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srorgana1 · 8 months

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Honoring the Past

Rock Star Kylo Ren/Reader

Warnings: physical and mental abuse of a child, alcoholism, mentions of homophobia, and lots of complex emotions

Huge thanks to my amazing friend and Beta @mrs-zimmerman ❤️

A cackle of laughter hits Kylo’s ears as he enters D’Kar Studios. He smirks, settling his helmet on his hip as he sees Taylor "Trax" Johnson, DeeDee and the front desk clerk Amelia laughing jovially at something on Trax’s phone. It still amazes him how different it is here compared to First Order Records. He remembers how stuffy and by the book it was. There was no joy, no smiles, just cut-throat business practices and the music that fueled in. He thanks the deities above for letting him finally see the light and detach himself from that toxic black hole of a company.

DeeDee turns to him, a wide smile spreading across her face. “Hey Kylo” she says through giggles “you all are set up in Room #3 today.” He nods at them, and heads down the hallway. He turns left at the intersection and takes in the various awards and accolades adorning the walls. He sees their platinum award proudly displayed under a shadow box along with a vinyl sized picture of the front of the Trials and Errors album. It broke records in sales and downloads and won them multiple awards. It showed the industry that success could be done differently.

He scans the walls at the other awards from other artists proudly displayed alongside. It didn’t matter here if you were fresh off YouTube or one of the biggest names in the scene, you were treated equally with respect and kindness. You were part of the D’Kar family. Kylo can attest it’s a great fucking place to be.

He sees the record light lit above Room #3. Looking through the window his brows crinkle slightly in confusion. He was used to seeing you at the soundboard with your custom sparkly blue Bose headphones on. But no, you are in the studio room alongside D’Kar’s videographer Vincent recording Vic on your phone. Why is the record light on then if you're both in there? His hand squeezes the doorknob and twists, entering silently.

A wave of nostalgia hits him as the haunting melody of Good Riddance (Time of Your Life) floats on the cool air-conditioned air. His head snaps to the large window as Vic hits the strings of his acoustic guitar, transitioning into the well-known chorus.

It’s something unpredictable

But in the end, it’s right

I hope you had the time of your life

Kylo sets down his motorcycle helmet on the soundboard and leans on his hands, losing himself in a memory…

He is twelve years old, walking down the sun baked sidewalk. His worn and dirty Converse slap the concrete below, a size too small for his rapidly growing feet. The strap from his heavy book bag digs into his shoulder. He looks at the watch on his wrist. The cracked electronic screen blinking up the time. He cannot go home yet. His dad is still there.

The healing burns on his shoulder flares upon thinking about it. He shifts his bookbag away from them, hiding a wince. He got off easy this time and he knows it. He was dumb and thought he wouldn’t notice. He was wrong.

The sad thing is that it’s something he learned a long time ago through multiple bouts of blood, tears and broken bones. You cannot rely on or put your trust in others. It’s the only way for you not to get hurt.

So he continues on with no real destination. He could’ve stayed at school but it would have just raised more questions. He hated when they tried to pry. Just as much as the looks he got from the other kids, whispering snide comments on his height or his hair or his ratty clothes. He knew they would never truly understand. So he held it all in and walked, hoping someone or something would give him a sign that things would get better.

He stops under a shop awning to get a reprieve from the hot Arizona sun. He leans on the bricks, wiping his sweaty black hair out of his eyes. He watches the busy street, the cars and people heading here and there. The various shops bouldering the open air flea market across the street are buzzing with people. Maybe he could sneak in and grab a sandwich again. The nice lady who runs the arepas stand may turn a blind eye like she has before. His mind made up, he takes a step towards the flea market to be stopped in his tracks by the unique sound of music hitting his ears.

For some unknown reason, he turns and heads towards the music. It invades his senses, calling his soul forward. His dad never played music at home, only hateful talk radio. Said it reminded him of his good for nothing bitch of a mother. To be honest, Kylo doesn’t really remember her. She left when he was little. He totally gets why she left though. He just wishes she brought him with her. Anywhere had to be better than here.

He comes to a dingy little shop squished between the payday loan place and the barber shop. How has he missed it before when he has walked most of the streets on this side of town? Regardless, the music rings out the open door like a siren call. Kylo’s feet lead him closer. A small sign hangs overhead matching the peeling paint on the bay window. Corellia Records. The song changes to a more soulful tune, but still with as much power as the one before.

He stands at the threshold looking in cautiously. The space is small and dimly lit. Rickety shelves line the walls full of albums and other what he assumes is musical equipment. The back wall behind the glass counter has multiple instruments hanging. A portly greasy looking man in a stained gray t-shirt and an ill fitting fedora is standing by one of the tables, shuffling through a box while grumbling to himself.

Kylo shuffles in slowly, taking in more of the shop. The song ends as the man looks up at him. “What you need kid?” he says gruffly. Kylo immediately freezes and looks at his shoes, already able to feel this man’s agitation. “Um” he starts, suddenly wishing he had not entered. “Hey kid, it’s okay. What do you need?” the voice comes again. He can smell the man’s musty body odor as he takes a step towards him. He reactively flinches, pulling his book bag closer to himself.

He continues to stare at his shoes as the man sighs and shifts away from him, groaning as he sits on the stool behind the counter. It squeaks loudly under his weight. “You like music kid?” he asks, switching out the record on the record player and pulling a bag of Cheetos Puffs from below. The man opens the bag and shakes it towards him. The classic smell hits Kylo’s nose, making his mouth water almost instantly. “I can tell your hungry kid. Come and have some” he gruffs.

He eyes the man as he slowly walks up, placing his book bag on the floor and hopping up on the adjunct stool. The music is louder over here and seems to flow through him. He shuts his eyes as his body reacts to the emotion of the music. “You like Soundgarden kid? I feel this album is one of their best” the man says, placing the ripped open bag on the counter. Kylo grabs a couple and stuffs them in his mouth, moaning at the delicious taste of orange artificial cheese.

He takes a couple more before answering. “No, I don’t know who that is. I just, i don’t know… i just like it” he says in a small voice. The man hums to himself, taking a Cheeto for himself. “I feel ya there. Music has always spoken to me as well. Led me to some awesome places. Made me believe in the better of people.” Kylo looks up at him, strangely feeling a connection to this man. “I can tell by your eyes kid, you’re the same. My name’s Raf, what’s yours?”

Kylo sighs, rubbing a hand down his face. He doesn’t notice you, Vic and Vincent watching him with concerned eyes. He’s too lost in his memories.

Raf became the pseudo-father figure Kylo needed. So much more than his drunk of a father could ever dream of being. He offered Kylo a job at the shop, saying he couldn’t pay him much but it was there if he wanted it. Kylo took him on his offer instantly. From only a couple of interactions, he found out that Raf had once been in a band, playing guitar and bass. Left the band years ago over creative differences and used the royalties to open the shop. He always said he felt he was meant to give back and help inspire the next generation.

He taught Kylo how to appreciate the classics. The Beatles, Lynyrd Skynyrd, Patsy Cline, Queen, Chuck Berry, The Stones, The Eagles, ACDC, Led Zeppelin, Kiss, Tom Petty, The Cure, Stevie Ray Vaughan, Leadbelly. Showed him how musical influences never really change, they just meld and flow into the next generation. Just like the notes on the wind.

They figured out a schedule, with Kylo working the four days his father worked the late shift. He would race there after school, working the counter and unpacking boxes as Raf quizzed him on music history. He then started teaching Kylo how to play keyboard and then eventually guitar, saying learning both would instill the notes in faster. He was gruff but fair in his style of teaching but never cruel, allowing Kylo to make the necessary mistakes without judgment.

As the years went on, his home life got worse. There were multiple times he would come in battered and bruised. Raf would fix him up and then would let him stay in the back, popping open a cold Jarritos for him. He would give him a pained look before leaving Kylo to the boxes.

At fourteen, Raf recommended Kylo to play at the local Cantina’s open mic night. Said it would be good for him to try it out and to test out his skills in front of others. Kylo will never forget that night for as long as he lived. He stood backstage at Los Nopales, his body wracked with nerves. He remembers shaking and his sweaty hand almost staining the wooden neck of his borrowed guitar.

His name was called followed by some random applause. He took a shuddering breath and walked out under the spotlight, sitting on the stool and attempting to fix the microphone to his height. It squeaked and slid all the way down, hitting the guitar with a thud. A couple people laughed and shook their heads. He fixed it quickly, his cheeks burning hot. He looked up and saw Raf by the bar, his rotund self settled on a bar stool. He nodded at him with kind eyes, silently saying you can do this.

He nodded back and focused on the feeling of the guitar in his hands. The sound of bottles clicking and the low murmur from the crowd. It’s oddly centering. He shuts his eyes and lets himself be enveloped by the energy. He strummed the opening chords, letting himself get lost in the notes. Letting the music carry him away. His rendition of Wanted Dead or Alive by Bon Jovi brought the crowd to their feet. He left the stage with a smile on his face and his heart full to see Raf’s face full of pride among the others.

He played there off and on, often on weekends. He would sneak out after his Dad passed out or left for the bar, hopping on the bicycle Raf gave him. Raf was almost always there when he performed, a glass of cold beer in front of him and a big grin on his face. It was something that struck Kylo to the core. How good it felt to have someone believe in him.

But life decided to remind Kylo of his reality. One weekend afternoon when Kylo thought his old man was out cold, he left and headed to the shop. The hot dry air hit his face as he petaled down the street, excited for his shift.

He recently had gotten into a couple newer bands: Foo Fighters, Green Day and Linkin Park. Raf had laughed and rolled his eyes when he caught Kylo rocking out in the back to them, saying how much he could hear Depeche Mode and Rage against the Machine in their sounds. Regardless, he let Kylo order some along with some other bands and they were due to be delivered today.

Kylo parked his bike and chained it up, concerned with the yelling from inside the shop. The hairs on the back of his neck stood on end at the sound of a familiar voice. Please no, he prayed as he slowly walked out of the alley and to the front door. His heart sank in his chest to see his wreck of father cornering Raf by the counter, a threatening finger in his face. Raf stared down the irate man, his large face stoic. His eyes catch Kylo behind him, worry flashing in his dark brown irises.

“I knew you were coming here boy” his father snarled, turning from Raf to him. His feral anger emanated from him as he cracked his neck. “When I heard from Pedro that he saw you playing at the Cantina, I knew this is where you were sneaking off to you little shit” Kylo gulped and watched him in fear as he began to pace. It was a sign of bad things to come.

“C’mon man, he’s just a kid” Raf said, pushing himself off the counter. “DON’T TELL ME HOW TO RAISE MY BOY!” his father roars, knocking a box of vinyls to the floor. Kylo winced at the sound of them smashing to pieces. “You come here now” he snarled. Kylo took a breath, knowing he cannot get out of this. If he fights it’ll be ten times worse. He walked up to his father slowly, yelping when his hair was grabbed roughly. “You will never come back here” he voice getting louder “you will never play at that Cantina again and you will never see this fat fucking faggot ever again. Do you understand me!?”

As much as Kylo was scared, he couldn’t take his eyes off Raf. The pain in his eyes mirrored his. He suddenly knew why Raf had been so nice to him at the beginning. He had experienced this. He had his own abuser and was reliving it with Kylo.

It gave Kylo the strength to do what he needed to do. He pulled away, hissing through the pain of his hair being ripped out at the root. He shut his eyes and swung, colliding with his father’s jaw. A shot of pain shoots through his hand and up his arm. He groaned through ragged breaths, holding his arm to his chest. “Ky” a gruff voice said. The voice of his anchor through all this fucking bullshit.

He opened his eyes to see Raf’s eyes wet with tears and his father out cold on the floor. His arm throbbed hotly. “I’m calling the cops Ky, this needs to end” Raf said as he rounded the counter, heading for the back. It was then that Kylo noticed a silvery scar under the tattoo on Raf’s neck, so similar in shape and size to ones he had on his shoulder. “How’d you get out Raf?” Kylo grits out through the stabbing pain. “Music my boy, and I suggest you do the same,'' he responded softly. Kylo nodded as he watched Raf’s wide body disappear behind the wall.

The cops came quickly, escorting both Kylo and his father to the hospital. They set Kylo’s broken hand and arm and questioned him about what happened. He told them everything. They wrote down everything, giving him that pitied look. He hated it. They escorted him home so he could get his meager belongings and was thankfully sent to stay with Raf until the trial.

During that time he recommended Kylo to file for emancipation. He was plenty old enough to and met the qualifications with a job to support himself and had a place to stay. Why not, Raf had said, you’re more of a man now then your father ever was. It was a better option than getting sent to some shitty foster care setup until he aged out.

The courts took their time, but ultimately granted Kylo his emancipation and his father a prison sentence. He continued to play at open mics and work odd jobs along with the shop. He was happy for once. He was doing what he loved and had someone who believed in him.

The day after his sixteenth birthday, Raf told him of an opportunity of a lifetime. It was a job at Raf’s cousin’s restaurant in Los Angeles which came with a small studio apartment and a promise he could perform at every open mic night there. Raf knew it was Kylo’s dream to have his name in lights, to play his guitar for the masses. LA is where music and dreams are made and Kylo deserved to get his shot. He graciously accepted, crying into Raf’s shoulder. He helped Kylo prepare, all the while giving random snippets of advice and pointers on the music industry there.

On a hot April morning, Raf drove Kylo to the bus depot. They sat side by side on the bench until his bus was called. He told Kylo to wait a moment as he huffed and puffed back to his car. Kylo stood there confused with his small tattered duffle bag and second-hand suitcase. As Raf turned back, he saw a familiar leather case. He knew inside was Raf’s vintage Fender, the same one he learned to play on.

Kylo tried to decline but Raf refused to take no for an answer, saying it was his now and to make him proud with it. He hugged him and thanked him, promising he would do his fucking best. He hopped on the bus with teary eyes, and watched his guardian angel fade as the bus pulled away.

He never saw Raf again. He passed away two years later from heart failure. By that time Kylo was in deep working for First Order, working himself to the bone to show he was worthy. He only found out when he and the guys went for drinks at the old cantina he used to work at to celebrate their work on the StarKiller album.

Sergio, Raf’s nephew who was now the manager, let Kylo drink on the house after telling him the news. As much as the other guys tried to lift his spirits, he wallowed miserably in tequila and whiskey. Truly in mourning of his first true friend and mentor. The only one who knew the whole story at the time was Vic so he lifted a glass, toasting the man. Speaking the words Kylo held in his heart but couldn't put into words.

The memories fade as the weight of arms wrapped around his shoulders along with a pair of soft lips kissed his cheek. "Ky, baby what's wrong?" your soft voice says, full of concern. He shakes his head, finally feeling the wetness on his cheeks. "Just memories baby girl, don't worry about it" he says, turning in your arms and tucking his head in your shoulder. He feels your nails scratch at his scalp in an attempt to calm him. He knows you know the story. He told you everything. He takes a shuddering breath, attempting to compose himself.

"Kylo, I am so sorry man. I know how much that song means to you. We thought we would’ve been done by the time you got here…" Vic says coming up to them, his blue eyes full of emotion. Kylo looks up at him, giving him a warm smile through teary eyes. He knows Vic is telling the truth. He should’ve been more prepared than he was. It was known he was playing that song today, with it being one of the most requested songs on their social media poll. But like always, it hit him right in the heart and sucked him in.

"I know Vic" he says releasing you, wiping one of his red rimmed eyes with his hand. "It's on me, not you. But I can definitely say your performance was moving." Vic gives him a sad smile, finally taking a seat on the couch as you stand by his side. "How about we break for lunch and then you can do yours Ky. I can have Rae move up our order" you say, clicking a couple keys on the sound board.

His mind still swims with visions of the past: of Raf's happy tear filled eyes when he performed for the first time, of his gruff laugh and affinity for odd but comforting snacks, the last hug they shared at the bus depot. He looks over at his guitar sitting in its case next to Vincent on the couch. Obviously more worn but still the same. His only memento of the man who changed his life for the better.

"No, no I have to do this" he says, kissing the top of your head and turning to grab the guitar case. He sees you nod as you take a seat at the soundboard, your hands fidgeting with your headphones. "You want me to record it for you?” Vic asks, shaking his phone in his hand. Kylo nods as he heads into the studio. He hears Vic and Vincent follow him in. He looks over to see you blow him a kiss through the glass. He catches it and puts it on his chest with a soft smile.

He scans the studio room, deciding to sit on a tall metal stool that was discarded in the corner. He grabs it and moves it to the front of Vincent, setting himself atop it. He feels he’s right back in that dim music shop, learning his chords alongside Raf. He tunes his guitar, almost able to feel his spirit with him.

His fingers stop, his mind offering a silent thank you. He looks up and nods to you. He sees Vic and Vincent start recording as the record light goes on. "Hey all this is Kylo from the Knights of Ren, thanks for joining us for our newest segment of Classic Covers. I would like to thank each and every single one of you for your continued support of the band and we hope you like and subscribe to the channels below." He has to tell himself not to roll his eyes when Vic cracks a wry smile at him for once following the approved script.

"This next one is really special to me for a lot of reasons and I would like to dedicate it to Rafael Hernandez Corellia and his family. He meant more to me than I could ever express in words. So in memory of him, this is Fell on Black Days by Soundgarden." His calloused fingers hit the strings, starting into a song that lives in a part of his heart. His version is gritty and passionate, so much like Raf. He feels tears prick his eyes as reaches the end, barely noticing the growing group of people in the ajoining room. All amazed at the outpouring of emotion from him.

He strums the final notes, giving the camera a tearful smile and wave. Vic stops recording and immediately rushs over to give him a hug. He grunts as Vic’s body hits him, pushing the guitar into his gut. He ignores the discomfort and wraps an arm around him, holding his friend close.

A series of applause and cheers come through the speakers when they release. He looks up to see over half the staff and a couple other artists all giving him a standing ovation. You are standing in the middle with tears streaming down your face.

His eyes hold yours and can feel your love emanating from them. He can barely hear you whisper I love you over the crowd but it’s there. He lets the tears finally flow. He has honored Raf in the best way he knew how. He has you and his band mates and his friends. He has D'Kar. He has honestly and truly made his dreams come true.

soooo...yeah that happened. How ya all doing?! Lemme know what you think here or on A03 ❤️

You can find the whole collection here including the original story:

#adam driver #kylo ren au #knights of ren #star wars au #rockstar! kylo ren #tw alchoholism #kylo ren x reader #kylo fanfic #kylo x y/n #kylo ren #music au #adam douglas driver #kylo x reader #starwarsficnetwork #kylo ren imagine #tw abuse #tw child abuse #tw alcoholism #tw homophobia

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petday · 2 years

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Hello i love your art a lot..:) Do you like to listen to music while you draw and if you do whatve you been listening to?

I like 90s and early 2000s video game/computer game music... Some examples below:

Sion II: The First Attack - Legend

R4 / Ridge Racer Type 4 - Move Me

Souhou Blue Phoenix - Stage 1 and 3

Kurutta Kajitsu - Opening

Yuu Yuu Hakusho: Makyou Toitsusen - I'll Introduce

Persona 2: Innocent Sin - Main Theme B

Grounseed - Shop Demo

The Scheme - A Leaden Sky

Dragon Master Silk II - SLKMSC01

Metal Head - Final Boss

Thunder Force II - an irrevocable dream

The Adventures of Hourai High - Boss Battle

The Adventures of Hourai High - Dungeon

Super Bomberman 3 - Stage 2

Lagoon (Sharp x68000) soundtrack

I also like 90s and early 2000s electronic music (dance, house, jungle, rave, drum and bass…) Some examples:

Nookie (Windy Milla) - Ruff & Massive

Nino - The Gun (I See It Around Me)

Manix - Special Request (Hero Remix)

SL2 - Way in my Brain (No Coke Mix)

Brisk and Fade - Radio Rockin (Original Mix)

TC Crew - Once Bitten (Once Instrumental)

Mix Race - The Future Is Before Your Eyes (And The Scratch From The Man Trax)

Blame - Music Takes You (Original Version)

MC Jay J (SL2) & DJ Devious D - Time Of Our Lives

Foul Play - Open Your Mind

Two-Mix - La Vie En Rose

Peshay - Piano Tune

Acen - Trip II the Moon (Part 2)

Livin Joy - Dreamer

Dextrous & H-Pee - Hot Flame

Bizarre Inc - Playing With Knives

Artemis - Elysian Fields

The Astro Trax Team - The Energy (Feel The Vibe)

Indo‎ - R U Sleeping (Todd Edwards Mix)

Atmosphere Chapter 2 - Deeper Drum And Bass

Vibes @ Helter Skelter - A Sign Of The Times (4th May 1997)

#long post #music

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lynnedrum · 1 year

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NORMAL 4 GIRLS 4EVER - LYNNEDRUM'S "SOUND OF THE BEAST" MIX

youtube

A tribute to Baltimore and Jersey Club, classic trax deranged and rearranged. Performed LIVE for NORMAL 4 GIRLS 4EVER, Saturday, August 12th, 2023. ~ SETLIST BELOW ~

1.) Crystal Waters - Gypsy Woman (Sartana & Finesse Jersey Remix)

2.) MikeQ & DJ Sliink - The Bitch (feat. Miss Jay)

3.) KRS-One - Sound of da Police (Baltimore Club) (*)

4.) Keiska - Lil Frkk

5.) Three6Mafia - Lil Freak (K-Deucez Rmx)

6.) Mariah Lynn - Once Upon A Time (I Was A Hoe) (DJ Taj feat. Panic Remix)

7.) UNIIQU3 - LSD

8.) Jen Lasher - I Felt

9.) REPRIISE - TEMPLE [Intense Trip]

10.) C.Z. - STUCK

11.) XTV$ x Narvi - Crazy Frog

12.) JAVASCRIPT - Pinky Ring

13.) Drippy Dolphin - ♡-I Need To Drip-♡ (A Trippy Turtle Remix)

14.) Snap - The Power (Kodat Remix)

15.) Jenn Morel - Ponteme (LUNY "Latin Club" Remix)

16.) Constantine - Pena Aberta

17.) PrepTheProducer - Naughty Girl (Jersey Club Remix)

18.) DJ K. Millz & Tokyo - Earthquake

19.) DJ Smallz 732 & Big Shaq - Mans Not Hot ( Jersey Club )

20.) KANDY - afreakin (Eight40Eight Bootleg)

21.) DJ K. Millz - Get Busy [Sean Paul 2k10 Theme]

22.) @hikeii - BBY (@HIKEII FLIP)

23.) Daft Punk - One More Time (Kodat Remix)

24.) FISHER - Losing It (KAYVIAN Club Remix)

25.) Soulja Boy - Birdwalk (Zora Jones & Sinjin Hawke Bootleg)

26.) Jam City - The Courts

27.) TLC - No Scrubs (BBM REMIX)

28.) Kyle Edwards & DJ Bake - My Back (Jersey Club)

29.) SOPHIE - Immaterial (Gangsigns Bootleg)

30.) UNIIQU3 & Dos Flakos - Shake the Room

31.) Outkast - B.O.B. (Cool Hand Lex, Lemi Vice & Action Jackson Remix)

32.) DJ DEVILLE - Kulikitaka Pica (Deville Latin Jersey Club Fusion Edit)

33.) Linkin Park - Crawling (DJ Hood Remix)

34.) Tre Oh Fie - Pop 2 Da Bass

35.) @hikeii - Panic! At The Disco: I Write Sins Not Tragedies (Hikeii Remix)

36.) Utada Hikaru - Simple And Clean (Jersey Club "Ray of Hope" Remix By KNMN)

(*) denotes a track that entered my life fully untagged and unsourced. if you know the artist of this remix, please let me know immediately!

Assets by MinaSheep

NORMAL 4 GIRLS 4EVER (08-12-2023) - OTHER SETS

JulianaNRG: https://youtu.be/l5y442f-uq8

MinaSheep: https://youtu.be/H-JKRNqxQA8

SWIMMY: https://youtu.be/AZkC4W-PP6s

#lynnedrum #normal for girls #dj party #dj set #live music #dance music #jersey club #baltimore club #ass shaker chunes #Youtube #music

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thececeverse · 6 months

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Japanese Influencer Chouka Aikawa Makes Her Debut—And Netizens Are Pleasantly Surprised

April 6th, 2024

by E. Cha

After signing to Republic Records and Avex Trax at the end of last year, Japanese fashion influencer, YouTuber, and heiress Chouka Aikawa has finally made her debut as a singer. Since 2015, Aikawa has been prominent within the world of fashion. Her blog, Love Moda, began to see huge amounts of success by 2017, and unlike most 18-year-olds, Aikawa was seeing invites to fashion events across the world. Her namesake YouTube channel was launched the same year, and it has now gone on to amass over 11 million subscribers in just six years.

With her successful career as an influencer and status as the sole heiress to the Aikawa Group’s $480 billion fortune, many were wondering why Aikawa wanted to break into the music industry. Prior to December of last year, she had expressed little to no interest in beginning a music career, nor had she displayed any musical talents. So, of course, her signing to two major players in the music industry was surprising to many of her fans.

However, just as the New Year was approaching, Aikawa would take to social media to wish her fans a Happy New Year, as well as to promise them a music debut in the first quarter of 2024.

It was a pleasant surprise for Aikawa’s fans, and reactions ranged from ecstatic to confused. Some were even mildly skeptical, as her singing ability was a complete mystery. For the most part, it looks like everyone was eager to see what Aikawa had in store. And it wasn’t just her fans, either. The music industry and the general public as a whole were itching to weigh in on her debut.

YouTubers and influencers tend to have a bad reputation with releasing their own music, and many were waiting to see if Aikawa would unfortunately succumb to the same fate. But fortunately for her, it was the exact opposite. Aikawa’s debut single, “Girls Don’t Cry,” is a dreamy and lighthearted pop track that talks about the plights women face in society. The song’s music video garnered over 32 million views within its first 24 hours, and it immediately shot to the top spot on YouTube’s trending page. However, what did the viewers think?

Overall, reception was overwhelmingly positive. Fans loved the “girlishness” of the track and how Aikawa stuck to her classic hyperfeminine aesthetic, and critics hailed the fresh-sounding production. What everyone was most surprised at, though, was how good of a singer Aikawa was.

Fans were all over social media praising her vocals and how clear she sounded, despite her “breathy” voice and unique accent. The shock from fans and critics only grew larger, however, when the song’s producer—music industry legend Max Martin—revealed on his Instagram that no autotune was used to pitch correct Aikawa’s vocals, praising her diction skills. That certainly threw fans for a loop, and Martin’s words became a hot topic across the internet, certainly making praise towards Aikawa increase.

“Girls Don’t Cry�� is slated to enter the Top 20 of the Billboard Hot 100, but some say it could even enter the Top 10. We’ll have to wait and see where Aikawa’s budding music career takes her, but we wish her all the best for now.

˗ˏˋ ꒰ ♡ ꒱ ˎˊ˗ WHAT DO NETIZENS THINK … ?!

[+2090, -91] oh my god chouka’s debut is actually so incredible … like genuinely so pleasantly surprised she did such a good job !

[+2074, -82] found out chouka can sing today … love that for her actually like c’mon princess of pop

[+2012, -59] rich as fuck, can dress, has a man that literally worships the ground she walks on, and now a critically acclaimed debut ….. aikawa chouka has it all i fear

[+1895, -88] she’s kinda like wonyoung but 5 years older idk

[+2009, -27] gabbie hanna found DEAD !

#˗ˏˋ ꒰ ♡ ꒱ ˎˊ˗ COME INTO THE VERSE !#˗ˏˋ ꒰ ♡ ꒱ ˎˊ˗ CHAR … CHOUKA !#ARTICLES !#kpop idol oc #kpop oc soloist #kpop soloist #kpop solo artist #kpop oc #fake kpop idol #fictional kpop oc #fictional kpop idol #idol oc soloist #idol oc #idol soloist #fake idol #fake idol oc #idolverse #fictional idol oc #fictional idol community

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omegaremix · 12 days

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Cold Waves @ Warsaw; September 15 & 16, 2022.

If I told you that I was feeling shaky going into attending Cold Waves, you’d write me off instantly. Why would I still feel nervous about attending shows? Sure, the event is everything, but every trip to grandiose New York City is still a major thing for me. It’s still feels like uncharted territory and I’m still not over it but it has everything Long Island fails to provide: the venues, the people, the exciting energy, and an allure I still can’t put my finger on. It’s all for the taking, whereas on Long Island I had way more than enough. Also: anxiety. (Film at 5.)

I was only mere days away and I had to get ready for two straight nights of taking trains to and from Brooklyn. Cold Waves would be the third show I’d attend this year - fourth if I cared going to Ministry’s “Industrial” Strength tour which I didn’t go to. I was a frantic wreck anticipating this industrial legends / synthwave festival. The tremors in my black heart would stop only if I finally arrived at Warsaw. It’s my third visit there. The first was for Hospital Productions’ 20th Anniversary and the second was for Black Marble and Cold Cave on a hot June day - before my world, my momentum, and soul were all upended.

I don my black cap, a Clock DVA shirt, blue jeans, black boots and new black leather jacket. It’s sunny out, a hazy blue sky is being invaded by cumuluses all over the place - perfect conditions for an afternoon drive westward on the Long Island Expressway, down on Sagtikos Parkway, through Southern State to Rt. 231, and heading south to Rt. 27A to the Babylon station. I took no chances catching the earlier one-hour train to Penn Station, then hopped on the ‘E’ line to Court Square’s ‘G’ line to Greenpoint Ave. The train ride was bliss as hardly anyone was on it.

It was 6:15 PM when I stepped off the G and went upstairs to Greenpoint, my favorite Brooklyn neighborhood. It only took me 15 minutes to walk a few blocks down to Driggs Av. in Kings County’s Polish neighborhood. It’s only 6:30 PM and already I’m being greeted by a crowd of three at the very front of the line. One of them saw my DVA shirt and gave me two thumbs up. “Great shit, man!”, he said. I smiled and my heart rate went up 20.00% knowing I made the right choice of t-shirt for night #1 of Cold Waves. I found myself standing at the exact same spot on line more than four years ago when I waited to enter the venue for Cold Cave and Black Marble. It was that very corner where Wes Eisold stood with Genesis P. Orridge before that show. Doors open at 7 PM as all of us trudge towards the venue for our security checks before entering paradise where I’m immediately hit with the smell of incense, a special smell distinct to my Brooklyn travels and nowhere else.

The music existed before the beginning of time and it was pumping. No wonder - DJ Andi (Harriman) was behind the wheels of steel. She’s a fixture of the neighborhood where she fit perfectly with the industrialists and synth-wave demographic that populate there. With me being 15th in line, I won a spot up front. As always without fail. I was feeling great about what was about to go down for the next five hours. The first person I thought of was my Roman goth friend Lira* who I wished was there with me. She would’ve blended in with all these vampires, witches, and mistresses attending; many walking around wearing 242, Wax Trax, Pig, Pigface, Hocico, and Twin Tribes shirts.

7:45PM is here. The dee-jay fades out, the overheads turn off and the first act is ready to go. Cold Waves is finally underway.

Spike Hellis was the first of ten on the roster and kicked off the entire festival. The fresh Los Angeles duo have enjoyed a new sizable uptick of exposure. They were active and had lots of energy on stage; a theme that they’d set the tone for the entire program. Their fast-paced EBM, electro, and electronic hybrid was a fine example of the current sound that Los Angeles had to offer. Both Cortland Gibson and Elaine Chang traded instrumental and (screaming) vocal duties with each other while conveying themes of agony, control, rage, emotional despair, and submission that rubber-stamped their own pandemic-era, all accentuated at the end with an annoyed Chang dealing the finger to an audience member as the cherry on top. Who knows what happened there? What I do know was that someone threw an empty beer can at them during their set and security called him out on it; eyes and pointy fingers in his direction with a one-and-final warning not to do it again.

For those wondering why Rein is being highly praised all over, you’ll see why. One of two solo acts, Rein wasted no time taking the stage and it wasn’t long for her to show everyone why she’s one of the most talked-about synthwave acts of recent. It’s not just her razor-sharp EBM delivery and style but also her choreography which made her perfectly groove to the music. She can seriously move it like no other and also delivered plenty of hard-edged sounds of equal measure. It was more than enough to ask who the fuck Shakira was, because she’s got nothing on her. It wasn’t just Rein who was motioning to the music. I look to my right and seen a good number of people getting into it, too; such as the guy three spaces away from me who happened to be wearing a gas mask through her set. After she closed out her set came another intermission. The next three legendary acts have yet to come into play and right behind me are three belligerent drunks (one male and two females) fighting over who bumped into who, not saying ‘excuse me’, who stood where, and lots of name-calling and f-bombs lobbed at each other’s slovenly faces. Not a dull moment so far.

Portion Control was the third and most enduring act of the festival with their debut cassette release A Fair Potion dating all the way back to 1980. I’ve constantly heard of them through new-wave, industrial, and synthwave circles. It’s my first go at them and Wow. They. Nailed. It. They became one of the very few artists I ever discovered to give me a perfect example of everything I was looking for on the very first listen. Perhaps the hungriest, meanest, and venomous act I discovered live or not. I may have caught them at their best ever and it lead me to the three Seed e.p.’s. Onstage, Dean Piavanni was a vocally sinister, persuasive, and direct force who could’ve easily taken on the audience (and would’ve won); as Jon Whybrew was on the controls transmitting ultra-energetic and juiced-up EBM and industrial techno for the small masses. It was the most exciting payout of the night so far.

If there was ‘the’ reason that attending Cold Waves was an absolute must, it was the team of former Wax Trax and Ministry members Paul Barker and Chris Connelly. They are part of the reason why everyone had some of the best moments of their lives and made for some of the greatest industrial releases ever. Billed as The Revolting Cocks Corpse and in conflict with Al Jourgensen’s version of the band, it would be their last-ever appearance. I hate to admit, a scratch off the bucket list was long overdue and years in waiting. Now, here was my chance of seeing both of them live in one shot.

Want real-deal Cocks classics? You got ‘em. Paul Barker handled his iconic bass logo-ed with the Cocks’ Beers, Steers & Queers emblem on it before kicking off with “38” and brought out former Cock (Front 242’s) Richard 23 on vocals. After that comes Connelly onstage in casual wear in a trucker hat, jeans, and a shirt that’s scrawled “Strong And Pretty” on the front, so we’re getting the nutty version of him. Then the rest of the hits came rolling in: “Attack Ships On Fire”, “Cattle Grind”, “Crackin’ Up”. When Connelly asked himself out loud what else to play, the audience yelled “Let’s Get Physical” (rest in peace, Olivia Newton John). “Well, I didn’t ask for your help!” he said coyly to all of us and we couldn’t help but to laugh. They did cap off their monumental set with “Do Ya’ Think I’m Sexy” and it felt like a dream. Connelly leans on the speakers acting all cute and blowing kisses to the crowd with a smile. Before you know it, he’s laying on the floor with arms wide open like he’s just fallen in love as Barker and company call it a night. Nothing but good times and an ultimate culmination of their Wax Trax output as I hoped for.

Finally, it was Front 242’s turn to take the stage; the apex of an already high-flying night. It would be a bittersweet performance at that as this was one of many shows on what was their final U.S. tour. Many fans thought it was because of Jean-Luc De Meyer health issues but thankfully that wasn’t the case. No matter, it was everyone’s last chance in the states to catch them before leaving North America once and for all with no turning back. I considered Front 242 to be a bonus for me as I was heavily into their pioneering Eighties material during my community college years, their later albums, and C-Tec which De Meyer took part in. I had absolutely nothing to lose seeing them live. All throughout the night I’ve seen photographers-for-hire huddle around the space in-between the rail and stage getting their dozens of shots in. For Front 242, the three-song policy got extended to four. It had to be. Warsaw security managed to catch one snap artist who didn’t know better.“No flash! No flash!” they told him as they pointed at and called him out on it. Which also begged the question: where the hell is Brooklyn’s industrial / synthwave fixture-photographer Nikki Sneakers? It’s been at least five years since I’ve seen her shooting at venues.

Front 242 played their most-recognizable and popular classics that established and pioneered EBM with “Don’t Crash”, “Operational Tracks”, “U-Men” and many more. It was all Richard 23, De Meyer, and Patrick Codenys in their unmistakable iconic tactical outfits with a shirtless Tim Kroker on live drums. They took all the power and energy they had and kept it going all the way, delivering nothing short of a rhythmic and beat-heavy experience they were known for. One funny moment to be seen was when De Meyer stood cross-armed wearing his huge shades and had such a scowl on his face, looking all bad-ass as the other three carried on. After eight or nine songs, 242 left the stage - not to lock targets and catch men - but to gear up for their first encore. We all knew there was more to come and what came was “Headhunter”, one of industrial / EBM’s most historic songs ever written. Two more songs later and 242 left the stage again charging up for another encore. As soon as we all heard the soundbyte “Hey, Poor!”, it meant only one thing: “Welcome to Paradise”. Only then was the perfect Front 242 show complete. The team of 23, De Meyer, Codenys, and Kroker took in a lengthy applause and gave a standing ovation as they all thanked New York City and bid farewell. The lights turn on for all of us to head out of Warsaw. I turn around to get going and behind me I see a female fan being consoled by her husband - and she’s in tears. Either she finally fulfilled her life-long dream of seeing Front 242 or saddened that they would say goodbye and farewell to the states, never to return.

The first five acts were amazing. It felt like I did a great service to myself in attending. I already checked off all the boxes I wanted to: take mass transit, visit Greenpoint, see Barker and Connolly play, and be associated with my kind of people. A night out in Brooklyn never fails and the thrills would still continue after the show ended. There’s always the experience of taking the alphabet and number lines - taking the ‘G’ and then the ‘7’ line to walk from 10th St. towards the Empire State Building and then arriving at Penn Station all by one-in-the-morning. Like the ride from Babylon to Penn Station, the reverse ride was quiet and not as crowded as a can of sardines. More exhilarating was the ride from Babylon back home where all the roads were empty and quiet, leading up to driving east on a wide-open Sunrise Highway at three in the morning and getting home all in 25 minutes time.

Night One of Cold Waves was now in the record books.

**********

Friday afternoon? Well, what an adventure. I had no idea that traffic was literally paralyzed on Sagtikos Parkway. It was that point where I knew it would be down to the wire getting to the Babylon station. From then on, I was finding every inch I could to cut other drivers off, find detours, and get head-starts while waiting for green lights and cursing out turtle drivers. Traffic was tight and every decision counted. One minute I thought I was going to make it and the next minute I was doubtful. South on Commack Road, down Deer Park Avenue then Route 231, and finally to Route 27A where I was only a few thousand feet away from the station. I arrive at the parking lot across from the station, bolted out of my car, ran across the street and up the stairs like a motherfucker. I finally reach the platform and - it’s taking off. Fucking great.

I had one hour until the next train to figure out how to unfuck myself and get to Warsaw in time. I tried signing up for OMNY (New York City’s wireless transit pay) months ago but was unsuccessful. Now time to try again. I downloaded the Apple Pay app- and then had to call the bank to connect my card. Now that it’s tied to my phone, I tired again to sign up for OMNY. Success! The 4:35 PM Babylon train arrives and I had 55 minutes to map out the quickest path in getting to my destination. The train arrives at Penn Station and I waste no time hauling ass to the ‘E’ line. Here we go. I hover my phone over the turnstile and - GO. Raced up and down the flights of stairs and I catch the ‘E’ train by five seconds before its doors closed. I take another 20 minutes to cool down before the transfer to Court Square / 23rd Street’s ‘G’ line. I hop off, sprint, and find the ‘G’ train that would take me to the Nassau Avenue stop, the closest one to Warsaw. It took me about two minutes and 1,000 feet to get there. I finally arrive out of breath before I go through the security checks and magic wands before entry. All clear. It’s 7:40 PM. Five minutes to go and I’m at the exact same spot I was the night before. All worship to Lucifer that I made it.

And now, night two begins.

If there was any artist to kick off Friday’s festivities that represented his hometown and carried its flag, then Confines was it. The hard-hitting, beat-heavy industrial-techno / EBM project certainly had some punch to it. Like Rein, Confines was a one-person show who did all of his instruments and movements on his own. Not bad at all. At the time of this writing I learned something about him that totally kicked me off of my seat: Confines happened to be David Castillo, co-owner of Brooklyn’s Saint Vitus bar and venue, host of the Age Of Quarantine podcast, and lead singer of Primitive Weapons. Are you fucking kidding me?! I was on the lookout to spot him at my last visit to -Vitus to see Uniform but I was shit out of luck. Now I finally found him performing at Cold Waves and didn’t even know that was him until after the fact! Fucking right. And it doesn’t stop there. I also learned that both Geography Of Nowhere 1 and Work Up The Blood was mixed and mastered by Hospital Productions’ Kris Lapke / Alberich and laid out by Sannhet’s AJ Annunziata. Wow. Talk about getting five-in-a-row on that bingo card.

Fans of Vancouver musicks enjoyed a two-for-one approaching the middle of the night’s bill. We were all treated to Leathers consisting of Shannon Hemmett (vocals), Kendall Wooding (synths), and Adam Fink (drums). For anyone who wanted the 2022’s tense of what an Eighties’ synthpop / new-wave show would look like? Well, now you have it. It was a treat seeing them perform and also seeing the slender Hemmett as an Eighties dream while Wooding and Fink played a smooth mid-tempo set. But with a wardrobe change and Jason Corbett coming into play, Leathers became Actors and Artoffact’s flagship band was the iteration that appeared on everyone’s radar as of late. They traded in their Eighties’ synthpop and new-wave cool for heavier rock. This time Hemmett took over synth duties and Wooding wielded bass as Fink stayed on drums and Corbett helped Actors push more power and electricity into their second set to keep the excitement steady from start to finish. I tried out both Leathers / Actors before and for some reason they’re not my type of heavy-rotation listening. However, there’s no denying that their talent brought them their well-deserved fanfare and exposure.

Not since Merzbow’s personnel bringing out his gear at Output have I been bracing myself with another artist’s set-up. Lighting fixtures attached all over and bulbs placed in front of huge cymbals might’ve told me that the next set would burn my eyes right off my face. Luckily, I was wrong. That was Kite’s visual set-up and a precursor to their performance. The Swedish duo of Niklas Stenemo and Christian Berg were another act I never heard anything of, and afterwards tilted me to give them a shot. Both were skilled in playing two keyboards at once (or keys- and knobs in Berg’s case) as they delivered a lively performance and Stenemo a few kicks, switching between synth-wave and synthpop. Their latest single “Bocelli” was the highlight on the night, showing their dramatics while also providing a soulful, heartfelt, and at times acclaimed power.

While Kite tore down their equipment, I thought of something. It’s been five years since I attended Hospital Production’s 20th Anniversary. I remember one moment near the end of the showcase when Bone Awl was playing their set - where all of a sudden Dominick Fernow (Prurient and Hospital- label-head) runs to the apron, stage-dives over the pit, and into the audience for a crowd-surf. It was a moment that never escaped me since then. Here I am back again at Warsaw for Cold Waves five years later and I’m at the rail for both nights. During one intermission, something dawned on me - I look at the rail, then the edge of the stage, and then the rail once again. I thought to myself: how in the fuck did Dominick have enough clearance to fly in the air, avoid banging into the rail, and land safely on top of the crowd? Good thing he successfully pulled off that spectacular feat.

Asterisk: New York City was supposed to receive Stabbing Westward as the closer to Cold Waves but had to bow out. That’s where Cold Cave gladly stepped in and ultimately sealed the deal for Cold Waves’ entire New York City stop. “Remember when we last played here?” lead singer Wes Eisold asked the audience. Yes I do, Wes. Yes I do. Seeing Cold Cave again for the second time in the same venue was another special bonus to me, and always a welcome one at that. I walk through previously-ventured territory and this time it was just as exciting as the last. All hits and zero misses from Eisold, his lady Amy Lee, and company. “Glory”, “People Are Poison”, “A Little Death To Laugh”, “Confetti”, “Rainbow Girls”, “Godstar”, “Theme From Tomorrowland”. You named it, they played it. For 50 minutes they kept a steady upbeat energy of synthwave and classic goth pedigree; not to mentions tons of smoke and fog fired towards our way to where I’m seriously considering getting myself screened. The only difference between their 2018 appearance and this one at Cold Waves? No sign of Max G. Morton, and Eisold’s heroine Genesis P. Orridge who joined him on guest vocals had sadly passed away since then.

But there was one shining onyx that fit the head jewel of the crown: when Eisold and Amy Lee brought their daughter out on stage. How fucking amazing was that? The audience collectively melted. Imagine being in your single-digits and having an amazing story to tell your friends back in school about how your rock-star dad brought you up on stage to sing for the crowd. Through their entire set, Cold Cave never let up and missed any of their targets as Eisold, Amy, and the rest played through their last encore and that’s all they wrote.

Before I knew it, it’s 12:20AM. Cold Waves in New York City was now history.

**********

I walk out of Warsaw and away from the busy volume of the patrons standing around in front of it. The night skies changed their tune to a purplish overhead. They were nice enough to wait until my moment was over to return. I’m now processing how to put the last 48 hours into words and also my place in the universe after being where I wanted to be. I head west on Driggs Street through McCarren Park weaving through the pedestrians walking towards me and observe a few small groups of people congregating and chilling on park grounds with their portable speakers. It’s only a few more blocks before I enter the ‘L’ line that will connect me to the ‘2’ line.

If only I can tell you the city’s delights that I’ve seen during my travels to Penn Station. I’ve seen female torture artists and double-pigtailed mistresses in their black onesies and shiny knee-high boots. There’s an Asian girl my height in a low-cut purple dress and her thigh is all bloodied and bandaged up; situated below her very visible purple underwear. Across from me was this gay guy who was the stunt double for The Ukiah Drag’s Tommy Conte, kissing his boyfriend on the cheek and sad-gazing in his boyfriend’s eyes who boarded off the ‘L’, but not before he blew Tommy a kiss goodbye. Another couple hopped on our crowded car. His blonde girlfriend’s neck and chest were literally covered red with hickeys and didn’t give a soaring aerial fuck about all the eyes and stares aimed at her. The ‘L’ ends and I transfer to the quick ‘2’ which only took five minutes to get me to Penn Station, leaving me with a half-an-hour wait for the Babylon train to arrive. Lather, rinse, and repeat with a left-hand forward ride to the station and another Sunrise Highway night drive back to my quiet-as-night neighborhood. A return to silent normalcy.

**********

Chicago has been widely known as the industrial capital of the U.S. It’s where Jim Nash and Danny Flescher established Wax Trax as a record store and the label that’s given birth to the careers and legacies of Ministry, KMFDM, My Life With The Thrill Kill Kult, Meat Beat Manifesto, and countless other acts. It’s also where Public Image Ltd.’s Martin Atkins created Pigface and Invisible Records and gave life to Chemlab, Damage Manual, Dead Voices On Air, Murder Inc., Ritalin, Sheep On Drugs, and Test Dept. All these artists made my identity, or part of it. Throughout the years I’ve followed all of my favorite artists and have never given up on them. They were there for me during my difficult times at community college and to this day I’ve never tired of their projects. It wasn’t until recently when I revisited the classics that I realized that these artists and labels were in my heart all along. Millions of industrialists join each other in various online groups to share their stories and live memories and say “hi!” to the many legends who lurk around and keep that cameraderie going. I see the company around me in Greenpoint who share similar interests, qualities, and aesthetics and those are the people I want to be associated with.

I thought attending just one Boy Harsher show was a rite of passage. Yes - more in the synthwave world. I’ve also attended shows for Nine Inch Nails, Ministry, and Killing Joke and that’s more than enough for me to hoist my flag for this genre. (Naysayers will wave their filthy unclean fingers at me and say “not so fast” because I wasn’t able to go to a Skinny Puppy show.) I’ve heard many great things about Cold Waves that I’d be a fool to miss out. Mutuals who went told me it’d be amazing and they were double-right. With Front 242’s final American appearances and with Braker and Connelly having to quit the RevCo name, this year was a non-negotiable. What started out as a one-night benefit and an honor of Jason Novak (Acumen Nation, DJ? Acucrack) and David Schock’s fallen friend Jamie Duffy evolved into an (almost) annual round of the best and legendary industrial, synthpop, and synthwave acts. Like my attendance with the previous Cold Cave and Black Marble shows, attending Cold Waves was a thank-you to the scene that gave me an identity but also to a certain number of acts that helped build it.

It’s been one of the best and most exhilarating moments of the year, ranking as high as Sacred Bones’ 15th anniversary. If the line-up for next year is as good or better (how could it?), then I guarantee you I’ll be returning.

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purplescience · 2 years

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Some background info for Raph for the split by space Au:

-When Raph is first taken in he is 5 years old and Traximus is 10

-Trax’s dad recognizes Raph’s ninja mask (Raph refuses to take it off because it’s from his brothers) and finds someone to teach this kid ninjitsu

-When Raph out grows the mask he keeps it tied around his wrist

-Raph doesn’t make a lot of friends because no one has even seen anything like him before. Traximus also has no friends because he doesn’t want to associate with people who are mean to his little brother

-Traximus talks about becoming a soldier when he’s 18 all the time and Raph always says he’s going to join too. He wants to stay with his brother and maybe it can help him find his other brothers.

-Their dad dies when Raph is 14 and Trax is 19. Trax now looks after his little brother more than ever

-Growing up Raph and Traximus would watch the games together and pretend they were competing in them against each other (Trax would always let Raph win until Raph was old enough to catch on and told him to stop)

-When Traximus get charged with high treason Raph gets pissed off and lands him self the exact same punishment as Trax

-Trax now has to try and keep his hot headed little brother safe, keep himself alive, and try and remain hopeful for the future of the republic all at the same time

-Raph meets his turtle brothers when they end up getting arrested and sent to the games

Au breakdown, Leo info, Mikey info,

Donnie info

#tmnt #tmnt au #2003 raph #2003 raphael #traximus #split by space au

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party-at-jacurutu · 5 months

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5 songs

that I've been enjoying lately (lately covers a lot of time, btw)(@godblessyoublackemperor i didn't forget you tagged me in this lol)

I don't know much to say about the songs themselves. the reason a song hooks me is usually a pretty personal one but I wanna give a stab at a more general why I like these, I suppose.

Tamino - Cigar

Tamino has a lovely voice, the lyrics resonate with me personally and a song usually hooks me if it's nice to sing, which this one is great but if I'm in a particular mood, sadness will hook my voice away during certain parts.

youtube

Lord Huron - When The Night Is Over

pretty much like this song for the same reasons above, though though the lyrics of this song are even more meaningful to me, i suppose.

youtube

YOAV - Blood Moon

the beat in this one makes me feel like (??missing emotion??) (peculiar?)(idk)

this song makes me want to strive to create??

youtube

Hot Sugar - Barbie Jeep

no lyrics here, as per usu with a hot sugar track. hot sugar is great bg music. (ETA: hot sugar makes the soundtracks to my wildest lucid dreams. I get the most uncanny feeling from hot sugars music. I feel like if my dreams did have accompanying music, it would be hot sugar trax

youtube

Dirty Art Club - Queen Persephone

more super groovy stuff to have on in the BG but this one I always play first when i listen to Dirty Art Club for reasons I will NEVER divulge 😈

youtube

#Tamino #Cigar #Lord Huron #When The Night Is Over #YOAV #Blood Moon #Hot Sugar #Barbie Jeep #Dirty Art Club #Queen Persephone #music #5 songs

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thisisprettybroken · 7 months

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Odd Genre Time: Warehouse Music

Have some LGBTQ+ history I ran into on a wiki dive. Warehouse or "House" music was invented by a gay Chicago DJ. Frankie Knuckles' mixes of Salsoul and early Electronic music from Europe were the beat of Chicago in 1984. He played at "The Warehouse", a predominantly black, gay dance club. Look this man up because he's a founding father for what we know DJing to be today. By 1985 the "Hot Mix Five" had a hit radio show that highlighted this new sound. These were now 5 DJs that also began making long, continuous mixes that brought all parts of the world into their arrangements. With a popular radio show further standardizing this futuristic sound, more DJs joined in until it was foolish to spin anything else. In the United States, this is the nucleus of what we now recognize as Dance Music in a modern club setting. Bedroom producers who liked this sound hit their local pawn shops for cheap synthesizers.* Some people working in the area's record stores at the time recall a whole section set aside for "Tracks Heard at the Warehouse." It was tempting and profitable to make demo tapes in your bedroom because if you got played at the Warehouse you might get a record deal... So emerged this sound of Chicago gay culture. House music is gay and intersectional, spread the word. If my video above and the history behind it sound like your speed, check out: ---------------------------------------------- Larry Heard - Imagine a neon-lit gay club with this on the speakers. It's so 80's. Warehouse is often described as "textural" and this track absolutely nails it in that regard: https://www.youtube.com/watch?v=1N9Wnqz8Rh8 Frankie Knuckles - He was handed a drum machine by a friend who said people are making their own tracks now. Given the chance now to make his own Trax, he chose this. A tune that makes you say "This isn't house music, this is just gay sex." The song's lyrics seem to imply there's a religion-play thing going on, it's VERY gay... Let's just say don't blast this on the work speakers. https://www.youtube.com/watch?v=2EtEPT3DvdM PHUTURE - The story about "They didn't know how to use the TB-303s at all, and they still cranked out jams with it." is apparently true and it's about these guys. Self described "Outsiders" they wanted to try making some Warehouse music. A Dj finally gave them a spin at another huge club and found that it played better to crowds later in the night who are on more drugs or just plain drunker. The beginning of Acid House. https://www.youtube.com/watch?v=igNBeo3QSqc -- *None of the synthesizers they used are cheap anymore :(

#music #house music #history #music video #body horror #I know it's just a mirror effect but just in case I'm putting body horror #lgbtq #lgbtq history

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joemuggs · 9 months

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Albums of 2023 part 1

OK I started a best albums of 2023 thread as there's lots that got missed out of charts I contributed to. I got carried away and there's nearly 100, but they're all superb and I think there's something for everyone here. Start with this: a DEVASTATINGLY fresh drum'n'bass/jungle excursion from a perpetually underrated UK bass don Altered Natives.

A short but PERFECTLY formed 20 minutes of heavy, trippy R&B with surprise UKG and even drum'n'bass twists, Tinashe deserves so much more credit as an innovator...

I was late to this one but should've known the Hive Mind label always delivers. Swedish-based guitarist Vumbi Dekula delivering track after track of perfection like it's as easy as breathing.

I've always enjoyed Lana Del Rey when she's at her most benzo-haze - and this Mitski album hits that spot perfectly... not that it's all dissociated - it's very smart and sharp - but you can easily drift away into it.

Metallica, Pink Floyd, Fleetwood Mac, Blondie covers in a millennium old Inuit language? Well yes - and in Elisapie's hands it's DEVASTATING. I played the Leonard Cohen one out at 3am in a chillout room in the summer and it was real, REAL magic.

TONN3RR3 & BIKAY3 = French live electronic beats of various flavours + EXTREMELY eccentric Congolese vocalist = braincell-scrambling funtimes...

First of two major trip-outs from Optimo Music last year - with Op:l Bastards and then K-X-P, Timo Kaukolampi is best known for motorik cosmic synth rock, but here everything is stripped away except the abstract cosmic, and wow it'll give you vertigo if you let it.

The presence of Peter Zummo here leads to automatic Arthur Russell comparisons for Greek-British brothers áthos - and it's not NOT Arthur-ish.... but more, it's operating in the same boho world of freedom as he did, and finds its own delicate voice within that.

Another massively unsung talent, original Moving Shadow / - now Over/Shadow - crew, half of Mixrace with the mighty Paradox (they also had a great record out this year), Dave Trax makes THE most exquisite soulful but heavy d'n'b and this album is among his best.

Melbourne's always been musically interesting, but this new duo project from a Gorillaz / Genesis Owusu collaborator Mindy Meng Wang 王萌 with Sui Zhen is above and beyond. Sort of fourth world but more advanced (fifth world??), it's a really personal, precise and endlessly fascinating thing.

Dunno how Jamal Moss does it so prolifically but consistently: an endless flow of machine funk like a jet of magma from the centre of the earth. Add Polish saxophonist Jerzy Maczynski to the mix making Universal Harmonies & Frequencies, and the results are overwhelmingly ecstatic.

Holmer zooms into the essential something that links Mary Chain, Goldfrapp, Stereolab, Cocteaus and all their influences in turn... a kind of pure essence of motorik, psychedelic, magickal pop..... Such an instant, potent, pleasure-centres hit.

Your favourite DJ's favourite DJ's favourite DJ Jerome Hill is also no shabby producer and every one of these eight tracks is the platonic ideal of a bleeping, clonking, tweaking, hot, sweaty, bassy dancefloor banger.

Need a reminder that it hasn't all been done before in electronic music? TSVI got you covered: this is the FRESHEST gear, but never innovating for innovation's sake - always about emotions & composition first. Includes several Loraine James contributions too \(more to come from her....) ❤️

The kind of drone music that can give you superpowers if you make space to really soak it in. Kali Malone x Lucy Railton x Stephen O'Malley = AVENGERS ASSEMBLE!

The Magic Numbers pretty much passed me by, but this solo album from the band's Michele Stodart is the epitome of Soft Music For Hard Times, real quiet dignity stuff, beautiful subtlety to production/arrangment and just the kind of countrified songwriting I adore.

A second one from Hive Mind, and another supermodernist feeling one - ultra sophisticated stuff from the Rio de Janeiro polymath Ricardo Dias Gomes: is it post-rock? Indietronica? Neotropicália? Yes/no/whatever... watch out there's a noisy surprise at the end!

Is it me or is R&B / neo soul wayyyyy more experimental than hip hop at the moment? Like the Tinashe and Janelle albums, this is super short but WOW does Madison McFerrin pack a lot of innovation, emotion and just v.i.b.e.s. into its 27 minutes

Very cleverly structured because it starts quite timid and slight, which it turns out is maybe expectation management? But Andre Three Stacks builds into something that demands repeat plays - and a megastar bringing Don Cherry meets Hiroshi Yoshimura vibes into the world?? It's not quite the masterpiece I'd hoped for but it is GREAT.

The perfect (paradoxical?) combination of being absolutely true to the unchanging groove of Detroit, but also pushing it forwards sonically... DJ Bone STILL sounds like the future.

A second appearance for the most fun abstract cellist out there, Lucy Railton - this record is really tricky, it feels different from different angles, keeps throwing surprises at you, the proverbial "a lot to unpack"... but it's GREAT.

hinako omori somehow emerges from a wellspring circa 1979-81 when prog synth meandering was feeding into e.g. Kate Bush, Eurythmics, Japan, and then traces through that into 00s post trance pop but it doesn't sound retro? HOW?

Another small but perfectly formed one. Amazing that Ultramarine's elegant, pastoral, ECM-ish house explorations are still so exploratory and moving after all these years - and they fit perfectly on the Blackford Hill label which had an extraordinary year too.

In a year when not a lot of hip hop floated my boat, this was a glorious exception. Kind of odd it didn't get more hype really - Kaytra absolutely on top of his game, partnership with Aminé flows together just like their names, guest spots on point, vibes upon vibes upon vibes (instrumental version is great too!)

David Harrow is the absolute epitome of real craftsmanship honed over years and years - and this album of dub and downtempo tracks with rich layering of singing modular synths is a really magical exercise in world-building.

OK that's that for now, direct link to Part 2 here....

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