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a-little-unsteddie · 1 year ago

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abstract

ok we all listened to Hozier’s new album, right? so we all know what comes next.

tw: hurt/no comfort, post-break up

wc: 1.1k || AO3 Link

Eddie groaned as he rolled over to check his phone, unsure who would be messaging him so early in the morning. Chrissy. Of course. He smiled vacantly, and then immediately frowned when the phone unlocked and revealed the message.

Eddie!! Watch this right now!!

Eddie clicked the link that was attached to the message and flinched reflexively when he saw the title of the video.

Exclusive!: Steve Harrington Opens Up About Last Relationship!

He instantly closed out of the video before it had a chance to start playing and messaged Chrissy back furiously.

explain to me why i should watch an interview that steve did? what do I care if he talks about our relationship? he’s allowed to.

Eddie chewed on his thumb nail anxiously as he stared down at the three dots indicating that Chrissy was replying. He was glad that she was, because he wasn’t sure if he would have been able to handle it if she didn’t. He thought it was fair of him to not want to watch an interview of Steve talking shit about him and their relationship, because there was no doubt in his mind that the interview could be anything but that. The relationship hadn’t ended particularly well, and Eddie knew that he was partially at fault for it. They both had their own problems, which eventually culminated in a massive fight that they couldn’t get past. The only thing that Eddie could really remember from the fight was Steve leaving at the end and immediately regretting letting him leave. He couldn’t even remember the reason of their fight — not that they really needed a reason to argue, near the end.

Eddie often replayed the memory of the slamming door and the following weeks spent isolating himself from everyone, eventually Chrissy had come barging in to drag him out of bed and into the shower and forcing him to be a functional member of society. Which, to be fair, was quite important given the fact that Eddie had a band to write for. Chrissy was the only reason he was functioning now, even. She was his rock through the aftermath of Steve Harrington.

Eddie was startled out of his thoughts by his phone buzzing in his hand, and focused on it to read the message.

I love you so much, and you *need* to watch that interview. Trust me.

Eddie swallowed thickly and tapped the link again. Steve looked amazing, because of course he did, his hair perfectly styled, wearing a yellow sweater that Eddie remembered being one of his favorites to wear. Eddie almost backed out of the video again, but it began playing at the timestamp that Chrissy had linked him to.

“So,” the interviewer began, a curious look on her face, “any new relationships?”

Steve let out a huff that could have been considered a laugh to anyone who didn’t know him like Eddie did, and he watched with a heavy heart as he answered with a gentle shake of his head.

“No, and I’m not looking for a new relationship.” Steve smiled crookedly at the interviewer, and Eddie’s heart pounded in his chest as he turned up the volume on his phone, desperate to hear more of Steve’s voice. “Still recovering from the last one,” he said, as if it were a joke, but Eddie was surprised to hear how genuine it sounded.

The interviewer leaned forward, “Oh? Eddie Munson, right?”

Steve nodded, fidgeting with his sleeves. “Yeah.”

“What can you tell us about that?” The interviewer asked, and Eddie held his breath as he awaited Steve’s response.

Steve shifted in his spot, and despite how uncomfortable Eddie knew he must be, he looked completely at ease with the interviewer. He looked contemplative as he seemed to mull over his next words.

“I think we were just…both in a really rough point in our lives. You’ve heard that saying, ‘right person, wrong time’?” At the interviewers nod, Steve continued, “Like that.”

“Did you love him?” The interviewer asked, quiet and open to the answer. Eddie blinked rapidly, knuckles almost white from how tightly he was gripping his phone. Steve looked sad, staring down at his hands for a moment before he appeared to gather himself and return his attention to the interviewer.

“Yes.” Steve paused, smiling sadly, “Still do.” Eddie paused the video to take a deep, shaky breath. He sniffled, and only then did he realize that he had started crying. It felt as though his chest was on fire. He took another deep breath and forced himself to press play.

“Can you remember when you first realized you loved him?” The interviewer asked as a follow up, which Eddie thought was a touch insensitive, but nontheless thankful that the interviewer was pushing forward, for no reason other than he wanted to know. Before today, he may have thought Steve would have scoffed and said no, but now he wasn’t sure.

“It wasn’t really.. one specific moment,” Steve started, “but the moment that I realized I wasn’t going to be able to do anything except love him was a rainy day. We were walking through the city, and we heard tires squealing and then Eddie was off,” Eddie was surprised to find he couldn’t remember the day that Steve was talking about. He sniffled and tried to focus on what Steve was saying. “Someone had hit an opossum,” Steve laughed, eyes shining with unshed tears but they didn’t fall, “and Eddie was devastated, and held it so gently. I just remember thinking I had no choice but to love him. He almost caused another car accident, but luckily the person driving saw Eddie dash into the road and stopped…Eddie held the opossum until it died in his arms.”

And Eddie knew with sudden clarity exactly what day Steve was talking about now, because Steve had been so scared that he could have gotten hurt, but all Eddie had been concerned about was the creature he had been holding, because he couldn’t let it die alone and scared. Eddie hadn’t realized that there was another car coming and was lucky that it had stopped in time. He remembered Steve berating him until Eddie looked up at him, tears in his eyes. ‘I can’t let him die alone,’ he had said. Steve had sighed, but smiled as he sat down to join him until the opossum died.

“Do you regret it?” The interviewer asked, “Loving him, I mean.” Eddie waited with baited breath for Steve’s answer.

“I am still glad to have been able to love him. The memory hurts, but does me no harm.”

#i have such a vivid image of a fic that wohld go with this song #but i do not have the patience to write out a full fic #so enjoy this little ficlet instead #st #stranger things #eddie munson #steddie #steve x eddie #steve harrington x eddie munson #hurt/no comfort #open ending technically #inspired by abstract (psychopomp)#unsteddie writing

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freddiemercurylegendabovelegends · 1 year ago

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Today, November 18th, 1975 - Queen Story!

Bristol, UK, Colston Hall (two night)

'A Night At The Opera Tour'

This article chronicles the second show in Bristol.

🔸Sounds, November 29, 1975

Queen triumphant

Report by Jonh Ingham, pictures by Kate Simon

QUEEN ARE the type of group that make a man want to abandon rock writing. They pose questions and never provide answers. They exist in their own space-time continuum, visible and audible but keeping their secrets to themselves.

On the surface they couldn't be a nicer bunch of people, but they carry English reticence to an epitome. It isn't, as Geoff Barton said two weeks ago, that they're boring, it's just that they're reserved. Or in writer parlance, they don't automatically provide colourful copy. All my instincts as a writer tell me that there is a great story in that band, but after two nights with them I'm hardly any the wiser.

Skin tight

That their insularity has a lot to do with them being one of the most amazing heavy-metal and/or rock bands in Britain - with all the signs that they'll end up monsters on the order of Zep - is fairly obvious, but just how much bearing it has on the matter is hard to say. The enigmas they might pose mightn't even have answers.

Is there any logical reason why they present an image and persona straight out of the Beatles school of interlocking chemistry?

John is reserved, almost nonchalant on stage, as if it's all in a small, personal joke. When asked how he saw himself within the framework of the band he replied, with a small smile, "I'm the bassist".

Roger is his opposite, the cheeky sidekick in a Clint Eastwood movie, and attracting a lot of cheesecake attention in America and Japan.

Freddie is an original - one of the most dynamic singers to tread the boards in quite a few years. His attraction is obvious.

Brian is perhaps the biggest enigma of all. What is this seemingly frail, gaunt astronomer doing on that stage, striding purposefully and blasting diamond-hard rock? They're all equally strong personalities - like the Beatles there's no one major focal point. Ask four fans who their dream Queen is and you'll get four different answers.

Queen have been busy lads these past few months. Having disassociated themselves from their former management and joined with John Reid, the fourth album was seen to. Reid decided that a tight schedule wouldn't cause them undue harm, and figured on two months to record before embarking on this current tour.

Only Queen are driven to better each previous album - which at this stage of the game is obviously producing some excellent results - and 'A Night At The Opera' turned into a saga - culminating in 36-hour mixing sessions in an effort to allow at least a few days for rehearsal. In the end they managed three and a half days at Elstree with four hours off to videotape the promotional film for 'Bohemian Rhapsody'.

Their first few dates had not been without errors and the quartet were still not feeling totally comfortable their second night in Bristol, fourth night of the tour. You'd never know it, though.

Like all other aspects of the group, the stage is sophisticated. A black scrim provides a backdrop bounded by a proscenium of lights both front and rear. At each side the p.a. rises like a mutant marriage of Mammon and Robby the Robot. Amp power is readily evident but the most extraordinary is Brian May's subtle set up: nine Vox boxes stepping back in rows of three. The only packing crate visible is holding a tray of drinks, and you may rest assured that no roadie will rush, crawl or lurk across the stage while the show is in progress unless it's to rescue Freddie's mike from the clawing crowd.

As the auditorium darkens the sound of an orchestra tuning up is heard over the p.a. The conductor taps his baton on the music stand and a slightly effete voice welcomes the audience to A Night At The Opera. The Gilbert & Sullivan portion of 'Bohemian Rhapsody' follows, a brief glimpse of Freddie is allowed, and then in a blast of flares and white smoke the blitzkrieg begins.

Roger is barely visible behind his kit, just his eyes and tousled locks. John is wearing a white suit and playing the-man-who-must-stand-still-or-it-will-all-blow-away. Brian is slightly medieval in his green and white Zandra Rhodes top, while Freddie is...

Around his ankles his satin white pants flare like wings - fleet footed Hermes. Everything north of the knee is skin tight - tighter than skin tight - with a zip-up front open to AA rating. But further south, definitely in X territory, lurks a bulge not unlike the Sunday Telegraph.

There have been sex objects and sex bombs, superstar potency and the arrogant presentation of this all-important area, but never has a man's weaponry been so flagrantly showcased. Fred could jump up on the drum stand and shake his cute arse, leap about and perform all manner of amazing acrobatics, but there it was, this rope in repose, barely leashed tumescence, the Queen's sceptre. Oh to be that hot costume, writhing across the mighty Fred!

Phallic

Freddie is not pretty in the conventional sense of the word; like Mick Jagger of '64, he is his own convention. Also like the Jagger of the time, his stage persona and action is unlike anything else. Although it borrows - like most of the group's plagiarisms - slightly from Zeppelin, in tandem with Freddie's supreme assurance and belief in himself - he always refers to himself as a star - it explodes into something that is a constant delight to watch.

He reacts to his audience almost like an over-emotional actress - Gloria Swanson, say, or perhaps Holly Woodlawn playing Bette Davis. At the climax of the second night in Bristol he paused at the top of the drum stand, looked back over the crowd and with complete, heartfelt emotion placed his delicate fingers to lips and blew a kiss. Any person who can consume themselves so completely in such a clichéd showbiz contrivance deserves to be called a star.

Freddie's real talent, though, is with his mike stand. No Rod Stewart mike stand callisthenics here, just a shortee stick that doubles as a cock, machine gun, ambiguous phallic symbol, and for a fleeting moment an imaginary guitar. He has a neat trick of standing quite still in particularly frantic moments and holding the stand vertically from his crotch up, draw a fragile finger along its length, ever closer to the taunting eyes that survey his audience.

Their show contains lots of bombs and smoke, lots of lights, lots of noise. They fulfil the function of supremely good heavy metal - i.e. you don't get a second to think about what's going on. When they do let up for a few minutes, it's only so you can focus in on the bright blue electric charge crackling between your ears.

Bulldozer

Dominating the sound is Roger's drumming, a bulldozer echo that bounces like an elastic membrane, meshing with your solar plexus so that your body pulses in synch with the thunder. Tuned into that, everything else is just supremely nice icing.

For three days rehearsal, after eight months off the road Bristol was extremely impressive. In speculative mood I quizzed people on how long they thought it would take to headline Madison Square Garden. I was thought a radical at a year and a half. John Reid smilingly assured me it would take a year.

That Queen should end up with John Reid is an entirely logical proceeding. Everything about Queen demands that the world eventually kowtows at their feet in complete acquiescence - so big that bodyguards have to accompany them at every step. Well, no - they found that an annoyance in Japan, but, you know, huge.

Such status demands a Reid or a Peter Grant, and whatever the causes for their leaving Jack Nelson and Trident, an elegant group like Queen is going to look for a man with class. Reid found the idea of managing a group interesting, and having to deal with four strong personalities a challenge. He only concerns himself with their business and ensuring that the year ahead is mapped out. In January they begin a jaunt through the Orient, Australia and America, by which time it's March and they begin preparations for the next album.

Reid's prediction of a year was proven highly credible the next evening in Cardiff. The band had still not paused from the rush up to the tour and spent most of the day relaxing and sleeping - no doubt a factor in their near recumbent profile. Also, unlike most groups, they were keeping their dissatisfaction with the show to themselves.

They stopped off at Harlech TV on the way to see a cassette of the video for 'Bohemian Rhapsody'. The general consensus was quite good for four hours, with much laughter during the operetta. Brian finds film of the group educational - the first time he saw himself was a Mike Mansfield opus for 'Keep Yourself Alive' - "It was 'All right fellows, give it everything you've got but don't move off that spot.' It was terrible." You don't like Mansfield, eh? "Oh, I hate him - we all do... I was horrified when I saw it - I couldn't believe we looked that bad. I looked very static - seeing myself has taught me a lot about stage movement. Some of the things I do are planned for effect, but it's mostly just feeling the audience and communicating that back to them."

Arriving at the motel - several miles out of town - Freddie immediately fell asleep, John held court of a sort, joined later by Brian, while Roger went jogging, a daily event when touring. Tuning in to rock via Bill Haley and Tommy Steele, he became a drummer because he was better at it than guitar. All through school he was in bands; he only went to dental school out of "middle class conditioning, and it was a good way to stay in London without having to work". His mother thought it a bit strange when he opted for a career as a rock star, but she doesn't worry too much now.

The concert starts in much the same manner as the previous night, but there are signs that tonight is work, with posing an afterthought. The endings to most of their songs are magnificent and majestic, especially 'Flick Of The Wrist' and the rapid harmonies of 'Bad Boy Leroy Brown'

➡️ keep reading on http://jonh-ingham.blogspot.com/2007/02/queen-riot-at-opera.html?m=1

#freddie mercury #queen band #london #zanzibar #legend #queen #brian may #john deacon #freddiebulsara #roger taylor #1975 #queen invite you to a night at the opera #a night at tbe opera album #a night at the opera tour #bristol

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thisaintascenereviews · 1 year ago

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Motionless In White - Scoring The End Of The World

Out of all the late 00s and early 2010s metalcore bands that have lasted the longest, Motionless In White seems to be at the top of the list; if you're unaware, Motionless In White has been around since the late 2000s, but their debut LP came out in 2010, entitled Creatures. I always looked at them as the metalcore version of Marilyn Manson (probably not the best reference anymore, but I can't really compare them to anyone else), especially vocalist Chris Motionless sounding quite like him at times, and they had a horror aesthetic that no other band did at the time, but I never cared for them. I've listened to Creatures in retrospect, and it's a pretty cool album, but I haven't listened to anything else. They slowly turned into a radio-rock / hard-rock band, versus a metalcore band, but they're also one of the biggest rock bands in the world. That's what happens when you change your sound to be more accessible, but it seems to have culminated in their latest LP, Scoring The End Of The World. I didn't listen to this when it came out last year, but I've wanted to go back to this record for one reason -- Chris Motionless is featured on the new album from guitarist Nita Strauss, and I was shocked when the song he's featured on, "Digital Bullets," is one of my favorites from the whole album, so it made me want to hear this record.

I've given Scoring The End Of The World a handful of listens, and I don't particularly know how to feel about it. I mean, on one hand, I like it, and it's got some solid tracks on it, but on the other hand, there are some things about it I don't particularly like. I wouldn't say this album is outright awful, although I can completely understand if someone thinks so. This isn't an album of the year contender in any capacity, at least for me, but this album was a bit of a surprise in a few respects. For starters, Chris Motionless is a solid vocalist; he mainly uses a mixture of singing, screaming, and that whisper-talking thing that Marilyn Manson does, but he's competent at all three, even if he mainly sings throughout this record. His screams are pretty good, too, but his clean vocals really aren't bad. There are some solid hooks here, and that's what saves most of the album, even on some of the songs I don't mind, such as "Werewolf," "Sign Of Life," "Porcelain," and "Slaughterhouse." They're generic, sure, but they're at least kind of catchy. The album also has a bit of variety when it comes to its sound, mainly being a hard-rock record, but it's got traces of metalcore, alt-metal, nu-metal, and industrial. Hell, "Werewolf" is a straight up pop-rock song, but it's one of my favorites on the album.

With that said, though, the album is a mixed bag in terms of quality, because a lot of songs here just don't click for me, at least in a way that's more than "yeah, this is okay," because of how bland and generic it is. I can't tell you anything about most of these songs minus their title and the hook after I listen to it, because a lot of the songs just aren't memorable. It doesn't help that the album is 50 minutes long, and it doesn't need to be, especially when it's 13 songs long. You could have cut three songs, and the album would be about ten minutes shorter, which would make it a lot easier to digest. The lyrics are also a major problem I have with this album, despite how I enjoy a lot of the hooks (even though they're very bland themselves). The lyrics are much more politically charged this time around, and I know songs like "Red, White & Boom" with Caleb Shomo of Beartooth or "Slaughterhouse" with Bryan Garris of Knocked Loose try to say something but I don't know what they're talking about, because a lot of this record is just word salad, including buzzwords and vague ideas that don't amount to anything. It's a shame, too, because both of those guest vocalists are great, although Garris' feature is truly a highlight, and the song itself is my favorite out of the bunch, because of how heavy and intense it is.

Scoring The End Of The World isn't a horrible record, it's just bland, really long, and generic in a lot of spots. They've dialed back the metalcore stylings of their earlier work for a more streamlined hard-rock sound, and it's fine, but it just doesn't amount to anything. Chris Motionless is a good vocalist, although a lot of hooks on this record do sound like Breaking Benjamin outtakes (and I don't know if I mean that in a good or bad way), but that's the best part of the album. Hell, the song he's featured on, "Digital Bullets," on the new Nita Strauss album, is the best song that's not on here (but that's kind of because Strauss' guitarwork on that song makes up for it, and the hooks is quite strong). I was hoping this album would be better, and it's worth a few listens to sink your teeth into it, but if you're looking for a worthwhile rock album that has something interesting to say, you might want to look elsewhere. The guests are cool, even if they don't add a whole lot, and the album does have some variety, despite how it doesn't always work and the album is way longer than it needs to be. I don't know, folks, I'm glad that I heard it. It's just not an album that I'll probably ever go back to, unless I'm in a really specific mood, but if you're a fan of these guys, or you like this kind of stuff, it wouldn't hurt to check it out.

#metalcore #metal #heavy metal #rock #motionless in white #nita strauss #chris motionless #scoring the end of the world #knocked loose #beartooth #hard rock

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thoughts-on-bangtan · 4 years ago

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Let’s talk about ‘Friends’ by BTS

by Admin 1

Friends is the subunit song by Jimin and Taehyung (co-written and co-produced by Jimin) from Map of the Soul : 7 which was released in February 2020. Interestingly enough, the Korean title is actually 친구, a word that is only used for friends of the same age, which is how ARMY figured out that it had to be their subunit prior to the release of the album.

On a very surface level, Friends is about the bond between Jimin and Taehyung recounting different little stories over the years, including the now famous dumpling incident which was first presented to us as a conflict that merely took up a few hours. Actually though it was a conflict that grew big enough that Jimin and Taehyung barely spoke to each other for two weeks and it culminated in Jimin getting drunk with Yoongi and then meeting Taehyung at a park at 4 am to make up. Yes, the same park at 4 am that Taehyung and Namjoon sing about in 4 O’Clock. That song, like many suspected, really was about Jimin and Taehyung as well.

But, while Friends might seem simple and fun on the outside, especially due to the upbeat melody and anthem like chorus, I think there is far more to it than meets the eye. Stella Jang, who co-wrote the lyrics, said in an interview with K-Pop Herald that BigHit sent her an email which contained the song as well as long stories about Jimin’s and Taehyung’s bond and based on that she was supposed to write short lyrics. She also had a friend, who is an ARMY, help her truly understand the depth of their bond. That alone to me shows that this goes far deeper than most might assume, and others wish for it.

Hello my alien We’re each other’s mystery Would it be why it’s more special

This verse for me is very interesting, especially since Jimin reclaims a nickname that people used to call Taehyung by which he hated. Instead Jimin turned it into something endearing, something that now belongs to them instead of others. It’s also noteworthy that that specific line is in English, not Korean, and he says my alien, so basically telling the listener that he takes some kind of claim over Taehyung, connects them in a way that anyone would understand, and unmistakably highlights that he’s the only one to call him like this because Taehyung is special to him, much the way you’d call someone dear to you/someone you love by an endearment such as ‘my darling’ or ‘my love’.

More below the cut:

The mystery part could refer to the early days of their friendship, the times when they were just getting to know each other and trying to figure out their dynamic and each other in a more general sense. We know they almost instantly became friends, stuck to each other and spent a lot of time together, despite constantly getting in little fights, but perhaps those struggles were what made the end result that much more special to them. Interesting to note is also how Jimin once said that when he saw Tae for the first time he experienced many different emotions (he didn’t specify which ones though), and how to this day he remembers Tae only wearing those red shorts and snapback and how even then he already looked like an idol/celebrity.

But the line could also refer to something more recent, or something more overarching, like a secret about themselves that only they know about, that they share and guard together.

Someday, when these cheers die down, stay hey Stay with me by my side Forever, keep staying here, hey

and

Someday, when these cheers die down, stay hey You are my soulmate Forever, keep staying here, hey You are my soulmate

These two might just be the most important parts of the song, and the ones that seem to be the hardest to swallow for some. This is basically Jimin and Taehyung asking each other to stay together forever, even when (or especially when) their careers will be over and BTS won’t be such a main and overarching reason for them to stay by each other anymore, so to speak. It implies that what they have is something they want to last forever, that it reaches far beyond them just being two best friends inside a group, but that they are rather two people who found ‘their person’ in each other. They know they’ve found something one of a kind, once in a lifetime, and want to hold on to it, to each other. It’s also them proclaiming and reminding everyone once again that they are soulmates, that this isn’t just something ARMY made up, some shipping agenda or anything like it, but that it is truly the title they see most fit for each other, that it basically feels like their bond was destiny and they were always meant to be together. You are my soulmate is also in English, something that every listener will understand, something so important they specifically made it this way so you wouldn’t need to look up translations from Korean to get it.

Sidenote--somehow soulmate has become a very debated term in connection to vmin so lets look at the definition for soulmate that wikipedia gives us: A soulmate is a person with whom one has a feeling of deep or natural affinity. This may involve similarity, love, romance, platonic relationships, comfort, intimacy, sexuality, sexual activity, spirituality, compatibility and trust. Most of these are rather connected to the most traditional way in which people imagine soulmates, as in two people destined for each other, lovers perfect for one another. Of course there are friendship type soulmates, but those are far more rare in peoples minds. The point I’m getting at is that Jimin and Taehyung never defined which type of soulmate they are, and until I saw non-vminies have a fight about how they’re definitely just platonic ones, I never even really saw the word soulmate in connection with ‘platonic’. In a way you could argue that both sides are right, that they are both friendship soulmates but also romantic ones as well, their bond encompassing both. But in the end, of course, that’s something only they can confirm yet I thought I’ll mention it anyway.

Like your pinky, we’re still the same I know your everything We must trust each other Don’t forget Instead of an obvious thank-you, you and I — let’s promise that we won’t fight tomorrow, for real

These lines may seem so simple, short and sweet, but I think there is a lot of meaning to them, a lot that’s written between the lines and potentially only something they understand the true extent of. I know your everything is another reminder that they are each others secret keepers, each others closest confidants, their person to go to and laugh or cry or celebrate with. Jimin and Taehyung have something that is rare, one of a kind, and it’s something beautiful that should be regarded with respect and wonder since it’s close to a miracle that they met and formed their bond in such a manner. After all Jimin is from Busan and Taehyung from Daegu, chances are, if BTS hadn’t happened, they might’ve never met, though looking at everything BTS have said about each other, they seem to believe they were all destined to meet regardless if as members of BTS or as normal people. The same most likely would’ve also have been the case for Jimin and Taehyung, and Friends is a beautiful piece of proof of that.

Many dismiss Friends as just a song about their friendship, but I think once you truly think about the lyrics and the thoughts that must’ve gone into it, you might change your mind. Even more so when you take into account what Namjoon said about Friends in his MOTS:7 vlive, how he wouldn’t even dare try writing any of the lyrics because he could never, ever do them justice, and how just thinking about the bond Taehyung and Jimin have, he gets goosebumps. That alone already says a lot, implies a lot of different things, very deep and (in my opinion) potentially more than just friends type things. There was also a moment during Bon Voyage 3 in Malta where Namjoon and Seokjin were at a restaurant together and somehow they brought up Taehyung and Jimin and both just shook their heads at how they are just--something, something apparently meaningful enough neither dared to voice it.

Friends might not be something you’d call a traditionally romantic or love song by any means, at least sound wise, but I’d argue the lyrics tell a completely different story, one of a bond that binds two souls, that combines friendship and love (both the love you have for a cherished friend, but also the one you feel for a romantic partner, I’d argue). The song, as well as 4 O’Clock are far more than meets the eye, you just have to be open and willing enough to see it.

After all Taehyung did say: “95z is love.” The biggest clue of them all.

(Lyric snippets taken from 친구 (Friends))

#bts #vmin #Vmin friends song #song analysis #song commentary #taehyung #jimin #kim taehyung #park jimin #BTS V #map of the soul 7 #4 o clock #bangtan seonyandan #bts jimin

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sinceileftyoublog · 3 years ago

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Philippe Cohen Solal & Mike Lindsay: A Pop Tribute to Outsider Art

From Left: Mike Linsday, Hannah Peel, Philippe Cohen Solal, Adam Glover; Artwork by Gabriel Jacquel

BY JORDAN MAINZER

Outsider visual artist and writer Henry Darger’s fame was essentially happenstance, so it’s fitting that Philippe Cohen Solal’s decades-long obsession with Darger is chock full of coincidence. In 2003, the member of longtime neotango group Gotan Project found himself with a day off on tour in New York City and decided to venture over to the American Folk Art Museum, a choice that would change his life and culminate in Outsider (¡Ya Basta!), April’s collaborative album with Tunng’s Mike Linsday, the first adaptation of Darger’s words in music.

At the museum, Solal, unaware not only of Darger but of outsider art in general, saw a Darger work, and, as he told me over the phone earlier this year, “fell in love.” Looking closer at the details of the work, he saw something he recognized: the name Kiyoko Lerner, who had lent the work to the museum. The very same name of a woman he was set to meet the next day in Chicago as recommended by a mutual friend back in Paris. The friend suggested they meet due to their love of tango. “We met and talked a bit about tango,” he said, “but quickly, I asked her about Henry Darger.” She began to tell him exactly who she was, the story that’s become increasingly well-known in the annals of Chicago cultural history.

Lerner and her late husband Nathan (himself a prominent Chicago photographer) were Darger’s landlords; Nathan discovered Darger’s work in his “very messy room” shortly before Darger’s death in 1973, most notably his 15,000+ page novel In The Realms of the Unreal as well as his magazine-traced illustrations and watercolors accompanying the book. (The book, a fantastical epic about child slave rebellions, would go on to inspire visual artists and musicians for decades; indie rock band Vivian Girls took their name from characters in the book, and Darger would even be referenced in The Venture Bros.) Nathan immediately knew he had something special, and he and his wife took control of Darger’s estate. Darger would start to become formally recognized by the art world, his work prominently featured in museums and documentaries. Nathan died in 1997, and Kiyoko would continue to operate as head of the estate and donate her collection to various museums across the world.

In 2006, Kiyoko flew to Paris and met up with Solal at the first Darger exhibition in the city, at La Maison Rouge. It was immediately when he left the show that Solal had the idea to make music inspired by Darger’s art. “At the time, I didn’t [even] know that [Darger] wrote lyrics,” Solal said. “I had no clue.” In reference to Darger’s war between children and adults, Solal had the idea to write “adult music for children,” or vice versa, and wrote a track that wouldn’t even end up 15 years later on Outsider. He visited Kiyoko at her Chicago apartment. “I spent a few days immersed in his art. I didn’t know precisely what I wanted to do, and then I discovered he wrote lyrics. It very much changed the project.” Nobody had thought to put Darger’s lyrics to music, and Solal wanted to put his stamp on the increasingly large pool of reinterpretations of or references to Darger in the arts and culture world at large. Kiyoko put him in touch with art historian Michael Bonesteel, who led Solal to more lyrics.

Not wanting to go at it alone, Solal got the idea to do a collective project adapting Darger’s lyrics to music with various friends. He reached out to the likes of Calexico’s Joey Burns and Lambchop’s Kurt Wagner, but Lindsay was the one who really stuck. Solal and Lindsay were fans of each other’s bands, and the latter visited the American Folk Art Museum while on tour at Solal’s recommendation, he himself rediscovering Darger’s work. In 2015, there was another Darger retrospective at the Paris Museum of Modern Art, and Kiyoko, who attended, suggested to Solal that he reveal his song adaptations of Darger. “I didn’t tell her I only had one song at the time,” he laughed. That was his inspiration to reach out to Lindsay. “I thought maybe I’d do a 5-track EP. I called Mike and reminded him of my project and asked him, ‘Are you ready to work on that with me?’”

Solal and Lindsay separately wrote the melodies and basic arrangements of the songs that would end up on Outsider, and they recorded and produced the record together. Lindsay introduced Solal to Northern Irish musician/singer/multi-instrumentalist Hannah Peel, who would voice the Vivian Girls. Solal asked Adam Glover, a singer he knew through his manager, to be the voice of Darger himself. (“He was very young...but he can sing like Sinatra or Dean Martin,” Solal said.) The four created an album with Darger’s words using traditional pop instrumentation and song structures but also children’s instruments; Peel even created her own music box to play some of the melodies. Sometimes, the words were spoken, as on “Hark Hark, My Friend, Cannon Thunders Are Swelling”, while other times the vocals are isolated in harmony, as on “We Sigh For The Child Slaves”. “We know more about Darger as a painter and visual artist, so it was important to have Darger as a storyteller,” Solal said. Furthermore, the group wanted to capture the raw spirit of Darger’s art by rendering the voices distorted, shifting their pitch to make them sound almost out of tune. The instrumentation, meanwhile, ranges from slinky electric guitars to strings, and even barroom-style piano on the penultimate “We’ll Never Say Goodby” [sic]. “With our small team, it was lean and simple to do this music,” said Solal. While most of the titles and words were taken directly from Darger, down to the spelling of “Goodby”, the album touches on Solal’s story, too. Instrumental interlude “851 Webster Avenue” is named after the address of Lerner’s apartment Solal visited for the first time, when his fascination with Darger really took off.

Solal can’t exactly pinpoint what ever fascinated him about Darger, both in general and as the world changes, but he has some clues. “At the time, what was interesting to me was it was clear [Darger] was a self-taught artist, and maybe I felt a bit moved by that because I’m a self-taught musician,” Solal said. “I never went to music school, but I understood that without any specific art education or practice at an art school, you can create something...Henry Darger is an amazing example of someone who created his own world.” Darger’s style of illustration, his drawings traced from magazines, made up for the fact that he wasn’t a technically great drawer, and it complemented his heightened sense of color. Moreover, Solal feels kinship with some aspects of Darger’s childhood. Part of the inspiration for In The Realms of the Unreal was that Darger himself was sent to an asylum that put children to work. “When he was a kid, everybody called him crazy,” said Solal, “But I’m sure he didn’t think he was crazy. I remember when I was 9 or 10, I thought I was crazy. Nobody called me crazy, but I thought I was.” He found commonalities in, simply, being misunderstood.

Solal also questions what it means to be an “outsider” artist; in reality, Darger spent most of his time inside, confined in a room creating fictional worlds. Funny enough, according to his diaries, he was fascinated with the weather, tracking the accuracy of the predicted versus actual weather, but that’s about all for the outside world. On the day JFK was killed, for instance, Darger had nothing about it in his diary entry. He chose to interact with the world through the magazines he would trace, and through collections of items like Pepto Bismol bottles, National Geographic issues, and broken glasses. He wasn’t much for interpersonal relationships. Not only was Nathan Lerner unaware of Darger’s artistic enterprises, but neither were the young artist couple with whom Darger actually shared his apartment. Solal thinks that Darger’s resistance to presenting himself as an artist was as a result of his childhood experiences. “If the outside world was not so mean to him, maybe he’d be less scared to show who he was to the rest of the world, even just to his neighbors,” he said. “It’s funny that we call him an outsider. He was more an insider but was protecting himself from the outside world.”

Perhaps, subconsciously, the more that creative folks learn to look through Darger’s eyes, the less likely his, or any genius goes unnoticed. Solal remarked that many of the folks involved in Outsider almost had to “unlearn” their craft. Andrew Scheps, who mixed the album, at first didn’t know the context and gave Solal and Lindsay a product that was “too clean;” Lindsay explained Darger’s story and the importance of having strange-sounding narrative effects in the records. “When he worked [after that] on the mix, we found Henry was back in our songs,” said Solal. The individuals involved in coming up with animated videos for each of these songs, French animator Gabriel Jacquel with art direction by Pascal Gary (aka Phormazero), also had to abandon their fundamentals and learn to draw like Darger. Overall, exploring his work provides admirers like Solal the opportunity to dig deeper, from figuring out how to bring Outsider on stage to “finding new ways to tell the story,” like podcasts, interactive maps, short films, and Spotify playlists of Darger’s favorite music. “This man is full of mysteries,” he said. “I hope my future is Outsider for a while.”

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dustedmagazine · 3 years ago

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Dusted Mid-Year Round-Up: Part 2, Dr. Pete Larson to Young Slo-Be

James Brandon Lewis

The mid-year exchange continues with the second half of the alphabet and another round of Dusted writers reviewing other people’s favorite records. Today’s selection runs the gamut from Afro-beat to hip hop to experimental music and includes some of this year’s best jazz records. Check out part one if you missed it yesterday.

Dr. Pete Larson and His Cytotoxic Nyatiti Band — Damballah (Dagoretti Records)

Damballah by Dr. Pete Larson and his Cytotoxic Nyatiti Band

Who Picked it? Mason Jones

Did we review it? No, but Jennifer Kelly said about his previous record, “It’s authentic not to some musicological conception of what nyatiti music should sound like, but to the instincts and proclivities of the musicians involved.”

Bryon Hayes’ take:

Judging from Jenny’s review, Dr. Pete Larson hasn’t really changed his modus operandi much since last year’s self-titled release. Well, he has appeared to have dropped vocalist Kat Steih and drummer Tom Hohman, who aren’t credited with an appearance on Damballah. Sonically, this album feels more polished than its predecessor. There’s a richness that was lacking before, a sense of clarity that Larson seems to have added here. He still hypnotizes with his nyatiti but doesn’t lose himself behind the other players. That sense of mesmerizing repetition of short passages on the resonant lute-like instrument is what sets the music of the Cytotoxic Nyatiti Band apart from other rock groups who play in the psychedelic vein. It’s easy to get lost in the intricate plucking patterns as the guitars and synths swirl about. The rhythms bounce cleverly against those created by the percussion, anchoring the songs to solid ground. Balancing the airy and the earthy, Dr. Peter Larson and His Cytotoxic Nyatiti Band create a cosmic commotion perfect for contemplation.

James Brandon Lewis / Red Lily Quintet — Jesup Wagon (TAO Forms)

Jesup Wagon by James Brandon Lewis / Red Lily Quintet

Who recommended it? Derek Taylor

Did we review it? Yes, Derek said, “’Fallen Flowers’ and ‘Seer’ contain sections of almost telepathic convergence, the former and the closing ‘Chemurgy’ culminating in Lewis’ spoken words inculcating the import of his subject.”

Tim Clarke’s take:

Tenor saxophonist and composer James Brandon Lewis demonstrates his control of the instrument in the opening moments of Jesup Wagon’s title track. Before his Red Lily Quintet bandmates join the fray, he alternates between hushed ululations and full-blooded honks, inviting the listener to lean in conspiratorially. Once the rest of the band fire up, cornet player Kirk Knuffke, bassist William Parker, cellist Chris Hoffman and drummer Chad Taylor lock into a loose, muscular shuffle. Their collective chemistry is immediately evident, and each player has the opportunity to shine across this diverse set’s 50-minute runtime. I’m particularly drawn to the rapid-fire rhythmic runs on “Lowlands of Sorrow,” the gorgeous cello on “Arachis,” and the spacious, mbira-laced “Seer.” There’s something about the mournful horn melody of the final piece, “Chemurgy,” that sends me back to first hearing Ornette Coleman’s “Lonely Woman” — and, just like that, I’m excited about the prospect of exploring jazz again, for the first time in a long time. Great pick, Derek.

Roscoe Mitchell & Mike Reed — The Ritual And The Dance (Astral Spirits)

the Ritual and the Dance by Roscoe Mitchell & Mike Reed

Who recommended it? Derek Taylor

Did we review it? Yes, Derek wrote, “Roscoe Mitchell remains an improvisational force to be reckoned with.”

Andrew Forell’s take:

For 17-plus minutes, Roscoe Mitchell solos on his soprano with barely a pause, the rush of notes powered by circular breathing, as drummer Mike Reed’s controlled clatter counterpoints Mitchell’s exploration of his instrument’s range and tonal qualities in what sounds like a summation of his long career at the outer edge of jazz. It‘s an extraordinary beginning to this performance, recorded live in 2015. On first listen it sounds chaotic, but shapes emerge in Mitchell’s sound, and Reed’s combination of density and silence complements, punctuates and supports in equal measure. After an incisive solo workout from Reed combining clanging metal and rolling toms, Mitchell swaps to tenor and the pace changes. Longer, slower notes, a rougher, reed heavy tone and a lighter touch from Reed. Having not closely followed Mitchell’s work since his days in The Art Ensemble Of Chicago, this performance was a revelation and will have me searching back through his catalog.

The Notwist — Vertigo Days (Morr Music)

Vertigo Days by The Notwist

Who recommended it? Tim Clarke

Did we review it? Yes, Tim said, “The Notwist really know how to structure a front-to-back listening experience, and this is emphatically a work of art best appreciated as a whole.”

Arthur Krumins’ take:

In his review of Vertigo Days, Tim Clarke highlights the “multiple layers of drifting, shifting instrumentation.” It is an album that seems unbound by adherence to a set instrument lineup, and it moves quickly between moods both frenetic and contemplative. However, due to a careful mixing and an unforced approach to genre expectations, it is a surprising and varied listen that bears repeated scrutiny. The touchstones of the sound are at times the motorik beat of krautrock, at others the ethereal indie pop of their melodies and the quality of their singing. It feels like the perfect quirky coffee shop album, just out there enough to create a vibe, but tactful enough to take you along for the ride.

Dorothea Paas — Anything Can’t Happen (Telephone Explosion)

Anything Can't Happen by Dorothea Paas

Who picked it? Arthur Krumins.

Did we review it? No.

Eric McDowell’s take:

In one sense, it’s fair to say that Dorothea Paas’s debut album opens with a false start: A single note sounded and then retreated from, fingers sliding up and down the fretboard with the diffidence of a throat clearing. Yet what gesture could more perfectly introduce an album so marked by uncertainty, vulnerability, and naked self-assessment?

If Anything Can’t Happen is an open wound, it’s a wound Paas willingly opens: “I’m not lonely now / Doing all the things I want to and working on my mind / Sorting through old thoughts.” That doesn’t make the pain any less real — though it does make it more complex. “It’s so hard to trust again / When you can’t even trust yourself,” Paas sings on the utterly compelling title track, her gaze aiming both inward and outward. Elsewhere she admits: “I long for a body closer to mine / But I don’t want to seek, I just want to find.” Instrumentally, Paas and her bandmates manage to temper an inclination toward static brooding with propulsive forward motion, a balance that suits the difficult truth — or better yet, difficult truce — the album arrives at in the climactic “Frozen Window”: “How can I open to love again, like a plant searches for light through a frozen window? / Can I be loved, or is it all about control? / I will never know until I start again.” In the spirit of starting again, Anything Can’t Happen ends with a doubling down on the opening prelude, reprising and extending it — no false start to be found.

Dominic Pifarely Quartet — Nocturnes (Clean Feed)

Nocturnes by Dominique Pifarély Quartet

Who recommended it? Jason Bivins

Did we review it? No

Derek Taylor’s take:

Pifarely and I actually go way back in my listening life, specifically to Acoustic Quartet, an album the French violinist made for ECM as a co-leader with countryman clarinetist Louis Sclavis in 1994. Thirty-something at the time, his vehicle for that venture was an improvising chamber ensemble merging classical instrumentation and extended techniques with jazz and folk derived influences. The results, playful and often exhilaratingly acrobatic, benefited greatly from austere ECM house acoustics. Nearly three decades distant, Nocturnes is a different creature, delicate and darker hued in plumage and less enamored of melody, harmony and rhythm, at least along conventional measures. Drones and other textures are regular elements of the interplay between the leader’s strings, the piano of Antonin Rayon and the sparse braiding and shadings of bassist Bruno Chevillon and drummer Francois Merville. Duos also determine direction, particular on the series of titular miniatures that are as much about space as they are centered in sound. It’s delightful to get reacquainted after so much time apart.

The Reds Pinks & Purples — Uncommon Weather (Slumberland/Tough Love)

Uncommon Weather by The Reds, Pinks & Purples

Who picked it? Jennifer Kelly

Did we review it? Yes, Jennifer said, “Uncommon Weather is undoubtedly the best of the Reds, Pinks & Purples discs so far, an album that is damned near perfect without seeming to try very hard.”

Bill Meyer’s take:

Sometimes a record hits you where you live. Glenn Donaldson’s too polite to do you any harm, but he not only knows where you live, he knows your twin homes away from home, the record store and the club where you measure your night by how many bands’ sets separate you from last call. He knows the gushing merch-table mooches and the old crushes that casually bring the regulars down, and he also knows how to make records just like the ones that these folks have been listening to since they started making dubious choices. Uncommon Weather sounds like a deeply skilled recreation of early, less chops-heavy Bats, and if that description makes sense to you, so will this record.

claire rousay — A Softer Focus (American Dreams Records)

a softer focus by Claire Rousay

Who picked it? Bryon Hayes

Did we review it? Yes, Bryon Hayes wrote, “These field recordings of the mundane, when coupled with the radiance of the musical elements, are magical.”

Ian Mathers’ take:

In a weird way (because they are very different works from very different artists), A Softer Focus reminds me a bit of Robert Ashley’s Private Parts (The Album). Both feel like the products of deep focus and concentration but wear their rigor loosely, and both feel like beautifully futile attempts to capture or convey the rich messiness of human experience. But although there is a musicality to Private Parts, Ashley is almost obsessed by language and language acts, and even though the human voice is more present than ever in rousay’s work (not just sampled or field recorded, but outright albeit technologically smeared singing on a few tracks) it feels like it reaches to a place in that experience beyond words. The first few times I played it I had moments where I was no longer sure exactly what part of what I was hearing were coming from my speakers versus from outside my apartment, and as beautiful as the more conventional ambient/drone aspects of A Softer Focus are (including the cello and violin heard throughout), it’s that kind of intoxicating disorientation, of almost feeling like I’m experiencing someone else’s memory, that’s going to stay with me the longest.

M. Sage — The Wind Of Things (Geographic North)

The Wind of Things by M. Sage

Who recommended it? Bryon Hayes

Did we review it? No

Bill Meyer’s take:

Matthew Sage’s hybrid music gets labeled as ambient by default. Sure, it’s gentle enough to be ignorable, but Sage’s combination of ruminative acoustic playing (mostly piano and guitar, with occasional seasoning from reeds, violin, banjo, and percussion) and memory-laden field recordings feels so personal that it’s hard to believe he’d really be satisfied with anyone treating this stuff as background music. But that combination of the placid and the personal may also be The Wind of Things’ undoing since it’s a bit too airy and undemonstrative to make an impression.

Skee Mask — Pool (Ilian Tape)

ITLP09 Skee Mask - Pool by Skee Mask

Who picked it? Patrick Masterson

Did we review it? No

Robert Ham’s take:

Pool is an appropriate title for the new album by Munich electronic artist Bryan Müller. The record is huge and deep, with its 18 tracks clocking in at around 103 minutes. And Müller has pointedly only released the digital version of Pool through Bandcamp, adding it a little hurdle to fans who just want to pick and choose from its wares for their playlists. Dipping one’s toes in is an option, but the only way to truly appreciate the full effect is to dive on in.

Though Müller filled Pool up with around five years’ worth of material, the album plays like the result of great deliberation. It flows with the thoughtfulness and intention of an adventurous DJ set, with furious breakbeat explosions like “Breathing Method” making way for the languorous ambient track “Ozone” and the unbound “Rio Dub.” Then, without warning, the drum ‘n’ bass breaks kick in for a while.

The full album delights in those quick shifts into new genres or wild seemingly disparate sonic connections happening within the span of a single song. But again, these decisions don’t sound like they were made carelessly. Müller took some time with this one to get the track list just right. But if there is one thread that runs along the entirety of Pool, it is the air of joy that cuts through even its downcast moments. The splashing playfulness is refreshing and inviting.

Speaker Music — Soul-Making Theodicy (Planet Mu)

Soul-Making Theodicy by Speaker Music

Who picked it? Mason Jones

Did we review it? No

Robert Ham’s take:

The process by which DeForrest Brown Jr., the artist known as Speaker Music, created his latest EP sounds almost as exciting as the finished music. If I understand it correctly — and I’m not entirely sure that I do — he created rhythm tracks using haptic synths, a Push sequencer, and a MIDI keyboard, that he sent through Ableton and performed essentially a live set of abstract beats informed by free jazz, trap and marching band. Or as Brown calls them “stereophonic paintings.”

Whatever term you care to apply to these tracks and however they were made, the experience of listening to them is a dizzying one. A cosmic high that takes over the synapses and vibrates them until your vision becomes blurry and your word starts to smear together like fog on a windshield. Listening to this EP on headphones makes the experience more vertiginous if, like I did, you try to unearth the details and sounds buried within the centerpiece track “Rhythmatic Music For Speakers,” a 33-minute symphony of footwork stuttering and polyrhythms. Is that the sound of an audience responding to this sensory overload that I hear underneath it all? Or is that wishful imaginings coming from a mind hungry for the live music experience?

The Telescopes — Songs of Love And Revolution (Tapete)

Songs Of Love And Revolution by the telescopes

Who recommended it? Robert Ham

Did we review it? No.

Andrew Forell’s take:

Songs Of Love And Revolution glides along on murky subterranean rhythms that evoke Mo Tucker’s heartbeat toms backed with thick bowel-shaking bass lines. Somewhere in the murk Stephen Lawrie’s murmured vocals barely surface as he wrings squalls of noise from his guitar to create a dissonant turmoil to contrast the familiarity of what lies beneath. The effect is at once hypnotic and joltingly thrilling, similar to hearing Jesus And Mary Chain for the first time but played a at pace closer to Bedhead. A kind of slowcore shoegaze, its mystery enhanced by what seems deliberately monochrome production that forces and rewards close attention. When they really let go on “We See Magic And We Are Neutral, Unnecessary” it hits like The Birthday Party wrestling The Stooges. So yeah, pretty damn good.

Leon Vynehall — Rare, Forever (Ninja Tune)

Rare, Forever by LEON VYNEHALL

Who recommended it? Patrick Masterson

Did we review it? No.

Jason Bivins’ take:

I was amused to see Leon Vynehall’s album tucked into the expansive “Unknown genre” non-category. This is, as is often the case with these mid-year exchanges, a bit far afield from the kind of music I usually spin. Much of it is, I suppose, rooted in house music. Throughout these tracks, there are indeed some slinky beats that’ll get you nodding your head while prepping the dinner or while studying in earnest. There’s plenty to appreciate on the level of grooves and patterns, but he closer you listen, the more subversive, sneaky details you notice. The opening “Ecce! Ego!” isn’t quite as brash as the title would suggest, featuring some playfully morphed voices, old school synth patches and snatches of instrumentalism. But after just a couple minutes, vast cosmic sounds start careening around your brainpan while a metal bar drops somewhere in the audial space. Did that just happen? you wonder as the groove continues. Moments of curiosity and even discomfort are plopped down, sometimes as transitions (like the closing vocal announcement on “In>Pin” — “like a moth” — that introduces the echo-canyon of “Mothra”) but usually as head-scrambling curveballs. Startled voices or flutes or subterranean sax bubble up from beneath deep house thrum, then are gone in ways that are arresting and deceptive. I still don’t know what to make of the lounge-y closing to “Snakeskin – Has-Been” or the unexpected drone monolith of “Farewell! Magnus Gabbro.” In its way, Vynehall’s music is almost like what you’d get if Graham Lambkin or Jason Lescalleet made a house record. Pretty rich stuff.

Michael Winter — single track (Another Timbre)

single track by Michael Winter

Who recommended it? Eric McDowell

Did we review it? Not yet!

Mason Jones’ take:

Over its 45 minutes, Michael Winter’s 2015 composition slowly accelerates and accumulates, starting from an isolated violin playing slightly arrhythmic, single fast strokes. The playing, centered around a single root note, seems almost random, but flashes of melodic clusters make it clear they're not. After nine minutes other players have joined in and there's a developing drone, as things sort of devolve, with atonal combinations building. By the one-third mark everything has slowed down significantly, and the players are blending together, with fewer melodies standing out. Instead, it's almost more drone than not; and at a half hour in, most of the strings have been reduced to slowly changing tones. As we near the end we’re hearing beautiful layers of string drones, descending into the final few minutes of nearly static notes. It's an intriguing and oddly listenable composition given its atonality. The early moments bring to mind Michael Nyman, and the later movements summon thoughts of Tony Conrad and La Monte Young, but it's clearly different from any of them, and more than the sum of those parts.

Young Slo-Be — Red Mamba (KoldGreedy Entertainment / Thizzler On The Roof)

youtube

Who picked it? Ray Garraty

Did we review it? No.

Ian Mathers’ take:

The 12 tracks on Red Mamba fly by in a little over 27 minutes (not a one breaks the three-minute mark) but the result doesn’t feel slight so much as pared down to a sharpness you might cut yourself on. Stockon’s Young Slo-Be only seems to have one flow (or maybe it’d be more accurate to say he only seems interested in one) but he knows how to wield it with precision and force, and if the subject matter hews closely to the accepted canon of gangbanger concerns, Slo-Be delivers it all with vivid language and the studied, superior disdain of an older brother explaining the world to you and busting your chops at the same time. The tracks on Red Mamba all come from different producers, but Slo-Be consistently chooses spectral, eerie, foreboding backgrounds for these songs, even when adding piano and church bells (on “Asshole”), dog barks (“21 Thoughts”) or even Godfather-esque strings (the closing “Rico Swavo”). What’s the old line about the strength of street knowledge? These are different streets, and different knowledge.

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natromanxoff · 5 years ago

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Queen live at Colston Hall in Bristol, UK - November 18, 1975

The photos could be from either night.

This article from the November 29 issue of Sounds chronicles the second night in Bristol.

Queen triumphant

Skin tight

Is there any logical reason why they present an image and persona straight out of the Beatles school of interlocking chemistry?

Roger is his opposite, the cheeky sidekick in a Clint Eastwood movie, and attracting a lot of cheesecake attention in America and Japan.

Freddie is an original - one of the most dynamic singers to tread the boards in quite a few years. His attraction is obvious.

Their first few dates had not been without errors and the quartet were still not feeling totally comfortable their second night in Bristol, fourth night of the tour. You'd never know it, though.

Phallic

Bulldozer

Maniacal

The audience, seeing their faces in town for the first time, are vociferous in their appreciation. Guys know all the words to every song, yelling enthusiastically at every effect and solo. The band picks up, Freddie receiving the crowd beneficently, telling them they’re beautiful.

As the show builds it is obvious that things are gelling more. The previous night Brian had seemed totally out of place, not moving too much, taking solos with the weirdest half blank half possessed stare, talking to himself; cocking ear towards guitar. He was the proverbial stranger in a strange land, one step removed from the plane inhabited by you and me.

Tonight he moves fluidly, the gonzo lead guitarist of a gonzo band. His expressions are just as maniacal, but it only makes him look more demonic. His solo in 'Brighton Rock', an exposition in riffing and echo, is a treat because of his physical response to both music and audience, complete with ham acting. Freddie gets into the same game on 'The Prophet's Song', where he conducts an acapella madrigal with himself. It's a pretty commanding moment.

It’s soon after this that Madison Square seems reasonable. About a minute into 'Stone Cold Crazy' it becomes very obvious that Queen have suddenly Plugged In. Found the metal music machine and Connected. Freddie's movements explode in perfect unison with the music, the lights and surroundings go crazy, and the audience goes berserk.

Freddie asks for requests and receives a roar out of which one can vaguely make 'Liar'. Fred walks along the stage, nodding, agreeing he will do this one and that one while the kids roar on. "I'll tell you what - we'll do them all!"

'Doing Alright' opens slow and portentously. Queen's variation of light and shade is one of the major factors in their popularity, but even so the quiet sections frequently find the audience's mind wandering. One kid starts getting a joint together, totally forgetting it when everything blasts off again; guys talk among themselves, only to instantly leap to their feet, fists flying to the beat.

'Doing Alright' changes into a cha-cha beat, Freddie snapping his fingers, the coolest hipster in town, and then instantly drops into faster-than-light drive - the whole row next to me leaps to their feet as a man, rocking back and forth as Brian roars into a blinding solo.

Two songs later, in 'Seven Seas of Rye', the kids break - very fast - and in five seconds half the audience is a seething mass in front of the stage, climbing on each other in pyramids, sudden openings appearing as a splintering seat sends a few bodies to the floor.

The rest of the show is equally intense, especially for a couple of minutes during 'Liar; where Fred and Brian merge into a tight little triangle with Roger while John stands in front of the bass drum, staring out with his small smile.

Freddie has treated his encores - 'Big Spender' and 'Jailhouse Rock' - differently on successive nights, once appearing in a kimono and in Bristol with rather rude tight white shorts, giving the song title new emphasis. In Cardiff, though, he doesn't bother to change at all. Later it transpired that Brian had twisted his ankle during 'Liar'. While he’s attended to, kids out front pick up chair slivers to keep as mementos.

On the bus back to the hotel Brian sits quietly at the back, chatting with two girls. John sits at the front, as always. Freddie stares out of the window, lost in his own world. Roger bounces around, starts a pillow fight with Brian - which stops as soon as Brian scores a direct hit to the face - then discovers an eight track of 'Sheer Heart Attack', punching it through the channels as he conducts the group. The two hours towards which they have channelled the day's energies are spent.

Ambition

That Queen have become a top attraction through a fair degree of plagiarism is amusing. Stealing is nothing new in rock (or any art for that matter) and mostly Queen use the borrowed material better than the originals. That they would be big I don't think anybody really doubted. All four have immense desire to be successful, and that kind of ambition will keep them slogging until they achieve it.

But there are popular heavy metal bands and there are popular h-m bands. From watching Queen's audience it is apparent that Queen speak for them in a way that bands such as the Who and the Stones and the Beatles spoke (and continue to speak) to their audience. Uriah Heep may be great at what they do, but five years after their demise who'll remember them? Creedence Clearwater Revival demonstrate the same thing - who remembers them? And yet five years ago they were the largest band in the world.

Queen will probably always be remembered, because as their tour is beginning to demonstrate, they have the ability to actualise and encompass the outer limits of their sense of self-importance. Queen and their music, presentation, production - everything about them says that they are more important than any other band you've every heard, and who has there been, so far, who has objected? Certainly not the 150,000 people (plus 20,000 a day) who bought 'Bohemian Rhapsody' in the first 20 days of its release. Certainly not me.

See you at Madison Square Garden.

[text © J. Ingham 2007; photos © Kate Simon]

~ You can see the photos which was mentioned on the article, from the link on the title. ~

#queen #queen band #roger taylor #freddie mercury #brian may #john deacon #queen concerts

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sunsetinmyvein · 4 years ago

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The Radio Station - Chapter One - Think About How to Think

"I’m still not quite used to these proper radio interviews.” He said as he reshuffled the headset over his clean shaven mohawk. “It all… feels so professional.” She laughed in response to that, “Well, it’s nice to know I’m doing my job right, then!”

Eyyyy, I’m back! A sort of different story compared to what I've done in the past. Small snippets in time, across quite a bit of time, focused around radio interviews. Almost all of Matty's interview answers are verbatim transcribed from various interviews, but it's what happens around those answers that's the important stuff.

Taglist: @dot-writes @imagine-that-100 @robinrunsfiction @tooshhhy and feel free to give me a shout if you wanna be added :D

6th of December, 2012

Adjusting the microphone in front of her, she watched while the last few seconds of the song played out. “You ready?” She asked the man sitting in front of her. He looked up from picking at the sleeve of his jacket, nodding apprehensively as she switched the microphones back on. “That was Sex by The 1975 - and as promised, we have here Matthew Healy of The 1975 with us in the studio this morning.” She spoke, turning on the radio presenter voice.

He leaned towards the mic slightly before speaking, “Hi.”

“How are you doing?”

“Yeah, erm… good?” He said with a small laugh, sounding unsure of himself. “A bit nervous.” He admitted as an afterthought.

“About your show tonight at Barfly?” She asked, remembering her conversation earlier in the day. Her managed warned her not to drag the interview out too much as they had a gig later that evening to prepare for.

“Uh, yeah, that, and I’m still not quite used to these proper radio interviews.” He said as he reshuffled the headset over his clean shaven mohawk. “It all… feels so professional.” He shrugged, looking around the studio for the millionth time. When he’d come in, the process of actually having to check in through a receptionist and wait before he was ushered through was fairly intimidating.

She laughed in response to that, “Well, it’s nice to know I’m doing my job right, then!”

She figured it would be best to just get the ball rolling to try and give him something better to talk about than his nerves, “So, you guys have two EPs out now. How many more are there on the cards before an album?” She questioned, glancing down at the sheet of question prompts in front of her.

He appeared instantly more comfortable as soon as the topic switched to something that he had better familiarity with, straightening up in his seat and looking more engaged, “There’s probably another couple to come out before we bring out the full album.”

“It seems that the band is getting some good traction with what you already have out.” She pointed out with a nod. Over the last few weeks at the station she’d had a chance to hear the EPs in passing, and she thought that they were pretty decent. But the station itself had been receiving a fair number of requests for them and pretty good feedback whenever they were on the air.

“Yeah! We’re really humbled that we’ve been given the opportunity to live this past year, and we’re only getting closer as a band.”

“Is there a strategy with how you’re releasing things?” She asked. “Is this all part of some grand plan,” She saw him smile at that, “or a secret to getting your name out there?”

He thought about that for a second, “Kind of a bit of both? When we wrote the first EP, shortly after we’d written the majority of the album, we kind of… I dunno, we just wanted people to…” He paused, taking a short breath as he recomposed his thoughts. “If we were gonna do it, it’s such a personal endeavour, this band. If people are embracing the music, we wanna do it properly. We want people to fall in love with a band the same way you fall in love with a person – the more you know about somebody over a longer period of time, the more you both invest in the relationship.” She was taken aback somewhat by his statement. For a band just starting their career, that was a pretty profound thought process. “That was kind of…” He continued, clearly debating over his words slightly. “We had ideas for a lot of material. We wanted records that went against the grain of most EPs nowadays that are just a single. We wanted to release these little records that kind of almost culminated in a debut record.”

“That all sounds pretty well figured out.” She noted, still rather surprised at the extent of his answer. It was intriguing watching him stumble over his choice of words to try and get across exactly what he meant. “Does that mean that the tracks from the EPs are going to be on the full album?”

“There’s a lead track off each EP on the album, yeah.” He nodded eagerly as he leaned forward in his seat. “I think there’s been a misunderstanding that our material works chronologically. We wrote the album pretty much before we wrote the EPs. We took singles off the album and wrote EPs around that to take a bit of the story and embellish it a bit. Create a feel for what the album is gonna be like.” He explained, his hand motions getting more enthusiastic the more he spoke.

She made a soft noise of understanding at his answer. Thinking back to the vibe of the two EPs she had listed to, what he was saying made sense. “From what we’ve heard from you so far, it seems The 1975 has a knack for creating upbeat music with fairly deep lyrics in comparison. Is there a reasoning behind that? Is the album going to be similar?” She asked as she flipped her notepad over.

He let out a sigh as he stared up at the ceiling of the studio, “I dunno… we’re just a band… for ourselves? We just wrote music for ourselves and have since we started when we were kids.” He started, leaning back into his seat. “Because we grew up in punk and pop punk playing around, we were kind of a bands band? Our music just became very, very personal and very, very kind of…” He made a vague gesture with his hands, “I suppose, it’s our only expression? It’s the only thing we’ve ever known how to do. It’s the only form of honest expression we’ve got. A lot of the time it’s quite self-deprecating for me – lyrically. I kind of find solace in it. But I suppose now it’s been romanticised a little bit.”

She wasn’t entirely sure if that answered her question, but pressed on. “Certainly songs like Sex seem to have a lot of girls romanticising you.” She threw in with a laugh. He cracked a grin at her remark.

“I think that is a reflection of our music – coming across as sexy. Not just because of, y’know, all this.” He shot back with a wink as he held a hand proudly on his chest. Any awkwardness he had been carrying at the start of the interview seemed to have dissipated now.

“All right, we are gonna play another 1975 song and then we’ll be right back. This one came off of the first EP. This is The City.” She announced, happy to segue away from having to discuss whether she thought Matthew Healy was or wasn’t sexy on live radio. As the track started, she lowered her headphones to sit around her neck, the man across the desk from her following her lead. “You’re killing it.” She reassured him.

“Yeah?” He smiled.

“Yeah.” She chuckled, his enthusiasm now that he was on a roll was contagious. “You obviously know what you’re about.”

“Well, I’ve been fuckin’ thinking about it all for long enough.” He laughed loudly. “We spent ages working out what to do before stuff finally started happening for us.” He added for clarification.

“You’ve been the same group since you were kids?” She asked out of genuine curiosity. He looked like he was in his early twenties now, which would mean that they’d already been a band for quite some time. It seemed odd if that was the case, that they’d only had these two releases.

“Yeah, the four of us since we were fourteen or something. Just messin’ about trying to work out what sounds good.” He confirmed.

“Fourteen? That’s pretty young to start a band.” She said in astonishment.

“Yeah, well… I’d just moved to Manchester; I grew up in the very north of the country…” He started, looking like he was about to launch into another story. Part of her wished she had saved this line of questioning for the interview, but another part of her was secretly mildly honoured he was only giving this information to her. “But I went to high school and there was this kind of thing that was going on where the council were letting old people’s kind of bingo halls be used by kids to start bands. And after a couple of weeks it became this scene and everyone started making punk bands.” He explained.

“So, you got dragged into it by your mates?” She asked.

“Well, in the end our whole social group oriented around that scene.” He shrugged. “We started there at fourteen just because of how fun it was. The fact that we realised we could be genuinely creative but also really indulgent? It was the most fun we could have.” He had a fond smile playing on his lips as he spoke.

“Plenty of time to experiment and work out what you want to be as a band.” She nodded in understanding.

“Exactly.”

“And clearly it’s starting to pay off.”

“You reckon?” He had a genuine look of disbelief.

“I’ve liked what I’ve heard,” She admitted, “and we’ve had nothing but good things coming in about the EPs.”

He scoffed as he ran a hand through his hair, “That’s a lie and you know it. I’m not oblivious to the critics.” He rolled his eyes, but was still smiling. “Thanks, though.”

They had some more casual chit chat between them until the song came to an end and she switched the audio back over. “And we are back!” She said into the microphone, pulling her headset back on. “Still here in the studio with Matthew Healy, the lead singer of The 1975. Now, I believe that you guys had a few name changes before you finally settled on this one?” She asked as she crossed that prompt off of her list. In an effort to be prepared, she’d tried her best to find out as much about the band online as she could to form some half decent questions. She hated feeling like her interviews were just the same as everything else out there.

“Yeah, we did, but that was when we were just a live band, really. We didn’t really wanna put any music out officially until we were really ready. There were also issues with the old names that we had picked. One of ‘em there was another band called that already, Big Sleep, in America, so we couldn’t call it that. Another we didn’t really like, The Slow Down…” He said with a shrug. “People like to idealise quite a lot of things… in the end, it kind of became our thing? Changing our name. We didn’t really think people cared about our band, anyway.” He laughed softly.

“They certainly do now.” She smiled across at him, earning what appeared to be a delighted look in response. “So, is there any importance to what you finally settled on?”

“The date doesn’t have any, no.” He said as he shook his head. “It’s this story, that’s been quite over dramatized, to be honest. When I was like… nineteen? I was on holiday with my family. There was an artist who lived in the village who was kind of a local drinker who befriended everybody. I spent a couple of days with him at his house, and he gave me loads of literature to leave with, like Kerouac and beat poetry, you know. Basically one of the books I ended up readin’ six months later, and it had kind of been treated as a diary by the previous owner. And it was dated ‘first of June the 1975’. The use of ‘the’ I felt was quite interesting.” He answered. “It just stuck with me as a kind of… why? What made them write the 1975? I don’t know, but I think it really works with the fact that we were discovering a lot about ourselves, and we weren’t really sure who we were.” He gazed off into the middle distance for a second, looking like he was zoning out. “George felt it was a bit long at first, because you know, seven syllable band name. But once a band name becomes a band name it’s just there. It’s like that Pavlovian reaction. But I think when we went in for a meeting with our publisher, we’ve always liked to pitch things left of centre, we said ‘we’re gonna call the band The 1975‘ and they said ‘absolutely no way, it’s too long and there’s never been a big band that’s just been numbers.’ And then we looked at each other like ‘that’s the name.’ so I went and got it tattooed on my arm that day.” He laughed loudly. “Sent them a photo of that-” He held out his arm to emphasise the numbers inked there, “-like ‘that’s the name of the band now!’ As soon as they said there’s never been a big band that’s just numbers, we just thought… excellent.”

“The impulsivity worked in your favour, then.” She noted with her eyebrows raised in surprise. To go out and get something like that tattooed as an act of defiance to your creative project was impressive. “Good thing you’ve not had to change it again since.” He just chuckled.

“It seems to fit in quite well, though, the name. What with the whole black and white aesthetic that you guys have created.” She continued, eager to hear what he had to say on this image that they had surrounded themselves with. Everything she had been able to find out about their ‘look’, how they presented themselves, it all seemed highly thought out and planned. But thinking back to what he had mentioned before, if they’d been a band since they were fourteen, it probably had been.

“If you’re quite altruistic in personality, that’s normally twinned with a certain amount of self-awareness. Because you’re exposed to many situations where you’re putting yourself out there a lot.” He started as he fiddled with the cord of his headset. “I think if you’re an artist and you’re like that, you find solace in maybe… detaching yourself from reality a bit? Because you’re not as exposed as normal. We find a lot of comfort in everything being in black and white, because… Yeah, that’s it, you’re not fully exposed.” He explained as if he was mostly talking to himself, or trying to sort out his answer as he said it. “But it really works for our band because it makes it… a bit out of reach?”

“How do you mean?” She frowned.

He hummed thoughtfully to himself before speaking, “There’s a great quote by Kafka, which is that ‘a camel is a horse designed by a committee’…” He said with a pointed look. “Which is like… one person’s vision is always going to be a lot more concise than something that’s been diluted or compromised by a committee. If you want to project a certain image it needs to be an individual’s own vision in order to be really palatable and really concise and really consumable. So, it’s all about creating something that isn’t that accessible, because we live in an industry where accessibility is paramount.” She was starting to realise that this man truly had very roundabout ways of answering questions. However, it was fascinating listening to his unfiltered thought process as he tried to work out what he wanted to say. She couldn’t say she’d had a lot of interviews with people are interesting as Matthew seemed to be.

Taking a quick look at the time, she could see that they had to wrap this up shortly. Between the long-winded questions and the songs, her twenty minutes had gone by quite fast. She’d better start winding this down. “What’s next on the agenda for you guys?” She asked, looking back over to him.

“Uh, let me think…” He racked his brain for what their immediate plans were for the near future. “We’re heading out on tour after Christmas, and then pretty much we don’t stop ‘til sometime next year.” He confirmed.

“Sometime?”

“We’re in high demand, what can I say?” He said with a laugh.

“That’s not surprising, I’m sure it’ll only get harder to get a hold of you guys in the future.” She concurred. “Well, it’s been a pleasure chatting with you, Matthew. All the best for the tour and for the next EP.” She nodded. He looked caught off guard for a second. Glancing down at his phone, he was surprised to see how much time had gone by. “Thanks for coming in.”

“No, no. The pleasure’s all mine, truly.” He grinned. “Thank you for having me on.”

“I’m sure we’ll be hearing again from you soon.” She finished up, switching his microphone off as she did her outro spiel. He took his headset off, stretching his arms up above his head before standing up and heading towards the studio doorway. It took her a second of seeing him linger in her peripheral vision to realise that he was waiting to say goodbye. As she started the next track, she slipped her headset off and spun her chair to face him.

“Erm, thanks.” He said as he scratched at the back of his neck. “I’ll see you around?” He asked hesitantly. It was curious to see him go from charismatic interviewee to nervous guy in her studio so fast.

“As I said, I’m sure we’ll be hearing from you soon. You’ll be back here in no time.” She assured him. He nodded to himself, looking pleased as he headed back outside.

It was another twenty minutes after Matthew stepped out before her shift ended. Thankfully, she was able to get out of the office pretty quickly. Sometimes she ended up being held back for up to a couple of hours if there were meetings and such that required her attention. And today wasn’t a day that she wanted to deal with any of that. It had been a pretty shitty Thursday to start with. She’d had terrible traffic on the way in, couldn’t find a parking space, had to trudge her way to work in the cold, dropped her coffee when someone ran into her on the way – she just wanted to end a long day. It was approaching evening as she stepped out into the brisk winter air, letting out a sigh as she looked around the street. She started making her way to her car only to catch sight of a familiar mohawked man standing at the side of the station building, smoking with a few other guys. As soon as he spotted her, he shouted her name and waved her over. She debated whether she should go over and talk to a group of more or less strangers or not, but he seemed pretty keen on her joining them. He turned briefly back to the guys he was standing with and as she approached she heard the tail end of him explaining what had happened in the interview.

“This is the band!” He said excitedly.

“Oh!” Instantly, that made a lot more sense than him larking about with a bunch of random people. She took in the other three men he was standing with, noting that they were all quite a bit taller than he was. “You guys could’ve come in to the interview, you know.” She said as she wrapped her arms around herself to try and block out some of the cold threatening to seep in through her jacket.

“Nah, it’s fine.” One of them with somewhat of a beard shrugged.

“We’d rather let him do the talking.” Another quietly agreed.

“He’s loud enough for all of us.” The last one, that also had a kind of mohawk thing going on, spoke up.

“Hey! Fuck off!” Matthew shoved the last one with a loud laugh.

She stood around with them for a bit while they smoked, listening to Matthew talk about the interview and answering the odd question that the band members had for her. This man seemed far more sure of himself than the uncertain one she kept seeing in the interview. He prattled on excitedly about tour and the next EP and just generally seemed more confident. The band only spurred him on as well, encouraging him and getting into in-depth conversations about the tiniest details. She could see where those long-winded answers had come from in their interview. If he held this level of passive confidence and enthusiasm in a casual environment, it was only a matter of time before that started shining through in his career. And it was truly no surprise after speaking with them that this band was getting popular at the rate that they were. They were obviously talented, and had enough drive and direction to push themselves through whatever challenges they faced. She could tell that The 1975 were only just beginning their music industry journey. It was after about fifteen minutes that she figured she had better excuse herself and actually go home – she didn’t really have any reason to hang around here, even if it was nice to chat with such an interesting group of people.

She waited for a lull in the conversation (which wasn’t very forthcoming) before finally making her move, “I might get going…”

Matthew’s face fell a little before he recomposed himself. “Why don’t you come down to the pub with us for a bite?” He suggested.

“Ah, thanks for the offer but I’ve got places I need to be, and I don’t usually mix business with pleasure as they say.” She chuckled lightly. “Nice to keep things separate.”

“It’s also nice to make exceptions sometimes.” He shot back; a challenging eyebrow raised. “But it’s cool.” He said with a shrug as he dropped his cigarette onto the ground, snuffing it out with his shoe. “For real, though, thank you for all the kind words about the band and the music in the interview. A station with as many listeners as yours… your words mean a lot.” He nodded, looking pensive about whatever was going on in his head.

“It’s really no problem. I meant everything I said.” She smiled back at him. Before she could get on her way, he pulled her into a tight hug. She hadn’t overly expected that from the man she’d known all of about an hour, but she hugged him back regardless, happy for the brief warmth after standing in the icy street. “I’ll, uh,” She cleared her throat, attributing the heat she could feel in her cheeks to being in the cold for so long, “I’ll see you at the next interview.” She said as she finally headed towards her car, leaving Matthew staring after her before heading back to his band mates.

Next Chapter

#Sunsetinmyvein #Matthew Healy x Reader #Matty Healy x Reader

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bobdylanrevisited · 3 years ago

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Infidels

Released: 27 October 1983

Rating: 8/10

With his reputation as a songwriter and forward thinker in the gutter following years of derision for his Christian albums, Bob released this short record to a collective shrug from critics and audiences alike, however I do think this album is criminally overlooked. Whilst his voice almost sounds like a Dylan parody at times, his songwriting is returning to politics and poetry, and his sound now has a strange Caribbean feel to it. This album is the work of a man both jaded and hopeful, possibly at odds with his own life, and his standing in a zeitgeist that had written him off as a has been. Though religion still features prominently on the album, the edgier songs are a welcome return to form for a man who writes about bitterness and feeling out of place better than anyone else. It is, however, impossible to talk about the songs on this release, without also focussing on what was bafflingly left off it.

1) Jokerman - The opening reggae drum beat is a shock, as is the almost mumbled singing from Dylan to begin with. For years I dismissed this track for some reason, unaware that it is one of his best ever songs. There’s a reason Leonard Cohen said it was his favourite Dylan track, it’s truly breathtaking. It’s filled to the brim with religious and historical reference, spilling over from his previous albums, but it is also beautifully poetic with a stellar chorus. The album version is a brilliantly laid back Caribbean number, but when he played it on David Letterman’s show back by The Plugz, it morphed into a roaring punk song. It’s a timeless classic that proved Bob could still unleash wordy odyssey’s and was still the greatest songwriter around.

2) Sweetheart Like You - This is just a nice love song. I like the way Bob sounds on the track, I like way song builds then relaxes, there wouldn’t be much else to discuss here other than one certain lyric: ‘A woman like you should be at home, that’s where you belong’. Obviously, this line isn’t great. In the context of the song it does stick out in the worst possible way, I understand Bob probably didn’t mean it as a horrendously sexist statement, but regardless it does bring the song down in my eyes. It’s a shame as the song is a sweeter side of Bob, but that line really should have been cut.

3) Neighbourhood Bully - This is a fast paced rock song in defence of Israel, a sore subject given today’s political climate (free Palestine). To judge the song on its own merit, it’s well written, almost sarcastic and humorous about the country’s history. Not the best song on the album and it certainly hasn’t aged well, but it’s a decent enough track and a return to Dylan’s take on political events.

4) License To Kill - I like this track a lot, it talks about political and environmental concerns, with Bob attacking society for taking the world for granted. However, it does also have huge religious connotations and a weird distrust of space travel, likely due to religious fears at the time, but it is still a brilliantly structured song. Bob sounds more relaxed and understated here, and the tune is quite mellow, despite a rather out of place drum beat.

5) Man Of Peace - Another fast rock number, this is easily the most Christian song on the record, which talks about Satan and temptation being everywhere. Despite this, it’s a fun and enjoyable song with the best backing instrumentation on the album, although Bob’s voice does slip back into the nasal whine we previously heard throughout the religious years.

6) Union Sundown - This is a scathing attack on American capitalism, it’s just a shame it’s hidden in a very average song. Bob lists everyday items and the countries in which they are made, backed by a weird country guitar riff, and also mentions America’s greed for wanting to keep costs down and not pay workers a proper wage. He then sings a basic chorus with a distracting back up singer who clashes with Bob’s voice. I like the message, and it’s nice to hear Bob take a stance on a geopolitical issue that is still a problem today, but I’m not a huge fan of this track as a whole.

7) I And I - A much darker song, that talks about loneliness. Bob seems to almost view himself as another person, unable to feel at one with his public persona and his real feelings, and this culminates in a pained sounding chorus which is punctuated by a simple but effectively stark guitar backing and those island drums. The ‘Real Live’ version from 1984 is my favourite rendition of the song, Bob’s in great voice and the band gels together to deliver a brilliant performance.

8) Don’t Fall Apart On Me Tonight - Much like track 2, the album closes with another sweet love song, that features some great harmonica and guitar, and Bob actually sounding romantic. It might not be the most memorable song on the record, but it’s a nice, uplifting note to end on.

Bonus: Blind Willie McTell - Bob Dylan is his own worst editor. I’m sure I’ll talk about this masterpiece at length once I get to the Bootleg Series, but I can’t review this album without also mentioning this outtake. I just think if I’d written and recorded one of the greatest songs of all time during the sessions for the album, a song with perfect vocals and Mark Knopfler on guitar, I’d have probably added it to the track list. I definitely wouldn’t have left it on the cutting room floor and only released it commercially 8 years later. In a decade when people were saying he isn’t as good as he used to be, he chose to leave this song behind. Bob is terrible for leaving great songs off his releases, but to deny listeners this unbelievable tune truly annoys me.

Verdict: This is just a solid album. It’s certainly not his best work, but it is pretty great with a collection of brilliant songs. There’s not much else to say about it, other than I’d urge everyone to find all the outtakes from the recording sessions, as they’re all enjoyable. But especially go and and listen to ‘Blind Willie McTell’ if you haven’t, it’s his best song from this period and it’s not even on the fucking album, if it were I imagine this one would be a 9/10. Following the release, Bob would embark on a fantastic tour throughout 1984 before getting back into the studio, and I’m afraid to say it all goes downhill for the next few years. Music was changing, and a middle aged Bob was struggling to keep afloat in an increasingly young persons industry.

#infidels #bob dylan

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fmdjaewonarchive · 4 years ago

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► run away.

date(s): december 2020 mentions of: n/a word count: +/- 1.7k words (+/- 1k words w/ lyrics on songwriting, +/- 700 words on the composition) warnings: mentions of anxiety and general mental health problems details: full lyrics and full composition verification for run away, 2/3 verifications for jaewon’s upcoming album escapism. jaewon tries to prove he’s capable of writing music that’s worthy of the titletrack status and in doing so tries to branch out from what he’s used to, blending together what he knows works for him uncharted territory. all in all, things could have gone worse (a/n: i don’t know shit about composing pls take all of this with a grain of salt.)

by default, park jaewon is a creature of habit, prefers to find one set way to do things that works for him and deviate as little as possible from that. he likes certainty and avoiding unnecessary risk, anything to leave as little room for error as possible. making mistake might be a learning experience but not with how dead terrified jaewon is of doing things wrong, how he doesn’t know how to face failure without it determining his entire sense of selfworth.

songwriting is no different from that. most of the time jaewon writes, it’s structurally planned, deadlines and expectations to be met firmly in place, his work method like clockwork, almost mechanical. it doesn’t sound very profound, it definitely doesn’t suit the mental image most people have of the turbulent, disordered creative process of a real artist. not like jaewon can bring himself to care about whether or not his songwriting methods are deemed deep or profound enough in the eyes of other people, he had better things to care about.

like the album dimensions wanted him to write on short notice.

not that jaewon is complaining, everything but, getting his creative freedom back, it has been a long grueling process to get to this point but he is on a bit of a time crunch here. ‘our songs’ has only ended a mere couple of days ago but with a tentative release date of late winter to early spring, jaewon has his work cut out for him.

in such a time crunch, it makes sense to stick to his usual routine, go with what he is used to.

except jaewon doesn’t.

maybe ‘our songs’ has him feeling experimental for once, maybe he doesn’t want to risk falling victim to not only old habits but also old pitfalls, he’s not really sure what it is but for once, he starts with the lyrics.

that shouldn’t be very remarkable, not for most artists, but jaewon has already religiously stuck to his order of first creating an instrumental and then fitting his lyrical content to it rather than the other way around, starting from zero on that is quite the step, for him at least.

this song, it’s supposed to be title track material, to set the tone for the entire album straight away. if he gets this right by both his own standards and dimensions’, he gets to more or less free range on crafting this album to his liking. and to jaewon, lyrical content has always outweighed sound, as nice as a good beat is, it’s the content of a song that he identifies with, that he feels proudest of.

so writing a song about a breakup doesn’t seem evident.

run away, back off from me run away, far away from me

because that’s what it seems to shape up to be at first glance when he starts writing, themes of heartache, putting distance between yourself and your lover because as much as it might hurt on short notice, it will be the better option long term. and maybe it’s about that too, life isn’t clear cut one thing or the other so why should music be.

but it isn’t primarily that.

because the urge to run away isn’t an unfamiliar sensation to jaewon, it’s the thrum of anxiety under his skin, the voice in the back of his mind keeping him hyper aware of how awful of a person he is, how he fails those around him.

at the end of the day, that’s what he wants to run away from most.

if there is anyone he wants to take as much distance from as possible, it’s himself.

go away so you get out of my sight let me forget everything from your name to your face so that when I’m looking for you while i’m drunk i can’t recognize you even when you are right up close i will give up while i am looking

so maybe it is a break-up song. it’s undoubtedly a break-up song. but not about breaking off from other people.

it’s cutting ties with his past self, who he has been, with the years bitterness that have culminated in hurtful habits and patterns.

i will run away first along the torn shapes before sadness will take place and harden up i’ll run away

he’s not broken away from them completely yet. park jaewon would never have to gal to call himself a good person, it would be a bald-faced lie. but even he has to admit that there has been progress.

he might not be there yet but it’s something. that gets to be said as well right? it’s been a gruelling process so far, he gets to celebrate the small victories.

it reminds him of when he wrote ‘rebirth’ for his first album, almost two years ago at this point. back then, ‘rebirth’ had been a starting point, the turn around to doing better. sure, he wasn’t at the finish yet but he had moved forward, that was something.

something is good, a lot better than he has gotten a lot of previous years.

that in itself made it worthy of its own song really.

you’ve gone a long way into thin air the sun has gone down without looking back even once

finishing the first draft feels like a burden relieved, a weight taken off his shoulder as he has gained the perspective to reflect back on what has been.

his flaws are still plenty, he could never deny that. jaewon doubts he’ll ever grow out of all of them, some parts carved into his personality that he doubts he’ll ever be able to take them out.

but for now he’s still moving forward, still growing and everyone past scar healed over is one, one step closer to finding some semblance of peace within himself, within his own person.

all he has to do is keep running.

---------------

with a rough draft of the lyrics done, he still needs an instrumental and for that, he trades the comfort of his home studio for one of the more richly equipped ones in the dimensions headquarters. it feels a bit silly to make a distinction but jaewon always prefered writing from home and composing from within the company building, both surroundings better tailored to a different part of the creative process. or well in his experience at least.

it takes some fumbling, the kind of awkward stumble that comes with deviating from old habits and making up a plan as one goes. matching melody to lyrics rather than words to melody are most definitely not the same thing but just reversed, jaewon quickly learns the hard way, especially not in a rap track where really, the flow can make or break the whole thing.

so it’s a bit of a struggle, the first few hours fiddling around with sounds and beats that ultimately lead to nothing, that turns out he doesn’t know how to mold to his lyrics in a way that leaves him satisfied.

but like with most things in life, there is a learning curve. with every bit he scraps, he comes closer to the sound he’s actually searching for.

and jaewon makes a genuine effort to branch out, try something new for a change. much like his lyrics, his usual composing also falls victim to sticking too closely to what he’s familiar with, deep, muted sounds to convey the somber undertone of his lyrics, a slow drawl to instrumental, mainly focussing on drums and bass lines, moody and dark.

so this time, his instruments of choice are synths. different types of synths at different points, trying his best to branch out, create an instrumental that’s fun and surprisingly at all turns but in essence, when one dumbs it down, the main theme is truly just… synths.

that’s not a bad thing, it is breaching out of his comfort zone for sure. funnily enough, the more he works on it, the more the instrumental reminds him of something that could have been on his previous album. ironic, considering jaewon spent the better part of the year loathing ‘love language’ with every fiber of his being.

looking back on it with a fresh perspective, jaewon has to admit that while he didn’t like the music for himself, far too flashy and corny. but in terms of playing around with the composition and production, whoever had worked on that album (jaewon doesn’t know, it sure wasn’t him) was a lot more creative than he was.

surely he can do something like that on his own devices as well right? surely he can branch out from his typical song structure and prove he’s grown as a composer.

the bounce of the synths and the bass has a cosmic feel to it, the flow of the song twisting at every turn where sections bleed into another with bells and trinkets attached to the transitions.

for added effect, jaewon records the whistling curling around the edges of the verses that ties them to an end before shifting into the chorus himself, by the time he’s done putting them through editing it doesn’t sound all that human anymore, morphed into something more surreal sounding, blending into that not-quite terrestrial vibe that seems to arch over the song.

the drop in the chorus is hardly creative, jaewon doubts a beat drop can still be at this point but it does add to the immersion of the song, like getting your head dunked in a bath of ice water, stripping down on the whimsical rhythm patterns laced through the verses and stripping down to raw desperation of the song, the harrowing undertone of running for your life.

he adds bits and pieces like that, layer by layer, until the song itself sounds just as meticulously thought out as the lyrics rather than just a bare structure built underneath them.

when he gives the draft a final reason before sending it off to the creative department, jaewon can’t help but think he never created something that sounds so complete before.

#fmdverification #*:･ﾟ♛– «filled with all these empty moments» // solos.#//only one left thank the fucking heavens #anxiety tw #mental health tw #«escapism // era.»

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satonthelotuspier · 5 years ago

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Day 3 of Wangxian Week 2020.

Prompt Palette is Rebirth - Mememtos - Celebrity AU.

When Lan Wangji broke up with Wei Wuxian it destroyed him; he'd thought they were in love and happy together.

Two years later a gala event they're both required to attend throws them back together. It was Lan Wangji's choice to break up, so why does he suddenly want to talk to Wei Wuxian after all this time?

A Second Chance

Jiang Yanli placed a hand over the top of his as he paused to look at the picture of Wei Wuxian and Lan Wangji smiling into the camera in front of the Parthenon in Athens. He should cry at the chasm of emptiness that opened up inside him at the feeling of loss, but he didn’t have any tears left at this point.

He put the picture in the cardboard box, along with the rest, and all the stupid little trinkets and mementos that reminded him of Lan Wangji, and their life together, before Lan Wangji had broken all ties with Wei Wuxian.

One of the most cutting things about it was, as they were both celebrities, in the public eye, their relationship had been secret, known only to a few close friends, family and work colleagues.

And so Wei Wuxian was expected to work tomorrow; he had a recording session, and he would have to look and sound like he was perfectly normal, like his world hadn’t collapsed around him and left him lost and confused.

“You don’t have to deal with this now, A-Xian, we can leave it until it’s a little less fresh if you want”

“No, jiejie, I want them gone, I want them out of here tonight. Tomorrow is a fresh start. A rebirth, new me, no more Lan Wangji, he can go to hell”

He slammed the lid on the cardboard box, then checked his phone, “Jiang Cheng should be here soon, lets tape this up so he can go throw it at Lan Wangji tomorrow” Wei Wuxian was raw and hurting, and still at that point he didn’t care what he said about the other, Lan Wangji was only lucky he hadn’t felt the need to call him or drive over there and give him his entire mind, never mind a piece of it.

Better, in case he said something that couldn’t be taken back. Not that it mattered now.

His horrible week didn’t get any better when the pictures of Jiang Cheng punching Lan Wangji in the face were splashed all over every news and gossip tabloid and website in the country.

Wei Wuxian thought he should have felt some spark of satisfaction at Jiang Cheng putting Lan Wangji on his ass in defence of him, but he didn’t.

It didn’t help that Lan Xichen, trying to restrain Jiang Cheng, had accidentally broken Jiang Cheng’s arm which had resulted in a ridiculously long, nerve wracking operation for he and Jiang Yanli to sit through, on his already frazzled nerves.

Jiang Cheng received the dressing down of his life once he came around from the anaesthesia. Wei Wuxian had never heard their jiejie so angry and cutting, either before or since.

2 Years Later

“Wei Wuxian is forced to attend to promote his new collaboration album with MianMian, Lan-xiansheng, perhaps you should consider advising your client to give this event a miss”

Wei Wuxian rolled his eyes, and leaned back in his chair as Jiang Cheng’s face flushed in temper and he unconsciously reached up to rub at his right forearm while he listened to whatever was said to him.

“That is, of course, your client’s prerogative, Lan-xiansheng. I see. Well, please inform him of the situation. If your client still sees it as necessary to attend we would appreciate it if you would provide us notice via email” there were no pleasantries as Jiang Cheng hung up the call and tossed his earpiece onto the desk in front of him, frustration evident in the move.

“Asshole”

“Flirting with Xichen-ge again, I see”

“Flirting? With the man who snapped my fucking arm like a twig?” Jiang Cheng demanded in irritation.

“In fairness you did punch his brother, and he explained it was an accident; he was only trying to restrain you. He even sent you a fruit basket and flowers to apologise”

The former of which Jiang Cheng had given away to charity, and the latter to their jiejie, but still…

Teasing Jiang Cheng took his mind off of the very real problem of possibly having to meet up with his ex at the charity gala evening, which was why he did it. And it was fun, besides.

“It was a spiral fracture, Wei Wuxian, it took eight months to heal, like flowers and a fruit basket make up for that. It fucking hurt”

His complaint made, he dropped the subject, and, knowing Wei Wuxian had taken in all the information he needed from his half of the conversion with Lan Xichen, he changed it to discussions of some fan signings they had arranged next week with co-artist MianMian.

***

As the event grew closer things became frantic. Jiang Cheng told him that he’d been informed Lan Wangji would definitely be attending. So now was the perfect time to prove he’d moved on, he told himself, that Lan Wangji was nothing to him more than an ex boyfriend.

Despite these words he didn’t feel hopeful he was up to the task, however.

Then a tabloid ran with an article speculating that he and MianMian were in a secret relationship. It genuinely wasn’t the first, nor would it be the last of it’s kind linking him romantically with someone but it caused a frenzy and he and Jiang Cheng were busy enacting damage control with MianMian and her management team.

A few weeks later, another article was run in another tabloid claiming through rigorous investigative journalism it had been found out that a celebrity reporter at a rival paper had been blackmailing and harassing celebrities with threats of exposure. Wei Wuxian had never liked Su She and it was easy for him to believe it was the truth; he had never come across as particularly ethical, but that paper claimed initially that the accusations were false; pure mud-slinging.

The thing about mud-slinging was, if enough was thrown, some of it stuck. The melee culminated in the resignation and disgrace of Su She, as the other papers were suddenly full of stories of celebrities who claimed to have been blackmailed and bullied.

***

With all the fuss he hadn’t had that much time to dwell on his imminent meeting with Lan Wangji. Nor had he really had time to mentally prepare himself.

The night of the gala, therefore, he felt like he was on the back foot and unprepared.

He didn’t know what to expect nor how he was going to react to what did occur.

The feeling only intensified when, calling an acknowledgement at the knock on his dressing room door, it turned out to be the man he dreaded encountering.

The other came in and closed the door behind him, his elegantly handsome face was expressionless, but he wavered in front of it like he didn’t know what his reception would be.

Wei Wuxian could help him with that.

“Lan Zhan, I thought our management teams had agreed that we would keep a respectful distance. This is hardly that”

“Wei Ying…” the tiniest look of consternation crossed his face, before it disappeared. “Your team wanted that, I never agreed. Can we please talk?”

What could Lan Wangji possibly think there was left to talk about at this stage? The only way to find out was of course to agree, but having Lan Wangji here was proving he wasn’t as over him, and what he had done, as Wei Wuxian hoped. It hurt. It still hurt. It was silly, two years later he should have moved on from this, stopped giving Lan Wangji this power to hurt him.

“I’m not sure what you think there is left to talk about, Lan Zhan” he said tiredly, closing his eyes and rubbing at them with a finger and thumb.

“The truth. The things I didn’t tell you”

At those words Wei Wuxian’s eyes snapped open; what did he mean? He looked back at the other, the only way to find out of course was to let him talk. He waved vaguely for the other to sit, Lan Wangji followed his gesture and perched on the nearby stool.

“You saw the news about Su She, the reporter, recently?” he asked, knowing Wei Wuxian couldn’t really have avoided it.

“Yes”

He nodded as Wei Wuxian agreed. “We were being blackmailed, Wei Ying. I broke off with you to protect you. Su She threatened to smear everything over his grubby little tabloid, it could have destroyed our careers”

“If you paid why would you break up with me? And is your career really that important to you? How the fuck is that protecting me?” as far as excuses went it turned Wei Wuxian’s temper up to eleven.

“Wei Ying, my career meant nothing to me, I was protecting yours. I broke up with you so Su She wouldn’t have any future leverage, no reason to leave me alone and come after you. Blackmailers don’t stop” that soothed his temper a little, but still…

“Who the hell were you to decide my career was more important to me than the man I loved? We could have gone anywhere, done anything. I wouldn’t have cared about it. Typical Lan arrogance, assuming you had the right to make that decision alone”

That seemed to shake Lan Wangji a little, “I only wanted to protect you”

“Well, it didn’t work, you ripped my heart out. But thanks, I guess?”

“I’m sorry, Wei Ying, but I did it because I love you” he almost missed the present tense of the admission in his anger. What was he to make of that? What did he even want to make of that?

They were silent while Wei Wuxian pondered.

“Are you really seeing MianMian?” the question was low, tentative, unlike Lan Wangji, and Wei Wuxian looked at him, caught the gaze of those pale amber eyes. There was a cruel part of himself that wanted to say yes, claim they were now a thing, try to hurt Lan Wangji. But he didn’t listen to it.

“No, its one of those stupid, fake, tabloid ‘they’re spending so much time together’ pieces of fiction. We’ve just released a collaboration, of course we’re spending a lot of time together now we have to do the promo”

Lan Wangji nodded his acceptance of Wei Wuxian’s words. Was that a flash of relief in his eyes?

“Do you hate me, Wei Ying?” well that question came out of the blue. He was caught off guard by Lan Wangji’s unusual directness.

“I don’t know” was the only honest answer he could give, again, ignoring that voice that told him to hurt the other and just say yes. “I thought I did, I think I should. I’m not sure. I don’t know”

“Then please give me a second chance, Wei Ying. I’ll earn your love again” Lan Wangji leaned forward suddenly, pressing a short, almost-chaste kiss again Wei Wuxian’s lips. Should he punch him? Push him away? Enjoy it?

Lan Wangji pulled back before he could decide; he was confused, and oh but he had missed those lips on his.

His voice was still sharp, “Do you think one kiss is going to make up for everything, Lan Zhan?” he demanded. He had been hurt, destroyed, and here was the other begging for a second chance. A chance he was beginning to think he dearly wanted to allow him.

“No, Wei Ying, but I have to start somewhere”

#wangxian #wei wuxian #lan wangji #jiang cheng #jiang yanli #protective siblings #second chances #hurt/comfort #breaking up #making up #mdzs #mdzs fanfic #mo dao zu shi #mo dao zu shi fanfic #the untamed #the untamed fanfic #grandmaster of demonic cultivation #Shay's stuff

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isaarchive · 4 years ago

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The Story Behind Every Song on Linkin Park’s ‘Hybrid Theory’: 20th Anniversary Track-By-Track

The group's Mike Shinoda and Joe Hahn dive deep into the diamond-selling classic, sharing how smashes like "In The End," "Crawling" and "One Step Closer" came together in the studio.

By Jason Lipshutz

“It was a bizarre, but very special, moment in time.” That’s how Linkin Park’s Mike Shinoda describes the release of the band’s seminal debut, Hybrid Theory, one of the best-selling rock albums of all time.

Upon the album’s Oct. 24, 2000 release, the members of Linkin Park were in their early twenties -- “just children, screwing around,” as Shinoda affectionately describes the group’s early days in the Los Angeles suburbs. With Shinoda and Chester Bennington sharing the frontman role, Linkin Park offered a bold progression on the strand of rap-rock that had bubbled up the charts in the late ‘90s. They often delineated the rapping and singing duties between vocalists and carefully balancing hard rock riffs from guitarist Brad Delson with hip-hop-style beats from drummer Rob Bourdon and turntablist/DJ/programmer Joe Hahn.

The band’s mixture of rap and rock was approached with some skepticism from their label, Warner Bros. Records, and their producer, Don Gilmore. Yet as soon as “One Step Closer,” Hybrid Theory's blistering lead single, became a top 10 hit at U.S. alt-rock radio, those doubts were quickly alleviated.

“When I grew up, you were either a rock kid or a rap kid, but you didn’t listen to blended music, really,” Shinoda recalls. “I was so excited when Rage Against The Machine came out, and Red Hot Chili Peppers, or when I found Led Zeppelin by listening to Beastie Boys. There were things that were out there that took from varying styles of music and put them together, but they were not the norm at all. And to have played a role in mashing styles together, that is, for us, part of our legacy that we’re proud of.”

Indeed, Hybrid Theory remains a touchstone of the time period: the album has sold a whopping 10.8 million copies to date, according to Nielsen Music/MRC Data, and produced singles that have remained alternative radio staples for decades. “In The End,” the brilliantly rendered signature anthem that mixes rap verses and a melodic hard rock chorus, peaked at No. 2 on the Billboard Hot 100 chart, while “Crawling” earned Linkin Park its first Grammy award. The album would kick-start a career that produced seven total albums, 28.8 million total copies sold, and countless arena performances, until the tragic passing of Bennington in 2017.

Now, the band is looking back on its landmark debut with Hybrid Theory: 20th Anniversary Edition, a new collection featuring previously unreleased demos, B-sides, rarities, DVDs and the long-sought-after fan favorite track from the time period, “She Couldn’t,” among many other things. The multiple configurations of the boxed set -- including a Super Deluxe Edition with 5 CDs, 3 LPs and 3 DVDs -- will be released on Friday (Oct. 9); in addition, Sirius XM has launched a limited-run music channel “Linkin Park Radio” on Oct. 5 to commemorate the anniversary.

“It’s a nice time to pause and think and focus on what it took to make that record, the impact it had, and the opportunity it allowed us to continue with our careers,” Hahn tells Billboard. “For me, it’s a testament to the camaraderie between all the guys in the band, to our friendship, to our work ethic, to the values in how we approached not just making music, but the business of making music, and the way we interact with our fans.”

In separate interviews, Shinoda and Hahn shared their memories of all 12 songs on the standard edition of Hybrid Theory, from the biggest hits that the album spawned to the deep cuts that hold a special place in their hearts. Check out their track-by-track remembrance of Linkin Park’s Hybrid Theory below.

1. “Papercut”

MIKE SHINODA: To me, the two songs that were the most important were “Papercut” and “In The End.” “Papercut” was all of the identity of the band packed into one song. Even the fact that it started with that beat, and it went straight into a double-time bouncy rap with heavy guitars, the fact that Chester was rapping with me on the chorus -- you can’t even hear him because of the mix, it sounds like it’s just him but it’s actually both of us.

When you got to the bridge, that soaring, huge vocal! And we didn’t come back to a chorus at the end of it, it was a unique song structure. I feel like it checked a lot of the boxes in terms of what the band was really about. And we knew, from the moment we had the song, we knew it needed to open the album.

JOE HAHN: “Papercut” at the time was one of my favorites. We were really trying to mash up styles, and I think we did that pretty successfully. The idea of bringing the breakbeat element that hip-hop has, I think we got pretty cool vibe when we intertwined the guitar riffs with the drum break on that song. The album’s called Hybrid Theory because it represents that ideal.

SHINODA: There was a weird thing with the singles on this album. Technically, there were three singles: it was “One Step Closer,” “Crawling” and “In The End.” And then there was a European single, which was “Papercut.” The reason was that “Crawling” was still going strong at radio in the States, but the European radio market moves faster, so they’d already burned through two singles and they needed a third one. [The label] basically wanted to time it out so that the European market had a third single, and then we could go worldwide with “In The End.” They were like, “We want everything to culminate with ‘In The End,’” and the momentum ended up working out that way.

2. “One Step Closer”

SHINODA: In choosing Don Gilmore as a producer, we were really hesitant. Don had more of these radio-alternative songs, and we knew that he would get that part of our sound right, but he knew nothing about hip-hop. Not a thing! And he said that to us when he met with us. He was like, ‘Here’s the deal, the part of your sound that I can’t contribute to is the hip-hop part. I know that’s a big part of your thing. But I like how you do it, so I will try to just get out of the way in terms of the beats and raps and stuff, I will leave that to you.’ And we were like, ‘Okay!’ And that worked out great, because we didn’t know how to mic up and engineer a rock band in the studio. We didn’t know how to arrange, how to multi-track guitar and vocals, in a way that sounded like what we heard on the radio that we loved. So that was all us learning from Don.

As we got into it, we did have these real tense points of conflict, because since he was hands-off on some of the creative in terms of letting us dictate how the hybrid was supposed to work, when somebody from the label came in and said, “I don’t like what they’re doing with mashing up these things,” or if they came in and said “I’m not sure about the rapping,” then all of a sudden Don couldn’t definitively defend it. He was like, “Uh, okay, well, that’s what the band thinks sounds good!” The power struggle became part of what making that album was. Some of the intensity and frustration you hear on the album is specifically album-related.

“One Step Closer” was me and Chester literally writing about Don. We were so mad at him. The ‘shut up’ riff was literally Chester screaming at Don. We were losing our minds. At that point in the process, it was just like, why don’t you trust us? This is our album. Our A&R guy doesn’t have to have his f--king name on the front of the CD, and play this music onstage everyday. We knew, if we put anything on this record that we don’t like or that we’re not feeling, we’re gonna have to live with it. Like, this is our career!

HAHN: I feel like, at that time, that was our loudest song, which turned into the first single. In making that record, we weren’t completely understood by the record label, mainly because there was a categorization of what bucket you fit in. Being a rock band but trying to have a firm foundation with our hip-hop and electronic influence that we bring to the music. The formats were alternative rock and active rock at the time. I remember the label at one point asked us to have less rapping, and less scratching. If you actually listen to the radio edits of that song from when it first came out, they took out the scratching on the bridge of the song, which I found kind of annoying and unnecessary.

SHINODA: The “shut up” part in the bridge, I know one of my reference points was “F--k you, I won’t do what you tell me” [from Rage Against The Machine’s "Killing in the Name"], and we wanted a part like that in one of our songs. And we were in the studio writing and re-writing “One Step Closer,” and eventually we got so mad that Chester was just writing words down about how mad he was at Don for making us rewrite s--t. And eventually he wrote down “Shut up” and I was like, “What if the bridge is just ‘Shut up’? What if it’s simpler than anything we’ve said so far?” Because we were just writing out lyrics. And he was like, “I think that’s gonna sound awesome!”

We went in and told Don, “Put up ‘One Step Closer,’ we wanna record the bridge.” He was like “Well, tell me what it is.” And we go, “No no no, it’s better if we just record it. Listen to it in its full concept.” [laughs] And Don was like, jumping up and down. I think he figured out eventually that the whole song was about him. At least in part -- it wasn’t just about him, but part of it was inspired by how frustrated we were with him.

3. “With You”

HAHN: We worked with the Dust Brothers on that -- previous to that, they did [Beastie Boys’] Paul’s Boutique, so they were definitely a part of our history of music. They basically gave us a bunch of stems from an unused remix that they had, so we constructed that into the song. Some of the sounds at the beginning, like that ‘Dun-dun. DUN,’ some of the loops and drum breaks in there are from them.

I remember being really excited at that time, working with them, because it just represented a new way of making music, re-assembling parts that sounded cool into something totally different. It was fun to do that in a collaborative fashion.

SHINODA: I always liked “With You”! It was more ‘of the time,’ it was very nu-metal, so for better or worse, that’s what that was really about. I really like Joe’s parts on it. I like the production, the beats and stuff that I did -- we had a lot of back-and-forth about the production on it.

4. “Points of Authority”

SHINODA: There are a couple references on “Points of Authority” that are interesting. The vocal scat thing that I do on the intro, that’s really inspired by the Roots and Black Thought. I heard him doing that on Illadelph Halflife, and I just thought there was something so cool about that. And I thought it would mix well with the scratching, so we kind of did this back-and-forth with those things. The guitar line of the song was originally completely different -- I think we actually included the original riff, the original version of the song, on our boxed set for Hybrid Theory. But at some point we realized that the original guitar riff was really basic, so I went into Pro Tools and chopped it up, and moved the pieces around just to experiment with how it could sound, and I treated it like a sample off a record.

The song didn’t have the current chorus for a long time -- we basically wrote that chorus while we were in the studio with Don, because we decided it needed something melodic but we didn’t want it to be too soft, so we opted for this really simple, two-chord yelling-shouting melodic part.

HAHN: I direct the majority of the music videos, so I had a lot of fun making that one [for a version of the song on the band's 2002 remix album Reanimation]. We story-boarded that whole video, and worked with an animation team in L.A., and went, “Let’s just create this world, and it’s gonna be this race against this race, and they’re battling it out.” I remember I was referencing Saving Private Ryan, and looking at a lot of anime, and the dynamics of things blowing up. It was so fun, because I had this crazy idea, and everyone was like, “Okay! Go do it!” And they let me do it!

5. “Crawling”

SHINODA: The “One Step Closer” video, we had a very modest budget for that, and we had never made a video before. So when it was time to do a second video, we had a little more money, and I think the label was really instrumental at that point in helping us find a really good team to make a good video. And Joe started to get more confident about asserting himself in the process -- during “Crawling,” he really got in there, and probably learned a lot, and asked a ton of questions. But it came out great, the video was really an important part in introducing people to the band.

HAHN: “One Step Closer” is a pretty aggressive song, and it’s not very sweet-sounding by any means. When “Crawling” came out [as the second single], it represented a different side of what we do, intertwining something very intimate with an outpouring of emotion in the chorus and bridge, and even with some screaming. We always tried to play with what works, with the music and the dynamic of the vocal that Chester and Mike would bring to the table. Funny thing too, because the first song was such a big deal at the time -- and then we come out with “Crawling,” which is more of a softer side of what we do. I think if you got the album, you really understood it, but people that didn’t were like, “How does this song have anything to do with that other song?”

SHINODA: We won a Grammy for “Crawling,” for best hard rock performance, and at the time I didn’t know the difference between “hard rock song” and “hard rock performance,” since they had Grammys for both. And eventually I was like, “Oh, this is a Grammy for Chester’s vocal.” Like, it was a great recording, but if we really want to be super honest, the reason we got that Grammy was because of Chester’s performance on that song was bananas. It was so insane! I don’t think I’ve ever heard him sing like that. And it’s just that extra fierceness in his vocal that we captured that day. Just once in a while, he would walk in with that going on in his voice, and we knew we had to record as many things as possible whenever that happened. [laughs] It was like, can we please do five songs that day?

6. “Runaway”

SHINODA: “Runaway” was originally a song called “Stick and Move,” and the lyrics were really trite, but it was super bouncy and fun to play. At all of our early shows, that was basically our big song -- people who would come to our shows for the first time, we would talk to them afterwards and mention that song. So we always thought, this is an important song to get right in the studio. And once we had some of the other songs starting to take shape, we were like, “Oh no, one of our best songs is now one of our worst songs.” We thought we had this gem, and now it’s turning to be kind of a mess.

We completely disassembled the song and re-wrote it. We kept the chords and some of the drum grooves, but added a bunch of new stuff to it, and rewrote all the lyrics, and it became “Runaway.”

HAHN: There was definitely this thing we were doing repeatedly, just trying to master the song structures, going from lulls to reaching climaxes back to the lull. This song represented that formula that we mastered before we started to explore different ways of writing songs. If you break it down, it’s much simpler than some of the later music.

SHINODA: “Runaway” is funny, because some people think that it was a single from the album, but that’s just because a bunch of radio stations started playing it without us even promoting it as a song or doing a video. It was just a time when everyone was so enamored with the album and the band that they would just play album cuts. It was unbelievable.

7. “By Myself”

HAHN: That was one of the songs that we carried over [from early demos], too. I remember it being like this quiet-to-loud, really cool vibe, going from almost a whisper to grabbing your shirt. I think it had a lot of conviction, and when we played it live it definitely had that vibe where people were just amped up from listening to it.

SHINODA: “By Myself” was our attempt to do the softest verses and every other parts of the song be the nastiest, loudest sounds we can. And so it was drawing more from like, Nine Inch Nails and Ministry, than some of the more nu-metal stuff.

I remember doing the demos for that song in my apartment in Glendale, in the L.A. area, and my neighbor just f--king hated me. The walls were paper-thin, Chester’s screaming the chorus, and they must have thought we were murdering somebody in the room. We were both just shouting, and I’m going, “No, LOUDER!” [laughs] And my neighbors would bang on the wall at 10 PM every night to tell us that it was time to go to bed, basically. And thus, we would record all the way up ’til 10, and then you’d hear a thumping on the wall. We’ve got our headphones on, we’re doing our thing, and they’re literally punching the wall, trying to get our attention and tell us to shut the f--k up.

HAHN: The album is full of these moments like the one where Mike is saying “By myself,” and then Chester goes, “MYSELLLLLF!” That’s what was kind of magical about Mike and Chester as frontmen, partners and co-vocalists -- to have that sort of Jekyll-and-Hyde type moment. Two vocalists that could pull that off together really made us stand out from everyone else.

8. “In The End”

SHINODA: We had a bunch of tracks that we really liked, but we knew we needed something else that was a next-level kind of song. And I was having this moment of, I knew it was on me, I had to find it. I locked myself in our rehearsal studio on Hollywood and Vine -- back when Hollywood and Vine was like, drug addicts and prostitutes everywhere, so you wouldn’t just want to go in and out of there. Once it got to be about 7 o’clock, I went in there and locked the door and stayed overnight. There’s no windows or anything, I didn’t know what time of day it was. I wrote all night, and I ended up with “In The End” in the morning.

Our drummer Rob was the first one to show up that afternoon and I played it for him, and he absolutely lit up. He said something to the effect of, “I was dreaming, imagining that we needed a melodic song that took us to the next level, where the chorus was just the undeniable thing. This is the song. You made the song that I would have imagined.” So that was the first endorsement, and then after that, everybody we played it for had a similar excitement about it.

HAHN: We knew that we needed more melody. We knew we needed to round out what we were doing. People don’t want to be screamed at for a full record -- well, some people do. But everything from the melodies to the piano that loops... we write a lot of music, and for each album, there’s probably at least a hundred song ideas, sometimes double that. Sometimes there’s these magical moments where all of the elements come together perfectly at the same time. This is one of those ‘eureka’ moments.

SHINODA: The only part that we had a lot of drama around was my rap verses -- my original verses were okay, but our A&R guy at the time was really an insecure guy all around, and he kept going around to everybody else asking what they thought about the rap verses on that song. He’d play them and go, “These aren’t right, don’t you think?” And it was like, setting them up to pick something apart. He was the one who suggested that I not rap in the band, that I just be the keyboard player or whatever. Thankfully the guys, and Chester in particular, came to my rescue on that one.

9. “A Place For My Head”

SHINODA: “A Place For My Head” used to be called “Esaul,” and that was one of the earliest songs -- it might have been on the first demo that me and my friend Mark Wakefield made, when the band was just the two of us. And it went through different iterations to this version, but it was always a favorite. I think when it got recorded in the studio for Hybrid Theory, it was one of those scenarios where the song was already something we liked, but then when it was recorded the energy went up a lot, and it became a song that we always closed our shows with, either that or “One Step Closer.”

HAHN: For a while we were making these songs that had this outpouring of energy which would get people to mosh. I think that was our goal: to somehow lyrically and musically convey this feeling of frustration and tension, almost like you’re stuffing a bottle full of those emotions and then you’re shaking it up until it explodes. I think that song does that very well.

10. “Forgotten”

SHINODA: “Forgotten” was the other one that started as a demo with me and Mark. That one was called “Rhinestone” at the time. Both of these demos in their original versions are on Hybrid Theory 20, and we got Mark’s begrudging approval to put them on, with his voice and everything.

HAHN: That was cool, because back then, we were just putting parts together that fit. When I hear that song, I hear the ingredients, in a way that a chef might eat a dish and pick apart the different ingredients, in a very simple but elegant kind of way. It felt great to come out with a product at the end that represented exactly what we were trying to do at that moment.

SHINODA: As a side note, with the Hybrid Theory 20 release, we didn’t mix or re-mix any of the songs. It’s just a mastered version of the original cassette demo. People have asked a couple of times if we ever wanted to do a remaster, and the technology of mastering hasn’t changed a lot between Hybrid Theory and now. I remember telling everyone else who would listen [while making it], “I’ve got a subwoofer and an amp in the trunk of my car, I want to be able to put this record on right after Timbaland and Dr. Dre and have it thump just as much as those records. It needs to have the shape of a rap record.”

11. “Cure For The Itch”

HAHN: Mike had this really cool beat idea, those strings that were on the song. We really liked the feeling of it, but it wasn’t a song. I was like, “What if we put a beat to it, and an intro that I can scratch on?” We took the approach of making it a musical journey, and have it lean more on the DJ side of things. It gives a nice pause to the intensity of the album.

SHINODA: Joe and I loved DJ Shadow and Aphex Twin and so much of the electronic and trip-hop stuff that was coming out back then. One thing that happened when that community butted up against the DJ community is that there was a sense of humor that came through -- DJ crews, when they did their sets, they’d throw in little things that made you laughs. That’s why “Cure For The Itch” is a little bit lighter. It’s kind of flexing in terms of the beat production, but it has a little bit of a sense of humor. We wanted to give Joe a little bit of a spotlight track. We thought it’d be fun for him and that the fans would love it, so it’s very much a Joe experience.

12. “Pushing Me Away”

SHINODA: “Pushing Me Away” was like, basically we were really happy with how “Crawling” came out, so we were like, “Let’s do another melodic song like that!”

HAHN: That’s another one of those ballad-y songs, that’s like one of those conversations ... In recent years we brought it back into our live set, as an a cappella/acoustic version, because it was never a single but we really loved that song. I think that struck a chord with all the fans that loved Hybrid Theory.

#linkin park #I love this album more than anything

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hshouse · 5 years ago

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are you done with your essay?

YES!! Harry essay is here and I love her.

It’s under the read more!!

Harry Styles: the gay icon gay women deserve.

If you walk into an arena to watch a Harry Styles concert, you might think you came to a pride parade instead of a concert. His fans bring pride flags (all kinds of them: the gay, the lesbian, the bisexual, the transgender and the asexual have all been spotted) and wait excitedly for the moment when Harry snatches the flags for himself and runs around on stage with them. To understand the Harry Styles that his LGBT fanbase knows and love, it is crucial to know both his path to a successful solo artist and how he is perceived by the general public. Before his solo career, he was a member of the boyband One Direction. Boybands (and their members) have historically occupied in a curious position in popular culture. These groups, mostly composed of early twenties men, have been openly marketed towards a young female audience (who is presumed to be straight). The magazines write about the perfect date for each member and which actress the cute one is dating - all in a clear effort to sell them as romantic/sex icons for teenage girls. However, despite all of these efforts, these boybands are also adored by the LGBTQ community. While the appeal to gay men is more understandable, the bulk of the LGBTQ fans, at least in Harry Styles’ case, is composed of lesbian and bisexual women. Through analyzing four of his songs, I will shed a light on why this appeal exist and how he has become one of the iconic gay icons of the 21st century.

The first two songs that have become an important gay anthem for his LGBT fans were written by Harry Styles during his time in One Direction. The song “Happily” is featured in the third album of the band and “If I Could Fly ” is part of the fifth album. To understand the importance of these songs, some context is needed. A significant part of the One Direction fandom (the word used to describe the collective of fans) believes that Harry Styles was/is on a long term relationship with another bandmember, Louis Tomlinson. This belief is held mostly by the LGBT fans and it has shaped the fandom from the very beginning (this video - which has been watched over five million times - provides a good introduction on the topic). Many LGBT fans were introduced to the band by hearing about this belief. In different, and often controversial and unconvincing ways, both Harry and Louis have denied this relationship. However, the fans, including myself, even after four years of the band break, still believe in the existence of their relationship (the dynamics of this group are extremely interesting but are unfortunately outside of the scope of this essay).

In both “Happily” and “If I Could Fly” Harry writes/sings directly to his lover without (or with few) pronouns. Both songs invoke a common theme of certitude about their relationship while facing outside struggles to maintain this relationship. In “Happily”, Harry directly addresses how their relationship is viewed: “I don’t care what people say when we’re together/You know I wanna be the one to hold you when you sleep/I just want it to be you and I forever”. For straight listeners, this verse may not seem like more than a common love declaration in a pop song. However, for LGBT fans this verse is understood as a clear and loud representation of the queer struggle with acceptance for their relationships. Moreover, Harry is sending a strong optimistic message about queer love: “I don’t care what people say when we’re together”. In a pop culture that still often portrays queer love stories as tragedies or unattainable desires, hearing a song showcases a fairly happy queer love story is important for young LGBT people. Later in the song, Harry also plays (as he does in many songs as we will see) with the common listener’s assumptions about his sexuality: “It’s four a.m. and I know that you’re with him/I wonder if he knows that I touched your skin/And if he feels my traces in your hair”. A straight listened will likely assume he is jealous of another man who is with his female lover. However, the lover Harry is talking to is not specified as a woman so these sexually charged lyrics are understood by his fans to be within the context of a gay relationship.

In a distinctively sadder tone, “If I Could Fly” showcases another side of queer love: the understanding that that relationship is often the only social space where LGBT people get to truly be themselves. While many are lucky to have LGBT spaces and friends, it is still not the case for everyone - especially those in the closet. When performed live, this song seems to be personal and even perhaps painful to him. He sings: “For your eyes only, I’ll show you my heart/For when you’re lonely and forget who you are/I’m missing half of me when we’re apart/Now you know me, for your eyes only/For your eyes only.” These verses seem to say that he is himself only when he is with his lover or that only his lover truly knows him. Again, for his LGBT fans this song is undeniably about feelings and experiences that are unique to queer love within the context of our society. During his first tour as a solo artist, Harry performed this One Direction song in a separate B stage alongside one of his own love songs (the small stage was quickly nicknamed “the Boyfriend stage” by fans). During one of his London shows (linked above) the fans used their phones to form a pride flag across the arena. As he sang “I can feel your heart inside of mine”, his fans held a pride flag and sang back to him “I feel it/I feel it.” An incredibly powerful moment to us and to him (as you can see in the video).

In 2017, Harry started his solo career post One Direction. His first album cycle (including album release and tour) lasted until 2018 and it included over a million albums sold and 69 sold out concerts across the world. His career has been marked by his refusal to share anything substantial about his personal life outside of what is said in his songs. Harry talks through his actions and lyrics more than through any interview. Further, his solo career has also been marked by his fashion choices. He is the face of several Gucci fashion campaigns and the first gender neutral perfume. On tour, he was usually on a two piece suit with an extravagant pattern or in a creative variation of it like this prince outfit. But by far the most unique part of any Harry Styles concert is pride flags that flood the audience everywhere he goes. During every concert of his tour he grabbed some of the flags and ran around the stage. This movement to bring pride flags is a culmination of four years of efforts from his LGBT fans. During the One Direction tours a few brave fans brought pride flags, in a movement named Rainbow Direction, and were often met with hostility from other fans. It wasn’t until Harry started grabbing the flags and, in his fashion “saying without saying” that he supported and liked this trend, that the pride flags became accepted by the larger fandom.

Two of his solo songs deserve special attention for their importance for the queer fans. The first one is “Two Ghosts”. This song, like the ones mentioned before, is believed to be about Louis Tomlinson. The song was released as part of his 2017 album but was written in 2013. During that time, the Louis/Harry belief was first partially addressed when Harry and Louis, who were self declared best friends who lived together, completely stopped interacting with each other. This arrangement was in place until the last day of the band almost 3 years later. In a five person group, it was painfully obvious. “Two Ghosts” is believed to address this new public arrangement: “Sounds like something that I used to feel/But I can’t touch what I see/We’re not who we used to be/We’re not who we used to be/We’re just two ghosts standing in the place of you and me.” Styles then goes on to repeat “We’re not who we used to be” multiple times. Regardless of one’s belief on that relationship, when the song was released, Harry’s queer fans were stunned with how raw the song was. While being a celebrity in that situation is a mostly unrelatable problem, the feeling of not being able to express queer love freely is shared by many. In particular the lyric “I can’t touch what I see” shows a sadness and struggle that is known to many, if not all, queer people.

The second song is “Medicine”. This is Harry’s most openly queer song and also his most sexually charged. The second verse of the song boldly states that he is gonna treat his lover like a gentleman - a line that is hard to be interpreted in any other way but that his lover is a man. The song goes on to describe, by using the metaphor of taking medicine, the singer’s sexual desires with this person: “Here to take my medicine, take my medicine/Rest it on your fingertips/Up to your mouth, feeling it out/Feeling it out.” These lyrics are more explicitly sexual than any of his other songs. In a fan loved moment, Harry sings “I had a few, got drunk on you and now I’m wasted/And when I sleep I’m gonna dream of how you -” and the fans complete the (supposed) lyrics by screaming “tasted”. The song then comes to its most talked about verses: “The boys and the girls are in/I mess around with him/And I’m OK with it”. These verses exemplify what queer women love on Harry: in an unprecedented hint on his sexuality Harry is said in the same breath that he says is okay with it. Again, the reassurance that it is okay to feel this way. It is crucial to highlight an unsurprising detail about this song: it was never released as a track, he only performs it live. These lyrics, therefore, are not in the canon of what non fans know about him. Harry constantly seems to want to share his experiences in some contexts but not others - a feeling entirely too familiar to his queer fans.

During his concerts, Harry talks to the fans close to him from the stage and he seems to have talent (perhaps a radar) for choosing gay fans. This video contain most of the moments mentioned here. He helped multiple fans come out during the concert, he helped a girl find a girlfriend and even said that “everyone is a little bit gay”. His connection with his lesbian and bisexual fans is evident to anyone who follows him. In a very tangible way, this connection was not supposed to exist. Harry was, and still partially is, marketed as a sex symbol who girls are supposed to want to sleep with. His fanbase is supposed to be straight women that daydream about having a chance to date him. Of course, this is an incredibly sexist and condescending way to treat women and Harry has never been okay with this framework. Considering his silence on most topics, he has been loud and clear about his respect towards women and his love for his mostly young female fanbase: “Who’s to say that young girls who like pop music – short for popular, right? – have worse musical taste than a 30-year-old hipster guy? That’s not up to you to say. Music is something that’s always changing. There’s no goal posts. Young girls like the Beatles. You gonna tell me they’re not serious? How can you say young girls don’t get it? They’re our future. Our future doctors, lawyers, mothers, presidents, they kind of keep the world going. Teenage-girl fans – they don’t lie. If they like you, they’re there. They don’t act ‘too cool.’ They like you, and they tell you. Which is sick.“ And this sentiment, if his on stage interactions are anything to go by, seem to be even more clear about his gay fans. It is not to say that every straight fan wants to sleep with him or that he loves them any less. But there is a clear understanding by him that there is something special about the LGBT fans that, despite a marketing that was not meant to appeal to gay women, stood by him for now almost a decade. Show after show he has made it abundantly clear that this relationship is just as important and sacred to him as it is to us.

#oh what a well timed asked that was not sent by me at all cause I wanted to publish it as an ask incredible coincidence.#harry essay #also like if you disagree w stuff #it's all fine #this is not a gospel #asjhdjkashd #it's a school assignment #Anonymous

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coldflasher · 5 years ago

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Femslash Week Day 7 - Unexpected/alternate meeting

Pairing: Nora West-Allen/Jesse Wells

Rating: Teen (Fade-to-black sex scene)

TW: mentions of sex

Read on AO3: https://archiveofourown.org/works/23066806

Can’t Outrun Love by coldflasher

“Maybe you should introduce yourself,” said Nora as they circled one another.

“You first,” the other speedster said.

“They call me XS,” said Nora, and went for a super-speed roundhouse kick.

Her form was perfect, and the speed-force sang in her system as she swung – but the stranger caught her ankle before the kick could connect, holding Nora’s outstretched leg in place. Shocked by her audacity, Nora stared and tried to pull her leg free, but the other woman had a surprisingly strong grip.

“Nice to meet you, XS,” the woman said. “I’m Jesse Quick.”

An unfamiliar speedster shows up at S.T.A.R Labs, and Nora’s keen to prove she can take her down. When it comes to Jesse Quick, she might’ve got more than she bargained for.

Nora was playing on a Gameboy in the staff lounge when the alarm went off.

Her mom had brought it to her earlier in the afternoon. It was a slow day with no bad guys or rogue metas on the loose, and Nora was bored, doing endless laps of the speed-lab just to kill time. Her dad was at the CCPD catching up on paperwork; after one too many attempts to explain how archaic the precinct’s systems were compared to how they were in the future, which had culminated in her trying to give her dad’s computer an upgrade and almost blowing it up, Nora had been banned from ‘helping’ for the foreseeable future. So not shway.

“Whoa, easy tiger,” Iris had called as she entered the lab. “You wanna slow down for a sec?”

“I’m bored,” Nora whined as she skidded to a stop in front of her, making her mom’s hair fly crazily like she was caught in a gale. “What on earth is it you do around here when there’s no bad guys to fight?”

“It’s called working,” Iris said mildly. “It’s how we keep a roof over your head.” But she didn’t look mad. “Come on,” she said. “I have something to show you.”

An offer like this usually meant good things, so Nora eagerly bounced over to the desk and perched on it, swinging her legs. She knew it was kind of lame to get so excited over looking at old photo albums and flicking through her parents’ yearbook, but there was so much stuff in those things that hadn’t made it to the Flash museum. After years of family history being walled off, a little thing like a photo of her dad hanging out in the cortex in the Flash suit still hadn’t lost its novelty.

What Iris produced, though, wasn’t a photo or a piece of high school memorabilia. It was a weird plastic square. Nora took it and turned it back and forth, before discovering that it opened up to reveal a tiny screen.

“It’s called a Gameboy,” Iris told her. “One of the OG handheld games consoles. It belonged to your dad. We used to fight to the death over this when we were kids.”

“Shway,” Nora breathed, pressing buttons until the screen lit up, bathing her face in light. “It’s so old. It’s like something from the stone age.”

“Ouch,” said Iris, but she was grinning.

“Sorry,” said Nora. “But you have to admit the graphics are terrible.” She looked down at the shapeless blob of pixels that was supposed to be her avatar and shook her head in amazement.

“Oh, for sure. Even in 2019 it’s a little dated. Still fun, though. It might give you something to do around here; you don’t want to tire yourself out by running around all day. If there’s an emergency, you might need your speed.” Iris nudged her. “And between you and me, if you can beat your dad’s high score then you have to promise me you’ll rub it in his face. I never managed to beat him and he’s never let me forget it.”

“Challenge accepted,” said Nora, already mashing buttons.

She was lying on her back on one of the sofas in the lounge, trying to manoeuvre the little Mario-blob across a maze of green pipes, when the familiar sound of alarms made her jump out of her skin. Immediately forgetting the console, she sat bolt upright and put her finger to her ear to activate the comms unit. Wearing it 24/7 was overkill, she knew that – but it made her feel close to the rest of the team, hearing their voices in her ear whenever she needed them.

“Guys, what’s happening?”

“We’ve got some unexpected activity in the breach room,” said Cisco. “But –”

“I’m on it,” said Nora, sprinting downstairs.

She flew through the corridors, stopping for just long enough to grab her suit and throw it on – no bad guys were catching her unmasked – before skidding into the room where the breach pulsed and flickered in the centre, its blue going brighter.

“Okay guys, what am I looking at?”

There was a crackle in the comms, but nothing clear. Frowning, Nora tapped her earpiece, but there was only static.

“Guys?”

The breach yawned like the maw of a gigantic beast. Nora threw her arm up to protect her face, and then a figure leapt out of the maelstrom and landed lightly in the centre of the room. It was a young woman around her age, wearing a red and yellow suit with a mask over her eyes. Her hair was pulled back in a ponytail.

Nora didn’t waste a second. When it came to masked intruders, her policy was ‘punch first, ask questions later’ – and with that in mind, she launched herself at the stranger, lightning crackling all over her body as she drew her arm back in preparation to punch.

When she tapped into the speed force, Nora was used to everything around her moving as slow as glass, their motions almost imperceptible. She wasn’t expecting the woman to turn her head and look at her at a perfectly normal speed, like Nora was an interesting specimen under a microscope.

The stranger’s hand came up, catching Nora’s fist in hers and stopping it mid-swing.

Frozen with shock, Nora stared at her. Her lightning flared, and an answering yellow blaze illuminated the other speedster, crackling in her eyes.

“Who are you?” Nora demanded.

“I could ask you the same question,” the speedster said, and swung a punch with her free hand.

Nora intercepted it in time, but only just. They broke apart and she backed off to a safe distance, wary all of a sudden. She’d never fought another speedster before, though she’d known it was a possibility – there were so many of them. Casting her mind back, she tried to remember what her dad had told her about battling someone whose abilities matched hers. Without her natural advantage, it would be like fighting with a hand tied behind her back, and although she’d taken her turn with a punch-bag and taken some self-defence classes gifted to her by Papa Joe on one long-ago birthday, she wasn’t awesome at fighting. Her speed was what gave her an edge.

“I’m surprised to see another speedster around here,” the stranger said, circling Nora with a toss of her head that made her pony-tail fly. “Guess I shouldn’t be. It seems like there’s a new one every year.”

“Bad news for you,” Nora said. “That means we know how to beat them.”

A grin broke out on the other speedster’s face. “Well, you’re welcome to try.”

That smile did distracting things to her, and she didn’t like it. Now would be a really awesome time to turn off the switch. Knowing her family history of flirting with villains – her mom still liked to tease her dad about his crush on Captain Cold, which he denied with a blush – she supposed it made sense that she’d be attracted to overconfidence and evilness in equal measure, but right now she needed to focus.

She flew at the other speedster and tried to jab her in the ribs. The other woman dodged and aimed a punch to the face that Nora ducked. Crap, she’s fast. As soon as the thought had occurred to her, Nora rolled her eyes at herself. Duh.

They exchanged a flurry of blows, most of which didn’t land. They were pretty evenly matched, which did good things for her ego. Her plan was to wrap the woman’s pretty brown hair around her fist and yank, knowing that her own shorter hair protected her from a similar attack – that was half of why she’d cut it off – but she couldn’t get close enough to get a good grip.

They both backed off, sizing each other up again. Nora found that despite her instincts, she was enjoying herself more than she’d like to admit – and judging by the way the look on the other woman’s face, she wasn’t the only one.

“Maybe you should introduce yourself,” said Nora as they circled one another.

“You first.”

“They call me XS,” said Nora, and went for a super-speed roundhouse kick.

“Nice to meet you, XS,” the woman said. “I’m Jesse Quick.” And she yanked Nora off her feet.

Nora went down hard with a yelp of shock, landing on her ass. For a moment she lay there staring at the ceiling with the breath knocked out of her, trying to figure out what the hell had just happened. Then a face appeared overhead. Jesse Quick was standing over her with a self-satisfied expression.

Nora was going to wipe that smug look off her face. Lightning crackling, she prepared to launch herself at Jesse –

“Nora, stop!”

Barry leapt between them, arms outspread as if to hold them back from one another. Nora’s heart crashed into her ribcage. He wasn’t wearing the Flash suit.

“Dad, your mask –”

“I’m sorry, did you just say Dad?” Jesse demanded.

“Stand down,” Barry told Nora. “We know her, okay?”

“We do?” said Nora.

Slowly, she picked herself up off the floor. She was sore from the beatdown in more ways than one. With her dad still standing between them, she took a second to get a proper look at Jesse Quick in her red and yellow suit – form-fitted, as all their suits were, for better aerodynamics. Compact, but softer than all the male speedsters Nora had encountered, a body more like her own. Still lithe from all the running, but with curved edges.

Removing her mask, Jesse looked at her with bright, interested eyes. Nora’s stomach gave a lurch. Uh-oh, said a voice in the back of her head. Jesse was cute.

“You’ve got some explaining to do,” Jesse said, eyes fixed on Barry.

“Yep,” he said, lowering his hands. “It looks like I do.”

The explaining took time. Understandably. It wasn’t exactly a normal situation. She hadn’t really considered what a weird story it was until she’d listened to her dad trying to explain it, with Iris cutting in at regular intervals whenever he left out anything important – but given that she already knew all the details, she wasn’t really listening. There was something a lot more interesting that had caught her attention.

Nora found her gaze kept wandering back to Jesse. The curve of her spine as she leaned against the desk, the way the light caught her hair as she tucked it behind her ear, the sparkle in her eye. It was the first time she’d gotten close to another speedster who wasn’t family, and she was trying to commit all of her to memory, like a fascinating science project or a new Flash story she hadn’t heard.

Jesse looked up and caught her staring. Feeling her cheeks warm, Nora gave her a sheepish smile before looking down at her feet. Jesse’s look lingered, and when Nora looked up again the other woman was still watching her. Seeing she had Nora’s attention, Jesse looked up and down Nora’s body in a clear once-over before her lips curved and she looked away again, returning her attention to whatever Barry was talking about. Nora turned her head and hid her smile in the collar of her jacket.

She’d thought she was being subtle, but apparently not so much. Iris caught her eye and raised her eyebrows encouragingly. Nora shook her head and looked away, but Iris coughed and flicked her eyes at Jesse again. Her meaning was clear: talk to her!

Nora rolled her eyes. Mom!

Iris gave her another look.

If she didn’t do something soon, there was a real danger that her mom might try and do it for her. The only thing more embarrassing than her ridiculous crush was the idea of her parents trying to matchmake on her behalf, so Nora cleared her throat and took things into her own hands.

“So, Jesse… do you guys have Big Belly Burger on your Earth?” she asked casually.

“We sure do. It’s one of my main food groups.”

“Me too! Do you want to head down there and grab lunch? I’m really craving their fries.”

“Sounds awesome,” Jesse said.

“Great idea, I’m starving,” said Barry.

“Uh,” said Nora.

“Babe,” Iris said.

“What?”

“I think Nora and Jesse need a little girl time.”

“Girl time?”

She gave him a meaningful look that slid off him like water off a duck’s back. For a few seconds they stood having one of their wordless conversations, Iris raising her eyebrows progressively higher while Barry continued to look bewildered. Eventually, Iris nodded at Nora and then at Jesse and gave Barry her most meaningful look yet, and finally things clicked.

“Oh,” he said. “Right. Girl time. Got it. I mean, we wouldn’t wanna cramp your style or whatever…”

He gave actual finger guns, and for the first time in her life, Nora experienced what it was like to be embarrassed by her father. She resisted the urge to hide her face.

“Did you just say ‘cramp our style?’” Jesse said incredulously.

“He’s trying to do the Dad thing,” Iris said, patting him on the shoulder. “I’ll get him out of your hair.”

Ignoring Barry’s protests, she steered him out of the cortex, giving Nora a wink on the way out.

“Well that was super weird,” Jesse said.

“Yeah,” Nora said, putting her hands in her pockets. “I should probably mention that I’m sorry for trying to kick your ass and all. I kind of thought you were evil, so…”

Jesse shrugged. “That’s okay. Better to be cautious, right? And for what it’s worth, I’m sorry for actually kicking your ass.”

“You caught me off-guard,” Nora acknowledged. “But I could totally take you.”

“That’s fighting talk.”

“You bet it is.” She paused and ruefully massaged her shoulder. “But we might have to take a rain check on the rematch. I’m still a little sore from the first round.”

“Aww,” Jesse said playfully. “You want me to kiss it better?”

Fireworks went off in Nora’s head. YES! Her gay brain yelled – but common sense quickly reined it in. There was a pretty good chance Barry and Iris might still be lurking around the corner listening in and the last thing she needed was for her parents to catch her making out with a sexy speedster lady in the middle of the cortex.

“Maybe later,” she said.

“I’ll hold you to it.” Jesse rolled her neck. “Come on; it’s Big Belly Burger time. I’ll race you.

Without warning, she rocketed down the corridor like a bullet from a starting pistol, leaving the air tingling with static and the afterimage of lightning flickering in her wake.

“Hey!” yelled Nora as she flew after her.

It wasn’t like she wasn’t used to running with other speedsters by now, but she’d known for a while now that her dad was going easy on her. It made sense that he’d be faster; he’d been running longer, training harder, had years of experience she didn’t – but they both pretended she was almost a match. Jesse Quick, however, had no qualms about showing her just how outclassed she was. It was refreshing to run with someone who wasn’t scared to show they were out of her league.

Jesse turned to glance over her shoulder and stuck out her tongue. Laughing, she piled on the speed and left Nora in the dust.

Grinning, Nora pushed herself harder. There was no way she was catching up, but she was damned if she wasn’t going to try.

Big Belly Burger was a good call. It was cheerful enough that she could pretend they weren’t on a kind-of-date, loud and bustling and full of chatter so that her heart stopped buzzing speedster-style and her stomach actually stopped doing backflips for long enough to let her eat. Jesse ate her fries one at a time, waving each one around as she talked like she was conducting a miniature orchestra and dipping it in her milkshake before she ate it. Nora, who had been ridiculed her whole life for thinking fries and vanilla shake was a good combination, was kind of obsessed with her. There was this energy she gave off, a kind of effortless confidence that Nora felt like she’d spent her whole life chasing. After discovering her speed she’d unlocked a side of herself she’d never known was there, but she felt as though it had come with an extra helping of uncertainty. All of a sudden she had become unknowable, with a new set of abilities she barely knew what to do with and, until recently, a mentor who could only teach her by proxy from within the walls of a cell. She felt like a teenager again, trying to figure out everything all at once – her speed, her weird new family dynamic, her relationship with the father she’d never known who was only a few years older than she was. Jesse looked like she had it all figured out, and Nora found herself once again with the quandary all queer girls faced: did she want to be Jesse, or be with Jesse?

Both, her brain supplied helpfully. Both is good.

“So you were born a speedster? Not made?” Jesse shook her head. “That’s so crazy. I can’t imagine growing up like this. You must have been a real handful.” She dipped a fry in her milkshake. “You must have had all these years to develop your speed. Look at what your dad’s like and he’s only been like this for what, five years? I can’t even imagine what kind of crazy shit you can do.”

“I wasn’t born with speed, actually,” Nora said shyly. “I mean I was, kind of – but I couldn’t access it. I didn’t know I was a speedster until recently. I’m still getting used to my powers.”

“That makes sense. It’s a pretty big adjustment.”

“That’s an understatement. …You’ve been doing this for a while, right?”

“Couple of years.” Jesse stirred her milkshake a couple of times before popping the lid off and drinking the last of it, her head tipped back.

“Do you ever get used to it?”

Jesse considered this for a moment. “Kind of. I mean you get used to being fast; your speed becomes a part of you, so it’s hard not to – I think you just get used to things being weird. When I think about it too hard, nothing in my life makes sense. I mean, look at me. I’m sat eating Big Belly Burger in a parallel universe. We don’t even have this milkshake flavour on my Earth – which is an absolute tragedy, because it’s amazing.” She shook her head at the polystyrene cup. “I spent months living in a different universe. After a while it became my new normal – but I still missed home.”

“Yeah,” Nora said. “I get that. I’m from the future and everything here is so different. I love being with my parents – meeting my dad, finally having a good relationship with my mom… when I’m from, we don’t get on so well.” She sighed. “But I do miss home sometimes. I think the worst part is that I can’t talk about it. If I ever try to talk about the place I’m from, everyone around me covers their ears in case it screws up the timeline or whatever.”

“You can talk to me,” Jesse offered. When Nora looked dubious, she said, “Not my Earth, not my future, remember? I won’t tell the fam. No spoilers.”

Nora’s instinct was to decline. But she wanted to talk about it, she realised – the life she’d met behind. The mom who was a stranger compared to the one she had now; the technology she’d taken for granted until she lost it; the museum she’d walked through as a kid and later learned was filled with family history; her college experience and her childhood friends and Lia, who she still missed in a part of her heart that had crystallized, turned sharp and jagged as a geode because she wasn’t allowed to talk about her any more.

“Yeah,” she said. “I’d like that.”

The Big Belly Burger employees had to kick them out at closing time.

As two speedsters, they could both put away crazy amounts of food, so it wasn’t like they hadn’t eaten enough to justify the length of their stay – but Nora was still shocked when she realised the restaurant was empty and the staff were starting to mop the floors. The hours had melted away while she and Jesse sat talking, and night had fallen outside.

Jesse had a lot of stories about Barry and as usual Nora drank them in like she’d finally found an oasis in the middle of a dessert, even the ones she’d already heard – the fresh perspective made them new again, like brushing the dust off old heirlooms and finding the shine underneath. But they’d also talked about where they were from, their lives before the speed, setting the universe to rights. A few hours in, Nora had been hit with a realisation: Jesse got it. She hadn’t realised how desperate she was for someone to understand until she’d found someone who did.

“That was fun,” Jesse said as they reached Joe’s front door. Nora was staying with Papa Joe and Mama Cecile to save her back from the sofas in the staff lounge – they were great for napping on, but not so much for long-term sleeping arrangements.

“Yeah, it was,” Nora agreed.

They stood lingering on the doorstep, the knowledge of what was about to happen making the air tingle between them.

“So,” Jesse said, stepping closer and lowering her voice. She laced her fingers with Nora’s and her thumb danced lightly over Nora’s knuckles, the touch setting her skin on fire all the way up her arm. “I think I owe you a kiss.”

“Maybe more than one,” Nora said breathlessly. “You kicked my ass pretty hard.”

“I can work with that,” said Jesse, and she leaned in.

There was a spark as their lips met, static flaring between them. Startled, they both leapt back. Jesse looked so surprised that Nora couldn’t help giggling – and to her relief, Jesse started laughing along with her. Her hand cupped the back of Nora’s neck as she leaned in and kissed her, and Nora reached up to slip her fingers into Jesse’s hair.

They swayed on the doorstep, the kiss never breaking. There was a bump as Nora’s back pressed into the front door, but she barely felt it. All she was aware of was the warmth of Jesse’s body aligned perfectly with hers, her thigh slotted between Nora’s legs. The kiss had started off gentle but before long it became more urgent, and when they finally broke apart with bright eyes, they were both breathless.

“You’re sure you don’t want to come inside?” Nora asked.

“Well,” said Jesse. “If you’re offering.”

Grinning, Nora took her hand and pulled her forwards, and they both phased through the front door and flitted up the stairs silent as ghosts.

The bedroom door closed behind them and they stood in the middle of Nora’s borrowed bedroom, kissing over and over. When Jesse pulled her shirt over her head and it hit the floor, Nora stood and stared for a solid thirty seconds. She was wearing a white bra covered in purple flowers, with a small diamante nestling between her breasts and lacy straps pressed against her shoulders. The colour of the flowers stood out against her creamy skin.

“Is everything okay?” Jesse asked, uncertain for the first time.

“This is probably kind of weird,” said Nora, “but first of all, I love your bra, and just so you’re aware, my underwear is nowhere near as cute as yours.”

“Well,” Jesse said. “Good thing I’ll be taking it off.” Then she pushed Nora back onto the bed.

A little squeak of surprise left Nora’s mouth as she hit the mattress, but Jesse was already on top of her, straddling her as she kissed her, the silk of her underwear soft against Nora’s fingers as she ran her hands down Jesse’s spine and then settled on her waist.

“Have you ever slept with a speedster before?” she asked.

Nora shook her head.

Jesse gave one of those grins Nora was coming to like so much. “Well then,” she said. “This is going to blow your mind.”

There was something soft, warm and heavy pressed against her.

Sleepily, Nora stirred. Her eyes slowly blinked open. The first thing she saw was light brown hair on the pillow beside her that absolutely wasn’t her own. Then she focused. Jesse was lying beside her, blue eyes fixed on hers.

“Morning, sleepy head.”

“Good morning,” Nora said, stretching slightly.

They were quiet for a while, each of them admiring the view. Jesse’s fingertips danced down Nora’s arm, and Nora smiled shyly, ducking her head as a blush touched her cheeks.

“You were right,” she said.

“I graduated high school at fifteen and majored in five separate subjects in college, so I usually am,” said Jesse. “Right about what?”

Nora grinned. “It did blow my mind.”

Laughing, Jesse pulled her in for another kiss, morning breath forgotten.

They were very busily making out when there was a brief knock and the bedroom door immediately opened, with Joe standing in the doorway.

“Hey, Nora, Cecile and I were wondering if you –”

He stopped dead. Everyone in the room had frozen. Painstakingly slowly, as if dealing with an animal who would attack if there were any sudden movements, Nora pulled the duvet higher.

“I can explain,” she said.

“You know what?” said Joe. “I’d actually prefer that you didn’t. I’m going to go back downstairs and whenever you two are ready you can come down and we’ll all pretend this never happened.” Pausing, he said, “Uh. Nice to see you again, Jesse.” Then he backed out.

There was a momentary pause. Nora buried her face in her hands.

“So that happened,” said Jesse.

“Oh my God,” said Nora. “What is it about my family?”

“They’re pretty involved. I’d forgotten what that feels like. It’s kind of nice, actually.”

“Well if you stick around for a while, I’m sure you’ll get a chance to experience it a little more.”

She’d been aiming for casual, but Jesse saw right through her. Her smile was knowing. Embarrassed, Nora refused to look her in the eye.

“I can’t stay for too long,” she said. “I have a team back home, and I can’t leave my city undefended. But I’m sure a couple of extra days wouldn’t hurt.”

Unable to hide her delight, Nora said, “I mean, if you want. If it’s not too much trouble.”

“I’m starting to think you and trouble go hand in hand,” Jesse said, leaning in to kiss her. “But luckily for you, I kind of like it.”

#FSFFWeek20 #FSFFWeek20DaySeven #Day 7 #my fics

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queertazsecretsanta · 5 years ago

Text

A gift for @dork-empress, created by @all-made-of-stardust!

I am always down for some good wholesome Taakitz, and this was no exception. For best reading experience, listen to this song once Kravitz turns on the music ;) https://www.youtube.com/watch?v=sCabI3MdV9g

It was Candlenights eve, and everything was perfect.

Their whole family had already come and gone. Magnus with the dogs, Merle with his kids. Davenport had actually managed to schedule shore time to come say hi, hell, even Lucretia had popped in, if only to hug the people that would hug her, and in the end Taako didn’t mind so much. At least everyone else was happy. Angus had begged to stay the night but it was Magnus’ turn to host the kid.

Lup and Barry were the last ones to leave. Lup had been clingy ever since she got her body back, and Taako had to convince her that yes, Lup, we’ll see each other again, yes, Lup, you can come over for dinner, yeah sure, Lup, let’s do it tomorrow.

But for now, Lup had gone home with Barry, and it left Kravitz and Taako in a warm haze. Taako had magicked up a fire in the fireplace, and they were both sitting on the couch, Taako curled up against Kravitz’s chest, Kravitz with his hand wrapped around Taako’s shoulder. He was absentmindedly running his fingers through Taako’s hair, which by now had fallen out of its braid.

Skeletor, the gray tabby (the first one they had adopted), had wrapped himself under Taako’s hand. MewMew (named by Kravitz after a night of too many drinks), the black tuxedo, was walking along the top of the couch, and was nuzzling Kravitz’s face. And of course, Lup II (why not Taako II? - Because I’m the better twin! - Who decided that? - Uh, both of us? – Yeah, when we were five!), the calico, was busy purring loudly by the fire.

Jury was still out on whether they were adopting a fourth, a spectral skeletal cat. Barry’s vote was an enthusiastic yes, he would even provide the kitty himself, but Kravitz vetoed the idea of deliberately reanimating a cat just for the sake of keeping it as a pet. Taako thought it might be too confusing, given the fact that they’d already called the first one Skeletor. Lup thought she could name it Skeletor II, and had smirked at Taako.

Taako was half into meditation, enjoying the feeling of Kravitz’s rejuvenated heart beat against his, when Kravitz stirred slightly.

“Taako, how much music have I shared with you?”

Taako hummed a tune he thought he’d hear Kravitz sing before, and Kravitz laughed.

“That sounds more like what Lup might listen to.”

Taako yawned.

“Then I don’t know. Why, you wanna share some with me now?”

“I’ve had one stuck in my head all day. Could I share it with you?”

Taako stretched and sat up, frightening Skeletor into leaping off the couch. Kravitz stood up as Taako rubbed his eyes.

“I’m sure it will sound amazing, Krav.”

He loved everything about Kravitz. He really did. But from what he’d heard, his taste in music was...boring. There was only so many times Taako could listen to a cello play a harmony. He remembered listening to Lup and Barry’s Legato performance, and smiled. As much as he loved listening to the culmination of his sister’s true love, he could have done with more...pizzazz.

Kravitz fiddled with Fantasy Spotify, selecting a song.

“It’s a Candlenights one!” he said excitedly.

“Mmhmm.”

The music started, and Kravitz sat back on the couch.

A singular cello started playing an old Candlenights tune that Taako was familiar with. An old carol, with sad notes. Taako hummed along as the cello continued. As it reached a lower note it sustained it, drawing it out into silence. Taako saw Kravitz sit forward in anticipation.

“Well, it was pretty. But what is - ”

Drums. A guitar. A heavy triple beat, accentuated by large bells ringing loudly in the background. Taako felt his heart leap a little at the turn, and was suddenly very interested.

Violins, overlapping and louder and more forceful than he’d ever heard them, screamed out another familiar melody, but instead of it being soft and serene it felt powerful, with purpose.

Kravitz was grinning. He was tapping his foot in time with the beat, and when the piano cut in, pounding down the notes in a jarring chord, Kravitz playfully mimed the movements along with it. Taako found himself laughing.

The music faded out briefly, still keeping its foreboding tone, as a piano lightly tapped out the beginning melody. Kravitz stood, and took Taako’s hand.

“Shall we dance?” he chuckled, sweeping Taako into a waltz, but it wasn’t slow and romantic, it was fast and active and almost terrifying. Kravitz whirled Taako around the room, the cats darting away from them. Lup II had already leapt from her spot by the fire and was now staring at the two in wonder as they spun and danced and twirled as the music got louder, the guitar more intense, ripping out the chords like it was the end of the world.

It grew into a crescendo, the violins going crazy, and Taako laughed as they gave up on the waltz and simply danced, jumping up and down, Kravitz beaming ear to ear. The song ended on a long drawn out chord, triumphant and joyous, and Taako started giggling as Kravitz brought him back down to the couch. Skeletor hopped up again, confused as to why the two were laughing so much.

Taako managed to take a breath and kissed Kravitz, before falling on top of him again, his heart still pounding from the song.

“Alright, I admit it. That was pretty badass.”

“They have a whole album...” Kravitz teased, and Taako shot up.

“A whole trove of classical songs that don’t put me to sleep?”

Kravitz nodded, and Taako grabbed his hand.

“We’re doing nothing else tonight but listening to this.”

Kravitz smiled, and selected the songs. Around them, the cats rolled in, almost as if they wanted to join in on the dancing too.

#dork-empress #all-made-of-stardust #queercandlenights #taz #the adventure zone #taako #kravitz #taakitz #fic

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