It's a very easy one to make, but the sound is great!

I also use an Epiphone Les Paul.

036 GuitarBreakers Vol.8

He said it was a good example of how the differences between the two of them are well expressed.

Can you name any?

FI: You Know What They Do To Guys Like Us

In Prison, I guess?

RT: You're right!

FI: You Know What They Do To Guys Like Us

"In Prison" is huge! The first two verses are

It's rhythmic and dirty, and then…

Ray's guitar hero-like, epic solo begins (laughs). And it has a light rhythm. And then there's "To The End" too.

RT: Yes. In some ways, I play more technically than Frank, but "To the End" has a great guitar solo, it's fast, and it's got some rhythmic, dirty parts. But I think you can hear the difference in our playing styles on every song to some extent.

---By the way, on the album, which is left and which is right?

Are you playing the channel?

RT: Well, in the verses, I mostly play on the left.

Ray is on the left. And Frank is on the right in the chorus.

Frank really blossoms in this scene. It's totally different from his previous style.

FI: Mmhmm!

---Finally, could you tell us about your future goals regarding guitar and songwriting?

FI: For now, I'd like to be able to turn the parts I've written for the next album into proper songs.

Also, we have a clear goal as a band.

But I'll keep it a secret until I achieve it (lol).

RT: For me personally, I just want to keep improving.

FI: Me too!

RT: We both love playing guitar.

That's what life is all about, so I want to keep improving both in technique and melody.

FI: For us, it was a live show that lasted less than two hours. I think that the only chance I have is to be myself, to experience a pure and spiritual moment. So my goal is to continue to play all the way to the end. There is a joy that cannot be expressed in words. I don't think you can understand it unless you have experienced it!

My Chemical Playing - A magnificent world created with guitar

The key to My Chemical Romance's songs is the twin guitars. When the two guitars intertwine, sometimes intensely and sometimes elegantly, it gives the listener a great sense of exhilaration.

Ray was crazy about guitar heroes like Randy Rhoads and Joe Satriani, while Frank loves Greg Ginn and Thurston Moore. They come from completely different backgrounds, but as Ray says, "When we get together, we don't know why, but a special atmosphere is born," which is the characteristic of the My Chemical Romance sound. In fact, Alba

If you check out his playing, you can hear many good examples of two-guitar ensemble. One of the best is the backing for "I'm Not Okay (I Promise)." As mentioned in the interview, the bass in this song is a repeat of four chords (D → Bm Em → A), but it is amazing how the performance is not at all simple. Due to space limitations, I will not post an example.

"I'm Not Okay" style guitar solo sheet music.

I'm sorry I can't introduce it, but I definitely want you to check out the ensemble in the A-melody. So, I'll introduce the solo below. This performance was inspired by Queen and was meant to be grand. The harmonies are great, but the chord progression is deliberately E/G#, even though E would have been fine in the flow. This is one of the reasons why it feels so grand.

In the harmonies from bars 1 to 8, you want to be aware of the speed at which you raise the pitch of the choking, and the speed and depth of the vibrato.

The first half of bar 12 means "play five notes in two beats."

2004 volume 8 guitar breakers from theydrewblood.blogspot.com

[madmaxart]

So i've been listening to the over the garden wall soundtrack a lot (obviously....its October) and I haven't listened in a while.....anyway I discovered on track sounds EXTREMELY SUSPICIOUSLY like a particular song....specifically November from the Black Rider (a musical by Tom Waits).

This put me down a rabbit hole thinking about the similarities between the two; deals with the devil, a woodsmen with a lost daughter, being lost in the woods, etc. Obviously OTGW is its own thing but I do have to wonder how much of an inspiration was the black rider in some of the aspects of OTGW? The music, obviously....but quite possibly some of the plot elements as well.

a LOT of music sounds like the black rider

The opening of this song sounds SO MUCH like the Black Box music theme

And then of course you have.....

Which sounds SO much like november. Uncannily so, down to the orchestrations. (The journey begins track also sounds a lot like November.....it's definitely a motif they use a lot)

(and the stage version....for good measure)

Obviously, a more trained ear might find more similarities. There a song "The Briar and the Rose" in the Black Rider thats sort of reminiscent of Like Ships, but I'm only posting the VERY obvious tracks. I really want to ask Patrick McHale if the Black Rider was a big inspiration, if he's ever seen the show, etc. Because I think musically it obviously IS a big inspiration, and story wise it seems to be in some way too. Hope y'all find this interesting and a new insight into Over the Garden Wall!

[hooked-on-elvis]

I'm shocked (not really, but it's shocking to hear this anyway) to learn that at some point in life Priscilla sued Marty Lacker for a money Elvis gave him. She dropped the lawsuit when Marty counterclaimed it. Marty says "She messed with the wrong guy, but she was trying to use me as a test case against the other guys. She is a lovely person."

(1) February 25-26, 1965: Elvis signing autographs for fans in Nashville while he was in town for the recording session for the "Harum Scarum" movie soundtrack. Marty Lacker is seen by Elvis' side.

YOUTUBE - INTERVIEW WITH MARTY LACKER BY JOE KREIN PART 3 (out of 4) (go to 30:00 to listen his story about the lawsuit by Priscilla)

Now, this is just my personal comments on this but for all I've learned about Marty Lacker so far I believe he had the best interests at heart concerning Elvis. He helped EP with his music career A LOT. The way he puts it, it seems he worried with Elvis' name in the business because: 1. Marty knew EP had so much to offer (as everybody else knew), so much talent to go to waste on unworthy movies and its soundtracks and on general commercially weak songs, and 2. I bet it wasn't funny to see people mocking his friend for the kind of music and movies Elvis was making. Marty, as well as some other Memphis Mafia guys, worried about Elvis' personal satisfaction and well-being for multiple reasons... maybe not all of them being selfless but I still believe they did care about Elvis as a friend and human being even if they had hidden interests and whatever was the nature of them.

Now, all of those guys (all the people) around EP were seeing him killing himself little by little while trying to numb the disturbing thoughts in his mind and the sorrow in his soul... they were witnessing all of the sad incidents happening over the years where Elvis would end up hurting himself or almost dead. Marty was one of the few people that would go against Colonel Parker when he convinced Elvis to try something new for his career, something that would end up giving Elvis a great refreshing moment in his life, something he was hoping for deep down but somehow couldn't imagine how to make it happen himself and the ones who were in the place to advice him were too busy with their own personal agendas to care about the King's aspirations for his career.

Marty was the one to manage getting Elvis into the American Sound studio (later at the Stax too), and Marty was also the one to recommend the Sweet Inspirations to work on Elvis' concerts. Just by that alone, ALONE, could you really think Marty deserved a lawsuit for a money Priscilla didn't even need? I mean, where is the gratitude to some of the close friends of the man she allegedly says she loved?

As he said in the same interview, Marty was no saint… he wasn't a leech either. There was a time when Elvis lent him some money and Marty paid him back some time later, so Elvis was deeply touched by it because normally no one would pay him back ever! That shows something, right?

Maybe I don't know enough yet because I'm relatively a new born in the Elvis fandom, and I absolutely don't agree with every statement I've listened/read coming from Marty but in general I see him as one of the good guys from the Memphis Mafia bunch. I mean, every story has two sides. Maybe Priscilla sued Marty after being counselled to do so by some lawyer she had, like she was when she decided take Elvis to the court again in 1973, asking for more money after the divorce settlement had been set in 1972 - and by this I mean she could've been convinced to sue Marty instead of having the idea herself, which at least would make things a little less awful. But any reason she had to do that, I mean... why? There's things in life we just don't do. Even if she didn't personally liked the guy (and we know from Elvis' friends the ones she really liked were Joe Esposito and Jerry Schilling), she had to admit Marty was a great contributor to the Elvis Presley estate from which she benefits until today. I think for all Marty did for Elvis' career it's reasonable to think that any money he could've borrowed from EP would have already made its way back into the Presley's bank account in other ways. Maybe a little bit of gratitude and respect to him wouldn't hurt. I mean, I'm not totally against Priscilla... in some ways I can understand her, I really can, but not on this. Not when it comes to her greediness.

I just wonder what would Elvis think.

(2) The Presley's wedding day, February 1, 1967. Marty with Elvis and Priscilla.

FURTHER INFO: On July 17 1973, "in the papers presented to the court Priscilla's new attorney seeks to set aside the original divorce settlement." - Excerpt from 'Elvis Day by Day' by Peter Guralnick and Ernst Jorgensen. Now in addition to what has been agreed on the August 1972 divorce settlement, from the 1973 new settlement Priscilla would also receive, among other things, Spousal support, additional $625,000 (in cash) to the original $100.000 agreed and 5% of Elvis' royalties.

[putschki1969]

YKL vol.#20～Japanese Seal 20th Special～ Kanagawa Performance Broadcast

2024.06.09 Kanagawa・Kenmin Hall The second concert of this year's Yuki Kajiura live tour was broadcast last night on TBS Channel 1. The tour is titled “Special Japanese Seal” referring to the fact that no Japanese songs are performed. This exclusion does not apply to the encore section. User 蓝原延珠_ on Bilibili kindly provided their recording of the broadcast, you can watch it HERE. I was only able to download a 720p version (~1GB) of it but for the time being, it will do. I am eager to watch it and write a little report. Hopefully an HQ version will pop up in a few days. Without further ado, let's get going〈(•ˇ‿ˇ•)-→

overture〜アンチヒーロー〜Main Theme〜: Right off the bat, I'm noticing that the audio is quite dull and maybe even slightly tinny? Might be the specific recording but it's probably more a matter of the TV broadcasts generally having bad audio. That was clearly noticeable when you compared the Kaji Fes TV broadcast to the BD release. Anyway, we are off to a great start. Glad to see rito and Lino on stage from the get-go and not just for a couple of songs here and there. It always feels a bit awkward for them to have the status of "regular" members but only appearing on stage sporadically. I haven't listened to any songs from the Antihero soundtrack so this is all new to me. Classic YK, the type of song I will always gravitate towards. Beautiful harmonies. Enjoying the slight whine in Eri's voice, so emotional. Love when the epic part starts and you can hear an entire chorus in the background (maybe a bit too much studio magic going on here but I don't mind for grand sections like that). Must have been a real goosebumps moment at the live.

the four rings: Wow, this one is so good. Don't think I've heard it before. Not too familiar with the Heaven’s Feel OST tbh. Really getting goosebumps now. Although I will say that here, the post-editing is a bit overbearing, it seems to almost drown out the vocals of our songstresses. Don't get me wrong, it still sounds amazing and I am enjoying the hell out of it but I wonder how it was like at the venue (with presumably less studio magic). With six singers on stage, they can certainly achieve some powerful choral work but of course it would still pale in comparison to a larger choir. Nonetheless, this is an instant favourite. Hope they will perform it during the Asia tour leg. Although I kinda doubt it since they said that the setlist would be very different. But who knows, it's Fate/stay night so it's probably among the more-likely pieces to be performed among Yuki's huge repertoire. My guess is that they will stick to the most popular anime stuff because they know that will get the audience excited.

absolute configuration: Perfect transition. Never getting tired of this song. And I'm glad we are back to a more natural sound with less studio magic. Solid performance as always.

E.G.O: Have they ever performed this live for a home video release? I don't think so. It was included in one of the live complication albums (Fictionjunction 2010-2013) but I don't recall ever watching a live performance. I have to admit that I haven't even listened to the live audio track, must have dismissed it when I first got the album. I can understand why because it's not really my type of song. It's not bad but not my favourite either. Very old-school YK so that's fun. And there are a couple of nice Keiko parts, that's always a treat.

キッチン革命〜Main Theme〜: A completely new track from one of Yuki's most recent works. Definitely a perfect fit for a show called "Kitchen Revolution" XD Especially the percussion at the beginning. The harmony between Yuriko, Lino and rito works really well, they sound good together. Other than that, it probably won't become one of my favourite songs. Generally not a huge fan of Yuriko as main vocalist. No one does those gorgeous operatic higher harmonies like her but when the spotlight is on her, it's typically not my cup of tea.

voyagers: As far as I know, we only have the studio version and live audio from the compilation album as reference. No official live footage. The song has never really stuck out to me, it is okay but it's a bit too derivative of much better tracks from Yuki. Will keep it short so I don't trigger anyone. But it's definitely one of those songs where I prefer the version with Wakana. Joelle's vocals don't do anything for me here. But since I am not super invested in the song anyway, I can't say I care much.

Historia: opening theme: Beautiful rendition. Love that they brought all six vocalists back on stage for this. Naturally, I'm quite fond of Wakana's version once again (not least of all because this song will always have a connection to Kalafina) but Yuriko does a fanstatic job of singing her parts, admittedly, she has much better control so her voice sounds very crisp and lovely. Joelle provides great support here and their voices blend well together.

forest: Never been a fan. I didn’t like it when Wakana sang it and I don’t like it now that Joelle sings it. It’s not a bad song at all and Joelle sounds fine to me but it’s just not my cup of tea. Next.

My long forgotten cloistered sleep: Now THIS on the other hand I have always loved. I still remember everyone hating Wakana's live version during YKL Vol.#9 but I enjoy it quite a lot. It's true that it's probably not the best she has ever sounded but her vocals here certainly don't warrant all the nasty comments she has received throughout the years for that performance. Of course, I am also obsessed with that WaKei combo!! And you know me, I have a weakness for "lalala"s so this has definitely always been among my favourite YKL songs. As for this performance, I think both Wakana and Joelle are trying are little too hard to emulate Emily Bindiger's timbre. I personally don't think Emily Bindiger has a particularly nice voice so if anyone tries to sound like her, it's always a slight downgrade in my opinion. I'll just say this, if you are one of the people who say that Wakana sounds like a chipmunk in her version, you'll have to say the same thing about Joelle(¬_¬) Long story short, I don't mind this version with Joelle and Keiko. Still very enjoyable. Will definitely be listening to it on repeat.

I swear: Probably one of my least favourite Keiko songs but this is a decent performance. I might even like this more than some of the previous live rendition since it's a bit more delicate(?) I think.

fiction: Another song I could live without…The chorus is solid but it's not one of those songs I'd ever actively listen to.

I reach for the sun: Forever sad that they made Joelle the lead of this song. Keiko does a better job in my opinion and I like the song quite a bit more than "I swear". Overall, the English section has probably been the weakest so far, at least for me. I actually ended up fast-forwarding through most of it.

MC: This MC is quite interesting since Yuki asks her singers to share a story of something they are taking a break from right now. To explain the background of this question, it's a reference to the title of this year's tour: Nihongo Fuin = Japanese Seal ("fuin" basically means to seal up something. You are excluding it/taking a break from it/quitting it/etc). Lino says that despite being a huge lover of the sea, she has been taking a break from going to the beach and swimming in the sea during this summer because it might affect her voice negatively. Yuki has a funny response to that because she says that most of her songs have never really had a summer vibe and actually don't work very well in a summer atmosphere but for some reason, they have ended up always holding their annual tour during the summer time. Keiko has stopped drinking her beloved lattes for the past three months to prioritise her water intake. Gladly, she has overcome the worst parts of quitting already and is getting used to water. Yuki admired her stoic nature. Yuriko would typically refrain from certain things in preparation for a live tour but this year she has completely forgotten about that. About two weeks ago, she decided to quit ice-cream but she only did it half-hardheartedly because it was so hot that she ended up eating it anyway. So yeah, this is a big fail and it's really a "story of NOT taking a break from something" XD Joelle has stopped waking up early. Usually, she is the type to rise together with the sun but in order to increase her sleeping hours, she will wake up later when she is on tour. A restful sleep will help her body heal up and improve her voice. rito has quit chewing gum (and stopped eating certain chewy foods such as squid) because it's bad for your jaw and facial muscles. Kaori has taken a break from watching the drama "Anithero" (for which YK is composing music, the main theme having been performed as the intro of this live). Seems like the song is haunting her a bit too much and the story is getting to her. So once the tour is over and she is no longer singing the song, she will have an easier time watching the episodes. Yuki agrees that the main theme is quite haunting. Especially when she hears one of the singers rehearsing in the dressing-room right before a performance. Eri doesn't really have anything to tell the audience but she and Yuki briefly talk about the difficulties of learning so many songs with coined words.

Gaia: Wow, what a lovely song. Instant like. Really adore Eri here!! Such gorgeous high notes.

Credens justitiam: What a great team-up with Keiko, Eri, Yuriko and Joelle. Eri sounds great together here with Keiko. Does Yuriko sound a bit off here? I don't know. Not 100% into some of her parts.

hepatica: First time actively listening to this song. Very beautiful and tender. I feel like some of Yuki's KnK work might have been inspired by this song. Some parts immediately made me think of "Seventh Heaven".

godsibb: Waaah! Yes!! Always a joy to listen to this song. Glad everyone is on stage for a powerful finale.

Alone: I knew I would love this Pandora Hearts medley. I always do and this one is no exception. Flawless start.

Bloody rabbit: Some squeaky parts at the beginning but overall, solid.

Contractor: OBSESSED. One word. Perfection. There's a reason this is the performance I'm using for this post. I'm forever a slave to Keiko's solo part XD. Also, Eri is such a queen here! So cool!

zodiacal sign: This is the song where you can really tell that they are taking great care of Kaori's condition. No strenuous movements at all. How funny is it to see Rie joining the girls in their little dance?! Cute!! Super fun performance as always.

open your heart: Ughh, I do not like this song at all. They did "Sweet Song"/"paradise regained" for most of the other performances. Would have killed to get either of those two instead of "open your heart". Obviously, "Sweet Song" would have been perfect. From what I heard, the final concert with Kaori in July had an amazing and heart-warming performance of "Sweet Song".

En.Prologue〜このとほかやわらかい: Wish I could grow to love this song. It deserves my love, I know it. But I just can't get into it. But hey, it's a cool performance, I can't deny that. During her solos, Kaori sounds a bit nasal in my opinion. Nothing that takes away from the performance but it's certainly noticeable (throughout the live to be honest - at least during the few songs where she has a substantial solo part. I think you can also hear it during the main MC. Either she had a minor cold that day or it's just a symptom of her pregnancy. Lowered nasal resonance is actually a very common thing for pregnant women.)

En.Parade: Beautiful. No notes.

En.蒼穹のファンファーレ: Solid. Not a huge fan of the song though.

[zsakuva]

Hello!! Even though it's absolutely irrelevant, I thought I'd ask anyway since you seem the best person to answer the question(s) I'm about to ask:

First of all, I am someone who has listened to/ is open to listening to most types of music. But these days I feel like I'm falling behind in music genres such as ambient, folkkore or soundtrack annd much more.

On the other hand, it would be hard not to realize that you listen to these genres religiously in the short time I was able to use Discord!! So you kinda get the point of me asking this question specifically to you 🦉

So, let's ask you, King Crumpet, do you have any suggestions?, or important stuff you want to talk about? Let your people be cultured too!!

I normally consume soundtracks of things that I've played/watched before, and many are nostalgic for me. But I tend to listen to music that helps with my work, so I curate my playlists when I'm searching for a specific theme or mood. I also listen to my 'Discover Weekly' and 'Release Radar' semi-regularly to find new songs, so the artists in total are ALL over the place.

So in no particular order, I'll list off soundtracks that help my brainstorming/writing (bear in mind I don't listen to the whole soundtrack, just pieces that fit what I need):

MOVIES/TV SHOWS/ANIME

Game of Thrones - Ramin Djawadi

House of the Dragon - Ramin Djawadi

The Hunger Games movies - James Newton Howard

The Lord of the Rings: The Rings of Power - Bear McCreary

The Wheel of Time - Lorne Balfe

The Untamed - Hai Lin

Tales From Earthsea - Tamiya Terashima

Psycho-Pass - Yugo Kanno

The Sandman - David Buckley

The Bourne Trilogy - John Powell

Oppenheimer - Ludwig Göransson

VIDEO GAMES

The Elder Scrolls V: Skyrim - Jeremy Soule

The Elder Scrolls IV: Oblivion - Jeremy Soule

Final Fantasy XII - Hitoshi Sakimoto

Final Fantasy XV - Yoko Shimomura

Horizon Zero Dawn - Joris de Man

Moss - Jason Graves

Pine - Tumult Kollektiv

Detroit: Become Human - Nia Fakhrara; Philip Sheppard; John Paesano

MISCELLANEOUS BUT NOTABLE ARTISTS

Yuki Kajiura

Gareth Coker

Nobuo Uematsu

Two Steps From Hell

Howard Shore

Jia Peng Fang

Will Savino

Royal Philharmonic Orchestra (normally renditions of video game soundtracks like Tomb Raider II)

Hans Zimmer

Loreena McKennitt

Mark Eliyahu

Yutaka Yamada

[fukutomichi]

It's RAMBLE TIIIME!!! Okay, I think I can talk about it now, probably most have seen the episodes. It's a bit longish! Here we go!

That first episode is so far my favorite, because above all else, I'm a GIGANTIC fan of visual storytelling and show-don'tell, and that first episode had me FEASTING. You can probably tell by my gifsets that I love when actors emote and act without dialog using only emotions and facial expressions to get the message out. Episode 1 gave us so much of it. And dare I say bordering a bit on horror/gore a bit, those first few minutes with Sauron in his "desk job era" had me surprised by how brutal it got quickly.

If people are wondering if they're gonna do the Celebrimbor thing, and if THAT is gonna be too brutal to show, this might confirm that they may not shy away from it at all.

I love the fact that they took the criticism that was mentioned for the first two-three episodes in Season 1, when I was actually kinda worried that the pace was going a bit TOO slow and it took three weeks, when the story moves to Númenor , for the series to fully kick in gear. This time they were like, lets get the set-up out of the way, all at once, and then release week after week. Lets see if this decision pays of in the next weeks ahead.

So lets get this out of the way. I had a hunch with Nazanin Boniadi missing from promos and interviews that they are gonna off her character right away. Turns out that there was even an announcement before that I've completely missed and I was gutted when I found out, but in the end of the day, a job is still a job, and if it affects you in anyway, it's probably best to leave it. I have had a first hand experience in this and no matter how high the pay was, my health was much more important than anything and had to quit. I'm gonna miss her and wish her the best!

Arondir and Theo's relationship gets back to square one, so I'm interested to see in what way or IF it gets mended cause man, I dunno how they can pull it off this time. BUT I do LOVE that they've paired Theo alongside Isildur which is a character he can empathize with so I wanna see where that leads. My friends immidiatelly groaned when they heard "Gawddd the ARROW really?? =___="...and then remembered about a tiny movie called The Hobbit and what happened to Kili. We had to go to Hobbit logic to explain it away and move on lol.

The new character Estrid, was IMMEDIATELY suss as HELL to me. Even after she burned her sigil on her back so she can hide it. I've been listening to her soundtrack theme, and almost like as if its made from two layers, feels almost TOO magical for her even. But this is just my hunch. Isildur is still too wide-eyed and naive so maybe she will serve some purpose in him getting a bit jaded later on.

ORC BABIES!! HELLO!! I love that we're getting deeper into the orcish origins and probably everyone's favorite topic, are they redeemable?? Can they be??? I also love that we got to have two Adars. Season 1 we had Joseph Mawle with an almost vulnerable portrayal and what seemed like a suicide mission for him. Now for Season 2 we get Sam Hazledine, with his goal complete AND him still alive, a more driven and focused character...but is he gonna survive THIS season?? 😭

We know Adar also mentions how he meets Sauron for the first time...but that doesn't stop me from AGAIN, thinking that he IS MAGLOR. Come one maaaan, the hand!!! "In the eldest of the Elder days" you don't just drop a line like that causally. DROP THAT REVEAL!!!

WE NEED MORE OF THE HARFOOTS!!! WE NEED MORE WIZARDS!!! These 3 eps were not enough for me lol. I'm just beyond excited for Tom Bombadil!! Please have Goldberry, please have Goldberry!!

Disa and Durin are still relationship goals. UGHHH!! They will have me stressed!

I ain't gonna lie. When that giant eagle landed before Pharazôn, there were a few seconds where I was buttclenching thinking he was gonna pull his sword and swing it on the bird...but then Manwë would probably descend and obliterate Númenor in seconds and the series would be over lol. Númenor will have me stresseeeed. The Petty Lord and his Queen WILL RUIN MEEEH!! 😭 😭 😭

Ben Daniels as Cirdan is an A+++ casting choice. Kinda bummed that he hasn't talked properly with Gil-Galad tho. Make different characters interact more with each other damn iiiiit!!! Let us see them establish connections!!

That being said, my favorite part so far, and are probably gonna be the central focus of this season, are the elves. Their strive for perfection, thinking themselves SO infallible, beyond prideful, are gonna be the very things that bite them in the ass...again lol.

And it's important for us to see that, cause THAT is the extent of Sauron's evil, we need to witness just how much he can mess you up and how much he enjoys playing the game, in the same time thinking himself savior and deserving of love. How much PURE good you have to be to resist him. Elrond so far has proven able to resist, given his past.

Galadriel is on the brink. If listening to "The Last Temptation" tells me something...Galadriel so far hasn't learned her lesson and thinking herself able to resist.

I believe there's a gut-punch coming up in the finale and I'm not gonna be ready for it. And yet, as much as I don't like it, WE NEED TO SEE IT! We need to see how evil can be tempting and irresistible, that even an infallible being can fail.

After all, it's all downhill from here.

[goddesspharo]

@aimlessglee tagged me!

What’s your lock screen, last song you listened to, last picture taken, and last movie you watched?

I've had this same lock screen for years - I keep getting new phones but the lock screen remains the same. I wish I could remember the name of the photographer/where it was from, but I love the colors as much as I love the crackle in the air right before a storm. This picture also inexplicably reminds me of Explosions in the Sky's "Your Hand In Mine (Goodbye)" from the Friday Night Lights movie soundtrack.

I made a Lilith Fair reference in a fic that I wrote last night so it's only natural that I'd listen to some Lisa Loeb afterwards (during?). This is easily in my top ten favorite songs ever though. There's something so quietly devastating about "and you say, 'Stay' / you say I only hear what I want to."

She is finally here! Live, laugh, (leg sleeve) Lynn! My #1 🦇. I'm only mad that I ordered this before the Secretary of Defense Naomi Girma shirt came out because I want that too but I refuse to pay for shipping twice.

I finally watched A Woman Under the Influence last week after Gena Rowlands died (RIP) and her performance was fantastic but oh man, that movie was infuriating. I don't like seeing Peter Falk playing such a raging asshole and no one acknowledging it except one random party goer who called him a shit for inviting a bunch of strangers to his house for a welcome back party for his fragile fresh-from-the-institution wife! Anyway, the next day I watched The Mighty because it was shorter than Faces - very 90s, very strange that all the adults were fine with Kieran Culkin riding Elden Henson like a human Uber, nightmare fodder to see James Gandolfini with long hair in flashbacks.

Tagging whoever wants to do this!

[black-arcana]

NIGHTWISH's TUOMAS HOLOPAINEN: 'My Biggest Musical Heroes Come From The Film Music Genre'

In a new interview with the German edition of the Rolling Stone magazine, NIGHTWISH keyboardist Tuomas Holopainen once again said that writing film scores is something he would like to do in the future. "Yeah, I'm a big fan of film scores," he explained (as transcribed by BLABBERMOUTH.NET). "My biggest musical heroes come from the film music genre: John Williams, the best ever, him, Hans Zimmer, Danny Elfman, James Newton Howard, Ennio Morricone, just to mention a few. So I'm really into that stuff. That's the kind of music that I listen to, if I listen to music, which I don't do very much anymore.

"But, yeah, writing a score to a film has been in the back of my mind for 25 years," he added. "But [I've] never been asked, and I don't even know if it would be my cup of tea, because you are really confined to the story and to how the director wants you to write, and I'm not sure if I would be up to that."

A few years ago, Holopainen was asked by Untitled if he would ever write a complete soundtrack for a film. The 47-year-old musician responded: "I wish I could. That has been a dream of mine for years, but it would need to be something that really strikes my fancies. I wouldn't be interested in writing a score for a romantic comedy. It has to be something interesting — a nature documentary for Discovery channel or even a really cool game. I'd love to do [role-playing video game] 'The Elder Scrolls VI', something like that. Anyway, at the moment NIGHTWISH is, by far, my main priority, so that's what I want to focus on for my near future. I can see myself in my fifties doing something like that, though, if somebody's interested."

During the same chat, Holopainen was asked whom he would like to work with, if he could choose anybody. He responded: "Two of my biggest heroes are Hans Zimmer and [Oscar-winning Greek composer] Vangelis, so either one of those. But then again, I want to keep a bit of distance from my heroes. Once, I was in Helsinki and saw Hans Zimmer live. Then I got invited to meet him at a party afterwards but I declined. He's such a big character for me and some part of me wants to keep it like that. A good example of this is that for my whole childhood Walt Disney was my hero; he was like a demigod for me. When I read his biography, the world crumbled. He wasn't a very nice person. For some people, you want to keep the distance. So, to return to your question, if Hans asked for a cooperation, I would definitely do it."

NIGHTWISH's latest album, "Yesterwynde", arrived in September via Nuclear Blast. It marked the band's tenth studio LP, following on from the release of "Human. :II: Nature." in 2020.

In April 2023, NIGHTWISH surprised fans by announcing that the band was not going to be playing any live shows for the foreseeable future and would be not be touring in support of "Yesterwynde".

"The reasons are personal," Tuomas told Metal Hammer magazine. "We're not going to go into it, but it was something that had to be done for this band to continue. There's no bad blood between the members, nothing like that. We just have to take a long breather."

Photo credit: Tim Tronckoe (courtesy of Nuclear Blast)

[andy-wm]

I've read and reread your analysis of FACE--applying Freytag's pyramid plot structure--more times than I like to admit. And I keep coming back to this part:

Then we have the surreal, melancholy Dive, drawing us further into this dystopian world. It also uses sound effects to make us feel like we are being pulled through time. Dive is reminiscent of a soundtrack from a video, but it's been separated from its film reel, leaving the listener to guess and imagine the scenes unfolding. It feels like Jimin has come untethered from his reality.

Thanks for making Dive my new obsession. :)

I never thought Dive was just a throwaway addition to add time--like some have suggested--but that it is part of the trajectory of the story. And I love how--just like with every other part of FACE--it is open to interpretation. Is he running towards or away from something? Is he showing how happy he is on stage or how he pulls himself together to be the Jimin everyone expects? Is that the sound of drinking water or something else?

Yes, I like to overthink these things. Sue me.

But your eloquent description here really struck a cord--being pulled through time...untethered from his reality. Coupled with the other-worldly chord sounds, I suddenly thought of The Aquarium by the composer Saint-Saëns. Do you know the one I mean? It gives me that feeling of looking through glass at a secretive world, where everything is mysterious and unsettling.

Anyway, you've given me a new appreciation for Dive, and solidified why it is not only important in recounting Jimin's journey, but perfectly placed on the timeline.

Thank you.

Hey Isaidnothankyou, thanks for your message! One of the aspects of FACE that keeps bringing me back to the album is the narrative.

Like you, I am captured by the role that Dive plays on its own and as part of the album. It tells such a succinct story, it could be an audition piece by a Foley artist.

But knowing that Jimin is behind it, and knowing what an intensely private person he is (like only comparatively recently did we discover he has actual walls and a ceiling in his apartment haha), i am literally stunned into silence at how intimate and revealing this piece is. I love that it has become a favourite for you too, because it is worthy of so much attention 💛

[earphone-jacks]

My Hero Academia Class 1-A Music Headcanons

I've been catching up on the manga and thinking a lot about Jiro making a collaborative playlist to help her really connect with her classmates lately. Anyway,

Deku listens to soundtracks, like bombastic instrumentals from old superhero movies, and I like to think he enjoys some fantasy adventures too. He also likes J-rock, including some openings and endings from the anime. He's pretty open to recommendations no matter the genre, but generally prefers more mellow stuff to help him relax and study or just unwind after a long day, and tends to listen to the same small handful of his favourite songs anyway.

Bakugo listens to heavy metal, particularly extreme metal. He loves the blast beat drumming and harsh vocals. A lot of the lyrics are incomprehensible upon listening, but if you took the time to look some of them up, they'd give more insight to his more vulnerable side that he's too prideful to show. I also like the idea of him having a softer private playlist that nobody lives to speak of.

Ochako didn't really seek out new music on her own before high school and formed her taste mostly from the radio or recommendations from friends. She has a lot of fun going through the playlist and she's happy to listen to anything from bubbly J-pop to heavy metal. I think she'd be a big fan of Babymetal.

Iida also likes instrumentals for studying, but more classical, and with faster tempos that he can take his morning runs to as well, like allegro. Something like hardcore techno would be funny, maybe some sport anthems, and a few more mellow rock songs that he picked up from his brother for when he needs to cool down.

Todoroki was very isolated and had a really limited musical library before high school. He'd also just listen to some classical, traditional Japanese music, or whatever was on the radio, if anything at all. He later gravitates to edgy alternative rock, or anything with relatable lyrics that help him vent his emotions. I think he could use that.

Tokoyami likes goth, modern classical, anything mellow, dark and ethereal-sounding with poetic lyrics. His music is oddly calming and haunting at the same time. He doesn't like anything too loud or harsh-sounding, partially because it can excite Dark Shadow too much.

Tsuyu and Koda both listen to cozy movie soundtracks, like from Disney or Ghibli, folk, lo-fi, ambient nature sounds, anything grounding and soothing, or "cottagecore".

Momo listens to classical, traditional pop, or modern music with elements of either, like baroque/chamber pop.

Jiro is already confirmed to have a preference for rock, probably alternative rock, and punk. I'd like to think some metal as well, but she'll listen to almost any genre and has impeccable taste in everything. She was largely influenced by her parents, and maybe grandparents, so her library spans a few decades as well.

Mina and Toru both listen to upbeat J-pop, and I like to think one of them introduced the others to Little Glee Monster. Maybe some sappy or wistful love songs more in private. Mina also likes 70s pop, disco and hip-hop, the kind of music that just compells you to dance and sing at the top of your lungs, maybe some psychedelic space rock and sci-fi horror soundtracks.

Kirishima is also confirmed to like 80s rock, like Eikichi Yazawa and Tsuyoshi Nagabuchi. I'd also think he likes stuff from as far back as the 50/60s as well, since Yazawa is the closest thing to Elvis from Japan that I know of, and that he picks up some more modern hard rock and metal mostly from Bakugo and Tetsutetsu as well.

Kaminari and Mineta both listen to J-pop, mostly from female idols that they think are cute. Besides that, Kaminari likes pop rock/punk and a lot of English music, and seems to have formed a lot of his taste from whatever was popular on the radio or social media with the occasional unexpected banger. He also had a dubstep, Vocaloid and hyperpop phase.

Sero is almost as adventurous as Jiro with music. He has a talent for finding underrated indie bands, and songs in a few different languages as well.

Aoyama also listens to some classical, but more opera, as well as French pop, some disco and house that he can vogue to. It's mostly upbeat but there's some sad-sounding songs in there as well that the others can't translate.

Shoji doesn't have much to contribute, being a minimalist, but he generally likes the more mellow indie stuff. He can get overstimulated easily.

Sato and Ojiro both like upbeat stuff, and enjoy music more as background noise for training, or baking in Sato's case. I also think Sato would enjoy the girls' bubbly pop music, and Ojiro would like some traditional stuff. Idk man they're nothing characters

[girldragongizzard]

Epilogue 5: The Artist of Being a Dragon

In early May, I guess, Chapman and Nathan got together again at the Makerspace and made me a set of bluetooth headphones I can wear.

Because Chapman is involved, they have a mix of retro-radio and classic cyberpunk styling. They have a cherry wood finish with a gorgeous laser etched esoteric circuit print on them. The metal parts have a rose gold color. And the pads are real leather. And they are weirdly durable. I am unable to scratch them.

Still, Chapman begged me not to take them into a fight.

They're pretty special, because, like my tablet they have an indefinite battery life, and they don't block much outside sound. Wearing them is like having a surround sound system arrayed out on my rooftop, with me in the middle of it. The music can end up being louder than other noises, but if it isn't, there's nothing in particular keeping me from hearing anything else.

Before dracomorphosis, I would have preferred sound blocking headphones, to manage my sensory processing disorder. But now my ears work the way my brain expects them too, and I really need to be able to hear what's going on in the rest of the city. Especially if another dragon is calling out. Especially right now, while I'm still constructing an egg in my uterus.

I kind of feel like "uterus" is the wrong word for that, as much as I like having one. Mine's more of a fucking crucible.

"Fucking" is the operative word there, you know.

Anyway, they did this because several of my humans thought that music would help calm me down and help me bide my time between suitors and other distractions. And, I honestly really appreciate it.

So, then, Kimberly gave me Chappell Roan's "The Rise of Fall of a Midwest Princess" and holy shit. Lesbian music is Like That now?

If you were to reread my trilogy while just listening to that album, I think it would make a pretty good soundtrack and give you an overall better feeling of what it's like to me. Though, I have some other music now to add to it.

Incidentally, I've been listening to that album almost nonstop on repeat, except for when I'm exploring her other music, and going down little pop culture rabbit holes. For instance, a few days ago, I heard her cover of "What's Up?!" by 4 Non Blondes, which I absolutely remember losing my shit to when I was a teenager. So, I had to revisit their music, and that particular album, "Bigger, Better, Faster, More!".

Did you know the lead singer of 4 Non Blondes was an out lesbian while she was singing for that band?

I did not.

I would have thought at least Kurt Loder on MTV would have told me, but nope! I do not remember that happening. Maybe I missed it.

It turns out that nearly every female led band I loved when I was a teen was queer in some way. And also, like, Billie Joe Armstrong of Greenday. What?!

So, anyway, I had a little week of collecting both old and new queer music, and that's my whole playlist now. I've also got Mary Lambert in there. And Karen O and Metric, though I'm not sure if either of them are queer, but they fit in the mix really damn well anyway. Oh, oh, and Halsey's song "I'm not a woman, I'm a god." And then the Nimona sountrack led me to Santigold, and she led me down the path of Black queer artists, and now I've got Jackie Shane and Janelle Monae. And I'm asking Kimberly to hook me up specifically with trans artists.

And she's like, "Darling, I'm in five bands. Here's my Bandcamp."

If I had a bedroom wall of my own, it would be slathered with posters by now.

I've never understood that, but I do now.

We might be headed toward the latest hottest Summer on record, with an utterly devastating hurricane season to follow, and I might be a harbinger of massive evolutionary upheaval during one of the world's biggest and fastest mass extinction events, but humanity sure is showering me with the best music ever at just the right time.

Sorry if that seems like flippant disregard for events that are killing way too many people and other animals, but things are changing. It's not going to turn out the way it was going to just a year ago. The future is different now. And you're part of it.

All of this is to say, though, that on this afternoon I'm listening to that Chappell Roan cover of "What's Up?!" while lounging on my rooftop, giving everyone else a break from my intensity. And my tail is flipping back and forth to the music, kind of like a cat's. If a cat had a little single-horned thagomizer to make a satisfying thump with.

I have no visits scheduled for the next three days, and I'm just letting myself get lost in the music.

I've listened to this song enough, I might be able to sing portions of it. Not as words I understand coming from my mouth, but as music. A sort of whistling that sounds a lot like the instruments, and maybe occasionally the vocals.

I might actually be trying to do that. And it might not sound great to anyone without my headphones on, but I'm alone up here and no one can stare at me or tap my shoulder.

And yeah, some of my neighboring dragons might be complaining occasionally. Or, they're reacting to something, but I've got my eyes closed and I don't care.

And then I feel it. My Artistry sensing nerve gets plucked.

It feels like a chittering skitter, with some snaps and ratchety clicks. There's a rhythm to it that matches the music I'm listening to, and reminds me a little bit of a dolphin and a little bit of Nine Inch Nails. And in particular, I find it soothing. Soothing and energizing.

My muscles want to relax every time it repeats, and I also feel the need to look.

Which I do.

I've already pinpointed where it's coming from, so my head has turned and is tracking the source before I even open my eye.

There's an Artist in the sky.

And like Fenmere, they are a dragon.

Their colors, in the crudest of terms, are green, gold, blue, and brown. But, like, whole gamuts of each of those colors. There are too many words to pick from to describe them. They're almost opalescent in places. It's like if a forest were a sunset with wings, talons, tail, and the most glorious head of teeth, horns, wattle, eyes, and scales.

Holy crud, that face. That pattern of scales!

Have you seen the wattle and jowls of a dragon iguana? Do a search and look. It's like that, but shaped a bit different, because their head is more like a cross between a melanosuchas (a type of really cute caiman) and an ankylosaurus. And I might have more visions of more animals in my head than I've ever realized.

I'm wondering if there's more to it than nearly fifty one years of an intense special interest in dragons and animals that look kind of like us. I almost distract myself from the wonder that's circling me by thinking about this, but I really can't.

If you could just see the flight muscles at work on this creature.

The shape of those claws!

My child must —

I mean.

I don't see any kind of material offering in this person's possession, so they must be here on some other business, Artist to dragon, or dragon to dragon. Or they are mistaken about my willingness to bend on my own demands.

Unless they're carrying it in that generous crop of theirs, and they'll barf it up for me. That'd be —

Um.

This is an Artist, Meghan. Do not fuck with them.

I touch my tablet twice to turn off the music, sort of to irritate myself out of my infatuation, and manage to call out, "What?"

As I do that, I notice that I also jerk my chin up once, slightly gaping my jaw, and slam my tail down on the roof. And I know that that means exactly the same thing as the English word I've just uttered.

"I come, your Highness, bearing the gift of language for you and many enticing traits for your egg to choose from," says my latest suitor. Only, they say it by jerking their chin up twice, chirping and trilling, tilting their left wing down toward me ever so slightly, and wiggling their ass mid flight as they circle.

The "Your Highness" part is just my brain's interpretation of servile deference, and I have to say I react to it as if it is genuine and not at all embarrassing.

But, OK, as I'm succumbing to this rakish drake, I do need to take an aside to address something that's been bothering me. Irking me. In the wake of defeating a very wealthy and powerful white supremacist, it feels pretty gross to be so focused on collecting desirable genetic traits for my child. Even now, I'm reacting to it by thinking about who I should fuck next to compensate, and that's not a charitable way to think about whoever that might be.

Except, look. We're not here to breed a new master race. I do not believe we're meant to replace any lifeforms on the planet. We're here to mix things up, and inject more creative diversity back into all the species of the planet when they might need it the most. I don't know exactly how, when all we can work with at the moment are the more complex and larger animals.

But, like, imagine this. This is just a wild hypothesis I just made up on gut feelings and instinct, and maybe something that's going on between me and this draconic Artist. What if we're not actually changing anything for the current megafauna of the planet? What if what we're doing is actually on the microscopic level, with bacteria and single celled eukaryotes, with fauna, flora, and fungus? All of it? Maybe even viruses?

What if every time we have sex with another creature, we're collecting more than just their reproductive gametes, but also their microbiome? And mixing that with our own?

What if our own microbiomes are as diverse as we are? And spreading and breeding with the rest of the world on that level?

What if my child is to be a culmination of all of the life I've sampled, maybe even eaten, so that they can carry that diversity with them as they go find a new territory?

And you might worry that we might bring new and wildly dangerous diseases, and that might be the case. But we live in harmony with humans now. We are part of your lives and well being. A symbiotic relationship forged in myth and dream. What if, for those of you who are close to us, we're also sharing some of our immune system, because that's what all our microbiomes can be?

Like, all of this is just raw speculation, with no evidence sparking the thought. Just wishful thinking based on horniness and some internal sense of identity and purpose I feel I was born with. And this sex drive that makes me want to fuck everything that's willing.

With a mythological being such as myself, there's got to be a reason for that, and this is what I've come up with.

Maybe I'm lying to myself and to you, but I think we represent the opposite of what the racial purists are fighting for. That's what I want us to be, at least. I want life on Earth to live long and diverse and beautiful, and to explore all the ways it might do that.

But still, for my first time around, I'm restraining myself and focusing on people I can talk with in some way for potential mates.

And by the Shadows of the Moon, this dragon that's cruising around me is using the language of my own dreams to talk to me, and I'm talking back!

"My name is Dragon," they say. "And I am visiting every Dragon Queen to offer myself to her egg and elucidation."

Dragon. Are they the Artist of Being a Dragon? Is there such a thing?

And Dragon Queen? Is that what the whole "queen" thing has actually been about? The term we're going use for this year's egg layer? I kind of like that.

"Elucidate me, Dragon. What do you know?" I demand.

"Allow me to land."

"Do, and prove yourself."

They circle one more time and swing wide so that they can come in straight and slow to land in front of me on the very edge of my roof, giving me as much room as possible. Then they take a few steps forward, bowing their head low, tail and wings high in the air, talons to the ground. Their tail is rigid and shaking, reminiscent of the convulsions of a cloacal kiss.

The royal audacity of them!

"Go on," I say. I could dash my tablet on the sidewalk below and it would not impair my ability to speak with this one. And the only noises we're making are infrasonic to humans and quiet enough that dragons a block away wouldn't clearly hear us.

"My Art is being me, and I am very good at it," they brag. "But I did not fully understand it until nearly a year ago, during dracomorphosis. I have always been a dragon, but I did not know the word for it until it was invented. And I couldn't speak to other dragons until you existed. You have given me the meaning I've been seeking my entire life. And I am here to thank you for it."

"Humans would call you Silvertongue," I observe, masterfully withholding my true feelings behind a mask of indifference, I think. But, ooh, if they aren't lying, that's some valuable information! "Tell me more. But drop the act."

I feel their skittering shift, and then they lick the air with a tongue that is silver colored.

"Like the grandest of stories, I can change my shape to resemble any creature I like. My form is as malleable as your own voice, and so is yours. You can already take another form. I can and will gladly teach you the rest of that skill, and set you on the path to exploring it for yourself," they report. "Also, anyone who drinks a portion of my blood can speak to any animal, including humans. And I am prepared to give that gift to you, should you accept it. In return, I only ask of you to accept my sweetest intercourse, and whichever of my natural traits your child wishes to retain for themself."

"You are very bad at not talking like a courtly suitor," I comment.

"I am a courtly suitor, My Queen," they say, bowing again.

"You are also an Artist, and I've been told not to trust Artists. By other Artists," I say.

"Wise," they admit. "I would tell you the same. I would tell you not to trust me. But you need not. If I offend you at any point, strike me down and consume my body. I will let you."

My body is telling me that I have never heard anything so hot in my entire life. I feel myself going a little crosseyed with it.

I take a very deep breath and let it out slowly through my nose, knowing that even that gesture is an expression that speaks volumes to Dragon, here.

Also, I have to say. As a trans person and therian who has experienced a significant amount of physical dysphoria, this talk of my child choosing their own physical traits from the samples I collect for them? The idea that they could have some kind of agency before they even exist? That's making me melt, even if I don't know if it's true.

I want it to be true.

Still, I feel like I should test this individual definitively somehow. Something to get them to show me their true devotion. I want the dragon magic that they say they can teach me, but if I already have it I can figure it out myself. No, it has to be something personal for them.

But what?

Oh. I know what I need, actually.

I reach for my tablet and use it to message Rhoda. And I make Dragon wait so that I can tell her, "I have a strange Artist here courting me. They call themself Dragon." I look meaningfully up at Dragon, then back down at the tablet and send the question, "May I ask you to judge them in your own way, and give me or revoke your consent for them to court me? I'll take any answer, including figure it out myself. I just wanted you to have a say, if you want it."

After a little bit, I get the reply, "Meghan, that's a lot."

"It is," I reply. "I am a little overwhelmed and about to say, 'yes'."

"Cool yourself, and make them wait," she tells me. "I'm on my way up now. I want to get a look at them."

"Thank you. I love you," I respond.

I get a black heart emoji in return. It's her thing for me when she's too busy to type anything else, and she's being reassuring.

"Wait," I tell Dragon.

"Very well," they reply.

And we both settle down and loaf. They're smiling. I'm not. I'm watching them like they might steal my food.

Then I think, Rhoda shouldn't have to open that hatch by herself, so I get up, keeping on eye on Dragon, and go to open it for her.

I'm well ahead of her movement, of course. She takes the elevator, and I'd expect nothing else of her. But also, she doesn't walk all that fast. And I sit there on my haunches, resting on my foreknuckles, tail wrapped around me, watching Dragon.

Eventually, I hear her cane. And then she softly curses before climbing the ladder, cane clanging against it, and coming into view.

I hold up a limp-wristed claw for her to use as a handhold, and then gently help to lift her out of the hatch, so she can step easily onto the roof.

And she steps forward and hunches over her cane and squints at Dragon.

"Can you talk, or do you need a device?" Rhoda asks.

I feel that stuttering shift again, and then Dragon replies, "I can talk."

"You're too fancy," she states.

"I am the Artist of Being a Dragon," Dragon responds. "How else can I be?"

"Crude. Monstrous. Of the people," Rhoda tells them. She gestures expansively at Fairport, and I know she's indicating my neighbors. "You know. Good qualities."

"Ah."

"Eh," she waves a hand at them. Then she turns and heads back toward the hatch. Stopping there, she looks up at me and says, "This isn't my business. This is dragon stuff. It's up to you."

I expected her to say something like that, but I still feel an incredible amount of disappointment. I don't want our relationship to be that divided, particularly over this. She matters to me, and the impact that I have on her life matters to me. Since I am going to lay an egg and see to it that it hatches, I want that child to be as compatible with her as possible. If she wants nothing to do with my child, that's fine. I just want her to have every opportunity to negotiate that relationship herself! I want her to know that it is her business if she wants it to be.

This breaks my resolve and I feel the need to tell her. Before I can stop myself, I'm stretching to reach my tablet and pull it within talking range to say, "I want this be your child too. If you want."

The look on her face startles me, such an intense mix of emotions, and she asks, "How?"

"Somehow," I respond. "Maybe Chapman help."

She is fully informed by now about how my breeding works. She knows I'm opening myself up to every dragon in town, and why, and she agrees with it. And she knows I've marked myself as not open to humans on my app account. And I've already said multiple times I intend to take all of the childcare into my own claws and mouth. I'll accept help from my family, meaning her and my other humans, but I won't expect it. It should be disappointingly light work, in any case.

She closes her eyes and relaxes every muscle with an exhale of breath, then turns more calmly and looks at Dragon again.

"I can see what you see in them," she says. "I imagine they can teach you a lot, too, of course. And the more we both know, the better." She squints at me with a grim but satisfied smile, considering me in some way, and then points at Dragon and addresses them, "You. Come down to our apartment and have dinner with us. You and I have gotta talk some shit before I let you court my girl, you hear?"

"Yes, Ma'am," says Dragon.

"That's a good start." Then she turns to me, "And you. You shoulda asked me sooner. But I get why you didn't. You were thinking of me and tryin' a give me space, and I appreciate that. But you should know that if you hadn't a asked just now, we'd a had a talk later tonight." She grins, looking really smug. "And it sounds like it mighta gone well anyway."

—

After a long talk with Dragon, I decide I do not want to be able to talk to or understand seagulls, so I forgo that particular offer. Even if it means I won't ever be able to speak a human language fluently, I'm fine with that. I can fully speak and understand draconic now, and people can learn that if they need to.

[spiteslucanis]

was tagged by the ever lovely @zhalar to share 9 albums i've been listening to, thank you for the opportunity <3 i've included my self-indulgent commentary on each, and i tried to mostly pick ones that i've specifically been listening to recently! (ps. thank you for songs you shared in the previous tag game we had, several ended up on my playlists)

lazily tagging anyone who sees this and wants to do it! just say i tagged you. i love hearing ppl talk about music

my album commentary under the read more cut bcs i ended up elaborating a lot

i. chappel roan, "the rise and fall of a midwest princess" — ALBUM of the YEAR. to me. i know it came out last year but still. no skips, love her and this album so so dearly. i need it on vinyl stat. inject that shit into my veins etc. current faves: guilty pleasure and super graphic ultra modern girl, but i did also recently listen to california for like a week non-stop

ii. ethel cain, "preacher's daughter" — again i'm LATE to this one, but as far as concept albums go, this is. the peak. like just. screaming crying throwing up, even. i made a powerpoint presentation abt this just so i could share its story with a friend. INSANITY. faves: american teenager, ptolemaea, sun bleached flies (i forgive it all as it comes back to me............. kill me)

iii. taylor swift, "tortured poets department" — i went to the eras tour earlier this month. speechless! wow. i still haven't recovered OR finished listening to all of anthology but i sure have been blasting who's afraid of little old me and but daddy i love him

iv. metteson, "look to a star" — actual album of the year for me. saw him live this spring and he was so so sweet (was manning his own merch booth afterwards and complimented my make up <3 also signed my vinyl) ANYWAY insane voice? like simply unbelievably beautiful. and this is just the debut album??? future records might simply eviscerate me i'm afraid. faves are second heart (!!!), naturally (but nothing comes natural to me / nothing comes naturally...... augh) and heavier than a heart

v. pet shop boys, "nonetheless" — breaking news my favourite old gay men are still releasing bops and bangers and heartbreaking melodies. this released close-ish to my birthday so i've claimed it as a birthday present. what more can i say, they're my favourite band of all time <3 faves rn: new london boy (skinheads will mock you, call you a fag / last laugh is yours, there's a brick in your bag!!) and bullet for narcissus

vi. orville peck, "stampede: vol. 1" — i adore this cowboy beyond measure. as i think i said in a different post, i don't usually care for features and duets, but this does indeed fucking slap. insane vocals as per usual. love the concept. can't wait for vol 2, and also, mr. peck PLEASE come to europe. faves: miénteme and cowboys are frequently secretly fond of each other <3

vii. sea power, "disco elysium" — this is FINALLY on spotify!!! the game of all time, and the soundtrack is equally heartbreaking and hardcore (to the mega). i was going Through It at some point this spring and replayed DE and then just listened to burn baby burn outside whilst smoking. european depression core. faves rn: burn baby burn, saint-brune 1147 (small pinewood church) and precinct 41 major crime unit

viii. jan valta + adam sporka, "kingdom come: deliverance (OST)" — finally bought this recently when it was on sale and my god i'm so glad i did. an immensely entertaining game that you can tell was made with much love. henry of skalitz my SON. been listening to the soundtrack on/off, currently absolutely obsessed with the song poverty and famine (and särmä if you're reading i think you might vibe with this one?)

ix. alkemie, "pentiment (original soundtrack)" — rounding up with another video game soundtrack because i'll simply never get over pentiment. stole my heart in a major way. this soundtrack is STUNNING. can't do it justice with words. my faves rn: sic arsit historia kiersis and rüdeger's rehearsal

[mochalottie]

I wanted to make a larger post about ATSV because I've been listening to the soundtrack on loop for the past week, I'm going to see it again tomorrow, and I just made a very astute observation about the film and its music (and no, this is not a chance to show off my music film degree shut up--)

So, in the previous Spiderverse-film there was a lot of focus placed on the Original Soundtrack. I mean the songs used in the film (diegetically) and which were inspired by Miles' story. It included stuff like Sunflower and What's up Danger.

It meant that there was less emphasis on the film score, written by Daniel Pemberton. Apart from only Miles' theme throughout his journey, and his fight theme in the collidor 'Miles Morales Returns' there isn't much of a focus on the score itself. It falls to the wayside unless people actively go to listen to it. I mean, the cover art for it was actually really simple until recently. The big 'Spider-man' graphic wasn't there a few weeks ago.

Now, there's nothing bad about this at all, and in fact I haven't come here to criticise this, only to observe and possibly gush about how it's changed. Because it has changed; this time in ATSV there's less of a focus on the OST and more on the score. It's far more prevailent, to the point where each Spider person is getting their own theme.

That includes Gwen, Miguel, Miles, Pav, and Hobie. And each actually sounds really well characterised.

Gwen's, which is heard really prevalently during the battle with Vulture at the beginning is very drum heavy (obviously), but the main melody rises in quick succession in what could be a slide, but nearly couldn't because you hear each individual note. We know for a fact that Gwen is the only Spider person in her Earth, so it could almost be a nod to her rising to the challenge. Learning to defend her city whilst also always getting back up. Someone also pointed out that the drum solo heard at the beginning is used at the end, and is part of her theme. It also makes sense why she would form the Spider band, because the drums form the foundation so that the other instruments can build upon it.

Miguel's is first heard when he steps through the portal, and obviously it sounds ominous and menacing. But, I don't believe he's a bad guy. Someone said here that there's a difference between an antagonist and a villain. Miguel is the antagonist, which is reflected in his theme, because he is far different to the other Spiders. He's a vampire, for one, his world is set in 2099, and he was the first to figure out the canon events. The setting is why, I think, his theme is so techno in style. It also has the same rise and fall motif that is similar to Gwen's, a bit of word painting in a sense.

We then come to the main character Miles, who's theme we did experience before in the first film, but it's far more developed in this one. For one thing, it's longer in time, second, it's set during the chase scene with the Spot. We know from the last film that Pemberton is a master at meshing the diegetic music into his score (for example adding in some of Miles' theme into What's up Danger) and it's no different here. At one point, he changes the record scratches (which are literally him scratching the vinyl recording of the score) to the screeches the goose makes whilst Spot and Miles are duking it out in Foam Party. And obviously more rising scales, and epic orchestration but meshed with the record scratches and errant cowbells.

I think Pav and Hobie are my favourite new characters. Like Pav 'Just coconut oil, prayer, good genetics' 'chai tea? chai is tea! Do you want some coffee coffee with a side of cream cream?'. He makes me laugh every time and he's such a sunshine boy I wanna squish--

ahem. anyway.

Obviously, Pav's theme is very culturally accurate, but he hasn't been able to get away from the traditional record scratches and hints of techno like the other Spiders. It doesn't have the rise and fall motif (yet) but that could be because he hasn't been Spider-Man all that long (six months and he still got a badge) and he hasn't experienced any of the major sacrifices Spider-Man usually does. And we hope that he doesn't anyway, cause they need a bright and smiley Spidey that's not weighed down by the weight of his fecking responsibility.

What can I say about Hobie's theme. What can't I say about Hobie's theme. It is downright headbanging screaming at authority fuck the monarchy english punk!! I love it to bits, the way it reminds me of so many other great bands whilst also being really bloody original. Good drum runs like holy shit, good guitar riffs (you can bet their fingers might be bleeding by the end of it) and it just gives the vibes of late 70s. It just fits so so well.

All of it does, the whole score is amazing and I would absolutely adore to pick Daniel Pembertons' brain in finding out how he decided each Spider would sound. Like, the tiny details every creator put into this film is insane.

Each Spider even has their own unique thwipping sound how specific can you get!!!

Anyway, I'm done. For those of you who read through this, know I did it during half of my lunchbreak because this film is giving me brainrot.

<3