#its such a sweet spot in their discography

[littlemuppetmonsters]

patricks vocals in infinity on high are so insane

[phagodyke]

i will ALWAYS be salty abt the ed-sheeranification of one ok rock (one of my fave personality-building anecdotes i explain at parties to ppl getting to know me) but the fact is that takas voice is soooo hot he could sing the words on the back of a milk carton to the tune of a t*ylor sw*ft song + id probably still listen to him. sorry

[fairlyang]

dad!miguel headcanons 🕷️

dad!miguel who always prepared gabi’s lunch in a hello kitty thermo (if he made her sopa de letras, her fav) or a hello kitty sandwich box because he knew how excited his little girl would be when she’d see how her lunch was packaged

dad!miguel who would write cute little messages or corny dad jokes on little post it notes with whatever sweet treat he’d leave her

“How does a penguin build its house?” he wrote on one side then flips it over to write the answer

“Igloos it together.” he signs it with “te amo<3” then rereads his joke to laugh at it before sticking it to a rice krispie

dad!miguel would definitely know how to do gabi’s hair (because he would do absolutely anything for her) so when she asked if he could do elsa’s braid you can bet your ass he searched up easy tutorials on youtube

dad!miguel who will make or buy whatever snack gabi may crave, have it be chicharrones, brownies, or a popsicle de gansitos, he will make sure she gets whatever she asks for

dad!miguel who would sing gabi to sleep, songs ranging from lullabies to boleros to vicente fernadez’s whole discography

dad!miguel that signs her up to whatever her little heart desires. an art class? say less. ballet? he’ll sprint to buy the shoes

dad!miguel who accidentally falls asleep on the couch after watching barbie movies with gabi

extra points knowing he’d be sitting legs spread, head against the cushion with his mouth wide open letting out the loudest of snores imaginable which would just make gabi giggle in shock

dad!miguel who’d get drunk at the neighbor’s kid’s birthday party and be one of those mexican dads to be singing so obnoxiously but somehow sounding not so bad

“le dedicó esta para mi niña hermosa.”

cue piel canela playing and dad!miguel snatching the mic from one of the tios

he tries to find gabi through drunken eyes but once he spots her in her bright pink dress he sings to her, pointing to her when the lyrics say “me importas tu y tu y tu y solamente tu.”

gabi with wide, glossy eyes watching her papi give her yet another serenata because she was spoiled rotten in all aspects, this being one of them because she loved his singing

dad!miguel who would call up his friend’s mariachi early in the morning on gabi’s birthday but ask the favor that he can sing for her instead because he always wants her day to extra special

[tomorrowxtogether]

TXT Debut a Sparkling New Chapter — and Reveal Which Previous Era Their New Album Is a Throwback to (Exclusive)

PEOPLE spoke to Soobin, Yeonjun, Beomgyu, Taehyun and Hueningkai about making "The Star Chapter: SANCTUARY"

Tomorrow x Together's latest release is an evolution and a nostalgia play all at once.

The Star Chapter: SANCTUARY (out Monday, Nov. 4), is officially the start of a new era for the K-pop group's five members — Soobin, 23, Yeonjun, 25, Beomgyu, 23, Taehyun, 22, Hueningkai, 22 — who spoke to PEOPLE ahead of its release.

They're moving out of "The Name Chapter" — two albums that reveled in the freedom and occasional chaos of youthful indiscretions — and into "The Star Chapter." Represented by a bright, shining logo rebrand, it carries messages about finding true love and lasting happiness.

“To some extent, I think it really reflects us growing up,” says Hueningkai.

"In our past installments, it was more of those magical moments, like ‘Run away together with me,’ or something that could be a little bit less responsible," adds Taehyun. "But this time around, it's romantic, but in a sense that it's grounded and more realistic.”

Sonically, SANCTUARY has a sweetness that recalls some of the group’s earliest releases.

"I think you're spot on about talking about how you thought of The Dream Chapter when listening to this album," Huengingkai confirmed while discussing their influences with PEOPLE in October. "It's something new, but it's something that also provokes nostalgia as well," he adds.

The lead single, "Over the Moon," is dreamy pop but includes some very grown-up themes with lyrics about living under one roof and planning for the future. Other tracks, like "Danger" tip into funky Bruno Mars-like territory, or in the case of "Forty One Winks," more upbeat R&B.

While there's no real rock or pop punk moments (something they've leaned into with great success in the past with songs like "LO$ER=LO♡ER"), "Higher than Heaven" does have a romping pop-rock bent.

The album's sound isn't just a reflection of the group's shifting tastes. “We have this big narrative that overarches every installment in our musical journey," Hueningkai explains.

Their discography, and the larger lore of the group, incorporates a sprawling fictional backstory that can feel intimidatingly complex for the casual fan. But the themes — the pains of growing up, the reality of facing adulthood, and the heartbreak that so often goes along with it — are universal enough that they come through easily in their earworm singles.

While TXT has shared in the past that their music is often informed by personal experience, they often keep a distance from speaking about their own relationships, instead telling the song's stories of crushes or lost loves as the tales of a “boy” (representing all and none of them) directed at “you,” an embodiment of their fans.

Explaining the meaning of their latest album, for example, Beomgyu says, “It’s a chapter where the boy finally recovers his name and remembers the promise he made with you. And they finally reunite in this album. So it's the rejoicing that they all feel with this reunion.” 

All five members wrote lyrics and music on SANCTUARY, something they've been increasingly passionate about over the six years since their debut.

Taehyun admits to doing most of his writing in the car and on planes, amid their busy schedules. They still find space for collaboration though. "We tend to work separately on lyrics, but when we get stuck, we ask for help from the other members," says Soobin.

Seemingly non-stop promotions can be draining, but they're candid about how they keep their minds and bodies healthy. "Sleeping well is the best thing you can do for yourself," says Beomgyu. Adds Soobin, "We eat a lot of supplements, too, and try to work out a lot so that we can stay healthy and keep up our stamina."

That work ethic has gained them a mountain of accolades in relatively short career.

In 2023, they headlined Lollapalooza in Chicago, then performed at the VMAS in New York, where they also took home the award for Push Performance. Their last album debuted at No. 3 on the Billboard 200, making them only the second K-pop group to enter the chart 10 times, with the only other being their label mates BTS.

Asked if that sort of accomplishment is exciting or intimidating, Yeonjun explains, "We feel both. We feel both elated, and also we feel a sense of responsibility. And I think both are needed, because only when we feel that responsibility can we grow as artists and evolve as artists. So because so many people are giving us love and support, It's our duty to grow and evolve, and show new sides of ourselves as artists."

Adds Taehyun, "We are eternally grateful to Global MOA who always provide us with a lot of love and support. And with this album and the albums going forward, we're going to pay back to them by providing really good music and performances."

The Star Chapter: Sanctuary is available to stream now.

[jonasmighthaveautism]

this is a make believe safe space (rev dni) /ref

collection of make believe thoughts.

make believe, is an album that i think gets too much hate. for whatever the reason may be,,, it's never warranted. I guess, to each his own but. the biggest complaint i see is that weezer sold out for the album. "too poppy" which in that case, what about raditude?? pd?? honestly.. anyways. do you really think rivers was caring abt making the next pop hit during 2005? he was in his no sex, going to sell all my belongings, hippie rebirth era. the pop sound of the album is purely because that was the feel rivers was going for. each album has its own feel and maybe a more pop sound was the feel for mb. who's to say. it felt like the first really diverging sound from the band. not too extreme but not too familiar. other bands have their sound. the sound their known for. the sound that fans want more of. weezer, doesnt give two shits about any of this. they make what they wanna make, and demand is (sometimes unfortunately) in the least of their concerns. You go girl! make what you want! but also.. that might be why weezer is so refreshing to listen too. each album is a little surprise. they have enough for anyone to find a song by them that they like. each album- each song, is it's own sound. something nice to listen too. refreshing. never expecting. a joy really. which only cements my idea. make believe has a sound that weezer needed. to complete their sound collection. it would've happened either way, amd maybe 2005 was the sweet spot for them. maybe beverly hills wouldn't have popped off if it came out more recently, or in the 90s. And every band needs their hit. that isnt a detachable penis /ref

and maybe you just dislike make believe because you just dislike it. fine. whatever. more for the rest of us. p.s. if youre a weezer fan that refuses to listen past 2001 in the bands discography, you're a loser. and a nerd. and this is coming someone who falls under both of those categories. i promise you that you'll live if matt sharp isnt playing the bass.

[thekidsare-not-alright]

Sorry to bother you with this question but I don't really know anyone in FOB fandom. I'm not new here, but I do work an extremely busy job (I'm an ER nurse) so I am admittedly a bit lost on some things about this current tour. Like what is the 8 ball stuff, and do you happen to know any general set list for the shows? If you don't feel like answering, that's totally cool too. I see a lot of your posts in the FOB tag so I thought I'd ask. :) Thank you in advance! xx

First, thank you for your all that you do in healthcare! Absolutely no apologies, I'm happy to help :)

Major tourdust spoilers ahead! (of course)

I'm going to take this ask as a chance to explain all the setlist fun stuff in one spot, so here we go! The setlist has been consistent except for four main points, which I'll explain below. For ease, I'm going to be referring to Bonner Springs' setlist (6/24/23), so when I use numbers to refer to song placement, those are the ones I mean.

If you wanna skip ahead anon, magic 8 ball is explained in letter D :]

A. The first change in the setlist has only happened once and takes place 6th in the setlist, following 16 candles and preceding Grand Theft Autumn. It's usually Chicago Is So Two Years Ago, but has also been Homesick at Space Camp and Dead On Arrival (after their respective tour debuts as magic 8 ball songs). Songs 6-8 are played in a TTTYG themed section of the set every night.

B. The second change is slightly more regular and takes place 12th in the setlist. This song is often "The Take Over, The Breaks Over," but every now and then it gets swapped out for Hum Hallelujah, as well as Bang the Doldrums (after its live debut as a magic 8 ball song in LA). It was once swapped out with 7 Minutes in Heaven (Atavan Halen).

C. The third change is different almost every night, with only a couple repeats here and there. This is Patrick's section of the setlist, at track 15 after Fake Out, where he just plays one or two snippets of songs on piano (or sometimes acoustic guitar) before a shortened cover of Journey's Don't Stop Believin'. Oftentimes, if he plays two songs, one of them is from Fall Out Boy and the other is a cover of whatever he feels like. Often referred to as "piano medley" or just "medley." (Golden, What A Catch, Donnie, and What a Time to be Alive have been very popular relatively for this part of the setlist, sksk patrick)

D. The fourth and final change on the setlist is known as the "Magic 8 Ball" song and takes place after Hold Me Like a Grudge at track 23. This song is where Pete asks a "giant magic 8 ball" (a screen above the stage) what song they should play anywhere from their entire discography. Here's a video of him asking (the spiel is about the same every night). Each magic 8 ball song has been different for each show, with exceptions described in letter H. Some of these songs have never been played live before, some haven't been played in over a decade, some just haven't been played in a while or as often but they are a complete secret/surprise every night! Additionally, Pete has said that once a song has been played for the magic 8 ball section, it can appear elsewhere in the setlist at future shows. So, really, anything can happen.

Fall Out Boy has gotten even more unhinged lately, so here are a few more setlist changes.

E. As mentioned above, the piano medley usually ends with a cover of Journey's Don't Stop Believin'. Twice now, however, this song has been sacrificed for other songs: August 1st for Gym Class Heroes' Travie Mccoy being brought on stage (Patrick played part of Stereo Hearts on piano, then they all played Cupid's Chokehold) and again on August 2nd for Sweet Caroline (a Boston Red Sox/Fenway Park tradition). The Journey cover has been played every show since.

F. Up until recently, a cover of Ozzy Osbourne's Crazy Train has been played after Baby Annihilation and before Dance, Dance. Enter Sandman by Metallica seems to have replaced Crazy Train in the setlist as of August 5th. Sometimes referred to (by me) as the "metal cover."

G. The only song from MANIA to make it on the tour's setlist, The Last of the Real Ones, has been cut from the setlist for a second Magic 8 Ball song (occurring right after the first Magic 8 Ball song). At first, it seemed like it was cut only for the duration of Patrick's sickness or for noise curfew, but it has not yet returned as of August 5th. It was a part of the "permanent" setlist up until July 29th, when it was last played.

H. As mentioned in letter G, a second Magic 8 Ball song has been added to the setlist every night since July 30th (Toronto, ON). The following cities have gotten two Magic 8 Ball songs:

LA, CA (July 2nd and 3rd) - first sold out show of the tour, Pete's home

Toronto, ON (July 30th) - only date in Canada

Forest Hills, NY (Aug 1st) - possible nod to the Hella Mega Tour dates that the band were unable to play due to a COVID-19 exposure

Boston, MA (Aug 2nd) - possible nod to the Hella Mega Tour dates that the band were unable to play due to a COVID-19 exposure

Darien Center, NY (Aug 4th) - possible nod to the Hella Mega Tour dates that the band were unable to play due to a COVID-19 exposure

Camden, NJ (Aug 5th) - they're probably just having a lot of fun doing spontaneous songs at the end of this leg! <3

For each double magic 8 ball night, the first one is a new song (one not yet played on Tourdust before, regular magic 8 ball rules apply) and the second is a repeat magic 8 ball song (any of the previous ones).

I. Spontaneous covers such as Shipping up to Boston and Coffee Mug have also appeared once each without cutting other songs in their place. The former was a nod to Boston and the latter a tribute. Really, just be prepared for anything at all times.

Extra fun note: The official setlists have the mystery song written in code, mostly using the NATO phonetic alphabet by abbreviating either the song's title or a key set of lyrics (GINASFS was written as "Golf" on the first setlist, Of All The Gin Joints in All The World, commonly referred to as Gin Joints, had the code name "Gamma Juliet," while Fame < Infamy's code name was "Bravo Whiskey Papa," referring to the lyrics "better with (a) pen" in the song)

Basically, they've been talking about having some of that old pre-fame ~scene rock show~ vibe where everything was spontaneous and they played til the cops showed up. It's a taste of going back to their roots and giving the fans what they want (and having a ton of fun while doing it!)

[I used this spreadsheet as a reference, made by this person on twitter]

So sorry anon for the novella here, I'm sure you wanted something quick but I couldn't help myself oops heh

[dollarbin]

Dollar Bin #39:

Willie Nelson & Roger Miller's Old Friends

Willie Nelson put out records in the early 80's with the same feverish regularity with which I pass gas. Every few minutes he'd rip off another album, which raises all kinds of red flags about their quality. Did anyone sniff this stuff before it wafted out of him or did he just saturate the radio waves with flatulence, transforming his discography into something akin to the 6am environment under my bedsheet?

This record from 82 looked especially unpromising in the Dollar Bin last week, even for that era. But I bought it anyway; I'm a sucker for Willie and for Roger Miller too. Even so, before I drop the needle for the first time, let's count the concerns:

It's a Buddy Record. Nelson had a lot of buddies in the 80's, all of them fairly washed up 60's country artists who were only too happy to team up for a single afternoon and record an entire album with Steam Train Willie in the hopes of reviving their careers. Indeed, there are so many Willie Buddy Records that I wouldn't be surprised if he recorded one with My Buddy, the 80's doll sensation. Maybe that's Willie singing the theme song!

My famous brother surely craved one of these creepy toys as a child. I'll bet he's cuddling with one as we speak...

But back to why this album looks suspect:

Old Friends does not even merit its own page on Wikipedia. Everything merits a page on Wikipedia. My farts surely have individualized entrees. Speaking of which, it's time to squeeze off another one... No one in my family even noticed!

The record's sales merited no place on any chart of any kind. Nelson made a chart topping record, which I own and have never listened to, with Ray Price in this era; I have no idea who Ray Price even is.

Ever since his outstanding mid-60's run of records Roger Miller had done nothing whatsoever of musical consequence, except, of course, perform as a cartoon chicken.

And just look at the cover. Do the Grammys give out an award for Best Costuming? If so, this record would not win. Nelson is dressed in a New Balance workout tank top and sneakers; what, were his Reebok duds in the wash? Or maybe he had an athletic contract with New Balance! The Willie Nelson workout craze: get high and record yet another album in double time. And what's with Miller saluting us through his backside? Was he copying Willie and tooting out the musical fruit? In case you just can't get enough of the image, Nelson and Miller offer up its gassy reverse on the rear:

But the biggest reason to doubt the merits of this record is the direction Nelson took in terms of his arrangements in the 80's. We're talking drum pads, choirs, hand claps and schmaltz. The Red Headed Stranger made way for Cheese Farts and Danger.

For example, Willie's version of the summer camp classic City of New Orleans should be a thing of easy, spacious beauty. All the track needs is for Mickie Raphael to play a little sweet harmonica here and there, Nelson's sister Bobbie to add a whiskey saloon's tinkling keys and Willie, strumming on his legendary six string and singing his quavering heart out.

But far too often we don't get what we want from One-Eyed Willie in the 80's. Instead we get what sounds like the soundtrack for a Dan Quayle campaign spot:

Yuck.

And so it was a huge relief just now when I actually dropped the needle on this thing. The opening title track, penned, like almost everything else on the record, by Miller himself, sounds downright lovely. We've got real drums, tasty lead acoustic, Miller still sounds like his fantastic self and Willie sounds like he's got the right workout in mind.

Not everything is right. Things get weird on the second verse when a third amigo shows up to sing - this time, good grief, it's Ray Price (!) instead of Martin Short - and then a phallic saxophone and unnecessary choir shoulder their way in nonsensically. But I like what I hear on this opening track - if this is what Willie's farts smell like I'd like to spend some quality in his water closet.

The second track, Husbands and Wives, is one of Miller's greatest songs and the headlining two amigos cover it nicely without fuss. We've got welcome strings instead of the flaccid saxophone and the honky-tonk piano sounds great.

The rest of this record is more of the same. No note is surprising, Willie sings Miller's songs with care and devotion (though there is no sign of him needing to don athletic gear for the labors involved at any point), Miller sneaks in a few moments of his signature vocal gymnastics, and no one involved audibly breaks wind; rather they cut some actual cheese, lay out some actual crackers and spend a highly enjoyable afternoon together recording an album no one but me will ever listen to again. It's great!

[feanoryen]

The news about riize has made me so angry. These people are absolutely fucking disgusting and something seriously needs to be done about this. Taeil can drug and gang rape a girl and everyone’s silent but a boy smokes and has a girlfriend predebut??? And people act like this! Its ridiculous… but also I can’t believe you like both silm AND Kpop!! What groups do you stan? Who are your biases?

T@e!l is the wrong comparison to make here.

No one supports T@e!l, Korean & International netizens ALL hate him. He was immediately removed (thankfully) and I think everyone just wants to forget about his existence because who wants to keep a r@p!st on their mind. There's nothing to protest for, his career is done.

Obviously Seunghan's treatment by OT6 Briize is evil & unforgivable though. It just has nothing to do with T@e!l and isn't comparable.

It's just purely stupid & idiotic how OT6 Briize wanted to & succeeded in punishing Seunghan for being a normal teenager. It happened PRE-debut, years ago... it's pointless witch hunting him for it now, but apparently not being a celibate virgin is punishable by d@ath threats & having to leave your group.

The thing is, just look at the rest of RIIZE. They're all beautiful gorgeous boys. Do the same people who hate Seunghan for dating think that pretty boy Wonbin & k-drama beauty Sungchan have always been and will always be single? How did they look at Seunghan's stunning face and think he would have no game?

This is ridiculous and it's even more ridiculous SM caved in and sided with the people sending him funeral wreaths for the sin of dating. They've never been good at defending their artists from haters, but some of their most popular artists/former artists have had dating "scandals". Jonghyun, Taeyeon, Baekhyun, Kai, Krystal... they all got a terrible amount of hate but didn't loose their careers.

....

My Stan List & Biases:

BTS: Got me into K-pop and are true artists. Their Korean discography is a masterpiece & I love how BTS's rapline are real rappers and not just "Idol rappers" who mumble/fast talk. Also I appreciate the Rapline's heavy involvement in their music, they do way more than most idols. (OT7 are all my biases but Jin & J-Hope are my bias wreckers.)

ATEEZ: I've been a fan for years now & I'm so proud of how far they've come. I can't say I love every single comeback but their music usually grows on me & when it works it just works. Seonghwa & Hongjoong are my biases & Yeosang is my bias wrecker but I love everyone.

Le Sserafim: Sakura Miyawaki is my queen & she is a stage presence demon who I will defend til my last breath. They're also the funniest group. Eunchae is my bias wrecker, she's so gosh darn cute & charming.

Victon (now inactive): They had some good f*cking music. I still keep up with by bias Han Seungwoo's releases with are usually good.

WOODZ (soloist): I love self produced idols who make good music. Not to mention he's also good at everything & doesn't lack in vocals, dance, or rap. What an icon!

ZB1: I know they're a temporary group but they're genuinely one of the best groups ever. I can't believe such a perfect group was made with no MNET rigging! Each member is so talented & they ALL deserved their spots in the group. Not to mention they're all funny af with great visuals. Haobin are my biases & everyone else is a bias wrecker.

NCT Dream: I stan them but I don't really have a bias or bias wrecker. I like them all about the same & their bond as a group is heartwarming. Their music is also the best in NCT.

I would stan NCT 127... if only I liked their music. Yuta is my bias & Taeyong is my bias wrecker though.

I don't quite stan ILLIT, but I was rooting for Moka all throughout the survival show RUNext. I'm so glad she made it and it's amazing to see her become so popular when she was really underappreciated pre-debut. I'm also just rooting for all the girls in general, they seem very sweet & deserve the best.

Also not quite K-pop but (K)J-pop - JO1: I love them, I love their music, I love their voices, their visuals, their personalities, amazing. Junki is my bias (oshi in Japanese) & Ren is my bias wrecker.

[baronaliswritingcorner]

Fódlan Freewrites #5: Ringlets and Curls

Based on fanart. If you know, you know.

-----

Seteth stretched and stretched, but try as he might, his arm couldn’t reach the coveted cookie jar. There it sat, resting on the tippy-top shelf in Garreg Mach’s kitchen – its contents of Mercedes’s chocolate-chip heaven waiting for him. Oh, how they whispered sweet entreats into his ears, much like how whenever Professor Byleth sensually elucidated Justin Bieber’s discography into her lesson plan.

“Hnngh!” he gasped -- one final, futile attempt, verbalized into a sagging crescendo of despair. There were no stools or chairs to borrow – all sold off to repay Garreg Mach’s debts after Rhea’s disastrous attempt to recreate Woodstock. How thoroughly unfair was it all: the ghost of Mercedes’s cookies lingered in his taste buds, set his soul aflame with the scorching-hot hunger for more. More, like his weekly ritual of bathing in the sweet nectar of Lorenz’s tears from rejection after rejection. (The way they nestled within his emerald chest hairs reminded him much of his dear wife, her eyes sparkling and glistening with all the colors of the rainbow.)

He sank to the ground, exhaustion sapping his strength. Was this the end? Would he never taste sweet, sweet chocolate again? Tears threatened to spill from his eyes.

“Dear brother,” tutted Flayn, walking in to witness her brother’s pathetic state.  “Are you going through your withdrawals again?”

“Oh, Flayn,” moaned Seteth, rejuvenated at his angel of salvation. “Be a dear, and please retrieve Ms. Martritz’s cookies.“

“With pleasure, dear brother.”

And with that, Flayn propped her hands beneath her chin – a sudden heave dislodging her head with a mighty pop.

Her arms gently cradling her Nabatean cranium, Flayn gauged the distance from the kitchen floor to the dusty shelf. Discerning her landing spot, off it soared onto the cupboard. Catching her balance, Flayn’s stumpy braids marched over to the treasured jar, her head humming a forgotten lullaby. Her ringlet curls coiled around the pot, slithering into a covetous clutch as she snuggled close. Bracing herself against the wall, her angelic face grunted with exertion before bouncing off below into Seteth’s waiting embrace. 

“Well done, Flayn,” said Seteth, “I’m so proud of you.”

“As am I, dear brother,” whispered Flayn’s head, “now let us feast.”

It was they ravenously gorged upon Mercedes’s cookies that Flayn’s body clasped her hands together, cooing with all the grace of a Cthulhu-bred wail.

[abimee]

(manifets at your door) hi bestie talking abt xiv music. what would u say are the bangers of all time - either by expansion or in the game as a whole

hold on i want to do best songs per expansion cause i got a lot to say about soken and co's discography of the game but i have to start out of order to let everyone know i think Wayward Daughter is a mediocre track and the actual best Stormblood track is Seven-Hundred and Seventy Seven Whiskers FOR GOOD REASON

Seven Hundred and Seventy Seven Whiskers stands out amongst every song in Stormblood to me purely because of the Namazu themselves --- the Namazu 777 Festival is obviously based on the Obon, and the music that plays is meant to be music played during the Bon Odori/Bon Dance, and you can even hear the sound of the Namazu dancing to it in the song with the squeak of their feet :]

But what makes this so special is just the story of the Namazu, how their people lost their way and culture and how after one sees a vision of their people being destroyed unless they hold a festival and how everyone involved seems genuinely invested in reconstructiong their culture and being a ''people'' with rituals and beliefs again, rather than simply chasing coin like a lot do when you first meet the Namazu. And when they come to the Azim Steppe to make a spot for their cultural festival, they take the time to learn about the Au Ri cultures around them, and even though its often shown that the different Au Ri people consider the Namazu odd, them wanting to learn traditions from the different clans and incorporate them into their own festival is never framed as a greedy or ignorant ploy, but the Namazu genuinely wanting to learn and understand these traditions. The Namazu are even incredibly respectful to the Uyagiri people, where when they hear that they refuse to come to the festival due to their own religious beliefs about indulgence, the Namazu never berate them or say they should ''just leave their cave'' like other clans on the Steppe do --- instead, the quest is that you make a very simplistic offering, a doll iirc, to give to the Uyagiri as offering since they cant come. The Namazu genuinely try and even though theyre often played off as being stupid and for slapstick theyre never played off as like, ''oooh look at these fish disrespecting a culture because they wanna mimic it haha!"

And its really sweet with the fact that the Namazu story itself is about finding meaning and religion in what you do, and even if others see your beliefs and traditions and habits as ''uncessary'' or ''unworthwhile'', if it means something to YOU, if doing it makes you feel closer to your people or your religion, then it is worthwhile --- they see the festival as worthwhile, as crafting and gathering as worthwhile, and in reconnecting with their traditions they do avert a genuinely life-threatening future of mass exctintion, not because they actually appeased some sort of god threatening them, but because these traditions were grounded in a sense of preservation, that though they seem silly to others they were how the namazu lived and thrived!! and now to mention how the Namazu story touches on the concept of sort of recognizing that the God you worship isnt real with the fact that the Great One is sort of just implied to be not real, just Earthquakes in the ground, with not only it being based off a real legend but also the fact that the Namazu can't/dont summon a primal of it. And once again wrapping back around to the concept of religion always having been a means to self preserve, and whether a god truly exists or not is not what matters, but the community and safety and preservation that comes with religious worship and rules and etc etc. Anyway the Namazu are really good i think they steal the show for best track in stormblood ✌️

ANYWAY. A REALM REBORN. DREAM'S ALOFT genuinely one of the first MSQ songs to hit me in the gut. As a Kingdom Hearts fan and not an ff fan hearing this song did in fact make me feel like i was in Traverse Town again and meeting Cid highwind from my childhood. But also meeting Cid while this song plays and we're up in the airship really did feel like one of the first ''big moments'' in this game to me, so whenever I hear this song I think of my sprout days and how simply being up in the air felt like the most magical thing ever

second to it HAS to be Edda's theme. No reason for ARR to randomly scare the shit out of me with a cool and emotional side story. I think FF14 does really good with brief moments of horror, cause Edda's plot really did chill me to the bone but it didn't overstay it's welcome or become ''too much'' --- which is where I think ff14 begins to fail in its ''scares'' sometimes. This game does best with like, Halloween campy spooky bullshit and nothing genuinely meant to be ''horrific'' and i think it needs to return to Edda-esque side quests more.

and Through The Maelstrom for third place. If you dont think the buildup to Leviathan in ARR and the sound of the guitar kicking in after that first slapdown was the coolest, most ''oh shit this is REALLY dire'' then you can get the hell out of my house cause this was when the game hit that OH SHIT factor for me. Scariest and Coolest Primal to date fuck everyone else

other notable mentions: Oblivion ofc, Limsa Lominsa's day music and Ul'dah's night music, and Camp Bronze Lake's music :]

my pick for Heavensward makes me sad cause finding out they took out Steps of Faith and therefore nobody gets to experience Faith in Her Fury to the most dreadul march of your life is so sad to me. I can't even tell you why Faith in Her Fury sticks in my mind to the point I recognized in EDW, I think it's just a really good introduction piece to Heavensward and made for a good backing track to a fun marching fight

number 2 for Heavensward has to be Slumber Eternal. I've described this as ''music they'd play in a period movie where a fight breaks out between union busters and coal miners where people definitely die'' and i mean that in a complimentary way. This song really does make you feel like you're fighting up a literal fucking mountain and everything is trying to stop you and i think this was a cool as hell dungeon. I listen to this on repeat so often its not even funny

also shoutout to Painted Foothils because they share the same tune. Leiftmotif and all that

Alexander. Rise. Everyone agrees. it has a fucking time stop mechanic built INTO THE SONG!!!

other notable mentions; Baelsar's Wall music Another Brick is good dont let the haters tell you otherwise, Locus, Heroes Never die, and Relics

Stormblood :/ Omega has bangers in it at the very least i know mags already heard me say it but the music that plays before you fight M/F is literally the most ''final fantasy music'' music ive ever heard

WAIT back up. Soken's stolen beat is really good also. thank you soken for stealing this

I have to put The Twinning here somewhere because this is literally the song that made me play this game. This is what made me download this game after months of going ''ill get a better computer and then download it''. When they refferenced a version of the meme at Fanfest i scrummed

Amaurot.

theres a 10 video limit on posts but you know im not fucking finished so ill be back

[kpopsongrecs]

Underrated BOPS from Female Artists:

One of the more "happy" sounding solo songs from CL, I find it very apropos that the song title is "Lifted". I honestly live for this track. Baddest Female, Hello Bitches, and 멘붕 are songs that have more of the type of sound CL is known for in her solo work. But iconic and empowering as those songs are, I find that this lighter and poppier sound from CL makes for such a nice switch-up. And what it doesn't have in depth of lyrics (haha) it well makes up for in its catchy and addictive quality.

I never listened to Jo Yuri before this mini album, and the whole album is actually pretty great, including the title track Taxi. But by far, Lemon Black Tea is the best song (IMO) on Love All. It's a type of arrangement you don't encounter often in kpop with it's groovier tempo, and funky and oh so wonderful bass line. Jo Yuri's light and airy vocals float right on top perfectly. Lemon Black Tea sounds like how the drink it's named after tastes. Lightly sweet and citrus-y, with a subtle deeper undertone.

Taste of Love is hardly one of TWICE's more notable releases considering their absolutely massive (and popular) discography, but I will always have a soft spot for it given that it came out just as I got back into kpop. From the whole mini album, Baby Blue Love is the standout song for me and still is one of my personal favorite TWICE B-sides overall. It's got that very girly, catchy, and quintessentially pop sound that TWICE is most known for, and perfectly suited for the summer-theme of Taste of Love.

Heavy moment of silence for Fifty Fifty and their very regrettable downfall as a group. Cupid will never lose its status as legendary song within kpop, but some of Fifty Fifty's other great songs are all the more likely to not be highlighted post their troubles. And Lovin' Me deserves that spotlight. It's a great number with rich full-bodied harmonies that remind me of Imogen Heap, and a driving beat. I even love the corny Britney Spears Oops I Did It Again-style spoken interlude that somehow feels like only Fifty Fifty can pull off successfully.

[a-moth-to-the-light]

Songs of the Summer, 2023: #13

[intro & rules]

Touching Yourself by The Japanese House (June 30, 2023)

i used to cry about her on laundry days  maybe because i had too much time to think, then on those open-window, hanging-sheets afternoons once a week, i would notice the breeze gently pushing me to move on tea in the microwave and half-a-tomato on the cutting board, i find time to think   we should buy a coatrack, or maybe wall hangers, and a weighted blanket—sage green? 

--

Yeah, I admit it, I don’t mind when The Japanese House is boring. I mean, “Something Has to Change” is still one of my favorite songs of hers, and it’s just as simple and repetitive as “Touching Yourself” is. I could have put “Sunshine Baby” or “Morning Pages” in this spot on this list—they have these beautifully immersive lyrics that I could analyze for forever—but when it comes down to it, this one, the boring one, is my favorite.

I guess it's actually easiest to talk about "Touching Yourself" in the context of my love for "Something Has to Change". To be fair, it's not quite as ethereally beautiful as its predecessor (if it were, it would be in the top 5 of this list), but “Touching Yourself” has a similar magic. What I love about “Something Has to Change” is that it’s a mantra of sorts—the simplicity & repetition of the lyrics, and of the light, pleasant groove that backs them, manages to capture so much anger and frustration and desperation and strength and determination, too, and channel all those feelings into a speech that, as I sing along, I feel like I’m giving myself (and boy did I need that speech, back when I first stumbled across the song). I love its directness, especially compared to the rest of The Japanese House’s discography, as her music tends to be melty-sounding and uncertain in vocals and lyrics and production, too. That isn’t a bad thing—I love so many of her songs—but “Something Has to Change” has been a standout to me for as long as I’ve been a fan, and I like the way "Touching Yourself" follows in its footsteps.

Even compared to "Something Has to Change", Amber Bain's performance in this new track feels unusually direct, simple and sweet and genuine, like I'm listening to singer at a coffee shop or on a park bench. That lack of mystery is unexpected, but it's quite charming, too. And “Touching Yourself” has its own mantra; it caught me on first listen and brings me back again and again: “Know I shouldn’t need it but I want affection / Know I shouldn’t want it but I need attention / Know I shouldn’t say it but I had to mention…”. It’s not a statement of determination to do the right thing, to be kind to yourself for once, like in “Something Has to Change”; instead, it’s just an expression of gloomy anger channeled into a satisfying rhythm. Can you fix your problem, claw your way out of this depression? Hell if I know, but at least you can enjoy this little tongue-twister of a bridge while you wait for answers.

“Touching Yourself” is tired, and resigned, and weird, and fun—and after spending most of the summer listening to “Dionne” and “Sunshine Baby”, which are also tired and resigned and weird but most certainly not fun, “Touching Yourself”, with its awkward, even comedic, sci-fi-sounding synth and general lack of subtlety, became a late-summer classic. It’s a sing-along anthem for three in the afternoon, and since my summer felt like one giant late-afternoon daze, including it here just feels right.

[noctude]

peeping my head over the wall like a hand emerging from its sock puppet . Hi freddie it's been me the whole time, ur friendly neighbourhood butterscotchbread. I really love your music what can i say bbcxmnvbadkjlkj

Holding tortoise and after you in my hands like a cocoon for two caterpillars , i'm glad i got a chance to listen to them before u took them down! I always really enjoy going through artists' discographies to see how much they've changed and developed musically over time, and as someone who has their fair share of songs that I don't think hold up, i completely understand wanting to put them away for reworking and stuff. That said I do hold a real soft spot for the songs that people have decided to keep public anyways, which is why i got really excited when i saw midnight odd was up on your bandcamp page :D

omg hallo butterscootch... youre so sweet ily.... yes we Love growing and improving :-D i hope i'll have time to make more music like this over the summer & see what i've learned from focusing on instrumentals for so long!! <3

[theeverlastingshade]

A few weeks ago MJ Lenderman announced his highly anticipated 4th solo LP, Manning Fireworks, alongside the release of a new single called "She's Leaving You". It probably comes as no surprise to those familiar with Lenderman's work that "She's Leaving You" is right in the sweet spot of his alt-country leaning, lo-fi slacker rock sensibilities, but that sort of dependability hardly detracts from its immense appeal given how well-realized this form has become for him. The twangy guitar tone throughout compliments the forlorn vocal melodies superbly, and the crunchier tone that emerges during the solo conveys the song's overall sentiments with aplomb.

The cherry on top arrives in the closing moments as the voice of Lenderman's Wednesday bandmate and girlfriend Karly Hartzman emerges out of nowhere alongside a strutting bassline to provide a few softly-sung but devastating renditions of the song's title before dissipating back into the void as the song recedes into silence. While the humor that colors in Lenderman's strongest material is sorely absent on "She's Leaving You", it's nevertheless another strong addition to his discography that finds his singular songwriting continuing to bloom into striking new shapes.

[yuuana]

Music Monday #249: ATEEZ - WORK release: May 2024 genre: Kpop cw: surrealism

You may have noticed some Mondays missing. That is because May was a raging shitshow and honestly I'm still trying to recover from last week, but I also fully intend to go back and fill in all the missing Music May posts over the course of however long that takes.

The thing with ATEEZ is, even with this being their tenth EP, they are still able to constantly surprise me with new sounds and styles. WORK is both something new and something that feels like a completely normal evolution of their sound. The solid thump of the drum and bass that makes you want to bounce along, the Latin flavor in the instrumentals, especially the pre-chorus with it's tempo shift, and then that almost Gershwin-y, jazzy clarinet track. Making a focus playlist around WORK made it more obvious both how well it fits in with a lot of their existing discography (Crazy Form, Arriba, and Cyberpunk all came to mind quickly, but in the end the bigger problem was trying to keep the playlist in the sweet spot on length) and how unlike the current BG trends the whole EP is. Which didn't stop me from building a playlist of 85 entries, but it did take awhile and I'll probably keep fiddling with it.

As for the video ... well that's a wild ride all right. I've filed this as a lore MV for now, but it might be stretching things a bit. It wouldn't be the first time we've had an MV in a dreamscape (Illusion anyone?), and between Seonghwa riding an ostrich and Yeosang cuddling a chicken, to say nothing of the money burgers or Money Man, this is a fairly solidly unreal/surreal setting. Meaning if this is lore, it's going to take further releases/stages to contextualize it and fit it into the story. If this is A 'verse dreaming again, well, it's a colorful dream world all right.

That said, between the lyrics themselves and comments from Hongjoong and Mingi, it's hard not to see the whole of Golden Hour Part 1 as being a bit meta - ATEEZ have been working more or less constantly from pre-debut and their usual response to being snubbed or other fandoms' attempts to drag them into stupid controversy has been to double down and work even harder. It's to the point now where every time the guys vow to "work harder to become the ATEEZ that is worthy of ATINY," I half want to reach through the internet, shake San's shoulders, and insist that no, they already are. Add on that Mingi called Siren a diss track (which, I either need a better translation or we need to talk about what he means by "diss track" XD) and an argument could definitely be made that this EP is comment on ATEEZ-the-boyband rather than ATEEZ-our-pirate-heroes.

GOLDEN HOUR Part 1 just released last Friday, positioning it poorly for its first charting week, but it is what it is. It's available now wherever you do your Kpop streaming as well as for physical sale online and in select stores. And by "select" I mean both box stores like Walmart and, if you're lucky enough to have such, local pop ups and Kpop shops.

Want to see Music Monday deep dives more often? Sponsor a song selection! For the low, low price of one (1) KoFi, I'll write up the song of your choice. ANY song of your choice. Yes, even that one that's been played to death. Yes, your obscure faves too. With sponsors, I can stop skipping weeks and falling further and further behind in the releases! Sponsor a current CB for the next open Music Monday slot or sponsor a throwback for a Thursday feature! But seriously, if you've been enjoying my selections and analyses, we (me and the foster kittens) would love a KoFi in thanks. DW | Twitter | Mastodon | Bluesky | Ko-fi | Patreon | Discord | Twitch

[ceolforthesoul]

A fairy flew to Groningen in the form of Alice Phoebe Lou - leaving a sparkling trail of her mastery of song

Hello lovely people and fáilte go dtí Ceol for the Soul -  The podcast that puts into words the warm and fuzzy feelings received from live music. For those of you who are new here, my name is Aisling — I am a singer-songwriter from the West of Ireland currently living in Groningen, the Netherlands. I am always in awe of artists successfully managing to pierce my heart and who bring me with them into their whimsical inner worlds while performing live. Ceol for the Soul is a space where I attempt to transfer the essence of the musical experiences I encounter to you through reviews, interviews and opinion pieces.

As usual, before I begin the episode - I invite you to pause this here for now and rejoin me after you have listened to a song from this week’s spotlight artist - Alice Phoebe Lou. Is there a particular song/album title that speaks to you? Does any of the cover art take your breath away? If you are already familiar with Alice, is there an undiscovered gem hidden deep in her discography? 

What feelings were brought up by this magical moment of immersion? I wouldn’t be surprised if you have been whisked away into an Alice Phoebe Lou dream – but if you managed to come back down to earth, welcome back and I hope you enjoy listening to my thoughts on her concert…

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A fairy flew into Groningen in the form of Alice Phoebe Lou - leaving behind a sparkling trail of her mastery of song! Having been a fan of the South African singer ever since I came across a YouTube video of her busking in Berlin in 2017, my heart skipped a beat when I saw Alice’s name on SPOT’s 2023 winter programme. I don’t think I have ever clicked a ‘buy ticket’ button with so much force and passion. That level of excitement was warranted, given the enchanting show that would ensue at the Oosterpoort on Friday, the 24th of November. A tapestry of skillful songwriting was unfolding that evening and all I wanted to do was behold it.

Loving was the perfect support act for Phoebe Lou - their mystical alternative folk melodies welcomed an openly eager crowd into the Kleine Zaal. I swayed along steadily, feeling particularly comforted by ‘Only She Knows’ which had made its way onto my Spotify playlist ‘Sweet n all that’ a few months prior — the live rendition solidifying the reason as to why I put it there. Loving’s performance set the stage for a cosy campfire-style evening but also left room for the heightened magnetic energy that was to follow.

Alice Phoebe Lou floated effortlessly across the stage with her band while earnestly proclaiming that the intensity of the tour was making her sleepy, so she would be doing this show in her pyjamas. Phoebe Lou instantly became relatable and real, and that vulnerability only intensified when she began to sing. ‘Open My Door’ from her latest album ‘Shelter’ couldn’t have been a more fitting song to open her set with, and we were certainly let in without so much as a knock. Drawing from earlier albums, Phoebe Lou then took us with her on a journey through the past versions of herself with songs like ‘Something Holy’ making us feel just that and ‘Paper Castles’ bringing us just one step down from the Heavens. The synthesiser supported these songs with the utmost care, allowing us to reach these places smoothly.

A transfixed audience radiated the same energy as Phoebe Lou — warm, tender and safe. We were all being held by each other, as her songs touched on subjects of love, intimacy, and growth. She managed to connect with me through these themes in a way that no other songwriter has managed to do before by intertwining mystical language with raw emotion and refreshing candor.  Phoebe Lou singing “Figure out the inner-workings of your mind” encapsulated exactly what she had done with mine. The band left Alice to do ‘Halo’, ‘Shine’ and ‘My Girl’ solo and these songs were sung with such ease and grace that the crowd entered a communal state of trance. 

A song request was shouted from one soul in the sea of concertgoers — Phoebe Lou responded honestly with “Sorry but I don’t resonate with that song anymore” and we all appreciated her openness in expressing this. A burst of dancing felt like the perfect way to honour the euphoric spirit of the night and ‘Witches’ and ‘Dirty Mouth’  made for the perfect finale. Inspiration whirled in my mind and the minds of two other songwriters at the same gig. We discussed in detail what it is that makes her songs so powerful and came to the conclusion that she is an angel in disguise.

Thank you so much for listening and join me again next week to discuss the Estonian artist Kitty Florentine’s ESNS performance! :)