#how to make autotune sound better

[eyivibyemi]

✧ I won’t really write descriptions for these, but see original post tags for explanation/commentary on the song snippet ✧

[sturniyolos]

[song]Producer!Matt SFW + NSFW headcannons. 🎀

SFW 💍

- prod!matt who would use your laugh as his producer tag.

“Baby, stop!” You say giggling as Matt tries to tackle you down.

“Let me kiss you.” Matt states, pinning you down. He had accidently left his phone recording to send snippets to his artist, before you came in. Then, the pure sensation of your laugh made a lightbulb go off in Matt’s mind— and that’s how he wanted everyone to know it was his song; by your laugh.

- prod!matt who would let you have little snippets of his new songs, asked for your opinions, and even gave him some feedback.

“What about this one?” Matt asks, playing ‘NC-17’ by Travis Scott ft 21 Savage. You started to listen to it, the song already becoming your favorite. But, you started to make faces that Matt became self-conscious about.

“Ah shit, you don’t like it?” He asks, pausing the music right away.

“Noooo, I love it. I just— there’s something off about it.” You say, trying to grasp what you can do to change it.

“Have any suggestions?” Matt asks, holding your hand as you swing side by side in the chair.

“H-how about you have the hidden vocals a little bit higher where the autotune is? I feel like that would do the job.” You state, looking at Matt with doe eyes.

He does exactly what you say and you both listen back to it. It sounds even better than what was put originally.

“You’re such a smart girl, sweetheart.” He says, grabbing your hand and kissing it.

- prod!matt who lets you sit there and watch while his artists record lines.

“Maybe have a higher pitch on that one part, yeah? And then we’ll see which ones we like better.” Matt states, letting go of the button so the person in the booth can’t hear him anymore. Matt looks back at you, sitting on the couch with your IPad coloring.

“You okay?” He asks, walking over. He puts his pointer finger on your chin so you can look up at him.

“Mhm.” You hum.

He kisses your head and makes his way over his chair again. He knew he worked better when you were just there to keep him company.

- prod!matt who let you play around with the buttons that was for the recording booth.

“And what does this do?” You ask, curious.

“That makes your pitch go high or low, I usually use the low pitch at the end of songs.” He explains.

“And this one?” You point to the yellow button that can go up and down.

“This one’s your favorite— autotune.” He says, looking at you.

“Go in there! I wanna test it out.” You state, getting all excited.

He rolls his eyes but still makes his way into the booth. You guys spent your whole day fucking around with the autotune settings, singing awfully on his machine.

NSFW 💐

- prod!matt who would use your moans secretly in the back of songs.

“M-Matt, please.” You say as quiet as you’ve ever been. He was pounding you from the back as you both stood infront of the booth.

“Yeah? What do you want, hm? Be louder.” He says, pulling out his phone to record you. You make eye contact with his phone, but nothing comes out but moans. He smiles as you let out two specific moans and gave him the idea to use it in a song. [think P power by Gunna]

A couple days later, Matt releases the song— you listen to it, hearing specific moans being played in the song.

“Mattttt.” You walk into the studio, with the song pulled up on your phone.

“You like hearing your moans? Because I do.” He asks, looking down at you.

“You could’ve picked prettier moans.” You say, all sad.

“Just say you want me to fuck you again.”

- prod!matt who eats you out as a reward to staying in the booth all day long.

Your hands grip Matt’s curls. Legs spread open, your whole bottom half exposed. He looks up at you and smirks, knowing he’s got you.

“You’re so good for me baby, look at you.” He said, rubbing your clit.

“B-baby, I’m gonna c-oh my God.” You say throwing your head back.

“Do it. Cum on my face baby. You waited so long for me, you deserve it my love.” He states, putting his whole face into your heat.

His words are what did it for you as you finish, panting and breathless.

“My pretty girl, let me clean you up.” He states, moving his knees to the couch to kiss you.

- prod!matt who punishes you for being too impatient on waiting for him.

“F-fuck! I’m s-sorry.” You state, trying to pull Matt off of you as you couldn’t take him anymore. You were on your 3rd orgasm of the night— you were overstimulated, sweating, and drooling everywhere.

“Oh, now you wanna be sorry? Ion think you learned your lesson.” He says condescendingly, kissing the arch where your back curves in. Then, slapping you ass so hard it’ll for sure leave a mark tomorrow.

“Wanna act like a brat and whine every second? I’ll fuck you like a brat.” He says, pulling your hair back as you reach your 4th orgasm.

- prod!matt who gets constantly teased when you’re not with him at the studio.

You

*Attatchment: 1 image*

I’m waiting for you babyyyyy.

Matt

Bro I’m still here and you got me hard as fuck

You

Aw, that’s too baddd

Matt

So, you really tryna lose your ability to walk tonight?

You

Actions speak louder than words

Matt

I’ll be home in 10, be ready for me

You

Drive safe <3

*Attachment: 3 images*

- prod!matt who lets you cockwarm him while he’s making his music.

You’ve been on Matt’s dick for 20 minutes at this point, begging for a release. Matt would be lying if he said he wasn’t begging either.

You told him you’d behave if you got to sit on his length, but your wetness dripping down your lower thighs to his wasn’t helping.

“I know you wanna ride baby.” He states, whispering in your ear.

“I p-promised I’d be good.” You said sighing in defeat.

“You’ve shown me you’re a good girl. Now go— show me how bad you’ve been cravin’ this shit.” He says, choking you from behind.

You start to bounce on his cock, moans filling up the room quickly.

“Fuck— you’re g’na make me cum already.” He says, holding your hips to guide you up and down his member.

“Where do you want me to cum, mama?” He asks.

“I-in me. Don’t pull out, please. I want e-every drop.” You say, whining.

“Such a dirty girl.” He whispers in your ear, giving you one hard thrust that makes him fill you up, and what makes you squirt all over his bottom half.

- prod!matt who lets you give him head when he’s stressed.

You get on your knees and look up at hm.

“C’mon baby, I gotta finish this song by tonight. Trilly gon’ whoop my ass if I don’t-” He says, cupping your face with his big hand.

“Let me just help you relieve some stress, I promise I’ll be quick.” You say, cutting him off and smiling up at him.

He lets you take control as you unbutton his pants, seeing the print of his member in his underwear. You kiss the outline of the tip, making Matt hiss.

You take the underwear off of him and immediately get to work. You take the base of his cock and start sucking on the tip.

He moans as a response, creating a makeshift ponytail so he can see your pretty face.

“Can I fuck your face, please?” He asks, becoming submissive.

You nod, letting him hover over the chair and fuck your face until you start crying.

“F-fuck yes.”

“Y-you take me so well.”

You make him sit back down, and shoving his whole dick down your throat.

“Mmmmm, c-cumming— fucking sh-.” He exclaims, letting loose and having his whole warm load in your mouth. You show him your tongue filled with his kids, swallowing it, and showing him your mouth empty.

“You make me so crazy.” He grabs your throat and kisses you.

——————————————————————————

I saw someone on here saying they wanted a prod!matt fanfics but I forgot their user :-( . Hopefully they find this lol.

[jamiepaige]

Constant Companions Closeup #10: MY DARLING, MY COMPANION

(also on spotify!)

It's the Constant Companions Closeups! A series of in-depth dives into the songs off of my latest album, Constant Companions! Last time, we talked about gender with Object of Affection! Today, we've made it to the title track (kinda?)! My Darling, My Companion! Do you think she's figured out what she wants to hear yet

---

Every time I first embark on the process of making another album, I always think I know what the final product will look like. This is a fairly recent phenomenon, born of the part of me that thinks that planning things out and being somewhat disciplined in the act of creation will ultimately lead to a better final product. That's fair and all, but it's also genuinely never how things actually shake out, as I almost always toss that out the window and just start writing shit the first chance I get.

Constant Companions, however, is the closest I've gotten to actually following through on those initial ambitions. Well, maybe not the initial ambitions - without fail, every time I finish an album, there's a two week period where I start writing new material thinking "this next album's gonna be the MOODY one" and it's never the moody one - but rather the plan I developed once my pile of works-in-progress started looking album-shaped.

There's always been some amount of self-referential leitmotif-loving song-series energy in what I've written - Imaginary, Effervescent and Secret Girlfriend; sampling myself on Too Much Autotune or Second Hello; that little four note motif. I had been leaning even further into it with People Posture Play Pretend and 🤼‍♀️, bringing the little interconnected background radiation straight to the forefront, and I wanted to keep going.

So, I would take that mindset and write about motifs - the things that have stuck with me and gotten me to where I am - the hopes that I've clung to, the dreams I want to make real, the patterns that I keep finding myself in. The things that haunt me and the things that keep me living.

...

My constant companions, if you will.

wait didn't i already do that bit. what was i talking about when i did that

This might be incredibly obvious if you've already read the Closeup for Breeze Blows, but yes, this is another song about being plural.

Like I said previously, writing these self-directed songs portraying internal conversations has been a very big part of finding peace within myself. Having to confront a part of myself both alien and overly familiar with seemingly a mind of her own is, understandably, scary as shit in countless ways! If nothing else, it feels like sometimes I can't even talk about it out loud without sounding completely gone.

But it's made me realize and really think about something I think most people take for granted, something that feels silly to even say out loud given how obvious it is but that has completely changed my relationship with myself - you are always a part of your own life.

The overwhelming, ceaseless negative self-talk I lived with for however many years never went away because it was a part of me, and no amount of compartmentalizing or boxing-up or repression or anything helped even in the slightest compared to the act of showing her kindness and patience, letting her be a genuine part of me, being a friend to her. Doing so revealed to me a happier, more hopeful part of myself I thought I'd lost forever.

Letting yourself be yourself, and loving yourself for who you are, is the best way to be!

or something. that feels so fucking dr seuss of me to say whatever we're corny here we will Be corny

---

The working title of this song was "Hathaway", inspired entirely by my friend Lexie messaging me one morning about a dream in which I had released a song named as such. Naming and writing songs based on dreams is maybe my most beloved bit at this point, but my girlfriend ultimately convinced me to make the title My Darling, My Companion. Mostly because she (correctly) thought it'd be cooler than just a pure title track.

The verses were written by sampling my own previous demo for a title track, turning it into a call-and-response between me and GUMI, and the chorus was lifted almost word-for-word from another demo of mine using Teto. That second demo was partially inspired by the character Morgan from the visual novel Heart of the Woods - which I mostly bring up because it's just a really good yuri VN that is near and dear to my heart. And also because my friend Teffi voices the character Tara in said VN. And also because I recorded my vocals for this song at her house. And also because the voice that says "me when I'm goated as fuck" right before the second verse is in fact Teffi in the recording booth with me. Yuri runs deep in my veins.

Speaking of which, this song, in my mind, is one dedicated to advancing my agenda of GUMI x Teto, albeit subtly and in a roundabout way.

See, GUMI has always been something of an idealized voice in my other work. The songs of mine she sings historically have always been hopeful, upbeat, expressing some sense of comfort - I Wish That I Could Fall maybe being the only exception, and even then still offering some hope in the end.

On the flipside, there's a part in verse two where my voice is swapped out for Teto for a couple lines. I couldn't really tell you what it is, since it's not in terms of timbre or range, but Kasane Teto - her Synth V voicebank especially, but really all iterations of her - is the vocal synth that feels the most like a stand-in for my own voice. And really, writing with her almost seems to bring out parts of myself that are a bit too honest.

These two juxtaposed against each other made perfect sense. It helps that they have The Color Scheme, too.

Finally, this song is basically just one big reference to my song Destiny, from back in 2018, and it even closes out with lyrics based very directly on its closing refrain. I don't have much else to say on that front - but there's another Jamie Paige song this bears some shared DNA with, and a blatant reference to it is hidden in plain sight right as the bridge transitions to the outro.

Do you know what it is?

That's the post! If you have any questions, feel free to send them my way - I'm planning on doing a big AMA style bonus post after the album's finished!!

Speaking of which, tomorrow, we'll be talking about the eleventh and final track on the album - a simple little song about a computer falling in love... :~)

[desertskiespodcast]

How many of the voices/characters you do are unedited? I am floored every episode that you are the only VA/director/creator/editor for this entire podcast (aside from your son doing a handful of guitar!), and I am so genuinely curious how the hell you do so much as one person. Some characters like CASH have a bit of an obvious autotune (lack of a better word, I am incredibly uneducated in this) to their voice, but I am so curious to learn how much of it you are able to do with your unedited voice. Like, what characters? I feel like Tendy and Mac are unedited, but it genuinely astounds me!

Thank you for making this podcast!

Hey, that's a big question because there's so many characters and I'm prone to forget some. But this gives me an opportunity to give a proper response because I get asked it A LOT. So thank you! When we're talking about editing, there's those obvious things that I don't think are worth mentioning such as the reverb used for any minor-deity (Sphere Movers) and projected beings, the siblings, Betty and Greg. The only process that I use to actually change the voice is something called pitching, and it's done in the editing software. Here's a list of who I can remember and what changes I make in terms of pitching. Potential spoilers but only names: C.A.S.H. , Xochitlicue, Francise, Betty, Masonia, Nonny - Only very minor pitching up, and flanger for C.A.S.H. to provide that robotty sound. I could do most of these characters without pitching and you'd likely not notice. Shirley Edwards - Medium pitching up Nico Valerie, Greg - Minor pitching down. Same as the minor ups, I could do these without pitching and it probably wouldn't be noticed. Freddie Pruitt - Medium pitching down Prime Mover - Major pitching down (believe it or not, I record this one with an intentionally high voice and then make that super low) Tendy, Mac, Lawrence Cobb, Michael Partridge, Corson, Doug, Dusek, Olenus, Dale Edwards, Drystan - No pitching changes I'm probably forgetting someone so please forgive me. Hopefully that answers your question!

[mouseoho]

its a mini album apparently thats fine i can be normal about it. i can do without fixing

oneus second full album would fix me

[sorenphelps]

I've hopped on to the rockstar AU bandwagon so hard that I just had to make more fanart, which somehow turned into a full post explaining further the scoring chart and my detailed Marauders Band AU headcanons with a lot of sample music linked!! It's long so I hid it under the cut, enjoy and please share your thoughts, I'm desperate!

Sirius has a powerful, deep, and a little raspy voice, with quite a large vocal range (might have minor difficulties with the very high notes). He can play a lot of musical instruments: guitars (acoustic, electric, bass), piano, and drums if it’s absolutely necessary. He picked up a tiny little bit of violin too from his brother, and tried some wind instruments too, but never really got the hang of them. His preferred style of music is all kind of rock, but he is opened to new genres. He is an adequate composer, but he is prone to overdramatize his works and lyrics, his real talent is his charismatic vocals. Samples: x x x x x

Remus has a softer singing voice with an average range, generally higher than Sirius’ and not as charismatic. His kind of music is more alternative and chill (sexy even), focusing more on the actual technicalities and lyrics. He can play a cello (electric too) and a bass guitar perfectly, and he learned how to play other instruments too, so he would feel “caught up” to his friends’ levels (even though he is the most proficient bass player ever, and his lyrics are basically high-end poetry, which can be paralleled by only Sirius on his best days). He likes to incorporate unconventional solutions to his music (e.g. autotune effects, weird traditional instruments, etc.). Samples: x x x x x

James is bad at singing, he has a very average voice with quite a small vocal range if any. However, he can play a lot of musical instruments (his preference being the drums) and is a talented sound engineer. He is the best composer among his friends, he has the most experimental style. He has very creative ideas, and is best at helping his friends to make music together, enhancing their individual strengths and transforming their shared talent into something better. Samples (including a bonus collab he composed for Lily & Sirius and a collab with Remus): x x x x x x x

Lily has a very feminine, soft and even angelic voice, which is best paired with either a folk-ish alternative music style or rock/metal. She has the kind of voice, which just enhances any “epic” music with heavy guitar riffs or drum solos, basically anything, which is just very characteristic and theatrical by its own, and would be very overwhelming if for example Sirius would sing in them with his also very charismatic and powerful vocals. Lily is a very skilled piano player and singer with a wide vocal range, her songs are usually get picked as soundtrack for fantasy video games. Samples: x x x x x

Peter is more interested in classical music and the business side of music, he is a surprisingly adept talent scout and manager. As he is missing a finger, the musical instruments he could play is very limited. He is secretly a very skilled opera singer however. Samples: x x x

[skeeverboy]

hi i love making lists and rankings. this is my ranking of all tfb albums from worst to best.

yes i've ranked tfb albums before im trying to go more in depth on this one and also my opinions may or may not have changed

Going Grey

It's experimental. It's stylistically different from the albums leading up to it. It's branching in a new direction, their first step into a slightly more pop sound. And it is boring.

A couple tracks sound the same to me. There's no pull factor for me, it's all around just kind of dull when compared to other TFB albums.

That is to say, though, I do love this album. Peace Sign goes hard, love the connection to Tie Dye Dragon. You Used to Say is a pretty solid opener. Vacation Town is a classic (though it is overplayed ngl)

8.4/10

In Sickness & In Flames

I love this album, I really do. Stylistically I think it's really significant to the TFB timeline, marking their journey into the more pop side that they're exploring recently. There are some absolute BANGERS also - love bus beat, love montgomery forever, love Fairbanks, Alaska. This was also the most recent album when I started listening to TFB.

With that, I think a lot of the album is kind of forgettable. I mean, come on- new song d, the hard way, make way, love at first sight. I forget they exist. Also, for some reason, I just cannot stand everyone blooms and it's the opener to the album. It puts a bad taste in my mouth for the entire thing.

8.9/10

You Are Who You Hang Out With

I reviewed this album on my other blog and gave it an 8.6 but that's changing today because my opinions are subjective and change every hour. This album is great, I don't care what anyone says. Most of the time I genuinely think the autotune and heavy editing works.

It did take some time for me to get used to it, not going to lie. I loved Outlook when it came out, but Emotional was... rough at first. It's absolutely warmed up to me, though. It can feel kind of repetitive sometimes, but I really like how they experimented with style and put out something truly unique.

9.0/10

My Grandma Vs. Pneumonia

I am such a sucker for 2000s/early 2010s TFB. I love the raw sound, and this shit is the DEFINITION of raw and unfiltered. I love this album with all my heart, I love the vocals (controversial, I know), I love the style, I love the simplicity and the lyrical style.

Some of this album is a little forgettable, and there are a few in here that were remade to just be so much better. The Theresa version of Supply of Power and the Rose version of Flying Model Rockets absolutely desimate and are just incredible. Though, I will say, the original I Think Your Nose Is Bleeding is better.

Definitely a hit or miss depending on who you are, but I am the type of person to EAT THIS SHIT UP.

9.3/10

The Front Bottoms

This album is an absolute classic. Really similar in style to IHMF and MGVP but sounding just a little more polished. This album has some of the gayest songs ever.

The lyrics speak to the heart. Every track is memorable and incredible. The use of trumpet in certain tracks is really nice, though it's incorporated better in later albums.

9.5/10

Talon of the Hawk

Just an incredible album all around. It's super energetic in an absolute delightful way. It's the perfect blend of their older kind of rough folk-y style while remaining polished and sounding complete. Older albums often sound like they're unfinished demos. Not TotH.

The use of trumpet and other instruments is strong. Some of TFB's most iconic songs are in this album. The knife is iconic. It is the Front Bottoms album.

9.7/10

Back on Top

I love this album so fucking much. Every song is incredible. The style, with the heavy use of electric guitar, is wonderful. It feels very light, very summery.

While it's less iconic than TotH, I'd say some of the most underrated songs are in Back on Top. 2YL, Ginger, The Plan, HELP, all absolutely breathtaking songs.

God I love this album.

9.9/10

I Hate My Friends

This is the most biased top pick ever. But yeah, this is one of my favorite albums of all time, maybe even my favorite of all time. I love the old TFB sound, I love the lyrics, I love the subject matter, I love the immature angst, I just overall love it so much.

I'm getting a fucking tattoo of this album, I have to put it at the top.

10/10

[hoodiedeer]

do you have a fursuit? If not, what would your dream suit be?

i dont ;w;

i think my DREAM fursuit is my opossum gwen, being her would make me so happy

even a partial would be awesome but i would love a fullsuit that matches her body type..... a while ago i saw these 2 awesome pear shaped fursuits with exactly the body shape id want and i could not stop thinking about it. i need to be so fluffy

(sora_huzimaru and LISU_12222 on twitter)

ALSO if i could figure out how to make it happen. i think she should have a voice changer in the head so i sound slightly higher pitched and lightly autotuned. thats like canon for her i think

and if i did have that fursuit my dream would be to go around a convention lobby blasting nightcore and giving people glowsticks

tho i think also my dream would be to have multiple fursuits if possible..... a partial of hoodiedeer would be so awesome too. or something else if i got better ocs someday

[chatter-crow]

please do. personally went off about the soundtrack the first time i heard it.... it's's . not good (about mean girls)

alright this is a whole lot because holy SHIT i think about this more than I should

! ! This is all my opinion ! !

If you liked it, good for you ig just dont attack me lol

They took every bit of musical theater out of the soundtrack and made it sound like generic pop. Theater kids pay WELL for good stuff, they could have made a lot of money.

Also, the complete lack of emotion is awful. Stupid With Love is meant to be Cady being absolutely thrilled, on the fucking moon with joy, but she sounds completely apathetic about her feelings for Aaron. Plus, the way they used autotune (esp on Cady) makes it feel like Disney Channel in the worst way possible.

There are some lyrics changes that really bother me. In the orignal Sexy, Karen has a line of 'I expect to run the world in shoes I cannot walk in,' while in the new line is 'Watch me as I run the world in shoes I cannot walk in', which chnages the entire meaning of the lyric from 'Karen thinks its #feminist to assert control over people because she's priveleged' to 'Karen is a girlboss who can do anything cause women are cool and smart' , which in the most respectful is *not* who Karen is as a character. There are more, but I can't name them off the top of my head so,, whatever lol

On casting, I think just about everybody but Cady were cast extremely well. Renee Rapp does such a fantastic job as Regina, really suits the character and knows how to play her. (Makes sense, she played Regina on Broadway).

Auli'i Cravalho pulls off Janis's character pretty well, but I don't think she fully captured the essence of the character. She doesn't really have the bitterness/jadedness that the orginal Janis has and I don't feel like she has the fact the Janis is in fact a mean girl down. This is no shade to her, I feel like it's more the way they rewrote Janis rather than her acting. I do like that they changed Janis's last name to reflect Auli'i's culture though. Nice detail.

Avantika and Jaquel both pulled off their characters perfectly. Avantika really has the right face for Karen, with big doe eyes and whatnot, she can really pull off the effect of being as stupid as Karen is. (That sounds mean, it's really not.) Jaquel did Damien good, and I don't really have a lot to say on his performance other than his voice is fantastic and he has Damien's character down. I do think he got type-cast a *bit* just due to how I've seen him act off screen, but he still did good. He knows his type.

Cady. Hoo boy. She is.. a look.

Angourie Rice is a fine actress on her own, but her vocals just aren't strong enough to keep up when she's surronded by people like Auli'i Cravalho and Renee Rapp, whose careers have been strongly focused on the muscial side of things, with Auli'i playing Moana for Disney and Renee having a music and broadway career alongside her movie career. Angourie just isn't able to compete with them. I'm sure she's a lovely actress on her own but she just doesn't have the muscial expiernce to be leading in a movie-musical.

Also, with representation, I appreciate that they made the cast more diverse, but it bothers me that four of the biggest MAIN CHARACTERS are still white. I can understand keeping Regina blonde because of the constant references to her blonde-ness in the musical, but Gretchen or Aaron absolutely could have been changed.

Hell, I would have loved to see Gretchen played by an asian actress, reconnecting with her culture at the end, since in the original she began to learn japanese or chinese (I don't remember which rn) as a way to connect with her new circle of friends.

On costumes, I don't think they did Janis justice, but I do like the gradual shift they have for Cady in her style and the Plastics are accurate.

I think keeping Janis emo like she was in the orignal movie and the musical would have been better. Artsy styles like hers are more widely excepted by teenagers while emos are mocked and harrassed extremely often, so keeping her emo would have added to her status as a social outcast.

I enjoy how they used social media to change the plot to be more modern, even if it isn't entirely accurate to how teenagers nowadays act. I think they were trying their best and did what they could with what knowledge they had.

I'm mad that they cut Stop, More is Better, Where Do You Belong? and Do This Thing. Stop is a fantastic chance to put the spotlight on Damian (since he has almost no solos COUGH COUGH) in and it could have absolutely been spun to have a more modern take on internet safety.

The plot. Oh my god, the plot. I HATE how they changed Regina being homophobic to Janis to 'oOOOooo Regina made it seem like Janis was an arsonist', which is.. litterally not the point. Homophobia still exists, Tina Fey, and sapphics/lesbians often do face discrimination from other women who claim to be allies. Plus, with calling Regina a lesbian and trying to set up Rejanis in the end? No! That is just not it! Regina is a fucking homophobe. Fight me y'all.

Okay I'm running out of time rn BUT i will be back later to add more onto this ,, thanks for reading through all of this if you did kudos to you

so long yall

[ochrearia]

My brain is fried and I can't focus here's a masterlist of my RGB headcanons that I make everyone else's problems

Boyfriend (Keith);

-Shortest of the three, do not care that he's "seven foot" dude you are 5'5 at best. And you're still taller than I am so stop complaining freak ass

-His microphone is weaponized & has a built in autotune button. Which is why he sounds like that when he sings. His real singing voice is something he keeps tightly secret because he's too concerned with sounding like something that can fit to every song

-Emotionally connected to Silly Billy/Yourself after they met because I said so. You can't just cross the void and give the wildest bearing of your heart and soul to your other self and not expect some accidental magic to tie you together

-Sometimes struggles with overthinking/depression, no character is safe from me inflicting my traumas on them get fucked

-One half of the stupid and horny duo but he's actually just stupid and horny

-Menace. Menace to everyone. He is cringe but free, loves hard and has no filter will say absolutely anything on his mind

-I am a BF is Miku's brother enjoyer

Girlfriend (Cherry);

-Synesthete. Specifically sound-to-color (Chromesthesia) which is why she's so attracted to music and singers. Also why she loves laughter because that also triggers it

-Chubby. Fight me

-Sweetest person on the planet regardless of her heritage. Better than most humans because it costs nothing to be nice and she likes being kind

-Other half of the stupid and horny duo but she's actually the most emotionally smart person ever. So points for that. Still horny though

-Can hide/show her demonic features whenever she wants, so horns/claws/wings/tail etc at will. Also demons can purr and it has a placating effect on humans like a motherfucker

-IMPOSSIBLE to embarrass. Nothing is illegal to her if she's into it she's into it and everyone can just deal with that

-Has a high body temp and low heartbeat as per demon-human differences

Pico;

-Resident asshole with a lot of problems but is very soft and nice if you get through his million billion walls (BF and GF have)

-The spikiness of his hair correlates directly to how angry he is at any given time. The calmer he is the more rounded off his hair is. If he's pissed he's turning into sonic the damn hedgehog

-The only idiot in the trio to still have a brain. Of which he has to use overtime to keep his partners out of trouble before he has a heart attack

-Guard dog. Guard dog. Guard dog. Until GF or BF cuddle him and then he becomes Lap Dog

-This dude is horrendously ticklish just about everywhere as goes my warpath of making the most hardass dangerous characters into screaming squirmy messes when someone wiggles their fingers at them. BF abuses this consistently

-Struggles with a whole handful of mental health issues but BF and GF are slowly helping him cope. He's completely out of touch with being vulnerable and loving so he still has days that he just Can't but his shell is Breaking.

-Consistently visited by trauma-induced insomnia, can sometimes escape it but other times it rages for days

[jmdbjk]

Set me free. A battle cry.

I still think it’s too soon for me to be voicing my thoughts on Set Me Free Pt. 2 but there’s so much going on in my head I have to let some of it out. I’m not an expert on music, the writing or production of it, or on choreography, or on K-pop. What I am is an appreciator and observer of art. And I attempt to express in words my emotions and thoughts while viewing the art. 

First of all... OH MY FUCKING GOD.

Now that I got that out of the way, I want to say I am so proud of Jimin: #1 on U.S. iTunes with all those other releases happening at the same time. And #1 Trending Now on YouTube. Also I think I saw fastest 100 #1′s on iTunes globally EVER (thank you for correcting me). But I know these charts are not the motivation behind his art.

So it begins with some angst with dramatic choir vocals... building up to a crescendo. The music includes a siren-like sound... things are getting critical. The dancers writhing and mimicking screams, invoking chaos, turmoil, pain and anguish.

And then Jimin appears suddenly and the dancers at once jump into order... chaos/order. 

It’s like Jimin’s own psyche with the two sides fighting within. 

The choreo tells the story of the lyrics: “I wandered in a maze, Hennessy and night.” On a path searching for the prize/end and especially these past few years, living a life full of luxury. We know Jimin is a night owl (maybe that is too literal of an interpretation perhaps). 

The autotune vocals add texture and are reminiscent of different voices talking in his head. It’s like using his own voice to role play his different emotions/colors within him: “Finally free; AH YEAH, AH YEAH; I’m standing at the edge; NOT YET, NOT YET; I won’t look back; NOW YEAH, NOW YEAH; fly away, butterfly, finally free” ... 

The choreo here where he mimics a butterfly with his body, fluid and lithe. I literally expected him to levitate during this dance move. 

“Going insane to stay sane. Raise your hands for the past me. Now set me free.” This is where I literally cried. Oh, Jimin.  

The dancers representing the world around him... at the same time are the confines of his vocation as well as his comrades... part of the constriction and also his saviors. His freedom as well as his box. Chaos and order.

At 1:52 the scene goes dark and one of the dancers reaches over to Jimin’s torso and I am assuming at some point, we will see this is deliberate for a reason. When the lights come back up they are a different color, colder, Jimin’s torso is bare with the words of the poem marching across his body in very straight orderly lines (needless to say, my jaw hit the floor).

It is as if the color of the light represents both sides. Hot chaos. Cold order. I think this part of the song is his inner turmoil. It has a different voice. Very angry. Very aggressive. Nothing like the Jimin we’ve known up until now.

The dancers pointing at him, his naysayers. That’s right Jimin, tell them to fuck off. He’s played by the rules up until now. It’s his turn to flip the table and upend what we’ve known. And wow, he succeeded.

The dancers lifting their fists and arms as if in triumph.

Jimin letting himself be offered up to the sky...the lifting and reaching for the sky/heaven.. higher and higher...  

The resurrection of New Jimin at the end. The direct defiant stare at us. With his back to us. What is he saying? He’s moving on? Are we following? We better get our fighting gear on and go. 

The visuals, his attitude. So many elements: the numerology, the golden spiral (fibonacci sequence), the set mimicking the panopticon. A prison. Caged like a beautiful bird. A place he entered of his own free will but ended up being a place where he was put on display to be criticized and judged for not being what everyone thinks he should be. 

Knowing some of Jimin‘s history, knowing a little bit about his personality and seeing how all of this has come together in this piece of art he’s created just makes me appreciate him even more as the deep thinker he is, a highly talented artist, singer, and dancer, and especially a deeply feeling human being. 

I don’t ever recall anything like this making me overcome with shock or being moved to tears or being made to feel so many different things in the span of three minutes and forty-four seconds as I did last night. 

The nature of art itself is to draw out your emotions. To move you. I was moved.

I am 100% certain on each subsequent time I listen to this song or watch the music video there will be something that will elicit something else within me and inspire another different thought or feeling.

And I know it could be because Jimin‘s solo work was so highly anticipated, so talked about and we didn’t know what to expect. We know he’s been working on it for well over a year and finally seeing the climax of it all, or at least the beginning of the climax, was very overwhelming to me. I mean, promo starts for Like Crazy tomorrow. LET US BREATHE! NO! BRING IT ON!

[dustedmagazine]

Listening Post: Mdou Moctar

Mdou Moctar is, without question, one of the pre-eminent rock guitarists of our time, as much a master of heavy, hazy grooves as of double-tapped Van Halen-esque shreddery. His music is steeped in a very specific desert blues aesthetic, the swaying, side-to-side rhythms that evoke camel caravans, the keening call and response that suggests lonely attempts at communion in remote campsites, the hard-bashed but intricate percussion, the silky multi-colored tunics that the band sports onstage. And yet, it’s universal in the same amp fried lineage as Jimi Hendrix, Jimmy Page, Jeff Beck, Eddie Hazel and, oh right, Eddie van Halen.

Dusted has been enamored of Mdou Moctar for quite some time, beginning with Patrick Masterson’s highly entertaining review of the Akounak Tedalat Taha Tazoughai OST in 2015—the music for a remake of Prince’s Purple Rain in the Tamashek language— on Sahel Sounds.Masterson observed, “The idea of a Tuareg Purple Rain would have been unthinkable in 1984, not least of all because —and I cannot stress enough how funny I find this — there is no Tamashek word for ‘purple.’ Yet, 31 years later, here we are — the magic of a smaller world has helped bring an academic outsider’s joke to life. The punchline, of course, is that it’s as good as advertised.”

We collectively fell for Ilana (The Creator) and its out-of-hand shredding in 2019.Isaac Olsen noted, “If you still have a punk-induced allergy to flashy guitar solos, be warned; there’s not a track on Ilana where Moctar doesn’t take every available opportunity to — no other word for it — shred. Fortunately, Moctar earns the right to play his ass off by recruiting a band whose hungry energy matches and spurs on his own and by, for the first time, writing a whole album of tunes worthy of his chops.” The record brought a normally fractious Dusted roster to unity and dominated the 2019 Mid-Year feature.

Two years later, Afrique Victime won praise for its less showy, more groovy vibe. Said Jennifer Kelly in her review, “While he’s been one of rock music’s best guitarists for a while, the larger platform takes him out of the niche desert blues category and into the broader multinational arena. He might be excused for capitalizing by leaning into the rock elements of his sound, but instead, he’s putting forward the droning, mystic, call-and-response twilight magic of northwest African guitar music.”

And so we come to Funeral for Justice, another scorcher. The new record is as sharp and impassioned as any Moctar and his band have done so far, and it is inflamed with political energy. It comes after a period of exile after civil war in Niger. It calls out the injustices of colonialism, economic inequality and exploitation in cuts including the title track, “Oh France” and “Modern Slaves.” It cooks on the strength of a band that has never sounded better or more locked in, and it has one or two guitar solos, too.

Intro by Jennifer Kelly

Jennifer Kelly: How are you all liking the new Mdou Moctar? I’m feeling like it’s the best thing he’s ever done, not different exactly but more intense and volcanic. Definitely turned up to 11. 

Bill Meyer: My first reaction is that while Funeral For Justice definitely foregrounds the shredding, I miss the layered sound of Afrique Victime. But I’m tickled to hear the increased prominence of electronic percussion and autotune. It’s kind of a roots move, given that the first time a lot of people heard him was on a tune originally identified only as “Autotune,” which appeared on the Sahel Sounds compilation, Music From Saharan Cellphones. 

Tim Clarke: I saw Mdou Moctar live last year at a music festival, and it was very loud and thrilling. This is the first time I've listened to a full album. It makes me realize how little I'm drawn to fast guitar playing! And the band's trademark "cantering" rhythm feels like a bit of a musical rut. But when they explore outside these parameters, things get more interesting, especially when they play around with a mix of recording fidelities at the start of second track, "Imouhar." I also like the fact the record is concise and well-paced. Definitely piqued my interest to hear more of what the band can do. 

Christian Carey: The combination of desert blues and intense rock solos is amazing - and fairly singular. The group vocals create an appealing contrast to Mdou's shredding. 

I'm not sure that he can raise the intensity level any higher than this — turned up to 12?

Jennifer Kelly: I'm so glad you guys picked up on this. Lots to think about.

First regarding Bill's comment about a "rootsier" sound, it's complicated isn't it?

We look to third world artists for authenticity, which in its most reductive form means less electrification, fewer electronics, etc. But as Bill points out, Mdou's early stuff was heavily autotuned, as for instance here:

And a lot of the Sahel Sounds’ (and thanks, Bill, for making sure we gave them credit for being first with this stuff) cellphone compilations have a very slick, disco-electronic vibe. And that's music largely produced for African audiences without much consideration of a global audience. So which is authentic?

Also, my understanding, Tim, is that the rhythm is based on the way camels walk and a nod to West Africa's nomadic culture and heritage? You hear the same beat in Tinawarin's stuff.

Tim Clarke: I can definitely hear the camel's gait in the cantering rhythm section, that slightly awkward, loping feel. It's certainly unique.

Bryon Hayes: The almost hard rock riff in the intro of the title track originally confused me (did I put the right album on?), but I found it really powerful upon further spins of the album, especially how it segues into the cantering rhythm. Also, the roar as the lower fidelity section of “Imouhar” transitions to a higher fidelity is downright mind-melting! He’s experimenting with song form, and it really works.

Michael Rosenstein: As much as I've liked Mdou Moctar's music, I have to admit that this one is starting to lose me a bit. But that has way more to do with my musical proclivities than it does to the music at hand. What originally drew me to Moctar's music was the rawness of it; that uneasy balance of "shredding" that others have mentioned with a trance-like, cyclical flow. That was really foregrounded in his early albums like Afelan or Anar both of which were released a decade ago. This new one sounds, to my ears, much more heavily produced and fussed over. I admit, though, that I'm really uneasy with my assessment in that, as much as I hope I'm not, I fear I am just bringing my old, white, privileged judgement to bear. Is this just me judging that the music is no longer "authentic" enough? Or is it just that he is embracing the rock leanings inherent to his music and that just resonates less with me?

I do find it curious that, as far as I can tell, none of Moctar's music on Sahel Sounds is available anymore (including the one track on Music from Saharan Cellphones: Volume 2 referenced by Bill.) I have no idea if that is by his choice, by contractual obligations with Matador, or by the choice of the Sahel Sounds folks.

Jennifer Kelly: I noticed that those records were missing, too, when I looked for the Sahel Sounds records to hear the autotune. I wonder what happened?

Some of the songs are still very trance-y..."Imouhar," for example, especially at the beginning (it gets loud later), "Takoba" all the way through. The production seems about the same as on Afrique Victime to me, clean but not overly so. (Though, I will admit that I probably like the rock stuff more than Michael does.)

We haven't really talked about the political backdrop to this record, have we? The fact that Civil War in Niger has left them stranded in the States since 2023. I don't speak Tamshek but it seems that a lot of the songs with English titles are about politics and colonialism, which may affect the way they play and present the material, yes? It's different from writing songs about village life or falling in love with the local beauty.

Ian Mathers: I'll admit, there's at least a part of me that wishes this whole record was just unabashedly Going For It as hard as the opening title track does. Not that I don't like the relatively more restrained material; I'm not terribly knowledgeable about African music in general but "Takoba" reminds me of one of the few records from the continent I do very much know and love, the one Ali Farka Toure did with Ry Cooder (Talking Timbuktu) that my dad played all the time when I was in high school. Toure was from Mali, which at least shares a border with Niger, so hopefully I'm not being too ignorant hearing similarities in some of the guitar playing there. The more monomaniacally the band gets cooking here, generally, the more I like it (I really like "Sousoume Tamacheq," for example). I think I probably like it a little more than (the also excellent!) Afrique Victime, although I think for similar but opposite reasons to Michael, that it's just more to my taste and not necessarily a better record.

I'd also love to see a full set of lyrics/translations, and everything I've read about the sociopolitical context of the band and this music has been fascinating, but mostly right I'm just appreciating and enjoying this record in a similar way to, say, Oneida's "Sheets of Easter" or that U SCO record I picked for our 2023 Slept On round up.

Tim Clarke: Further to what you're saying about enjoying the "everything on 11" aspect of Moctar's sound, I can't help wondering what the band would sound like recorded by Steve Albini. That I'd like to hear!

Ian Mathers: Oh, good point; maybe because we talked about African Head Charge a while back I'm now also wondering what Adrian Sherwood would make of them.

Bill Meyer: I don’t think you’re too far off the mark in seeing a similarity between Moctar’s and Ali Farka Toure’s music, Ian. Toure worked with the languages and styles of several ethnic groups from the Malian interior, soI’m sure he would have been acquainted with the precedents for what Moctar does. Moctar is from subsequent generation, so his music is more in touch with what has been popular in the Sahel in this century. But another thing they both have in common is that they’ve been worked a lot on non-African stages, gotten hold of gear that isn’t particularly available back home, and undergone a personal course of development on a world stage. 

Their politics are different, though. I think Toure was the mayor (or something similar) of his town. He was pretty invested in fostering the stability of the existing Malian state, thus all the songs in different languages that encouraged people to get along. He was the big man in town who responsibly leveraged his popularity as a musician to obtain resources for his community. Your CD purchases generated income for Niafunke’s farming community. Moctar, on the other hand, was just another guy on the street, albeit an artistically ambitious one, until musical opportunities permitted him to tour and make records outside of Niger. His stance, as far as I can grasp it, is critical of African leaders who don’t look out for their people, and even more critical of the foreign powers that have run roughshod over his country (mostly France and the US). 

Matador came through with the lyrics.

[Here are some excerpts.]

“ FUNERAL FOR JUSTICE”

Dear African leaders, hear my burning question

Why does your ear only heed France and America? 

They misled you into giving up your lands

They delightfully watch you in your fraternal feud

They possess the power to help out but chose not to

Why is that? When your rights are trodden upon

 Why is that? When your rights are trodden upon

“ MODERN SLAVES”

Oh world, why be so selective about human beings? 

Oh world, why be so selective about human beings? 

My people are crying while you laugh

My people are crying while you laugh

All you do is watch

All you do is watch

Oh world, why be so selective about counrties?

Oh world, why be so selective about counrties? 

Yours are well built while ours are being destroyed

Yours are well built while ours are being destroyed.

Jennifer Kelly: Wow, that is fiery stuff. 

Ian Mathers: I can also see in the translated lyrics even more of a connection between the two countries, with Tamasheq described as "A helpless orphan abandoned by 3 countries / Mali-Niger, Niger-Mali and Algeria as the third." Interesting to note the gap between Toure and Moctar's respective places in society (at least right now, for Moctar). I didn't specifically think of reggae when I was reading the lyrics, Bill, but once you point it out there does seem to be a number of shared themes, maybe even some metaphors and imagery, there.

[meraki-yao]

So here's the thing

The first time, first time that I saw Nick in my life, ever

Was this video

(yes I'm a two set violin fan)

Nick, babygirl, I love you but you... don't know how to play the violin

The thing is Nick's previous films misled me on his musical skills so much! There's this that made me think that he didn't know music but turns out he's great with a guitar and a piano

And then there's me listening to his cover of "Somebody to Love" in Cinderella which for some reason sounds so damn autotuned, which made me think that he can't sing, but then I got into RWRB and went to check his IG and OH GOD HE HAS THE VOICE OF AN ANGEL

Still wondering if I'll do like a reaction post of Cinderella 2021 if I have the time. I showed my sister some bits and she gave some pretty memeable quotes such as her commentary on Princess Gwen's ballgown made my Cinderella (and these are direct quotes):

The flesh colour makes her look naked 

this looks like a bad attempt at a toga

When I thought of the necklace thing, I was thinking should I say chest or boobs?

so maybe we'll do it together? Idk

Either way, thank God Nick's doing better projects now (and hoping for the same for Taylor as well)

[ccborrega]

A HANDY GUIDE TO KNOWING WHICH FRANKELDA ENGLISH DUB YOU ARE WATCHING BY SOMEONE WHO'S GONE THROUGH BOTH:

It's been brought to my attention that some, ahem, unofficial streaming sites have the old english dub done in what was likely a severe time crunch by a studio that... wasn't really prepared for the task back in 2021, rather than the new and improved one released at the beginning of this month, which results in people meeting excitement over the english version with puzzlement and even indignation having experienced the former rather than the latter.

Here's a few pointers to help you spot which one you're watching:

Titles. @figmentedjedi brought it up in a post already but the 2023 dub has Frankelda herself read it where the old one has Herneval do it.

2023 dub has inserts for anything shown in screen that is written in spanish and otherwise incomprehensible without translation, included the titles of the stories Frankelda reads.

New dub consistently and constantly misses loops and just leaves characters flapping without anything coming out. The best example to this is Nemo's counter during the Gnome's song, where he's very clearly singing but nothing can be heard.

This is where the whole 'Old dub didn't really have any involvement or even revision of the Ambriz Brothers' comes in stronger but you know how the show's title is 'Frankelda's Book of Spooks'? Well, there they call the creatures in her stories 'Scares' for reasons I still can't discern, my best guess is they didn't really have any quality control on board with the project. Long story short, if they say 'Scares', it's the old dub.

If El Coco calls himself 'Boogaboo' and is autotuned AF in his song, you're watching the old dub. New dub has him introducing himself with both El Coco and The Boogeyman and has the same voice actor that voiced him in spanish doing the song. Trust me, it's night and day.

I feel kinda bad about pointing this out because I still insist the actors in the old dub seem to me to have been doing the best they could with what they'd been handed and this seems to have been completely on the production... but the english in the old one is rather clumsy. To be clear, in order to translate from spanish to english, you are often better off pretty much rewriting the sentence AFTER having understood it in it's entirety because the grammar and even the sentence structure can be vastly different between one another, so translating literally and word by word often results in complete nonsense or at least very, very awkward wording both from english to spanish and viceversa. This wasn't done here and it results in a lot of times where understanding what was said takes you a bit because the structure of the sentence was all wonky.

That aside, grammar as a whole wasn't as thoroughly consulted as it could have been. So there's quite a bit of fumbles. The ones I remember the most is the Mermaid saying 'All these innocent childs' and Nemo saying 'Chores' instead of 'Homework' (Tarea can both mean homework and stuff you do around the house so that was probably where they got confused) The new dub is a lot more competent in this aspect.

This one's more of a nitpick I guess but in the old dub they have no idea whatsoever of how to pronounce some of the kids' names. Tere becomes Terry, Uli becomes Julie.

They also call Pan de Muerto 'Bread of the Dead', which... it's not that it's bad but who even calls it that? We don't call Croissants 'Crescent moons' so I see no reason to, and if you have no idea what Pan de Muerto is, that name makes it sound unpleasantly like something made FROM dead people. 'Day of the dead bread', which is used in the new dub is not only clearer to what it IS, something that is consumed in the Day of the Dead, but they use it alongside the original name because that IS its name. I never understand when dubs want to completely erase the cultural identity of what they are representing, and they did a wonderful job going around that in the 2023 dub where the old one even calls them 'Breadrolls' at one point.

This is where I insist the actors at least had some idea of what they were doing for the most part but the old dub adds some reactions that were never there for the original latam track and weren't put in the new one either.

Both Totolina and Francisca's grandma in the old dub sound like they're trying for a really posh british accent (Which is hilarious in context, as it was Francisca's DAD who came from... I wanna say Cornwall as it seems more likely given the time period and provided lore, but her mother's side of the family are locals to Hidalgo.) where the new dub has a very neutral english. She is also voiced by Debra Wilson, and particularly 'You can transform', the witches' song, takes full advantage of her range and energy.

This one's even a little bit obvious but the new dub was released with a visual remaster, making it so the old dub is only available with the old visuals. The newer one is, then, only available with the remaster. Here's a couple of pics for comparison of one of the moments where it's the most evident.

Pre-Remaster:

Post-Remaster.

Finally (And this should make it a lot easier.) the songs are wildly different between one version and another, and you can reference what the new dub versions are easily because they've been posted both on Spotify and Youtube under the Water Tower Music account and the Frankelda's Book of Spooks topic. If the songs don't have those lyrics, then you're watching the old dub, simple as that.

Hope this helps and happy watching! Do watch the original with subs if it's at all possible because, I insist, it's amazing.

[apocalypsecraftstudios]

PORTAL FANS: IF UNIVERSAL PICTURES BUYS VALVE'S MOST PLAYED GAME PORTAL/PORTAL 2 COPYRIGHT, WOULD THEY MAKE AN ANIMATED MOVIE OR A LIVE ACTION! :0 SUPER CURIOUS TO KNOW YOUR THOUGHTS (keep yourself respectful and out of any kind of unnecessary drama plz)

| My personal statement/thoughts:

+ I honestly think GLaDOS would look super terrifying like a gigantic Kaiju since she's canonically super big and powerful enough to scare the shit outta of us. I also think Ellen McLaren would do an unbeatable amazing job as best voice actress ever. It is known that GLaDOS is the best written character so hopefully they (Universal Pictures) don't ruin her essence. If they do I would kms/j.

Imagine a Kaiju sized female prototype staring at you with her super realistic design. Absolutely scary and STUNNING OVERALL! I can't wait to see the official concept of Universal Pictures about how would GLaDOS look like realistically!

| About Chell? She would literally be Natalie Artemis (Monster Hunter's movie actress). I always have seen Natalie as Chell from Portal. Why? Because she's close to her physical appearance and action movie behaviours. She must train herself to not speak a single word since Chell is canonically mute because she refuses to talk to machines and robots (mainly due to she's kind of angry and pissed).

| I don't know which actor would be super cool for Doug Rattman. I'm sorry. But if that's the case, the movie should have a prequel because Rattman has been being a survivor of one of GLaDOS's attacks and people do deserve to understand better the lore behind this amazing videogame. Isn't it?

| I don't know how social behaved is Stephen Merchant but if he's sociable enough he would have a lot of fun trying new quotes for the animated/live action movie of Portal. Wheatley would look super but super realistically animated by professionals and his voice would sound kind of robotic (with some autotune in the background of his original voice). Anyways I can't wait to see his concept artwork made by Universal Pictures!

| The turrets, Prima Donna turret and others would be wildly amazing and super realistic. The turrets would be quite more dangerous than the game and I bet they would change their stay-here behaviour to one more scarier: making the turrets run over their legs to catch and kill their targets easier. That would be a terrifying challenge for Chell. What do you think?

• OMG PLEASE LIKE AND LET ME KNOW WHAT ARE YOUR THOUGHTS I'M EXCITED HAHA * dies*

[thirstyforred]

im truly not tuned into mainstream music or new releases, and I can list like 3 albums that aren't OSTs that I listened to in 2024

but I do watch some YouTubers that talk about music and apparently, I have a bit of a hot take, so I'm gonna list albums I really liked in 2024

Skinwalker Social Club by MOSSBACK - ok this one was actually released in late 2023, but I got really into it in winter. I like what MOOSBACK is doing in general, but you can really see the difference between songs on this and the rest of what he does with Grim Salvo, it's a bit more lyrical, it's a bit more melodic. I love how "dirty" the guitar sounds, i can almost hear the fingers leaving strings. Also, some of the lyrics are funny as hell, like the entirety of Formaldehyde has me in stitches despite the subject matter. The fav is obviously Ox - this is the most whipped bf "they euthanized that dog in me" song you can find, it's MOSSBACK sitting in my walls Gwent dev style writing about Nithral, it's perfect

The Thaumaturge OST by Agnieszka Wlazły and Sebastian Syczyński - there's not a single happy song on this bitch and honestly so fair. The way they mix so many musical influences making this landscape of early 20th-century Warsaw, wow. And it just fits perfectly with the tone and mood of the game, idfk I'm in love.

Hades 2 by Darren Korb - I take my time with Scylla's fight, making my overall time worse, because I can't stop myself from singing along.

VOIDSTAR by Grim Salvo - this is insane to me, the things they do on this album, and the autotune sounds goofy but it works, It makes sense. The lyrics are incomprehensible at times but at this point, it's just part of the genre. It's bold and that was my summer music - all hail the rot. I'm so fucking normal about MOSSBACK's verse on QUEEN LEECH, I swear, I'm so normal...

Knock on the Coffin's Lid OST - it gives me Gwent a bit not gonna lie, but It's just a good time. Technically it came out when the game was already in beta/early access, but they had an actual full release this summer and that's when I learned about the game, so it still fits the bill

Brat by Charlie xcx - i got into it in November to check what the noise was about. I understand now why so many people consider this the album of the year or at least put it pretty high on the top 10s. It simply slaps

Dragon Age Veilguard OST - im so conflicted about nearly everything regarding new da, and I think the album they put out is actually bad, this is just a weird selection. But there are some earworms on this soundtrack. Love the horn, love the synths, Down But Not Out may be one of the better "sad tunes" in da games.

C,XOXO by Camila Cabello - this is my December hot girl summer album, the worst brat as I saw it described, but IMO it's better than brat - yeah that was that hot take. like ignoring Drake features of course. Lyrics go crazy on this, but fucking Pitbull sample, why the fuck it works so well? how do you even come up with this?? where do you go from this? I'm obsessed, feverish and confused, and only some of this is because I'm still sick. sorry Grim Salvo this is my album of 2024