#my top artists are near identical to last year

[outercrasis]

Spotify wrapped is out! Here's a look at mine:)

[dartmoorsfinest]

Inside Josh Widdicombe’s home with butcher shop tiles and a £6,000 bath (The Sunday Times, 10.11.24)

The comedian’s interior designer wife, Rose Hanson, has restored an 1860s house with copper pipes, vintage finds and lots of books.

[NON-PAYWALL / ORIGINAL]

The comedian Josh Widdicombe and Rose Hanson, his interior designer wife, have restored a 19th-century former artist’s house in the village of Mullion, on the Lizard. The star of Channel 4’s The Last Leg is in the process of writing gags for his 2025 stand-up tour. Called Not My Cup of Tea, because he gave up alcohol last year and now drinks eight cups of “builder’s tea” a day, the show will be a catalogue of gentle gripes on topics from motorway services to children’s party bags. He says inspiration strikes during the eight-hour drive from where they live in Hackney, east London, to their Cornish home, when he has the captive audience of Hanson and their kids, Pearl, seven, and Cassius, three. Traffic jams on the A303 are evidently fertile ground for middle-aged grumbles.

We are speaking during half-term, and the final stage of the renovation — the landscaping of their three-quarter-acre plot — is in ear-splitting full swing. A sauna has already been installed and by the time the diggers depart there will be a fireplace and outdoor kitchen on the patio, and a natural swimming pool in the garden. To a backing track of excavations, the couple, both 41, explain that they picked this glorious spot because Josh grew up in Haytor Vale, near Torquay, and his parents still live nearby in Devon, while Hanson (whose mother, incidentally, helped to create Zippy, the puppet from the 1980s kids’ show Rainbow) remembers Cornwall fondly from childhood holidays. “It felt like a natural place for us to look,” she says.

The 1860s house, called Moorlands, previously belonged to a local abstract artist, Barrie Cook, whose works are in the Tate and the Government Art Collection. “He’s got Wikipedia. So he’s legit,” Widdicombe says. “I don’t know much about art but if someone’s got a Wikipedia page, that’s quite a big deal.” Along with the rambling building, they took on the expectations of Cook’s family. “We had quite a strange day of meeting the whole extended family after we’d bought the house,” Widdicombe says. “They just wanted to know that this place was going into the hands of people that would care about it and treat it well.” The couple have done the Cooks proud, with a sympathetic top-to-toe restoration and a reconfiguration of the layout to meet the demands of modern family life.

They bought Moorlands in October 2022 for under £850,000 and are likely to spend the same again on renovations. Work started in January 2023, knocking through walls upstairs and between the sitting room and dining room on the ground floor. Six months later, the old extension was demolished and by November every single window in the house had been replaced. “They’re basically identical to the windows that were here, but they’re not falling apart,” Hanson says. They took the property from five bedrooms and two bathrooms to six bedrooms and seven bathrooms, overhauled the electrics, got rid of the oil tank and replumbed with help from a local company called The Braze. “It’s like an incredible work of art with all of these amazing copper pipes,” she says.

By March this year the lights and heating were on. Hanson sourced the oak flooring from Dartmoor firm Coppice and Crown. The most striking change was the replacement of the old sunroom on the first floor. “The upstairs conservatory was quite amazing. But it was just completely impractical because it was absolutely boiling, and there was quite bad damp in the room below. So we got an architect involved and designed two double bedrooms with en suites, and a beautiful formal dining room underneath.” Hanson repositioned the kitchen at the front of the house, where the family would benefit from the glorious garden view. By April 24, every room in the house was finished, and they had their first guests to stay.

Now they intend to spend six weeks of the year enjoying their seaside getaway, and let it out in between family visits. So how do they live when in Cornwall? Hanson lifts weights in her home gym and plans to learn to surf at the nearby Dan Joel Surf School. “I hate stuff like that,” says Widdicombe, who can’t swim. “I like a walk. I like running on the treadmill, but I don’t like anything that takes me outside of my comfort zone, ideally. The reason to be on holiday is to relax, not to do anything that makes me stressed.”

He doesn’t mean to party, either. It’s a part of the world notorious for celeb spotting, with notable locals including fellow comics David Baddiel and Morwenna Banks, but the couple plan to lead a quiet life. “We don’t really have parties because we’ve got young children,” Hanson says. “And the people who come and stay have young children too. I mean, we’re lucky if we all get downstairs again after the kids’ bedtime at nine o’clock.” The wildest evening at Moorlands so far was, Widdicombe says, “The first week we stayed, we had four couples and eight children in the house, and we managed to get six kids in the bath at once.”

The tub in question, in the family bathroom, is a £6,000 Rockwell, from Water Monopoly, which Hanson describes as “an extravagant purchase”. A magpie who is constantly acquiring vintage treasures, she added inexpensive second-hand touches to complete the decor. “We found this amazing little yellow bathroom cabinet that just kind of makes the whole room pop. I’m a real hoarder of second-hand fabrics from eBay and I’d got this vintage Pierre Frey fabric patterned with tassels and gems, which we made into a blind.”

Asked how much of the design is her husband’s idea, Hanson is quite clear. “He doesn’t have any say. I don’t even run anything past him, except budget. There are times where there are things that he would really like. When we moved into our first house, Josh really wanted a bread bin that said ‘Bread’ on it. So I made that happen. Then there was [a request for] a hot water tap. So fine. Yeah, you can have your hot water tap.”

Widdicombe has no complaints. “I’d rather someone else who knows what they’re doing takes the lead,” he says. “I know what I’m good at and I don’t think Rose is ever going to give me notes on my stand-up. And in the same way, I’m not going to give her notes on this.” Hanson responds: “You’re basically the dream client.”

Before they moved in together, the comedian’s taste was based around displaying his music collection. “I lived in a rental property in Turnpike Lane [north London] when I was in my twenties and I didn’t have much money. I had a wall of about 600 CDs.” Now his focus has switched to books as decor. “I buy a lot of books and I’m a keeper of books. I hate it when someone says to me, ‘Can I borrow that after you’ve finished reading it?’ Because I think, ‘No, I want to put it on my wall.’ It’s like you’ve killed a deer or whatever, isn’t it, and you want to display it? If someone says that, I’ll buy them a copy of that book rather than give them my book.” So, excluding the library in his study, and keeping her hands off the hot tap and bread bin, Hanson had carte blanche to decorate the house to her taste.

She brought in her friend Charlotte Tilbury, a designer who had worked on their London home in Victoria Park, Hackney, and moved to Devon during Covid. Halfway through the works, the two women decided to start a business together and make Moorlands their first joint project: Penrose Tilbury was founded. “It’s not like work,” Hanson says. “It’s like going and hanging out with your mate and drinking rosé.” It wasn’t all wine and design chat, she corrects herself. “The hardest things to find were bathroom tiles. We did a collaboration with Original Style who made a bespoke pencil-black tile for us that we just couldn’t really find anywhere. Then the Daily Mail did a story — they must have got some pictures from our Instagram — and somebody said in the comments that our bathrooms look like a butcher’s shop. I was quite pleased with that. That was sort of the look I was going for.”

The next visit will be for New Year’s Eve, when the couple will be inviting friends for an ultra-low-key gathering. Hanson says: “We might have a glass of wine after we finish bedtime at nine o’clock.” And there will be plenty of PG Tips.

[pocima]

My top 10 favorite music projects of 2023 ૢ✧∘* ✧･ﾟ

Welcome to this list that 2 people were mildly anticipating tops, a list where I ramble about note sequences that give me a sense of enjoyment, which is essentially what this blog of mine is dedicated to. I’ve been on this site for more than a year now, I had the pleasure of interacting and chatting with my lovely mutuals who share my silly little interests, both here and on @akaneverse. At the end of last year, I simply uploaded a topster of my favorite albums and EPs, and this December, I’m taking my time to review said projects, and show them appreciation with words and expressions slightly bigger than “the production is so insane” and “BANGER”. This year has been good to me as a music enjoyer, with new releases from my longer-time faves and incredible new discoveries, some possibly becoming all-time faves, which will be mentioned in the post. Pitchfork, your bankruptcy is nearing. And yes, the GIF is a spoiler.

⑩ Ichijikikoku (EP) - Atarashii Gakko!

I can say I somewhat got into Japanese music this year and this anti-idol group with a school leader concept looking camp right in the eye were some of the first artists that caught my attention. Having accidentally come across them through snooping around a beloved mutual’s Spotify profile, the quality of their songs such as Pineapple Kryptonite, Nainainai and Freaks caught me off guard in a great way. Their discography offers various genres such as robotic chant-filled hyperpop, groovy city pop, alternative rock, hip-hop and their latest EP truly showcases their diversity and range. From Otona Blue, the funky pop song that was the push start for the girls to get their rightful recognition, to a revisit to their older rock sound, to their first club banger and more city pop hits, this EP presents what their music has to offer in a nutshell. 2023 treated the school leaders well as they both got their deserved success and delivered a well-rounded project along with other listen-worthy singles.

Favorite tracks: Otome no Bigaku and Giri Giri.

⑨ 3 of Us (EP) - FLO

After taking the Internet’s ‘00s R&B revivalists and girl group appreciators by storm with their first EP Cardboard Box in 2022, this iconic trio went on an ongoing streak to constantly deliver the best and improve their music and skills. 3 of Us serves as lunchables before the upcoming full-course meal which is their debut album, and not so surprisingly considering the consistent high quality of the group’s releases, the snack surely is fulfilling. Two of the tunes were anticipated then-unreleased songs but the title track and the later added-on Suite Life were loved by us FLOlifers as well. The four songs showcase both the group’s incredible vocals and their empowering no-nonsense attitude. The title track is an anthem that shows the world the girls have each other’s backs, through a smooth execution of a humorous scenario of a guy simultaneously trying to toy with the 3 of them. FLO are real it girls, and this mini alone is definitely convincing of that enough.

Favorite tracks: what if I said all of them?

⑧ MY World (EP) - aespa

aespa have long-ago established their cybergirl fighter Kwangya concept and a solid spot in the K-pop industry as a group with one of the strongest group identities, top-notch discographies and powerful vocals. I slowly fell in love with them in 2021 and they have been one of the very few anchors to my interest in K-pop lately. Through mismanagement and complete bs coming from their crappy record label, standing ten toes down with these girls and experiencing the comeback of the summer was 100% worth it. Though the label needs to pull themselves together a little for the creative direction of all of their groups, MY World offered aespa’s two different takes on the summer which somehow felt fresh and unique, still suiting the group and proving aespacore’s wide range. The music, however, gave the signature aespa sound we had missed because of the music drought. Reol and Slayyyter’s souls truly split into two each, possessing the four members and giving us the gritty, in-your-face EDM banger that is the lead single Spicy. Welcome to MY World, the mini’s pre-release single, on the other hand, is an orchestral, alluring alternative pop track, which is a genre I never knew I needed aespa to dip their toes into. Salty and Sweet is a package delivery for the MYs who are especially seated for aespa’s metallic hyperpop releases, while Thirsty is contemporary R&B with a bubbly aespacore twist to it and I’m Unhappy is a splendid hyperballad. No offense but had they left the basic and frankly flow-disrupting ballad ‘Til We Meet Again in the vault, the ranking of the EP would be higher on here, and this is my only criticism of the project music-wise. As I always say on aespa comeback release days: the girls did it again.

Favorite tracks: answer changes every 5 business days but right now I’m gonna go with Welcome to MY World and Spicy.

⑦ Crying in the Carwash (EP) - Lolo Zouaï

I’ve been keeping up with Lolo Zouaï on the low (pun intended, see Encore) since the release day of her sophomore album PLAYGIRL but I might have to pay closer attention to her because of her elevated excellence showcased on this mini. Besides giving her more freedom over her work and artistic direction, returning to her independent artist days allowed her to wiggle more with her own feelings and experiences directly, as opposed to the personas she conveyed the story of PLAYGIRL through. Before the unveiling of the EP, the roll-out fully hooked me in with both the singles and mesmerizing visuals. Encore was the perfect earworm-y invitation to the era, and Crying in the Carwash showed us the rainy panorama none other than Lolo’s mind with soft, melancholic jungle drums as the track’s stand-out point. The rest of the three songs, sitting prettily in the middle, give us soulful R&B blessed with the artist’s gentle vocal runs and UK garage reminiscent of e-motions by Mura Masa and Erika de Casier. All in all, I can’t be the only one who can’t wait to see what Zouaï will have to offer with her future work.

Favorite track: Crying in the Carwash.

⑥ ESFERA DE AMOR - Simona

Esfera de Amor? In “my top 10 favorite projects of the year”? More like “top 10 most slept on albums of the year”. I’m not saying this just because of my personal opinion or just by looking at the streaming numbers either. This project is worth checking out for everyone looking for ethereal, light, bubbly pop à la 4th gen K-pop girl group music. Simona took recent pop micro-trends such as the incorporation of house, UK garage, hyperpop, neo-reggaeton and baile funk, and shaped them up into her very own world of love. The record, while being a relatively easy listen and having the ability to appeal to a wider audience, keeps you attentive and never bored, with an intro that leaves the sense of time and reality behind to make room for dancing and a classy vintage-style interlude. At one stop you unwind, at the second you dance at midnight in your bedroom, and at another you’re an otherworldly romantic. Feel free to do whatever you please, because after all, you’re in a sphere of love where everything’s fine.

Favorite tracks: Adentro de Mí, Polidrama, Plush, Meloni and Llaga Verdadera.

⑤ BB/ANG3L - Tinashe

Tinashe has been an impactful figure in modern R&B for nearly a decade now, with her resumé ranging from choreography material groovy bops to heartfelt, calmer, vocal-heavy songs. BB/ANG3L, in the musician’s own words, combines her past and her present, her darker debut day sound with her faster-paced, catchier, dreamy tunes. The songwriting keeps it real and personal: we go from a dramatic reflection on a toxic relationship, to wanting to be pampered and treated with respect and class, to more reflections and slowly letting go. In the music video for Talk To Me Nice, Tinashe peels away her former self and gets purified with the dripping water, getting down to her essence. (I will further elaborate on my newly found love for water concepts/metaphors in some next entries.) Thanks to producer Machinedrum, garage and dnb rhythms (can you tell those are my weaknesses yet?) are beautifully incorporated in two of the tracks, and the production is atmospheric and tastefully bleak throughout the entire tracklist. Keeping up with Tinashe’s releases for a good while, a couple of years in my case, remains a pleasure with this project of hers.

Favorite track: answer changes often once again and this time I’m picking Tightrope.

④ Raven - Kelela

If there were courses on how to take breaks of long years after releasing a top-tier album and make an even more world-shaking, majestic comeback, Raven would be the diligently studied textbook. Though I personally can’t relate to the 6-year wait as I discovered Kelela at the beginning of this year, my commentary is unnecessary for one to know she is a legend whose impact on alternative R&B, dance music and neo-soul is not up for any questioning. While Raven has even more of a slower and sultrier side than before, the intimacy and maturity stays consistent whether we’re talking jungle, aurora-like synths or soothing orchestration. It’s a true, well-constructed and developed body of fruitful work, with seamless thought-out sequencing, an art that’s being kept alive by artists that rightfully value it. Motifs reappearing in her previous albums such as “all the way down”, “on the run”, “far away” make their returns, but in no way does anything feel repetitive or any less unique. The album cover art and the music videos for Washed Away and Enough for Love present us more water imagery that couldn’t have been any more suitable for the sultriness and haziness of the record. Raven is the deep melancholic ocean that you trust to wrap your body around, where you witness musical scenery that’s so breath-taking that you can barely tell if it’s real.

Favorite track: On the Run.

Let’s get some honorable mentions out of the way before the top 3: Heaven knows by PinkPantheress (literally 11th place, Feelings was on repeat for like a week straight), My 21st Century Blues by Raye (robbed by the Scammys), Unlock My World by fromis_9 (if I make a best ‘23 K-pop b-side list Prom Night has a high spot secured), seOul collection by OnlyOneOf (I ignore the old tracks included in the album and candy bOmb is the K-pop b-side of the year) and Bébe Yana’s singles this year bc even though they’re not a body of work they’re too good not to get a shout-out. 

③ Code Ge4ss - 4s4ki

As I was getting into Japanese music in March, I suddenly wondered whether there was a full-fledged hyperpop or experimental electronic music scene in Japan. After a quick Google search, an interesting artist popped up, with the metallic cybercore aesthetic I’ve been craving more of on the cover art of her latest album called Killer in Neverland. Interesting album name, intriguing song titles too, and as soon as I heard Log Out she took it in my eyes, there and then. Listening to Killer in Neverland as a whole took my shock to another level. Who was this and why did her music satisfy my cravings to this extent? As I went through her discography in a day or two, I fell deeper and deeper in love with her enchanting production (she’s her very own producer, mind you), crunchy autotuned vocals that somehow sound magical, her risk-taking unique concepts, something in between camp and outright beautiful visuals, precisely crafted songwriting and artistry. She manages to be the perfect amount of fun, the perfect amount of edgy, the perfect amount of bright, the perfect amount of sharp, the perfect amount of real, the perfect amount of satirical, the perfect amount of joyful, the perfect amount of sad on each and every project of hers. What didn’t hit me like a truck at first, however, is her tremendous improvement as a musician in pretty much every aspect: production, songwriting, album cohesion, creative direction, visuals. Not until her latest album Code Ge4ss finally got released in late June.

I was confused at first at the Code Geass anime collab thing, I wasn’t exactly sure of the release date and whether 4s4ki was actually releasing yet another scrumptious FULL album not too long after I got into her. The album dropped, I was tuned in right at midnight and my already high expectations were surpassed. Banging (kicking if you will) Jersey club beats, birds chirping accompanying glitchy trap instrumentals, screams followed by almost Machine Girl-level noisy circuit board sorcery, samples of characters’ speeches over electro guitar riffs, a piano interlude paired with opera runs taken from the show, pacifying ballads which are a mix of acoustic guitar and hard-hitting pots-pans and 8-bit synths, all closed by surreal orchestration with the classic electronica touches of 4s4ki and collaborator producer Kotonohouse. I’m sure I’d appreciate the Code Geass-themed lyricism on an even deeper level if I hadn’t paused watching the anime after 5 episodes like the terrible TV consumer I am. What I can be certain about is that everything about this project feels genuine and from within because it IS genuine and from within. 4s4ki couldn’t have been a more suitable choice for this collaboration, she’s been a fan of the franchise since elementary school and very few emit the weird cyber-glitchcore internet baby aesthetics the way she does. The cover art is stunning and references the series once again, and the Shirley MV leaves us with calming visuals that may remind you of Welcome to MY World by aespa, which spoke to the aespa x 4s4ki truther in me.

As I was saying, this album is what really rubbed her major progress as an artist and musician in my face. We’ve gone such a long way from the calmer EDM-pop antics of Your Dreamland, for example, not even to mention the synth-pop balladry in her debut Gender. Every era of hers sonically gets increasingly complex and intense and ethereal, and in every body of work she leaves in a bigger, more intimate piece of her. There’s just so much personality in everything she puts out and presents. She built her sonic and artistic identity from the bottom to the top and even as a fan for less than a year, continuing to witness this makes me feel pure admiration. Words aren’t enough to properly express how I feel about her art but that won’t stop me from typing up paragraphs to try to get someone to understand me on this. People have various opinions on 4s4ki’s experimentation and self-expression, however what absolutely nobody can ever deny is that she’s a true artist, visionary and one of the most skilled producers of this generation. 2023 brought her both achievements and unfortunately some hardships, and I sincerely hope 2024 is kinder and even more generous to her. (She’s not done with taking over the year yet! Stream her new single Continue and stay tuned for winter again coming Dec 15.)

Favorite track: Eleven.

② Fountain Baby - Amaarae

I touched upon my adoration for water imagery on my entries for BB/ANG3L and Raven but as you can see from the title, Fountain Baby took the theme to an entirely different level. The analogy potential of water is infinite as the fluidity, cadence, calmness, riptides, uncertainty, contradictions of water can very well be converted into the multi-faceted human emotion. The same water that you’re dependent on in order to live can poison you at an overload, the same water that rinses your body and soul can drown and choke you up when contacted with the wrong places. Fountain Baby expresses various moods and states of mind not only through concept visuals, but more importantly by sprinkling water euphemisms throughout the entire record: “fountain baby, wash her, make it wet”, “water on my neck, come make it warm”, “water from wine”, “water, it mix with the substance” being prominent examples. Amaarae chats love, sensuality, materialism and lastly, meeting your maker in a way other than passing away. She defines a “fountain baby” as “a person with endless charisma, someone that is abundant in their blessings and ultimately a blessed child of God.” The universe Fountain Baby resides in is essentially rich, delicate, cloudy and raw.

While water is a consistent element of the album, it was far from being Amaarae’s only source of inspiration. She draws on ‘00s pop staples Timbaland and Britney Spears, The Neptunes, Clipse (sampled in Counterfeit), Janet Jackson, Missy Elliott and diverse genres such as Afro-beats, classic and contemporary hip-hop, Americana punk rock and dance. The melting pot of live orchestra, harps, baile funk, tire whirring, R&B-infused shiny Afro-futurism, Japanese folk song samples, Chinese bow violins, Arabic scales, gunshot and cash register clicking sounds, mid-song switches that make you feel like the main character of a coming of age movie, glitter and sax and guitars creates a record that refuses to be boxed into one genre or label. A “clever alchemist” and “a chemist who fuses world music” are titles that are deservingly given to the artist for these reasons. The record has plenty of variety yet the sequence all comes together akin to a satisfying crossword. It’s lucrative and shimmery but has its child-like, playful side that’s a natural result of Amaarae getting in touch with her inner 8 year-old during the cultivation process. The music videos are all different but inseparable approaches to the Fountain Baby-verse. The MV for the first pre-release Reckless and Sweet is based on editorials and has a silky luxurious look, with direct hints at the album’s concept. Co-Star, the second pre-release, casts zodiac signs as racer-models and fast cars come running around in a competition, keeping the high fashion coded color grading and filming style. The music video for the lead single Wasted Eyes is heavily inspired by the film Rush Hour and pays homage to Japanese culture about as much as the song does (it’s worth to mention the song is co-written by the iconic Crystal Kay whose speech you can hear in it). The intricacy and planning of every aspect of this era is pop music at its peak. With Fountain Baby, Amaarae finds the epitome of pop perfection without special dedication to seeking it.

Favorite track: Wasted Eyes.

① Ambrosia (EP) - Namasenda

Some projects make your jaw drop from the get-go, some others grow on you with some time. Ambrosia crept up on me the longer I kept it on repeat, all the way to being my favorite project of this year. I already enjoyed Namasenda’s previous songs such as Black Ops 2, Demonic and the pre-release single maserati. As I later found more about the background of the project, how its concept came together and read the translation of the lyrics to rosa, my love for the it multiplied. Right now if I were to describe the EP in two simple words, they would be “ethereal”, “gorgeous” and “atmospheric”. These words are used with way more power than you may realize this time.

Sonically, the already unique artist stays true to herself but the execution of her vision is somehow… better than her previous work. north star and deathrow bby are unorthodox but celestial perspectives on baile funk, the former being a siren-like intro-lude that lures you in and the latter having a slightly haunting catchy Europop inspired jingle feel, serving as closer out of the 4 songs. maserati is a fresh take on polished but cutting pop, while rosa is a divine ballad that takes you to a dream realm. “Unconditionally here / I mean what I promise / When the sky is completely pink”, she sings in her home language Swedish, over the Casey MQ co-produced blissful synths. Maybe it’s executive producer Simon on the Moon’s musical genius (he’s also to be thanked for his involvement in Natural Brown Prom Queen by Sudan Archives), maybe it’s Namasenda unveiling a more authentic side of herself and therefore causing the music to be the most authentic version of itself. This authenticity drips through the production, the visuals and the lyrics. The stark contrast between Ambrosia and the jeweled, metallic, extreme meta-pop in her previous work, specifically Unlimited Ammo, opens up a conversation on the future of hyperpop.

Besides the heavy, detail-embroidered production, the focus of hyperpop was pretty much always exaggerating the artificial aspects of pop music, such as vocal manipulation, heavy bass, deafening drums, unforgettable melodies and shallow lyrics. How long could one use these funnily unrealistic musical personas before wanting to face themselves and do a deeper, more pure dive on pop? This I-D article on PC Music (the record label pioneering the hyperpop scene) shutting down concludes with “Perhaps it’s time to get off the computer and rediscover the personal.” Indeed, we can’t exactly reach a verdict on whether “hyperpop” will become just another fad or not, but moving on from simply exaggerating pop to expanding, beautifying and authenticating its sound isn’t an inaccurate prediction. 4s4ki and Namasenda (who, by the way, parted ways with PCMus before Ambrosia) are two of the artists that embody the beautiful, complex hyperpop-transcendent sound and experimental electronic pop music is in good hands thanks to artists like them.

To finish off this entry, Ambrosia manages to pinpoint exactly what I like to hear, both characteristics that I mentioned and things you can’t really put into sentences, only listen to and let them sink in. The production is some of the most stunning I’ve ever heard in my life, the EP is cohesive despite the short 9-minute run time, the visuals are simple but creative and the craft is passionate and genuine. Next time somebody asks me about the music I like, I’m sending them this EP with no further elaboration as it summarizes my tastes like no other body of work ever has.

Favorite track: rosa, it also grew on me the most drastically.

Now to end this post, every year gives me brand new outlooks on how I consume music and the details I notice, the things I pay attention to. 2023 was filled to the brim with musicians offering their own outlooks on how they create. I’m keeping my eye on the masterpieces that will come out of 2024 and I wonder how my interests will transform with me next year.

Hey @nayeonline (special thankies for indirectly fueling my writing process) and @timetravellingkitty, I wiggled my keyboard a bit 😗

[brydigdraws]

So these are long overdue lmao

I didn’t quite realise how 2021 was The Year of Crowley (2020 was The Year of Aziraphale) and 2022 was The Year of Izzy until I put these summaries together

I didn’t manage to account for every month these past two years, and 2022 is looking particularly sketchy (quite literally). This is because Shit Went Down :) I’m going to summarise it below for my own benefit▼

Personal/philosophical ramble under cut

In 2021 I had a lot going on, which I think explains the lack of art in June and August (memory’s fuzzy), and why I never posted some of the art in the summary here on tumblr (miiight post Nov and Dec soon-ish). In 2022 things initially screeched to a halt and I had the worst art crisis (and personal crisis tbh) I’ve ever had. Basically I had a really hard time drawing anything without it feeling completely soulless and of worse quality than my actual skill level, which heavily impacted my motivation to draw (sometimes my ofmd obsession came out on top lmao, but that fanart still felt like it was lacking something essential 99% of the time). I drew less, and felt worse for drawing less, which made me draw even less, repeat ad infinitum. It wasn’t until solidly into Autumn that I realised the root of the problem: I had tied the label “artist” so closely to my identity that it had effectively become my identity. And since it was my identity, I felt I had to become a professional artist or be miserable, and in order to become a professional artist I felt I had to constantly focus on honing my skills and get better, nitpick everything in every drawing and strive for impossible perfection, and “draw every day” as all the professional artists advice you to do (I have never managed to draw every day, and my failure to do so made me feel like I was lagging behind). Drawing had slowly but steadily become some insane rat race to me and eventually it ruined my art because I couldn’t appreciate where I was at. Actually finishing a piece of art felt like an incredibly arduous task with little reward (which is why I only really “finished” two pieces last year). I had drained myself of the inherent joy of creating. But realising this didn’t solve the problem, not on its own, because if the fact was “artist is my whole identity” the question then became “If I don’t create art, am I anything at all?”, and the answer for some time was “No.”

I have since found joy and genuine excitement in other types of creating (not that I hadn’t before, but never above a hobbyist level) with potential career opportunities that won’t make my daily life “miserable” (fun fact about me: my biggest fears are the unknown and having my soul ground down by the tireless gears of capitalism). This has helped me stress less about “becoming a professional artist” (something I’m still certain I’d enjoy, despite it all) and find some identity outside of art, but that perfectionist/improvement mindset in relation to my art didn’t start to leave me until a few days before New Year’s. That’s when I was suddenly inspired to make the Ed/Izzy sketch representing Dec ‘22 in the summary above. I had effectively given up on my art at that point, but my mental image was so strong I had to commit it to (digital) paper, no matter if it turned out like shit or not (which, in retrospect, is probably the most visceral motivation an artist can have for practicing their craft). Having no expectations on myself, and with the single-minded drive to capture the ~vibes~ and nothing more, I found the act of drawing fun and near effortless for the first time in fucking years. That’s when it clicked. You don’t have to try and make every aspect of a drawing perfect, and not every drawing needs to be properly rendered; just focus on the one or few most important things you need to be able to convey what it is you want to convey (in this case it was the overall poses and facial expressions). The rest may not be perfect, but it wouldn’t have been even if you tried to make it so, because perfection is fucking unattainable (as much as my chronically perfectionist ass wishes it wasn’t). Trying to attain it is a fool’s errand that’ll slowly eat you up, and your audience will most probably not even notice or care about the difference.

Audiences, especially online audiences, are arguably their own potential source of artist brainrot (and not the fun kind), and I’m of the firm opinion that art can definitely be made for no one’s eyes other than the artist’s own (in opposition to the mindset that the purpose of all art is for it to be shared with external parties) - my own art from years ago being an example of this. But I have found sharing my art with others to be such an inherent joy to me that I don’t think I’ll ever fully stop doing it, and will continue to try my best not to fall into the mental pitfalls that can come with it.

I don’t think my relationship to my own art is fully mended (and I’ve likely failed to see some of the cracks), but it’s definitely better now than it has been in a long, long while.

in short, thanks to edizzy’s dysfunctional marriage for helping me not give up on art I guess

[0613magazine]

230307 EFE

BTS leader isn’t thinking about future, but would like to work with Rosalía

RM, the lead singer of K-pop supergroup BTS, would love to one day collaborate with Spanish star Rosalía – his favorite Spanish singer – but with his mandatory military service in South Korea approaching, he will not be taking on any projects in the near future.

During an interview with Efe in Barcelona, the South Korean singer admits that he is going through a “hard time on a human level”, because after 10 years non-stop with BTS, the band members’ looming military service has forced the group into a temporary break.

But Kim Nam-joon, better known by the stage name RM, wants to stay positive, and insists that the situation “can be beneficial to him as an artist,” because “some great work is born in personally chaotic moments.”

“When you are famous, staying on top is very difficult,” he admits, “but I think BTS will make it. It will come together again when we finish our military service, and we will look for new synergies between us to enter a second phase. But, in any case, nothing lasts forever.”

On Rosalía, he says that all the members of BTS “like her very much and respect her a lot” as a very famous and influential star. Asked if he would like to collaborate with her, Kim Nam-joon does not hesitate: “If she wants to, I do too.”

SECOND SOLO ALBUM IN THE PIPELINE

Soon after releasing his most personal album ‘Indigo’ at the end of last year, and in search of inspiration for a second solo album, RM traveled to Spain for the first time this week.

The boy band has yet to perform in the country, as their 2020 world tour, on which they planned to reach the few remaining corners of the world they had not set foot in, was canceled due to the pandemic.

“I chose Spain to travel with my family because I have friends who are not artists who have told me it’s a great place,” he says.

“I wanted to see artworks by (painters) Goya, Velazquez and Picasso for inspiration and I’ve been to the Prado and other museums,” he adds during his visit to Barcelona, where he was impressed by the iconic Sagrada Familia basilica by Spanish architect Gaudi. Before that, he took in the capital Madrid and the northern city of Bilbao.

“I came to Spain because of my love of its art and, if someone learns about my country’s culture through my songs, it is an honor that makes me happy,” he says.

MILITARY SERVICE TRIGGERS PERIOD OF REFLECTION

South Koreans are obligated to sign up for 18 months of military service before they turn 30 – the eldest member of BTS, Jin, has already enlisted, with the rest of the group soon to follow suit.

It has forced a temporary break on the boyband with the group at its peak that RM has taken advantage of to release his first solo album ‘Indigo’, in which he frees himself from the strict rules of combining being the main standard-bearer of K-pop and searching for his own identity.

“After 10 years as a member of BTS, I didn’t know who I was and I wanted to know,” he says. “I started out as a teenage rapper, then BTS came along and it was all very intense. Now that the group is inactive, I’ve gone back to thinking about the beginnings and the real reasons why I joined BTS.”

It is a process of reflection that has led him to contemplate the meaning of a musical career that has been dictated by trends.

BREAKING FREE FROM FADS

“K-pop and k-drama are in fashion,” he says, “so, ironically, I am at the center of the trend at a time when I feel the need to step away from that and have time to think and create with a more timeless outlook.”

The first result of this new approach is ‘Indigo’, an album full of stellar collaborations that combines elements of hip-hop, neo-soul, R&B, folk, electronic music and urban pop, a work which he insists presents a version of himself that is unrecognizable from the one that social media and worldwide fame have created.

But he has not turned his back on his time with BTS, which he is proud of for allowing millions of people around the world to discover Korean culture through his songs and for having paved the way for others to follow.

Source: EFE

[yegarts]

“I Am YEG Arts” Series: Chris Dodd

Chris Dodd in Deafy, playing at the Citadel Theatre, photo provided.

Life is 10% of what happens to you and 90% of how you react to it. It’s a sentiment that Chris Dodd, a Deaf actor, playwright, and accessibility advocate, credits as the best advice he’s ever been given. In 2020, he trusted that advice again when he quit his full-time day job to become a working artist. How’s that working out? Well, let’s just say he’s been busy! Besides being cast in a feature film and published by Playwrights Canada Press, his most recent play, Deafy, can be seen at the Citadel Theatre, starting this weekend and running until February 12th.

Actor, playwright, and artistic director of SOUND OFF—this week’s “I Am YEG Arts” story belongs to Chris Dodd.

Tell us about your connection to Edmonton and why you’ve made it your home.

I’m an Edmontonian born and raised. I grew up on the south side near Mill Creek, and Whyte Ave has always been my lifeline. I travelled up and down that road for school and work, twice daily, for some 30 years before I finally moved further south. Now that I am an established artist, I am often working across Canada, but Edmonton is still always my home. You really can’t beat the artistic community here, so I’m always happy to return.

When you were first starting out, what was it about the arts that made you feel like it could be your community?

In my final year of my drama degree at the U of A, I met Ashley Wright, a local professional actor, when we were performing in an MFA project together. Ashley and I agreed to write a play together, which resulted in the show Silent Words, which was performed at the Edmonton Fringe the following year. The show turned out to be a critical success and was held over at Theatre Network. Later that year, we won three Sterling Awards for the show, and from that moment on I knew I had found a place in the community.

How did you get your start as a playwright?

I’ve been writing plays since my teens. I got my start when my drama teacher in high school asked me to write the year-end show for Grade 12. This resulted in a deeply personal show called Bridge to Nowhere about my feelings on hearing loss at that time. In my later teens and early adulthood, I took advantage of a number of opportunities for emerging young playwrights, including the Citadel’s Teen Festival of the Arts, NextFest, and workshops with Theatre Network and Workshop West, which included a writing class with Conni Massing. I later had the opportunity to take a workshop with the late Sharon Pollock at the U of A.

Top: Chris Dodd in Silent Words, photo provided. Bottom: Queen Seraphina and the Land of Vertebraat, photo provided.

What themes are you drawn to as a storyteller?

Naturally, I gravitate towards Deaf themes but also focus on inclusion, identity, the sense of belonging, and justice. However, I also love writing comedy, and I am particularly proud of my play, Deafy, especially as there are so many funny moments in it that always get big laughs from the audiences. Sometimes I write plays that use metaphors for deafness. For example, Big Ear, which I wrote for Concrete Theatre’s recent Sprouts Festival, has no Deaf characters in it. Instead, the lead character of Maggie sports enormous ears, which she tries to hide from her classmates, an allusion to my past use of hearing aids and how I always felt they made my ears conspicuous.

Tell us a little about your role with SOUND OFF and what makes it special to you and the city.

SOUND OFF, which I’m the founder and artistic director of, is Canada’s national festival devoted to the Deaf performing arts that takes place annually at the Arts Barns. It was founded in 2017 with support from Workshop West, and it previously operated alongside the Chinook Series Festival at the Arts Barns. As of last year, it became an independent event, and we will be celebrating our 7th annual edition at the end of March. We are fully hybrid, and we offer both live and online plays, readings, workshops, panels, plus our annual improv collaborations with Rapid Fire Theatre. It is a unique opportunity for Edmonton audiences to come out and appreciate Deaf talent from across Canada and their stories.

Tell us about the best advice you’ve ever received and the last time you called on it.

“Life is 10% of what happens to you and 90% of how you react to it.” In 2020, I stopped trying to juggle both a full-time job and my artistic pursuits, and I quit to become a working artist. Making a career switch is stressful in any circumstance, but it was especially challenging during a pandemic. But I pushed myself to adapt to working online and doing more filmed work, and I actually became quite busy during that period. My biggest project during that time happened to be a live event, where I was in Winnipeg during the spring of 2021 for a month shooting a feature film with careful COVID protocols in place. That was a huge opportunity that I would not have been able to take had I still been at my day job.

Who’s someone inspiring you right now?

Most definitely Troy Kotsur, a Deaf actor who won an Academy Award for the film CODA last year. He was the first Deaf actor to win the award in 36 years. In his acceptance speech, Troy credited his success as an actor to his many years of working within Deaf theatre. He has significantly elevated the recognition of Deaf actors and proven that Deaf actors are actors, period.

Chris Dodd in Deafy at the SummerWorks Performance Festival in Toronto, photo provided.

Tell us about your upcoming play, Deafy, and what the highs and the lows have been so far.

Deafy has been in development for the past five years. It started off with assistance from Vern Thiessen, who was then the artistic director of Workshop West. After a period of readings and rewrites, it was accepted to the SummerWorks Performance Festival in Toronto in 2019 and received critical acclaim. We had many plans to take the play further and start mounting a tour, but then COVID happened, and everything needed to be put on hold. We had a remount during the Fringe in 2021 and an Ontario tour in the spring of 2022, and now we’re excited about being able to present this again to Edmonton’s audiences at the Citadel Theatre this January (January 21st to February 12th).

How do you hope to help shape Edmonton’s arts community?

I hope to contribute to the cultural diversity in this city and make it a bit better, brighter, and more accessible. I love consulting, and I am always happy to connect with people, whether formally or informally, to talk about how we can make things better not only for Deaf audiences and performers but also for artists and audiences with disabilities. SOUND OFF is a great start for exposing Edmonton audiences to the talents and stories of our many wonderful performers from across Canada. I have even bigger plans ahead, and I can’t think of a more fantastic and vibrant city than Edmonton in which to do them.

Describe your perfect day in Edmonton. How do you spend it?

Obviously, you’ve got to start with a hearty breakfast. There are so many great local breakfast spots, but Tasty Tom’s on Whyte Ave is always a great bet. Then head to the river valley to burn off some of those calories on the trails, and then perhaps wind up at the Muttart Conservatory to take in the feature pyramid and breathe in some tropical air, especially if it’s winter. Next, a late lunch at Culina on-site before shopping on Whyte Ave. Then I’d head off to see a show at Workshop West or Varscona—or even Rapid Fire’s soon-to-be-opened digs at the old telephone museum. Then I’d finish up the evening with a local craft beer and a late-night snack at one of the many nearby breweries, such as Blind Enthusiasm or Situation Brewing.

Want more YEG Arts Stories? We’ll be sharing them here all year and on social media using the hashtag #IamYegArts. Follow along! Click here to learn more about Chris Dodd, and here to find tickets info to see Deafy at the Citadel Theatre, January 21 to February 12.

Elizabeth Morris and Chris Dodd star as Miranda and Alphonse in Adam Pottle’s Ultrasound at Theatre Passe Muraille. Photo by Michael Cooper.

About Chris Dodd

Chris Dodd is a Treaty 6-based (Edmonton) award-winning Deaf actor, playwright, accessibility advocate, and Governor General Innovation Award finalist. He is the founder and artistic director of SOUND OFF, Canada’s national festival devoted to Deaf performance. Chris holds a degree from the University of Alberta’s Drama program and has been working within Edmonton’s theatre community, and across Canada, for over 25 years. His play, Deafy, recently toured Ontario and will be presented as part of Highwire Series at the Citadel Theatre’s 2022/23 season. The play was recently published by Playwrights Canada Press as part of the anthology, Interdependent Magic: Disability Performance in Canada. Notable performances include the role of Alphonse in Ultrasound at Theatre Passe Muraille. Recent film credits include the role of Odin in the upcoming feature film, Finality of Dusk. In 2019 he was the recipient of the Guy Laliberté Prize for innovation and creative leadership by the Canada Council for the Arts.

[vynettec]

I don't make posts like this a lot, and I'm sure this might already end up lost in the sea of replies, but as someone who saw the announcements and felt like I had received news that a beloved pet who had been sick for a while was being put down, I want to try and say something:

Magic has been a part of my life for nearly 15 years now, more than half my lifetime, and got me through a lot of rough times. Part of it was it being a fascinating game mechanically, sure, but MOST of that was due to its stories, it's worlds, it's characters, and the gameplay that so beautifully could tell those things through wonderful ludo-narrative harmony. When I designed custom cards for my friends for fun, they've always been top-down, always concerned with finding appropriate art, a fitting epithet, appropriate color identity, mechanics that evocatively tell a story, because those are the things I value most about magic; its stories.

I have felt, for a while now, that it seems that Wizards of the Coast does not value those stories like I do; or rather, they seem to not care at all.

Sure, the designers and writers and artists that actually *make* the game give it their all to make it fun and special for us with what little room is given them now. But that doesn't stop changes from happening that have eroded away at magic's narrative and aesthetic soul. Planes get a third of the time originally afforded them to have their settings develop and their stories progress. Unique and iconic species are erased from type lines for generic earthling descriptors. An overall decrease in vanilla creatures and increase in card complexity leave much lower room for flavor text and microfiction. The list goes on.

Worst of all, we have crossovers what feels like every other month now, and every time Wizards demonstrates to us Vorthos that they don't believe the setting and stories we live so dearly to be worthy of sharing with the other property anywhere as much as that property is lovingly portrayed in our own. Do you remember, Mark, when the trailer announcing that Marvel sets were coming dropped? Did you notice at all, when the only time afforded to mention the Magic half of that crossover was to make a shitty pun about the *name* at the very last second?

Wizards loves to talk SO VERY MUCH about their gameplay framework, how great the mechanics of magic are at portraying *other people's* stories, but they never feel compelled to promote their own stories with anywhere near as much effort or care. We have to fight, tooth and nail, to get people to know magic story even *exists* now. And now they've put the final nail in the coffin. Made the call that no longer will any given part of magic be allowed to stand on its own, that Magic would be better in their eyes by being Fortnite or Weiss Schwarz, a platform for other people's favorite stories, rather than focus on its own IP. We are going to get more UB than we will original magic now, and that ratio is only going to become more dire as things continue.

I have loved magic, and it's stories, for over half my life, and now Wizards is doing everything they can to steadily push me out of the game in favor of a mysterious potential player that likes Pop Culture Soup more than I loved Magic. That makes me feel genuinely terrible.

Thank you, Mark, for giving this chance for some of us to speak emotionally and actually feel heard. I doubt it will amount to anything in the end, seeing as we are clearly in some kind of minority that aren't worth being marketed to, but it's still nice to see it acknowledged that feelings have been hurt and matter to someone there more than cold logic. I hope you have a good day, despite all the sadness being shared.

I’ve always felt the core role of this blog has been one of information. We make a lot of choices in design, and I try to use my various communications, including Blogatog, to walk the players through what we were thinking when we made key decisions.

The challenge with this approach is that it’s very logic-focused. It uses intellectual justifications to explain actions. But the problems I’m often responding to are emotional in origin. I have a good friend who’s a psychologist. He refers to this (using the words of author Robyn Gobbel) as an owl brain solution to a watchdog brain problem.

When someone is hurting, hearing about why the thing that is causing them pain is the result of intellectual decisions falls flat. That’s what has been causing some tension lately here on Blogatog.

It’s clear that for some Question Marks changes over the last few years represent the loss of something key to what makes Magic special to them. To them, the game is losing its heart.

While I can’t necessarily do anything about that, I want to better understand what you’re going through. So I’m using this post to ask players who are concerned with the recent changes to help me understand their feelings. Let me hear your stories about how your lives have been affected by these changes.

[x--daughters-of-darkness--x]

20 WOMEN VOCALISTS IN METAL WHO ARE A DRIVING FORCE FOR THE GENRE

Lzzy Hale

If you haven’t heard of the colossal Halestorm and their show-stealing frontlady Lzzy Hale by now, how’s it been living under that rock? Out here in the real world, both rock and metal have been battling to claim Halestorm and Hale’s presence since the band’s first EP, (Don’t Mess With The) Time Man, in 1999. From the vitriolic masochism of “I Miss The Misery” to the heart-wrenching “Here’s To Us,” Hale’s vocal range reaches each extreme of moving emotion and devastating attitude. We couldn’t pay tribute to Hale without also recognizing her guitar talents. Check the sassy leading line from “Love Bites (So Do I)” as an example of this phenomenal lady’s ability to step beyond musical expression and into aural artistry.

SKYND

True crime has never been more compelling than at the hands of Australian electronic-metal sensation SKYND and their mystifying frontwoman of the same name. Tackling a new real-life mystery with each track, covering the disappearance and mysterious death of “Elisa Lam” and the doomed cult following of “Jim Jones,” SKYND’s haunting vocals tell each tale as if they were acting out in front of you. SKYND’s dedication to her theatrical persona (plus the ability to keep her real identity a secret), her iconic look and the creation of lore around her exposition of real-life crimes is a mystery the metal world may never solve, but perhaps it never should.

Taylor Momsen

Gossip Girl? We don’t know her—we know Taylor Momsen as the sultry tones commanding metal’s sassiest frontrunners the Pretty Reckless. With her gravelly vocals offset by her signature blacked-out eyes and suspenders, Momsen is an all-around powerhouse frontlady who bends all of your stereotypical expectations of a female vocalist. Take the hissing attitude of “Make Me Wanna Die,” the iconic summer anthem through “Messed Up World (F’d Up World),” the doomed “Going To Hell” and the gloriously filthy “My Medicine”—she’s not here for your entertainment, simply to make music in her own inimitable devil-may-care way.

Sharon den Adel

Where symphonic-metal outfits go through vocalists like water, Within Temptation’s Sharon den Adel has held on to her throne at the very beating heart of the genre since 1996. The band that introduced you to the dark side in high school has come a long way from “Angels” and “Our Farewell” to their most recent sensation “The Purge,” but the enduring talents of the angelic den Adel at the helm remain as moving as ever. Whether your heart breaks or races along with the captivating stories told through her cherubic vocals, den Adel’s talents have kept this legendary band alive and relevant for 25 years. We’re hanging on the edge of our seats for a new album.

Amy Lee

Most millennials were introduced to the world of metal through Evanescence’s invasion of radio airtime in the early 2000s, making vocalist Amy Lee an initial encounter in female presence in a heavily male realm. With an unforgettably haunting vocal range that can reach into your chest and pull out your heart with a single note, Lee’s trademark sound has lived in our minds since 2003’s Fallen and has no intention of letting go. From the iconic “Bring Me To Life” to her solo career’s “Speak To Me” and most notably the captivating “My Immortal,” Lee’s inimitable voice of an angel showed metal how to truly capture the mainstream.

Melissa Bonny

You’ve never seen symphonic metal quite like Switzerland’s Ad Infinitum and, consequently, you’ve never seen a frontwoman quite like Melissa Bonny. With her compelling vocals at the helm, each track tells a story steeped in historic struggles and triumphs as the band members each adopt a story of survival during the time of the Black Death in Europe. Every member appears in a plague doctor’s mask except Bonny, commanding the narrative as her show-stopping range transitions from heavenly cleans to venomous screams with ease. Ad Infinitum and Bonny’s towering talents begin an epic quest through the ranks of metal, and nothing will stand in their way.

Simone Simons

Symphonic-metal outfits face a constant challenge to stay relevant and move forward with the scene around them, more so than any other subgenre. However, the dreamy contributions of Simone Simons have kept Epica at the forefront of their genre since 2002. The band that once created “Storm The Sorrow” have matured to the lofty heights of “The Skeleton Key” with Simons’ operatic tones at the helm, bringing her angelic range to the band’s cinematic instrumentals and occasional death-metal infusions.

Maria Brink

Since their inception in 2005, In This Moment have redefined performance art and metal all at the same time, thanks to the command of iconic vocalist Maria Brink. Challenging religious imagery alongside feminine stereotypes, Brink’s presence both on and offstage has decimated the white male dominance of the metal genre. It takes a certain conviction and attitude to pull off the likes of “Whore” and “Blood” without trivializing their core moral messages, but Brink has rewritten the book on expectations of women in the heavy music industry. Long may she reign.

Larissa Stupar

Vicious, teeth-baring uncleans are the domain of Venom Prison’s Larissa Stupar, death metal’s brightest rising star. Whoever said women had to be the saccharine, angelic feminine contribution to metal clearly never met Stupar, who belts savage growls as if delivered from the gates of hell itself. The likes of “Uterine Industrialisation” and “Slayer Of Holofernes” prove devastating both live and in the studio when this unrelenting powerhouse gets her chops around them.

Alissa White-Gluz

Arch Enemy’s screamer-in-chief makes belting superhuman notes look easy. Alissa White-Gluz’s cord-shredding talents are the result of a career that started when she formed the Agonist at the age of 19. Joining Arch Enemy in 2014 gave White-Gluz a platform to showcase her range and also gave us her contagious live presence on a bigger stage. Providing her distinctive tones to regular collaborations with Kamelot and Delain, the voice behind Arch Enemy’s “War Eternal” and “You Will Know My Name” is no stranger to framing racing riffs with her guttural chops and showing off her heavenly cleans when the instrumentals allow.

Cristina Scabbia

The dual vocal onslaught we know and love from Lacuna Coil compels and fascinates, thanks to the storming presence of Cristina Scabbia. Dominating the metal scene since the ’90s, the enduring Italian crew pour richly gothic melodies over devastating riffs. Scabbia’s heavenly clean vocal is the cherry on top. From unforgettable classics such as “Our Truth” to their latest show-stopping “Save Me,” her dream-like range has been an invaluable gift to metal for over two decades and hopefully many, many more.

Tarja Turunen

The thought of losing founding Nightwish vocalist Tarja Turunen to the abyss of former symphonic singers when she left the outfit in 2005 was too much to bear. Luckily for us, Turunen kick-started her solo career the following year, and she’s been a mainstay of the metal scene ever since. The heavenly operatics that once heralded classics such as “Wish I Had An Angel” and “Nemo” now belts “Innocence” and “Tears In Rain” with the most celestial, earthbound vocals the genre has seen to date.

Suzuka Nakamoto

Easily the youngest member of our ranking, Suzuka Nakamoto, known as Su-metal, is the founding member of Japanese sensations BABYMETAL. With all the maturity of an artist twice her age, this 23-year-old puts us all to shame with her consistent energetic vocals and seemingly endless energy supplies while performing impeccable dance routines onstage. Between the iconic “Gimme Chocolate!!” and BABYMETAL’s latest “Kingslayer” collaboration with Bring Me The Horizon, there’s no denying she has a long and prolific career ahead of her.

Amalie Bruun

Myrkur has become a relentless hot topic in metal since its inception in 2014, and we have only recently discovered the identity of the haunting vocals at its heart. Now we can credit multi-instrumental composer Amalie Bruun with the rise of this mysterious Danish project, led into the wilderness by her raw screams bursting through cherubic cleans just when you least expect it. Often singing in Norwegian as an authentic twist on her own style of black metal, the theatrical “Ulvinde” and “Juniper”’s lingering atmospherics merely scratch the surface of Bruun’s compelling storytelling talents.

Elize Ryd

Amaranthe’s triple-threat vocals fetch their lighter tones from Elize Ryd, the Swedish outfit’s not-so-secret weapon who brings cherubic notes to their modern take on organized metallic chaos. Also known for her additions to Kamelot, both live and in the studio, Ryd’s heavenly cords and quirky songwriting add a bucketload of atmosphere and depth to the likes of “Amaranthine” and “Maximize,” making Amaranthe’s unique versatility one that continually sets trends for years to come.

Cammie Gilbert

Houston doom-metal upstarts Oceans Of Slumber have found themselves on a near-vertical trajectory over the last few years, a movement fronted by the tireless energy and boundless talents of their powerhouse vocalist Cammie Gilbert. Upon joining the band in 2014, Gilbert’s towering range came to the surface as her vocals neatly expand the lulling melancholy of “Winter” and the desperate cries of “A Return To The Earth Below,” as if her vocals project both fragility and strength at the same moment.

Heidi Shepherd and Carla Harvey

We couldn’t separate the two ladies commanding Butcher Babies, so this slot goes out to both Heidi Shepherd and Carla Harvey as the double-trouble onslaught who have brought us “Monsters Ball” and “Magnolia Blvd.” If you’re looking for a nonstop, indulgent party with the possibility of a snapped neck or two, look no further than L.A.’s dirtiest metal export that have become a staple on everybody’s festival bucket list. This versatile pair have made thrash their own ever since their 2013 debut, Goliath, showed the metal scene what it had been so desperately lacking—two relentless ladies who know exactly how to have a good time.

Chelsea Wolfe

Surprisingly the only strictly solo appearance on this list, Chelsea Wolfe has made metal her very own since her arrival in 2010, draping a veil of folk-y atmosphere and gothic depth over seductive doom-metal undertones. Combining her boundary-smashing approach with a sadistically dark visual style, Chelsea Wolfe somewhat ironically injects life into doom by refusing to conform to the genre’s ’90s stereotypes. She wraps her smooth vocal swathes around the compelling melancholy of “Feral Love” and “16 Psyche,” as if redressing the world around her in her own image.

Tatiana Shmayluk

You’d be forgiven for thinking Ukrainian outfit Jinjer tell their lyrical tales through the voice of three separate individuals covering melodic cleans, ear-splitting screams and guttural snarls and somewhat effortlessly slipping between them. The single towering voice behind this band’s meteoric rise belongs to Tatiana Shmayluk, flexing her multi-talented chops on “Perennial” and “Sit Stay Roll Over” just to increase your vocal envy. We’re still not sure how she pulls off such smooth transitions between the polar opposite personas onstage, but we can’t seem to look away.

Floor Jansen

Taking on the mammoth task of fronting the pioneering outfit Nightwish in 2013, Floor Jansen donned her new role as if she was born for it. Jansen’s inimitable honeyed tones ushered in a new age for the symphonic-metal icons, weaving her slick melodic range through the band’s trademark cinematic instrumentals. The theatrical atmospheres tracked on “Élan” and “Noise” give Jansen the room to flex her operatic range while she narrates the vibrant, tall tales we know and love from Nightwish.

[razorsadness]

What I Did on My Summer Staycation, a list:

1. I mentioned in my last entry that I had enough money to treat myself to a few small things. I think that some of my personality and current interests can be well summed up by what I treated myself to: a pack of multicolored Sharpie markers, some pins for my leather and denim jackets (mostly ‘Mats-related, cuz I’m kinda obsessed), a jug of cold brew coffee, and a visit to the local art museum.

2. I’ve gotten back into visual art. Not that I ever really got out of it; I make collages and Xerox art and pages in my art journals all the time. I just mean—well, I started a new canvas last week and it just burst out of me; I painted for hours a day until I’d finished. And since then I’ve been working with oil pastels in my art journal, plus sketching out ideas for some other, larger pieces.

3. It took me years to consider myself a ‘real’ visual artist, or to think that I might have any talent for visual art. Even when people—people whose opinions I respected, people whom I considered ‘real’ artists, even!—complimented my stuff, I’d downplay it; assume they were just saying those things to be nice. Even when I was part of art shows, and complete strangers paid money to take something I painted or drew or photographed or collaged home with them, I’d somehow find a way to talk myself out of feeling like it meant I might actually have talent. And I think a lot of it had to do with how badly I did in art class in elementary and middle school. And just the other day I thought…huh, I wonder how many well-respected, awesome artists did terribly in grade school art class? Probably quite a few! Because in my experience, those art classes had nothing to do with encouraging kids’ artistic abilities, or even teaching us much of anything…except how to follow the rules. Most of the teachers I had in grade school art class were looking for very specific results for each project, and if we couldn’t, or didn’t want to, reproduce them, we got in trouble or got a bad grade. They acted like we were in Warhol’s Factory, where every piece had to be damn near identical to the example they’d shown us. I don’t mean that we were expected to learn the fundamentals of different kinds of art; there was very little actual instruction designed to make us better skilled. I mean…oh, here’s but one example among many: in third grade, we had to make clay sculptures of dinosaurs. I made a dragon instead. I got a bad grade on that project.

3.5. I often got in trouble for not following rules. I got in trouble or got bad grades in Language Arts sometimes, because I got weird with my writing and didn’t do exactly what was asked. Yet that never made me think I was a bad writer! So why did grade school art classes make me think I sucked as a visual artist? Maybe because I had enough writing teachers who encouraged me to balance out the sucky ones? Who knows.

4. Last Thursday I took myself on a date to the art museum. I hadn’t been there since last November. I fell in love with so much of the art, discovered a bunch of new-to-me artists as well as seeing works by artists I was already well familiar with. They have a Paula Rego in one of the current exhibits, and I nearly cried seeing her work in person. (I did cry in front of the Franz Gertsch.) I stopped by the gift shop before I left, to buy a couple postcards and check out the used book rack, where I found a copy of a 1969 book called Pop Art Redefined for two bucks! When I went to pay, the woman behind the counter told me she loved my necklace (I was wearing the blackbird + rosary bead necklace an old Milwaukee friend of mine made for me years ago) and my tattoos. Then she noticed the paint on my fingers and said: “Oh, you must be an artist, too!” And she handed me some info about the museum’s upcoming community art show. It’s free submission, everyone is eligible, it’ll all be up online, and the community gets to vote—and the three top-voted artists will receive a voucher for a studio art class! And it’s zodiac themed!

4.5. I just loved being recognized as an artist, okay?

5. Friday was the start of our house and dog-sitting job. C. insisted we go to the beach pretty much right away, so he and I went while P. and D. stayed with the dog. We looked for rocks and beach glass, built a sandcastle, walked in the water; I drew for a while while he ran in and out of the water and squealed with glee anytime a big wave came up. Later, back at the house, I sketched out some ideas for the zodiac-themed art show. I have two ideas, but it’s limited to one submission per artist; I think I’m going to make both and then decide which one to submit once they’re both done.

6. None of us slept well that first night, so the next day was a little rough in some regards. But there were good things, too. I talked to the neighborhood crows. I made a batch of pie crust while listening to La Traviata and Django Reinhardt. I worked on some poems, and some pieces for my zine. I did some more sketching in my art journal. I saw the proofs for LOTD, and oh wow did the publisher ever get the aesthetic exactly right. We went to the beach again, all four of us this time. D. brought a bag to pick up trash, his idea, and he thoroughly cleaned up the beach, and I was so full of love and pride for my budding environmentalist. I picked up more rocks, felt their energy, gave most of them back to the lake, except for one that wanted to come home with me. We all slept better that night.

7. Sunday was probably the best day. I did a tarot and oracle spread about what the upcoming week had in store for me; a lot of it involved transformation, healing, breakthroughs. I did yoga. I wrote postcards to some friends as though I were on a real vacation. We took a long walk. The storms rolled in, I made a nectarine and blueberry galette, wrote some. Cooked a delicious Provençal-inspired salmon dish for dinner, drank some vodka rocks with a twist of lemon, watched the rain. But then I barely slept again that night.

8. I woke up Monday feeling completely wrecked, both from lack of sleep (I used to stay up all night on purpose, for fun?!) and allergies (fall allergy season is starting, yay!). The first half of the day was really rough. I found a dead mouse on the front walk, poor little gray fuzzball, and it made me cry. Then C. had a huge tantrum, and I reacted very poorly. But it turned out okay in the end. I have a tendency to let a bad moment or bad mood ruin my entire day, but I’m trying not to do that. P. took C. on a little outing, I took a long bath with some stress-relief bubble bath, when they got back I apologized to C. and we hugged it out and things were fine the rest of the day. We grilled out, listened to the howls of the coyotes that walk along the lakeshore, then watched a movie as a family, all cuddled up on the same couch (along with the dog we were dog-sitting). And I slept well, finally.

9. Yesterday, we cleaned the house we’d been staying in, then packed up our stuff, and waited for the owners to get home. They got home late afternoon, paid us, and we came home to our house. Then my parents stopped by. They just got back from a trip to Michigan to visit family, and wanted to give us some things they’d brought back. I got a series of paintings done by my dad’s cousin (who is actually a quite well-known and respected artist, and also pretty much the only cool weirdo on my dad’s side of the family), a piece of pottery made by one of my mom’s sisters, and a pair of earrings made by another of her sisters. But before that could happen, my mom immediately started in on me. I had off-handedly mentioned how rough a lot of the weekend was for me & P. & the kiddos, and because I said that rather than asking how her trip was, well, there was hell to pay. It’s exhausting, sometimes, that I never seem to be able to do anything right in her eyes.

9.5. When I freaked out during C.’s tantrum on Monday, I noticed that some of the things I said/the way I said them was very, very like my mom, and I was horrified. (They fuck you up, your mum & dad…) But at least I apologized to C. For all my failings, I admit when I’m in the wrong. I can count on one hand the number of times in my life my mom has apologized to me. Usually, even when it’s something she started, I’m the one who has to apologize, otherwise she’ll send me passive aggressive text messages until the end of time.

10. After that blew over, everything was fine for a while. It was good to be back at our own house. The kids seemed mellower than they’d been in days. P. and I had some drinks in the backyard and watched the dragonflies swarm overhead. But then, after the kids were asleep…some rough stuff got brought up, and we were maybe not sober enough to talk about it calmly, and it turned into a big argument where we both yelled and I cried. He slept on the couch and I got in bed and cried some more.

11. But we talked again this morning, and things are better. I thought again of my tarot spread for the week, and thought: oh. Healing, transformation, breakthroughs. Sometimes those things aren’t pretty, and they’re seldom ever easy. The truth is, my mental health has been…not great…for the past month. I’m in kind of a scary place that I’m not sure how to get out of, but as of this morning I feel like I can. I also got on Facebook for the first time in a while, only to discover that a lot of my friends are going through some similar hard times. I want us all to make it, and be even stronger and happier on the other side of whatever this is. I still don’t fully know how to get out of my dark place, but I’m trying some things. Cutting way back on caffeine and alcohol. Making sure to exercise every day, depending on physical ability. Continuing to make art and seek out things that bring me joy.

12. Today was pretty good, overall. Took a long walk with C., wrote some, got my favorite chicken tagine simmering in the slow cooker. LOTD came out, and I think at least half the copies have already sold. Tomorrow, we are taking the day trip we were originally going to take last week. Backroads & burgers & Big Foot Beach, here I come.

13. Sometimes I feel like I get weirder & wilder as I get older, not less. Certainly, my life is more staid than it was in my younger days, and even my appearance isn’t always as outlandish. I think I need fewer outward exhibitions of weirdness and wildness now that my internal life is so much richer. Not saying my internal life was totally dull when I was younger, but…to paraphrase Patti Smith, I’m better able to live my life with balance and stealth now that I proceed with abandon in art and dream.

[heavens-bookshop]

Fic Asks Game!

I was tagged by my lovely friend @princip1914​ and decided to give this a go while I’m procrastinating on working on a fic (the circle is complete)

1) How many works do you have on AO3?

I'm up to 26 now apparently!

2) What’s your total AO3 word count?

78,636 (one day I will make it to 100k)

3) How many fandoms have you written for and what are they?

I’ve only written for GO since it was the thing that made me want to write fic for the first time.

4) What are your top five fics by kudos?

Frayed (5k E) - Aziraphale struggles to process 6000 years of repressed trauma

Dreading the winter's near (2k, T) - Crowley has a hard time with cold weather on account of being a snake

Apicius (3.2k, T) - Aziraphale and Crowley go on their first date post-Armageddon

Vipers that cannot be charmed (5.1k, E) - Crowley's venom has sex-pollen like qualities, and they use it to act out a fantasy Aziraphale has harboured for centuries

Treasures of Heaven (2k, T) - outsider POV, a moment between Crowley and Aziraphale as seen from the POV of a waitress in a coffee shop

5) Do you respond to comments, why or why not?

I try! I used to be very good at it but I lost my way a little while back. I would love to work through the backlog tbh

6) What’s the fic you’ve written with the angstiest ending?

Hmm, I haven't actually written much angst (despite enjoying a good angsty fic) so I am not really sure I have a good answer for this. In some roundabout way, it might be The Bible Project purely because it's a historical fic and therefore doesn't end with the two of them together. But the fic itself is lighthearted and silly so that's probably a dumb response. Maybe it's Pink and Poppy? A little ficlet I wrote that's set during The Night At Crowley's Flat and overall has a more melancholic vibe.

7) Do you write crossovers? If so what is the craziest one you’ve written?

I have not written a crossover! I think they're super fun to read but my brain cannot write them, it's like my writing needle has to be in a specific groove and really protests jumping between others. But there are some great GO crossovers out there!

8) Have you ever received hate on a fic?

Thankfully I haven’t

9) Do you write smut? If so what kind?

Yes, yes I do. Still something of a novice but I do really like using sex as a way of exploring some aspect of character or their relationship. I find it super fun to plot the smut like that!

10) Have you ever had a fic stolen?

Not a fic, no!

11) Have you ever had a fic translated?

I don’t think so

12) Have you ever co-written a fic before?

As Princip said on their version, we co-wrote a little ficlet where Crowley and Aziraphale are algae! (Elaborate-On-That-No.gif)

13) What’s your all time favourite ship?

Aziraphale/Crowley for sure, I’m hopeless

14) What’s a WIP you want to finish but don’t think you ever will?

Hmm, well I hold out hope to finish all the WIPs I have currently published on AO3 (however misguided that may be). I have a very sad WIP that I worked on when I was Going Through It™ where Aziraphale is killed by hellfire and explores Crowley’s grief. I would really love to finish it but I also think working on it takes a lot out of me.

15) What are your writing strengths?

Oh dang what a good question. I think I’m good at constructing a narrative, I think I use words fairly efficiently, and I think I can sometimes write interesting or funny dialogue between Crowley and Aziraphale.

16) What are your writing weaknesses?

I am resisting the urge to be immediately self deprecating and say “a lot“ (GROWTH.JPG). Realistically, I think I still struggle with structuring my writing. I’ve got a lot better at it, but when I read back some of my first several fics, I can see that I was definitely stuck in Science Writing Mode since that has been my only writing experience for the last, like, decade. I think I’ve managed to make things smoother and flow better for fiction, but I still get stuck. I also think that I struggle to make transition scenes interesting, and I’m sure I do a thousand other things that writing advice columns always tell you not to do.

17) What are your thoughts on writing dialogue in other languages in a fic?

I think Princip’s answer to this was pretty identical to my feelings, which is that, much like writing dialogue in a dialect, it can be used to great effect when done sparingly. I think if you start writing too much of the dialogue in another language or with a thick dialect, it starts to a) become hard to follow, and b) runs the risk of turning your character into a stereotype.

18) What was the first fandom you wrote for?

I mean, when I was 11 I used to write stories where me and my brother had our own Digimon and we’d go on adventures and stuff. But other than that I used to be a strictly Fanart Only creator up until GO!

19) What’s your favourite fic you’ve written?

Gosh another good question... I think I’m definitely proud of several of the fics that have already been mentioned here, and certainly Frayed and Vipers cannot be charmed have a special spot in my heart. However I do really really love the SFW fic I wrote for the snake zine, Let Sleeping Serpents Lie. I think I got a good mix of soft and funny, and I also got to work with a super talented artist!

----

I have no clue who has or has not had a go at this point but I’ll tag @racketghost and @fremulon and @theoldaquarian and @forineffablereasons case none of you have done it yet! If you’re reading this and haven’t done it yet, feel free to fill it in and tag me!

[natromanxoff]

How prog were Queen?

By Dave Everley

On 9 January, 1971, Kevin Ayers and Genesis played a show together at the Ewell Technical College near Epsom in Surrey. Ayers was 18 months out of Soft Machine, and making a name for himself as a psychedelically-inclined art-folk rake. Genesis had released their second album, Trespass, a few months earlier, and were carving out a place in the vanguard of the burgeoning progressive rock movement.

There was a third band propping up the bill that night, a bunch of transplanted Londoners calling themselves Queen. In contrast to the wilfully artful approach of the headliners, their music was more straightforward: a heavy, if ornate blend of Led Zeppelin’s earthiness and the flights of fancy of Yes.

Not everyone in the small crowd watching them was impressed, but they caught the attention of one person. After the show, Genesis frontman Peter Gabriel pulled Queen’s blond-bombshell drummer Roger Taylor to one side. Gabriel’s band were about to dismiss their own drummer, John Mayhew, and were looking for a replacement. Was Taylor interested in joining Genesis? The reply was instant: thanks but no thanks. Taylor was utterly dedicated to Queen – there were gigs to play, places to go, and many musical adventures to embark on.

Had Taylor accepted the offer, the course of music – and specifically prog – would have been very different. Genesis would have flourished with Gabriel upfront, though whether they would have survived and prospered as they did without a Phil Collins to step into the breach after their talismanic singer’s departure was another matter.

The knock-on effect on Queen would have been greater. Taylor was an essential part of their carefully balanced four-way chemistry; a chemistry that would go on to throw up some of the most ambitious and game-changing music ever recorded. While Queen weren’t a capital ‘P’ prog band, they were infused with the spirit of the movement, combining its forward-looking values with its absolute disregard for the existing rules. Taking their cues from the likes of Yes, Genesis, Van der Graaf Generator and even Pink Floyd, their flamboyantly cavalier approach would go on to inspire such modern masters as Dream Theater, Queensrÿche and Muse. And, in Bohemian Rhapsody, they ensured that one of the biggest-selling singles in history was, at heart, a prog song. Forget the luxuriant moustaches and sawn-off mike-stands that would come to define them: if the prog ethos meant avoiding the expected, then Queen were definitely a prog band.

“Diversity was probably their greatest asset,” says former Dream Theater drummer and confirmed Queen devotee Mike Portnoy. “From song to song, they could be so different. You could have something that was folk followed by something that was rockabilly followed by something that was metal. And that’s one of the biggest things about prog, having that open-mindedness.”

Queen’s schooling in prog came early on. Brian May’s very first band, 1984, played a 4am slot supporting Pink Floyd at the Christmas On Earth Continued all-nighter in 1967. A year later, his next outfit, Smile – also featuring Roger Taylor – played with Floyd again, this time at London’s Imperial College. By the time of their gig opening for Kevin Ayers, Smile had changed their name to Queen and recruited Freddie Mercury. Collectively, they admired Yes, Van der Graaf Generator and especially Genesis. “Foxtrot is a prog rock classic,” Roger Taylor later wrote in the sleevenotes to Genesis box set 1970-1975. “Arrangements were highly complex in these early days, setting a benchmark for the style of the times.”

When it came to finding someone to produce their debut album, Queen’s first choice was John Anthony, who had worked with both Genesis and Van der Graaf. With Anthony and co-producer Roy Thomas Baker behind the desk, the eponymous album trod heavily in Led Zeppelin’s footsteps. But there was another, altogether more visionary band straining to spread their wings: My Fairy King was a filigreed slice of flamboyant rock’n’roll, while Liar metamorphosised through several different time changes and timings.

Those wings were fully unfurled on the follow-up, 1974’s Queen II. The title was the most prosaic thing about the record: the music inside was as fevered and baroque as rock gets, informed equally by Zeppelin, Yes and crazed Victorian artist Richard Dadd, whose 1864 painting The Fairy Feller’s Master-Stroke inspired one of the album’s most prog-leaning tracks. It may have been rooted in the heavy rock of the times, but its cavalier approach and sheer sense of scale pegged Queen as a defiantly progressive proposition.

“Queen weren’t like Yes, who had a dualistic role of guitar and keyboards, where both shared the terrain,” says Yes guitarist Steve Howe, supported by Queen at Kingston Poly in early 1971. “Brian had the terrain to himself. The remarkable thing was that he was the front and the back man. It required him to come up with more than guitar solos… He had to come up with a semi-thematic approach to play the guitar. And what he did was keep colouring.”

Queen’s prog inclinations would be deeply woven into the fabric of their early albums, from the audacious multi-part theatrics of Queen II’s March Of The Black Queen to the schizophrenic attack of the two-part Lap Of The Gods from 1974’s Sheer Heart Attack. Even in their more commercial moments, they marched to the beat of their own drum. What other band would have dared serve up something so unusual as Killer Queen?

“It was their diversity,” says Mike Portnoy, who first heard Queen as an eight-year-old in the mid-70s and covered many Queen songs while in Dream Theater. “Their albums took the prototype that The Beatles laid down with the White Album, where you had four different artists bringing in very different styles. Every song was so diverse. You get to A Night At The Opera, and you had this giant multi-layered epic like Bohemian Rhapsody next to something like Seaside Rendezvous or Love Of My Life.”

A Night At The Opera was Queen’s grand artistic statement and their most unashamedly prog album. Pitched around the epic twin tentpoles of The Prophet’s Song and Bohemian Rhapsody, it married their far-reaching vision to a distinctly British barminess. Taken on its own, the eight-minute The Prophets Song, with its incredible ornate a cappella middle section, would be enough to grant Queen access to the Prog Hall Of Fame. But even that sits in the inescapable shadow of Bohemian Rhapsody. Time and success might have lessened its impact, but that song remains the most dazzlingly unique piece of music ever to sell five million copies.

“There are epic things that come along every so often,” says Steve Howe. “There’s Sgt Pepper, there’s Bridge Over Troubled Water. And there’s Bohemian Rhapsody. I don’t know when I first heard it, but once it was there, it was such a formidable thing. You’re thinking: ‘How many tracks did they need to do those vocals? How did they write it? Who invented it? It really was astounding.”

Bohemian Rhapsody encapsulated one of the key things that gave Queen such a distinct identity. Like The Beatles and Beach Boys before them, they used the studio as an instrument – not least when it came to their vocals. And Bohemian Rhapsody raised the bar about as high as it could go.

“They sang each of those parts and triple-stacked them,” says Mike Portnoy. “You heard all three of their voices singing in all three vocal ranges. That’s what made the depth of their music so complex. It wasn’t the instrumentation, it was the vocals. That’s unusual for prog music. When I think of my favourite prog music, it’s always the musicianship that draws me. But with Queen, it was the vocals. It was so deep.”

For all its success, A Night At The Opera would be Queen’s grand kiss-off to their prog roots. Later albums streamlined their sound into a more conventional format. Much like Genesis, the 80s found them swapping experimentalism for chart rock.

It wasn’t until the end of their career as an active band that Queen would again sound so adventurous. During 1989 and 1990, the band began work on their penultimate album, Innuendo, in London and Montreux. In the summer of 1990, Yes guitarist Steve Howe paid a flying visit to the Swiss city, where a chance encounter with a former guitar tech found him being invited to Queen’s studio to hear the album as a work-in-progress.

“Inside, there’s Freddie, Brian and Roger all sitting together. They go: ‘Let’s play you the album,’” says Howe. “Of course, I’m hearing it for the first time: I Can’t Live Without You, I’m Going Slightly Mad. And they saved Innuendo itself until last. They played it and I was fucking blown away.”

If that was surprising, then what happened next was utterly out-of-the-blue. The members of Queen asked if Howe wanted to play on the title track. The Yes man politely suggested they’d lost their minds. It took the combined weight of Mercury, May and Taylor to persuade him.

“They all chimed in: ‘We want some crazy Spanish guitar flying around over the top. Improvise!’” recalls Howe. “I started noodling around on the guitar, and it was pretty tough. After a couple of hours, I thought: ‘I’ve bitten off more than I can chew here.’ I had to learn a bit of the structure, work out the chordal roots were, where you had to fall if you did a mad run in the distance; you have to know where you’re going. But it got towards evening, and we’d doodled and I’d noodled, and it turned out to be really good fun. We have this beautiful dinner, we go back to the studio and have a listen. And they go: ‘That’s great. That’s what we wanted.”

Released as a single in January 1991, Innuendo gave Queen their third Number One single. Like Bohemian Rhapsody 25 years before it, it was as unlikely as hit singles get: a six-and-a-half minute musical jigsaw, complete with flamenco runs, classically-inclined orchestral overloads and maverick 5/4 timing. Queensrÿche covered the song on 2007’s Take Cover album, while you can hear its echo in Radiohead’s Paranoid Android and Muse’s more elaborate sci-fi epics.

“In the world of rock, Queen stands out as a good example of the clash between guitar and piano in songwriting,” Muse’s Matt Bellamy has said. “I think that’s where you stumble across those more unusual arrangements and chord structures.”

Today, Queen have left a bi-polar legacy. They’re arguably best known for their pop hits – Radio Gaga, I Want To Break Free and of course, Bohemian Rhapsody, that ultimate prog Trojan Horse. But their spirit of adventure remains unmatched by all but the boldest of their peers.

“There was no rulebook for Queen,” says Mike Portnoy. “They broke most of the rules that existed, and then they wrote a new set.”

[artificialqueens]

Cause Somewhere in the Crowd (There's You) (Diamond Chaney) - Plegdoctor

A/N: Not much to say for this one really, just a short Diamond Chaney girlband au based off Super Trouper by ABBA. Enjoy!

--

The other girls were more excited than she was, unpacking the van and chatting animatedly while all Lawrence could do was stare around. The building in front of her was imposing in more ways than one – physically huge, towering over her and casting a shadow on the otherwise sunny day, but also mentally imposing. Lawrence can still remember walking into it when she was a small girl in primary school, brown hair in neat plaits and eyes as wide as saucers as she hung onto her best friend’s hand and gaped.

Now she’s standing in front of it, brown hair dyed a vibrant purple and thrown into a ponytail at the top of her head, her eyes wide as saucers, and her hand empty.

It had all gone a bit too far really, starting with Bimini slamming their fists on the table in year 12 and excitedly suggesting they start a girlband (“Well, three girls and me innit”) and Lawrence can’t trace her finger along what happened next to lead her to standing in Glasgow, a sinking feeling in her stomach as she realises what she’s doing there.

“You alright babe?” Lawrence turns to look down on Bimini, standing next to her with a concerned frown on their face. “Excited to be back in your hometown?”

Lawrence forces a laugh, a fake smile slipping onto her face in an action that more natural than she would care to admit. “Loving it Bim.”

Bimini grins. “Good. Just think, it’ll be like facing 20,000 of your friends.”

Lawrence’s snort is genuine at Bimini’s words, her eyes rolling fondly at the never-ending optimism of her tiny friend. “I don’t think there’s quite that many seats, babes.”

Self-proclaimed monarch of the PMA, Bimini simply shrugs and pivots to run towards Tayce who is three seconds away from dropping the crate full of water on her foot. Lawrence watches the scenes with a hint of amusement, the weighted feeling in her stomach settling. Her mind goes back to Bimini’s words, the thought of facing 20,000 of your friends. There’s only one friend that Lawrence wants to face when she’s on stage tonight – and that friend is currently on the other side of Scotland in her hairdressing salon.

The thought weighs on her mind until it’s pressing against her cranium and cracking her skull by the time she’s thrown herself across the hotel bed and sighed for approximately the 50 millionth time.

Lawrence loves what she does. She does. She loves her friends, Bimini, Tayce, and A’whora. She loves the process of writing new songs, long hours locked in the studio throwing harmonies and lyrics around until it just sounds like pure gibberish. She (secretly) loves learning the choreography that Tayce insists they must do, repeating the wee steps until her body finally moves in the right way and Tayce enthusiastically high fives her. She loves getting into costume and makeup, the process transforming her from Lawrence Chaney who got picked on in school into international popstar Lawrence Chaney who regularly performs on the biggest stages all around the world with her girlband.

They’ve worked hard for what they have too. Lawrence likes to tell people that becoming a household name is no overnight feat. From the day that Bimini first suggested it, to the joyful tears rolling down their faces as they came second on the X Factor, to their first single blowing up. They’ve worked hard every step of the way and been rewarded for it.

So why does Lawrence feel so ready to give it up? Part of the success that never ends is continuing to work, but for the past two months Lawrence has done nothing but eat, sleep, and sing. Her throat is raw and at moments she thinks she’s going crazy.

Her eyes catch her phone, dressed up in the delightfully tacky pink phone case that was a gift from Ellie for her last birthday. She picks it up and the screen flickers to life, displaying a picture of two girls with their heads close together and identical smiles.

Lawrence hasn’t spoken to her in far too long. Recently the whirlwind of life has swept her up to much for her to even think straight let alone have a conversation with a human being who is not also obsessively repeating lyrics under their breath.

“Hey.”

It’s a lonely word.

“Hey. It’s good to hear from you.”

Then Lawrence hears that voice, that accent that is so soft in her ear, and she could cry.

“I didn’t disturb you did I?”

“No hen, it’s fine, I only jumped so much at the ringing of my phone that I shaved some wee granny’s curls off but I’m sure she’ll forgive me.”

Ellie’s bored and matter of fact tone makes Lawrence burst out a laugh. “Poor Doreen, she’s really got to stop trusting you with those clippers.”

She can only imagine the way the corner’s of Ellie’s mouth might turn up at her teasing. “How is the salon anyway?”

“It’s in good hands. But babe, forget the salon, how’s your tour going?”

Even Ellie, the girl who knows her better than anyone else in the world, is excited for Lawrence and that only breaks her heart more. She grins ruefully, despite the knowledge that Ellie can’t see her.

“Honestly? I’ve been wishing that every show was the last show.”

Ellie’s little high-pitched noise of protest comes from her throat, her mouth undoubtedly in a little O shape with her eyebrows sliding upwards. “But you’ve only just got to Glasgow! You wouldn’t want to miss that!”

“Do you remember that trip to the theatre in primary school?”

A beat of silence at the other end of the line. “Of course I do. The one where I almost threw up on the bus because you fed me too many sweets?”

Lawrence chuckles. “Aye. Love how that’s the thing you remember about it.”

Miles away, Ellie shrugs cheekily. “I never forget friend abuse.”

“You’re such a wee cow, you know that right?”

“All part of my charm.”

“Anyway, being here is just making me realise how much I miss home. Tour is great Els, but I miss everything. I miss you.”

Ellie laughs. Lawrence shoots up in the hotel bed in outrage. “I just poured my heart out to you and you laugh at me?”

“First of all, not sure saying you miss me is pouring your heart out.”

She’s glad she chose to do this alone in the room and not anywhere near the other girls. She can’t begin to imagine the way that A’whora would pounce on her flushed face.

“Second of all, I wasn’t going to tell you this but I have a surprise for you. Listen.”

Ellie switches the phone to speakerphone and holds it away from her ear. In contrast, Lawrence presses her ear against the screen harder, knuckles white as she grips the pink case.

At first she can’t hear anything, just the faint murmuring of people talking in the background. She strains to listen for the sounds of hairdryers and flowing water. None of that comes and Lawrence lets out a huff of frustration.

“Ellie, explain to me exactly what the fuck I’m meant to be listening for?”

This train will depart at Glasgow.

Lawrence’s mouth dries completely.

“You’re coming to Glasgow?”

“No, just got on the train there for a bit of fun, I’m going straight back. Might not even get off the train it’s so comfy.”

“Get to fuck Els, I’m meant to be the funny one in this relationship.” Her mouth might be dry but her eyes aren’t, small jewels of tears welling up and threatening to spill over with every shaking word.

“I’m taking that title for now. I just need you to be the famous one in this relationship. You can do that, can’t you?”

“Ellie, for you I would do this entire tour all over again.”

Closer to her than she realises, Ellie smiles. “Good. See you on stage.”

“I’ll be thinking about you only.”

The call ends with a smile on Lawrence’s lips and a single tear sliding down her cheek. Suddenly she feels alright. And it’s gonna be so different when she’s on the stage tonight.

--

“Alright slags! Lawrence’s hometown so we’re gonna rock it just as hard as we always do. Hands in and United Kingdolls on three! One, two, three, United Kingdolls!” All four of them cheer, hoisting their hands in the air.

Their little preshow chanting may seem silly to other people but they’ve always done it. Even when it was only them singing covers with Ellie doing their hair and makeup, and A’whora ripping through charity shops to find decent costumes. It feels only fitting that they still do it now when they’re singing their own songs in professionally made costumes and makeup done by a professional artist.

Lawrence still keeps the style of her hair the same though. It’s changed colours a few times over the years, but it’s always in the same curls that Ellie brushed through minutes before the sixth form talent show.

Lawrence inhales as the music starts. The beat is steady and familiar, but tonight it feels so much more electric. She knows that the minute she’s on that stage she’s going to get blinded by that one beam of stage light that always finds it’s way to her eye, but she won’t feel blue like she always does.

When she gets on stage her eyes roam the massive crowd until she sees, in the very middle of a group of screaming girls, a head of baby pink hair. The sight of her proves to Lawrence that she’s still alive, and Lawrence uses that spark of energy to throw everything into her performance. She hits every note perfectly, her body moving in perfect harmony to the choreography that she usually fucks up at least once.

There’s a massive smile on her painted lips and she hopes that Ellie can read the smile, know that because of her, Lawrence is having fun on stage for the first time in months. There’s four of them in the band, but tonight Lawrence feels like a number one. The lights do not blind her but find her instead, shining like the sun.

They finish the first song with a flourish and Lawrence ignores the hundreds of screams to find Ellie’s. They still have the rest of the show, but Lawrence knows that they’re going to get through it and give Glasgow the best concert they’ve seen in years. Then she can stumble off stage and go from popstar Lawrence to Ellie’s Lawrence, falling into her arms and holding her tight. It’s gonna mean so much more tonight.

Because, somewhere in the crowd, there’s Ellie.

[botwstoriesandsuch]

The Champion’s Identities 10,000 years back

I was tagged in this post by @no-themes-just-memes for a theory about the original Divine Beast pilots 10,000 years back. This was too big for a reblog so here is this...

This tapestry, the one that was passed down to Impa, over what I can assume is a lot of generations, is pretty much our only information regarding the original Champions. It’s well guarded, behind Impa, which is near where their “treasured heirloom” was kept so it’s definitely a valuable heirloom.

[Full theory/analysis below the cut]

Now the fact that it’s in Impa’s possession and clearly in the Sheikah style is obvious to the fact that it was Sheikah-made, but just to reiterate that point, you can clearly see the Sheikah text, swirl designs, eye symbol, and obsession with constellations that other Sheikah stuff (like shrines) have. Impa’s version is much more weathered, which in comparison to the much brighter and refined picture I have at the top, obviously means that this piece of art is old. This was definitively made by the Sheikah and not something that was from the Hyrulean Family as other people may think

Why is this important? Well firstly, and a bit off topic, but I think this confirms that the sealing of Ganondorf in botw 2 was done by the Sheikah as the wall art in the trailer is of Sheikah style and not the Zonai (although that’s on the pretense that this art of ganondorf is related to his sealing, and not just art depicting the events of something else entirely, which could also be likely to be fair)

Anyhow, the fact that this was done by the Sheikah, means that we can definitively say that the art here is not only accurate, but we can understand that the artist had the basic knowledge on what the different races across Hyrule were when making this. Basically, I’m saying that this isn’t a case of “Oh this was a legend passed down through time and this art was made by someone 100 years ago so the description of the Champions is not accurate.” No. This was by the ancient Sheikah, who had first hand, or at least very close hand, knowledge on the events and more specifically what the Champions looked like. 

[And I can further prove this because the tapestry in the trailer is obviously woven, and not inked into, unlike the other more “modern” art across Hyrule that you see in the game. It’s on an almost papyrus like “paper” and not the more modern book binding paper that is present across Hyrule, the only exception being the Rito, but again, this is definitely Sheikah design]

If we understand that the depictions of the Champions are accurate, and not the result of misinterpretation through myths passed down to later artist, we can actually use the art of the Champions as fact to identify them. 

I’ll start off with this, none of the Champions were Rito, Goron, Hylian, or Sheikah.

Rito and Goron are easy to disprove, the shape of the Champions are vastly different from the larger, circular Gorons, and there are no wings, beaks, or talons present on any of them, so Rito is a no.

You could argue that Medoh’s pilot has a beak, but 1) There’s still no wings or talons, tail, or even feathers. 2) It’s more likely a helmet, such as the Divine Beast Vah Medoh Helm which is canonically worn by the pilot/controller of a Divine Beast. We will come back to that point.

None of the pilots are Hylians or Sheikah, because the tapestry includes depictions of those very races in the same piece. The Hylians are depicted very human like, and the Sheikah are all with their signature masks with their symbol on it. Both, vastly different than the styles of the pilots. 

(And also the Sheikah race devoted themselves to assisting the Hyrulean family with their technology and knowledge and not with direct combat making it unlikely they were pilots)

[btw there’s a theory that the corpse in botw 2 is actually the hero because they could both be Gerudo/ganondorf, cause the hero in this tapestry was Gerudo cause of the skin tone and hair or something... but I’m 99% sure that’s wrong because 1) the curse of demise wouldn’t allow Ganon to be the good guy and 2) the hero clearly has pointed ears, something not developed by the Gerudo (who had rounded ears) for many many many generations]

[Fun fact! This last image showing the ancient Sheikah being cast out displays them escaping to the Forgotten Temple (with the large goddess statue) and some of them also splitting off to become the Yiga Clan]

The only possible known races left are the Gerudo and Zora, but I’m very hesitant to even say that for a few reasons I’ll get into later.

The reason they’re not crossed off completely is because they have distinct arms and legs which Zora and Gerudo have, shocker I know. In addition, it could be argued that the red hair that some of the pilots have indicate their Gerudo race. Also, the pilot for Divine Beast Vah Ruta has a skirt/petitcoat like fins around their waist which could be argued to indicate a Zora. However, this obviously won’t explain the other pilots, but we’ll get to that soon.

[I’m not gonna re-screenshot the other pilot just scroll up and look at how their hair color is red ok]

Now, other than those obscure observations, this leaves me with my two theories. The simplest one, is that the pilots were actually Hylians, or Zora, or some other race, but they’re depictions here have them in armour, so it is impossible to tell. This lines up with the amibo descriptions of the Divine Beast Helms, which were worn by those who controlled the beasts, giving reason to the pilot’s unusual head shape. Not far-fetched to assume that they’re might have been a fully fledged Sheikah pilot armour made at some point. 

[could be argued that the this helm explains the “tusk” or “trunk” like blue shape on the Ruta pilot’s face]

In addition, notice how the pilots are all wearing the same colors as their Divine Beasts. The Ruta pilot with the same shade of blue, the Rudania with the orange, Medoh with the green, and the Naboris pilot with the red (and yes its a different color than the Ruta one, I checked its a darker shade). This could explain away the coat-like shapes on the Ruta pilot, and and previously mentioned beak shape on the Medoh pilot. No race (other than the Zora, but again, they’re unlikely) have these colors naturally, so we can only assume it is armour that makes their weird body shapes.

[Again, I’m not gonna re-screenshot them just scroll up or take my word for it :p]

So theory one is just that, their races are ambiguous/unknown because of the ancient Sheikah armour they wore, perhaps to protect their identities? Or, perhaps because Nintendo was lazy and didn’t think it was that important, which is fair, it really doesn’t impact the story that much.

What it does impact is my ability to theorize and assign meaning to things that they didn’t intend to, in the hope that I’m might be right, which brings us to theory 2.

I say that the pilots are not Gorons, Rito, Hylians, Sheikah, Zora or Gerudo. Now you might be thinking “That’s literally every race in Hyrule how is that possible?” and to that I saw no, no it’s not.

If we skedaddle back to my brief mention of the Zonai in that one paragraph a good 5 minutes ago (for your average reading speed idk) we can remember the Zonai people, responsible for the ruins across the Faron, Thyplho, Upper Eldin, and all three of the mazes in the corners of Hyrule. Their culture and ruins are vastly different than the Sheikah and Hylian, but they’re assumed to have human-like characteristic given their relation to the barbarian armour set, as I assume that the tribe from the Faron region is at the very least connected with the Zonai

This armour, by the way, is only found when completing Sheikah shrines, meaning the Sheikah must have made contact with the Zonai at least 10,000 years ago. Much easier to be in touch with someone if they’re...I don’t know, recruiting their people to pilot a giant mech of yours, wouldn’t you say?

Secondly as to why I think the pilots are all Zonai, is this line from Impa

These pilots were from “across the land.” Of course, you might initially interpret that line to prove that the pilots must have been of different races and background (ergo, Theory 1) but then how could you explain the similarities all four of the pilots have to each other.

All the pilots have darker skin (something that might be common if your people originated from a lush jungle, such as the Faron?) they all have distinct arms and legs, they all have hair, and are all of similar proportion, which is different than that of the Sheikah and Hylian. 

I’m saying that all the pilots were off the same race, and what other race is present “across the land” other than Hylians? The Zonai, present in all four corners of Hyrule as proven by their ruins. 

The Champions of 10,000 years back were Zonai, wearing special Sheikah made armour and helms, and helped the Hylian princess and the hero defeat and seal Calamity Ganon. While the Sheikah were later pushed out, no such violence or discrimination was recorded against these Champions because they were not Sheikah. Their race and names faded with time because just like their Zonai people, they and their tribe disappeared mysteriously never to be seen again. This is why their identities and race were left unknown, because their people were not remembered.

But that’s just a theory...a GAME THEORY. Thanks for watc— uh reading? Thanks for reading :P 

[kikidewynter]

anyway i mention my pierce headcanons a lot but i’ve never put them all in a post before so

he comes from an upper middle class family. his mom’s a lawyer and his dad plays an instrument in a professional orchestra

he’s an only child, and bc pierce gives me the impression that he craves validation and praise for his work, i think his parents never really gave him that much attention. his dad was usually out of town for work, and his mom either stayed late at the office or brought all her work home with her. when he did something worthy of praise, he didn’t really get it enthusiastically—just a quick “good job,” or “keep it up,” because they were so busy or because they had high expectations for him anyway

he might not be the best singer but he has a big interest in music. he took classical piano & violin lessons growing up (explaining his canon interest in classical music) and would wear cute little tuxedos to his recitals. he started playing around with making his own music and decided it was something he wanted to pursue, so he studied music production in college

he grew up in the suburbs and went to a private high school in north stilwater where he was president of the chess club, in the band, etc. and he would always wear his school blazer & have expensive shoes. he made sure he always looked good in his uniform, maybe accessorising with a diamond earring

pierce has big prep vibes but his sr2 look also makes me think he’s kind of a jock. i think he’s into more chill sports (nothing too aggressive like football), like basketball, tennis, or badminton maybe. probably a little golf by srtt bc he likes flaunting his wealth like that

gay. i was on the fence for a while bc he’s romanceable by anyone in sriv but then i realised that volition making all the characters playersexual while never clarifying what their identities are and giving us any real lgbt rep is evil so i’m not taking it as canon. pierce gay !

grew up admiring the vice kings. they were just so cool and stylish (if you’ve seen their early concept art u know what i’m talking abt). he would walk past them on his way home from school n give them a lil fist bump but his parents didn’t want him hanging around or making friends w gang members so that was kinda the extent of his affiliation

while studying in college, he gets an apprenticeship at kingdom come records. it’s cool at first, he gets to sit in on sessions and learn abt different equipment and techniques and recording processes. but as time goes by he gets sent on more and more shady errands until he’s basically just doing vice king jobs. it pays well and it’s fun, so he doesn’t really mind. he officially joins the gang and drops out of college

his parents disapprove but he doesn’t really tell them what he’s up to bc he knows they’d cut him off, so he just says he got a permanent job at kingdom come

aaaand then he gets arrested. i figure sometime near the end of sr1 when the saints are coming down hard on the vice kings n they lost all the connections king had that kept them out of jail

but it’s cool bc he meets gat and shaundi

he gets out n gets his tattoo about a year before the boss wakes up. probably feels a little lost bc he’s like 24 now and there are no vice kings and he can’t exactly go back to work at kingdom come, he doesn’t even have any qualifications. so he goes back to college and his parents are willing to pay but warn that it’s the last time. then of course the boss wakes up and he ditches all that to roll with the saints bc he just. loves the freedom and the fun and the money and the sense of family

he and shaundi get a place together and they bicker a lot but they actually have a lot of fun living together. one time he brings a guy home from the club and dips into the bathroom for a few mins. when he comes back out, his date is sitting at the kitchen table listening to shaundi talk absolute shit bc it’s 3am and she’s blasted and got distracted looking for food and asked for his birth chart. bc she does that with like EVERY guy pierce dates and then gets back to him on whether she thinks they’re a good match or not. he tells her it’s all bullshit but really he thinks it’s cute that she’s looking out for him

wears sweats and crop tops when he’s chilling in the apartment/the crib

he gets invited over to johnny’s and he hangs out a little before AISHA comes down the stairs and he’s like HUH??? bc he was a vice king, he thought she was dead. anyway they end up talking bc aisha loves meeting new people and they become fast friends. their shared love of music means they’re always in aisha’s home recording studio making songs. even if they can’t be released, it’s nice for aisha to be able to sing again, and pierce is more than honoured to be making music with an r&b star

when the saints become celebrities, pierce thrives. he becomes the official face of the saints, gets his own sublabel under ultor to produce music and work w artists. he also gets his own talent agency and scouts new actors/models for the saints/ultor brand. he’s rich, he’s doing what he loves, and to make sure he’s always happy, he surrounds himself with suckups and other celebrities. he throws parties constantly because he loves the good vibes and the attention and being the host and life of the party. but deep down it’s not satisfying at all. i don’t think he knows what he really wants

i know it’s a lil joke but i’m taking pierce saying he does voice acting work for video games as canon. he also guest dj’s a few times a week for the classical music radio station. makes guest appearances in sitcoms and tv shows, and sometimes reality shows (like when someone suddenly has lunch w their famous friend? he’s that friend)

he has his own line of suits sold in planet saints

[d6official]

Day6’s Jae Park is leading K-pop’s vital mental health conversation for Dazed Magazine

The musician discusses his solo project, eaJ, and reveals how a panic attack led him to tackle his own mental health issues and launch a social initiative.

He may have played his father’s guitar in the living room as a kid, but a career in music always felt like a pipe dream for Jae Park. Raised in Cerritos, California, Jae was pursuing higher education when he got the chance to audition for a Korean American Idol-esque survival show. Through this experience, he was able to carve a space for himself in the Korean music scene by ultimately joining Korean rock group Day6 in 2015.

Making their debut almost six years ago, Day6 created a space for a different type of idol group, a band. The five-member group has each member on an instrument: a drummer, two guitarists, a bassist, and a keyboard player. The members are heavily involved with the lyric writing and production of their songs. A trip to one of their live performances will surprise you with a member shredding a solo on the electric guitar instead of an intricate dance break. Their first EP, The Day, peaked at number two on Billboard’s World Album Chart, and since then, each succeeding release has found a home in the top 10.

Outside of the day job, Jae’s been busy with various projects: he’s a part-time streamer on Twitch, a co-host on the How Did I Get Here (HDIGH) podcast and, most recently, a solo artist, posting a string of self-penned songs under the alias eaJ to his YouTube channel from early last year. These side projects give us an insight into his personality. HDIGH explores a playful side to Jae; he and his co-host begin with a topic, start by sharing their opinions and beliefs, and slowly, they spiral into a deep dive on Google, diverging into a completely new topic by the end of the episode. It leaves them asking “How did I get here?”

Feeling lost and uninspired, Jae began writing the tracks as a way to reconnect with his love of music. These solo tracks sound different to his work with Day6. While Day6’s high energy work is reminiscent of early 2000s pop punk bands like All Time Low, the aeJ project tracks are tranquil, almost dreamlike, revealing a softer side of Jae’s musicality.

But amid this new venture, Jae faced mental health challenges that he feels changed his life, beginning with a panic attack in the back of a taxi. In recent times, more K-pop idols have become outspoken about their struggles, but there’s still a stigma attached to the topic in Eastern society. Compared to artists in the West, K-pop idols are more reserved about their relationship with mental health. Jae believes that continuing this cycle of “toxic positivity” and perfection can be destructive to today’s youth, fueling the global prevalence of adolescent mental health disorders.

These confrontations with what he calls “feelings of death, doom, and finality” encouraged him to become a mental health advocate and, through that, From Friends was born – a clothing line created in collaboration with REPRESENT, which helped the star raise £100,000 for mental health charities.

We caught up with Jae to talk about his projects, mental health, and why From Friends was such a valuable experience to the 28-year-old artist.

You began the eaJ solo project last year. Could you talk a bit more about that?

Jae Park: I came to the conclusion that I’d forgotten what kind of music I liked. (I wanted) to find my identity, so I started spinning out track after track; it came almost like word vomit. I was throwing up all this emotional baggage I had (built) up over the years. I just ended up releasing it. I took everyone for the ride, because (I thought), ‘If I’m gonna make it, I might as well take you with me’.

Can you talk us through some of the issues you were dealing with at the time?

Jae Park: I ended up breaking down in a taxi ride on the way home from a video shoot for the eaJ project, on a song called “Truman”. At first, I felt my body go numb. And then my heart felt like it was going to beat out of my chest. So I said, ‘Oh, panic attack… nice. I’m gonna die’. And this impending feeling of doom and death and finality was just drawing so close. And I started hyperventilating, I was freaking out. I told the taxi (driver), ‘I’m going to need to go to the hospital’. I was almost out of my mind when I reached the hospital; I’d been hyperventilating the whole time. They took me into ER, did all these tests, and told me there was nothing wrong with me. I was like, ‘You’re lying, there’s no way. There’s something physically wrong, I feel like I’m going to die. I can’t breathe’. Turns out I had some pretty severe panic attacks.

“(I wanted) to find my identity, so I started spinning out track after track; it came almost like word vomit. I was throwing up all this emotional baggage I had (built) up over the years” – Jae Park

Oh wow, that’s quite a journey. Especially when you’ve never felt that way before. Your brain is telling you, ‘Oh my God, you’re gonna die’. Sometimes the wires in your brain just get crossed a bit. And there’s not necessarily anything that causes it.

Jae Park: Sometimes there’s no trigger.

A part of your job is to almost seem like you’re perfect, right? Because people idolise you. And when you have these little cracks in the armour, it’s seen as a weakness. Could you talk about how you turned this thing that could be perceived as a weakness into something good, with From Friends?

Jae Park: This actually segues perfectly into what I wanted to talk about. That’s why it’s called ‘From Friends’. The mission statement is (about) extending a helping hand to whomever, wherever there’s a need. It’s very personal and it’s from a friend. Friends are people who tell you, ‘Hey, you don’t look like you’re doing well’, or, ‘Hey, you seem a little bit off’.

I thought this was something that was going to positively affect people. When the car incident happened, I thought, ‘Damn, if only someone had told me that a panic attack can make you feel like you’re about to die, that it usually comes with impending feelings of death and doom, and you start breathing really fast’. If I’d known those things, which I’m sure that 90 per cent of celebrities have gone through, I wouldn’t have freaked out as hard as I did. And I feel like that day carved a couple of scars in me that aren’t going to be healed in the near future.

What kind of reactions did you receive after the launch?

Jae Park: I definitely received a lot of positive reactions. And it’s incredibly rewarding to be a part of this. To be completely honest, in a big corporation (the idol group Jae belongs to, Day6, is part of South Korean multinational conglomerate JYP Entertainment, which has represented some of the biggest acts in the industry), it’s not the easiest to be able to start projects like this. It’s one hand to the next hand, and the next. Then it gets rejected, all the way back down and you do it again. It wasn’t easy, but it felt good. Especially when I used to read my DMs, a lot of people were like, ‘Thank you so much, I thought it was just me’. And it’s not just you. Those are the people I want to reach. Those are the people we wanted to educate, and let them know it’s OK not to feel perfect. Your idols try to look perfect because their company told them to look perfect! But I (guarantee) you, they don’t feel perfect.

What are your personal goals for 2021?

Jae Park: So I’ve been doing these unofficial releases on YouTube, and people liked them so I thought I might as well make a video. It was purely for entertainment, just to see how people would react. And I think I had a really positive reaction and I feel like I’ve garnered some of the respect that I wanted when starting the project. I’m planning an official release sometime soon.

I think my next venture is (for) my number one (job), Day6. We’re always working on an album. I’m, like, 99 per cent sure we have a solid album for you this year.

We’ve talked about mental health, your solo projects, and Day6. Is there anything else about yourself you think the world doesn’t know, that this ‘idol’ world doesn’t capture authentically?

Jae Park: I feel like I’m pretty damn transparent, especially these days, after the ‘incident’. I’ve probably shared every opinion that I have online somewhere; they’re always a little bit controversial. I’m known as a bit of a problem child these days in the K-pop realm. Something the world doesn’t know about me? I’m not sure if there’s anything. Everyone knows I’m a dumbass and I make mistakes; I am a hypocrite (who contradicts) what I’ve said the week before, because I feel different a week later. I’m just me, I’m just a human being, and that’s just how it is.

©️DAZED Magazine

[carewyncromwell]

“A waltz when she walks in the room, She pulls back the hair from her face. She turns to the window to sway in the moonlight... Even her shadow has grace. A waltz for the girl out of reach, She lifts her hands up to the sky. She moves with the music; The song is her lover; The melody's making her cry... So she dances, in and out of the crowd, like a glance... This romance is from afar, calling me silently...”

~“So She Dances,” by Josh Groban

x~x~x~x

And to cap off my set of Valentine’s Day posts where I feature my MC’s and someone they care about...last but not least is my HPHL kelpie kid Ru! In the above picture, they’re pictured with Galen Stagg, who belongs to @cursebreakerfarrier, but this picture, this post, and this basic AF pencil test animation are actually about Ru’s relationship with their “keeper” and ttly-not-girlfriend Estrid Soelberg @that-ravenpuff-witch! (I wanted to overlay the two images, but the online sources I tried using to do so weren’t cooperating, so...eh. Here they are separately. XD)

When the kelpie who’d taken on the identity of the Ravenclaw student Rudolph Ollivander first encountered Estrid Soelberg, they did not like her. How could they, when it was because of her that they now wore a silver chain around their neck that she could use like a “leash” and keep them from transforming back into their true form and eating anything or anyone she disapproved of? Naturally Estrid didn’t care for Ru much either -- and really, considering that they nearly ate a first year, that also was pretty understandable. Over time, though, Estrid’s stance softened somewhat, upon realizing that there was an oddly sympathetic side to the carnivorous kelpie.

For one, Ru absolutely loved being at Hogwarts. It wasn’t obvious at first, given how laid-back and aloof they were, but their electric blue eyes were always bright and aware, never missing out on a single detail. Ru would spend hours and hours every day in the Hogwarts library, devouring every book they could. They would explore every corner of the castle grounds and memorize every shred of knowledge that came under their nose. They collected knick knacks and jewelry from Hogsmeade, even going so far as to pierce their ears in their third year, to the horror of all of the adults, both inside and outside of school. And this didn’t even touch on Ru’s great passion for history, magical creatures, Herbology, art, and especially photography. Their still Muggle photographs were always crystal clear and striking, from a view of the Black Lake taken from the Owlery to close-ups on the details of the winged boar statues near the front gates. Ru’s Muggle-style photography came alive in a way that magical photography -- which was still in its infancy and quite low in quality -- couldn’t capture. On the Christmas break of their third year, Ru also discovered and became very enamored with Muggle animation, which made crude drawings come to life -- Estrid, despite her best efforts, couldn’t bite back her laughter upon finding out that Ru had requested the permission of one of the snobbier girls in their year to use her as a model for an animation, only for the finished product to end up being of the girl picking her nose with her pinky finger.

As Estrid got to know Ru better, she decided to try showing them more compassion. For as inhuman as Ru was, and how eccentric, cold, and rude as they could be, their enrollment at Hogwarts truly didn’t seem to be motivated by anything malevolent -- it had truly just been the only way they saw for them to attend this school they’d been watching from afar and longed to see up close. And Estrid treating Ru with more respect and kindness, little by little, wore down Ru’s walls enough that they didn’t dislike her quite so much either. She not only was insightful enough to suss out that they didn’t like eating around other people and showed them the Hogwarts kitchens so that they’d have a place where they could eat in peace, but she didn’t see the need to fill the silence with worthless conversation the way so many of their classmates did. She could sometimes just let a moment be, let the emotions and time just rest for a while. With that, though, Estrid was actually a rather interesting person too, in her own way. She had her fair share of admirers for her appearance (which Ru acknowledged was decent enough, by human sensibilities), but she seemed actively disinterested and uncomfortable about it, instead being the type who was unafraid of being on her own. And yet despite this, Estrid truly wasn’t a loner like Ru was -- she had a gentle hand with creatures of all kinds, an artistic eye, and a soft smile that she rarely showed to much of anyone, but was always sincere. Most striking of all to Ru, though, was the way she moved when she danced. The way her limbs bent and stretched with such grace fascinated Ru. They wished they could slow down time sometimes, just to analyze every tiny little flick of her fingers or flourish of her ankle. Knowing that they couldn’t take enough pictures to capture the grace of her movements, and not yet having a camera that could take moving pictures, Ru settled on trying to animate Estrid. Most of the animations were very crude in the beginning, consisting of nothing but stick figures, but little by little, Ru studied the proportions of the human body (very different than that of a kelpie!) and tried to refine their technique. And before long, all of their animations ended up being modeled on Estrid some way or another -- the vast majority of them being her dancing ballet.

Another person who’d be in the room sometimes when Estrid was dancing was their yearmate Galen Stagg, who often practiced the piano while Estrid was dancing. Ru found the Gryffindor inoffensive for the most part -- like Ru and Estrid, he had a talent for Herbology and Care of Magical Creatures (Ru could sense that Galen in particular had a magical gift for communicating with creatures, even more than Ru themselves did, considering they were actually a kelpie), so sometimes the three of them would end up in the library studying at the same table before a test. Galen was a bit of pansy to Ru’s taste, given his dislike for conflict or confrontation, but he like Estrid was soft-spoken enough that he never gave Ru any real headaches.

One day while Estrid was dancing and Ru sat off on the sidelines (sitting with their legs crumpled up in such a manner that one could wonder if they’d ever learned how to cross their legs properly), Galen took a break from playing to come over and sit down next to the messily-dressed Ravenclaw on the floor. Although he himself really enjoyed drawing too, he’d always felt like Ru tolerated him more than liked him and so had been hesitant to ask Ru if he could see any of their artwork. This day, though, he finally mustered up the courage to ask.

“...May...may I see what you’re working on?”

Ru lowered the page they’d lifted to fine-tune and shot a look out the side of their eye at him.

“...It’s not finished,” they said bluntly.

“That’s all right!” said Galen self-consciously. “That is...I don’t mind, if it’s still sketchy.”

Ru considered him for a moment silently. Just when Galen opened his mouth, ready to say that Ru didn’t have to if they didn’t want to, the kelpie held their sketchbook out in one hand for Galen to take.

With a surprised, but relieved blink, Galen took it and looked at the top page. It was still only a cluster of loosely connected circles and ovals, but Galen could just barely make out what it was.

“It’s Estrid,” he realized, his jade-colored eyes lighting up. “Isn’t it?”

Ru nodded curtly, their gaze drifting off to watch Estrid at the barre.

“That’s just the last frame,” they said in a very low, nonchalant voice.

“Frame?”

“Of animation. Pick up the next eight pages and flip them one by one.”

Galen did so -- and to his delight, he watched as the little cluster of ovals and circles unfolded its arms and spread them in a graceful arc that flourished at the wrists.

“Wow, Ru,” said Galen, impressed, “it looks just like Estrid! I mean, the movement looks just like hers. You really captured the grace of her arms.”

Ru’s electric blue eyes swiveled absently in Galen’s direction, but they didn’t turn around or meet his eyes. Instead their gaze returned to Estrid as they brought up a hand and smoothed some of their long black hair behind their ear.

“...You reckon?” they asked, their quiet voice oddly contemplative.

Galen looked at Ru, surprised. Were they...blushing?

Feeling a wave of compassion for the Ravenclaw all of a sudden, Galen offered them a smile.

“...Yeah. It’s really nice, Ru. I’m sure it’ll be smashing when it’s done.”

Ru’s eyes stayed on Estrid, narrowing slightly.

“The way she moves...” they said lowly, “I’ve never seen anyone else move like that. Even other dancers. It...seems like something that shouldn’t just disappear into the void, when the moment is over...like everything does, sooner or later. I’ve tried to photograph her before, but it doesn’t capture the movement. Even when I take a lot of still pictures one right after another, or when I actively try to get shots that blur, it doesn’t work. And magical photographs...hmph! They’re an absolute joke. They deteriorate so easily, and their quality is atrocious.”

Galen smiled sympathetically. “Well, wizards really have only had them for a short while...I reckon they might need a little time to catch up, right?”

Ru scoffed loudly through their nose and mouth, sounding rather like an offended horse. “It’s pathetic.”

They rested their hands behind them on the floor, leaning back slightly.

“So...the only way I could try to capture the way she moves -- to make it last, past that moment, was to draw it. It’s not exactly easy to get her hands right, though,” they added sourly under their breath.

“Hands are every artist’s Achilles’s heel, I think,” said Galen with a quiet laugh.

His green eyes softened. “...You really care about Estrid a lot, don’t you?”

Ru’s face flushed a bit more darkly as they whirled on him with a glare.

“Don’t read too much into it, Stagg. I find her movements interesting. That’s all.”

Despite Ru’s denials, however, Galen thought to himself that Estrid was pretty lucky, to have someone in her life who’d put in so much effort to try to memorialize her in a lasting way. He wondered if Ru even realized just how sweet and selfless of an instinct that really was.