#best rap album of the year

[newsbrand]

The TDE artist Doechii has won a Grammy for Best Rap Album of the Year for her album Alligator Bites Never Heal & here's her acceptance speech

Congratulations 🎊 to her

[heartzz4yuuuu]

I used to PRAYY for times like this!!!! where black artist would win ALL THREE MAJOR CATEGORIES!

[seeveekat]

Feel like making a post about how important it is that Kendrick Lamar, Doechii, and Beyonce winning their respective Grammys are but i know how this site act about black artists >.>

Also that interviewer cutting of THE legendary Babyface mid sentence to interview Chapell Roan??? That was...the disrespect????

[manysmallhands]

Top Albums of 2024: #8 - 'Alligator Bites Never Heal' by Doechii

I find a lot of rap quite grim and hard to embrace these days, so the appeal of Doechii’s breakout mixtape for me is in the way it references a lot of retro focused Hip Hop and RnB but in a way that still feels relatively fresh. There are some very familiar sounds on here - the menacing sax on "Boiled Peanuts" has a distinct ring of Cyprus Hill about it - but because it never allows itself to get stuck in one mode, Alligator Bites doesn’t end up coming off like a tired retread. Tho the more explicitly 90s focused hip hop is a key element, the floating, modern underground style beats on tracks like "Boom Bap" recall the likes of Westside Gunn or Mike more than any older artists. There’s also a drift thru various styles of RnB, so the woozy "Hide N Seek" feels like a trippier version of Erykah Badu, while "Slide" has a more explicitly up to date vibe that fits in comfortably on daytime radio. 

Doechii has a masterful range of vocal styles in the Doja Cat mode, able to move easily between hard aggressive rhymes and something more charmingly conversational, as well as having a melodic RnB singing voice that she can twist and bend into all sorts of odd permutations. And while there’s plenty of snappier material (as befits an alligator bite), the LP occasionally moves into more experimental areas too, making for dreamlike zones which feel semi-detached from the harder edged tracks. The hazier focus of songs like "Bloom" and "Fireflies" is not so immediately gratifying but these respites work better with repeated listening, forming islands in the sound that let you drift away a little.

Day to day concerns are central to the lyrics throughout: Alligator Bites is primarily diaristic, a record about the hustle of the modern music industry, trying to become a star without losing yr integrity or even just trying to keep a basic grip, as on the hilarious therapyspeak pastiche "Denial Is a River". An idea that returns several times is the frustration of being unable to feel like yr across everything: this is best heard on "Wait", a mix of gorgeously melancholy RnB and pointed, technical rapping where Doechii seems at once resigned to and exasperated by the stuff she’s being forced to let go of. "Profit" and "Boom Bap" look more closely at her place in the rap world, with the latter especially going off hard at people who try to pigeonhole her. It’s as close to a definitional moment as you could get on Alligator Bites, a record that refuses to stay in one place and where that restless energy constantly channels itself into more than the sum of its parts.

[sunnidear]

DOECHII MY GOAT

[vinniedangerous]

Some great rap albums of 2024 that didn’t make my top 10 list for the year

Check out my Best Rap Albums of 2024 list this Thursday (12/19/2024) on the channel

- Please Don’t Cry - Rapsody

- Keep Me Company - Skyzoo

- Still Praying - Westside Gunn

- RICHAXXHAITAN - Mach Hommy

- Shadowbox - Mavi

[mcafan12345]

grrr

[hongjoongpresent]

BANGER AFTER BANGER AFTER BANGER

[youareinlove]

rap drama summation:

drake and kendrick met in 2011 after kendrick's first album release

drake became friends with kendrick bc he was like "this guy has potential" and had kendrick be one of his openers on tour

kendrick had drake on his next album that won aoty

kendrick was featured on the song "control" where he names a bunch of artists and is like "i'm coming for your job" and one of them was drake, who was also the only one pressed about it

PRESENT DAY:

j cole featured on drake's song "first person shooter" where he says that himself, drake, and kendrick are the "big 3" of rap

kendrick features on future's album on the song "like that" where he says that there is no big three and it's just him (basically that he's better than both of them)

drake drops two diss tracks ("push-ups" which is just a general diss, and "taylor made freestyle" where he disses kendrick for featuring on bad blood and delaying his response to the first diss track because of taylor's album release. while also talking about how much he loves and respects her because he's non-commital like that)

kendrick drops his response, and it's a 6-minute diss that calls drake out for EVERYTHING. like using AI to write, mistreating women, being sexist, being canadian (💀), and a bunch of other stuff like he eats him up

kendrick drops a second response called 6:16 in LA

drake drops a response that i hadn't heard of when first making this post so it probably wasn't very good

he drops a third response yesterday, called "meet the grahams" where he addresses it to different members of drake's family (including his son) dissing him for being a bad father, bad son, and bad example (eats him up again) (this dropped an hour after drake's which means he probably had insider information and is playing 4D chess)

we now await drake's response

kendrick dropped ANOTHER diss track called "not like US"

drake dropped a response called "the heart part 6" that was not only bad but completely disproportionate to how bad he got cooked (this diss was not it)

"not like us" won four five grammys at the 2025 grammy awards: best rap performance, best rap song, best music video, and record of the year, and song of the year, with drake getting a shoutout in kendrick's roty acceptance speech

[afrotumble]

KENDRICK LAMAR Wins Best Rap Album For ‘MR. MORALE & THE BIG STEPPERS’ |...

[prickly-paprikash]

Kendrick Lamar. The first fucking Hip-Hop Pulitzer recipient. Classic literature, English Majors, Musicians, and Fans have been dissecting his albums, wordplay, entendres and meaning since Section.80. To Pimp a Butterfly has been repeatedly said by critics of all musical genres that it was the album of the 2010's. On a personal level, possibly the best rapper of this generation also openly spoke about his transphobia and how he outgrew it in Auntie Diaries. Kendrick Lamar is a man that is quite clearly obsessed with religion, and willingly puts that aside to show love for his trans uncle and cousin.

Was there any fucking question that Kendrick Lamar would have destroyed Drake? Not beat him in a rap beef—but break him down piece by piece.

This is ten years of resentment, disgust, frustration and hatred that finally has the chance to reveal itself.

The repercussions of this feud might not happen until years later, because if what Kendrick said is true (and given the fact that so many people have said it as well, I am inclined to believe in its viability), Drake might end up in prison. OvO might be torn down from its foundations.

And I want that. I hate Drake. I hate Drake's fans. They've always been sexist, homophobic, toxic pieces of shit who fully buy into the narrative that Drake spins about women. Materialistic beyond belief. And Drake's songs? Empty. Vapid.

I'm sorry, but I refuse to place Drake as a "Pop" Artist. Don't insult Beyoncé, Britney, Kate Bush, Lana, Olivia Rodrigo, Bruno Mars, and so many more.

Look at Lil Nas X. He's a pop rap artist and he accepts it. He elevates it. Pop is a just as valid a genre as the rest, and Drake is undeserving of it because his "house" music puts people to sleep.

I hope Drake's son realizes how much of a scumbag he is. I hope Drake's supposed daughter frees herself of him. I hope Drake's memory and legacy is forgotten and invalidated.

Drake makes ass music. He's a shit person. Megan said it. Pusha T said it. So many people have said it. Kendrick's just the most venomous in the long line of Drake haters.

[crocsandbitches]

Not to get overly sentimental but rap beef is honestly such a creative form of expression. Like we’re going to hold off on kicking the shit out of each other and calling up shooters to make clever rhymes about each other and get the common man saying words like ‘double entendre.’

Here’s a couple of suggestions of other diss tracks to listen to if you’ve found you’ve liked bitchy poetry:

Ether - Nas (2001) - diss track vs Jay Z & widely considered to be one of the best diss tracks ever released. It’s a response to Jay Z’s diss ‘Takeover’ which at the time of its release left people thinking Nas’ career was over and then Nas uno reversed that shit with Ether and it’s still considered to be a miracle that Jay Z managed to maintain his fame.

Hit ‘em up - 2Pac (1996) -diss track vs Biggie & Bad Boy records. Part of the East Coast / West Coast beef. 2Pac was shot 5 times and survived and Biggie released a song called ‘Who Shot Ya.’ Hit em up is Pac’s response and it’s iconic. Plus the tune is groovy as shit.

Real Muthaphuckkin’ G’s - Eazy E (1993) - Dr Dre left his group NWA over a dispute about contracts/pay. He later released a song called ‘Fuck with Dre Day’ where he had a go at Eazy E (the lead rapper of NWA). Eazy released this in response and it’s another groovy, west coast banger.

Story of Adidon- Pusha T (2018) - Pusha T walked so Kendrick Lamar could run. Need I say more.

No Vaseline - Ice Cube (1991) - vs remaining members of NWA. Cube was the first to leave NWA over contracts/pay disputes. The remaining members released an album, with subtle disses against him. Ice Cube, as Ice Cube does, got pissed.

Life’s on the Line - 50 Cent (2003) - adding this because 50 Cent hates as easily as he breathes and it’s something to marvel at. His beef with Ja Rule started in ‘99 when Ja Rule was robbed by 50’s people and then one thing lead to another and 50 was stabbed and then he was shot 9 times. ‘Time is the best medicine-‘ no. no it’s not. If anything 50 gets angrier through the years. 19 years later 50 bought 200 tickets to Ja Rule’s concert so the front rows were completely empty.

[doyoulikethissong-poll]

Aaliyah - Are You That Somebody? 1998

"Are You That Somebody?" is a song recorded by American singer and actress Aaliyah for the Dr. Dolittle soundtrack. It was written by Static Major and Timbaland, with the latter producing it, in addition to performing a guest rap. It is an R&B, pop, soul, and avant-funk song with hip hop influences. Its production also incorporates other instrumentals such as staccato guitars, beatboxing, and drum and bass. The Dr. Dolittle soundtrack was released on June 16, 1998 and consisted of a blend of hip hop and contemporary R&B. The soundtrack was a huge success, peaking at 4 on both the Billboard 200 and the Top R&B/Hip-Hop Albums and was certified 2× Multi-Platinum on October 20 the same year.

Upon its release, "Are You That Somebody?" received critical acclaim from music critics, with them praising its off-beat innovative production. In 1999, Aaliyah earned a Grammy Award nomination for Best Female R&B Vocal Performance for the song. Initially, it was ineligible to chart on the Billboard Hot 100 because it was an airplay single not commercially released to retail stores but in December 1998, Billboard changed its policy to allow airplay-only songs to chart, and the song eventually peaked at number 21. Internationally, the song achieved even greater commercial success, peaking at number one in New Zealand and number three in the Netherlands. It also peaked at number 11 in Canada and the UK.

An accompanying music video for "Are You That Somebody?" was directed by Mark Gerard with choreography orchestrated by Fatima Robinson. It received acclaim from the music industry, receiving Best R&B Video and Best Video from a Film nominations at the 1999 MTV Video Music Awards. The video also earned a nomination for Outstanding Music Video at the NAACP Image Awards. Throughout the years, critics have praised the video for its choreography, with many highlighting the flamenco routine depicted in the final scene.

"Are You That Somebody?" received a total of 68,8% yes votes! Previous Aaliyah polls: #217 "Try Again".

[manysmallhands]

Top Albums Of 2024: #20 - #11

The second post of my albums of the year! The first post also exists!! More will follow!!! Now read on!!!!

#20. Fred Thomas - Window In The Rhythm

Indie rock

It’s been 6 years since his last proper album and much has changed regarding how much I bother with DiY indie, but I go back a long way with Fred and so I’ll always be excited when he brings a new record out. And all told, Window In The Rhythm is really very good! Most closely resembling 2015’s All Are Saved of his many previous albums, it consists of 7 largely lengthy art rock grinds that take the minutia of relationships and picks away at them remorselessly (there are one or two softer songs in there but most of it is pretty unforgiving stuff). The appropriately titled “Hours” is a bit of a drag but everything else here sounds fantastic and works very well for drifting away to on the grim winter afternoons. Given how the songs kinda melt into each other, I tend to engage with it all as a series of classic Fred set pieces, with my current faves being the way the gentle, ringing guitar arpeggios of "Season Of Carelessness" at first gradually and then suddenly give way to its fizzing, intense electronic coda, and also the bit in opener “Embankment” where Fred does his fast talking about 90s acts party piece, singing  “I made you a tape - withthesamesquarepushersongonitfourtimes - but not in a row” and I know that my favourite indie dude is back for real.

#19. Aespa - Armageddon

K-pop

I tend to struggle to focus on k-pop - i can never remember who's who, partly a function of not being able to buy them here on CD - but mercifully Aespa did a cheap retail version of Armageddon and i've managed to give it more time than most things. And their first full length album turned out to be a game of two halves: the first five songs feature a harder, hip hop influenced sound, full of drama and flash but with a hint of Britney here and there, while the remainder takes a lighter, more girlish tone, with "Bahama" coming off like a kind of k-pop "Kokomo" (which is good, not bad like you think) while "Live My Life" goes full pop punk but with a characteristic, slightly restrained quality that makes it all the more charming. A strong debut and an entertainingly distinct calling card that'll make it easier for me to distinguish them from their peers from now on.

#18. Beabadoobee - This Is How Tomorrow Moves

Indie rock; Singer-songwriter

Bea’s third full album was recorded in LA with Rick Rubin and often seemed as in thrall to America as that would suggest, with the guitars rocked up for a 90s alt vibe and her accent set to a mid Atlantic twang. "Take A Bite" and "Beaches" were both terrific anthems that confirmed her status as burgeoning indie icon but it was her more delicate material that came off best, as "Girl Song" and "This Is How It Went" showcased her huge talent as a singer-songwriter of the old school mode.

#17. Doja Cat - Scarlet 2 CLAUDE

Rap; RnB

Last year’s Scarlet was a terrific album but one where its massive hits failed to carry it to general success. Continuing the era is a brave move but one suspects that this might be a final hurrah for Doja in the rap game before going back to paying the bills. The tone is similar on Scarlet 2 but perhaps a little more lowkey, with songs like "MASC" exuding a melancholy rarely seen on the more bravado infused OG record. But there’s still a lot of fun to be had here too, like on the poppier "OKLOSER" where Doja uses that cute, mocking voice that she does so well and takes it all to some hilariously petty places

#16. Taylor Swift - The Tortured Poets Department

Pop/rock

“How much sad did you think I had in me?” Taylor sings after about 20 minutes here and ngl, there’s quite a lot. Her 11th album has been divisive and understandably so: there’s a sense in which the Antonoff and Dessner partnerships feel a bit played out and its often lugubrious and downbeat tone can get a bit exhausting at times, especially when you tie in the 15 (count 'em!) bonus tracks (which I have mostly tended to avoid). But once you warm to its themes a little, Taylor is still a terrific songwriter and "I Can Do It With A Broken Heart", "But Daddy I Love Him" and the sparkling title track are among her best in what’s largely a strong set, at least til the occasionally lacklustre final third. At heart, TTPD knits together an engrossing narrative which plays on the loneliness of breaking up when yr the most famous woman in the world. Whether you have much sympathy for that is yr own call but for myself, I still think it’s pretty fascinating

#15. Remi Wolf - Big Ideas

Funk pop, rock

I came to Remi Wolf’s second album for the funk bangers but stayed for the hooky indie rock tunes too, at least after I’d gotten over how much i wanted there to be more funk bangers. The most immediate material here is definitely in her sunshine RnB pop style, with "Cinderella", "Pitiful" and "Frog Rock" being some of the catchiest songs I’ve heard all year. But, given time, the rockier "Alone In Miami" became a huge favourite too, with Remi’s diaristic lyricism adding a dimension beyond the hooks and riffing. Big Ideas is comfortable reaching across the stylistic spectrum, being the first record i've heard for a long time that takes in both Prince and Daniel Johnston as notable influences. In summary: there are two Wolfs within this album and both of them are good!

#14. Jessica Pratt - Here In the Pitch

Singer-songwriter; Folk pop; Retro

Her third album Quiet Signs felt a bit hazy and nebulous at times but Here In The Pitch returned to the strong melodies of Jess’s earlier material, a mid century pop record that frequently feels like a warm summer night somewhere in Latin America circa 1962. Tho it’s sometimes as minimal as its small hours vibe might suggest, Here In The Pitch contains plenty of pop energy, full of Spectorish rumble and swaying bossanovas as well as being as packed with hooks as any of this year’s big sellers. While the atmosphere does sometimes tend twds eeriness, Pratt's distinctive babyvoiced coo always feels welcoming on an album where she sounds like she's really enjoying herself.

#13. Tyler the Creator - Chromakopia

Rap; Hip Hop

I’ve never managed to connect much with Tyler before but Chromakopia really blew me away. I'm a sucker for the kind of upbeat funk and soft soul beats that he tends to use here, but his extremely in yr face, percussion heavy approach is also a big draw and the way this album comes at you right out of the gate is hugely impressive. Lyrically, there’s some of the usual bragging that I’d expect but Tyler also gets into the kind of awkward personal and moral quandaries that make up life's grey areas too. Songs like "Hey Jane" and "Take Your Mask Off" have a real depth of character to them, exploring issues like unwanted pregnancy and personal disillusionment in a thoughtful way that doesn't look for neat answers.

#12. Lizzy McAlpine - Older

Singer songwriter; Folk-rock; Retro

Lizzy’s third album, while coherent enough in its focus, finds her stylistically split between a Laura Marling type singer songwriter vein and something more obviously retro focused. In all truth Older is rarely a cheerful record - a young woman’s odyssey thru a time of change type of thing - but it is beautifully rendered, either in rich Fleetwood Mac-esque arrangements or spare, delicate solo accompaniments which reinforce the desperation at its heart. I’ve struggled a little with some of the final third, where the backing tends to drop to a bare minimum and that’s probably kept this out of the top 10 here. But the strength of the melodies and the real character and power of her delivery are getting me now to a point where I’m more consistently enjoying all of it: it’s just the kind of record where some parts of it take a little longer to come into full focus than others. This sort of folky, soul bearing singer songwriter is not always the kind of thing that i can get along with but, far more than most albums of its kind, Older is an absolute gem.

#11. Halsey - The Great Impersonator 

Pop/rock

The Great Impersonator was largely inspired by Halsey’s struggles with life threatening illness and much has been made of her “main character syndrome” by some, regarding the way she places her fears and trials at the centre of the record. In truth it can feel quite jarring at times - and occasionally exhausting - but what it actually made me think of is the way that I, as someone with long term disabling illness, often don’t bring things up, in fact make myself small and don’t talk about the basics of my life, for fear of not being heard or accommodated. So when Halsey talks about her issues here, then it really does feel genuinely moving to hear someone making that space for herself and refusing to be silent.

None of this would matter much if The Great Impersonator sucked but - lucky for us - it’s absolutely fantastic. The multi-decade concept feels a bit hard to parse but generally you can just ignore it and focus on the songs, a clash of genres to rival her masterpiece Manic but with an even greater depth of emotional turmoil to draw upon. Aside from illness, there are the usual self hating bangers like "Ego", and a mix of the two is often welcome too: “Dog Years” especially bristles with fury as Ashley growls “they say all dogs go to Heaven / well, what about a bitch?” and indeed the record is well stocked with good one liners throughout. It's fair to say that the consistently downbeat focus can make for a grim listen and also that the returning "Letter To God" songs can come off as a bit repetitive and boring. But there’s sweetness here too as well as harsh reality - especially on the glorious, featherlight title track - and I suspect a bit more time with this would have shunted it into the top 10.

And that Top 10 is coming soon! i have actually written the posts! Maybe starting tomorrow! Bye for now!

[vintagegeekculture]

I remember a friend of mine had some LPs that were Star Wars themed disco albums, and it brought back a very weird memory from back in the 70s (yes, I'm old!) of listening to a Star Wars disco mashup on the radio. What was all that about? I also remember something like that for Close Encounters, too.

You remember correctly, and this went on for a long while. In 1983, disk jockeys around the country played a record that involved an Ewok rapping the plot of Return of the Jedi in Ewokese. This made it to #60 in the Billboard Top 100.

This is hard to explain to people who weren’t there….but in the wake of Star Wars in the late 70s and early 80s, scifi was so beloved and mainstream that the orchestral music for nerdy scifi and fantasy movies about outer space were remixed and sampled into Giorgio Moroder-esque Italo-Disco dance numbers. And the most astonishing thing is, instead of being consigned to convention acts the way “horse famous” Brony dubstep acts are, this received national airplay on the radio, reached the pop music charts, and were played in discotheques. And incredibly, this continued for years and expanded from Star Wars into Star Trek, Wizard of Oz, Black Hole, Close Encounters….

All of this was the work of one specific person: Meco (or Dominico Monardo). The term “ahead of their time” is thrown around a lot, but Meco really was: a combination producer-songwriter and Italo-Disco pioneer in the style of Giorgio Moroder, he did several things that are now absolutely standard: he used remixes and sampling before hiphop made that standard for musicians, he wrote “fandom music” on a Moog synthesizer decades before Bronies turned their conventions into cringey dubstep concerts with songs like “Everypony Dance Now.”

It's stunning to me that Meco has not been rediscovered, considering every single trend in the culture essentially went his way.

The most startling thing about Meco’s Star Wars disco album, the one that got the ball rolling on this trend, is this: I always assumed it was some kind of cash in created by a record label mandate, a label executive’s completely cynical choice to hop on a hot new trend. That isn’t a crazy thing to think at all, since Star Wars is and always has been the most merchandized and sold out scifi property ever. But it wasn’t! You see, it was all the product of a single man’s specific vision: Meco had to convince his record label to make the record because they were skeptical.

When Meco went to see Star Wars in 1977 on Opening Day (what an experience that must have been) with his friend and fellow Italian chest hair/gold medallion enthusiast Tony Bongiovi, he was already an experienced producer-songwriter who had worked with Gloria Gaynor, Diana Ross, and formed DCA, the Disco Corporation of America. If you've ever listened to Diana Ross's "I'm Coming Out," Meco actually played the trombone solo in that song. Seeing the Star Wars movie for the first time, though Meco thought the movie was nothing short of a religious experience. Originally, he wanted to do Star Wars music as a b-side on a Gloria Gaynor album, but expanded the idea into an entire album.

In Meco’s own words:

"When I think about what I did, nobody came to me, nobody said 'Meco, why don't you do this.' Nobody says 'Here's some money go make a record of this movie.' It was just my own... It was magical, it was just out of this world when all that happened."

Not only did this album hit platinum, not only did it actually outsell the Star Wars soundtrack, his remix of the Star Wars theme also went to #1 in the charts. It’s actually the best selling instrumental single of all time. A record, that, incidentally, it holds to this day.

Dick Clark, host of American Bandstand, had this to say about Meco:

"In 1977, Meco Monardo accomplished something no one else has ever done to the best of my knowledge. He was the first one in history to out-sell the soundtrack of a motion picture with his own distinctive version of a film's music. The music was totally danceable, and broke new ground. It's no wonder the STAR WARS THEME went to # 1. I loved his treatment of music from THE WIZARD OF OZ. Again, Meco created something innovative. The fun and the excitement gave a whole new feel to that totally familiar and well-loved music."

Like a lot of studio producers, Meco had an insane work ethic and hit when the iron was hot: he did an album about Close Encounters that exact same year, but also did a Star Wars Christmas Album, one of the strangest pieces of Star Wars kitsch around.

One of the most interesting things about the Star Wars Christmas album is that one of the songs, “R2D2’s Wish You a Merry Christmas” is the first professional vocals by John Bon Jovi, who was Meco’s friend Tony Bongiovi’s seventeen year old younger cousin (he was initially known as John Bongiovi). It's incredible to hear a squeaky voiced teen Bon Jovi on a kitsch album about a robot Christmas.

1978-1979 was really his best year. Meco made an Italo-Disco remix album entirely devoted to Superman, and at this point, Meco had the pull to get access to John Williams's sheet music for the score before the music even came out. In my personal opinion it's the best of them because he has to recreate it entirely with his own instruments, leading to a very unique sound.

He also did an album based on the Wizard of Oz:

And a combination album of Star Trek/Black Hole. It's probably the earliest remixing date of Goldsmith pieces of music: the Motion Picture Theme (which is now associated with the Next Generation - hearing it done in Italodisco is uncanny) and the Klingon Theme:

Incidentally, I think the design here of the Meco Enterprise, which had to be modified for legal reasons, would make a wonderful canon starship if anyone wants to be inspired by it. It reminds me of the same concept that would be used in the very next film for the Reliant-class of ships.

Meco eventually retired from music in 1985, but unfortunately he is no longer with us, as he passed into the next dimension in 2023. I think he showed us that creativity is often about transformation, and was inspired to make his art by a legitimate awe of space, the cosmos, and human imagination that the scifi movies of the 1970s and 80s provoke.

[deathofpeaceofmiiind]

Bad decisions // Quinn Hughes

No god, no religion … just bad, bad decisions

Summary: Quinn gets dragged to his girlfriends favourite bands concert despite it not being his favourite genre, but all it took was one song to change his mind.

Warnings: drinking, swearing, light fluff, pda (18+)

── ∘◦ ⛤ ◦∘ ──

“I can’t believe you’re dragging me to this.”

“Hey, you knew what you were getting yourself into dating me.” I commented as I applied my lipstick, looking back at Quinn in my mirror.

I wasn’t wrong, but I also never expected him to pursue someone like me either. I wouldn’t really consider myself an “alternative” or “goth” girl though. I had black hair, tattoos and listened to heavier music but I preferred wearing aritzia sweat suits, doing Pilates and swapped wing liner out for clean girl make up. Still, I wasn’t the stereotypical girl that most hockey players go for. I remember the first time I met Quinn and how terrified I was to take my sweater off and expose my full sleeve. But much to my surprise, he couldn’t keep his hands off me. Actually, any time I went to get a new tattoo he came with me and held my hand the entire time. It was a kind of intimacy I never thought I would find.


“I know, I’ve just never been to a concert like this. What if I get stuck in the middle of a mosh pit? Also how loud is it gonna be?”

I chuckled, zipping my boots up, “we’ll stay along the side, and yes, bring earplugs.”

“Oh god.” He groaned, throwing his head back on the couch. “You are so lucky I love you.”

“Well…” I trailed off, standing between his legs, leaning over and gripping onto his thighs. “If you’re on your best behaviour, I’ll reward you for it.”

Quinns head popped up as I peaked his interest. “What kind of reward?”


“Whatever you want.” I replied, hovering over his face. His lips ever so slightly brushing against mine, “but you need to be a good boy.”

“I’m about to become the biggest Bad Omens fan you’ve ever seen.”

About an hour later we arrived at the venue, my stomach was filled with butterflies from excitement. I’ve been a huge Bad Omens fan since 2016 and this was my first time seeing them post-covid. Their new album had been out for over a year and I played it so much I think Quinn was getting sick of it, but I would catch him mouthing the lyrics when he thought I wasn’t looking. This man tried to convince me he only listened to rap and country, but I firmly believe he didn’t want to admit he likes my music. I think he was paranoid his brothers or his teammates would tease him for it.

“I think you’d look really hot in that shirt.” 

Quinn and I waited in line at the merch booth before the concert, which was incredibly long. I saw a hoodie on display that I really liked so I wanted to see if they had it in my size. Another shirt caught my attention and I fully envisioned Quinn wearing it with his black Levis, a backwards hat and his white nikes. Just the thought of it made my knees buckle. 

“You think so?” Quinn leaned his head down to take a better look at the shirt in question. His cheek brushed against me, making his cologne hit my nose. It was the perfect mix of sage and cedar. I gently kissed his cheek, a bashful smile appeared on his face before he pressed his lips to my temple.


“Absolutely. I mean, you make everything look good.” I breathed, still reeling from his lips, “but I’d love to see you in that.”


“If you say so.” He smirked as it was our turn. He bought my hoodie for me along with a signed vinyl, and the shirt I told him to get. He sent me the most devilish grin as he tapped his credit card, knowing he just made me incredibly happy.

We made our way towards the stage, it was already pretty packed so I suggested we stood at the back near the sound booth. That way we would be out of the way of any crowd surfers or mosh pits because no one was dumb enough to fuck around expensive sound equipment. The concert was everything I hoped it would’ve been and more. The openers, I see stars and Erra put on incredible sets. Quinn looked like he seen a ghost when Erra came out, considering they were a little heavier than I see stars were, which made him look so adorable. Towards the end of their set, he was more impressed than scared which was a relief. Small smirks kept showing up on his face that he desperately tried to bite back but he couldn’t.

“You surviving?”

“Yeah, thank you for bringing me.” Quinn replied taking a sip of his drink, “I’m actually having a lot of fun.”

“Good, I’m glad.” I mused, “we haven’t even got to the best part yet.”

Before he could say anything, the lights went dark again and Bad Omens slowly made their way to the stage. My heart was rapidly racing in my chest as the boys opened up with Artificial Suicide. I immediately started jumping up and down, screaming the lyrics, completely forgetting about the world around me. Every now and then I would look up at Quinn, who just had the biggest smile on his face watching me enjoy myself.

Halfway through the concert, the band slowed the pace down, which came at the perfect time. My drinks were starting to hit me, making my head feel lighter than normal. The melody for Bad Decisions started and I immediately fell back into Quinn, becoming enamoured with how his breath crept along my neck.

Her skin feels unholy, but I'm still drawn

The morals I'm holding, you know they're gone…

His arms wrapped around my stomach as he slowly swayed us back and forth to the beat, slow and reverberating. His skin felt warm to the touch as his chin rested gently on my shoulder. The low vibrations from the song along with the siren red lighting was stirring something up in me. My hips instinctively rolled into him, feeling overstimulated by every single sensation that took over my body. I knew Quinn wasn’t complaining, considering I felt him twitch through his jeans.

You can be all I got, what's the difference?

Hennessy and a lot of bad decisions

All I know is bad, bad decisions

Quinn brushed my hair away from my shoulder, slowly planting kisses on my exposed shoulder. Each kiss nonchalantly making their way up to my neck, then my jaw, causing goosebumps as his week old stubble grazed my skin. My eyes stayed shut, as his lips dragged all over me. An audible gasp left my mouth as he lightly nipped at my skin, gently sucking, leaving his mark on me.

“Turn around.”

I turned around, his arms found me again and bringing me closer to him. My hands found their home in his hair, enveloping his curls between my fingers. The soft aura of the red lights made his green eyes the perfect muse in this dark room. I was so lost in him that I forget where we were, the crowd completely melted away from us and it was almost as if we were the only ones here. He had that effect on me, he knew how to make me feel like I was his, and only his. His forehead pressed lightly against mine, lips hovering so close I could taste the whiskey on his breath. The gap was finally closed, his mouth enveloping mine as I turned into putty in his hands. Our tongues danced together as the song was getting close to the end, but Quinn didn’t seem to care. He pressed me harder against his body, wrapping his hand around the back of my neck and kissing me with such desperation. He never gave me any chances to come up for air, his lips stayed glued to mine as if my mouth gave him a new breath of life.

Bitter ends to the night, I'm along for the ride

Out of breath, out of time, everything has a price

We broke apart and the smallest smile curved at the side of his mouth as he trailed his thumb along my mouth. Neither of us realized the band started to play What do you want from me? shifting the energy in the venue. The music slowly filled my ears like I was underwater and coming up for air finally. I smiled back at him, I was in a complete state of euphoria.

“Okay you win.” Quinn said into my ear as I gripped onto his shirt to keep my composure. “I definitely just found my new favourite song.”

“You have no idea how happy that makes me.” I mused as I had a lightbulb moment, “we need to get you into the pit.”

“Babe, no -“

I grabbed his hand and drug him into the crowd. Everyone was moving around and having the best time. I had to admit this was one of their better songs and it’s physically impossible to stay still during it. Quinn stood there frozen before giving in and started to jump around with me, not daring to let me out of his grasp. He sung the lyrics he was embarrassed to admit he knew with me, caught a guitar pick for me and held me as I cried during Just Pretend.

“Holy fucking shit, this guy is an animal.” Quinn gasped as the lead singer, Noah let out the most primal, gluttonous screams during the encore of dethrone. He wasn’t wrong though, I could feel those screams in my bones.

The concert finally ended, tears prickling my eyes as black and red confetti stuck to us and covered the entire floor. I didn’t want to leave but we had to. That was the best concert I’ve never witnessed and it felt so bittersweet that it was over.

“So, have I been a good boyfriend or what?”

I just chuckled as we made our way outside. The cold air hit my face and it felt like heaven after being a sweaty mess for three hours. We got into the car and Quinn leaned over to help me with my seat belt. I never once questioned why he started doing it, but I wasn’t about to complain about my boyfriend being this close to me at any given moment. His eyes were a perfect shade of green, the kind of green you wanted your morning matcha to be. They peered so deeply into mine I didn’t realize he asked me a question.

“So what’s my prize?”

“You’ll find out when we get home.”