#i think she would be good at composing national anthems.

[clle0]

paris paloma

paris paloma's music is going in an interesting direction. she's putting out more singles (of "boys, bugs and men" and "the warmth") ahead of the release of her album, cacophony, and it seems to switch between heavily produced vocal/choral arrangements with the tribal, anthemic beats that propelled her first single, labour, onto the world stage via social media, and very acoustic, minimally produced songs. it's an interesting dichotomy, still capturing the rawness of what made labour so special, but sometimes without the evocative literary references (circe and the Odyssey in particular) that set it apart from a lot of pop, putting her almost in comparison with some recent hozier works like unreal unearth with its dante's inferno and jonathan swift references.

I don't think she's got any new algorithm-breaking single on the album, but she has a lot of songs that appeal to medieval/fantasy aesthetics and often delving into witchy, pagan styles (especially on "the warmth").

I think also labour was pretty digestible at a first listen, with more layers to peel back on repeat listens, which doesn't really happen on her recent singles. they're either too face value or too obscure/complex to attain mainstream success.

[viandclintbarton-supremacy]

Crimson Mask (EngWnt x !Japan Reader)

Warning: Angst, Mentions of blood and Swearing

This story was inspired by @freefalls06-blog go check them out, they just started writing and they started with a banger

(Just quickly, reader is half English so can speak English plus i wont event try to use google translate to try and use Japanese cuz cant trust it)

It was the group stage of a invitational cup and you would have to take on the Lionesses. Two powerful team will clash together, the challenge excited you not only that you would face your Barca teammates and friends from your time in Chelsea but do so representing the country you loved and facing another you also called home.

After the walk out and singing the national anthems, you would shake hands and say good game to your opponents and friends.

Everything was going to plan as in 5 minutes you and your team managed to get the lead after Endo crossed it into the box to meet you foot to send it into the England net. You would go off cheering to the corner shortly being bundled by your teammates

"We got this! Let's keep going" Yui shouted as she cheered alongside you

"Ok guys, we have 85 mins still left. Focus." Risa said In efforts to keep you and the team focused. As you get up and head back to your side, you notice the glares from Lucy, Keira and Bright.

The match would continue with being a nightmare for the lionesses, getting passes and shots on target putting Mary Earps to the test.

You would one two with yui and as you ran behind leah to receive the ball you would suddenly be looking up to the star filled sky whilst a intense pain around your ankle and your ankle. You immediately response was to sit up on your knees and face the person who tackled you from behind and it was your barcalona teammate Keira Walsh. "What the fuck Kei!" You would let out as the ref would signal for a free kick. Keira just shrugged giving you a oops look, a move that made you hot under the collar and you shoved her. Shocking keira as you weren't a physical person but seeing someone you consider a "friend" act like that made you not think.

The ref would blow the whistle again as your teammates and england would get in-between you guys. Some of the Lionesses clearly pissed you pushed Keira whilst some didn't interfere due to not wanting cards. You could hear the angry voices of Earps, Greenwood and Toone whilst you see Fran Kirby would walk behind you and pat your back "Calm down Y/N, not worth it" You nodded a bit irrated.

"Walsh, L/N here" the ref would signal for both of you to walk towards them and stand in front of them "We are here to play and not fight, any more of this behaviour and you will be penalised. This is you first and last warning. Squash it and let's play" Both disgruntled you would both clasp hands and start to walk back for the free kick.

Keira would mutter a genuine "Sorry, I got carried away" but it would fall on deaf ears and you were still pissed and walked away at a fast pace

Seeing the fire in your eyes Yui would let you take the free kick as she knew where you strength in free kicks are and this being at the edge of the box it was a sweet spot of yours. Determined to get payback you took your spot and breathed in and out, trying to compose yourself and ignoring the pain in your lower hip. You start to drown out the voices of the players and crowd and focus on the corner of the net, with a deep breath you run up on your tip toes and swing you leg across your body hitting the ball in efforts to curl the it over the wall exhaling as you do. You watched as the ball glided with elegance as it skimmed Mary's fingers and sloted into the top corner of the net. Your teammates and home crowed cheered as you wooed to the sky feeling that anger change into happiness ignoring the swear from the england keeper frustrated at herself before being grouped hugged by your team.

Half time would come and you would make your way off the pitch before feeling a bump behind making you stagger, you would look up and see Bronze not even glance at you as she walked by "For the love of. Don't be like that Luc!" You said slighty flabbergasted at her actions. You shook your head and continued to walk but couldn't help shake the slight hurt feeling you have from having been tackled by Keira like that and Lucy to do that. They were the two who help you settle in barcalona and would call close friends, hell they are your neighbours. What is up with these girls.

You sit in the locker room listening to your coach and the game plan but the feeling still bugged you no matter how hard you tried to focus.

"Your doing great, you have had rough games befoe" you smirked looking towards Hamano and nodded

"Yeah and rougher nights with that american last month" you hear from Yui making you turned pink in the cheeks and cover your face as your teammates laughed. As you sighed and chuckled aswell. You may have been caught one day when a friend with benefits walked out your dorm door to meet a bunch of your teammates thus labeling you as a "player" of the group and endless days of jokes at your expense were made.

"Y/N! HERE!" You hear Saki shout as millie blocked your path, you backed heeled it to Saki with faith as you began to make a run with millie trying her best to hold and keep up. You watched the ball pass from person to person until you found an opening "Fuka!" You shouted as you pointed for a through ball, she caught on quickly and sent it to you. You ran and ran and got a foot to the ball but then felt the wind pushed out of your lungs as your body shock with violence sending you crashing down to the floor. You would gasp for air as you turned to lay on your back as you started to hear ringing in your ears, you felt like you just got blindsided by two bulls from both sides of your body and couldn't tell what just happened. You had your eyes closed responding to the pain whatever happened also reawoke the pain from your hip and ankle. As you opened your eyes first blurry you would see the medical staff checking and see Hamano and Kirby with worried expressions. You sat up slowly feeling one of the medics hands on your shoulder, you saw a cluster of Japanese and England players arguing and swearing at each other whilst the japanese crowd were booing down a storm "What the bloody hell happened" You said finally managing to catch your breath though still winded. "You just got crushed you that's what!" You would hear Hinata shout in anger like never before as she came over to look at you. "Can you walk L/N" The medic said, you nodded as you moved to get up "slowly, let's walk to the sideline" you stood with the help of the medics walked off pitch so they can make sure you are ok and not injured in anyway.

You looked at the cluster starting to separate and go into thier positions whilst the ref pulled aside Lucy and Millie. Making you frown as they both were shown yellow cards. Still confused you looked to the screen that was showing a replay. You had the ball but Lucy barged into your right as Millie smashed into you left side. Like Hinata said, you were crushed by two of your friends. Rewatching it sent shivers down your spine You looked at the duo who seemed just irritated and shown no concern for you or remorse. And that action resulted in you being crushed a 2nd time that night but this time emotionally.

The game resumed as the medics checked you and let you breath. A few minster you came back on to applause from the crowd and words of encouragement from your teammates. This boosted your focus and pride. You may have been raised in England but this was your Home.

It was a corner ball for Japan, you would get in between Millie and the goal post readying yourself for a big jump into the air, trying ignore the fear that crept into you being this close to Millie. To you she was the King Ghidorah to your Godzilla and with what just happened you cant lie, it shook you to the core. As the ball was whipped in you jumped up battling bright in the air the ball skimming your head and then felt yourself pushed by millie with force

*ping*

You were face down on the ground dazed, ringing in your ears again, light headed. You got up in one knee as the pain got worse. You couldn't hold head up, you heared someone call to you. Slowly turning your head to you right your would see an impatient Mary looking at you waiting to take a goalkick. As you tried to get up you felt a coldness fall over you face and a liquid run over your eyes and mouth, you would fall back onto you butt due to the liquid covering your eyes and you feeling more light headed. You saw Mary face turn from impatience to frowning to horror as she screamed to the referee as she pointed you. You couldn't make out was being said as she hurried to and kneeling down to you as you lay, Mary would wrap her arms around you sit you up preventing from the liquid on your face from going into your mouth and choking on it. You looked forward before your vision became blurry but managed to see the faces of your friends. Hinata covering her mouth, Keira covering her face with her hands and turning away as soon as see saw your face whilst Yui and Lucy ran with speed towards you with faces of fear whilst Millie stood there like a frozen statue eyes wide and unable to move.

You would feel your eyes drop, ignoring the shakes from Mary and the medics and friends running to you, your head would drop before you would lose consciousness looking at your blood covered hands.

The stadium was silent, Both teams were stunned and scared. Fear, horror, panic and paranoia crept in as they worried for F/N L/N. The whole football world stopped. all that anyone could think of is the image of the crimson mask that covered F/N's face...

To be continued.

"Crimson mask" a professional wrestling term to describe a wrestler's face being covered in his own blood"

HELLO!! I hope you enjoyed this chapter. It will depend on if you lovely humans want a part 2is wanted let me know and please do . Even if the littlest of things you want to comment on 😁

Sorry for grammar and spelling

Thank you so much enjoying your day and reading 💜

[pinazee]

Rob-a-bye Baby

Finally some focus on Chief Vick! Kirsten nelson did a great job on the first real ep where she gets to play a more substantial role. (“Head detective my ass” always makes me chuckle) i only wish it had been more. She was more of an obstacle than part of the plot, though i guess technically her character kind of grew at the end. She does admit she was overreacting with Shawn but this realization was done off screen. I’d have loved to see her try to run over her husband, and having a little breakdown. Something that gave her more depth. I want to know who she is as a person. Was she a runner who wanted to get back into it so she can finally have some time for herself? Does she struggle with who she wants to be as a mother? Was the baby even planned? Was she concerned it would affect her job, or her ability to do her job? Idk, just something that added a bit more color to her character tapestry. I think theres a lot to explore here is all.

Perhaps im biased, but i feel like Shawns reaction is a bit out of character. Like yeah, he’d find it a boring assignment but i also think he’d understand how important it is to the Chief and take it seriously. Plus, Gus is right, she gives them cases, it’s pretty important for their business that they remain on her good side. And in the end he didn’t help her at all. The nephew just came back and that was the resolution. i think i would’ve preferred if Shawn had been struggling to find them too. Like every nanny he came across he could find something wrong with them because Chief Vick deserves the best. Or he had a nanny picked out all along, she just couldn’t start right away but he somehow needed the excuse to look into the nanny burglary ring? Idk. I guess its not really that big a deal. Perhaps it was to introduce a flaw in Shawns character. Like they were saying he needs the thrills to make the job worthwhile. Which is fine, i think that aligns with his overall character. In fact, i wouldn’t be surprised if he fucked somethings up later just to bump up the challenge for shits and giggles (which is such a weird phrase btw). I just think in this one specific case, he would have handled it with a bit more care.

Gus’s blimp dance! He’s so excited! After the last ep, i just want him to be happy

I just wanted to point out the lady who plays ada was in a movie called Wolfcop. Theres an actual movie called Wolfcop.

Chief Vick’s power pose is so strong, it possesses her when she sleeps haha

Did she just spit her pastry out on the ground??

This always makes me chuckle because, like, why? Why would they have them go down those hill lol

I think this is another case of Juliet getting way too into undercover work. I don’t think thats any of her actual wedding or birth plans even if the show made it look like such.

Im so confused why they were at a pet store instead of a pawn shop. What did that guy sell to him? How did the pet shop guy know it was stolen? Unrelated, but it was a nice touch that Shawn immediately spoke in a way the pet shop guy understood, even if it was just for the haha’s.

Gus’s nickname Schmuel Cohen is a real dude! Why does Shawn have the name of the composer of the Israeli national anthem locked and loaded?? The guy died in 1940. When/ how would he know that???

Awww poor Tim!

Juliet agreeing pivots and divots is fun to say lol

I wish they could have expanded on Nanny Henry! Like he was going to refuse to keep helping out but Chief Vick broke out her mommy voice and also kind of pleaded with him for help. Then we could have gotten some scenes of them, maybe talking about the past, or Henry asking her to look out for Shawn since he doesn’t have the police as part of his squad and therefore no backup, which Chief Vick explains that he’s practically a member anyways and would be treated as such, not only because of who his dad is but because he’s practically one of her own anyways, so of course she has his back.

[blogsforcreativenonfiction]

best albums and female artists that shaped gen z

Albums are a topic that has become a very controversial, since this can reveal people's music taste, bad or not. Albums, on the literal, are just collection and compilation of songs sold for the people to listen. But albums are also a form of art, they are a part of a story, whether for the artist, for the composer, or for the writer. Some people have their favorite albums that they cannot live without.

Norman Fucking Rockwell!, and Lana Del Rey Arguably the best album of the 21st century, this album has been the best of them all. The first line of the first song of the album, the title track, "Goddamn, man child, You f*** me so good that I almost said, "I love you"", has sent her fans to heavens. The song talks about how she loves a man even though his imperfections are showing. Perhaps the most popular song on the album, "Doin' Time", is a cover of Sublime's original. The song has garnered more than 300 million streams on Spotify alone. Whilst the best song on the albums, as per fans would say, is the fan-favorite, "Happiness is a butterfly". The most iconic line, "If he's a serial killer, then what's the worst that can happen to a girl who's already hurt, I'm already hurt", has sent fans to their sad girl mode. The main producers of this album are Jack Antonoff, who also produced some of the best albums of this century, such as Lorde's Solar Power, Taylor Swift's evermore, and many more. Del Rey's fandom has been always been known for jokingly treating Lana Del Rey a God. Some of her fans was found praising her as if she was a God. Also, her fandom have been trending last year in the video-sharing app TikTok, for creating the Lana Del Rey cult, which influences people by spamming comment sections with comments such as, "⚠️✝️LANA DEL REY IS COMING✝️⚠️SING THE NATIONAL ANTHEM BEFORE ITS TOO LATE✝️⚠️LANA LOVES YOU ALL.". Lana Del Rey has always been known for her ever-changing reinvention of her aesthetics in music. Her albums have different euphoria and feel onto it. For example, her second album Ultraviolence, features darkness and melancholia. Then her album Lust of Life, which is a complete opposite of the previous album. Now features sublimity and simplicity. Her lyrics are also top-tier and monumental. She has always been a subject in comparing her work into Shakespeare's, which proved her mastery in poetry. Her best songs are as follows: West Coast Radio Salvatore Cherry The greatest Chemtrails over the Country Club Arcadia

folklore, and Taylor Swift

Even an abrupt entrance to the realm of indie and folk genre, Swift has always been a superstar. Her reinvention did not made her lose fans but instead, she gained a ton. folklore has debuted on Spotify in its first day garnering a total of 80.6 million streams. The first song on her album, "the 1", has shocked many of Swifties since most of her songs starts with Pop. The line "but we were something don't you think so?", pertains into grieving a little bit, but moving forward and moving on. Perhaps the highlight of the album is the three songs, cardigan, august, and betty which symbolizes the love triangle in the album named Betty, Augustine, and James. Cardigan was the point of view of Betty, the original and righteous woman, worthy for the love of James. The line "and when I felt like I was an old cardigan, under someone's bed, you put me on and said I was your favorite", in this sense, The old cardigan was her, pertaining to the old love she had, the old relationship. Betty felt like James was cheating on her, using her like she was nothing. The song august is the point of view of Augustine, the other woman. The line "to live for the hope of it all, cancel plans just in case you'd call, and say meet me behind the mall", refers to the false hope and false trust of Augustine for James, the dedication of her for their secret love. The last line has a double meaning, it is meet me behind them all. The last song is betty, which is James's point of view in the relationship. The line "in the garden would you trust me, if I told you it was just a summer thing?" is the contrary on august "so much for summer love", meaning James didn't give an importance to Augustine. There are other songs in the album which has a message on people's mental health. Songs such as mirrorball, and this is me trying, has made fans cry. Swift's evolution in music is very rare, which led her into being a pop phenomena. Her country roots have led her into transitioning in pop, to folk, which has a distinct characteristics, very different from each other. Her different issues and feuds that almost plotted her downfall, but instead, she is one of the prominent artist in terms of longevity. One characteristic of her music is its relatability to its listeners, her target audience can be teens who had experienced their first heartbreak, which can be found in her album Fearless, or that depressing and heart-wrenching heartbreak, which can be found in her album Red, and finally finding the one, which can be found in her album Lover. There is no definite audience in listening Swift's discography. Her best songs are as follows: Cornelia Street Come Back...Be Here illicit affairs right where you left me

Melodrama, and Lorde "I'm 19 and I'm on fire" When it comes to music for young adults and people who are suffering in existential crisis, then this album is for you. If music is art, then Melodrama is a painting. It is a completed canvas with its bombarding colors and hues resonating sadness, but also happiness. Feelings that we experience when we are in confusion in the grand scheme of life. This album has the highest critic score by a female artists with a whopping ninety-one percent. The first song on the album "Green Light" has the elements of anger with the fast paced beats of the song, and showed in the lyrics of the first verse, "she thinks you love the beach, you're such a damn liar". The song tells about moving on, but looking at the lens of resentment and anger. Perhaps the best song on the album is "Supercut", which means reminiscing and getting back to the films of the relationship, then getting back to the reality. The song are for people who has not moved on in the relationship, contrary to the first song Green Light. The line "all the moments I play in the dark, wild and fluorescent come home to my heart" pertaining to a flashback of her past love, the love that she can't come back to. The last song of the album is "Perfect Places". The phrase perfect places means even in the darkest moment of our lives, where we had lost the compass and the steering wheel of our lives, remember that this is just a period of time and someday, we will find a life that is very happy, free from all the problems. Lorde is one of the artists who was popular in her debut era. Her debut album Pure Heroine was one of the most acclaimed album of this century, and her smash-hit song Royals, is also one of the best songs by a female artist, and she did that when she was 15 years old. Her latest album Solar Power settles more on calming and meditative music, contrary to her past two albums, which is sonically loud and banging.

[coffee-n-bagels-comic-universe]

Superheroes with Secrets: A Christmas Feast Featuring Repressed Memories (Fic Part 167. Set in 2001)

Around 2000 Words. 18+ in places. Please inform me if you wish to be tagged/untagged from posts.

Tags: @tantamount-treason @piratewithvigor

Reference Posts: ‘Giantess’/'Blacklight Bandit’ Kirby Roussimoff x Shane ’Hurricane’ Helms (Circa 2001)

"That's really beautiful."

"It's one of the few Irish songs I know, other than the national anthem of Ireland." Kirby admits sheepishly.

"I've always liked songs from that part of the world."

"Good thing you're married to a woman of Gaelic heritage." She smirks.

"I really did luck out."

"One day you have a pretty little French maiden, the next a big tough Celtic warrior."

"Sometimes in the same day."

"Don't you start trying to make me dress like the many sides of my heritage, especially not if you want me to wear a maid dress." Kirby chuckles softly.

"Can I please maybe see that?"

"You gonna buy me a maid dress, cause the only way you'll see me in it is if I'm drunk."

"Absolutely I will."

"So you're gonna get me drunk, after Lilith's born, so you can see me in a maid dress, really?"

"Bold of you to assume I wouldn't want to."

"Why don't you just get me a kilt and a bra, or better yet, just a loin cloth?" She teases.

"Don't tempt me." He grins.

"You want me to stop tempting, make me."

"And how do you presume I do that?"

"Oh, I'm sure you'll find a way, mon sauvage."

"We need to get dinner done, or the Hardys are gonna start getting antsy."

"I'm working on it, alright, just a few little things to finish up and then we'll have a feast done and on the table."

"Perfect."

Kirby takes a deep breath, rolling her shoulders and shaking her head, "hon, do you know where my bottle of water is?" She asks as she gets a bottle of wine from the rack.

"Think you might have left it upstairs."

"You know you love me, mon ange?"

"Indeed I do." He smiles.

"While I get my water, can you go ask the guys if they want champagne or red wine?"

"Champagne? Are we being fancy tonight?"

"Christmas is an occasion to be fancy, is it not, today is Christmas eve, we might as well be fancy."

"That's a good point."

"Also I have had that bottle of champagne for three years and never had a chance to drink it, so you might as well offer it to them."

"Or I could save it to share with you on our anniversary."

"You could, it would be nice. I'll be back in a minute or two, love you." Kirby murmurs, kissing his forehead before heading off to get some water.

Helms makes the call to open the red instead of the champagne. He really does want to keep it for an occasion where Kirby can have some. After a couple minutes Kirby returns to the kitchen, kissing the back of Helms' neck and wrapping her hands around his waist.

"Mon mari… do I look fat to you?" Kirby asks gently, a hint of sadness in her voice.

"Fat? You? Honey, if you didn't have your bump, you'd still have abs harder than mine."

"I feel fat, and I miss being able to work out, or work at all… I feel so… ugly."

"Sweetheart, there's a difference between fat and your body changing to have a baby. Given that Lilith is in there, guess which category you're a part of."

"I'm not saying that Lilith is making me feel ugly, okay… it's just," Kirby takes a deep breath, "Lita and Delilah look so pretty, and I'm not sure what inside my head is making me feel like this, but I find myself repulsive, I'm too tall to be normal, anywhere we go, I'm the one who always stands out because I'm such a freak of nature that I'll never be able to blend in and I just want to run from it all, not from you but from the beauty standards I've grown up listening to which has shaped my self view into repeating song of 'I'll never be normal, I'll always be a freak."

"Ever thought that maybe you take the attention from them because you're the prettiest?"

"You're just saying that." She mumbles.

"I don't lie to you, Kirby."

She blushes a light pink, immediately looking at Helms before turning away, "shuddup, you charmer."

"I'd rather not. I like making you blush."

Kirby clears her throat and attempts to compose herself, "shush, mon mari, we need to go put all this food on the dining table, and then we can eat."

"Good call."

Kirby pulls Helms into a gentle hug before taking a couple plates of food to the table, setting up the meal in the same way she's watched her dad and her aunts and uncles do it from her childhood, every plate placed perfectly like a massive jigsaw puzzle.

"How the hell do you remember where everything goes?"

"Because… actually I don't know how I remember, I just kinda do."

"Like breathing."

"Yeah, only less essential."

"Maybe to you." He chuckles.

Kirby shakes her head before chuckling softly, "you goofball."

"Correction: slightly drunk goofball." He grins, holding up his glass of red.

"Shane, I thought we were both on the no drinking diet, I'm still pregnant… ya drunkard."

"I'm just doing one glass because I can only speak Drunk Hardy when drunk. You're gonna need a translator. I'm just gonna be a bit giggly and loopy."

"Fine, but I'm still annoyed that you didn't mention that sooner."

"If you want, I can dunk my head in ice water to sober up." He offers sheepishly.

"No, I'm mainly just annoyed because this means I can't kiss you until you sober up because I don't wanna risk anything."

"I can get rid of residual alcohol in my mouth with a cup of coffee, honey."

"Another thing I can't have, and the only thing I want more than your lips on mine."

"Crap, you're right… um… coffee, then water, then apple juice. That should do it."

"Thank you, mon amour… can you call the guys, I need to go 'freshen up'."

"Is that code for throwing up?"

"No, that's code for your daughter is pressing on my bladder."

"Check that. Just making sure I'm not in more trouble than having knocked you up with a very rude foetus." He grins sheepishly.

"I love you, and the troublemaker who currently lives in my womb."

"Love you too, honey. Both of you."

"I'm gonna go piss, for like the thirteenth time today." Kirby murmurs as she goes to the bathroom.

When Kirby comes back, the group is sat around the table waiting for her before they begin eating.

"You are allowed to eat, I was gonna grab some chopsticks for myself." She mutters.

"Just wanted to wait for you, sweetheart. It's Christmas."

"Ya don't have to, but it's very sweet of you."

Kirby goes to the kitchen, grabs a pair of chopsticks and heads back to the table, sitting next to Helms.

"Hey, Dee, you feeling as out of your realm as I am?"

"Yep, I'm a Jew, I'm not used to the whole Christmas thing."

"As a wiccan, I'm there with ya." Kirby nods.

"Is it too late to celebrate your guys' holidays too?" Helms asks.

"I can't remember which day was Winter solstice this month." Kirby murmurs.

"I'm not gonna teach you guys Hebrew, or how to celebrate Hannukkah, too much history to list off in one day." Delilah murmurs.

"Well, we're always willing if you change your minds."

"I'm gonna have enough hassle teaching Jeff every single Jewish tradition, don't want more trouble than I need." Delilah chuckles.

Kirby shrugs, keeping to herself and staying quiet.

"Most holidays consist of eating right, We can handle that."

"Yeah, as a Jewish woman I have been raised to respect the inclusion of oil in food, and I have learned from my mother and grandmother the traditional ways to make Jewish food." Delilah nods.

"Kirby, what do you celebrate?" Shannon asks gently.

"Uhm… I, err… I don't really want to talk about it."

Helms squeezes her hand under the table gently.

"I'm okay, mon mari, I just don't want to bother you all with things I think you will reject or find boring." Kirby murmurs.

"Have I ever found anything you're passionate about boring?"

"Well, no, but… I just… I… excuse me a moment." Kirby takes her hand away, getting up and walking to the bathroom to have a moment alone.

"Does anyone know that backstory?" Helms asks the table softly.

"The last time Kirby told anyone about her traditions and thought it would go well was her last relationship, the day after she told the guy about her traditions, he locked her in a room with no food or water and she had to break the door down before she starved to death because the guy overdosed on heroin, she's been scared of bringing up her traditions ever since." Delilah explains quietly.

"Jesus Christ…" Helms whispers.

"Yeah, she's never been comfortable with her traditions since, she's actually terrified of telling people because she doesn't want the memories of the day after to come back, you may want to go hug her."

"You sure? Sometimes she just needs her space after memories like that…"

"No no no, you go hug her before I make you go hug her."

"No forcing necessary!"

Kirby's rocking back and forth on the bathroom floor, her knees pulled up to her chest and her breathing unsteady. Helms knocks on the bathroom door gently.

"You can come in." Kirby's voice wavers as she calls through the door.

He comes in slowly and sits beside her, pulling her in for a hug.

"I don't want another tragedy, I don't want a repeat of last time I let someone know about my traditions only to have something bad happen after."

"Am I the same man you were with before?"

"No, but you don't know what is was like, Shane… my type is men who look like you, dark hair and eyes, intriguing and mysterious, men who have a power to intimidate people when they're not being the sweetest person you've ever met." Kirby murmurs, trying to calm herself.

"I don't mean to be intimidating…" he murmurs.

"You can get scary at times, but I don't know if it's my past or because of something with you, but you can get intimidating."

"What if I go blonde?" He suggests, mostly joking.

"I like you the way you look, mon amour… I wouldn't change anything about you."

"But I remind you of a man who hurt you when I look like this…"

"So does Matt, and X-Pac, and half the BSK, I need to get over my trauma."

"Trauma isn't something you get over. It's something you work with until you heal more than you had before. And none of them are your lovers…"

"I never had sex with anyone before you, the most I did with him was kiss him, and I didn't even do that an awful lot because it was only when he wanted it so if I was feeling affectionate he would throw me in a room and lock me away if he didn't want my affection."

"And now you do that to yourself…"

"I lock myself away because I don't know how to express my emotions without feeling disgusted by myself." Kirby admits softly.

"You should never feel disgusted…"

"Is that a suggestion or an order?"

"An order. I never want you to feel disgusted by yourself." He chuckles.

Kirby smiles weakly, "yes sir, Monsieur Helms."

"I love you. All of you. Inside and out."

"I love you too, mon amour."

"I'll always love you. Every day of my life."

"Shane, I just wanna say sorry for kinda steam rolling you on the name for Lilith."

"Steam rolling? Honey, you made her, you get top dibs."

"Yeah, but I didn't even give you a chance to object to her name."

"We can make it fair and I can pick her middle name." He suggests.

"Sure, but for every other kid we have I'll give you the chance to name them, or at the very least give you a couple options for names."

[gemsofgreece]

I've been finally getting into rebetiko so I was wondering if you could give me some recs? M' aeroplana Kai Vaporia is my fav song and gives me chills, and so does To Minore Tis Avgis from the softer ones. And could you point me towards info for its history & culture? Due to my personal circumstances the Smyrna aspects in particular is something I want to reconnect with. Note I'm Greek so I don't need English info I I'm just writing in english for accessibility in case people are interested

REBETIKOOO ah my favourite genre!!! (along with entechno) I am gonna add English info if you don’t mind.

Μ’αεροπλάνα και βαπόρια (With planes and ships) is one of my favourite songs too! Perhaps you already know this but fun fact: Savvopoulos was dreaming for a long time to write a proper rebetiko. So when he got Sotiria Bellou to sing his song he could hardly contain himself. When Bellou got out of the studio after she had finished recording the song, she told him “I ripped your “pops” and “rocks” apart”. After that, Savvopoulos never attempted to write rebetiko again. Now, to be fair, the song IS rebetiko but with an obvious entechno and soft rock flair :)

Since you like Bellou, here are other great classics from her:

Μη μου ξαναφύγεις πια (Don’t leave me no more)

Συννεφιασμένη Κυριακή (Cloudy Sunday)

Δε λες κουβέντα (You don’t say a word) (this is actually laiko bordering on soft rebetiko)

And since you also like Το μινόρε της αυγής some songs of Markos Vamvakaris, the dad of rebetiko (he was the one who made it mainstream and exculpated it):

Φραγκοσυριανή (Lady from Syros)

Τα ματόκλαδα σου λάμπουν (Your eyelashes are shining) For a less heavy approach, it is also great by Giannis Poulopoulos.

Τα ζηλιάρικα σου μάτια (Your jealous eyes)

And now a short history of Rebétiko.

Rebetiko is a music genre that first appeared in the late 19th Century and at the first three decades of the 20th Century it had reached the familiar sound we know today. It flourished amongst the Greeks of Asia Minor, mostly the low and working class. When the population exchange between Greece and Turkey took place in 1922, the 1,5 million Greek refugees who arrived at Greece brought many things, including rebetiko. In the beginning, the rapid influx of over a million people made the Greek citizens basically hostile towards them. The Greek refugees were severely marginalized and they survived and flourished in the underground scene. Rebetiko was considered provocative, shocking as, besides love, it often also addressed the struggles and little joys of marginalized people (poverty, prison, drugs, prostitution, life in the streets in general etc). Rebetiko was censored by the regime of Metaxas in 1936. In 1940, during the Nazi Occupation, rebetiko became a resistance genre against the Nazis and that helped it find wide acceptance amongst all Greeks by the early 50s. Since then, rebetiko has become an “untouchable” of Greek (and not only) genres and even Mikis Theodorakis (arguably the best or runner-up Greek composer of all time) once said: “We (the composers) are all just branches of a tree and that tree is Markos Vamvakaris” (the aforementioned dad). Rebetiko music is now part of UNESCO’s Intangible Cultural Heritage of Humanity.

Aaaand some more recs!

1) Some very old

Τα παιδιά της γειτονιάς σου (The kids of your neighborhood) Actually folk Minor Asian of the late 19th century that was rebetised around the 20s. The version I linked is recent cos I love it)

Μισιρλού (Misirlu - Egyptian girl) Song from 1927. The main theme of Quentin Tarantino’s Pulp Fiction is a cover of this song. Black Eyed Peas also did a cover.

2) Some hardcore ones, like the Hashish songs (yep that’s an actual subcategory of rebetiko)

Ένας μάγκας στο Βοτανικό (A man of the streets at Votanikos) Sung entirely in a made up street slang Greek dialect.

Το πιτσιρικάκι (The kiddo)

Έμαθα πως είσαι μάγκας (I heard you are a street man)

Στην υπόγα (At the basement) I love the original 30′s version. The melody written and performed by Kostas Bezos was then remastered by him and led to the super famous ---->

Παξιμαδοκλέφτρα (Rusk thief) The dude who made the video for this song is my idol. I wonder what people who don’t speak Greek make of it lmao

Η προσευχή του μάγκα (The street man’s prayer)

3) And some more mainstream:

Βρέχει στη φτωχογειτονιά (It’s raining over the slum)

Με παρέσυρε το ρέμα (The river took me)

Απόψε στις ακρογιαλιές (Tonight at the beach)

Ακρογιαλιές δειλινά (Beaches and sunsets) I’m linking the Imam Baildi version.

Είμαστε αλάνια (We are street kids (?) )

Που ‘σαι Θανάση; (Where are you Thanasis?) Okay I am cheating a bit here because this is a laiko song but I INSIST it has a rebetiko flair also I am obsessing over it today

4) Instrumental

Τα ωραία του Τσιτσάνη (Tsitsanis’ nice tunes) Basically Vasilis Tsitsanis killing it.

Ζεϊμπέκικο της Ευδοκίας (A zeibekiko for Evdokia) Our unofficial national anthem shouldn’t be missing from this list. Fun fact: This was to be a full song. When Manos Loizos (the very famous composer) gave the melody to Lefteris Papadopoulos (very famous lyricist) refused to write any lyrics because he was sure this would destroy the song. And of course he was right.

5) Last BUT NOT LEAST, everything written by Stavros Xarchakos for the movie Rebetiko.

I give you my three favourites. But, like, I recommend all the movie basically.

Καίγομαι, καίγομαι (I am burning, I am burning)

Στου Θωμά το μαγαζί (At Thomas’ shop)

And for last, I saved the song that freezes my blood, sung by the man himself. Flirts heavily with entechno genre. This was Xarchakos’ only appearance on the silver screen.

Το πρακτορείο (The bus station)

I think I covered you well XD but in general Markos Vamvakaris and Vasilis Tsitsanis  wrote many masterpieces for rebetiko you can find. Xarchakos did too in this movie (but he generally composed more laiko and entechno). You can find a lot of good stuff.  Happy listening!

P.S I was double checking whether Βρέχει φωτιά στη στράτα μου is laiko or rebetiko (I’m stupid I know) and this is the genre Google gave me for Stratos Dionysiou:

As we speak, Dionysiou is rolling in his grave. I’ve never seen a disgrace like this before XD

[newmusickarl]

Album & EP Recommendations

If I Can’t Have Love, I Want Power by Halsey

Halsey’s evolution across her career has been quite something to witness. Having begun her career in pure pop territory, her artistry has developed over time with each new record seeing the American singer-songwriter up the ambition and scope of her music. Now with this her fourth album, Halsey has gone bigger than ever, teaming up with Nine Inch Nails members and Oscar-winning composers Trent Reznor and Atticus Ross for her boldest work to date.

Produced entirely by Reznor and Ross, Halsey describes this new record as “a concept album about the joys and horrors of pregnancy and childbirth.” Naturally with any concept record there is going to be a cinematic feel, however Halsey has gone one step further and even delivered a full theatrical film to accompany the album, the trailer for which you can watch above. Although I am yet to see the film, there is no doubt that the musical portion is a mightily ambitious and accomplished project, with each song seamlessly segueing into the next despite the array of styles and genres across each track.

It may still be a pop record at the heart, but with the masterful touch of Reznor and Ross, Halsey also brings in some industrial rock elements, as well as a bit of pop punk in places too. However, it is not just sonically that Halsey pushes the boundaries but also thematically as well, using the album’s concept to press the issue of feminism and misogyny within the lyrics. Arguably what’s most striking about this record though is how tightly constructed everything is here – under the watchful eye of Reznor and Ross, the dramatic production is inch-perfect.

Most importantly, the songs here are just fantastic, from the religious imagery and glistening synths that lace the wonderful melody of Bells of Santa Fe, to the raw, grungy guitars of You asked for this. There’s also the atmospheric piano ballad 1121, where Halsey really flexes her impressive vocal cords. Pulsating, stylish electro-pop single I am not a woman, I’m a god is another standout. Once you have been amazed by all of this, the gentle plucking and raindrop like xylophone of stunning closer Ya’aburnee arrives to really blow things away.

In a year packed full of outstanding pop records, Halsey has delivered, for my money, one of the best of the lot. With Reznor and Ross holding the reigns, they help Halsey deliver on her epic vision with both style and control. It’s one thing to attempt a record like this, it’s another thing to pull it off as expertly and vibrantly as this – hats off for this one!

Listen here

Screen Violence by CHVRCHES

Also delivering their fourth album this week was Scottish synth-pop group CHVRCHES who, whilst predominantly maintaining their vintage sound, have lyrically pushed themselves into darker territory on this new record. Probably their finest work since their debut, frontwoman Lauren Mayberry takes no prisoners as she tackles sexism and misogyny, calling upon her own experiences within the industry to really illustrate the issues being put front and centre.  

This is highlighted best on electric single Good Girls, a track Mayberry wrote “after listening to some friends arguing about the present-day implications of loving certain problematic male artists – I was struck by the lengths that people would go to in order to excuse their heroes and how that was so juxtaposed to my own experiences in the world.”

Other highlights include He Said She Said, a glistening synth-driven pop banger that’s contrasted against razor-sharp lyrics with a defiant message at its core – catchy, but also powerful and thought-provoking. There’s also the superb collaboration with The Cure legend Robert Smith, How Not to Drown, which is a moody, atmospheric, and synth-soaked belter of a track. Although it is incredible right the way through, the real spine-tingling moment comes during the song’s outro thanks to the ghostly vocals of Smith being cast over some hauntingly melodic guitars. Outside of the singles, the rawness of heartbreaking closer Better If You Don’t leaves the biggest impression.

All in all, this album ranks amongst their best work and although it may not be quite as dramatic or impressionable as Halsey’s album, there’s still plenty to which you’ll want to digest and ultimately keep returning.

Listen here

How Long Do You Think It’s Gonna Last? By Big Red Machine

The National’s Aaron Dessner and Bon Iver’s Justin Vernon have certainly kept themselves busy over lockdown. It seems they weren’t satisfied with just taking Taylor Swift’s music to incredible new heights on 2020’s folklore and evermore, as they have now also released their second album under their Big Red Machine guise. The most noticeable thing about this second record is that the duo have extended their collaboration further this time around, bringing in renowned artists such as Ben Howard, Sharon Van Etten, Lisa Hannigan and Fleet Foxes, as well as two more collaborations with Miss Swift herself.

Given the talent involved, it is no surprise that this makes for a really special and stunning collection of songs. There’s wonderful electro-folk track Mimi, which sees singer-songwriter Ilsey Juber join Justin Vernon on lead vocal duties. Phoenix sees Robin Pecknold of Fleet Foxes and Anaïs Mitchell join in for a wonderful, horn-backed number. This track in fact isn’t the only time Anaïs Mitchell steals the show, as her beautiful, soothing vocal performances on opener Latter Days and closer New Auburn arguably provide the two best moments of the entire album.

The two tracks with Taylor Swift are also fantastic, with Renegade offering a sweet, pop cut that wouldn’t be out of place on either of Swift’s last two records. The better of the two though is Birch, a piano-driven, string-tinged ballad which sees Swift simply providing back-up vocals to Vernon’s haunting folky croons. It’s stunning and possibly my new favourite collaboration between the three artists.

Ultimately this is just a superb album, with Dessner and Vernon thriving alongside their chosen collaborators for a collection of songs that will frequently both move and astound you.

Listen here

Donda by Kanye West

Easily the most talked about album of the week, after several launch events and many, many delays, Kanye West finally released his long-awaited tenth studio album, Donda. Now anyone who knows me knows that I am not a fan of excessive, bloated albums, so with Donda clocking in at almost 2 hours long it was always going to struggle to win me over.

As expected, this is another West project that struggles with inconsistency, with moments of brilliance balanced out with plenty of moments that ultimately underwhelm. Although it has more high points than Ye and the production is more polished than Jesus Is King, there is no track as good as Ghost Town and sonically I found it less inspired than Jesus Is King in many ways. I’m not sure just yet if this is indeed the worst West album, but it is certainly down there in the bottom half for me.

That said, there are still some great moments to be found here. Once you get passed the massively irritating Donda Chant opener (honestly, so painful!), the Jay-Z featuring Jail offers an anthemic rock-influenced gem to get the album started properly. From there The Weeknd featuring Hurricane, the Lauryn Hill sampling Believe What I Say, the heavenly melody of Kid Cudi feature Moon and the organ-backed closer No Child Left Behind provide some of the other highlights. However possibly the finest moment comes in the form of Jesus Lord, a 9-minute epic that sees West deliver some of his best bars in years, returning to the social-consciousness that made him a star in the first place.

If you are a fan of West’s recent gospel-influenced work, then this album will reward you for your patience if you stick with it. For me, although there are some moments I enjoyed, the length was just too much, with this album having the same inconsistency problem that The Life of Pablo had but without reaching the same heights as that album did when it was at its best. Disappointing, but still somewhat worthwhile.

Listen here

The Awesome Album by Mouse Rat

And finally on the albums front, if like me you are a big Parks & Recreation fan, you’ll be pleased to hear that Chris Pratt’s fictional band from the show, Mouse Rat, have finally released their debut album this week. Featuring classics such as 5,000 Candle In The Wind and The Pit, this one is a lot of fun for fans of the show.

Listen here

Tracks of the Week

Good Ones by Charli XCX

Coming off the back of the definitive lockdown album How I’m Feeling Now that earned her both a Mercury Prize nomination and a place in my Top 5 albums of 2020, Charli XCX has returned with a new synth-driven banger that packs in an insanely catchy hook and wonderful 80s vibes.

Listen here

Family Ties by Baby Keem & Kendrick Lamar

Also making his return this week was King Kendrick who delivered a fantastic new collaboration with his cousin Baby Keem. Over a brilliant horn-driven beat, the two family members go toe-to-toe and bar-to-bar across this concise hip-hop banger.

Listen here

Alone by Rag N Bone Man & Nothing But Thieves

A remix of a track from Rory Graham’s latest album Life By Misadventure, this version sees Conor Mason of Nothing But Thieves join in on vocals, along with some triumphant rock production that replaces the stripped back nature of the album cut.

Listen here

Spirit Power & Soul by Johnny Marr

The brilliant first track from his forthcoming new EP, Spirit Power & Soul finds legendary guitarist Johnny Marr in fine form, sonically calling back to his days with Bernard Sumner in Electronic. Built on a masterful central riff, pulsating synths and a big anthemic chorus, it’s a belter!

Listen here

Nothing Else Matters by Chris Stapleton

And finally this week, we’ve had plenty of great, unique covers of Nothing Else Matters by Metallica already this year, with Miley Cyrus and Phoebe Bridgers already offering their own take on the classic song. However, I’ve always got time for another and this 8-minute epic from country singer Chris Stapleton is just as dazzling, thanks to some amazing bluesy guitars and his textured vocal performance.

Listen here

[caps-lockdown]

Trick or Steve (One Shot)

chHello boo!! I are here to request a Steve x Reader halloween one shot. Where the reading is out trick or treating and runs into a few VERY realistic looking Avengers. Who she then awkwardly learns later on, were actually the real Avengers. Not just guys in costumes. 🤣 can’t wait to read what you come up with for this in Octobeeeeeeer!! 😍😍😍 eeek! So excited!!

As requested by @katurrade! I’ll be posting 4 Halloween themed one shots this month in celebration of over 100 followers and SPOOPY SEASON!!! Hope you enjoy!

In Y/N Y/L/N format.

Pairings: Steve Rogers x Reader

Rating: PG 13 for violence, language, alcohol, party scene, adult themes (ish)

Words: 5,341

AU because no one died in Endgame, Steve didn’t go back. I can’t move on.

Summary: You’re taking your niece and nephews Trick or Treating proves to be an event in itself, but running into three of the Avengers was not part of your plan.

No beta and so I only own the mistakes and the reader!

Trick or Steve

Take the kids trick or treating your sister said. It will be fun she said.

And so here you were, taking yet another picture of yet another group of knock-off Avengers at precisely six thirty on the evening of Halloween, listening as your two nephews and niece squealed over the men dressed in painstakingly obvious mass produced costumes. They had been nice enough sure, one poorly body painted Hulk giving the kids some of the candy out of his bag when they complained the houses they had been hitting during the night were being stingy with their offerings. A  very tan, we’re talking spent- his-whole-summer-on-a-cruise-ship –in-the-Bahamas tan Hawkeye helping the youngest of the three pose correctly. It was quite cute.

“My feet hurt!” The five year old aforementioned child whined and you were suddenly aware of two things.

One, you were in no rush to have children of your own.

Two, you were entirely too sober for this.

~~~Earlier~~~

“Andy will you stand still? I need to fix your left wing.” You huffed, hot glue gun locked and loaded as you stared down at the fidgeting five year old. The living room was silent other than the preening of your sister, too caught up in snapping a thousand pictures to help you with her own kids. Gee thanks for the help Sis.

Your peripheral vision caught your niece reaching to grasp at her newly straight long blonde hair, your voice making her jump. “Hana don’t touch your hair it’s still hot from the straight iron!”

“Yea Hana leave your hair alone!” Her twin brother mocked whilst opening his third piece of candy. You raised an eyebrow as you directed your playful scolding his direction.

“Liam you take one more piece of candy out of that dish and I’m not taking you!”

“Sorry Ant.” The chorus of small voices around you had a hint of a smile cracking at your lips as you tried to remain stern. After a few extremely short minutes of holding Andy’s cardboard wing at a forty five degree angle, it looked like you had finally managed to get them even in height.

“There! Everyone ready to go?” You sat back on your heels to look at the three, a big smile overcoming your features as they all got excited over their outfits.

“But Ant,” Andy exclaimed, pointing to your sock clad feet, “You’re not wearing any shoes!”

“Thanks Buddy, you’ve just saved my entire Halloween!” You snatched your nephew and flew him through the air of the living room, the small human giggling and squealing as you made whooshing noises, his arms out in front of him. Whatever kept him in good spirits and helped the glue dry faster. Placing Andy on the floor of the foyer you made a quick grab at your heeled boots that sat by the door, zipping them up to just above your knees before standing to look in the mirror.

The black tactical suit you had made yourself looked great, the matte fabric the perfect choice for your costume. You had taken a few liberties with the original suit design, trading the slightly loose pants for something a bit more feminine and curve hugging, eighty-sixing the knee coverings and opting for sleek heeled boots instead of chunky combat ones. You were sure your feet would hate you later, but Carpe Diem right? The black straps and buckles were still covering the top half of you, although you had chosen to turn them into more of a corset of sorts, your chest pushed up under the dark gray vest you had made. It wasn’t overly cool outside so you went sleeveless, allowing for more mobility. You readjusted your hair, smoothing away any fly aways of your current bobbed style. At least you didn’t have to wear a wig. Readjusting the straps that held your very fake guns to your thighs you wrapped your hands around the handles of the three appropriately painted jack o’lanterns, the plastic thunking together as you passed them to their owners, the kids pooling around you to get a final group picture. You headed out into the crisp air as your sister waved you on, saying she and her husband would see you all later at Maria Hill’s party.

That was an hour and three groups of Avenger wannabes ago.

Of course the kids all but tackled their respective counter parts, save for Andy. You felt bad that no one had dressed up as Falcon yet, but you were constantly assuring the slightly upset child that he would see him tonight. You hoped anyway.

It was when you finished sacking the last house on the block when you saw them.

“ANT LOOK IT’S HIM IT’S HIM!!!” Andy’s shrill voice shot off with the rest of his body as he sprinted as fast as his small legs could carry him towards the three men, one of them no doubt dressed as The Falcon. You groaned as the two twins followed suit, racing to catch up, and then outrun their youngest sibling to the group of guys. You silently prayed this would be the last time for the night, your phone only able to hold so many pictures.

As you reached the three kids, once again mooning over the “superheroes” you couldn’t help but notice that their outfits looked extremely authentic. And they were equally extremely good looking. Thor’s hair was perfect, Falcon’s gapped tooth smile made you smile back. Hell even Captain America had an ass on him that made you want to sing the national anthem. Out of tune and all. Your face flushed as you came up to them, the kids talking a mile a minute and their questions making your face burn.

“Well if it isn’t the Walking Lightning Rod, Bird Brain, and America on Ice. You guys look great, did you assemble the rest of the girl scout troop or is it just you three tonight? Sorry about the kiddos. Wish I could say they’re mine, but they aren’t. Thanks in advance for being nice to them, they kinda can outrun me in these heels.” Your greeting forced the three men to break their eye contact with their miniature versions to give you a quick once over. The man dressed as Falcon took one look at your costume and about died.

“YOU DRESSED UP AS BARNES?!” He exclaimed, voice laced with gulps of air and hard laughter as you adjusted the duct tape and silver painted left arm you had fabricated. You noticed the blue eyes of Captain America’s wander over your figure as Falcon bent at the waist, trying to catch his breath and failing miserably. “Sorry it’s just…” He breathed, standing back up to fully give you a once over, “You managed to make him look good. And that’s a big deal. Doesn’t she look amazing Steve?”

The man in the mask sputtered out jumbled words in agreement, and you felt your face grow hot even though your smile grew. He took a breath and composed himself “What’s…what’s your name Doll?”

“Y/N Y/L/N, and my eyes are up here Mr. American Dream.” You caught him staring at your chest through your mostly unzipped vest as he awkwardly cleared his throat, his face a few shades of pink that you were quickly finding adorable.

“So, ahem, why the Winter Soldier?” His blue eyes sparkled when he talked to you, and man you’d be lying through your teeth if you said they weren’t making you feel some things. Out of all the Captain Americas you had met this evening, this one was very quickly becoming your favorite. You admired the long hard lines of his body, that suit not leaving much to the imagination. Jesus you could pray with your knees upward with him anytime. You snapped your head up realizing what you were doing and forced your mind to focus.

“Well it was either him or Stark, and I don’t have the face for a goatee.”

“You would have made a hilarious Tony!” Sam was laughing again, and you were trying to hold your own inside. His joyous noises were infectious.

“But what’s with your arm?” The star spangled man stuttered and you smirked, showing the kids handy work in the form of “get well soon”s, hearts and happy faces.

“Ah well you see,” You leaned in closer to the man, motioning the other two closer to you, “The kids uh, the kids think he just hurt it really bad and that it’s in a cast. I don’t have the heart to tell them the truth. Especially Andy, he’s really sensitive.” You looked pointedly down to the five year old who was clinging to the last of the three as if his life depended on it.

The Falcon gave a smiling nod before crouching down to unwind the child in question from around his legs, chuckling as the kid attempted to hold on tighter. “So your name’s Andy huh? That’s a pretty cool name kid. I’m Sam. I like your costume.”

“My Ant made it for me! I wanted to be you because I think Falcon is the coolest!” Andy pumped his fist in the air with a shrieking holler that reminded you for the eighth time that night you were too sober for this shit. But you couldn’t help but smile as he continued to gush over his favorite super hero, your heart warming to see him get the interaction you’d been hoping for all night. “He can fly!!”

“Did you make all of your garments then?” Thor’s voice was deep, booming, and beautiful and for a second you almost regretted not dressing up as him, giving him a small nod. “They are exceptional Lady Y/N.” You scoffed, waving off the compliment although it was the first one you had gotten all night.

“Yea Ant is the best fairy godmother in town!” Hana squeaked, twirling around in circles to show off her red cape that hung from her shoulders. “She worked super hard for months so we could all be our favorites tonight! Even our mom and dad have costumes!”

“So I am your favorite hero then?” Thor inquired, taking a knee to look at the small blonde girl.

“Yep! You control lightning and we both have blonde hair, and you’re really nice to girls. My momma says it’s cause your momma raised you right, and that’s why you have a kind smile. I don’t know what that means but my momma is always right.” Hana smiled, showing the tall man her missing two front teeth, who looked like he just about melted into a puddle at the girl’s statement. He opened his arms and before you could object your niece ran into them, hugging the man fiercely.

“Wow little one you are incredibly strong!” He complimented her, breaking away as she fell into a fit of giggles. “What is your name?”

“Hana!” Came the squeak of your niece, beaming with pride.

“My name’s Liam and I think Captain America is the best!” Liam piped up, finally finding his voice and bringing a large smile to his counterpart, who reached his hand out to give him a high five from his waist. “You were frozen! You have super strength and you’re like really really old.” Sam snorted at that as Liam went to cover his backside. “Like a cool old though! Not like my dad old.”

“Nice save Li,” You rolled your eyes as the man in blue laughed heartily at how much Liam looked like he was going to spontaneously combust from embarrassment.

“So how old are all of you?” Sam questioned, finally giving in and hoisting Andy up to sit on his hip, you rubbing your temple in exasperation. These kids.

“I’m seven and the oldest!” Hana called, Liam shoving into her slightly.

“Only by three minutes.” She stuck her tongue out at her twin, Andy staring down at hand, hardened expression on his features as he thought up his answer. His face lit up as he swung his whole hand out, nearly falling out of Sam’s grip as his shifted his body weight in excitement.

“I’M THIS MANY!” He promptly smacked Sam in the face as he held up his small chubby digits into his field of vision.

“Oh I am so sorry, Andy my dude you gotta apologize for hitting the nice man.” You lightly scolded the child, his face falling as he avoided his gaze and stared at his bucket.

“Sorry mister Falcon sir.”

Sam grinned as he put the kid down, “It’s alright Andy, I accept your apology. And you can call me Sam. Now how about we take a photo huh?”

All the kids cheered as you pulled your phone out from your cleavage, watching Steve’s eyes widen at just where you hid your electronic device.

“Alright kids, pose like you’re about to save the city!” You snapped multiple shots, the kids breaking into different stances with their idols. Sam offered to take a picture of you next to Captain America, and after much convincing from two particular seven year olds you allowed him to oblige. You pulled out one of your guns and stood back to back with him, both of you laughing at the absurdity of it all. After he had finished capturing a few memories for you the group went to separate.

“Alright kids, we’re losing candy time and we still got hit up the rich people before we head to Miss Hill’s house for her Halloween Party! So tell the nice men goodbye and move your butts!” The kids nodded at your order, hugging the men and saying thank you.

“Miss Hill? Like Maria Hill?” Steve asked, you nodding.

“Yea she’s having a party, we worked together briefly and have stayed friends ever since. You know her?”

“We’ve..uh heard of her parties before.” The blonde smiled tightly, your bright smile making his pulse quicken.

“Cool beans well small world! If you’re in the neighborhood stop by yea? I’m sure she won’t mind! And I wouldn’t mind seeing you again blue eyes.” With a small flirty wave in Steve’s direction you were gone, moving to catch up with Hana and Andy already ahead in their trek. You came to a stop when you realized Liam wasn’t with you, turning your body to motion him with a “come on” motion. He held up a finger to you and you sighed, pointing to your nonexistent watch.

“Pssst! Mister America!” Steve crouched in front of Liam, who had called him over and was now digging through his pumpkin vigorously. You had turned your back, not wanting to intrude on their private moment, missing your cheeky nephew pull out one of your business cards from his plastic treat holder.

“What’s this?” Steve whispered, Liam’s eyes glinting with mischief as he smiled broadly in your direction. Thor was speaking into his comms link while Sam edged closer to the two to eavesdrop. Which wasn’t hard because Liam hadn’t quite mastered whispering yet.

“That’s my aunt’s number. You’re her favorite and she thinks you’re a total hottie. My mom says she needs to fall and love and get married so her womb doesn’t shrivel up and she dies alone with like eighty nine cats. So if you like her you should ask her out. She likes coffee and pink roses but hates bad breath. And A-holes who don’t use their blinker! Okay, bye!”

Sam saved his laughter for when Liam was long out of range, racing to grasp your hand as you walked away with the rest of the kids. Steve only smiled warmly at the slightly crumpled card.

“Dude I need that kid as my wing man.” Sam was shaking his head when Thor came back to them. “Nat have news?”

“Yes she believes they found the location of the Arsonist’s next target.”

With that the three men were back on the mission, their moment of carefree fun over. That was the whole reason they were in the neighborhood patrolling as it were. There had been six massive fires over the course of the last two months, all with the same cause behind them. They had gotten a letter earlier that day saying that the arsonist, Mr. Ash, yes that was what he had chosen to go by, would be striking this very evening. The team had split up to cover more ground as Nat and Pepper worked back at the tower to crack his pattern and thus tracking him down to his next target to apprehend him. They had all agreed to go to Agent Hill’s party in celebration after they caught the asshole, but now Steve was more determined than ever to make sure they made it. Even if it was just to see you again.

~~~Two Hours Later~~~

“Come on Ant, you got this!”

“Yea you can do it!”

The kids cheered you on from the front porch of Maria Hill’s home, the large basin of water and floating apples the only thing in front of you. You gave them a wink before putting your hands behind your back. Quickly finding your target you felt the cold splash of chilling water hit your senses as you dove after you prize, the kids clapping loudly as you emerged victorious. Biting into the tart granny smith you stood up wiping your eyes and smearing some of your mascara in the process.

“Pretty impressive stuff there Y/N.” Your vision adjusted to the figure of Maria, who was holding out an orange solo cup and a towel to wipe your face, which you happily took.

“Helps when you have your own cheerleading section.” You shrugged, taking a large gulp of the apple cider that had been mixed with fireball whisky. The alcohol burned your throat for a second as you weren’t expecting that much to be in it. Note to self, don’t have too many of these. She laughed and handed you your apple back, taking the slightly damp towel from you.

The five of you wandered into the spacious house where you could see everyone in costume, loud party music blaring through every room of the house, kids and adults alike playing games like Sorry and Pin the head on the Zombie. The rooms were all lit in different eerie colors, streamers and scary window clings decorated the house. There had to be at least 60 people here, and that wasn’t including those bobbing for apples or playing yard Jenga outside.

“Hey Ant Y/N look!” Liam pointed to the large T.V screen, you turning your body to face it and feeling your entire body go rigid. “It’s the Avengers from earlier! They were the real deal!”

Your eyes widened in shock as you instantly recognized three of the men from earlier, albeit their perfectly authentic suits were just a bit charred, they still looked incredible. And you looked like The Incredible Idiot. They were exiting a building that had been on fire, Thor holding a screaming man while Steve and Sam went to help put out the flames with the local fire department. You were pretty sure your face could give the warehouse a run for its money with how hot you were. You swallowed hard at the questioning look on Maria’s face, opting to just pull your phone from its hiding place and shoving it in her hand once you pulled up the photos.

“Holy shit Y/N, you didn’t tell me they were…” She tried to cover her escaping giggles with her hand as you began looking for a rock to climb under. She especially found the picture of you and the very real and very handsome Steve Rogers to be absolutely hilarious.

“How was I supposed to know Maria?! They were like the fourth group of Avengers and I was completely done with the whole thing by group two!” You whined, sitting down in a large overstuffed recliner with an ungraceful thump. This was single handedly the most embarrassing moment of your entire existence. And that was saying something. You had once forgotten to wear pants to school your sophomore year of high school and had to loan a pair of god awful gym shorts from your best guy friend at the time. They did not smell clean and didn’t match your bright orange fall sweater. It was also Winter, and the shorts were two sizes too big. You never thought anything would top that. “I’m just going to die here now.”

Needless to say between finding out they had met their actual heroes and all of the candy, the kids were absolute beasts to put to bed. Maria had been kind enough to let them crash on an air mattress in a spare room upstairs when your sister and brother in law texted saying they were running a bit behind. They had won first place in the costume contest at their party, so they were celebrating a little longer than intended. When you realized your plans had changed, you had opted to have a couple more drinks. It’s not like the absolutely attractive earth savers would actually show up.

“Heeey the party still going on?!” Sam’s deep voice came bellowing through the house while you were draining your third drink, nearly choking as the three Avengers from earlier, and an extra few including the one you had dressed as entered the living room. You quickly dodged your way into the kitchen, wondering silently if you could fit in the very tiny water heater closet and they wouldn’t even know you were there. You listened as the room gave them a round of applause, finally reaching your “fuck it” meter for the night and pouring yourself another drink. You were never a lightweight, but the effects of the booze would at least keep you from being a total freak when you came in contact with them.

“Y/N you’re still here, how fortuitous!” Thor clapped loudly causing you to jump and sputter into your cup. You steeled your nerves and turned around and felt your face pale for the second time that night. That was a habit you didn’t need to be forming.

“So I am.” You pretended to shrug in indifference, a small shy smile on your features. “You guys were pretty great out there tonight, thanks for catching that asshole and saving that family. Guess that’s why Stark keeps you around huh?”

“Well it’s isn’t because they’re pretty to look at, but everyone’s a critic. Tony Stark. Hi, great to meet you.” The man wearing a simple “This is my Halloween costume” tee shirt approached you, you smiling wider and shaking his extended hand. “I see you’ve met my coworkers. Wilson told me about the names you called them tonight, they were great. Mind if I steal them?”

“Oh umh, um, no not at all!”

“Great, because I was going to regardless.” He winked and moved to the side, allowing you to introduce yourself to Clint and Natasha, who shook your hands with happy chuckles.

“Nice arm.”

“Thanks, made it myself.” You winked at the woman who shook her head at you, Bucky coming up with to stand next to Steve, giving you a once over.

“See Barnes didn’t I tell you? She made you look good for once!” Sam slapped the quiet man on the back, earning a glare from his otherwise stoic face.

“Shut up Wilson.” Bucky responded, rubbing the back of his neck. “But yea, you actually look pretty great. I can see why Steve here was all bent out of shape thinkin he wasn’t going to see you again tonight.” Came his gruff reply, his blonde friend groaning and jabbing an elbow into his side. “Ouch. What where you’re throwing that thing Punk.”

You brought your vision to look at the handsome Captain, wondering if it were possible to drown in his blue eyes. You felt yourself smiling, your eyes crinkling as you took a step closer to him, watching him swallow hard. “Awwwh. Did you miss me Captain?”

“Are you kidding? He’s the whole reason why we had to work double time at tracking the arsonist down, just so he could see you.” Sam grinned, running to hide behind a very amused Tony as Steve contemplated murder for the sixth time that evening. “He wouldn’t shut up about you boo..”

“Mister Sam… Falcon…sir?” You were never so thankful for a child in your entire life. All of you turned to look at Andy who stood alone in the kitchen doorway, rubbing at his eyes sleepily. His wings were long since off of him, you knowing full well with his thrashing the cardboard and hot glue would not withstand the rage of a five year old with constant night terrors.

“Yea buddy it’s me. Aren’t you supposed to be in bed?”

“You have a nightmare again Andy?” His teary nod at you had you placing your cup on the counter, leaning down to motion him to you. He hurried into your arms, you effortlessly picking him up, taking your silver arm covering off to allow yourself more range of motion as you cradled your sobbing nephew.

“Shhh you’re okay my dude, I’ve got you.” You muttered, listening to him cry uncontrollably into your neck, the evidence of his emotions soaking into your skin. “Tell me what you dreamt.”

“It was AWFUL Ant!” The boy exclaimed, pushing off of you slightly to look at Sam, tears still stinging his eyes. “Yo…you guys..didn…didn’t make it…out and the the building..” He started crying again and you felt the whole room melt around you.

“Hey Andy it’s okay see, we’re okay though.” Sam whispered reassuringly, asking you without words to take the child, which you gave him over with a nod. “See look, no harm done.” He let the little boy place his chubby hands all over his face, brushing over the soot and ash that had stuck to the man’s skin.

“…but what about smoke infal..mathc..ion? Momma says you can…di..die from too much smoke infalmathcion.” The brunette boy hiccupped at Sam, and you didn’t miss Tony’s huge smile at the kid’s difficulty at pronouncing big words.

“We’re gonna be fine. Don’t you worry. Takes a lot more than nasty smoke to take out the Avengers, don’t you think?”

“Y..yea! You guys are the best in the whole galaxy!” Andy cheered, as if he hadn’t had a complete meltdown just moments prior. Sam smiled back at him, turning his head to mouth a simple “I’m gonna keep him.”

You were almost tempted to let him, until you remembered he wasn’t yours.

“Hey there’s my little love bug!” Your sister cooed from the hallway, stopping for no one as she reached for her son, eager to hold him.

“Uh honey…” Your brother in law motioned to the group of super heroes, her face reddening as she looked at Natasha and Clint, who looked back at their doppelgangers with wide eyes. Tony and Thor howled with laugher as the pair took an extra step apart from each other as they took in your sister and his costumes. “I never thought we would meet like this. Man no one is going to believe me at the office on Monday.”

“Of course they will, you’ll have proof!” Tony belted, motioning for Maria to come and take pictures of everyone. You all elected to stand on the front yard, your sister going to drag the sleepy kids out of their slumber so they could be a part of it. After many different poses and many different phones later, everyone seemed happy with their captured memories.

“Night night Ant Y/N, sleep tight. Don’t let the bad guys bite!” Liam joked, the two of you breaking into your secret handshake.

“And if they do, I’ll beat them til they’re black and blue with my shoe!” You called back, hugging Hana and waving to Andy who was already nearly passed out in his dad’s arms. He gave a half wave back, all of their figures fading into the distance as they swam through the sea of parked cars.

The rest of the party cleared out a bit later, you staying behind to help clean up the apocalypse level mess in Hill’s house.

“You’re really great with kids Y/N.” Steve held the trash bag open as you piled cans and cups into it, meeting his gaze with a grin.

“Only because they’re related to me.” You admonished, the large man chuckling as you continued about the living room, you both being the only ones in there while the others helped take down decorations in the other rooms and outside. “Listen about earlier, I’m sorry if I may have seemed a little forward. I had no idea it was actually you and I’m not normally that flirty.”

“Ah I see. Well if it helps I’m not offended.”

You shot your head up to look at him, arm mid swipe to push more cups into the trash bag. “You’re…not?”

“Nope. Especially knowing I’m a total hottie, and your favorite. According to Liam anyway.” Your voice died in your throat as the man lost in time actually had the nerve to wink at you. You placed the cups in the bag, coming up to your full height to stare at him. Your feet were burning from the whole night in heels but you’d be damned if you backed down now. You didn’t know if you wanted to kill your nephew or hug him until he complained about it.

“Oh really? Well then can I ask you out for a cup of coffee sometime?” You spoke lightly, question almost coming out in a whisper on account of your nerves.

“Sure, I’ve got no plans in the morning.”

“Eleven work? I’ll be dead with a hangover until at least ten.” He laughed at your honesty, reaching to pull out his phone so you could type your number in. You procured your phone from its warm resting spot, taking extra care to slow your movements. Steve actually looked away from you after staring for a beat or two, his ears the same shade of pink from earlier. Cute.

“As long as we can yell at a-holes who don’t use their blinkers, sure.” Hug Liam it is. “There’s a café on 23rd and maple by the tower…”

“Queenie’s?” You finished, smiling brightly at Steve who nodded back enthusiastically. “Then it’s a date Cap.”

“Yep,” He pulled you into a surprising yet warm hug, you nose breathing him in and taking note that he smelled exactly how you thought he’d smell. All masculine and deep and smooth and rough and your brain stopped trying to think of good words to use. He offered to walk you to your sister’s house, a pensive look washing over you as you looked at the clean living room.

“What about saying goodbye to the others?”

“What, like you’re never going to see them again? Not if I can help it” He mentioned nonchalant, another blush sweeping over your face as he bluntly admitted to seeing you more than once. You only nodded, accepting defeat as he put his arm around your shoulders to keep you warm on your walk home, not that you needed it with the adrenaline coursing through your veins.

A short fifteen minute stroll of content and happy chitchat about yourselves later you were at your sibling’s door, finding the spare key in a ceramic frog just along the edge of the fish pond that sat on the left side of their stairs.

“Well this is me, see you at eleven hundred?” He smiled at you, tucking a stray hair behind your ear before placing a chaste kiss on your cheek.

“Eleven-hundred. Pleasant screams Y/N.” You outwardly giggled at his pun as he pulled back, turning towards the street and walking away with a noticeable pep in his step.

Take the kids trick or treating your sister said. It will be fun she said.

She was right for once.

End

Taglist: @kaytizzle @cuffski @giggleberts @pies-wands-and-more @cuffski @chrisevansfanfic @zombiepotterfour 

[returnn-of-the-mac]

Companions react to Sole being a famous violinist that played Irish/Folk music? (no complaints if Cait's is longer * hint hint *) Love ya work!

Ah this one was fun! You might notice it in this little more in this React than in my others, but I’d just like to point out (in case you haven’t already noticed), I purposely make Sole not have any lines of dialogue because everyone’s SS is different. It kinda breaks the immersion if Sole says something that your Sole wouldn’t say. So that’s why Sole is, well, silent. Just leave their responses to your imagination! Also, I’m sorry this doesn’t really touch upon the “famous” part of your request, but I figured they’d all kind of sound the same as that prima ballerina React I did a while back, so I just did it more as a “Sole is very, very talented” kinda reaction. Hope that’s okay! Please enjoy!😄

FO4 Companions React: Sole Being a Famous Irish Folk Violinist

Sole and their companion were on their way to Salem when they stumbled upon an old music shop. Inside the store, the pair found a collection of perfectly preserved instruments. Upon looking through cases and displays, Sole found a violin— one that was identical to the one they used to perform Irish folk music in the pre-war days. They picked up the instrument and began to play familiar melodies

Deacon: Deacon was completely enthralled by the beautiful performance by his partner. When Sole has finished their song, Deacon enthusiastically clapped and cheered. “WOOHOO!” Deacon shouted, “ENCORE! ENCORE! Play I’ve Been Working on the Railroad next!”

Hancock: Hancock swayed to Sole’s music. When they had finished, he nodded in approval. “Excellent performance. Job well done. And without chems either? Damn, you got some real talent, [brother/sister]. You should be proud.” Hancock picked up an electric guitar. “My turn. You just sit back and enjoy the ride.” The ghoul proceeded to perform one of his favorite pre-war classics: Purple Haze by Jimi Hendrix. Sole watched him in awe as he perfected every riff. When he had finished his performance, Hancock took a bow. “I’d like to thank the ungodly amount of mentats that contributed to mastering this song��the only song I can play on any instrument.”

Nick: Nick smiled as Sole performed Irish folk tunes on the violin. When they had finished, he clapped. “That was an extraordinary performance. You’re quite the virtuoso, my friend.” The detective sat down on a piano bench and cracked his mechanical knuckles. “You know The Entertainer by Joplin? I know how to play it on the piano if you wanted to perform it together.”

Curie: Curie hummed along to Sole’s melody, immersed in the music. When Sole finished, Curie wiped away a lone tear that trickled down her cheek. “Magnificent. That was absolutely remarkable, [Madam/Monsieur]. It has brought tears to my eyes.” Curie blushed, “If it’s not too much, could you possibly play another melody? Possibly...La Java Bleue by Fréhel? That is my absolute favorite!”

Ada: Ada stood in place and listened to Sole’s performance. When Sole had finished, she finally spoke. “That was stunning, [sir/ma’am]. It’s incredible how nimble you are with that instrument. Me...I could only dream of being that dexterous.” She paused for a moment. “I wish I could compose a melody for you...oh! I can play Twinkle, Twinkle Little Star in Morse Code if you would like to hear that.”

Strong: Strong listened to Sole’s song all the way through. “Human...how you play tiny instrument? Strong want to try.” Strong picked up the violin and drew the bow across the strings. It made a horrendous screech that forced Sole to cover their ears. Strong was not amused. “STUPID INSTRUMENT! Why not work for Strong?” Strong crushed the violin in his hands and carelessly dropped the wooden fragments on the ground. “Bah! Useless junk anyway.”

Codsworth: Codsworth listened to every note of Sole’s performance with a strong longing for the past. When Sole finished, Codsworth signed. “Oh, [sir/mum]. I missed this. It was wonderful to have the opportunity to listen to your music again.” The two were silent for a few moments before Codsworth broke the silence, “Please, would you mind just playing one more tune?”

Danse: Danse, genuinely impressed by his partner’s talent, listened attentively to their performance. He then fished through the instrument box and pulled out a harmonica. He began to play harmoniously with Sole. When the two finished their song, Danse smiled. “Cutler and I would play that song among several others when business was slow at our junk stand in Rivet City,” the Paladin explained, “He played the accordion and I played the harmonica. We were decent enough. People gave us tips. We constantly joked about starting up a street band with other drifters, but nothing came of that. And we never spoke of t again once we joined the Brotherhood.” He put the instrument back in the box. “But I digress; that was an outstanding performance, soldier. You never cease to amaze me.”

Piper: Piper closed her eyes and fully immersed herself in Sole’s beautiful music. When Sole finished the melody, Piper approached them. “Blue...that was incredible. Honestly, I think that was the best violin performance I’ve ever heard!” She shook her head and laughed. “Hey, you should play that song for the upper-stand snobs. You’d absolutely blow their minds. I swear you’d make Ann Codman’s head explode if you proved to her that the working class have talent, too.”

X6-88: X6 absorbed every note of Sole’s Irish folk melodies and subtly tapped his fingers to the beat. When Sole had finished, he spoke. “That was excellent, [sir/ma’am]. I do not frequently listen to music— save for a few classical songs— but that was a truly riveting performance. Well done.”

Longfellow: Longfellow smiled widely as he listened to his partner performed. He picked up a nearby fiddle and played notes that complimented his partner’s perfectly. After their performance, Longfellow clapped. “Bravo!,” Longfellow praised, “I may not know how to play Irish folk songs on the fiddle, but I can teach you some sea shanties.”

MacCready: MacCready smirked and listened to his partner masterfully recreate traditional Irish folk music. When Sole has finished, MacCready grinned. “That was awesome! I never pictured you as the musical type.”MacCready approached an electric guitar that was on display and through the strap over his shoulder. “Now the real question is...can you play rock and roll?” MacCready aggressively strummed the strings of the guitar, creating sharp, piercing beats that caused both himself and Sole to cringe. He quickly stopped and sheepishly scratched his head “...because I clearly can’t.”

Preston: Preston stared in awe as his partner skillfully handled the violin. He clapped once Sole had finished playing. “General, that was incredible. I never would’ve guessed you were a master of the violin.” He complimented. He thought for a moment, and then eagerly turned to his partner. “Any chance you know how to play the pre-war National anthem? I’d love to hear it.”

Gage: Gage was taken aback by Sole’s sheer talent. “Boss. That was...good. And I ain’t messin with ya either. It was damn good.” He studied the violin. “And I ain’t usually a fan of these fancy-folk instruments. I’m more of a trashcan lid and harmonica kinda guy.”

Cait: Cait’s eyes lit up when she heard the all-too-familiar tunes of her homeland. When Sole finished, she beamed. “Hey, ye ain’t half bad! In fact, ye ain’t bad. Yer amazin! You��ve got some Irish in ye?” Sole answered and Cait smiled. “Well you’d probably be surprised to know that I know how to dance to these songs. When I was a girl, I taught myself how to dance in my spare time. Kept me from thinking of me parents.” She looked down and frowned. “But as much as I loved it, it was a risk. They’d beat me if they saw me practicin. So eventually I just stopped tryin.” She looked at her companion earnestly, “But I like to think I still have that spirit in me. The way I dodged punches in the Combat Zone, it reminded me of my dancin. I think I’d like to give it a try again if you don’t mind.” Sole agreed and started playing another tune. Cait aptly began to step to the music; her feet tapping to the beats synchronously. For the first time in a long time, Cait looked radiant and truly happy. When the song concluded, Cait took a playful bow. She then turned to her partner, eyes wide with genuine gratitude. “Thank you, [name]. That truly meant a lot to me.”

[nitonol]

I ❤️ Anisong 2019 review

Incredible and pleasantly surprised. It was another great lineup this time. Let’s jump in.

DJ Soba

The warm up act. This was someone who knew what songs to pick:

Evangelion OP theme: Cruel Angel’s Thesis - Takahashi Yoko

Neon Genesis Evangelion is a No brainer. A classic series and game changer for it’s time. Also, the fandom is still strong, even after over 20 years. We’ve got the recent re-dub and release on Netflix and the 4th movie of the rebuild coming out next year. Pokemon OP theme: Pokemon Theme - Jason Paige

Pokemon has a special place for many people, even now. With new addition to games, both electronic and cardboard. It’s still as popular as ever. Kekkai Sensen ED theme: Sugar Song to Bitter Step - Union Square Garden A nice fun series. The ED theme is one of those songs where you just have to get up and dance. Violet Evergarden OP theme: Sincerely - True

A calmer song, reminding us of one of the best series in the last couple of years. Feelings of warmth and sadness, hope and loss fill Violet Evergarden and this song is a perfect reflection of that. For those who’ve watched the series, the chorus hits hard: “Why am I crying right now? How should I answer my heart? The words are never spoken. They’re just there.. they just keep building up. I want to see you.”

kz (livetune)

One of the most popular person of note in the whole anime/japan music spheres. The DJ/composer/vocaloid-producer was at it again.

We can’t have kz (livetune) without Hatsune Miku. So the classic songs Redial and Tell your World gets everyone moving and singing along.

The new song lineup included Seventh Haven and Heaven’s Rave from the game Tokyo 7th Sisters. We also got some remixes with songs from Oreimo and Umaru.

Nano

I didn’t do any research on Nano before hand, so I was going in blind. But I instantly got into the songs. Nano’s voice gives of vibes of power and grace.

One song, the ED theme of Magical Girl Raising project, Dreamcatcher, has some memorable lines: “This night, the stars will set your heart free. Have faith, let the whole world know what you see.”

I thought, “she is doing a really good cover of Dreamcatcher by Na... No...”. It was then that it hit me. Of course it’s that Nano. An artist that I’ve listened to a number of times already back in the days when she would cover Vocaloid songs on youtube/niconico.

She was also really good at MCing and getting the audience fired up and even shared that it was her birthday yesterday. At the end when she asked for a photo, the whole audience started singing Happy Birthday.

Suzuki Konomi

Suzuki Konomi has a lot of stamina to keep up with one song after the other. The j-pop was rather refreshing after the intense j-rock from the previous act. There were a few memorable songs like “Choir Jail” from “Dusk Maiden of Amnesia”; as well as “This Game” from “No Game No Life”. But, I think the highlight was when she was drinking water and nearly fell over laughing as someone in the audience yelled, “Daisuki da yo!” (I/We love you!) This lead to an interesting conversation between her and the audience: Suzuki Konomi: “Minna, Konban wa!” (Good evening everyone!) Audience: “Konban wa!” (Good evening) Suzuki Konomi: “Nihongo ga wakarimasu ka?” (Do you understand Japanese?) Audience: “Hai!” (Yes) Suzuki Konomi: “Sugoi, Subarashii”, (Awesome, wonderful) Suzuki Konomi: “Eigo ga yatte mitai”, (I’ll try speaking english) Audience: “Ganbare!”, (Do your best!) Pretty fun.

Chihara Minori

The final act was Chihara Minori. Like Suzuki Konomi, she covered a few songs from anime like the ED theme of Violet Evergarden and the OP theme of Ga Rei Zero.But, what really excited everyone, was related to one of her most famous voice acting roles, “Nagato Yuki” from “The Melancholy of Suzumiya Haruhi”. This of course meant singing what was once the anime fandom’s national anthem, “Hare Hare Yukai”. Chihara Minori did a great job doing the dance as well, and so did a few people in the audience.That’s it for another year.

[eurosong]

2018 vs 2019: Semi-final 1

Hey there, folks! Every year after the national final season is over, one of the first things I write about Eurovision is a comparison of the new year’s songs with those of the previous year. Often it gets folk unfollowing the blog even though it’s almost entirely posts about ESC statistics and only a relatively small amount on rating the songs here. These are just my thoughts and no offence intended to anyone who thinks otherwise. Without further ado, click below to take a look at my thoughts on semi-final one!

◯ Australia – 2019 – Last year, Oz sent “We got love” (or “We got l’œuf” as I renamed it), which was a dizzying collection of clichés, got a mediocre placement and might well have been the impetus for them finally biting the bullet and getting the punters involved in the thitherto long mooted national final. This decision might not benefit their chances of keeping up their qualification record in the long run – but it means, for once, that Australia can move outside a narrow box musically and send things that would never be picked by internal selectors. “Zero gravity” was a less astute choice than “2000 & Whatever” would have been, I feel – it sounds to be like something that people think is so Eurovision who haven’t seen it in some time. Nonetheless, homegirl has pipes, the tune is quite catchy and it’s a hell of a lot more interesting than last year’s song.

◯ Belarus – 2018 – whilst I’ll be talking about 2018 vs 2019, I have to take a quick detour almost right away to 2017. It was the first time that Belarus managed to sustain my interest and get into my personal top 10 since their début, and they did so by going authentic and finally showing some love for their national language on the ESC stage. One year later, and I certainly wasn’t enthused by a carpetbagging victory of a non-local singing a rather ordinary song in English or some approximation thereof.

And yet, “Forever” and its earnest performer grew on me, especially the strange dissonance between the hopeful lyrics and the very melancholy music. After a similar number of repeated listens, “Like it” has not sparked even the briefest flame. Musically, this starts off with an inoffensive if very 2005 Spanish guitar riff, arrives at a decent-ish bridge and then throws itself off it head first into an absolutely dreadful thumping, repetitive chorus which is reprised way too much in the rest of the song. Lyrically, they put about as much effort into the words as they did into the “screensaver with default font” they were using as a background as Zena performed. She repeats “yes, you’re gunna like it” 40 times in the space of 3 minutes – one every 4.5 seconds. Maybe she’s trying to psychologically condition us, but no, Zena, I ent gunna like it at all. In a delicious bit of irony, it’s also at time of writing the least “liked” ESC ’19 song on Youtube. Strong preference to 2018.

◯ Belgium – 2019 – It can be difficult for a country to come back after a peak moment for them with something equally good that also manages to win over the fans and juries. We’ve seen it in Latvia after “Love injected”, in Estonia after “Goodbye to yesterday” and I think we’re seeing it once again with Belgium after “City lights”. Neither this year’s song nor last’s comes anywhere near the anthemic, emotional power of Blanche’s song. Both are nice enough, but I wouldn’t be surprised if Eliot struggled much as Sennek did last year. I give it a slight preference, but both songs are really let down, I feel, by choruses that don’t pay off the drama built in the verses.

◯ Cyprus – Neither – I try to limit myself to as few “neither” choices as possible in these games because the fun is in having to choose, sometimes, between two difficult options. Nonetheless, I abhorred “Fuego” in every conceivable way and this aptly-named “replay” offers little different to those who weren’t fans of it. If I had to pick, I’d go with 2018, because at least it doesn’t have the sadness of attempting to catch lightning twice in the same jar attached to it.

◯ Czechia – 2019 – Two years, two rather uncomfortable entries from the Czechs in a row. Last year, we had a predatory “Blurred lines” light, while this year, whilst less lyrically degrading, still has weird lines about eavesdropping on people having sex through the walls(?)… but it’s enough to secure a slight preference.

◯ Estonia – 2018 – It seems like such a long time has passed since the days when I consistently found Eesti Beesti, since those days when Eesti Laul seemed experimental and had a decent number of songs in their native language. I’m no fan of popera, but at least Elina was a local talent. It’s bewildering when a country with so many great artists can’t find someone with any real association with it to sing for them. Though both are ultimately derivative, I prefer La forza to what is essentially an aviici b-side.

◯ Finland– 2018 – I have a pet peeve for national finals where you are presented with a single choice of artist. Unless said artist is very versatile (say, Frances Ruffelle, who took on dark pop, ballads and gospel-tinged anthems in her solo national final back in 1994), you are restricted to a narrow set of genres. If you don’t like that artist or their style, then you’re shit out of luck. That’s been the case for the last few years with Saara Aalto and now Darude. I didn’t really like ány of either’s songs and miss the days of a diverse choice in UMK. I pick Saara because her throwback was slightly more tolerable.

◯ Georgia– 2018 – Fair play to Georgia, who always dance to the beat of their very own peculiar drummer. You’d think that the shift to the X Factor format to pick their representative, combined with the cold reception for their “ethno-jazz” last year, would have led to them playing it safe to try to avoid three DNQs in a row. Instead they’ve gone for something downbeat, angry and almost oppressive in its ambiance, i.e. something even less accessible to the general viewer than last year. This feels like the rock song equivalent to a war crimes tribunal. I preferred last year’s effort, which was rather more uplifting, and which I felt was unfairly underrated for a genuinely well-composed piece of music steeped in tradition.

◯ Greece – 2019 – A number of people around me were raving for Oneiro mou last year. I wasn’t one of them and suspected it would fail to qualify from the get-go. Instead of “Greece returning to form”, it felt like them attempting to do so but ending up with a nationalistic pastiche instead. This year, they’ve taken their usual mould and smashed it with a hammer, going in a very different direction with a delightfully husky-voiced singer and a musically anthemic piece that manages to compensate, for me, the song’s lyrical shortcomings. I enjoy it a fair bit more.

◯ Hungary – 2018 – This is one of the hardest ones of this semi final to choose, as “Viszlát nyar” and “Az én apam” are chalk and cheese, but both highly qualitative and with meaningful lyrics. Joci’s other ESC song, Origo, beat Viszlát nyar for me, but his 2019 effort doesn’t have quite the same visceral punch to it, so I think I’m going to have to give the edge to AWS this time around.

◯ Iceland – 2019 – Another country giving us night and day, but this time, I like neither of the two choices. Last year certainly put the “cheese” in the old “chalk and cheese” saying, an unbelievably overwrought and soppy Christmas charity-esque tune that somehow ended up at ESC. This year, it’s something rather acerbic, dingy, grating and ultimately gimmicky. In these times, “hate will prevail” is the last message we need. I will take it over Ari any day though, as that was just squirmworthy.

◯ Montenegro  – 2018 – It seemed that, last year, Montenegro was back to doing what it has always done best – a haunting, beautiful Balkan ballad after a few bizarre years of experiments gone wrong. Unfortunately, Inje got slept on despite its quality and couldn’t bring about an end to CG’s DNQ streak. There were many candidates in this year’s Montevizija that could have gone one better and done just that – but instead, bewilderingly, we got this unspeakable jumble which sounds like it was a rejected b-side for a mediocre mid-90s boy band, but with the addition of Random Casio Noises® in the background. Comparing Inje to it is likening fine wine to a bottle of Panda Cola that has been left with the cap off in the sun for 2 weeks.

◯ Poland – 2019 – Last year, Poland sent a middle-aged man in a hat doing a cringey snake dance whilst a young, inexplicably Swedish guy sort of sang and the whole thing sounded like the soundtrack for a Coke advert gone wrong. This year, they’ve got some women swaying like maniacs in a forest where they probably buried their patriarch. Not much of a step up in theory, but a big step up nonetheless…

◯ Portugal– 2019 – Portugal is a country that could have peaked with their first win, or fallen into a niche in a sad attempt (*cough* Cyprus *cough*) to recapture that glory. Instead, they are challenging all the tropes and have a national final with some serious diversity. I loved “O jardim” and it deserved way better, but this year’s song, “Telemóveis”, exceeds even that. It’s a haunting but catchy as hell rumination on mortality, technology and saudade with a musical backdrop whose influences transcend continents. If it’s not in the running to win the whole thing, I will be disappointed.

◯ San Marino – 2018 – I cannot get my head around the enthusiasm for “Say na na na”, which seems to have been contracted not only by postmodern pisstakers but by many folk who genuinely like it. It makes me cringe 10x more than Jenny B’s not quite sick rap skills last year, and that’s saying something. Plus, they had robots.

◯ Serbia – 2019 – They seemed like really nice people, but I found last year’s Serbian entry itself to be a bit of a minestrone into which a dozen elements of other songs were chucked in, and thus was lacking a bit in coherence. “Kruna”, on the other hand, is perfectly-formed, poignant, beautifully orchestrated and one of the best Balkan ballads in the past few years.

◯ Slovenia – 2018 – Fair play to Slovenia for picking themselves up and dusting themselves off after a few rough years. Hvala ne was backed by almost no one to qualify but I had faith in it early on and Lea benefited from being able to make a real connection with the crowds. Sebi is a very different beast entirely. Whilst Hvala ne had a defiance and a frenetic energy, Sebi is contemplative and melancholy. Both have great lyrics, too. I am going with Slovenia at the minute as it’s stood the test of time, but really the better of the two songs is really a question of mood.

And the automatic qualifiers of this semi-final:

◯ France – 2018 – It’s a battle between two songs written by the same writers, and since I loved their 2018 work, their follow-up should have a chance of making this a closely-run thing. Shóúld. Instead, they went from writing an understated song about humanity to writing an overbearingly pompous and self-important song about ego. This is the worst French song to me since 1988.

◯ Israel – 2018 – I wonder if Israel’s broadcasters remember how their predecessor, the IBU, won on home soil in 1979. I have the feeling they might well do, and as a result ensured it wouldn’t happen again with this song. There are elements of the song I really like, but it’s let down for me by a snivelly, exaggerated voice and a rather self-indulgent chorus. I was no great fan of “Toy”, but can listen to it with more pleasure than this.

◯ Spain – 2018 – I remember when “Tu canción" came out and I was completely in love with it. The unfortunate thing about songs sung by starry-eyed young loves is that their relationships often end up star-crossed. Now, Almaia is no more, and the song has a hugely bitter aftertaste. Nonetheless, I prefer it to La venda, which is a rather empty song lyrically but which I still found the best of a bad lot in the Spanish national final.

Coming up in the next instalment, my thoughts on SF2’s songs and how they shape up to those from last year!

[dustedmagazine]

Voting with our ears: Dusted spends the rent on Bandcamp.com’s Voter Registration day

On September 25, Bandcamp.com held a fundraiser for the Voting Rights Project, seeking to raise both money and awareness around voter registration. For the day, all profits on everything you bought on Bandcamp.com went to this worthy cause. Dusted writers saw the opportunity to a) buy stuff and b) promote democracy and said, “Hell yes, we’re in.” Participating writers included Ian Mathers (who is Canadian!!), Justin Cober-Lake, Jennifer Kelly, Bill Meyer, Isaac Olson (who definitely wins) and Ethan Covey. Check out what we bought and then, for the love of god, vote. We’re depending on you.

Ian Mathers

IDLES

For various reasons I wasn’t able to shop quite as avidly as I did last time we got together for one of these, but I managed to make one impulse purchase of a record I hadn’t heard yet (but had transfixed me with its singles) and combine that with two long-awaited additions of old favorites to my Bandcamp collection (and my hard drive, after having lost track of the files in one move or another). 

IDLES — Joy As an Act of Resistance 

Joy as an Act of Resistance. by IDLES

As you might guess from the fact that it just came out at the end of this August, Bristol’s IDLES is the impulse buy of the three, one that so far has worked out just wonderfully. Having been recommended the mockingly anti-Brexit(/xenophobia) “Great” on YouTube and being drawn from the immediately bracing, invigorating likes of that to this album’s more openhearted ode to the greatness of not hating people you don’t already know, “Danny Nedelko,” and the more Protomartyr-ish opening track “Colossus” (the latter of which also probably has my favorite music video of 2018), I couldn’t imagine any band capable of those three songs would somehow whiff the rest of a reasonably-lengthed LP, and the often political, always heartfelt Joy As an Act of Resistance. proved me right. There are certainly places where it gets darker (particularly “June,” where singer Joe Talbot relates in heart-wrenching fashion his wife losing a child to a miscarriage), but the overall feel of the album can be summed up by Talbot barking repeatedly at the listener to “love yourself” over a careening, punkish anthem. The album title isn’t a piss take, which is a relief in itself.  

 The Silent League — But You've Always Been the Caretaker...

But You've Always Been The Caretaker... by The Silent League

Back in 2004 I first heard of the Silent League, as I think most people did, because frontman Justin Russo had been in Mercury Rev (for 2001’s All Is Dream, the last Rev record I can say I fully loved), and their debut, The Orchestra, Sadly, Has Refused was interesting, lysergic chamber pop with some proggy and/or post-rock elements. I lost track of them for a bit after that album and was surprised that when I heard about them again it was because of an entirely different musician I was a fan of. Shannon Fields, then of Stars Like Fleas and since of Family Dynamics and Leverage Models (the last of which made my favorite record of 2013 and which is, incidentally, about to return), maker of a ton of records I both love and think have been overlooked, let me know that he’d also been a contributor to the Silent League for quite a while and that with their then-current album, 2010’s But You’ve Always Been the Caretaker… he thought they’d made something that represented a bit of a leap forward for the band. Not only do I agree, but the Silent League’s swan song (to date) now represents one of the most frustratingly overlooked records I know of, 15 sprawling songs in any number of registers, styles and tones tightly packed into less than 49 minutes that, fitting the circular and slightly foreboding title, packs a bunch of richly interwoven thematic and sonic depth into what feels like a whole universe of popular music. There’s proggy/ELO overture “When Stars Attack!!!,” the sound of a glam rock band practicing a particular soulful jam down the hall and four walls away on “Sleeper,” at least one just perfect string-led “perfect pop” song in “Resignation Studies,” and literally a dozen other things here. And yet But You’ve Always… never feels scattered or showoff-y. It’s a whole world, dense and rich and worthy of being studied in detail for its brilliance. I was thrilled to see it on Bandcamp, not least because this is exactly the kind of record that could easily slip through the cracks. 

 Tamas Wells — A Plea en Vendredi

(PB024) Tamas Wells: A Plea En Vendredi by Popboomerang

It’s been over a decade, but when I was in university I am pretty sure I first heard Australian singer-songwriter Tamas Wells because I saw the song “I’m Sorry That the Kitchen Is on Fire” somewhere and thought the title was hilarious. To my surprise the song itself was gorgeous, a gently folky little waltz with Wells’ high, gentle voice, carefully picked acoustic guitar, a lightly hypnotic piano refrain, and sparing hand claps. I fell hard enough for it that even back when the internet wasn’t at all what it is now I tracked down Wells’ 2006 album A Plea en Vendredi and found a shimmering little suite of song, some as gnomic and vaguely unsettling in their implications as “I’m Sorry That the Kitchen is on Fire” (like “Valder Fields,” which is apparently a place where our narrator and others mysteriously regain consciousness, or whatever you can make of “Lichen & Bees”), some much more plainspoken (including the slight political bent running through “The Opportunity Fair,” “The Telemarketer Resignation,” and the gorgeous little instrumental “Yes, Virginia, There Is a Ruling Class”), all just as twee-ly beautiful and enrapturing as my initial exposure had been. At the time Wells was working in Burma on a community development project, and from what I’ve been able to find his moving around and focus on non-music work has occasionally kept his album on the back burner, although he’s found an audience at home and in Japan and China (and of course, sometimes as far as Canada where I ran into his work). He’s kept releasing records since, most recently 2017’s The Plantation on a small Japanese label, but even if A Plea en Vendredi was all I’d ever been able to find it’d still find a regular place in my rotation; even when things get a bit darker, on “Valour” and the closing “Open the Blinds” there’s something so soothing about Wells’ music and this particular set of gem-like miniatures has been a go-to album for me during difficult times ever since.

Justin Cober-Lake 

David Ramirez

Ashley Walters — Sweet Anxiety (Populist)

Ashley Walters // Sweet Anxiety by Ashley Walters

I’d been wanting to hear this one for a while. I first noticed cellist Ashley Walters on Wadada Leo Smith's America's National Parks, a remarkable album that I spent considerable time with while writing a couple features on it and Smith (including interviewing Walters). I was even more impressed after understanding what went into the work and seeing that ensemble perform it live. Walters writes of this album, “I seek to challenge your perception of what the cello, a stereotypically gentle instrument, is capable of,” and it's fair to say she succeeds. It's a demanding listen, more aggressive than expected, but Walters and her composers blend technical challenges with theoretical ones. At times, Walters cuts loose, and at times she works with tonality, often using nonstandard tuning to odd effect. Smith composed one of the brightest numbers here, making a nice shift in sound without lowering the difficulty level. Luciano Berio's “Sequenza XIV” provides the most interesting piece, not only for the actual performance but for the reconstruction work on the score that Walters highlights in the liner notes. This one's well worth a focused listen, and I'll need to give it quite a few more to properly process it.  

 The Beths — Warm Blood (Carpark)

Warm Blood by The Beths

In August, the Beths released one of my favorite albums of the year, Future Me Hates Me, a blast of pop-rock easily good enough to warrant going back, more or less, to the beginning, with 2016's Warm Blood EP. Both lyrically and musically, the group hasn't quite found its footing, but that says more about the focused energy of the full-length than it does about these five songs (including “Whatever,” which reappears on the album). The hooks are there now; the guitar on “Idea/Intent” represents the band as well as anything. The vitriol of that track fits in less well with the attitude the band generally puts forward, one that's self-reflective and confident without claiming to know all the answers. Some of the joy of the music is in Elizabeth Stokes' searching, but that's turned around on a track like “Rush Hour 3,” a comedic bit of come-on (and the rare track not written by Stokes). Warm Blood works as a nice look back at a band, but it's not just a history lesson — it's an enjoyable set that adds to the playlist of a group with only one album out. 

 David Ramirez — The Rooster (Sweetworld)

The Rooster EP by David Ramirez

I've been working my way backwards with David Ramirez, too, starting with last year's We're Not Going Anywhere (which didn't adhere to his previous folk-ish sound but did make me wonder why I hadn't found my way to the songwriter earlier). After spending time with the fantastic Fables, there was the live show that utterly sold me on him, in part because he has a bigger voice than you might notice at first, even in his sparser productions. The Rooster EP, a fitting complement to that album, feels like an ascent. His vocals are assured, even as he searches for clarity, or at least anchor points amid turbulence. Tracks like “The Bad Days” and “Glory” offer unrequested hope, and “The Forgiven” provides a meditation on performance, art, and faith that's central to his work. The five cuts on this EP have the gravitas of something bigger and strengthen my sense that Ramirez should be a songwriter that everyone listens to.

 Grand Banks – Live 8-25-2018

Grand Banks live 8-25-2018 by Grand Banks

Any sort of bonus shopping day provides a good excuse to support local music. This time I went with the latest release (such as it is) from Grand Banks, their live recording from August 25. The duo don't shy away from volume, but their focus on minimalist ideas and sonic experimentation makes for unusual experiences. Over this single 30-minute track, the pair builds with patience, even when developing a haunted-house sort of melody on the keys. The second half of the piece increases the challenge, with guitarist Davis Salisbury pulling an odd series of sounds out of his instrument (for the curious, you can try it at home with an electric guitar, a tuning fork, and a fuzz pedal, and probably some sort of sonic laboratory). The effects build on Tyler Magill's creepy keyboard work – maybe this one's an unintended seasonal release. The study in space and harmonics gives way to a chirpy conversation and surprisingly (in this context) guitar-like guitar moment before placidly drifting away, an apt conclusion for the performance.

Jennifer Kelly

The Scientists 

I bought five different records this time, mostly, but not all, falling somewhere in the punk/garage continuum. I liked them all in different ways, but the one that absolutely killed me was…

IDLES—Joy as an Act of Resistance (Partisan)

Joy as an Act of Resistance. by IDLES

This is Ian’s fault, really. He talked me into it. Plus, it turned up on the Bandcamp recommendation engine. Which, by the way, is just so much better than Amazon’s recommendation engine. (I see you like the Pixies. Wanna buy every Pixies album ever?) But turns out, they’re both dead on. Idles is vitriolic and literate like the Sleaford Mods but backed by a ripped-to-the-teeth full band a la Protomartyr. Yes, two of my favorite current bands in one, plus a whole other thing of jagged, jitter-drunk percussion and wind tunnel howl. There is a song called “Never Fight a Man with a Perm.” So glad I got to hear this. Score one for voter registration.

 The Sueves—R.I.P. Clearance Event (Hozac)

R.I.P. Clearance Event by The Sueves

Butt-simple garage rock from Chicago, punctuated by weird little intervals of found sounds. Beautifully unhinged and uncomplicated, it reminds me the most of Demon’s Claw and after that maybe the Hunches and then the Monks. I bought it partly because I wanted to get those “we have a new record” notices from Hozac, but they know what I like.

 The Scientists—Blood Red River 1982-1984 (Numero)

Blood Red River 1982 - 1984 by Scientists

Guess who got to see the Scientists last week? They were awesome. They played “Frantic Romantic” in the encore (which is not on this disc, by the way). I knew some of the early stuff from the Do the Pop compilation of Australian punk, but immersing myself in these clanking, droning, post-punk juggernauts was the best and most enjoyable concert prep ever. “Solid Gold Hell” and “Swampland” were my two faves, and they played them both.

 Mike Pace and the Child Actors—Smooth Sailing (Self Starter Foundation)

Smooth Sailing by Mike Pace and the Child Actors

This one, from the former Oxford Collapse frontman, was a little more Raspberry-ish power pop than I was expecting, but it’s growing on me. “Escape the Noize” is my go-to track, a lush jangle of melancholy, a tetchy bristle of palm-muting, then a sweeping swooning chorus. It’s about leaving the music behind, which Pace clearly hasn’t, and good thing.  

Onoto—Dead Ghost (Taiyo)

DEAD GHOST by ONOTO

Let me the first to admit that I haven’t gotten to the bottom of this one, a swirling, enveloping miasma of guitar tone, wrapped around confoundingly weird vocal samples. “Shake Well for the Eye,” is droned-out chaos that parts like fog for bits of mid-20th century menstrual advice (avoid vigorous exercise, horse-riding, skating, cold showers, hah!). Other cuts eschew narrative for slow moving landscapes of instrumental tone. The title track lets guitar notes hang for unmovable eons, with only sharp shards of harmonics to break up the endless vistas. As a straight through listen, the disc makes more sense as you go along, meaning, you have to adapt to its oddity and it changes you.

Bill Meyer

 Canary records

Kemany Minas and Garabet Merjanian — When I See You: From the November 1917 Recordings, NYC (Canary) 

When I See You: From the November 1917 Recordings, NYC by Kemany Minas & Garabet Merjanian

Various Artists — And Two Partridges II: From the Earliest Turkish-, Arabic- Armenian-& Kurdish-Language Recordings in America, Feb-Aug, 1916 (Canary)

And Two Partridges II: From the Earliest Turkish-, Arabic- Armenian-& Kurdish-Language Recordings in America, Feb-Aug, 1916 by Canary Records

Various Artists — Oh My Soul: Armenian-American Independent Releases, vol. 1: ca. 1920-25 (Canary)  

Oh My Soul: Armenian-American Independent Releases, vol. 1: ca. 1920-25 by Canary Records

Various Artists — Why I Came to America: More Folk Music of the Ottoman-American Diaspora, ca. 1917-47 (Canary)

Why I Came to America: More Folk Music of the Ottoman-American Diaspora, ca. 1917-47 by Canary Records

I buy stuff via Bandcamp fairly often, and my purchases are nearly always hard copies. Downloads may be convenient, but a record you can’t hold in your hands seems to me to be one of those bad 21st century ideas like a Trump presidency or an unrepentant frat-creep on the supreme court. But when Bandcamp puts its income behind a cause, I relent, and when I do, I buy downloads from Canary Records. These albums are all compiled from recordings made by Anatolian exiles who fled genocide, war and poverty to take their chances in the USA. Many of these recordings predate the first blues records, and collectively they make a case that our notions of what constitutes American music are needlessly exclusive. After all, why should the music of people who came here from the Ottoman Empire be any less American than people who came here from the British Empire?  

 Billy Gomberg — Live Sets 2016-18

live sets 2016-18 by Billy Gomberg

Well, there go the rules. This DL-only compilation of concert performances by one of my favorite ambient recording artists of recent years shows that the carefully wrought, ultra-deep atmosphere of his recent cassettes is no fluke.

 Various Artists — Two Niles To Sing A Melody: The Violins & Synths Of Sudan (Ostinato)  

Two Niles to Sing a Melody: The Violins & Synths of Sudan by Various Artists

Back on solid ground at last! This hardcover book + 2 CDs (there are also vinyl and DL versions) shows how sounds blur from one culture to the next when people live along the same rivers and coasts. These recordings from the Sudan blend the nimble rhythms and ardent longing of Arabic pop with just a hint of the sinuous melodic quality of Ethiopian popular music. 

 Tashi Wada with Yoshi Wada and Friends — FRKWYS Vol. 14—Nue (RVNG)

FRKWYS Vol. 14 - Nue by Tashi Wada with Yoshi Wada and Friends

If you’ve caught Tashi and Yoshi Wada in concert, you know that there’s no louder or more mind-melting drone that a drone that incorporates multiple bagpipes and alarm bells. This record puts Wada fils in the composer / arranger’s seat, and while it uses the same materials as those live performances, the music is much gentler. Sometimes you want to boil your blood, sometimes you just want to kick back and zone out. A portion of the proceeds from this record will go to the National Immigration Law Center.

Isaac Olson

Ustad Abdul Karim Khan

Toshiya Tsunoda/Taku Unami — Wovenland (Erstwhile)

Wovenland by Toshiya Tsunoda/Taku Unami

I bought this collection of chopped and screwed  field recordings on the strength of Marc Medwin’s review and the fact that Erstwhile dedicated their profits for the day to the Voting Rights Project. Pieces like “Park cleaning / Crickets chirping,” “In The Park”,  “From the rooftop, railway terminal station” are both ear-tickling and intellectually stimulating. The rest are more stimulating intellectually than auditorially.

 The Weather Station—S/T (Paradise of Bachelors)

The Weather Station by The Weather Station

I slept on The Weather Station in 2017 because the music didn’t grab me enough I wasn’t interested enough in the music to tune into the lyrics.  I’m not sure what compelled me to give it another try, but I’m glad I did. Songwriter Tamara Lindeman has crafted a compelling take on early adulthood in an anxious age, one that, once I started paying attention, resonated with me in a highly personal manner I haven’t felt or sought in years. The b-side is almost too subtle, but Lindeman is a sharp enough writer to bring it off.

 Red River Dialect—Broken Stay Open Sky (Paradise of Bachelors)  

Broken Stay Open Sky by Red River Dialect

This is another record where the words carry the music, which means, like The Weather Station, I initially passed it over only to connect with it in unexpectedly personal ways after honing in on the lyrics. While I loved the fiddling from the jump, it took time for the rest of Broken Stay Open Sky to grow on me, but grow it did. (Check out Eric McDowell’s review here).

 Ustad Abdul Karim Khan—Ustad Abdul Karim Khan (Canary Records)

Ustad Abdul Karim Khan: 1934-1935 by Abdul Karim Khan

Classical Indian vocal music is a complex, highly systematized artform that I can’t pretend to understand, so rather than take my recommendation that you should listen to these recordings, take LaMonte Young’s: “When I first heard the recordings of Abdul Karim Khan I thought that perhaps it would be best if I gave up singing, got a cabin up in the mountains, stocked it with a record player and recordings of Abdul Karim Khan, and just listened for the rest of my life”.

 VA—100 Moons: Hindustani Vocal Art, 1930​-​55 (Canary Records)

100 Moons: Hindustani Vocal Art, 1930-55 by Canary Records

A traditional performance of a raga can last hours. A 78 can hold about three minutes of music.

As such, the performances on this collection lack the the breadth and depth of a traditional raga performance, but they more than make up for it in intensity.

 Ross Hammond and Jon Balfus— Masonic Lawn (Self Released)

Masonic Lawn by Ross Hammond and Jon Bafus

Sacramento guitarist and improviser Ross Hammond (whose record with Hindustani vocalist Jay Nair  is also worth your time) teams up with percussionist Jon Balfus for a set of blues and folk inspired  improvisations that manage to feel spacious despite the dense polyrhythmic approach. Masonic Lawn’s improvisations are optimistic, wide-eyed meditations on Americana.

 Melvin Wine—Cold Frosty Morning (Roane Records)

Cold Frosty Morning by Melvin Wine

Old-time music, like most folk traditions that arose in relative isolation and pre-date the record industry, isn’t particularly well suited for album-length listening. That said, if you’re in the mood for scratchy, crooked, dance and trance tunes, West Virginia fiddler Melvin Wine is a great introduction to the distinctly non-bluegrassy mysteries of this music.  

Note: This recording features a minstrel tune titled “Jump Jim Crow”.  How we’re to deal with this in the modern, right-wing nightmare age we inhabit is a complicated question, so if you’re digging this music but that title bothers you (and it should), check out these articles by Rhiannon Giddens and Michael Mechanic. 

 V/A—Usiende Ukalale: Omutibo From Rural Kenya (Olvido Records)

Usiende Ukalale: Omutibo From Rural Kenya by Various Artists

Like the Melvin Wine recording above, Usiende Ukalale exhibits a local folk style that evolved in relative isolation and is, for the non-local and non-expert, enchanting in small doses and merely pleasant over the course of a full album.

 VA—I’m Not Here to Hunt Rabbits: Guitar and Folk Styles from Botswana (Piranha Records) 

I'm Not Here To Hunt Rabbits by Various Artists

I reviewed this one back in May and I’ve listened to it so many times since that it was high time to buy it. Highest recommendation.

 Jess Sah Bi & Peter One—Our Garden Needs Its Flowers (Awesome Tapes from Africa)

Our Garden Needs Its Flowers by Jess Sah Bi & Peter One

This unusual gem combines the loping rhythms, slide guitar and harmonica of American country music with traditional Ivory Coast village songs. Its breezy Bakersfield meets Yamoussoukro vibe belies its anti-apartheid lyrics. Mp3s of this one have been floating around the internet for a few years, so it’s great to see it get an official re-release.

 Ola Belle Reed—FRC 203 - Ola Belle Reed: Recordings from the collection of Ray Alden and the Brandywine Friends of Old Time Music

FRC 203 - Ola Belle Reed: Recordings from the collection of Ray Alden and the Brandywine Friends of Old Time Music by Ola Belle Reed

From the indispensable Field Recorders Collective, this release documents a 1973 performance by Ola Belle Reed. Reed’s music exists at the nexus of old-time, bluegrass, early country, and gospel, but it feels wrong to box in the wisdom, humor, and generosity of spirit that shines through this release with anachronistic genre tags. Best of all is the Reed original, “Tear Down the Fences”: “Then we could tear down the fences that fence us all in/Fences created by such evil men/Oh we could tear down the fences that fence us all in /Then we could walk together again.”  Amen.

 Ragana— You Take Nothing 

YOU TAKE NOTHING by RAGANA

I don’t listen to as much metal as I used to, but while this fundraiser was happening, Brett Kavanaugh — case study in patriarchal resentment and mediocrity — got one step closer to a lifetime appointment on the Supreme Court. Ragana’s raw, sludgy, anarcha-feminist take on black metal really hit the spot that day.

Ethan Covey

Weak Signal

Omit — Enclosures 2011-2016 (Pica Disk/End of the Alphabet)

Enclosures 2011-2016 by Omit

Clinton Williams, the New Zealander known as Omit, has been quietly releasing nocturnal electronic compositions of uncompromising quality for the past couple of decades. Enclosures 2011-2016, released jointly by Lasse Marhaug’s Pica Disk and Noel Meek’s End of the Alphabet labels, provides an overview of five years of Williams’ output in a 30-track, six-hour package, available digitally and as a limited 5-CD set. Omit has previously been anthologized on two compilations courtesy of the Helen Scarsdale label, Tracer and Interceptor. And past releases have popped up via Corpus Hermeticum and PseudoArcana, as well as — most prominently — Williams’ own Deepskin Conceptual Mindmusic imprint. Great listening, all, if you can find ‘em. For those curious to dive in without too much digging, Enclosures is ideal. Much of Williams’ genius lies in composing tracks that are edgy, yet beautiful, creepy and experimental, yet profoundly listenable. It’s forward-thinking electronic composition that checks a lot of avant-garde boxes without feeling like a task. There’s a subtle, krautrock propulsion to the best tracks — the opening “Turner,” the “Echo Dot” pieces — where the listener gets locked into the rhythm and time slows to an elegant crawl — like a soundtrack for night driving on an Autobahn upended.

 Weak Signal — LP1 (self-released)

LP1 by WEAK SIGNAL

Weak Signal are NYC’s Sasha Vine, Tran Huynh and Mike Bones. Bones has previously released a pair of strong albums of indie songwriting courtesy of The Social Registry. As a guitarist, he’s done time with Endless Boogie, Matt Sweeney’s Soldiers of Fortune and Prison. This album was a tip from Danny Arakaki of Garcia Peoples, and it’s a swell one, 30-minutes of slack fuzz pop bashed out with energy and swagger. The majority of the tracks strut by on solid riffs, backed by boy/girl vox that slide into chant-along choruses. Like new wave bled dry, leaving a beautiful bummer. The eight-minute “Miami/Miami Part 2” stretches out into a haze of increasingly rapturous guitar soloing, string screeches and a spoken word coda. Lotta promise here, for sure. Here’s hoping they stick around for an LP2.

 Raising Holy Sparks — Search For The Vanished Heaven (Eiderdown Records)

Search For The Vanished Heaven by Raising Holy Sparks

Seattle’s Eiderdown Records has been releasing some of the best contemporary psychedelia around, and the latest by Raising Holy Sparks is no exception. The project is the work of uber-prolific Irishman David Colohan, and is offered in double and triple cassette, as well as digital, versions. The “short” cut of the album is an hour and a half long, and the triple cassette and download versions stretch that to well over two hours. Per the credits, the album was recorded in somewhere around 40 different locations over four years. Colohan is credited with over 30 instruments and is joined by baker’s dozen of likeminded collaborators. What they deliver is, like most of Colohan’s music, long, slow and often eerily beautiful. “I Am In The Mountains While You Are In My Dreams” passes in its 23-minutes through Popol Vuh-style ambience, spoken word incantations that sound like Coil if they’d truly embraced the countryside and a whole lot of birdsong. It’s a good overview of the general proceedings — accented occasionally by louder blasts of synths, random percussion that sounds like drum machine presets and banjo-plucking krautrock. On paper, that sounds like a head-scratching combo, but it works. One gets the impression Colohan’s dedication and attention to detail is such that the grab bag of sounds weaves together into a surprisingly fascinating whole. Listen with attention and you’ll want to follow along as each stretch and segue unfolds. Oh, and as is typical with Eiderdown, bonus points for exceptional artwork, this time courtesy of Aubrey Nehring.

[deadcactuswalking]

REVIEWING THE CHARTS 2020: 31/01

So, this is the first UK Top 40 after Brexit—we left the European Union the day of this chart’s release... and we’re clearly being punished for it already.

Top 10

Lewis Capaldi, Lewis, Lewis Capaldi. Somehow, due to a new music video, this bloody creature has got his second #1 with “Before You Go”, up four spaces to the top. This is France’s revenge, isn’t it? Sacrebleu.

Up two spaces however is “Blinding Lights” by the Weeknd, to the runner-up spot, which is never a bad thing.

At number-three, we have the slight one-spot drop for “The Box” by Roddy Ricch.

At number-four, unfortunately, there isn’t that big of a drop for “Godzilla” by Eminem featuring the late Juice WRLD, down three spaces from its #1 position last week. I guess sales are doing well enough to keep this at the top.

Down two spots is “Own It” by Stormzy featuring Ed Sheeran and Burna Boy at number-five.

At number-six, we have a slight one-space increase for “Don’t Start Now” by Dua Lipa.

“Life is Good” by Drake, then Future is down one position to number-seven.

Due to the Grammy’s performance, because, yes, they do affect the UK charts as well, probably because of 4Music’s pathetic coverage, as well as a long overdue video, “everything i wanted” by Billie Eilish is up three spaces back into the top 10 at number-eight.

“Someone You Loved” by Lewis Capaldi is up a spot to number-nine because of course it freaking is.

Finally, to round off the top 10, we’re seeing the end of the top 10 run for deteriorating TikTok meme “ROXANNE” by Arizona Zervas, down two to #10... just as it was starting to grow on me.

Climbers

Our singular climber this week is “bad guy” by Billie Eilish up six spots to #22. I’m as confused as you are.

Fallers

On the other hand, we have a handful of these due to a bigger story this week, probably the one that’ll occupy the most time of the three big chart stories here. So, outside of the top 10, “Ei8ht Mile” by DigDat featuring Aitch is down eight spaces to #17 off of the debut, “Ride It” by Regard featuring Jay Sean is also down eight to #29, “Circles” by Post Malone is down six to #31, and that’s not a lot, right? Well, no, but there are also the fallers from last week’s group of Eminem debuts, which unlike what happens with album bombs in the US, did not cause absolute chart chaos once dissipated, and instead just peacefully and rather slowly decreasing in chart points against the flood of the other album bomb. I’m of course talking about “Those Kinda Nights” featuring Ed Sheeran down 15 spaces to #27 and lead single “Darkness” crumbling down 20 spaces to #37.

Dropouts & Returning Entries

We have a couple dropouts here as well, but no returning entries. These are the songs that dropped off the face of the chart this week: “South of the Border” by Ed Sheeran featuring Camila Cabello and Cardi B out from #30, “Beautiful People” by Ed Sheeran featuring Khalid out from #32 (Not Sheeran’s greatest week), “Me & You Together Song” by the 1975 sadly out from #35 off of the debut – I thought this song would last, unlike “STILL DISAPPOINTED” by Stormzy out from #36, or even long-running hits like “HIGHEST IN THE ROOM” by Travis Scott and remixed by ROSALIA and Lil Baby out from #37, and finally, “Senorita” by Shawn Mendes and Camila Cabello. Now, I figured I should mention some songs in the top 75 but not in the top 40 that we could see enter the chart in the coming weeks—I haven’t got a single one of these right yet (Well...), but regardless, here are the songs I picked. Not all of them are good, not all of them are bad. There is “Better Off Without You” by Becky Hill and Shift K3y at #42, “Suicidal” by YNW Melly at #44, “Say So” by Doja Cat at #45, “Power Over Me” by Dom Kennedy at #48, “Lonely” by Joel Corry at #61, “SUGAR” by BROCKHAMPTON at #62, “High Fashion” and “Ballin’”, both by Roddy Ricch and Mustard, at #63 and #64, “One Night” by MK at #66, and even the two new songs from M Huncho’s album that missed the Top 40: “Indulge” at #50 featuring D-Block Europe, and “Head Huncho” at #60 featuring Headie One... now for a bit of a different story that starts in the Summer of 1785.

BREXIT RUBBISH

German poet Friedrich Schiller published an ode in 1786 that he wrote the year prior. It was later interpolated by the legendary Ludwig van Beethoven in his 1984 Ninth Symphony. In 1972, quite ironically for a song composed by two Germans when Germany was still split into two (Although admittedly they were both born in western regions of Germany), Beethoven’s composition was adopted as the anthem for Europe as a whole, and the European Union. Does that sound familiar? In 2016, the most famous pig-adulterer in Britain commenced the Brexit vote, resulting in a slight majority to leave the EU. I don’t like getting too political on this show, so I won’t get into this in-depth, but all you need to know is that the Scottish party protested in Parliament in 2017 by singing this song, and that led to this two-party war: The Anti-Brexit and pro-EU song, “Ode to Joy”, the European anthem as performed by Dutchman André Rieu, and the pro-Brexit song, if you excuse my language, “17 Million Frick Offs”, a song by some right-wing comedian (Dominic Frisby) directed towards the 17 million people who proudly told the European Union, to, well, “frick off”, and praising them for doing so. Thankfully, the nation has spoken.

#30 – “Ode to Joy” – André Rieu and Johann Strauss Orchestra

Produced by André Rieu

Frisby’s song peaked at #43, meaning we only have to talk about the Dutch man here, and his first UK Top 40 hit, probably his only one. I would have preferred “Anarchy in the UK” personally, but I’ll accept this. I see how this works as a protest song too, as it’s a pretty triumphant composition, but really, I mean, what do you expect me to say about the European national (Continential?) anthem? Yeah, I think the Johann Strauss Orchestra guest verse kind of ruined the vibe for me on this one, but the beat slaps hard. I don’t like boring, patriotic squabble like this, and it’s not like Rieu does anything with it as this is rather trite, with some really gross mixing of the horns. In fact, the whole song is mixed pretty painfully. I appreciate the sentiment, though, guys, but this is pretty bad. Call me a Eurosceptic for not appreciating some Dutch dude’s rendition of a European historical motif, but really I’d say the same about “God Save the Queen” – and not the Sex Pistols song; that one’s awesome.

ALBUM BOMB: Big Conspiracy – J Hus

I haven’t listened to this album yet, simply because I haven’t had the time, but J Hus is a British rapper who released his first album since his release from prison, Big Conspiracy, on 24th January 2020, to immense critical acclaim and commercial success, debuting at #1 on the UK Albums Chart. These are the three biggest songs from it, and my thoughts on all of them.

#21 – “Repeat” – J Hus featuring Koffee

Produced by Jae5

Interestingly, all of these songs have features. Anyways, let’s get through these as quickly as possible, shall we? I mean, they will probably all sound the same. This was released the day before the album, and is J Hus’ tenth UK Top 10 hit, and Koffee’s first. Who is Koffee, you ask? She’s a Jamaican reggae artist who became the first woman to win the Best Reggae Album award at the most recent Grammy’s. I can see some of the reggae influence here as well, but it’s not actually that clear as it’s mostly a typical Afroswing song that J Hus would have made, with inorganic and pretty stiff drum patterns, and a non-existent atmosphere. Koffee puts way too much effort in, at least in comparison to Hus’ dire performance here, where he just literally mumbles somewhat off-beat for a couple bars and calls it a day, while Koffee is singing her heart out. It’s a really imbalanced ratio is what I’m saying. The strings towards the end are pretty cool but the final chorus is abrupt and overall, this song feels like a pointless meander for the sake of either filler or just landing Koffee a place on the album. I can’t hate it, because Koffee’s performance is great and the instrumental is tolerable, but for Hus, this is oddly flavourless.

#19 – “Big Conspiracy” – J Hus featuring iceé tgm

Produced by TSB

“Big Conspiracy” is the title track and the opening track on the album as well as J Hus’ 11th UK Top 40 hit, and Iceé tgm’s first – hell, she doesn’t even have a Wikipedia page and it’s seeming pretty likely that she debuted on J Hus’ album and she is in fact his sister. It’s pretty cool getting your family involved in the business. You know what else is pretty cool? This song; I like the guitar pick-up and the complimenting bassline, with some sweet vocal melodies and loops from iceé tgm, that seem to be scattered around the entire beat, which is an interesting idea. J Hus is still a tad lazier than usual here, with very little multi-tracking (Seems to be only one-take) or energy, but the chorus has some gorgeous harmonies, his rap verses are casual albeit memorable. I enjoy his (hopefully) sarcastic endorsement of Ronald Reagan in the first verse, and his point about underdogs rising in the second verse, which is a nice message. The bridge is pretty good, as it gives iceé tgm a bit of solo time, and she sounds decent but admittedly non-descript, and then there’s a smooth sax solo for seemingly no reason. Eh, I’m all for it. This is sweet, and it’s nice that an out-of-the-blue conscious rap song debuted in the top 20, but again, lacking a lot of the character I saw from the lead single.

#11 – “Play Play” – J Hus featuring Burna Boy

Produced by Jae5, Nana Rogues and Scribz Riley

Finally, also a pre-release single by about a day, is “Play Play”, J Hus’ 12th UK top 40 hit and Burna Boy’s fourth. We all know who Burna Boy is by now, although coincidentally Koffee happened to have covered Burna’s breakout hit “Ye” on the BBC Radio Live Lounge. I suppose that’s of note. I figured maybe the highest debuting single from the album would have that lively energy and bright comedy that I saw in “Must Be”, but no, there isn’t, which is exciting as that’s what I expected from this record, and the second single did try to confirm my suspicions. Much like “Repeat”, however, I feel this would easily be better if it were just a Burna Boy single, with his charming hook and cute steel-pans-based instrumental, but no, J Hus is here, and... did he forget how to rap? He sounds pretty awful here, with a dry flow that flubs rhymes and fits too many words into the meter, an uninteresting cadence and even awful mixing that makes him feel so distant from a song that should be warm and intimate. The reason I can’t dislike the song, however, is the concept, which both artists talk about in detail, especially Hus’ hilariously... bipolar verses, if that’s the best way to describe them. It seems to be about comparing women to guns, but also that women like him for his guns, and that he treats his gun like a woman? I don’t know, it’s a dumb concept that is messy in execution, but at least it’s unique. Pretty disappointed in these tracks, to be honest; maybe the deep cuts will be more to my fancy.

NEW ARRIVALS

#40 – “Roses” – Saint Jhn

Produced by F a l l e n and remixed by Imanbek

Hey, a song I actually predicted would reach the UK Top 40, just last week! I’m pretty impressed with myself, but admittedly I guess if you throw 70 stones at a bird, at least one will kill it, just as the old proverb says. Anyways, this is Saint Jhn’s first ever UK Top 40 hit and was mostly propelled by the Imanbek EDM remix, which I’ll be listening to as well. The original song “Roses” was released on the Guyanese-American rapper’s SoundCloud in July 2016 and was included in his 2018 compilation album. He had written for other artists like Jidenna before but his solo work went mostly unnoticed until a producer called Imanbek released an unauthorised house remix. Imanbek is a Kazakh producer, and his remix was released through a Russian record label, so there is a surprising amount of cultures involved in making this one song; it’s kind of interesting. Also, we never see anyone on the UK Top 40 chart from freaking Kazakhstan! That’s insane! By the way, Kazakhstan’s flag is my personal favourite flag of the world. I love the colour combination. The original song is one I’m generally not pleased with, personally, with a dull trap beat and hi-hats that somehow rattle too much, and a murmuring, unintelligible Auto-Tune drawl from Saint Jhn that’s just unpleasant, and for a song called “Roses”, is kind of eerie, and overall, the song is just kind of boring and underwhelming, although I’ll admit the vocal melodies and ideas are there, and I especially like the synths in the later parts of the chorus. What this needed to push it over the edge was a 19-year-old guy from Kazakhstan and I’m not joking; I love this house version. The pitch-shifted, almost chipmunk, rendition of the vocals could be obnoxious to some people but to me it adds so much energy and quirk to an otherwise dry performance from Jhn, and the beat in this version has such an infectious synth bass, despite otherwise being a pretty standard house beat, with some vague horn inflections, traditional pop-house drum beat, and pretty cliché vocal samples, but the melodies I liked are still here, in fact the trap beat is partially kept in during the chorus, and touches like that are pretty nice. The slog of the verses have a lot more groove to them sped-up too. Yeah, I enjoy this, and it’s a massive improvement over the original. Big up Kazakhstan.

#32 – “Pee Pee” – M Huncho

Produced by ADP

Honestly, if the form of protest against Brexit is only demonstrated into making songs chart, I’d like to think that the children all around Britain have all decided to make it clear that Brexit is pee pee, and I couldn’t be more proud. This is M Huncho’s third UK Top 40 hit and from his album Huncholini the 1st... this guy is a joke, right? He even wears  a mask to be anonymous, but it’s not for personal or even gang-related reasons. It’s just a cartoon mask that he says is supposed to accentuate the message of the music. What’s the message of this song then, Mr. Huncholini?

When I bust my nut, I go and take a pee pee

Inspiring. I’m tempted to just leave it at that, actually – can I? Yeah? Are you sure? Okay, well, that’s all, then.

Conclusion

Honestly, “Pee Pee” isn’t even that bad, and it’s not getting the Dishonourable Mention. That’s going to “Play Play” by J Hus featuring Burna Boy, with Worst of the Week going to that crap rendition of “Ode to Joy”. I don’t have much to praise here, but I might as well give Best of the Week to “Roses” by Saint Jhn, purely for the Imanbek remix, as if it were the original only, it could easily get the Dishonourable Mention. Honourable Mention goes to “Big Conspiracy” by J Hus featuring iceé tgm, just barely. Follow me on Twitter @cactusinthebank, I’ll see you next week!

REVIEWING THE CHARTS 2020

[legendsmag]

80,698 People flocked to Stade de France the eighth largest stadium in Europe on Friday to see, what could possibly be the most musicians ever in three hours. The event, With Love, Paris, hosted by Penny Lane to raise money to help the families and community affected by the attacks on her Paris show last year sold out in less than 10 minutes and drew fans from around the world. And it’s not hard to see why. When Penny posted the impressive line-up announcement last month we too were excited to see what this day would bring. 

We were right to be looking forward to it. The event itself took place over a little more than three hours and was broadcast live on Youtube with additional coverage of the backstage area where fans could see some of their favs interact, dance and sing along to the insanely talented artists performing.

The event itself started at exactly 7 pm with, who else, Penny Lane and her hit song “Be Alright” off her 2017 album Dangerous Woman followed by “Thank You, Next”. From there Penny started bringing up her friends. Skyler Valentine-Griffin jumped up first, surprising no one by joining her bestie on stage for a performance of “Side to Side” followed by Pennys top song of the year “Monopoly”

Next up, “Boyfriend” featuring Ryan Price. Another major hit on the charts last year. Before Penny Lane leaves the stage for the first time, handing over the limelight to Ryan for his performance of “Love It If We Made It” 

The stage is empty for a brief moment and then none other than London Calling walk out to perform “Story Of My Life”. It shouldn’t be that surprising to see the boys here supporting their long-time friend however it’s sort of bittersweet to see the four men together, down a member so close to the anniversary of Ethan's passing. 

Maxwell Harper-Bennett takes over the stage next belting out the Grammy-nominated song “Too Good At Goodbyes” before hurrying off to catch a flight back to his own tour where he would perform in a few short hours.

A surprising addition Chloe Zuicq storms the stage with some impressive energy. Her newest song “Don’t Worry Bout Me” got the crowd dancing. We were a little shocked Chloe made the line up as we don’t know of any real connection between her and the queen of pop but her vibe was infectious. 

Keeping the uptempo vibe, Blaize Griffin was joined on stage by Lucas Osborne for their song “I Think I’m OKAY” where they had the crowd jumping and screaming along proving that Blaize still has IT, even when he’s experimenting with a newer sound for the rap god. 

 The first surprise of the evening, Ryder Tomasi takes over with his song “I Remember Way Too Much”, after seemingly having drama with the night's host a bit back after being removed from a song due to some drama. However, the former couple seems to have squashed their beef as Penny rejoins the stage, in a new outfit, to perform “The Way” with her former boyfriend. 

Next up, Penny stays on the stage but is joined by Hunter Hopkins, another surprise guest, to perform their top ten single “F*ck Apologies” before conceding the stage to Hunter for him to perform his single, “PAID MY DUES”

Roman Rizvi is up next with his bop “Straightjacket” proving that he and Penny are still on friendly terms after the backstage camera catches them hugging it out as he leaves the stage. 

An unsurprising addition to the line-up, Cherry Chambers, steals the stage next by performing her hit single “Truth Hurts” where, if you’re still watching the backstage camera, you can see Penny on the screaming along. 

Continuing the girl power trend, Maia Karim kills it with a high energy performance of “Who Run The World (Girls)” complete with some serious choreography.

She’s joined on stage immediately following her performance by her former bandmates where Nevaeh reminds us why they’re still the world's best girl group despite still being on hiatus with high energy performances of “Salute” “Shout Out To My Ex” and “Bounce Back”.

Two members leave the stage to watch Penny, Maia and Essence Woods perform the biggest song of 2019, “Don’t Call Me Angel” as a trio for only the second time despite the popularity of the song. 

Then Essence takes over to show us all why she’s our “National Anthem”. Despite giving birth, the young mogul doesn’t miss a beat and already looks amazing as she struts around the stage to a highly interactive crowd screaming the lyrics back at her. 

The next surprise guest to join the stage is someone no one could have expected. Joanna Martel and Penny have a history and it’s not a pretty one but the pair seem to have squashed it, or at least put it aside for the night so Joanna could perform “Hit Me Baby”. 

New artist, Winnie Kane, takes over next by performing her debut single“Hands To Myself” holding her own on her first major performance. Not many people get to say they had their first showcase in front of more than 80,000 people but I guess that’s the perks of being the protege to one of the world's biggest stars. 

Make way for the King, literally. King takes over the stage to perform “Redbone” bringing a more mellow vibe back to the stadium after a string of very high energy performances. 

Callan Duffy reenters the stage and makes his way to a piano where he plays his ode to his mother “Supermarket Flowers” in a highly emotional performance complete with some tears from both the audience, the backstage feed as well as Callan himself.  

Penny Lane takes over the piano (we always forget that she can do more than just sing and dance) for a duo of never performed before songs starting with “I Am” where the pop star struggles to make it through the third chorus due to emotions and moving to “Music” where the singer barely manages to finish, clearly working out some of her frustrations with her career. The backstage feed is full of Penny’s friends, there to support her through a very difficult performance. 

After composing herself for a moment Penny does her first speech of the evening where she expresses her gratitude to the city and her fans for sticking by her through some hard times, vowing to continue to do whatever she can to help the families affected by the tragedy that struck the last year. She puts her money where her mouth is, donating $100,000 to the event, before launching into her hit single, “No Tears Left To Cry”.

Skyler Valentine-Griffin joins her friend on stage at the end, where the pair hug it out for a moment before jumping into “Bed” together, seemingly having a great time goofing off on stage together, quickly lightening the mood with their antics before Penny gives her long-time friend a kiss on the cheek, leaving Skyler the stage to perform “Rehab” 

Quinton Harper, one of the few artists on the bill that doesn’t have a feature with Penny, is the only artist given two solo songs with both “Sorry” and “Love Yourself” making the cut. 

Maia and Penny come back out, both dressed more casually to do a cover of “Don’t Dream It’s Over” clearly enjoying themselves as they dance around the stage and really get the crowd interacting. 

The duo leaves the stage and Camisado takes over. Performing their newest single “The Last of the Real Ones” with a high energy vibe.

Penny returns, this time bringing up Olivia Marie for two songs. “Fall In Line” a fitting ode given Penny’s current drama and Olivia’s connection to all of that and “I Can Only” also speaking volumes to their lives. 

Olivia leaves the stage leaving Penny to perform “Get Well Soon” before the biggest surprise of the night. A guest performer that literally no one could expect. Penny starts by singing the first verse in the iconic Dixie Chicks song “Not Ready To Make Nice” before inviting none other than Kylie Blue onto the stage to join her. The duo share a connection and some history but have never shared the stage before like this. Penny then concedes the stage to Kylie and the live stream cuts for a few minutes while Kylie performs her hit “Delicate.”

As we reach the three-hour mark Olivia retakes the stage and delivers a moving and emotional first performance of her new single “Praying” which brought the tears from not only the singer but also the rest of the venue.

Olivia and Penny embrace as the younger singer heads off stage and we resume the waterworks as Penny delivers a very emotional rendition of “Somewhere Over The Rainbow” before launching into a short monologue thanking everyone for coming. Everyone rejoins the stage as Penny closes the show, crying through “One Last Time” a song with a lot of meaning right now to the pop star. 

Overall the entire show was phenomenal. While there were some lower points no performance seemed to be truly lacking and everyone involved help raise a little more than 13 million dollars. | 1/10/20

[sportparade]

The Pursuit of Perfection and the Pursuit of Glory

A Panegyric for Rose Lavelle’s Style and the USWNT at the 2019 FIFA World Cup

At 77 minutes into the final, up by two goals, Jill Ellis subs in Carli Lloyd to close out the match. She might have given younger phenoms Lindsey Horan or Mallory Pugh the opportunity to experience the final, but the hard-nosed manager put her trust in experienced veterans. Over the next twenty minutes US players would dribble the ball into the corner, and to pass time further they wound possession back through their defense. It was not a playful moment but a classic checkmate. Take no risks, stick to the strategy, ensure the win at all costs. Perfection.

When the final whistle sounded the players on the field met their teammates, standing on the sideline in arm-by-arm formation. Their exuberance poured in on itself in hugs that became a huddle that pulsed and exploded back out with expressions of joy—the perfect expression of a team cohered upon a collective goal of victory. Not until they climbed atop the podium did Fox Sports’ cameras catch glimpses of the individual stars performing for the camera. Co-captains Megan Rapinoe and Alex Morgan took ritual turns on stage representing the team and the nation. But by now the backs of their jerseys all bore the same name and number: Champions 19. The announcers explained the significance of this national victory: it established a dynasty in women’s soccer, repeating as championships four years earlier, runners up the cup before, and now a world-leading four-time champion. The USWNT has a “dynasty” said German commentator Ariane Hingst, or was it Briton Eni Aluko (they spoke in voiceover from an unseen studio). Alexi Lalas and JP Dellacamera spun a narrative of a team challenged by a 2016 Olympics disappointment and the constant pressure to prevail amid an improving overall field that they led and stimulated. American players Aly Wagner and Heather O’Reilly (I think it was) spoke admiringly of this group of women for accomplishing this unprecedented feat together. The story was Team USA, on an Olympian stage, that deserved every American’s, every woman’s, and every sportsmen’s esteem.

This celebration had been elaborately prepared. The front of the Champions 19 jerseys had each player’s individual number, and four stars commemorating the United States’ four cup victories. Nike paid for the privilege of the first commercial, which they used to debut a dramatic tribute to this champion team, instantly remembered in black & white photos framed by a graphic designer expert in adobe suite. The trophy presentation had a steadycam follow Rapinoe and Morgan and Lavelle down the line of dignitaries, shaking hands with Euro-looking presidents but breaking decorum to hug the American delegates like teammates. The commentators waxed poetically with practiced bits of encomium. The preparation of the stakeholders and their objective matched the execution of the team who claimed their championship. This was not unexpected, but it was not taken for granted. Meeting expectation reinforced the team and the sport’s professional quality and power. The perfectionist playing style couples perfectly with the corporate ambition to grow the sport for its potential for both commercial revenue and female empowerment. If Rose Lavelle had not scored a virtuoso second goal, one might be hard pressed to deny the specter of an organization that conspired to ensure the success of its precious investment. You know it is nonsense, but everything would have turned up too perfectly.

Lavelle’s goal was the most unexpected and most glorious moment of the tournament for the United States. In her youth she had watched the 2015 victory in a pizza parlor, and now she was the central cog among a squad composed mostly of stars from the previous team who had had Lavelle’s prodigious moments back then. Against England she nutmegged a defender and lasered a shot on goal that would have been the play of the tournament had it squeaked into net. Instead she saved another moment of greatness for the final.

Gifted the ball mid-pitch, Lavelle sprung downfield in a style I can think of no better way to describe than as a poignant prance. Bouncing steps with powerful spring propelled her through the defense too fast to tackle, lest she counter with a tap into open space. But their backs to the line the defense had to press and she pivoted to her gunpowdered left foot and fired a line drive into goal, untouched. Her prancing attack compares to Muhammad Ali’s combination punches or Michael Jordan off the dribble—playful improvisation under extreme duress that soars confidently above conservative defenders. Quickness made their grace powerful, electrifying the scene when they perform. Ali and Jordan are usually likened to jazz musicians as an expression of quintessentially black American culture. Lavelle could not be more fair, playing college ball at nordic Wisconsin, but she and her teammates dance to hip hop (Crime Mob, after the semifinal) like all Americans now. We can choose to place her in that tradition or leave her to be herself. Watch it again.

Lavelle’s stylish goal glorified the national team with her daring and individual brilliance. Surely the Fifa committee took notice and awarded her the bronze trophy for the third best player, after dutifully awarding golden ball and goldent boot to Rapinoe, and silver boot to her co-captain Morgan. Becky Sauerbrunn’s masterful defense also warranted acclaim. I felt sick that Tobin Heath and Crystal Dunn had good opportunities thwarted, and that other young players had not been put on the pitch to claim their part of the victory. Lindsey Horan especially is recognized by most as a preeminent midfield attacker in the world. Footy time? Ellis left her on the bench in favor of strategic purpose in two knock-out matches, including the entire final. It felt cruel to insert the veteran Lloyd instead, but Ellis’ results make her judgment infallibly correct. When Ellis exited the reception line it was Lavelle who leapt forward to greet her with an embrace in center frame at center field. Lavelle had been the chosen one, and she had redeemed coach and team with an everlasting moment of greatness.

Some criticize national team futbol for stifling the spontaneity of individual play that flourishes in the professional leagues. The national team goals overshadow risky creative displays, and the parity of talent that trains together irregularly makes standout performance less likely. That makes Lavelle’s action all the more glorious. Rapinoe’s penalty kick under extreme pressure of expectation and scouting by the opponent was the most impressive display of individual nerve, the most courageous moment of the tournament. Lavelle’s was the most joyful, the most brilliant, and the most hopeful for the future. The apparent dullness of national team football is actually more dramatic for those who appreciate the social significance and partake in the feelings of solidarity. Both the team and its stars bask in the acclaim of a World Cup, with a historical resonance whose breadth can never be matched in a professional match.

I will criticize Fox Sports’ commentators for not honoring individuals enough. JP Dellacamera describes the action by compulsively naming each player as they touch the ball: “Sauerbrunn. To Mewis up the left side. Rapinoe. Back to Ertz.” et cetera. His phone recording-ready delivery paints a robotic instrumental picture despite the individual attention. He could relax and describe the movement more aloofly, and spend less time characterizing the players. But his analyst sidekick Aly Wagner describes the game like she’s in it, competing without any sense of humor or levity, arm chair coaching the team to victory. The experts in the booth with Rob Stone spoke in the same professional critical tone deliberating everything, emotionless except for Lalas who channelled his pride into ham-fisted panegyrics. They had prepared their talking points and takes before the show, and would not deviate to soak in the moment afterward. Thankfully they muted themselves for the celebration of Rapinoe’s and Lavelle’s goals, when the emotion of the individual players captivated me.

If Fox Sports had done individual profile segments like the NBC Olympic model, they were nowhere present during the final and afterward. What about star back Kelly O’Hara who succumbed to concussion symptoms, and her replacement Ali Krieger? What about Becky Sauerbrunn who earned a bleeding gash for her head-to-head challenge, and re-entered the game with a warrior-esque black bandage over her pink headband? And Crystal Dunn reinventing herself in a new position to lift the whole team and redeem Ellis’ most unconventional move, where was her story? What about Ellis on the sideline, the other players cheering or dying to sub in, and their individual stories? The broadcast was therefore both underprepared and overprepared, unable to cope with the unexpected action in a creative way. Their half-prepared postgame surely reflects a relatively limited investment in women’s soccer, relying too much on ex-player analysis and generic anchors both somewhat out of touch with the spirit of the women’s soccer fan (well the men much more so). Only Karina LeBlanc struck all the right notes in her post-post game streaming show, that salvaged the glory of the moments lived by these individuals. It was supremely competent coverage, with extraordinary picture and sound, but their practiced words never became poetry.

What made the image of goal celebrations so exciting was the shorter focal length of the lenses. Telephoto images of players during the national anthem flattened each face against a background blurred to abstraction. This pop style framed the stars Rapinoe and Morgan like comic book heroes. The central camera following the game also abstracted the players from its near aerial height, peering upon their movement like gazing over a pinball machine. But the cameras on the sideline captured the goal celebrations at wider angles, in the presence of the players who addressed the camera with poses, and immersed us viewers in their world. Here they are in the flesh, moving through the same space we do on a soccer field, with expertise and total satisfaction. The realism of these moments jumped past the discourse of strategy and scripted ceremonies to a live moment of glory. Their excellence as athletes and as women was there to see in a way that my essay wants to remember but cannot grasp. For that we need poetry; or, to await the 2020 Olympics and 2023 World Cup to live the spontaneous game broadcast on whatever device takes us to the field (the campus in Latin), where champions come to life.

—Grant Wiedenfeld, July 7, 2019