#i do love their discography........

[burntblueberrywaffles]

YOU DONT UNDERSTAND I NEED TO BUY THE CD I NEED TO HOLD IT IN MY HANDS I NEED IT

[illichii]

a homage to my sif homescreen

[sevlawless]

dead apple's discography: 1/?

review taken from their local newspaper:

Dead Apple's debut EP 'Running Out of Time' has hit all streaming platforms, and despite the title, they are doing anything but. Their punk rock influences shine throughout, as well as co-lead singer Arabella Aveiro's love for Fiona Apple, partially to credit for their band name. The band consists of its other lead singer, Seven Duckstein, guitarist Rowan Hart, bassist Devyn Powell, drummer Jazzy Dawson, and Iris De Luca on the keys. Each track has a emotional tie in to at least one person in the group, making the five tracks feel as though you're experiencing their lives yourselves.

When the current 11th graders of our own Green Meadow High were asked about this, Aveiro simply said:

"We want to make music that people can relate to. I think it’s more rewarding when you create something that you love, and that other people can love as well. Making these songs with my friends has been so fun, and we can't wait to make more music together."

For everyone's sakes, let's hope this band never runs out of time.

cover and songs breakdown under the cut <3

the cover was taken by seven when the whole gang went to the city. devyn had just got her license and her parents let them take the minivan to fit everyone LMFAO and arabella stuck her head out the window on the drive home. earlier versions of the ep had seven on the back cover doing the same pose (arabella had taken that photo in return <3), but after the breakup any physical copies printed had the same picture on the front but blurred.

where the heart is

written by: jazzy and seven

the drums on this song YOU KNOW jazzy had a hand in this! she wanted to write a song for the ep and was kinda struggling but seven helped her out :) so this is one of their many co-written songs together <3 this being the opener is so fitting for me because of lines like "6:30 alarm, brush my teeth, and start the car" and "it's time to go home again, that's so boring"

starting off at 6:30 am, early in the morning, starting off this ep with this song just feels fitting to me! and the whole "i hate my town" rite of passage most punk rock bands go through!

favorite lyrics:

"all in all, i've always had the same thoughts riling up my heart // and all in all, i haven't changed a single thing to feel differently"

"my mind's been in a million places, but my body hasn't moved an inch"

"if i could just take a chance, i wouldn't feel so bad // to see past myself, i wouldn't feel so bad"

baby tonight

written by: devyn, arabella

this is just an iris and devyn love song im afraid! i have this VIVID headcanon of devyn coming up to arabella and being like "i wrote some lyrics for a song about iris can you help me out" and arabella IMMEDIATELY being on board! i imagine devyn inviting iris over to her house and the whole band already being there in the garage ready to play this song for her :) it's such a cute lil moment and i like to think whenever they have a gig on or around iris' birthday or their anniversary they play this song! they put this on their first ep because they love devyn and iris and SO DO I!

favorite lyrics:

"she's a diamond in my fucked up world // prettier than the pearls that lay around on her neck // she makes me so fucking SICK!"

"so baby won't you take my life? or maybe you could crush my soul?"

red with love

written by: seven

unrequited love is really something else huh LMFAO i like to think that seven wrote this after him and arabella went to a party and played spin the bottle which resulting in them kissing for the first time (which later on when they're dating arabella doesn't count it as their first kiss because her eyes were open and the kiss was horrendously bad because that's her BEST FRIEND and she CANNOT have feelings for her BEST FRIEND-)

anyways ! i think seven started developing some sort of feelings for arabella after that and this song is the product of a late night writing session on his roof. when he shows it to the band they're like "who the HELL is this about" and arabella just looks at him like she knows and is immediately just like "let's practice it right now!" much to seven's relief.

when they're dating though and they perform this song together i like to think that after the line "you kiss me so sweetly, it gets me high" arabella ALWAYS without fail would kiss seven on the cheek :)

they stop performing this song when seven leaves the band.

favorite lyrics:

"the sunlight through my windowpane illuminates your face // i need you closer and you're not even an inch away"

"when you come home, you call my name // believe me when i say // tomorrow i will love you more than i did yesterday"

"i can't seem to get enough // it makes me sweat, you’re in my head // it turns me red with love"

sleep to dream

written by: arabella, iris

this bitch loves fiona apple idk what to tell you. i imagine that during high school arabella dated the WORST people but that just fueled her writing so she wrote this after one particularly bad boyfriend. iris also helped with the piano composition! i fear these breakup songs will become a pattern for arabella in later works LMFAO

favorite lyrics:

"i tell you how you feel, but you don't care // i say tell me the truth, but you don't dare // you say love is a hell you cannot bare // and i say gimme mine back and then go there, for all i care"

"this mind, this body, and this voice cannot be stifled by your deviant ways // so don't forget what i told you // don't come around, i got my own hell to raise"

where the lines overlap

written by: arabella, rowan

just the first of MANY certified rowanbella classics! rowan came up with the basic chords and arabella wrote the lyrics. this song is just them basically saying we're so happy to be in this band with our friends and we hope that never ever changes and it WON'T… right?

anywayyyy.. this song is an absolute crowd favorite and whenever they play a gig they always play this one last :)

favorite lyrics:

"no one is as lucky as us, we're not at the end but oh, we already won"

"now i've got a feeling if i sang this loud enough, you would sing it back to me"

[kitkatsgalore]

★彡[>> ɪɴꜱᴇʀᴛ ᴄᴏɪɴ ᴛᴏ ʙᴇɢɪɴ]彡★

[dvanaestmrva]

a fun thing about tragedies is that if you are consuming one all alone in your room in the middle of the night and they give you a hint of hope that you obviously know is bull you can audibly say "oh fuck you" because yea and then your mom(a light sleeper in her old age) will show up at your door like hello chicken are you okay i heard Any Sound and what am i supposed to tell her that mordred just rode his rotten world into the sun as the last high noon sounded outside and that i fucking called it? she has work in the morning

[wavesoutbeingtossed]

Besties we gotta find something better to talk about during the tour break than football non-drama because otherwise we’re in for a world of hurt after December lol

[targarrus]

joker out - ngvot

končno te vidim spet hitro mine čas spremenil sem pogled na svet ti pa barvo las

[puppyeared]

38 and 39 for the ask game!

(Love your art by the way)

38: fav song at the moment?

pawprint panic | party at club bug | love birds

39: youtuber you've been obsessed with and why?

link to scruffy's youtube channel

[greenerteacups]

crying screaming throwing up at the latest Lionheart update – only amplified by my listening to the Tortured Poets Department (anthology) while reading. What are your favourite songs from the album? and what would be Hermione and Draco's faves?

favorites: So Long London, BDILH, Florida, Guilty as Sin, The Bolter

Guilty as Sin? is the one that I'll be using for my imaginary blorbo music videos for a while, personally. BDILH is going to be the new star-crossed-lovers edit audio on TikTok from now til the heat-death of the universe, and I personally am going to enjoy that. The Bolter is the best storytelling, and I think its specificity is its strength.

I think Hermione and Draco are 90's babies, and I have self-indulgently projected my own taste for 80's/90's altrock onto both of them. I think Daphne would go full Swiftie in a hot minute, though. Would go nuts for the Alchemy. (It's me, I'm Daph.)

[stsapphos]

if chuuya had tumblr he’d blog about my chemical romance and joan of arc . and being transgender

[frnkiebby]

pookieee

im learning dance dance and mama on bass!

i have the intro the dance dance down and im learning a bunch of little snippets of mama!

fuck yeah my guy, good job!!

i’m still fucking around with scales and shit bc i’m fucking obsessing over being out of practice lmfao~🎃

[foundationsofdecay]

Wait a minute. Okay, so this is a thing that came up while writing about something else entirely, and I had a throwaway line about something like this in an unrelated post but now that I'm looking at it further, I wanted to go more in-depth on it.

This one is looking first at the power dynamic Sleep holds over Vessel through different forms of being "above" him and Vessel being "below" Him, with a later discussion of the interplay of what "ground level" and "baseline" are defined by and how that could potentially be reflected in those spacial metaphors as it relates to earlier power dynamics.

(Also, this is very explicitly describing emotional and potentially medical abuse so please keep that in mind! Thanks and stay safe)

In Sundowning, especially in Levitate, we have this implication that Sleep can ascend, despite not reaching the gods, something that Vessel is incapable of and creates a very direct power dynamic between the two. Sleep can do things that Vessel can't, and has the ability to leave or create distance in a way that Vessel is incapable of doing and leaving him helpless waiting for that distance to close.

However, in TPWBYT, we take this concept of levitation being a means of escape or distancing and possibly a show of dominance, and flip it upside-down. Sleep is ducking into deep blue safety and swallowing keys to distance Himself from love and not moving at all in terms of this metaphor, really, all while Vessel falls deeper and deeper. it's a curious shift, going from Vessel being stuck on the ground while Sleep can rise up and away from him, to Vessel being helpless against the movement of the ocean that's pulling him deeper and deeper while Sleep appears to still have control over His movement and choosing not to follow. In a way, Sleep still remains above him, powerful in a way that Vessel simply isn't, though one could also debate how much Vessel may have potentially embraced his trajectory at times.

Finally, with the beginning of TMBTE, we've abandoned the pelagic metaphor of Vessel's state of mind, returning to the physical surface and back on "ground level" in every sense. Sleep once again can raise Himself up, this time bringing Vessel with Him on occasion, as seen in The Summoning. The continued dynamic of this throughout the course of the trilogy really then adds so much more weight to the moment we finally hit Ascensionism, and is further reflected in the idea of Vessel being a specifically winged insect in TMBTE or being even expressing the idea of bringing the heavens down in Euclid. After all, that shows an erasure of at least one of the ways in which Sleep held power over Vessel. Not an equalizer, but it's something incredibly powerful and a driving force for the remaining plot.

There's one other note, though, if we consider that metaphor of Vessel's mental state. There's another interpretation to investigate here, when it comes to what "the ground" means. After all, we left TPWBYT on the note of Missing Limbs, something just as if not even more bleak than Blood Sport. If Vessel, following the depth charts associated with TPWBYT, truly had hit the absolute rock bottom, the lowest you could possibly go in terms of his state of mind and mental health... instead of just the interpretation from earlier, what if we never left that new floor, the "ground" that was spoken of in Descending? What if that was our new floor, the starting point of TMBTE and spiritual successor to that previous metaphor of the depths of the ocean?

Think of it this way: when you hit that intensity and speed of spiraling to that dark of a place, is that not world-defining, paradigm-shifting? Knowing what "ground" or "base" level once meant, but mandating a new definition to reflect your current experiences? For the purposes of this post I'm looking at specifically mental health, but when you're living in constant pain, physical or emotional or otherwise, that changes what "normal" means to you, what a "baseline" level of pain or mood or anything else impacted looks like. That doesn't mean that the new normal is someplace without that pain or any distress or harm, but that's still what it is, the new ground upon which you most often reside. What if this is where Vessel begins TMBTE?

Chokehold, the beginning track, fits well with this concept; Vessel asks Sleep to be shown the unknown and to be shown the way, regardless of any suffering it may bring, aware of how much power Sleep has over him via that chokehold and how his worth is only defined by what he can do for Him but still asking Him for direction. As described earlier, we have Vessel in The Summoning then begging Sleep to raise him up again, taken past the edge to see the other side and what it's like to have the power He has, but in the context of this interpretation he also is begging to be lifted up out of this deep dark place he's found himself in a way he didn't beg for in Sundowning, even if for a moment, to see what it's like to not live like this, to feel like he's being cared for and having his needs met for just a little while.

With that in mind, the amount of power Sleep has over every aspect of Vessel's life, particularly his mood and stability here, appears total up to this point, at least in how Vessel is describing it. It isn't until Ascensionism that we find Vessel having this massive breakthrough in the middle of a track that perhaps intentionally breaks you to your core, this moment of realizing he doesn't have to rely on Sleep for this the way he used to or was led to believe.

Depending on how you interpret Are You Really Okay, this may or may not also extend to him being able to mitigate or control any future downward emotional spirals, but even if he can't do so it's the fact that Sleep isn't the only option for him to turn to that's critical. Not only that, but by this point this newfound agency can be further extrapolated into so much more. Expanding on the initial paragraph about this album, Vessel can follow Sleep if He tries to levitate to establish dominance by being hot and cold or generally "above" Vessel. There's a monumental difference between asking someone if they wished that they loved you, even if you still want them to deep down, and begging someone that unresponsive to fall for you.

Ultimately, the takeaway here is that Vessel was able to reclaim agency over something critical to his survival that Sleep had previously used to control and hold over him. A lot happened in the process, there was a great deal of pain before he got to that point and it clearly didn't magically fix his issues or erase the impact of what he's gone through and his current situation with Sleep, but it happened and it still matters, regardless of how you interpret the ever-shifting locations and their possible implications.

[summershandystan]

Not to point out the obvious, but the way the sun is used as a metaphor for happiness consistently throughout the discography just overwhelms me

[hawkeyedflame]

courtney laplante really learned how to do harsh vocals and never looked back huh

[repeatstuff]

mark my words trapdoor is going to be on the setlist. i feel it in my bones.