#just an overall excellent album

[crmsndragonwngss]

Settled With theatrical sequences I hope the bleeding persists

[angeliicheartt]

shinsou headcanons about him having a cooler gf than he is

"ꜱʜᴇ'ꜱ ꜱᴏ ᴄᴏᴏʟ!"

includes: hitoshi shinso

fem!cool!reader

a/n: reader is mentioned to have a "could-be-seen-as-villainous" quirk. reader competes in the sports fest, and is popular

✦ okay so shinso started out in general studies as we know

✦ so he first saw you at the sports festival, and you were kinda like him!

✦ your quirk would make a great villain power, but you were excelling in class 1A, so you gave him motivation 🤗

✦ it doesn't help that you seem to be so popular!

✦ when he gets approval to join ur class, kaminari always invites him to hangout with you all, and you two grew closer

✦ yada yada ur in a relationship now!

✦ shinso still questions how he bagged u tbh

✦ nervous to perform hero training/work in front of u, incase he messes up (he gets over it when he had to save you one time training got too rough)

✦ he's got an album for candids he takes of u (there's a lot)

✦ wants to be up to par with you the most

✦ will very gruffly ask you to train with him (he's just shy)

✦ enjoys when you choose to just stay in one of your dorms with him

✦ kaminari's the ultimate wingman (got your number for shinso, etc)

✦ loves when the two of you engage in pda, he loves showing you off

✦ very touchy with you (loser bf activities)

✦ just a tad possessive, he can't help it guys 😞😞

✦ overall, im marrying this man

[msilwrites]

John Price's Home

✨ John Price’s Home - My Sims 4 Take 🎮

Hi, everyone! 👋 Remember how I mentioned in the A/N of my last chapter that the house described was inspired by @eleu22's moodboard for John Price’s home? Well, I loved it so much that I had to try my hand at bringing it to life—in The Sims 4! 😂

For those who might not remember, the A/N was from Chapter 11 of my Papa Bear Material story. It’s the chapter where John brings you to his home for the first time to spend the weekend together as a couple. That chapter was such a special turning point in their relationship, and I wanted to make sure the house really captured the warmth, cosiness, and charm of John’s character.

Whilst reading this, I want you to imagine John Price taking you here 😈—his home, his space, his rules. Just picture it: the cozy fireplace crackling, the scent of whisky lingering in the air, and that intense look he gives when it’s just the two of you. Go on, let your mind wander to the things he’d do… because trust me, he’s thought about it too.

This is my interpretation of what Captain Price’s home might look like, from the cozy interior to the overall vibe. I was inspired by @eleu22's vision—their moodboard really hit the spot! While I agreed with much of their design, I also put my own spin on it, tweaking it to suit how I imagine the Captain’s space.(So it’s more “inspired by” than a full recreation!)

Here’s a breakdown of what you’ll see:

📍 Structure - So, let’s start with the foundation of the place. The floors are a mix of old vintage tiles and polished hardwood—well-maintained and perfectly worn in with years of use, especially after John renovated the place. The walls? They’re made of rustic stone and sturdy brick, well-structured and kept in excellent condition. Captain Price inherited the house from his grandparents, and during his renovations, he made sure to preserve its warmth and charm while adding his own personal touch. You can almost feel the history and legacy of his family in every corner, a tribute to the generations that have lived here.

📍 Living Room - Warm, inviting, and just the right amount of rugged charm—because you know Price would keep it comfortable but not overly fancy. He has a cast iron fireplace installed underneath the original one, something he added during renovations for practicality and efficiency. The room is filled with old furniture, lots of books, and pictures of his late family, reflecting a deep sense of nostalgia. Price inherited his cottage from his grandparents, who originally owned the place. He lives somewhere around Kingston or Richmond—not too far from Central London but close enough to enjoy the woodland charm of the outskirts.

There’s also a door in the living room that leads directly to the garden outdoor area, adding a touch of tranquillity to the cosy space.

On the other end of the room, you’ll find a collection of vinyl records, a player, and an amplifier. I can absolutely see Captain Price brooding on the couch over his plans with a whisky or bourbon in hand, maybe even smoking one of his nice cigars, as he listens to Annie Lennox’s “Money Can’t Buy It” or something from Tears for Fears, The Police, Sting, Duran Duran, John Waite, or Spandau Ballet classics. And when he’s feeling especially emo or introspective, maybe even some modern ones like Adele or Hozier.

Duran Duran’s “Come Undone” or “Ordinary World,” and Sting’s “Fields of Gold” or “Shape of My Heart” would absolutely be on his playlist when he’s in one of those pensive moods. (And yes, Adele and Hozier have vinyls of their albums, and oh boy, they sound so good!) 😍

📍 Kitchen - Functional and homey, with a touch of practicality that screams "This man cooks bacon in a cast-iron skillet." It’s a rustic space filled with lots of old items, including his grandparents' porcelain plates, some newer ones, and a vintage stove. There’s even a little porcelain chicken figurine that’s been there for ages—he finds it cute, so it’s staying. At the centre is a wooden counter island, usually covered in food, seasonings, garnishes, and maybe a bottle of whisky or two. This man makes a proper snack.

📍 Dining Room - The dining room exudes rustic charm, with another iron cast fireplace that doubles as an oven, perfect for cooking and grilling. Above the fireplace, a collection of herbs hangs, adding a fresh, earthy touch to the room. On the left side of the fireplace, there’s a sturdy hutch or cabinet, stocked with all sorts of fine spirits and selected wines. Next to it is a well-stocked drink cart, ready for any occasion.

On the counter, a cheese dome sits, showcasing a selection of his favourite cheeses, because this man is absolutely obsessed with cheese. Under the cabinet, there’s a collection of different glasses for various types of alcohol. Two framed vintage posters hang on the wall—one detailing British cheeses and the other offering basic cheese knowledge, both adding a touch of humour and character to the space.

An old chandelier hangs above the center of the room, casting a warm, soft light, completing the intimate, cozy atmosphere.

📍 Bedroom - A simple but intimate space that feels like a retreat after long missions. The room features a cosy, old queen-size bed with vintage charm. At each end of the bed, there’s an old end table. One holds a book and a tray of water, while the other has a tablet, probably for late-night reading or catching up on work. A dresser sits nearby, topped with a vase of fresh flowers and an old replica painting of a famous artwork. At the foot of the bed is a comfy ottoman, perfect for kicking back after a long day, and an old chair is positioned beside the bed, as if ready for quiet moments of reflection. A large window lets in plenty of sunlight, warming up the room with natural light and creating the perfect atmosphere for relaxation.

📍 Study - The door to Captain Price’s study is cleverly disguised as a bookshelf. It’s the perfect example of understated secrecy—who would’ve guessed that behind the shelves of books lies one of his most brooding spaces? A place for the Captain to retreat and get even more pensive.

Against one wall, there’s a shelf where his most precious drinks and cigars are kept, along with a stash of biscuits and cookies (because, yes, he’s got a sweet tooth—don’t let the gruff exterior fool you). All of this is strictly for his own enjoyment, mind you—no sharing.

His main desk, made of dark wood, is set up with the kind of tech Simon—his favourite, and let’s face it, only tech-savvy lieutenant—would be proud of. Simon installed a desktop computer, added extra memory and a camera for his calls, and even set him up with a high-quality mic. He even picked out a nice pair of headphones for those brooding music sessions, where Captain Price likes to sip whisky, smoke cigars, and disappear into his thoughts. And just for extra fun, Simon also set up his music app account. (Yes, Captain Price still insists on listening to his vinyls downstairs, but hey, he’s trying with the tech stuff.)

In the corner, there’s a telescope pointed toward the window. When the Captain wants to look at the stars (or brood about something—again), he’s got a perfect view. This too was set up by Simon. Why Simon? Well, because he's Captain Price’s favourite lieutenant, of course—or, more accurately, his favourite IT support. Remember that time in the game when Kyle asked, “Why can’t it be you instead of me going in?” when they were about to assault a location? Price just casually responded with, “That’s why they call me Captain and you Sergeant.” Same deal with Simon—though in this case, Simon got a nice haul of rare whisky, bourbon, cheeses, and, naturally, cookies, all for setting up tech in one go. And when Price calls him in for IT support, Simon always tries to act like he’s somewhere else, hiding from the task, but we all know he secretly enjoys it (and the perks, obviously).

Books. There are lots of books on the tall bookshelf, as the Captain likes to read—mostly military thrillers, obviously, but don’t be surprised to find a few spy novels by John le Carré or Frederick Forsyth hidden in there. The shelf isn’t just limited to that genre, though. You’ll also find a collection of cookbooks (because, yes, Price can cook!), fishing guides, gardening books, and even some on carpentry—because he’s always been handy with his hands. Atop the bookshelf sits a vintage typewriter in a glass case—his grandparents’ typewriter, which he keeps as a display piece. It’s a touch of nostalgia, a little piece of his past that he can’t quite let go of.

Next to the bookshelf is a small study table with his laptop. This is where the Captain taps away at his keyboard, writing stories in his downtime. (Who knew, right? Captain Price, aspiring writer, channeling his inner Andy McNab.) Maybe one day, when he’s feeling confident, he’ll share a manuscript with someone—just don’t expect it to be anytime soon.

📍 Garden/Outdoor Area - Lush, peaceful, and perfect for a man who appreciates some fresh air and quiet moments. It’s filled with trees, shrubs, and greenery, and there’s even a small stretch of the River Thames running behind the property—a little slice of tranquility amidst the chaos of life.

I had so much fun building this and imagining every little detail. I hope you enjoy this peek into what I think John Price’s home might look like—Sims 4 style! Let me know your thoughts, and if you’ve got your own interpretations, I’d love to see them! And if you’d like me to do one for another character, drop your suggestions in the comments below! 🏡✨

[declanlikesmusic]

never got into vaporwave probably, what projects should i listen to for an introduction??

I always love this question. Finding the best primers to the whole of the vaporwave landscape and introducing new people to them is one of the many things with this genre that I just find so fun. I'm going to try to be as succinct as I can, but I am going to shoutout a lot, specifically twelve, so go ahead and take your time with these.

Macintosh Plus – Floral Shoppe (2011)

The biggest vaporwave album of all time. I will tell you now that this album is by no means perfect, it has quite a mixed reputation among fans & outsiders of the genre, but this is the album to single-handedly define the genre's core ethos in such a highly-concentrated way. If nothing else, this should give you a taste of what inspires and influences the genre most.

Chuck Person's Eccojams Vol. 1 (2010)

By all accounts, this is the very first vaporwave album and to this day, nothing sounds quite like it. A classic array of disorienting, hazy & psychedelic loops of old popular songs that still sound fresh and wholly enveloping.

猫 シ Corp. – HIRAETH (2014)

This one here is to help people gain a better understanding of what your typical standard vaporwave album often sounds like. It's quite varied in a number of subtly different styles & approaches to traditional vaporwave with some ambiance sprinkled in as well.

SAINT PEPSI – Hit Vibes (2013)

Now we're getting into the individual subgenres of vaporwave and while there's a few traditional vaporwave tunes sprinkled in here for variety, this album birthed & defined the genre of future funk with some of the best dance bangers you'll find in the scene. Lots of classy tunes on here, it's an absolute jam.

Blank Banshee – Blank Banshee 0 (2012)

Up to this point, every album I've shared has been intensely sample-based. This album still carries some samples, but it has original beats & synths to establish another subgenre known as vaportrap. It's a great beat tape with some classic tunes and I also recommend its sequel too, which is my favourite vapor album of all time.

ESPRIT 空想 – virtua.zip (2014)

Carrying on from the last album, this one almost doesn't use samples at all and when it does, it's usually an extra sound or instrument at most. I'm putting this here to establish that even basic vaporwave can be crafted from original compositions and the results are short but great.

t e l e p a t h テレパシー能力者 – 現実を超えて (2014)

What makes vaporwave the way it is and not like any other genre adjacent to it is its intensely heavy focuses on atmosphere more than anything else. So naturally, you're going to see a lot of bridges to ambient music. This first example is the subgenre of slushwave, which crafts the same excellent vaporwave tunes, but additionally filters them through such a wash of effects that transform them into psychedelic & blissful dreamscapes.

식료품groceries – 슈퍼마켓Yes! We're Open (2014)

The next subgenre in this vein is mallsoft, which answers the question of vaporwave being set in the tall & wide spaces of shopping centres by placing relaxing tunes in pools of reverb and letting them sprawl from the loudspeakers of the area's corners. This album is the first big one to establish that with a unique setting and gorgeous sample choices.

2814 – 新しい日の誕生 (2015)

The last of these ambient subgenres is dreampunk, which is a lot like vaportrap in that it heavily relies on its own compositions with very few samples while still retaining the genre's focus on nostalgia, this time set in the melancholic & rainy nights of the urban city through what is at least the second biggest album in the entire genre.

death's dynamic shroud – I'll Try Living Like This (2015)

I'm gonna end this list with a few of the genre's weirdest corners. Vaporwave is constantly wide open to new & unique ways of experimentation and this album stands as the best example of that. Wholly unique aesthetic choices, completely innovative sampling techniques and an overall opus of incredibly strange, surreal & psydchedelic soundscapes.

Infinity Frequencies – Computer Death (2013)

After that, I'll close this list with two examples of an abstract subgenre known by two names. They're synonymous to the greater community & world of music, but I see them as two different approaches. They're both defined by the creation of intensely haunting, isolated & eerie loops of mysterious soundbites extracted from the likes of television & radio. Signalwave is what I use to describe the more accessible & musical end of that sound and this start of a trilogy is the best example for it.

░▒▓新しいデラックスライフ▓▒░ – ▣世界から解放され▣ (2012)

On the other hand, I will leave you with what I consider to be the most divisive vaporwave record of all time. This album defines what is more commonly known as broken transmission and it is much more obtuse, glitchy, dark & surreal to listen to depending on the album. You're going to listen to this and either love it, hate it or sit inbetween. People have taken it as a joke while others view it as a work of art. Approach this one at your own discretion.

That's it! Those are the first 12 vaporwave albums that I will almost always recommend every single one of you to check out first. The greater landscape of vaporwave doesn't start & end with these albums, but instead, they give you the best surface level primer to help dip your toes in to such an amazing genre of music.

[ay-miphae]

More Pointless Ayreon Statistics.txt

chat i don't know how to preface this one. i'm just obsessed with Ayreon and with pointless data collection

instead of alt text because that would be very verbose i have decided why not link the same spreadsheet but on Google Sheets, this time with a bit more conditional formatting. everybody enjoy (none of the formulas transferred over though)

Basically I went through the entirety of the Source with the object of thinking "huh I wonder how long each character appears for and if it bears any significance" so the part of the table highlighted in green is the length of each character's appearance (in seconds) per song.

At the bottom of the green section is the total number of seconds each character appears, the total number of songs they appear on, average time per song (the green and yellow row), and then overall percentage.

To the right I wanted to see how many characters appeared on each song, and it's not an exact measure but the percentage of the song that is and isn't vocals (% instrumental is the yellow and green column)

Also the pie chart just graphs the length of each character's appearance.

Random observations here:

Dream Dissolves is the most instrumental by far (makes sense) followed by the most vocal (Deathcry). Tbf Deathcry has a lot of shared choruses and I forgot to account for that (like when multiple characters are singing at the same time). also might be worth redoing this data now that I'm much more familiar with when and for how long each character appears. (this consisted of me sitting in front of Excel with a stopwatch for multiple hours yes)

TH-1 only appears on 7 songs (average is close to 9, like pretty consistently) but when he does he sings a lot. Particularly his binary string and Everybody Dies and March of the Machines.

The ones who appear on more than 9 songs are Captain, Biologist, and Diplomat, so do with that what you will

Why does Astro get far less time per song than everybody else please do my boy some justice

Prophet is halfway done with his vocals by the end of Sea of Machines it's like he just dips for the last three chronicles lmao

Surprisingly the character who shows up the most is Diplomat! I wonder why that is, maybe he's just the closest to an everyman on the album so it makes sense that we're seeing a lot of events from his perspective?

Then Captain and TH-1. It tracks tbh

Chemist in the top 4 is a surprise, then again a lot of his vocals are like slow melodic segments. OL and Bio next don't surprise me either

Preacher at the bottom but we knew that, feeling ripped off that Astro has a whole minute less than Prophet

I keep trying to edit in the detail that "Hansi sings more on Wheel of Time than on this entire album and I thought y'all should know that" but it keeps getting deleted randomly. Tumblr does not want y'all to know that ??

Ok ignore the red tags on these and the name I gave the graph, I was just writing notes to myself to remind myself of who was singing what. 01 has significantly more characters who aren't part of the core council of Forever

I don't have a lot to say on this one, same format and everything. Comatose, Waking Dreams, and River of Time are the most instrumental, Connect the Dots is the most vocal.

Same thing as before, I didn't factor in shared vocals and such except for Sixth Extinction because otherwise it would have been at like 108% vocal I don't think that's possible

PX is just barely on this album lmao. In terms of Forevers, this album is generally a LOT more even with the exception of 𓅛 taking over the whole album (he does... seem like the most central Forever) and ☾ who only appears on two songs (I included Sixth Extinction though) </3 Considering that the Forevers are a hivemind and there's much less character distinctions. A bit surprised that ☯ and R are close to the bottom but the difference isn't that huge...

[rolandrockover]

Do You Wanna Touch Me Now

What can you call something like this? A review of a Kiss song that was not recorded to completion and never officially released? If you ask me Phantom Entry doesn't sound too bad, and also kind of Kiss-like.

So, who among us Kissians doesn't inevitably think of the often mentioned Do You Wanna Touch Me Now, the only leftover from the Revenge (1992) sessions, which Paul had written with this Skid Row guy, but ultimately didn't make it onto the album. For a long time, even a very long time if you want to do yourself the displeasure of measuring your life in time, this one was considered pretty much a Holy Grail among ever-searching fans.

Until it was leaked on a mainstream platform, just like that. Out of the blue. After 30 years. (0) So, it's precisely this tiny blip that makes our little head trip here possible in the first place, so shhh, all this is top secret, of course. Let us therefore try to be gratefully and humbly accept what this may offer us.

Firstly, we have the long-range main riff that also opens the song, which can best be described as massive and anything but bad. If Take Me's (1976) chorus riff comes to mind, that would be pretty close. If you were to dance a few steps further and stop at the end with spread legs in a self-assured pose, then we would even have a bull's eye. On top of that, you get a Mr. Speed-style lick as a sort of calling card (1). This works in much the same way as the Roadrunner in the cartoons likes to stick out his tongue before he meeps and blasts off at the speed of light.

Anyway, to my ears it seems as if, in the overall context of the song's structure, it harbors a certain short-sighted, extroverted attitude that is unwilling to take the final step and whose own unrequited expectations unfortunately become its undoing. In simple terms, it promises more than it means to deliver (2).

Kind of like a long-armed boxer with a handful of excellent swinging hooks in his repetoire, with which he is able to send his opponent to the mat very safely and quickly, only to make the fatal mistake of letting go of his opponent too early and using his additional light-footed skills just to put on a little extra show for the audience (and himself), which unfortunately has little to do with the fight. And with that, I've basically already given away the verses and the bridges.

And these sound like a continuously alternating vivid, but still somewhat unsatisfying mixture of The Elder's (1981) The Oath (3), Mr. Blackwell (4), and now dear people fasten your seatbelts, Welcome to the Jungle (1987) respectively its main riff. Which should come as no surprise once you consider that in 1991 Guns N' Roses were probably the biggest rock band on this planet alongside Metallica (5).

And so it goes back and forth until you eventually reach the mid-part section, which is not much more than a big brake pad, led by Detroit Rock City's (1976) cinematic widescreen riffs, those that follow its super iconic pulsating intro, and to which you literally have no choice but to imagine Paul leisurely and majestically swinging his arm out wide. Still, you're not supposed to enjoy it to the full, because after just one run-through, the fun is over again and it moves like a souped-up tractor at adle in the direction of Black Sabbath and Iron Butterfly. This is noticeable in a passage that sounds as if somewhere the beginning of In-A-Gadda-Da-Vida (1968) was stuck in a loop. On steroids, of course.

And somewhere in between a guitar solo must have been envisioned, although unfortunately it never materialized. Which is regrettable, but not necessarily essential for the sake of this cause.

But hey, since when can beggars be choosers?

Side Note:

(0) Hardcore Insiders not included, which in turn should include myself.

(1) And from the first refrain even a riff appendage in the guise of Plaster Caster's (1977) bridge melody, as well as another old buddy, this time from the future, who can be found on Sonic Boom from 2009 and beyond (which we can talk about another time).

(2) So much for the gratitude.

(3) I (1981) would also fit the bill, but The Oath even more so. Just think of its characteristic opening.

(4) That AC/DC Back in Black thing we already talked about here.

(5) On the other hand, I wouldn't necessarily accuse them of intent.

And no, Do Yo Wanna Touch Me Now is not a link, just a photo. All other links are real, by the way, and highlighted:

Do You Wanna Touch Me Now (1991/92)

Take Me (1976)

Mr. Blackwell (1981)

The Oath (1981)

Welcome to the Jungle (1987)

Plaster Caster (1977)

Detroit Rock City (1976)

In-A-Gadda-Da-Vida (1968)

[wavesoutbeingtossed]

I was wondering, what's your interpretation of tTPD as a whole?. I know a lot of people think it's a 31 album dedicated to one main muse minus 2 songs for his ex long term relationship but i was curious about your thoughts.

Also, some theorists are talking about a potential 10 years situationship between taylor and one muse and it makes me feel... weird. Because she was committed to someone else and i don't know how to feel knowing the other muse could be in some of my fave albums... sorry for the long rant

So there’s a lot going on here and it’s nuanced.

I don’t think it’s as simple as “it’s all about one person minus two songs.” There are several muses woven in both the text and subtext of the songs. And what happened with one muse in many cases was only possible because what happened with another. There are some songs that are explicitly about specific people’s actions, but overall things get muddy because situations are muddy.

This is a cop out answer, but ultimately to me the album is about Taylor. It’s about her pain and grief and trauma and also healing and recovery and joy. To reduce it to a man in particular discounts that she is the main character of her own life and story.

I do not think the story she put down in TTPD is one of a decade long situationship. As I said yesterday, I will gladly change my mind if new information comes to light. The story I picked up in TTPD is one where someone entered her life at a very vulnerable time, exploited their shared history to sow the seeds of this fantasy life to her that she was desperately grieving in her very real current life, which caused her to play revisionist history with her memories because she needed to make it “real” to herself as an escape hatch.

But even if that isn’t the case, and if it turns out that yes, she was pining for this person for ten years… it doesn’t take away from the fact that her past music is excellent, regardless of the inspiration. IMO fans would be better served to not always recall the muses when listening to music for their enjoyment. I know Taylor’s music is different because her life is so well documented and she used to be so open about who she was writing about, but very few artists do that and their music still hits. I don’t think at all about the artists’ lives when listening to any other band; hell, even in well-known messy situations like Fleetwood Mac, I’m not thinking about Stevie and Mick, I’m thinking that Landslide is beautiful and Rhiannon is a banger or whatever. If you think too much about the artists’ personal lives, you’re gonna get twisted in knots and may find there are few people you can listen to, because humans are fallible and messy and make mistakes. Like Taylor says, once the songs are out in the world, they’re not hers anymore, and you need to ascribe your own meaning to them.

Which is not to say I wasn’t surprised when I first figured out who she was writing about when I listened to TTPD, and yes the first few listens of the album made my head spin a bit for the lore of it all, but i truly listen to it like any other album now. It’s good music plain and simple.

What I’m trying to say is that you have to set your own boundaries I guess. If it really bothers you then you don’t have to listen to or engage with it. But personally I’m also not going to moralize Taylor’s or anyone else’s music because she’s human just like any of us and we all make choices in our lives. She was just brave enough to share the mess. It’s not a condoning of her actions because she doesn’t need my or anyone else’s approval for her choices. She’s recording a moment of time in her life and turned it into art, and now it takes on new meaning for listeners.

(Also if people are moralizing her choices because of the “commitment” thing well… I think they weren’t picking up on other parts of the album but. Well.)

Also my pet peeve is that I hate the word “theory” when applied to real people. They’re humans with lives, not characters in a TV show. This isn’t directed at you anon, just a general sentiment.

[seaofreverie]

Today I want to share the joy that Reading A Newspaper has brought me recently (yesterday).

Because you see, it's not very often that I can read a several pages long good quality feature on a band that I'm something of a fan of, considering that until last year at best, all and any musical favourites I had were next to unheard of in the, let's call it, professional music business. And said feature also gave a few mentions to the one and only fav band of all time which I'm also still not used to being able to read about in my language (because it only happened like 5 times in total so far anyway, but still). And I can buy the newspaper in my local store in this minuscule town and find Sparks inside, like wow, it really is My Sparks, in this real life physical newspaper that I just got. This was like a belated but very epic christmas gift for me and I'm not kidding.

But well yeah getting to the point now, Franz Ferdinand are starting their tour soon promoting their upcoming new album and they're stopping in Poland too, so there was this whole 14-pages long overview of their whole career, and while I was obviously interested in the whole thing I was most hyped about the fact that there would have to be something about FFS and Sparks there and this brings me to my delighful observation that wow, all of this is so, connected in a way. Like how there are these connections in inspiration and collaborations between many of my favourites that I didn't even think about probably being a thing before, but when I think about it it just makes so much sense. Like how in this interview with Alex Kapranos, the interviewer brings up Talking Heads and specifically Fear of Music, because the new Franz Ferdinand album also has this sort of overarching theme of fear. And it's funny because that's the first Talking Heads album I've ever listened to and still my favourite from them to this day and overall one of my all-time favourite albums. And I guess it shouldn't be that shocking that it'd come up here because Talking Heads were super influential and inspired thousands, but also until now I didn't think about how both these bands share the general direction of creating dance-able type of rock with lyrics that are often on the more reflective and "intellectual" side. And also that album has been recommended to me as the most TMBG-like of theirs so. Wow I wonder why I like it.

Ok there were also all these other things that I want to mention too, so, other miscellaneous points of interest:

In the debut album review, the reviewer said that during Tell Her Tonight Alex sings a lot like Russell Mael, who likes to sing in falsetto. And well I know there's also the Sparks connection in the form of FFS to come later but still, this was such a great SPARKS MENTION!!!! moment for me anyway. But also they got one thing wrong, because it's not that Russell likes singing in falsetto, Ron forced him to sing in falsetto by writing all of his songs in this crazy uper range of notes, and that's a very important detail !!!!!!

And ok I had no idea that Piss Off already existed in some form as far back as 2004!! Or I knew about this and then I forgor. Either way, fascinating piece of information

I need to know more about how these star-based ranking systems work because why would you call FFS an "excellent album" and then rate it 4 stars. Instead of, I don't know, 4 and a half or 5 maybe?? Especially since it apparently has only 2 "weak songs". And I have some major objections when it comes to this too, because we're calling Things I Won't Get a weak track now?? It's just underrated as heck, and that's a hill that I will die on

Also I could never be a music reviewer because these people can fit their whole commentary on one song within one sentence and I feel like I would have to write at least 3 paragraphs on even the least exceptional of songs on a given album before I can feel like I did it justice. I mean, this whole post itself shows how much of a problem this is for me, lol

Also guys were we all aware that FFS turns 10 next yeah. Oh god. Well I need to remember to keep my tradition and preapre a cool piece of fanart for that occasion then. Maybe they should give us FFS 2 to celebrate, I'm pretty sure there'd be lots of interest among the fandom in something like that. Anyway

Well also this wasn't the only article in this whole thing of course and CAN YOU BELIEVE IT, there was a little bit on the Harrison & Belew Remain In Light Tour, which I will also be attending!!! Lots of great stuff is cooking for the first half of 2025 for me musically I can't lie

And also CAN YOU BELIEVE IT, that a year and a half since it was supposed to be released "worldwide" and long after I already lost hope that I'd ever see it in a cinema, they're releasing Stop Making Sense in cinemas over here too. Fucking finally!!! By gods and heavens, that rare moment when you learn about something crucial through a goddamn instagram ad of all places. And then they also reminded me about this in an actual article so well wow. Can you believe this. I can't. So stocked for next saturday when i'm seeing this movie the way it was always supposed to be seen hehehe

Ok I think that's it. Thank you for reading and maybe I should really make that personal website for my rambles in the new year. I'd definitely put that thing to use.

[dustedmagazine]

Midwife — No Depression in Heaven (The Flenser)

Photo by Nat Lacuna

The cover of the newest Midwife record is a slightly blurry tintype photo of Madeline Johnston’s hands on her guitar. Between that image and the first song having the title “Rock N Roll Never Forgets,” you might think that No Depression in Heaven sees Johnston take her luminous “heaven metal” sound into freshly aggro territory. Instead, for just over seven minutes the track settles in around you like newly, lazily fallen snow. Angel Diaz (of Vyva Melinkoyla) adds plangent pedal steel lines to set off Johnston’s characteristically ghostly vocals, and somehow the track’s litany of cliche statements about rock not only don’t seem silly but attain a kind of wounded grandeur. In other words, this is a guitar album, but maybe in a different way than some surface signs might indicate.

Those already familiar with Johnston’s work might find No Depression in Heaven even more soothing than 2021’s excellent Luminol. That album built its way towards gradual eruptions given starker relief and greater impact by the haziness of their surroundings. Here, the music’s embrace is even more measured and gentle, to the point where “Vanessa” (an ode to Johnston’s dearly departed touring van) starting with a prominent if not particularly aggressive drum machine rhythm counts as a jarring shift. That drum machine is recorded with a kind of precise fuzz that makes it feel as if the whole thing is clogged with sand that each beat dislodges a bit more of. Johnston is also an audio engineer and, as always, the sound of Midwife is impeccably sculpted. The primary elements are still patient webs of guitar and a voice heard through a disembodied rotary phone receiver (see, kids, before cell phones…); a few friends chime in with additional guitar and once even with synth, but nothing disturbs the stately, beautifully suspended atmosphere.

That’s not a complaint; even more than Luminol, No Depression in Heaven builds up such a heady and consistent ambience that you can relax into it like a warm bath. These are frequently songs of sorrow, like the funereal “Droving” (which turns “every dog has its day… run like hell” into a stirring valediction as it creeps along), or “Killdozer”’s poetic inversion of perspective into a genuine, weird American tragedy. The closing title track has lyrics that consist or just the repeated word “crying” and sung laughter, and yet the impact is somehow reassuring. There’s something communal in the sadness here.

Even when Johnston turns her hand to covers, they don’t cause any undue ripples in the overall tone. Alice Deejay’s immortal Eurodance hit “Better Off Alone” might not seem like the most obvious fit, but underneath the bosh, it’s always had a surprisingly humane lilt to it that Johnston brings out. Rowland S. Howard’s “Autoluminescent” may be the most bombastic set of lyrics here, but she gives it a soft, burnished glow. Like her own songs, these contributions are folded into a kind of endless, floating, gorgeous melancholy. One largely constructed from the same instrument Johnston cradles on that cover.

Ian Mathers

[bandcampsnoop]

11/13/24.

You all know that either Micah or I will post something directly or tangentially about David Kilgour (Dunedin, New Zealand) pretty regularly. It would be interesting to count how many times he's been mentioned over the past 10 years (10th anniversary is coming up in December).

I bought the "Left by Soft" LP (Arch Hill Recordings) off of Discogs the other day and it's been fun listening to this Merge release again. Kilgour can always hit the sweet spot. I also read the AllMusic release and loved it. It's one of Ned Raggett's reviews (you can follow him on Bandcamp). I thought I would just include his review:

David Kilgour's way with music over the years is the kind of gift of talent that maintains its own pace; without being demonstrative about it, he just seems to release one excellent album after another in group, collaborative, and solo contexts, where one listen is all it takes to remind someone of just how good he is. Such is the case with his latest album backed by the Heavy Eights, Left by Soft, where the opening instrumental title track has not one, but two brilliant solos that seem to float above the energetic, crisp chug of the main arrangement like birds skimming over a lake. It's a hell of a start, and from there Left by Soft maintains an easy grace song for song, Kilgour is still in good voice and creates lyrics that are often gently unusual in their understated metaphoric impact. Little surprise, then, that he grapples with the subject of lyrics directly on the understated, country-flecked "Pop Song" and does so with his typical skill, promising someone that "I'll write you a pop song one day," then following it up with the question "Did you swallow a bucket of words?" When he combines that kind of gift with his playing the results can be lovely; thus the idea of "A Break in the Weather" may seem like a well-worn comparison point, but when, again, his solo comes to the fore toward the end of the song, it really does feel that the sun has come out through the clouds. The soft flanging and chimes on "Steel Arrow" and "Diamond Mine" show that the New Zealand reputation of melodic rock remains strong, while the concluding instrumental "Purple Balloon" balances a quiet but energetic band performance with a simply lovely Kilgour lead that is a spotlight moment if there ever was one. The group's overall gift for handling their arrangements in contrast shows up throughout: thus, "Way Down Here" starts with what sounds like a gentler tune, only to turn more tightly wound and almost manic toward the end, Kilgour's singing gaining a suddenly sharper edge as the band rips into a surging crunch at once triumphant and, as with the song lyric, sliding on a descent. "Autumn Sun" plays up that melancholic/glam-derived musical sense even more; if anything, it almost sounds like a song by the Church, not a bad place to be at all. But given the the Heavy Eights' strengths throughout, it makes more sense to say that Kilgour's definitely found his own personal Crazy Horse.

Also, RIP Tane Tokona (drummer in The Heavy Eights)...not sure if Micah or I mentioned that back in 2020.

[lantur]

the good,

New Megan Thee Stallion and GloRilla albums this month were incredible. Combine that with the new Latto album and I really can't believe my three favorite women rappers came out with new music within weeks of each other. What are the chances?? Especially considering Megan and Glo already released new music earlier this year too.

Finished The Lost City of the Monkey God by Douglas Preston - such a good nonfiction book blending history, anthropology, archaeology, expedition, and epidemiology/public health. I loved it.

Finished Empire of Silence, Sun Eater Book #1, by Christopher Ruocchio, this week as well - such good sci-fi and I'm very interested in book two.

All grades for the first class of my MSW (master's in social work) program are in, and I got excellent grades on all of my writing. My professor was very kind encouraging about my work, and I loved the class.

I've been loving watching The IT Crowd with David. :)

I started my 605 class for my program and have been genuinely enjoying my readings so much.

the bad,

I think my days of heavy deadlifts (over 100 pounds/45 kg) are done. I pulled a muscle in my lower back deadlifting yesterday. It's my second such injury this year, despite stretching, correct form, and warming up with lighter weights before going into the heavier lifts. :(( I think it's going to take about a week to heal, which is the same thing that happened last time.

I got so wrapped up in assignments and reading for my 605 class (which I enjoy) that I accidentally missed 3 assignments for my 615 class (which I do not enjoy) that were due on Sunday night :/ I feel discouraged about it and need to catch up this week. Also worried about the volume of assignment due dates between both classes in November, especially because I'm also traveling for work from November 14 - 17.

Overall feeling tired and exasperated with many things related to work and people as well. I'm hoping to just give myself some grace and figure things out slowly with regard to all of it.

[yunogf]

lmao i asked bc, as you said in your tags, there was a certain way that it comes across as with how you’re talking about it, so i genuinely wondered bc i was gonna listen to it as well. i’ve been reading plenty of comments about it as well that mostly just lean on “aoty” “soty” “best album ever” and i get that these are (hopefully) exaggerated claims by stans, but i was seriously yet to see a decent comment about its musicality. it’s either about his face in the mv or his voice or the aesthetic of the mv. nothing on the lyricism or the instrumentations or its creativity or depth, so i was hesitant. i get liking it, but i doubt its being “the best”, so when i saw that your comments were the same, i began to wonder if this is another case of exaggerated praises and it’s just... meh at best. nothing new and all that. i am still gonna listen to it on my own ofc but, i guess, since i’m not really his fan, i’m not all excited. amazing debuts usually create tractions of their own, and i don’t hear much for this, but i ain’t judging based on that ofc. anyway, no need to feel attacked. as i said, i was genuinely curious so i asked. i’m well aware that i have ears. i was just genuinely curious about what you actually thought about it, what with your unhinged tags and whatnot. that’s all.

hard to gain traction when ur company announces ur album 2 weeks before it drops!

i was thrown by your wording and i still kind of am but i don't listen to music i don't enjoy and that's across the board for any artist bc....why would i do that lol and maybe ur not in the right circle being a casual fan/non-fan bc I've seen most ppl talk abt the musicality along with everything else 🤔

ik u said u were genuinely asking and i appreciate the explanation but im picking up on an overall unimpressed tone ("hopefully exaggerated" "doubt it being the best" ?) and it feels like u've made up ur mind about jaehyun and his music and ur asking me to give u a reason to change ur mind/care/be impressed but that's not my job ur free to make ur own opinion to me it seems ur going in with a half formed one already but it's music so like it or leave it either way is okay! ur under no obligation!

I'm sorry if being a kpop stan (im assuming...?) has made u feel disillusioned by solo releases tho i understand bc ppl are often overhyped by fans but jaehyun is a music enjoyer who did his homework and worked with artists he himself is a fan of and the payoff is really good music

overall ur ask is very uninformed which if ur not a fan is understandable but as a native english speaker myself listening to an album that is almost entirely in english from a nonnative speaker i have to say the lyrics are very well done they make sense create good metaphor and aren't superficially about balling or making a lot of money (i loathe to hear this often in eng versions of kpop songs lol) and jaehyun is credited as a lyricist on almost every song afaik

the production value is solid "can't get you" has an entire band accompaniment (the trumpet >>>>>) he wrote/worked on "flamin hot lemon" with emotional oranges (one of my fave artists actually <3) so that one is Excellent in every regard esp for a song inspired by cheetos lmao I've said numerous times that none of the songs sound like they were created with the intent of 30 secs going viral on tiktok (a very important differentiation for me) and one of my favorites parts about the title track "smoke" is the outro it's soooo good there's an unexpected bit of piano that he adlibs along with >>>> and the ballad "completely" has a Gorgeous piano backing to it (the lyrics on this one are also so beautiful)

my excitement about the release may have overwhelmed me so i might not have broken down each song beat by beat but rest assured i'm not wasting time on music i don't enjoy

in summation the album is good and on a separate unrelated note he just happens to be really hot ❤️

[rainbowdaisy13]

I have some nay-saying counter-thoughts to missy’s post about the zane lowe Me! interview, from a place of good faith.

I’ve been a kaylor since rep, and very closely followed the lover rollout, and taylor’s talking points in this interview have very straightforward explanations according to what I remember from that time. Me! came out as a lead single, the album name hadn’t been announced yet. I remember the atmosphere of excitement that taylor was pushing the ‘clues and easter egg hunts’ aspect of her brand sooo hard, and specifically around such a gay and rainbowy video!!! Me! Out now!!!! all that was so exiting, because us kaylors were the ones used to being the most involved in easter egg hunting, it felt like she was talking to us. but she still wasn’t being explicit to the public that the easter eggs were gay. in official interviews she angled it like ‘my easter eggs help the fans figure out facts about the upcoming album’. I think there’s a double meaning there, she used the frenzy around album-related easter eggs to encourage gay easter-egg hunting but with plausible deniability. In this interview she’s talking about how the word ‘Lover’ is seen in the music video. that’s the easter egg that ‘some people have got’: the upcoming album name was right there in massive pink cursive letters, and later everyone was like duh!! how’d I miss that! I remember her confirming that later when the album came out. It’s hard to explain, like this behaviour totally IS a gay hint, but she also covered herself with an ‘official explanation’ that she pointed to more explicitly.

then, I’ll be honest I reckon the rep double album tiktok is big clowning. the original rep IS an album of ‘two sides’, we talked about that all the time in the kaylor-sphere when it came out, and it was a consistent part of taylor’s narrative for explaining the album (once she was actually giving interviews again, in the lead up to lover). there are the big bravado bass-y songs (that most of the public interpreted as kim and kanye diss track drama songs) but fans knew the album’s core / ‘other side’ was beautiful love songs that about a secret love that she eventually passed off as ‘about joe’ (but we’d always known it’s about the actual secret love- karlie). the two sides to rep have always been understood as the ‘love story amongst the noise’ as she describes here.

I’m no hater, I just think we need to remember the context when looking back! just saying, I don’t think there’s anything here that wasn’t explained at the time.

Excellent post thank you anon! And yes please no one take offense, this isn’t a shot at anyone—it comes from a place of being people who have been here for years, who know we’ve discuss pretty much everything there is to be found at length, but it’s nearly impossible to find those posts even if our blogs are still in existence bc tumblr doesn’t have a way to easily categorize and archive posts

Side Note—Part of the reason I don’t use TikToc is because so many TT kaylors pirate our content here without giving credit. I love that the tumblr kaylor community is overall wonderful at reblogging and interacting with each other—vibe is collective discovery over clout 🖤

[ayushipop]

J - The 1st Album impressions/opinions

this is a 2nd/3rd impressions post bc i just had to listen to the whole thing a few times before actually putting anything to paper. disclaimer that i've been waiting for this album since before it was even officially announced and jaehyun was just being coy about potentially dropping something in august so this has been very VERY highly anticipated & will go platinum in my airpods <3

Smoke - watched the MV several times over for the plot <3 i LOVEE love the verses & prechorus & how they build up to the chorus, and the chorus!! absolutely fed w those delicious deep register subrapper vocals

Roses - also very familiar w/this track as it's been on repeat since it dropped! the CHOIR ECHOOO and the valentine's gag is crazy, YES I DO WANNA BE YOURSSS <3 especially loved the contrast in the pre-release mv that combined roses & dandelions, absolutely serving desperate rnb guy sobbing on his hands and knees in the rain begging for his bitch back

Flamin' Hot Lemon - my notes for this are very exclamation pointed and incoherent so i will report accordingly: THE PRECHORUS!!!!!!!! UGHHHH BUT I HOPE THAT U DONT PICK NOBODY ELSEE!! the rapping !!!!! his lower register <333

Dandelion - the mv for this caused me genuine psychic damage. he's just soooo quirky professor manic pixie dream man husband that dies at the beginning of the move coded i need to eat him. a tune to which i would frolic in a sunny field. again love the layering in the prechorus, reminds me of blueberry eyes which i also love, FALSETTO ADLIBS <33

Completely - lyrically.. just incredible. it's so "to be known is to be loved." it feels so soothing on the wound of unknowability & unlovability. have already recommended it to a friend on the basis of it sounding like a little mix ballad, like i could very much imagine perrie and leigh-anne's voices esp in the chorus <3 another gorgeous display of his range. a bitch might have teared up

Easy - more Korean-heavy so it was harder for me to immediately follow the meaning of the song, but vocally and production-wise still very up to the standards of the rest of the tracks!! honestly feels very nct 127 b-side coded, he should link up w those guys and collab or smth :)

Can't Get You - love lovee that thrumming instrumental, also reminds me of Orange Seoul which was one of my fav Walk tracks <3 love his little whiny sYstem, & the backing vocals again are just lovely. the lyrics!!!! i know you know!! I KNOW YUNOH!!!! and the way he shouts OH DARLIN' and the bridge slides into that sexy brass solo!! and as usual the falsetto adlibs <33

overall: i knew mr jung jaehyun was gonna DELIVER some rnb excellence on this album, genuinely one of my most anticipated albums of this year <3 it's so well-put together & cohesive, i'm so glad to see that he worked on this for so long w a specific creative vision in mind and it came to fruition. i loved hearing his range from falsetto-heavy songs to that deeper talk-singing register. valentines were ABSOLUTELYYY fed w this one <3

[not-scared-of-microwaves]

The Tortured Poets Department Review

Now that I've sat with it for a few days, I actually have some coherent thoughts on TTPD, though I won't know where it falls in my overall rankings for a while.

Overall

The thing people aren't getting is that this is Taylor Swift. This is, quite honestly, one of the most quintessentially Taylor albums she's ever released. It has the lyricism of Folklore, the sensibilities of Evermore, the self-awareness of Reputation, the storytelling of Fearless, the specificity of Debut and Speak Now, the vagueness and metaphors of 1989, the synths of Midnights, the rawness of Red. It's American Gothic. It's fictional. It's nonfiction. It's confessional, it's scathing, it's cringe, it's clever, it's more than a little crazy.

She admitted things in this album you couldn't waterboard out of me. People say it's the most unlikeable she's been, but it's also the most human. She's not censoring herself to keep her likeability. That's brave.

Fortnight [feat. Post Malone]

Do I like it? Yes. Do I think it should have been the album opener and the lead single? No, probably not. I'm planning on doing a track by track breakdown later, so I'm not going to go in depth on the lyrics here, but there are some interesting metaphors. You can tell she thinks she's slaying the "I want to kill her" line, and while she is, I don't think she's serving as much as she thinks. A vibe. On my playlist but not on repeat. 7/10

The Tortured Poets Department

The title track. This should have been the opener and lead single. It makes a much better mission statement for what this album is than Fortnight does. Who's gonna hold you like Taylor Swift? No fucking body. The production is.... twinkly? for lack of a better word. She's being specific and metaphorical, making cultural references, and she's self-aware--this is Taylor Swift, people. A vibe. Not on repeat, but only because I have others I prefer, not because I don't love it. 9/10

My Boy Only Breaks His Favorite Toys

It's a metaphor, it's tongue in cheek, it's self-aware, it's heartbreaking, it's a bop. She knows the relationship is toxic and killing her, but it wasn't always, and so she keeps holding on hoping it will go back to the way it started. At the end, she accepts that it won't be going back. Lyricism? Peak. Beat? Peak. On repeat. 10/10

Down Bad

Incredibly real and human. She's reflecting on the feelings of being love bombed then left behind, how it feels so good until it really, really doesn't. A call back to New Romantics. The lyrics say sob, the beat says dance. 10/10 on loop.

So Long London

A track five. Does it live up to the name? I'm not sure. It's sad, certainly, but it doesn't have the rawness of All Too Well or My Tears Ricochet. It's more resigned and tired. She's accepted that the relationship has fallen apart and now she's just tired, frustrated, and ready to be done. Even if she's sad, she still has some control, and that makes it a little easier. Drags on a little long for me, but the flip of "so long" is definitely clever, and she has some very relatable lyrics, and I see the purpose to it being on the album. 7/10.

But Daddy I Love Him

Love Story's older sibling. Again, I won't get too into it bc I want to do a breakdown. She's self-aware but it doesn't help because she's just desperate to make her own decisions. Calling out conservatives and small-town churches. Cringe in places but that's our girl. Minus a point for the baby lyric being in the chorus instead of like. the bridge. Half a point back bc you SHOULD have seen my face. 9.5/10.

Fresh Out The Slammer

This has some juicy information, but I'll save that for the breakdown. Very metaphorical, but also specific enough we know what's going on. Excellent story-telling. Really brings us into the headspace she was in at the time. I don't have it on repeat but through no fault of it's own. 10/10.

Florida!!! [feat. Florence and the Machine]

Flop. The drug metaphor isn't that creative and while there are a few decent lyrical moments, it's just not that good and the soundscape isn't interesting enough to redeem it. That said, even a bad taylor swift song is better than a lot of other artists. 5/10.

Guilty As Sin?

I don't think I've ever heard a song approaching this issue (emotional infidelity) in this way. It's got all the hallmarks of a Taylor Swift song: pop culture references, references to her past discography, religious symbolism, an outro that matches the intro. It's painfully honest, unapologetic, and human. A bop. 10/10.

Who's Afraid of Little Old Me?

Mad Woman and Mirrorball are shaking in their boots. It's giving horror, it's giving Salem Witch Trials, it's giving a reflection on fame and its effects. It's terrifying, it's haunting, it's beautiful, it's heartbreaking, it's unhinged. 10/10 doesn't feel like high enough.

I Can Fix Him (No Really I Can)

We're at the saloon and I'm happy to be there. Another song that is quintessentially Taylor: country sensibilities, religious themes, self-awareness, story telling, change in the outro, bad decisions made out of love. Not my favorite but only because I like other songs better, not because I don't like it. 9/10.

loml

This may be the saddest song she's ever written. Two meanings to "loml" as there should be. She's heartbroken and it's breaking me too. Vocals are giving "I'm on the verge of tears." Story telling, religious themes, metaphors. It's scathing, it's haunting, it's confessional. I'm not crying you are. 10/10.

I Can Do It With A Broken Heart

Lyrics are giving heartbreak, sound is giving bop. So powerful and relatable. Excellent storytelling, and tells us so much about her headspace. We know exactly what she's talking about. It's giving Youre On Your Own Kid. 10/10.

The Smallest Man Who Ever Lived

The storytelling, imagery, details--all peak Taylor. It's scathing, it's haunting, it's Taylor Fucking Swift. Wild to me that Mattie Healy's family listened to the album and were relieved because it could have been worse when this was in it. This, the take town of the century, could have been worse. Legendary. 10/10.

The Alchemy

If one more person tries to claim this is about Travis Kelsey there will be blood. "Oh but the football metaphor--" she's been doing that for years. Miss Americana, anyone? She's weirdly obsessed with high school football. This isn't about Travis, it's clearly about a rekindled relationship, not a new one. Travis can't spell "heroine" (I don't think he's stupid, but his tweets have proven he cannot spell). Metaphorical, clever, and definitely tells us her mindset. A bop. 9/10.

Clara Bow

This song. The Lucky One, Nothing New, they're both shaking in their boots. A reflection on what it's like to be a pop culture woman, the lies they tell you, and the promises they pull from you. Taylor saying her own name in a song. AND it's the album closer. 10/10 isn't nearly good enough.

Extended Album

The Black Dog

The storytelling, the way she took a single moment of stalking her ex and turned it into a beautiful lament on what it's like to lose someone and imagine what they're doing now, then in the outro brought it back to that one instant--and people say she can't write. Religious themes, references to past songs, this has it all. 10/10

imgonnagetyouback

Before people go around accusing her of copying Olivia Rodrigo, this would have been written before Get Him Back came out, so no copying occurred on anyone's part. They each took the concept and turned it into two very different songs. Imagery, story telling, craziness, a BRIDGE. 9/10.

The Albatross

Story telling, metaphors, literary references, clever turns of phrase, a change of meaning in the outro. Either a reflection on the way she's frequently depicted or is fictional, most likely a reflection on the way she's depicted through a fictional character. Just feels a little distant to me. 8/10

Chloe or Sam or Sophia or Marcus

Heartbreak, metaphors, bisexuals--what more can I ask for? All while she's imagining her ex moving on and thinking about how it fell apart. Objectively good but just not that interesting to me. 7/10

How Did It End?

Another that's objectively good but just not clicking for me. Story telling, metaphors, the lyricism is slaying. Asking how it ended through the lens of a gossip uninvolved in the relationship, but not being sure how it ended herself. 7/10.

So High School

Glitter gel pen. Objectively, not that creative or interesting. It's just a bit of fun. She's not taking herself seriously, she's writing silly song about how she feels like a silly teenager in love, and it does have some interesting lyrics. It's a bop. You know Travis heard this and was like "this is great babe I love it." Objectively, like a six, but this song has a choke hold on me for some fucking reason. 9/10.

I Hate It Here

Everyone's talking about the racists lyric and I swear reading comprehension is gone. Piss on the poor. This is for the girlies who daydream 'too much', who devoured books in middle school, who took things to seriously and too literally. 10/10.

thanK you aIMee

This song is so funny to me. "Here's thirty songs about my mental state and btw fuck Kim K." Serving metaphor, lyricism, and homicide. A mythology reference. A scathing takedown. 8/10 an icon.

I Look In People's Windows

I've not seen nearly enough people talking about this one. It's so relatable, honest, and unhinged. Storytelling, imagery, wondering what if. Heartbreak. I've never heard a song take this approach to these emotions. 9/10.

The Prophecy

The desperation, the feeling of hopelessness, they hit hard. She's reflecting on the repeating patterns of lost relationships, and how it feels inevitable at this point, and how she's willing to beg for it. She's losing hope, and willing to do just about anything to have it again. 10/10 devestating.

Cassandra

I am a mythology nerd at heart, so using Cassandra as a metaphor was a guaranteed way to get me obsessed with a song. She's serving lyricism, story telling, imagery, metaphor, mythology references, anger, sadness, what more could I ask for? Heart breaking. 10/10

Peter

Literature references, lyrics, heartbreak. Objectively, it's very good, but I'm bored. 7/10.

The Bolter

Storytelling, imagery, lyrics, literature references, the Bolter serves it all. I'm not entirely sure what it's about but it's a bop. I think it's fictional, but it's Taylor reflecting on her own life through the lens of this fictional girl. 9/10

Robin

I. Don't care. It's probably got great lyrics or something but I skip before I'm through the first verse because I'm just bored. Sonically, boring. Lyrically, the first verse doesn't redeem it. I've listened all the way through once and it was enough for me. It's not egregious, it's just not interesting. Flop. 4/10.

The Manuscript

I also skip this one but I have more of an appreciation for it than I do for Robin, just because of the subject matter. I have my theories on what it's about *cough* All Too Well Ten *Cough*. I like this as an album closer as well. French press lyric kills me. 7/10.

[kyomunosaki]

Geminism Trial, thoughts and observations

I just noticed Geminism's trial is out, so this will be a short post on my thoughts regarding it. I've been eagerly waiting for this game for a few years now, especially since I'm a massive fan of Sayonara wo Oshiete, and this brings back a ton of the staff from that era.

I've tagged some other games that are related / probably inspirations, so take that as you will if you're seeing this post randomly lol

Overall Thoughts: An amazing introduction to a game that I've been excited for, for a while now. The writing style in Japanese is absolutely amazing, unique and got me absolutely hooked, and the visual and sound direction are just phenomenal. I want to also note it has the best direction of presentation I've ever seen from a visual novel to date, with tons of cool cut-ins and effects. I cannot wait to experience the full version of this game.

There will be at least some minor spoilers with OOC screenshots and whatnot in the rest of this post, so keep that in mind if you read!

First thing I noticed was that the game is in Unity, so I wonder if it'll take advantage of effects and stuff at all? It makes sense for the CRAFTWORK staff that I know of to work in an engine like this though, since they have some wizards there.

I like that they open their eyes when you hover over the game button, this sort of presentation in VNs adds a lot since it's like the cover to a book or album, it gives something to the rest of the atmosphere that's hard to describe.

The settings screen is super neat, but also the "戦局" screen being there is super interesting. I think it's something like a TIPS page that some older ADVs have, so it serves as a reference as you read. I'm guessing who has what body part is going to be important throughout the work.

I also find it funny that Awasumi's voice is at 100% by default while the rest are like 60%, and I really wonder if that's because a certain famous someone voices him, who's using the pen name 杯瑠万花 (literally read as: Pile Bunker, I'm not joking)

The visual style reminds me a LOT of Ciconia, I wouldn't be surprised if it's a direct inspiration. The widescreen NVL format with the film grain + blurred backgrounds just screams that was an influence on this game.

The OP being called "twyndyllyngs ~Fuguai no Alice~" is kinda funny in mind with the last point too, since Ciconia draws a lot from TRianThology in turn as well.

The visual direction is indeed amazing, I haven't seen anything like this since going through some of Shumon Yuu's stuff ages ago. Should also be noted this game has proper scene jump as well, which is damn impressive to implement into Unity of all engines.

The writing style is actually really excellent overall, I love lines line this in particular. It's harder to read than say, SayoOshi though. It should be noted that it's getting an English release on the same day as the Japanese one too, so it's cool that it's going to be so accessible and something actually done by a first-party and not some underpaid localizer.

I just realized it's somewhat like Muramasa with the sprites, which is pretty funny when her main one looks so relaxed here.

And yeah, the writing is really damn good and funny so far. I've also realized the game is just mixed weirdly, which is why Sugita's character is 100% volume lol. He's doing a damn amazing job too, I wouldn't have been able to tell it was him if not for his voice PV which pointed out how obvious it was him with the lines they used.

The other 3 voice actors as well, Nakaya Shiho, Nakaya Naho and Sumeragi Mikado all do amazing jobs as well. I really like that the Nakayas chose their pen names to seem like siblings. Also it should be brought up that they do vocals for the OP, which I think is amazing.

It should probably also be stated that it's still 100% a CRAFTWORK game, so expect some extremely graphic and definitely triggering psychosexual content if you read this.

I can't get a pic that's as out of context as these, but the visual effects are pretty crazy. They definitely take advantage of having a more traditional game engine, which is pretty amazing since Unity is somewhat infamous in terms of VNs.

Another no pic thing but the choices are like Fallout 4, where it's just a truncated form of what you actually say, and I think that's kinda funny.

Excellent! I don't have much more to add at the end here, but if you got this far thanks for reading! I'm always looking for new JVN mutuals, especially anyone who reads stuff in Japanese, so please hit me up!