#its very lovely sounding and the lyrics are great and the concept of calling someone MRS MAGIC is so sweet

[desire-mona]

MS MAGIC RADIOOOOOOOO

GIVE ME ONE LAST CHANCE TO SHOW

TELL U WHAT LURKS DEEP INSIIIDE

DEEP INSIDE MY BATTERED MIND!!!!

[jetstarred]

what i listened to in january 2024!

total: 9 albums top three: i didn't mean to haunt you (quadeca), good kid, m.a.a.d. city (kendrick lamar), colourmeinkindness (basement)

click below to see full reviews ^-^

colourmeinkindness - basement (2012) - fav song: covet - this is a really solid early emo revival album. it captures the emotion that was extremely prevalent in emo music and kinda lost in the mainstream emo that had dominated before this album came out. the vocals are great at conveying the lyrics, sometimes feeling vulnerable in a really relatable way. the guitar is solid and very fun to listen to. easily one of my favorite emo albums from this era. - rating: 8/10

everyone everywhere - everyone everywhere (2012) - fav song: the future - this album clearly takes a lot of inspiration from 90s emo, especially midwest emo. some guitar riffs sound really similar to american football riffs. the singers voice is very lovely and i love the use of trumpets in some of the songs. the lyrics are also perfectly nostalgic and almost whimsical, like someone wondering about their surroundings and future. it almost makes me wish this band had stuck around longer and had been able to evolve their sound more. - rating: 7/10

feels like you - whirr (2019) - fav song: wavelength - this album is very dreamy, with the noise a pleasant hum rather than loud and intrusive. every song blends into the next track seamlessly, there were multiple times where i didn't realize a new song had started. the album largely sounds the same, with all the songs being difficult to distinguish from one another. this is good if you like this kind of music (which i do) but it makes it hard for any of the songs to be real stand outs. - rating: 5/10

hatemail - in lieu (2019) - fave song: pin up - i didn't really vibe with most of this album. its exciting to hear more female vocals in the post-grunge and more noisy punk space. there's definitely potential here and id be interested to listen to their more recent releases. - rating: 4/10

good kid, m.a.a.d. city - kendrick lamar (2012) - fav song: money trees - this album immediately put me in the exact setting that must've inspired it. it makes me feel nostalgic for the black american experience i never had, even with all the ugly parts. besides that, i love the through-line of the voicemails and phone calls, some of which introduce the following song. the samples are really beautiful and i want to go listen to the original songs. i can't imagine how exciting it must've been when this album came out to see the beginning of one of the greatest rappers of this generation. - rating: 9/10

i didn't mean to haunt you - quadeca (2022) - fav song: don't mind me - i listened to this album on repeat for a week after my first listen. it's really refreshing to listen to a concept album that actually fully follows through with the concept. this album being about a ghost and his experience with dying and having to watch how his family deals with his death is so interesting and lends to a lot of very heart wrenching introspection. also sonically this is such a beautiful album with the choral voices, static, with a good balance of heavy and dreamy parts. shout out to picking up hands and fantasyworld for making me cry. - rating: 10/10

goblin - tyler, the creator (2011) - fav song: radicals - i like the concept of the album being tyler having a “therapy session” with his own consciousness. but a lot of the content in the songs is very offensive, gross out, shock humor that i don't really vibe with. i know that that type of rapping was what was commonplace and popular at the time but it's really aged poorly imo. the beats and flows are pretty decent and i could vibe with them more if it wasn't for the lyrics. also tyler baby stop saying a bunch of slurs! - rating: 4/10

from me to you - quadeca (2021) - fav song: candles on fire! - this album is a great transition between quadeca's earlier youtube rap inspired music and his newer more atmospheric and melodic music. the production is grand and electronic in a way that's really enjoyable. while i'm not a great judge for rap, i think this is a step up from his earlier stuff and much more accessible to me as a more casual rap fan. honestly it's difficult to judge this album as anything other than a transition from rap to more artistically driven music that still keeps rap elements and influence. - rating: 7/10

my back is killing me baby - car seat headrest (2011) - fav song: no passion - this album is half rough versions of songs that would be redone in later albums, half songs that weren't revisited. it's very rough and full of the diy sound that was more prevalent in cshr's earlier stuff. i like it more for background noise than something i can strongly focus on. - rating: 5/10

[lilyultraviolet]

Album Review: Dance Gavin Dance - Dance Gavin Dance

Hey all!~ Hope you enjoy my review, I'm trying out a new format for the first time, so this is my dry run to see how it looks! :3

Thoughts on the album: Dance Gavin Dance has made so much music that has made my ears happy, as morally dubious of a band as they are. I'm a huge fan of the late 2000s post-hardcore sound, its much more intimate and honest feeling than modern offerings, feeling much more sterile. This album captures what I enjoy about that sound perfectly. It's an album that has a lot of expression and character, a distinct fun factor permeating the atmosphere of it. In true post-hardcore fashion, the guitar work and harmonies is (in most cases) immaculate, and keeps my silly ADHD brain very occupied, ESPECIALLY when listening with headphones, as the stereo mix is taken full advantage of. This album neither overstays its welcome or is too short, and has several absolute bangers to make it really memorable overall. This is a very danceable and singable album, which makes me happy, as someone who loves doing both to my music. There are a few tracks that don't hold my attention as well, but that's more than made up with the highs of this album. I'm a sucker for Kurt vocals too because I can match his sound pretty well.

And now we move on to the other section of the review, where I rate a couple extra aspects of the album concerning how well it sounds production wise, and how much it sounds like an album rather than just a collection of singles, I call this the cohesion factor.

Album Cohesion: The songs flow together well, and while there is no overarching concept, the songs do not feel as though they're individual singles slapped on an album. Exactly how a non concept album should feel.

Production Quality: Bass could be louder, however the rest of the instruments are mixed very well, and the vocals are placed very well in the mix too.

Track Thoughts:

Alex English: A very strong opening track, it has some very memorable sections. 4.5/5

Buffalo!: A song that's incredibly fun to sing and groove along to, short and sweet. 4.5/5

Me and Zoloft Get Along Just Fine: One of the most hard hitting choruses I've ever heard in a song, truly lovely. This is one of those "not a second wasted" type songs. 5/5

The Robot with Human Hair Pt. 3: The verses could be stronger, but there is also some amazing sections in this song, especially the middle and end bits. 4/5

Hot Water on Wool: Wonderful vocal harmonizing at the beginning, lovely opening. I love that there's delay guitar in the left channel and a more typical tone in the right, it keeps my mind very occupied. Truly a great song that has a great flow. The verse that starts with "maybe I'll sleep through a century" always has me singing along. 5/5

Hot Water on Wool (Reprise): Confusedly, this song was broken up into 2 parts, but it essentially still is the same song. Has some amazing guitar harmonies and goofy instrumental antics. 5/5

Uneasy Hearts Weigh the Most: The Dance Gavin Dance song, if there ever was one. A very lovely and catchy song, albeit a bit basic. I do very much enjoy it, but I don't feel as strongly about the compositional depth. 4/5

Caviar: A really pretty song, I really like the vocal trade offs with the guest singer, it works well. 4.5/5

Rock Solid: The lyrics and vibe of this song are really silly, but I think it adds to it a bit. The bit with Jon and Kurt is charming and funny and the outro is absolutely spellbinding. 4.5/5

Burning Down the Nicotine Armoire Pt. 2: Very nice bass lines, TASTY grooves once Kurt comes in with plucky sounding delayed guitar riffs in the background, overlaid with vocal harmonies. The chorus is incredibly tasty too. The refrain leaves a bit to be desired though. 4.5/5

Reprogramming Mental Preprogramming: This song is alright, I find it misses its mark in terms of catchiness or grooviness. It's not a bad song by any means, it's just one of the underwhelming songs of the album. 3.5/5

Skyhook: Great guitar harmonies and all the sections feel placed well. This song is short, and feels even shorter with how well it flows. 4.5/5

People You Know: This is the other song on the album that doesn't particularly do all that much for me. It's okay, but not amazing, feels underwhelming as a closer. I'm also not a big fan of the 2000s "hidden song" trope (save for The Man Land by BTBAM, its hilarious), and the hidden song here doesn't offer much. 3/5

Closing Thoughts: This is an incredibly fun album, from the bombastic instrumentals to the silly and also emotional vocals. This album has been a mainstay in my rotation and gets the Lily stamp of approval. <3

OVERALL ALBUM RATING: 4.5/5

[bananaofswifts]

Taylor Swift Turns on a Facsimile Machine for the Ingenious Recreations of ‘Fearless (Taylor’s Version)’: Album Review

Swift recreates her entire 2008 album literally down to the last note, then gives herself room for stylistic latitude on six never-before-recorded "vault" tracks.

By Chris Willman

Swift recreates her entire 2008 album literally down to the last note, then gives herself room for stylistic latitude on six never-before-recorded "vault" tracks.

There is no “best actress” award at the Grammys, perhaps for obvious reasons, but maybe there should be this coming year. And the Grammy would go to… Taylor Swift, for so persuasively playing her 18-year-old self in “Fearless (Taylor’s Version),” her beyond-meticulous recreation of the 2008 recording that did win her her first album of the year trophy back in the day. It’s impossible to overstate just how thoroughly the new version is intended as an exact replica of the old — all the way down to her startling ability to recapture an untrained teen singing voice she’s long matured and moved on from. It’s a stunt, to be sure, but a stunt for the ages — mastering the guile it takes to go back to sounding this guileless.

There are two different, very solid reasons to pick up or stream “Taylor’s Version,” regardless of whether you share her ire for the Big Machine label, whose loose ways with her nine-figure catalog precipitated this, the first in a six-album series of remakes where she’ll be turning on the facsimile machine. One is to marvel at her gift for self-mimicry on the album’s original tracks, where she sounds as possessed by her younger self as Regan ever was by Pazuzu. The other reason is, of course, to check out the six “vault” numbers that Swift wrote during that time frame but has never released before in any form, which dispenses with stylistic fealty to the late 2000s and frames her “Fearless”-era discards in production and arrangements closer to “Folklore.” Those half-dozen (kind of) new tracks really do sound like modern Taylor Swift covering her old stuff.

But those original lucky 13? It’s the same damn record… which is kind of hilarious and marvelous and the kind of meta-ness that will inspire a thousand more think-pieces than it already has, along with possibly efforts at forensic analysis to figure out how she did it.

It would not be surprising if, as we speak, Big Machine was putting a combined team of scientists and lawyers on the case of the new album’s waveform readouts, to make sure it’s not just the original album, remixed. Honestly, it’s that close. The timings of the songs are all within a few seconds of the original tracks, if not coming in at exactly the same length. The duplication effort doesn’t allow any detours. If “Forever and Always” had a cold open then, it’s going to have a cold open now. If the 2008 “That’s the Way I Love You” had slamming rock guitars with an almost subliminal banjo being plucked beneath the racket, so will the 2021 “That’s the Way I Loved You.” A drum roll to end the old “Change”? A drum roll to end its body-snatcher doppelganger. And if she chuckled before the final chorus of “Hey Stephen” 13 years ago, so will that moment be cause for a delighted giggle now.

Of course, much analysis will be put into whether the new laugh is a more knowing-sounding laugh. And that will be part of the fun for a certain segment of audiophile Swifties who will go looking for the slightest change as evidence of something meaningful. When “Love Story (Taylor’s Version)” first came out weeks back to preview the album, there were reviews written that swore she’d subtly changed up her phrasing to put a contemporary spin on the song. And maybe they were right, but, having done a fair amount of A/B testing of the two versions of the album, I found myself feeling like I do when vinyl buffs insist there are significant sonic differences between the first stamper version of an LP and one that was pressed a year later. If you can spot those very, very, very modest tweaks, go for it.

But my suspicion is that if Swift has decided to turn a phrase a little differently here or there on this album, or done anything too differently aside from brighten the sound, she’s doing it more as an Easter egg, for the people who are on that kind of hunt, than anything really designed as reinterpretation. Because the last thing Swift wants most of her fans doing is A/B-ing the two versions, the way I did. The whole point is to have folks retire the OG “Fearless” from their Spotify playlists, right? The Swift faithful were already threatening to rain down damnation on anyone caught sneaking an audio peek at the old version after midnight. What she intended was to come up with a rendering so faithful that you would never have a need to spin the vintage album again. In that, she has succeeded beyond what could have been imagined even in the dreams of the few self-forgers who’ve tried this before, like a Jeff Lynne.

Is there any reason to find value in the new versions if you couldn’t care less about the issues of masters and contracts and respect in business deals that made all this strangely possible? Yes, with the first one being that the new album just sounds like a terrific remastering of the old — the same notes, and you’d swear the same performances, but sounding brighter and punchier just on a surface level. But on a more philosophical one, it’s not just a case of Swift playing with her back catalog like Andy Warhol played with his soup can. It’s really a triumph of self-knowledge and self-awareness, in the way that Swift is so hyper-conscious of the ways she’s matured that she has the ability to un-mature before our very ears. With her vocals, it’s virtuosic, in a way, how she’s made herself return to her unvirtuosic upstart self.

On Swift’s earliest albums and in those seminal live shows — at the time when she was famously being told she “can’t sing,” to quote a song from the follow-up album — there was a slight shrillness around the edges of her voice that, if you lacked faith, you might’ve imaged would be there forever. It wasn’t. That was partly youth, and partly just the sheer earnestness with which she wanted to convey the honesty of the songs. She’s advanced so much since then — into one of pop’s most gifted modern singers, really — that the woman of “Folklore” and “Evermore” seems like a completely different human being than the one who made the self-titled debut and “Fearless,” never mind just a woman versus girl. It wouldn’t have seemed possible that she could go back to her old way of singing at the accomplished age of 31, but she found and recreated that nervous, sincere, pleading voice of yesteryear. And maybe it was just a technical feat, of temporarily unlearning what she’s learned since then, but you can sense that maybe she had to go there internally, too, to the place where she was counseling other girls to guard their sexual virtue in “Fifteen,” or wondering whether to believe the fairy tale of “Love Story” or the wakeup call of “White Horse,” or proving with “Forever & Always” that writing a song telling off Joe Jonas for his 27-second breakup call was better than revenge.

If at first you’re not inclined to notice that Swift has re-adopted a completely different singing voice for the “Fearless” remakes, the realization may kick in when those “vault” tracks start appearing in the later stretch of this hour-and-50-minute album. The writing on the six songs that have been pulled up from the 2008 cutting room floor seems primitive, even a little bit by the standards of the “Fearless” album; there are great lines and couplets throughout the rescued tracks, but you can see why she left them as works-in-progress. But she doesn’t use her youthful voice on these resurrections, nor does she employ the actual style of “Fearless” very strictly. Of course, she feels more freedom on these, because there are no predecessors in the Big Machine catalog she’s asking you to leave behind. Her current collaborators of choice, Jack Antonoff and Aaron Dessner, divided the co-producing work on these fresher songs, as they did for the two all-new albums she released in the last year. (The “Fearless” recreations are co-produced by Swift with Christopher Rowe, someone who worked on remixes for Swift back in that era.) They co-produce the vault songs in a style that sounds somewhere between “Fearless” and Folklore”… a more spectral brand of country-pop, with flutes and synths and ringing 12-string guitars and a modicum of drum programming replacing some (but not all) of the acoustic stringed instruments you’d expect to be carried over from “Fearless” proper.

Of the previously unheard tracks, Swift was right — she’s always been her own best self-editor — in putting out “You All Over Me” first, in advance of the album. With its imagery of half-muddy stones being upturned on the road, this song has advanced lyrical conceits more of a piece with the level of writing she’s doing now than some of the slightly less precocious songs that follow. Still, there’s something to be said for the sheer zippiness with which Swift conveys teen heartbreak in “Mr. Perfectly Fine,” which has a lyric that shows Swift had long since absorbed the lessons Nashville had to offer about how to come up with a high-concept song — the concept, in this case, being just to stick the word “mister” in front of a lot of phrases relating to her shallow ex, as if they were honorary titles to be conferred for being a shit, while she employs the “miss” for herself more sparingly.

Some of the remaining outtake songs go back more toward the sedate side of “Fearless”-style material; she didn’t leave any real bangers in the can. “We Were Happy,” the first of two successive tracks to bring in Keith Urban (but only for backgrounds on this one), employs fake strings and real cello as Swift waxes nostalgic for a time when “you threw your arms around my neck, back when I deserved it.” It’s funny, in a good way, to hear Swift at 31 recreating a song she wrote at 17 or 18 that pined for long-past better times. The next song, “That’s When,” brings Urban in for a proper duet where he gets a whole second verse and featured status on half a chorus, and it’s lovely to hear them together. But, as a make-up song, it doesn’t feel as real or lived-in as the more personal things she was writing at the time — and the fact that its chords are pretty close to a slightly more balladic version of the superior “You Belong With Me” was probably a pretty good reason for dropping it at the time.

the 18-year-old Taylor Swift is a great place to visit, but “Folklore” and “Evermore” are the place you’ll want to return to and live, unless you have an especially strong sentimental attachment to “Fearless”… which, sure, half of young America does. It’s not irreconcilable to say that the two albums she issued in the last year represent a daring pinnacle of her career, but that “Fearless” deserved to win album of the year in 2008. Has there been a greater pop single in the 20th century than “You Belong With Me”? Probably not. Did the album also have lesser moments you probably haven’t thought about in a while, like the just-okay “Breathe”? Yes. (I looked up to see whether Swift had ever played that little remarked upon number in concert, and according to setlists.fm, she did, exactly once… in 2018. Because she’s Taylor Swift, and of course she did.) It’s not certain that her duet with Colbie Caillat really needed to be resurrected, except it’s fun, because hey, she even roped former duet partners back into her time warp. But there are so many number that have stood the test of time, like “The Way I Love You,” an early song that really got at the complicated feelings about passion and fidelity that she would come to explore more as she grew into her 20s… and just kind of a headbanger, too, on an album that does love its fiddles and mandolins.

It doesn’t take much to wonder why Swift put up “Fearless” first in this six-album exercise; it’s one of her two biggest albums, along with “1989,” and it’s 13 years old, which does mean something superstitious in the Taylor-verse. In a way, it’ll be more interesting to see what happens when she gets to more complicated productions, like “1989” or “Reputation.” But maybe “Fearless” did present the opportunity for the grandest experiment out of the gate: to recreate something that pure and heartfelt, with all the meticulousness a studio master like Swift can put to that process now, without having it seem like she’s faking sincerity. Let the think-pieces proceed — because this is about six hundred different shades of meta. But, all craftiness and calculation aside, there’s a sweetness to the regression that’s not inconsequential. It harks back to a time when she only wondered if she could be fearless, before she learned it the harder way for sure. What they say about actors “disappearing into the role”? That really applies to Taylor Swift, playing herself.

[sprinklesandshatters]

A Review on NCT 127′s 3rd Album <Sticker>

So NCT 127 just came back with their 3rd Full Album <Sticker> and this is my first 127 comeback since I became a fan last year! Neozone is such a special album for me as it was their first album that I explored entirely. I've known NCT as the group who never fails any expectations so I've kept mine up although I know they'll exceed it anyway. And guess what, they did! I absolutely love their new album hence this review~

This isn't a technical music review—as I am not a musician myself—but rather a listener's honest takes, goofy notes, and interpretation on each of the tracks in the album. I admit I've also struggled to build my own opinions on some of the tracks until I listened to them over and over again.

I have also heard there are mixed opinions on the title track <Sticker> and a lot says it's another acquired taste. But I think it's not just that, as it can be a grower, just like how most of NCT's songs were for me. Maybe after a few listens and a right passage of time, it will grow on those people. The bottom line here is, I like it a lot! 😛

So I listed down the songs according to their respective track numbers and followed each with a bulleted list of my opinions and interpretations.

(Viewer/reader discretion: before you continue, minors, do not interact as there are few 18+ contents under the cut. Thank you.)

1. Sticker

THEY DIDN'T JUST PUNCH A NEW NOTCH ON THE BELT LIKE THAT

THIS SONG SLAPS, LITERALLY SLAPS… AND WHIPS 

The recorder at the intro boyyyy I thought something was wrong but then I remember it’s NCT lmao

It already stuck in my head from my first listen from the Instagram audio.

With Taeyong opening the verse with his divine rapping, I knew I'm in for a new ride.

STICK-UH STICK-UGH STICK-UGHGHGH

To those complaining it sounding like noise music, imagine it sounding generic. I don't think it would fit as the title track. Not a b-track or in their repertoire, even. They are called NCT because they define the NEO in the music culture and music technology!

It honestly was an unorthodox, just like all of their title tracks, which I’m inherently here for.

Literally, no one does it like them!

The growls and the vocal flexes and adlibs! (You can tell it has Yoo Youngjin's brand.)

The crisp metronome sound that’s consistently ticking except for the pre-chorus and the dance break adds depth to the soundscape. I love how it’s used instead of the usual snaps.

The production quality blew my mind. Like how can someone think those melodies would sound so exquisite? CAN I CALL THEM GENIUS?

The piano at the back, oh my God—Yes! It adds this mystifying element to the song.

I'm not sure if it's a midi violin at the pre-chorus, but it added thrill to the song. It was a great transition from the bass line in the verses to the combination of the flawless harmony with the same instrumental.

"You treat me like a boy, like a grown-up child chasing a dream" JUNGWOO BABY NO MORE HUH

Taeil, Doyoung, and Haechan—the bridge vocal trinity!

But why the heck are they cowboys? I dig the concept, but why? LMAO

BTW GUNSLINGER MARK I’M ON MY KNEES YEEHAW

This is easily one of my favorite tracks from NCT 127's entire discography 💚

2. Lemonade

(⌐■_■)

Jaehyun starting off this song with his deep voice eee

The song opens to a verse oozing with chill confidence. They're like, yeah you're lurking because we’re cool.

This is such a huge slap to their haters. NCT's not chillin' like a villain, nah they're the main characters!

Well maybe they’re villains, but still ya not cooler than them ¯\_(ツ)_/¯

Funny enough how they could have just referred haters as simply lemons whose sour/bitter to the taste, but 127 squad's success is sweeter than all the haters' spiteful remarks so yeah, SIPPY SIPPY LEMONADE 🧃

"WOOF"

I might have just barked too wOW

Yuta’s vocals hooooO his voice just sounds so glamorous mhmm

Also Mark referencing their previous title tracks such as: Firetruck, Cherry Bomb, and Regular (it's Irregular in the lyrics) in his rap part 👌💅

I just love Mark's energy when he raps. HE RESOLUTELY BITES AND STRAIGHT UP EATS EVERY TIME HE DOES.

3. Breakfast

Now breakfast time, oh jeez!

AAAHAHFU—

Summer 127's bestie!

If Summer 127 talks about dancing all night long, Breakfast is the morning after.

You know what it is.

"Even if I gulp and drink you, it's not enough for me." oho Taeyong no you ha—STOP

Sexual innuendos aside, isn't it just sweet if someone tells you they'd want to have breakfast with you every day?  Okay maybe I'm melting at the thought 😩🙈💞

And I can see myself dancing to this song as I make breakfast (in the afternoon or at midnight bc I’m crazy)

This was an okay b-track for me at the first skim on the album, but boy it grew on me wildly.

Honestly one of my favorite tracks in this album.

4. Focus

Did I just invade a private call? LMAO

The analog voice filters make it like so.

Dude, this feels intimate in the level of eavesdropping a phone call between seasoned lovers. Then you realize you hear them whispering their kinks over the line and you're ooh, that's sexy! hfgklhfhf

My first listen to this, I almost went feral because,

"I can't wait to eat you…" when it's actually "I can't wait 'til we chill…" aahaha

"Baby call me when you want me." OKAY!

This sounds relaxing and chill. I'd love to play this on a late night drive or just before bed time along with Fly Away With Me, Sun & Moon, My Youth, and Long Flight.

Belongs to ‘make out session’ playlist  ( ͡° ͜ʖ ͡°)

That was lowkey a playlist recommendation, huh?

I'd be kidding if I don't say I could touch myself while listening to this song AHAHAFGHFJFJ

I didn't know this would grow on me this much lol I love love LOVE THIS!

5. The Rainy Night

Ooh, the holy melancholy!

Piano at the intro—I knew I'd cry to this.

This song isn't just about break-up, but the heartbreak after one.

The yearning; the remnant pieces from the shattering of what was once there.

I think I crumbled from this one.

This hit so hard I felt like I fit in the shoes with the lyrics throughout the entire song.

What’s fascinating is I clearly forgot the title when I mentally said this sounds like a sad rainy day song from the first listen.

Something I’d turn up when it suddenly rains, just because I want to feel the blues.

Taeil and Haechan singing in lower register? I wanna cry :( they’re just one of the best vocalists in K-music industry right now.

Could have been also nice if they added Yuta to the vocals.

"My selfish heart who waits for you to come back," OKAY WHO HURT THEM?

And the fact that they sang it so good that it translated every ounce of the emotions well even before I looked up for English translations is the reason why I love this song too.

6. Far

Hmm… What the hell?! Do I like this? Wait...

Alright!

The jumpy vibe from the first verse to the pre-chorus set the mood for this song. It sounds merry and heavy. It was honestly too much to take until I’ve reached the chorus part.

Honestly, I think this song could fit NCT Dream better, as it gives off a vibe similar to Hello Future's b-tracks. If some credible source say this could have made HF’s track list, I might believe you too fast.

Also Dream’s Deja Vu where they go na nananananana na na na~

Playful yet confident! That’s what I mean!

As usual, the vocals are insane! Vocal flex from left to right!

I swear Jungwoo sounded a bit like Taemin at the second verse that I had to replay it hahaha

I love hearing Johnny as a vocalist! SM, how many signs do you need until you utilize his vocal talent???

Taeil's part where he sings, "go nuts, go nuts, 'til we go bust, go bust" IDEK BUT I SNORTED A LAUGH AT FIRST LISTEN HFCAHKFHK

Not my favorite, but still great though!

But wait it’s actually stuck in my head???

7. Bring The Noize

Yes, they never beat those noise music allegations

HERE'S SOME NOIZE, BITCHES

I love me some noisy percussions. AND THE BASS YO

This screams so much confidence!

The build up from the pre-chorus to the chorus—FIRE!

This song reminds me a lot of SuperM's Super Car, especially with the engine roar samples and the battle cry-like singing at the chorus.

JAEHYUN RAPPING? You mean Jaehyun the visual, the vocalist, the actor, the model, the funny dude, aka my everything?! (markie bb look pls look away for a moment)

THEY DELIVERED IT STRAIGHT FROM NEOCITY THAT'S SOME NCT MUSIC RIGHT THERE NO ONE DOES IT LIKE THEM

When I said I'd play Focus on a late night drive, and if I add this in the playlist, VROOM VROOM SPEED LIMIT WHAT

OUTTA MY WAY

“We got no shame” ouh TAEYONG’S FLOW IS JUST VERY HIM AND HE’S IN A LEAGUE OF HIS OWN

You know what's so clever about this song? It's how it ended with Mark's final rap without any instrumental, leaving you  standing there with a doppler effect-like post experience.

A super car on a super speed just whooshed past you and you look its way as it zips through the road. It's gone in an instant but you're floored dumbfounded at a sidewalk. That's how I describe this song.

8. Magic Carpet Ride

This song… Wow. Oh gosh it's so beautiful.

Their harmony in the chorus—it makes me want to kiss someone so passionately that I'd cry.

This makes me want to feel love that transcends the universe. Literally, just please take me on a magic carpet ride :(

The background harmonies too oh my goodness—HEAVENLY.

Jaehyun's voice is so warm and soulful it fits perfectly with songs of this genre.

Okay alright Doyoung Grande!

And Taeil makes me feel like I'm listening to old school R&B.

The first time I heard this from the track video, I can't stop replaying because it's just that great.

This makes me want to love. I think that sums it up.

9. Road Trip

This is such a soothing song for me, especially how I easily become nostalgic thinking about the road trips I've had.

Whenever I listen to this, my brain immediately conjures up thoughts of my ideal getaways. Gazing at the sky through the car window, stirring up from a nap in the middle of the ride, and   eventually reaching your destination.

Oh, to travel around anywhere... (curse you covid-19)

Okay that's it. I'M PACKING UP.

But where do I go—

I could also imagine Mark playing this on the guitar and the other members sing along together, something like that.

Just Wholesome™ vibes.

I love how it evokes such a nice emotion within me effortlessly.

This isn't my favorite, but I still love this.

10. Dreamer

Eyyyy such a refreshing song!

This song is so bright it makes me want to dance. I play this first in the shower!

It reminds me so much of Elevator (from Neozone)

The horns make it more lively I think!

Yuta and Jungwoo's voice suits lively songs like this.

The background vocal in low register in Taeyong's part in the first verse is so good ahhfhf

Taeil, the R&B vocal king you are...

There's this part where Doyoung and Johnny harmonized, that at first listen they seemed to clash, but it sounded actually fine after a few listens. Maybe it's just that I've never heard them do it before.

And I think it's Doyoung's laugh at the end of the bridge? Oh my goodness I really love this too!

11. Promise You

MY FIRST LOVE AND MOST FAVORITE SONG IN THE ALBUM!!!

The first time I heard this from their NCIT Sharehouse Sitcom, I fell in love with the song already.

It sounds like something you'd feel from a warm, welcoming hug.

The lyrics are so beautiful and endearing. It's definitely a be-there-for-you type of song that will touch your heart.

It definitely sounds like a promise.

A song about platonic intimacy.

This really fits to be the closing song of the album. It's like the end of it but holds a promise that says “see you soon.”

Because they cherish their fans like that.

It's also like I've watched a movie with a happy ending, where the camera pans up to the clear sky and this song starts playing.

Speaking of ending, I would love to hear them sing this as an encore stage in their concert. You know, that moment just before the stage lights die down at the end of the concert where they send final blows of flying kisses to NCTzens. Then you come home smiling and crying.

This wasn't supposed to be this long since I originally planned to write this with just simple phrases and emojis but I got too engrossed lol. I also meant to include my own ratings but I figured it’s pointless since I can’t really decide about them hahaha

I really enjoyed the whole album and I love how they're progressively defining what NEO means by breaking through standards. It's not NCT music if it doesn't make you say "WHAT THE HECK WAS THAT?" But then you realize it’s stuck in your head and you’re enjoying it already.

✨ OVERALL RATING: 127/10 💚

if you’ve reached until here, thank you for letting me share you a braincell or two 💞

[itwas50yearsagotoday]

8/25/22:  It was 50 years ago today, August 25th, 1972, the Kinks would release their eleventh (!!) album ‘Everybody’s In Show-Biz’.  If you liked ‘Muswell Hillbillies’ you most likely will like this release as well... tons of pseudo-dixieland horns soaked in whiskey, but just a tad more refined... and that is for effect, as this is a loose concept album by main lyricist Ray Davies about ‘life on the road’ as a Rock Star... it’s pretty damn good, and honestly besides the song from Avengers: Endgame I didn’t know shit about this semi-obscure record.  So of course I linked the Avengers tune... you know, during the first ‘Fat Thor’ scene, ‘Supersonic Rocket Ship’ is playing... as an aside, I just very recently purchased Joel Whitburn’s Top Pop Singles 1955-2018.  Holy shit, this is like crack for someone as OCD as myself about music.  Anyway, now I can see beyond the Top 40 and even the ‘Bubbling Under’ tracks between 100 and 125!  I bring this factoid up because ‘Supersonic’ charted in 1972 at #111... a travesty!! I’m super-glad the MCU has the best taste in classic Boomer pop music since Quentin Tarantino’s ‘90s hey-day.  Anywho, ‘Supersonic’ is just a damn purty little tune... tasteful horns, what sounds like a plucked mandolin (??), quick tempo changes... it’s wild how this was not a real hit, but I guess this is the beginning of the Kinks’ so-called Dark Ages where they avoided the U.S. Top 40 until 1978 (really 1983′s ‘Come Dancing’ was the true, but brief, comeback)... which is too bad, because I think the closest contemporary analogue to this sound is the Band, with less pretensions and harder rockin’ (yes, I said the Band is pretentious... c’mon, you know it to be true).  Honestly, all these songs are at least good, if not great... opening track ‘Here Comes Yet Another Day’ is a steady rocker, ‘Maximum Consumption’ could have totally been on ‘Muswell’ with its hilarious lyrics about eating everything in sight as a way to keep energetic on the Road.  ‘Unreal Reality’... that one is the first Band-ish song (and maybe even a little like Tim Buckley at the beginning... or not)... love the piano and horns throughout.  ‘Sitting In My Hotel’ starts off kinda slow, but it’s pretty epic... probably the most concept-y track, and it works!  What else... Dave Davies has an excellent song here, the upbeat (and too short!) ‘You Don’t Know My Name’... is he talking about himself versus his better-known brother??  Maybe... his voice is great here, it actually falls somewhere between Rod Stewart and Ronnie Lane... like it could be a Faces song... then the Rock-flute kicks in, wow awesome.  As I said the remaining tracks are all good too... the first record ends with Ray’s tribute to Hollywood stars ‘Celluloid Heroes’... another epic track.  Wait did I say first disc?  Yes, this is indeed a double-album--in keeping with the theme the second disc is all live tracks, mostly drawn from songs from the previous three records... ehhh... not a whole lot special here, except maybe the audience acapella version of ‘Lola’, but shit it’s less than two minutes long.  Seriously, they are not even trying to pander to their audience, as there are none of their ‘60s hits here... maybe that’s good from the artist’s perspective, but commercially this is where their big drop in popularity really starts, and the band does a bunch of concept albums and Rock operas for the rest of the decade, for better or for worse, with little success beyond a cult following.  I’ve heard a little bit between this and their 80s comeback, and not a whole lot really stands out... I will review their 1973 release which is really supposed to be a cliff-jumper, but whatever maybe I’ll be pleasantly surprised again.  I hope so, because these tracks on this record are excellent and I’m glad I now know them.  Go listen to this record... er, at least the first record.  Also, Joel Whitburn, RIP.

[comedicallyschizo]

i’d like to talk about this album in length as its honestly been one of the most important albums of my life, but ill just start off talking about a song from it because i dont have much time atm but to stress the importance of this album to my life it requires some context

when i started getting seriously i was a teenager, my experience with music at the time was strictly piano lessons i took when i was even younger and my main creative outlet was writing fiction and poetry, which led me to really really appreciate lyricism in music. I was already a fan of hip hop and rap music and that type of music even influenced the way i learned English, so lyrics were always the focus point of music for me. As I inevitably discovered folk music, it being one of the biggest cultural influences in western music (Bob Dylan, Billy Joel, Simon & Garfunkel, Leonard Cohen), I started to fall in love with the stories being told and realized that songwriting was not a derivative of the literature and poetry that i loved, but something completely different and unique to its delivery. I found John Darnielle’s music shortly after and became obsessed with not only the great songwriting and lyricism but the conceptual and thematic depth that came with it, as a more naive adolescent the idea that an album could be more than just a collection of songs that sound well together, and that each song could tell a small but significant part of a greater story, seemed revolutionary. I still believe the way Darnielle tells connecting stories that stretch outside of albums is incredible (for instance, the Tallahassee couple to those who are familiar with the music), and the fiction writer in me has to appreciate the great character development that comes with each new song that references back.

this takes me to a podcast called Welcome to Night Vale, which deserves a post of its own as its influence on me is immeasurable so I will not be discussing it here. The only important thing to note is that the creator of the podcast created another podcast where they sat down with John Darnielle and discussed, in the first season, each track of this album at great length. when I heard about this podcast i was so excited, i had spent hours on the mountain goats wiki page (lol) just reading about the songs and the writing process, I knew John had recorded the album on an old boombox and a guitar (minus the song blues in dallas, which i found out through the podcast was actually on an old toy keyboard with built in rhythms) and i was just really excited to hear him talk about it and to just hear two of my favorite creators speak was awesome.

id like to start off talking about a song called color in your cheeks, track 3 from the album

this song as described by John Darnielle as a song about sanctuary, about giving people a place to go where they can be safe, whether they need it or not. he described writing the song and coming up with it on a flight to Australia when he found out he’d be flying through Taipei. the song consists of a description of different people passing by what sounds like a bed and breakfast being run out of a couple’s home. part of the song that really stuck with me was in the chorus

“come on in,

we havent slept for weeks

drink some of this,

it’ll put color in your cheeks”

originally, the lyrics seemed more conversational to me, as if someone’s response to being invited in was to talk about how little they’ve slept, almost in gratitude, and the hosts’ immediate response being a comforting one where they actively provide the guest with something that signifies comfort and warmth. on the podcast, john darnielle mentions how the “we havent slept for weeks” line is referencing the hosts’ stresses as a form of empathy towards the traveler, “come in, we understand your long and hard journey and we are here with you and for you as much as we can be.”

as an immigrant, the concept of sanctuary is very important to me and the theme of international travel struck a chord with me. while i am fortunate enough to now both speak the language of the country i live in, and live in an area where my immigrant status is more often than not shared by the people around me. however when i’ve traveled outside of major metropolitan areas it is very clear to me that my presence is not wanted, it is very easy to feel like an outsider, a feeling which is not easy to handle when you’re struggling and been on a harsh journey

the song starts to list all the places people might come from, including just living across the street, continuing with

“but they came, and when they finally made it here

it was the least that we could do, to make our welcome clear”

ill probably end up talking about this album more, or it’s respective season of the podcast mentioned, or even just this song maybe but if this sounded interesting or resonated with anyone i really really recommend giving this album a listen, if you have the time i recommend listening to the podcast as it plays the song its going to talk about at the beginning of every episode so its a really interesting listen and you’ll get to compare your impressions with darnielle’s intentions

[passionate-reply]

This week on Great Albums: one of very few albums that I think is truly perfect. John Foxx’s second solo LP, The Garden, is a masterpiece of Medieval mysticism, romantic longing, and modern electronics. Transcript below the break!

Welcome to Passionate Reply, and welcome to Great Albums! In this installment, I’ll be looking at a classic sophomore album, and one which epitomizes the principle of taking one’s sound in a different direction the second time around: The Garden by John Foxx, first released in 1981.

While The Garden was Foxx’s second release as a solo artist, it’s also his fifth LP overall, as he had spent the late 1970s fronting the original incarnation of Ultravox. Foxx’s Ultravox was an eclectic mix of influences from glam, punk, and, of course, electronic pioneers like Kraftwerk, but it would be the latter of these ideas that dominated Foxx’s solo career. His 1980 solo debut, Metamatic, is some of the purest, starkest, and harshest minimal synth around, and remains one of the most iconic early works of the subgenre.

Music: “Underpass”

If you want more like Metamatic from Foxx, you’ll want to skip ahead to the 1990s, because he turned his back on this thin and aggressively inorganic sound remarkably quickly. While he would produce several more LPs in the 1980s, the group of them seems to grow progressively lighter and softer, with less blistering analogue synth, and more radio-friendly love themes. But while Foxx’s third and fourth efforts are often panned, The Garden has actually won nearly as many fans over the years as Metamatic, proving itself to be powerful in its own ways, despite its radically different aesthetic. Where Metamatic dealt in brutalist city blocks and Ballardian psycho-sexuality, The Garden takes place in moldering cathedrals, embracing Gothic splendour and (imagined) Medieval emotionality.

Music: “Europe After the Rain”

“Europe After the Rain” opens the album, and also served as its lead single, becoming a relatively minor hit in the charts. As we hear it, we immediately become aware that Foxx has abandoned the instrumental palette of Metamatic, made almost exclusively with an ARP 2600 synthesiser, in favour of something more lush. On “Europe After the Rain,” traditional instruments like acoustic guitar and piano are impossible to ignore, though the constant bass synth ensures we never forget Foxx’s roots either. It also seems to be a major thematic leap away from Metamatic, with its tender and romantic feel. Still, that may not necessarily be all there is to it--the song is presumably named after a famous painting of the same title, by the Surrealist Max Ernst, executed in the early 1940s as World War II was first beginning. Ernst’s painting is a sort of apocalyptic vision, in which crumbling structures are overtaken by vegetation, and two figures wander through it, seemingly passing by one another. Perhaps Foxx’s “Europe After the Rain” is also a theme for a devastated landscape, its lovers meeting again the last survivors of some nuclear holocaust? Maybe it isn’t too far away from the themes of crushing modernity employed on Metamatic after all.

Note, as well, the emphasis on “Europe,” conceptually--The Garden is, at least partially, a sort of search for a new European cultural identity. The Garden fuses electronics, and hence Europe’s characteristic technological achievements, with a love of more traditional European cultural ideals, namely, the aesthetics of Medieval Christianity. For evidence of that idea, look no further than its most obvious apotheosis, the track “Pater Noster.”

Music: “Pater Noster”

“Pater Noster” is, of course, a setting of the Latin-language translation of the so-called “Our Father” or Lord’s Prayer, one of the most popular and well-known texts in Christianity. “Pater Noster” is the album’s most obvious love letter to the Middle Ages, but an informed listen will show that it has little to do with actual music from that era--I actually could forgive the synthesisers, which might be analogized to the role of church organs, but the percussion-propelled nature of the track is what really makes it feel ahistorical to me. Despite the religious themes of The Garden, Foxx always averred not being any sort of authentic believer in religion or God, and maintained that he was interested in the traditions of the Church purely on aesthetic grounds. Whether you think this sort of appropriation is appropriate and respectful or not, it’s certainly one of the album’s prominent themes, and part of what makes it feel as unique as it does. While I’ve emphasized the themes of romanticism and religiosity, it’s also worth noting that The Garden is not a complete break from Foxx’s earlier works, and in its return to a more guitar-driven sound, it often winds up riffing on something not unlike punk.

Music: “Systems of Romance”

Astute followers of Foxx will have already noticed that the track “Systems of Romance” shares its title with the third and final LP he released with Ultravox, in 1979. Apparently, it was written that much earlier, though it wouldn’t be seen to completion until several years later. Combining a hard-driving guitar, played by Foxx’s Ultravox bandmate Robin Simon, with the inscrutable, sensual, elemental lyricism Foxx employs throughout his mid-80s oeuvre, the track “Systems of Romance” really feels like a bridge between 70s art rock and 80s avant-synth-pop, moreso than anything else on the album. Much as “Systems of Romance” extracts a certain prettiness from punk, so does the aesthetically-oriented “Night Suit,” which plays with appearance, deception, and masculinity.

Music: “Night Suit”

“Night Suit” is the track on The Garden that I feel is the most exemplary of its own time period, a mysterious ode to a mystical garment that could almost feel at home on an album by Visage. The Garden is interested in “romantic” themes, but “Night Suit” truly feels at peace among the New Romantics. It’s got some of the most “believable” rock influences, with a prominent guitar riff from Simon, and yet its emphasis on the power of fashion and appearances, destructive, and perhaps even supernatural, is hard to imagine in a genuine punk context. As it implores us to “be someone” or “be no-one,” it’s easy to fit “Night Suit” into one of the major themes throughout Foxx’s career: the tranquility and liberation of personal anonymity. Why is the “Night Suit” a suit in the first place? The song wouldn’t make sense if it didn’t deal with a garment that is also a non-garment, something to wear that feels default, neutral, and unassuming--not to mention classically masculine.

On the cover of The Garden, the main thing we see is, well, a garden. Despite Foxx’s more obvious personal presence on the albums before and after The Garden, it’s easy to miss him here, dwarfed by the scale of nature that surrounds him. It’s almost like the album is more meant to be about this place, and the concept of “the garden,” than it is Foxx as a person, or any particular perspective of his.

While the actual capital-R Romantics were deeply interested in the “sublime,” and the scenes and moments in which mankind faces its vulnerability and insignificance when compared to the natural world, it’s also worth remembering that a “garden,” by definition, is really not a natural space at all, but rather one which is arranged by human hands. Even if this composition resembles those of Romantic painters, I think it’s worth looking earlier in the European past to interpret this one. Gardens were one of the most prominent symbols in Medieval literature, and scholars have suggested that they serve as symbols for sensuality, romance, and the yoni itself. Through the association with the Garden of Eden, gardens often represent a sort of lost, but longed-for paradise, and a return to innocence which is as tantalizing as it is impossible. In particular, “Europe After the Rain,” with its theme of lovers meeting again after the passage of some time, seems to connect with this idea.

In hindsight, The Garden really stands alone in Foxx’s career, a masterpiece whose precise style he would never attempt again. We might say it became that Garden of Eden, to which the artist could never return. While Foxx’s interest in Medieval spirituality would return on ambient works like Cathedral Oceans, and he would occasionally return to love songs with an electronic backing, the precise combination of lovelorn bardistry with a flair for the baroque that appears on The Garden remains totally singular. Foxx’s follow-up to this album, 1983’s The Golden Section, narrows its thematic focus towards poppy love songs, and its instrumental focus, likewise, is that of a fairly unremarkable mid-80s synth-pop record. But at the same time, I like to think that tracks like “The Hidden Man” manage to maintain a sense of the mystical.

Music: “The Hidden Man”

My favourite track on The Garden is “Walk Away.” While it lacks the severe and tragic grandeur of the album’s title track, which closes the album on a lofty note, “Walk Away” shares some of its delicate qualities, reviving the soft piano that we heard on “Europe After the Rain.” Thematically, “Walk Away” seems to deal with fragility and transience, and the grave significance that a brief, passing moment may have--which makes that “delicateness” feel all the more poignant in context. Its call-and-response outro, featuring one of Foxx’s most anguished vocal performances, really makes it a stand-out. That’s everything for today--as always, thanks for listening!

Music: “Walk Away”

[nctinfo]

[TRANS] WayV’s interview with ELLE Korea May 2020 issue!

— Kun

A suffering leader, everyone's Kun —  With a meticulous personality. The pros and cons would be: I think I am the leader thanks to my sense of responsibility and delicacy. [But] when there is too much to take care of, it is a bit cumbersome. There’s no member who gives me a hard time because they all pick on me one by one (laughs). If I had to introduce my hometown, Fujian Province, it's a quiet city with clean air and few people. Many people come to visit because the mountains and the lakes are beautiful. When I think about nature, I start missing my hometown. At school, I was the head of the student council's entertainment department. I might look like a serious person since the members are so active and mischievous, but I'm also a fun person. Times when I feel like we’re one team are when you know what the others are thinking just by the look in their eyes and, when we dance and the movements are 'synchronised'. WayV to me is the comfort of being able to share everything with each other. All the members worry a lot about music so a lot of ideas come out every time we hear new music. It is certainly an advantage that all seven have a lot of desire. I have a bright young voice, but my desire as a vocalist is to have a thicker and more mature voice these days. Wouldn't it suit dance songs that match our [team's] style more than ballads. I graduated in Practical Music. If there is a song I want to arrange: I'm still trying to look for my style while listening to various songs. I want to challenge not only the arrangement but also the composition. I am a good cook. The dishes I recently made for the members are the dishes that I learned from the main chef of the company while I practiced them [on the members]. The menu with the biggest reaction recently was DongPo Pork. When I can't sleep, I deliberately watch low-rated movies and these days, I watch a four-hour-long landscape video shot from a train driver's perspective. It makes me fall asleep really fast (laughs). The most memorable stage after debuting was as expected, MAMA 2019. When I was giving the award speech, my hand that was holding the microphone was shaking and it was all captured [on camera]. What I want to say to myself in hard times is to be confident! The moment you lose your confidence, everything becomes more difficult. The mindset I don't want to lose is to be grateful. Everything I do right now is impossible to do by myself. This is the most important. To Winwin: who has known me the longest among the members! I hope you always take on challenges with courage because I will always be there beside you to support you. Also, all the members know that you are cute.  

— Lucas

Healthy energy, hot Lucas — Between a boy and a man, I feel closer to 100% boy! I don't think I feel mature enough. [Maybe I’m just like] a baby who wants to be a man (laughs). The most impressive man to me is a responsible person. And also, a man who gives everything to his loved ones. Having an attractive rapping sound because of a low and husky voice. My desire to sing is big! I want to sing a sad song. I've heard from people around me that a calm song suits my voice. Like the calm songs of Paul Kim I normally listen to too. My favorite song is "Take Off, The killing point is the dance break, with the powerful guitar riff. Emotion is what is the most important on stage. I believe each song has its own soul, and it is important to immerse yourself. My role in the team is positive energy. Although always looking bright, surprisingly, I have a lot of thoughts. Yesterday too, I had a lot of thoughts before going to bed, so it took me a while to fall asleep. Not long ago, Kun hyung played me a song he had composed and so many ideas came up so I wrote them down and sent it to him. WayV to me is a friendship that feels really deep even though it’s been only a year since I made a debut with the people I love so much. So much that when we come back from a schedule, as we laugh and talk together, the stress will suddenly be gone. The most important thing in a team is to have sincere conversations with each other to understand each other's differences. Only then can we get along well because of the wider understanding. Having appeared in a number of familiar variety shows like the Chinese version of <Running Man> <Let's Run Season 3> I like that I can go to various places the most. It's also a special opportunity to meet people with other jobs and not only artists. I think I'm often called/casted [for these shows] because of my sincere youthful reactions. The mindset I don't want to lose is the promise I made when I debuted to be a good influence on people. That's what I always keep in mind. I want to be a person who always gives positive influence to people, family, and fans around me. To Yangyang: who I know is really smart, you're still a cute little brother to me (laughs)

— Winwin A quiet presence, Winwin — In the reality show <Dream Plan>, mingling well with the elders in the village was impressive. Special trick behind it was thanking them for looking out for me! Since they were all kind natured, I guess treating them with sincerity looked good. When Lucas and I visited their home, we got served a meal and received a warm welcome. A performance video of Ten and I has been released. As a dancer, Ten is a member whose strength is being versatile. He helps the members at dance practices a lot. I’ve learned dancing in a special dance school. At the time I was the shortest and least talkative kid until I grew taller in high school. I’ve spent most of the time practicing alone. Chinese dance is similar to modern dance mixed with ballet. Learning the choreography is fast and it’s an advantage to be skillful in tumbling. I would like to properly showcase a modern dance at a concert someday. When I’m on the stage what I care about the most is my gestures and facial expression. During ‘Take Off’ promotions, the gestures and facial expressions I did during my part varied from stage to stage. I hear that I’m ‘pure’ a lot. A new charm that I want to have: our fans call me ‘Baby Chick’. I want to showcase more of an ‘eagle’ image, so I cut my hair short. Isn’t it similar to Park Saeroy (laugh). Something that makes me angry, although I normally have a good temper is being unsatisfied with stage performance to the point I can’t sleep on that day. But it’s okay to just take a nap. I just need to do better. The most memorable moment in WayV promotions was receiving the Best New Asian Artist Award at the MAMAs, it was the first time we’ve gotten an award together so I was very happy. The reason why I went to Beijing on my own as a middle school student seems to be fate. I passed my exams without much determination, left my hometown and went to school in Beijing where I was noticed and then debuted. Coincidence became fate. To me WayV is a path that we’re talking together, a team with a lot of growth potential. I’d like it if the younger members came to me whenever they need someone. I feel our fans love and support the most when: I’m always amazed and grateful for our fans hearts. All of the people who always look out for us even when we’re not promoting any albums and who support us are an immense source of strength. Success to me is when more people get to know us and we get to perform in many different countries. I want to think about my personal success after my team’s success. To Kun: when members want advice, we reach out to Kun first before our families. He knows a lot, can do a lot, and is a person we can depend on.  

 — Ten

Ten who is curious about what's next rather than what’s now — The secret to adapting well everywhere is attending an international school. I had friends of various nationalities and I also traveled a lot. Wherever I went, I went to see the common [places] first. Learning an unfamiliar culture is fun. I’m learning Thai, English, Korean, Japanese and now working hard at learning Chinese. I memorize expressions that I can use while watching Chinese variety shows and dramas. Although it's still difficult to read the buzzwords and hanja. The most important thing as a performer, and what makes you an outstanding dancer, is to have your own style while not being trapped by masculinity and femininity. I am different now from a few years ago and I'm trying to challenge myself by being flexible in various aspects. What I've learned since debut is, in the case of WayV, that when you work with various genres the main concern is the vocal style and with SuperM, I learned about the importance of performance through the activities [we did]. 'It's important to dance well, but you must also have your own [style]', 'think about what you want to express in front of the camera, but you must be faithful to your feelings on every stage in order to develop [yourself]' is the advice I received from the Hyungs (Baekhyun, Kai, Taemin). For the dance video that I did together with Winwin, the concept, music, settings, and outfits were all decided by us together without the company's advice. I came to realize the difficulties of being a staff member (laughs). I can [now] see the wider picture and more details. I like poetry too. I think poetry expresses emotions. It helps me  understand the world and the society as a person and not as an artist. The lyrics of my 2nd solo song 'New Heroes' feel like an autobiography. If 'Dream in a Dream' was all about the performance then 'New Heroes' is a song about the time spent committing [to something] and I thought anyone can sympathize with that. The [original] lyrics were so great that I asked them not to change it and to just go with it. I want to write lyrics myself someday. The kind of person I want to be is [someone who] always tries to go with the flow as I think that making plans and setting expectations can make it more difficult on yourself. I hope I could be a person who can leave a good impact on others. WayV to me is just like a family who always does everything together and takes care of each other asking ‘have you already eaten?’. Everyone has an open mind to try and accept new challenges. During the 'Moonwalk' promotion period, I was kinda surprised how well we got along. Having received recognition for my skills since debut. The times when the expectations are high are: Art and languages too are ever-evolving disciplines, so it's not easy to keep up. Nevertheless, there are self-expectations and anticipations to show a new side of myself. I will work hard (laughs). I still play Pokemon Go and I'm waiting for the June update. I will catch a lot of new Pokemon again! To Xiaojun: with whom I saw Harry Potter together yesterday! Let's make an appearance in Harry Potter when there is a reboot.

— Hendery

Flexible midfielder, Hendery — Something I’ve gotten into recently is practicing playing drums. Kun hyung is cooking a lot lately so I’ve been reviewing the food too. The other day he made kimchi jjigae so good that it even got an approval from manager hyung. My favourite track is ‘Take Off’. We filmed the music video in Ukraine and spent loads of happy times together, so I feel happier whenever I listen to it. Something I’ve improved on since debut is that recording songs takes less time. When I hear a member of staff say ‘Is this really Hendery’s voice?’ I feel proud of myself. The charm of my vocal is: I’m still looking for it, but I feel like my rap sounds nice when I spice it up with a little melody. Good at giving advice to our members. A tip to giving good advice is: it’s important to have helping and not making decisions in mind. Talk about both bad and good points about the A and B. The secret to always looking like I’m at peace is my parents always telling me ‘Your happiness is the most important. You always have a home to come back to, so work as much as you can enjoy’, thanks to them I grew up as someone with little stress or worries. Mindset that I don’t want to lose is the excitement before going on stage. I think the most important thing for an artist is their greed for performing. When I get on stage the most important is interacting with fans. The most memorable stage was our Korean debut on <Show! Champion>. I couldn’t believe we’re performing Chinese songs in Korea. I was so overwhelmed to see our fans welcoming us so enthusiastically even though they didn’t understand what we were saying. I opened an instagram account recently. My posting plan is ‘This is where I am‘ ‘I am filming today’. I want to showcase my daily self. I hope our fans can smile for a brief moment when they see the pics I had the most fun taking. To me WayV is: I feel empty when I go away to see my family for a little. Every time that happens I facetime them to relieve the sadness. Lucas is the member who picks up the most (laugh). To Lucas: No matter how busy we get, even if we become grandpas, I’ll always be by your side. It’s something I want to say to all of the members, but Lucas is a friend I'm especially attached to so I really wanted to say this. 

— Yangyang

Infinite potential, bold maknae Yangyang — I speak Chinese, German, English Korean and Spanish. Great language skills are useful when you travel. Whenever I talk with friends of various nationalities, I think it's fortunate that I can speak many languages. In our team alone, it's full [with people who speak] Chinese, Thai, English, and Korean (laughs). My role in the team is being the happy virus! Although of course, the hyungs think I'm a maknae that requires a lot of energy from them. WayV to me is a high tension team that can deliver strong and positive energy. If someone shows a slight sign of exhaustion, we immediately stick together and somehow infect each other with energy. I think that such energy is conveyed to fans on stage. If I have learned anything from living together with the members [it would be] the habit I have developed to control my greed and to care for others. I'm used to looking at the other's feelings now before doing something. My favorite song is ‘King of Hearts’, because I participated in writing the lyrics. I also love 'Love Talk' from the 2nd mini album. It is a charming song that is sweet and sexy but has a way to make your body move. My ambition as a rapper is the flow. Because I think this is the aspect that determines the impression of a song from the listener's point of view. I want to be a multi-talented person who is good at not only rapping but also dancing, singing, and writing lyrics. I've always had a lot of ambition. The attractive part of writing lyrics is that I can tell my story, since from a long time ago, I wrote lyrics little by little and it's always fun work. I want to steadily keep doing it. I like Virgil Ablo and Demna Gvasalia, and the fashion icon who caught my eye these days is Mike Amirie. I am drawn to people who have a simple yet clear style. The same goes for musicians. I like people who have a clear style like Travis Scott and A$AP Rocky. I’ve said 'I like who I am' before. Instances when I am especially like myself is when I'm confident. When I have confidence and want to show off, I can show much more than my actual skills. I use SNS to check on NBA and fashion news. I see the news on sneakers I'm looking forward to fast. Surprisingly, I don't look up anything about me [but] when a stage or performance is over I do look up the reactions. Most of them are good, so every time I read, I get energized. To Hendery: hyung, you seem to really get into gaming, but don't try too hard (laughs). 

— Xiaojun

Warm voice, Xiaojun — Something I’m into these days is practicing the songs that will be included in the next album that we are preparing for. Before debuting, I only sang my favorite ballad song, but nowadays, I want to sing songs of other genres such as R&B. I've been uploading videos of me singing on my personal Instagram. My favorite song is ‘Face to Face’. My heart warms up every time I hear it. I really like the lyrics ‘You won’t be lonely because I’ll be your strength, I won’t let you cope with your wounds alone in silence’. The keywords that describe me are kind. Friendly. Positive. I often say ‘I wish my songs were healing different people’. The way I heal myself is: my heart calms down when I look at pictures with many memories sealed in them. I take a lot of pictures of the scenery and especially when I look at the pictures of my hometown in Guangdong I feel healed. The reason behind my strong sensitivity is the big influence of my dad who’s a singer and my older brother. Ever since I was little we would often watch movies together. I graduated with a musical major. My greed for musicals is: I’ll surely do it again later. I like starring in musicals but one day I’d like to make my own. A musical piece I’d like to recommend is <Dear Evan Hansen> who won at Tony Awards and Grammys. It’s a warm story about a lonely high school boy suffering from social anxiety disorder, who is working on his trauma and healing from the pain. My way of dealing with stress is quiet time on my own. Just like positive energy, negative energy is easily spread to others, so I’d rather be alone. A memory I really want to make is a trip, I promised to go on before debuting, with the members. The destination is still undecided. The kind of team member I want to be is a silent supporter. It would be nice if I can be 'my people/dearest' to others. Something I want to do this year is to have an event for the fans. I like to surprise friends or throw surprise birthday parties. I think fans will love it if we would do a guerilla performance. I told you here so I have to throw [that idea] away and I will prepare something else (laughs). To Ten: You are one of the 'Hyung-line', and you Korean is the best so there are many times you have to lead us. Don't carry everything on your own and sometimes lean on us! The same goes for Kun hyung.

t/n: Due to the structure of this interview there might be inaccuracies as many things only made sense in Korean but sounded kinda awkward in English (more so compared to other translations we did). We tried our best to convey what they meant, but please keep this in mind when reading this interview.

Translation: Alex, Esmee @ FY! NCT (NCTINFO) | Source: ELLE Korea Scans — Do not repost or take out without our permission!

[aspenflower17]

Finding You (Part Fourteen of ??)

Hey everyone! I hope you’re all having a good New Year so far! I have a bit of an update after the chapter for y’all.

Edit: Oop! I forgot the link to Part One for any new people! My bad!

Tags (ily all!):  @simpingforsatan @naimena @hachimochi @wrathandgreed @magi-minminxiii @rensphilia @a-dream-at-night @chloelikesobeyme @getbehindme-satan @theuglypugling @oofthelazyweeb @mammonismyfirstman (as always, if you’d like to be put on the tags list, juust let me know in a comment down below, or a DM)

Word Count: 1,961

TW: None? I’m pretty sure?

Mc didn’t know what she was expecting from the song Satan’s brothers pressured him to play, but a gorgeous melancholic love song was not it, though she should have guessed it was a love song from the title. She was entranced from the first couple notes, and the lyrics pulled her in further. They spoke of someone experiencing love for the first time, though they were afraid of their Love fading away and leaving them. She smiled at the cat lyrics, finding herself not surprised Satan would write about them. He seemed like a cat lover, though she had no real basis for the belief.

 Satan’s singing voice was just as nice as his speaking voice and she found herself impressed. It also held a lot of emotion, enough that she was surprised it didn’t affect his singing. Though she had never heard the song before, it seemed extremely familiar. Though, it was a fairly universal concept, so it probably just seemed she’d heard it before. She hadn’t realized she was crying until Mammon offered her a handkerchief. When he finished, everyone clapped, and he started on another song.

“I never thought I’d hear tha’ song again,” Mammon spoke to Mc in a low voice.

“Why?” she asked.

“Oh… Uhhh… Well, it’s about a lost love of his. Once she… disappeared… He played it one more time and then said he’d never play it again.” 

Mc felt her throat constrict a bit at the revelation, “He must be doing better then. When he got his next… lover, he probably started feeling better.”

“He… Uhhh... '' Mammon floundered for words, and Mc found herself eagerly awaiting his next words, “I don’ think he’s dated anyone before or since her. If nothin’ else, she is his firs’ and only love.”

“Did she hurt him?”

“Huh?”

“I just ask because I’ve seen a lot of people, well, humans, who had relationships go sour and closed themselves off emotionally. I was just wondering if that’s what happened to him.”

“Not… Not exactly… She was human and she… died…” Mammon seemed really anxious at this point, and Mc decided not to push the subject further.

A human? Really? Well, that adds another layer to the song. It’s the most permanent level of “leave” there is. He knew going into the relationship it would end. But… If she had been corrupted enough by him, wouldn’t she have gone to the Devildom? Then they could’ve been together… Does that mean she went to the Celestial Realm? Do I know her? Or… Did she get stuck as a wanderer? Either way, why would he play it now? Mammon said he’d sworn off playing it ever again… The questions swirled around in her head as she watched Satan play.

“Ooooo! Ooooo! My turn!”

“Asmo, you can’t play piano,” Satan sighed, already getting up.

“But I can play music off of my DDD now can’t I?” Asmodeus said, waltzing up to what had become a stage.

As Asmo scrolled through what Mc could only assume was his list of songs, Satan came and stood next to her. Mammon even moved over so he could. Mc gave him a small smile and then turned her attention back to Asmodeus, who was gushing about the song he’d found to sing. She was still thinking about all the unanswered questions she had when she felt a breath next to her ear “What did you think?”

Mc almost jumped, but instead found herself glued to her chair, “Of the song? Or your singing?”

“Hmmm… Both.”

“You play and sing wonderfully. The song was beautiful. I could really feel your emotions.”

“Thank you,” Mc felt Satan retreat back to a standing position, and she found she missed his presence.

A huff from the other side of the room caught her attention. Looking over, she caught the tailend of Michael watching Satan with narrowed eyes before turning back to Asmodeus. How strange.

When Asmodeus finished, Lucifer was both begged and forced to play by those in the room. While Mc had to admit he was definitely in a league all his own, she found herself preferring Satan’s playing to Lucifer’s. She cocked her head slightly at the realization.

“Excellent Lucifer! Just exquisite!” Diavolo boomed, giving the Avatar of Pride a standing ovation, “I can’t remember the last time I heard you play!”

“Well, it has been awhile,” Lucifer smiled. His pride seemed to have recovered enough he could properly interact with people again. Mc was happy she was able to avert a crisis, not interested in finding out how a brawl between Michael and Lucifer would go. Though… Would either of them actually get into a physical altercation?...

Mc was so caught up in her thoughts, she didn’t realize the brothers were leaving until they were all asking if she would come to the House of Lamentation at some point.

“... And I would love to paint your nails,” Asmo prattled on, grabbing her hands, “And I know the Devildom’s lack of light can make your skin lose some of its radiance, but I have a moisturizer that can help with that. Oh and-”

“Asmo, come on! Ya want Mc to come visit or not?” Mammon interrupted,

“Mammon, you don’t understand the nuances of keeping yourself looking perfect.”

“Uh, yes. I do. I’m a model. Ya been smellin’ too many of ya fancy products and it’s melted ya brain?”

“I think you’re thinking of yourself, though it was probably when you were trying to con those witches into buying acid, and you drank some.”

“Oi! How do ya know about that?”

“Ugh, there they go again,” a head rested itself on Mc’s shoulder, and she almost jumped until she saw who it was, “Seriously though Mc. You should come over.”

“Yeah. You’re even welcome to bring Luke,” the one brother who she hadn’t talked to added, “Barbatos told me he’s gotten even better at baking.”

“Of course I’ve gotten better at baking! I’m also very good at cooking too,” Luke said, having joined the conversation.

Mc watched at Beelzebub, which is who she figured he must be through the process of elimination, actually started drooling, “Does that mean you’re actually going to come over then?”

Luke smiled fondly, a look Mc wasn’t sure she’d have ever thought he could have for a demon, “If you’d like Beel, I could probably make that happen.”

Beel rushed over to Luke and pulled him into a huge hug. Belphegor removed himself from Mc, walking over to Beelzebub, “Beel, you need to let go of the chihuahua or he’s going to suffocate. Luke can’t make you food if he’s been squished.”

“I’m sorry. I hope these idiots haven’t been bothering you too much.”

“Not at all Lucifer. They were just inviting me over sometime.”

“Well, I suppose it’s time for us to head out,” Lucifer said, starting to gather his brothers.

“You are welcome anytime you want to come over,” Satan’s voice came from behind her.

“I… Thanks. I would really like that.”

“Satan! We’re leaving.”

“I’m coming Lucifer,” Satan called, rolling his eyes, then back to Mc with a smile, “Bye.”

“Bye,” Mc called after him.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Mc sat in her room hours later, the events of the evening still running through her head. Though she knew Michael wouldn’t approve, she found herself much more at ease and even happier around them than she did around most angels. There was a non-judgmental kindness they all exuded (well, all except Lucifer) that made her feel like she belonged. She found herself excited about the prospect of spending more time with them at the House of Lamentation. She had to laugh a bit, the fact she didn’t fit in with the rest of the angels never more clear than it was now. 

Simeon had told her his time in the Devildom had been extremely enjoyable, the less structured lifestyles if the Devildom a welcome change from the Celestial Realm. She had read his work from that time and it was obvious he had felt a lot more creative in the Devildom, even though he had school responsibilities at the time. While she hadn’t doubted his words, she had always figured the change was mostly due to the fact he had been able to communicate with his lost brothers again. Now she understood what he had been talking about. 

Simeon generally gets along with the other angels too. What would they all say if they found out I prefer the company of the Fallen to them? Everything is just more natural with them. It’s almost like I already know who they are, as strange as that sounds. Especially Satan, though I’ve felt connected to him since I got his letter. Speaking of which, who was it that he mentioned? Lil… Lilly? Lillah? Lillian? Hmmm… I can’t remember. I do know I’ve never heard that name before. Whoever it was seemed to have a great impact on all of the brothers. It can’t be someone they Fell with. I’ve read all the literature about the Fall and I don’t recognize the name. Though there’s a lot about the Fall the Celestial Realm doesn’t talk about. But... Simeon’s also never mentioned anyone with that name before… Maybe it’s time for me to do some more research.

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Mc stretched, and checked the time on her DDD. She had been in Diavolo’s personal library for over three hours, and she still hadn’t found any mention of the mysterious “L” person. She found plenty of references to Lucifer though. It seemed he and his brothers had been instrumental in helping Diavolo establish order when the old King had started his slumber. What caused this slumber, why it happened, or if it would end was not covered. Mc wanted to research the topic further, but she couldn’t get distracted until she had answered her initial question.

There was a knock at the door, and Barbatos came in carrying a teacup on a saucer, “I thought you might be in here.”

“Oh, hello Barbatos.”

The butler entered the room, and set the tea down on the table Mc was studying at, “I thought you might like some tea.”

“I would actually, thank you. If you would like to, you can take a seat.”

“I suppose that’d be alright,” Barbatos smiled, and sat down in a chair. His eyes glided across the books strewn around Mc, “You’ve got some heavy reading here.”

“Well, I’m trying to figure something out,” Mc sighed, sipping her tea.

“Perhaps I can be of assistance?”

“Maybe, though I don’t remember what it is I’m looking for exactly,” Barbatos simply cocked his head slightly until she continued, “Satan was telling about… Well, a personal experience, and he mentioned someone. I don’t remember their name, but it was someone very close to all the brothers and they had passed away. I was just trying to figure out who it was.”

“You seem very interested in this person,” Barbatos’ tone wasn’t accusatory, but he seemed to expect and answer.

“... I guess I’m just trying to understand them better. Him better,” The last part slipped from Mc’s mouth easily, surprising even her.

“I think I may know who you’re talking about. If I’m correct, you won’t find any references to her in these books. It’s not my place to explain the situation to you however. You should probably go speak with the brothers about her…” the butler paused for a second before continuing, “I believe Michael also knows a lot about the situation, though he doesn’t know the full story,” with that, he got up and pushed his chair in, “I must continue with my duties, but I appreciate the short reprieve. Good night.”

“Night,” Mc called after him. Huh. Michael knows?

~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~

Part Fifteen

 I wanted to let you all know that as it is January, ever since 2014 the first moth of the year has been terrible for me. So far, we are 3 days into 2021, and I have already gotten a near constant tooth ache meaning I’m going to have to go to the dentist, and have gotten sick. I don’t know what else this month has in store for me, but I just wanted to warn you all, if my updates get sporadic or short, that’s why 😬 

[jaimehwatson]

I made another Snowpiercer playlist!

After posting my Wilford/Audrey playlist a while ago, I added some songs that didn’t quite make the cut to a different playlist, intending to put together another similar one. But rather than focusing on just one ship this time, I also ended up getting really interested in theorizing about what Wilford’s relationship with Melanie might have been like before the Freeze, and exploring the idea that maybe there was something going on there and some kind of love triangle with Audrey.

So here’s my new playlist, full of absolute jams that could apply to any combination of relationships involving Wilford, Audrey, and Melanie, and/or just general Snowpiercer vibes! Read on for more detail about the songs I selected, and as before, content warning for references to canon abuse & self-harm/suicide.

1. “The Tradition” by Halsey

Oh, the loneliеst girl in town Was bought for plenty a price Well, they dress her up in golden crowns His smile hides a lie

She smiles back, but it's a fact That her fear will eat her alive Well, she got the life that she wanted But now all she does is cry

Thanks @onetrainsnowpiercer​ for getting me into this excellent album! I thought it would be fitting to kick off the playlist with one that could suit the earlier days of Wilford’s relationship with Audrey, like my previous playlist was more focused on.

2. “cardigan” by Taylor Swift

'Cause I knew you Steppin' on the last train Marked me like a bloodstain, I

I knew you Tried to change the ending Peter losing Wendy, I

I knew you Leavin' like a father Running like water, I And when you are young, they assume you know nothing

Did you think I would make a Snowpiercer playlist without Taylor Swift on it? Not a chance. I picture this one being more from Melanie’s perspective, reflecting on possibly having had some kind of ill-fated romance with Wilford when she was young and naive.

3. “No Children” by The Mountain Goats

I hope I cut myself shaving tomorrow I hope it bleeds all day long Our friends say it's darkest before the sun rises We're pretty sure they're all wrong

I hope it stays dark forever I hope the worst isn't over And I hope you blink before I do And I hope I never get sober

The only reason this perennial favourite of mine wasn’t on the first playlist was that I had too many Mountain Goats songs already and wanted to keep things balanced. But this one got all the ones that didn’t make it to the first playlist plus some more I thought about later, so I’m kind of giving up on that balance by now. They just have a lot of great songs about terrible relationships, and I love them all so much.

4. “Gold Guns Girls” by Metric

I remember when we were gambling to win Everybody else said, "Better luck next time." I don't wanna bend like the bad girls bend I just wanna be your friend Is it ever gonna be enough?

This is another one that I can picture being about young Melanie, gradually growing more aware of everything that’s terribly wrong with Wilford and his approach to life, and of how little he cares to try to fix it.

5. “You’ve Haunted Me All My Life” by Death Cab for Cutie

And there's a flaw in my heart's design For I keep trying to make you mine

You've haunted me all my life You've haunted me all my life You are the mistress I can't make a wife And you've haunted me all my life

And this one I can see being Wilford thinking about either one of the women, and his unhealthy attachment to them and inability to keep them around for very long—maybe once he’s finally reunited with them both on some level in season 2, but still can’t fully persuade them both over to his side.

6. “Old College Try” by The Mountain Goats

From the cities to the swamplands From the highways to the hills Our love has never had a leg to stand on From the aspirins to the cross-tops to the Elavils

But I will walk down to the end with you If you will come all the way down with me

Another Mountain Goats classic. If you divorce it from its context of being from a concept album about a horrible marriage, I actually think this song is kind of sweet in the way it describes a couple still committing to try to make things work despite a whole host of problems. But never mind that now, because I’m putting it back in the new context of a whole collection of horrible romantic relationships!

7. “Risk” by Metric

So you're beaten up but you bounce back It’s all part of the pull And the story runs like a soundtrack We repeat 'til we're full Started slow, started late Started strong, then we lost faith Started slow, started to lose control The more we accelerate, the more we accelerate

Half of arranging any playlist I make is just trying to split up the Mountain Goats and Metric songs so that they aren’t always clumped together. Anyway, this one seems especially fitting to me in its imagery of a speeding vehicle of some kind (it’s a train, I’m always picturing a train) alongside its description of a relationship going badly.

8. “Big God” by Florence + The Machine

You know I still like you the most The best of the best and the worst of the worst Well, you can never know The places that I go I still like you the most You'll always be my favourite ghost

I think this one could be any one of the three of them contemplating their complex feelings about the past at some point around season 2.

9. “I Still Do” by The Cranberries

I don't want to leave you Even though I have to I don't want to love you Oh, I still do

There aren’t as many specifics that match the characters going on in the lyrics here, since it’s more of just a general break-up song, but I also really like the creepy way it sounds.

10. “Fault Lines” by The Mountain Goats

But none of the money we spend Seems to do us much good in the end I got a cracked engine block, both of us do

Yeah, the house and the jewels, the Italian racecar They don't make us feel better about who we are I got termites in the framework, so do you

This one feels really fitting for pre-Freeze Wilford, especially the engine imagery!

11. “I Don’t Care” by Fall Out Boy

Say my name and his in the same breath I dare you to say they taste the same Let the leaves fall off in the summer And let December glow in flames

Erase myself and let go Start it over again in Mexico These friends, they don't love you They just love the hotel suites

Another song that is simply a) an absolute jam, and b) generally fitting for my favourite obscenely rich asshole and his terrible relationships

12. “You asked for this” by Halsey

I want my cake on a silver platter I want a fistful in my hands I want a beautiful boy's despondent laughter I wanna ruin all my plans I want a fist around my throat I wanna cry so hard, I choke I want everything I asked for

This one I can picture as Audrey—or maybe Melanie too, but especially Audrey—beginning to regret getting involved with Wilford, but only once she’s in way too deep for leaving to be a safe or easy decision.

13. “my tears ricochet” by Taylor Swift

And if I'm dead to you, why are you at the wake? Cursing my name, wishing I stayed Look at how my tears ricochet

Much like several other Taylor Swift songs, I just know in my heart that it’s the type of music Wilford listens to in secret, while possibly drunk and definitely singing along very dramatically. This one he dedicates to Melanie once they’ve met up again in season 2.

14. “Speed the Collapse” by Metric

All the way from where we came Built a mansion in a day Distant lightning, thunder claps Watched our neighbor's house collapse Looked the other way

This one has a lot of good apocalyptic imagery that I can imagine scoring Wilford’s life in the last few years before the Freeze, as he makes his plans to save himself and let so many others die.

15. “Ox Baker Triumphant” by The Mountain Goats

I will thank my ride and crawl my way back inside To the guts of the building where my enemies Hide in the dark like roaches And I will signal the camera crew and everyone will do What he's been trained how to do Sweat dripping from my face as my moment approaches

Click your heels, count to three I bet you never expected me A little worse for wear Practically walking on air

I love this song a lot, and listening to it lately makes me imagine Wilford plotting his revenge while on his way to catch up with Snowpiercer before the end of season 1.

16. “Firewood” by Regina Spektor

The piano is not firewood yet But the cold does get cold So it soon might be that I'll take it apart, call up my friends And we'll warm up our hands by the fire

Don't look so shocked Don't judge so harsh You don't know You’re only spying Everyone knows it's going to hurt But at least we'll get hurt trying

This has to be one of my favourite songs of all time. It’s very beautiful, and I love the piano in it. I’ve always personally interpreted it to be at least partially about someone surviving a suicide attempt, and the overall imagery about burning a piano for warmth—and this bit about not judging someone for doing that—reads to me as more of a general statement about the difficult choices people struggling with mental illness and other similar issues have to make to survive. I listened to it recently and I could picture Audrey singing it in the nightcar. I think it suits her well.

17. “Cry for Judas” by The Mountain Goats

But I am just a broken machine And I do things that I don't really mean Long, black night Morning frost I'm still here But all is lost

I think the imagery of this song suits the show a lot in general, but I can also particularly imagine it being Wilford in a rare moment of self-awareness about how much damage he’s caused to the world and the people around him.

18. “Rock ‘n’ Roll Suicide” by David Bowie

Time takes a cigarette, puts it in your mouth You pull on your finger, then another finger, then your cigarette The wall-to-wall is calling, it lingers, then you forget Oh oh, oh, oh, you're a rock 'n' roll suicide

I love Wilford a lot. I don’t want anything bad to happen to him ever. I hope he kills more people, and I hope he gets his train back, and I hope he wins. But if he does eventually die in the show, I hope he’s found in the bathtub with there being some ambiguity about whether he really killed himself or whether one of his victims turned the tables on him, and I hope the climax of this song swells as the camera pans over his dead body. That’s the only Wilford death I will accept, thanks for coming to my TED talk.

19. “Source Decay” by The Mountain Goats

I park in an alley And I read through the postcards you continue to send Where as indirectly as you can, you ask what I remember I like these torture devices from my old best friend Well, I'll tell you what I know, like I swore I always would I don't think it's gonna do you any good I remember the train headed south out of Bangkok Down toward the water

Okay, I promise this is the last Mountain Goats song on the playlist. It’s just—it’s perfect. It has a train in it. And on the podcast “I Only Listen To The Mountain Goats,” John Darnielle commented that there’s barely anywhere you can go south of Bangkok before you hit the water, it’s a train going nowhere, it’s so good. It’s also one of the songs I’ve previously ripped a line off for my fanfiction titles!

20. “Sellers of Flowers” by Regina Spektor

The sellers of flowers Buy up old roses They pull off dead petals Like old heads of lettuce And sell ’em as new ones For cheaper and fairer But they die by the morning So who is the winner? Not the roses Not the buyers Not the sellers Maybe winter

And Regina Spektor closes out the playlist again! This song is another one I picked more on imagery and vibes than anything else. But since it’s about a young child in a world that seems to be moving inexorably toward an all-consuming winter, if it suits any of the characters, maybe it’s an appearance of Alex here at the end!

Thanks for reading, and I hope you enjoy the playlist!

[ghost-in-the-stalls]

Neil Josten's Playlist Part 1: Andrew

Masterpost and link to the playlist in its entirety

These songs are going to be the biggest chunk of the playlist. Are we surprised?

Okay here we go:

1. Take Me To Church - Hozier

I was not joking about Neil being a Hozier fan. You cannot tell me this boy doesn’t hear this song on the radio and immediately think of Andrew. Every time it came on he’d make sure the radio stayed on the station so he could listen all the way through. It got overplayed but he’s probably the only person in the world who never got sick of it at the time. He got used to listening to the same songs over and over again with his mom, so he's even comforted by repeating songs now.

5. Stay - Rihanna & Mikky Ekko

So one night, after several nightmares within the span of a few hours, Neil wasn’t too proud to admit that he absolutely wasn’t going to get any decent sleep that night. Andrew took him on a long drive without even having to be asked. The silence was shoving Neil even further into his thoughts, so Andrew turned on the radio. He settled on a station that was playing softer music that Neil probably wouldn’t hate, and he just kept driving. Once this song came on, Neil became enamored with it. It’s another one of those songs that makes him think of Andrew, but it’s more because he listens to the lyrics and realizes Andrew has said half of these things to him. It’s now a song that, even years later when he and Andrew are living in separate states and desperately trying to land contracts with the same team, Neil listens to on bad nights.

6. River - Bishop Briggs

Listen... this is just another really solid Andreil song.......... and I’m absolutely positive this is a song that Neil would like. Let me have this.

For Neil everything with Andrew is simultaneously loud and quiet and intense and gentle and hard and soft. He’s never known someone to make him feel so much yet calm him down from panic to nothing so smoothly. Even their intimacy holds so much complexity and weight to it. This is a song I feel like Andrew introduced him to, because it absolutely makes him think of Neil too (not that he'd say that out loud).

8. Dreams - The Cranberries

Renee likes the Cranberries and she got Andrew into them too. Andrew pretends this song doesn’t make him think about Neil but no one is actually fooled by that when they catch him listening to it. Least of all Neil because he feels the same thing listening to the lyrics. Not much explanation past that. Neil vibes with this song right from the opening lyrics (”Oh, my life is changing every day in every possible way”), to the comparison of a lover to a dream (he still remembers when Andrew called him a pipedream, even if he didn’t understand at the time), to the vocal breaks in the middle and at the end where it just sounds like someone singing their soul right out of their body.

Neil is a private person and not someone to ever scream his love from rooftops. But that doesn’t mean the concept doesn’t hit him deep. He’s been through a lot and he’s come out the other end with a love of his own that’s deeper and more than anything he ever imagined. His lack of expressing passion about most things (Andrew) doesn’t mean he doesn’t feel incredibly passionate about certain things in a way that cuts deep. He found love and it’s incredible

12. Easily - Bruno Major

I've mentioned this previously, but I hc that Andrew and Neil almost broke up in Neil’s last year at Palmetto. Not going to get into it, but this song had a big part in pulling Neil through that whole year, ESPECIALLY the situation with Andrew. Maybe I’ll make a separate, more detailed post about that sometime. But basically I hc that neither of them were in good spots emotionally. And Andrew was very close to giving up on everything - including Neil.

They managed to pull through and stop one another from giving up on it all, even when things got really hard.

15. Sunlight - Hozier

No I’m not done with the Hozier songs. Did I say I was done with the Hozier songs? Not gonna happen.

Anyway so the story of this song is he was talking with Allison and Nicky once about music and their SOs (well he was listening more than talking but he wasn’t ignoring them), and Nicky outright asked him if there was a song that made him think of Andrew. He’d heard this one for the first time recently and it was just the most recent of many songs that make him think of Andrew, so he threw it out there to humor them. They hadn’t heard it but were very doubtful that any song titled “Sunlight” could have anything to do with Andrew at all, so he showed it to them. They didn’t really change their minds and instead Allison went on another tirade about how Neil is gone for Andrew in a way that Andrew couldn’t possibly be for him and how she was worried for him. Nicky stood up for his cousin a bit, but ultimately was still agreeing with Allison to a degree that Neil may be expecting more than what Andrew could give him blah, blah, blah.

Neil wasn’t happy. Instead he found himself latching onto this song even further and becoming even more assured that it was a song for Andrew. Just because the others refused to understand who Andrew really is and the ways he’s learning to grow and heal and the fact that he’s someone worth loving god dammit, doesn’t mean Andrew is the monster they make him out to be.

For a while afterwards, he’ll put this song on if he’s ever given the aux cord. Because he’s petty. If Andrew catches on to what he’s trying to do, he never says anything.

19. Little Talks - Of Monsters and Men

This is definitely a song that makes Neil think of Andrew, though he'd never tell him that. They have both played both parts in this song, and it makes Neil's heart ache to think of all the bad nights that they weren't there for one another - whether it was distance or stubbornness or just general shitty circumstance. They both can get so trapped in their own heads in different (and sometimes similar) ways, and they're relationship has really been built in a lot of ways on the depth of emotional support they've learned to give one another in rough times. That steadiness, that presence that stays by you and keeps you grounded even when you want to crawl out of your own skin and hide somewhere far away. That is what they give one another.

24. Day After Day - Badfinger

This is another one he used to listen to with his mother, but he didn't really latch onto it until his final year at Palmetto when he and Andrew were doing long-distance. He learned in that year just how sentimental he had become in some ways. He finds it in the bone-deep longing he gets on late nights when he just wishes he could lie in bed next to Andrew - because he knew that's when he sleeps best. He'd listen to this song and let himself wallow for a little while, and then eventually put it away and carry on because he didn't have the time to slow down and feel things too hard.

Things are much better now and he doesn't feel as bad when he listens to the song. It's just a pleasant sound he leans into sometimes.

26. Don't Dream It's Over - Crowded House

This is another one that he first heard from his mother, but kept for himself without allowing it to be stained with her memory. It is one of those ones he listened to a great deal during his last year when things with Andrew got hard. He committed himself to not letting him go or breaking off what they had unless Andrew ever directly asked him to. He couldn't find it in himself to ever do that.

This song reminds him of that commitment and helps him stay strong with it, for better or worse. Everyone was convinced from the beginning that either Neil was bad for Andrew (Aaron) or Andrew was bad for Neil (everyone else except Renee and Nicky basically). This reminds him that he knows Andrew better. He knows HIMSELF better. He knows they aren't perfect, but he refuses to let himself fall into their blocked mentality where they choose to be blind to the reality of Andrew's character (or his own for that matter). He knows they are good together. He knows they help one another, they don't hold each other back. And he refuses to give up on them unless Andrew asks him to.

28. How Deep Is Your Love - The Bird and The Bee

This is another final-year-at-Palmetto one. He stumbles across this song while listening to one of Robin's playlists while he was driving her to practice. Listen to the lyrics and hear just how Andreil this song is. It fits so well, and Neil has to pull over and collect himself for a moment when he first hears it. It had been an especially rough week and he'd been struggling trying to balance giving Andrew space and support with communicating his own needs. This gives him the push he needs. He calls him later that night to talk and their time apart starts getting a bit more bearable for it.

29. TALK ME DOWN - Troye Sivan

This was Andrew's song that made him think of Neil. In every way. He found it while they were doing long distance. Neil first heard it on a midnight drive they took while he was visiting Andrew. They didn't say anything, but they didn't need to. Neil eventually asked him why he listens to this one when his taste is usually much louder stuff. He was expecting a stoically-delivered joke denying any potential relation to Neil or a comment about how Nicky got it stuck in his head or something while they were video chatting one weekend. Instead, Andrew just responded "You know why."

Neil stored the song away to listen to later on when they were once again sleeping in separate beds in separate states, knowing Andrew was probably listening to it as well.

38. Talking Bird - Death Cab for Cutie

Neil doesn't know why this song makes him emotional (yes he does). He doesn't know what it is about it that feels like it cuts so deep (it's because Andrew sent it to him). He doesn't get why Andrew showed it to him (it's because Andrew asked him to stay, but would never force him to if he ever did decide to run). He just listens and feels comforted.

44. I'm so Tired - Lauv & Troye Sivan

This is another one Neil found when he and Andrew were doing long distance. It was a bit of a rocky time for them and there were several of those make-or-break moments. You know, the kind any relationship has where you either pull through it together and are stronger for it, or end things where they are and go your separate ways. I imagine - during a particularly rough patch - Neil heard this song from one of his underclassmen roommates. He was thinking about Andrew (when is he not) and part of him wondered if Andrew was better off finding guys in bars to take home and have no connection to. It was a spiteful moment of self-pity that he let himself indulge in before coming to his senses and giving Andrew a call to smooth things over a bit.

He still listens back to the song sometimes. It has a nice, soft, smooth feeling to it. Now when he listens to it, he finds himself focusing more on the singer asking their lover to take them home so they can move forward because they're too tired to fight. He remembers how, when he and Andrew have reached that point, they've continuously chosen to fall back to one another instead of pulling away. It's a very comforting thought for him.

45. NFWMB - Hozier

I don't even know if I have to explain this one.

There are a lot of things that Andrew and Neil see in one another, but I think one major thing is how strong they both are in their own ways. Neither of them are someone you want to fuck with. This song is perfect for that.

And, once again I will say, Neil is a Hozier fan and I'll die on this hill.

50. It Will Come Back - Hozier

Another Hozier song look at that

Anyway this is song encapsulates exactly how Andrew feels about Neil repeatedly choosing Andrew (at least, how he feels about it in the beginning of their relationship). And Neil isn't blind to this at all. What he also isn't blind to (but that he knows Andrew forgets sometimes) is how Neil is also the stray Andrew showed too much kindness. Andrew is as stuck with Neil as Neil is making himself stuck with Andrew.

51. Love Lies - Khalid & Normani

If asked why he likes this song, he'd say it's because Matt showed it to him and it reminds him of Matt and Dan's inspiring relationship. There are very few people he'd admit the truth to.

Something about the song feels too typical and approachable to admit applying to him and Andrew. They don't have a "normal" relationship and there are a lot of norms they don't stick to. Neither of them are ashamed of that in any capacity (as they absolutely shouldn't be), and ultimately it just feels very strange to them both to consider what's between them as being on the same level of what other's have. Not necessarily in a better-worse context, more just an acknowledgment of stark differences.

But I think Neil also experiences a certain level of comfort when he catches himself relating to other "normal" people. So when he finds himself thinking of Andrew when he hears this song, he's not going to ignore that or let it go. He may, however, keep it to himself for a while. It just feels nice to do that.

72. 99 Luftballons - Nena

As a general rule, Neil doesn't like loud music. This one is an exception (though "loud" may be a bit of a stretch here) because he once got to hear Andrew singing along to it in the car late at night.

Andrew does that sometimes, sings along to songs when it's just him and Neil. It's never with a great deal of gusto or volume, more so just a soft mumble on a late night drive to ground them both. This song came on on a particularly rough night, but by the end of it Andrew was singing along louder than he ever did. Still not saying much, but it was a noticeable change to Neil.

Neil knows he was allowed to see something special that night - Andrew allowing himself to let out something he was feeling. Neil got to see Andrew in what amounts to a moment of vulnerability for him. It means the world to him.

74. Gooey - Glass Animals

This song makes Neil feel the way Andrew makes him feel. There's no other way to describe it. When it's just the two of them and they have moments of quiet intimacy, there's a specific feeling Neil starts getting - float-y but secure. Like he'd drift away if it weren't for an invisible string Andrew was holding.

If Andrew caught Neil humming this song one night as he fell asleep, unaware, he kept quiet about it.

75. Turn - The Wombats

This song Neil keeps because it's one Andrew specifically sent him. He didn't give an explanation, just "for your playlist, rabbit".

[bewitching-elizabeth-olsen]

Press/Gallery: Elizabeth Olsen Is Ready to Lead the MCU

An ambitious new Disney+ series might just give the strongest Avenger the happy ending she deserves.

  GALLERY LINKS

Studio Photoshoots > 2021 > Session 001

  ELLE: We can’t keep meeting Elizabeth Olsen like this. By “this,” I mean in the throes of catastrophe or bereavement, or, to put it plainly, when she’s an emotional wreck. In the 2018 Facebook Watch drama Sorry For Your Loss, Olsen assumes the role of Leigh Shaw, a young widow grappling with the unexpected loss of her husband and all the painful nuisances that come with death: the unbearable waves of sadness, the clichéd condolences, a grief support group that runs out of donuts. At one point, Leigh says through a cracked voice, “I’m just mad all the time.” It’s hard not to draw parallels to Olsen’s other angry character. After all, “mad” is exactly how 2015’s Avengers: Age of Ultron introduced us to Wanda Maximoff.

Defined by tragedy since her Marvel debut, Wanda (aka the Scarlet Witch) is an orphan with telekinetic powers. When not saving the world, she spends most of her time onscreen grieving the deaths of her parents, twin brother, or lover. Wanda’s never been allowed to fully exist outside the confines of her grief and anger, but with the launch of WandaVision—Marvel’s foray into serialized content for streaming—she may just be getting the happy ending she deserves.

Partly inspired by The Vision comic book, which follows synthezoid superhero Vision and his family as they move to the suburbs of Washington, D.C., the Disney+ series is an ode to the TV sitcoms we’ve come to love, with Wanda and Vision (Paul Bettany) basking in newlywed bliss—except Vision’s been very dead (killed twice, in fact) since the events of 2018’s Avengers: Infinity War. It’s unclear exactly how these starcrossed characters got to suburbia, but for now, it’s a delight to see the typically solemn duo sink their teeth into slapstick comedy.

“The show is like a blank slate for them,” Olsen tells me over Zoom, her light brown fringe a departure from Wanda’s red waves. The Scarlet Witch’s doleful glare is also long gone; in its place, Olsen’s eyes are wide with excitement. “Wanda and Vision’s journey to this point is a story of pure, innocent love and deep connection with another person,” she explains. “It was also very traumatizing. Tragedy has always been their story. In our show, we kind of wipe that clean and start fresh.”

But Wanda’s complicated past looms over WandaVision. Age of Ultron saw her and her twin brother, Pietro, initially opposing the Avengers (the siblings volunteered for a series of experiments with Hydra—a super evil organization within the MCU—after the deaths of their parents at the hands of Tony Stark’s Stark Industries) before switching sides to help save the Earth. The movie ends in victory for our superheroes, but yet another tragedy for Wanda when Pietro dies in battle. She finds comfort in the arms of Vision, an android created from the remains of Tony’s J.A.R.V.I.S. program, but even that bliss is short-lived. You see, Vision can only live with the help of the Mind Stone, which Mad Titan Thanos needs to take over the universe. In Infinity War, Vision asks Wanda to sacrifice him, and Wanda reluctantly agrees—but Thanos reverses time to gain control of the stone, killing the robot for a second time. Wanda’s pain is palpable: Imagine sacrificing the love of your life to save everyone else, just to watch him brought back to life and killed again—by the very villain you’re trying to defeat.

Though the thrill of playing a character with superhuman abilities is enticing for any actress, Olsen says it was Wanda’s internal battle with mental health that attracted her to the role in the first place. “[Joss Whedon] explained to me that Wanda Maximoff has always been this pillar of the struggle of mental health, from her pain and depression and traumatic experiences to how she completely alters the reality of the comics,” Olsen says of her early conversations with the Age of Ultron director. “The thing I held onto after reading the initial script was that she was not only powerful because of her abilities, but because of her emotions.”

In fact, MCU theorists would argue she’s one of, if not the, strongest Avenger. She can infiltrate the others’ minds to reveal their biggest fears (Age of Ultron). She can overpower Vision and send him plunging through several floors to break up a fight between warring superheroes (Avengers: Civil War). She can even bring Thanos to his knees, snapping his sword in half and forcibly removing his armor piece by piece (Infinity War).

Still, “they keep slapping her over the head with more grief,” Olsen quips.

As phase one of the Marvel Cinematic Universe began with the sound of clanging metal on May 2, 2008, phase four kicked off on January 15, 2021 with a kitschy 1950s sitcom theme: “She’s a magical gal in a small town locale / he’s a hubby who’s part machine / How will this duo fit in and pull through? Oh, by sharing a love / like you’ve never seen.”

With WandaVision, Marvel steers clear of the typical superhero trappings: no destructive battles at a Berlin airport or across the streets of New York City; no blonde-haired god time-traveling to other realms; no tree-like alien fight alongside a raccoon. Wandavision takes place after the events of Endgame in a fictional suburban town called Westview, and the biggest problem the newlyweds face in the show’s opening moments is creating a convincing backstory to get nosy neighbor Agnes (Kathryn Hahn) off their backs.

“They are just trying to fit in,” Olsen explains. “They’re trying to not be found out by their neighbors that they’re super-powered beings.” Now, if only we can figure out what the hell is actually going on. Olsen remains tight-lipped: “The reason it’s a sitcom shows itself later in the show,” she hints. “When Kevin [Feige] told me, it didn’t feel so bizarre. It felt like a great way to start our story.”

“With our show, you don’t know what the villain is, or if there is one at all.”

So, is Wanda stuck in the first stage of grief, denial? Has she altered reality as a coping mechanism for Vision’s death? Is she being held hostage by a terrorist organization (ahem, Hydra!)? One thing we do know is that someone is watching the couple and taking notes. At the end of episode 1, the camera pans out from a retro TV playing an episode of WandaVision (meta!) to show a hand jotting down notes. There’s a strange sword symbol on the notebook and a nearby control board, and in episode 2, the same sign appears on a toy helicopter lodged in the couple’s front yard. Later, when a mysterious beekeeper crawls out of the sewer on the couple’s street, the symbol is seen on the back of his suit. In its 20-plus movies, Marvel villains have always existed in plain sight. But with a new, less obvious darkness lurking at every turn, Wanda may have to return to her world-saving roots.

“Someone said to me when you watch any of these hero movies, you know when the villain’s about to show themselves, and you also have an idea of who the villain is,” Olsen says. “With our show, you don’t know what the villain is, or if there is one at all.” For now, WandaVision allows for glimmers of hope and optimism for Wanda and Vision, despite what darkness tries to threaten their happiness. “Wanda is trying to protect everything in her bubble, protect what she and Vision have and this experience,” Olsen says. “I think everything she does is in response to keeping things together.”

In addition to exploding the concept of the superhero onscreen, WandaVision toys with a different era of TV in each episode. The pilot takes viewers to the ‘50s with an episode filmed in front of a live studio audience, and Wanda dresses up in the quintessential housewife garb, not a hair out of place in her voluminous bob. By the time we click on episode 2, she trades in her apron and kitten heels for a more pared-down ‘60s look, while episode 3 gives a nod to the ‘70s, complete with a Brady Bunch-style staircase and a shag haircut for Vision.

While dressing up was the fun part, time-hopping through the eras required a lot of binge-watching old sitcoms to get the mannerisms down right. Olsen studied series like The Dick Van Dyke Show, The Brady Bunch, The Mary Tyler Moore Show, and Bewitched to “understand the tones of each era” and get a grasp of how Wanda and Vision should act as a couple. (One of her favorite TV pairings was Jane Kaczmarek and Bryan Cranston from Malcolm in the Middle.) She was fascinated by the way female characters evolved through the decades: “You have to learn appropriate manners—what’s considered being polite or proper. That coincides with women’s voices changing,” she explains. “I enjoyed challenging myself to match the syntax and the lyricism. I live in a very chest-register kind of deep voice. I had to remember not to bring it up at certain moments.”

For so long, Wanda served as a supporting character to Marvel’s biggest names, and the formulaic mundanity of the major theatrical releases made it easy to get comfortable. WandaVision offered Olsen a much-needed challenge. “I’ve only been working for 10 years, but there is this feeling where you start to get comfortable,” she says. “WandaVision was the furthest thing from comfortable for me. It felt intimidating. The character is a completely different thing.”

And fans hoping for a little Marvel action won’t be disappointed. “We still live up to what Marvel does,” she promises. “We just tell the story in a completely different way. It’s a very emotional, female story and it’s a story they haven’t told yet for either of our characters.” Whatever your theory is, keep the cliché condolences to yourself. No one will be uttering, “Sorry for your loss” in Wanda’s world.

Press/Gallery: Elizabeth Olsen Is Ready to Lead the MCU was originally published on Elizabeth Olsen Source • Your source for everything Elizabeth Olsen

[sendmyresignation]

You Got Blood On Your Money

Question: how do you make honest art? Is this not the eternal conflict as a creator- how to stay genuine to yourself and your art without tripping into the pitfalls that lay within fame or money or popular culture? Every creator must grapple with the fight between being seen and being sold. But very few artists struggle with this quite as visibly as My Chemical Romance has. From the inception of this band, which has always been more art project than musical endeavor, its members have tried desperately to convey a bone-deep sincerity fundamental to their work. From their very first song, the band proclaims itself as a savior to a generation that had been stripped of their will in the face of unimaginable horror. At the same time, there exists within their music a commitment to storytelling, a desire to fill the empty space in rock music with narrative and macabre and emotion that had been absent. Both of these elements manifest themselves into a band that very seriously considered it their mission to save people’s lives, as well as to create deeply meaningful art. But how do you save as many people as possible without being corrupted by the spotlight? And how do maintain genuine storytelling as you get further and further from the basement shows you got your started in?

These are questions that permeate their music at every turn, something that haunted each album and made itself known in each new project. And while there are many ways to dissect this particular struggle in their discography, nowhere is it more apparent than in the dispute between Thank You For the Venom and its reimagined successor- Tomorrow’s Money. These songs are noticeably similar in their structure as well as lyricism and imagery but instead of the latter building off of the other, they are inverses of each other. And they speak to My Chem’s long battle with becoming a legendary band in the midst of also attempting to keep their identities as artists and outsiders. And in analyzing their differences, it becomes reflective of the band’s main career-long conflict between the commodification of their art and the need to create something larger than themselves. And the question remains, were they successful?

Before we answer that, let's talk about Thank You for the Venom. To begin, it's important to note that Three Cheers for Sweet Revenge is an interesting part of My Chemical Romance’s discography because ultimately, it is unconcerned with legacy, but instead is centered on the immediacy of loss and the reactionary pursuit of revenge. In a record overwhelmed with death and grief, there is very little mention of the afterlife for either the living or the dead- characters are murdered but there is very little textual violence. Characters come back to life but there is minimal discussion of how they died or where exactly they were in death. However, that does not mean Revenge is not devoid of mythologizing- it just happens to be about immediate intention rather than a long-term commitment. It is because of this reckless drive forward almost to spite the odds that allows for Venom to exist as the band's declaration- it is their call to arms. Specifically, the track is a pronouncement of My Chemical Romance as renegades fighting against the fake, safe bands writing hits for money instead of survival or purpose: they “won’t front the scene” if you paid them, after all, but are instead running from their enemies. And not only are they an oppositional force, but they are pariahs, targets- something you can try to kill but will fail at. More specifically, in “If this is what you want the fire at will” there is an element of martyrdom, the idea that they are not just a necessary part of the very structure of society but also there is the implication that killing them is to concede to their influence and a necessary part of their lifecycle. Once you get big enough to become a target, you inevitably will be shot down- that is the final step of a great and honest band’s success. This also feeds into the album's wider ideas surrounding revenge as a concept as the greatest revenge is finding success in the aspects of yourself and, by extension, the things you create that other people thought were worthless (I don't think it's a coincidence so much of this album is steeped in comic book imagery and art and mixing punk and metal and theater when those are things the band would get shit on for enjoying). At the same time, this theme exists as the foundation necessary to create an anthem of survival- revenge is the fuel that keeps the protagonist, as well as the band, in motion. Look at the specifics of their thesis- “Just the way the doctor made me” and “You’ll never make me leave” are both reconciliations with the self in spite of the prevailing narrative against them. That connects to the way this song is a statement of a savior and a martyr twofold- “Give me all your hopeless hearts and make me ill” as a representation of the band taking on the pain of others to keep them both alive. All told, in Venom there is perseverance in the face of a large, unimaginable adversary. It is a threat directed at your enemies. It’s living as free and ugly and completely yourself as you can until they shoot you down in a hail of bullets. And then even that end is itself a victory.

Here, at its core, Venom is really the singular instance in the entire album where the band reconciles with an image. And the image the band creates for themselves is as outcasts in opposition to the "scene" and as a revenge plot, proving to their audience the value of authenticity and survival and rubbing it in the faces of those who doubted them. These themes about what My Chemical Romance is and what their goals are is something they wrestle with for the rest of their career- how do you say lives, reach an audience, and remain a fighting force against the societal norm when you exceed your mission and become part of the fabric of popular culture? But that is for later, at this moment, Revenge imagines no future. Only this desperate battlecry.

By contrast, Tomorrow’s Money is dealing with the aftermath. Functioning as a cynical reimagining of Venom, the song is structurally, thematically, and even lyrically reminiscent of Venom to an uncanny degree. First and foremost, the songs are structured the same- a slow build-up into a whispered intro, a multi-part chorus, the exact same chorus-verse layout, and a strikingly similar solo. Looking at the two Toro solos more closely, they both feature more building up as well as tremolos, triples, darker tones, and what sounds like a slide progression just ripping through both of them. Tomorrow’s Money is mimicking Venom pretty clearly here- either as a direct reference or because Venom is so reminiscent of the condensed MCR sound that they’re ripping off to make their point. And looking deeper at the themes present in Money specifically, just like Revenge, there is a clear lack of legacy- “we got no heroes ‘cause our heroes are dead” calling back to the very real disillusionment of Disenchanted that’s placed specifically in a song about becoming part of the machine, being heroes themselves, to nod to the fact that the very mission of the band is dead as well.

Simply put, Money tackles similar issues as Venom about fame and audience and creating art while using much of the same language and metaphors to completely invert the claims found in the “original”. To start with, both songs use the verbage “bleeding” to associate with a kind of suffering for your art that was an aspect of their previous band ideology. Namely, it’s the idea that the audience makes the band ill through the “hopeless hearts” as much as the “poison” does. The “what’s life like bleeding on the floor” of Venom is paired with “you’ll never make me leave” is a statement of defiance and survival against the odds while still bearing the burden of other’s pain. Money, on the other hand, explicitly says they “stopped bleeding three years ago” as a rejection of this leftover martyrdom prevalent in Revenge especially.  But it also refers to their newfound luxury of comfort, they have a way to stitch themselves together that they didn’t have before. These implications transition directly into the ideas surrounding health, vitality and living- specifically surrounding both doctors and infection. Speaking of the former, Money has an interesting lines in “If we crash this time, we’ve got machines to keep us alive” and "me and my surgeons and my street-walking friends" because they speak to both becoming a part of the “industry” by mentioning mechanization but also specifically evokes the living dead. In the MCR canon, the idea of the undead (both vampires and zombies) are antagonistic forces that represent the outside world, specifically fake people or the music industry. And zombies, in general, are already rife with allegorical connections to consumerism, like how Dawn of the Dead, a known mcr influence, is directly about materialistic culture. Vampires, subconsciously or not, are often representatives of exuberant wealth as well as beauty and desire. They’re also blood-suckers and leeches that someone in this narrative has fallen in love with, as if colluding with the enemy and allowing them to literally drain them and their life force. Thus, in describing themselves as essentially undead (when they crash, they’re revived) as well as directly collaborating with the undead, they are connecting themselves to the very forces they’ve been fighting. But perhaps the most interesting aspect of this association is how they specifically relate it to survival, the only way of staying alive is to accept them, to allow themselves to be hooked up to the machines that make them undead in the first place. Almost as if you make it far enough not to tear yourself apart, you’ll eventually assimilate into and become part of the industry. 

This idea of unavoidable assimilation is compounded with the multiple references to viruses- “You're loaded up with the fame. You’re dressed up like a virus” then being reemphasised with “We’re gonna give it for free. Hook up the veins to the antibodies, got it with the disease, we’re gonna give it to you”. Both these lines condemn fame but also implicates themselves as part of the contagion that is celebritidom at the same time it depicts this process as unavoidable. Not only that, they’re the ones spreading it at the same time they condemn it. This duality, possibly even exaggerated hypocrisy is buried deep into the foundation of Money. Even the ending line, as angry and inflammatory as it is- still names them as complicit as the "I’ll see you in hell" implies that they're going to hell too. Looking even deeper, there are multiple references to the dilution of their message:  “Choke down the words with no meaning” and “The words get lost when we all look the same'' both representing meaninglessness in the lyrics while “the microphone’s got a tapwire” is reminiscent of wiretapping or even the surveillance company Tapewire, suggesting their words are under scrutiny, they are being monitored and that could be one of the reasons for meaningless words. All of these lyrics reference, with subtly or, in the case of the last one, very obviously about the sellibility and how rigid the label of “emo” is and how they couldn't escape it - they may not have gotten paid to front the scene, but they sure did inadvertently lead a cause. And being put in that position was clearly very stifling, striping them of their artistry. Even looking at the response to Black Parade, it's clear that popular culture at large did not appreciate the record for its genuine message but for the moment in time it represented or the aesthetics it called back too. In many ways it was taken at face value- “words with no meaning” or just another dark, death obsessed emo record. What Tomorrow's money is is a rejection of the glorification of suffering and nativity of Venom in the face of becoming pop culture icons but it's also, in a way, reconciling with a perception of failure and loss of creative control that will haunt My Chem for the rest of their years.

Ultimately Tomorrow's Money is representative of the band's response to the gradual shift of My Chemical Romance, as an entity, away from martyrs to an accepted part of the music industry and culture. How do you reconcile with that? In this moment, in a post-Black Parade era, they try taking everything down with them- becoming a whistle blower to their truth. But perhaps most importantly, this conflict lays the foundation for Danger Days as both critique of industry’s commodification of art, as well as the reutilization of the obsession with legacy and death in their next project -no longer can they let the machines revive them, they have to get out of the city, yell incendiary graffiti at the top of their lungs, and explode in brilliant colors. It was time to return to calls to arms. It was time to return to the power of not just of death but of living on long after it, the album the act of becoming folk heroes for a new generation. And while the bright lights didn't last forever, by scrapping Conventional Weapons and starting over in the name of artistic integrity they truly created a legacy of material unrivaled in its sincerity, reach, and cultural significance. 

As we know, the story didn’t end there. The final chapter used to be closed, and ending with "I choose defeat I walk away and leave this place the same today" as the conclusion of their career. This was not the explosion Gerard wrote about, not the doomsday device but a quiet goodbye, a silent curtain call. It's another round of disillusionment finally fully-realized. And yet, the Reunion seems to be a direct contradiction to their farewell- in some way they did come back because they were needed, because their absence was a gaping hole in music at large which suggests they did change things, that they do have a noticeable effect on the world they inhabit. Looking at A Summoning for even a moment, the picture illustrated to the viewer is that they are an otherworldly power. That they are an entity that you plead for the return of, the hero and the savior on clear display. And regardless of how you feel about the postponement, you can never talk away that fact- some force bodily brought them back in their narrative, that it was human interference that started the resurrection. And that it was primarily through art, especially that video, that they declared their forced-to-be unfulfilled intentions. I've always liked to believe that we've cycled back around, that the cynicism of Conventional Weapons and then later Fake Your Death has had its moment but now it's time to return to that world of rebellion in this era of the desert- the reinhabiting of reckless living and creation. Again, we must ask: what does it mean to make art for the masses? I don’t think we’ll ever truly find the right answer, but I think My Chemical Romance have always tried their best to solve the equation.

[lichlover]

Okay so this a balance headcanon, and it is technically one I saw in a text post somewhere on tumblr that has been lost to the scroll of my dashboard months and months ago, but. The concept that the reason Barry was on the starblaster in the first place... was because he was some kinda undercover death cultist trying to kickstart the apocalypse... but then it happened and he was like "wait shit this actually sucks" and then has to figure out what to do

please consider donating to my ko-fi!

This was how it was written: Sildar Hallwinter would end the world.

Before his departure, they’d etched his name into the first of the sacred texts; his true name, five syllables destined to strike terror into the hearts of all living beings and their menial existences. It would all perish in the Apocalypse, of course. Everything would. But he and his fellows would ascend in death, as would every record that burned in the Great Blaze of the end times, and the universe would know their history. The true history. The history he would go down in as the Catalyst for the End of All Things, the Second Revelation, the Midnight Prophet for the Last Downfall of Mankind.

The gnome in front of him peered over the angular frames of his spectacles and said, “Barry Bluejeans?”

Sildar Hallwinter had also lost a bet.

But it was no matter, for there was no meager chronicle that would remember him as Barold J. Bluejeans, chief science officer of the IPRE Starblaster. He would be survived only by the destruction set to ravage their world in a matter of months, a Dawning so terrible that it would leave nothing of civilization in its wake. No one would know the name Barry Bluejeans. Everyone would know the name Sildar Hallwinter, and the thought made his stomach knot with such anticipation that he had to collect himself before he could respond.

“That’s me,” he said, and grinned a different man’s grin at the gnome—Captain Davenport of the IPRE, unknowing Chariot to the Catalyst for the End of All Things, the Second Revelation, the Midnight Prophet for the Last Downfall of Mankind. “Reporting for duty.”

Sildar was well accustomed to the dank, ash-streaked tunnels of the Fellowship’s headquarters beneath Ascendant’s Peak, but the IPRE headquarters were sleek and warm, drawing him in with rounded walls and high, arching ceilings. Everywhere he looked, another enormous set of windows opened to the landscape below, as of yet untouched by the Cataclysm Foretold. He wasn’t used to this much natural light, and he certainly wasn’t used to people smiling and waving as they passed. “Another poor soul for the Big One, Dav?” someone called, and the captain waved them off affably.

For an organization completely aware of the end times, and completely unaware of the fact that he, Sildar, would be responsible for their failure, they were all terribly… cheery.

“We’ve already gathered the other crew members,” said the captain, when they came to a halt in front of a nondescript door. “They’re just, uh, through here. We’ll start our first briefing in the next—next half hour, but for now, feel free to socialize. G-Get to know them. We’ll call you when we’re ready.”

“Thanks,” said Sildar, and the captain mumbled something under his breath. “Uh, what was that?”

“Oh,” said the captain. “Nothing.” He turned, and it was only then that Sildar’s brain registered the words; it had sounded almost like good luck.

No matter. Sildar opened the door.

“Incoming!”

Sildar yelped—actually yelped—and ducked aside just as a chair flew over his head and exploded against the wall. A shower of wooden fragments and very magical sparks hit the ground in front of him, and he sputtered, wordless, on the precipice of reaching for his own wand—was this an ambush? Had they discovered the truth of his presence already?

“Oh, shit,” somebody said, and a silhouette appeared through the smoke and magical residue. Sildar caught his breath. Perhaps he was dead, then; perhaps one of the wooden shards had caught him through the heart, and the Avatar of Renewal through Annihilation had come to meet him on the threshold of the afterlife. She looked like divinity, at any rate: tall and elegant, with waves of hair that glittered like finely spun gold and eyes that blazed with the last vestiges of power. Eyes that settled on him, and softened instantly. No, Sildar thought. She couldn’t possibly be the Avatar of Renewal, because she looked kind.

“Shit,” said the divine being again. Her ears twitched downward with concern—an elf, then. “Lucky break, babe. You okay?”

Sildar blinked, and found himself at a loss for words.

“Leave it to you to fuckin’ scare the shit outta the newcomer!” A voice like hers rose through the smoke, and as it cleared, Sildar made out four other bodies, all draped in the ostentatious red of the IPRE and squinting into the gloom. The one who had spoken, another willowy elf with even longer golden locks, lifted a hand in the air and snapped his fingers, and all the smoke dissipated at once. “You had to launch it at the fuckin’ wall, Mags!”

His companion, a human who stood taller than everyone else in the room and looked battle-scarred to the bone despite his youth, gestured indignantly at the aftermath. “But did you see how fucking awesome that was? And that was a whole science experiment! Setup—uh, hypothesis, trials, conclusion?”

“Which is?” The elf unspooled two letters into a long, drawn-out drawl.

“That this room was totally used for magic shit! And now we can do whatever we want in here!”

“Um,” came another voice from the window, and Sildar looked over to see a dark young woman with a head of platinum-bright hair, gazing nervously at the set of admittedly impressive scorch marks over his head. “I think if anything, that proves we shouldn’t do what we want in here.”

“Agree to disagree,” said “Mags,” with undue confidence.

“That’s—but that’s not what science is—”

The final figure in the room, a portly dwarf with flowers woven into his beard, shook his head and clicked his tongue. “Look at the impression you just made,” he said. “Going around, trying to kill people you just met—what kind of monsters do something like that?”

The divine being made a sound somewhere between a chuckle and a sigh and pushed a few loose strands of hair off her face. “You must be the chief science officer,” she said, and stuck out a hand. “Sorry for the accidental attempted murder. I’m Lup.”

Lup.

“I’m,” said Sildar. “Uh.”

This time she really did laugh—a lyrical, full-bodied sound that he felt deep in his chest. “Tell me we didn’t just knock your name outta your head.”

“Oh, no, it’s, uh—” Lup. She looked at him with a smile so resplendent he had to catch his breath all over again. What did she know of Sildar Hallwinter, the Catalyst for the End of All Things, the Second Revelation, the Midnight Prophet for the Last Downfall of Mankind? What did she know of anything beyond all the light she cast in every direction?

“I’m, uh, Barry,” he said. “Barry J. Bluejeans.”

.

Here are some things Sildar Hallwinter learns about Barry J. Bluejeans:

He has a penchant for getting into character. Maybe that’s more Sildar than Barry, but there’s something so intoxicating about the drama of it all, especially when no one else knows he’s playing a role. Barry is a bit of a thespian, if he does say so himself.

That said, he’s sort of awkward. More of Sildar’s influence. When you’ve spent your whole life preparing to fulfill your divine purpose in the End of All Things, it’s a little hard to adjust to things like game night and brunch.

He’s smart. Really smart. The Fellowship hadn’t really encouraged science—everything else came second to the teachings of the Apocalypse—but not only is Barry-slash-Sildar naturally inclined for it, he actually enjoys it.

He can’t swim. Sildar can, and rather enjoys it, but it’s a little bit of flavor text he can’t resist.

He’s not half bad at making friends.

The crew of the Starblaster were, of course, a means to an end, and he would develop no meaningful relationship with any of them beyond what was necessary to keep up appearances. That was his mandate, at least. But it was hard. Much harder than he’d expected, really. And despite himself, he—Barry—found it all to easy to laugh at the dwarf Merle’s gods-awful jokes and stay up late to hear Captain Davenport recount tales of grandeur. He let himself be roped into more magic-powered “experiments” (in the loosest sense of the word) with the human fighter, Magnus, who actually seemed to enjoy death-defying stunts with the zeal of someone from the Fellowship. He got to know the soft-spoken but brilliant archivist, Lucretia, and her remarkably meticulous transcriptions. On one particularly reckless night, he joined the long-haired elf Taako on a quest to fill a particularly uppity supervisor’s pockets full of pudding.

And as the Appointed Hour approached, Barry found himself spending late nights in the IPRE labs with Lup, testing and recording speculations on arcane theory and downing enough coffee to drive them to hysterics by dawn. They were all a little nervous, a little sad, a little desperate to sort their affairs before takeoff, but Lup tackled new problems with the kind of determination that demanded solutions. She was the most ingenious person Barry had ever met. And when she sat back from an arcane reaction gone wrong, her hairline blackened with soot and grinning like a caffeine-tripped maniac, he thought she was the most beautiful thing he’d ever seen.

This was how it was until the Apocalypse arrived.

Barry woke the morning of with a planet-shattering hangover.

He crawled to the mirror and squinted blearily into the glass; thanks to the IPRE’s constant offerings of complimentary coffee and cake and Taako’s singlehanded banquets, he’d put on weight over the last several months, and he’d started to love the gentle resilience his body had gained. Sildar was clean-shaven and angular, but Barry was soft and stubbly. A few nights before, Lup’s gaze had caught on his chin, and she’d told him how nice he looked with a five o’clock shadow.

He’d thought she was joking, but that was just how she was—kind.

He went to his closet and started to mull over which shirt to wear.

The day was dark and still, the sky an unbroken slate grey, and it was just what the sacred texts had imagined: not a living thing stirred for miles beyond the horizon. Even the grass beneath Barry’s feet, as he followed Davenport to the Starblaster’s gangway, had turned an off-color, metallic shade. They said their goodbyes to the Institute, and to the enormous crowd at starboard, and in the eerie light they all looked like corpses risen from the grave. There was something hanging over their heads that felt nothing like the terrible glory the Fellowship had promised; instead it was unsettled, and sickly, and wrong.

Barry swallowed the knot gathering rapidly in his throat and followed his crew up the gangway. There was but one thing left for him to do now—him, Sildar Hallwinter, the Catalyst for the End of All Things, the Second Revelation, the Midnight Prophet for the Last Downfall of Mankind. And then the Hour would be upon them at last.

He left the others on the bridge and walked to the Bond Engine.

The explosives tucked inside his robe were light, and branded with the sigil of the Fellowship, although no one would be able to tell in the ensuing destruction. It was certain to be localized, of course; they were meant to damage the engine and nothing more. He could never deprive himself—or anyone else, for that matter—the opportunity to witness the Terror as it began its First Assault on the world of the living. No one knew quite what it would look like, or how it would feel, but the Fellowship had promised a beautiful ascendancy for all its members. And now Sildar would seal his fate. He would seal everyone’s fate.

“Barold!”

Sildar fumbled an explosive, and it was almost the last thing he ever did. He whirled around, and there was Taako, waving him over from the bottom of the staircase. “What’re you doing?”

“Nothing,” said Barry, faintly. “Why?”

“Cap’n’port wants everybody on the bridge for the launch.” He flapped his arm at the bridge, looming above them against a wall of indiscernible storm clouds. “C’mon!”

“Uh,” Barry said. Suddenly the explosives weighed too heavily in his robe. “In a sec!”

“He means now, Barry! This storm ain’t lookin’ too good!”

No, no, no. Not yet.

But I don’t want—

What does it matter what you want?

Sildar Hallwinter gripped the hem of his pocket.

And Barry Bluejeans whispered a disarming spell, followed by a shrinking charm. Three marbles branded with the sigil of the High Fellowship of the Great Prophecy for the First Revelation rattled in his pocket as he jogged toward Taako and the bridge.

They escaped by the skin of their teeth. Sildar Hallwinter watched his world consumed by a force so uncaring, so unfeeling, that it couldn’t possibly be the Herald of Rebirth for All Things. He watched it rip everything apart—the IPRE headquarters where he’d met his crew, the ice cream parlor he’d braved with Magnus and Lucretia, the farmer’s market where Taako had taught him the difference between parsley and basil, the enormous lake Davenport had taken them sailing on for a weekend, the small garden Merle had kept just outside their dorms. 

The horizon, where he’d watched the sun set with Lup.

In the space between planes, Sildar Hallwinter was unmade. And when the threads of his body settled back into place, he caught his breath and thought, Never again.

This was how it was written: Barry J. Bluejeans would save the world.

[jakeperalta]

omg please give a track by track breakdown when you can form coherent thoughts hehe

ok so these are my second listen thoughts now i’m beginning to be able to form sentences again! first things first i love all the songs so here we go

willow: so cute gosh i love so many of the individual lines and love how it can be interpreted in lots of ways (also loved the video!) - definitely feels like a grower, same as how with cardigan i was initially like “wow great song!” and now i’m like that song owns my entire soul

champagne problems: put this at the bottom of my predicted rankings based on the title because i don’t drink and am uninterested in songs about getting drunk but as soon as it started playing i was like well that was wrong i love it. absolutely love the concept (already discussed it but it gave me all my rory/logan shipper rights) and it’s just beautiful but also “she would’ve made such a lovely bride, what a shame she’s fucked in the head” SCREAM

gold rush: lyrically/thematically reminds me a lot of “everybody wants you” by red hearse which is interesting because that’s one of jack’s projects and that always reminded me of taylor’s lyrical style. also “the coastal town we wandered round had never seen a love as pure as it” love that line sooo much!!!

tis the damn season: mmm love this concept! “there’s an ache in you put there by the ache in me” is poetry!! she really said cheesy hallmark christmas movie about a city girl coming home and reigniting an old flame over the holidays but make it a masterpiece

tolerate it: when i first heard the opening lines i thought this might be about andrea in that idea of carefully watching someone and them being older and wiser and yourself feeling like a child... but obviously it’s not! gives me big dear john vibes. the concept of having so much love to pour into someone and them just tolerating it is absolutely heartbreaking

no body no crime: ok!!! she really popped off with this one!!! love the drama of the intro with the sirens and the “he did it” whisper. love the storytelling and the haim feature. gives me big country vibes actually, specifically reminds me of something the chicks might write.

happiness: “there’ll be happiness after you, but there was happiness because of you. both of these can be true.” is such a beautiful concept i really love that line. also this feels like one of her most mature songs ever. the way she acknowledges we made it each other happy but we also hurt each other but one day we will be happy again and will be able to be happy for each other. also the gatsby reference of the beautiful fool and the green light?? ok literary queen

dorothea: this is the first and only one so far that i connected with another song because i was straight away like oh she’s totally the one coming home in tis the damn season! very sweet, also i have a little sister called dorothea who’s only three but one day i will have to play it for her so i’m glad dorothea gets quite a nice story

coney island: so beautiful and interesting!! feel like i need to live with this one for a while to truly appreciate all its intricacies but taylor and matt’s voices are lovely together

ivy: honestly after two listens i can only vaguely remember it sounding soft and nice but i didn’t pick up on any of the lyrics, i think i need more time to appreciate it on its own. interesting reading the lyrics that it has illicit affairs type vibes

cowboy like me: was expecting this to be a bit more overtly yeehaw but still great. feels like an alternative/country version of getaway car 🤠

long story short: fun change of tempo! love this new take on the Bad Time and “no more keeping score, now i just keep you warm, and my waves meet your shore ever and and evermore” is just lovely!!

marjorie: just beautiful and moving and sweet. that is all.

closure: the production on this is kinda stressful to listen to skdfnsdknf idk don’t really have other thoughts on this one? feels a bit less lyrically rich than the others

evermore: beautiful!!!! sadder than i expected but love the hopeful note it ends on. also this is how i expected exile to sound when we found out bon iver would feature and it’s cool to hear the duet with justin’s voice being higher than taylors! also love that i was correct in guessing taylor and joe wrote it together