#only the best dark folk album ever created | Explore Tumblr Posts and Blogs

mykingdommusic · 1 year

Text

DAWN OF A DARK AGE: an ancient chant will rise

Entering the world of DAWN OF A DARK AGE means starting a journey made of music, popular culture, tradition and avant-garde charm. Thinking of the union between Transhumance, an ancient secular practice, and the use of the clarinet in an extreme artistic performance might seem absolutely unreal, however Vittorio Sabelli has managed to create something absolutely exceptional and with him we are going to understand more of his world, the album "Transumanza" and the artistic vision behind DAWN OF A DARK AGE.

1. DAWN OF A DARK AGE are essentially your creature even if you use musicians who, in a broader perspective, seem to be much more than simple guests; without their contribution and their skill, the project would be anything but. Do you agree with me and how do they manage to enter not only the realization part but also the arrangement phase, the focal point of the essence of the project?

Yes, the musicians who collaborate in my projects are a vital hub to be able to express the colours and ideas within the DAWN OF A DARK AGE album. I choose them very carefully to get the best result and I do not think I have ever contacted a musician for a solo or an isolated fragment. When I need a colour or a particular sound, I develop it throughout the album, as it becomes an integral part of the entire composition process. While regarding the arrangements I admit to leaving very little margin, they are probably the part that distinguishes DOADA and they are all (or almost all) meticulously written.

2. DAWN OF A DARK AGE always starting from a background typically linked to extreme Metal, manage to instill in this structure very avant-garde almost Jazz scores both for the instruments used (clarinet in primis) and for the ties it has with the world from which it was born or the Folk tradition and the popular songs of your land or Molise. Is it something that arises spontaneously in your compositions or is it something you set yourself in mind from the beginning?

When I decided it was time (after more than 20 years of rehearsals and second thoughts) to combine my work (the clarinet) with the music I love (extreme metal), I looked for elements that could unite my origins and all my musical experiences with Black Metal. My approach to music was in the village band and in a folk group and not by chance, these two elements are always present, even if in different measures, in DAWN OF A DARK AGE albums. By now, they come out so naturally that I often do not realize that I am veering in that direction, and from a compositional point of view, I always welcome them with great love. I also think that every musical idea has its own potential, even the less convincing ones, which if treated and developed correctly can be an integral part of a composition. I try not to waste anything in this respect, any idea that comes with any tool can be the beginning of something that will somehow, and with its time, evolve.

3. "Transumanza" deals with an event, transhumance, which is less and less present in our culture, but which in some realities, such as those of Sannio, to which you are very attached, still persist. What you exalt is the cultural aspect of the event rather than the real one. What fascinates you about this world that is apparently so distant from today's realities?

Yes, Transumanza itself has long since gone into disuse. My grandfather used to tell me about when shepherds and herds passed near Agnone, with cows and cowbells audible for miles, a party, the village bells ringing... It's a deja-vu that has always linked me to the pastoral world, but with an ancestral strength that starts from the bottom, from the roots. So "Transumanza" is yes an imaginary journey from another era but at the same time, between Molise and Abruzzo, you can still breathe and see thanks to the dense network of sheep tracks and the flocks that still graze.

4. All the songs of "Transumanza" have a sort of primitive strength that is released both in the more extreme parts related to Metal and in the more meditative and atmospheric ones. I find it interesting that in every moment there is always the sensation of making a sort of journey both internally and in time which leads the listener to get to know you and your world better. What can you tell me about that?

"Transumanza", unlike "Le Forche Caudine", "La Tavola Osca" and most of the "Elements", is an album where the songs do not have an obsessive and repeated leitmotiv as in the previous ones, conceived more as a musical work or symphonic poem. This way of differentiating it from the other albums allows me more freedom of expression, even if in the end somehow some elements return and develop throughout the entire album. So a journey that starts from far away in the places of my childhood and my memories up to what music represents for me today.

5. Perhaps in "Transumanza" you managed more than in other occasions to best express this marriage between extreme Metal, Folk, Avantgarde and Jazz, creating an extremely homogeneous and compact work. What is the emotion you feel today having completed this work and how does this differ from what was done in the past with DAWN OF A DARK AGE?

In "Transumanza" there is really a great musical kaleidoscope that involves me at 360° regarding genres and my experiences, including orchestral and jazz ones, which I have tried to think of as individual pieces and not with the 'aerial vision' typical of more hermetic and structured concepts. As already mentioned, his songs followed in a less 'schematic' way than the other two albums of the Tetralogy on the Samnites, trying to give them life in the most real way possible. "Transumanza" was the first album that I started composing 7 years ago and had a long gestation compared to my 'times' of realization, which for many may seem short but which are actually very long. It had difficult moments in making it but in the end, I found the right way to complete it, and it does not seem true that we are talking about this record, which is only a few months away from its release.

6. "Transumanza" is the third chapter of the tetralogy on the Samnites. What should we expect for the next and final chapter? And then?

As already mentioned "Transumanza" was the first album of the Trilogy on the Samnites, but from what comes what, and while I was composing "Le Forche Caudine" an idea came to me that I could not resist, which will be the final chapter of the Tetralogy. Beyond this chapter, I really have no idea what will become of DAWN OF A DARK AGE. I have other important projects that I carry on with enthusiasm and curiosity and after this saga on the Samnites, I would need a stimulus that is 'at least' on par, but which at the moment does not exist yet. We will see in the future if the right idea will come…

7. From an emotional and strictly personal point of view, I think this album has involved you quite a bit, also considering the fact that it is also closely linked to your personal story. What do you mean if I may ask?

That's right, since my mother chose the clarinet for me (instead of the trumpet, knowing neither of them in my opinion) I have always set myself a sort of 'challenge' with myself, which however did not go beyond my past and from my origins. Even if I haven't lived in Molise for years now, every time I need to oxygenate my mind or look for new ways, I take refuge at a high altitude for a few hours, or a few days, and a new world magically appears to me. A world that brings to mind stories of other times, whether they are the bloody battles with the Romans or the rituals engraved on the Osca Table. That same soil has been beaten by sheep, herds and shepherds for millennia and this creates a bond on the edge of reality that leads me to compulsively tell these facts. A kind of story in my story…

8. Having got to know you more deeply especially from a musical point of view, I see in you a sort of restlessness, a certain always searching for something new and you do it both in projects that are close to each other at least from the point of view of the musical background (DAWN OF A DARK AGE, NOTTURNO, INCANTVM, AMEN) but also in the countless collaborations that involve you in the Jazz field and not only thanks to the use of your clarinet. Is this a necessity or simply the desire to experiment?

Restlessness! It's probably the best word to describe what I love to do with music. I think the need or desire to experiment are both, and in equal percentage, decisive for 'making me appear' so prolific. I do not deny that I have two strong points that allow me to dedicate a good number of hours a day to composing and arranging my projects. One is John Zorn, who has always been a reference both for the risk taken with unconventional instruments such as wind instruments in metal and for the total openness of the compositions. The other is Stravinsky, but not a composition but a book / essay by him: Poetics of Music. A book I bought some time ago in which the great Russian genius writes in one chapter that a musician/composer is like a painter or a writer, and if he decides to choose this path as a job he cannot wait for the 'right' idea, the divine inspiration to start a piece, a book or a painting. As I said before, every idea has potential, and then it depends on how much time you want to spend on making it optimal, functional for a composition or song. This curiosity to discover new colours is undoubtedly a now unconscious need that eventually joins naturally with that of experimenting with new ways to go. Therefore, a real job that cannot be realized only sporadically but that needs constant application to make it functional and make it evolve until ideas become a finalized reality on physical support.

9. "Transumanza will be released on December 8th. Waiting for the album to be released, can you tell us something?

As anticipated I am working on the last chapter on the Samnites, it will be a very different work from "Transumanza" but which somehow unites "Le Forche Caudine", "La Tavola Osca" and "Transumanza" under the same roof. In addition to Dawn of a Dark Age, Notturno's second album will be released in the autumn and in the meantime, I'm looking for new ways to go with my instrument and my music.

#DawnOfADarkAge #Avantgarde #BlackMetal #Folk #Clarinet #Jazz

0 notes

kwispayne · 2 years

Text

The Top 10 Albums Of 2022

One of the hardest years for me. The quality of music released this year was a grace for the post Covid world. But I have been able to put together a pretty great list.

Also shoutout to the metal bands this year. This list is full of them and this has been a great year for that genre.

And as always, I didn’t hear every album this year, this is my person list and I counted anything released this year.

10. Wilderun – Epigone

Don't you just love it when you find a band that came from nowhere and becomes one of your favorites. That's what happened with these guys. When it comes to metal, I always glide towards the more interesting side and these guys present one of the most colorful palettes when it comes to the genre. Mostly this band keeps it on the more quiet and soft side, leading to an epic build up where vocalist Evan Berry goes from crooning to growls from another dimension. Lyrically the band are also coming from some other dimension as if taking the listener on a journey through some wormhole which ends up leaving them emotionally floored and changed in someway. Art needs to be shown and put back into metal and thankfully these guys do this very well. Although I think this album is only a taste of what's to come.

Genres: Progressive Metal, Progressive Rock, Extreme Metal, Folk Metal, Symphonic Metal, Art Rock, Avant Garde Metal

Country of origin: USA

9. Soilwork – Övergivenheten

Soilwork have been a band that I've enjoyed but never really loved. I always knew that there was a side to them that was unexplored and it seems that since David Andersson joined the band they have been spreading their wings into more uncharted territory (their previous album Verkligheten had moments of this which made me peak my interest) and this album is the culmination of 20 years of them finding their sound and this is the best thing they've ever created. Musically heavy, catchy, aggressive and beautiful, finally the band have actually took advantage of Sven Karlsson's keyboard work which was usually always in the background is finally in the foreground creating a rich palette of colors. Vocalist Speed has given the performance of his career fully showing of how much range he has and that he is one of the most underlooked and best in the business. Lyrically the album deals with a range of dark topics, which sadly came to life when guitarist David Andersson sadly passed away. Overall this is one of the best metal albums of the year and is the greatest album these guys have ever made.

RIP David Andersson

Genres: Melodic Death Metal, Extreme Metal, Folk Metal, Heavy Metal, Progressive Metal

Country of origin: Sweden

8. Kendrick Lamar - Mr. Morale & The Big Steppers

Ever since Damn, people have been dying to hear Lamar's opinion on what has happened in the world since then. And then when he finally released this album...he had nothing to say. One of the biggest left turns I've seen culturaly, Lamar stripped it back and made an introspective look at himself, his faults, his flaws, what he's done wrong in his life and how it affected him and the people within his cultural sphere. This is not an easy listen lyrically, but it's something that had to be sayed, and only a true genius like Lamar could have presented this so truthful and classy. I do prefer To Pimp A Butterfly, but this album is in a world of it's own. Musically quiet, not over flashy, nuanced and the perfect backing to his lyrics. His flow is un matchable and it just proves that he is possibly the greatest rapper of all time.

Genres: Conscious Hip Hop, Progressive Rap, R&B, Hip Hop, Rap

Country of origin: US

7. Ibaraki – Rashomon

When it comes to Matt Heafy's musical output, it usually is interesting enough to like, brilliant or incredible cringe. But last year his band Trivium released In The Court Of The Dragon, which narrowly missed my end of year list. This project is something he has been teasing for a while and my first look at it was the track Ronin and I was blown away by the chorus where it had some of the greatest black metal rasps I've heard in a long time...and it turned out Gerard Way from My Chemical Romance was doing them. And the surprise of this song is very much why this album is so great, what sounds like it won't work does and it does at such a level you doubt any fears you previously had. Lyrically the album takes Heafy's interest in Japanese myths and presents them both beautifully and powerful. The guests he has on this album other than Way are obvious choices for this project, but having Ishahn & Nergal on the album are good collaborations rather than a forced badge of honor.

Genres: Extreme Metal, Black Metal, Progressive Metal, Oriental Metal, Metalcore

Country of origin: Japan & USA

6. Black Midi - Hellfire

Only a band like Black Midi can release 2 albums back to back within a year where not only do they bring their A game but more. While I do prefer Cavalcade overall is still a progression from it and overal something entirely different. Musically bonkers, the band prove that they are some of the best talent out there. Lyrically absurd and at times very funny, there is a fine line between ridicule and genius that these guys successfully are able to obtain. Although I think we are only getting a glimpse of the potential these guys have because their genius seems to have no bounds.

Genres: Progressive Rock, Hipster, Jazz Fusion, Avant Garde, Experimental Rock, Post Punk, Hard Rock

Country of origin: England

5. Everything Everything - Raw Data Feel

Big surprise these guys are on the list. 2 years ago one of the bands weaker albums made my list, so this shows you how much I love these guys, and the reason for it is because they are constantly doing something interesting. Musically poppier than their previous albums and more electronic than usual, it doesn't shy away from their talent. Lyrically odd, the album uses an AI to create some very odd lyrics and ideas. This could have been a disaster but it just proves these guys can do no wrong because these guys are one of if not the most interesting musical groups growing today. Can't wait to see them again in 2-3 years time on my list again. If not I'll eat my tin foil hat.

Genres: Art Rock, Indie Rock, Electronic, Pop, Hipster

Country of origin: England

4. D'Virgillio, Morse & Jennings – Troika

A supergroup combined of artists who aren't strangers to my top 10 lists, but this time they're making soft pop music. I'm a massive fan of all the projects these guys are involved with and the list of albums, projects or bands they are all in would be a list longer than this one. But the reason this is here is due to the execution. Prog rock and metal guys making pop music could go horribly wrong, but this just proves how brilliant each invidual is as a songwriter in their own right. Also I love harmonies, and the 3 vocalists (with a lot of attention on D'Virgillio & Jennings) have such a beautiful union together. I really hope this isn't the last of this project and it's not just a one off.

Genres: Soft Rock, Pop Rock, Progressive Rock, Acoustic, Hard Rock

Country of origin: USA & England

3. Willow - <Copingmechanism>

My list is never complete without a wild card. And my wild cards are usually odd, but never this odd. But that's because this is an experiment that never should have worked. It seems that the crossover from pop to rock may gain some attention but doesn't really artistically have much merit, take for example Machine Gun Kelly. But this is a different story. Being the daughter of one of the world's biggest actors, I was always interested in Willow's voice as she matured into a stand alone artist. While her mum's metal band was interesting enough but still kind of cringe, I never expected this foray to go well. So while her dad recovered from the outcome slap heard from across the world, Willow decided to go into a rock and metal world and it paid off...pretty fantastically may I said. I always love bands like Paramore and Marmozets and if one of them released this album it would be on their best. But the real highlight of the album is Willows voice. Not only is she a fantastic singer, but she goes into realms that you wouldn't expect the Whip My Hair girl to go into. If you want to completely avoid this for name alone, I would advise just to listen to any of the singles and I bet it will change your mind.

Genres: Pop Rock, Hard Rock, Post Hardcore, Alternative Rock, Alternative Metal

Country of origin: USA

2. Jamie Lenman – The Atheist

He got album of the year for his last proper album so I was expecting big things as he is currently one of my favorite artists. With a title like The Atheist, I was expecting more snarl and fun...that's not the case. Most artists mature and this is one of those moments. Less screamy and more introspective, lyrically Lenman has matured into a brilliant lyricist that could match any singer songwriter. Musically more catchy and to the point, it's a lot less experimental than Devolver. Lenman also has really improved as a singer too, with a wide range of tones and moods offered throughout. While I do prefer the latter, this just proves that he is one of the best songwriters and solo artists in rock today.

Genres: Pop Rock, Hard Rock, Post Hardcore, Alternative Rock, Fist

Country of origin: England

1. Conjurer - Páthos

Their previous album Mire was loved by friends of mine. While I did enjoy it, I knew this was only a taste of what was to come. I didn't expect the band to release their masterpiece so soon. But this album absolutely floored me. Incredibly powerful and crushing musically, mood wise the album can go from the sickest twisted evilest sound to something so beautiful. Vocalists Dan Nightingale & Brady Deeprose present an incredible palate; from the deepest of growls, the harshest of shrieks, the painful cleans to introspective spoken word. When it comes to the riffs, they are heavier than blue whales smashing into planets. This album is a piece of art that is utterly horrifying, awful yet so beautiful and powerful that it almost can bring you to tears. I think this may be one of the best metal albums if not in the past few years but possibly of all time. If you are a fan of metal in the more extreme way, I plead you to listen to this and see if you get the same reaction. It's very rare a band of the extreme metal persuasion get into my top positions, so you really have to impress me to get to this stage. And I am beyond impressed.

Genres: Extreme Metal, Post Hardcore, Death Metal, Doom, Progressive Metal, Post Metal, Sludge

Country of origin: England

0 notes

birch-white · 5 years

Video

youtube

Lönndom - I Vattnets Flöde

#only the best dark folk album ever created #lonndom #dark folk #neo folk #black metal #i guess #music #Daily Music #armaggeda #stilla

8 notes · View notes

unabashegirl · 4 years

Text

Pax Romana; Part I

Author’s note: Hey everyone, here is the first part of this mini-series. I hope you like it! Let me know if you want to be on the tag list. Also, REQUESTS ARE OPEN only for H.

DISCLAIMER; I DONT KNOW ITALIAN! (only English, French and Spanish) I clearly used a translator. I am aware their translations are SHIT sometimes. Therefore I am sorry if I butcher it! I didn’t mean to!

masterlist

----

Harry Styles, can still recall the first day he was enthralled by her conspicuous beauty. At first, he reckoned he had done the unavoidable. He had moved to Italy for the summer, and he had managed to fall in love with an Italian girl; that he had never spoken to. He had only observed her from afar — too shy to ever think of approaching her. Nonetheless, the young woman was a sight to behold. He promised himself that he would only watch from afar. It felt forbidden and somewhat illegal. The feeling that bubbled within him was enough reason to continue his study of her.

After his first visit to Italy, he had fallen in love with the country. Hence, why he had rented out a house in a coastal town. The country’s natural and effortless beauty inspired him to write new music for his upcoming album. The beautiful sunsets, the sunny mornings, the art, and the food brought peace and tranquility to him. It was the perfect place for him to hide — for a while. It was on one of his morning runs; he first noticed her.

She wore a bright yellow bikini that exposed most of her olive skin to the sun rays. She sat on a striped towel that she had laid out on the hot sand. Her hair was slicked back and wet after she had dipped in the ocean to refresh her body.

Of course, she never caught sight of his dilated pupils or the way he had leaned forward — lured by her beauty. Her attention was preoccupied with a hardcover of Pride and Prejudice; that she had brought along as a source of entertainment for the day. The young woman appeared too indulged in the printed words to notice his existence.

He watched her for a few hours. Now and then he would remind himself of the hundred reasons why he shouldn’t approach. He had even managed to take a few steps towards her. Harry eventually removed himself as soon as it became too much. He had beaten the temptation.

The first time he spoke to her was at a local restaurant. Harry had taken himself out on a late lunch date. He had dressed up nicely and had walked to the bistro. He noticed her presence after taking his first sip out of his freshly served Chardonnay. She sat on the table across from him. This time she wasn't submerged in a book. He could finally admire her natural beauty up close. The fullness of the apples of her cheeks, her long dark eyelashes, her red-tinted lips, and of course light sunburn on her upper cheeks and across the bridge of her nose.

A few minutes later, her order had arrived. It was ricotta and mushroom stuffed ravioli in a black truffle sauce. She was stuffing her face when they made eye contact. Harry’s lips curved upwards creating a lopsided smile as she scrambled to clean the creamy sauce off her face. He hadn't said anything to her, but she already felt embarrassed.

”Sono deliziosa?” He had done it. He couldn’t just watch her and pray she’d take the first step. It was time to put his Italian to the test. He had been practicing his Italian and even though he already had a few weeks on the Amalfi coast; he still struggled to comprehend. Harry only hoped she would be able to understand him.

”E molto deliziosa” She smiled at him for the first time. She beamed, radiating an intoxicating wave of warmth and happiness towards him. Her lips parted open for a split second but before she could utter a word the waiter approached.

“Hai bisogno di qualcos’ altro?” He was asking her if she needed anything else. She understood what he was asking, but she couldn’t remember how to say cheese.

“Fuck” she said under her breath. “Queso. Fromage. Cheese” She had forgotten how to speak. All her languages had mixed in one and the wires had crossed. “How do you say it?” She whispered under her breath, her cheeks warmed in embarrassment as the waiter tried to comprehend.

“Formaggio. Ha bisogno di formaggio parmigiano, per favore” Harry interrupted, noticing her uneasiness and her inevitable embarrassment. He knew that it wasn’t his business and he shouldn’t have been listening to the conversation, but he had to help her.

The waiter turned his attention to the young celebrity. He was also a bit surprised that Harry had spoken for her. He had seen that Harry kept to himself. He usually attended dinner on his own and hardly even bothered to use his phone. “Inmediatamente”.

“Thank you” She thanked Harry as soon as the waiter had left in search of the parmesan cheese that she so craved. Harry’s excessive focus on watching the server carrying out her request had prevented him from realizing that she spoke perfect English. He had to stop himself from gasping when processed her delicate voice. She had an accent. Slight. Gentle. Barely-there and it wasn’t Italian. He would later learn that her R’s made it more prominent.

“It’s alright. It happens” She instantly recognized who he was. Her heart raced for a minute or two, but she restrained herself from making a huge scene. After all, it was Harry Styles. Whom she considered, the most stylish man of her generation. The man could wear a curtain and still pull it off. “I am Harry” He rises a bit from his seat, extending his right hand.

“Catalina” She shakes his hand with a smile. “So, what brings you here?” Even her name was attractive — he wondered.

“Is’not obvious?”

“Not really. Enlighten me” The stranger gives him a small smirk while placing her napkin over her lap after crossing her legs under the table. Harry purges his lips as he uses his index finger and thumb to slightly tug on his bottom lip.

His whole plan to stay away from her had failed. Did he regret it?. Hell no! He just hoped he had chosen wisely.

“The art” He reveals as he watches her cut one of her ravioli before putting it in her mouth. She responds by only nodding; too indulged in the explosion of flavors within her mouth.

“Music?” She hums as she brings the glass of wine up to her mouth. “ I thought you were more of a dolce far niente type of man” her mouth curved into a smile. Dolce far niente means pleasant relaxation in carefree idleness. Harry instantly identified the phrase from Julia Roberts's famous movie — Eat, Pray, Love. She remembered reading somewhere that he was a rom-com fan.

“Are you?” He shot back. There was no doubt that he was intrigued by her.

“Si” She shrugged as she pushed around some ravioli.

“Then we have more in common than I thought, Catalina” Her name rolled off his tongue without any strain. It was as if he had been practicing for months. She had never heard her name sound so attractively. Sure, he had an accent, but it was still beautifully pronounced.

Harry’s order arrived moments later. He had ordered the classic spaghetti bolognese. He grabbed his fork and knife and right before digging into the plate, he looked up at her. Catalina had been watching him since silence had fallen upon them. His smirk grew into a soft chuckle as their eyes met. She giggled at him and first noticed his dimples. She now understood everyone's obsession with his smile.

“Would you join me?” Catalina spluttered after a few minutes of mentally debating with herself. She felt her heart beating in her throat and her hands dripping with sweat as other parts of her body. It was all very hot.

Catalina wasn’t the type of woman to initiate conversation. She rarely even texts first!. Her excuse is usually that she doesn’t want to bother or interrupt. In reality, she is scared shitless to make a fool out of herself. Therefore, she was quite surprised by herself to have asked him to have dinner together.

Harry cocked his head with his lips pursed. To her, he looked very pensive as if he was making a big decision. She didn’t blame him. He was on vacation and the last thing he wanted was to be photographed with a random girl and for questions to be asked. Although, he had already agreed in his mind. He just couldn’t come across as desperate. Even though he was. Harry wanted to know more.

His fingers tucked his clothed napkin into the collar of his shirt. A chuckle left his lips as he pushed his seat back and raised on his feet. He held his plate and utensils with one hand while his glass of wine with the other.

“So, where are you from?” Harry was first to ask, as he twisted his spaghetti around his folk. Catalina leaned back on her seat, her fingers clenching around her wine glass as she finished swallowing. “I am English” he laughs as if his accent didn’t give it away.

“Really? Bet my life you were Italian” Catalina bantered

“What gave it away?”

“The facial hair and the good head of locks” Harry grinned covering his face with his hands, feeling his cheeks heating up. He felt ridiculous for blushing at such a minuscule compliment. “But anyway, I was born in South America, but raised in Spain by my aunt”. She revealed playing with the small droplets around the cup of ice water that had been forgotten.

“And what are you doing here?”

“I study here” She had just finished her first semester. “Well not here, but in Rome. I am majoring in art history”.

The not so strangers sat for hours and indulged in one more bottle of wine. Harry encouraged her to pick but she politely refused. She said that she hadn’t spent enough time in Italy to know what was best.

She told him about her parents. Her father had walked out on her mother after she had told him that she was expecting. Catalina also shared with him how she felt after losing her mother to cancer when she was only ten. She was quite surprised at herself. She had never shared so much with anyone. Let alone, someone she had met that same night. Harry brought her some kind of comfort that she had no idea she needed.

Harry listened to her. She hadn’t finished speaking and answering his previous question and he already had another one formulated. He liked hearing her speak. She allowed him to pick at her brain and he liked what he saw. She was driven, independent, somewhat lonely, but incredibly smart. Catalina was also unbelievably wise for her age.

“What about you? Is fame all you thought it would be?” Catalina asked moments after they had been kicked out of the restaurant. They eventually had to close. Harry held what was left of the bottle as they walked down the isolated streets.

“That’s a heavily loaded question” He chuckled, “It’s way more complicated and difficult. I think I expected to never feel lonely by the continuous abundance of people around me. But in reality, sometimes it feels lonelier than when I was just Harry” Harry shrugged, masking the pain that the vulnerability that he suddenly felt.

“I get it. The screams and faces don’t match the number of people close to you” Catalina was not famous but she could understand where he was coming from. Sure, her aunt had raised her, but she had felt lonely for most of her life. Her mother's death had felt a gaping hole in her life that no one has ever been able to fulfill.

“M’not ungrateful for my friends but I do feel lonely. I guess I haven't found what I am looking for” Harry flashed her a reassuring smile as they walked down to the main road. “Let me help yeh” He had seen her struggling to walk over the cobblestone streets. She wore low heel sandals that complemented the white satin dress that she has opted for. Unfortunately, the heels were thin enough to slip through the stones making her overly cautious where she stepped.

Harry switched the bottle to his other hand and offered his hand for her to take. She stopped momentarily and stared at his massive hands. They were bare. His famous rings were missing as if they had gone on a vacation too. She took his hand and was slightly surprised at their softness. She had expected them to be rough but they were quite the opposite.

“Thank you”

“No problem” He wanted to spend more time with her. He wished that the night wasn’t ending. “I would invite you for some gelato, but it’s quite late. I doubt there is any place opened”

“How long are you staying?” Catalina asked as she noticed them approaching the entrance of her hotel.

“A few more weeks” the splendor of the lights of the entrance of the hotel illuminated her features. Harry couldn’t help thinking how lovely she looked.

“I’ve had a lovely time. Will I see you tomorrow?”

“M’not planning on goin anywhere” Catalina reached up, resting a delicate hand on his shoulder, she kissed his cheek.

“I’ll see you around then” She gave him a little wave as she walked her way through the doors. She would later realize that she hadn’t only kissed him because it was part of her culture and tradition but because he managed to ignite a flame within her — that one had ever done before.

200 notes · View notes

zedecksiew · 3 years

Text

Sentimental thoughts about the OSR

OSR -- Old School Renaissance? Revival? A style of making and playing games, where the focus is on the experience of shared imagined space, not narrative plots or arcs.

A style fostered by a community.

That community was ugly. Many alt-right-leaning white dudes. It sheltered abusers, like Zak S -- a person who, to my shame, I'd been a fan of.

That community was good. Many key figures were queer / trans. More so (to my impression) than any other RPG community (even other indie groups). Non-white folks, like me.

The popular TTRPG eye remembers the OSR for its ugliness, not its inclusivity. Probably because the assholes were loud. And because the non-white / cis / het-ness of folks was rarely advertised as a community selling-point: "Look at how diverse we are!"

The latter aspect made me feel welcomed. My work -- entirely informed by my SEA context, as it's always been -- got attention based on its merit, not its topicality.

The OSR as I joined it was based on blogs, and on G+. When G+ was shut down, the community had a diaspora.

You hear about BOSR (British OSR), or NOSR / NuSR. You used to hear about SWORDDREAM? I think FKR (the Free Kriegsspiel Revival) is an offshoot of the old community? There are a million Discord channels. Questing Beast, on Youtube.

The blogs are still going strong.

I can't keep track of all the places folks have ended up. I do feel bad about that -- that I'm less community-oriented, that I work more in isolation, now. I squat Twitter mostly. Twitter is not a good place for a creative community.

But it is what it is.

An article Ewan Wilson was writing about the OSR got spiked at Polygon. I was one of the folks he emailed questions to.

Ewan's questions prompted this bout of sentimentality, I guess?

Here are bits from email I wrote him, in reply:

The OSR scene began on blogs? That's certainly how I discovered it. I can actually remember the specific post that hooked me:

Patrick Stuart / False Machine, reading James C Scott's "The Art Of Not Being Governed" -- a history of the Zomia region of mainland Southeast Asia, a place of fluid cultures and peoples that have traditionally resisted the settled states surrounding it -- riffing on the historical information in Scott's book, spinning them into RPG campaign ideas.

A facet of the OSR scene is its willingness to use popular rulesets as a shared language.

Dungeons & Dragons (tm) not as a WOTC corporate property, but D&D as a community vernacular. (And D&D is just one example.)

Folks like Emmy Allen and Luka Rejec have talked about this quite eloquently, I think?

I think the OSR prioritises making stuff for games rather than crafting the bestest, most elegantly-designed game possible. If you are stuck arguing about which language works best for poetry, you'll never get to the point where you actually start making and sharing verse.

I associate the OSR style with possibility, too. I'm not sure why.

Mainstream WOTC D&D is trapped in a self-referential loop, recycling its own Forgotten Realms-adjacent tropes. Then you have the vast forest of licensed RPGs: "Alien: The RPG", "Avatar: The RPG"; "[Insert Popular Nerd IP Here]: The RPG".

Many indie-RPG communities prize genre-emulation -- here's a game where you can mimic the narrative shape of a slasher film; an urban-fantasy novel; Legend of Zelda.

Not that there is anything wrong with this. But if emulation is where you start and end you doom RPGs to a secondary role -- forever in the shadow of other arts.

For sure the OSR has its pop-culture and games-media touchstones; the scene loves to riff on metal album covers and Dark Souls a lot.

But I'd argue that -- relative to other RPG subcommunities, in my experience -- OSR creators are willing to push further down the rabbit-holes of their particular obsessions more often.

So, yes: Dark Souls and metal music. But also references weirder, personal, and as-yet-untapped: Zomia, punk zines, walks in backyard forests, Birkenhead folklore, the Permian Period, Moebius, East Malaysian myth --

Composted together to the point they become game things utterly unlike anything else, and the stories / experiences you can have in those game things you can have nowhere else.

The blogs are still going strong.

Today I was reading this series of posts, a theory-based critique at D&D, the OSR, and games design in general:

"the goal of what we call "old-school play" is not to create a story but to traverse a fantastic space guided by desire, such that any story which emerges is incidental and retrospective (much like stories that emerge from 'real life'). edwards prescribes that the goal of play is to create a story, elevates this prescription into a truth about play as such, and then claims that players who do not play with this aim actually fail to meet this aim because they are mentally damaged. perhaps this can be remedied by playing the correct game, or maybe not, but regardless the implication is that by playing the correct game, one can avoid brain damage.

my take is to not let salespeople convince you that you must buy their products to be politically or mentally correct, and on the flip side do not entitle yourself to the enjoyment of other people."

Part 1 / Part 2 / Part 3 / Part 4. All four are worth reading.

Today I was also reading the very first OSR blogpost I ever read, about Zomia. It is still as good as it was, six years ago:

"The Lisu, aside from insisting that they kill assertive chiefs, have a radically abbreviated oral history. "Lisu forgetting, Jonsson claims, "is as active as Lua and Mien remembrance." he implies that the Lisu chose to have virtually no history and that the effect of this choice was to "leave no space for the active role of supra-household structures, such as villages or village clusters in ritual life, social organizations, or the mobilisation of peoples attention, labour or resources."

18 Radically forgetting tribes. How far can you push that? Ancestor free tribes, then further away, one-year tribes, then in the reaches of the deeps, the one-day, impossible even to understand as they remember only for one day.

Patrick's blog turned 10 this week.

The blogs are still going strong.

#reallife #fantasies #rpgs #blogs #patrick stuart #osr

58 notes · View notes

fridayfirefly · 4 years

Text

Cowboy Like Me

Read Cowboy Like Me on AO3

Masterlist

Written for Maribat March Day 5 - Last Time

Now I know, I'm never gonna love again

Marinette was a terrible sentimentalist. After such a bad breakup it might have been cathartic to tear up the pictures of them, but Marinette just couldn't do it. No, she could bring herself to destroy the evidence of her six-year relationship. Marinette kept all the pictures, all the movie tickets, all the handwritten notes and put them in a shoebox at the top of her closet, somewhere that she couldn't reach without the help of a stepstool. Maybe the pads of her fingers could brush against the smooth cardboard if she stood on her tiptoes. But Marinette could never open it again. Inside that shoebox were the memories of being in love, kept safe, locked away, just out of reach.

As Marinette boarded the plane, she looked back on everything that had gone wrong. Though the cause of all the destruction in her life was uncertain, Marinette could pinpoint the effects exactly. There were a few things Marinette knew for certain: Marinette would never fall in love again, the city Marinette once loved now only held bad memories, and once the plane took off, Marinette would say goodbye to Paris for the last time.

Never wanted love, just a fancy car

The socialite scene of Gotham was dreadfully boring in the winter, Marinette learned. The weather was so brutal that anyone who could afford a second house in Key West or Malibu left as soon as the first snow-fall hit. Marinette stayed inside her penthouse apartment for weeks, designing her wardrobe for the next few months. It had been so long since she had been able to design for herself, without input from anyone else. It was freeing, to work with the colors, the patterns, the styles that she wanted. Marinette had forgotten what freedom felt like. For so long, she had worked for the whims of others, crafting to someone else's design.

Marinette made her first friend two weeks after the move. Silver St. Cloud was Marinette's neighbor in the apartment to the left. Silver was a model and influencer, and a self-proclaimed expert on all of the rich single men in Gotham. Upon their first meeting, Silver offered to show Marinette around Gotham and introduce her to the socialite scene. Marinette, hesitant but hopeful, accepted.

"Bruce Wayne is the best that Gotham has to offer," said Silver as they leave Starbucks, lattes in hand. "But there are plenty of men who are worth your attention - women too, if that's what you prefer."

"Bruce Wayne is the best?"

Silver nodded. "The Waynes have owned this city for as long as Gotham has been on a map. I wouldn't set your sights on him completely, though. Bruce Wayne doesn't date anyone, not even a former member of Kitty Section."

Kitty Section was known around the world, the biggest band to come out of France in the last decade. Their songs topped charts. Their albums won awards. Their well-crafted image of reclusive, mysterious artists led to a media sensation over the members of Kitty Section. Everyone wanted to know them - Luka Couffaine and Marinette Dupain-Cheng, the lead vocalists whose relationship enchanted their fans. Rose Lavillant, the backing vocalist and keyboardist, and Juleka Couffaine, the bass guitarist, who were unashamed of their love for each other. Ivan Bruel, the mysterious drummer who had the name Mylène carved into his drumsticks. They were famous. They were at the top of their game. They were unstoppable.

Marinette ruined it all when she left the band. Her split had been big news, exposing a dark side of Kitty Section that their fans were never supposed to see. But after their breakup, Marinette quickly realized that she never loved music. She loved Luka, and once that love faded away, she loved nothing.

"I guess I'll find someone else," said Marinette, but it was a lie. There was Luka Couffaine, and after that, there was no one else. She might be able to love fancy dresses and expensive cars, but Marinette would never love a person again, not the way she loved Luka. When it came to love (deep, true love, not just the infatuations of childhood) Luka was her first time, Luka was her only time, and Luka would be her last time.

Perched in the dark, telling all the rich folks anything they wanna hear

Marinette quickly learned the art of charming everyone she met, either through her impressive resume (founding member of Kitty Section) or through her newfound ability to flirt. It turns out, once you turn off your feelings it becomes very easy to pretend that you can still love.

Marinette and Silver became thick as thieves. The girls became a popular pair, charming every birthday brunch and charity dinner. For Silver, it was all about networking. As she explained to Marinette, "I'm trying to create a brand. I'm trying to turn my own name into something that can be sold, and for that, I need connections.

For Marinette, it was something to do. As long as she used her money wisely, Marinette had enough saved to comfortably live out the rest of her days. The real problem came in finding something to pass the time. Marinette rarely felt joy in living her life, the way she used to back when she was a child, the bright-eyed girl who aspired to be a designer. Now, everything from charming a billionaire to designing a new dress felt like a chore.

"Come meet Bruce Wayne," urged Silver as she grabbed Marinette's hand. "He just got back from Nepal. It's his first time in Gotham in six months. He skipped his own New Year's Gala to go soul-searching in the Himalayas. It's my job tonight to convince him to stay in town for longer than a week."

There was a determination to Silver's voice. From everything she had heard about Bruce Wayne, Marinette doubted that Silver could make him change his ways. However, that wouldn't stop Marinette from helping her new-found friend.

Silver's whole body-language changed, shifting from a determined march to a delicate float as she made her way over to a dark-haired man in a well-fitted tux. "Hello, Bruce. It's so nice to see you again."

"Silver." Bruce acknowledged her, sounding bored. "Who's your friend?"

"This is Marinette Dupain-Cheng. She was the lead singer of Kitty Section before the band split up a few months ago."

"Kitty Section... I might have heard of them before. The band was... French?"

Marinette nodded. "Yes. All the members were born and raised in Paris. Have you heard of any of our music?

"I'm certain now that I have. It was very... commercial."

Marinette ought to have slapped him across the face right then and there. Not only was commercial not a compliment, but it also wasn't even true. It was the biggest criticism of Kitty Section, their reticence to work with popular music trends. Despite her overwhelming desire to assault the most wealthy and influential man in the ballroom, Marinette instead steeled her face and gave Bruce a pleasant smile. "Thank you. So what do you do for a living, Mister Wayne."

"I travel."

Marinette resisted the urge to roll her eyes. He spoke two words to her. The conversation was anything but interesting. "How interesting. Have you ever been to Paris?"

"I'm not a tourist, Miss Dupain-Cheng. I travel to much more interesting places."

Marinette officially gave up on the conversation. She would let Silver (who looked to be itching to have her turn to talk to Bruce) try and fix the train-wreck of a conversation that Bruce created. "You sound like a man with a lot of stories to tell. I hope you can tell me them over lunch someday."

"Perhaps."

Marinette gave Bruce her politest smile. "I have to excuse myself. Silver, why don't you tell Bruce about your new sponsorship from Lululemon."

Silver lit up. "Oh, you have to hear about this email I got last week. It was amazing, it's so good for my brand..."

Marinette walked away, letting her distaste towards Bruce leave her. Secretly, a little part of her hoped that Bruce would leave Gotham, as he was well-known for doing. Though Silver was her friend, Marinette didn't think she could pretend to like Bruce.

"He's intolerable, isn't he?" joked a voice from beside Marinette.

Marinette turned to face the stranger, a beautiful woman, taller than Marinette by quite a few inches, with dark hair, dark eyes, and tanned skin. She wore a dress of royal blue silk, so elegant it reminded Marinette of the sort of thing she always dreamed of making. "Who?"

"Bruce Wayne. Who else would it be?"

Marinette let out a quiet laugh. "He is quite unpleasant. I take it you know him."

"I accompanied him on some of his travels. Bruce is a good friend of mine, but these parties tend to bring out the worst in him. He hates this city and he especially hates the wealthy of this city." The woman grabbed a glass of wine off of a server's tray and handed it to Marinette, who gratefully took it.

"Then I doubt Silver will have any luck convincing him to stay." Marinette tried to keep the satisfaction out of her tone, but the woman laughed anyways, an indication that it didn't work.

"You're quite funny..." The woman paused for an introduction.

"Marinette Dupain-Cheng. And you are?"

"Diana-"

The sound of shattering glass interrupted Diana's introduction. The crowd started to get frantic, and Marinette was pushed one way while Diana was pushed the other. The glass of wine was knocked out of Marinette's hand, staining the fabric of her dress. Marinette struggled to stay on her feet, desperate to not twist an ankle in her four-inch heels.

"Listen up!" shouted an oddly-dressed man. "You're all going to listen to me, and no one will get hurt."

Marinette had a very odd feeling that this would be a moment she remembered for the rest of her life.

Never thought I'd meet you here. It could be love

"They're calling him a supervillain. Apparently, his name is The Riddler," reported Marinette, looking up from her phone, where she was reading about the events of the night before.

Silver glanced up from her seat on the sofa across the room where she was painting her nails a delicate shade of pink. "It's about time Gotham got its own supervillain. Metropolis has had Superman and all the villains that follow him around for years."

Marinette snorted out a laugh. "You think that a supervillain is a good thing?"

"Sure. It means that Gotham will be getting a superhero of its own soon." Silver brightened up. "Plus, the hostage situation from last night meant that I got to spend a whole two hours with Bruce."

Marinette groaned. "I can't believe that you two are going on a date. Bruce Wayne is one of the most insufferable men I've ever met."

"It's not a date. Bruce specified it as just dinner between friends. You should come too, Marinette. I'm sure that once you spend some time with Bruce you'll warm up to him."

Marinette gave Silver a skeptical look. "You want me to come with you on your date with Bruce?"

"Again, it's not a date. Bruce said that he would be bringing one of his friends along as well."

Marinette finally understood Silver's intentions. "You want me to come with you so that I can partner up with Bruce's friend, and you can get some alone time with Bruce."

"Well it doesn't sound very nice when you put it that way," huffed Silver.

Marinette giggled. "I love devious plans. We'll just have to make it look natural."

It took a little time to get all the details, but Marinette and Silver got their plan in order. Silver would arrive first and meet Bruce and his friend. Marinette would arrive later, strike up a one-on-one conversation with Bruce's friend, and spend the night engaging Bruce's friend in conversation so that Silver could flirt with Bruce. Marinette's only concern about the evening was that Bruce's friend would be just as unbearable to talk to as Bruce himself.

The restaurant that Bruce picked out was very fancy, but Marinette didn't mind. It allowed her to wear her new dress, a pale blue and silver creation meant to mimic the shimmering quality of ice. Marinette thought it might be a little too experimental for the old-fashioned Gotham society, but Silver approved of it, and Marinette trusted her friend.

As soon as Marinette walked through the doors her eyes caught sight of Silver's white-blonde hair. Then she noticed Bruce sitting beside her friend, his eyes trained on Silver with an odd intensity. Finally, Marinette noticed Bruce's friend. She was shocked to see that it was Diana, the very woman that Marinette had met at yesterday's gala, the very woman whose introduction was interrupted by the untimely arrival of the Riddler. For a second, Marinette was shocked into stillness. The chaos of the night before had overshadowed her meeting with Diana to the extent that Marinette had forgotten how very charmed she had been by Diana. Now, it seemed Marinette had the perfect opportunity to get to know the charismatic woman from the night before.

"Marinette," the surprise in Diana's tone told Marinette that she was just as blind-sighted by their meeting.

"Hello, Diana. Fancy meeting you here," said Marinette with a smile.

Bruce raised one eyebrow. "I didn't know you two knew each other."

"We met last night," explained Diana. "I wanted to let her knew that you aren't usually so insufferable."

Bruce looked affronted. "I wasn't insufferable."

"You lied about having listened to Kitty Section," piped up Marinette. "There are a lot of valid criticisms of Kitty Section. However, our music being too commercial is not one of them."

Bruce had the decency to look guilty. "I apologize, then. I'll make sure to take the time to give your music a real listen."

For Silver's sake, Marinette was willing to forgive him. "Maybe next time you can give me some real criticism."

Bruce nodded graciously. "I'll do that."

Diana took that moment to bring back up their introduction the night before. "So Marinette, I don't believe we got the chance to finish our introductions last night. I'm Diana Prince, newly a curator at Gotham's Art and History Museum."

"I'm Marinette Dupain-Cheng, former member of Kitty Section, currently taking a soul-searching sabbatical."

"Soul-searching for what?" asked Diana.

"I suppose I'm trying to figure out what I'm going to do with the rest of my life. When I was younger I was so passionate about fashion. I made my own clothes, entered my creations into design contests, spent years creating a portfolio. I'm trying to rediscover that passion."

"Maybe you could show me your designs some time," offered Diana.

"I would like that," agreed Marinette.

"Actually," chimed in Silver, "Marinette made the dress she's wearing right now."

"Really? I would have assumed that it was professionally made. It's a gorgeous dress," praised Diana.

Marinette blushed, a warm fluttery feeling stirring deep within her. The rest of the night passed in a blur, with Marinette hanging on Diana's every word. It was easy to talk to Diana. She was so naturally charming that Marinette couldn't help but enjoy herself. As the evening winded down, Marinette felt only regret that they would have to part so soon.

As Marinette stood outside the restaurant, waiting for a taxi, she felt Diana's hand settle on her shoulder. It had been a while since Marinette had felt such an intimate touch. "I had a nice time talking to you tonight." The feel of Diana's fingers gently trailing down Marinette's arms was almost more than Marinette, touch-starved and hungry for more, could bear.

Marinette smiled. "I did too. I hope to see more of you."

"I'm sure you will." Marinette took comfort in the certainty in Diana's voice.

And in the back of her mind, Marinette began to rethink her policy of never falling in love again. Something about Diana made Marinette think that Luka wouldn't be her last time after all.

And the skeletons in both our closets plotted hard to fuck this up

Marinette could not believe he did this. After everything they had been through together, Marinette's one final request to Luka was that he not release a song about their breakup. But there it was, top of the charts, the lead single of Luka's new solo album, Different Cities. And if it wasn't bad enough that Luka broke the only promise she asked him to keep, included in the song was a snippet of the last voicemail she sent to him. She left it for him weeks after they broke up, as an explanation to him, to let him know she was leaving Gotham.

In the last few seconds of the song, Marinette's voice is hesitant as she speaks. "I know that you wanted me to stay so that we could work things out, but I don't think that our relationship is fixable. So I guess I'm calling to tell you that I give up. I'm leaving Paris next Friday. I've already bought the plane ticket. You can't change my mind. Goodbye, Luka."

It was the rawest emotion Marinette had shown since the breakup, and Luka exploited it for his own gain.

Marinette spent the day joylessly deleting emails from various news outlets begging her to tell her side of the story. As if she would give Luka the satisfaction of giving free publicity. Everyone loved drama, so Marinette was going to make her reaction - or lack of reaction, in this case - as boring as possible.

Every time her phone rang, Marinette ignored it. The voicemails started to stack up, and eventually, Marinette found herself going through them one-by-one. One from Alya, letting Marinette know that she was there for her when she wanted to talk. One from Adrien, more joking in tone, trying to cheer Marinette up. One from Ivan, directly threatening to punch Luka in the face if Marinette wanted it (and that was the only voicemail that actually brought her spirits up). One from Juleka, an apology.

In the voicemail, Juleka's voice was rough, like she had been crying. "I'm so sorry, Marinette. I begged Luka not to release it, but he wouldn't listen to me. He said- he- he said-" Juleka broke off into a sob, and Marinette couldn't help but sniffle along with her. "I can hardly recognize him anymore. Rose and I aren't on speaking terms with him now. He's no longer my brother."

Marinette wished that she could pick up the phone and tell Juleka that it was okay to forgive Luka, but Marinette couldn't. The wound was still fresh, still bleeding out.

One step forward, one steps back. Two days after Marinette considered the idea of loving again, and she was right back where she started - in too much pain to even consider friendship, let alone love.

Speak of the devil, Marinette's phone rang, Diana's name lighting up on the screen. Part of her wanted to throw her phone across the room and curl up under her blankets. The other parts of her answered the call. "Hello?" spoke Marinette, wiping away the moisture at the corner of her eyes.

"Marinette, are you okay?" Diana's voice was soft. It was the most comforting thing Marinette had ever heard.

"Not really. I can't decide if I want to punch Luka in the face or if it would hurt too much to ever see him again."

"Do you want to talk about it?"

Marinette sighed. "I met Luka when I was fourteen. He was my classmate Juleka's older brother. Luka had his own band, so all the girls in our class thought that Luka was so cool, but he mostly ignored us. Then one day his backing vocalist got bronchitis and he needed someone to fill in. I was a soloist for the school chorus, so I volunteered. Luka was hesitant to let me join his band until he heard me sing. He told me I had the voice of an angel. Two days later he kissed me, and I fell in love with him so hard and so fast I didn't have a chance to consider if he was really the one."

Marinette took a deep breath, then continued, "It was a whirlwind after that. We started dating. We started a new band and named it Kitty Section. We started writing songs together. The weird part was, he never asked how I felt about any of it. He never asked me if I wanted to date him, he never asked if I wanted to join the band, he always assumed that I wanted what he wanted."

"And what did you want?" asked Diana.

"Back then, I thought I wanted a future with Luka. Now, I guess I just want to feel passion again. I've felt so empty since I left him."

"You might feel better with some company. Do you want me to come over to your place?"

Marinette looked around at her empty apartment, at the way the shadows filled the room, at the way seemed to lurk in every corner. "Sure."

"You could show me some of those designs you were telling me about the other day," suggested Diana.

Marinette glanced over at her sketchbook, which had laid empty for months. "That sounds good."

As she hung up the phone, Marinette realized that talking to Diana had made her feel a bit better. The knife wound that Luka had left in her heart had begun to close up at the edges. Marinette took a deep breath and picked up her sketchbook. If she wanted to rediscover her passion, she needed to work for it.

Now you hang from my lips, like the Gardens of Babylon

Marinette let out an appreciative noise as Diana re-entered the room, modeling one of Marinette's creations. "Give me a little spin."

Diana turned herself around, letting the red fabric swirl around her legs. Something about the way that the dress looked on Diana made it so much prettier in Marinette's eyes. Suddenly the fabric wasn't just red, it was carmine. The dress wasn't just being worn, it was being modeled. It didn't just move, it flowed. "It's a gorgeous dress," complimented Diana as she looked over her shoulder at the mirror behind her to admire it.

"It is nice, isn't it." Marinette had been so caught up in her head she had forgotten to truly admire her creation. Suddenly an idea occurred to her. "You should keep it. One of Bruce's charity galas is coming up in a few weeks. You could wear it there."

"I couldn't," protested Diana.

Marinette shook her head. "It looks best on you. I could never pull off such a vibrant shade of red." There was a second part to the sentence that was left unspoken. If Marinette made the dress knowing that it wouldn't look good on her, she must have made it for another reason. She must have made it with Diana in mind.

Diana smiled, seeming to have caught those unspoken words. "Well if I'm going to wear the dress, you'll have to put up with me gushing about how talented you are all night long."

Marinette flushed. "It's no big deal. It's just a dress."

"It's not just a dress. It's your passion." There was truth in Diana's words that Marinette couldn't deny. It was so much more than a dress. It was the passion for design that Diana had helped her rediscover. It was the newfound friendship with Diana that chased away the loneliness and despair that had taken over her life. It was the glimmer of hope for a future with Diana.

Takes one to know one, you're a cowboy like me

Diana looked beyond gorgeous in that carmine dress. Marinette could keep her eyes off of her as they mingled around the ballroom. Marinette's dress was nice, made with the same passion that Marinette had in her younger years, but it paled in comparison to Diana. However, Diana made up for this disparity by gleefully explaining that Marinette was the creator of the dress every time it was complimented. By the end of the night, Marinette had spent so much time blushing over compliments that she worried her face would become permanently flushed.

The gala was a complete success for everyone involved. The charity, which happened to benefit Gotham Child Protective Services, raised twice their goal amount. Marinette got to spend time with Diana. Even Silver had spent the night looking very pleased with herself, her hand resting on Bruce's forearm as they walked through the ballroom together.

As the night winded down, Marinette and Diana found themselves walking out of Wayne Manor towards Diana's car. Diana had offered to drive Marinette there and back, and Marinette had eagerly accepted. Marinette hated driving in Gotham, as Gotham was known for its aggressive drivers and high rates of automobile accidents.

Marinette sat down in the passenger seat with a sigh, kicking off her heels. "Tonight was nice."

"It was nice," Diana agreed. "We'll have to attend galas together more often."

"You just want an excuse to get your hands on another one of my dresses," teased Marinette.

Diana laughed. "I wouldn't say no to another dress. But really, Bruce's rich friends are much more bearable when I have someone to make fun of them afterward with."

Marinette shuddered. "And to think I thought that Bruce was bad. His friends are intolerable. I never want to talk about golf again in my life."

The two women chatted as they drove through the dark streets of Gotham, back to Marinette's apartment.

"Thanks for driving me home," said Marinette as the car pulled up in front of her apartment building.

"It was no problem." Diana hesitated, before continuing. "I was wondering if you would like to go out to dinner with me tomorrow night."

"Dinner sounds good," Marinette replied, strapping her shoes back on.

"I'm asking for this to be a date." Diana finished.

Marinette looked up at her, surprised. Her friendship with Diana had been so easy that Marinette had forgotten that it could be anything else. She had half a mind to decline, to stay in the familiar, but that little bit of hope in her heart urged Marinette to take a leap of faith and accept. "I would like that. What time will you pick me up?"

Diana smiled, her whole face lighting up. "How does six sound?"

Marinette smiled back, her heart feeling lighter than it had in years. "Sounds great. I'll see you tomorrow."

And as Marinette got ready for bed, she realized that all of the sadness that lingered in her heart since the breakup had gone away. All that was left for her to feel was hope for the future.

@maribatmarch-2k21

#maribat #MaribatMarch2021 #Marinette Dupain-Cheng #Diana Prince #wonderbug #dianette #my work

98 notes · View notes

curious-minx · 4 years

Text

Notable 2020 Video Game Soundtracks That Can Be Enjoyed As Standalone Experiences

Video Game Music is gaining recognition, with many soundtracks receiving vinyl pressings, orchestral concert reviews, and an increasing presence on music streaming platforms such as bandcamp and Spotify. We’re also witnessing the uprise of indie video game development teams where games are being made by the sort of passionate type of game designer that takes soundtracks seriously. Soundtracks by small teams of developers such as Celeste, Undertale, Disco Elysium, Hollow Knight, RuneScape, and Lisa: The Joyful are titles with soundtracks that easily stand up against the likes of bigger budget productions made by reliable sources of video game music like Square-Enix and Nintendo.

2020 is no exception in terms of having one of the biggest budget soundtracks around with Final Fantasy 7 Remake, which builds upon a legacy of industry-standard-creating soundtrack work. Taken as a whole, Final Fantasy 7 Remake’s soundtrack is clocking in at over 8 and half hours of music. The soundtrack has three composers with the Beethoven of video game music, Nobuo Uematsu, most notably coming out of retirement to get the job done. Here are some other amazing 2020 video game soundtracks more conducive for standalone background listening:

TETRIS EFFECT by HYDELIC

Genres: EDM, Ambient Pop and straight up Ambient

Describing this album makes me feel like I’m some sort of burnt out fanciful raver, head permanently lodged in the clouds. The level of giddy technicolor enthusiasm rivals that of Icelandic Sigur Ros frontman Jonsi, but if he wanted to keep his post-rock firmly planted in the outdoor music festival on Mars territory. Despite the album’s notable two hours runtime, each and every song feels like its own uniquely crafted composition, no repetitive motifs or nostalgia-baiting.

There is unfortunately still a Tetris movie in some sort of shaggy state of development in Hollywood right now. The movie is being billed as a dull biopic about the creator of the Tetris game. Whereas listening to Tetris Effect you imagine a Tetris movie directed by someone more fitting like the Wakowskis. Tetris Effect’s opening song “Connected (Yours Forever)” is a bonafide vocal pop song, like a more sugary CVRCHES-style cooing of the lyrics:

“I’m Yours Forever

There is No End in Sights For Us,

Nothing Can Measure the Kind of Strength Inside Our Hearts,

It’s all connected we’re all together in this life, don’t you forget it

We’re all connected in this”

Try your best not to imagine a cast of Hollywood’s most beautiful plucky orphan mutant misfit youths using the power of Tetris to heal a broken and dying planet!

Notable Track: Next Chapter

---------

HADES by DARREN KORB

Genres: Progressive Metal, Folktronica, Folk Metal, Dimotika, Greek Folk Music

Darren Korb has become one of the most notable video game composers of the past decade. Korb, an integral member of the Supergiant family, continues to outdo himself with each and every soundtrack. Bastion and Transistor originally found Korb creating a niche for himself with downtempo folk-infused electronic soundscapes and even some vocal pop with collaborator Ashley Barrett. Hades is an altogether different beast for Korb, who much like the developers of Hades, have found themselves at the height of their powers.

Korb also contributes vocals on this album, and I can say without hesitation that these are some of the nicest vocals I’ve ever heard from a video game music designer, because video game musicians are bonafide musicians.The album clocks in at two and half hours and separate from its game is still an absolute thrill ride.

Notable Track: In The Blood

---------

DEFECTIVE HOLIDAY by MECHATOK

Genres: Ambient Trance, Balearic Beat, Progressive Electronic, Nature Recordings, Spoken Word, New Age

One glance at the album artwork is all it took for me to know that I must listen to this album. Defective Holiday is an indie walking simulator that is explicit about its intentions: a lightly interactive one hour experience. This soundtrack clocks in at only 31 minutes and it is purely the most conventional album in terms of length.

Last week in late November, Mechatok announced a collaboration with one of the leading zoomer Swedish cloud rap mavericks Bladee, the cofounder of the Drain Gang. Last month gives a pretty clear picture of what kind of circles Mechatok is floating in on. Highly online gonzo vaporwave maestro James Ferraro is another apparent influence on this soundtrack, especially regarding the way the sinister mundane dialogue is woven into the soundscape. There’s one particular track on the Defective Holiday OST, “Rescue Shot Buibo”, that is adorned with standard trap-style drum fills that give the album a shot of energy before wandering back off into the haze. This soundtrack and video game is all about the pure vibe and aesthetic nature that are currently trending in these extremely stressful times. In a time where all of our holidays were defective from the very start, I think the casual walking simulator will remain a genre high in demand. I have a feeling we’re going to hear a lot more from this empathetic young German.

Notable Track: Valley

---------

Last of Us II by Gustavo Santaolalla, Mac Quayle (and Ashley Johnson)

Genres: Ambient, Cinematic Classical, Dark Ambient, Spanish Folk Music

The Last Of Us is a horror game where the music itself is arguably playing a critical character role, which can only be expected billing two titans of audio visual soundtracks. Of course Academy Award winner Santaolalla knows his way around a soundtrack. Wielding a resume of astonishing versatility in various TV and film projects, he might have found his higher calling in not only video games but in the horror music canon. Last of Us is an extremely emotional series, and with the wrong soundtrack, the experience could become insufferably bleak. The occasional splashes of color and light are what make this soundtrack so unsettling and eerie. Not since Silent Hill 2’s Akira Yamaoka has there been such an effective standalone horror video game soundtrack experience. No wonder Gustavo Santaolalla is one of the only video game composers integral enough to the game to warrant a cameo banjo-playing character model based off of him.

As if having one major composer from prestigious TV and movies wasn’t enough, Mac Quayle, composer of the whole Mr. Robot series, contrasts against Santaolalla’s acoustic contributions. The soundtrack itself is sequenced in a way that switches between the two composers. “The Cycle of Violence” composed by Quayle, a track that more than lives up to its name, is immediately followed by Santaolalla’s somber “Reclaimed Memories.” This dance between violence and heart is what the Last of Us excels at as a franchise, and that is why this soundtrack is an effective stand-alone experience.

The only disappointing part of the soundtrack is that Ashley Johnson, voice actor of Ellie’ three songs, is not included in the game’s official tracklist. Ellie’s “Take On Me” a-ha and “Future Days” Pearl Jam covers have made a little history by being the most powerful songs sung by a video game character. When Ellie sings and plays on her guitar they aren’t some little Easter egg idling moments to provide levity for this heavy revenge horror story. These songs are used to make some of the strongest character development choices made by a video game character seen in recent years. Ellie is joining a small club of singing video game characters alongside Parapa the Rapper and maybe the cast of obscure Atlus title Rhapsody: Musical Adventure.

Notable Track: Unbroken

---------

Persona 5 Royal Straight Flush Edition by Shoji Meguro

Genre: Acid Jazz, Alternative Rock, Alternative Metal, Lounge, Jazz-Funk

This is one of those soundtracks that, much like Nobuo Uematsu’s work in Final Fantasy, is really the heart and soul of the entire Persona franchise (and his work in the adjacent Shin Megami Tensei universe is equally as noteworthy). Persona 5 Royal finds Meguro making his most complete, funky, and otherworldly opus that sounds like no one else in the biz.

You will find many people online scouring message boards, subreddits, bandcamp features, and Yahoo Answers looking for more music like Persona 5. Outside of Metal Gear Solid: Snake Eater, how many other games are packed to the brim with truly foxy songs!? Persona 5 could not predict how badly the title “Throw Away Your Mask” would age, despite the game being more than ahead of its time with the majority of NPCs wearing PPE. Be a good Joker, put on your mask and keep chasing Meguro’s acid jazz-infused dragon through many more semesters to come.

Notable Track: I Imagine

---------

Streets of Rage 4 by Olivier Deriviere & Various

Genres: Electro House, Nu Jazz, Synth Funk, Acid House

Composer Olivier Deriviere is a living definition of a video game soundtrack journeyman. He has a career stretching back to the early 2000s working on notable big budget titles like the divisive 2008 Atari fifth Alone in the Dark installment and Remember Me, an unsung buried gem from the PS3/360 era Capcom title. Remember Me is where Deriviere’s electronic leanings started becoming especially prominent in his sound. On the Streets of Rage 4 soundtrack Deriviere has completely come into his own element, developing a whole new sense of campy playfulness.

Electronic French House music can be a divisive genre. For every Daft Punk commercial success there is a band that ruffles feathers like Justice. I sense a strong presence of late departed French House titan Philippe Zdar of Cassius as well. If you’d played this soundtrack for me out of context, I would have guessed an obscure voguing tape from the 80s or a really talented mysterious DJ set. Instead, this is a sequel to a classic beat em up franchise that left a portion of players disappointed by the game’s four hour playtime. The soundtrack is over an hour and fifty minutes long of high octane House music bliss. Much like the Tetris Effect soundtrack, it is truly impressive how much depth these tracks have when they could have easily been nostalgic recycled beats. Sometimes a game’s soundtrack can offer more post game enjoyment than an actual game.

Notable Track: Chill Or Don’t

---------

Hylics 2 by Chuck Salamone & Mason Lindroth

Genres: Experimental Rock, Neo-Psychedelia, Hypagogic Pop, Stoner Rock, Jazz-Rock

A soundtrack that comes closest to capturing the experience of hearing the Earthbound or Katamari Damacy soundtracks for the first time. The Hylic indie RPG series is a wonderful and strange beast that is ready to frolic and show its playful side. Hylics is a part of a recent uprising of indie games being developed on the RPG Maker software. 2020 year has left us all with variations of the same stressed out adjectives: Weird. Messed Up. Surreal.

Why not listen to an album from a game that is the perfect embodiment of that surreal mantra? Step away from your computer, draw a bath, and put this album on. Thank me later!

Notable track: Xeno Arcadia

---------

Ultrakill: Infinite Hyperdeath (Act I Soundtrack) by Heaven Pierce Her aka game developer Arsi “Hakita” Patala

Genres: Drum and Bass, Industrial Metal, Ambient, Progressive Metal, Acidcore

Nothing says “modern indie game development” more than a game built completely from the ground up by one person. Ultrakill’s developer “Hakita” is one of those kindly folkloric DIY figures that make video games such an extensive art form. The game is a painstaking gloriously bloody ode to Dooms of yesteryear but with plenty of its own fine tuned style. The perfect soundtrack for when you’re painting your personal Hell a darker shade of gore, but also would really like to kick your ass into shape if you need an adrenaline boost to your Quarantine blues.

Notable Track: Panic Betrayer

---------

Risk of Rain 2 by Chris Christodoulou

Genres: Progressive Rock, Space Rock, Space Ambient, Post-Rock

Something about the country of Greece brings the best kind of futurism out of the country’s composers. Christodoulou’s Risk of Rain 2 soundtrack is no Bladerunner knock off. This soundtrack for the colorful sci-fi indie rougelike is punchier and less nocturnal than your typical synth-heavy sci-fi soundtrack. Risk of Rain is one of the more successful Kickstarter series around and has the best quality an indie game can have: it feels like a labor of love on all fronts. There’s no reason a rougelike like Rain of Ruin or Hades needs a soundtrack this good, but Christodoulou casts a spell with his electronic-driven prog rock that makes you want to keep respawning. A huge missed opportunity if Christodoulou does not get to soundtrack an earnest sci-fi action-adventure for even big screens. Oh! This soundtrack also features some spoken word segments from Werner Herzog; what more do you need to know?

Notable Track: The Rain Formerly Known As Purple

---------

Warhammer 40,000: Mechanicus by Guillaume David

A big debut project from an up-and-coming composer Guillaume David. Prior to the making of this soundtrack, David was a video game voice actor who worked on a Resident Evil Devil May Cry crossover voicing the character of “Hunk.” Warhammer 40K might become a franchise that more people will care about solely based on the quality of this installment’s soundtrack. When you see the title Warhammer 40,000, what sort of sounds come to mind? If you guessed “Neo gothic cyber Gregorian chants that seamlessly melds the ancient and futuristic”, you would be correct. A turn-based action game could possibly fall into dull territory, but with a visual identity as strong as Warhammer 40K melded with a suitable musical atmosphere, the action and world becomes irresistible. This soundtrack is a brisk 56 minutes and the other soundtrack on this list with a more conventional runtime. Not a second is wasted on this dynamic and fantastical soundtrack. Prior to hearing this soundtrack I had no intention of ever looking into playing a game based off of something as convoluted as Warhammer 40K, but now I very much want to know what these robot priests are about. That’s the magic of a quality soundtrack.

Notable track: Millenial Rage

/////

Honorable Mentions:

Happy Listening!

#Video Games #Video Game Music #Soundtracks #Top 10 #Video Games 2020 #Final Fantasy 7 #Persona 5 #Streets of Rage #Hylic #Utrakill #Risk of Rain #indie games #Square Enix #Warhammer 40k #last of us #Last of us 2

132 notes · View notes

bananaofswifts · 4 years

Text

For Women's History Month 2021, GRAMMY.com is celebrating some of the women artists nominated at the 2021 GRAMMY Awards show. Today, we honor Taylor Swift, who's currently nominated for six GRAMMYs.

When we met Taylor Swift in 2006, it was immediately apparent that her songwriting approach was like ripping a page out of her diary.

"Just a boy in a Chevy truck/ That had a tendency of gettin' stuck/ On backroads at night/ And I was right there beside him all summer long/ And then the time we woke up to find that summer gone," she lamented in the first verse of her debut single, "Tim McGraw(opens in a new tab)." The way the then-16-year-old Swift could turn personal anecdotes into instantly memorable hooks mirrored the prowess of an industry veteran, appealing to more than just the teenage girls that could relate to a short-lived high school romance.

Now, nearly 15 years later, Swift has introduced another layer of intrigue with a foray into indie folk, unveiling a pair of albums, folklore and evermore, last year. Recorded entirely in isolation after the COVID-19 pandemic hit in March 2020, folklore has been widely acclaimed(opens in a new tab) as Swift's best album, touted for its intimate songwriting and cinematic dynamics; evermore has received similarly glowing reviews(opens in a new tab).

folklore was 2020's best-selling album(opens in a new tab) and earned Swift five GRAMMY nominations at the 2021 GRAMMY Awards show, including her fourth Album Of The Year nod. (evermore will be eligible for the 64th GRAMMY Awards in 2022.) As her 10 previous GRAMMY wins suggest, though, this new chapter isn't an abrupt departure for the star—it's a masterful continuation of her evolution as a singer/songwriter.

If there's one thing that Swift has proven throughout her career, it's that she refuses to be put in a box. Her ever-evolving sound took her from country darling to pop phenom to folk's newest raconteur—a transition that, on paper, seems arduous. But for Swift, it was seamless and resulted in perhaps her most defining work yet. And folklore’s radiance relies on three of Swift’s songwriting tools: heartfelt balladeering, autobiographical writing, and character-driven storytelling.

While there was always a crossover element to Swift's pop-leaning country tunes, her transition from country starlet to pop queen began with Red. The album’s lead single, the feisty breakup anthem "We Are Never Ever Getting Back Together(opens in a new tab)," was Swift's first release to reach No. 1 on the Billboard Hot 100 (and, ironically, scoffed "indie records much cooler than mine"). She declared a full pop makeover with 2014's 1989, but the response proved that her bold move was the right one: Along with spawning three more No. 1 hits, the project won Swift her second GRAMMY for Album of the Year.

From there, 2017’s Reputation, a response to media scrutiny, and 2019’s Lover, an often bubbly exploration of all facets of affection, followed. Although they shared similarly grandiose production, Lover featured a handful of poetic ballads, including "The Archer(opens in a new tab)," a self-reflective love song that teased Swift's folk sensibilities through storybook lyrics and ambient textures.

Swift’s ballads are key in understanding the full essence of folklore. They’ve regularly marked standout moments on each of her albums, both thanks to her poignant vulnerability and rich tone. Fearless standout "White Horse" earned Swift two GRAMMYs in 2009; Red's painstaking "All Too Well" was an instant fan favorite; 1989's "This Love" and Reputation's "New Years Day" provided tenderness amid otherwise synth-heavy sounds.

The raw emotion she puts into her downtempo songs comes alive on folklore, introducing a new wave of neo-classical sonics that elevate her fanciful penmanship to an ethereal level. Whether or not Swifties saw a full indie-pop record coming—at least not yet—the shift isn't all that surprising. Folklore’s romanticized lyrics and relatively lo-fi production are arguably what many fans have been patiently waiting on.

Lyrically, the super-personal nature of Swift’s music has always captivated fans and naysayers alike; diehards and critics dissected each of her albums for its real-life subjects and hidden meanings. While she played into those conspiracies at the time—whether she was revealing names in titles like "Hey Stephen(opens in a new tab)" and "Dear John(opens in a new tab)" or scathing the other girl on "Better Than Revenge(opens in a new tab)"—even Swift herself admits that her teenage method had an expiration date.

"There was a point that I got to as a writer who only wrote very diaristic songs that [it] felt unsustainable for my future moving forward," she told Apple Music's(opens in a new tab) Zane Lowe in December of 2020. "It felt like too hot of a microscope ... On my bad days, I would feel like I was loading a cannon of clickbait when that's not what I want for my life."

That realization is what helped make folklore so memorable: Swift stripped away the drama to let her artful storytelling shine. Sure, there are occasional callbacks to personal happenings ("invisible string(opens in a new tab)" references sending her exes baby gifts and "mad woman(opens in a new tab)" alludes to her legal battle with Scott Borchetta and Scooter Braun). Still, she largely shies away from her autobiographical narratives to make way for her imagination.

"I found myself not only writing my own stories, but also writing about or from the perspective of people I've never met, people I've known, or those I wish I hadn't," Swift wrote in a letter to fans(opens in a new tab) on social media the day folklore arrived. "The lines between fantasy and reality blur and the boundaries between truth and fiction become almost indiscernible."

folklore might be her first full project dedicated to creating characters and projecting storylines, but Swift has shown a knack for fantasy from the start. Tracks like "Mary's Song (Oh My My)(opens in a new tab)" on her self-titled debut and "Starlight(opens in a new tab)" on Red saw Swift craft stories for real-life muses ("Mary's Song" was inspired by an old couple who lived next door to Swift in her childhood; "Starlight" was sparked from seeing a picture of Ethel and Bobby Kennedy as teens). Even when songs did pertain to her real life, Swift often had a way of flipping memories into whimsical metaphors, like the clever clap-back to a critic on Speak Now's "Mean(opens in a new tab)" or the rebound relationship in Reputation's "Getaway Car(opens in a new tab)."

To think that we wouldn't have folklore without a pandemic is almost surreal; it's already become such a fundamental piece of Swift’s artistic puzzle. There was no telling what may have come after the glittering "love letter to love itself” that was Lover, but it seems isolation made the singer rethink any plans she may have had.

"I just thought there are no rules anymore because I used to put all these parameters on myself, like, 'How will this song sound in a stadium? How will this song sound on radio?' If you take away all the parameters, what do you make?" she told Paul McCartney in a November (opens in a new tab)Rolling Stone(opens in a new tab) interview(opens in a new tab). "And I guess the answer is folklore."

Even if she hasn’t been making indie music herself, Swift has shown an affinity for the genre over the years through curated digital playlists(opens in a new tab). Those included four songs by The National including "Dark Side of the Gym," which she references on folklore single "betty(opens in a new tab)," and "8 (Circle)" by Bon Iver, Swift's collaborator on folklore's gut-wrenching "exile(opens in a new tab)" as well as evermore’s title track. (“Exile” is one of folklore’s GRAMMY-nominated cuts, up for Best Pop Duo/Group Performance.)

The National’s guitarist Aaron Dessner co-wrote nine and produced 11 of folklore's 16 tracks, soundtracking Swift's imaginative tales with sweeping orchestration and delicate piano. Their partnership started with "cardigan(opens in a new tab)," a melancholy take on teenage love(opens in a new tab) that's up for Best Pop Solo Performance and the coveted Song of the Year. The team-up was a dream come true for Swift, a self-proclaimed National superfan and a career highlight for Dessner, who shared in an Instagram post(opens in a new tab) about folklore that he's "rarely been so inspired by someone." He sees the album as a pivotal moment for both Swift's career and pop music.

"Taylor has opened the door for artists to not feel pressure to have 'the bop,'" Dessner shared with (opens in a new tab)Billboard(opens in a new tab) in September. "To make the record that she made, while running against what is programmed in radio at the highest levels of pop music—she has kind of made an anti-pop record. And to have it be one of the most, if not the most, successful commercial releases of the year that throws the playbook out.

"I hope it gives other artists, especially lesser-known or more independent artists, a chance at the mainstream," he continued. "Maybe radio will realize that music doesn't have to sound as pushed as it has. Nobody was trying to design anything to be a hit. Obviously, Taylor has the privilege of already having a very large and dedicated audience, but I do feel like it's having a resonance beyond that."

Swift's other primary folklore collaborator was Jack Antonoff. He has been her right-hand man since they first paired up on 2013's promotional single "Sweeter Than Fiction(opens in a new tab)" (Swift referred to him as "musical family" in her folklore announcement(opens in a new tab)). Even after years of creating stadium-ready pop smashes, Antonoff said in his own folklore Instagram post(opens in a new tab), "I've never heard Taylor sing better in my life / write better."

As Swift recognizes herself, folklore ushered in a new way of thinking for the superstar that not only brings out her best, but sets a promising precedent for what's to come. "What I felt after we put out folklore was, 'Oh wow, people are into this too, this thing that feels really good for my life and my creativity,'" Swift added in her interview with Lowe. "I saw a lane for my future that was a real breakthrough moment of excitement and happiness."

Her enthusiasm is tangible on both folklore and evermore. Dubbed folklore’s sister record, evermore further expands Swift’s newfound mystical atmosphere. Much to the delight of many Swifties, the follow-up also calls back to her country beginnings on tracks like the HAIM-assisted “no body, no crime(opens in a new tab),” as well as her pop expertise on more uptempo cuts like “long story short(opens in a new tab).”

Together, the albums are a momentous reminder that Swift is a singer/songwriter first. Her wordcraft is some of the most alluring of her generation, and that’s never been lost on her music, regardless of the genre she’s exploring. But now that Swift also feels she's at her best, it’s evident folklore was just the beginning of Taylor Swift in her finest form.

#taylor swift #folklore #Grammy #WOW

49 notes · View notes

blueiscoool · 3 years

Photo

Rich B. Caliente Teamed up with Rick Ross to Create a Kaleidoscopic 911 Porsche

One auto designer-turned-artist found a way to sate both of his life’s passions—and the colorful results could be yours. Rich B. Caliente has a hand-painted Porsche 911 and an NFT to match, and the first-of-its-kind duo is heading to auction.

Caliente, a proud Miami local who worked in the auto industry for 15 years before becoming a full-time artist, says offering the NFT in conjunction with his colorful 911 was a way of immortalizing his creation in both the physical and digital world.

“To me, it’s very important to have something tangible,” Caliente said “So it’s kind of like my twist on an NFT, where you have something that’s a digital capsule, but you also have something that can be enjoyed in real life.”

The artist, who has wrapped exotic rides for an array of high-profile collectors, enlisted some impressive help to make the project happen: The bespoke 2021 Porsche 911 that’s gifted with the NFT was made in collaboration with rapper Rick Ross. The Grammy Award winner also signed the car to give it a dose of celebrity fairy dust.

According to the Caliente, this is the first time that a minted NFT artwork will come with a car title digitally included. It’s also one of the only Porsche art cars of this century, following Janis Joplin’s psychedelic 356 of the late ‘60s that Caliente describes as “amazing.”

The project, which is at the intersection of art, technology and automotive design, represents the culmination of Caliente’s career and also pays tribute to his Miami roots.

“The whole point of this project was to inspire, but also to formulate and represent where you’re from and who you are,” Caliente added. “So this is our little piece of the world that we live in.”

The artist says he briefly considered a Lamborghini Urus but opted for a 911 on account of its “iconic shape,” which he says enhances the artwork rather than compete with it. Caliente spent two days within arm’s reach of the Porsche to conceptualize the design before embarking on the two-week paint job.

The painstaking process involved taking everything off the car and applying his signature splatters and drips, which harken back to the work of Jackson Pollock. Think Tiffany-blue hues juxtaposed with splashes of bright yellow. Parts of the paint, like the orange above the taillights, also glow in the dark to emulate “oozing magma,” according to Caliente. The artist says that the whole design is symmetrical—so even though it’s thrown paint, everything looks purposeful.

The luxe interior, meanwhile, remains largely unchanged save for some custom leather mats, which are also emblazoned with both men’s signatures and Ross’s 2021 album title Richer Than I’ve Ever Been. Under the hood, the car retains its 3.0-liter 6-cylinder engine that delivers up to 379 hp.

The idea to digitally embed the Porsche’s title inside of the NFT may well point to a future of smart contracts that become a standard part of high-end digital purchases. And, since the transaction is processed through the blockchain, it’s completely transparent and traceable. All parties can see exactly where the funds go.

The auction, which is running June 4 through 14, will be hosted by an NFT management consultancy co-founded by Caliente known as Slashdot. Bids will be accepted online in the cryptocurrency Ethereum, and a portion of proceeds from the sale will benefit the Irie Foundation. This organization is dedicated to empowering the lives of at-risk youth in South Florida through mentorship programs, cultural experiences, and scholarship opportunities.

Naturally, the multi-pronged artwork doesn’t come cheap. Bids will start at $305,911, with the first three numbers a reference to Miami’s area code and the last to Porsche’s beloved sports car. For those who want to see the multicolored creation IRL, the 911 will debut at the 2021 Bitcoin Conference in Miami from June 4 to 5.

Caliente is already planning follow-up artworks, too. The artist exclusively shared with Robb Report that he has another NFT and one-off luxury ride in the pipeline, along with a bespoke aircraft and matching digital art.

Best get your digital wallets ready, folks.

By Rachel Cormack.

#Rich B. Caliente Teamed up with Rick Ross to Create a Kaleidoscopic 911 Porsche #art #art work #art news #artist #luxury cars #luxury living #luxury lifestyle #billionaire lifestyle #bitcoin #rich

14 notes · View notes

romantic-barnes · 4 years

Text

strawberry & tape | part one

| part one - the beginning or the end? |

Pairings: dark!biker!bucky x reader

Summary: Bucky Barnes has the town in his hands and a lot of blood. All you have is a cafe your mother left you after her passing. But as Bucky’s attention moves to you, do you have the strength to pay revenge for his wrongdoings? Does your push into the dark paradise end in love or blood?

Warnings: mention of non-con, possessiveness, mention of suicide, humiliation, animal cruelty. This is dark bucky! please don’t read if you are uncomfortable with any of the topics mentioned above!

A/N: Please don’t read if you are under 18! This series is inspired by This Is What Makes Us Girls by Lana Del Rey. Or just the whole album let’s be honest here. This is my first time uploading my dark fics so yeah, I love this, I loved writing this.

I’m just gonna tag some of my faves, you are under no obligation to read this! @imanuglywombat @mariessecretfantasies @sinner-as-saint @nsfwsebbie

There she stood, your best friend. A light Autumn breeze waving through the early spring trees, shivering the grass alive with it. Her shoulders shaking with the leaves, mumbling through her pink painted lips, whimpering and sobbing between words.

There wasn’t a word needed to express what happened, the petite girls’ tears flowing down her pretty face, carrying all the information with them.

She bunched up the skirt of her dress, fumbling with the seam before lifting it slowly and carefully. Her blood shot eyes watching you carefully as her lip trembles, fresh tears flowing.

Your eyes wandered down to the seam of her dress, slowly revealing the bruises on both her thighs. A hand covering your mouth, careful to not upset her, shake her, make her run. But there was little to hide, the agonising and painful pull at your heart.

She let the skirt fall, covering her thighs.

There was something you wanted to say, something reassuring, but the words could not slip past your lips. A simple ‘what happened’, a question reasonable.

“He- he touched me, and I said- I said n-no.” A string of sobs left her lips, closing her eyes. “He didn’t s-stop.”

You reached out to her, laying your hand on her shoulder, a light and careful pull. She stumbled towards you, laying her head on your shoulder. A thousand thoughts, but none delicate enough to say. You knew what happened as soon as she came walking up the street. A bittersweet romance turned poisonous. A possibility you saw coming.

The town doesn’t have a lot left for girls falling for the leather clothed men chasing them all over town. They turn their face away from them, whispering profanities. A lot of ‘told you so’, a lot of hot air from the people living in Dawn.

A lot of people think the town is possessed, cursed by witches from medieval times.

The smell of blood always wavers through the air as soon as you enter Dawn. Scientists say it’s chemicals, but none of that stays in the heads of the residents.

The old tale says that women used their period blood to seduce men, covering their desired man’s house in symbols to pull them into an everlasting love.

The town is built like a circle, a church in the middle, a poor attempt to rid Dawn of it’s evil. Before the church there was a town house, owned by the wealthiest man there was. Red scull, they called him, the origin story of the men in leather.

After him, the townhouse was torn down and a church was built, but not long after not even god was safe from Red Sculls son. The offspring who would bring the gang back to life.

They showed everyone who was in charge, blood was shed from anyone daring to refuse their power, deny them of what is theirs and so, the smell of blood never left. Always lingering in the air.

Generation after generation attracting folks who were looking for more control, but end up with blood on their hands, guilt on their faces. Only a few make it, with promises they couldn’t keep.

A town build on tales and make-believe.

You sat across the table from Lana, the girls’ hands wrapped around a mug, tears staining her pale complexion. He bottom lip trembled as she raised the mug to her lips.

“He needs to pay for this.” You said confidently.

Lana shook her head, her Bambi eyes wide with terror. “You’ll get yourself in trouble, you know what they can do, what they’re capable of. I shouldn’t have gotten involved with them.” A whimper escaped her lips.

You hung your head, defeated. There is truth to her words, but someone has to put an end to this. Another girl left on the curb, used and abused by the head of the clan. Another girls’ innocence stolen by force, without so much as a glance from the townsfolk.

An eerie silence fell, the presence of someone evil lingered around her.

Barnes.

A name no one who isn’t looking for trouble ever dared speak. Afraid it would somehow summon him, like a spell. A man as dangerous as his name, but just as beautiful as the devil created him. A curse not meant for the faint hearted.

His words are the national anthem here.

No matter if it’s a curse, spell or an enchantment, you’re not falling for it. Determined to defy the cliché of the weak woman falling for the devil’s son. A cliché in itself. A dangerous game to play, but a game, nonetheless.

You weren’t scared of a man trying to find a moment of thrill from an innocent soul.

The small cafe was empty, like every day it dawned on you day after day. Maybe that’s why your mother did what she did. A failure of a dream she had. Turn the family business into a cosy place, but the money stopped flowing slowly and steadily.

Standing at the counter with your apron, sundress adding to the sweetness of the aura your mother created. A place for the people who didn’t know of the more popular diner in the centre of town.

Your life threatened to become just like your mothers. No steady relationship, money slipping through your fingers, mundane days dripping with boredom. Your end was destined to end like your mothers, a sting of rope, swinging without life.

The pastries fresh from the oven, buttered and sprinkled with powdered sugar. A recipe your mother created. You set one down in front of you, a cup of coffee in your hand.

A break you didn’t really need, but took advantage of, nonetheless.

The bell above the door chimed, surprise overtaking you, but a look over your shoulder killed it instantly. Lana entered the cafe, still pale as ever. Her eyes shallow since that fateful day.

She sat across from you and you slid the plate over to her. Her small hands took the pastry, taking a bite. She loves your mom’s baking. “Can you pack up some of the strawberry ones for me?” A smile that didn’t reach her eyes stretched her lips.

A simple nod and you were about to stand when the bell over the door chimed once more and the look on Lana haltered you. The sound of heavy boots on the tiled floor.

The air filled with fuel and leather. You didn’t dare to look, in fact, you’ve never seen them other than when they rode their bikes through the streets, passing you.

“I think you forgot this.” One of them said, undoubtedly Barnes. A low and dangerous laugh echoed through the room, cutting through the tension.

A pair of panties hit Lana right on her chest, short breaths escaped her lips and you knew what this meant. Not much longer and the faucet would be running.

Anger bubbled inside you at the sight of her clutching the pair of pink lace panties. No matter how much danger radiated off from the man behind you, everything you knew about him was thrown out of the window.

You gripped the cup with your hand, an electricity searching its way through your veins. With the turn of your torso, not even sitting up from the chair you aimed the brown, hot liquid in his direction.

The cafe fell silent, all tension hit the floor as you met the eyes of the man stood in the middle of the room. Rage, that’s all you could read in his blue eyes. The two men standing behind him tightened their fists.

Time stood still, all eyes on you.

The only pair of eyes that you could focus on were the ocean blue ones staring right into yours. A death threat. Nothing but crime in his eyes and you right in his point of view. The shiver running down your spine left you cold. A single breath felt like a thousand daggers through your chest.

He moved, slow. Without a single second to react, his hand wrapped around your throat. “You little bitch.” He spat.

His voice ringed in your ears, but the rage bubbled back up, a stern look on your face. “How could you mock her after what you’ve done?”

You expected a lot of things. Maybe his hand tightening around your throat, or spitting on your face, but he retracted his hand.

A low chuckle from his lips and your face dropped, unconsciously softening. He studied you. Eyes moving from yours, to your cheeks, lips and raked over your body, stopping right on your cleavage.

“You’re going to pay for this, dollface.” he shoved his hands into his pockets. “You’re gonna wish you stayed in the shadows.” His smirk made you feel smaller than you wished it did.

Barnes and his entourage walked through the door, but he turned once more. “See you, y/n.”

It was difficult to decide whether the spotlight drawn to you by Barnes was worse than the fact that he already knew who you are. You relished in the fact that you never made direct contact with the Howling Commandos.

But now that comfort was stolen from you and you wondered what exactly they knew about you. It makes sense to you that they know the residents of their town.

A week passed. A week of anxiety. You tried to push away the thought of him, but each day you set foot into the cafe a flash of what happened passed before your eyes. Another memory added to the dread of this place, another one added to the one of your mother lifeless, swinging side to side.

Your fate isn’t as unusual as it may seem. No one truly gets out of Dawn, always bound to come back to take over the family business. Anyone stupid enough to move here sees the horror not long after, but it’s too late. Bound to the town and the town bound to them.

You breathed in and out, but the sound of motorcycles couldn’t find their way out of your ears. Was is a coincident that you heard the roar of their bikes more often this past week, or just your imagination.

Along with fear, a sense of responsibility and purpose raged within you. Somewhere in you. A purpose to teach him just how cruel the devil can be. What you have can be taken away from you.

Revenge is as sweet as strawberry jam.

Fun isn’t written very big in Dawn and unfortunately the only place to get wasted is the club house on the outskirts of town. A place full of the Howling Commandos, their wife’s, claimed women and men with a death wish written on their throat.

You let Lana in, leading her to the living room. A modest house, but a house, nonetheless. She sat next to you; her legs crossed. Two glasses were filled with red wine.

You handed Lana a glass, taking a big gulp of your own, eyes studying your friend with caution. It became harder to read her emotion, her face tainted by the horrors pushed upon her.

“How’s peter?” You asked between sips. A question to steer away from the million questions you had in your head instead.

“Oh, yeah he’s doing ok. He’s finally learned how to make a Bouquet.”

Peter started working at the flower shop a few weeks ago, revealing himself to be skilled in the field, a true eye for the delicate petals. A young man you wished she would’ve caught an interest in.

“But he’s been getting a little too nosy about the bikers,” her eyes watered, a sigh escaping your lungs. “he asked about him today.”

“Oh, Lana.” You pulled her side towards you, encasing her with your arms.

A knock on the door interrupted her quiet sobs, her big brown eyes staring into yours, a glimmer of fear hidden behind the glassy tears. Your feet carried you towards the door, hands shaking slightly as you turned the doorknob.

A man you recognise only by the patch on the shoulder of his leather jacket. A stern look mixed with boredom. A glance down to his hand and you saw the small brown package.

“For you.” A wicked smile spread on his grey bearded face.

You slowly reached your hand out to take the package away from him. The small bundle of brown paper rested in your hands. The man turned his back to you waling off to his motorcycle.

You stared at the package, backing away from the door after closing it. A twist in your stomach and you knew this wasn’t good, not in the slightest.

Lana walked over to you; questions written on her face.

Your senses kicked in, only now realising that the package is warm. A warmth spreading over your hands, but a cold shiver running down your spine.

You set the package down on the counter of the small kitchen. A look over to Lana and you untied the bow with caution. The brown paper loosened itself and from it oozed a stench of blood. As the layers were pulled away from the mysterious item, the brown turned red.

A gag from Lana and a shrill scream from you as the paper was pushed away. A heart revealed itself, bloody and fresh.

Lana looked to you teary eyed, a hand covering her mouth. You swallowed stepping away from the heart.

“You know what this means, right?” Lana whispered, barely audible enough to bounce off the walls. A shake from your head and Lana removed her hand from her face. “When one of- one of them sends you the heart of a deer- it uh- it’s kind of like a claim of the woman’s heart.”

If you weren’t so disgusted by the sight of the object and the stench of blood filling up the kitchen, you would have laughed at the ridiculousness. You lifted the corners of the paper, heart pounding, hoping to find the name.

Bucky Barnes.

There it stood in tar black ink. You didn’t know what you expected, but you hoped it would be any other name. But the gift is his’, a claim on your heart and your name.

[ part two ]

[ taglist open ]

#dark!bucky barnes #dark!bucky #biker!bucky #biker!bucky barnes #dark!bucky x you #biker!bucky x reader #dark!bucky x y/n #dark!bucky x reader #bucky barnes #bucky barnes smut #bucky x you #bucky x reader #strawberry & tape #clair writes

327 notes · View notes

tiesandtea · 3 years

Link

An in-depth & really interesting review of Head Music’s various - often forgotten but actually brilliant - b-sides. Originally posted on The Vapour Trail London blog on 20 November 2019.

The folklore of early Suede and the B-sides compilation ‘Sci Fi Lullabies’ would lead the casual observer to believe that the band had peaked creatively to the point that post-1997 B-sides would not be worth investigating, however I believe differently and now, thanks to the reissues of ‘Head Music’, these can now be easily accessed for wider reappraisal.

Full article under the cut.

Coincidentally coinciding with the recent release of Brett Anderson’s second memoir ‘Afternoons with the Blinds Drawn’, Suede have issued the 20 year deluxe edition of their fourth album, ‘Head Music’. Their final number one album to date was issued in May of 1999 to much fanfare, following in the footsteps of their classic ‘Coming up’ in 1996, a record that spawned no less than five top ten singles and saw them achieve astronomical fame across Europe and Asia (indeed, Anderson remains a genuine celebrity in parts of Scandinavia as a direct result). Whilst ‘Head Music’ was a hit, its making has gone down in the annals of history as being even more fraught and littered with personal scandal than even that of their second album, ‘Dog Man Star’, the record that infamously served as original guitarist Bernard Butler’s swan song. The chief reason was Anderson’s spiralling addictions to heroin and crack, which in the eyes of the singer served to influence what he and many others deem the patchiness of the record. Indeed, when Suede first reissued their heyday albums back in 2011, Brett would include within the sleeve notes his own rewritten track listings in each, citing Suede’s fervent devotion to ensuring that their B-sides were up to the same quality as their singles and album tracks, thus costing the associated albums some potential improvements. Songs from the album that often raise debate amongst its makers and listeners include ‘Asbestos’, ‘Elephant Man’, and the almost universally-derided title track, a scrappy, crappy exercise in suggestiveness that even producer Steve Osborne initially refused to have anything to do with.

Perhaps due to all of this, the resultant B-sides of the album’s singles have been lost in time somewhat. Whereas the B-sides associated with the first three albums reached legendary status in such a short space of time that the band issued a compilation double album of nearly all of them in 1997, ‘Sci Fi Lullabies’, their 1999 counterparts are rarely spoken of within the same reverent breath. I would argue that this is vastly remiss to the point of sacrilege as, taken in one listenable chunk, they serve to create what on its own would be an incredible record.

But before we investigate further, it’s worth exploring the genesis of Suede’s musical direction at this point. As Brett and the band have noted many times over the years, Suede sought to follow each album with a record almost diametrically opposed to its predecessor stylistically. The kitchen sink gutter glam of their groundbreaking debut was consciously followed by an ambitious, widescreen and darker ‘Dog Man Star’, the pretension and bluster of which was then followed by a strict album of ‘ten singles’ in ‘Coming Up’. Each time, at least one B-side would serve as a blueprint for what would follow; 1993’s ‘High Rising’ and ‘The Big Time’ served very much of signposts for what would follow in 1994, and then again in 1995, Richard Oakes’ sexy glam pop of ‘Together’ would point the band towards ‘Coming Up’ in 1996. Here, they would seek to expand upon the sonic direction of Mat Osman-penned ‘Europe is Our Playground’, a song they so loved they reworked its arrangement live and subsequently re-recorded for the aforementioned B-Sides compilation of 1997. Caked in icy synths and led by a dub-inspired bass line, it signified something cold and electronic, the desolate melancholy of ‘Dog Man Star’ reimagined by Kraftwerk or Berlin-era Bowie. The band promised this new direction in interviews and the public’s appetite was whetted.

Early in 1998, as part of a Pet Shop Boys-curated tribute to Noel Coward’, the band released one of their prime hidden gems, a suitably synthetic and clinical version of the great writer’s ‘Poor Little Rich Girl’. Unfortunately this was shown to the masses on television via a mimed performance that saw an utterly wasted Anderson grinning inanely with zoned out eyes whilst trying not to fall off a chair. This performance distracted from the impressive song (also featuring the highly talented Raissa, who had supported Suede on their Coming Up tour, on vocals) and seemingly left no impression on anybody.

And so to fast forward to the album. The making of the record has been documented extensively not only in Anderson’s second autobiography but also in David Barnett’s authorised biography ‘Love and Poison’ and Mike Christie’s recent documentary set ‘The Insatiable Ones’. If you’re not familiar with the story, it is a jaw dropping tale of decadence, debauchery and depression, the likes of which have seemingly and thankfully been removed from the culture of music making today. Indeed, there’s not a lot of money around now for bands to blow on endless recording sessions fuelled by endless drug abuse. But what emerged was a flawed but often brilliant record that has stood the test of time well and honestly sounds as fresh as the day it was released. The album’s track list can and will continue to be debated but ultimately, had they shaved off two of the more superfluous numbers (I would argue that the title track serves no purpose as does the turgid closing track ‘Crack in the Union Jack’), it would likely be held in the same high regard as the vast portion of their other records. But we won’t dwell on that here.

First single ‘Electricity’ was accompanied by no fewer than five b-sides, all of which carry some merit. ‘Popstar’, a concise lyrical study of the relationship between fan and band, contains the kind of crystalline synths and dubby bass that the band had sought to highlight with their two musical blueprints prior to the album. Richard Oakes’ guitar parts are sparser than ever before but serve the song well, and the chorus is cold and epic in a way that takes the song from good to great. ‘Killer’, complete with a lyric that seems to expand upon the ficitonlised femme fatale of ‘Coming Up’s ‘She’, is more impressive still; a dark, brooding slice of electro-noir that slinks and stalks in the manner suggested by the song’s lyric. It builds and builds to a desperate crescendo and brings to mind the best of Depeche Mode at their ‘Violator’ zenith. ‘See That Girl’, complete with yearning Anderson vocals lamenting ‘this dog shit world’, is less impressive but still good. A real undersung high point of the time is the Neil Codling-written and sang ‘Waterloo’, an electronic folk classic that sees some beautifully melodic guitar lines almost acting as choruses, and a tenderness rarely reached by the band. The fifth and final b-side (it was on the minidisc – yes, minidisc – version of the single), is ‘Implement Yeah!’, an old co-write with Justine Frischmann where Brett parodies Mark E Smith to amusing effect over a gutter-punk thrash that the band premiered with Justine at the 1997 Reading Festival.

‘She’s in Fashion’ followed in 1999 and quickly became one of the band’s better known songs via endless radio play that perhaps contributed to it being their first single since ‘New Generation’ in 1995 not to reach the top ten. Looking back, I imagine the fact that you could walk into any shop at any time during that Summer and be exposed to it as one reason why fewer people bought it than they might otherwise. The B-sides rank among the band’s very best. ‘Bored’ continues where ‘Implement Yeah’ left off with a Stooges-like guitar thrash adorned by sweet synths and a classically anthem Suede chorus. During an interview at the end of 1999, Mat Osman threatened a harder, rockier direction for the next album which never did come to fruition and it’s possible that this would have been one of its blueprints. ‘Pieces Of My Mind’ is better still, and a rehearsal recording of it sounding very different can be found on the new reissue. Taking its cue from ‘Europe is Our Playground’, it is a dreamlike wander through almost psychedelic electronica and its lilting chorus imprints itself on your mind immediately. ‘Jubilee’, a Codling creation, is one of the best of the era and would probably have made for a better first single than ‘Electricity’, a romantic epic that chugs along like ‘Trash’ and bears a dramatic and addictive chorus that would surely have been incredible live. Perhaps the lyric was somewhat off-putting to the band, a blank retread of other songs including the ‘run with me’ hook of the ubiquitous ‘Europe’. If so, this is a shame as if we are to be honest (and Brett has said so numerous times himself), the entire era was marred by some seriously autopilot lyricism that was charming in places in its framing of the Suede lyrical lexicon of language, and just plain boring in others. The single is rounded off by the gorgeous ‘God’s Gift’, a simplistic piano piece aided and abetted by swirling synths and understated bass that had been written by Brett about Justine many years before. As with a few of Suede’s records (most notably the first album), the spectre and influence of Ms Frischmann lurks around the songs of this era but in perhaps a much more positive way; the two had rekindled their friendship prior to the making of the album and it was Justine’s love of new wave that inspired some of the music.

‘Everything Will Flow’, the great lost ballad of the era in the same way as ‘The Wild Ones’ had been five years prior, saw an interesting bag of B-sides attached that differed in style in a far more pronounced way than the two earlier singles. ‘Leaving’, which Brett sees as the ultimate casualty of this period, is prime Suede in its romantic portrait of a girl departing relationship for a new life, although the underlying sentiment is entirely opposite of that of ‘Another No One’ in 1996. Although still featuring synthesised textures, its abundance of gentle guitar and piano is much more organic and not only serves as an appropriate backing to the not dissimilar ‘Flow’ but also as a subtle nod to where the band would go next. ‘Weight of the World’ is entirely a Neil Codling construction as with the earlier ‘Digging a Hole’ on the ‘Lazy’ single of 1997, however here he is eschews piano in favour of nylon strung guitar. Ruminating on the idea of his own demise, the song finds Neil in introspective form and perhaps shows a window into how he must have been feeling at the time, his health suffering significantly during the making of the record resulting in a chronic bout of ME of which he would never fully recover. It is sad and beautiful and at the time I wondered whether he would one day make a solo record. To date, he never has. ‘Seascape’ is up next, an ambient instrumental piece at odds with the majority of Suede’s output (indeed I believe this is Suede’s sole instrumental within their canon). Pleasing and dreamy in a subtly Eno-esque way, it lures you into a false sense of security for what would follow. The final song of the ensemble is the shocking and brilliant ‘Crackhead’. Noted by Q at the time for its outlandish appeal, it remains one of the most captivating songs in Suede’s history. Built around a staccato electronic motif, it lurches and grinds in a manner the band never achieved before or since, as a hoarse Anderson vocal tears apart his own addiction to the ice with suitable ice. At the time, Brett was in recovery, however this sounds like an isolated howl from the depths of dependence. It roars and builds to a final shrieking chorus of ‘you can’t give it up’ which says all that really needed to be said.

The final single of the era, ‘Can’t Get Enough’, another candidate for what should have previewed the album in place of ‘Electricity’, limped to number 24 in the charts but boasted perhaps the greatest array of B-sides of all the singles. In archetypal Suede fashion, ‘Let Go’ cut an honest precursor to the musical way forward, which would culminate in the predominantly folky ‘A New Morning’. Three-layered harmonies and melodic acoustic strum back one of Richard Oakes’ finest guitar performances, chiming and chugging riffery that would be revisited on later single ‘Obsessions’. Brett’s lyrics convey an all-pervaying positivity minus the bland triteness of the single of the same name, capping off an irrestible euphoria that would be deemed suitable for release as an A-side in their commercial home from home that was Sweden. It’s a shame that they were unable to replicate the feeling of the song across the subsequent ‘A New Morning’ album, however upon reflection the fault may lie in the fact that said album would be over-produced to the point of clean-cut nothingness by the otherwise accomplished Stephen Street. Next song ‘Since You Went Away’ is folkier still and retains much of the same charm, with Brett lamenting the feeling of loss felt in the aftermath of a realtionship break-up. Again, this is truly lovely stuff and acts as a further blueprint for album number five that would never quite be capitalised on. Heading over to CD2, ‘Situations’ is powered by a synthesised Eastern motif and ponders the ‘lonely minds’ and ‘vacant stares’ typical of Anderson’s lyrics of the time. While slightly over long, it would have worked on ‘Head Music’ had it been the more darker record the band initially promised, and even to these ears sounds somewhat influential on final Suede single (at the time), 2003’s ‘Attitude’. The very final B-side of this era is the brilliant and biting ‘Read My Mind’. As with ‘Crackhead’, it reveals a starker, harsher sound complimented by the blank words defining a phase of depression, most likely revealing the way the writer was feeling at the time. The chorus harmonies add to the relentlessness of the piece and once it’s over, you’re honestly left wanting more.

So these B-sides make up the lost record of 1999 whilst also pointing towards Suede’s final record of their first run. The rockier record that Osman hinted at was surely influenced by the likes of ‘Bored’, ‘Crackhead’ and ‘Read My Mind’, whilst the likes of ‘Let Go’, ‘Leaving’ and ‘Since You Went Away’ were very definitely influences on what eventually did surface. The folklore of early Suede and the B-sides compilation ‘Sci Fi Lullabies’ would lead the casual observer to believe that the band had peaked creatively to the point that post-1997 B-sides would not be worth investigating, however I believe differently and now, thanks to the reissues of ‘Head Music’, these can now be easily accessed for wider reappraisal.

#suede #head music #happy HM anniversary!#head music review

17 notes · View notes

hazzabeeforlou · 5 years

Text

Fine Line Masterpost:

A breakdown, musically and lyrically

In Fine Line, ‘raw honesty’ doesn’t really mean delving into the details of who Harry Styles is sleeping with, but rather it’s a glimpse into the world of a 25-year-old who is both deeply in love and who fucks up a lot; he’s given to sugary supplications, is plagued by jealousy, pouts at consequences, and struggles with understanding an inner self that keeps prodding him towards exploration of his identity.

The album is constructed to be consumed by various factions of the fandom. There’s no getting away from the surface dedication of HS2 as an ode to a blonde supermodel with a delicious French accent whose new boyfriend’s father owns a gallery, a girl who has golden hair and blue eyes. I won’t be arguing that away, because it’s intentional, it’s meant to be the surface layer.

The mantle is not the crust, though. Taken individually, each song can be seen as speaking to the queer experience in varied and complex ways, and I’ve seen some truly beautiful explorations of this angle. Especially with TPWK and FL, the anthemic solidarity with queer experience is astounding and gorgeous. I think it’s no accident that this broad take holds true as we zoom in and look at the complex details; Harry has written songs that speak both to this meaning and also hold incredibly personal and intimate significance between him and a partner (in this post we’ll call them Subject).

I will be focusing on the album as a cohesive narrative in the context of it’s chronological, linear progression. Fine Line details an incredibly personal struggle; it’s a love letter, an at times embarrassing, self-loathing reflection on a love gone wrong, a love struggling, an emerging self, and a hope redeemed.

Please feel free to ask questions if any of the technical stuff is confusing, but please also remember that these are my opinions, coupled with my analysis as a professional musician (meaning, hopefully I’m remembering those torturous years of theory dictation correctly!)

Side A

All four songs share an off-kilter-ness, a restless, unsettled, frantic feeling, as if Harry is balancing, undecided between throwing himself at the feet of the one he loves or pulling away. This is no illusion; the tonic base is missing from each song save WS (but even here the tonic is sabotaged in our ear, as we’ll discuss). We’re on a journey to side B; we start with a hope that sweet memories and lust can salvage love, and we end with Harry going his own way.

Golden: There are only two chords in this song, DM and CM7, the V and IV7 of the implied tonic, G Major. We never get to tonic though. We never touch that home base. The songs “da da da’s” give it a happier, peppier illusion than the text reveals.

Harry is already broken, already reflecting and hopeless as the song begins. His intended listener, Subject - the sun, the golden one - waits for him in the sky, and is all he’s ever known. Subject has always browned his skin just right, but now, Harry reflects, perhaps has been too bright for him. (Is some aspect of Harry buried in the brilliance of Subject’s light?) This golden Subject is scared, though, scared Harry is so open. Harry doesn’t want to be alone, but he also needs to peel back edges of himself previously unexplored. Stepping into and away from light is a major theme for Harry, and this opening song sets that precedent. Subject is scared because “hearts get broken,” but Harry’s heart is already broken, so perhaps this refers not to interpersonal heartbreak, but situational. Harry recognizes he’s “out of his head...” BUT, he counters, “Loving you’s the antidote!” He naively gushes out poetry while Subject remains unconvinced. We establish an impasse.

Watermelon Sugar: The Dm - Cm - Am6 - GM chord progression is an odd one; my best guess is that the song is in D minor, so the progression is:

i, VII, v, IV

That’s not typical in a minor key. Usually the leading tone note (in this case a C) is raised (so C#) making the five chord Major (V) not minor (v) and the seven chord diminished (viio) not Major (VII). also the Major IV ignores the B flat in the key signature of D minor and instead uses B natural. So all this to say that the tonic base STILL doesn’t feel like a tonic home, because the normalcy around the key signature is erased. Everything still feels unsettled, unresolved.

Much has been made of the oral sex interpretation, so, ya. This is a song about remembering the best of times, a prayer to Subject, a plea for summertime and bellies and strawberries, and a feeling Harry is desperate to get back.

Adore You: The three chords in this song, Cm - BbM - AbM, imply an E flat Major key, so vi, V, IV, respectively. The tonic, Eb (I), is (once again) never used, and instead vi, V, IV circle without ever coming to rest.

Subject, “Honey,” creates a rainbow paradise. This is another love letter to Subject, let me adore you, I’ll walk through fire for you, you don’t have to say anything just listen to me, you don’t have to say you love me too, just please, please... you’ve been on my mind. Let me adore you like it’s the only thing I’ll ever do. By this wording, Harry admits that adoring Subject is not the only thing he ever does, yet he wishes Subject to remember, or imagine, this false reality.

Lights Up: We’re in C Major here, with the chords Am - GM - FM, creating the same exact chord progression as Adore You, vi, V, IV. We (yet again!) never reach the tonic of C Major. It’s a constant tease of resolution, but there’s no solid home base. We’re suspended in limbo.

Subject is “sorry, btw.” What does that mean, Harry asks? Sorry we’re here in this place, that this is happing? This song is Harry’s declaration: he’s not staying, he’s not coming back down. It would be sweet if things stayed the same, but no, I’m stepping into the light. “All the lights couldn’t put out the dark”... even all the golden sun of Subject couldn’t heal the void in Harry’s soul? Harry asks subject, do you know who you are? implying that he’s determined to answer this for himself. I’m reminded of the crab in Moana, singing “Shiny.” There’s a certain bravado here, a reckless glittery happiness, a flaunting, an exuberance in discovery.

Side B

Tonics are all over the place. Harry is certainly certain about heartbreak. No ambiguity here.

Cherry: GM - Em - CM, or I, vi, IV. We’re in G Major and we know it. Repetitive “cou-cos’s” pepper the track like hanging fruit (let’s imagine from cherry trees).

The song is a simple one, simple in its jealousy. Harry has let Subject go, and now Subject is at their best... and Harry hates it. He doesn't want his former pet term of endearment used on another, even though he has no claim on Subject’s actions anymore. Harry keeps finding bits of Subject in how he dresses. They’re not talking lately, and Harry perhaps is most upset that this separation isn’t going how he planned... Subject is at their best without him.

The gallery line is inserted as a bridge, a unique line of music rather separate from the rest, an intentional narrative. But what’s most fascinating is the end of the song. The previous repetitive chord progression changes. Now we have

GM - AM7 (an added C#) - Am7 (4/2 inversion) - GM

or I, II7, ii7, I

The “cou-cou” lands during the AM7 (the II7) and it lands EXACTLY on the note of B, extending the 7th chord to a ninth chord, before, on its second syllable, dropping to the A and holding there (a kind of suspension) while the chord progression resolves to the Am7 (ii7), making the A a chord tone. This is deliberate. Unless the whole piece was harmonically built around Camille’s random use of a B to A in a voicemail (also randomly in the perfect key for Harry’s voice) this was purposely recorded for aesthetic effect. I for one really love it, I could listen to breathy french girls mutter about beaches endlessly...

Falling: A straightforward progression. In the key of E Major,

EM - C#m - BM - AM or I, vi, V, IV

With Falling, the only ballade on the album, we see Harry shift from jealousy to self destructive behavior. I don’t believe the ‘wandering hands’ line is about cheating (he and Subject were already apart) but rather, Harry seeking to wound Subject by turning to others. Communication is back open, because Subject says they care, they miss him too, but now Harry’s gone and fucked it all up. What have I become? What if Subject never needs me again? I can’t unpack the baggage they left. I just want Subject AROUND! Harry isn’t even begging for a romantic connection, he’s simply begging for Subject’s presence. He was so sure he could discover himself in LU, and now he keeps asking, what am I now? Who has he become on his own? He’s falling, and there’s no one to catch him.

To Be So Lonely: This song waffles between two keys, just as Harry waffles between defending himself to Subject and finally, finally admitting (in just one small line) that he is, in fact, sorry. The song seems to start out in C Major, with CM and Am chords (I, iv) but then at the chorus the Am chord elides from a iv to a i, revealing the key is really A minor. The chorus goes on to be:

Am - GM - Em - FM

or i, VII (lowered leading tone in minor), v (lowered leading tone in minor), VI

A fluttering mandolin mimics a fluttering heartbeat, and a folk music lilt gives the song a certain feel of heartbreak.

Harry asks for Subject to not blame the drunk caller, likely himself. Harry was away. He missed Subject. He was just a little boy when he fell, and presumably Subject caught him that time. Subject is trying to be friends, they mean well, perhaps have taken pity on him, but Harry cannot stand to be called baby now, not when that name doesn’t mean what it used to, not when it’s a hollow word. Harry’s ‘home’ is suddenly a lonely place, but Subject has his reasons for how he’s acted, presumably good ones, and finally Harry gives his mea culpa, “this is it, so I’m sorry.”

Interestingly, only after admitting that he’s made mistakes too, that he’s not perfect, that he shares the blame, does Harry confront and open himself to the realization contained in the next song, the heart of the album and the crux of what Harry’s been dancing around up until this point.

She: In E minor, both verse and chorus use the same progression:

Em - DM - CM - Am - (Bm, a quick lead-in to) - Em

or i, II, VI, iv, v (no raised leading tone), i

This Bowie-esc sounding song is the first to have characters. In addition to the Subject (perennially addressed as ‘You’) there is The Man and She. I would argue The Man and She are both Harry, a duality. The man drops his kids off at school, the man is thinking of You, like all of us do (everyone thinks of their SO perhaps). The Man goes through mundane daily tasks, but is he faking it? Does he really know what to do? He’s playing pretend, so pretend.

Now Harry introduces She. (When speaking of She, Harry sings in a high falsetto.) She lives in daydreams, she is the first one he sees, and Harry doesn’t know who She is. A Woman just in his head, who sleeps in his (a jump up to the falsetto for just this one word in the verse) bed while he plays pretend. Much has been said about the gender/fluidity discovery in this song, and by better than me. It’s clear what Harry is saying, it’s clear what he’s going through and wrestling with. He’s thinking of Subject, but also haunted by She, in his head, in his mind’s eye, in his daydreams. She is a part of Harry, and Harry wants to know who She is.

Side C

Uncomplicated tonics! All Major! A shift into happiness perhaps?

Sunflower: F Major. BbM - FM - CM, or IV, I, V. The bridge is fancy:

iii, IV, V, vi, I, V vi, V (vi?) V

Some trippie hippie song from the 60s! Two lines of thought are apparent from the get go; Harry says he wants to get to know Subject, but then says “before I got to know you.” It’s as if this is a new beginning, like he and Subject are starting over. Much is made of the ‘seed’ thing, a metaphor for new life and rebirth, “plant new seeds in the melody.” Harry is trying hard not to talk to Subject, to not seem eager, not act a fool. He was just tongue tied, then he’s still tongue tied, implying he’s done this whole dance before. He implores Subject to hold their sweet memories: domestic times, kitchens, kids. In Golden, Subject was the sun. Now Subject is a sunflower, hung up high in the gallery, out of the shade, in the light a sunflower needs to thrive, into the light, step into the light. Little gasps from Harry interject throughout; is he surfacing from water (LU music video?), is he breathing between kisses, is he suddenly gifted new life like Gandalf atop Isengard? The end of the piece devolves into calls of unbridled, nonsensical joy, like birds song, like mating calls amongst brilliant plumage.

Canyon Moon: D Major. DM - GM - AM - DM (I, IV, V, I)

Bridge DM - (Em transit?) - AM - DM (I, (ii), V, I)

Chorus DM - AM - DM - GM (I, V6, I6, IV)

Perhaps the most straightforward tonic bound song of the album. Harry is missing Subject, but it’s a happy nostalgia now, a hopeful one, a “two weeks and I’ll be home.” Home is no longer a lonely place, like in TBSL. The world is happy waiting (there’s no rush? No need to have everything figured out?). “Doors yellow, broken, blue.” You can’t bribe the door on the way to the sky a sky where Harry’s Golden sun awaits him, and now the sky door is broken, busted through, that blue door to a blue sky that never looked so blue.

We get another glimpse of She here; Subject remains You, Harry remains Harry, but there’s also a She who plays old hippies’ love songs and pretends to know the words; perhaps this is another Camille reference for narrative purposes, but I lean more towards this being another reference to She as Harry, exploring odd new music he’s never heard, trying not to be so pretentious about it but failing. (He’s such an Aquarius.) Most charmingly of all, the single whistler becomes two by the end of the song.

Treat People With Kindness: F Major. This is the most interesting piece in terms of text painting.

We start with CM6 - FM, then FM6/4 - BbM, then back to CM6 - FM, then we hold on the Am chord, and then repeat the whole thing. So analyzed in F Major this would be V6, I, I6/4, IV, V6, I, iii.

But. By using the I6 to IV, Harry plays with the idea of a V of IV, where you take the IV chord of the key and pretend it has its own dominant (V) and use the V of IV not as the I chord normally is used, but as a Leading Tone chord to IV.

ALL THAT TO SAY. He’s illustrating the lyrics. During “Maybe we can find a place” the chords are playing with dual resolutions. Where is the actual tonic? Is it F Major or B Flat Major? It’s ambiguous! We don’t know! We haven’t found our place yet!

But then! The bridge. “And if we’re here long enough” and look where we land, on a CM chord, then BbM, then FM, a solid V, IV, I progression. And THEN (bless this boy) on the word belong we get the same A minor chord (the iii) but we get a 7th added to the chord, a G, and Harry holds this G in the melody (plant new seeds in the melody), a note that VERY MUCH DOES NOT BELONG because in no universe does a iii chord in Major have a 7th added! And Harry not only ADDS but draws attention to this note, this note that doesn’t belong!!! Then this iii7 chord resolves to C Major (V), making the G note a chord tone, making it BELONG, making it fit perfectly.

GOD. Weep with me.

This is Over the Rainbow. This is Hair, this is Age of Aquarius. Somewhere there’s a place we can belong and feel good and people will celebrate and rejoice in us, someday a new age will dawn.

Harry is plunging into the deep end, dreaming, caught up in his good feelings and his euphoria in being “given second chances.” He’s tentative about admitting reckless hope to Subject; instead he says, “Maybe we can find a place to feel good?” Harry says he doesn’t need all the answers. He said in LU “do you know who you are” then in Falling “What am I now?” then in She “I don't know who she is” and now he’s at peace. He feels good in his skin, and he will keep on dancing.

Most personally, I think the sudden somber turn of the line “If our friends all pass away” is in reference to grief. He’s speaking to Subject, but also to himself. It will be okay, okay, okay. Harry can’t control his life, he doesn’t have everything figured out, but he’s come to accept that.

Side D

Fine Line: D Major. We come full circle, returning to the use of only three chords like at the start of the album. This time, though, Harry resolves to tonic in a repetitive pattern used for both the verses and chorus:

Bm, GM7, DM6/4, or vi, IV7, I

FL is the summation of the album, the thesis statement, the conclusion of the journey. Harry has endured tests of patience, and accepted that there are things he’ll never know. He’s trying to shake off trepidation (of plunging in the deep end? Of hoping?). He says “My hand’s at risk, I fold.” The poker analogy is an interesting one; Subject (presumably) has gotten past Harry’s poker face, has sussed out his fronts and acts and strategies, and Harry is left bare and exposed, vulnerable before them. He’s been brought to this point, but willingly he folds. He laments that “spreading you open is the only way of knowing you.” We should open up before it’s all too much. Harry is done fighting. He’s also done sleeping in the dirt. For the first time he’s not sugar-coating his words, avoiding their problems via sex and pretense and flowery language. He’s matured enough to admit, “Man, I hate you sometimes.”

Again we have the reappearance of She. Harry says to Subject, “We’ll get the drinks in, so I’ll get to thinking of her.” This She is something between them, within them now, another facet of his and Subject’s relationship. Harry is going to spend time thinking of Her. She, I believe, is a part of him.

A fine line is a balancing act, a tightrope, a suspension between extremes. But Harry calls out into the echo of the music, “We’ll be alright.” A declaration, a hope, a promise. Brass, strings, and a building crescendo, a cacophony of movie-credit-worthy emotion, sweeps us towards closure. Ethereal voices fade out, moving from dominant to tonic, but then a solitary piano plinks on a V chord, twice, hanging in the air, a question, an invitation, a hope.

#fine line #masterpost #musical analysis #HS2 #Harry Styles #lyric interpretation #theories #opinions #Golden #Watermelon Sugar #Adore You #Light Up #Cherry #Falling #To Be So Lonely #She #Sunflower #Canyon Moon #Treat People With Kindness

828 notes · View notes

onestowatch · 3 years

Text

Lollapalooza 2021: 15 Ones to Catch (Who Aren’t Headlining)

Lollapalooza is officially one week away, and wow does that feel good to say. As one of the first music festivals to welcome us back to festival season after a far too long hibernation, the annual festival, hosted at Grant Park in Chicago, Illinois, is set to bring the musical stylings of Tyler, the Creator, Miley Cyrus, Foo Fighters, Megan Thee Stallion, and plenty more. But, unless you’ve been living under a rock, chances are that you’re already more than familiar with the artists set to headline. So why not figure out who to see while you’re waiting to scream along to Call Me If You Get Lost.

From collectives who are moving beyond the need for genres to music that is just as likely to make you cry as it is laugh, these are 15 ones to catch (who aren’t headlining) at Lollapalooza 2021.

Peach Tree Rascals

youtube

When & Where: Sunday, 2 p.m. at Bud Light Seltzer Stage

Peach Tree Rascals’ Lollapalooza set has been a very, very long time coming. The Bay Area–bred collective has been steadily making waves with their genre-bending approach to indie-pop that calls to mind a more idyllic, lovesick BROCKHAMPTON (an act you should most definitely catch as well). And despite emerging a growing fan-favorite in the last couple years, the aforementioned rascals have yet to play a show, ever. With a headline tour that was canceled due to COVID, Lollapalooza will officially be making history as the first-ever Peach Tree Rascals set.

Tate McRae

youtube

When & Where: Saturday, 5:15 p.m. at Grubhub Stage

Tate McRae’s rise through the pop stratosphere has felt meteoric. First gaining fame at the young age of 13 for being the first Canadian finalist on So You Think You Can Dance, McRae has certainly come a long way to stand as one of the most promising voices in pop. With a vocal range more than powerful enough to deliver haunting dark pop ballads like “you broke me first” one moment and stand side-by-side with Khalid on the summer bop “working” the next, there are no two ways about it. McRae is a pop star in the making and this is your chance to catch her before her inevitable headliner status.

Marc Rebillet

youtube

When & Where: Saturday, 9:00 p.m. at Grubhub Stage

Part-time meme and full-time artist, Marc Rebillet creates music with an unmatched comedic timing. It’s a comedic genius that has led to him getting a 24-hour ban on Twitch—for taking his shirt off in the middle of a stream, an act which I’m guessing Lollapalooza will be more than forgiving of giving his penchant for performing in a bathrobe. The self-described improvisational artist creates all his songs from scratch, resulting in an experience where no two live shows are quite the same. Come for the comedy, stay for the absolute dancefloor bangers.

Dayglow

youtube

When & Where: Thursday, 3:45 p.m. at Lake Shore Stage

Dayglow is sure to bring a smile to your face and put a pep in your step. Apologies if I sounded like my grandparents there, but there’s no denying the sonic sunshine that is Dayglow’s rapturous brand of indie-pop. Paying homage to the dance-inducing melancholy of ‘80s pop duets, it’s difficult not to get swept up in the Austin, Texas–bred artist’s hypnotic vision. It’s the sort of euphoric music that feels almost tailor-made for the return of festival season—drenched in sunny rays and brimming with infectious sincerity.

Giveon

youtube

When & Where: Friday, 4:45 p.m. at T-Mobile Stage

Before his breakout moment on Justin Bieber’s “Peaches,” Giveon was already charting his path for R&B domination. With an angelic and haunting baritone, each R&B rumination carries with it a palpable weight—an emotional turmoil that is only elevated by the minimalistic soundscapes which allow the proper space for his transfixing voice to fully shine. For a crash course on Giveon, check out a compilation of his two standout EPs, When It’s All Said and Done… Take Time. Or better yet, experience the magic of Giveon live.

Ashe

youtube

When & Where: Thursday, 6:30 p.m. at Grubhub Stage

Ashe creates effortlessly timeless music, blurring the line between the nostalgic songwriting of Fleetwood Mac and a modern-day folk-pop star. The sentiment is best expressed in her critically-acclaimed debut album, Ashlyn, which demonstrates the Los Angeles artist’s peerless songwriting acumen, toeing the line between rapturous euphoria one moment and deeply affecting storytelling the next. If you need a good laugh or cry, do not miss out on Ashe.

Sir Chloe

youtube

When & Where: Sunday, 12:45 p.m. at T-Mobile Stage

Fronted by Dana Foote and comprised of Teddy O’mara on guitar, Palmer Foote on drums, and Austin Holmes on bass, Sir Chloe’s music exists in the nebulous void of haunting dark pop and heart-rending alternative garage rock. The New York–based indie rock band originally started as a college project, birthed in the music halls of Bennington College, and now they’re set to take Lollapalooza by storm. With an impressive debut album, 2020’s Party Favors, under their belt, this set feels only the beginning for the bewitching indie outfit.

jxdn

youtube

When & Where: Sunday, 3 p.m. at Bud Light Seltzer Stage

jxdn is the latest artist to make good on pop-punk’s continued resurgence. The first signing to Travis Barker’s DTA Records, the breakout singer-songwriter has found a fan in not only the blink-182 star but in Machine Gun Kelly, who jxdn is set to tour with this fall and makes an appearance on his debut album, Tell Me About Tomorrow. With an acclaimed debut album in the books and some of pop-punk’s biggest stars behind him, jxdn is sure to deliver a Lollapalooza debut for the ages.

AG Club

youtube

When & Where: Friday, 7:45 p.m. at Grubhub Stage

AG Club, an abbreviation of avant-garde club, is a genre-less music collective that shares a lot in common with fellow Lollapalooza must-see act, Peach Tree Rascals, including a collaborative single. But don’t get things twisted, this Bay Area collective has their own vision in store for you. With a brash, in-your-face attitude, AG Club is likely to draw comparisons to the Saturation era of BROCKHAMPTON and glory days of ASAP Mob, but with their introspective, omnivorous approach, they deftly manage to emerge as an act all their own. If you want to go where the party is, don’t miss AG Club.

Tai Verdes

youtube

When & Where: Friday, 1:45 p.m. at Bud Light Seltzer Stage

Where would we be without TikTok? I, for one, would be without my preferred form of short-form entertainment and the world be without the infectious pop-R&B stylings of one Tai Verdes. Originally working at Verizon before his breakout single, “Stuck in the Middle,” became a viral hit on TikTok, Verdes is now one of the most promising and rapidly rising acts in music today. And with his debut album, TV, the viral star proved himself no one-hit-wonder, delivering a collection of tracks that span a range of emotions and genres that we cannot wait to experience live.

Dominic Fike

youtube

When & Where: Thursday, 7:45 p.m. at Grubhub Stage

Dominic Fike is a musical chameleon. First breaking out with his unassuming radio hit “3 Nights,” to only jump into the absolute vibe that is the Kenny Beats–assisted “Phone Numbers,” and culminate it all with the genre-spanning debut album, What Could Possibly Go Wrong, Fike is an artist whose limitations seem limitless. It’s a notion that plays out in his breathtaking live show, reworking his hits with an insatiable appetite until they’re songs that exist only in that singular moment. Fike’s is set you will not want to miss.

Oliver Tree

youtube

When & Where: Thursday, 9 p.m. at Grubhub Stage

Alternative auteur Oliver Tree is nothing if not unpredictable. Flaunting his signature JNCO jeans and an impressive professional razor scooter pedigree, the inimitable artist delivers on an infectious blend of alternative, electronic, hip-hop, and pop that defies any simplistic classification. And with his debut album, Ugly Is Beautiful, now out in the wild after a much-hyped cancellation and subsequent surprise release, Tree has more than his fair share of music to pull from. Plus, given his penchant for going in and out of retirement like he’s trying to break a record only known to him, it’s probably best not to miss this set.

RMR

youtube

When & Where: Sunday, 2:45 p.m. at Tito’s Handmade Vodka Stage

RMR originally made headlines with his breakout single, “RASCAL,” a transfixing country trap ballad that saw the rapper donning a black balaclava and Saint Laurent bulletproof vest while rapping over an interpolation of Rascal Flatts’ “Bless The Broken Road.” Since then, the anonymous rapper has been spotted hitting the town with Sharon Stone and embracing his penchant for melodic trap in the Westside Gunn, Future, Lil Baby, and Young Thung–loaded Drug Dealing Is a Lost Art. Existing at the fusion of trap country and melodic rap, RMR’s Lolla set is one you’re not likely to forget anytime soon.

Chiiild

youtube

When & Where: Sunday, 12:00 p.m. at Lake Shore Stage

Nostalgic and novel, Chiiild’s self-described brand of “synthetic soul” is nothing short of intoxicating. Setting its own sauntering pace, Chiiild’s unique take on R&B and soul takes on a cosmic energy, as if floating through a wormhole with nothing but a single cassette deck on hand. It’s a testament to the Canadian band’s all-encompassing approach that draws upon not just R&B and soul but psychedelia, jazz, indie, and pop to craft a sound that is all their own. Take a trip on Sunday, and meet us at Chiiild.

All Time Low

youtube

When & Where: Thursday, 6 p.m. at Tito’s Handmade Vodka Stage

Because teenage you wasn’t old enough to convince your parents to let you see All Time Low the first time “Dear Maria, Count Me In” was trending.

#lollapalooza #lollapalooza 2021 #tate mcrae #peach tree rascals #marc rebillet #dayglow #giveon #ashe #sir chloe #jxdn #ag club #tai verdes #dominic fike #oliver tree #rmr #chiiild #all time low

5 notes · View notes

tswiftdaily · 5 years

Link

In the 2010s, she went from country superstar to pop titan and broke records with chart-topping albums and blockbuster tours. Now Swift is using her industry clout to fight for artists’ rights and foster the musical community she wished she had coming up.

One evening in late-October, before she performed at a benefit concert at the Hollywood Bowl in Los Angeles, Taylor Swift’s dressing room became -- as it often does -- an impromptu summit of music’s biggest names. Swift was there to take part in the American Cancer Society’s annual We Can Survive concert alongside Billie Eilish, Lizzo, Camila Cabello and others, and a few of the artists on the lineup came by to visit.

Eilish, along with her mother and her brother/collaborator, Finneas O’Connell, popped in to say hello -- the first time she and Swift had met. Later, Swift joined the exclusive club of people who have seen Marshmello without his signature helmet when the EDM star and his manager stopped by.

“Two dudes walked in -- I didn’t know which one was him,” recalls Swift a few weeks later, sitting on a lounge chair in the backyard of a private Beverly Hills residence following a photo shoot. Her momentary confusion turned into a pang of envy. “It’s really smart! Because he’s got a life, and he can get a house that doesn’t have to have a paparazzi-proof entrance.” She stops to adjust her gray sweatshirt dress and lets out a clipped laugh.

Swift, who will celebrate her 30th birthday on Dec. 13, has been impossibly famous for nearly half of her lifetime. She was 16 when she released her self-titled debut album in 2006, and 20 when her second album, Fearless, won the Grammy Award for album of the year in 2010, making her the youngest artist to ever receive the honor. As the decade comes to a close, Swift is one of the most accomplished musical acts of all time: 37.3 million albums sold, according to Nielsen Music; 95 entries on the Billboard Hot 100 (including five No. 1s); 23 Billboard Music Awards; 12 Country Music Association Awards; 10 Grammys; and five world tours.

She also finishes the decade in a totally different realm of the music world from where she started. Swift’s crossover from country to pop -- hinted at on 2012’s Red and fully embraced on 2014’s 1989 -- reflected a mainstream era in which genres were blended with little abandon, where artists with roots in country, folk and trap music could join forces without anyone raising eyebrows. (See: Swift’s top 20 hit “End Game,” from 2017’s reputation, which featured Ed Sheeran and Future.)

Swift’s new album, Lover, released in August, is both a warm break from the darkness of reputation -- which was created during a wave of negative press generated by Swift’s public clash with Kanye West and Kim Kardashian-West -- as well as an amalgam of all her stylistic explorations through the years, from dreamy synth-pop to hushed country. “The skies were opening up in my life,” says Swift of the album, which garnered three Grammy nominations, including song of the year for the title track.

She recorded Lover after the Reputation Stadium Tour broke the record for the highest-grossing U.S. tour late last year. In 2020, Swift will embark on Lover Fest, a run of stadium dates that will feature a hand-picked lineup of artists (as yet unannounced) and allow Swift more time off from the road. “This is a year where I have to be there for my family -- there’s a lot of question marks throughout the next year, so I wanted to make sure that I could go home,” says Swift, likely referencing her mother’s cancer diagnosis, which inspired the Lover heart-wrencher “Soon You’ll Get Better.”

Now, however, Swift finds herself in a different highly publicized dispute. This time it’s with Scott Borchetta, the head of her former label, Big Machine Records, and Scooter Braun, the manager-mogul whose Ithaca Holdings acquired Big Machine Label Group and its master recordings, which include Swift’s six pre-Lover albums, in June. Upon news of the sale, Swift wrote in a Tumblr post that it was her “worst case scenario,” accusing Braun of “bullying” her throughout her career due to his connections with West. She maintains today that she was never given the opportunity to buy her masters outright. (On Tumblr, she wrote that she was offered the chance to “earn” back the masters to one of her albums for each new album she turned in if she re-signed with Big Machine; Borchetta disputed this characterization, saying she had the opportunity to acquire her masters in exchange for re-signing with the label for a “length of time” -- 10 more years, according to screenshots of legal documents posted on the Big Machine website.)

Swift has said that she intends to rerecord her first six albums next year -- starting next November, when she says she’s contractually able to -- in order to regain control of her recordings. But the back-and-forth appears to be nowhere near over: Last month, Swift alleged that Borchetta and Braun were blocking her from performing her past hits at the American Music Awards or using them in an upcoming Netflix documentary -- claims Big Machine characterized as “false information” in a response that did not get into specifics. (Swift ultimately performed the medley she had planned.) In the weeks following this interview, Braun said he was open to “all possibilities” in finding a “resolution,” and Billboard sources say that includes negotiating a sale. Swift remains interested in buying her masters, though the price could be a sticking point, given her rerecording plans, the control she has over the licensing of her music for film and TV, and the market growth since Braun’s acquisition.

However it plays out, the battle over her masters is the latest in a series of moves that has turned Swift into something of an advocate for artists’ rights -- and made her a cause that everyone from Halsey to Elizabeth Warren has rallied behind. From 2014 to 2017, Swift withheld her catalog from Spotify to protest the streaming company’s compensation rates, saying in a 2014 interview, “There should be an inherent value placed on art. I didn’t see that happening, perception-wise, when I put my music on Spotify.” In 2015, ahead of the launch of Apple Music, Swift wrote an open letter criticizing Apple for its plan to not pay royalties during the three-month free trial it was set to offer listeners; the company announced a new policy within 24 hours. Most recently, when she signed a new global deal with Universal Music Group in 2018, Swift (who is now on Republic Records) said one of the conditions of her contract was that UMG share proceeds from any sale of its Spotify equity with its roster of artists -- and make them nonrecoupable against those artists’ earnings.

During a wide-ranging conversation, Billboard’s Woman of the Decade expresses hope that she can help make the lives of creators a little easier in the years to come -- and a belief that her behind-the-scenes strides will be as integral to her legacy as her biggest singles. “New artists and producers and writers need work, and they need to be likable and get booked in sessions, and they can’t make noise -- but if I can, then I’m going to,” promises Swift. This is where being impossibly famous can be a very good thing. “I know that it seems like I’m very loud about this,” she says, “but it’s because someone has to be.”

While watching some of your performances this year -- like Saturday Night Live and NPR’s Tiny Desk Concert -- I was struck by how focused you seemed, like there were no distractions getting in the way of what you were trying to say.

That’s a really wonderful way of looking at this phase of my life and my music. I’ve spent a lot of time recalibrating my life to make it feel manageable. Because there were some years there where I felt like I didn’t quite know what exactly to give people and what to hold back, what to share and what to protect. I think a lot of people go through that, especially in the last decade. I broke through pre-social media, and then there was this phase where social media felt fun and casual and quirky and safe. And then it got to the point where everyone has to evaluate their relationship with social media. So I decided that the best thing I have to offer people is my music. I’m not really here to influence their fashion or their social lives. That has bled through into the live part of what I do.

Meanwhile, you’ve found a way to interact with your fans in this very pure way -- on your Tumblr page.

Tumblr is the last place on the internet where I feel like I can still make a joke because it feels small, like a neighborhood rather than an entire continent. We can kid around -- they literally drag me. It’s fun. That’s a real comfort zone for me. And just like anything else, I need breaks from it sometimes. But when I do participate in that space, it’s always in a very inside-joke, friend vibe. Sometimes, when I open Twitter, I get so overwhelmed that I just immediately close it. I haven’t had Twitter on my phone in a while because I don’t like to have too much news. Like, I follow politics, and that’s it. But I don’t like to follow who has broken up with who, or who wore an interesting pair of shoes. There’s only so much bandwidth my brain can really have.

You’ve spoken in recent interviews about the general expectations you’ve faced, using phrases like “They’ve wanted to see this” and “They hated me for this.” Who is “they”? Is it social media or disparaging think pieces or --

It’s sort of an amalgamation of all of it. People who aren’t active fans of your music, who like one song but love to hear who has been canceled on Twitter. I’ve had several upheavals of somehow not being what I should be. And this happens to women in music way more than men. That’s why I get so many phone calls from new artists out of the blue -- like, “Hey, I’m getting my first wave of bad press, I’m freaking out, can I talk to you?” And the answer is always yes! I’m talking about more than 20 people who have randomly reached out to me. I take it as a compliment because it means that they see what has happened over the course of my career, over and over again.

Did you have someone like that to reach out to?

Not really, because my career has existed in lots of different neighborhoods of music. I had so many mentors in country music. Faith Hill was wonderful. She would reach out to me and invite me over and take me on tour, and I knew that I could talk to her. Crossing over to pop is a completely different world. Country music is a real community, and in pop I didn’t see that community as much. Now there is a bit of one between the girls in pop -- we all have each other’s numbers and text each other -- but when I first started out in pop it was very much you versus you versus you. We didn’t have a network, which is weird because we can help each other through these moments when you just feel completely isolated.

Do you feel like those barriers are actively being broken down now?

God, I hope so. I also hope people can call it out, [like] if you see a Grammy prediction article, and it’s just two women’s faces next to each other and feels a bit gratuitous. No one’s going to start out being perfectly educated on the intricacies of gender politics. The key is that people are trying to learn, and that’s great. No one’s going to get it perfect, but, God, please try.

At this point, who is your sounding board, creatively and professionally?

From a creative standpoint, I’ve been writing alone a lot more. I’m good with being alone, with thinking alone. When I come up with a marketing idea for the Lover tour, the album launch, the merch, I’ll go right to my management company that I’ve put together. I think a team is the best way to be managed. Just from my experience, I don’t think that this overarching, one-person-handles-my-career thing was ever going to work for me. Because that person ends up kind of being me who comes up with most of the ideas, and then I have an amazing team that facilitates those ideas.

The behind-the-scenes work is different for every phase of my career that I’m in. Putting together the festival shows that we’re doing for Lover is completely different than putting together the Reputation Stadium Tour. Putting together the reputation launch was so different than putting together the 1989 launch. So we really do attack things case by case, where the creative first informs everything else.

You’ve spoken before about how meaningful the reputation tour’s success was. What did it represent?

That tour was something that I wanted to immortalize in the Netflix special that we did because the album was a story, but it almost was like a story that wasn’t fully realized until you saw it live. It was so cool to hear people leaving the show being like, “I understand it now. I fully get it now.” There are a lot of red herrings and bait-and-switches in the choices that I’ll make with albums, because I want people to go and explore the body of work. You can never express how you feel over the course of an album in a single, so why try?

That seems especially true of your last three albums or so.

“Shake It Off” is nothing like the rest of 1989. It’s almost like I feel so much pressure with a first single that I don’t want the first single to be something that makes you feel like you’ve figured out what I’ve made on the rest of the project. I still truly believe in albums, whatever form you consume them in -- if you want to stream them or buy them or listen to them on vinyl. And I don’t think that makes me a staunch purist. I think that that is a strong feeling throughout the music industry. We’re running really fast toward a singles industry, but you got to believe in something. I still believe that albums are important.

The music industry has become increasingly global during the past decade. Is reaching new markets something you think about?

Yeah, and I’m always trying to learn. I’m learning from everyone. I’m learning when I go see Bruce Springsteen or Madonna do a theater show. And I’m learning from new artists who are coming out right now, just seeing what they’re doing and thinking, “That’s really cool.” You need to keep your influences broad and wide-ranging, and my favorite people who make music have always done that. I got to work with Andrew Lloyd Webber on the Cats movie, and Andrew will walk through the door and be like, “I’ve just seen this amazing thing on TikTok!” And I’m like, “You are it! You are it!” Because you cannot look at what quote-unquote “the kids are doing” and roll your eyes. You have to learn.

Have you explored TikTok at all?

I only see them when they’re posted to Tumblr, but I love them! I think that they’re hilarious and amazing. Andrew says that they’ve made musicals cool again, because there’s a huge musical facet to TikTok. [He’s] like, “Any way we can do that is good.”

How do you see your involvement in the business side of your career progressing in the next decade? You seem like someone who could eventually start a label or be more hands-on with signing artists.

I do think about it every once in a while, but if I was going to do it, I would need to do it with all of my energy. I know how important that is, when you’ve got someone else’s career in your hands, and I know how it feels when someone isn’t generous.

You’ve served as an ambassador of sorts for artists, especially recently -- staring down streaming services over payouts, increasing public awareness about the terms of record deals.

We have a long way to go. I think that we’re working off of an antiquated contractual system. We’re galloping toward a new industry but not thinking about recalibrating financial structures and compensation rates, taking care of producers and writers.

We need to think about how we handle master recordings, because this isn’t it. When I stood up and talked about this, I saw a lot of fans saying, “Wait, the creators of this work do not own their work, ever?” I spent 10 years of my life trying rigorously to purchase my masters outright and was then denied that opportunity, and I just don’t want that to happen to another artist if I can help it. I want to at least raise my hand and say, “This is something that an artist should be able to earn back over the course of their deal -- not as a renegotiation ploy -- and something that artists should maybe have the first right of refusal to buy.” God, I would have paid so much for them! Anything to own my work that was an actual sale option, but it wasn’t given to me.

Thankfully, there’s power in writing your music. Every week, we get a dozen synch requests to use “Shake It Off” in some advertisement or “Blank Space” in some movie trailer, and we say no to every single one of them. And the reason I’m rerecording my music next year is because I do want my music to live on. I do want it to be in movies, I do want it to be in commercials. But I only want that if I own it.

Do you know how long that rerecording process will take?

I don’t know! But it’s going to be fun, because it’ll feel like regaining a freedom and taking back what’s mine. When I created [these songs], I didn’t know what they would grow up to be. Going back in and knowing that it meant something to people is actually a really beautiful way to celebrate what the fans have done for my music.

Ten years ago, on the brink of the 2010s, you were about to turn 20. What advice would you give yourself if you could go back in time?

Oh, God -- I wouldn’t give myself any advice. I would have done everything exactly the same way. Because even the really tough things I’ve gone through taught me things that I never would have learned any other way. I really appreciate my experience, the ups and downs. And maybe that seems ridiculously Zen, but … I’ve got my friends, who like me for the right reasons. I’ve got my family. I’ve got my boyfriend. I’ve got my fans. I’ve got my cats.

#taylor swift #interview #billboard #women in music #woman of the decade

451 notes · View notes