#it was such a kickass time and the lyrics to their songs are RAW

[bard-powers-activate]

FINALLY found a yearly tradition worth honoring every 4th of July. The spouse creature and I have been adopted by the RAGING GRANNIES!

They are a kickass group of geriatric activists who gather in a public park to sing songs about dismantling the prison industrial complex (along with other jaunty, punk tunes), read excerpts from the Declaration of Independence/Constitution, and discuss all the ways that the system has failed us in the past year.

It was fucking AWESOME!

[musicarenagh]

A Soulful Reverie: A Review of Mat Hook's "Runaway Road" Man, dropping your ears onto Mat Hook's fresh tune "Runaway Road" is like belly flopping into an emotional whirlpool, all the while being swaddled in this kick-ass I-won't-back-down vibe. Pulled right outta a messy season of his life, Hook's come storming back into the pop-rock scene, transforming his rollercoaster ride into crazy honest tunes that hit us in the feels. https://open.spotify.com/track/4NeezTccur0PqAcbvFiJPi?si=9f40879b4060420f "Runaway Road", it's this indie-rock anthem that's got this wicked infectious rhythm that kind of masks the soul-baring story of Hook's rough times. All penned down in 2021, it's like Hook's shouting "I'm back, baby!" after cooling his heels for seven years. You could say those years away gave him a new perspective – not only does he own the stage again, but he spins his life into lyrics that stick and a melody that don't quit. Hook ain't holding back, you know? His job losses, new beginnings, heartbreaks, deaths – it all shines through in the highs and lows of the melody. The chorus packs a punch too - "I can see the past years have hurt, they drank as you thirst, walk down your runaway road of fears." It's like a sad battle cry that keeps ringing in your ears, spilling out Hook's up-yours-world attitude with a mix of words that hit hard and music that ebbs and flows. [caption id="attachment_51864" align="alignnone" width="1152"] A Soulful Reverie: A Review of Mat Hook's "Runaway Road"[/caption] Hook's got a voice that's something else – rich and rough around the edges, gets you all warm and fuzzy thinking about good times and leaves you floored with the raw emotion he throws in. It dances over the toe-tapping beats, nailing every note and leaving a sweet afterglow. The edgy rock-pop vibe backing the track channels the free spirit of indie rock, giving a nod to Hook’s way of weaving a story with a melody that sticks. The guys behind the soundboard on "Runaway Road" did a bang-up job – the fiery chorus, the simmering verses, it all amps up the song's vibe without stepping on Hook's kickass vocals and the bare-all storytelling. It’s like life squeezed some great outta Hook’s lemons, showing us the best tunes are born out of rough patches. All in all, Mat Hook's "Runaway Road" is a gung-ho rally cry gelling the bruised and never-say-die bits of life. It's like an indie-rock phoenix shooting up from the ashes, a soulful nod to Hook’s stubborn spirit and the way he pulls at our heartstrings through his songs. If this bad boy is what Hook’s musical comeback’s gonna sound like, well, indie-rock fans are in for one helluva ride. Follow Mat Hook on Website, Facebook, Twitter, YouTube, Instagram and TikTok.

[atc74]

Collaboration Challenge Contest

Yes, you read that right. 

C O N T E S T !

I don’t think we really need a reason to celebrate each other or ourselves, but I have plenty of reasons: good friends and a team of supportive and kickass writers, a creative mind (sometimes), the 4 year anniversary of my first fic on September 8, and approximately 4500 followers, which will never cease to amaze me. 

I have wanted to do another collaboration for a really long time, but could never find the right premise. But I DID! And I am not keeping it to myself - NO - I am sharing it with all of you! So let’s get down to the nitty gritty, shall we?

Win a chance to collab with seasoned writers, including myself, @amanda-teaches, @iwantthedean, @alleiradayne, @crashdevlin, and @supernatural-jackles​.

Each writer will have their own chapter in this new, still developing series!

The true collaboration would be us, as seasoned writers, helping you, the winner, as a beta, and basically anything you need for one fic (not series) of your own. So rules, right?

Pick a prompt/song:

20 prompts - submit a drabble of 750 words or less - OR - 

10 song prompts - submit a one shot of 3K words or less

Limited to 30 participants

Post your fic with the tag #angelina’s collab challenge contest, then also SUBMIT the fic to me to ensure I get it. Deadline is October 8 - yes I know this is a tight turn around, but for the series that is being planned, there is no better date; the beginning of The End.

PLEASE DO NOT TAG ANY OF THE JUDGES (@amanda-teaches, @iwantthedean, @alleiradayne, @crashdevlin, and @supernatural-jackles​) IN YOUR POSTS to make this impartial!! Don’t forget to tag me!

You must send me an ASK to participate with your prompt and pairing

Pairings will be limited for the purposes of this challenge contest: Dean x Reader/OFC, Sam x Reader/OFC

NO ships will be allowed for this challenge contest 

This should be a one shot/drabble only and NOT part of a series. 

Judging Criteria (I am looking for specific aspects for the writers that will be choosen)

Punctuation, spelling, grammar, plot, and flow matter

Demonstrate the strength/dynamic of a relationship (between the brothers, brother x reader/OFC, all three/four)

Organization and execution of the plot

Character development/motivation

Substance 

(Drabbles) Your prompt must be used in the drabble 

(Song) The song must be featured somehow in the fic itself, not just posted lyrics, or playing in the background; work the lyrics into the dialogue if they fit, let the song set the tone of the fic

Prizes:

3-5 writers will be chosen by an impartial panel of judges (they will not know who has submitted the drabble and I am not a judge) to participate in the collaboration series. The number of winners depends on the number of entries, and total number of chapters for the planned series. 

5 additional writers will get a beta for a one-shot

Drabble Prompts (750 limit): 

I wouldn't want anyone else beside me. Even when things get hard, especially when things get hard, you're the one I want in my corner. @justagirlinafandomworld​ 

You make me feel like I'm good enough @fangirlxwritesx67​ Sam x Reader

You need to wake up because I can't do this without you. @deanwanddamons​ Dean x Reader

I need you to fight for me. @smol-and-grumpy​ 

You won't drive me away. I'm not going to leave you or abandon you. @wi-deangirl77​ Dean x Reader

I can't really understand what you are feeling, but I can offer my compassion.

You deserve someone who puts in the effort to make you feel happy and confident.

You're part of the family now, don't ever think you're not. @cajunquandry​ Dean x Reader

The problem is, if I kissed you, I don't think I'd be able to stop. @our-jensen-ackles-love​ dean x reader

I can't give up on you, so please don't give up on yourself. 

Hear my heartbeat? Just focus on that. @deans-baby-momma​ Dean x Reader

“Fuck, I wish I could give you one more kiss, to feel your warmth, to see you smile… I miss you so much.” @waywardbaby Dean x Reader

Hey, I know you're hurting...but you're not alone, okay?

I will protect you with my life

I don't have a choice...I never did @idreamofplaid​ Sam x Reader

Maybe I'm meant to be alone @cleighwrites​ Sam x Reader

You're just not the same anymore...

I wasn't ready to say goodbye

When are you going to realize I don't care?  @ezilyamuzed Dean x Reader

Stop telling me you're okay @msmarvelouswinchester Dean x Readestagirl

Song Prompts (3k limit):

Head Above Water - Avril Lavigne 

Someone You Loved - Lewis Capaldi @a-winchester-fairytale​ Dean x Reader

Knockin' On Heavens Door - Kim Rhodes (& Jason Manns version)

We've Got Tonight - Bob Segar @waywardbeanie​ Dean x Reader

Colder Weather - Zac Brown Band - @janicho88​ Dean x Reader

Some of It  - Eric Church

I Shall Be Released - Jason Manns & Rob Benedict

All Our Own - Radio Company @waywardnerd67​ Dean x Reader

Drift Away - Uncle Kracker

The Rose - Bette Midler @jensengirl83​ Dean x Reader

**** UPDATE ****

Ultimately, we came to the conclusion that all submissions should be ‘raw’ and not scrubbed by a beta. Our reasoning for this is that we want to see you showcase your talent as a writer. As a writer that uses at least one beta on a regular basis (as most writers do), I certainly support the use of a beta for everything. Except this.

Your comment about ... “concept, character development, emotional depth, etc...” that is where YOUR talent comes in. If you do not feel your writing is strong enough on its own to support those points, you may want to reconsider.

You are allowed to use online tools, such as Grammerly, to help with the basics. And please feel free to ‘consult’ for any technical aspects of your fic. That being said, we are trusting you all to use the honor system here.

****

So that is it folks. Tagging my peeps and a few extras, but a signal boost is much appreciated as always! @iwantthedean @dolphincliffs @mrswhozeewhatsis @flamencodiva @blacktithe7  @amanda-teaches @hannahindie  @kickingitwithkirk  @wi-deangirl77 @hobby27 @gh0stgurl @alleiradayne @idreamofplaid @manawhaat @crashdevlin  @emoryhemsworth  @fangirlxwritesx67 @winchesterprincessbride @waywardbeanie​ @jensengirl83 @anathewierdo  @winchest09 @jerkbitchidjitassbutt @dean-winchesters-bacon​ @adoptdontshoppets @supernatural-jackles @fandom-princess-forevermore​ @akshi8278 @thing-you-do-with-that-thing​ @deanwanddamons​ @rockhoochie​ @superfanficnatural @evansrogerskitten @whatareyousearchingfordean @luci-in-trenchcoats​ @babypieandwhiskey​ @princessmisery666​ @deans-baby-momma​ @mummybear @just-another-busy-fangirl @just-a-touch-of-sass-and-fandoms @laurakay91 @katymacsupernatural @jawritter @katehuntington @malfoysqueen14 @smol-and-grumpy @plaidstiel-wormstache @crispychrissy @saxxxology @muchamusedaboutnothing @stusbunker @pinknerdpanda @manawhaat @waywardnerd67 @percywinchester27 @ladywinchester1967 @docharleythegeekqueen @arazialotis @shy-violet-soul​@bamby0304 @janicho88 @sofreddie @talesmaniac89 

**Divider credit goes to @talesmaniac89​

[peerless-soshi]

Cancer (for Mechanum Mundi I guess), Phoenix, Virgo :)

CONSTELLATIONS ASK GAME

(*wiping a tear* I knew I can always count on you <3 Thank you for asking) 

Cancer - What’s the name of songs from the musical rendition of your project? (aka, have fun! come up with fun names) 

A small glossary of terms (for new followers): Mechanum Mundi is my personal project which I should share more often because I love it, but I’m also shy. If you want to take a look, here and here are playlists I’ve created for my protagonists. 

The opening tone would be named The mechanical city (prologue) or something similar! I’d also make titles and melodies match each character, so I imagine Adam’s songs to be more... blunt... like Boy with a gun or Who are you and where are you from? - it’d play nice with Adam’s first scene. You see him, you hear him, so you know him. On the other hand, Imitia’s titles can be a little more lyrical. Maybe mysterious. A girl in a tower? Tall wall? Will you remember me? There are some more unspecified titles that come to my mind: Only bullets are meant to fly or Life’s too short to live, because I’m edgy. But what I know is the villain’s song -  A heart too hard to carry. And I think you also know why ;)

On the side note, I have some songs that would make quite a reference. For example, I can hear Show and Tell by Melanie Martinez as Imitia’s theme song. The lyrics are not perfect but the arrangement, with sounds of a wind-up toy? It does hit the point. Or Killing Butterflies by Lewis Blissett played for the villain. Cain’s design is the one that has changed the most, I can’t wait to share it. And yes, butterflies are an important element ;) 

Phoenix - How do you develop your ideas? 

I treat fanfiction like a training session - I always think: I’d like to try my hand at comedy! I wonder if I can write fantasy? Let’s check my stream of consciousness. Let’s learn how to plot. So my fanfiction ideas usually start as those very raw concepts that I see and wish to polish myself. To come up with OCs, I have to be hit by inspiration. Mechanum Mundi began while I was listening to music; Son of Rust’s album made me think of a world of humans and machines and everything in between. Another time I was studying for exams and planning historical fantasy. It’s like a drop from a book, movie, music or conversation which can sometimes turn into a stream. 

When an idea becomes serious, I tend to: a) watch series/read books with similar themes to inspire myself - I observe pacing, used tropes, how certain ideas were twisted to be more surprising etc. Basically, everything you can learn from people better than me, b) talking about ideas, mostly with my sister - you don’t even need to give me an advice. Just speaking about my plots makes concepts more clear and gives me more ideas. It’s traditional “Thank you for help!” when the other person said nothing. 

Virgo - Describe your favorite tropes.

I don’t think I have many favorite tropes - everything can be good if done right, or vice versa. But I generally enjoy rivals to friends/lovers, and enemies to lovers, or opposites attract (though there’s a thin line between deep and shallow and those types of couples often end up as annoying). As a variant of enemies to lovers, I also like dark and demonic characters with pure and angelic ones, the light and darkness type. And generally I like good and altruistic characters if being good is not shown as naive or stupid. We need more nice and decent characters, and less “badass” and “kickass”. However, just as often I like characters struggling with inner demons, hesitating between two paths, regardless of their final choice. Hmm... one of the tropes I also like is what I’d call “karma always comes back” or “history repeating itself”, with parallel scenes. I think I’d fine some more, hahaha. But I don’t stick to tropes as much as some people do, I like variety of content.

PS. Since it’s a writing ask, it’s good to note that I needed like, a week to answer it... Sorry about that, I think work is sucking up all my energy and the ability to communicate in English. But I’m working on it!

[happymetalgirl]

Hellyeah - Unden!able

Nope, not a new release from this year, but rather one from 2016 that I have just felt compelled to write about for awhile now, and after finding a splendid deal for a physical copy a couple of weeks ago and listening to it again recently, I just couldn't help but carve out some time for this album. I think most of us have at least one or several of those albums that garnered very little critical praise for predictable reasons, yet we can't deny our love for them. For me, Hellyeah's Unden!able is one of those albums, and I think it's worth going into some brief personal context surrounding my love for it (it's just my musical experience with the album, not gonna be unpacking any big traumas or anything).

For some reason I have always distinctly remembered my first time listening to the album. It came out the same day (if my memory serves me correctly) as Volbeat's Seal the Deal & Let's Boogie, which I was more excited for given Volbeat's run of good form leading them into the rock/metal spotlight a few years earlier, and given Hellyeah's previous albums (Band of Brothers and Blood for Blood) finding them in a rut of stale form. So I decided to listen to the new Volbeat album first, which turned out to be such a disturbingly recycled and radio-rock-fishing disaster, with "Lola Montez" rip-off after "Lola Montez" rip-off through the whole thing. It was such a grand disappointment and undoubtedly the band's worst album to date.

After finishing listening to that soulless heap of creative autopilot, I loaded up the new Hellyeah album, hoping to God to hear a band that sounded like they actually wanted to play what they were playing, and Unden!able did not disappoint at all. Devoid of any pretenses or façades of being more than just an honest vibrant metal album, Unden!able was exactly what I needed after Volbeat's disastrous album, and it has stuck with me since then for the sheer, uninhibited, honest passion and power the band play with on every song.

Unden!able found Hellyeah coming into strong compositional form in the right place at the right time to make an album even better than their debut (which fans and detractors alike often cite as their best). It's an exercise in confident, cathartic, well-orchestrated defiance against the subtle pressures that had been building on the band to either conform to something supposedly more sophisticated than their "low-brow" NWOAHM groove metal sound or face being continually critically panned out of their standing within the metal ecosystem, which is a fancy way of saying they were pissed off and made what they knew they were good at and wanted to to give their detractors a loud, direct "fuck you!". I don't want to characterize Hellyeah as some pitifully abused black sheep in the metal family; they just seem to be sneered at in a few notable circles for their simple approach to carrying Pantera's torch, but they have plenty of appreciative fans to contrast their detractors. In fact when I saw them opening for Volbeat of all bands before Unden!able (and before Volbeat's Seal the Deal), they were able to quickly win over the crowd that was much more stubborn to give their energy to Iced Earth before them, plenty of whom I know went home as new Hellyeah fans.

But back to, Unden!able. It's by no means a more "sophisticated" album than anything else Hellyeah had done up until that point, and that was intentional. On top of consistently well-produced guitar and bass tones that have gotten the job done for them efficiently, the band's strengths lied heavily in Vinny Paul's knack for heavy groove rhythms behind the kit that could make time to dazzle while not dropping the song being carried on its shoulders, as well as Chad Grey's visceral, uniquely tambred, and proficiently wielded screams and melodic snarls. And the band did well to play to those strengths by crafting banger after banger from start to finish for themselves to go wild on and showcase their ability in the best possible context. Songs like "X", "Be Unden!able", "Grave", "STARTARIOT", "Blood Plague", and my personal favorite by just an inch, "Scratch a Lie", are relentless, indulgent thrashers that channel the band at their most potent through their most complimentary formats to deliver exactly the kind of raw, fiery, palpable energy their style is supposed to. And indeed, the band is as direct lyrically as they are musically. Chad Grey isn't trying to be some spiritual lyrical miracle here, and the lyrics aren't really deep at all beyond the impassioned rage they're delivered with, again, intentionally, because this album is about tapping into and getting the best out of that natural expression of raw energy.

The band even ambitiously tow the line between corny and emotive on "Love Falls", approaching the modern alternative metal ballad with surprisingly successful vulnerability and well-placed strings to back it up. It's the kind of song that should have fallen flat on its face, but the band were just in such unstoppable composing form, they pulled off making a song with the lyrics "every time I fall in love falls out of me" actually feel unironically powerful through their delivery.

As much as I've listened to and continued to enjoy this album since its release in 2016, it's really just continued to cement that first impression it made on me of a band that just wanted to play some kickass metal and knew they had the capability to do it justice. The appeal of Unden!able is rather simple, but it is exactly the kind of album that suits Hellyeah and their creative trajectory perfectly. I'm not saying that bands should stick to what they're perceived to be "supposed" to do. I've been pleasantly surprised many times by artists stepping into supposedly forbidden territory, and, inversely, been bored to death by artists coasting on what has shown to work just enough to keep the lights on. What I'm saying is, Hellyeah didn't go into this album trying to be anything other than who they are (or were, rest in peace Vinny Paul), and that honesty set the band on the best creative path to success for them and it made that honest passion as tangible as possible through the performances they were able to bring to songs they so clearly felt and believed in 100%. It's easy to scoff at the kind of metal like this that just seeks groove and heaviness and widely applicable messages of defiance as opposed to what would be seen as grander artistic aspirations, but I think it's important to remember how integral this relatable defiance is to so much of metal. And if a masterful channeling of that unfiltered essence isn't something appealing, then perhaps that reveals a potential understanding of one's own distaste for that side of metal altogether that also perhaps warrants a bit of explanation upon hasty dismissal of works like those as being for the peasant class.

Hellyeah/10

[bellatrixobsessed1]

Wrought Iron Machine (Part 8)

Sometimes she likes to pretend that the crowd below her are her subjects. It makes it easier, for a time, to accept that her title has been striped from her. They act like subjects; they cheer for her, they idolize her, they sing when she tells them to sing and scream when she tells them to scream.

But for the time, the screaming is left to her and it is beginning to take its toll. Agni, she hopes that she has enough left in her for the recording of new songs. TyLee is beating her drums at what Azula thinks is record speed. For herself, she shouts out lyrics so heavy in harshness, the lyrics are indistinguishable. There is a comfort in that; no one will be able to tell if she stumbles over the words.

She is growing tired. It is an effort to put on the kind of show that Fire Of Agni is known for. To claw at her hair and scratch at her skin, but with a very conscious effort to keep from doing any real damage.

She falls to the floor and Zuko with her, and finishes off the last song. Typically they finish with pyrotechnics, but this time she mixes it up. A little tester for something she’d like to do at Southern Air Sounds.

Faking a breakdown, she decides is almost more tiring than the real thing. The real thing leaves her feeling numb. In fact, she barely remembers the real thing. Whereas this…? This, she can feel everything; the cold of the floor against her cheek, the scratchiness of her throat left raw from screaming. At S.A.S there will be the discomforts of fake blood.

When the echo of the instruments dies down, she picks herself up. The crowd is terribly loud. Loud and excited. Chanting, “F! O! A!” endlessly. Azula wants to feel a sense of accomplishment at such a wild and excited energy. It is the sort she has been looking to elicit since their debut. But her body feels weak. The days she has gone without a break between shows are finally catching up with her. She wants to crumble back to the floor. She mumbles a few hasty parting words, a quick thanks for coming--she’ll leave the rest to Zuko--and lays herself down behind closed curtains.

She listens to Zuko close, something-something, “and join us for another kickass time at the Southern Air Temples!”  She isn’t really paying attention, she just wants to sleep. And now that their last show of the tour is over, she can. At least for a few days before it is time to attend an interview and then hit the recording studio.

“Did you see that crowd?” Zuko asks as he enters the backstage area.

On a normal day, Azula would have rolled her eyes and muttered something akin to, “Zuzu, I was facing them the whole time.” That day she realizes that she actually hadn’t. The performance itself had taken so much energy.

There has to be some sort of balance, she thinks to herself as the conversation carries on without her.

“They were going nuts!” TyLee remarks of the crowd.

“I think that that was the largest pit, we’ve had so far.” Mai comments.

“What encore song are we doing?” Zuko asks. Just like that, Azula is aware of the chanting.

She cringes. Tired as she is, she can’t end the final show of their first Earth Kingdom tour with a disappointed crowd. Rubbing her eyes and then her head, she stands herself back up. “We’re going to try something new.”

She notices Zuko tense.

“I haven’t even told you what we’re doing.” Azula grumbles.

He looks at her expectantly.

“This time you’re going to be doing the screaming and I’m going to sing.” She pauses. “Mai and TyLee, the two of you are going to pray that Zuzu doesn’t fuck it up.” That I don’t fuck it up, but she leaves that unspoken.

.oOo.

Azula is asleep as soon as she flops onto the bed. It is the first time they have dropped money on a hotel in a while. Zuko turns to Mai with a hint of concern. The same kind he can see in TyLee’s wide-eyed stare. Mai only laughs, “maybe now we’ll get a real break.”

Zuko pulls her out of the room. “I’m worried about her.”

“I don’t know, I kinda like her like this.” Mai shrugs. “No more orders, less stress.”

“I think that she might be getting sick…”

Mai sighs. “Relax, Zuko. She’s just tired.”

He returns the sigh. Maybe she was right--tonight was the last show of their tour and she has been pushing herself very hard. He follows Mai back into the room to find TyLee rubbing Azula’s back as his sister slumbered. She is out cold, he doesn’t remember the last time he has seen her sleep like that.

He doesn’t want to anyways.

But he does…

He tries not to dwell on it, instead taking in how nice it is to have so much space again. Tonight he and Mai will have their own room, they have been due for some alone time. He can imagine that Azula wants some alone time with TyLee. But he also isn’t sure that she will actually awake until late in the afternoon the next morning. He turns to Mai, mustering the most stern and serious look that he can. “Don’t give her a hard time for waking up late tomorrow.” He mutters. Spirit World knows that she’ll push herself twice as hard if she got shit for giving herself a break.

Mai rolls her eyes. “I’ll keep it to myself.” But he detects a very rare hint sympathy in her voice.

He spares a glance over his shoulder at Azula. She is still dressed in her stage costume, hasn’t even showered. She is definitely and indisputably wiped.

[alley-cat-sunflower]

…It occurs to me that my doing a complete 180 on Ravus Nox Fleuret, from genuine dislike to sincere sympathy (albeit critical), can legitimately be traced back to hearing his musical themes.

Now, you may know that one of the three things I can talk about forever is video game music, and this is definitely no exception. Today, I intend to read too far into his boss theme, “Ravus Aeterna”, and explain why I consider it one of the best battle themes I’ve ever heard.

Flash back to around 60 hours ago, give or take a few. I’d done some cursory research on Ravus and his backstory some time beforehand and was thus aware that he’s a tragic character, but I’d only met him the one time in-game, and he was kind of an asshole. As mentioned in a previous essay of mine, I both understand the reasoning behind his behavior and cannot entirely forgive him for how he handles himself, and in fact, that much remains true even now. The difference is that in the beginning, my in-universe perspective won out over my meta analysis, and I thought of him primarily as your standard entitled jerk. To be fair, I did think of him as a jerk who didn’t deserve to die (I hadn’t paid too much attention to how that came to pass, so the extent of my initial takeaway was just ‘another casualty’), but in my eyes, he was just another jerk nonetheless.

Except then, on an only somewhat related note, I hit Luna’s death. I knew it was coming, but it still shook me and my fixed opinions. In that moment, it seemed to me that nothing was sacred anymore. Anything could change at any time; why not my interpretation of the characters? After that twist, I temporarily lost the will to keep playing, but I still wanted to keep up my interest and do my writerly research from a safe distance, so I ended up absorbing myself in the soundtrack. And I soon discovered that “Ravus Aeterna”, in addition to being a kickass theme any way you look at it, specifically softened me toward him to such an extent that I started loving him instead of disliking him.

Initially, I didn’t question why that was. I just assumed that a number of factors must have aligned subconsciously, which is still probably true. But it’s always so difficult for me to just let things be. I have to know the context. So I started interrogating the reason why a simple boss theme (which, by some standards, probably isn’t even that great) could possibly be the leading factor in changing my mind about a character to this extent. The conclusion at which I arrived is difficult to articulate, since it’s such a subtle concept, but I have to try.

Now, this is a subjective statement, but I believe boss themes are usually filtered through the protagonists’ view. That is, while they are obviously supposed to fit the boss, and are often considered one of the bosses’ personal themes (often containing the their character leitmotif, if they have one), the music itself is more like… how the protagonists see that boss. If the music is dramatic, it’s because this is a pivotal battle for the protagonists. If it’s intense, it’s because the protagonists feel the pressure. If it’s slow and emotional, it’s because the protagonists are weighed down by sadness or inner turmoil.

Take the rightly renowned “One-Winged Angel”, for instance. It contains elements of “Those Chosen by the Planet” (Sephiroth’s character theme) and similarities to “Who… Are You?” (related to Jenova). There’s no denying it suits [Safer] Sephiroth as a result, and the lyrics definitely refer to his own feelings and motivation, but the emotion seems at a distance from me as a listener. Sephiroth’s wrath comes across well, but my response is more akin to fear and awe and determination, in reaction to his anger, as though I am facing him myself. This naturally aligns me with the protagonists and invests me in their side of the battle. “One-Winged Angel” does pertain to Sephiroth, and fits him well, but it primarily encompasses how the protagonists experience the final battle. It’s the dramatic culmination of a long journey to save the Planet. They know what motivates him—which comes across in the lyrics��but they’re fighting back against it with everything they have. And, by extension, so am I.

Now, “Ravus Aeterna” isn’t half as impressive as “One-Winged Angel” in terms of scale. But it doesn’t have to be, and I’d argue it’s not supposed to be. It serves an entirely different purpose, because it’s not presented from the protagonists’ perspective as usual. It’s from Ravus’s, as it is his bitterness, his resentment, and his anguish that come across most clearly. Therefore, “Ravus Aeterna” is more closely related to Ravus himself than the protagonists’ experience of him, as he is ultimately a minor character in their story.

While the theme is intense and intimidating, like a supercharged version of “The Aggressors” with a similar beat to “Daemons” (reflecting his transformation), its pacing and instrumentation evokes a kind of desperation, more applicable to Ravus himself than to the party. The theme additionally includes both “The Niflheim Empire” and “Song of the Stars” as leitmotifs, the first a direct reference to his former position as High Commander—now meaningless—and the second alluding to his primary motivation throughout the story, which likewise came to nothing: saving Luna. Both are inherently more relevant to his backstory and character than those of the protagonists, but most meaningful of all is the decision to juxtapose the Empire’s theme with that of the circumstances that led to his desertion. This reflects the contradictory nature of his character as a whole, unable to decide where he stands not only due to internal strife, but also to external opposition. Both themes additionally reflect a sense of helplessness, as the Empire was also a conquering force in Ravus’s own land, and he was unable to prevent Luna from sacrificing herself. This is not the theme of a party opposing a threat, but the theme of a man driven to madness by forces beyond his control. He is not serving Ardyn any more willingly than he ever served the Empire, and he is not able to save either himself or Noctis any more than he could save Luna.

Basically, “Ravus Aeterna” made me feel what Ravus must feel, and for that reason, I was able to grasp exactly how tragic his story really is. (Add to that the contrast with the gentler kind of wistfulness in his character theme from Episode Ignis, and Gladio’s observation that “he was a man with hopes and dreams” hits home all the harder, but that’s another story entirely.) That was the moment when my sympathy and understanding started outweighing my firsthand experience of Ravus’s attitude alongside the protagonists. It’s one of the first times, if not the first time, I’ve ever come to identify with a boss through the sheer charge of emotion conveyed in his theme. And, while I’ll be the first to admit that Ravus has more complexes than I can count and is far from blameless in the events of both his story and the party’s, I can earnestly say that he has won me over through the strength of raw feeling that comes across, and convinced me that he did not receive his just deserts.

[liztalksmusic-blog]

LOST IN TRANSLATION TOUR: REVIEW

Words fail to express how undoubtedly fucking awesome Tuesday night was at the Ogden Theater in Denver, CO. The Lost in Translation Tour brought their lineup to the city and to say I was impressed is a severe understatement.

Upon entrance to the venue, my friends and I, both old and ones I had just freshly made outside of the venue, went straight to the barricade for The Wrecks’ set. They’re the band we were primarily there for, but I soon learned I did myself dirty by not paying closer attention to Dreamers and New Politics, the remaining two bands on the lineup, before the show.

The Wrecks opened with an unreleased jam, “Wasted Youth”, and despite the absence of a released studio version of this song, there were still a decent amount of fans singing along, (myself included).

[IMG: Lead Singer Nick Anderson of The Wrecks, image credit to Angela Smith]

The song included a killer instrumental that was the perfect way to get an audience excited about a band they may not know, and a fantastic way to kick off the show as a whole. The Wrecks were killer with crowd interaction and feeding off the energy the audience was putting out. They moved through their set seamlessly, lead singer and frontman, Nick Anderson, moving into the crowd to jam with fans near the end of the set for their high energy, incredibly dance-able tune, “Turn it Up”.

[IMG: Bassist Aaron Kelley of The Wrecks, image credit to Angela Smith]

The indie rockers wrapped up their set with their most popular song, (at least according to the band’s Spotify page) “Favorite Liar”, giving fans the chance to scream their heart outs during the line in the final verse, “I remember waking up in Colorado…”. The five-piece played another local venue, The Globe Hall, when in town for their headlining tour on Halloween last year, and it appears as though the tour paid off.

[IMG: Guitarist Westen Weiss of The Wrecks, image credit to Angela Smith]

Walking into the venue, you would have no idea that they were the first band on the bill based off the crowd, that was clearly familiar with the band, and those who weren’t certainly are now. You can check out the Wrecks’ latest release, sophomore EP “Panic Vertigo” here. 

After the energy from their set died down and the stage was once again empty, my friends and I chose to move out of the crowd in order to buy some merchandise before things got too crazy and decided to enjoy the rest of the show from further back in the crowd. I was a bit more distracted during Dreamer’s set, but it was clear the band had some fans in the crowd. I enjoyed some songs more than others if I’m being completely honest, but regardless of my preference for some songs over others, their stage presence was undeniable.

[IMG: Lead singer Nick Wold of Dreamers, image credit to Angela Smith]

They know how to get a crowd excited in unique ways. Most notably, at the end of the set lead singer Nick Wold jumped into the audience to crowdsurf (and made it surprisingly far without being dropped), and the band threw stuffed animals into the crowd. I later learned that the animals came from a post-Valentines Day clearance aisle at a Walgreens, and thought it was pretty damn cool that they were creative enough to make it a fun addition to their set, also giving the Denver fans a unique experience from other dates of the tour.

[IMG: Bassist Marc Nelson of Dreamers, image credit to Angela Smith]

Although the band only has a few released songs on Spotify, they’re undoubtedly worth adding to your library.You can check them out here. 

The excited buzz of the crowd and vague smell of liquor in the air set the scene for the rest of the night. The only thing that put a halt to the chatter between hyped up concert goers was the beginning notes of New Politics’ first song and the sensory starkness of the lights shutting down across the room.

I’m used to being in the pit at shows, surrounded by sweaty strangers with little room to move but getting to be close to the performers, where all the action tends to be. This was the first time in a long time that I enjoyed a show from farther away, able to take in and fully appreciate the entire picture. It was refreshing. What surprised me most is that even though I only knew a few songs of theirs, New Politics made it nearly impossible NOT to dance around and get into their set. Everytime I put my full attention on the stage, something new and exciting was happening. The Ogden is a tiered venue, and I saw David Boyd (lead singer of New Politics) crowdsurf at least once in both the first two tiers. He interacted with the balcony, and even jammed with those of us in the back near the bar.

[IMG: Soren Hansen of New Politics, image credit to Angela Smith]

The lighting visuals were intense and overwhelming, but in the best way. I could go on and on about positive things in regard to New Politics’ set. Between a backflipping lead singer, a crazy talented drummer and keyboard player, and the remarkable ability of the musicians to not only keep performing through a long and difficult sounding set, but to keep up their incredible physical and musical ability consistently, never wavering or missing a beat and never letting any fatigue show through, it was an experience for the books.  It takes true passion for their art. Few times in my life have I seen performers as incredible and committed to their stage show as the men of New Politics, and I’m kicking myself for not listening to them sooner.

[IMG: David Boyd of New Politics, image credit to Angela Smith]

The night was filled with antics, dancing our butts off, and having fun. If you’re looking for a way to let loose for a night, a New Politics show is the way to do it. The buzz of the bass filled my body from the hair on my head to the tips of my toes, pounding in my chest along with my heart. Upon leaving the venue I could still feel the buzz of the bass and the energy of the performance on the tip of my tongue, and at the back of my throat, ever so slightly soothing the harshness that was there from screaming lyrics earlier in the night.

All three bands on the tour not only met my expectations, but exceeded them in a mind-blowing way. The passion and commitment these guys all have to their art and to their performance is unfathomably real, raw, and resulted in the most refreshingly inspired shows I’ve been to recently. It takes commitment and drive to play a show at all, but the above-and-beyond passion is what sets these performers apart. It takes true passion to put on a show like these acts did, and I have no doubt they would have played at the same caliber that they did to a  1,000 person room as they would to a room of 10. 

If you have a chance to catch any of the remaining dates of The Lost In Translation tour, DO IT. You’ll only regret it if you choose otherwise. You can find out what cities they’re hitting and get tickets here. 

 Otherwise, do yourself a favor by checking out the bands on the lineup and keep an eye out for future tours they’ll embark on. Trust me when I say you do not want to miss out on the chance to jam these bands. Check out New Politics’ music here.

A special thank you to my friend Angie Smith for providing her kickass pictures for this review: You can visit her website at  PinkSkiesMedia.wordpress.com or check out her instagram at instagram.com/angesmithmedia !

Keep an eye out for some Warped tour related content from me in the next few days! Who are you most excited about on the lineup?

[thisaintascenereviews]

Album Review by Bradley Christensen Goodbye June – Magic Valley Record Label: Interscope Release Date: May 15 2017

Goodbye June, a band with one of the most misleading names I’ve ever heard (there’s nothing wrong with it, but if I saw this band’s name without knowing who they were, I’d assume they’re a mid-00s pop-rock band), is one of the outliers that I came across in my search for new and interesting modern rock bands. Not that they’re super weird, experimental, or anything like that, but like The Revivalists, a band that I’ve talked about beforehand, their sound isn’t merely a cut and paste of 1970s blues-rock / hard-rock. They have that sound, don’t get me wrong, but they throw some other influences that most rock fans probably aren’t familiar with. The Revivalists, especially on their latest LP, Men Amongst Mountains, threw in folk, Americana, roots-rock, funk, and soul, but Goodbye June throws in southern-rock and country. I mean, they’re not a country group by any means, but a couple of songs on this album could potentially have a crossover appeal to country listeners. These guys are a band that I randomly came across while searching for new and exciting modern rock bands. Their name was interesting to me, but I was blown away when I listened to “Good Side,” I think. I was hooked from that song, because of how groovy, catchy, and energetic the song was, especially with its southern-rock / blues-rock groove. These guys are influenced by Led Zeppelin, as just as much as they’re influenced by Lynyrd Skynyrd, and that’s kind of cool, actually. I feel like if you either band, you’ll somehow like these guys, too. I mean, fans of one band is a fan of the other, too, because they’re both hard-rock / blues-rock, but that’s still an odd mix, nonetheless. Southern-rock isn’t exactly a genre that’s in a lot of peoples’ minds, especially nowadays, because it mainly popular during the 1970s, but a lot of bands are keeping that sound alive. Goodbye June, and their debut LP, 2017’s Magic Valley, is a melting pot of rock, so to speak, because they combine a lot of styles of rock together, and they do it in such a cohesive, concise, and interesting way.

I’ve talked about how some albums that I’ve been into have been either too consistent / repetitive with their sound, or they’ve been too diverse for my liking, but Goodbye June gets it right. This album is a great mix between consistent and diverse. The album goes through a few different sounds, but it knows how to combine those sounds in a way that’s very cohesive and flowing. The album can go from an upbeat rocker to a sentimental and sweet ballad, only to go back to a more upbeat and energetic track, at the drop of a hat, and it doesn’t lose any steam. I’m mainly talking about the three-punch combo of “Good Side,” “Darlin’,” and “Charge Up The Power,” which are three of the best songs here. I have to talk about the first three tracks, though, because those are another set of amazing tracks. “Bamboozler,” “Oh No,” and “Daisy” are fantastic rock songs that have a southern and blues edge to them that will get any rock fan’s veins pumping. “Daisy,” however, does place more emphasis on a hook, versus the “guitars and stuff,” but it still rocks. When we get the next three tracks, that’s when things could potentially take a turn for the worse, but they really don’t. “Good Side” is another very energetic track, but “Darlin’” is a sweet little ballad that picks up by the end, so the album oddly doesn’t lose any steam when the next track starts. There’s only one more ballad / country-ish song on the album, and that’s “Fear Of Jesus.” The song is technically the closing track, but there is a bonus song called “Liberty Mother” that kicks a ton of ass, honestly. It would make sense for “Fear Of Jesus” to be the closing song, though, because it has that feeling to it. I love how this LP combines a lot of styles together, but it never loses a beat. The album never loses its steam, and it easily could from having slower tracks on it. What’s weird, too, is that this LP is only a minute shorter than The Temperance Movement’s White Bear, which I recently talked about, too, and that album was a bit too diverse for my liking, because it wasn’t a very flowing album in how it tried to have a more atmospheric sound while being more energetic and raucous.

I’ve barely talked about anything less on the album, but this album is amazing. I love the vocals a lot, especially, because they have that dynamic that vocalists like Bruce Springsteen and Brian Fallon have, where they’re both gritty and melodic at the same time. I love those kinds of vocals, and the vocals aren’t totally like that, but they can be very raw and raucous, but their vocalist pulls through on the ballads. He doesn’t have a soulful voice, like the vocalist of Rival Sons, but when the album does gets a bit slower in tone and mood, it works well, nonetheless. The instrumentation itself is very well done, and the album isn’t a generic hard-rock / blues-rock album that puts an emphasis on “guitars and stuff,” as plenty of bands tend to do. There is an album that I’ve been into lately that has that idea, and I’ll talk about that soon enough, but it can work. Bands that just “rock” can be awesome, because it all depends on the execution. This band is more than that, though, and they have a few more tricks up their sleeve. They definitely have more in common with southern-rock bands, which is really neat, because they’re not just your average hard-rock / blues-rock band that’s influenced by the 1970s. If I had to pinpoint a single weakness on the album, it’s that the lyrics can be lacking sometimes. I really like the lyrics on certain tracks, especially the ballads, “Fear Of Jesus,” and “Darlin’,” but some of the lyrics don’t quite do a lot for me. The thing is, though, the songs on this thing are a lot of fun, so the lyrics are what you’d expect from more raucous and energetic southern-rock. A song like “Bamboozler,” the opening track, is a song that has a lot of wild and crazy lyrics, and “Oh No” is all about how the narrator is still going strong, despite a lot of awful stuff happening to him. The lyrics are totally fine for what they are, and I have a lot of fun with them, nonetheless. I’d love for this band to get bigger, because they have a really cool sound, especially within this crop of modern rock bands. I’d totally recommend this band to any rock fan that I know, because they have such a kickass sound that I want more people to hear.

[tonguetiedmag]

music: weekly roundup (our favorite submissions of the week)

Will Callan - Out Of Your Life

Get ready kids, because I’m ~going through it~ this week and a lot of my picks for this week’s playlist reflect that. First up is this a biting breakup track about just being done with someone. With lyrics that pack a punch, this song is unexpectedly upbeat and empowering. Listening to it made me want to delete all of my exes numbers and break it off with the guy that I kind of don’t like anymore. I didn’t do either of those things - but this song made me feel like I could!

Zachary Knowles - ghost

Buckle up for a wildly relatable song - this song tackles one of the banes of my existence: being ghosted. This song says what we all want to say to that one person that vanished without a trace. I think the world would be a better place if everyone was a little bit more honest with each other about their feelings, and that sentiment presented in these vocals might just take the sting out a little bit. Zachary’s voice is light and airy, gentle and honest. The whole song sounds like a tender plea for an answer to a question no one ever wants to ask: why’d you ghost?

St. South - Does Your Brain Ever Get This Loud

This track really fascinated me from the beginning. Ethereal, pared back, and very subtle, there’s not much to it. The vocals are stunningly gentle, the accompaniment incredibly simple. I found that what I connected to most in this song was the content. I have anxiety in a big way, so my brain is always loud. Something about the repetition in the instrumentals and the lilting in the vocals was really soothing. Listening to this track made my brain a little quieter and for that I thank St. South.

MDRN HSTRY - Barb

The instrumentals are the first thing that drew me into this track - the opening 15 seconds really set the tone for the energy in the rest of the song. The vocals, not all that elegant and a bit muted in a really interesting way, give the song a little bit of grit. Be sure to listen all the way through - the guitars pick up around the two minute mark and there’s a really kickass instrumental break. The ending really winds itself up and it’s the best part of the track.

Elliott Taylor - Held Up

This is my kind-of-out-of-left-field pick for the week. In a time when it’s becoming more and more common to mix genres together, this song is the Frankenstein’s monster of country and r&b. The vocals have a little bit of a twang in them, but the backbeat screams “this could be a lo-fi rap track”. This song confused me, made me hit replay, caught me smiling, and then made me listen to it another three times. It reminds me of a summer drive but still pumps me up just a little bit. I’m normally not one for genre-blending, but this one won me over.

The This - My “Help Me Rhonda”

I listened to this a few times while I was combing through submissions and it ultimately won me over with its energy alone. The guitars kick off with the catchiest rhythm almost immediately and the vocals - a little raw, maybe almost screechingly heartfelt (a huge compliment from me) - do more than just keep up. They’re quick, loud, and honest. The lyrics sold me the second I heard “And by the way, Breaking Bad sucks!” This song will win you over with it’s unpolished, punk-rock charm.

Archie Faulks - What For

The strings in the very beginning of this song made me swoon. As if that wasn’t enough, the vocals kicked in and I was done for. This melancholic track is a lovelorn ode. The vocals have a really beautiful range, which pairs nicely with toned down instrumentals. A strong backbeat accentuates the subtlety and nuance in Faulks’ voice. Give this song a spot on your rainy-day-lowkey playlists, it deserves to be heard.

Listen to all of these songs of our playlist! 

Article by: Jacq Kozak 

[convenience93]

Top 10 Favourite KPop Releases Jan - July 2017 Part 2

Now here’s my top 5 favourite KPop releases of January to July 2017. For No. 10 to no. 6, go here! 

Just a quick heads up, everything here is my own opinion, and is by no means factual. 

Well then, let’s go to the top 5!

5. Movie - BTOB

I think what I particularly enjoyed about this was how the individuality and role of each member of BTOB really stood out in this MV. They all took on roles suitable to their own personalities and characters, and the line distribution was also pretty good! I felt like everyone really shone in their own ways be it in their vocals, their quirkiness, their swag, their visuals, their acting skills etc. The song itself is a very old-school sound. It was as though you were sitting down and watching a marathon of old classic movies. Vocally, the boys always deliver too. The song itself is pretty different and unique from other recent popular KPop music offered by other boy groups, so it was nice change of pace and style. One of the members, Ilhoon, was the one in charge of being the one who composed the song, and it was a job well done indeed! I do think the song’s hook was a little weak though. But as always, they boys really made up for it with their strong and solid vocals and rap! That made the song really pleasant and entertaining even just to listen to!

4. Not Today - BTS

First of all, let’s talk about this music video’s cinematography. Love or hate BTS, the effects here are incredible, and this was just really filmed sooo well. Concept-wise I don’t think it was that original, but the boys and their slick dance moves and dance crew could make anyone gape in awe.  While I think out of all the BTS songs, this song does have the most punch and impact to it, if it wasn’t accompanied by the music video and dance choreography, I don’t think the song would have been as powerful. As a standalone, I do enjoy the song and think that is good. But I also think it does get slightly repetitive. While it has everything to be a catchy KPop hit, I wouldn’t really call the composition and arrangement anything out of the ordinary if that makes sense. Lyrics were decent though, and the message was good. The song fulfilled its purpose to be a song that would be a hit with audiences, but I actually find its visual aspects like the stunning MV and the dance choreography to be more striking and memorable than the song itself alone. That’s why this release just fell short of my top 3.

3. Yesterday - Block B

Top 3 was honestly a tough call for me. This music video was meant to have a comical feel to match the comical mood of the song, and it really delivered in that! But what I loved most about this release was the song itself. From the first second of this song until the end, I found myself completely hooked to this song. While songs like Movie and Not Today were really good enjoyable songs, when it comes to the hook, both wane completely to this song. The fun, upbeat tone of this bubblegum pop song could really make anyone smile. It’s such a feel-good song!! What a jam!!! Too bad, this song was really only released digitally, so it didn’t get as much media attention. Also, it wasn’t Block B’s leader, Zico, who composed this song. He did help out with it I think but the one who was the song’s composer this time Park Kyung, the guy who starts the song. And really hats off to him because it’s been a while since I’ve got a song stuck in my head like that after only 20 seconds into it haha.

2. GOOD NIGHT - Dreamcatcher

Dreamcatcher are actually fairly new to me, but the moment I listened to this song, I knew it was going to be one of my top jams. I thought this was very unique of them because while you can hear songs like this in Japan for anisongs, they are a lot rarer in Korea. I love the rock, badass style of the song and the intriguing MV to go with it! They also had another song before this called Chase Me, but I thought Good Night had a stronger hook, and it also came off more dramatically imo.  I love their gap too. Visually, they look like they could be a typical Korean girl group, but they are a lot more badass than that. It’s just everything about this works to accentuate the song itself from the song’s melody, arrangement, MV colour scheme, the girls’ expressions, and even just the way the instruments were utilised to create such a masterpiece. Tbh I actually think it’s even better than some of the anisongs out there. The production level of the song is just amazing. A dark, catchy song with powerful vocals and a kickass dance. Totally my kind of jam!

1. ANTI - ZICO feat. G. Soul

Hahah one creepy MV after another. But this time we have ZICO from Block B with a solo piece. Even this MV started kinda eerily like the Dreamcatcher MV lol. Ok real talk though, I just discovered this song recently, and I was mindblown. I don’t usually spazz and make a lot of noise about KPop lyrics because I never really find them that impressive, but once in a while, ZICO writes something and my jaw literally DROPS.

You can check out the lyrics to ANTI here: https://colorcodedlyrics.com/2017/07/zico-anti-feat-g-soul

Just looking at the lyrics, I was amazed at how real and raw the lyrics were. Everything he depicted and wrote in the song I’ve actually seen “fans/antis” like that...and it’s true how there are times fans to a certain extent as the customers treat artists/idols like “products” they expect to satisfy their needs and expectations rather than human beings. Even if they are trying their best to please their audience, these “fans” will always find something negative to bring the artist/idol down. It’s sad but it’s true. 

Some people may think of ZICO lyrics as just an angry rant to the world which I guess in some ways it is. But I also think it’s a really realistic portrayal of what they as celebrities in the showbiz have to go through, and how they sometimes have to suck it up if they want to survive. It’s so profound and something I feel myself being able to really connect to.

As for the song itself, the moment it starts with G. Soul’s vocals, my eyes widened. This is my first time listening to him, but his voice sounds so good in this; it’s like a perfect fit?! Then ZICO came up with his rap, and I’m not that knowledgeable about rap, but his sense of rhythm always is such a pleasure to listen to. Both this song’s melody and rhythm is just so dramatic and addictive - this was just such an amazing collab. I saw some people comment this, but the feel does really remind me of something Eminem. 

The music video itself was so really interesting to watch and I really liked all the symbolisms that seemed to be going on in the MV. It was 4 minutes long but the song really went by way too fast for me. I don’t know whether there’s gonna be anything later in this year that’s going to be capable of topping this, but it’s gonna be very hard since this song really ticked all the boxes for me. ZICO really outdid himself this time!

[buttermybooks]

Damn Summer! back at it again with the awesome book playlists! I am still on vacation but I wanted to make sure that I got to share this amazing list of songs with you guys, ON RELEASE DAY!!! Psalm for Lost Girls was truly an amazing read and listening to the songs on this playlist is truly something special. Let me know if you guys decide to pick this one up!!!!

A Playlist for Lost Girls

I listen to a lot of music when I write. Sometimes, I use music to get in the right headspace before writing a new scene. Sometimes, I listen to the same song on repeat for hours. I have a playlist for every project, and even subplaylists for certain characters or subplots. (It’s a little nuts.) Some songs I listen to so much that they seep into the sentences of the story.

This Spotify playlist includes the main songs I used to get in the groove for A Psalm for Lost Girls.

[Fun fact: A Psalm for Lost Girls was not the original title. As I hunted around for a title that would stick, I wanted to evoke a song or prayer because the whole book had taken on a musical quality in my mind and, at the same time, felt like a prayer Callie might send to her sister. A psalm is both of those things—a prayer, often sung—so hurrah! Title: nailed.

 1. Chica Difîcil by Aterciopelados

“I am a difficult girl/but I’m worth the trouble.” The vocalist, Andrea Echeverri, is my favorite 90s rock en español vocalist. Sometimes she is raw and angry; this tune is more salty, earthy, real. Both sides of her voice remind me of Callie da Costa, Psalm’s protagonist.

2. Girl on Fire by Alicia Keys

Callie is stubborn. When she sets her mind to avenging her sister’s memory, she puts “both feet on the ground/… /and is not backing down.” Also, fire. I’m not going to give away spoilers, but those burning candles on the cover? Relevant.

3. O Gente de Minha Terra by Mariza

Fado is the traditional music of Portugal, and Mariza is its modern queen. Her songs express the not-quite-translatable feeling of saudade—something like bittersweet longing. This particular song swells up my heart like the fictional city of New Avon: “oh, people of my land/now I see/this sadness I carry/I received from you.”

4. Wonder by Natalie Merchant

You get it? “They say I must be one of the wonders/God’s own creation/And as far as they see they can offer/no explanation.” This is exactly what Tess da Costa feels once the word gets out that she hears a strange voice and her community decides it must be the voice of God.

5. Eres Tú by Carla Morrison

These lyrics get a little bit sexy—speaking to the romance that runs through Psalm—but also? if you pretend it’s about sisterly love, this could be Callie speaking to her dead sister, telling Tess how she carries her mind and in her veins, how wherever she goes, it’s you, always you.

6. 1977 by Ana Tijoux

Ignore the lyrics. This is the sound of Callie on a warpath, seeking justice for the abducted child, Ana Langone. The energy of this song also reminds me of Callie’s best friend Karen Pérez, my favorite character to write. Basically, it’s 100% kickass girl.

7. So Sorry by Feist

This song is a piercer, getting right to the core of regret. It’s Callie remembering her final days with Tess—so many things left unsaid and the last words she wishes she could erase.

8. Fado de Pessao by Ana Moura

In this one, there’s a boat, a voice, a figure of speech… and I don’t actually know what any of it means, but the emotion!!! This is the feeling of Callie walking the streets, dreaming of Tess. And when Ana Moura wears her hair curly, she’s the spitting image of Callie and Tess’s mom.

9. When You’re Gone by the Cranberries

I’m probably not supposed to admit that I still love the Cranberries—but I do, I do! Maybe it’s the Irish in me, but Dolores O'Riordan’s voice just… slays me. She does salty-sweet-longing-rage like no one else, and that is pretty much my favorite flavor.

10. Siempre Me Quedará by Bebe

I don’t know. I just like this one. It’s got a soulful vibe with a bit of flamenco/gitano/don’t-eff-with-me flare. If you strip away the romantic bits, it’s a song about heartbreak and saying I’m still here, I won’t forget and I won’t give up. Which, well, when you meet Callie and Tess, you’ll understand…

A cultural note: You’ll notice quickly that a lot of these songs are in Spanish and Portuguese. That’s because I listen to a ton of music in both languages. But, to be clear: This playlist isn’t a match to the many cultures represented (directly and more subtly) in A Psalm for Lost Girls. (If I made a list like that, you’d definitely see some Puerto Rican, Dominican, Cape Verdean, Italian, and Lebanese representation—and, God, I love the music from those cultures too!) The songs here are more of an emotional match—like, the themes and energy I was feeling as I got into my protagonists’ skin.

To follow the tour, be sure to “keep reading”

Week One:

March 13 – Here’s to Happy Endings – Author Q&A

March 14 – Butter My Books – Guest Post

March 15 – Margie’s Must Reads – Spotlight

March 16 – Cynsations – Gust Post

March 17 – Ex Libris – 10 Favorite Moments from Psalm for Lost Girls

Week Two:

March 20 – Forest of Words and Pages – Like/Try/Why

March 21 – That Artsy Reader Girl – Debut Dish

March 22 – Twinning for Books – Review

March 23 – Mundie Moms – Review

March 24 – The Children’s Book Review – Guest Post

[avaliveradio]

1.21 New Music Monday with Jacqueline Jax

TODAY'S LIST OF WHAT'S FRESH COMING INTO A.V.A LIVE RADIO. THIS IS A MIX OF INDIE POP, SONGWRITER AND ROCK SONGWRITERS THAT WILL INSPIRE YOU AND SEND YOU SEARCHING THE ARTISTS PAGES FOR MORE. EPISODE HOSTED BY JACQUELINE JAX.

Listen to the show : starts Monday at 12 pm et on all broadcasting outlets including:

The Anchor Fm page: https://anchor.fm/ava-live-radio

iHeartRadio station page : https://www.iheart.com/podcast/269-AVA-Live-Radio-Musi-29336730/

The Spotify: https://open.spotify.com/show/2toX0f3dPmI8gmUSOKZicx

Featuring:

Artist: Alicia Michilli New Release: Back Down Genre: Soul/Pop

Located in: Nashville, TN

This song is...  I am a Soul/R&B artist from Detroit, my music is heavily influenced by Motown and Soul. My song, "Back Down" was tracked live, except for horn and vocal overdubs, which gives it a very authentic, raw vibe. This compliments the lyrics perfectly since they are very honest and uplifting. It’s a reminder to myself (and others) that even when life gets crazy and hard, we just need to lean on each other and keep moving forward. It’s about being resilient and remembering where you come from. The only thing that can stop you from getting where you want to be is yourself.

The music we are creating is... This release, "Letters From the Edge", is important to the direction of my music because it is the stepping stone to the next phase of my career. This is the first project that I feel really captures who I am as a person and as an artist. I believe it will open the door to a lot more opportunities to share my music with beautiful humans around the world. I believe a lot of people can connect and relate to the stories being told in these songs.

Right now we are.. I am most excited about my, “Letters From the Edge” EP release show. It will be on March 5th, at 3rd and Lindsley in Nashville, TN. I am also really excited to be hitting the road from April-June in support of the EP release. I will be traveling through the mid west, Europe, and the West coast. I’ve also got a music video in the works as well which should be a great time!

LINKS:  https://fanlink.to/Letters https://soundcloud.com/alicia-michilli-1/sets/letters-from-the-edge/s-in7u4 facebook.com/aliciamichillimusic instagram.com @aliciamichilli twitter.com @aliciamichilli aliciamichilli.com

Artist: Chris Driver

New Release: 'Lightning'

Genre: Folk-Country-Pop / Singer-songwriter

Located in: Brighton and Hove, UK

This song is... With his emotive and captivating vocals and heartfelt lyrics, Chris Driver is a singer-songwriter based in Brighton. His debut single ‘Lightning’ was released in October 2018 and conveys his love of harmonies and a stripped back raw acoustic sound. Chris’s influences include Neil Young, The Beatles, Radiohead, Band of Horses and First Aid Kit to name a few. Expect an eclectic mix of folk-country-pop.

The music we are creating is... As my debut single, 'Lightning' is very important to me and a song i'm so pleased to be able to share as I start the journey of releasing my music as an artist.

Right now we are... I have 3 more single releases planned over the next 5 months, and have just finished mixing the follow up to 'Lightning' and filming the music video.

LINKS:  https://open.spotify.com/album/3iasj3uqLWUuCNXl5yIG9i https://www.facebook.com/chrisdrivermusik https://www.instagram.com/chrisdrivermusic https://twitter.com/ChrisDriverMus1

Artist: The Hesh Inc. (band) / Hesh Meister (solo)

New Release: Convention Hall

Genre: Rock, classic rock, singer-songwriter

Located in: Asbury Park, New Jersey, USA.

This song is... This song is the opening track to my album, "Soul In Exile 3: Love Runs Aground," and it is a frank exploration of how a relationship or marriage disintegrates from the inside out, couched in the imagery of a legendary old building on the Asbury Park boardwalk crumbling by itself. It starts off sounding like a piano-and-voice ballad but the lyrics soon turn pointed and are underpinned by organ, drums, bass, and especially guitar. Anyone who has been through the demise of an intense, sustained relationship will be able to relate. Be forewarned, though - this is NOT a simple three-minute pop gem - it is pure album rock, the way it was once made in the golden era.

The music we are creating is... This song keeps the album in the public consciousness, for those who seek this type of music. THE HESH INC.'s musical mission is to keep the album-rock epic alive during a time when trends have gone elsewhere.

Right now we are... Right now I am in the writing phase, making early plans for the recording of the next album, which will be a continuation of this one.

LINKS:  ReverbNation: https://www.reverbnation.com/theheshinc/song/30406248-convention-hall Spotify (full version): https://open.spotify.com/track/2Pqd6Rkb6lU11krfLRDB9B?si=xFTU5KxAS1O6GmL751n9Kg Twitter: https://twitter.com/TheHeshInc Facebook: https://www.facebook.com/TheHeshInc.music Instagram: https://www.instagram.com/theheshinc

Artist: Cwiredband

New Release: Climb the Mountain

Genre: Resurrection Rock

Located in: Berkeley Springs, WV - Nashville, TN

This song is... about Spiritual Growth and Ascension. Where are all here to transform from our egoic me centered self (our Dragon) into an awareness of Unity and Relationship. It’s a journey. The song is somewhat epic in nature. Sonically we feel the writing, lyrics, and arrangements fits the life long process of always becoming more aware of our true selves and our true identities. It’s a trek that leads us to an understanding of just how magnificent we all are.

Right now we are... Working on our next EP. C Wired has more than enough material to record a full-length album, but both he and producer Addison Smith are really comfortable with more frequent releasees every 3-6 months utilizing the 6 song EP format. It’s more in tune with the way we consume and listen to music today anyways. Most people are not taking the time to listen to an entire album. They select the one or two songs they like and add them to their playlist. Working on getting booked for European and US based tours, festivals, etc.

LINKS:  https://open.spotify.com/track/6Bnw1WTJthvvGoCyNjxGRj?si=geDOHL3_R9ywOpi1OkxB2A https://www.instagram.com/c_wired https://www.facebook.com/cwiredband

Artist: Mack H.D

New Release: FotoLove

Genre: Pop, Electro pop

Located in: White Plains,NY

This song is... Daft Punk inspired; I made the beat and recorded this song with LS at our studio 5 years ago. Unfortunately, I never released the song due to fear. I am mostly a Hip Hop Producer I helped dozens create their own sound but yet I never really created my own, so I was afraid that people would simply hate the song because it is so different. The song was inspired by a long distance relationship I had with my girlfriend which is now my fiancé. The song is about a guy that is in love with a woman and he becomes this super fan that has many pictures of her. The whole song is about this delusional guy talking to a photograph.

The music we are creating is... This release is important to me because it's unique and it's different than what I usually do. It brings out my skills as a music producer. It shows that I can step out my comfort zone which is hip hop and still create a banger that I cater to every generation.

Right now we are... Right I'm working on the video for the song FotoLove. I'm also recording for my upcoming album which will be a compilation album that will Produce.

LINKS:  Spotify: https://open.spotify.com/track/42MTRsCl7JI2TMUdMMYrBd?si=x0SRR5mNSFmnxhFmms1tnw Twitter: https://twitter.com/realmackhd Instagram: https://www.instagram.com/realmackhd/?hl=en Youtube: https://www.youtube.com/channel/UCc-_0sfiAhPFKN535Fi54QQ

Artist: Houndwolf

New Release: Tempted to Abuse

Genre: Heavy Metal

Located in: Witten, NRW, Germany

This song is...  "Tempted to Abuse" is Heavy Metal song with a strong blend of Hard Rock. Tempted to Abused stands out due its organic sound, the straight songwriting and the unadorned and open-minded lyrics. The song comes along with a genuine and driving Heavy Metal sound, easy recognizable roots in Hard Rock and an in-your-face attitude.

The music we are creating is... "Tempted to Abuse" is the title track of the last released EP. The EP Tempted to Abuse (Label: M71) features four brand new kickass songs and was released on 27th April 2018.

Right now we are..  The band actually works on new material and plans several concerts. Houndwolf just started to work together with the All Metal Agency.

LINKS: Facebook: https://www.facebook.com/houndwolfofficial  Twitter: https://www.twitter.com/houndwolf_metal Youtube: https://www.youtube.com/channel/UCtUJMPOjbithPj5wWUZXoRg Instagram: https://www.instagram.com/houndwolf_metal Spotify-Profil: https://open.spotify.com/artist/3Al0pyqTX99nMXM6fE5oFl iTunes: https://itunes.apple.com/de/artist/houndwolf/1156166188 Amazon: https://www.amazon.de/Beware-Dog-Explicit-Houndwolf/dp/B07BTY8HYK/ref=sr_1_3? Deezer: https://www.deezer.com/de/artist/11048430 Qobuz: https://www.qobuz.com/fr-fr/interpreter/houndwolf/download-streaming-albums Bandcamp: https://houndwolf.bandcamp.co

[soundsandnoises]

Slam Dunk Festival 2017: Midlands, Birmingham (27/05/2017)

With such big project as Slam Dunk Festival it is impossible to do it without any hiccups. Luckily it was something minor like technical issues or confusion about when concert goers should be let in into festival grounds, the most important: security matters was rather properly and professionally handled (which was reassuring after Manchester attack). That night was about music and having a good time, about having safe haven.

It was indeed celebration of music with artists from all over the world, uniting people under one flag. There were so many fantastic acts it was impossible to choose at times.

Fort Hope was a great start with their energy and growing fan base showing devotion. Nothing better promotes debut album (’The Flood Flowers, vol. 1′) than opening slot at rock festival. London rockers know how to stir the crowd with their catchy songs that range from pop rock to post hardcore and that’s exactly what happened at Slam Dunk’s The Key Club Stage.

Next stop was main stage, Jägermeister Stage, with Crossfaith showing claws, teeth and unleashing wall of sound, wall of death and few circle pits during their performance. In seconds it was hotter than hell and roar of Japanese metallers’ guitars along with powerful drums was dictating the rhythm and crowd listened obediently going absolutely crazy throwing fists, jumping, screaming lyrics and being all but silent and still.

Complete mood change approached with We Are The Ocean’s set, being one of the last three shows for this formation. And that’s definitely the way you want to bid farewell: on the main stage, looking down at the place filled with their fans singing their hearts out. Unfortunately the show has been cut short and fans were asked to choose between two songs: ‘Young Heart’ and ‘Nothing Good Has Happened Yet’. The latter was an absolute victor and it couldn’t be a better ending for one of the final shows. Incredibly emotional concert, yet it was rather a celebration of great memories than mourning that it came to an end. After all something must end so something new can bloom.

Bury Tomorrow had some bad luck that day - due to technical issues their show was delayed for over 20 minutes which left them with only 20 minutes to rock the main stage. Which they did, but you could see that they were just warming up when they had to wrap up because of the tight festival’s schedule (they still owned it!). But it was definitely one of the most intense shows, with band trying to make it up to their fans. It was kickass, heavy show; with Dani’s powerful and passionate vocals the show was simply fierce. Before they had to leave the stage Bury Tomorrow promised to wait at their merch booth and meet with each and every fan even though they didn’t have any signing sessions scheduled just to compensate for lost time.

To catch some fresh air after that sweaty encounter it came time to check what’s happening at Impericon Stage. Counterfeit was preparing to hit the stage. They did an amazing job when they made people move their feet and start actively participating in the show and it wasn’t easy in the broad daylight, in the middle of the day at the time when everyone is slightly bored. Counterfeit delivered solid rock/punk/alt mix. And was incredibly Jamie Campbell Bower charismatic onstage, no to mention he was unafraid to ‘get dirty’ and not only start a mosh pit but jump right in the middle of it without losing a note.

From raw energy there comes a leap into colourful, warm and fabulously cheeky set of Waterparks humbled by great crowd gathered just for them (with posters, saying ‘Waterparks’ in Spanish’ rainbow coloured T-shirts proudly worn by excited fans, etc.). With their bouncy pop punk tunes it was impossible to stand idle and fun lyrics and even funnier banters only made their show more and more entertaining. Their UK tour in September is definitely something you don’t want to miss.

It was great to see Deaf Havana rocking the main stage - it’s definitely the place they fit perfectly with heartfelt lyrics and positive vibe coming from them towards the crowd, especially when you can see how humbled they are by vivid response from fans enjoying their show. It’s one of these bands that are able to produce incredible rock anthems with subtle, to the point lyrics (which people can relate to) and fantastic energy unleashed with buzz of guitar and soulful voice of James Veck-Gilodi.

Frank Iero and the Patience didn’t disappoint with his honest, raw, tearful rock with chunks of punk and alternative influences. It’s the music to start riot with, music to release the hurt and turn it into something creative. 

It was surprisingly sunny during this show, even the wind wasn’t that annoying, so Frank joked that he was the one bringing rain, but the audience brought the sun. But for what it’s worth I think he might underestimate his ‘influence’, ‘cause it’s the rain that brings ease to dried out soil, it sustains life and straightforward, brutal truths in Frank’s lyrics might be something like that for many.

Back to main stage: Don Broco. Oh, my! Their set was MAD. This band knows how to party and at Slam Dunk everyone was invited. They left fans with a promise of new album and a reminder of the fact that if someone wanted to catch them live this year there’s only one chance in November in Alexandra Palace (11/11). Their energy is beyond contagious and it is truly impossible to stand still. With each show they prove that they are one of the brightest stars of the new rock wave firmament. And believe me: you don’t want to miss their show - the mosh pits are killer, they don’t limit themselves and crowdsurf more than often, choruses are mighty. Absolute entertainment.

Tonight Alive surprised me with their eclectic musical style, the combination was quite interesting. That mixed with powerful, crystal clear vocals of Jenna McDougall which bring to mind Disney’s princesses with the wide range, clarity along with strength and carrying the important message with the song, created quite a special show. She was very engaged, heart on her sleeve and encouraging words full of passion, tolerance, understanding and acceptance. These Australians are going their own way, not afraid to be something else, carve it with their blood, sweat and tears, surely having something important to say. A voice of the generation.

Another strong voice and definitely a legend: Laura Jane Grace leading Against Me! The show was absolutely mesmerizing. It was the voice; the cry, the tone tearing apart the air with sorrow, hurt and anger. And this punk rock being punk rock, raw, buzzing with noise, a bit dirty, unpolished, growling sound. THE experience. THE headliner if you ask me.

Memphis May Fire had really bad luck with the slot, cause they definitely deserve bigger stage and bigger audience. Cause they are on fire and give it all. It was painful to see people merely move. They always serve quite energetic combination of metal/post-hardcore, kick in the teeth wall of sound with growl and clean vocals nicely blending and complement each other and Matty [Mullins] was doing its best, but the audience was just not enough, not ready for them. Still, pretty decent show from the Texan metallers with blazing spirit and heavy tunes. 

Neck Deep on the other hand gathered quite a crowd and the response was pretty good. Naming Mark Hoppus as one of their godfathers they did pop punk a solid. Welsh rockers were like a fresh breeze, light, breathing life into the crowd that was surely quite tired after a long day of music. People actively participated and even if Ben [Barlow, singer] told them they were missing out Enter Shikari’s set I dare say they were at the right set. Maybe in for a different kind of entertainment (cause Enter Shikari went BIG with all the lasers, lights and screens and filling up Genting Arena), but it was worth every second. 

[thewatertowernews]

pumpin’ and gumpin’: the liam creaser workout plan

by liamcreaser

  I usually don’t do New Year’s Resolutions, which is why I didn’t start mine until the third or fourth week of January. Naturally, it ended up somewhere completely different than I expected. I wanted to use my time in the morning before class for doing something productive like going to the gym instead of sleeping in, but of course, there was a caveat. I quickly discovered that the only way I could have an efficient and effective workout was by putting in my headphones and cranking up the most brutal, mosh-worthy, head-banging 80’s heavy metal music. I then took up a challenge to listen to a classic metal record each time I worked out, and then evaluate my performance based on what I heard.   Before that week I was mostly unfamiliar with the shreddage and riffage I would experience at the Patrick Gymnasium Campus Recreation Center. I had known some of the more contemporary metal, and I was a huge fan of punk from where many hardcore bands drew influence, but there was something deep inside me yearning to thrash my short-haired head around in the most extreme ways and launch myself into a world of pain, sweat, and lactic acid. I needed epic breakdowns, pounding riffs, and blistering solos with enough street cred to knock a grown man out, yet enough technical ability to strike awe in the most prestigious classical virtuosos. Like any proud member of what I like to call the Guitar Hero III generation, I was familiar with the music of Slayer and Metallica, so my journey began there.   Since I had already heard Slayer’s most famous album, the 1986 Rick Rubin produced Reign in Blood, I decided to start with their debut, 1983’s Show No Mercy. Slayer plays thrash metal, meaning their metal combines the speed and kick of punk with the riffs and technique of classic metal acts to produce a sound ultimately designed to soundtrack a mosh pit. Their first  album features a lower quality production value than their later albums, but is still just as kickass. The recording was apparently completely self-funded by the band, with some members even borrowing from their parents. Here we can observe the punk influence with the pure speed of the drums and bass, and a solo section worthy of melting faces to this day. The Satanic imagery seems corny and dated, but the lo-fi production gives the album its classic feel. It is a must listen for anyone trying to get into thrash or speed metal. And who could forget Tom Araya’s timeless, high pitched scream? From my experience, only the first three or four Slayer albums are worth the listen, but each of them are sure to make you run faster and lift more weights.   Metallica’s Kill Em All from 1982, also a debut album from a thrash metal band, was my next listen. This record established the band as a contemporary to the scene of fast, pounding mosh pit music like Slayer, and eventually propelled the band to become the most famous heavy metal band in the world. The technique and musicality is just as prominent here as on Show No Mercy, but the lyrics and production value establish it as a distinct listen for any metal fan. The main difference is that this album ignores the edgy Satanic themes and instead opts for lyrics just as violent but with a more confrontational demeanor, setting up Metallica to be metal tough guys instead of some angry nerds. The guitars and vocals have a more stadium friendly feel, and Lars Ulrich’s double kick becomes instantly recognizable as the speed pushes you to do that extra set of curls you thought you weren’t ready for. If you were questioning the toughness credibility of the guys who performed with Lady Gaga recently, look no further than this album.   The third album marked a slight departure from the thrash metal genre and ventured into what is known as grindcore. Grindcore metal is essentially thrash but more brutal, fast and discombobulated; all aspects of technique and musical talent are substituted for raw, violent spouts of anger, the songs are usually less than two minutes long, and the vocals are low grunts and shouts. The most essential grindcore record is easily Napalm Death’s Scum (1987) which is also often credited as being the genesis of the genre. The album (and band) is best known for their song “You Suffer”, credited in the Guinness Book of World Records as the shortest song ever recorded at 1.3 seconds long, a lone grunt acting as a break in between a symphony of grunts from the album’s 33 minutes. For exercise, the album works well in terms of pure aggression, but the lack of any form of melody whatsoever hinders the motivation to push forward throughout the dullness of the morning.   The last album I reviewed was perhaps the end all be all of workout metal albums. Often considered the first true death metal album, Scream Bloody Gore by Death has its roots in the thrash of Slayer and Metallica, but takes the entire world of American metal in a much more extreme turn. As the name suggests, the album’s lyrical content contains brutal depictions of gore and violence with song names like “Regurgitated Guts”, which may be conflictual with your workout routine if you compare the pain of your workout to the violence in the lyrics. But the instrumentals bring another level to the table; the guitar solos are beyond the comprehension of any mortal being and the palm muted riffs will have your gains shooting through the roof. This album is not for beginners, however as my first death metal album, it wasn’t too bad. This journey has only proved that if you’re out there giving it your all in the weight room, any type of music can be fun