#midnight scorchers

[spilladabalia]

Horace Andy - Ain't No Love In The Heart Of The City

[gotham-at-nightfall]

Vengeance of the Moon Knight #3

[assembling-sparks]

[CHAIN GROUP THETA-OMEGA REQUESTING COMMUNICATION.]

… Hello? Is anyone there? We got your message. Please respond.

— Dreams Of Midnight Whispers, Senior Iterator

[Transcript]

AS: Ah- Hello! I am pleased to see my message is being received!

AS: It is a pleasure to meet you Dreams of Midnight Whispers.

Scorcher: WA!

AS: My companion is excited to hear from you as well, it seems.

Scorcher: WA WA WA WA WA WA WA WA WA WA WA WA WA WA WA WA WA WA WA WA WA WA WA WA WA WA WA WA WA WA WA!

AS: Scorcher, please, settle down…

[talonabraxas]

The Connection Between the star Sirius

and New Year's Eve on Earth

Did you know that at Midnight on New Year's Eve, we are directly 'downstream' from the brightest star in our skies, the star Sirius?

Yes, deeply embedded in our cultural celebrations of New Year’s Eve for the past 70 years lies a hidden celestial synchronicity. It turns out that the star Sirius is intimately linked with our tradition of ‘ringing out the old and ringing in the new’ with jubilant celebrations at exactly midnight on New Year’s Eve.

One could say that we are showered with the blessings of a brilliant shining star at that magical moment – and somehow we seem to sense this, jumping up and down with glee!

IMMORTALITY

Because Sirius is the brightest star in our sky, in antiquity it was known as ‘The Shining One’ or ‘The Scorcher.’ The ancient Egyptians called Sirius ‘Isis’ (Sothis) and built their calendar around the heliacal (with the sun) rising and setting of this magnificent star (this occurs in July).

The Egyptians believed that Sirius had a tremendous effect upon life on our planet. In particular, they felt that Sirius could bring immortality to humans and oriented the pyramid at Giza to the Sirius light. Some historians attribute the Giza pyramid alignment to the Pharaoh’s desire to gain immortality after death by traveling to Sirius in his ‘light body’ or Ka.

SYNCHRONICITY WITH OUR SOLAR YEAR

The Sirius system is directly "upstream" of our solar system within the galactic arm of our Milky Way Galaxy (the Orion arm). Modern astronomy has determined that Sirius is traveling directly towards Earth at many thousands of miles per hour. By coming directly towards us, Sirius creates an axis of rotation with Earth relative to the stellar background. Because of this, of all the stars in our skies, only Sirius exactly matches the length of our solar year, 365.25 days. This exact correlation has led some to surmise that Sirius is related to our Sun as a binary star.

Sirius Stargate Talon Abraxas

[rikkosus]

My OCs of my buddy’s delightful dragon story

I love them dearly look at them they’re so cool look

Midnight and Dawn are Astral Lumens, Salamander is a Magma Scorcher, and Parky is a Frost Storm.

[aerococonut]

Post 6 sentences from a WIP and then tag 6 people.

tagged by @draculastarion

...

The small mirror she shares with Karlach is precariously leaning against the back of the wall, barely big enough to show her whole face. It’s enough to show the dark smudges around her peridot eyes, luminous against the pale, sun-deprived skin. Midnight hair hangs limp out of its braid, cascading down her back like a waterfall and tumbling over her shoulders. 

The straight-edge of her fringe bothers her. She’s done hiding. 

The first cut is wobbly, hesitant. The second is easier. The third, as precise as a surgeon’s hand.

Little by little, she pulls and cuts until her hair parts to the side and falls around her face. Some of it feathers around her chin, a few shorter strands brush her cheek and highlight the scar – the truth of the night she was abducted. Not saved.

------

Tagging: @scorcher-in and anyone else who wants to join in!

[ts1989fanatic]

Breaking up is hard to do. And sometimes there's screaming involved. Taylor Swift’s Tampa fans were ready for it and then some on Saturday night when the 33-year-old titan of pop music closed out a historic three-night stand at Raymond James Stadium.

In some ways, the scene was reminiscent of nights one and two. Ornate costumes themed to each era of Swift’s career were everywhere. A birthday girl wore a sash to mark the occasion. Someone in the lower bowl was completely covered in pink Christmas lights. And there were countless outfits that quoted lyrics (including a little Swiftie wearing one that said, “screaming, crying, perfect storms” on a shirt’s blank space).

Save for the exclusion of “Illicit Affairs,” addition of “Don’t Blame Me,” and two surprise songs—”Mad Woman,” with The National’s Aaron Dessner on piano, and the first live performance of “Mean” since 2018—Saturday’s setlist also didn’t stray far what fans have seen in cities like Glendale, Las Vegas and Arlington.

But the last dance in Tampa was unique from the two before it in a way that fans likely won’t soon forget.

For starters, the third outdoor date of the “Eras” tour was a scorcher. The feels-like temperature before Gracie Abrams opened the show clocked in at 92-degrees. The Los Angeles-born songwriter acknowledged the weather, telling the crowd, "it's hot here, I hope you're drinking water." And while she, and especially direct support beabadoobee, turned in solid rock sets to whet the the palate, Saturday's crowd was thirsty for Swift in a way that the stellar opening night crowd just could not match.

Saturday saw only 614 more people at Raymond James than Thursday—and brought Swift’s three-day attendance total in Tampa to a staggering 206,459—but it sounded like there was an extra bowl’s worth of bodies in the stadium.

After screams pierced the sky as the sun set, Swift directly acknowledged the volume before “Lover,” when she told 69,131 of her biggest fans that they’d reached uncharted levels of “vibes, and screaming, and fashion."

“I think what we have on our hands tonight, Tampa, is a supercrowd,” she concluded.

The screams did not die down. At times—like on “Love Story” and during the high notes on “Don’t Blame Me”— her vocals were drowned out by the singalongs.

Before “Mean” in the surprise song part of the set, she said, “The vocal talent, it’s deafening, it’s just so loud, and that makes it so fun for us.”

She wasn’t lying. Fun and carefree were two prominent moods during the three-hour-15-minute performance. Swift is undoubtedly always confident onstage during concerts, but there were several extra layers of joy in her movements from the get go.

On “Cruel Summer,” she pirouetted as if she didn’t have to be on her feet for 42 more numbers. At least twice in the set, through that trademark red lipstick and beaming white smile, she playfully (and spontaneously?) stuck her tongue out at the crowd (first on “The Man” and then after the “And he never thinks of me Except for when I'm on TV” lyric on “Midnight Rain”). The hair flips on “Look What You Made Me Do” almost felt feral, and tassels on her gold dress shimmered as she spun like a kid in a rainstorm during “Fearless,” where she pointed straight at the stage as she sang, “And I don't know how it gets better than this.”

Swift was just 18 years old when that song, the title track from an album that won two Grammys, came out. And despite the growth she’s experienced since, Saturday night saw Swift meet her wide-eyed fans with the same kind of innocence from that era.

The band and dancers got in on it, too.

On “You Belong With Me,” longtime guitarist Paul Sidoti was beaming in an ear-to-ear smile as his boss laughed while leaning on bassist Amos Heller as she belted out, “Hey, isn't this easy?”

Dancer Jan Ravnik was soaked in sweat during the Red block where Swift gave her hat to a fan on “22,” grabbed their hand and blew a kiss. One dancer (and I swear I will update this post with hithes name when I find out) twice stole the song, once on “Style” and again when he took a solo on “Bejeweled.”

In short, Swift, along with everyone else in the stadium, was on fire.

The only time the crowd ever really hushed was on non-singing passages from Evermore and Folklore cuts like “Cardigan,” as fans hung on to every note, just waiting for Swift to come back to the microphone so they could sing along again.

Swift’s Tampa finale felt like the kind of set an artist plays on the last date of a tour that marks the end of a fruitful career. But at 33 years old—despite 17 years of music behind her—Swift is just entering her prime and absolutely dominating the post-pandemic touring game, with no one even coming close. What’s more is that based on the hordes of super-young fans in the audience, a new generation of Swifties is ready to grow up with the back catalog, and whatever comes next, guiding them to adulthood.

So that’s the big question Tampa fans were left with as the smoke from the post-”Karma” fireworks faded into the humid night. What is next?

In a podcast interview released just months before his death, the late-Laker great Kobe Bryant pushed back when host Jordan Harbinger suggested that he wouldn’t have an artist like Swift on in his car.

“I do,” Bryant said, adding that it’s important to listen to people who do great things.

The Black Mamba noted how long Swift has been on top of the game, and wondered how, and why, she does it. He more or less begged to get into her headspace in the writing room, talked about the challenges of re-inventing yourself, and the pressure of having to be better than your last time on the playing field. The pressure to follow a No. 1 album with an even superior one, Bryant suggested, is unimaginable.

“I don't care if you like her music or if you don't like the music. Look at what she's doing—that's frightening stuff. It's unbelievable to be able to pull that off over and over and over and over,” he said. “I look at things like that, and try to learn from her as much as I can.”

Swift fans have learned to dissect easter eggs in their hero’s movements, but only she truly knows what’s over the horizon or when she’s going to get there. Whatever, and whenever, it is, you can bet that her followers will be there—loud, hot and ready as ever—to cheer her along.

Setlist

Miss Americana & the Heartbreak Prince

Cruel Summer

The Man

You Need To Calm Down

Lover

The Archer

Fearless

You Belong With Me

Love Story

‘Tis The Damn Season

Willow

Marjorie

Champagne Problems

Tolerate It

…Ready For It?

Delicate

Don’t Blame Me

Look What You Made Me Do

Enchanted

22

We Are Never Ever Getting Back Together

I Knew You Were Trouble

All Too Well

(Seven)

The 1

Betty

The Last Great American Dynasty

August

My Tears Ricochet

Cardigan

Style

Blank Space

Shake It Off

Wildest Dreams 35

Bad Blood

Mad Woman

Mean

Lavender Haze

Anti-Hero

Midnight Rain

Vigilante Shit

Bejeweled

Mastermind

Karma

[coneygoil]

Y’all, it’s so hot here. The heat index was 96 degrees/35 Celsius at midnight last night! I was so worried about my chickens. I went out and checked on them around that time and they were still panting. It’s gonna be another scorcher. It’s been a full time job just to keep them remotely cool.

[am-reggae]

Horace Andy – Midnight Scorchers Sello: On-U Sound – ONULP153C // LP / Vinilo // 2022 /// Edición Limitada / Vinilo Color Naranja // ====================== A companion album to Midnight Rocker produced by Adrian Sherwood // Featuring new tracks; radical dancehall re-works with MC interjections from Daddy Freddy and Lone Ranger; and stripped back instrumental version excursions in classic dub reggae style // Includes download card /// ================= ESTADO: ==================== LP Nuevo - Precintado // ============ 32€ ============

[feely-touchy]

Burning the midnight oil

Again, for some reason

Soot collects under my eyes

I've started seeing stardust everywhere

In nooks and crannies that need sweeping

The universe calls out sweetly

In that cool voice

Asking, "Why are you still up?

To keep company with the possums?"

I hear the hum of the distant highway

Someone racing somewhere in a hurry

Don't they know the night is colored black in molasses?

That the syrupy song of the crickets is a lullaby for a reason?

Ain't they any sense?

I contemplate going outside to watch the moonlight for a bit

But the summer evening's swan song is a scorcher still

Instead I'm lit by the low glow of the television

Half-empty

Waiting for sleep to somehow take me

As if I were a spoiled child

Whisked away to the soundtrack of the dull roar of a party by a doting parent

Afraid of what having a bedtime means, I guess

Passed too tired from the weary day

My old bones settle

[paulisded]

The Ledge #560: Home Plays

This is another of those shows that really has no format. It's pretty much a rundown of the music I've been listening to around the house the last couple of weeks. There's some great reissued vinyl by Thee Headcoats, Beat Happening, Bottle Rockets, and others. There's old faves pulled out of the stacks by the likes of Jason and the Scorchers, Hypstrz, Curtiss A, and (shockingly) The Replacements.

But I also made room for some new tunes, highlighted by the return of Minneapolis faves High on Stress with their new single, "Over/Thru". I have no word as of this point whether it's a sneak preview of a new full-length album, but I'm obviously hoping that's the case. Other new tracks include tunes by Huck 2, The Downhauls, Lone Wolf, and The Tearaways.

As for the "52 Weeks of Teenage Kicks"series, I aired one of the more interesting remakes that I've found of this fabulous song. The story goes that at some point many years ago, former Young Ones star Adriam Edmondson "accidentally" bought a mandolin. After learning a few chords he began to play a few old punk rock faves. This led to him forming a Celtic-leaning band, The Bad Shepherds, whose albums primarily covered those same punk songs he had found himself learning on his new instrument. So in honor of St. Patrick's Day, I felt it a perfect time to air The Bad Shepherds' "Humours of Tullah/Teenage Kicks/Whiskey In the Jar/The Merry Blacksmith" medley.  

Again, I'm putting out a request to all musicians and wannabe musicians to submit your own version of "Teenage Kicks". If you have any questions, or have a version ready for me, contact me at paulisded@gmail.com

CLICK HERE TO DOWNLOAD THE SHOW!

1. Adrian Edmunson & The Bad Shepherds - Humours Of Tullah/Teenage Kicks/Whiskey In The Jar/The Merry Blacksmith

2. High On Stress - Over Thru

3. Huck 2 - Neighbor

4. Lone Wolf - Beggin Me

5. The Tearaways - Saturday Everyday

6. Beat Happening - I Spy

7. Beat Happening - Bewitched

8. Glaxo Babies - Stay Awake

9. The Speedways - A Song Called Jayne & A Lie Called Love

10. The Toy Trucks - I'm On the Dish But I Ain't No Rag

11. Beat Farmers - There She Goes Again

12. Lou Reed - Hangin' 'Round

13. Johnny Thunders - Another Girl Another Planet

14. Heartbreakers - Love Comes In Spurts

15. Heartbreakers - Blank Generation (version 2)

16. The Downhauls - A Hazy Shade of Winter

17. Waste Man - Changes

18. Gary Kaluza - Angry Gandhi

19. The Lords of Altamont - Slow Death

20. Crash Street Kids - Little Girls

21. Crash Street Kids - Shake It Up

22. Curtiss A - Afraid

23. The Magnolias - Keep it inside

24. Suburbs - Superlove

25. Hypstrz - In The Midnight Hour

26. Hypstrz - Action Woman

27. Thee Headcoats - Too Afraid

28. Thee Headcoats - Cowboys Are Square

29. Paul Westerberg - D.G.T.

30. The Replacements - Lost Highway

31. Jason & the Scorchers - Lost Highway

32. Jason & the Scorchers - Broken Whiskey Glass

33. The Bottle Rockets - Indianapolis

[seeker372011]

Day 11- homeward bound

We left the Eyre peninsula headed to Renmark on the Murray river,and as we drove from Port Augusta the blue of the Gulf Spencer and the grey and reddish brown of the Flinders Ranges sang their beguiling siren song entreating us not to leave.

But leave we did, driving without pause till a few kms out of Burra when we pulled over to take a photo of the Midnight Oil house; and then again very briefly at the lookout at Morgan, where we were offered fine views of the Murray, still very full and flowing fast though perhaps not as fast as it was when we passed this way 10 days ago.

Our first real stop was at Lake Bonney in Barmera where we drove a bit around the lake and discovered that Donald Campbell, back in 1964 had attempted to break the world water speed record on Lake Bonney, (he was unsuccessful). He reached 347.5 km/h but the lake was too small and the waves created by the speeding vehicle - the Bluebird-were too dangerous.

There is a Bluebird cafe on the lake front honouring this attempt.

We were tempted to head on to the Banrock Station- not far away but it was just too hot and uncomfortable, so we drove on to Berri, duly impressed by the enormous facilities of the Berri Estates and the many other vineyards along the way.

We stopped at the river, near the bridge, but the heat had completely sapped our energy.

With no enthusiasm for any more exploring we headed to our Caravan park in Renmark to settle down for the night, all worn out.

The minimum tonight is supposed to be 37 deg C . And we have no air conditioning….

Tomorrow is another scorcher.

[aquariumdrunkard]

‘Round About Midnight: A Conversation With Adrian Sherwood

We caught up with legendary producer Adrian Sherwood on the heels of his latest effort behind the boards: Horace Andy’s new album, Midnight Scorchers.

“I’m just very, very proud of it. We didn’t rush it. We spent two years making it. We started it before lockdown. And we kept improving it, so I was sending Horace back and forth to Jamaica. Let’s do this better. Let’s do this again.”

[burlveneer-music]

Jeb Loy Nichols - The United States Of The Broken Hearted - Americana as filtered through a long-time ex-pat and Adrian Sherwood (On-U Sound)

On-U Sound are proud to present a new album from longtime friend and associate of the label, Jeb Loy Nichols. Produced by Adrian Sherwood, with careful arrangements framing twelve beautiful, acoustic-based songs. The album features contributions from the likes of Martin Duffy (Primal Scream/Felt) and Ivan “Celloman” Hussey, fresh from his work on the massively acclaimed duo of Horace Andy albums, Midnight Rocker and Midnight Scorchers, both of which featured songwriting contributions from Jeb Loy. Jeb Loy comments: "The United States Of The Broken Hearted has been forty years in the making. I’ve known Adrian, and considered him one of my closest friends, for that long. During that time we’ve spent more hours listening, and talking about, music than anything else. Reggae, Country, Folk, Jazz, Soul; it’s been the backdrop to our friendship. Adrian introduced me to some of my favourite music; Count Ossie, Culture, Harry Beckett, Mulatu Astatke. Through the years we’ve listened to Sun Ra, Lee Perry, Ornette Coleman, Johnny Cash, Woody Guthrie. A couple years ago, on a visit to Adrian, I mentioned Gram Parsons’s concept of ‘American Cosmic Music’, the melting mix of musical genres that constitutes a uniquely American sound. We talked about recording a record that incorporated all the influences I’d gathered, from Bluegrass to Jazz to Reggae to Soul. The United States Of The Broken Hearted is that record. We wanted to include Folk (Deportees), Country (Satisfied Mind), protest songs (I Hate The Capitalist System), and songs of my own that bore the marks of those that had gone before. I sang the songs and played guitar; Adrian brought in friends and fellow travellers to finish them. It’s all there, Soul, Jazz, Country, Folk; and underlying everything, Adrian’s Reggae infused production.” Adrian Sherwood adds: “This is Jeb’s ‘Great American Songbook’, he’s become such a great singer and songwriter over the years. This is a beautiful piece of work reminiscent of our mutual love for the Miracle album I made with Bim Sherman. I’m really proud of this record and it’s a fitting follow-up to Long Time Traveller.” Jeb Loy Nichols - Guitar, Vocals Ivan "Celloman" Hussey - Cello, Bass Martin Duffy - Keyboards Dave Fulwood - Trumpet Paul Booth - Saxophone, Flute Horseman - Percussion Ghetto Priest - Backing Vocals Prisoner - Drums, Programming Produced by Adrian Sherwood All songs written by Jeb Loy Nichols, except ‘I Hate The Capitalist System’ written by Sarah Ogan Gunning, ‘Deportees’ written by Woody Guthrie & Martin Hoffman, and ‘Satisfied Mind’ written by Red Hayes & Jack Rhodes

[ts1989fanatic]

Taylor Swift’s Best New Songs Aren’t Technically on Midnights

She hid her rawest, messiest feelings in her bonus tracks.

In the final track of Midnights, Taylor Swift confesses to being a “mastermind” who plans so carefully that she can’t possibly lose. The song is addressed to her lover, but she might as well be singing about the meticulous rollout of her new album. Over the course of nearly two months, she posted cryptic videos teasing the music without allowing anyone to hear a single note. She put together a “manifest” that looked like something out of the metaverse. She sold multiple versions of the vinyl, encouraging fans to collect them all to form a clock. And she didn’t release a single until the night the album dropped.

The strategy worked: When Midnights arrived, cresting on hype, listeners absorbed the album in full, spreading out the streams among its 13 tracks. As a result, Swift’s 10th studio effort topped Billboard’s Hot 100 chart this week, with songs from the album occupying all of the top 10 slots—making Swift the first artist to do so in history.

And yet, her most effective scheme may be the surprise she saved for her most ardent fans. A few hours after the standard version of Midnights hit airwaves, she released seven bonus songs she called the “3am tracks” as a surprise, writing in an Instagram post, “Lately I’ve been loving the feeling of sharing more of our creative process with you.” Written during the making of Midnights, the additional tunes are less polished than her singles. None of them appears to have been sent to critics in advance, which meant they were largely ignored in initial reviews. None of them is available to purchase physically. None of them made it onto Billboard’s top 10. But despite their relative invisibility and muted debut, they’re the best songs from her Midnights era thus far.

Catchy and cathartic, soulful and snarky, the 3am edition of Midnights may as well be a separate album. Thematically, the lyrics fit the LP’s concept of what keeps Swift up at night, but the songs are structurally more complex than the initial batch of tracks. Unlike those first 13 songs, for which she enlisted the producer Jack Antonoff, three of the bonus songs feature the stylings of Aaron Dessner, Swift’s main collaborator on Folklore and Evermore. The result is a collection that feels more experimental, as if Swift was deliberately noodling with rawer ideas. Swift cuts loose on these extra songs, pushing metaphors a step further than necessary, letting her voice go ragged, and spinning less-than-radio-friendly melodies.

Consider “Would’ve, Could’ve, Should’ve,” the finest and most stirring track from the 3am selection. In it, Swift sings of regret—over how an ex treated her, and over her own naivete, at 19, in embarking on the relationship. The longest song on the extended album, its flood of vivid lyrics and its propulsive melody bring to mind her previous scorcher “All Too Well.” Using religious imagery, Swift dwells on her loss of innocence, collapsing the time between her youth and her adulthood as she exhumes a truth she has long kept buried: “I can’t let this go,” she concedes. “I regret you all the time.” Swift’s voice, too, sounds uncontrolled and unprocessed as the song builds to a desperate climax, her breath catching as she wails, “Living for the thrill of hitting you where it hurts / Give me back my girlhood. It was mine first.”

That line, like many in Swift’s career, has drawn speculation about her personal life. Yet her best songs linger in a listener’s mind not for the celebrity-gossip fodder they provide, but for the way they seem barely able to contain her emotions. “Would’ve, Could’ve, Should’ve” may be about a specific relationship, but the anguish in her voice cuts deep no matter the context, and the song’s brilliant tension comes from the way she seems to want to go on and on—and on. I wouldn’t be surprised if, tucked away somewhere in a drawer, there rest half a dozen more verses. Maybe in 10 years there’ll be a 10-minute version she’s ready to produce.

ts1989fanatic if is even slightly possible @taylorswift don’t make us wait 10 years for it

That irrepressible quality, along with an unvarnished richness and fearlessness, can be found across the 3am songs. On the elegiac “Bigger Than the Whole Sky,” another track that has found resonant, personal meaning for some listeners, Swift repeatedly sings the word goodbye in a breathy upper register, like she’s drifting away. On the sexy, strange, and showy “Glitch,” Swift’s voice jumps an octave after the bridge, as if she’s malfunctioning from her lust. The poppy “Paris” tickles the ear; it sounds like a deep cut off 1989, all bouncy pleasures and bubblegum cheer, until the lyrics betray a darker tinge to Swift’s thoughts. “I’m so in love that I might stop breathing,” she sings. Later in the song, she goes further: “I wanna brainwash you,” she cries, “into loving me forever.”

Midnights, the standard edition, is not lacking in interiority. “I really don’t think I’ve delved this far into my insecurities in this detail before,” Swift said about “Anti-Hero,” her lead single. And she’s not wrong: Her songs on the LP explore deeply personal territory, expressing her self-loathing and inner conflicts in punchy, poignant lyrics. But even so, the self-awareness of those tracks comes with a cheeky self-consciousness—it’s her, hi; she’s the problem, it’s her!—that the 3am songs avoid. In “Dear Reader,” the final track of the extended edition of Midnights, Swift addresses her fans directly—and tells them to stop looking to her as a “guiding light.” The immense scrutiny she feels is a subject she’s covered since 2014, when she satirized her notoriety as a serial dater in “Blank Space”; later, she devoted much of her 2017 album, Reputation, to unpacking her overwhelming fame via snarling, defensive earworms. In “Dear Reader,” though, she puts her distress plainly over a melancholic melody: “Darling, darling, please,” she sings. “You wouldn’t take my word for it if you knew who was talking / If you knew where I was walking.”

These extra cuts are, in other words, disarmingly candid; they’re the ones in which she allows herself to be truly messy. In the long lead-up to Midnights’ release, Swift explained that her songs belong in three categories, based on the implement she imagines she’s using as she writes: “Quill Pen” songs use old-fashioned wording, “Fountain Pen” songs offer detailed modern poetry, and “Glitter Gel Pen” songs are playful, even saucy. In the 3am songs, it doesn’t matter what tool she has in her hand. The ink spills all over, bleeding everywhere.

ts1989fanatic don’t get me wrong I love midnights and the work Taylor and Jack do together is (despite all the complaints) spectacular.

But there is also something really special when Taylor and Aaron work together, I agree with the writer that the work they do on the 3 AM tracks are more experimental not as pop and polished as the work with Jack but the rawness in these collaborations really works for me.