#the longer i listen to this song it feels like. its very repetitive though

[starswallowingsea]

I would like to recommend the song O Death by Jen Titus

Link

FROM SUPERNATURAL???? It is pretty good though...might throw it on my Dref playlist ngl ngl. Or perhaps Orimar. It could definitely fit both of them

[dorianbrightmusic]

Reverse Rapunzel

(TW: Discussion of suicide/suicidal ideation, intrusive thoughts, and anorexia.)

When my anorexia was at its worst, I lost most of my creative functionality, and went from writing like two songs a month to one in all of spring. It's scary watching your ideas dry up, and losing your ability to lose yourself humming a tune that you've never heard in your lifetime. So when I was new-diagnosed and dead inside, I was briefly delighted when, in two days, I finished composing a song that I felt was objectively good, more classical and more melodic than anything I'd made up till that point, I was proud. I called it the Tower for awhile, then Reverse Rapunzel, in that the princess got herself out of her prison this time.

And I was happy, briefly, happy enough that I uploaded it on an otherwise-dead account, since I wanted it to be heard.

Two days later, I took it down, and I spent the next 18 months trying to clear it and everything associated with it from my computer.

I wanna explain why, since it scarcely makes sense that I'd spend years of my life trying to avoid remembering the tune to the song.

Intrusive thoughts are very difficult to describe if you don't have them, because you know they're irrational, but you're helpless to their narrative. I'm not talking 'what if they dislike me', or 'maybe I should throw my glass of water at someone'. I'm talking having a voice in your head that is telling you, vividly, to pick up a knife and be over with it. I'm talking closing your eyes and getting thrown out of your own body for a half-second by the intensity of the image of your own corpse that your imagination conjures up. I'm talking seeing your own headstone for the hour you spend trying and failing to sleep, and seeing the numbers on it very vividly, dead certain that you won't make it to the end of twelfth grade. What these thoughts said was whether you want to live or not, it isn't your choice.

What's scary is the way that intrusive thoughts latch onto other things, and poison things in your life. The way you stop being able to talk to people, because if you explain why, you'll cry. It's terrifying to have your own brain invaded from the inside, and to be able to do nothing to stop it.

Reverse Rapunzel was built around a very repetitive leitmotif. Three notes, over and over and over. Extremely catchy. Problem was, the intrusive thoughts took hold of the way Reverse Rapunzel repeated and repeated, and heard fate. That is, they decided, arbitrarily and awfully, that the repetition signified inevitability. If it gets stuck in your head, you'll kill yourself.

I couldn't bear it, because I could still remember the melody, and I couldn't put it out of my mind. I thought it was going to kill me, and there was nothing I could do. So, in a vain attempt to clear it out, I went through my computer, and deleted as many files as possible associated with the piece, or moved them to a backup drive to rot. I'm fairly certain the original Sibelius score file no longer exists, even on a backup.

This ritual provided brief relief, but even so, the melody stuck in my brain, and continued to haunt me until I recovered.

I've never had a formal OCD diagnosis - I took the intrusive thoughts largely as a corollary of starvation, and since they mostly disappeared when I recovered, I suppose they were - but I can't begin to say how terrifying this experience was. I didn't tell any friends, and I haven't talked about it online before. It was too shameful, and too horrifying.

But last year, I dug back through my computer, and found that one of the score files (though not the original) is still intact. And sometimes, I'll listen to it on repeat, over and over, for an hour or longer. I'm glad it's still around, but even so, it feels cursed. It's bittersweet - I'm relieved that the piece wasn't wiped out so brutally that I can't find it at all, but at the same time, it still feels kinda heavy to listen to. A solo piano song that's almost entirely 3 chords and a simple tune shouldn't do that.

So I'm glad that the piece and I survived this, and I wanted to discuss it, since I don't think people can easily understand just how terrifying and bizarre these things can be. But yeah. It was weird and it was scary and I still can't make sense of the irrationality of it.

[hedgehog-cynder]

flower boy review : fucking beautiful no complaints beyond rating on any scale. ill note some things about every song cause :3

foreword: holy shit what an opener. nothing lasts forever, nothing sticks together????? absolutely heart wrenching. amazing lyrics amazing everything THE ENDING SYNTHS?,$,%?"? breathtaking i swear to god

where this flower blooms: i would just like to say AGSGDGSUSHDHSGSHDJSHAHDGSJAGSGSJSGDD. instrumentals are beautiful tyler sounds beautiful frank sounds beautiful lyrics are chefs kiss what else is there left

sometimes...: i dont care if its one minute long I dont care its so fucking pretty and soft and sobbing material. on my first listen it jumpscared me because i thought it was BOYFRIEND. also the voice of the radio host is very comforting and helps me not dissociate

see you again: 20-20 20-20 vision cupid hit me cupid hit me with precision i wonder if u look both ways when u cross my mind i said i said im sick of sick of sick of sick of chasing ure the one thats always running through my daydreams i i can only see ur face when i close my eyes its so fucking beautiful kalis voice is heavenly this song makes me want to die

who dat boy: god everything about this one is just fucking beautiful the synths the lyrics the delivery asap sounds just so fucking good. everythings just. AGHDGDHSG and the ending feels like getting run over /pos

pothole: this is probably a song ill use to demonstrate tyler as an artist to whoevers interested in my autistic rambling cause. its one of the longer songs in the album its got stops n twists n turns the instrumental is to die for jadens voice is just so pretty. its one of The tyler songs to me. but dont take that last part seriously cause i say it about every song

garden shed: this one is the first song off flower boy ive ever listened to. it is just So. ITS JUST SO!!!!! estelles voice the slow pacing its such a good waltz. i would have to write out the whole lyrics because theres no one part of them i love more. its just so beautiful

boredom: everything about this song makes me feel like im going to die if i dont hold head in hands dramatically. its so vulnerable and heart breaking annas voice the harmonies the orchestrals everything just makes me want to sob. the end is especially devastating. another one im gonna use to explain tyler

i aint got time: god where to begin. whatever sample he used in there is fucking perfect for the job everythings so good and stimulating his delivery is flawless everything makes me wanna jump and kick and dance its all just beautiful. the ending is very silly i love it and also WOAHHHHHH. FUCK YEA GOOD FOR HIM

911 / mr lonely: just thinking about it is devastating. every time i listen to it i am mentally on the floor in fetal position. its so sorrowful and emotional while having the best motherfucking instrumentals and delivery like GOD i never doubted him but this man really does it all

droppin seeds: ok this is where my notes will fall a little flat. i cant take mentions of sex in any capacity seriously i am sorry. its a beautiful song though and i love it

november: oh god this one BREAKS me. its so emotional and open and i cant fucking get enough of it. and yet again it does so while being a FUCKING BANGER. the last verse always hits like a sack of wet mice and oh is it really bitch u know the dealy really hilly willy tilly silly hold that billy how i milly rock is soon going to become my newest vocal stim and i have no choice but to accept it

glitter: god what a devastating sad song. it really captures what its talking about. how joyful and cute and loving it is AND THEN the lowered pitch & tempo please dont save me the repetition of how ya feel? the kinda second half is all so much like being stuck in heartbreak i love it. it makes me feel like im falling from heaven. plausibly crowley style

enjoy right now, today: honestly with the sad note glitter ends on this one sounds so bright in comparison its fucking hilarious. i honestly didnt expect it to be almost fully instrumental but holy shit if anything it just shows how good he is even without lyrics. i have also never heard a more work at a pizza place song in my LIFE and its honestly making me wanna redownload roblox just cause i feel nostalgic. FUCK what a good closer

yeah thats it im done <3

[lordmayokcorner]

NCT 127 Regular-Irregular - Album Review

-- Image: MTV --

NCT 127 is actually a group I found through LOONA’s live cover of Cherry Bomb. I loved LOONA’s performance and the song so much I decided to check out some more NCT 127. I haven’t listened to all of their albums yet, but I know a good amount of their stuff. This album is split into side A, Regular, and side B, Irregular. Note that this is the original version, not the repackage.

I’ll listen to each song 3 times and rate them afterward. Each song will be rated on a scale of 1-10 with 5 being completely neutral, 1 being my least favorite song, and 10 being the best songs ever. Please take my rating with a grain of salt, my goal is to be honest, no hate :)

City 127 - 6

Clean piano chords, varied percussion, and smooth bass form the beginning of this song. Paired with almost hushed vocals, this song really sets the mood for the Regular side of this album. It feels very Bruno Mars, almost a campfire song vibe. Somewhat repetitive and dry, but that’s to be expected with an intro song. Vocals are not top notch, but the vibe is there for sure. I overall like this song.

Regular (Korean Version) - 7

This song takes the same subdued energy from City 127 and puts a fun spin on it. The beat is relaxed but playful. Verses aren’t spectacular but the chorus slaps holy f*ck. It has the same sort of bad*ss energy as AUTOMATIC by Chancellor or We Go Up by fellow subunit NCT Dream. It has a very strong movie soundtrack feel, in a good way. Unfortunately, the rhymes and vocal rhythms are not as good as the English version for once in kpop, so it loses some of its charm. For that reason I’ll have to lower its score.

Replay (PM 01:27) - 8

Another track that could be described as both energetic and relaxed. That mood combined with the distant vocal chops and stab synth remind me of LOONA’s Heat from XX. Both songs remind me a decent bit of Diplo’s production. Both are produced by highly esteemed names in kpop: Heat by Daniel Caesar (Red Flavor, New) and Replay by LDN Noise (Jopping, Dumb Dumb). All tangents aside, this song is great and feels iconic, though its similarity to so many songs makes it somewhat ‘done’ already. Despite that, its hype is undeniable.

Knock On - 8

Soft electric piano and pitched vocal chops set a calm, spacey vibe for this R&B ballad. This song feels as if you’re driving slowly down a country road with the windows down on a cool summer night. Perfect 10 by Red Velvet, that’s what I see in this song. Smooth, nurturing, and beautiful. Occasionally, use of autotune can be excessive, but mostly the vocals are beautiful. Lacks some excitement, but certainly soft and incredibly textured. A great track.

No Longer - 4

Minimalist R&B tinged classical instrumentation sets the stage for soft and sweet vocals. This song is a full-on ballad. Personally I tend to not be impressed by classic ballads. I generally want a bit of flair in these types of songs. That said, the vocals are quite nice in this song, and the slow build feels quite cinematic. Not my cup of tea exactly but a beautiful song no less.

Interlude: Regular to Irregular - 6.5

I know this isn’t exactly a full on song, as it’s an interlude, but I figured I should include it anyway. This song continues the classical vibe of No Longer but removes the R&B aspect. It’s as if from Knock On to this interlude there is a slow transition between R&B and classical ballad. Holy sh*t! About half way in we switch to Side B Irregular and WOW. It’s immersive, dark, hip hop inspired beat is stunning. The 6.5 score is an average between a 5 for the first half and an 8 for the second.

My Van - 7.5

Dark and frightening, this icy cold beat sets the stage for some incredibly smooth rapping from Taeyong and Mark. The sharp high pitched synth mixed with the low bass are a daring combo that work together perfectly. The deep echo and experimental dark remind me of The Weeknd’s first mixtapes. Can feel a bit “swampy” because of how tripped out it is. Good song though.

Come Back - 9

We’re bringing back the gritty synth from Regular to Irregular. It’s much more approachable than the interlude however, though still an intense song. These are matched with the harmonized low-pass filtered plucks for some ear candy juxtaposition. It actually feels quite a bit like Puzzle, the Charli Taft produced b-side off Choerry’s solo release. Generally a Charli Taft vibe with the synth sounds. In particular the verses are infectiously groovy. 

Fly Away With Me - 7.5

The instrumentals at the very beginning are relatively the same from My Van, but this song utilizes them completely differently. The song could be characterized as a high energy ballad. It has a certain quality, best described as a slow driving force. Between the harmony choices and the smooth but energetic feel to it, this song gives Red Velvet to me. I generally like this song.

Regular (English Version) - 8

Not only does this song slap, the english version is actually better than the Korean version. There are so many hilarious slang references and memeable lyrics. Doesn’t quite fit the Irregular vibe, but who cares.

Run Back 2 U (Bonus Track) - 6

Autotune at the beginning is a bit off-puttingly strong. Because of this and the lack of change in the music, the verses aren’t extremely impressive. I believe this isn’t the first time I’ve referenced Love Cherry Motion, but this song really reminds me of it. Smooth and soft turns into hard hitting and bad*ss. The different parts of the song could be slightly more coherent however. The rap parts remind me of My Van once again. Seems to be a motif on the Irregular side. Solid but not amazing.

Final Thoughts

I really enjoyed listening to this album! I love the concept of the Regular and Irregular sides. It feels like a throwback to the record days, with the A side and B side. I would say I preferred the sound of the Irregular side, partially just because, as the name suggests, it is certainly somewhat irregular in kpop, particularly songs like My Van and the interlude between sides. I really loved the gritty synths and driving feel to all of the Irregular songs. I would give this album an overall score of 7.5. Some songs were amazing and some were decent, but I didn't really dislike anything. If the ratings didn’t make it clear, my favorite song off this record is Come Back. It really reminds me of Ay-Yo from the 4th album repackage. This album shows that NCT 127 is a very, very versatile group and can dial in many different styles. Thanks for reading, let me know what you think!

- Maya

[cascaria]

Blog Post 6/22/2023

I wouldn’t say a song or album has to be long for me to enjoy it, I greatly enjoy music of all lengths. That said there is a very special place in my heart for the long song. I don’t just mean like 8-10 minutes, though that is a very respectable length. You get to like 15 minutes though? 20 minutes? 30? 40? an hour? Now we’re talking. Of course a song being long doesn’t automatically mean I’ll like it, there are plenty of boring and overly dragged out songs out there, but there’s something so inherently gratifying to me about long music. Something that demands you sit your ass down and let it cook. I will now take this opportunity to gush about by favorite band Swans and you’re gonna like it. I’ll limit myself to specifically long song talk for now, though. We’ll be here all day if I don’t,

The 1986 live album Public Castration Is a Good Idea features longer, slower, hellish versions of various songs from their albums at the time. The lengthy run times of each song, and the album as a whole (about 70 minutes in total) make each song feel like you’re trapped in some sort of Quake industrial hell dungeon.

The 2001 album Soundtracks for the Blind, and the following live album Swans Are Dead from 2003, feature several lengthy tracks, but I specifically want to highlight Helpless Child, The Sound, Feel Happiness, and Blood Promise (the latter glowed up from a 4 minute studio version on The Great Annihilator to 15 minutes on Swans are Dead). Each of these are very particular in how they use their runtimes, as they each feature lengthy instrumental sections that. Make me feel emotions I do not have the words to describe. Which kinda almost defeats the point of talking about them but. You do not exit any of these songs the same person you went in.

Of course when talking long and Swans you kinda have to bring up the monumental trilogy they dropped in the 2010s, The Seer, To Be Kind, and The Glowing Man. Each of these titanic projects near or exceed 2 hours in total, and each contain numerous songs with runtimes freaks like me drool over. The song structure of these beasts feels pretty improvised (because they were in part written via improvisation during live performances I believe) but I mean that in the best possible way. These songs are maximalist rock music to the extreme, using volume and repetition pummel you relentlessly. An obvious example, To Be Kind’s Bring the Sun Toussaint L’Overture, features a single build that lasts around 7 minutes, going from soft and patient to a barely comprehensible cacophony. While these songs aren’t incapable of more subtle moments as well, and employ them quite well, its the immense builds that they’re best known for. The music on these albums is, for lack of a better word, physical. While it can be enjoyed (by me at least) in other ways, it’s best experienced via speakers as loud as your pathetic mortal ears can handle, allowing every note, every chord, every beat slam into your body like a brick wall. As physical as it is, the songs off The Glowing Man specifically are some of the only music I’d describe as a spiritual experience. Songs like Cloud of Unknowing, Frankie M. or the title track (also the closer Finally, Peace, but that’s only 6 minutes long so not exactly qualified for this particular ramble despite being one of my favorite songs ever), tap into a kind of spirituality via music I’ve only ever heard on this album. Humankind can never truly capture an image of divinity via art, but we can damn try. The Glowing Man is the closest I’ve ever heard a piece of music come to doing so. I don’t think that was necessarily the intent of the album, but that’s part of how I interpret it personally. Listening to this album is like a form of ritualistic prayer to me. That sounds very weird and pretentious I know but fuck you.

After that version of Swans ended, we got the 2017 album leaving meaning. Which was a much shorter affair (only 90 minutes if you can believe that, barely even an album!). The longer tracks on here take a much different approach to previous efforts. They aren’t trying to smother you with sound, rather the focus shifts to the subtle. Like I said, the previous lengthy beasts weren’t incapable of subtlety, in fact they boast surprising amount of it you’d never notice on initial listens, but the lengthy songs on leaving meaning offer a different kind of subtlety. Rather than volume, these songs focus more on texture and atmosphere. Sunfucker is freaky and probably the closest thing to previous Swnas epics. The Hanging Man and The Nub bring in this vaguely sinister, lightly unnerving vibe, with incredibly satisfying texture, and the title track is this beautiful, yet lightly haunting piece.

I don’t really have a point or concluding thought for all this. I just like long music, and I like Swans, and I like Swans’ long music, and they have a new album coming out tomorrow as of writing this and it has a song that’s over 40 minutes long on it and I’m excited and it got me in the mood to ramble. If there’s anything you should take away from this its that you should listen to Swans. Their music has fundamentally shifted how I look at music as an artform. Not in a “no other music will ever be enjoyable or compelling to me again” kind of way, but in a “my view of what is possible within this artform has been so greatly expanded that I feel like I can appreciate everything in it more than I was ever capable of before” kind of way.

[toomuchopulence]

IF LOOKS COULD KILL - DESTROY LONELY

DISK ONE SIDE ONE

1. HOW U FEEL 10/10

2. RAVER 9/10

3. IFLCK 8/10

4. FLY SHIT 7.5/10

5. WHICH ONE 6.8/10

NOTES: THIS PORTION OF THE ALBUM IS ALL GUITARS AND DEEP BUT IT DOES GET REPETITIVE ESPECIALLY SINCE THE INTROS FOR FLY SHIT AND WHICH ONE SOUND ALIKE AND ARE ALSO VERY LONG EVEN THOUGH THEY’RE 2 DIFFERENT SONGS SOUND WISE BUT THIS DISK HAS A HANDFUL OF MEANINGFUL LYRICS THAT TOUCH THE SOULD AND THE HIGHLIGHTS BALANCE OUT THE NEGATIVES AND ALSO THROUGHOUT THE DAY FLY SHIT REALLY GREE ON ME A-LOT

REPLAY VALUE: 8

LYRICS/MEANINGFULNESS: 8

VIBES: CALM 7.5

INSTRUMENTAL: 9

FLOWING: 7 (flows so well that it became repetitive especially since the first few seconds of each song sound the same)

DISK: 8.0

DISK ONE SIDE B

1. CAME IN WIT 9/10

2. BIGGEST PROBLEM 9/10

3. ALL THE TIME 8.5/10

4. BY THE POUND 8/10

5. CHRIS PAUL 8/10

NOTES: THIS PART OF THE ALBUM IS PROBABLY THE MOST ENERGETIC, LONE REALLY DID WELL ON THIS PART ONE OF MY FAV LINES WERE “NIGGAS KEEP TALKIN SHI I KNOW THEY TEETH DIRTY” ON CHRIS PAUL THE ENERGY ADDS DIRECTORY AND DIVERSITY TO THE PROJECT

REPLAY VALUE: 10/10

LYRICS/MEANING: 6/10

VIBES: TURNT 8/10

INSTRUMENTALS: 7/10 easy cook ups but high In dopamine so I love it

FLOWING: 9/10 all of the songs fit each other

DISK: 8.0

DISK OVERALL 8.5/10

DISK TWO SIDE A

1. SUPERSTAR 10/10

2. NEW NEW 9/10

3. RIGHT NOW 8.5/10

4. WHICH WAY 8.3/10

5. WAGWAN 7.5/10

NOTES: THIS PORTION IS LIKE BOTH SIDE A AND B OF DISK ONE IN ONE SIDE. THIS WHOLE PORTION IS LIKE A MOVIE SOUNDTRACK THIS WHOLE SECTION TALKS ABOUT HIM EVOLVING FROM HIS PAST AND HE MAKES IT CLEAR WITH THIS NEW SOUND. I CANT WAIT FOR HIM TO PERFORM THIS. HE REALLY BROUGHT OUT HIS UNIQUENESS ANS NEW SOUND TO FULL DISPLAY IN THIS SECTION THIS PART MIGHT ACTUALLY REAL DEAL BE MY FAVORITE.

REPLAY VALUE: 9.5/10 (10/10 if wagwan wasn’t on it)

LYRICS/MEANING: 10/10

VIBES: MIXED 10/10

INSTRUMENTALS: 10/10 easy cook ups but high In dopamine so I love it

FLOWING: 10/10 all of the songs fit each other yet so diverse

DISK: 9.3/10

DISK TWO SIDE B

1. MOMENT OF SILENCE 9.5/10

2. PASSENGER 8.5/10

3. BRAZY GIRL 8.3/10

4. GOIN UP 8.2/10

NOTES: THIS PART OF THE ALBUM IS THE CLOSEST THING WE’RE GOING TO EVER GET THAT SOUNDS LIKE OLD LONE. I LOVE THIS SECTION AS WELL AND THE TRANSITION BETWEEN PASSENGER AND GOIN UP WAS SO SEEM-LESS YOU WOULD THINK THEY’RE THE SAME SONG AND THATS NOT A BAD THING AS WELL

REPLAY VALUE: 9

LYRICS/MEANINGFULNESS: 7.5 (MOMENT OF SILENCE DEF IS 10/10 Though)

VIBES: MIXED BETWEEN CALM AND TURNT 7.5

INSTRUMENTAL: 10

FLOWING: 9.5

DISK: 8.8

DISK OVER ALL 9/10

DISK THREE SIDE A

1. MAKE SOME WORK 10/10

2. REDLIGHT 8.8/10

3. PROMO 6.8/10

4. WORTH IT 5/10

NOTES: PROBABLY THE MOST RANDOM PART OF THE ALBUM BECAUSE YOU HAVE 2 SONGS THAT ARE STUNNING AND THEN YOU HAVE 2 FILLERS BUT IT IS NEARING THE END OF THE TAPE AND MOST OF THE TIME FILLER HELPS BUILD AN ALBUM STORY. THIS ALBUM IS STILL AMAZING WHEN IT COMES TO THE CLOSING ITS JUST THE 2 TRACKS

REPLAY VALUE: 5.5

LYRICS/MEANINGFULNESS: 7

VIBES: MAINLY CALM BUT TURNT 7.5

INSTRUMENTAL: 8

FLOWING: 5

DISK: 6.5

DISK THREE SIDE B

1. SAFETY 10/10

2. MONEY & SEX 10/10

3. YOUR EYES 10/10

NOTES: ONE OF THE BEST CLOSINGS OF AN ALBUM EVER THAT SHORT FILM COULD’VE BEEN WAY LONGER WITH THIS ALBUMS TRACK LIST. THIS ALBUM IS A PERFECT SOUND TRACK FOR A MOVIE THIS IS AN AMAZING PROJECT

REPLAY VALUE: 8.5 (SAFETY IS A STORY AND LONG)

LYRICS/MEANINGFULNESS: 8.5 ($X is more of a fun track and not a meaningful song)

VIBES: CLOSING/ END OF A MOVIE 10/10

INSTRUMENTAL: 10/10

FLOWING: 9/10 (Since $X is a Bonus track)

DISK: 10

DISK OVERALL: 8.3

ALBUM OVERALL: 9/10

After listening to this album nine times today, I decided to review it and dissect the contents. Initially, my experience with the album was not ideal because I listened to it out of order. I started with "Snitch," then moved to "How You Feel," skipped "IFLCK," and listened to "Fye Shi." The movie associated with the album was released at 11 PM, and I watched it immediately. Although I enjoyed the movie, I didn't have a fresh mindset for the album.

I began with track four and, influenced by my friends' mixed reactions, I initially thought the entire album sounded the same due to Lone's voice. As I continued to listen throughout the day, I realized I had approached the album incorrectly. I listened to it during a test at school, during a school event (although I could barely hear it), and even dissected the album into multiple playlists based on sound.

I made another attempt to create a playlist of only good songs and which songs had different vibes , but that didn't work either. Finally, I listened to the album while riding my electric scooter and found myself vibing to nearly every song. However, I couldn't remember the song names once my ride was over. I decided to listen to the album again at night, as if it had just been released, and took notes to help me identify each song And listened to it like 6 EPS with the help of the discs track-list . That's when it clicked - this album is perfect. I should have approached it this way from the start. If an album doesn't sound good to you, it's probably not the album itself, but the way you listen to it. The album in question is "If Looks Could Kill" by Destroy Lonely.

In summary, my various listening experiences shaped my understanding and appreciation of the album. My initial impression, based on starting with track four, was part of my first listening experience. The key takeaway is to approach an album with a fresh and open mind, and to give it a proper listen before forming an opinion.

[thisaintascenereviews]

Foster The People - Paradise State Of Mind

Most bands take a couple of years to put out a new album, as that’s enough time to write, record, and tour a new album, but what happens when you take seven years to release a new album? Just ask Foster The People, an indie rock band that was popular back in the mid-00s for the song “Pumped Up Kicks.” Their debut is the only album I’ve heard from them, but they’re a solid little band, despite their popularity waning in recent years. From what I heard, their last album, that came out in 2017, didn’t do too well with critics and fans. They’ve still been active since then, but the pandemic in 2020 put a dent into a lot of bands’ plans, so it took them a little longer to drop anything new.

I saw they dropped a new album, Paradise State Of Mind, and it’s their first on Atlantic Records, so that’s an interesting move, but I was slightly curious to check it out, especially after I read that the band went into a new direction with this album — 1970s funk and disco. Now that’s something that caught my attention, as I enjoy those sounds and any 70s influence, but the question is how well they execute that sound and can pull it off. Thankfully, Paradise Stare Of Mind is a great album, although it’s not quite a perfect one.

Let’s start with what works, and that’s namely its sound, because this thing is funky, groovy, and has a crap load of rhythm. This thing is slick, and the first half of this record is sticky sweet, especially on songs like “See You In The Afterlife” and “Lost In Space.” It’s so much fun, and while these guys don’t do anything new or exciting, it’s fun enough to really keep my attention. Frontman and principal songwriter Mark Foster is a solid enough vocalist, despite having a bit of a nasally and higher pitched voice, but it’s good. His voice helps to carry the funky and disco sound of this album, but it does a good job throughout this thing.

I do have a couple of small reservations with this album, but they’re rather minute, as they don’t quite hinder my enjoyment of this album. This album, for starters, is a bit long, clocking in at 44 minutes, but it only feels that way because the album doesn’t quite have a lot of variety, although the grooves and rhythms are good enough to keep the whole album going. The other issue I have with this album is that the album feels very too heavy, like the first half is incredibly strong, and while the album doesn’t necessarily dip in quality, it still is noticeable enough.

Those issues don’t quite make the album bad, or stop me from enjoying it, but I tend to zone out with the last few songs. I’d still listen to this album, as it’s a fun and energetic little disco album, and it’s a solid return for this band, but it’s also a little too repetitive for its own good and the second half just doesn’t quite keep my attention in the same way. This album is a lot of fun, though, and the first half is wonderful. There’s a lot to enjoy here, but the second half slightly dips in quality, although it’s still quite good and worthwhile. It’s surprising that we got a new Foster The People album after all these years, let alone that it’s actually good.

[duchess-music]

|| Harbour Century - Eunuchs ||

Genres: Avant-Prog, Symphonic Prog, Jazz-Rock

REVIEW

This album was a wild ride.

I was definitely wowed with opening track 'Magic Death Sea Nemesis'. The first bit was loud and powerful, a great introduction to the album but the second section of the track is much slower and more theatrical than the hectic opening, which killed my excited mood. It was revived again for a short while in the middle, before moving back into another slower section. This was a lot more enjoyable than the first slow part in that it sounded less like a musical and more like a jazz piece. The progression of the track as a whole is certainly interesting, but could absolutely be improved in making it longer and padding out the periods of change in the song.

'Pat a Dragon' is an exciting second track with a great riff and fantastic progression. The weakest moments Eunuchs' songs tend to be the slower, quieter ones, and that's the same here, but other then that short blip in the track, it's really great. I said they tended to be the slower, quieter moments as it's just a trend, but they can definitely make them work - and they do! 'Estuary of Dreams' is a much more laid-back song than the last two, but that doesn't mean it's dull by any means. It's instrumentation is, dare I say, some of the best on the album. Definitely a standout track.

On the topic of standout tracks, 'Siren' is certainly another. It is instrumentally unique, and definitely the catchiest song on the whole album. The mad devolution at the end of the song is also a great moment. All in all, it's just a really enjoyable piece of music to listen to.

'Magnificent Stallion' is one of the weaker songs on this album, but it's still very good. It feels like a very average performance from the band, but luckily the band is very good which cancels it out. The same goes for 'Gnome and Fortune', though slightly better and quite a bit longer. 'Gnome and Fortune' suffers slightly from its 6 minute runtime and would've benefitted from cutting a minute out of the middle.

The accelerando movement of 'Bird Angel Dynasty' definitely kept me on my toes, but the section near the end in which it moved down to a steady, slower tempo was poorly executed and felt like it wasn't thought out compared to the rest of the song. Whilst were talking about songs that didn't sound thought out (wow my segues are awesome today), 'Hierophant' is definitely the weakest track. I love the introduction, but the quiet part with wispy vocals that didn't suit the singer was very 'meh', and the second half of the track was just hectic, and not in a good way.

While I do appreciate the time and effort it takes to compose a long song, especially anything over 15 minutes, not everything this long is actually great. Now, 'Heroin King' is good but it isn't great. Something I've praised the band for so far is the interesting progression present in their best songs. There is none of that here. The most notable variation in the song is when the vocalist starts screaming at the end and by that point it's a lost cause. It's very repetitive and quite dull, and not something I'd want to listen to again most likely.

Harbour Century is a fantastic effort from Eunuchs, but becomes a bit of a drag toward the end. The first half of the album is brilliant though, and I will definitely revisit it. I'd absolutely recommend this.

FINAL SCORE: 86/100

follow for more <3

[thesinglesjukebox]

OKAN - "ORIKI OSHUN"

Dorian offers us a prayer...

[8.25]

Dorian Sinclair: OKAN's invocation of the goddess Oshun has real power to it, and, as befits a deity so strongly associated with water, real depth as well. The layers of percussion, synth and violin are ever-changing, finding new ways to refract off each other as they wrap around Elizabeth Rodriguez's vocal lead. And what a voice it is -- expressive, forceful, and somehow simultaneously commanding and vulnerable. I don't speak Lucumi, but Rodriguez easily conveys both loss and resilience, as the shifting tides of the instrumentation pool around her. [10]

Jacob Sujin Kuppermann: The religious services that I have always found meaning within are all exercises in tension and release -- the interplay of hunger, memory, and forgiveness embedded within the day long arc of a Yom Kippur service, the slow, trance-like waking of the early-morning Thai Buddhist rituals my mother and aunt would take me to as a kid. "Oriki Oshun" is not of those particular traditions, but it captures in its four minutes a similar build, sticking tight to a perfectly struck groove until the track flowers into something more, a feast of guitars and chants and rushes of drums that feels like exaltation. [8]

Will Adams: The urgency and energy cultivated in the song's main section -- with bustling percussion, Rodriguez's commanding vocal, that blazing guitar solo -- feels like it could be sustained for over ten minutes. OKAN know better, though, and restrict themselves to four minutes, allowing the silence following the prayer to speak volumes. [7]

Ian Mathers: That guitar solo feels a bit late period Santana-core in context, but in context it actually really works for me. Even without reading the description on YouTube and knowing the (personal, harrowing) context behind its creation "Oriki Oshun" feels like it earns the sense of drama and grandeur that builds and builds throughout the song. [7]

Peter Ryan: Magdelys Savigne's blistering percussion is so overpowering that it took me a few listens to key into Rodriguez's vital rhythmic violin-work that underpins most of the track, two obvious virtuosos propelling each other from vibey ceremonial first half through a tenacious conclusion. More prayers should have this urgency. [8]

Michael Hong: As prayer music should be, OKAN's offering is lively, trading electric guitar licks and urgent drums in exchange for a demand for protection. If the chant offers something repetitive, Rodriguez forces her voice to offer something more, wailing as if wondering if it's all enough. [6]

Nortey Dowuona: One of the many public narratives about Lido Pimienta was her leadership capabilities for young brown girls. But the best example of leadership is by example; Lido brought OKAN on tour with her, four months after their first album dropped. And in the time since, they have released a second, even better album, collaborated with Bomba Estéreo and Lido again, featured on Miss Colombia and lost a child. They now ask Oshun for protection for their new child's life, with a stunning violin solo that winds across the branches of the drums and trunk of the bass into an outstretched hand, waiting, the ebbing synth notes a question mark on whether they have received the blessing. A prayer we are all allowed to hear because of Lido. [10]

Tara Hillegeist: My fondness for popular culture often runs me at odds with my personal interest in leaving a stranger's grief at their doorstep, out of my earshot, where I believe it belongs unless I've already been invited in to share, communally, in their lives beforehand, to such degree that I can no longer credibly accuse myself of being unknown to them anymore. I am not willing to play the thief of another's sorrows nor call that performance "compassion." As such, upon being presented with the very real experience inspiring this song's creation, I personally felt it would be too inappropriate to engage with the song within the confines of the Jukebox format, and thus... I chose to set it aside, until or unless I could find a means to reconcile my own convictions about the use case or lack thereof for a blurb and the material at hand. It's been about a month since then. What changed my mind? Well -- I couldn't stop listening to the song itself. And it was somewhere in those listens that I realized I was making a stiff-backed fool of myself for the sake of my principles. It's difficult to hear something as welcoming, as open, as purely delightful-as-in-"full of delight" as "Oriki Oshun" and feel something besides invited in. This is songcraft as community-healing practice, whatever its origins: a plea rooted in hope, motivated by its grievous origins to kick up a righteous enough noise that it can chase that pain far, far away, where its echoes can reach home no longer. And I, at least, shall not continue to fear dancing with it, together. [10]

[Read, comment and vote on The Singles Jukebox ]

[eldritchsquared-albums]

Puppet Loosely Strung - The Correspondents

What Did I Do? - the drums in this track honestly make it work. the synth was fine i guess, it was Funky, but not in the way i generally want. overall a good track, but not what i expected going into it.

Fear & Delight - THATS what i expected from this album. love this song. the vibe and the subject matter work perfectly together. sorry that i like weird love songs its because there’s something wrong with me. i only wish it didnt have the weird bit in the middle with the synth breakdown - i felt like it wasn’t necessary and took away from the rest of the song.

Give You Better - YEAHHH JEALOUSY SONG !!!!!!!! fun to listen to as well. the repetition works really well for the vocalist’s singing style.

Kind of Love - thought this was an instrumental track for a while. again, they let the drummer have FUN here. big fan of that

In The Meantime - this is great. i love instrumental interludes. wish it was longer

Devil’s Lighthouse - again with that synth not being needed. this song was fun though. nothing too notable, but very fun. i can just imagine people doing animatics to this

Well Measured Vice - again with the fun energy that i expected from them! sounds really similar to fear & delight unfortunately, wish it was more distinct.

The Last Time - not much to say, but i do enjoy the song. this may be the only song where the synth doesnt feel offensive

Back Again - its. ??? i cant decide how to feel about it. its a complete shift from the rest of the album. i dont DISlike it, im just. eh? eh.

Puppet Loosely Strung - i know this song. i love this song. no surprise. really creates that feeling of melancholy, even using the same instrumental style that was jaunty and playful in the previous songs. its one of the only songs where the synth is actually used well, and is a good addition that adds to the song. i was genuinely happy to get to this one

Alarm Call - they do some cool effect with the hi-hat that makes it sound really drawn out. other than that? same synth problem.

Some Nights - alright song to tie it all together with. keeps a lot of the same ideas from the rest of the album.

IN CONCLUSION - 6/10. has a really specific sound that i really vibe with. couldve done without that synth in most of the songs unfortunately - the synth parts really took away from the feel the songs had, and its honestly why the rating wasnt higher. im a big fan of how they just let the drummer have fun in some places. if all the songs were like those two (you know which ones.) itd have easily been a 7 or 7.5 out of 10.

[tokyogruel]

PART 3,,, aka I FFORGOR HIBANA

wow es let me just start off by saying you really get shafted a lot, huh?

im sorry my guy, i love you

lyrics: "Knock knock, a gentle knock, Embark on my heart’s recapture match."

"Delusions alone flash before my eyes, Pulse accelerating, just where could an answer be . . ."

"Now now, time to mute all complaints, Hesitating over stupid things."

"Seems like unbreakable walls are gonna press for a kiss."

"Aa, I don't like this.* “There’s no way that’s true.”" (*note: the vocaloidwiki mentions that "iya" is remniscent of the "ai ya iya" line from MKDR)

"I don’t want to harbor a love that will never end -- Come on, properly fill me more with anxiety."

"I’d like you to act your part at peek a boo --" (note: VW says this is likely referencing Deco's tsumi to batsu / crime and punishment)

"Come on, answer to {what I ask} more properly!" (its pretty well-known i think that es can get fussy/bitter when the prisoners dont really give them the answers they expect/are looking for, or when they wont be straightforward)

"Perfectionism turns smoky,With an echoing voice* I’m feeling vertigo and monotony." (*note: VW states that the kanji used for "echo" here is the kanji for "silence," "orphan")

"Knock knock! Let me go in and get the ace You'll paint your face with tears that don't feel the same Now Heart Reinforce's up to end this game You'd better give up and throw your MP5 away" (this line is fully in english, and the wiki links to an MP5 gun, though hibana's focus on music makes me think it's a fun little play on words for the mp5 gun, but also an mp3 player also i do recommend reading the wikipedia links for fun facts, like how the mp5 is a german submachine gun)

"Aa, I don't like this; Choose both. Aa, I don't like this; Break both. Pull up the roots of my heart . . ." (note: i could go on all day about all of these songs and the kanji used for them. theres more "iya" which, as VW states, is just an expression for "i dont want/like this, no, or "urgh..." ... but the mkdr reference/ is fun)

"I don’t want to love a weak-minded love, Come on, make it hurt more properly. Going so far it’s no longer funny, is surely much more enjoyable,* Come on, melt me more properly!" (*note:

"Aa, I don't like this. “There’s no way that’s true!” Aa, I don't like this. “You’ll understand, won’t you?” Shoot up that head -- just shoot it up!"

notes: theres really not much i have to say on es, theyre very much,, eh,, a blank slate. and i know thats intentional! i will say hibana has a lot of fun references to other deco songs, but thats pretty common in deco's works. the crime and punishment ones will forever be my favorite

compared to es' cover songs for the prisoners (and undercover) i think es sings with a lot more emotion in hibana, the other songs can be pretty dryly delivered, more like es is speaking tiredly than putting their heart into singing. but if hibana is a heart-song, well..?

hibana goes FAST. opens with some heavy drums and guitar, really trying to thump hard and grab your attention. the guitar is very noticeable, soft rock- but their hibana cover always makes me think of rhythm games at the arcade! kind of perfect, ive played quite a few deco songs at the arcade, the specific "feel" of the song at some points is pretty nostalgic for myself. a few points have some nice piano, but theyre so easy to miss unless youre listening to the instrumental version of the song. good drumlines, theres a lot more use of the cymbals and repetitive tapping over having a complicated drum backing, but at some points it can get very frantic. soft clapping in the background, with the piano keys before we get right back into the guitar and drums.

2:02 is where we really get into the "rhythm game" feel. my faaaavorite part of this song. we get more electronica feel for a moment, i love it. and we dip straight back into the rock, heavier this time. a speaker buzzes on, like an aux cord has been plugged into it, and the song focuses a lot more on the bass, before we pop back into electronica, with some thumping in the back. the song keeps the synth going, with the drums and some guitar, before it cuts off sharply

.....

so, before i leave you with all of this, i have some things to say. i do not trust most english translations as far as i can throw them unless they are LITTERED with translators notes. deco uses a lot of wordplay/toys around with kanji so much, a "direct translation" is impossible, and any simple translation is going to miss layers and layers of cultural and linguistic importance. im still learning japanese, so i really cant speak much on the originals- but if you are capable of looking into the original lyrics or finding detailed, descriptive translations of the songs, those will give you far more than the lines i have posted above. yes, some have translators notes, but there is drastically more nuance missing than i can provide in a single post

as well, the trial one songs and covers dont really have official releases for instrumentals, so "wtf, how am i supposed to hear all of those instruments youre pointing out, the CVs are so loud!"

fear not my friends, here is the video where i listened to them. these are not official instrumentals, so please be aware that the method of vocal/instrumental isolation the poster uses makes it so that you can still hear the CVs vocals at some points, albeit quietly and slightly distorted

now be free! enjoy! thank you for listening!

22 - your favorite part of canon that everyone else ignores 👀

from this ask game!

OKAY SO... i know i KNOW yamanaka has said the cover songs have nothing to do with the character's murders... BUT IDGAF ABOUT THEIR MURDERS I CARE ABOUT THE CHARACTERS!!!

the cover songs are SO UNBELIEVABLY UNDERRATED in terms of character analysis and their personalities! the instruments used, the tones of the songs, the lyrics telling us how the character feels... i fully believe the cover songs are extracted from their hearts!! which is why some of them are SO DIFFERENT FROM THEIR MAIN SONGS!

i could go on about all of the character's cover songs.... so i will LOL

HARUKA

two breaths walking: “This is Page 1 of the process of my evolution.” harukas second voice drama is titled "Metamorphosis of the Weak"

"Because I want to hold you, I walk with my two legs. Because it’s lonely on my own, I breathe with you"

"Have you learned the words yet?"

"Hey, suck in my breath again now. I try to say “I love you,” but Instead I’m living my whole life as a sort of oxygen tank. Suck in the words I've spit out and breathe no more"

android girl:

By now I’d rather we build our own “Togetherland”. We’ll click together, so climb aboard. “Pay more attention to me, it’s not enough!”

“Oh, you’re so cute. What’s to be done about you?” I’m tired by now of the way. You resizing compliments makes my heart flutter.

I know I’m yours and yours alone, but do you even like “me”?

All my kisses with you hurt so much when they closed up my throat."

notes: harukas cover songs both focus on poor relationships, choking/the inability to breathe/etc. android girl also has elements of trap music, which is not present in two breaths walking, and as ive said before: trap music is primarily muu's motif

YUNO

sticky bug: "Say that you love me, say that you love me, Since there’s nothing else I need"

"So to put it simply, let’s start recording"

"Your smiling face, your embarrassed face as well. I want to catch every single one of your expressions! So not leaving out a single moment I’ll commit everything to memory."

"As for my dream, it’s to be that stickybug right by your side" "I say “goodnight” only so that I can say “good morning” tomorrow"

"Say that you love me, for if I’m lucky, then at any rate, I really want every single part of you…"

i dont have a lot of comments on this since i dont know yuno that well comparatively, but i do have a theory that yuno's "true murder" is actually tying up a man in her basement and torturing him for pleasure, so... haha which "stickybug" gives a lot of "im obsessed with you" vibes, and...

vampire: "“I can’t take it anymore” you're such a bad boy"

"I want to try it, I want to spit it all out, I can definitely go more"

"It’s Fxxx, it’s sxx, it’s pAxxxUx* Until I eat all of you, screeeeam!"

*

"Longing for someone and then letting that feeling wither is such a turn off. After crying and forgetting about it, it's back to “Hi, nice to meet you.”

"When I spit out everything I was hiding, they were all things that were like "That's so true!" "I reply with no after no, since selfishness is free, I get greedy and miss my chance again"

"It's addicting, right up to the part where I drown in it, screeeeeeeeeeam!!!" "“I can’t take it anymore” I want you to make me say it too"

notes: i really struggle with yunos character, she is surprisingly deceptive. i want to take the "mahiru is a stalker" theory and slap it on yuno, ok? her instrumentals are also very "yuno" and i have not noticed any motifs that connect her to another character

FUUTA

his songs do really feed into the "fuuta is a queer man" theory that i love

mozaik role: "A word bit into you, And I just described the liquid leaked from the wound as "love"

"Just like you and me who have fatal ties."Even so, I love you..." How's that?"

"What's wrong with loving you... I'll tie you, not let anyone to touch you. This must be fate, right?"

"As I don't even know whether it's love or lust, what should I do with giving out?"

"What's wrong with killing myself, if you hate me?" "Disappearing, disappearing, a world of love"

salamander: "Hey, Salamander! Hot is good, don’t you think so? Is it a big deal?" "It’s heating up inside my head" "If you know, I would like you to tell me first, ok?"

"I surrender, I’m already hooked, I can’t function without you anymore" "

"I can’t stop, I don’t want to stop! Make sure to cool it down so you don’t get burned" (*note: the vocaloidwiki says that the line is more along the lines of "make sure to blow on it, cool it down so you dont get burned" and uses "fuu~" (haha fuu~ta), the onomatopoeia for blowing air)

"As many times as possible, I want to be on fire when I reach the climax"

"I want to escape, but I’m not able to"

notes: salamander has a few focuses on guitar, remniscent of haruka's guitar motif. it also has a jazz solo, which, yknow- thats kazui's motif

MUU

mm,y favorit e lesabiam,,,

otome(maiden) dissection: "Let's play Maiden Dissection!"

"I've wanted to feel shame, ever since that night when I realized"

"Good evening, is now a good time?"

"Without you, none of that matters" "Both of us with our masks on, we flirted"

"Yeah, there's a kid there, lost in anything and everything, Shedding tears, meowing "SOS" with their eyes only halfway open"

"This disease, the whole package, I'll send it to you as an attachment. I don't wanna go so far as to share all the things that cause me pain. I just wanna run away from this love..."

"Calling each other by our real names "I don't wanna live" was what I should've said. Will I ever find peace?"

"Sorry for calling you so early. I must've woken you up, huh? Are you up to chat right now?"

"I had a dream where you fell in love with somebody else. Please tell me it's not true. C'mon, love me please?"

"Listen, you've been pretty cold lately"

"Pulling burning passion out of each other. I can't stand you telling me "no!" Will we ever clear up this misunderstanding?"

"Smearing drool on top of the "baguette" (haha get it bc muu is french? do you get it? are you listening to m

"I wanna feel shame, just like I did on that night when I realized"

"it's good as long as it hurts"

MKDR: "I went and said it, I want to be with you just one more time. No, no, to drag things out would be annoying. I’m sorry, come back Carbon dioxide, your atmospheric concentration"

"I want to soak in a dream of a swamp" (夢 muu's name, dream)

"Even if you tell me I’m selfish, I’ll just lap it up. It’s not uncertain, there’s no future. I want to be reborn with your face" (im struggling to find sources for this, but ive heard a few times that there is folklore that when you die, you are reborn with the face of your past life's lover.)

"I went and found out, Even if you flip over the words “I hate you” There’s no “I love you” hidden there"

"I’m mad with idealism, imagining a smile. My bloodshot wish will soon be relieved" "But there’s no love anywhere that’s “just fine”

"A melody of fools with nowhere to go. Retrying – rebirth – teleportation. The number of tries keeps accumulating at the mercy of an endless love"

"I detest love"

"Are you angry? … I’m not angry. We’re perfectly in sync and yet off the beat"

"If this were a movie or a TV show. Though I’d endure it until the credits. I wouldn’t want to watch it again. It’s all too cruel, from beginning to middle to end"

"But I still end up believing in a love that’s “just fine”

"The topography I protected by hating love is beginning to warp properly" (this part im not sure how well it actually translates into english..??? because "typography"... likely means "this person, this character, this ideal" since.. kanji/typography is super super important in jpn language)

"We’ll hurt each other over and over" "But I end up remembering the lie of “I’m just fine”

"I detest love"

notes: both of muu's songs use a lot of "soft trap" music, shes very mellow, and both songs focus very strongly on "painful love", unrequited love, love that hurts her. its likely both of these songs are about how she feels about rei. the music in MKDR also "dances" between your left and right headphones. ive yet to find motifs that connect her to another prisoner. there is a bit of piano in mkdr. there is bass and guitar in otome dissection that isnt in mkdr

SHIDOU

i hat e yo u i hate yuo. ohate you. triage link

liar dance: ""Stolen? Just whatever do you mean?""

"Having made a vow, to you and you alone. Declaring this loveless love of mine in front of you"

"Committing myself to this performance, set lines and all. Those memories we've desperately created and clung to, they blend together and feelings between us intensify"

"Blabbering on about stuff, could you shut up for a bit? Because everything is starting to look like a lie" "Yes, I've realized that we're both guilty here"

"Dance away, liar. This love has swelled up like a balloon, let's turn it into a lie with the prick of a needle. On the count of "I-love-you"

"Having hidden it away so that no one can touch it. A thirsty dance, carving that carbonated melody"

"Damn it! You figured it...wait, whatever are you talking about?" Screwing up time and again is no reason to drop the act. Having fallen into this bottomless swamp, will you even realize you're drowning?"

"Everyone and their brother is laughing at you. Even I've become unable to see you as anything but a lie. But somehow I still have these feelings for you"

"We're already partners in this crime called "love" "Turn me inside-out and I look just like you" "It's nice to meet you, "Crime" and Punishment"

"It's a bit scary, But the moon looks so beautiful, doesn't it?"

delusion tax: "Hey, that girl is pretty great... Her too!" Looks like you’re thinking some pretty nice thoughts over there... Are you really satisfied with just that?"

“That girl is alright… That one works too, I guess”

"Let’s pay the Delusion Tax. For the sake of making everyone’s life oh so wonderful…" "Turning wishes into reality, Right now, buy back your future!"

"That’s right, for all these dirty delusions, let’s settle the bill with this dirty money"

"Existing for your sake alone, mandatory affections and obligated kindness "NO!" to Though you should be satisfied, a voice from within shouts “NO!” We have an idiot on our hands, it seems..."

"Look, just up and borrow the "desired amount" Reality is a bitter-sweet pill to swallow"

"That which you wish for, the person you think of, The past which you hate as well, they’ll all be as you like."

"But those wishes won't really come true, even if you pay. For it’s all a lie, a great big farce. Thanks for all that, that's plenty. These scraps of paper belongs to me now"

notes: shidous cover songs are all over the place. "Liar Dance" has a lot of references to the other prisoners, the instrumentals are??? electronica? guitar? and a soft melody of piano, if you listen close enough. delusion tax goes strong with an instrument i can not place! it sounds, wooden in structure? but i dont know it off the top of my head. delusion tax has car alarms playing at certain points, it also features a piano melody. liar dance has a very small amount of jazz. theres a police scanner in liar dance and i cannot make out the words

ALSO THIS IS GETTING REALLY LONG... ill have to add the other 5 in a reblog,, oh god im so tired. my back hurts

[lordmayokcorner]

(G)I-DLE I feel - Album Review

-- image: allkpop --

Kpop girl group (G)I-DLE is known for many things, one of which being that member Soyeon, pictured in the center above, writes the majority of their songs independently, something not often seen in the world of kpop. This mini album, the 6th in the series of “I _” ones, was also produced by Soyeon. All of the members are bringing a fun girly concept to this comeback, so I’m excited to see how this change is reflected in the music. In the past, I’ve only enjoyed I Trust, so I’m hoping I can find more I enjoy in this comeback.

I’ll listen to each song 3 times and rate them afterward. Each song will be rated on a scale of 1-10 with 5 being completely neutral, 1 being my least favorite song, and 10 being the best songs ever. Please take my rating with a grain of salt, my goal is to be honest, no hate :)

Queencard - 5.5

I love the beat in this song, the production of these summer specials have been incredible so far. The Minnie intro of verse 1 is absolutely golden, I love her husky tone here. There is a high amount of excitement and energy despite the fairly soft sound of the track. Unfortunately though, this track goes downhill the longer the tape rolls. The chorus is somewhat disappointing, and the lyrics are just…cringe. I think this song has a lot of potential in verse 1, but after that the chord progression and instrumentals become boring as they don’t really change in any meaningful way. That said, the song keeps its fun bounce throughout, and verse 1 is one of my favorite verse 1s in kpop. As usual for (G)I-DLE, the vocals sound great, particularly Minnie and Miyeon.

Allergy - 5

(G)I-DLE has really been going for a sort of 2000s teen pop vibe lately. I don’t like or dislike that, but it is certainly noticeable. This song feels like a classic boy band song from the 2000s. I don’t really love this style, but I think this track pulls it off fairly well, and no part of it feels forced or awkward. That said, it may pull off the style a little too well. You could replace the vocals with any other group, and it would fit right in. I think that the message of this song is very thoughtful and nice, and actually reminds me of a lot of the themes from 2000s music, unsurprisingly. 

Lucid - 8

This feels more like old (G)I-DLE, or at least pre-Nxde. It feels almost creepy. The verses are dry and gritty, and when the heavy bass in the pre-chorus kicks in it feels nothing less than magical. Minnie is the queen of (G)I-DLE this comeback, according to me. Her voice is so smooth and addictive. The slowed part before the chorus is really unique and cool, especially as it launches into a simultaneously dark and fun chorus. This song actually reminds me a lot of Tainted Love, a massive throwback! They both share the same blend of styles. I really like this song!

All Night - 6

Wow, the first few seconds of piano here are beautiful and ominous. The beat kicks in in a massive switch-up to another dark and fun verse. The use of guitars and electric bass continues in this song, continually building throughout the track. The two-chord progression in the chorus feels pretty repetitive, though the bass and guitars make it more entertaining. It feels like a b-side if I’m being honest, and not a power b-side like others on this comeback. I don’t particularly dislike anything, I just don’t find it to be that interesting. 

Paradise - 8

Holy intro bass! I swear, every intro is so good these days. The verses make this feel like a Basic Ballad™, but the chorus pushes it into power ballad land. The combination of the bass, synth, and percussion create a beautiful bed for the soft vocals to lie on, if that analogy makes any sense. The percussion and harmonic chords in the verses are also unique and tastefully placed. It really feels like CHVRCHES to me! I would recommend CHVRCHES to basically any kpop girl-group fan, particularly LOONA and (G)I-DLE fans. Honestly this is the first Soyeon rap since I Trust that I’ve enjoyed. This is how a cheesy ballad should be done, and I mean that in the best way.

Peter Pan - 4

The crowd noise, claps, and acoustic guitar further cement this mini-album’s summer vibe. This song feels like an end credit scene, or something someone would play over a campfire. Similar to Allergy, I don’t like this style, but I think (G)I-DLE pulls it off decently well. I don’t think it’s quite as solid of a track as Allergy, but nonetheless it fulfills its role as a carefree teen movie end song. It’s just nothing impressive from them, and I don’t love it personally. Certainly a different way of ending a kpop album than I’m used to seeing.

Final Thoughts

(G)I-DLE has cultivated an experience with this mini-album. Despite my opinions on any of the songs individually, everything is cohesive in a soundtrack-like way. Summer nights, parties, and 2000s teen movies. As I said previously, I don’t love much new (G)I-DLE, so I didn’t enjoy the style of some of these songs. This has been very challenging to review because so many of the songs are quality but not to my taste. Lucid and Paradise, however, I found to be very good! I would have to say that overall this album continues the streak of great spring/summer specials this year. I give this album an overall score of 6, with my favorite song being Paradise, just barely over Lucid. Thank you for reading, let me know what your thoughts are on any of this!

- Maya

[kpop-rambles]

FIRST LISTEN : The structure is the same as other black pink songs but it’s pretty obvious that lyric wise they did go for something different. I have to say, i don’t hate it but I’m sure that people will be hating it. I liked that the strong vocal part at the end was shared by Jisoo and Rose, and I liked Jennie and Lisa’s rap part (that might be a n unpopular opinion) a lot more than the other raps they’ve done. It didn’t make me cringe at all, which is rare. The chorus is pretty catchy in my opinion.

CLOSER ANALYSIS: I really liked the opening scene, with Jisoo, it caught my eye and I liked how they made that part. The BLAAACKPINK part, I did not hate. I actually liked how different it was. Jennie’s first verse… it’s growing on me. I really love Jennie’s tone when she raps, and besides that first line, I like the rest of her first verse. ALSO lisa always has the really cringey lines in bc songs, and I did not cringe. ‘Look what you made us do’…. I like that part, Roses voice and the way she sings it made it powerful for me. I saw someone say Taylor swift vibes, and yeah that obv reminds me of Taylor. but the rest of the song does not. I realllly liked Jisoo’s lines. Obviously translations never capture the beauty of languages, but the English translations made her lines sound really pretty.

the chorus. I knew it was the chorus while listening, but looking over it, it is… def not a blackpink chorus. But I don’t see anything wrong with that. It is repetitive, and soft but i actually lik that. It made it catchy very quickly. I also love the music video, the styling, the makeup, just mm it looks very good in the first chorus.

The rap is shocking every time I listen to it, BUT I LOVE RAPS like the one that they did, so I’m glad it’s in there. I was definitely listening close for lyrics that would be… well cancellable, but I think they veered from it. I really liked Jennie in this rap, which is expected, but i liked Lisa’s rap too, which was not something I was expecting, so I’m glad i liked it.

The repeated pre-chorus. Blackpink stick with their structure of leaving the pre chorus up to rose and Jisoo, giving them the same lines and then switching who sings them… I did not like it this time though. It was so much better when they first sang it, they really suited their first lines.

I again liked the outfits and sets in the second chorus. I also am interested in how they shot solo shots and sprinkle them in there. A lot oof it tends to be Jennie and Lisa cause they’re the ones saying the chorus, but the shots are so quick to leave Jisoo and Rose that it annoys me. I wish they held onto those shots for longer.

now here’s the part that ruined the song for me. The gra ta ta ta. I mean, it just feels lazy. you couldn’t put lyrics? You couldn’t put interesting instrumentals like the beginning? It didn’t even feel like a yg party anthem part. it’s boring and plain and it takes out the enjoyment of the song for me.

The music video, outfits, sets, everything about it from that perspective, I loved, but it’s Blackpink and they always serve on that aspect. the music… well, as you know, I enjoyed it until the very end with the gra ta ta ta. if that part was taken out, I’d genuinely like the song. Definitely not a favourite song of the year, but I like this different style of music for blackpink.

before I end this, i do have a tiny thought that could get me attacked. I don’t think Jisoo suits this concept well? every time a shot is on her, her facial expression is so plain? i understand struggling with making expressions as intense as Jennie’s or Lisa’ but its just a stark contrast because it’ll be a shot of rose or Jennie or lisa and then Jisoo is there like 😐 and it’s very obvious, despite the minimal screen time that Jisoo has when all four members are together.

[holden-caulfield]

s...ongbird (any songs a person sings will get stuck in their soulmate’s head for the duration they decide to sing it). Hii! Hope you're doing well! If it's ok can I get a S with Draco Malfoy? If not, its ok! Thanks anyways!

Hi lovely, thank you so much for your request, really hope you like it!!🥰

(I did write this with the song 'Love Of My Life' by Queen in mind but i think it can work with any sad song really, just ignore the three verses i put at some point!)

Just A Song Away

↪︎ 𝐦𝐚𝐢𝐧 𝐦𝐚𝐬𝐭𝐞𝐫𝐥𝐢𝐬𝐭

Summary: soulmate au in which one can hear the song the other is singing in their head.

Prompt from this list.

Warnings: none :)

Word Count: 1711

//

It was strange, really. Draco never heard that song before. It was a rather sorrowful melody and he was sure he had never heard it if not in his head, in that precise moment.

It was melancholic at most, the notes alternating slowly in his mind but he didn't know how they did, the melody completely new to him and nevertheless it was as if he had heard it a thousand times already. Fragile words resounded softly as he desperately tried to think of the origin of the song.

His efforts were all in vain because the song ended just as quickly as it started in his head. The words were always the same, repeating like a tedious lullaby, but never boring.

Oh how he longed to know to whom those words, or better those thoughts, belonged to. He knew that the one singing those doleful verses was his soulmate, that one person that should have been his true love, that one individual that could have accepted him without any judgement, the one that should have loved him unconditionally.

He didn't actually believe in that, he believed those were all lies. At least, that's what he told his friends whenever the topic was brought up: simple disgust evident on his face when dreamy looks were exchanged about soulmates.

He was skeptical and he had his reasons. Who would have loved Draco Malfoy if they knew who he was? The terrible things he had done in the past? And the terrible things he would have done in the future?

No, a soulmate was not possible for someone like him. But he liked to believe. He liked to believe in the eventuality of it, when no one was looking, hope only existing in his deepest thoughts.

The scorn he exhibited towards those who actually, fervently believed in the romantic concept might have been the reason why he didn't even look for his one and only.

The real reason, however, was that he was content this way. Hearing the delicate words in his head was enough for him, the impending prospect of his soulmate actually discovering him was enough to keep him from searching his person.

What made him change his mind, what made him think that maybe, just maybe, he should have begun his research was the sudden change in the periodical words that invaded his head. There were no longer cheerful tunes, instead desolate lines that repeated themselves almost obsessively.

He was worried, worried for someone with no name and no face, only a few sentences that somehow meant more to Draco than anything else. He was worried and he reckoned he could have ended the suffering that was weighing down on his unknown soulmate, but he always chased away those thoughts.

Unlike Draco Malfoy, you very much wanted to find your soulmate and everyone in the whole school had your same idea in mind.

Many tried singing out loud throughout the corridors, hoping that that certain special someone would notice them and finally stop the frantic search.

Others were too shy to actually do that and instead sang to themselves when alone and hoped their soulmate would have been smart enough to figure out who they were.

You weren't so hopeful. No song had been stuck in your head, no melodies, no silly tunes, not even a curt note. The upsetting suspicion you didn't have a soulmate often made his way in your mind, a mind that should have been occupied by songs and not by forlorn ideas.

It was perhaps the growing frequency of those thoughts that made you change musical tastes or maybe your break up. Maybe the latter had lead to the former and, together, they had made you feel undeserving of love.

You knew the guy you were dating wasn't your soulmate, you didn't hear his songs and he didn't hear yours, but a tiny part of you still hoped it was just a mistake, a stupid, silly, sad mistake.

It wasn't. It was inevitable and yet your heart was broken. The only solace you deemed possible was found in music, a new-found low-spirited music.

Wretched, you started listening and frequently humming to your new consolation. No one would have heard it either way.

Your sadness was only amplified by the constant reminder that other students were finding their true love, in the hallways, in classes, even in your dorm since two of your best friends eventually realized they were made for each other.

You felt alone, alone like you never felt before. Your new favourite place quickly became the astronomy tower: it was quiet and reserved, no one actually went there if not for classes since it was the highest place in all hogwarts and no one had the will to go all the way up.

Anyone but you because you had a lot of free time, not having yet found your soulmate to spend some moments with. You often sang in the tower, leaning against the railing with the gentle breeze surrounding you and providing some kind of much needed comfort.

The words you sang were becoming repetitive, particular verses stuck in your head that flowed freely from your lips, coated in honey and tears as they lost themselves in the wind.

Love of my life, you've hurt me

You've broken my heart and now you leave me

Love of my life, can't you see?

Only those words reverberated in your head because your soulmate's surely didn't. If you even had one. Maybe you really didn't, it wasn't as unusual as many thought. However this didn't soothe you in the slightest bit.

How heartbreaking, to know that a person that could love you so deeply, so genuinely didn't exist. For you.

Draco Malfoy felt like you, possibly even worse. He knew this person existed but he knew this person couldn't have loved him for who he was. He was so sure of it and yet he loved this person, whoever it was.

He, too, found solace in the astronomy tower, one of his ever favourite places in all hogwarts. From there, he felt insignificant but it was weirdly comforting to him, knowing that he wasn't that important, no one was in such a vast world.

He liked to sit under the light of the moon and of the starts, listening to the tunes that played in his head. He sometimes thought of repeating them himself, of singing them along with his soulmate, pretending they were together, but always stopped himself before he could.

You were beginning to lose hope, completely. You were resigning yourself to the ineluctable truth. Your heart felt at the same time heavy and light as a feather at the sudden realization, but the desolation that pervaded it never faded.

You strolled along the corridors, it was late and you could have been caught but you couldn't care less at the moment. You began singing, not caring about who might have heard you, maybe the paintings or maybe Filch, earning yourself a detention.

Slowly making your way to the beloved tower, you kept on repeating the same verses of your favourite song of the past few weeks, as if it was a prayer, a tender message you were sure no one would have ever duly appreciated.

Draco was perched on the railing of the tower, head on his arms that were crossed on the cold metal. His gaze lost in the depths of the sky, his head full of the lovely yet dejected sound that he had learned to love and despise.

You kept on making your way towards the stairs of the tower, your steps slow and steady just like your voice, and started ascending them.

Draco listened intently to the tune even though he was very much acquainted with it, the desire to feel close to the person singing it almost unbearable.

You were now halfway up the long flight of stairs and the softest of sounds became audible, a sob perhaps, you couldn't be sure, you had to get closer.

You stopped your singing, climbing the steps so carefully you unconsciously held your breath, but the voice stopped and, with it, you.

You began singing again tentatively, keeping your voice low as you kept climbing the stairs, getting closer and closer to the top. And now you heard something new, something unexpected.

A voice, low, grave and incredibly gentle filled your ears and your head. It was your tune but it was so different. The words were the same, but they sounded so much unalike. They were new just like the sensation you were currently experiencing.

You climbed, ran up the last steps, your singing stopping abruptly and the figure that was once slouched onto the railing turning around alarmed.

Silence filled the space, no words, no songs, no tunes, not even the wind was daring to make a sound, afraid to break the tension that had created.

You didn't dare say a word. What if it wasn't him? But he had to be.

Draco didn't speak, petrified under your gaze. What if it was her? But she couldn't be.

Whispers made their way out of your mouth, delicate, almost inaudible whispers in the form of music.

But Draco heard them. Not with his ears, despite the silence it would have been impossible to hear you, but in his head.

He repeated them louder, but with that gentleness that characterized the voice you had heard moments ago.

Your ears catching the sound that was already playing in your head, sweet and slightly more cheerful than it had ever been.

You could have sworn he had the voice of an angel, that kind of voice that makes you fall in love at the first syllable. His eyes were piercing right through you, showing you that love did in fact exist and that it could be found in those silvery blue orbs.

He could have sworn you were an angel, standing in front of him was the girl he had only imagined for all of this time, your eyes staring at him and burning inside of him, making him forget all of the reasons why he didn't look for you in the first place.

"It's you."

And it was indeed him.

//

This came out slightly longer than i expected and I'll admit I initially planned a rather angsty final, but in the end i went with the fluffy one because who am i to deny draco his true love?

Taglist <3

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[goldenvoicedminstrel]

Hot take; Maglor has written every member of his immediate and extended family a song inspired by them. Every single one of them has promptly learned to play/sing that song, even if that is the only song they know (looking at you Caranthir) they know it perfectly.

This comes in handy later, because when Maglors memories start fading he keeps his family alive by singing their songs over and over. It’s also good for the family members, because when everything else about Maglors existence fades away, they have the songs to prove that he was real and that he loved them.

I had a lot of thoughts and even more emotions about this, so enjoy my rambling.

Let’s say it starts with someone, perhaps Fëanor, telling his small son the story of the Ainulindalë, how Eru composed the Great Music and the Ainur sang Arda into being, and how everything and everyone is a part of that Music.

Of course young Makalaurë, who learned to sing before he could speak, is enchanted. 

We are all a song! The next day he comes to Nerdanel and starts to hum a simple, sweet melody, that sounds a bit like a lullaby. When she asks what song it is, he only says: “Yours.”

(She begins to use it as a lullaby for him when he is afraid at night, and later for his brothers as well. It works without fail.)

And that is only the beginning. Because once he has started to hear the melody in everyone around him, he cannot stop and while the most important part is still the melody, he starts to make up words, too, and so the songs are born.

Maitimo’s gives him a lot of trouble at first. He is too young and inexperienced and he finds that his attempts to create something as graceful, kind and perfect as his older brother all fall short. It takes him years to finally put together a melody “well-formed” enough. It is indeed very beautiful and harmonic and has a majestic air to it that makes his brother blush, but Maitimo will always love best the first attempt his little brother presented him with so long ago.

It is easier for his younger brothers, children in general are louder in every way, and though he makes small changes over the years and adds parts to their songs as they grow, the melody at core remains the same.

Tyelko’s starts as a children’s rhyme, that teaches his brother to imitate the animals he loves (the elf version of old MacDonald had a farm) and evolves until it seems to be made up only of the sound of the birds and the barking of dogs and even, in a particularly dramatic moment, the bellow of a stag. 

Little Carnistir’s song starts out much quieter, but rises unexpectedly at times, and when his brother was very young, Makalaurë used to throw him into the air with the crescendos and he would shriek and giggle until he was red in the face. Later, he adds some words a plays on the numbers that Moryo so enjoys, and sometimes he can hear him absentmindedly hum the melody under his breath when brooding over another problem. (There is also a rhyme very obviously leading up to a swear word, which is then abruptly left out for comedic purposes.)

Words are important in Curvo’s song as well. It is the most complicated, fast-paced like their father’s, made up of many different parts all moulded together. There are many wordplays, because smithing is hard to portray in song, but word-smithing is much easier, and Makalaurë always knows when his brother is singing his song in his head, for an amused little smile appears in the corner of his mouth.

Each of the twins have their own song, but they are both built around the same musical theme and made to be sung as a duet. The Ambarussa immediately invent a game in which one of them hides in the woods, and the other, with his eyes closed, has to find him  only through singing his part and listening to the answering verse.

(He likes to add verses for special occasions and perform them elaborately. He did this for all his brothers when they came of age, and again for Curvo’s wedding. On the other hand he is not afraid to compose a verse of pure mockery when his brother have been getting on his nerves again. But those are only temporary of course. Though they can be very catchy.)

The last time he sings his brothers their songs, the last time any of them do so out loud in front of the others, is on the ship to Beleriand. He hopes it will raise their spirits and strengthen their resolve. 

Then their father dies violently and for the first time Makalaurë does not feel like singing, not even in grief.

(Or perhaps he stops singing them before that, when one of the Ambarussa fails to answer their brother’s song for the first time.)

Maitimo is taken and when he comes back, Maglor cannot bear to induce the torment his brother’s body and fëa have suffered into his melody as well, but when he tries to sing him his old song on his sickbed, Maedhros flinches away. And Maglor understands.

He has always tried to capture their fëa with his songs. But the people he wrote his songs about do not exist anymore, while at the same time he will not- cannot- erase this last piece of home, of a happier time, so he keeps the songs locked away in his mind, like a most priced jewel in a glass case, to be viewed but not touched again.

(Later, much later, when Maedhros steps forward, Silmaril in hand, into the fiery chasm, he does not remember his melody anymore.)

(When Caranthir dies alone in Doriath he hums.)

Yet still, parts of them, snippets of melody, make it into his greatest work before he realises it. His brothers’ songs become the strands that make up the frame of the Noldolantë, because as much as Maglor says the song is about the downfall of the Noldor, first and foremost, it is about his family.

He begins singing them again only after they are all gone.

They sound sad at first, because even the happiest song does when sung by a sad man,

but they become happier the longer he repeats them, and he is happier because he is with his brothers again and that feels so much more real than the cold, wet sand and hard rocks under his feet, and the chill clinging to his ragged clothes and protruding bones. 

The songs become happier and then they fade away.

But still they are sung in Valinor, where all those lost souls return to eventually.

After everything that has happened, it is not easy to remember the person you used to be and even harder to know who you are now.

When Nerdanel welcomes back her sons, who stumble out of the Halls like frightened children once again, she hums a melody to them that, she too, had locked away in her mind for a long time before releasing it again, in the times when the quiet was oppressing and the absence of her family like a physical wound. She hummed it under her breath or sang it to the empty room to remind herself her son had loved her once. 

Her own song. Calm and steady, slow where her husband’s had been fast, and repetitive where his had been ever changing. In every repetition a little detail had been changed, chiseled away like the outer layers of stone, until laid bare was the first song her son had ever written, a simple, sweet melody gifted by a little boy to his ammë.

She hums this melody into her sons’ ears when she takes them into her arms again for the first time in millennia, when they still cannot quite believe her to be real. Later she sings them another song, theirs, unchanged by time like none of them are, and her words are sincere and not filled with cruel irony.

The Ambarussa are the first to pick their melodies up again, and they begin to echo them back to each other like they did when they first learned them, and they rediscover that they are not alone.

Caranthir hums his song under his breath, and remembers he does not have to keep all his emotions hidden, and that his outbursts had once not only been angry, but filled with laughter as well.

Curufin repeats the familiar words, and recalls a time when his sharp tongue had been a source of amusement rather than manipulation, and his sharper mind had sough to solve complicated problems instead of creating them. 

Celegorm stands in the woods and imitates the animal calls his song helped him perfect long ago- and the animals answer him. He listens and laughs without cruelty, and remembers what love truly felt like.

Maedhros, when he finally arrives, sings the melody carefully, and when he tries to recreate its beauty, he remembers what it felt like to be whole and at peace.

But while they have their brother’s songs they do not have their brother.

They wait and they keep singing, hoping against all reason that somehow it might reach him, bring him comfort that they are safe now, bring him back to them.

He never comes. And so they cling to their songs in a way they cannot cling to him, and once again the songs remain unchanged.

Not because they pretend to be the same people they were before, but because this is the last thing they have of Makalaurë. He never wrote a song about himself, after all.

[cinnamon-bunni]

for the fanfiction tropes: hanahaki, timeloops, and modern aus!

hanahaki: C. surprisingly, i'm indifferent. which is odd based on how much i talk and write about it. it definitely varies from fic to fic, and how the author handles it. if its generic hanahaki than im not the biggest fan, it can be boring at times. but if the author adds their own twist to the story, or to the disease itself, or whatever to make it different from others and to spice it up, then im in :)

time loops: A. OOHHHH YEAH THIS. THIS IS THE GOOD SHIT. time loops are so fucking good!! i wish i could write them as well as others do!! its the angst, the repetition, the overwhelming feeling of helplessness, anger and sadness--it all mixes in and makes something beautiful. i really love the idea of repeating things, whether or not they even have some sort of important meaning, or maybe its just something dumb and stupid and meaningless that drills into the main characters head. its about trying to escape but being trapped in this hell. its about possibly getting out and crying and feeling so relieved. its about possibly being stuck there for the rest of eternity, cursed to forever live the same day. its about the interactions with other characters, and how to them its just a normal day but the main character knows better. its about how hollow they become. its about how they've changed so much and no one knows or understands why. its about the journey that no one will ever know about--the journey that might not ever end. I'm actually planning out a fe3h timeloop rn! it's gonna be quite long (i want it to be 10k at the very least, probably longer though), but i don't work on it as often as i should. i keep getting distracted by other things to write lol (which btw is a sylvix fic based on this song (which i am very much obsessed with yes, i have like three different versions i listen to) so if you wanna know what happens feel free to give a listen <3) also also, if you know any good timeloop fics for any fandom please send them my way and i will forever be grateful and shall worship the land you walk on please and thank you <33

modern aus: D. for modern AUs, my mind immediately goes to a fe3h modern au, mainly because that's the only fandom i'm really in that would be applied to it. i'm honestly not the biggest fan of it tbh. the only times i would read it would be for comedy/crack fics i think. but in general i prefer reading things in the canon world, so i don't really care for modern au, i dont spend a lot of time on them