#clementine valentine

[toffeethief]

[dustedmagazine]

Clementine Valentine — The Coin that Broke the Fountain Floor (Flying Nun)

The Coin that Broke the Fountain Floor by Clementine Valentine

In the teens, the sisters Clementine and Valentine Nixon made two full-length albums as Purple Pilgrims, exploring a gauzy, spooky, dream-pop palette adjacent to Cocteau Twins and maybe Beach House and communing with the natural beauty of their native New Zealand. They have collaborated, separately, with Gary War and Roy Montgomery. This latest album, with the same people but under a new name, is similarly lovely, in a diffuse, miasma-shrouded way, but perhaps a bit more dramatic. The Coin that Broke the Fountain Floor makes large pop gestures in a thick fog of hum. It is quite beautiful, on the border between soothing and sleep-inducing, though the drums will wake you up if you doze.  

“Time and Tide,” for instance, opens with the thunder boom of gate-reverbed drums, the twinkle of acoustic guitars, a shifting palette of background sound, and a high lovely voice that unfurls like silk across long, keening choruses. The song swirls to a climax in surging synths and doubled vocal trills, as one sister careens and the other whispers in the crevices. The volume is high, but it’s hard to make out. The song is all dissolving edges and atmospheres.

“Senelion” is less pop, more witchy art folk, the verses an incantation against drone of organ, with wild twitches of stringed instruments in the interstices. It is, for whatever, reason, hard to follow the words as they weave through the atmosphere, but one line here is fitting for the album as a whole: “She lost herself in dreams.”

I say “dramatic,” but possibly I mean “theatrical” since a couple of the tracks seem to reference the stage. “The Understudy” brings the two voices together in hushed unison; I picture them heads down coaxing the flame of melody to life, overlapping one another in translucent sheets of sonic overload. The subject shifts and remains elusive, but concerns filling in for a dead understudy (which, really, the whole point of understudies is that they fill in, but anyway). It’s all very magick and thrilling, with its tootling organ and swiping strings. The second nod to thespians comes late in “Actors Tears” a relatively pared down waltz of cello and plucked violin and seesawing, sing-song-y vocals. It flirts with folk sorrow (“You’re not to blame for the ruin of me”) but from a place of pop equanimity (“Didn’t we have fun?”). An actor’s tears are hard to parse, and so is the song.

But however hard it is to get a grip on this record, there is no denying its beauty. These songs float free of effort and reference and reality itself and hang like mist shot through with sun.

Jennifer Kelly

[thejoyofviolentmovement]

New Video: Clementine Valentine Share Lush and Dreamy "Selenelion"

New Video: Clementine Valentine Share Lush and Dreamy "Selenelion" @FlyingNun @motormouthpr

Kiwi-based sibling duo Clementine and Valentine Nixon have had music and performing deeply embedded in their lineage: Traveling musicians and performers go back hundreds of years on their maternal side — and has been documented on recordings such as 1968’s The Traveling Stewarts. As children, the Nixon Sisters were taught to sing traditional balladry by their grandmother, the daughter of revered…

[druidberries]

love day wedding was a success 💕💍

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the wedding lot was made by simstanie on the gallery!

this rando came in and took the cake directly after they took the first bite AND CLEANED IT UP

[stop-breaking-my-heart-telltale]

I think for all the discussions we have of "everyone hears the jokes and the piano; after that, they stop listening" surrounding Louis, we tend to still simplify his connection to the piano.

Yes, it's very cute that he sings Clementine a little song when they first meet, and it's very cute that he plays a little prank on her while "tuning" the piano. It's super cute that they carve their initials into the piano and Clementine carves a heart around them. It's mega cute that he names his song he wrote after her when she confesses her feelings. Louis playing Don't Be Afraid at the party is, in my opinion, one of the best moments in all of TFS.

But here's the thing: That piano is Louis' heart.

I don't mean to go all metaphorical on you, but I'm dead serious—the piano is Louis' heart, and when you think about his arc and his romance route with that in mind...?

That piano is his one comfort in a world where the dead walk. It's been with him from the beginning of the outbreak. We know from his backstory that Louis wanted to take singing lessons so he could be a real musician, and his father denying him of that was what set him off to be a "vindictive fuckhead." Louis never got those singing lessons, and it's a very real possibility that Louis taught himself how to play.

Sure, others could've taught him; we know Minerva was musically talented, perhaps she showed him a thing or two. But learning piano, or any instrument, is brutal even with professional guidance. It takes hours of practice until numbness wears fingertips raw; dedication to memorize every key and finger placement to make music pleasing to the ear; self-discipline to keep going through every fumble, every failure, every single cruel thought of self-doubt; intelligence and a creative ear to write his own songs.

And yet, it's severely under-appreciated by everyone. It's annoying. It's distracting. It's unimportant. It's an excuse for Louis to mess around and not do any real work. He doesn't have any actual talent. The music and the piano are brushed off, unheard.

Yet, Louis keeps playing. He keeps singing. He keeps making jokes.

Creating music, the one thing he wanted so badly as a kid that he destroyed his parents marriage, was possibly the greatest comfort he had... a welcome distraction to disassociate from the horror and death happening around him.

It's bittersweet, like a purpling bruise that you can't stop pressing on; it hurts, but there's something else below the pain. The piano is out of tune and it's something that brings him joy... but will always act as a constant reminder of who he was and what he did, why he's at Ericson to begin with.

We first meet him while he's playing; Louis' heart is exposed, but is it really? Is he playing to his true potential? Louis hides behind the mask of a charming, charismatic goof. It's what is expected of him, so he plays a silly song intended to poke and prod at Clementine, to gauge a reaction. That's something we see him do at multiple points in episode one. In fact, we can consider a majority of episode one to be like the song he's playing when we meet him; it's mostly cheery or fast-paced.

Louis is able to soothe AJ with his "alluring" music after the kid bit Ruby is an indication that the two of them will share a bond. Louis is a natural at communicating and bonding with the younger kids [another talent that's overlooked] so it's interesting that he praises AJ for being a natural at piano, as well.

But the song stutters just a bit when Louis and Clementine are in the woods together, though; "There's only one guarantee: this moment. That's the only you got, only thing any of us got. Might as well enjoy it." ...Only for Louis to compose himself and send her away.

It's only when Clementine has a gun in her face, held by Marlon, that the music isn't fun anymore; it's rainfall and thunder and the words "I thought you were more than that" sung through the wind in a melody only Louis can hear.

Then Marlon's dead. The song is over, and reality has arrived.

I've talked at length about Louis in ep2 and his vote in the past. It's one of the most compelling things about Louis' arc and romantic route. It's a tragic mistake driven by trauma and guilt. It's people simultaneously telling him to shut up and telling him to be angrier than he is. Telling him to stop burying his head in the sand when he's never been more aware of everything happening. It's AJ peering up at him with pleading eyes that Louis can't stand to look at. It's Clementine wrapping his heartstrings around her fingers and tugging just enough to hurt, but not break.

Louis missed Clementine. He says as much when Clementine admits she missed him first. I don't even know where to begin with that! I can think of no other way to describe it other than they are half agony, half hope over this... and if you get that reference, you get a gold star. I just- the ache, the tension, the conflicting feelings of finally having a quiet moment to talk but Louis not being ready yet.

Y'know how someone carved "you suck at playing" in the side of the piano? It's something you might not initially notice while playing the game, just as Louis' insecurities aren't apparent at first.. but they're carved in him; never fully healed, still scabbed and bleeding... Until Clementine offers him a bandage.

She won't clean the wound for him, but she'll be there. She'll help him figure out how to do it himself so he can heal. She'll listen to him, not belittle his feelings or pain. She'll make an effort to know his keys and notes and practice playing his song until she understands.

When Clementine chooses him to spend time with him, it's a mirror of their first time meeting... but this time, Louis plays something real: a song he wrote, one that I believe he crafted during the two week time skip... a song he wrote with Clementine on his mind, for better or worse.

If the piano is Louis' heart, he literally asks her to sit there and try to tune it, which ends up being a joke but I say she's already tuned your heart, my guy. It's there before them, changed in the warm candlelight. He plays for her and opens up about how no one actually listens, but Clementine did.

And remember, this is the night of the raid. They don't know it's coming, but they know it'll be soon. Louis understands that he could very well die, so what does he do? He carves his initial into the one thing he's always had, and he asks Clementine to do the same.

I'm sorry, how are we NOT more feral about this? Prior to this scene, the only thing we see carved into the piano, into Louis' heart, is an insult. This thing that Louis cares so deeply about, this instrument that's become so intertwined with who he is... he wants to leave his mark on it just in case he dies. A reminder that it was his and he belonged to it just as much. Something so important, and he asks Clementine to carve herself into his heart where no matter what, they will be immortalized together in this moment.

And when Clementine carves a heart around their initials? Yes, his reaction is very cute and that's great... but she's not ashamed of him, or her feelings for him. She wants everyone who looks upon his heart to know that. She tells him how she feels and Louis is so giddy, and warm, and he names the song after her and I am going to start biting anything that moves, I can't-

Oh, and let's discuss the party scene in episode three, shall we? Y'know, where the heart covered initials are on full display? Where Louis tells the story of why he was sent to Ericson to everyone?

Louis is so... vulnerable. Sincere. Ashamed of what he did. This is the exposed nerve, the one he was so afraid of showing Clementine but there it is... and she doesn't reject him. Sure, she can say it's fucked up if you choose to, but she doesn't break up with him over it.

Also the fact that everyone sitting around him finally listens when he's at his most unshielded only for Tenn to ask him to play Don't Be Afraid for them after...? How do you not see the connection? Are you trying to make me cry? In that moment, Louis' heart was heard and appreciated and beautiful and strong and-

Listen. I am fine. I'm so normal about this. And fine. I'm fine.

But I also have to add that during the walk in episode four, if you let Louis choose what to add to the imaginary house, he picks a brand new piano because he wants a new heart to reflect the confidence and growth Clementine helped him achieve and because he loves her and AJ so much that wants the new heart to not just be his but also theirs and I am so fine with this, okay.

[generalgri3vous]

studio ghibli background study, just in time for valentines! click for better quality

[queerdiazs]

i am just a fool, but i have loved you all along | 5.1k, teen

for @spagheddiediaz. love u loser.

“I made a list,” he says, digging in the pocket of his jacket and producing a wrinkled piece of paper. “I figured if you could see all the reasons why we shouldn’t date, it’d be easier for you to understand.”  Buck raises a brow, unimpressed, and holds out his hand. “Let me see it.”  Like a scolded child, Eddie hands over the crumpled piece of paper. Buck takes it stiffly, primly, and does his best to unfold it without ripping the corners more than they already are. He reads over the list; Eddie watches his face the entire time, unsure if Buck’s impassive expression is good or bad.  “‘His big tits stretch my shirts out every time he wears them,’” Buck reads aloud, sounding terribly bored and wonderfully amused all at once. “‘He won’t be able to kiss me properly the first time because he’ll be smiling too much. He keeps the AC at seventy-four.’” “That’s hot,” Eddie interjects pointedly. “That’s hot, Buck.”  Buck rolls his eyes. “It’s not that hot.”  “It’s seventy-four. It’s hot.”  Snorting, Buck moves on. “‘Aggressive use of cumin.’” He crinkles his nose and shrugs. “I do love my cumin.”  Eddie nods, swallowing around a lump in his throat the size of Buck’s tits. “As—as you can see, these are all valid reasons why we shouldn’t be together.”  “Oh, definitely. It’s a solid list.” He looks up at Eddie and grins, backlit by the yellow-orange-red of the setting sun. He looks like he’s on fire, but not like he’s going to burn Eddie up. He looks like he’s going to keep Eddie warm instead. “But you do realize it’s nowhere near complete, right?”  Eddie blinks. “It isn’t?”  Buck chuckles. “Nope. I can think of, like, a dozen more reasons why we shown’t date off the top of my head.”

read the rest on ao3

[spacedlexi]

been enjoying my art lately

[dreaminplates]

Filled out this funky little thing! Bam! Some of my favorite characters!! ^^

[mk-wizard]

Eve and Aphrodite are not the problem

I'm just going to put this out there as a mother and a woman, and I can't just stay silent because my feelings are hurt over this whole debacle...

Both Eve from Stellar Blade and Aphrodite from the upcoming Hades II are beautiful women. However, Eve is a lady, professional, smart, resourceful and actively fighting a war to make the world a safer place. Aphrodite has no qualms about running around naked and puts out to anyone she meets or anyone she can benefit off of.

Now, I ain't going to judge artists for making their characters the way they are because I get that it is all part of artistic freedom and is part what drives the plot of the story. What does hurt me as a female person though is when you sit there telling me that Eve is a disgrace to women for being the way she is knowing what she does and she acts yet you turn around and tell me that Aphrodite is the gold standard of what female characters should all be like.

THAT is insulting. Not the characters. It's what you're saying and what that implies. Aphrodite may be crafty and may be self aware enough of her beauty in order to weaponize it, but she is not a role model. If anything, I can confirm as Greek lady who grew up with Greek mythology than she was one of the most evil Goddesses in lore. You do NOT want your daughters to be like her.

On the other hand, I think Eve is the kind of female character we've been needing for a while now since Jill Valentine, Lara Croft, Chun-Li or even Clementine from the Telltale Walking Dead games. And at the risk of being bold, even Bayonetta has my respect because even though her lifestyle is not one I would take up, she's still a hero with a heart of a gold and has a good sense of right and wrong when it comes to things that matter. Bayonetta is not a bad person for being loose anymore than Solid Snake is a bad person for also being loose AND being a smoker and drinker on top of that. Woman are allowed to have flaws and that extends to personality ones. It doesn't make them bad. It makes them human.

Let's look at the traits that really matter in female characters and even if they are bad guys, we have to take into account that they need to be as part of the plot.

[toffeethief]

Clementine Valentine - Time And Tide

[playsthetics]

MBTI: My Favourite Characters

ENFP (5/16)

-

Jake Peralta (Brooklyn 99)

Cat Valentine (Victorious)

Josephine “Jo” March (Little Women)

Jules Vaughn (Euphoria)

Harley Quinn (DC)

Clementine Kruczynski (Eternal Sunshien of the Spotless Mind)

Christine “Lady Bird” McPherson (Lady Bird)

Phoebe Buffay (Friends)

Penelope Garcia (Criminal Minds)

Pandora Moon (SKINS)

[thejoyofviolentmovement]

New Video: Clementine Valentine Shares Haunting "The Rope"

New Video: Clementine Valentine Shares Haunting "The Rope" @FlyingNun @motormouthpr

Kiwi-based sibling duo Clementine and Valentine Nixon have had music and performing embedded in their lineage: Traveling musicians and performers go back hundreds of years on their maternal side — and was documented on recordings such as 1968’s The Traveling Stewarts. As children, the Nixon Sisters were taught to sing traditional balladry by their grandmother, the daughter of revered Traveller…

[druidberries]

clementine had a great night with her friends, both old and new <3

harper romero (they/them) by @lyralow, akiko yamada (she/her) by @simwithlitz, cecelia hughes (she/her) by @zleepyhollow, and aria valentine (she/her) by @rebelangelsims!! thank you all so much for giving me your cutie pies <3

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a man on a mission

[luzxii]

Oops

tags : @clownazon @totally-not-a-tickle-blog @bulldog-geckorahhhhh

[heyhellohihowareyou]

PLAY TIME

This is Clementine Valentine! A second year in Heartslabyul. She is Twisted from Gabby Gabby (The Doll from Toy Story 4)

Clementine is very doll like in terms of attitude and appearance. They move rigidly, seems to always be smiling, and some people say she doesn’t even blink!

Most people find her whole demeanor to be off putting, despite this, Clementine refers to everyone as their friends.

Clementine grew up with her mother who she calls her “Bestest BEST friend”. Although they express that everytime her mother looks at her, it seems she’s holding back tears. Even though she loved her mother very much, Clementine wished she bothered to play with her rather than buy them a bunch of toys.

When Clementine developed her unique magic “Play Time” the first person she used it one was their mother. Play time gives Clementine the ability to turn a living being into a toy. It automatically brings them back when the day is over.

Play Time expresses Clementine’s desire to make others play with her whether they like it or not.

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