#funk vamp

[archangeldyke-all]

Hi baby, Im super like not myself lately and my writing has been suffering for it (I haven't touched my laptop since last week 🫠). Just wanted to pop in, say hi, I love you and I'm gonna be lurking and rereading fics on your page tonight for my own personal comfort. Also whenever you feel like it, I've been thinking about black vamp reader and sev going out for their first hunt together, that's all 🥺🥲 Kisses if you want them ladybug 😚

marsssss a million kisses for you baby i'm sorry you're in a funk <3. i love you so so so much i hope you feel better soon! also, yes, lets do it!

disclaimer!! i'm white-- so i'll try to make it an obviously black reader-- but if i make any mistakes just lmk and i'll change it asap!!

men and minors dni

sevika's nervous-- you can tell.

she hasn't let go of your hand since you arrived, and each time someone walks beside your hiding spot-- a dark little alcove in the alley behind a bar-- she gasps.

you squeeze her hand. "relax." you whisper. she huffs.

"can't we just eat more rats for a while?" she asks. you giggle.

"do you want to eat more rats?" you ask. she hums.

it took her a while to adjust to her new life as a vampire. she loves flying-- and even now, a month in to her transformation, she still giggles every time her feet leave the floor.

she's got beef with your little bat friend now that she can understand it-- and the feeling seems to be mutual, since he's always lunging at sevika and making her scream when he comes to visit you. they're both jealous-- possessive of you and your attention. you think it's cute.

when it comes to feeding though, sevika's still a little hesitant.

it's not the killing that puts her off-- hell, she does that anyways.

it's just that sevika became familiar with feeding with you, her acting as the blood bag. she thinks of it as something inherently intimate-- something that's meant to bond two people, something vulnerable.

and while it can be that, most of the time it's much more brutal and much less sexy-- and sevika's had some trouble wrapping her head around it.

but you've gotten tired of draining rats with her-- you miss the full bodied taste of human blood. and she's not really a fan either-- the fur tickles her too much for it to be enjoyable.

which leads you to now.

"what about him?" sevika asks as a drunk man stumbles by your hiding spot. you snort.

"he's not drunk enough." you say. sevika huffs.

"how long do we have to wait?" she whines, tugging your hand in hers. you giggle and press a kiss to her cheek. she relaxes at the press of your lips on her skin.

"as long as it takes, babe." you say. she sighs.

"you didn't tell me being a vampire would be so boring." she groans. you giggle.

"i did, actually." you say. sevika pouts. "c'mon, you don't have any enemies you wanna drain?" you ask. sevika huffs.

"i already told you! i don't have enemies-- at least not for long. i took care of 'em all already." she says, pouting again. you snort.

"so we're stuck here until you make a new one or someone comes stumbling by wasted." you say. she sighs. you kiss her to placate her again, and she hums against your lips. "it's not all bad." you remind her. "i never had a companion with me on my hunts-- this is fun."

"oh, have i been demoted to companion now?" she asks, glaring at you. you giggle.

"well, i don't see a ring on my finger." you say, teasingly wagging your fingers in front of sevika's face. she growls.

"you proposed to me! i don't need to get you a ring!" she cries. you laugh, reaching forward to fiddle with the ring that you pushed on her finger a month ago.

"i'm just saying-- until we say our 'i do's, legally, you're just my roommate."

"you're the one who won't let me take you to the courthouse--"

"they're up top and only open in the daytime! we can't get burnt on our wedding day sev!"

she grumbles, and you lean forward to kiss her again. she sighs against your mouth, wrapping her arms around your waist and pulling you against her body. you run your hands through her hair and tug, pulling a moan out of her.

just when she starts shoving a thigh between your legs, something down the alleyway clatters. you both look up and watch as a burly man doubles over and vomits behind a dumpster.

"hmm." you say, licking your lips as you examine the man. he's big enough for you to both get a decent drink from him, and drunk enough that he won't remember it in the morning. sevika nudges you.

"him?" she asks. you shrug.

"dunno. it's your first hunt, you tell me." you say.

you watch as sevika's eyes flit up and down the barfing man, her pupils widening and her tongue coming out to lick her lips in hunger.

"he... he's pretty drunk." she says. you nod.

"blacked out, probably." you say. she bites her lip. "can you smell him?" you ask. sevika sniffs the air, and her stomach rumbles. you giggle.

"f-fuck." she whispers.

"better than rats, right?"

"way better." she whispers.

"so?"

"i think it's him." she says, nodding at you. you smile.

"you wanna take the lead or just watch on your first hunt?" you ask. sevika shrugs.

"you go first-- i wanna see you in action." she says. you smile, kiss her cheek, then duck out of the alcove.

instinct takes over pretty quick. in a flash, you're in the air and flying over toward the man. you wait for the perfect moment, when he stands back up from vomiting, and then move in a flash.

your hand clamps over his mouth and your limbs wrap around his torso as you sink your teeth into his thoat from behind.

there's a muffled gasp and then a bit of a fight, but in a few seconds, he goes limp and falls to the pavement below him. you take a few big gulps from his artery, then pull off his neck and look over to where your fiance is watching you from her hiding spot.

"c'mere!" you call. she slowly walks over.

"'s a lot more scary when you're not doing it to me." she says. you chuckle.

"yeah, well, i wasn't as gentle and loving with him as i am with you." you say as sevika kneels on the other side of the man between you. you gesture at him. "go ahead." you encourage her.

sevika licks her lips as she looks down at the man beneath her, and then she leans down, lines her teeth up to the puncture wounds you'd left in his throat, and starts drinking.

"fuck." you whisper. she hums and looks up at you from where she's drinking, groaning at the taste. "that's so hot." you say. sevika laughs through her nose.

the blood in your body is filling you with strength and magic, and something warm starts bubbling in your stomach as you watch sevika drink from the holes you'd made in your victims neck.

it's hypnotizing. her throat bobs with each sip, there's a sweet furrow in her brow, and the little hums and grunts she lets out with each sip are incredibly tantalizing.

she's still new to it, and she's incredibly messy as she drinks. blood's covering her chin and cheeks, dripping slowly down her throat, and when she pulls away from him with a gasp, you nearly cum in your pants at the sight of your lover grinning and satisfied and covered in blood.

you launch yourself over the man between the two of you and tackle sevika to the pavement. she grunts as she lands, but quickly starts to laugh as you start licking up the blood covering her skin and grinding down against her thighs.

"fuck." you grunt. "you're so fucking hot." you whine.

"shit, i feel so..."

"warm?"

"yeah." she says, giggling-- a little high from the euphoria of finally drinking human blood. you grin then press your lips against hers. after a minute of making out, sevika pulls away with a gasp. "i want you." she says. you moan.

"you can have me."

sevika pushes you off of her then drags the two of you back into your hiding spot, quickly pushing both of your shirts under your armpits and pulling your pants down to your knees.

it's clumsy and messy and sticky with blood, but neither of you care as you grope and lick and kiss one another anywhere you can reach.

you're both high on blood, giggling and euphoric as you clumsily collide. it's a blur of brown skin on brown skin-- blood on fingertips and spit on lips as you grind and grope each other mindlessly.

you cum together, gasping against each other's mouths and shivering in each other's hands, and when you catch your breath, the first thing you say is "oh, i fucking love you."

sevika huffs and smiles, pressing another kiss to your lips.

"i love you too." she says, laughing. "i'm glad we still fuck after eating-- i was sad to let that go when you turned me." she says. you giggle.

"not regretting it after your first real feed?" you ask, tugging your pants back up over your ass and helping sevika button her own. she scoffs.

"hell no-- that was amazing. does it always taste that good?" she asks. you smirk and nod.

"of course, he's got nothing on your blood-- but i think that was more of a love thing than a taste thing." you say. sevika giggles.

"fuck off-- i taste amazing."

you grin. "yeah, you do." you say, shoving your thigh against her cunt. she gasps, then giggles.

taglist!

@fyeahnix @sapphicsgirl @half-of-a-gay @ellabslut @thesevi0lentdelights @sexysapphicshopowner @shimtarofstupidity @love-sugarr @chuucanchuucan @222danielaa @badbye666 @femme-historian @lia-winther @gr0ssz0mbi3 @ellsss @sevikaspillowprincess @leomatsuzaki @emiliabby

[underpaid-paragon]

Still spinning my wheels in that creative funk, so enjoy another redraw featuring both my vampire baby girl Circe AND one of my favorite drawings out of the "QuarantineQties" series I did back in the dark-ass early days of the fuckin plague (no I will not be referring to 2020 in any other kind of way but that lol)

The first was definitely driven by 50s/pinup aesthetic, so I really wanted to lean into my vamp's 70s roots this time around...lemme tell you, 70s nightwear is a weird rabbit hole to fall into. So are 70s patterns... the 70s are just weird man but I'm just embracing it at this point!

[doomandgloomfromthetomb]

Lou Reed - Konserthuset, Stockholm, Sweden, May 14, 1974

Fifty years ago tonight, Lou Reed was back across the pond, bringing the sleaze to Europe and the UK with the help of a new haircut and a new band — Danny Weis (guitar), Prakash John (bass), Penti "Whitey" Glan (drums) and Michael Fonfara (keyboards). The sound they make could be summed up as Rock and Roll Animal ... plus funk! The rhythm section is definitely nimbler and more dance-able than the previous year, with Weis and Fonfara vamping happily over the top. (Check the breakdown on "Rock & Roll" — are they channeling Head Hunters?)

By the time Lou and the gang hit Stockholm to kick the tour off, they'd already recorded Sally Can't Dance, which would hit shelves in September. The Swedes get a little preview here in the form of an appropriately languid "Ride Sally Ride." That's the outlier — most of this great FM broadcast is high energy stuff, with Lou sounding pretty engaged and pleased to be there (not a guarantee in this era by a long shot). "I love you, too!" he responds at one point to a besotted fan, maybe a bit surprised by the warm sentiment. Then he immediately starts singing about "looking through the eyes of hate." Oh, Lou!

In the encore, the Sally Can't Dance band gets a crack at the Lou Reed white whale — "Sister Ray"! At just about eight minutes, it's a fairly truncated version, launching at a brisk tempo and more or less staying there in monomaniacal fashion, while Lou tries, once again, to hit it sideways. Just like Ishmael said: "I am tormented with an everlasting itch for things remote. I love to sail forbidden seas, and land on barbarous coasts."

Lou Says: People make movies in color, but there really aren't any color movies. They're just black and white movies with color. Why not have red grass in a movie? I can go out and see green grass any time, but I can't go out and see black and white.

📷: Gai Terrell

[murfpersonalblog]

"I wonder if Lestat ever considered taking his 'I don’t care about humanity' & human rules far enough to choose not to attend the racist opera house with Louis playing his valet & instead strolling in there together. Same thing with the bus. Would he have rather had his family sit upfront with him? Why did he decide to sit in the back of the theater with Louis & Claudia? Is it because it was dark? Why did he conform to the human societal rules even though he knew Louis found it humiliating?"

-- @mytwistedexperience

I really liked this comment posted here, and wanted to reply to it directly, but figured my inevitably long-winded response would work better in a separate post. Cuz the short/long answer is White Privilege.

I've ranted a few times about Lestat's toxic positivity and color-blindness--

--cuz Lestat grossly underestimated how effective systemic racism was, and overestimated his power as one (1) single French White vampire in the face of the American superstructure/superpower.

Lestat could use the Spell Gift to freeze time & cheat at cards & win piles of money; read minds to seduce/control people; use the Cloud Gift & superspeed to travel; use telekinesis to close the gates on the priest he killed in Ep1 & open the door for Antoinette in Ep7; use the Fire Gift in Ep1 screwing with the street-lighter dude; use the Mind Gift to command a whole platoon of soldiers (which gave him a literal aneurysm). But he's not omnipotent. The problem with AR vampires is that they are very PHYSICAL--although undead, they aren't spirits/ghosts or shapeshifting creatures like AR's Azriel/Lasher/Amel/Goblin/Gremt--or even Dracula--who can move in and out of physical material. AR vamps can't become mist or turn into wolves/bats or any of the OP powers Dracula has (and even he was defeated by a ragtag bunch of humans). AR's vamps are still subject to the laws & forces of earth--the world--and by extension, SOCIETY.

People have accused black!Louis of being "arrogant," but I strongly disagree--Louis was proud. Lestat, however, was wildly arrogant, looking down on "this primitive country"/human society as something beneath him; that vampirism was something that superseded everything in existence; thinking he was akin to God and that he could make everyone bend to his will--including Louis.

"I wonder if Lestat ever considered taking his 'I don’t care about humanity' & human rules far enough to choose not to attend the racist opera house with Louis playing his valet & instead strolling in there together."

Eff no. Lestat dragged Louis to the opera cuz LESTAT wanted to go to the opera. He went on & on about Don Pasquale--DELIBERATELY talking over visibly distraught Louis; bulldozing over his feelings to force Louis out of his funk, while Louis was looking like WTF--

Lestat was like come hell or high water--i.e.: Louis almost eating his nephew, or racists at the door not wanting black!Louis to go in--we are GOING to the opera tonight so help me god! 😤 Granted, YES, the date had been planned in good faith--"I've been neglectful of our romance;" and YES, we know Louis LOVES opera--but it was also classic lovebomber!Lestat behavior, to thrust things at Louis & expect him to take it and smile; inconsiderate AF; or rather, considerate only so far as considering how effective his chess moves & manipulations would be.

However, Lestat's self aware enough (even in his white privilege) to know his limits: we see him use the Mind Gift on the soldiers in Ep3, WAY less people than everyone in the Opera House (or even the pub w/ the police chief & Tom in Ep5). Les wasn't strong/skilled enough in his powers in Ep2 (1912-17) to make everyone NOT notice black!Lou walking/sitting beside him. There'd've been a riot--those white folk would've acted a fool & thrown BOTH of them out b4 the opera even started, defeating the point of their date.

"Why did he conform to the human societal rules even though he knew Louis found it humiliating?"

Les felt it more important to see some stupid opera (which turned out to be TRASH cuz of the Tenor, LOL), than to have white people respect his black husband (a la "IF disrespect was done to you..." in the same episode 😒); or to bother finding something they could enjoy TOGETHER, w/out Lou being dehumanized in the process. But that's the whole point of vampirism: It's a dehumanizing process, "companion in the Dark Gift, finally." Lestat wanted Louis to stop acting like a human & start acting like a vampire--a white man, a god/monster, etc. And Lestat's PETTY AF, enough to be like: Ok Louis, if you insist on us both participating in this charade, then suffer the consequences of playing nice w/ people who hate you; take my effing gloves & walk 3 paces behind me, valet! Lestat KNEW it hurt Louis to be treated that way. Slap his face and kiss it after:

See the little micro-expressions on Samstat's face, when he double-takes? He sits in blissful white privilege, b4 remembering: Oh right! My black husband's just been mistreated by white society AND ME; lemme butter him up by making it all about ME again, trauma-dumping a whole monologue on how lonely I've been on him. 🥺

Works every time. 😉👍

Lestat, an idiot, thought all black!Louis needed to do was act like Lestat a white man, and all his problems would be solved. By embracing his vampire powers, he could go & do what he wanted. But we see in Ep3 precisely what would've happened if Louis decided to REALLY be Lestat's "companion in the Dark Gift, finally." Killing the racist Alderman was just one domino in a string of factors that sparked the race riots, but Louis blamed himself anyways, quick to shoulder the guilt for things beyond his control, and LEFT Lestat.

Louis wants to be a "good" Negro, not rock the boat (even if inside Pyromaniac du Lac's boiling mad). Lou'd rather have racists learn to respect him & treat him equally, not go kill all of them, ruling over a pile of corpses. He's not the type to insist on walking side-by-side w/ Les into the Opera House, or sit beside him on the bus. Lou's passive/submissive, he's not an activist. When he "acts out," as Armand called it, it just leads to chaos--riots, the "Great Conversion/flying vampire apocalypse," the Theatre burned down. Lou's a hermit crab in his shell--he shuts down, hides away, full of regret & "self-loathing." He can't be devil-may-care Les & eff-the-police Claudia; that's NOT the type of person he is, or who Les wanted him to be--eff that sword-cane; every time Lou used it he was MISERABLE!

Bull-frikkin-sh!te. 😠

Lestat's selfish, arrogant, cocksure, and toxic AF. And Louis was unequipped to handle him (cuz they're UNEQUAL), loving Les despite all his faults, to the point of LITERAL self-destruction. Rolin & Sam have said many times that Les had yet to be HUMBLED. The world/reality only hit him in Ep7 that the very things he underestimated would be his undoing--Claudia got the jump on him back in Ep6's chess game, and offed him through poisoning Tom (another person Les didn't expect to hurt him). (We'd see this over & over again in the books, as Les got his arse handed to him by people he'd looked down on, from Armand in TVL, to some rando old AF human Raglan James in TotBT, to Rhoshamandes in the PL Trilogy.)

Most importantly, Louis has significant power over Lestat, too. The crazy part's that Les SAW Lou coming inEp7--he KNEW Lou was a garbage liar & was plotting w/ Claudia; he's too obvious--and STILL underestimated Lou. He LET Louis get away with crap, cuz he thought it was harmless, or just not worth confronting Louis about--biding his time & waiting. That's what Les had done for YEARS, with everything from Louis' vegetarianism, to running the Azalea's sinking ship, to sitting at the back of the bus.

"Same thing with the bus. Would he have rather had his family sit upfront with him? Why did he decide to sit in the back of the theater with Louis & Claudia? Is it because it was dark?"

Eff that bus. Lestat would've rather have had Louis (& Claudia) strong enough to use THE CLOUD GIFT. Buses are for weak AF humans who can't take to the air like strong vampires can, and FLY.

Les said in TVL that he held back with Louis, and kept from showing him even half of what vampires could REALLY do--which is why Louis was STUNNED to see the Theatre & Armand & Santiago (a vampire YOUNGER than Louis!) in action.

Poor baby bird had no idea. Cuz Louis had been trying so hard & so long to be human, not vampire--he'd stunted his own growth, which is why both Lestat & Claudia looked at him like he was crazy. "A fish that doesn't swim; a bird that doesn't fly. You're going to STRUGGLE." And the scary fact was that Lestat would struggle, too, pretending to be human and not a monster to accommodate Louis: "I'm trying to restrain myself!" 💀

[mikababbles]

hey can you hcs about dating klaus mikaelson x fem reader (reader is outgoing and very attractive)

so sorry it took so long, i was in such a bad funk ☹️☹️

-mans has constantly got a hand on you somewhere when you’re talking to someone, just to let other people know you’re his

“Klaus, your hand is-“ “i know where it is, love, leave it.” “okay.”

-practically worships at your altar, thinks your the prettiest woman he’s ever set eyes on

“klaus does this dress make me-“ “don’t even say it, love, you look gorgeous.” “does it look horrible?” “you look pretty in everything.” “i’ll go ask Rebekah.” She then tells you that the dress doesn’t suit you and you go dress shopping together and you never ask klaus whether clothing suits you or not again

-he knows you’re bubbly and loves it, he just gets jealous when you talk to people he thinks love you

“i can feel daggers being burnt into my back” “that’s just klaus.” “klaus?” “i would advise you to run now,”

-a gentleman if nothing else, if there’s no seats for you? he’s getting up so you can sit or pulling you to sit on his lap

“oh. there’s no seats,” “don’t fret love” he’s standing now. “come sit here, love.” he’s tugging you gently into his lap

-holds doors open for you, even if you’re infront of him, he’s vamp speeding to open the door for you.

“bye, klau- oh! weren’t you just over there..?” “don’t think too hard about that, on your way now, love.” “o-okay?”

[dustedmagazine]

Listed: Vague Plot

Vague Plot is made up of New York City avant-indie regulars, veterans of other bands, who got together to make driving, moving, long-form instrumental music a la Can and Popul Vuh during the pandemic: Zachary Cale, Uriah Theriault, Phil Jacob, Ben and John Studer. Of their debut Crying in 9 from earlier this year, Jennifer Kelly wrote, “Vague Plot’s jams shimmer like highways melting in the heat, running straight on through Kansas or Nebraska until they disappear in the undecipherable distance. Which is to say, they go on for a while, repeating the same short grooves ad infinitum, with modest changes, until the measures blow by like mile markers and the journey transcends itself.” All five members contributed picks to this wide-ranging listed.

Phil Jacob (sax/keys)

King Tubby meets Lee Perry — Megawatt Dub, 1997

In my late teens I started getting into dub, particularly King Tubby and Lee ‘Scratch’ Perry. It’s tough picking one album, but this is the compilation I keep coming back to over the years. My favorite Tubby track, “Termination Dub,” isn’t here, but the giddy feeling I get from “Come By Yah” and “Perfidia” has no equal. And these are some of my favorite Lee Perry selections as well, particularly “Rainy Night” and “Open the Gate”. There’s an attention to melody here that often gets lost on dub remixes, even while these two are digging deep and pulling everything apart. Every delay drop seems to happen exactly when I want it to, leaping out of the speakers. A lot of the genre classics make me feel locked to the couch in a smoky haze, but this collection pulls me into a dance of dub ecstasy.

Captain Beefheart and the Magic Band — Shiny Beast (Bat Chain Puller), 1978

Possibly the best music education I ever received was playing in a Beefheart tribute band. The emphasis on polyrhythms as arranged by Don Van Vliet and John French on Trout Mask Replica made me feel music in an entirely new way; that it’s best if things don’t always line up at the beginning or end of a bar, a tension I enjoy searching for. TMR does it so often and with such ferocity that it grows exhausting over the length of the 79-minute album. On the other hand, Shiny Beast manages to incorporate some of those ideas into layers and layers of infectious hooks. From the driving bass line of “Floppy Boot Stomp” to the loping funk of “Tropical Hot Dog” to the stately guitar lines of “Owed T’Alex” to the existential spoken-word closer “Apes-Ma”, every track perfectly highlights a different aspect of what makes Beefheart so unique to my ears.

John Studer (drums)

Slint — Untitled EP, 1994

When I first heard the song “Glenn,” it changed the physicality of my body. Britt Walford has an impressive skill to subtly shift around beats so they gently roll and slide over themselves. It’s as if he’s repeating the same line of poetry but with different punctuation to give it fresh meaning each time.

DJ Shadow — Endtroducing, 1996

The surprisingly refreshing choices around arrangements and samples on this album highlight their unexpected connections. Repetitive, hypnotic rhythms combine with soothing layers of instrumentation and allow every special moment to shine appropriately. Endtroducing then delicately transcends these distant connections to create an entirely new space.

Zachary Cale (guitar)

Sonic Youth — SYR 1: Anagrama, 1997

The music on SYR 1 consists of four instrumentals. The first song “Anagrama” has a beautiful winding arc to it. Over the span of nine minutes, you can hear the band searching and expanding. When I first heard it in 1997, it broadened my sense of not only what guitars could do but also the importance of listening when playing within a group. There's structure but it's extremely loose, there's playfulness but not without restraint. That's a big part of what Vague Plot is about. One thing about Sonic Youth I've always appreciated is that even though they “jam,” they never get trapped into a traditional blues or one-chord vamp freak out. It's modal. Sometimes that can lead to dissonance, but that dissonance has always rubbed against something highly melodic.

CAN — Ege Bamyasi, 1972

I once had a summer job painting dorm rooms at the college I went to. One day I found a discarded CD with no jewel case or artwork. It was Ege Bamyasi. I took it home and put it on not knowing anything about the band. I was completely taken off guard upon hearing it. I could not place it into any known quantity. The inscrutable lyrics, the infectious rhythms and the mystery and sonics of it all; it cracked my brain wide open. To me CAN’s mission was always to find the pulse, vibrate with it and then ultimately dance around it. Vague Plot uses some of that same framework in our music. A singular idea to keep extrapolating on. Now that I know more about music history I can hear Fela Kuti, Stockhausen, disparate folk music as well as 1960s psychedelic rock all mixed up in this record. CAN has always seemed genreless to me in their fearless exploration of style. That’s something we as a band all aspire to. All gates open.

Ben “Baby” Copperhead (bass)

The Staple Singers & Curtis Mayfield — Let’s Do It Again, 1975

Let’s Do It Again is a soundtrack album composed by Curtis Mayfield and performed by The Staple Singers. A few years ago, I had the honor of performing a benefit concert for Little Kids Rock. I was playing guitar in the backing band and one of the singers was Hozier who wanted to do the title track “Let’s Do It Again”. Mavis Staples was also on the bill. It was an unforgettable evening. After the concert, I bought this record on vinyl and it’s been on heavy rotation ever since. The string arrangements are absolutely magical. The whole album is a beautifully recorded masterpiece with Curtis Mayfield and his stellar band backing up The Staple Singers. What more can you ask for?

Ornette Coleman — Change of the Century, 1960

Change of the Century was the first Ornette Coleman album I bought when I was in college. I was interested in the world of “free jazz” and Ornette and his band were the pioneers. Surprisingly, all of it is incredibly melodic with bebop-style phrasing, which I wasn’t expecting at the time. All the musicians have incredible ears to be able to pull this off. Ornette Coleman used the harmolodic system which allowed contrapuntal movement during the solos to avoid a key center. Charlie Haden and Billy Higgins were masters at this and could make any soloist sound great by deep listening, feel and support.

Uriah Theriault (guitar)

Dirty Three — Ocean Songs, 1998

My first exposure to Mick Turner came through this album, which introduced me to a broader range of guitar styles than the folk music I had been listening to. Unlike Fahey’s intricate picking patterns, Mick Turner’s guitar work resonated as lyrical phrases more than prose. Often open and spare, other times stormy and erratic, his guitar created atmosphere and conveyed emotion without relying on virtuosic solos. He and drummer Jim White crafted moody mise-en-scenes for Warren Ellis's main character, and l found myself drawn to the visual storytelling more than the narrative itself. Over the years, I’ve had the opportunity to see Mick perform in various forms, but the tour for this album stands out due to a specific memory. During a live performance of “Authentic Celestial Music,” my then-girlfriend passed out right in front of the stage. A stranger and I caught her and moved her to the side. When she came to, her only remark was, “Great song.”

Popol Vuh — Hosianna Mantra, 1972

I was familiar with Popol Vuh only as Herzog’s house band until I heard this album, and it cut immediately. I listened religiously to this enigmatic album over the span of a few years, whenever I took a shower so that my attention was undivided. Defying easy categorization, the collection spans classical, ambient, and krautrock. The title track was haunting, calling back to the only music I knew growing up, Catholic hymns. The guitars, oboe, and harpsichord weave sinewy webs of harmony — more chamber music than rock bravado, more conversation than monologue. The ecclesiastical tenor of the Hosianna Mantra (Hosianna, or "please save") sits uncomfortably amongst its dancy krautrock contemporaries, but the slow-burn nature of this album is anything but stiff. If deep attention is akin to prayer, as suggested by Simone Weil, then to me, this album is a dozen rosaries — penance not required.

[kingprinceleo]

I listened to the song you posted for vamp au shadow and honestly? He's such a a hater 😭/pos

He's both so silly and so traumatized <3

Also if you've posted it somewhere is there a link to the full vampire au playlist I'd love to listen to it🙏🏽

YEAH DFHDSJHFHDS the sheer chaos of the song is what i imagine he sounds like in his own head. he is. unwell bro is always on the verge </333 https://youtube.com/playlist?list=PLvaIqf9XfBFP27BLVCP5JKNDJCDCfsSRZ&si=_xewpI3hcFobSJ0Z there she issss, when i make playlists i follow the rule of "this song applies to this characters themes" EXCEPT for Rivers is a vampire. i just think sonic would funk to that song so hard tbh if u do listen to some or the whole playlist id love to hear ur thoughts dhfjdg... im just curious

[bala5]

Grace Jones

Grace Beverly Jones (born 19 May 1948??) is a model, singer and actress. Born in Jamaica, she and her family moved to Syracuse, New York, when she was a teenager. Jones began her modeling career in New York state, then in Paris, working for fashion houses such as Yves St. Laurent and Kenzo, and appearing on the covers of Elle and Vogue. She notably worked with photographers such as Jean-Paul Goude, Helmut Newton, Guy Bourdin, and Hans Feurer, and became known for her distinctive androgynous appearance and bold features.

Her grandfather, John Williams, was also a musician and played with Nat King Cole. Her father, Bishop Robert Winston Jones, moved the family to CNY and founded the Apostolic Church of Jesus Christ in Syracuse. Jones' brother is megachurch preacher Bishop Noel Jones, who starred on the 2013 reality show Preachers of LA.

Through her relationship with longtime collaborator Jean-Paul Goude, Jones has one son, Paulo. From Paulo, Jones has one granddaughter.

Jones attended Central High School in Syracuse. She claims she doesn't know how old she is. Although some sources say she was born in 1948, Jones says she graduated early from Central High School in Syracuse in 1967; she was around 15 years old, ahead of most of her peers due to more rigorous education at an early age in Jamaica. She also studied theater at Onondaga Community College.

Beginning in 1977, Jones embarked on a music career, securing a record deal with Island Records and initially becoming a high-profile figure of New York City's Studio 54-centered disco scene. In the early 1980s, she moved toward a new wave style that drew on reggae, funk, post-punk, and pop music, frequently collaborating with both the graphic designer Jean-Paul Goude and the musical duo Sly & Robbie. She scored Top 40 entries on the UK Singles Chart with "Private Life", "Pull Up to the Bumper", "I've Seen That Face Before", and "Slave to the Rhythm". In 1982, she released the music video collection A One Man Show, directed by Goude, which earned her a nomination for Best Video Album at the 26th Annual Grammy Awards. Her most popular albums include Warm Leatherette (1980), Nightclubbing (1981), and Slave to the Rhythm (1985).

As an actress, Jones appeared in several indie films prior to landing her first mainstream appearance as Zula in the fantasy-action film Conan the Destroyer (1984) alongside Arnold Schwarzenegger and Sarah Douglas, and subsequently appeared in the James Bond movie A View to a Kill (1985) as May Day, and starred as a vampire in Vamp (1986); all of which earned her nominations for the Saturn Award for Best Supporting Actress. In 1992, Jones acted in the Eddie Murphy film Boomerang, and contributed to the soundtrack. She also appeared alongside Tim Curry in the 2001 film Wolf Girl.

[amournoir]

HAPPY BIRTHDAY TO MOÍ

as my birthday month comes to an end, i wanna say a thank you to everyone for the birthday wishes & participation! all requests will still be answered, sorry it’s taking me a while, i’ve been stressed and in a funk (last minute ones are still welcomed until 11:59 tonight).

shoutout to my mutuals for being absolutely fantastic, lovely friends. i love you darlings 💋🤍

@buckyysdoll @lyndys @moremaybank @rafesmuse @cottontears @rafetopia @jjsbank444 @tinyluvs @sugarcoatedstarkey @wholoveseggs @original-siphon @mxacegrey @rafesangel @hopes-wife @klaustopia @sweetestdesire @spnandtvdudeservedbetter @spike-and-angels-gf @ghostlyfleur @delicate-moon-princess @inkluvs @onlyfreds @catmikaelson20 @geralts-yenn @sweetandgentlecreature @miasmultifandomdump @calummss @decoffinated-vamps

[onbearfeet]

So my roommate has this cat and I adore her, and she baaaaarely tolerates me. Less than 24 hours ago, roomie left on a short trip and I got catsitting duty. I'm mostly leaving her be, interacting with her when she comes out of his room and otherwise leaving her to mope or snooze on his favorite chair.

But I was rewatching the Nika Riots episode of Puppet History in the bath (shut up, you can't judge me), and after I got out and put on pajamas, I started rocking out to the Hippodrome song. I took voice lessons in college and I have an okay singing voice, and I like performing songs with a lot of character/story to them like Shane's. Anyway, I was having fun vamping the hell out of the song and then going totally flat on the last line of every chorus.

I got to, "Nika, Nika, hear them cry, JOIN THE CAUSE OR FUCKIN DIE." And then I looked down and

Apparently the one thing that will get her out of her "my human is gone, woe is me" funk is a song about arson.

@wearewatcher, you're a corrupting influence on this cat.

[projazznet]

Roland Haynes – 2nd Wave

This early effort by keyboardist Roland Haynes is an open and explorative soul-jazz session. Like John Patton’s comparable 1969 date, Accent on the Blues, this set has its spacy moments, but, on the whole, isn’t quite “out” enough to be considered avant-garde. A number of different moods and tempos are represented here. Some tunes, like the psychedelic opener, “Eglise,” find the dual keyboard front line floating over slow, deep funk rhythms. Others employ modal jazz vamps and lightening-fast chops. “Descent” and “Second Wave,” for example, are flat-out exhausting and find drummer Carl Burnette chopping and reconfiguring each beat at breakneck speeds. Burnette is perhaps best known for his work with Gene Harris in the early ’70s and listeners appreciative of his beat-down funk style on Three Sounds jams like “Duck Soup” will equally dig the groovy numbers that bookend this set. Haynes is heard on one of two electric pianos in this session. The other, held down by Kirk Lightsey, was fed through a wah effect and at times sounds much more like a guitar. For the most part, though, every song here is a winner, among them the opener and the infectious “Funky Mama Moose”(Brandon Burke/AllMusic).

Bass – Henry Franklin Drums – Carl Burnett Keyboards – Kirk Lightsey Keyboards, Written-By, Arranged By – Roland Haynes

[albatris]

board game anon here btw. i've been following you for over two years now and the fact that ur starting to think about publishing options for rentalcar is so so exciting to me!!! however u decide to release it i am literally so pumped for these gay ass vampires and their fucked up Garble. please mentally give nat a little smooch for me and a little blanket too bc hes my favorite rentalcar guy

:D!!!!

thank you I'm excited too!! honestly I never thought I'd get to this point, where I'd even be entertaining the idea of publishing...... I still have a long way to go but I can envision the end!! it's such an exciting feeling!!

I'm really happy with how my writing is going and how my perspective around it has changed and improved.... a few years ago I was in such a depressive funk and had no real faith in my abilities to finish something let alone publish something :O

like I can't emphasise enough I still have a fair way to go but!!! yes, I'm going to publish and I'm very excited!!! my daydreams go there a lot :3

thank u for such a sweet message, knowing someone out there is pumped to read about my silly little vamps makes me so so sososo happy :D I have passed on a little smooch and a warm blanket for Nat <333

[redjaybird]

Vamp Jay would have a lot to say about things if he wasn't in such a funk. He would have a lot of opinions.

[doomandgloomfromthetomb]

Lou Reed - Kansas City Memorial Hall, Kansas City, May 2, 1973

According to legend, Berlin producer Bob Ezrin told Lou Reed in early 1973 that he had to fire his backing band, the Tots. They weren't pro enough, apparently. Uncharacteristically, Lou took Bob's advice and sent the Tots back to Long Island. One problem, though — he was in the middle of a tour!

Moogy Klingman to the rescue! Thomas Pynchon must've kicked himself for not coming up with that name. For a brief spell, the Utopia keyboardist and his slick band (including a drummer called "Chocolate") backed up Lou. This KC gig, 50 years ago this week, was their off-Broadway debut. And though it's rough in some spots, Moogy and the gang sound enthusiastic, adding some more elaborate rhythmic accents, funk-pop touches and occasionally ambitious backing vocals. It's radically different from the garage-y Tots, that's for sure — especially thanks to the presence of Klingman's keys. Obviously, Cale and Yule had played keyboards with Velvets, but this is a whole 'nother thing, a sound that Lou would use onstage for the remainder of the 70s. I like Moogy's intro to the rarely played "Andy's Chest." "Piano!" Lou exclaims proudly. "Piano!" So true, Lou.

Weirdest of all is the closing "Sister Ray," which is light years away from White Light. Almost disco-ish at times, with Chocolate holding down the beat mercilessly, everyone else vamping like their life depends on it. Whip it on me, Chocolate!

More Lou? There's this little essay I wrote about Loaded over on Aquarium Drunkard (it originally appeared in a Rhino Records promo item a few years ago). And how about an AI-assisted remix of the Velvet Underground? Fuck it, why not.

[allmusic]

AllMusic Staff Pick Various Artists More Original Raw Soul

Taken from the "vaults" of Hotpie & Candy Records, More Original Raw Soul appears to be a just-uncovered archival find of rare '70s uncut James Brown-style funk. The telltale fat bass and porno wah-wah guitar, augmented by golden horn sections and gritty Hammond organ vamps, are straight out of the era of denim suits and wide lapels.

- Zac Johnson

[madamlaydebug]

Grace Beverly Jones (born 19 May 1948??) is a model, singer and actress. Born in Jamaica, she and her family moved to Syracuse, New York, when she was a teenager. Jones began her modeling career in New York state, then in Paris, working for fashion houses such as Yves St. Laurent and Kenzo, and appearing on the covers of Elle and Vogue. She notably worked with photographers such as Jean-Paul Goude, Helmut Newton, Guy Bourdin, and Hans Feurer, and became known for her distinctive androgynous appearance and bold features.

Her grandfather, John Williams, was also a musician and played with Nat King Cole. Her father, Bishop Robert Winston Jones, moved the family to CNY and founded the Apostolic Church of Jesus Christ in Syracuse. Jones' brother is megachurch preacher Bishop Noel Jones, who starred on the 2013 reality show Preachers of LA.

Through her relationship with longtime collaborator Jean-Paul Goude, Jones has one son, Paulo. From Paulo, Jones has one granddaughter.

Jones attended Central High School in Syracuse. She claims she doesn't know how old she is. Although some sources say she was born in 1948, Jones says she graduated early from Central High School in Syracuse in 1967; she was around 15 years old, ahead of most of her peers due to more rigorous education at an early age in Jamaica. She also studied theater at Onondaga Community College.

Beginning in 1977, Jones embarked on a music career, securing a record deal with Island Records and initially becoming a high-profile figure of New York City's Studio 54-centered disco scene. In the early 1980s, she moved toward a new wave style that drew on reggae, funk, post-punk, and pop music, frequently collaborating with both the graphic designer Jean-Paul Goude and the musical duo Sly & Robbie. She scored Top 40 entries on the UK Singles Chart with "Private Life", "Pull Up to the Bumper", "I've Seen That Face Before", and "Slave to the Rhythm". In 1982, she released the music video collection A One Man Show, directed by Goude, which earned her a nomination for Best Video Album at the 26th Annual Grammy Awards. Her most popular albums include Warm Leatherette (1980), Nightclubbing (1981), and Slave to the Rhythm (1985).

As an actress, Jones appeared in several indie films prior to landing her first mainstream appearance as Zula in the fantasy-action film Conan the Destroyer (1984) alongside Arnold Schwarzenegger and Sarah Douglas, and subsequently appeared in the James Bond movie A View to a Kill (1985) as May Day, and starred as a vampire in Vamp (1986); all of which earned her nominations for the Saturn Award for Best Supporting Actress. In 1992, Jones acted in the Eddie Murphy film Boomerang, and contributed to the soundtrack. She also appeared alongside Tim Curry in the 2001 film Wolf Girl.

Jones has been cited as an inspiration for multiple artists, including Annie Lennox, Lady Gaga, Rihanna, Solange, Lorde, Róisín Murphy, Brazilian Girls, Nile Rodgers, Santigold, and Basement Jaxx. In 2016, Billboard ranked her as the 40th greatest dance club artist of all time.