#exile her : discography

[exilology]

"ECLIPSE" is the pre-debut project by Y/N – known more popularly as EXILE HER – in order to introduce her to the k-pop scene. the project began in JANUARY 2017 and would continue until FEBRUARY 2018. the project was created by KWON GYEONG, who had personally hand-picked y/n for this project.

gyeong stated in an interview that she, "...watched y/n perform and compete on PRODUCE 101, and i immediately knew that she was the perfect face for this project that i had been working on." y/n was already gaining some fame after placing 14th in the survival show, and gyeong was quick to recruit y/n to KQ from her original company SOURCE MUSIC. by the end of 2016, y/n would begin training at kq entertainment after leaving source music.

along with gyeong, the producer team EDENARY would also help with the eclipse project when it came to producing and composing music. the project would be split up into four different parts with each part being divided by a four colors: RED, WHITE, BLACK, and YELLOW.

on FEBRUARY 11, 2018, a full album was released the contained all the songs from the projects into one including six other new songs. the album was simply titled ECLIPSE. a music video was released for the song MY NEVERLAND as well which helped tie up the story. the music video ended with a morse code which fans deciphered as "exile her." this would later be revealed to be y/n's stage name once she debuted.

– TRACK LIST.

I MAY FALL – 4 : 03

MY NEVERLAND – 3 : 23

RED LIKE ROSES – 3 : 12

MAGNETIC – 3 : 03

MIRROR MIRROR – 2 : 55

ECLIPSE – 3 : 51

FROM SHADOWS – 5 : 21

STAR – 3 : 18

I BURN (FT. HONGJOONG OF KQ FELLAZ) – 3 : 10

RUN AWAY –  3 : 37

GOLD – 4 : 02

JUST DO IT – 2 : 33

RED LIKE ROSES, PT.II (FT. KWON GYEONG) – 4 : 02

THIS WILL BE THE DAY – 3 : 08

listen to the full album here.

– STYLING.

below the cut is a quick look at the other parts of Eclipse.

the first part of the project "ECLIPSE: RED" would be released on JANUARY 13, 2017 with the trailer "RED" which featured the song RED LIKE ROSES. along with the released of the trailer, a single album would also be released which included the song in the trailer plus another song.

– TRACK LIST.

RED LIKE ROSES – 3 : 21

MAGNETIC – 3 : 03

the second part of the project "ECLIPSE: WHITE" would be released on APRIL 12, 2017 with the trailer "WHITE" which featured the song MIRROR MIRROR. along with the release of the trailer, a single album would also be released which included the song in the trailer plus another song.

– TRACK LIST.

MIRROR MIRROR – 2 : 55

ECLIPSE – 3 : 51

the third part of the project "ECLIPSE: BLACK" would be released on JULY 17, 2017 with the trailer "BLACK" which featured the song FROM SHADOWS. along with the release of the trailer, a single album would also be released which included the song in the trailer plus another song.

– TRACK LIST.

FROM SHADOWS – 5 : 21

STAR – 3 : 18

the fourth part of the project "ECLIPSE: YELLOW" would be released on OCTOBER 21, 2017 with trailer "YELLOW" which featured the song I BURN which featured fellow kq trainee, HONGJOONG. along with the release of the trailer, a single album would also be released which included the song in the trailer plus another song.

– TRACK LIST.

I BURN (FT. HONGJOONG OF KQ FELLAZ) – 3 : 10

RUN AWAY – 3 : 37

[sawthetruthinme]

i love when taylor writes about towns in her songs !! because usually the towns can be metaphors for something bigger... a life / an experience/ a person/.. oftentimes it feels like a stand in for taylor herself, where instead of saying “i” she says “my town” … etc. maybe i’ll elaborate with better logic in a longer post later but yeah . just contemplating on:

“my town was a wasteland” “it always leads to you and my hometown” “our whole town came and our mamas cried” “when my world wakes up today, you’ll be in another town” “this is a big world, that was a small town” “left a small town never looked back” “i’m shining like fireworks over your sad empty town” “we shouldn’t be in this town” “let’s get out of this town” “i’ll be there if you’re the toast of the town” “the only thing we share is this small town” “staring out the window like i’m not your favorite town” “maybe i stormed out of every single room in this town” “you were my town, now i’m in exile” “the loudest woman this town has ever seen” “you’re a flashback in a film reel on the one screen in my town” “the coastal town we wandered round had never seen a love as pure as it” “you got shiny friends since you left town” “the ladies lunching have their stories about when you passed through town” “i didn’t choose this town, i dream of getting out” “karma’s gonna track you down step by step from town to town” “you don’t live in my part of town” “rip the band aid off and skip town” etc. etc. etc.

[cerebralisis]

I decided to make my analysis of So High School into a separate post, because I can’t help but think of this song every time I see photos of Taylor at the games. And sure, it sounds like a love song on the surface until you remember that Taylor was bullied in high school and start to dig a little deeper. Feeling "so high school" is not something a 34 year old woman wants to feel.

Let’s look at the lyrics.

"I'm sinking, our fingers entwined, cheeks pink in the twinkling lights" = To me this sounds like drowning, embarrassment, and diving in with the sharks

"Tell me 'bout the first time you saw me" = You mean her first Chiefs appearance when they 'slid off in the getaway car' at the end? Nothing good starts in a getaway car, babes.

"I'll drink what you think and I'm high from smoking your jokes all damn night" = I mean...

“I'm watching American Pie with you on a Saturday night" = What do we know about this movie? We know that it is renowned for its high school immaturity and misogyny. It’s about a bunch of horny boneheaded men who treat women like sex objects instead of people. Sounds a lot like football culture to me.

"Your friends are around so be quiet. I'm trying to stifle my sighs." = I'm in the box with your friends and family. I need to hold it together so I don't offend them, but I legit hate this.

"Cause I feel so high school" = SHE HATES THIS.

"Bittersweet 16 suddenly" = I don't think she was a fan of high school, you guys.

"Are you gonna marry, kiss, or kill me? It's just a game but really, I'm betting on all 3." = A clear reference to that kiss/marry/kill interview with Travis, while also saying "we're gonna get together, put on a show for everyone, and I'm going to slowly die inside until we're done."

"Get my car door, isn't that sweet. Now pull me to the backseat" = All I hear with this is Movie Director Taylor giving instructions to her leading man so they can get a good reaction from the audience.

"You know how to ball, I know Aristotle." = You're a jock. I'm a nerd. We are not compatible.

"Touch me while your bros play grand theft auto." = The official song lyrics on Spotify put grand theft auto in lowercase the first time and capitalized the second time. The capitalized GTA could refer to Travis's friends playing the video game, sure. But also - you know who was arrested in August 2023 for grand theft auto? Bashaud Breeland, a cornerback for the Kansas City Chiefs who played with Travis in the 2020 Super Bowl.

"It's true, swear, Scout's Honor" = Look it up, I dare you.

And my absolute favorite:

"On the brink of a wrinkle in time" = This is TTPD, folks. Of course there's going to be a literary reference. A Wrinkle in Time by Madeleine L'Engle. The main character is a girl named Meg who is incredibly bright but struggles in school because she doesn't fit in with the other kids. After meeting a trio of badass witchy women, Meg travels to far-off worlds (a sort of deep portal time travel, you might say) where she joins the battle of light vs. darkness. What do we know about Taylor’s usage of light and darkness throughout her discography? It's giving… Reputation vs. Daylight? Shrouded in secrecy vs. out in the open? Based on everything else that Taylor has been hinting at through TTPD (not to mention Evermore and Midnights), it sounds like she is on the verge of diving into a much larger battle. And if I had to guess, I would bet that this battle will start during the Reputation re-release. Around Halloween. 🎃 When exile ends. Almost exactly 2 years after the Bejeweled music video was released. Maybe the old Taylor can't come to the phone right now cause she's dead?

I'm just speculating, but I will add that the 3rd book in the Time series is called A Swiftly Tilting Planet. There is a poem referenced through the book that goes like this:

With Ananda in this fateful hour, I place all Heaven with its power, And the sun with its brightness, And the snow with its whiteness, And the fire with all the strength it hath, And the lightning with its rapid wrath, And the winds with their swiftness along its path, And the sea with its deepness, And the rocks with their steepness, And the Earth with its starkness, All these I place with God's almighty help and grace between myself and the powers of darkness.

The word ‘Ananda’ mentioned above is the name of a character in the book, which is significant to the story because it’s a Sanskrit word that describes the eternal bliss that accompanies the ending of the rebirth cycle. If this series is what Taylor is referencing then it’s sounding more and more like she’s going to kill off Taylor TM and be done with the games, done with the reinvention. The plot summary of A Swiftly Tilting Planet says that it’s a book about "going back in time and changing might-have-beens." What decisions would she have made differently if she could do it all over again?

I don't know, friends. Take from this what you will. All I know is, this woman and all her brilliant duality is going to send me to a padded room. ✌🏻

[toastandjamie]

Wot Characters and the Taylor Swift song I most associate with them and their favorite Era!(excluding Debut and Tortured Poets Department)

Rand: You’re on Your Own Kid, when asked he consistently says Speak Now

Mat: Cruel Summer, he insists he’s only really listened to Reputation-this is a lie- Midnights is his favorite album

Perrin: Paper Rings, the Lover Album is by and large his favorite- however Fearless is a close second- he just thinks the songs are pretty

Egwene: Wildest Dreams, she’s a Reputation girly first and foremost

Nynaeve: Treacherous, Folklore zero elaboration needed

Elayne: Mastermind, 1989 is her favorite album by far

Min: You Belong With Me, she’s a Red girly and was the one who got Mat to listen to Taylor’s entire discography

Avienda: Red, Avienda isn’t very familiar with all the eras but after Elayne showed her all the albums she picked Evermore

Faile: Stay Stay Stay, just like Egwene she’s a Reputation girly(secretly her favorite is Lover)

Tuon: You’re In Love, Tuon claims to not have any preference but catch her listening to Folklore on repeat

Morraine: The Lucky One, Evermore without a doubt

Siuan: Lavender Haze, she’s a fan of the classics and loves Fearless

Lan: I Know Places, his favorite album is folklore because it’s Nynaeve’s

Thom: Exile, he appreciates the storytelling of Folklore

Brynn: Epiphany, he does not know the names of the albums but he liked most of the songs on Red

Gawyn: Anti-Hero, he insists he doesn’t like Taylor Swift but the answer is 1989

Galad: Karma, without hesitation he says Midnights

Berelain: Slut!, this is a woman who listens to Red, A Lot

[kylieswift31]

The dark side of Taylor Swift's lucky number 13

Taylor has been performing at her concerts with her lucky number 13 written on her hand since her first fearless tour, but what if it doesn't have the same nostalgic meaning for Taylor Swift?

"I was born on the 13th, I turned 13 on Friday the 13th, by first album went gold in 13 weeks. Also, my first song that ever went number 1, it had a 13 second intro, I didn't even do that on purpose!"

The number 13 is most well known for being an unlucky number from the association it has with Friday the 13th, and the scary halloween movie series with the same title. Yet, many now see it as a good luck charm because Taylor has used it so prolifically throughout her career that it's become their lucky number too.

"I hate it here."

In the reputation prologue Taylor talks about the duality between the best and worst parts of ourselves, our deepest secrets and our favourite stories. And that the version we present to the public doesn't show the version we keep hidden. Everyone presents a mask of their best selves, but some of us do so while feeling the chasm between the two. This divergence then feels like the facade we present to others feels counterfeit to our inner selves.

"And for a fortnight there we were together."

This leads us to consider the other side of the coin behind the meaning of the number 13 and how it reflects Taylor's inner world. The title track of the tortured poets department is fortnight. This song fortnight isn't referencing a literal fortnight but her first album debut that contains 14 songs, excluding the pop version of teardrops on my guitar.

"All my Mondays are stuck in an endless February. I took the miracle move on drug, the effects were temporary."

This debut album contains an honest and personal account of Taylor's life growing up. Revealing how lonely she felt at school, feeling like an outcast and her determination to keep going in spite of it all. When her fearless album was released there was a markedly increased use of male pronouns and names to replace the more neutral you, me and us pronouns used throughout debut.

"Marry me, Juliet!"

There are songs like love story where it switches to the male character's perspective and Taylor gets to sing honestly while singing about a heteronormative relationship. But for the most part, everyone else is associating the song with the type of love where finding a man or is the end of your story. This fairytale happily ever after is what Taylor became famous for. It's what made me fall in love with Taylor's work, but I also stayed for the depth and complexity of the inner version of Taylor I connected with too.

"I was a functioning alcoholic till nobody noticed my new aesthetic."

The "Mondays stuck in an endless February" lyric in the fortnight song is talking about the debut version of Taylor being stuck in the fearless era. The changes to Taylor's albums in the fearless era erased more of her inner voice. When others only like your public facade you show them, it leaves you feeling like who you are on the inside will never be good enough for anybody. This is what leads to the choice between giving up trying to fit in or exiling your past self in the hopes of being accepted.

"Blood's thick but nothing like a payroll."

This battle of wills is echoed throughout Taylor's entire discography. It's easy to fob this off as a repercussion of the contract with her first record label, but that ended with the reputation era. These themes have repeated over and over again throughout her work much longer than that. When you remove all male and female muses from the story, there's an evident thread of being at war with herself. While begging for her family, her father in particular, to accept the queer side of herself.

"Two graves, one gun."

In the tortured poets department there's references to wanting to come out, but having to stay closeted to protect her career. This is evident in the eras tour with performing a three hour show with a set from every era except for debut. Taylor is breaking her own records with the quality of work she's put out recently, while still talking about how she's lost more of herself than she ever expected to. The line about "two graves, one gun" shows how she lost herself in the beginning of her career and again when she showed more of her inner self with the aesthetic of the lover era. The karma coffee cup is a map of where the graves are buried, pointing towards both the end of the fearless era and the folklore era.

"When my depression works the graveyard shift, all the people I've ghosted stand there in the room."

In my first post I went into great detail about the connections between Taylor's life and the Truman show. Her connection to Truman's character is especially apparent between the folklore and evermore albums. Truman's character is aware of the fact that he is unwittingly the star of a reality show being broadcast to the world. There are a lot of parallels to Taylor's pop star persona and how famous she has become recently.

"The sign on your heart said it's still reserved for me."

Truman's character reaches a breaking point where everything changes and realises what he wants to do with his life is too important to keep fulfilling the role everyone else wants him to fulfil. This is why the tortured poets department feels like a goodbye album. This is Taylor letting go of anyone who is not willing to see her for who she really is. As many of us experienced during the lockdowns, getting a taste of living without the mask makes it incredibly soul crushing to put back on again. The tortured poets department is a goodbye, but for Taylor it is a return home to herself. The tour for the lover era put a hold on her plans going forward, but created an opportunity to go even bigger than she already had planned.

"Put narcotics into all of my songs and that's why you're still singing along."

If we break down the symbology of the number 13 we can get a glimpse of what it represents for the closeted version of Taylor. The duality of the 3 as the letter M or W when it's flipped on it's side discloses the true pronouns within her music. The 1 is the shape of her microphone, but also the shape of a grave. Her love for women has been buried for the sake of her career. (It’s also XIII in Roman numerals.)

"I'm so depressed I act like it's my birthday every day."

So if the 13 represents both Taylor's pop star persona with her birthday and the closeted version of Taylor, we can see how it epitomises both sides of the coin.

Coming out on the 31st of October would be an iconic date to reclaim the meaning behind the numbers and bring her love of women back out from the grave.

A tortured poet,

Kylie x

🧡🖤💜

[cipher-fresh]

Reviews for Skip Haverty: Companion Chronicles #2 (2025) boxset

These take place before Skip witnesses the destruction of Pacifico del Rio but after the Hybrid Dimension arc. I think this was a great place to put these stories (when the obvious unexplored location would have been right before The Cruel Shining Light of Heaven) but I think this is better because we get to really explore more of Skip’s feelings about her mixed heritage. It’s contrasted super well with the ethos of the Cybermen who have no value for anything unique and are entirely homogenous.

Disc #1: Planet of the Superstructure

This one is spooky! A bio-engineered mechanical virus infects every living thing on this planet and converts it into an ever-growing superstructure, that winds up developing its own bio-mechanical life that’s different enough to not get absorbed into the structure but similar enough to thrive in the structure. This really benefits from coming right after Hybrid Universe because Skip gets infected with the bio-mechanical virus and the Doctor has to find a way to stop it from growing her body into metal, and it ties into Skip’s insecurities about her body and ownership to her heritage. The TARDIS going missing makes sense for this one because the Superstructure growing and shifting is a part of the plot and it feels integrated naturally.

This one got a tie-in comic but I hate the way they draw faces. The backgrounds for it were amazing, and just what this story needed since the Superstructure is so intimidating. (You can read the comic here)

God, this was stellar. 9/10

Disc #2: Green Skies Forever

This one has a really devastating plot twist so listen to it first- The Doctor and Skip try to take a rest on a vacation planet, but become suspicious that the place isn’t what it seems. All the other vacationers seem like children pretending to be adults. Over the course of the story, it’s revealed that this planet doesn’t exist and is only being held rougher through the psychic energy of an alien child trying to relive the day before his death. The kid psychically manifested all the people so they only have the knowledge the kid knows. The Doctor and Skip help the kid process his death and pass on.

8/10, Paul McGann delivers this haunting monologue at the end. I’d rank it higher but Skip gets basically nothing to do which is really annoying. Added a point back for Skip’s screen time being her actually getting to take a break.

Disc #3: Moonlight Country

If you think about the plot of this one for more than 10 seconds, it starts to fall apart. But if you don’t do that, the town of self-exiled sentient werewolves is one of the most fun and unique locations in the 8th Doctor’s discography. The villain of this one is really fun and I think would be a great thing to adapt to live-action. (We also get a 13th Doctor cameo in this one! I actually gasped hearing Jodie Whittaker’s voice.)

I am really sad I can’t give this higher than a 6/10, because it is genuinely nonsensical, but it’s at least fun. I may honestly revise this to give another point for how fun it is but I’m holding off for now.

You can buy the box set here

[blue-cat-ter-flies-blog]

Moar Sukugo!

Just discovered Laufey and while I haven't yet to finish her entire discography- let me tell you, she sounds like she belongs in a fucking speakeasy during the height of the American Prohibition or some intimately lit jazz bar.

Which got me thinking of Sukugo again and now I need some variation of artist!Satoru and crime lord!Sukuna. And not just something that is the JJK cast shoved into some Prohibition era setting (even then, I think Baccano! is the only suitable setting that can match JJK's general crazy).

Meiji Era or Edo-Meiji transitional era Sukugo. Satoru is one of the few/many unintentionally affected by the Westernisation/modernisation of Japan. Sukuna is some sort of crime lord/gang leader/black market dealer that everyone knows not to cross and too powerful to take down. The geisha house Satoru and the rest of his ragtag family lived in was forced to shut down because of a corrupt official and Satoru crossed paths with Sukuna while looking for a way to feed the kids he took with him.

Rich artist Satoru and Yakuza boss Sukuna who meet because Satoru was very interested in preservation of intangible art history and was arguing with some developers for this one family and Sukuna came in with an assist because while he was a Yakuza boss, he was also a man of culture and the family Satoru was defending had a rich history going back to the late Heian era.

Blind musician Satoru and weary criminal Sukuna- who decided to head to more remote/frontier regions for a more peaceful 'retirement' but got caught up in a natural disaster. Satoru's music led him to the former's home and then he wound up being nursed by the former. They were housemates and you all know how that usually ends (in fanfic) 😏.

To expand more on the 3rd since it's grown in my mind- Satoru is a self-exiled noble's bastard son and the only parent he respected and honoured was his mother, whom he got his love of music from. Other than his bastard status, the fact that he was an albino in a extremely superstitious time didn't exactly endear him to anyone but his mother and very few others.

When he was told he was going blind- he took what he could carry, whatever his mother left him after she died, his favorite instrument and left. He ended up at a remote village friendly with some nearby Ainu tribes and some other villages and began teaching reading and writing while he could see before switching to music lessons.

It's something that Satoru openly laments about once he and Sukuna get together- that he couldn't get to see what Sukuna looked like before he went blind.

"But getting to know you like this isn't so bad either. I think I would've fallen in love with you no matter my sight." Satoru would say each time with a bright, cheeky grin as he kept Sukuna within reach and touch. And Sukuna would soften for this ridiculous man each time.

This one could also be canon'verse in a way too, if you're creative enough. Maybe during Sukuna's human years- whenever that is. Maybe early on, or just before, the Heian era? But let's make it interesting.

Sukuna is the elder of them, they always thought he'd go first. Of course, obviously, but only after some more years together. Hopefully many more years together. They never thought it would be Satoru who goes first.

Satoru dies, yes, but not to curses or sorcerors or curse users or even some random Xanatos Gambit plan of Kenjaku (if he's even around at this time. Do we even know how old that fucker is? Barring his general existence at/during the Heian era). A natural disaster is what brought them together, so a natural disaster is what tears them apart. Maybe make it a flood and a landslide to make it poetic :).

Something something, Satoru gets hit by some large, inescapable debris- normie that he is in this life and time- and Sukuna doesn't have or know RCT to help heal him. Satoru's last words, along with that same bright, cheeky grin- bloody as it was now, softened by their inevitable parting- somehow manage to break Sukuna's heart like nothing else ever would.

"I'm sorry. Thank you. I love you."

And then Satoru is gone and some part of Sukuna dies with him. After Satoru's burial, he leaves the little village that they called home to wander the country once more. And, eventually, the King of Curses rises, rampages (but never near that one village), rules and is sealed for centuries until he incarnates in his unknowing nephew one moonlit night.

And meets someone he never thought he'd see again. That deadened part of himself starts living again and Sukuna immediately shelves everything to pursue his Satoru again.

[taylortruther]

I'd never walk cornelia street again 🤝 so long london, had a good run

ok I know these songs aren't actually related at all but I think an interesting side effect of her ltr is that she's put specific places to that relationship that she feels can never been removed from his memory

i love this about her discography, and also how she describes a person as a place. "you were my town, now i'm in exile seeing you out"... "little did you know your home's really only a town you're just a guest in" (this one is about a literal place but i also feel like it's about a person) etc etc

[chaosbyincorporated]

13 Of My Favorite Taylor Swift Songs:

**In Her Most Recent Discography Order**

13. You Are In Love (Taylor's Version)

12. Innocent (Taylor's Version)

11. Long Live (Taylor's Version)

10. Would've, Could've, Should've

9. All Too Well (10 Minute Version) (Taylor's Version) (From The Vault)

8. The Last Time (feat. Gary Lightbody of Snow Patrol) (Taylor's Version)

7. You're Not Sorry (Taylor's Version)

6. Fearless (Taylor's Version)

5. Tolerate It

4. Cardigan

3. Exile (feat. Bon Iver)

2. Ready For It

Cold As You

Honorable Mention: So It Goes...

[exilology]

GOBLIN is the final pre-debut project by KQ trainee, Y/N, also known as KQ Gal. the pre-debut single was released on APRIL 2, 2018 on YOUTUBE. the song was written by y/n herself and was produced with the help of producer team, EDENARY. the song received a music video which is currently the only place you can listen to the song. many IXLUVS have been begging for a re-release of the song, but nothing has come from it yet.

a week after the release of Goblin, KQ Entertainment announced that y/n would be making her official debut in early JUNE. this left fans excited since they have been waiting for her debut since y/n's appearance on PRODUCE 101.

KWON GYEONG, creative director at KQ, revealed that the story the music video told was "just the beginning of the lore for KQ Gal."

– ERA NOTES.

y/n helped direct the music video which was filmed in about seven hours in LA where she had been training at the time.

a theory linked to the music video is that y/n is experiencing a time loop instead of breaking out of it, she is choosing to relive the same day until she meets 'the dark presence' at the end of the music video which is when she accepts the chance to leave the time loop.

many IXLUVS believe that the person at the end of the music video who extends his hand out to y/n is HONGJOONG, who was also a trainee at the time of filming.

y/n trended on twitter after the release of the music video and song with many praising her vocals and acting.

y/n also did a few street performances in LA, SEOUL, and BUSAN with this song and it’s notably the only time she has performed the song.

– STYLING.

[thisselflovecamebacktome]

My Taylor Swift inspired playlists masterpost 3.0.

I’m going to put these under a read more because otherwise this post is going to get super long but the TLDR update is that I’ve added the Speak Now + 1989 vault track, Midnights and TTPD:TA playlists to my “[album]... but not by Taylor Swift series and a new playlist specifically inspired by You're On Your Own Kid to add alongside the Folklore and Evermore song playlists I have (I will eventually get around to ones for the rest of her discography lmao). Have fun.

“[album]... but not by Taylor” series:

(all compilations of songs that Taylor has never worked on that give me the same vibes as Taylor’s did on a song by song basis)

Debut deluxe version

Fearless platinum version

Fearless vault songs

Speak Now deluxe version

Speak Now vault songs

RED deluxe version

RED vault songs

1989 deluxe version

1989 vault songs

Reputation

Lover

Folklore deluxe version

Evermore deluxe version

Midnights lavender version + 3am tracks

The Tortured Poets' Department: The Anthology

Song Inspired playlists:

Midnights

You're On Your Own Kid (Where I am is a journey of all the steps I've taken and I take responsibility and am proud of that while still wishing I was kinder to my younger self)

Evermore:

Willow (Finding love when you least expect it)

Champagne Problems (Wishing you were in love with someone you loves you)

Gold Rush (The love that never eventuated)

Tis The Damn Season (Leaving the love of your life but wishing you could stay)

Tolerate It (Questioning an unstable relationship)

No Body No Crime (Getting revenge against your murderous best friend’s ex husband and his mistress)

Happiness (Accepting that both your ending relationship and what comes next did and will bring you happiness)

Dorothea (Missing your first love who you dated in the 2000s/2010s)

Coney Island (The sadness that comes with knowing you are the reason a relationship ended)

Ivy (Cheating/Going after taken people is bad... but these songs are all bops)

Cowboy Like Me (Songs that make me wish I believed in love)

Long Story Short (Songs that make me feel good about myself/my journey)

Marjorie (Songs that were written about family)

Closure (Moving past people you know will never truly be sorry)

Evermore (Love will always guide you through the toughest times)

Right Where You Left Me (Feeling stuck and left behind in life)

It’s Time To Go (Knowing when to choose yourself first and walk away)

Folklore:

The 1 (When you can’t forget that one person from your past)

Cardigan (Knowing your worth when someone comes back to you after wronging you)

The Last Great American Dynasty (The highs and lows of finding yourself)

Exile (Different gender duet songs I like)

My Tears Ricochet (Fuck Scott Borchetta)

Mirrorball (Breaking free of needing validation)

Seven (Songs with an age in the title)

August (First teenage heartbreak with someone you thought was your person but who didn’t love you back)

This Is Me Trying (Picking yourself up after a depressive episode)

Illicit Affairs (Being the other, younger woman)

Invisible String (Everything will turn out okay)

Mad Woman (Feminist songs)

Epiphany (Societal based songs)

Betty (Accepting you have to move forward after hurting someone)

Peace (Songs that make me feel a sense of peace)

Hoax (Holding on for far too long)

The Lakes (Wanting to escape from reality with your partner)

[forevermore05]

Taylor Swift and Zutara

I am a Swiftie and I love Zutara so here a playlist of songs I think suit their dynamic (I LOVE folklore and evermore)

Peace- folklore

The Great War- Midnights

Glitch- Midnights

The Lakes- Folklore

Midnight Rain- Midnights

gold rush- evermore

Cardigan- folklore

The 1- folklore

hoax- folklore

my tears ricochet- folklore

exile- folklore

Daylight- Lover

Miss Americana and the Heartbreak Prince- Lover

Afterglow- Lover

New Years Day- rep

Call It What You Want- rep

You are in Love- 1989

Question- midnights

Foolish One- Speak Now (for us lol)

Ok this is probably the first part of this playlist cause I want to go into her old discography to find more but I feel for right now the list is a little too long.

[godeat-a1]

DUTY AND COMPASSION, DREAMS AND TEARS. I SURRENDER MYSELF TO THE RIVER OF RESENTMENT. ✱ IN REGARDS TO ZEN’IN NO EISHIN, ( 禪院の栄信. ) THE MASTER OF ALL MASTERS, THE ZEN’IN CLAN’S MOST SACRED ANCESTOR.

zen’in no eishin was a legendary sorcerer in the heian era,  cherished ancestor of the zen’in clan,  and first master of the ten shadows.  beginning in disgrace and followed by infamy,  he would die as one of the most formidable sorcerers of his era and would later be recognized as one of the strongest sorcerers in history among the likes of ryōmen sukuna.  in the modern day,  he has been deified as kuraijin,  a patron kami of the zen’in clan and jujutsu society.  although he is regarded as a controversial figure by historians,  eishin’s influence is felt to this day.

note:  eishin’s story contains themes of abuse,  suicide,  violence,  death,  and misogyny.  although eishin is a trans man,  he has experienced the brunt of the zen’in clan’s misogynistic ideals due to his assigned gender at birth.  i myself am transmasculine and have also faced misogyny;  it is a topic i don’t take lightly.  due to the way jujutsu kaisen’s worldbuilding is constructed and the limited information we receive regarding heian jujutsu society in the manga,  i take various liberties in interpreting the events of the heian era.  his inspirations include:  rurouni kenshin,  the filmography of kurosawa akira,  the folklore surrounding the gashadokuro,  fromsoftware’s sekiro: shadows die twice,  the discography of kaji meiko,  japanese folklore,  zen buddhism,  and several others.

¹  LINEAGE. before the ten shadows found itself within the zen’in,  it began as a technique called the dark sea,  which belonged to the itō clan.  the itō were a cadet branch of the taira,  a clan that historically dominated heian politics.  similar to the taira,  the itō were prevalent within military affairs and valued among heian jujutsu society for their martial prowess.  although the taira and it’s cadet branches were a mix of sorcerers and non-sorcerers,  the itō were primarily sorcerers,  and thus established a close relationship with the zen’in during the ninth century.  both clans’ militants and regiments collaborated as a means of empowering each other,  and although this was a means of asserting their individual superiority on the political stage,  their cooperation would turn into an alliance.  due to their cooperation,  the zen’in would be privy to the itō’s knowledge regarding shikigami mastery,  which was their specialty.  the relationship between both powers would peak when itō no satsuki married zen’in no katashi,  who had just ascended to the position of clan head.  a year following their marriage,  satsuki would give birth to her only child,  eishin.  he is five years the junior of his half-brothers,  kentarō and yūri.

two years following eishin’s birth,  the itō’s dissatisfaction with fujiwara superiority and the political arrangement of jujutsu society culminated into an attempted insurrection.  following the footsteps of taira no masakado,  they attempt to insurrect the fujiwara and fail.  for their betrayal,  members of the itō are beheaded,  imprisoned,  or exiled,  and in the matter of weeks,  the clan dissolves.  in the midst of this turmoil,  satsuki is questioned by the imperial court regarding her relatives.  intimidated by her husband and zen’in relatives,  she folds to pressure and claims no further connection to the itō   —   a decision she would ultimately regret.

after several months of grief and reeling from the loss of her family,  satsuki resigns to the most extreme option:  retaliation.  forsaking the zen’in clan,  she leaves the matter of eishin’s upbringing unto her servants.  although zen’in retainers try their damndest,  they cannot find her.  using her knowledge regarding shikigami,  she collects the bones of victims of starvation and conflict.  when enough was collected,  she performed a ritual to create a formidable shikigami and used a powerful intermediary to bind it to her technique.  what’s born from this ritual is a shikigami comparable to makora:  the starving skeleton,  otherwise known as the gashadokuro.  ( がしゃどくろ. )

following it’s creation,  satsuki goes to heian-kyō and unleashes the gashadokuro in the first recorded instance of chimera shadow garden.  the shikigami terrorizes the city until a group of sorcerers are sent to deal with satsuki.  weakened by her opponents and left on the verge of death,  satsuki takes her own life.  in her final moments,  she uses the last vestiges of control over her technique and disappears into the shadows.  she leaves no corpse to collect.

upon her death,  her cursed energy assimilated with her child,  who shared her technique.  at the age of six,  eishin’s cursed technique manifested as that of his mother’s.

² UPBRINGING. following satsuki’s rampage and the manifestation of his technique,  there was no hope for a kinder upbringing.  katashi,  ashamed and scornful of his child’s existence,  gives no attention to him.  likewise,  he neglects yūri the same love when it becomes apparent he had no cursed energy to speak of.  he instead turns his sights to kentarō,  who was heir apparent.  outcasts within their own family,  eishin and yūri developed a close relationship and leaned on one another when there was no one else.  despite knowing his father did not love him,  eishin tried his best to garner any fiber of pride or respect;  efforts that would prove futile.  whereas with kentarō,  there was only animosity.  besides his older male relatives,  kentarō was eishin’s biggest tormentor and would often use his strength and superiority to terrorize his brother.  eishin had no means to fight back lest he be punished.

due to documents regarding the dark sea being destroyed or hidden within zen’in archives,  eishin’s training was left to his own hands.  although yūri’s heavenly restriction negated cursed energy,  he would use the knowledge he gathered during his training with the hei to help eishin in any way he could.  by the time he was thirteen,  eishin would gain an intimate understanding of his technique.  at fourteen,  he asks to join the hei,  but this request is denied due to fear that he would reach the full prowess of his technique and his assigned gender at birth.

for the rest of his teenage years,  he lived his life with little purpose.  his existence is barely acknowledged,  yet he is tethered to his clan’s will,  who expect him to stay compliant and subservient.  without any consideration for the matter,  several marriages are arranged for him as a means of taking him off of zen’in hands,  but all fail via eishin’s own sabotage.  the only source of joy he finds is through yūri’s combat training and secret excursions in the city.  a few months before his eighteenth birthday,  he uncovers various documents written by the itō regarding shikigami mastery and the dark sea,  thus giving him an idea of what he could’ve been doing with his technique all along.

when eishin is eighteen,  yūri leaves the clan and urges him to do the same.  a few weeks later,  he did.  the decision was when he realized he would never live a fulfilling life with his kindred.  he would not be valued in a space where he was demeaned and yūri was the only connection that kept him there.  while yūri was overseas in china,  eishin would pursue vagrancy.  his clan would not find him.

³  VAGRANCY. eishin wanders aimlessly.  a year into his vagrancy,  he is saved by wandering mercenaries after nearly being slain by a powerful curse.  choosing to stay with them for a few months,  he becomes accustomed to mercenary work,  where he hones his skills against enemies other than his brother.  believing it to be a consistent line of work and an occupation that can easily garner notorriety,  he sticks with it.  even though his cursed energy and technique were phenomenal,  heian jujutsushi was to be contended with.  without the zen’in to hinder him,  there was an innate drive to become stronger than those who could subdue him.  more importantly,  he wanted to be a cause of scorn for the clan he despised.  he cared and lived for nothing else.  the means to achieve this would come to him by mere chance.

at twenty,  eishin kills a group of shikigami hunters per a bounty agreement and frees two wolf shikigami they were planning to sacrifice.  although he expects both shikigami to run away,  they stay by his side as a show of loyalty.  these shikigami would become known as the divine dogs.  after months of observing the shikigami and their strength,  eishin would put a theory to the test.  while shikigami were typically summoned using mediums,  it was theorized by the itō that shikigami could be bound to a technique like the dark sea if an intermediary device  —  such as a sacred relic   —  was dissolved within the technique’s shadows.  if this was possible,  shikigami could be summoned without the use of mediums.  to test this,  eishin would acquire fragments of the ten sacred treasures and perform a successful ritual,  thus making the divine dogs the first shikigami to join the ten shadows.  for the next six years,  he would seek out powerful shikigami to subjugate and bind to his cursed technique.

at twenty-six,  eishin is regarded as an infamous mercenary and assassin among the jujutsushi and jusoshi world.  he became known as the kage-akuma  (  影悪魔,  literally ‘shadow demon’  )  and amassed nine unique shikigami in his arsenal.  as his reputation grew,  rumors began to circulate around his past as a former member of the zen’in and brought considerable controversy to the clan,  much to eishin’s delight.  despite being branded as a jusoshi for his efficiency in bloodshed,  eishin would develop a strict set of principles.  his time wandering had exposed him to a great deal of issues:  youth being exploited for their techniques,  persecution of jujutsushi in the countryside,  unchecked corruption of nobility.  although hardened by circumstance,  eishin was, at his core, a compassionate individual and his exposure to such misery would serve as catalyst for his political decisions.

after another two years of freedom,  fujiwara pressure on the zen’in to subdue eishin for his crimes reaches a climax.  kentarō,  now clan head following the passing of his father,  comes up with a plan to imprison and execute his brother.  baited into killing a prominent jujutsu noble,  eishin is finally apprehended and imprisoned.  he would’ve escaped were it not for the inverted spear of heaven being used against him. 

while imprisoned,  kentarō gives eishin a chance at amnesty and a reversal of his death sentence as long as he returns to the zen’in and abides by the conditions of a binding vow,  but this discussion goes nowhere.  lucky for him,  eishin is freed just days before his execution when yūri,  who had returned from china months prior,  breaks him out.  reunited with his brother,  the pair go into hiding.

⁴  MAHĀLA. jujutsu society is thrown into turmoil when the eighth divine general,  makora,  deems jujutsushi as a fundamental threat to cosmic law and order and begins slaughtering jujutsushi.  unable to cut such a divine figure down,  jujutsu society scrambles for a solution.  the jujutsu authority and fujiwara,  desperate to resolve this nightmare,  seek out eishin and invite him to the courts due to the nature of his technique.  there,  they present an ultimatum:  if he manages to either slay or subjugate makora,  eishin will receive full amnesty for his crimes.  this agreement is upheld with a collective binding vow.

a few days later,  eishin,  under the supervision of the jujutsu authority and clans,  goes to a valley outside of heian-kyō and calls for makora’s audience.  makora answers the summoning and the two engage in battle.  with no allies to aid him per the conditions of the ten shadows’ subjugation rituals,  eishin is alone as he goes head to head with the divine.  at some point during the fight,  eishin realizes that makora is on the verge of adapting to his technique and thus uses his last resort.  he summons the gashadokuro to subdue a struggling makora all while performing rites that would bind him to the shadows,  a maneuver that ultimately works    —    albeit at the cost of merely trapping makora,  not subjugating it.  regardless,  eishin stands victorious.  per the conditions of the binding vow,  he is given complete amnesty from his crimes and is hailed by jujutsu society as an unlikely hero.

⁵  THE COURTS. displeased by the jujutsu authority’s failures in regards to makora’s rampage and elated by his victory over a literal deity,  eishin realizes he could use his technique for so much more.  his strength was something to be trifled with,  something that could dominate several jujutsushi and render an entire nation to their knees if he so wished.  he was a nightmare,  unstoppable,  no longer some weak child subject to someone else’s whims.  jujutsu society did not have to be subject to an authority more concerned with upholding power and tradition while their denizens suffered.

a few months following the incident with makora,  eishin challenges kentarō for the position of clan head.  kentarō agrees to settle the matter with a duel and even foolishly doubles down with a binding vow that guarantees eishin’s self-inflicted death if he were to lose.  the battle is overseen by the jujutsu authority and in the end,  eishin wins.  although kentarō demands he kill him,  eishin lets him live with the humiliation of defeat.  upon his ascension as clan head,  eishin expels several of his fellow clan members,  including kentarō,  and begins managing the zen’in clan per his own will alongside yūri.

now leader of one of jujutsu society’s most prominent clans,  eishin establishes himself as a force to be reckoned with.  the fujiwara confided in him more than they ever did kentarō and he quickly became a prominent member of the imperial court.  that being said,  his relationship to the jujutsu authority and its members were not as friendly.  furthermore,  his relationship to clans such as the kamo were far from cooperative.  much of his fellow noblemen were intimidated into fearful compliance.  additionally,  eishin was not shy about political assassination if it meant getting rid of people who aimed to sabotage him or his vision,  nor was he against blackmail.  although several jujutsu nobles had their suspicions,  they lacked the evidence to prove these transgressions.  throughout his reign,  he experiences various attempts at assassination and insurrection,  with one of these attempts at insurrection being done by kenjaku themself.

during his political career,  eishin would push for various reforms.  he would help revise jujutsu conduct,  encouraged protection for jujutsushi in the countryside,  and created a grading system for curses to prevent jujutsushi casualty,  among other things.  alongside yūri,  he also tried to cultivate a society that permitted heavenly restrictions,  an effort that garners outcry from his conservative colleagues.  too intimidated to cross the zen’in,  a begrudging sense of unification was felt among jujutsu society’s clans;  a sentiment that would have many referring to eishin as a ‘dictator.’  following the fall of the fujiwara’s sun,  stars,  and moon squad at the hands of ryōmen sukuna,  the hei and various zen’in jujutsu regiments became their militant successors.

at thirty-three,  his only child,  zen’in no masaki,  is born.  although his political and noble life was consistently marred by conflict,  he was undeniably among the strongest jujutsu society had to offer.

⁶  DEATH. at forty,  eishin is called to exorcise two special grade curses,  both of whom were regarded as deities.  although he utilized all of his shikigami and chimera shadow garden,  both special grades would persist despite their injuries.  already pushed to his limits,  eishin does what he knew would ensure his victory,  even if it cost him his life.  deprived of option,  he summons makora and ropes both spirits into the subjugation process.  upon the summoning,  makora slays both curses before turning it’s sights to eishin.  understanding that makora would only return to the shadows upon subjugation,  eishin begins to fight back.  although exhausted,  eishin gives it his all,  even when the output of his reverse cursed technique hinders and he begins to experience internal hemorrhaging from repeated usage of his domain.  

but for all his efforts,  they are for naught in the end.  tired,  faltering,  and far past his limit,  eishin denies his shikigami the satisfaction of his death and takes his fate into his own hands when makora adapts to his technique.  unsheathing his tantō,  he commits seppuku and dies of spontaneous exsanguination.  legend has it that the divine dogs carried his corpse to his allies before disappearing into the shadows.

⁷  POST-MORTEM. upon his death,  the zen’in clan is thrown into turmoil.  yūri loses the only family member he ever cared for and masaki loses his father at the tender age of seven.  per his written will,  yūri would inherit the title of clan head until masaki came of age,  the first and only time a heavenly restricted individual had held that position.  kentarō and his exiled relatives try to take advantage of the internal chaos,  but yūri does not permit them to curry prominence.  although he was a prominent public figure,  his funeral was relatively private.  his mausoleum can be found on the historical zen’in estate in osaka. 

revered as a god among men for his power,  eishin is then deified as kuraijin,  a patron kami of the zen’in clan and a protector of jujutsu society.  he became a popular deity to worship during the sengoku period,  with the majority of his worshippers being samurai and non-militant jujutsushi.

despite his infamy during the heian era,  kentarō’s descendents would come to view eishin as a symbol of zen’in strength and glory when they permitted back into the clan.  in the modern day,  the zen’in continue to view him as a legendary figure synonymous with a glory that has not been seen since the early edo period.  furthermore,  eishin’s legacy cemented the ten shadows’ god-like status alongside the likes of the gojō clan’s six eyes.  he was,  without a doubt,  the strongest ten shadows user to ever live.  tales of his shikigami and his strength are equal parts captivating and terrifying.

outside of his deification and influence among his clan,  much of his policies and conduct are still practiced among jujutsushi today.  the systems he helped cultivate in regards to exorcism and public safety became groundwork for modern jujutsu conduct.  the modern day grading system can also be credited to him,  although he only ever intended the grading system to be used for curses and not his fellow shamans.  in addition,  he was a scholar who frequently wrote about shikigami and his documents are still studied by shikigami masters.

OTHER NOTES.

eishin’s iteration of shikigami are possibly some of the most powerful and largest recorded,  even rivaling the likes of ryōmen sukuna’s shikigami while he possessed fushiguro megumi.

typical of most zen’in clan members,  eishin was a practitioner of shinbutsu-shūgō,  otherwise known as the syncretism of shintō and buddhism;  although some of his ideas in regards to enlightenment and morality could be considered unorthodox.

he was the first wielder of the soul-splitter katana.  that being said,  he much preferred tantō.

although he was brazenly strong,  eishin usually relied on agility and stealth to aid him in combat due to the umbrakinetic prowess of the ten shadows complimenting both attributes.

similar to the six eyes,  eishin’s birth was marked by the strengthening of all curses in the country.  the same can be true for every other ten shadows user after him.

[likedaylighht]

Another Taylor discography update: my mom has been saying she’s sick of Taylor’s music since like 1989 but I’ve seen her turn up the volume on suburban legends, gorgeous, call it what you want, exile, this is me trying, Dorothea, and Coney Island (so far) so I see what she really thinks lol

[nameless-sovereign]

i hope the swifties find this, but i just realised Exile is my favorite song ever, but are her new songs all like that ( i can’t tell since i don’t totally understand the discography tbh )

[beautifulpersonpeach]

I've noted in a few places on your blog how you describe and label the different types of people within fandom and I just want to say thank you because I've found your descriptions accurate and helpful in navigating my movements here. Labels like 'exiles' 'kpop noobs' and 'collectors' make more sense to me than 'OT7' and 'shippers' these days based on what I'm seeing in Chapter 2.

My question for you: within fandom what type of fan is your favorite? What types of fans do the most good for the artist or improve fandom? Is it streamers? Buyers? OT7s? Collectors? What types of fans do you gravitate to most?

Thank you.

***

My favourite people in fandom are the remixers.

The music nerds and hobbyist producers who take various songs, use their tastes, theory knowledge and software to reimagine them into something more fun.

So these are people who reconstruct instrumentals, make medleys, mashups, covers, etc. There are some really good ones too. A selection of some I like:

NewJeans ETA (R&B Remix) by Marukoabeats

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lovely serendipity | mashup by PawPaw

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Agust D ft. RM – Strange (instrumental) by uncanny

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134340 by uncanny

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Dream Glow by ZSunder

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AI covers are usually a pass but this one by dijei 디제이 of Dean covering NewJeans is just too good to pass up.

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Baseline instrumental remake by LY

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Within ARMY, @/btsharmonies is doing the Lord's work making vocal pulls, instrumentals, and summary essays exploring the musicality in BTS's discography (group and solo works), such as in threads like this. You can search their account for things like split vocals, acappella vocals, etc. If you're a fiend for Jimin's vocals devoid of any assortments like me, you'd find yourself making her account a regular stop. (Also helps that she's a Hobi bias so we're usually on the same wavelength about most things musically.)

I listen to a lot of music so having a similar but fresh take on a song I already like is a welcome addition to my streaming. These remixes/intrumentals also make great templates for karaoke with friends. So, remixers contribute the most to my fandom experience. After them, I'd say fan artists come next.

As for the other classes/labels of people you mentioned, as I've said before, most of my meaningful fandom interactions actually happen offline, so a lot of the 'OT7s' I spend the most time interacting with, are people I know in real life and are good friends of mine. Everyone else I just sort of observe... and most of what I do online too, is watch. Lol.