#the percussive force of it is shocking

[elpsycongruent]

i heard a song so beautiful i started crying???

[blasphemousclaw]

why Divine Beast Dancing Lion has the best soundtrack in the entire game

When I watched the first DLC trailer 6 months ago, I was so focused on Messmer that I never gave the lion dancers a second thought. But in a shocking turn of events, Divine Beast Dancing Lion is now my favorite boss in the whole game. To me, what makes this fight truly exceptional is its soundtrack, so I want to go through the music and outline all the things that make it so great!

What makes the music stand out is that it feels SO different from the rest of the OST… the majority of the boss tracks have a pretty similar style and instrumentation, but Divine Beast stands out in my opinion because of how it emphasizes its rhythm and texture.

Conceptually, this boss fight is first and foremost a dance — you are fighting two Hornsent warriors operating a lion costume based on the traditional Chinese lion dance in an arena that’s actually a giant stage.

The Chinese lion dance is typically accompanied only by percussion (drums, gongs, and cymbals). So naturally, Divine Beast’s soundtrack has much more pronounced percussion in comparison to the rest of the soundtrack, featuring heavy drum beats and cymbals, plus shouts and chants from the choir. The music is in a steady 6/8, with 2 beats per measure divided into three pulses (think 1 2 3, 1 2 3) giving it a lilting, dancelike quality (this type of meter is often used in folk and traditional dances!). And, in the boss’s second phase, the dancing lion’s lightning, wind, and frost phases each have their own music and are timed to transition as the music transitions. The whole boss fight is programmed like a dance, so when you fight the boss it feels like you’re dancing with it too!

The choir has a range of vocalizations that goes beyond singing melodies and harmonies; as I touched on before, they’re also shouting and chanting. The shouts are used percussively and help accent the rhythm of the dance, and the low chanting also brings to mind a sort of religious ritual? Which is exactly what this boss fight is… in Hornsent culture, the lion dance is a ritual for invoking divinity:

“A charm depicting the crazed, cavorting dance of the divine beast conducted at the tower festival. Raises potency of storms. Divine beasts are messengers of the heavens, and their rage mirrors the tumult of the skies, of which storms are the pinnacle.” (Enraged Divine Beast talisman)

The lion dancers, or “sculpted keepers,” are those amongst the divine beast warriors (themselves the chosen amongst the tower’s horned warriors) who truly excelled at divine invocation, and were “granted the honor of the lion dance” (Divine Beast Warrior Armor). In the boss cutscene, the Hornsent Grandam calls upon the divine beast to possess the bodies of the sculpted keepers, and rise again to defend the tower… so the lion dance, performed by warriors skilled in divine invocation, is essentially a ritual for invoking the presence of the divine beast within the dancers in order to commune with the heavens.

The sculpted keepers, having invoked the rage of the divine beast, are able to channel the forces of the stormy skies — lightning, wind, and frost. The force of the storm is represented in the music by quick runs in the high woodwinds and strings that come and go like gusts of wind. The music almost never lets up or loses momentum; it goes at a powerful, furious pace until the end, embodying the divine beast’s fury.

But the Divine Beast that we fight has an extra layer of emotion that goes beyond divine ritual:

“When the Impaler's army assailed the tower, the ritual of the lion dance was turned toward martial ends—its divinity, its fury, its light-footed beauty.” (Remembrance of the Dancing Lion)

What was once a beautiful ritual dance conducted at the tower festival was forced to become a weapon of war in order to fight against their people’s annihilation at the hands of Messmer’s crusade. And even this was not enough…

The Dancing Lion that we fight was slain, lying in a pool of dried blood, when it is miraculously awoken again with a fervent prayer. This is the last lion dance that may ever take place, giving us a mere glimpse of this ruined city’s long-vanished splendor.

Listening to the soundtrack, there is not only pride in the music, but also an urgent, visceral, warlike rage, a multitude of voices joining in a desperate fight for their civilization’s very survival.

[wrathofresistantx]

Timeline of the Emsdetten School Shooting

9:20am – 18-year-old Bastian Bosse leaves his car in the “immediate vicinity” of the Geschwister Scholl-Schule (GSS). Before driving to the school, he posted a zip file of his manifesto to the WeKillEmAll forums, as well as wrote in his diary: "That's it!".

He enters the school grounds and begins firing indiscriminately at oncoming students and teachers.

A teacher is wounded in the face by a smoke bomb thrown at her

Three students are injured by gunfire

A 55-year-old caretaker is shot in the stomach with a sawed-off Burgo .22 bolt action rifle

Bastian encounters his younger brother during the shooting. His brother asks him “What are you doing” to which Bastian moves on into the school.

After entering the school through the main entrance, Bastian shot a group of students, injuring one by gunfire. He also injures two 10 and 12-year-old students on the first floor of the building.

9:30am – Police are first notified of the shooting via an emergency call and immediately make their way to the school.

Teachers and staff had already started evacuating students from the building, with over a dozen students, both from the GSS and neighbouring school calling the police to report the incident.

9:34am – Police first arrive to the school and find the injured caretaker at the main entrance. They then move towards Bastian, who has moved onto the second floor of the building. As Bastian had set off numerous smoke bombs during the shooting, entry into the school is difficult.

Bastian then retreats into a classroom where he sets off a molotov cocktail, before shooting himself in the head with a sawed-off Ardesa percussion rifle.

9:58am – The first special operations command force arrive at the school, with them immediately attempting to enter the school

10:36am – The special command force manages to enter the second floor of the building that was heavily obscured by smoke. They find Bastian’s body, alongside the aforementioned percussion and bolt action rifles, an Ardesa caplock pistol and numerous self-made pipe bombs. Other explosive devices were also found around Bastian’s body.

Emergency services wait for a bomb defusal unit to arrive before approaching further as it was initially unclear if Bastian had shot himself or had been killed by detonating one of the bombs that was attached to his body due to the extensive damage to his face from the gunshot.

10:43am – Police find further explosive devices within the school, all of which were self-made pipe bombs. The neighbouring school is then searched as a result.

5:00pm – A bomb defusal unit arrived at the school, where they search Bastian’s car, as well as four residential buildings and the classroom which Bastian was found. Bastian’s body is then removed from the building by the defusal unit.

A later search of Bastian’s house and garage found further evidence of Bastian making and creating bombs to use in the shooting.

In total, 37 people were injured during the shooting, with Bastian being the only fatality:

6 were injured by gunfire

1 teacher was injured by a smoke grenade

16 police officers suffered smoke inhalation

14 suffered from shock

An unknown amount of people were treated at the scene by an emergency tent set up by the fire department. 62 people were also noted as being cared for as a part of police care procedures, including Bastian's family.

[sirenjose]

Hunter Norton Backstory Trailer Analysis

As a rule, the sons of miners follow the occupation of their fathers. Once Norton’s father died, and his mother also likely dead by then too, he had no other choice but to become a miner if he wanted to survive. Especially with how poor they likely were, Norton’s father (and mother) likely left almost nothing for their son, forcing him to work hard to support himself from a young age.

Based on Norton’s comment about living like a “rat” for 20 years, as he is 28 in the present, Norton’s father potentially died when he was 8 (his mother potentially died before then), leaving him an orphan.

A Mine Regulation Act in 1872 prevented children under the age of 12 from working underground. Until then, he would likely have been kept to surface work, such as:

Sorting and transporting materials

Loading and unloading transports

Assisting with general maintenance and cleaning

Delivering messages

Etc…

An Educational Act in 1870, which applied to England and Wales, made schooling compulsory for boys between the ages of 5 and 10, while an Act in 1872 applying to Scotland made school compulsory for kids between 5 and 13.

Once he reached the age of 12, the Regulation Act in 1872 would continued to limit his work hours, which prevented boys between 12 and 16 from working more than 54 hours in 1 week or 10 hours in 1 day. It also required them to have 8 to 12 hour breaks between “periods of employment” (defined as starting when they leave the surface and ending when they return to the surface).

Once he was old enough, regular miners were expected to work at least 12 hour shifts (though this varied from mine to mine) on weekdays. And we know from Norton’s deduction 2 that he worked longer than any of his coworkers, while his 3rd letter states, as a habit, he enters the mines at least 30 minutes before the others.

Conditions in the mine were hot, musty, and cramped (as mine owners didn’t want to spend extra to make them bigger), increasing the chance of accidents. We can actually see just how narrow the tunnels usually were in the trailer.

Miners also worked in complete darkness except for lighting they had to buy themselves. In fact, they had to buy much of their own equipment.

Unfortunately, wages for miners were incredibly low back then. Miners were paid by the quality of what they produced rather than by the hour, giving owners plenty of ways to reduce how they could pay their miner (including by lying about the quality or rigging the scales).

The average wage of coal miners in the 1880s was somewhere between 3s (s = shillings) and 5s per day, with around 4s being closer to the normal, and 5 only if you were lucky. 4 shillings was about $1.20. Generally though wages varied greatly in different districts. After spending on equipment, food, and rent, they could be left with maybe no more than 1s.

Going back to the trailer, it says “Blasting Agent – Mercury (II) Fulminate”. This is an explosive compound made from mercury, nitric acid, and ethanol. It was commonly used as a primary explosive in percussion caps and detonators during the 19th century. When struck or subjected to a shock, it would rapidly decompose and produce a violent explosion. Its role was to initiate the ignition or detonation of the main explosive charge, such as dynamite.

This is the stuff that we see him pouring into the dynamite.

Continuing, we see Norton smiling at a coin, but then his wrist is crushed by the other miners, who steal it from him, taunting him to try to take it back.

Norton actually smiling at the coin helps show Norton’s desire to get out of poverty, an idea he emphasizes later when he describes poverty as a “curse”.

But as we see in the Famitsu Article, people didn’t understand why he tried so hard. It “intimidated” them. Then in Norton’s 2nd letter as well as in this trailer, we see that he was ridiculed by his coworkers. They didn’t think it was possible for him to achieve such a goal. This is reflected with how essentially, at that time “Englishmen recognized if he is in a certain social grade, he is likely to remain there. He’ll never reach a higher class, and didn’t rebel”. Each class “cheerfully” accepted “the lot which providence has assigned” to them.

Norton was different though. He says in the trailer “I once thought the same” after it talks about sons of miners became miners themselves.

He may have initially accepted the same thing everyone else did, but things likely changed over time, the longer he was forced to live this sort of life.

There’s also a good chance part of his change was from working with people like Benny. He learns from them to improve himself (and hopefully improve his chance at earning more), but he also sees how these old miners are, which emphasizes in his brain he doesn’t want to end up like them. He doesn’t want to end up in hospice or stuck in poverty his whole life like they did, just waiting for the day they die.

Norton worked hard, harder and longer than everyone else, in the hopes eventually this would be enough to improve his life, to make it even slightly close to what most would consider a comfortable life, even if it meant only the basics. But it wasn’t enough. The mine owners were greedy. The other miners were all in it only for themselves. His wages were miniscule, and his daily and weekly expenses pretty great. Especially with how back in that time period, mine owners had ways where they attempted to keep their employees indebted to them, to force them to keep working for them, as well as improve their own personal profits as much as possible.

Norton was surrounded by these sorts of people forced to live in such a cruel environment, watching the rich get richer and the poor get poorer. This is reflected in his 2nd letter where he says “This is simply unfair. The poor find it difficult to lead a comfortable life, while all the rich need to do is wave their banknotes around”. He describes all the pain he’s gone through just at the chance to “climb up” out of poverty before describing “how much effort I put into this” as “ridiculous”.

His hard work is exemplified by his 3rd deduction, which describes how he’s done so well his employers always attempt (but fail) to keep him for longer. He works to learn, to improve his skills, and better himself at the chance at earning more and thus potentially work his way out of poverty faster.

We can also see it during the trailer, with him surrounded by all these books and other things.

This quality of his, where he likes to teach himself, to learn, and to improve himself has been implied at other points by Netease, such as by several of his skins or even from part of other collabs, like B.Duck, which described Norton as “full of curiosity” and “likes learning”. It also described him with a “desire to act at MAX” or “highest level of execution”. This means he’s the type of person to put all his effort into whatever he does.

It just wasn’t enough.

We even see the sort of suffering this life has forced him to endure, as in the trailer it shows him coughing due to the damage his lungs have suffered due to his life as a miner.

Hard work wasn’t enough. This is why he eventually turned to the list of 13 mines he learned from Benny, seeking to instead attempt to escape poverty by finding gold.

As explained by @metalIurgy and @Deskdeas, each of the names on this list are European mines or people.

(Also, there seems to be 15 names total on the list, rather than 13)

Von Donnersmarck: House of Donnersmarck, prominent aristocratic family that originated in the region of Silesia. Owned mines.

Georg Wilhelm: Russian military officer and engineer who specialized in mining

Prince Konstantin: prince of Russia, killed in a mining shaft

Ștefan Procopiu: physicist who researched electricity and magnetism

Friedrich Alfred Krupp: German industrialist, developed Krupp steel manufacturer and arms manufacturing company

Saarbergwerke: mining company that operated in the Saarland region of Germany

Romeria: religious pilgrimage (Spain or spanish speaking countries?)

Petro-pavlivska (''Петро-павлівська''): black coal mine located in the Eastern part of Ukraine

Nova Baňa: silver and gold mining site in central Slovakia.

Swansea Copper: Welsh copper mines

Eramet: French multinational mining and metallurgical company

Ivan Polzunov: Russian engineer known for his contributions to steam engine technology

Wowdcole: ?

(Sorry, I can't read the 15th name crossed out in the top left corner of the list)

We know from Norton’s 5th deduction that he tried and failed to find anything at any of the other 12 mines, leaving him with only Golden Cave left.

Back to the trailer, we see him with a map.

The left side looks like it should be a map of Lakeside and the surrounding area, with Golden Cave being the X at the base of the mountains. Count Barriere is the owner of this land, and also the owner of Golden Cave. The right side should be the representation of a map of the mine itself.

Considering how earlier Norton’s coworkers stole Norton’s coin, it’s possible they essentially tried to do the same thing here. Saw him looking at the map, then took it for themselves. Like how Norton’s 8th deduction includes “you need more helpers”, they may have forced him to take them along, and why they explore it on their own without Norton. Especially with the looks on their faces in that scene not showing they had any good intentions.

(A lot of what I’ll say next is said very well by @Yaboku_samaa)

Norton seems to have set all this up in advance, before they came through the mine.

Next we see Norton’s inner conflict. A conflict between morals and vengeance represented by survivor Norton vs Hunter Norton. His Hunter side manages to win out by telling Norton that this is what they deserve, it’s revenge for all the pain and ridicule he’s been put through, all in silence, all without fighting back. He’s forced to keep a façade. To keep his true feelings hidden if he doesn’t want a penalty or reduction in wages. He’s tired of having to live such a hard life of constant suffering and humiliation and hopelessness, and thus why he had hit his limit and the side represented by his Hunter version won out.

(I’m not going to push the idea too much, but it’s possible Norton may have bipolar disorder. That or DID, especially with how he literally talks to himself in his 2nd letter. Especially as both can form in children or young adults who experience long-term physical or emotional distress or abuse. Causes can include childhood trauma (like neglect, abuse, trauma, losing someone like a parent), stressful life events, genetics, etc…)

This decision is shown during the trailer when Norton says “There are ways to make a change”.

Norton’s 2nd letter does an accurate job of summarizing everything:

“Over the last 20 years, I lived like a rat in the gutter. I spent days under the ground in the dark just so I could earn a minimal living. Scars from the blasts crawled all over my face like maggots. The constant scorn and ridicule... I endured it every time just so I'd get a chance to climb up the ladder. It's ridiculous how much effort I put into this—anyway, I've finally managed to crawl out from the rat hole. I no longer have to pick and pull on the disgusting ash. Those who did nothing but laugh at me deserve to stay underground and be stepped on like maggots forever.”

And the trailer visually showing Norton’s inner conflict matches up very well with how quite clearly Norton in his 2nd letter is arguing with himself. The side represented by Hunter Norton is likely the version talking right now, trying to convince him (the side represented by Survivor Norton) to kill the female, “think about how arrogant she is” and all the money he’d get. The fact he is trying to convince himself shows that Norton doesn’t want to do it, and how he isn’t willing to do anything for money. His hatred for his coworkers for their treatment of him for so long was enough for the side represented by Hunter Norton to convince him to trigger the explosion on them, but that motivation doesn’t exist here. Right now, his less moral side is trying to motivative him with money and thinking about others as “arrogant” and essentially mean, as well as the doubt that she could do something to him.

But that may not be enough to convince him next time to actually do it if he’s given a chance. At Golden Cave, that was his last chance to try to find gold. He’d gone through 12 other mines (and 20 years of pain on top of that) with nothing to show for it. Norton may be very stubborn and determined, but even he was growing so very desperate, which is shown well by Norton’s 5th deduction as well as by the trailer itself. So it makes sense that Norton was mentally not in the right place and vulnerable to the sort of temptation we see him going through in the trailer.

Norton is alone. No family. No money. Suffering from lung problems. Has never been shown kindness and forced to grow up in a very cruel environment. The only thing keeping him moving forward and losing all hope is by focusing on his goal of getting out of poverty and achieving some form of a comfortable life with at least the basic necessities. This is shown very well by Norton’s 4th birthday emote “Savings”, where Norton takes out a single gold coin and thinks about simple worn clothes and a loaf of bread, while the description reads “Endure it, Norton. You’re almost there”.

For years he attempted to push on, but little by little, his coworkers, his employers, his environment, it all chipped away at him until he felt he had no other choice. I believe the trailer does a good job of emphasizing how his main motivation wasn’t greed but desperation, hopelessness, and the pain he was subjected to by his coworkers and everyone. It’s life or death, and this mine is his last chance, and his deep misery that pushes him over the edge, so it’s no wonder he doesn’t care about anyone anymore. He’s always been alone, always had to be the one to look out for himself. No one else could be trusted. They would only take advantage of him or even potentially steal what little he had. Yet even still he hesitated to pull the trigger, which I think says a lot about Norton.

Despite the decision being made, he doesn’t run after he sets off the explosion. He accepts what happens. There’s no way he didn’t know what was going to happen, not with how long he’s worked as a miner, and how much he’s learned in his own time. It could be the side represented by his survivor version sees the scar as punishment for his deeds. It could be he knew if he wanted to get his revenge he had to deal with the potential scars.

But he was here not just for revenge, but for the chance at finding gold. Hunter Norton’s character backstory says the accident brought Norton “Golden Luck” or “a gold rush of fortune”, so it sounds like he did find something.

We do know he at least found the meteorite, which is what he made his magnet from, so this could be what is referred to in Hunter Norton’s backstory.

Along with the above, we could connect whatever his “golden luck” was with Memory’s comment during Time of Reunion, where she says “they seemed to be looking for something other than ore”.

This is repeated during AoM with a newspaper clipping about rumors being false of precious metal ore in the mine.

Considering Golden Cave’s rumor is “despite not a single piece of gold was ever found, Count Barriere still got what he wanted with this land”, these statements should be talking about the same thing.

It’s possible Barriere was after the meteorite, especially as the only things we know that came out of that mine after it collapsed were Norton and the chunks of the meteorite he carried.

There are potential parallels from Lily’s essence, which connects to Golden Cave, and her essence story says “The mine is filled with special phosphorescent ores, which brought wealth to their ancestors but also cursed them with phosphorescent illness”. Considering in the famitsu article it says the magnet aka the meteorite may have been affecting his brain, it’s possible the “phosphorescent ores” is meant to parallel the meteorite.

If that is what Barriere is after, maybe there’s a chance he reached out to Norton afterwards, and he could’ve been the one to offer Norton all that money in exchange for killing some female. Especially when we know Count Barriere has a lot of money based on Lily’s backstory, as he even offered her enough to survive for 2 years and even more via making her the owner of the IOU likely belonging to Orpheus for him buying Oletus Manor.

Anyways, we also know from Norton’s 3rd letter that he “dug his way out through a mountain creek a few dozen meters away from the mine” with only “minor burns”. We also know from the Famitsu Article that people didn’t talk to him, they said a bare minimum then kept a “wide berth”, and considering the very visible scar on his face, it is possible this was the reason they avoided him (they were frightened of him. Like we see at the end of the trailer, it is possible people saw him as a “monster”, especially back then when these sorts of things weren’t treated or seen as kindly as today).

[resident-idiot-simp]

Another idea for a Deadclaws Hunger Games AU

So as soon as @shy-canadian-snowflake mentioned a hunger games AU this was the first thing that popped into my head.

(x)

Victor Logan getting taken care of by capital member Wade who hates evening that's going on

Logan who after winning is just a mess.

Wade had sent him many car packages all signed with his name in hopes to build trust.

Wade come up to him and asks his what he wants, that he can have anything. Logan glares at him unsure of who he is and what he wants.

"I'm Wade."

"Your.... That was all you?"

"It was. I wanted you to win and I'm glad you did."

"What do you want from me to pay you back?!" Logan snarls.

Wade scoffs, "of course not what do you think I am like the others? No I'm here to ask what you want and need. Is he happy to provide it. I have plans and your a perfect person to have in my corner."

Logan blinks as him unsure and Wade just winks

He saw Logan and his percussion and fighting skills, and immediately decided he was crucial to his plans

Logan is hesitant this isn't a plot against him but Wade had done nothing but help him so far.

He asks for small things and Wade gets them for him without question. Small things become bigger and soon Logan is hesitantly trusting Wade.

Wade once sure Logan won't rat him out explains his plans of overthrowing the capital. Logan is in shock because he hasn't once seen anyone from the capital dare question it.

Wade however explained his hatred of it and how he tried to do what he could while burrowing himself into it deeply.

Logan could respect it and was eager to help how he could.

Logan gets taken everywhere by Wade as a way of getting him into inner circles. Burying them both even deeper than before into the back lines.

Logan hanging off of Wade. He's covered in fine clothing and all the jewelry he could dream of. Logan pretty much refuse to go back to his district after all there's nothing left for him there.

Wade is more then happy to keep him with him. From there their relationship grows into something genuine

Ok so if we're going off of Victor being a previous winner that man is *constantly* mocking him. How does it feel to an escort or play thing. How does it feel to be pimped out to your biggest donor?

Logan just has to bite his tongue and not say anything. Wade hates it because he would never participate in that shit.

Logan is a good man and Wade wants to pamper him just as much as he wants to poison the well from within.

Logan pretty much never goes back to his district I mean what is there for him? Rumors have spread because of Victor of his.... Activities. which he cannot correct otherwise they'll both be killed.

Logan didn't expect to fall for the obnoxious idiot but couldn't help it. He was so kind and treated him so well.

Wade hadn't made the first move didn't dare. He wouldn't be forcing Logan to do anything even if Logan was more than capable of stopping it.

Logan had been sleeping in his room when a nightmare had woke him up. He was frazzled and his claws had stabbed through the mattress (This wasn't the first time).

He was covered in sweat and was panting desperately. He needed confirmation he wasn't in the games anymore. He needed *something*.

He stumbled into Wade's room without realizing and Wade had woken up before Logan could leave. Wade blinked up at him in consurn.

"Peanut you ok?" His voice was rough with sleep and Logan went to him like a moth to flame he couldn't help it.

"I-I don't know.." Logan trailed off.

Wade squinted at him and patted at the bed Logan took a seat. Wade just rubbed a hand down his back. "Your not in there anymore you're ok everything it ok."

Logan relaxed slightly before leaning into the pressure. Wade sat himself up and pulled Logan close, the man went easily cuddling further into Wade with a low purr.

"You're ok." Wade told him forcefully.

"I'm ok " Logan repeated into Wades neck.

Wade was trying and failing not to have feelings about it. Logan pulled back slightly and looked at Wade with those big hazel eyes. Wade couldn't help the dopey smile that's spread across his face.

Logan leaned in closer and Wade watched him hesitantly, "Can you prove it to me? Prove I made it out?" He asked voice dipping into something close to desperation and a touch of need.

"Like I told you from the start Logan you can have anything you want." Wade whispered.

Logan took it as the permission it was and leaned the rest of the way in and kissing him. Wade had to fight back a moan as Logan crawled closer pressing himself to Wade fully.

The man had grown a lot since he got here with regular meals and all. It really showed now.

Logan had gotten big quick. Wade was still bigger then him but it wasn't by much.

Logan kissed him desperately after it was reciprocated. Licking and biting at Wades mouth desperately. Wade met him with equal enthusiasm. The kissing evolved quickly when Logan started grabbing at Wade and running hands over his body.

Wade didn't fight it in the slightest he was more than happy to let Logan do what he wanted. Logan pulled at Wade's sleep shirt desperately and made pathetic noises. Wade just chuckled and forcefully separated them so he could pull it off.

Logan whined in protest but quickly got preoccupied with his new options. Logan seemed to think the revealed skin was more important and started trailing his way down.

Wade just wimmped. It didn't take long after that for Wade and Logan to lose the rest of their clothes.

Wade woke up the next morning with Logan curled to his chest. Wade's neck throbbed from the pain of relatively fresh bite wounds.

Logan looked so beautiful in the morning light and Wade knew he couldn't be happier with the decisions he made and the money he spent to keep this man safe.

Imagine Wade has 'servents' aka others he has taken in to keep them safe. I return they chose to help him out.

They get confused because normally Wade and Logan are both eating breakfast by now. So they go to check on Wade (they don't like to go into Logan's room in case they scare him).

They get a perfect view of Wade and Logan sprawled out together and the obnoxious marks on Wade's neck.

They just look at one another with big eyes and sigh in relief because finally they got their shit together

[backtoherloneheart]

Gerrit Q&A on Instagram from today (13.11.24), English questions:

Current favorite lipstick color? Dark purple.

If you had the chance to play in any band for one show who would you choose? I'm quite happy and content with the band I'm in.

Any new album from 2024 you like and would recommend? Really, really love the new album "Life In The Wires" by Frost* (music for (keyboard) nerds). Absolute masterpiece, as expected! Lotta notes, too.

Hi! Is it possible to get some Lotl piano notes? Not in the foreseeable future. It's a rights management thing, I believe. Use your ear and venture into the trial and error game. It's a good ear training!

Any new piercings or tattoos planned? Still wanting to finish my left arm. But either there's shows coming up (don't like going on tour with a new/healing tattoo), or I don't have the money to spare. A whole sleeve can be ridiculously expensive, albeit rightly so.

Do you prefer shooting music videos with a story and acting involved, or with just playing? Just playing. I'm a musician, not an actor. Video shoots with acting parts are highly uncomfortable for me, usually, because I have hardly any awareness about my movements and/or facial expressions. #körperklaus

How are you? Coping, I guess.

Hardest LOTL for You to Play? (Tempo/Too many instruments for You to play it live/something else?) La Bomba is virtually impossible to nail without any bum notes, and I rarely ever succeed. But luckily, that song is SO weird and tongue-in- cheek, that a couple of mistakes here and there are, I assume, pardonable.

What was the last live concert that you visited? CIGSAFTERSEX

What was the best part about touring in America?Too many things. The positive culture shock, our friends in julienkofficial and beastoblanco, our new, marvellous teammates brian_dickie and matthewxwindsor666, seeing hanszimmerlive... The whole package, really.

Comfort food? Pasta with pesto. Could (and most of the time do) eat it for days on end. Which is also quite cheap. It's called financial responsibility.

Which musical instrument do you hate the most Bag pipes. It sounds like it's apologising for the way it sounds.

Have you ever thought about releasing solo music? x Highly unlikely. I'm not much of a writer/composer. I've come to terms with the fact that I shine more at being a reproductive musician.

What's your all time favorite chord? How about time signature? ACAB! All Chords Are Beautiful

Do you miss Nora on stage? Less than I thought, tbh. In general, I'm quite happy to be able to focus more on keys and percussions on stage, thanks to having the ridiculously talented @the benjineer on guitar and additional keys now!

Favorite position I very much enjoy sleeping horizontally.

What advice would you give to someone starting to learn an instrument? Also fantastic picture! You won't make any progress if - the vibe with your teacher doesn't match. - you don't enjoy what you're playing/practising.- you feel forced to play/practise. Music is supposed to be fun, not a sport or an obligation.

Eat or sleep Yes please.

What was the last poetry book U read? I don't think I've ever read a poetry book in my life.

Do you have a favorite musical? If so what? I genuinely dislike musicals.

Where are you going? With my life? Absolutely no idea!

What's your fascination with unicorns? (Meant in a positive way of course) There is no real fascination, tbh. I'm just a big fan of bad taste. Years ago, I said "I like unicorns!" for shits and giggles, and the aforementioned bad taste. And all of a sudden people started giving me all sorts of unicorn related things. Be careful what you wish for, I guess...

Your favorite keyboard name? I don't know. Timothy sounds nice. Or Jeffrey.

What happened to NORA? She's safely stored away.

Pils or weissbier? Pils. Or Helles.

Will you share more videos of you playing the keyboard? Not on a regular basis. Simply because I couldn't be bothered to set up a camera, find the right angle and lighting, get it played right (big victim of red light syndrome here!), do the post-processing... It's just so tedious and I'm far too lazy for that. All past attempts to do something like this regularly have failed, so I just stopped trying.

A book you would recommend / are currently reading? Not a big fan of books/reading.

Evolution or religion? Evolution. Science ftw. Boo religion.

Hey! How are you doing with all the bag pipes on Lords of Fyre? :) There's bagpipes in Lords Of Fyre?

Pi or Klaas? @kahlschlag Just kidding. I love all of them for various reasons.

Is there a particular music note that you dislike or like above the others (to hear)? Interesting concept, but no.

If you could be an animal, which one would it be? And why? A house cat. No job, no rent. Just meow meow.

Photo of what you have in front of you [a black pic] Fear, mostly.

What do you like more - being on stage or at home? These are, in equal measure, my two favourite places to be. Everything else is highly optional.

Is your stage character the same as in real life? Wouldn't be much of a dedicated stage character if both were the same, right? All I can say is, what you see up there is 100% authentically me. I guess I'm just less flamboyant off stage (I like to be rather plain in day to day life), but I'm the same silly twat in both situations.

[dustedmagazine]

E — Living Waters (Silver Rocket)

E’s fifth full length packs a wallop, thanks to new drummer Ernie Kim, a Boston area veteran of bands including Tristan da Cunha. Not that the trio—the other two members are Thalia Zedek and Jason Sanford—has ever been especially quiet. Still no question that the intensity ratcheted up another notch this time in lurching, lumbering rhythms that shake the floors like a brontosaurus passing.  

It all starts in “(Fully) Remote” with its thrusting, heavy industrial cadence that comes down hard at the beginning of every four beat measure, swings back, then hammers home again. And while superlatively heavy, E’s music has a twitchy, paranoiac empty space embedded between assaults. Sanford mutters ominously about how “the information, it comes from inside,” while Zedek picks up the end of a verse in a feral, vibrating howl. A trebly violence of guitar skreetches over the monstrous beat, like napalm fire catching.

E has never had a full-time bass player. Typically Zedek plays a conventional guitar, while Sanford goes at his home-made instruments, some of which look like cubist reimaginings of a guitar, drawn in thick lines with air where the body usually goes. For this album, however, Zedek, too, experimented with her instrument, adjusting it so that it could produce both guitar and bass-like sounds. The low-end girds the band’s customary antic, always-in-motion onslaught, giving the sound more force and resonance. And yet, it’s the drums, always the drums, that shock and roil these songs, their stick-shattering thwacks turning uneasy fever dreams like “Names Upon a List” into firefights.

A couple of these tracks lean way into this assaultive aesthetic, stripping away the poetry and melodic color to reveal the animal beneath. ��Deep Swerve” bounces wavering, dopplering sounds off the hardest beat you can imagine, and “Ash” reprises the woozy foundation, adding flares of guitars and voices to its giant footed procession.

But it’s the epic title track that puts the pieces together, its ritual beat, its slow-chiming guitars, its gut-wrenching vocals all conjoining in triumph. Zedek sings, primarily, holding the long notes over a tumult of percussion and guitar sound, as if withstanding, once again, all the difficulties of the last few years. It’s nine minutes plus of persistence and resilience, playing out in a way that will make the hairs on your wrists stand up. E is full of power, now more than ever.  

Jennifer Kelly

[bridget-the-wannabe-author]

Silk danced around her ankles like leaves swaying in the wind. Each step hit the floor with a clack of her heel and a click of her toes, her cloud white heels as the percussion against the symphony of silence singing her entrance. She was beautiful, like no other. Her eyes could pierce like arrows, yes, and they could be gentle and calm like a warm summer night. But today, her eyes held neither contempt nor compassion. Rather, in her gaze, I saw weariness. A weight on her shoulders, her mind, her heart. The beauty in my sight was not currently the leader I knew for her victories, nor the enchantress who captivated thousands with her siren's song. Nay, the lady before was a tired woman. A girl, forced by fate to live as her own, and one who chose to encumber herself in the misery of others so they would not fall. She had the strength to stand, but it would be cruel, in my mind, to not take the weight from her and allow her soul to rest a while. She smiled with a powerful weariness as I took her hand in mine and led her to a cushioned seat, resting her crowned head upon my lap. With her eyelids closed, her face lay free and relaxed, a slight sigh escaping her lips. Oh, how I would bear the weight of the world for her, if only her pride would allow me. I run my fingers through her long, delicate hair, always somewhat shocked not to find a halo hidden within. And neither did I find feathers like down fallen on the spaces she pranced, nor were my wounds healed by her touch, as much as my heart might have felt it was. Her chest rose and fell as air entered and left her lungs. That I was allowed to share the same air as her was a miracle to my mind, and everything that came in addition was simply impossible. And yet, her she was, resting with me. I could only hope to myself, and pray to no one in particular, that when she awoke, her notice would fail as I stole some weights from her back.

More divine than an angel and more beautiful than any god, my personal sun shone brighter than any flame as she slept upon my lap.

[johnkatsmc5]

Golpes Bajos "A Santa Compaña" 1984  Galician Spain Pop Rock,Synth Pop,New Wave (50 Mejores Discos del Rock Español - Rolling Stone)

full spotify

In 1982, Germán Coppini and Teo Cardalda joined forces to form Golpes Bajos. At that time, Coppini was the vocalist of the group Siniestro Total, also from Vigo. In 1983 they were joined by Pablo Novoa and Luis García, giving rise to the quartet that has gone down in the history of Spanish music as Golpes Bajos. After the first works (the EP "Golpes Bajos" in 1983 and the album "A Santa Compaña" in 1984), the group began to reap their first successes and receive wide recognition in the Spanish music scene: the band enjoyed the approval of critics and audiences. Released on splatter vinyl and 180 grams....~ As one could presume, the length of Golpes Bajos subjected the yarn to its elastic limit, leaving no possibility of a new stretch. And not only because the voice can definitely be tiresome, but in addition to eliminating the surprise factor of the rhythms, the qualitative decline in the lyrics is more than evident. Bad business. The album begins, pleasantly but without surprises, with "Escenas olvidadas", provided with a slight Raphael-like touch and Poch's trademark noises. "Hazme un nueve" and "Hansel y Gretel" do not introduce too many musical shocks either. Discreet, discreet. At least the entomological "I collect flies" (a very recurrent theme at the time, Pegamoides, Zombies...), incorporates the festive element with a distinctive character. "A Santa Campaña", the title film, provides the mythological and fabulous facet that had already been intuited in "Hansel and Gretel". Well, so what is it that prevents the album from being absolutely inconsequential? Well, an ending at the height of his previous work. The melancholic and sorrowful "Cena recalentada" (with a rhythm copied from that of "Fiesta de los maniquíes" that shows that it did not give much more to the matter), the wonderful ballad "Come prima", all the Italian that the flavor of Germán's surname could distill, the interesting experiment with carioca tinges that is "La reclusa"... and above all of them, "Fiesta de los mannequis". A real gem and a real shame that the song dedicated to the inhabitants of Fuencarral and Nasti was not included in its previous release (with which it really had much more to do). Because it would have raised her to the height she deserved. Louder. Much more....la fonoteca....~ Golpes Bajos Germán Coppini – lead vocals and percussion Teo Cardalda – piano, guitar, drums, synthesizer, percussion, backing vocals Pablo Novoa – piano, guitar, synthesizer, percussion, keyboards, sampler Fairlight CMI Luis García – bass Tracklist: A1. “Escenas olvidadas” (4:08) A2. “Hazme un nueve” (3:09) A3. “Hansel y Gretel” (2:31) A4. “Colecciono moscas” (4:38) B1. “A Santa Compaña” (3:15) B2. “Cena recalentada” (3:34) B3. “Come prima” (2:15) B4. “La reclusa” (3:24) B5. “Fiesta de los maniquíes” (3:16)

Golpes Bajos "A Santa Compaña" 1984  Galician Spain Pop Rock,Synth Pop,New Wave (50 Mejores Discos del Rock Español - Rolling Stone)

https://johnkatsmc5.blogspot.com/2025/06/golpes-bajos-santa-compana-1984.html?view=magazine

https://johnkatsmc5.tumblr.com/post/787060654452424704/golpes-bajos-a-santa-compa%C3%B1a-1984-galician

[sinceileftyoublog]

Ichiko Aoba & Gia Margaret Live Show Review: 5/7, Thalia Hall, Chicago

Ichiko Aoba

BY JORDAN MAINZER

In the middle of her set last Wednesday at Thalia Hall--specifically, after performing "aurora" from her stunning new album Luminescent Creatures (Psychic Hotline)--Japanese singer-songwriter Ichiko Aoba told the crowd, in a rare bout of English, "I hope music will always protect us." To call Aoba's records a balm is an understatement: Her tunes are impossibly gentle, so subtly built that the appearance of mere deep-timbre strings seems sudden and shocking. But it was the word "protect" that stood out from her statement. Aoba's albums are indeed worlds impenetrable from malignant outside forces, yet inviting enough for listeners to take part in. "I am lost in someone else's story accumulating memories," she sings on the nursery rhyme-like "mazamun". In Aoba's universe, memories are like dreams, where even a lifetime's worth can happen in five-second increments in actual time; "Life quivers in time with city lights," she observes on "tower", reducing years into milliseconds.

Ichiko Aoba

It's a different line, though, on "Luciférine", that exemplifies Aoba's connection with audiences. "Here, life can be found from long before words were ever born," she sings, guiding us through a bioluminescent ocean. It's not that words don't matter, it's just that to Aoba, an inability to verbally communicate through constructs like contemporary language doesn't prevent deeper links between living beings. Sure, on a surface level, it's easy to point out Aoba's songs' popularity on Instagram and TikTok, especially since the release of 2020 breakout album Windswept Adan, and claim that they're simply a "vibe." But seeing her live, stripped down, accompanied either by only classical guitar or synthesizer, illustrated for me how Aoba succeeds so abstractly. Her voice in and of itself was an instrument, bobbing like a buoy in current, imbuing the room with melancholy on songs like "FLOW". Alongside her jazzy fingerpicking, she tapped her guitar to create a semblance of percussion. She picked from her underrated and wide back catalog (Aoba's been releasing music since she was 19) in bunches, slicing vignettes from her records: a little q p here, a little Windswept Adan there.

Ichiko Aoba

Of course, you could concentrate on the concrete elements of Luminescent Creatures if you wanted. Aoba concocted the idea for the album when conducting field research at the Ryukyu Archipelago, finding herself in awe of the simultaneous beauty and terror of the ocean. The strings on "COLORATURA" are meant to mirror choppy waves. At Thalia Hall, the echo of her keyboards on "SONAR" sounded like radar, or perhaps the call from an otherworldly aquatic creature, earthbound or not. During the encore, Aoba asked the crowd whether they had any imaginary friends. "I have many," she admitted, before playing new song "Sayonara Penguin". Once a character's existence is put to the tune of an Aoba composition, they become as real as you and me.

Gia Margaret

In what is surely kismet, local singer-songwriter Gia Margaret, herself a synth wizard who broke out in 2020, uses her voice in unconventional ways, and has found her songs gracing reels, opened for Aoba. Ironically, Margaret's 2020 release Mia Gargaret contained no vocals at all save for one song, since she had lost her voice due to illness while touring her previous record. 2023's Romantic Piano (Jagjaguwar) followed the same instrumental-to-vocal-ratio. Live, however, Margaret debuted some new material and performed her old songs differently. For one, almost everything she played had vocals, Margaret on synthesizer and keyboards, accompanied by bassist Dave Hiltebrand. Moreover, when singing, Margaret auto-tuned her voice, even on songs whose studio versions sported clean singing, like Romantic Piano's "City Song" and non-album single "Solid Heart". Best was a new tune called "Alive Inside"--"the opposite of dead inside," Margaret clarified--a twangy, bending, wintry number with one of the most heartfelt phrases I've heard in a long time: "with all the optimism you can fit into Lake Michigan." That both Margaret and Aoba are referential to the power of large bodies of water--to swallow, to stimulate, to scare--is just another example of their ability to find inspiration in things that we underestimate and take for granted.

[llistening]

bg tapes v7

listen here

eroder/evan hemsley

side a

bread review:

so far it’s giving me violent femmes if violent femmes was more……surfy?

soooo dramatic this type of singing lol “yo teahs”

this sounds like a lot of music i’ve heard at like every house show i have ever been to

i love how fried this third song we’re hearing sounds but i guess that could be intentional in an unintentional way (i.e. the reatards) ((just sounds like shit))

★(2 stars)

graham review:

DIY garage-y stuff

Good start to this batch! His voice is kinda annoying in maybe a good way

Probably semi-recent, maybe local

This dude definitely loves Cindy Lee or maybe he’s never heard of her…

Veeeeeerrryyyy DIY in fact I’m not even sure if this guy is a good musician or not but it’s well recorded and is pretty charming. Songs are short and sweet. Sounds like it was fun to record

This is music you make when you’re high as fuck or drunk - very noisy! 

Nirvana demo tape vibes

Sounds like it was recorded in a dirty stinky basement

3.5 STARS

–

tara rum pum (2007)

side a

bread review:

this is wayyy too fun compared to the last tape

i would definitely shake my ass to this and i’m not even a fan of whistling

i actually don’t like whistling at all i think

i love this lady’s voice

some very 2007 pop radio jesse mccartney britney spears type beats in the next song we’re hearing (ab to forever i think?)

★(2.5 stars)

graham review:

Bollywood? Starting off with some Indian spy ass music

He’s gonna tell us a story…

Definitely not as interesting as 60s/70s bollywood music but cool to hear bollywood music from the digital age nonetheless

Chorus on this first song is catchy as fuck…

Wonder if this is like, huge in India or something. Oddly getting Magnetic Fields vibes from this???

Bread we should watch this movie…

2nd song has nice guitar/percussion

How the fuck do they get it to sound that stereo

2 STARS

–

picture him protecting you/hosannas (2018)

side a / side b

bread review:

awesome cover!!! i’m not sure if i love the vocals on this. it reminds me of the guy from the neighbourhood :( (i’m so sorry) but also glass animals.. like a nightmare hybrid 

★(2 stars)

graham review:

Love it already

Cool neo-soul stuff

Ok don’t love his voice that much, sounds like he’s trying too hard to be cool but love the instrumental

Very cool album cover

Bad lyrics lowkey

Ok I see the vision completely but for some reason it’s just not super exciting. Like, the instrumentals are creative and interesting and colorful but the vocals are really throwing me off to be honest. I wish he was worse at singing

Still pretty cunty though. Shoutout Kenny from Fresh Selects

2 STARS

–

straight shot/rob castles(1988)

side a

bread review:

put da pedal to da metal !! 

this sounds like about a million other bands. i can kind of get down with it though if i pretend i’m smoking stogies inside a dive bar in…lets say idaho….and it’s 1988. this is the shit

unfortunately its 2025 and im in my room so

★(1 star)

graham review:

Painfully 80s already

Very Def Leppard… But not the good style

I lowkey hate stuff like this 

Not even lowkey, highkey

Probably would hit in some tapered light wash Levi’s and a varsity jacket but as I’m listening now, I hate it

Actually would never listen to this 

Why did people sing like this in the 80s it sounds so forced and unnatural 

Only thing I like about this is the boxy ass snare

I can picture this bloke’s haircut 

Painfully bad

Straight shot into the GARBAGE!!!

.5 STARS

–

mouth music/ryko analogue(1991)

side a / side b

bread review:

it says gaelic vocal music on the cover…..not to be a bitch but once again FML !!!!!!!!!!!!!!!!!!

i haven’t heard anything yet but this has the potential to be horrible to me

i’m so sorry but who the fuck is listening to this in real life

it sounds like 1991 if 1991 was an album that had the worst vibe of all time

hold up…..wtf is happening…..i think i’m in shock

this album is giving me whiplash 

ok maybe its more like specifically 1991 in a way that’s almost…kinky? but in a …. gross way? i wonder if anyone has listened to this during.. coitus

for some reason though it’s also 5th element music

CHILLLLLL PLEEEEASEEEEEEE!!!!!!!!!

update we just flipped the tape

maybe this just isn’t for me…. it’s poisoning me i feel……..

★(0 stars)

graham review:

Hope it’s not just a vocal album

Impressive vocal stylings

Woah this might be one of the weirdest ones yet

Bizarre combo of Gaelic music and 80s/90s electronic stuff

But it’s somehow completely ASS!!!!

I LOL’d in real life

Sounds like west end girls if it was tasteless and boring 

Would be cooler if it was traditional Japanese music or something but the Gaelic makes it unavoidably bad

A few relaxing synth on the 2nd track… cooler vision on this one

Might lowkey listen to this but again… the Gaelic is just bad bad bad and weird

Cool ass drums though, very tribal

Way too epic for its own good

Wish this didn’t exist but somehow glad it does

1 STAR

–

haldol (2014)

side a

bread review:

live recording on cassette tape is actually so crazy it’s just a shitty recording that now sounds 100x shittier thru our shitty tape player (which we love) lol

this sounds so far like a ton of house shows i’ve been to and also a million other bands as well…..boring

but the show would probably be epic and fun

​​★(1 star)

graham review:

Exactly what I thought it’d be, screaming punk shizz

Cool lofi quality to it, can’t make out a lick of what this bloke is saying tbh. This type of stuff kinda all sounds pretty much the same to me but this one sounds especially cold and desperate which adds to the aesthetic

I like his screams and I hope he’s ok

He sounds like he’s being tortured

Super DIY but I think it’s a live recording. Lots of wobble 

Very minimalistic and borderline scary. Growing a bit fond of these guys. Sounds like music from beyond the flat earth ice wall

3 STARS 

–

divorce figure/jt whitfield

side a / side b

bread review:

this is so boring…..

but also i wonder what’s going to happen…

so far it’s sounding like a type of system or factory or machine…in a large and echoey basement….or warehouse…

do you think anyone has ever listened to this twice?

it’s just sooooo slow + boring..do not listen if you have attention deficit you may become very bored

crazy factory we have here

after flipping the tape it sounds cooler but still blah. system factory inventing noises..

what are u building and what is the experiment !!! i feel like they’re just trying too hard to be interesting at this point. but it has potential i’m just annoying or something

★(1.5 stars)

graham review:

My guess? Noise Album

Cool spring reverb sounds, probably modern

Very cool sounds. This guy probably never shuts the fuck up about his modular rig

I bet it’s a rewarding listen all the way through, maybe in the same way as Merzbow or or some shit. But right now it’s boring me to damn death

Wish I knew how to make these sounds

Yep definitely just a noise album. I bet it’s cool to see live

I’m gonna make an album just like this out of processed fart sounds called JT Fartfield - The Farting Ass. 

Wet sounds

2 STARS

–

joya de dos siglos/ana gabriel (1995)

side a / side b

bread review:

this is pretty but i don’t really love the strain in her voice

just flipped the tape and it sounds like the exact same song lol 

★(1 star)

graham review:

Very pretty spanish guitar with a longing voice, I like her rasp

Sounds like traditional Spanish music

Appreciate the vision and they’re clearly all very talented it’s just kinda by the numbers Spanish music. Maybe it’d hit crazy if I understood Spanish. I wish I spoke another language

1.5 STARS

–

1985/pedro magina (2011)

side a / side b

bread review:

2011 new age music? boringgggg

not like i could do better at all or even come close but come onnnnn this feels so unoriginal??

maybe the next song will be better

no it’s very similar

this is so boring i would honestly just prefer for it to be really bad

★(0 stars)

graham review:

Fucking with this already

Seems to be a lot of neo-80s tapes out there. This one has a cool aesthetic

Kinda James Ferraro-esque

A bit boring so far but definitely would listen

Love me some synth music, love me some tape distortion

Very esoteric music, sounds like a lost planet or something

Boring as fuck but that’s probably the point like when people make some poignant statement on boredom or mundaneness in their art intentionally but it’s actually just a boring album 

3 STARS

–

westworld/movers + shakers (1991)

side a / side b

bread review:

this tape is way more epic than the last one. so silly hehehe

awesome fun time “oo ya”

it’s fun but i hate this actually lol i’m not sure how to articulate the way i feel about this music but there’s a certain dance move i’m picturing

it’s too grease lightening but joan jett 

★(0 stars)

graham review:

Sounds like DMX Krew but with vocals

Extremely 90s, like they got their first computer the day they recorded this

“I don’t know but I’ve been told” ass song

Not terrible but truly nothing special. Is this what DIY music sounded like in the 90s? Sounds like every other 80s/90s band ever

Really uninteresting 

I’m getting tired of writing so I think I’m gonna leave it at that tbh 

.5 STARS

–

ratings (b // g) ★★★★★

1. ta ra rum pum // Evan Hemsley-Eroder

2. eroder-evan hemsley // Haldol-Haldol

3. picture him protecting you (hosannas) // Pedro Magina-1985

4. divorce figure-jt whitfield // Hossanas-Picture Him Protecting You

5. joya de dos siglos/ana gabriel // JT Whitfield-Divorce Figure

6. haldol // Tararumpum - Various Artists

7. rob castles // Ana Gabriel - Joyas De Los Siglos

8. westworld-movers + shakers // Ryko Analogue-Mouth Music

9. 1985-pedro magina // Westworld - Movers and Shakers

10. mouth music/ryko analogue // Rob Castles-Straight Shot

[dongchengpowertoolsindia]

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[twittercomfrnklin2001-blog]

Assault on Precinct 13

What do you get if you mash up RIO BRAVO (1959) and NIGHT OF THE LIVING DEAD (1968)? If you’re lucky you get John Carpenter’s ASSAULT ON PRECINCT 13 (1976, Criterion Channel no more, Peacock, Prime, Tubi, Plex), a taut action thriller that grabs you from the first percussive notes of Carpenter’s score (he also wrote the script and did the terrific editing) and doesn’t let go until the end, and that despite some uneven performances (that many critics didn’t seem to notice) and a questionable treatment of race.

It's the last night at Precinct Nine (the error in the title came from the original distributor, who thought “13” sounded more ominous) in Los Angeles’ worst neighborhood. New lieutenant Austin Stoker is only supposed to be babysitting until the crew shows up to shut it down officially the next morning, but before long he’s forced to take in a trio of convicts when one gets dangerously sick during transport to death row. Then an older man (Martin West) in shock bursts in. He can’t tell why he’s there, but we’ve seen him retaliate against the gangland killing of his daughter by shooting the gunman. Now the area’s deadliest gang is attacking the precinct, forcing Stoker to work with the convicts when all the other officers are killed.

Carpenter has written a crackerjack script with good dialog, a lot of it inspired by Howard Hawks’ films. The main convict (Darwin Joston) keeps asking for a cigarette at the unlikeliest times, a running gag right out of Hawks’ Westerns. There’s also a tough secretary who can hold her own with a gun and a quip. Unfortunately, the actress, Laurie Zimmer, is inexpressive in the wrong ways. She can’t hold a candle to such Hawks women as Angie Dickinson or Lauren Bacall. At that, she’s better than Carpenter regular Nancy Loomis as another secretary so shrill and hysterical you don’t expect her to last long. Fortunately, Stoker and Joston are both quite good at capturing one of Hawks’ most reliable tropes, the two men brought together by proficiency in the face of danger. Carpenter has Joston flirting with Zimmer but the real heat is between the two men.

Early on, a radio report on the gang, Street Thunder, points out that they’re the rare group with members from all races. That’s supported by the casting of Frank Doubleday, who has great presence, as the group’s White Warlord (that’s how he’s billed). Once he’s killed, however, it’s hard to miss that all of the gang members we see assaulting Precinct Nine are people of color. Carpenter treats them like the zombies in NIGHT OF THE LIVING DEAD. They’re the faceless other, only they do have faces, and unfortunately, they’re all black and brown.

[dustedmagazine]

Dust Volume 9, Number 11, Part 1

Niecey Blues

Where did the year go?  Seems like only a week or two ago, we were scraping together a list of albums we had somehow missed out on in 2022.  Now we’re about to do it again, I suppose, and the number of misses seems to grow larger every year.  Still, we’re still shoveling away at what 2023 has brought so far—nouveau shoegaze and Vangelis synths, Michigan rap and free-improvised vibraphone.  Check out this month’s Dust, the next to last for 2023, for music you might have overlooked.  Contributors include Jennifer Kelly, Bryon Hayes, Ian Mathers, Bill Meyer, Andrew Forell, Ray Garraty, Justin Cober-Lake, Alex Johnson, Jim Marks, Christian Carey, Patrick Masterson and Tim Clarke. 

Like last month, we'll be doing this in two parts, here's the second one.

Bedroom Eyes — Turned Away (Ala Carte)

Bedroom Eyes, from Boston, balance the churn and drift of shoegaze. This fourth LP (the last was in 2019) floats cool, slow-moving melodies over rackety barrages of feedbacked guitars and drums. Whether cuts like “Around” are still or in furious motion is an open question. It depends on where you focus. The title track manifests itself out of the slow buzz of feedback, bits of singing, guitar and percussion taking form out of a vibrating soup. It sounds, to me, like Simply Saucer or maybe the Telescopes, submerged by fuzz, suggested rather than stated. “Brood” runs harder, the guitar notes bending with volume like MBV’s did, but the singing remains untouched and serene. If it’s calm on the surface, that’s because Bedroom Eyes is paddling furiously underneath.

Jennifer Kelly

Cherry Cheeks — CCLPII (Total Punk)

Cherry Cheeks, from Portland, Oregon, crank a wired, anxiety-ridden garage punk, the short, sharp shock of guitar stabs running through nattering bass lines and the tremulous whinge of keyboard sounds. This second LP captures their rattled energy with more force and clarity than the debut. You can hear the negative space between bursts of aggression. And yet, the sound is much the same, an aura of dread punched up until it seems to dance. “Switch” is maybe the best cut here. It cuts and jabs in antic motion, organ dopplering off from a sing-along chorus. “Explode” is nearly as pop-slanted, hopping up and down on speed, but catchy. Cuts like “Data” and “Ad Shark” make fewer concessions to anthemic-ness, but prickle and clamor with antsy sarcasm. The future is bleak, but maybe kind of fun?

Jennifer Kelly

Buck Curran — The Long Distance (Obsolete Recordings)

Buck Curran is so interconnected with the guitar, it’s easy to forget that he plays other instruments. The Long Distance shows off his skill as a synthesist. Sweeping, Vangelis-like melodies are the focus of these poignant hymns, which rest upon a foundation of sizzling analog modulation. Emotions run deep on these recordings. Leveraging reminiscence as his muse, Curran called to mind familial and foundational memories, channeling them into these moving passages. Particularly effective is “Morning Song with Lucia,” on which he adds a lovely guitar melody inspired by his daughter. The pieces are relatively short, but Curran beefs up the length of the album by offering alternate versions of some tracks. Each take offers a unique emotional angle, and the subtleties evoke an echo-like effect. The Long Distance is a surprisingly pleasant shift in oeuvre from this talented instrumentalist.  

Bryon Hayes

Great Lake Swimmers — Uncertain Country (Pheromone Recordings)

It is a very white Canadian thing to wonder whether our regional equivalent of Americana should be called Canadiana or just folk (or maybe folk rock? indie folk?). Regardless of our typical dithering over local identity, Tony Dekker’s Great Lake Swimmers have been a mainstay and exemplar of the form for 20 years now. They’d be forgiven for resting on their laurels (or around here… pinecones?) but the restless, quietly gorgeous Uncertain Country doesn’t take anything for granted. Whether adding choral vocals on the graceful “Moonlight, Stay Above” or whipping up a surprisingly dense churn on the title track, the band’s eighth album is a showcase of what they do well. The effect is perhaps most powerful on songs like “Riverine” and “Swimming Like Flying” that feel equally at home in the concert hall or sung en masse around a campfire.

Ian Mathers

The Invisible Hands—The Big Minute (Abduction)

The Big Minute, the third official release by the Invisible Hands, comes a full eight years after its predecessor. Yeah, that is one big minute. Blame it on COVID, a revolving drummer’s chair, and the fact that Alan Bishop, the one American in this Cairo-based band, has a lot of other irons in the fire. The LP’s crisp, slightly trippy sound, and wide-open but particular repertoire establishes the Invisible Hands as the biggest fish in a very small pond; can you name any other Egyptian psychedelic garage bands from with a thing for 50-year-old soundtracks? I thought not. While Bishop’s aesthetic clearly points the way, this is a band. For every one of his signature moves, there’s also a moment when it’s Cherif El Masri’s encyclopedic guitar licks, Ayawasqa’s scrappy Arabic singing, and Adham Zidan’s arrangements and production that sells the song. If you have read this far, yeah, you should give it a minute. 

Bill Meyer

The Inward Circles — Before We Lie Down in Darkness (Corbel Stone Press)

Scottish composer Richard Skelton’s previous work as The Inward Circles involves subjecting clean recordings of strings to all nature of electronic and physical destruction to portray decay and environmental collapse. On his first album in six years, Skelton manipulates a six-second fragment of Baroque recorder music taken from the run-out groove of a battered 50-year-old vinyl recording. From this already degraded source he builds haunted soundscapes that to tap into something primordial and timeless. To call them drones does a disservice to the depth of nuance and detail in Skelton’s music. He captures something elemental within layers of sound built like geological strata trapping a record of growth and death, of destruction and recovery. Before We Lie Down in Darkness is a powerfully evocative elegy to the earth and warning to its inhabitants.

Andrew Forell

Lando Bando — Family Business (The Hip Hop Lab Records)

The Hip Hop Lab’s CEO Lando Bando brought together Michigan rappers close to his studio for this tape. Family Business showcases the state of things in Michigan. That state is not great, by the way, but it’s not bad either. Quite a lot of clumsy rapping on here, and a few cuts should have been left out. Still, it shows that all three ShittyBoyz members are in excellent shape, and Lando deserves our highest appreciation for scoring not one but two Rio da Yung Og’s verses. The highlight here is “Dirty Pop,” an unexpected collaboration between Rio and StanWill on a Danny G beat.

Ray Garraty

Lau Nau – Aphrilis (Beacon Sound/Fonal)

Finnish composer Lau Nau (also known as Laura Naukkarinen) tends to make slow-moving music, but, this year at least, she makes it fast. Aphrilis marks her second release of the year, following spring's 5 x 4. She spent years developing that release, focusing on equipment (Buchla 200 modular synthesizer) and time-signature (5/4). With Aphrilis, she returns to a meditation on time and place (something her past field recordings have captured so well) through mostly acoustic instrumentation. The album opens with “April,” as both instruments and vocals suggest the opportunities of that month's bright beginnings. The mood continues into “Kielet on viritetty tuuleen,” with Hermanni Yli-Tepsa's violin providing the linear guide through the accessible yet intricate composition. The album builds off these initial expressions, settling into a sense of home that remains expansive, the unusual instrumentation — including celesta and jouhikko among other unnamed “various instruments” — maintaining a very specific sound. Múm's Samuli Kosminen produces, and the fit makes sense even as Lau Nau captures a melodic ambience in a specific setting, adding flow while mixing synthetic and acoustic sounds. The album closes with “Seitsemäs taivas,” which might mean “seventh heaven” but sounds more like the start of autumn, tracing an emotional arc throughout Aphrilis. The belief in hope lingers, the brightness reshaped into an iterative composition that finally yields to something colder but never foreboding.

Justin Cober-Lake

MJ Lenderman — And the Wind (Live and Loose!) (Anti- )

Not exactly starched and buttoned-up to begin with, Jake “MJ” Lenderman and Co. come out even more ragged and rangy on the new live album And The Wind (Live and Loose!). The 15 tracks, recorded at gigs in Chicago and Los Angeles, are drawn almost exclusively from last year’s Boat Songs and 2021’s Ghost of Your Guitar Solo, and aren’t so much reimagined in front of their audiences as revved up and deepened. A few telling moments: Lenderman’s voice finds a lower pit of wistfulness in the sighing line “I know why we get so fucked up/I do” from “TLC Cagematch”; “Knockin” – in its third recorded iteration – gets an extra few roaring seconds and snarling decibels added to its big, heart-on-sleeve conclusion; the heavy drum fills and pugilistic blasts of guitar that end “SUV” veer closer to chaos. The band’s showcase, though, comes near the end on an extended jam of “You Are Every Girl To Me,” where the players, led by the points of light spinning off of Xandy Chelmis’ pedal steel and shredding lead guitarist Jon Samuels, rip out any remaining seams before easing back down for Lenderman to make introductions. And if you haven’t met them yet, And The Wind is a good place to start.

Alex Johnson

Mac J – I  Shoulda Been Dropped This (TrueStoryEnt)

Mac J’s been lazy lately. His recent tapes sound as if he’s only put one third of his talent in his music. I  Shoulda Been Dropped This, sadly, is no exception. He’s desperately trying to make his sound more mainstream and less street. Instead of crazy punchlines, witticisms and gritty reality, we get banalities and half-assed street ballads with Mac J on Auto-Tune almost on every song. It’s a wonder how “Engine Ina Trunk,” his track with another California resident Philthy Rich, even made it to this tape. It’s the old good rapping-his-ass-off Mac J, hungry for rhymes and punching you in the guts with every line. Except for this song, he shouldn’t been dropped this. 

Ray Garraty

[runningracingdancingchasing]

The sensation of falling, bouncing, and then a palpable pressure that nonetheless didn't hurt her. And yet Rapunzel's hair wouldn't unwrap and let her out. That could only mean one thing: she was caught in a precarious position, and lowering the shield of her hair would be detrimental to her survival.

What was she surviving right now?

With a burst of energy, she threw her hair outward, effectively pushing whatever it was off of her, and as the dust cleared, she finally managed to look around.

Chaos. Utter chaos.

The entire building was rubble, and there were screams and the sounds of blasts everywhere. The sky, once filled with fireworks, now just looked like it was on fire. Everywhere she looked, there were dead and dying mutants. Rapunzel stood in shock, feeling sick to her stomach.

Another scream, and every instinct told her, I have to help them!

Nausea gone - or at least shoved aside for now - she took off at a sprint, dodging huge chunks of twisted metal and concrete and ignoring how uncomfortable it was to run in heels to get to the nearest person, living or dead. She didn't know this one, but it was a girl, still in her teens. Still alive. Without thinking, she pressed her hands to the most obvious wound, and her hair lit up. She poured her healing light into the girl, and just as she heard that all-too-familiar mechanical voice of a sentinel declaring that it detected a mutant, the majority of her hair came alive once more and acted as a shield against the blast. Even so, the percussive force shoved her and the girl aside, and distracted her too much to keep healing.

Still, the girl got up.

"Get to the gardens!"

She didn't know who'd said it, but she grabbed the girl's hand in one of hers and her hair in the other and ran.

Moments ticked by in a blur. The Danger Room had never been like this, never so many sentinels, so enormous. Never an entire nation of people under attack. This was outright genocide. By some miracle, they made it to what seemed to be a safe spot among panicked group of mutants. They were only there a moment when a familiar cloud of purple appeared out of nowhere. Kurt, Rogue and Magneto burst onto the scene, hitting the ground hard. And Kurt didn't get back up.

With a gasp of horror, Rapunzel ran to him, having to shove her way through the terrified crowed. By the time she reached him, both Rogue and Remy were on the scene.

"Alive," Remy diagnosed, and suddenly Rapunzel was crying. She wiped hot tears from her eyes so she could see what she was doing.

"Give him here," she instructed. "I'll make sure he's standing."

"Rapunzel?" Remy recognized, surprised.

"Yeah, hi," Rapunzel responded, smiling bitterly through her tears. "Wish this was a happier reunion. We'll catch up later."

And then Magneto was giving orders, and the two more experienced X-Men were springing to action, off to save the Morlocks. Or as many as they could.

She couldn't worry about that, now. She had to focus on Kurt.

There was only so much healing she could do at a time. Only so much energy she could give. So she would have to be conservative in her healing efforts for now. She could fix everyone up better, later, but for now, the order of business was to take care of the worst of Kurt's wounds, ones that would drag him right back down, and let his natural healing handle the rest.

She closed her eyes and ears to the chaos and panic around them, and focused on the problem at hand. The problem she wanted to solve. The problem she wanted to give her all to, but knew she couldn't.

Rapunzel wasn't a religious person, not by a long shot, but she knew Kurt was, and so, as she began to focus her energy, she let up a silent prayer to the God he so staunchly believed in. Please, God, save his life! Don't take him from me so soon after giving him back!

Just as she had with the teen, she poured her healing light into him, bringing him back to functional health. It was so hard to ignore bruises and cuts that she knew would cause him pain, but at least there was no more internal bleeding or broken bones.

There hadn't been time to find Remy. Not even time to think, or to realize what was happening until it was too late. By the time Kurt realized an explosion had rocked the building, he was already laying dazed among the rubble, tuxedo completely ruined, his ears ringing and his head throbbing.

With a pained groan he pushed himself up into a kneeling position and looked around, assessing the situation. He could tell one thing instantly: They were under attack.

Standing despite the pain in his skull, Kurt took off at a run toward the sound of screaming. He didn't have time to think. All his brain could do now was urge him to find survivors and help them. And offer a brief prayer.

He could hear someone calling out, to get to the gardens, but the voice was cut off all too quickly. He rounded a corner, and there he saw Rogue and Magneto. Battered, but alive, thank God. But he saw it, too... looming like a terrible stormcloud. The most enormous sentinel Kurt had ever seen. And it was firing right at the two mutants.

Without hesitation, Kurt leaped for them both to teleport away. But they hadn't vanished before a terrible heat shot through Kurt's body.

He was out cold before they had even finished teleporting.

[passerine-writes]

Silent Sparks - Volt 96

Warnings: Dare I say, none?? Word count: 2235

Notes: Italics - Tsukare signing Bold italics - Family member/friend signing 'Italics with apostrophes' - Thoughts

Masterlist

Volt 95 | Volt 97

"How did you manage to get out of the extra classes?" Denki asked me as we walked back from the school so our class could talk about the festival.

"I got a bunch of work done early, so it took a few days off of me needing to attend them. Plus today was english lessons." I explained and he hummed, leaning into my side more.

"The school festival is one month away!" Iida said as soon as we got into the common area of the dorms. "We don't have much time. We should start making decisions right now." I stood beside Denki, resting my chin on his shoulder while he fidgeted with Ojiro's tail.

"First we need to pick out a song, right? What should we do?" Hagakure asked.

"I don't know much about popular music, so I'll leave that up to you guys." Ojiro admitted awkwardly.

"If we're doing this for everyone, shouldn't it be a song most people know, so they could dance and sing along with us?" My boyfriend asked everyone and I nodded, seeing the point he had.

"It's gotta be somethin' with a good beat!" Sero said.

"Yeah! So we can get down!" Mina cheered with agreement.

"We also have to keep in mind that not everyone here might know how to play an instrument. Jirou and I and anyone else can help teach some of you, but keep in mind, we have one month to pull this off." I pointed out.

"I agree with Tsukare." Jirou spoke up. "So, with those things in mind, I think I know what would make sense. A hardcore four-on-the-floor club song. It'll be like a rave meets rock show. As for dance music, EDM would probably be the most popular. But you guys wanna play instruments, right?" She asked and everyone blanked. "Tsukare, little help?" She asked. I sighed into Denki's shoulder and walked over to her.

"Does anyone play an instrument? Bass? Drums? Keyboard? Anything?" I asked, everyone stayed silent, staring at us with blank eyes.

"Okay. Well, I'd say that drums are the backbone of any band. I'd take on the responsibility myself, but, honestly, I main the guitar, not percussion. Teaching a beginner to play an instrument while practicing myself would be impossible to do in just one month."

"Onryo!" Denki shouted and I gave him a thumbs down.

"No thanks! Bakugou!" The blond in question glared at me. "You accidentally admitted that you were forced to take music classes as a kid."

"Show us whatcha got!" Sero said.

"In your dreams, moron." Bakugou said, turning around.

"Right, I bet the drums are too hard for ya." Sero taunted him. Bakugou turned around, snatched the drumsticks and sat down at the instruments we had set up in the commons. He played a decent beat and looked at us.

"Well?" He asked, his eye twitching.

"Solid beat." I said while everyone else freaked out.

"Bakugou's gotta be our drummer!" Denki said and Bakugou scoffed, walking away from the drum set.

"Heh. No way am I making a fool of myself up on that stage."

"Bakugou, come on! Do it! If we rock this, everyone'll have a great time!" Jirou pleaded.

"Don't you get what's gonna happen?" He asked. "I'll spell it out for you. We're doing this because we want to let the other courses blow off some steam, right? But we're the ones who cause their stress to begin with. So we're just trying to make ourselves feel better. This is gonna seem like a slap in the face from the people they can't stand." He bit out, everyone standing in shock.

"Don't be rude. We're just trying to help!" Hagakure yelled. Everyone started sharing their thoughts but I stood back with my hands in my pockets, not wanting to get in his space at that moment.

"Yeah, that kinda thinking is what I'm talking about."

"You didn't help us decide, so you can't complain now." Todoroki told him and I bit back a small ounce of laughter.

"Doesn't all this make you mad?" Bakugou asked, looking towards Jirou and I. "It's not like we wanted villains to show up and ruin things for everybody. Why do we have to be concerned about how these weaklings feel? Stop trying to get on their good side! We're not here to make friends, we're here to fight! If we're gonna put on a show, then we can't hold anything back! Let's murder everyone in UA with killer music!" He hollered and I stared at him in disbelief. That took a turn. Mina and Denki immediately jumped into teasing him and I eventually guided them back away from trying to affectionately noogie him.

"Do you want me to get everyone back on track for you?" I asked Jirou gently and she nodded. "Alright! Back to business!" I yelled out, everyone looking towards me in shock. "Who here knows how to play an instrument?"

"This might help. As part of my classical education, I've studied the piano since I was just a little girl. I'd be happy to play in the band if you need me." Momo said and I looked at Jirou.

"I mean, we gotta have someone on synth for the dance music." She said and I nodded.

"Have you ever played on a six scale board?" I asked and Momo nodded. "Okay cool, I'll do a brief refresher with you on it so the scale change doesn't freak you out too much."

"Thank you." She said.

"Bass is my specialty, so now we just need guitars and vocals." Jirou directed.

"Okay. So does that mean everybody else'll be dancing?" Ojiro asked and I wanted to back away from the conversation and potentially get myself out of being on stage all together. However when I went to back up, Denki's arms came flying around my waist.

"Nope, you're apart of this."

"We gotta have special effects!" Mina cheered.

"Cool, I'll do stage crew!" I offered and Denki quickly vetoed it, Jirou also denying that request. My eyes went wide as Mina went into heavy detail with ideas. Kirishima, Midoriya, Uraraka and Tsu all walked in afterwards and we quickly filled them in. Until Tsu asked who would be singing. My brother and Izuku quickly looked at me but I shook my head.

"Doesn't it have to be you, Jirou?" Uraraka asked and I let out a sigh of relief.

"Guys! Not to brag, but I'm a pretty awesome singer!" Kirishima said before breaking out in song. Aoyama also did and I wanted to take my ears out from the note he held.

"I agree with Ochaco. It's gotta be you, Jirou!" Hagakure said and I was almost relaxed until I saw the look in my brothers eye.

"What about Onryo?" My brother intervened and I saw Mina, Izuku and Jirou turn towards me expectantly.

"I- I can't sing." I quickly got out, my brother rolled his eyes and Jirou looked at me as though she didn't believe me.

"Show us those pipes!" Kirishima said to Jirou and Hagakure passed her a microphone. We all stood in adoration as she sang a few lines of a song.

"Okay, back to instruments. We need guitars, I'm thinking two." Jirou said, quickly taking the attention off of her.

"Oh yeah! Pick me! It's so cool to play instruments!" Denki said while waving his hand. He quickly ran around and grabbed one of the guitars, playing a few cords effortlessly. "The guitar is the star of every rock band." He said, smiling and I couldn't help but smile watching him. "Babe, since you won't sing, I want one of those like stage moments, where we do a quick swap out and I toss you my guitar and you just jump in like it's nothing, that would be sick. Can we do that?" He asked and I hesitantly nodded.

"So I take it that means I'll be dancing originally?" I asked and he nodded. I sighed but ultimately agreed. I glanced over and saw Tokoyami playing a killer riff on the guitar. "Holy shit, when'd you learn how to play?" I asked him and Tokoyami bowed his head.

"Many years ago, but I retired my axe when I was bested by the 'f' cord." I nodded without thinking.

"Yeah, that's a tricky one when you're starting."

"You know how to play?" He asked me and I nodded. He gently handed me the purple guitar that Jirou brought down from her room earlier and I could already feel my hands starting to shake. I froze in my spot and stared at the ground. Hesitantly, I looked up at my brother with wide eyes and he gave me a single nod, silently telling me I could do this.

"Sorry, uh, spaced out for a second." I mumbled, slipping the strap over my head to rest on my shoulder as a precaution with my shaky hands. I took a deep breath and started playing the first thing that came to mind, a fairly intermediate riff that my Pops showed me after I conquered the dreaded 'f' cord.

"Very well done, Tsukare." Tokoyami said and I quickly put the guitar back on its stand, the anxiety crashing through my body like a tsunami. I quickly walked back over to my boyfriend and tried to find whatever comfort I could in his arms.

We went over everything we could think of until a little after one in the morning.

"Hey, just so you guys know, Toshi and I won't be there for the first day of practice tomorrow, we have something after school." I told everyone before we went to bed. "Jirou, could you send me any sheet music you come up with? I can use our parents music room tomorrow." She nodded and we all walked up to our dorm rooms.

Well, I followed Denki to his room, starting to feel completely exhausted for no real reason. I wrapped my arms around his waist and completely slumped onto his back. I could feel the vibrations of what he was saying but no clue what he was actually talking about. So I lifted my head and gave him room to turn around.

"You're exhausted." He said and I nodded.

"It's gonna be a very, very long week." I mumbled and he guided us to his bed, patiently waiting for me to elaborate. "Tomorrow Hitoshi and I are going to meet his birth parents, friday is just bleh, saturday's the party with a lot of people, sunday is Sota's party with even more people, most of which I don't know. Practice after school everyday and then next week friday is Sota's smaller family party and I have not properly prepared my social battery for any of it." I told him and he winced slightly.

"That just sounds exhausting." He said and I nodded.

"Please tell me you didn't get me anything for my birthday." I said softly and he gave me a cheeky smile. "You really didn't have to get me anything." I told him and he shrugged.

"I wanted to get you something." He said nonchalantly.

"I feel bad though, especially because you still haven't told me when your birthday is." He dramatically sighed and looked at me.

"Okay, my birthday is June 29."

"I missed your birthday?" I asked sadly and he shrugged.

"I didn't tell anyone, the only one who knew was Hanta, so it's not your fault." He tried to reassure me.

"We're celebrating it next year." I told him and practically face planted into his chest, his arms carefully rested around me as he laughed. After a moment or two, he tapped my back a few times, silently asking me to sit up and look at him.

"We should get ready for bed." He said once I was looking at him. I sighed dramatically and looked up at him through my eyelashes. "You need sleep." He told me and I pouted. "Do you want a kiss?"

"Yeah." I told him and he smiled before leaning over. He placed a kiss to my forehead, then my cheeks, the bridge of my nose, the tip of my nose, down part of my jaw. He peppered multiple kisses on my face until he pulled me into a soft kiss. I couldn't help but smile into it.

"We have to get ready for bed now." He told me, and I silently agreed. We got comfortable in his bed and I laid down on him, using his stomach as a pillow, my arms wrapping around his waist. He tapped my head ever so slightly and I peered up at him. "You sure you're okay?" He asked and I nodded, burying my face in his toned abdomen.

"You just, you make me feel relaxed and make my brain shut up when I didn't know I needed it to." I admitted, not looking up at him to save any embarrassment I felt. Opening up was still difficult and definitely not a forte of mine. I felt my eyes flutter shut and weigh down while his nimble fingers danced through my haphazard curls. "Good night, Denks." I whispered and felt the rumbling in his abdomen of him, presumably, returning the sentiment.