#lowkey hoping and praying for a sequel

[allthebestcowgirls]

i need to watch lisa frankenstein a million more times

[smol-tired-binch-blog]

I do kinda hope we get a sequel, it’d be nice to be able to talk about Lorabetta again

[youreobsessedwithtoomanyfandoms]

One. Two. Three. Four. Five...Come On! (Henderson!Reader)

Words: 1332

Warnings: angst, near death experience, me have zero memory on how to do CPR so I had to look it up, probably poor writing but whatever

STRANGER THINGS Masterlist Main Masterlist

Here is another fic based off of something I wrote for an OC

Reader is Dustin's older sister (older by 4-5 years)/is the same age as Steve.

This also lowkey can be read as a sequel to You Don't Love Me Anymore? and I Still Love You

So, since we don't know what is happening next, I have this as a sort of "What if?" thing. So obviously the only canon is everything that has happened up to the end of Vol. 2

This was originally longer, but I decided to cut off the second half of this (basically what happens after they get back to Hopper's cabin)

But yeah, just remember that this is NOT canon at all. Just something my little mind came up with randomly

I also had to look up how to do CPR and then found the BPM of Stayin' Alive and played a met going that speed in the background as I wrote the timing stuff

So spoilers for the ending of Vol 2 (wow if you haven't seen it yet)

Anywho, enjoy

It was all so sudden.

Y/N had been standing a few feet away from Robin and Steve. Steve was helping Robin back up after she had just fallen. Everyone had been more focused on making sure that Robin was in fact, okay. Perhaps if they hadn’t been, someone would have noticed the slimy, vine-like thing crawling towards Y/N and wrapping itself around her left ankle.

One moment she was upright, concerned about her friend. And then next, she was yanked to the ground and being pulled across the ground. She was screaming, trying to kick the vine off of her ankle while trying to grab on to literally anything so as to not get pulled away. She heard Steve, Nancy, and Robin yelling her name.

She felt another vine wrap around her other ankle and eventually two others came around her wrists. She tried to thrash around and free herself. She was screaming for Steve. That was until she felt one more vine wrap around her throat. And every time that she moved, the vine on her throat got tighter.

Her eyes had begun to water due to the vine being so tightly around her neck, cutting off her oxygen. She didn’t know when it happened, but at some point, her vision got splotchy and eventually became completely pitch black and she felt absolutely nothing.

But then there was Steve.

One moment he was helping Robin and making sure she was okay. And the next he heard his girlfriend screaming. The moment he heard her screams, his head snapped to where she had just been. All that he saw was her being dragged away. He quickly grabbed his bat and ran in the direction that Y/N had just been dragged.

He had known that Nancy or Robin would grab Y/N's crossbow and follow after him. He followed her screams up until the moment they suddenly cut off. He felt himself freeze for a moment. That exact moment that he heard the screams cut off. He knew he had to think. All that he could think was to just continue to head in the direction he was facing. Hoping and praying that it would eventually lead to her.

And it did. He saw her practically dangling there. Her head was hanging limply against her chest. He ran to her and began to continuously bash his bat against the vines. He barely heard Nancy tell him to move out of the way. But somewhere in his mind, it still registered and he moved back. Soon he heard the loud sound of gunshots and soon Y/N fell from, what he only assumed was Vecna's viney grasp. He quickly moved to catch her before she fell onto the ground. 

He got her on her back and began to freak even more as he saw her lips turning blue. And as his hands moved around to find a pulse, or any sign of life, he felt how cold she was. But the moment he was unable to find a pulse or even feel/see her breathing, he realized what he had to do. He wasn’t sure how much time had passed. 30 seconds? A minute? Two? All that he knew is that he had to start CPR. Then and there.

His hands were shaking as he clasped them on top of one another. He kneeled next to her and moved so that his locked arms were over the center of her chest and over his hands. Once he knew for sure, he began to push down.

One. Two. Three. Four. Five.

Two. Two. Three. Four. Five.

Three. “C’mon Henderson.” Three. Four. Five.

Four. Two. Three. Four. Five.

Five. Two. Three. Four. Five.

Six. Two. “Don’t leave me, darling.” Four. Five.

He leaned down and tilted her head back slightly to give her the two breaths. And then continued to pump down.

Seven. Two. Three. Four. Five.

“You gotta keep holding on.” Four. Five.

“If not for me.” Four. Five.

“Then for Dustin.” Four. Five.

“Hold on for Dustin.” Four. Five.

“Could you do that for me baby?” Five.

He did the breaths again. He continued this for about a minute. He was a near sobbing mess when she still hadn’t started breathing again after about 100 compressions and it was just under a minute since he started. But he refused to give him. He refused to do it. At some point he had heard something crack and he had assumed it was a rib. He was nearing 120 at what would be 10 seconds after the minute mark.

Twenty-Four. Two. Three. Four. Five.

He gave the two breaths. He leaned his head down to try and hear or feel anything. Tears were falling from his eyes as he didn’t hear her heart beating from under her shirt as he had just a few nights previous. He let out a shaky breath and repositioned his body. And he began to start the compressions again.

One. Two. Three. Four. Five.

Two. Two. Three. Four. Five.

Three. Two. Three. Four. Five.

“Please don’t do this, baby. Please don’t leave us. God, I can’t imagine living without you baby.”

Six. Two. Three. Four. Five.

Breath. Breath.

“We promised each other that we wouldn’t leave the other one again. No matter what. No matter how scared we got. No matter how tough it got. We promised to stick together...you promised me baby.”

Eleven. Two. Three. Four. Five.

Twelve. Two. Three. Four. Five.

Breath--

Just as he was about to give the second breath, Y/N began to cough. He stopped everything, even though he knew he shouldn’t have, and moved her to her left side. She continued to cough until eventually she looked at him, tears in her eyes. He let out a sigh of relief and pulled her into a hug. “Oh God baby. I thought you had died. I-I thought that I had lost you.” He heard a strained noise coming from her. He pulled away slightly and that was when he noticed the discoloration and marks on her neck from where the vine had been. “Oh baby, don’t speak. Don’t hurt yourself any more.”

“Steve?” His head turned to Nancy as she called out to him, “We need to go and get back to everyone.” She walked over to the two of them and kneeled in front of Y/N, “Can you walk?”

She was careful as she stood up, not letting go of Steve’s arms once. And she took a wobbly step forward. He was careful as he grabbed her arm from falling forward. “I’ll help her. You two go ahead and we’ll follow behind.” He motioned to Robin, “Toss me her bow.” He caught the crossbow as it was tossed and slung it over his right side. He then gingerly placed her right arm over his shoulders and he placed his right hand on her wrist and his left arm around her backside. Then the two followed after their two friends to meet with the other members of their party.

He was happy that she was alive. God knows that she wasn’t okay. But she was alive. And he wasn’t happy for himself. But for Dustin. The kid had just lost Eddie a few days ago. And Steve knew better than anyone that he wouldn’t be able to do any more without his sister. Sure. Steve was there for him whenever he needed him, but he hadn’t always been. Y/N had been there for her brother since day 1. No matter how many arguments they got into, she always would be. No matter how pissed she was at him, if he needed her, she would be there. And she knew that Dustin would do the same for her.

So Steve was happy that he was heading back with Y/N alive. He knew he wouldn't have been able to look Dustin in the eyes if it was any other way.

[wildshero]

ooc: me praying that if link loses the master sword in the sequel he gets his own special sword... like i know he is primarily an archer, but like he deserves a sword that isn’t just like a travelers sword and shit.

also on that note i lowkey hope he has to go the dragons to potentially reforge the master sword as it is so weak and broken in his time even before the potential thing it has with malice

[alongwalktoforever]

I just want to talk about my long long relationship with Grey’s Anatomy. 

I remember watching the pilot with my family on March 27, 2005. I was 12 and scandalized by the first scene with naked Derek, but we all loved it anyway. 

The second season was THE SHIT! I think it was the one of the first shows that I HAD to watch week to week. The bomb episode! Denny! Meredith and Derek! I remember feeling full on conflicted because I really really liked Finn and Addison. 

Then the third season happened, I waited and waited for it to come back on the air and feel like it did before, but it was just baaaad. I remember watching the ferry episode being like what the fuckkkk are they doing. 

Then George and Izzie happened. And I straight up wrote a LETTER to Shonda Rhimes. There was no social media or anything to get out your grievances. I said something like, ‘they are best friends, they aren’t supposed to have feelings with each other. it just isn’t how they are with each other. also do more patient stories not just drama’ 

The fourth season also sucked. Every character was just super unlikeable, so I didn’t watch live religiously like I had before. (I downloaded episodes on iTunes onto my iPod and watched it through that little screen! what a time). But they pulled it together in the finale and Meredith made a candle house and Lexie and George were cute and I had hope again. 

But then 5th season happened and Denny!Ghost came back and I quit. I mean i looooved Denny when he was first on, but come on.I left that shit and did not turn back. I remember someone at school telling me Izzie and Karev got married and I didn’t care at all. 

But then I randomly caught a rerun with the “teach me” Sloan and Lexie scene and I was like ‘oh shit.’ So that summer, I bought all five seasons on DVD (which I still have) and rewatched all five seasons. Sloan x Lexie were my new obsession. Everyone else was ‘mehhh’

So I watched season 6 every Thursday and enjoyed it. I remember watching 6x14 Invest in Love and that made me love Calzona as a couple. Izzie left and I was sad and Invasion happened and Mercy West peeps came and I was like who are these mo’fos. I kinda hated how were were supposed to hate them right off the bat. I thought it was lazy writing. Charles was charming until he fucked over Izzie. The rest were whatever, except Reed she fucking suckedddd. 

Then Sloan and Lexie broke up in a stupid way and they both acted stupid the rest of the season. And I was upset and disappointed with all the episodes. Then the shooter. People love this episode but I hated it. 

I just thought like “this ONE OLD GUY is taking down an entire hospital. And like shooting randomly but not consistently. Like he didn’t shoot Bailey but he shot that nurse?” Also those SWAT guys were like the worst ever. They took soooooo long. But it was intense and it made for a great next season. 

The beginning of season 7 is one of my favorite few episodes. It was about rebirth and starting over and it was interesting and heartwarming. Cristina’s PTSD was really powerful. Lexie and Mark got back together just to break up like two episodes later. Lame. But everyone was really on there game. 

But I fell in love with April Kepner during her “we all have things we don’t talk about” speak. Yasss she slayed. Then her during the trauma simulation was hilarious. I even started liking the idea of her and Alex.

But then 7x08 happened and Alex was a dick and Jackson punched him. And THAT was when I fell in love with Jackson and the beginning seeds of Japril began to grow. 

The rest of the season wasn’t that memorable. Teddy and Henry were adorable. Jackson and Lexie got together but there were some good Slexie scenes to keep me interested. 

Season 8, I remember getting kinda uninterested half way through after Henry died. I did love Jackson choosing Sloan over Lexie, I thought that was hilarious twist to the love triangle. Then San Francisco happened and boy was I hooked. I had been subconsciously waiting for this for two seasons. Jackson and April were hilarious and hot during that bathroom scene. 

And the plane crash happened. And I was soooooooooo upset they killed Lexie. Like, she was my all-time favorite character at the time. I had invested four seasons of her and Sloan. I was pissed. So I said that I wasn’t going to watch anymore. (Sidenote: rewatched the episode, holy shit it is amazing. such a great episode) 

But then a lot of the stuff online was talking about April and Jackson and I was like shit... I like them. Maybe, I’ll just watch a few episodes and see if I still like the show. 

Season 9 is where i became OBSESSED. April and Jackson were amazing, I liked Jo and Alex, and Cristina and Meredith’s friendship was full-on cray cray in a good way. I thought it was insane to have Jackson propose in one scene and then break up with her in the next. Rewatching that scene and it still doesn’t make sense how he acted. Or how they were idiots in love for next full season. 

I loved the perfect storm episode, except the Arizona cheating which I thought again was lazy writing. 

The beginning of season 10 was rough for Japril shippers, like there wasn’t much to go on. I thought Jackson was such an idiot for so long. Like he denies denies denies until her fucking wedding day. I kinda wanted April to punch him and them have it out not just have her run away. Even though 10x13 was some of the purest most beautiful japril scenes ever. 

Season 11 was heartbreaking for literally everybody. Calzona got divorced. Japril baby died. Derek dies. I did like Amelia and Owen, but they were a mess like five minutes into it and never got it together. 

But those Jackson and april scenes are some of the best acted and written episodes that Grey’s has ever produced. That scene where April says, “its a boy” or when Jackson prays. Insane. So good. 

But then they did the time jump, again lazy writing. And April definitely seemed out of character to not even ask how her husband is for A YEAR. None of the story lines made sense for a year to go by. It was stupid. 

But April was super badass in the finale if it wasn’t heartbreaking for Japril fans. 

Season 12. Lowkey, I think that this is one of the best seasons of Greys. It was dramatic and funny and interesting. Japril was devastating but there was also so much hope left over. And they were both so scared about their kid. I mean 12x15 is Amazing for both jesse and sarah. I loved Arizona and April friendship, I even liked Nathan and Meredith and that finale was so good. April was a badass, Jackson was still obviously in love with her. Amelia and Owen were actually tolerable. 

Then season 13. This shit was terrible. LIke the writing was god awful. The maggie x nathan x meredith was so dumb. Minnick was the worst. The civil war thing was just dumb. Alex and Jo being miserable was terrible. Anything with Deluca (god he is just a useless useless character). 

But there was a beam of light of Japril, where they spent most of the season trying to coparent and coexist as not together while still obviously being in love with each other. Ugh where she sings “Faith” and then he asks her to move in. when he knows that she is “bored as hell” or when he says he doesn’t want them to move out or when he tries to be supportive as she dates. 

Then they fought for no reason and then Japril the sequel happened and we died and went to heaven. Just to be pulled right back down with eight terrible episodes and not just because japril doesn’t interact. but just because they are terrible. 

Then maggie and jackson in the finale and now season 14, which has already had its ups and downs. I loved the first two episodes and the 300th. 

BUT ANYWAY/ 

What i mean to say about this rambling rambling rambling text is that Greys goes in waves of being excellent and not so excellent. It does stupid storylines like George and Izzie and ghost denny and minnick, but it also does amazing storylines like japril and the plane crash and everything in between. So i am not giving up yet even as the shove jaggie down our throats. Because greys always has the ability to surprise me. 

[fancypantshoodlum]

ALBUM REVIEW: HAIM ‘Something To Tell You’

The wait is over! HAIM's second album is here, but it's not like they've been completely off the radar. 

There was that collab single with Bastille which was fun, 'Pray To God' with Calvin Harris - a leftover from the 'Days Are Gone' sessions that I'm hoping the original pops up on an anniversary reissue in, gosh, 2023, 'Holes In The Sky' from the soundtrack of the 2nd Divergent movie that I wasn't feeling at all, and their cover of Tame Impala's ‘Cause I'm a Man' which is BETTER than the original (sorry Kevin).

While all this was happening, they were making an indelible but overlooked mark on the pop and cultural landscape - which I’ll elaborate on in seven topics

 TRENDSETTING

I started hearing their inventive brand of polyrhythmic synth guitar pop crop up in tunes like Shura's 'Touch' (lowkey soulful icy synth HAIM), 'Emotion' by Carly Rae Jepson (Latin Freestyle HAIM) and most recently Paramore's 'Told You So' and 'Forgiveness' (all of the above).

Just like The Strokes East Village thrift was hugely influential back in the day on Mens fashion (what Spin magazine hilariously described as “part Bowery Boys, part CK One hotties”) 

HAIM definitely popularized a uber long hair, leather jacket and cropped shorts LA boho look that was practically everywhere in 2014/5 (or maybe just in the hipster places I hang :P )

There is an actual website called What Would HAIM Wear?

 DAYS ARE GONE MARK II

Now here we are with 'Something To Tell You' - not a repudiation but builds on 'Days Are Gone' - a sequel and clear step forward that's more confident and audacious in its approach and teeming with new musical ideas and different sonic textures.

While still largely stuck to love songs, the lyrics represent a quantum leap in terms of thoughtfulness and maturity.

 THE INTERPRETATION GAME

 The first glimpse of this record we got was 'Right Now' which came in the form of a video filmed as they recorded a take - giving an instant impression of muso credibility. a down tempo, foreboding ballad, not really a summer jam but hot on it's heels came 'Want You Back' the euphoric banger if there ever was one.

Lyrically they could be two sides of one story, 'Right Now' a tempestuous rebuke against an dishonest ex whose come crawling back.  Like an argument that evolves into a full on row , the song builds and builds with each incrimination like thunder, a guitar squalls, Taiko drum patterns rumble - and then it all explodes. 'Want You Back' the ex, having gone back into the dating world, realises that they miss the narrator, apologises '' I’ll take the fall and the fault in us. I’ll give you all the love I never gave before I left you''.

'Want You Back' has the wistful wisdom of a folk song which makes complete sense when you learn that it was originally written as a much slower song on an acoustic guitar. I remember John Lennon saying on The Beatles Anthology Documentary (or it could've been from Ian MacDonald's Beatles book 'Revolution In The Head') that whatever instrument a song is written on influences the flavour of the song, and its defo left its mark.

I really love 'Night So Long' though. The desolate blend of echoic harmony, ambient guitar twang & weeping melodies gives it a real nocturnal, countrified, dark night of the soul vibe to it. a lovelorn hymn that's really evocative of post break up, being lost in quiet despair, resigned to another crack around the merry-go-round of Love - for the narrator Romantic Love is a Sisyphean act

I could get really SAT English Literature with my interpretations of these songs but I'll spare you the pain lol

 STUDIO AS AN INSTRUMENT

One of the common critics of HAIM albums, especially this sophomore release is that it's over produced. To be honest it's no more heavily produced than a classic Neptunes track or Timbaland one a decade before and Trevor Horn back in the 80s.

The Daddy of them all being Phil Spector whose Wall of Sound approach was a dense aesthetic that included an array of orchestral instruments—strings, woodwind, brass and percussion—not previously associated with pop music, characterizing his methods as "a Wagnerian approach to rock & roll: little symphonies for the kids".  

Brian Wilson, a huge Spector fan, used a similar recording technique, especially during the Pet Sounds and Smile eras of the Beach Boys, the most recognizable examples being "God Only Knows", "Wouldn't It Be Nice" and especially, the psychedelic "pocket symphony" of "Good Vibrations"

Wilson says "Before Spector, people recorded all the instruments separately. They got great piano, great guitar, and great bass. But he thought of the song as one giant instrument. It was huge. Size was so important to him, how big everything sounded. And he had the best drums I ever heard."

‘Something To Tell You’ (and ‘Days are Gone’ too) is very much in the spirit of Spector but with a modern vernacular. ‘Ready For You’, ‘Want You Back’ and the title song are really sonically dense and defly work in a lot of elements.

The dichotomy of the synthetic, adventurous interpretation of the songs on the record compared to the more reigned in, organic live version isn’t unique to HAIM.

Led Zeppelin live were, as legendary rock critic Lester Bangs described them, 'a thunderous, near-undifferentiated tidal wave of sound that doesn't engross but envelops to snuff any possible distraction' or in Robert Plant's words it was a "very animal thing, a hellishly powerful thing,". In contrast Page's production on the records gave their songs a sense of auditory cinema to what could have been, in a less-imaginative producer’s hands, simply bombastic rock songs.

There’s all sorts of panning and added the effects, echo-chambered voice drops into a small explosion of fuzz-tone guitar, including using Low Frequency Oscillators on tape machines that was really startling to hear at the time.

I had qualms about the use of pitched vocals that are at the start of ‘Little of Your Love’ and in the call back in the chorus of ‘Right Now’, because in the latter I thought it undercut the poignancy by having something so alien sounding in something so human, and the prior I thought a synthetic touch in something so throwback was jarring – like T Pain at the start of Springsteen’s ‘Hungry Heart’ – but maybe not a teenager who hasn’t grown up with sounds being rigidly compartmentalized in genres the way people did in the 20th century.

SIDE NOTE: In fact it could be argued that auto tune / vocal pitch shifting (techniques for deliberate misusing of programs designed for correcting pitch as a way of colourizing the human voice with distortion) is the musical signature of the 2010’s the same way a Wah-Wah pedal makes you think of the 60s or the sound of a Fairlight CMI is very 80s. Which if true makes Cher’s ‘Believe’ ridiculously ahead of it’s time – the pop equivalent of what The MC5 were to Punk?

 SPOT THE INFLUENCES

 Critics love to play ‘Spot the Influences’:  X sounds as if The Reminder-era Feist fused together the acoustic riffs of ‘I Don't Want to Know’ and ‘Never Going Back Again’ – it weirdly reminds me of families gathered around a new-born baby talking about how it has it’s mother’s eyes but grandfathers nose – all these are just cosmetic judgements that are useful to introduce the uninitiated to artists they’ve never heard about but music, like babies, are more than the sum of their parts.  

When critics would name check Fleetwood Mac in reference to HAIM in 2013 it always felt tenuous though I knew what they meant – the songs didn’t sound like Fleetwood Mac in the autonomy of the song structure but in the emotional resonance. People hadn’t heard a guitar pop band sing about relationships like that, in a style like that for a long time – since probably Fleetwood Mac and so made the connection – but the fab ‘You Never Knew’ completely pastiches the gossamer textures of Tango In The Night era Fleetwood Mac in its production to its detriment I think because every time it starts I’m half expecting Christine McVie to come on and tell me sweet little lies.

 NO GENRES

I once stumbled on a useful insight about art criticism from an article that the writer and journalist Janet Malcolm wrote in response to vitriolic critiques on J.D Salinger's writing made by literary luminaries such as Updike and Didion: ''negative contemporary criticism of a masterpiece can be helpful to later critics, acting as a kind of radar that picks up the ping of the work’s originality''.

Now, I’m not saying this record is a masterpiece - It's really good - but unpacking and investigating the critiques have lead me to some interesting places, like this douchey one from the Guardian.

‘’…Haim were swiftly co-opted by the world of mainstream pop, which seems less interested in their place within a lineage of classic Californian rock than their way with a honeyed melody.’’

 From the off this is not true because they did tour with Florence and The Machine and play the big pop extravaganza that was Chime For Change before they even dropped an album. This smells more like a Luddite Gen Xer hang up about transgressing the dividing lines between musical genres.

Music critic Lizzy Goodman on the promo trail for her excellent book ‘Meet Me In The Bathroom’ a thrilling 600-page oral history of New York’s Rock renaissance of the 2000s  - brought up a fantastic point on a podcast about the analogue kids of The Strokes generation and their Post Napster successors Vampire Weekend, Grimes and HAIM etc.

Listen to that podcast here (it’s brilliant)

https://soundcloud.com/the-watch-podcast/lizzy-goodman-on-the-rebirth-of-rock-n-roll-in-new-york-city-from-2001-to-2011-ep-153

 but here’s the paraphrased version of what I want to highlight:

 Interviewer: The time between ‘Is This It?’ and Vampire Weekend’s self-titled debut is 7 years – one was the beginning of something and one was the end of something.

LIZZY GOODMAN: You could imagine The Strokes debuting in 2008 but you could not imagine Vampire Weekend happening in 2001 because there is no Ezra brain without the internet.

Interviewer: When I interviewed Ezra for Spin, I became the most oldest man in the universe! I was so angry, I was like: ‘’how dare you go to an Ivy League school, be white and like Hip Hop’’ says the guy who went to an Ivy League school, was white and loved Hip Hop, but how dare you talk about it (so well) and have fluency in all these different worlds and jump between things and never break a sweat.

LG: He’s literally like ‘I don’t know what you mean?’

This is normal to a Millennial but to a Gen Xer that level of musical sophistication is unheard of because they didn’t have the access to everything ever recorded pooled together in one space that the internet is. This Age of Musical Plenty has freed people up from the rigid lock of genre and toward an eclectic palette which is also reflected in the music they make.

  BAND BY IT'S COVER

I LOVE ALBUM ART! (I'm also a keen linear notes reader *did you know there's a Grammy for best linear notes? musicians take note lol*) when done right they're great windows into the tone of the record inside. 'Days Are Gone' & 'Something To Tell You' are really cool to contrast.

'Days Are Gone' was the start of a huge career for the band. The album offered listeners a look into their sunny, romantic lives and the cover art too reflected HAIM's bright prospects. Seated in three fold-up chairs on a big green lawn (suburban kids) the heads of the HAIM sisters are turned to the left, eyes averted and covered in shades (future's so bright, I gotta wear shades)

They followed the Spice Girls’ template of being a charismatic group, whose individual styles all added to the bigger picture - their meshing of high street and storied, thrift store pieces gave them an indie rock relatability. They looked like regular joes with great personal style.

On the flip-side 'Something To Tell You' is the glam fulfillment of that promise. It's like a souped up version where the pastoral suburban LA setting of 'Days Are Gone' gives way to more traditional iconic rock images of LA interspersed with glam fashion editorial-like images and (my fav) the quirkier bold coloured zoot suit-y David Byrne-esque stuff.

  'Something To Tell You' is a clear step forward, artistically and career-wise. You can hear adventurous enthusiasm in how they approach every song and from the lyrics you get that too that the uncertainty that was a motif in a lot of the songs from their last LP is gone and not only do they finally know what they want from life but are racing towards it. Record #3 is going to be an exciting listen.

[namo-or-death]

i saw stormageddon's blog post too (if it's an ultraviolet sequel i'll Die - there better be namo istg) but i can't decide between one long or a few short chapters .. i'm sure authornim will make the right choice either way though lmao. What do you think?

I was just about to get ready to sleep when I saw this. I am praying so hard it’s an ultraviolet with namo. I don’t particularly care if it’s still samo focus (because I’m recently loving them too, or you know, maybe it can end the way ‘getting no peace’ ended), I just want namo to be in there too.But I’m still lowkey hoping that stormageddon will give me that backstory on what happened when NaMo got together in UV. Like, was Nayeon the one to approach Momo? Where and when did it happen? WHY WAS THERE A HEART ON MOMO’S ARM??? I need answers. :((Yeah, author-nim will definitely pull through for us. But to answer the question, personal preference, I want a long one-shot.