#indie band of subjective quality

[javraghhh]

The cover for the upcoming EP of the band I’m in! Can’t wait for it to release, and I’m hoping you all show the first song lots of love!!

[jokeroutsubs]

[ENG TRANSLATION] JOKER OUT: THE PRINCES OF ROCK'N'ROLL WITH THEIR OWN LIBRARY

Original article written by Anja Leskovar for Ljubljana.si. for their December 2021 issue. English translation by @varianestoroff and drumbeat, proofread by @flowerlotus8

Even if you don't know their names and faces (unlike many young people), you must have heard of Joker Out. Kris, Bojan, Jure, Martin and Jan proved with their fresh first album 'Umazane misli', released this autumn, that they're rightfully one of the hottest musicians at the moment. And it's worth listening to them, as, behind the handsome looks, there are interesting guys making good music with very juicy subjects. And they're only in their twenties!

It was difficult to arrange an appointment as you were quite ill. Did recording the album tire you?

Yes, it was an adrenaline rush. But we were driven by excitement, we really lived for the album this autumn, or else everything would've sunk. We wanted to perform really bad!

When they comissioned me this interview, I knew the band name, but I didn't know who you were. But when I played your music, I found out that I knew it well, I even know most of the lyrics by heart! Is it more important to you that people know your music than you?

Yes, that's something a musician can only wish for. It's important that you like music for music's sake, not for the musician. For us, music comes first, then showbiz.

How nice do you find it that your audience includes not only enthusiastic girls, but also boys, older people...? So is music the reason why someone goes to a concert?

It's very important to us that we're seen not only as pretty faces, but also as a good band. A very clear indicator that we're managing to do that is the diverse audience in front of our stage. But also the girls who come to the gig (also) to see us, they know how to recognise good music and they're quality audience. That can go hand in hand! For us, everything starts and ends with good music. That's the most important thing.

And this commitment is recognisable in your music. It's just interestingly fresh. I hear classic rock in some parts, indie pop in others, funk in others. Do I hear it right?

Yes, of course. When we were kids, we all listened to Big Foot Mama, Green Day and Siddharta, then we started to discover different genres. Now we all listen to very different music. But we don't deliberately take inspiration from any music.

And it shows. I find your music quite unique, it's hard to pigeonhole it.

Thank you, it seems the same to us. It's hard to find references to our music in other music. We say we play shagadelic rock. We're just big Austin Powers fans. His catchphrase is: "Shagadelic baby, yeah!" His 'mojo' (A/N charm, allure) is just cool to us. And in fact we feel like we have that 'mojo' too, we want to display it, we want the listeners to feel that we're comfortable in our own skin. Especially when there are concerts, the 'mojo' just bursts out of us. (everyone laughs loudly) Every time we have a concert, we feel like we're going to a party. That's also why it's really important to play live. Without this, we probably wouldn't be making music. It gives us energy.

With four guitars and drums, you are proving that rock'n'roll isn't dead. How alive is it on the Ljubljana scene?

Of course it isn't dead, it's still very alive. When we were teenagers going to clubs, they were playing anything but rock. But when people get used to it, music that sounds very different attracts them. Ljubljana has a very active rock scene, and Slovenia has excellent conditions for the growth of rock'n'roll. There are a lot of places to play, a lot of competitions for young musicians and alternative clubs with an audience to grow on.

Do you prefer intimate or big concerts?

We do great on big stages, although we've done a great gig in front of three people. But in Slovenia you reach the plateau too quickly. If you reach Stožice right away, then where do you go?

Abroad.

Yes, well, that's our goal, of course. But at the moment we're looking forward to the concert in Križanke. There's no distractions, you know you're going there for a good concert. Križanke has a special aesthetic and character that means a lot to us. And you can't just decide to do a concert in Križanke. They must accept you there. So that's a very great honor for us.

As the venue is important for a good concert, the rehearsal space is probably important too. For example, is rehearsing in a bunker more conducive to harder music than rehearsing in a sexy, neat space?

Yes, absolutely. Above all, it must be a relaxing space, one that you can spend a lot of time in and that the vibe there is good. We've rehearsed in a lot of places so far, and every time you walk in, you can see if it's working for you or not. But until you play, you don't know if it's close to you in terms of creativity or not.

Have you found your new rehearsal space yet?

We have, but we're not saying where. (they smile mysteriously) We found a place we like so much, that we decided to turn it into a second home. It'll have its own 'mojo' that matches ours. It'll be truly magical! There'll be lots of wood, and we'll also have a library.

Yes, that, books! 30 years ago, we teenagers followed boybands of all genres, and the boys were usually extremely cute, even to the extent of wrapping our school notebooks in their posters. But there's more behind your cuteness. You're into cool stuff, you read interesting literature, you study...

Jure: I don't read enough, I'm not very good with words, I don't even listen to our lyrics. I listen to the mix, to the musical melodies. I mean, I'm a cameraman, but for me, music comes first. Period.

Martin: I study Maths and Computer Science and also make a living from that knowledge. Lately I've been reading a lot, and I'm very interested in Stoic philosophy.

Kris: Well, I'm interested in German philosophers, like Hannah Arendt and Nietzsche. I'm finishing my degree in Chemical Engineering.

Bojan: I mainly study TikTok these days (laughs). It's quite banal and doesn't fit with our philosophy in general. But Jan started making really sick content that's suitable for this format and we'll start publishing it soon. Anyway, I'm finishing my degree in Sociology and I've been drawn to Haruki Murakami and Arto Paasilinna literary lately.

Jan: I'm an expert at half-reading books, the last one I read was Slaughterhouse-Five (by Kurt Vonnegut, A/N). I don't even know why I half-read them, probably because so many things steal my attention that I must try very hard to finish something. I have a problem with that, also for films.

What are you not half doing?

Jan: Music. I'm literally addicted to different types of music. I always listen to albums all the way through. I definitely listen to at least one every day. And I'm very happy learning to play new instruments. I love all things that make sound.

Let's say kitchen pots and lids?

Jan: (laughs) Also, indeed. I like cooking, I'm now exploring Thai and Chinese food.

Kris: And he makes superb onion and potato hash!

And do you like to explore the world?

Yes, everyone. We're in dire need. Our schedule is so unpredictable and events are so scattered throughout the year that most of us have not been anywhere for years, not even at sea. It's great when there are concerts, but we're missing going somewhere. Yes, to make an album also means a lot to sacrifice.

Where do you like to hang out in Ljubljana?

In many places. (they answer in harmony)

Kris: Metelkova is great. I think it's too underrated and has a wrongful negative reputation. That's also why it is the way it is.

Bojan: There's a really chill vibe in Gala Hala. I really like going unplanned to a gallery or museum. You don't go purposefully, you walk around, you observe. It's always cool. I meet people with a completely different background and you start thinking in a different way. Inspiring.

You are five in a bunch with very different characters. How do you manage to exist side by side?

Above all, there shouldn't be perfect democracy within the band. There's no need for one person to be the leader of everything. But someone must have the final say in a certain field; one in the creative one, one in the technical one, one in the financial one. And they have the last word and they're also accountable. Otherwise, we're good friends, we go everywhere together rather than forcibly apart.

How do you differ from the bands that were relevant 30 years ago?

They were much more put into boxes. They had to be already well-established to dare afford a musical journey into the unknown. We, on this album, already combined styles in a completely pressure-less way. Genres don't really exist anymore, everything is merged, mixed, everything is accepted. We live in a big melting pot. For us, energy is more important than a fixed image!

Joker Out are (from left to right) Kris Guštin - guitar, Martin Jurkovič - bass, Bojan Cvjetičanin - voice, Jan Peteh - guitar, Jure Maček - drums

December 2021

[bakawitch]

Fourth Prince Zelus, Prince of Greed

Zelus - Envy is an odd character to say the least. Overly paranoid and insecure, they stick to Chevalierose's side like glue. They have a very fragile ego and they get agitated very easily. They're always suspicious of someone and tend to overthink things. Zelus's deal with Mistress Moon wasn't exactly fair and it made a lot of issues present in their regular life worse, but they doesn't regret it because the powers they gained from becoming a Prince aided them in getting closer to their 'soulmate'. Zelus raves a lot about their soulmate which can either be words of adoration or jealousy fueled hate depending on their mood. They tend to be very stubborn and vocal during meetings and refuse to do anything without a good enough reason. Zelus dislikes all other Princes except for Chevalierose. They think of him as their closest friend and the only one who truly understands them in the organisation. They're very dependent on him for moral and emotional support and they would do almost anything he asks of them in return. True to their title, they tend to get very easily jealous over him spending time with other Princes. While the intensity of his appreciation for Chevalierose goes unrequited, they will always be most loyal to him. This usually applies to Ante the most. Ante and Chevalierose spend way too much time messing around for their liking, they always steal his attention away from them and they constantly make very upsetting comments about Zelus. Ante tends to say things that Zelus is just a weaker version of them which usually ends up pushing them over the edge into an outburst. Another Prince that they have pretty similar issues with is Gévaudan. Zelus knows how Chevalierose feels about him and he absolutely can't stand it. They think Gévaudan is hardly deserving of their friend's attention and they actively try to keep them apart, drive a wedge between them if they can. However, the scorn they feel towards him is nothing compared to their hate for Rothbart. Rothbart never considers their input in anything and refuses to explain any reasons behind his plans. Not to mention that he constantly antagonizes them and Chevalierose without any reasonable cause. His reasons for disliking Mille-feuille and Agni are pretty mild compared to those mentioned above, they doesn't even interact with them all that much. Mille-feuille they dislike because Chevalierose hates her, and Agni they dislike because Chevalierose likes her. Zelus has a horrible habit of attaching themselves to a person and obsessively focusing all their positive attentions on them. While they still focus on their 'soulmate' the most their obsessive tendencies are made infinitely worse by their Prince form. They completely give into the sin they represent. They are very rarely made to do field work because of their unsuitability to high stress situations. Zelus usually works from the sidelines and the background. In their civil lives they're in their early twenties and plays the bass in an up and coming indie rock band. Due to their unstable nature they're almost never given command over anyone. They're usually either paired up with Chevalierose, Funnel Web, the Spider miraculous holder, or sent out solo.

Zelus has the ability to naturally camouflage into their surroundings making them relatively hard to spot. They're the most adapt to underwater and aquatic travel/fighting among the Princes.

Their main ability is absolute thievery, meaning that they are capable of stealing anything and everything such as concepts, qualities, items, emotions and powers as long someone considers themselves the owners of said subject. Zelus can steal multiple targets, but they can only use one of them at once. The rest of the Princes are immune to this ability.

[elesh-n]

Album Review - Ethel Cain's 'Perverts'

My text reviews for albums are very short, typically, but Perverts is not really the type of project you can do that for.

Perverts is very much a release that calls into question what you even enjoy about music at all. Drone, dark ambient, post rock, basically anything that drags like this are genres I am historically enemies with. I think they're overrated anywhere on the internet where music is discussed, I think they are pretty much the face of like modern indie-pretentiousness. While I don't tend to enjoy listening to music like this, my real problem is that almost no one in real life seems to enjoy it. Obviously genres like rap, pop, jazz, rock, metal, "indie", house, even if you want to get into instrumental stuff you have like classical, d&b / instrumental dance, lofi hip-hop, these genres all have the point going for them that you can play this music in a group of people or with your average friend and expect to enjoy them in a way that people normally enjoy music. Obviously there are exceptions to this rule, I know there is like a post rock scene and there are people who go to drone shows, but people do not sing and dance to this music, it is not enjoyed in the way people typically enjoy songs and albums.

Godspeed You, Black Emperor (a post-rock band) put out an album last year about the crisis in Gaza. It was totally instrumental except for one poem, and to my understanding leaned mostly on representing the messages they were trying to convey using the patterns of the instruments. To me, this album was boring and meant nothing. I know that if you are listening to it knowing what the themes are and keeping them in mind, you will see how they are represented within the instrumentation, but if you re-released one of their other albums under this name and said it was about gaza, people would probably be able to pick up similar themes and adapt their interpretations of the album to what they are hearing. From one angle, that's kind of beautiful, an abstract and amorphous form of musicianship that can be projected on to and molded to fit whatever the listener believes it can be about. But on the other, it's simply meaningless static. When I listened to that album last year, I simply wasn't down for the task of sitting there, staring at the wall, and thinking as hard as I could about how what I was hearing meant about Gaza for 54 minutes and lo and behold the album felt kind of like meaningless fuzz to me. It's not a work I have a desire to return to. I have a lot of like, artistic respect for that project, it's a very good piece of art, and I'm sure if I had engaged in the wallpaper exercise it would have moved me to tears. But it's simply not what I look for in music.

Furthermore, you have releases like Floating Points' cascade, a kind of ambient house album, similarly spacey and draggy, but I don't think it's really supposed to mean anything. Floating points is just kind of an artist who makes music that sounds unique so that it can be music, there's no like intended theming. I think a lot of albums in the ambient / drone genres are made in similar forms and for similar reasons. I didn't like cascade, and I don't tend to like albums like this, they need to kind of have some more color to keep me engaged. This is also very subjective, even moreso than most music. I love ambient when it kind of scratches the right itch for me: C418's Minecraft Volume alpha or Jobones' Experiment Unsuccessful, but it's kind of a guessing game of what scratches that itch, and when it has that color(tm). Swag, even.

Ethel Cain's previous album American Teenager is one of the best albums I have ever listened to, so undeniable in its quality and importance that it kind of breaks the scale I usually rate music on and is the only 9/10 album I hate listening to. Even in the face of classics, you cannot ignore the authentic and masterful representations of devastation, desperation, perversion, exploitation, and abuse that live within the walls of Preacher's Daughter as a body of work. It just straight up beams you in the face with despair and depravity. OK Computer is an album you can sit and listen to and move on from. Preacher's Daughter WILL fuck up your day and there's nothing you can do except for not listen to it. I've had days where I get messed up because I just THINK about this album. It takes a genre that is typically sweet and singable and carefully distorts it around itself until it's unrecognizable, its return to form near the album's end nearly a reminder of the purity and innocence that has been defiled over the course of the album's runtime, making sure to still pack instrumental swells and crescendos to assure a strong impact on the listener. I think you could make a good case for it being in the fifty objectively greatest albums of all time and I mean that.

Perverts is a great album, and in contrast to preacher's daughter, cuts straight to the chase. What perverts greatest strength is, in my opinion, is that it's drone that objectively, decidedly means something. Another great strength of perverts is that, sonically, it starts out in about the deepest, darkest, most twisted mood that Preacher's Daughter ever reaches period. This isn't necessarily a good or bad thing, it's just a different approach. Perverts, almost playfully, cold opens into abject despair. You look at this album, and it's called "Perverts," it's by Ethel Cain, the cover art is very blatantly harrowing, it's painfully obvious that it's as dark, destructive, and soul-wrenching as a piece of art can be, or at least that's what it's going for. And while I'm sure typical fans of drone and dark ambient would be quite happy with a piece of work that just kind of hums and buzzes for 90 minutes, I'm much happier with what we got.

The vocals, be they sung or spoken word, really put this album together. Yes, it's possible to stare into static and form it into shapes yourself, but when themes and imagery are called into mind by Cain's wretched muttering, she guides the listener into taking away a more complete experience. It's certainly not phoned in, but I, as a listener who typically is not into non-melodic, stretched out instrumental passages (aka normal, I really hope that does not sound condescending hahaha), take richer meaning and impact away from Perverts than I ever could from a more abstract or minimalist piece. It's not even that the more varied instrumentation and lyrical speeches and diversions provide more that isn't drone for me to listen to, but they tell me what's actually going on in the music so that I have no choice but to see horrors of a specific kind in the static of the drone passages without making the active and voluntary choice to focus on thinking about a certain thing. This force, this compulsion, is part of what makes this such an authentically punishing listening experience.

The artistry on display on Perverts is just super impressive, and it's awesome to hear Cain show off her talents and creativity. Some of the best and most overwhelming moments for me were Pulldrone's speech, Amber Waves euphoric yet devastating crescendo, and damn, Etienne is straight up optimistic. Despite appearances, Perverts does not spend the entirety of its runtime in despair - like on Preacher's Daughter, cain makes room for the contrast between optimism and pessimism, euphoria and pain, heaven and hell. Etienne is a seriously amazing track, showing how the deepest depths of depression can still find light within. I love love love the lyrics on it, they are incredibly meaningful and inspirational. Amber Waves is a highlight as I previously mentioned, and it's so damn refreshing to hear Cain's beautiful, lush singing voice as the album closes out. It's an amazing, bittersweet, and appropriately, refreshingly human ending.

Perverts is my favorite drone album I have heard, hell my favorite in any of these draggy, instrumental based genres, it means a lot despite saying less. Yes, there were moments of this album that annoyed or bored me, but they were few and far between, at least compared to what I expected. I think existing fans of drone and dark ambient are really getting into this thing and it's kind of destroying them. I... love that for them, I guess. I bet if I were privy to that way of consuming music, if I were more willing to engage with this format of material, I would also get more out of it than I did. There are just people out there more primed to 'get' this than me, and that's fine.

Perverts is great (7/10). It's extremely well made, I'm glad it exists, and it made me thoroughly and deeply enjoy a type of music I have a personal vendetta against. Bravo Ethel.

I'm sorry this review was more about how I feel about certain types of music than about the work itself, but that's just what I felt like I wanted to say with regards to this project. Maybe just check out the work itself.

[thatrickmcginnis]

RICHARD KERN, TORONTO, 1988

Richard Kern's career has been remarkable to watch from the perspective of someone who met him briefly for a portrait session, after a screening of his films in the backroom club where I usually saw and photographed bands. Kern emerged from New York's East Village with a zine and later a series of films that were aggressively provocative, back when this was still acceptable subject matter for artists. I'd already seen an evening of his films - a program that included Fingered and The Right Side of My Brain - and it was pretty indelible. But we were all edgelords back in those pre-grunge days, and this sort of overtly offensive stuff was celebrated, especially if it offended the right people.

Richard Kern and his colleagues in what got called the Cinema of Transgression - which included filmmakers like Nick Zedd, Jon Moritsugu, Beth B, Kembra Pfahler, David Wojnarowicz and others - were an obvious tributary to the underground and indie rock scene, especially when musicians like Henry Rollins and Lydia Lunch would appear in Kern's films. Their whole "fuck you if you don't like it" aesthetic was a natural fit with bands like the Butthole Surfers, Jesus Lizard, Big Black, Poison Idea, Pussy Galore and so many others. So it was natural that we'd do a feature on Kern for the alternative music monthly I worked for when he showed up to answer questions after an evening of his films, with my friend Tim assigned to write the piece while I got to do the pictures. I showed up with my Mamiya C330 and my flash, umbrella and light stand and photographed Kern simply, sitting on a chair in front of the movie screen on the stage at the Rivoli where I usually saw bands.

What I didn't know at the time was that my Richard Kern portraits would be my last ever job for Nerve magazine, where I'd been developing as a photographer (no pun intended) for over two years. The story Tim and I handed in would be laid out on flats but never saw publication, as money troubles (and some personal ones) unceremoniously ended Nerve magazine after five years. This was effectively the end of my apprenticeship as a photographer; if I wanted to make a living at this, I had to seriously start looking for work at "real" magazines. I'm not sure if anyone ever saw these portraits of Richard Kern; they probably didn't get published anywhere until I posted a few on my old blog several years ago.

With all that in mind I'm still rather pleased with my portraits of Kern: they have a starkness and simplicity I was striving for (what my friend Chris Buck recently referred to as a "clunky honesty"). You didn't have to know that Richard Kern would end up with a career as a celebrated, arty pornographer, but it wouldn't surprise you. He has, in the decades since I took these photos, published over two dozen books with titles like XXModels, Digital Kern, Shot by Kern, New York Girls and Extra High, sometimes for quality imprints like Abrams and Taschen. Even more improbably he has survived the scythe of cancel culture, perhaps by hiding in plain sight.

[trobador-adjacent]

Remembered a thing from my childhood today, so I'm ramble posting about it just so someone hears about it.

It's known that France is a literal country of weebs. The French are the largest consumers of manga outside of Japan, which is at least partly due to the prominence of comics in the French-speaking world (bande dessinée), and the quantity of anime that was on TV in the 80s and 90s (through the show Club Dorothée notably) has led to a few generations of enthusiasts of Japanese pop culture.

One result of that was Nolife. It was a TV channel that ran from 2007 to 2018, focused on 'nolife' culture, meaning games, otaku culture, technology, etc. While it was a pay channel, we just happened to have access to it at my home because it was included in our phone/internet plan, and I watched it a lot alongside the one other channel that catered to my interests, Game One.

The thing about Nolife was that they absolutely did not care to look for marketability, though. Game One, the bigger name channel that's still around, mainly covered things like current gaming news, the latest AAA games, sometimes showing big name shonen anime and mainstream pop culture stuff. Meanwhile, Nolife covered every single aspect of its subject.

They covered gaming news and reviewed games in their weekly show, but they gave the same screen time to AAA games as they did to obscure Xbox Live Arcade releases or Japanese games not certain to have American releases, let alone European ones. They gave a ton of attention to retro games, even series with no present relevance; there was even one show focused on superplays, aka score or challenge playthroughs, of mostly arcade games which is the only reason I even know the term. And it was all done with great care, too, always treating the subject and the viewer with respect.

They occasionally had manga and anime reviews and I remember sometimes seeing very niche anime series, but that was actually rare; a lot of their otaku culture coverage was about much deeper aspects like music, from rock (I heard supercell for the first time on there) to freaking idol groups (there was a popular idol who made regular appearances and hosted a small segment for years), and parts of actual Japanese culture, somewhat. You know those shows on Japanese TV where they have a celebrity visit a prefecture and go 'wowee!' at whatever tourist attraction or food specialty they have? They had something that was either an in-house translation of such a show or that they actually produced. It wasn't exactly great considering what these shows are, but it was certainly authentic!

And then, since they were more or less indies themselves, they gave a LOT of attention to indie works of various kinds as well. They were, as far as I know, the first channel in the country to air web live-action series. It gave a lot of attention and budget to works that couldn't really be financially sound if published on YouTube or elsewhere on the 2010s Internet ; notable names include Noob and Le Visiteur which have become franchises today.

I didn't always get the chance to watch Nolife, nor did I always understand or appreciate everything they showed when I was too little. But damn, do I cherish that time. Reflecting on it now, I think Nolife deeply affected the way I engaged with my interests later in life because it wasn't afraid to be niche and specific and treat niche and specific things with respect and attention. It didn't care to aim for the lowest common denominator and didn't assume its viewers ignorant, it just gave everything the coverage it needed.

Sadly, it didn't work out commercially in the end, as Nolife went bankrupt in 2018 after struggling financially for years; but its impact remained and there are still fans singing bardic tales. One person has been uploading segments from the channel to Youtube daily; they're up to over 1600 videos now. While it's not yet close to how much quality content was shown on Nolife in its lifetime, it's a great repository.

That's all. There's no big moral to this post or anything, I really just wanted to talk about this one French TV channel. No one outside of France would hear about it otherwise; I think it deserves to be known about. Thank you for reading.

[justsomerandomfanfic]

I've already requested matchups from you two times before so please feel free to ignore this if too much trouble!

If it's okay with you, could I please get a romantic and platonic matchup for supernatural? Like I said, please free to ignore this otherwise 😭

I'm a straight female and my pronouns are she/her

I'm 5'9 and I have long and curly dark brown hair and brown eyes. I have a fair skin tone, I'm slim and I've got full lips and fairly large eyes. I also have these dimples that I really like!

I love reading, my favorite genres are poetry, Russian lit, and mysteries! I love learning about new things and knowing a little bit of everything. I adore adventures, witty and playful banter, joking around and having indepth discussions on anything and everything! I adore all forms of art and I have quite a few creative hobbies! I listen to a lot of modern/indie rock and I love watching films very much! It takes me a while to feel comfortable around new people but once I do, I become really talkative and outgoing. I love helping out and I'm the therapist friend, people come to me to vent or for advice and comfort. I'm smart and ambitious; I love being the best at everything I do. I'm quite the hopeless romantic and I love being in love! I adore big and small romantic gestures and I love domesticity sm!! My love languages are acts of service and quality time. I'm a ravenclaw, my mbti is infp and my enneagram is 4w3!

Thank you, I love your matchups, I read almost all of the ones you publish and almost always end up agreeing with your pairing lol. Have a great day!

Hi! Welcome back! I'll totally set you up with more matches! No worries! <3333

---

Supernatural;

---

Romantic;

Sam Winchester:

📚 You met Sam at a bookstore, you were searching for a book about mysteries, and along the way you found a few poetry books by your favorite poets; you were a bit distracted - and so was Sam - before you knew it, you had bumped into him, and him into you

📚 From then on, you and Sam were attached at the hip, who knew that one simple accidental meeting would send the both of you spiraling into the pits of love - love at first sight? Who knows! It did take you awhile for you to get used to Sam, but when you did, Sam was impressed by how much you knew about practically everything

📚 Sam was a bit hesitant when bringing up the monster-hunter subject, but it wasn't long until you accidently found out, and you were amazed - and slightly horrified - to say the least; though Sam worries about you coming with, the very few times that they venture out of state, he knows that you can take care of yourself (and will be there to protect you if and when needed)

📚 When not hunting vampires or demons, you and Sam chill out together in the bunker, reading together or watching a movie together; and by the way, Sam would be the sweetest boyfriend, always gifting you little things here and there that remind him of you - like that Ravenclaw notebook from the holidays, or that record of one of your favorite indie rock bands

📚 You are always there for Sam, lending an ear or giving some advice, and most time comfort him when he has a nightmare, or when he and Dean have a fight, or when Dean brings home more pie... There's too much pie in that bunker. The fridge is basically filled at this point

---

Platonic;

Castiel:

😇 You and Cas are like two peas in a pod, buuut before that, you had met Cas through Sam, (your amazing boyfriend); Cas was polite but awkward, and you felt basically the same, but you could tell that he seemed like a nice angel dude - and if Sam and Dean could trust him, you could grow to as well

😇 To get the conversation flowing, Cas usually speaks up first - the first real conversation you both had together was about a book of poems that you were reading - and from then on, the both of you got used to each other, and by the end of a month or two after your first encounter... You became best friends

😇 Cas is more than welcome - when he's able to do so - tell you all about what being an angel is like, demons, god, everything; you want to know everything, and Cas loves your curiosity

😇 Similar to Sam, Cas often comes to you when needing advice, either about his feelings, life in general, or Dean - which is often... Being a hopeless romantic, you might know what's going on

😇 You and Cas get along great, you're both smart, ambitious, and do what you can/must to protect those around you - and those that you are close to

[sinceileftyoublog]

Cymande Album Review: Renascence

(BMG)

BY JORDAN MAINZER

Watch Getting It Back: The Story of Cymande, Tim MacKenzie-Smith's 2022 documentary on the underappreciated British psych funk greats, and you'll marvel at Cymande's ability to wriggle into generations' ears on multiple fronts. Of course, there's the recognizability of their riffs--anybody who listens to "Bra" or "Dove" finds themselves asking, "Where do I know this?" before remembering samples in De La Soul's "Change in Speak" and Fugees' "The Score", respectively. MacKenzie-Smith's film is chock full of contemporary music figures sharing similar experiences discovering Cymande, from My Morning Jacket vocalist/guitarist Jim James to Bronx DJ Louie Vega. Many didn't know that this remarkable group of musicians was from the UK, instead assuming they resided in the New York tri-state area. That is, Cymande's arrangements were perfect ingredients in turntablism block parties in the late 70's. "You mean to tell me this song's from across the pond and the beginning of the decade?," thought disco aficionados back then.

But Cymande's experience as Caribbean immigrants to England shaped an arguably more important aspect of their music: its sense of political resistance, a quality that allowed them to transcend borders as much as it initially put a cap on their level of popularity in a nativist UK. Incorporating rasta drums into calypso at all--let alone subject matters of racism and police brutality--was, in and of itself, in the eyes of white music executives, radical. Even after British R&B producer John Schroeder helped Cymande record in a studio and get them on a compilation on a U.S. label and opening tour slots for Al Green and Jerry Butler, when they returned to the UK, they were greeted with TV producers reticent to book Caribbean or West Indies bands. At a standstill, and having recorded 4 albums in 3 years, the burnt-out band split. Many members kept playing music, becoming in-demand session or touring/gig musicians. Some gave up performing entirely. Saxophonist Derek Gibbs became an electrician.

In hindsight, that Cymande finally got their flowers in this millennium is no surprise. If their grooves nestled into sample culture, their genre-hopping seemed almost tailor-made for prolific mixtape makers and YouTube rabbit hole divers. Reunions in 2006 and 2012 further whetted the music world's appetite for Cymande to fully come out of retirement, and in 2015, they released A Simple Act of Faith, their first album in 41 years. What was never a given was that, upon their reentry into the cultural conscious, Cymande would keep releasing records as relevant in 2025 as they would have been when Cymande formed in the early 70's. Renascence, which came out in January, pays tribute to the band's forebears and contemporaries and the very act of making music, still daring to hope for the future. "Sometimes I wonder / If it's all been in vain / It seems nothing matters / Everybody chasing fame / With no message / For the young to hold on to," sings reunion vocalist Raymond Simpson on "Chasing An Empty Dream". As it turns out, Cymande's chemistry in that one song is the ideal antidote to global government-sanctioned selfishness. Adrian Reid's croaking keyboards, furrowing percussion, Steve Scipio's rounded bass, Patrick Patterson's mournful guitars, and blaring horns are added one-by-one, ultimately coiling and unfurling together, each element unable to survive without the others.

Cymande are also quieter and slower than ever on Renascence. Its songs take their time to establish a presence before the lyrics come in. "Road to Zion", in which Simpson sings about wanting to be a better person in a cruel world, sports soft guitar and gentle vocal harmonies. Piano ballad "Only One Way", featuring guest vocalist Celeste and strings arranged by Chris Cameron, gradually builds with bass and sprinkles of mallet percussion. "Heart of the Willing" forgoes dynamism for tenderness, its showiest moment a woodwind solo rather than ripping guitar or a strutting rhythm. The band, older and wiser, find their might in empathy and unity, a means to continuing to reach as wide an audience as possible. "We will carry the word / To the people of all nations / Our song must be heard / We must set our hearts free," Simpson sings on "Carry the Word", as Patterson's Afropop guitar licks sinew their way into funk rhythms.

The sentiment to take with you from Renascence comes in the middle of the album on "Coltrane". "Music is the message that creation sent," Simpson sings. If much of the song generates a connection between Cymande and John Coltrane, from jazz to political activism, it's Simpson's description of the experience of music listening that resonates. "Songs of mystery / Take your breath away / That's how it feels to hear Coltrane play," he sings. At first glance, you might think he's lionizing a legendary artist. Yet, as the song buoyantly glides, atop funky drums, falsetto vocals, expressive horns, and Latin-influenced guitars between verses, you realize the more consequential part of his words is that which refers to music as a "mystery." No matter if you're writing it, playing it, or listening to it, the best type of music is not necessarily a puzzle to solve but a place in which to ask probing questions in search of the truth. Ultimately, such an investigatory impulse has remained consistent in the universe of Cymande, whether via the musicians themselves finding ways to assert their identity or the crate diggers that aided those identities in resurfacing.

[askgmangraves]

Scott pilgrim? I remember that name.. ~ Leaf 🧼

he's in a mediocre indie band of subjective quality.

[thedemostop]

What is EMO Music: Origins, Characteristics, and Evolution

Emo music is more than just a sound; it's a visceral world filled with unvarnished lyrics, eerie melodies, and a heartbeat that mirrors the highs and lows of life.

Imagine yourself plunging into a world of music where strong chords and sensitivity collide, where grief is harmonized and feelings are given a platform. This post will take you on a musical voyage to unravel the mystery of what is emo music, examining its inception, development, and enduring influence on various age groups while allowing you to experience the sound and comprehend its essence.

What is emo music?

Biblical singing that is lovely and transformational is called emu music. It's a genre defined by deep emotional resonance, reflective lyrics, and expressive, frequently intimate, subjects. Although it originated in the hardcore punk era, emu music has developed into a unique genre. It commonly has lyrical material with a strong guitar melody and poignant, intimate lyrics that frequently touch on topics of love, heartbreak, angst, and personal challenges. Now that you know the fundamentals of "what is emo music," let's explore its nuances in more detail. The genre blends elements of post-hardcore, indie rock, and punk rock, among other subgenres and influences. Emo music has evolved over time, giving rise to various waves and variants. There were raw, visceral sounds in the 1990s.

Characteristics of emo music

Understanding the distinct qualities that comprise this dynamic musical genre is essential to fully grasping what emo music is. Anxiety Emo music is frequently associated with feelings of inner conflict and emotional upheaval. The lyrics often convey a sense of disquiet or discontent with one's own reality by exploring sentiments of irritation, alienation, and inner conflict. Perceptiveness Emo music embraces sensitivity and contemplation while diving into unfiltered and sensitive emotions. In order to help listeners relate to the artist's emotional journey, it frequently aims to communicate genuine and intensely intimate experiences.

Contradiction Occasionally, discordant components or sounds are used into emo music, which can create an uncomfortable or stressful mood. The use of dissonance deepens the emotional landscape and amplifies the emotions expressed in the song. Sentimental lyrics Emo music features very emotional and reflective lyrics that center around themes like love, heartbreak, introspection, and personal hardships. The goal of these lyrics is to strike a deep emotional chord with listeners and elicit strong feelings. Damaged guitars The characteristic tones of emo music are distorted guitars. The use of highly overdriven or distorted guitars adds depth and urgency to the song, contributing to the strong and passionate tone of the genre.

Dynamic shifts

Emo music often incorporates dynamic shifts, ranging from quiet, subdued moments to loud, intense crescendos. These variations in volume and intensity help to convey the emotional peaks and valleys within a song, amplifying its impact.

Top emo bands

My Chemical Romance

As one of the most important bands in the emo music scene, My Chemical Romance (MCR) gained notoriety in the 2000s. It became well-known because to its dramatic performances, intense vocals by Gerard Way, and deeply felt lyrics. With albums like "Three Cheers for Sweet Revenge" and "The Black Parade," they cemented their status as emo superstars.

The Used

The Used, a band well-known for its raw, aggressive sound, blended emo and post-hardcore elements to produce music that was intensely emotive. Audiences were captivated by lead singer Bert McCracker's strong voice and the band's ability to put passion into their tunes. Albums like their debut self-titled album and "In Love and Death" demonstrated their powerful fusion of tenderness and ferocity.

Paramore

With the captivating Hayley William at the forefront, Paramore invigorated the emo-pop landscape with a lively and dynamic energy. Pop-punk and emo components were expertly combined in its music, which resulted in captivating melodies, insightful lyrics, and an amazing live presence. Their reputation as important personalities in the alternative and emo music scenes was cemented by hits like "Misery Business" and "Decode."

Good Charlotte

Good Charlotte's catchy and accessible tunes helped them become well-known in the early 2000s. The band tackled topics of teenage angst, societal difficulties, and personal struggles by fusing pop-punk with emo sensibilities. Songs like "Lifestyles of the Rich & Famous" and "The Anthem" spoke to a generation that was struggling with issues of identity and peer pressure.

New Found Glory

The late 1990s saw the emergence of New Found Glory, a pop-punk/emo hybrid band. The band rose to prominence in the genre because to its upbeat and memorable songs, which featured poignant lyrics and captivating hooks. With albums like "Stick and Stones" and "Catalyst," they cemented their status as important players in the emo-pop scene.

Yellowcard

Yellowcard used violin, emo, and pop-punk influences to create a unique sound in their songs. The band gained a devoted following among the pop-punk and emo communities because to songs like "Only One" and "Ocean Avenue," which demonstrated their ability to combine appealing tunes and meaningful lyrics.

Emo music today

The origins of emo music date back many decades, but what does it mean now? Modern alternative and indie music scenes have been influenced by the evolution and diversification of emo music. Even while it might not be as popular as it was in the early 2000s, its effect on contemporary artists and other subgenres ensure that its legacy lives on.

These days, emo music combines elements from other genres, like hip-hop, pop-punk, and indie rock, to create a wider variety of sounds and styles. Musicians are still utilizing their lyrics to tackle deep and emotional themes, such as mental health, relationships, and personal challenges.

[javraghhh]

OUR SONG JUST DROPPED IM SO HYPED FJENDKWNDNW

[pika2482]

AOTD 1/18/2024 - Live from Your Stereo (Warpstar) [forgot to post this when I wrote it lol my bad]

[All Albums are rated subjectively based off my own enjoyment] 6.5/10

From start to finish, Live from Your Stereo by Warpstar delivers 14 tracks full of compositions that I strive to write. Scarcely did a melody miss, a guitar riff not click, or a dynamic range fall flat. In some of these tracks I reached the type of Highs that I struggle to create myself, and the type of dynamic range that is sorely missing from more well known music and artists. It is absolutely Criminal that Warpstar gets such few monthly listeners, sitting at 112 at time of writing. Everybody reading this needs to listen to this album ri-

Is what I would be saying, in a different, slightly brighter timeline. Most of what I said above is true, I loved what these songs are made of. The melodies, the riffs, the range, it's all the green flags I listen for in every composition. But this album was… Frustrating, for me, and I know the exact reason why:

The Mixing

It sounds like this album was mixed in Garage Band. Now I'd say it's on the upper quality of what you can achieve with that software, but it had that distinct… almost Mushiness to it, which manifested mainly in The Drums. For an Indie Rock album, this is not acceptable . They really prevented me from getting into any of these songs, and more energetic songs like Superman, Hidden Friend, Low, Drown Happy, Marceline,, and Winter Clothes need that Punchiness to really thrive. I would have been handing out some more frequent 8's and the occasional 9 or 9.5, but I just wasn't able to do more than appreciate the insanely strong backbone these songs have. The songs still scored reasonably well, but major points were deducted for this fatal flaw.

Looking past where these songs could have been, my favorite of this album is Winter Clothes, Summer Clothes, one of the rare 10 minute tracks (It's 8:37 but it's outro is mostly empty) that was able to hold my attention all the way through. Especially with the sub-par mixing quality, this is an INCREDIBLE feat to pull off. As it's super long, I don't really have the space to dissect it here, but it's progression, build, and overall structure are fucking Perfect. FUCK I wish the drums were better! This song could have EASILY hit a 10 if a professional studio was able to handle it, but it just falls… frustratingly short.

My least favorite of the album was Marceline, pretty much the only song I Disliked. It gets off to a strong start but when it gets into its verse the instrumentals end up feeling loose and flaccid. The Vocal melody works decently well, and the structure and overall idea are good, it just flopped on the execution.

Overall, this album left me with an initial taste of super high promise, potential, and passion, but left behind an aftertaste of frustration for what could have been. If any of my favorites end up getting a remaster I'll be First in line, but as it stands it's hard to playlist any of these songs.

Favorite Songs: Hidden Friend, Low, Drown Happy, Adastra, Winter Clothes Least Favorite Songs: Marceline, Lucid Dream

We Are Warpstar - 6/10 Tall, Dark & Superman - 6.5/10 Derby Girl - 7.5/10 Hidden Friend - 8/10 Fall Forever - 7/10 Low - 7.5/10 Drown Happy - 8/10 Long Overdue - 6.5/10 Marceline - 4/10 Two Moons - 6/10 Lucid Dream - 5.5/10 What a Dreamer - 7/10 Adastra - 7/10 Winter Clothes, Summer Clothes - 8.5/10

[oxyvisualanalysis-fa23]

Gender and Sexuality

Molly Malin

“Justify My Love” - Madonna

Madonna’s “Justify My Love,” released on November 6th, 1990, features spoken-word lyrics that openly profess the singer’s sexual passion, desire, and control. It was the singer’s ninth song to reach number one on the USA Billboard Hot 100 charts. The music video for “Justify My Love” features Madonna coming home to a hotel after a long day and being seduced by people, both male and female, who do not conform to traditional gender roles and stereotypes. Madonna’s “Justify My Love” music video was extremely controversial, not only because of the sensual, erotic subject matter, but because of its voyeuristic imagery and non-heteronormative content. Some critics praised the sensuality of the song and video, while others found it offensive. Nevertheless, “Justify My Love” went on to become the very first certified multi-platinum short-form music video by the Recording Industry Association of America, and it is still known today as one of the sexiest videos of all time.

The “Justify My Love” video features androgyny, cross-dressing, and bisexuality—all of which oppose the dominant social norms that endorse heterosexuality and a binary concept of gender. This music video illustrates a direct alignment between butchness and sexual dominance because, in a traditionally heterosexual power dynamic, the man is the dominant and the woman is submissive. From the heterosexual perspective, a masculine figure must always be the one in power: hence the stereotype of the butch, acting as the “manly” role.

“Justify My Love” upends the standard, dominant culture because it enables “different identificatory strategies from viewers” (Halberstam 176). In traditionally hetero media, there is a dominant, masculine, active figure whom male viewers can project upon. But in this video, Madonna—a woman—is the dominant sexual figure, forcing the viewer to identify with a woman in power instead of a more traditional male figure. She is in complete control of her sexual partners throughout the entirety of the video. The combination of Madonna being both female-presenting and dominant/active challenges the heterosexual gaze.

It is also worth noting the album cover for the song (above), which matches the aesthetic of the music video. In “Looking Butch,” Jack Halberstam says that a butch “wears the wrong clothes…may carry a gun, smoke a cigar, wear leather…she may swagger, strut, boast, flirt” (Halberstam 186). This album cover is an exact representation of these butch-marking stereotypes. Madonna embodies many of these active, powerful, traditionally-masculine qualities in “Justify My Love.”

Judith Butler’s concept of subversion is present throughout this video, especially in the subversion of hegemonic gender roles and gender expression. This “parodying [of] the dominant norms” is most evident in the clothing that the performers wear (Butler 338). Throughout the video, background performers dress in opposite, stereotypically-gendered clothing (female-presenting people in caps and suspenders, male-presenting people in jewelry and fishnets). There are visual expectations for men and women in a gendered, binary society. This is made evident by the fact that “Justify My Love” video challenges the viewer’s preconceived expectations—the performers wear the opposite of what the viewer expects them to. Rebelling against the standards of a heteronormative society through subversion could be Madonna’s way of undermining this power structure.

“What I Want” - MUNA

MUNA’s “What I Want” music video was released on June 24th, 2022, on the same day that the band’s self-titled third album was released. The video mimics early 2000’s pop and tabloid culture, where sultry clubbing scenes are interspersed with blurry, paparazzi-chase camera footage. All three members of MUNA identify as queer, and the band has become prominent icons and activists in the indie pop sphere. MUNA’s upbeat, synth-heavy songs proclaim openly queer joy. The song “What I Want,” in particular, tells a story of outspoken, bold desire: the singer wants to spend a night out drinking, celebrating, and dancing at a gay bar, unbound by the rules and standards of a heteronormative society.

As in “Justify My Love,” “What I Want” shares similar themes of desire:

“wanting, needing, waiting / For you to justify my love” vs. “I want the full effects / I want to hit it hard / I want to dance in the middle of a gay bar”

Halberstam defines butches as lesbians or women who present traditionally-masculine traits. These “masculine” traits include bragging and being loud, outspoken, and entitled to one’s desires. By being dominant/active instead of submissive/passive, the members of MUNA create an effect of butchness in the lyrics of “What I Want.”

Judith Butler writes that “identity is always an ambivalent process” (Butler 339). The members of MUNA (two of whom are non-binary), play openly with gender identity throughout the video, mixing both traditionally feminine and masculine clothing (mini dresses, leather) and actions (dancing sensually, manspreading).

“Looking Butch,” meanwhile, says that “the masculine woman prowls the film set as an emblem of social upheaval and as a marker of sexual disorder” (Halberstam 186). In other words, female-presenting people showing masculine traits have historically had a negative connotation from a hetero perspective. The “What I Want” video transforms this social upheaval into lavish joy, showing the effect of the queer gaze. By illustrating queer people with fame, celebration, and success, MUNA shows how queer sexuality does not have to be taboo.

From the heterosexual gaze, queerness doesn’t match the social norm, so it is often hidden away and not presented publicly. The “What I Want” video mocks or even appropriates 2000s pop culture for female celebrities (the band members are chased by paparazzi, desired by all, and always watched: they are constantly the object of desire). The handheld camera and paparazzi-style footage in “What I Want” creates irony with the subject matter, subverting expectations by bringing the queer experience to the forefront. Instead of being shoved out of view, the queer experience for these celebrities is outspoken: they perform boldly and sensually, without regard for heteronormative expectations. Just as Halberstam writes, this music video “flaunts stereotypes and by doing so explodes the tension between homophobic and queer representation” (Halberstam 176).

QUESTIONS

What are some examples of subverted gender norms (female masculinity or male femininity) that you noticed in these videos? Can you think of examples from other popular media?

In both “Justify My Love” and “What I Want” there are aspects of voyeuristic camera work. Judith Butler mentions that “the camera itself is empowered as a phallic instrument” (346). How does the concept of voyeurism play into gender expression, and how does the person behind the camera affect the meaning of media?

"I'm gonna take it I'm just gonna grab it / That's how bad I want what I want" "I want that girl right over there to want to date me"

3. How would you connect the above quotes to the concept of butchness (and the queer gaze)?

[musicarenagh]

Fever Rouge Impresses With "Golden" Brighton-based band Fever Rouge is shaking things up in the indie rock scene with their compelling fusion of funk and grunge elements in their latest single “Golden.” This is the second single from their highly anticipated upcoming EP, which demonstrates the band's unique sound and their ability to make a massive impact in the music industry. https://open.spotify.com/album/14hOQAhtPuRBnMQflHLPZh?si=ARCYYN9iTYeZ7TEtA0gGqg   "Golden" takes listeners on a sonic journey, exploring the complexities of love and deception that are intertwined within a toxic relationship. The song's narrative captures the emotional rollercoaster of meeting someone, falling in love, and eventually experiencing the darker side of manipulation and mistrust, serving as a metaphorical reminder that appearances can be deceptive. Fever Rouge's exquisite blending of indie rock with funk and grunge influences creates a captivating aural experience that sets them apart from their contemporaries. "Golden" owes its anthemic quality to the band's strong vocals, varying between smooth melodies and gritty growls. The juxtaposition of the emotional tone in the lyrics and music adds to the allure, leaving listeners entranced by the band's creative genius. The instrumentation in "Golden" is rich and invigorating, with groovy basslines interweaving effortlessly with intricate guitar riffs. These progressions underpin the vocals, setting the stage for the music to tell its compelling story with a sincerity that reaches deep into the soul. Each aspect of the single showcases the incredible talent brought forth by Fever Rouge and their dedication to pushing the boundaries of what indie rock has traditionally offered. Listening to "Golden," I was reminded of 90s grunge icons like Nirvana and Pearl Jam, with a touch of Red-Hot Chili Peppers' funkiness. Perhaps it's through these rich influences tinged with modern indie vibes that Fever Rouge manages to evoke a sense of both nostalgia and freshness, resulting in music that truly transcends genres. The profound subject matter of "Golden" combined with the undeniable skill and creativity displayed by Fever Rouge makes it an essential listen for fans of indie rock and beyond. It is an anthem for those who have experienced the tumultuous highs and lows of a toxic relationship, offering solace in a languid, heartfelt melody. "Golden" truly sets the stage for what is expected to be an incredible EP from this boundary-pushing band. Brighton has unleashed a powerhouse in Fever Rouge, and I'm excited to see where their musical voyage takes them next. Follow Fever Rouge on Instagram.

[pinknightsinmymind]

if you feel like it, could you write more headcanons about ellie? not full fic or one shot, but thoughts about her. like, the types of kisses she gives you or the kind of girlfriend she is

【 ellie williams as a gf hc's 】

a/n: yes yes yes yes 100% i think about ellie way too much for my own good and it rots my brain. since i wrote so much it'll be below the cut lol

she loves to see you in her clothes in fact she even encourages it its just something about it that drives her crazy

she's protective of you and always wants to take care of you and make sure you don't do any of the dangerous or stupid shit she does

i feel like ppl forget how much of a dork she is; she'd tell you all about space and the different facts she's learned, she'd explain the plots of her favorite comics, who the characters are, which ones are her favorites, why she thinks one arc was better than the other, and so on and so forth

i think she loves to chat your ear off about any and everything

she's probably afraid she's annoying, so sometimes you might need to reassure her a little bit

in a modern au she's the type to send you funny memes or videos she finds, probably browses tiktok and twitter a lot

definitely the type to send you a photo of two animals being cute or cuddling together and say "us" because she's just a sap like that

composes songs about you and acts all shy when she shows them to you

DRAWS YOU

you're one of her favorite subjects to draw, and she loves showing you every new piece of you she has

she'd send you song recs ALL the time

listens to lots of indie and shoegaze

pls pls pls for the love of god ask her to teach you how to play guitar bc she'd be so excited to show you and spend the time with you

i think her love languages are quality time, physical touch, and words of affirmation

forgets NOTHING

you know how dads do that thing where you tell them you liked something once and they never forget it? yeah she got that from joel it rubbed off on her

remembers what you wore on your first date, remembers your food orders, memorizes your favorite colors, bands, tv shows, movies, everything

so so caring and sweet

since one of her love languages are physical touch you can expect lots of affection from her

loves cuddling, holding your hand, having her arms around you, she just has to be touching you somehow

flirts a lot (but its not a bad thing) even after you two have started dating

loves kissing you all the time, and will make excuses for it

she needs her good morning kiss, her good night kiss, good luck kisses, goodbye kisses (even if she's only gonna be gone a few hours💀), one bc she missed you, a hello kiss, she will use ANY excuse just to kiss you

but sometimes she won't even bother creating one she'll ask to kiss you just bc

loves having sleep overs and nights in together where you can just cuddle and watch movies or play video games bc she's a huge introvert

the type who will do anything to make sure your comfort isn't disturbed

if you don't like the other side of the bed she switches with you, will let you sit in the last chair at an event (but not before asking if you'd just rather sit in her lap), helps guide you through anything making you scared or anxious

calls you pet names every five minutes. all of them.

love, babe, baby, babygirl, princess, darling, honey, whatever is your favorite she calls you the most

lives to spoil you; pays the bill, buys you gifts, drowns you in affection, you name it

celebrates your birthday like its a holiday

speaking of can you imagine her during the holiday season???

the two of you plan out a couple costume for halloween

the two of you are so cute together it's gross

you're always welcome to spend thanksgiving with her and joel

and christmas?? she gets even more sentimental than usual, and buys you an extremely meaningful gift

the most supporitve, soft, kind, humorous, and sweet gf imaginable just a dream come true

she feels like you really balance her out, and isn't afraid to tell you how much you mean to her or how much she loves you

she makes sure you feel loved and remember that you are loved

can't wait to move in with you and once you two do she feels like she's in heaven everyday

just loves you and cherishes you deeply

overall just THE gf you dream and pray for ugh this girl gets me in my feelings every time she's just so cute and sweet😭😭😭😭

[no-thoughts-just-cryptid]

my community headcanons (music edition)

Annie listens to Banshee. Like a lot. Troy and Abed can often hear it through the walls (granted they're thin) at home and often at greendale you can find her with headphones or earbuds on, and you can hear it through them from a foot away

Shirley had a punk phase and still loves certain bands

Jeff secretly loves Taylor Swift, specifically Red and Speak Now

I don't care about Pierce as a character enough to write some for him (as Abed famously said, "at the risk of sounding insensitive, i feel intensely bored by pierce as a subject") but i need you the reader to know i didn't forget about him

speaking of Abed, he likes Lemon Demon and the Brobecks, also Allison Ponthier

Troy likes Cavetown, Jay-Z (had to look up Childish Gambino's influences for this), and Vocaloid (i will die protecting this headcanon)

Britta loves anything from the nineties- rap, punk, indie, all of that

I think Britta would also like RiGby (they're a local band from my city, i am unapologetically plugging them they're awesome. their album is on spotify)

Britta and Abed would bond over Against Me!

Troy, Abed, and Jeff all value high quality sound

Britta very much does not

Abed makes mixtapes and burns them onto cassettes to be cinematic

Jeff pretends to hate this ("nobody uses cassette tapes anymore Abed") but keeps them all

Troy (who recieves more of these than anyone) buys a cassette player specifically to listen to them, which Abed doesn't find out about until they move in together

Annie loves all sorts of loud music, actually. my chemical romance, some metal, etc. ( moonandsunlight on ao3 wrote an autistic annie series that i really like called "the emotional consequences of being wired differently" in which annie really likes music stimming which is a headcanon i agree with and am tying into this. go read the series it's my favorite)