#the problem with Florence lyrics is she’s the one artist that I feel like just typing her lyrics isn’t enough

[swirlingyouintomypoems]

Is this how it is? Is this how it’s always been? To exist in the face of suffering and death and somehow still. keep. singing?

[lesbianlenas]

ok well let’s see i hate the album title so that puts me off to start w. what also puts me off is seeing 16 songs which says to me that she made too many songs rather than focusing on making less really good ones so i’m already like ok this is going to be not so great. i am going to listen to florida!!! first as a huge florence fan but i will listen to the rest in order after that ok i will put a read more here for my thoughts on each song

florida!!!: “my friends all smell like weed or little babies” 😭😭😭😭😭 songwriter of our generation ok…..let me be real florence shows taylor up in this song so much she’s just such an artist and her part sounds so good vs taylor’s part is just ok. so first part is ok the rest of the song is really good actually. the parts where they sing together are also really good. florence is great at doing backing vocals for both herself & taylor. thank u florence 🙏 9/10

fortnight: found this p boring it’s ok. not terrible or like bad or anything. it’s fine. i feel like it could be any song ever tho. didn’t need post malone on this at all. 5/10

the tortured poets department: “we declared charlie puth should be a bigger artist” girl what……her lyrics are so weird sometimes fr. first of all he has 35 mil listeners on spotify i think he is big enough. second of all why didn’t u ft him on the album then taylor? idk why i’m beefing over this lyric i just think it’s stupid. girl i listen to artists w like 100k listeners i think THEY should be bigger artists. this one was ok it sounds like a taylor swift song. i guess if u liked taylor swift u would probably like this. 5/10

my boy only breaks his favorite toys: this one is a little more interesting sounding i guess but all three of these songs have kind of sounded the same so far….probably liked this one the best so far since it at least had some variances in the sounds in the chorus and the bridge and outro 6/10

down bad: why does she have to sing in this breathy way in every song it’s so boring 😭 like girl i’m assuming you can sing fr right? this sounds just like the first 2 songs 😭 the way she is saying fuck in like every song is so funny to me tho it’s like she is in middle school and said fuck for the first time and was like hold on now i can say this constantly :) 4/10

so long london: god finally a song that sounds a little different 😩 and she’s actually singing a little more in this one and has a little emotion in her voice. 7/10

but daddy i love him: hate this title so much god….and almost 6 mins 😩 god back to the breathy voice again. ok at least the chorus is interesting. she’s too old for this song she’s in her 30s and this sounds like love story pt 2. girl if ur dad is stopping u from marrying some guy in ur 30s that’s a problem. this feels more like a taylor swift song now that she stopped doing the breathy voice in the rest of the song. this isn’t bad i don’t like the concept of it but it sounds good actually hate that. i would have really liked this age 14 or smth…..8/10

fresh out the slammer: this sounds like the other songs again and she’s doing that breathy voice in the chorus girl open your mouth idk 😭 did nothing for me at all 4/10

florida!!! (again): going to listen a second time now that i’ve heard the other songs. ok i can appreciate this even more now bc it has some variance to it after so many of those songs sounded the same 😩 i do like this song i’m glad she went more for sounding like a florence song than trying to make florence adapt more for her style it makes the song really stand out. 9/10 still

guilty as sin?: it’s ok more interesting than some of the others but nothing that really stands out to me 6/10

who’s afraid of little old me: finally using her voice a little in this song 😩 i like how she yells who’s afraid of little me. i actually like this one i like that she’s angry god she’s actually feeling smth here 😭 i would actually listen to this again probably 8/10

i can fix him (no i really can): is this abt matty healy 😑 doesn’t do this for me at all and is insanely heterosexual. 2/10

loml: this is boring idk what else to say. like this is just like. yeah ok. girl you don’t need this song at all i think u said this already in a song that was somewhat more interesting idk. 2/10

i can do it with a broken heart: ok this one is more interesting again and it’s a little faster. i think i actually like this one omg 😩 i wish it didn’t get slow at some parts but this is the closest she has to a fun song on this album so far. 8/10

the smallest man who ever lived: this one has good parts & boring parts. the first half is whatever but i liked the second part. again the best parts are the ones where she actually sounds like she cares and the music has some emotion rather than just being a beat. 6/10

the alchemy: this song sounds like all the songs on this album were put together and this was the song that was produced from that like 😭 this sounds like every single song on this. 5/10

clara bow: not her referencing herself in this song……this song was so whatever. idk what the point of it was. 4/10

final thoughts: this could have been a potentially good album if she knew how to edit herself. so many of these songs sound the same and say the same things in different words she should have just taken the best parts of them and put them together and made less really good songs instead of just making several songs that sound the same and are mediocre bc of it. i also think she is going herself a massive disservice by leaning into the indie sound again like girl yes phoebe bridgers is popular but u don’t have to be her. i feel like she has lost all sense of personality behind her own work this feels so like. an ai could have made it genuinely. it’s like she is trying to have a mature sound at the cost of entirely removing any of herself from it at all. this was like listening to one really long song tbh w a few songs that stood out but for the most part you could just put them all together and listen to an hr long song and u wouldn’t notice. like that’s not good 😭 i wish she had someone to be like taylor. u don’t need these extra songs. let’s make these songs really good instead. i also wish she would get a new producer or smth that would help her make actually interesting and compelling music instead of just having the same dull background music and her doing that breathy voice that’s barely singing. ok sorry to rag on her for so long but she is a billionaire she has the freedom to make real expressive art that could be experimental or interesting if she wanted to and she just makes. this. like girl u have enough money stop making music for money & start making it for the art of it all. w peace and love. those are my thoughts.

[girl4music]

From Apple Music: "In the 18 months after Taylor Swift released Midnights, it often felt as though the universe had fully opened up to her. The Eras Tour was breaking records and blowing past the billion-dollar mark; its attendant concert film became the highest-grossing of all time. She generated interest and commerce and headlines everywhere she stepped foot, from tour stops to the tunnels of NFL stadiums. In 2023, she was named both TIME magazine’s Person of the Year and—just as iconic, tbh—Apple Music’s Artist of the Year. 

But do songs about that level of success speak to you? As the news broke that her highly private six-year relationship to Joe Alwyn had ended, Swifties started Swiftie-ing, quickly recirculating a clip on social media of Swift a few weeks earlier, onstage during an early Eras show, in tears as she sang “champagne problems”—a song she and Alwyn had written together. It was a reminder that, despite the superhero-like aura she now radiates, Swift, at her peak, still hurts like the rest of us. What sets her apart is her ability to sublimate that pain into pop. When she announced her 11th studio album in early 2024—while accepting another Grammy, as one does—we probably shouldn’t have been surprised. 

“I needed to make it,” she’d say of THE TORTURED POETS DEPARTMENT a few weeks later, to a crowd of—[rubs eyes]—96,000 in Melbourne, Australia. “I’ve never had an album where I’ve needed songwriting more than I needed it on TORTURED POETS.” Working again with trusted collaborators Jack Antonoff and Aaron Dessner, she returns to the soft, comfortable, bed-like sonics of Midnights. But the stakes feel noticeably higher here: This isn’t so much a breakup album as it is a deep-sea exploration of everything Swift has been feeling, a plunge through emotional debris. 

On “But Daddy I Love Him”—over strings and guitar that faintly recall her country roots—she lashes out at the crush of scrutiny and expectation she’s been subject to from the start. Naturally, catharsis comes after the chorus: “I’ll tell you something right now,” she sings. “I’d rather burn my whole life down than listen to one more second of all this bitching and moaning.” On “Florida!!!” she and Florence + the Machine team up for a pulpy escape fantasy wherein they Thelma and Louise their way down to the Sunshine State in hopes of starting over with new lives and identities: “Love left me like this,” they sing. “And I don’t want to exist.”

At turns hilarious and heartbreaking, TTPD is a study in extremes, Swift leaning into heightened emotions with heightened, hyperbolic, ALL-CAPS language and imagery—how we think when we’re drunk on love or flattened by its sudden disappearance. Note the dark humour she weaves through the Post Malone-enriched opener “Fortnight” (“Your wife waters flowers/I wanna kill her”). Or the thrilling self-deprecation of “Down Bad”, a foray into science fiction wherein Swift likens the warmth of a relationship to being abducted by love-bombing extraterrestrials—only to be left “naked and alone, in a field in my same old town.” 

But this remains her most candid and unsparing work to date: As a listener, you frequently get the feeling that you’ve stumbled across emails she’d written but never sent, or into conversations you were never meant to hear. There’s a density and a specificity and a ferocity to her lyrical work here that makes 2012’s “All Too Well” feel sorta light by comparison. If you’re the kind of Swiftie who likes to live in the details, well, this one might be your Super Bowl. “You swore that you loved me, but where were the clues?” she asks on the devastating “So Long, London”, a high point. “I died on the altar waiting for the proof.” Alone at a piano on the haunting “loml”, she flips the script on someone who’d told her she was the love of their life, by telling them that they were the loss of hers: “I’ll still see it until I die.” 

The story, as you likely know, doesn’t end there. We get a glimpse of new beginnings in “The Alchemy” (“This happens once every few lifetimes/These chemicals hit me like white wine”) and something like triumph in the montage-ready synths of “I Can Do It With a Broken Heart”, when Swift, shattered on the floor, “as the crowd was chanting, ‘More!’,” still finds the strength to deliver: “’Cause I’m a real tough kid and I can handle my shit.” 

But we also get a sense of acceptance, of new-found perspective. On “Clara Bow”—named after a 1920s movie star who was able to survive the jump from silent film to sound—Swift reflects on the journey of a small-town girl made good, sung from the vantage of an industry obsessed with the next big thing. She zooms out and out and out until, in the album’s closing seconds, she’s singing about herself in the third person, in past tense, acknowledging that nothing is forever. “You look like Taylor Swift in this light, we’re loving it,” she sings. “You’ve got edge she never did/The future’s bright, dazzling.”

I'm not restricting or limiting her artistic potential or anything but I really think Taylor Swift's niche in genre is dream, folk or synth-pop. That ethereal soundscape goes well with her small-ranged voice and her lyrical style works best when it's telling stories about stuff that isn't even necessarily about her, but about someone or something.

It's her niche. Where she sounds her best. When she's at her best.

I like the fact that in this album she's not worried about singles because most of these songs are too long for radio play unless they have to cut them down, and we all know how she feels about that. It's an album meant to be an album. It's a proper concept album. She doesn't need to worry about singles anyway. She'll sell regardless.

It sounds bloody fantastic in lossless 24-bit 48kHz ALAC/FLAC.

She's done it again. Created a musical masterpiece.

Like we'd expect anything less from Taylor Swift.

"As a listener, you frequently get the feeling that you’ve stumbled across emails she’d written but never sent, or into conversations you were never meant to hear. There’s a density and a specificity and a ferocity to her lyrical work here that makes 2012’s “All Too Well” feel sorta light by comparison." Yeah, you do with every great songwriter. The difference is great songwriters that are actually the musical artists of what you're listening to don't often exist in the pop industry.

Taylor Swift takes up space in pop music because she demands it. Most people would scoff at it. Even call it egoic. I highly respect it because she brings to pop music the point of the music. Art - not just entertainment. There's a phrase I use: Art is meant for expression, not impression. And she provides and delivers both seamlessly within each other. That's why the space she demands, she deserves. Not just any pop artist can do that or have that mark in the pop industry because most of them don't even write their own fucking music.

So if you feel like you shouldn't be present when listening - you feel put out or uncomfortable in any way - that's how you know you're listening to a true and great songwriter because they all DO THIS.

[evintide]

[ URL SONG CHALLENGE ]

( bonus points if you make them all relate to your muse in some way. )

tagged by » i stole this a loooong time ago @gerudosage​ but only just got around to finishing it. oops...

tagging » anyone who’s interested!

( putting mine under a read more because i want to be Extra™ and add small blurbs behind the meaning of each song. you are not required do the same! )

E  »   eyelids by pvris !!

if i could i’d only put pvris songs in this list. one of my favorite bands with raw lyrics and sound, and this one is just. HOOGH. clenches fist. it’s so tender but filled with a pain that just FEELS like Midna towards the people she cares about most. it’s like the night leading up towards the fight with Ganon, or the sun rising afterwards, just before she steps into the mirror for the last time. and then realizing, upon the next morning, that everything is different. it’s over.

V »   vide noir by lord huron !!

admittedly a good chunk of these songs i have under here are mostly midzel / zelink flavored instead of only Midna but. DAMN. there’s so many good songs ya’ll. the bass and total vibe of this track feels so slick and hypnotizing in a way i can only describe something befitting Midna, especially regarding Zelda or Link’s thoughts of her after the mirror has been shattered. trying to fill a void where there is no longer something just lurking in their shadows. a home that no longer feels the same after a long journey. all that’s left are her echoes in fading memories.

I »   in the shadows by amy stroup !!

a song that makes me think of Midna’s journey alongside Link. not so much as something that focuses on their relationship but rather the experiences they face together. the shadows in twilight princess serve as both home and enemy for the duo throughout their time together; Midna, as someone who has lived her life in the shadow of the light realm’s existence, and Link, whose world was turned on it’s head due to the shadow of Zant’s reign. there’s always something lurking there, friend and foe, a strength in a weakness, and no matter which it may be they have to face it.

N »   no light, no light by florence and the machine !!

thematic titles that match the character?? on this blog??? incredible.

another ship-adjacent song, though it’s less straight forward than the others. i personally always feel like it’s Midna to someone and then someone TO Midna after the shattering. like if only she’d given them the chance to speak to one another before hand. it feels like a betrayal after everything that’s happened, but the resolution to their problems, the one that makes the most sense in that point in time, is to sever that bond -- albeit the physical one. and it hurts all parties involved, but at the end of the day, if Midna had even hinted at what her plan had been, she wouldn’t have been able to find the right words to explain herself

T  »   think by kaleida !!

another song i think just vibes with Midna as a character, but there’s also the obvious ship material here. Midna thinking of those she loves, and those who think of her in the dark. because really, no matter how far apart they are, are you really alone with a little light in your heart?

I » i am not a woman, i’m a god by halsey !!

i think the title says it all, honestly.

D » the day of night by akira yamaoka !!

the twili realm but specifically during Zant’s reign. there is peace that can be found in the realm, not fully alien from it’s original state, but it is still not free danger. it is the breath between battles, the momentary calm amid the danger of whatever lurks around the next corner, where Midna can still see the familiar shapes of her home but not in it’s entirety.

E » evergreen by pvris !!

open and close with the same artist because i can.

a song that sort of encompasses Midna from her past to her future. i imagine that even as a child she had exceptional potential to ascend the throne even if it wasn’t promised to her. but it was also because of this innate talent she didn’t take her advantages seriously until it was a little too late. Zant saw to it that she got knocked down several pegs and her journey through the light realm solidified that further. of course, at her core Midna is still a very proud person, even if the adventure helped humble her some. she retains this new perspective after returning to the twili realm, but i’m sure some time along the way she gets... tired. frustrated with what she couldn’t change and eventually seeing the past repeat itself despite everything she and the light dwellers had done so long ago.

so instead of trying to mend what doesn’t want to be fixed, she leaves to do things her own way. because fuck the rules she’s Midna.

[secret-gardens-inmy-mind]

love letter to Taylor Swift

Thank you for healing me and so many people with your music. For telling us stories through your masterful lyrics and for transmitting your feelings and passion through your music. For never making us feel alone. For empowering us and inspiring us. For making us feel loved and appreciated as fans. Thank you for doing a non-stop three and a half hour-long show for us. I enjoyed every second of it and I don't think anything will ever compare to the magic that is going to the Eras Tour.

The moment the countdown starts and Taylor appears from under the stage, you could feel the air being charged with electricty all through-out the 92,000 people in Wembley Stadium. I felt such overflowing joy coursing through my body, it was truly unbelievable. I couldn't believe I was really here after preparing 8 months for this concert. It's been a long time coming and it was definitely worth the wait. The emotions were riding high all night, but that single moment when Taylor comes onstage is a feeling I will never forget.

You feel so safe when you're at her concert, it's really like no other place on Earth. There are no drunk men insulting each other, or catcalling you, there is no one judging you. Every single person at that concert is there to have fun and you feel so at ease. Because Swifties are usually pinned as 'crazy' but never 'passionate' and I haven't met a single one who isn't the sweetest and kindest person. There are no accidents provoked by the fans at the concerts like there are at football games. Some may say 'I just don't get the hype'. Well honey, you don't have to get it, you just have to respect it.

The Fearless era of the concert makes me feel so nostalgic because those songs made up my whole childhood and after I had screamed and cried to All Too Well for 10 minutes, I already had no voice. There is just nothing more therapeutic than screaming 'fuck the patriarchy' with 92,000 swifties. When Taylor sings the high note in Don't Blame Me, it literally feels like your soul leaves your body for a moment. And not to even mention the transition to Look What You Made Me Do!! Jaw-dropping moment that rocked me to my very core.

After she sang Champagne Problems, the whole stadium gave her a 4 minute long ovation. It was loud and defeaning the whole 4 minutes non-stop, and altough the whole concert is unforgettable, that moment I will never remember it and not get teared up. The most special set for me was TTPD, because we had a surprise guest, Florence and the Machine and when she appeared onstage the whole stadium went wild! My personal favourtie is when Taylor performs Who's Afraid of Little Old Me, because it makes me feel so powerful and she sings it with so much rage that it tops any other performance. Nevertheless, the bridge to the Smallest Man Who Ever Lived was screamed by the whole stadium in a way that gives me goosebumps remembering it. So many icnonic moments, but nothing will ever top the surprise songs.

Every time I now look at a video of Taylor performing So Long London, I get this knot in my chest because you can hear the pain in her voice. It was my favourite performance of hers in the acoustic set by a long shot because we can all feel the heartbreak and closure the song brings. She made sure that the last night in the European leg of the Eras Tour was special and once Karma was over and the fireworks were done, I felt so full of love and happiness in a way only her concert and her music can make you feel.

Remembering all those memories made in those 3 hours makes me cry (to be honest I've been crying the whole time I was writing this) and that's why Taylor Swift will never compare to any other artist. So thank you Taylor, for doing this big show for us, for making it something we will never forget. For being so hard working to get where you have, for putting so much effort and love into everything you do. You deserve all the happiness in the world. Thank you for being my role model, for being the kind of celebrity I can admire with every single interview or speech I hear from you.

You built a legacy no one can undo.

You've broken countless records with this tour alone, let's not even discuss the records your art, that belongs to you and you alone, has broken.

You are the music industry.

It was enchanting to meet you. I love you to the moon and to saturn <3

[tsc-clave]

TSC characters as some of my favorite songs from my favorite artists, a self indulgent post to re-emerge from the shadows

Nola 1, PVRIS • Simon

"don't know where I went wrong, don't know where I went, no, but I keep singing"

it reminds me of how resilient Simon is, especially after CoHF and his memory loss, he knows how life can change fast and tries to make the best out of it.

Delilah, Florence + The Machine • Cordelia

"and my feet are spinning around, never knew I was a dancer 'till Delilah showed me how"

"drifting through the halls with the sunrise (holding on for your call)"

the first lyric reminds me of the scene in which Cordelia dances and acts, shocking herself after her performance.

the second one represents the longing she feels for James, she's usually quiet about it but her feelings are strong through it all.

I'm not a woman I'm a god, Halsey • Charlotte

"I'm not a woman I'm a god, I'm not a martyr I'm a problem"

Charlotte is a very powerful woman, she's the first female Consul and she commands respect from her male peers. her strength and boldness are what enabled her to pave the way for more inclusiveness in the Clave.

Glory and Gore, Lorde • Isabelle

"no one 'round here's good at keepin' their eyes closed, the sun's startin' to light up when we're walking home, tired little laughs, gold-lie promises, we'll always win at this, I don't ever think about death"

these lyrics make me think about Isabelle, Alec and Jace going demon hunting, pre CoB. she's so fast forward, full of audacity, but soon things will start to change. if you re-read these lyrics thinking about a more grown up Isabelle, you'll find her caustic side, how she tends to downplay what worries her; the dangers of being a Shadowhunter and her loved ones.

Queen of Peace, Florence and The Machine • Emma

"like the stars chase the sun, over the glowing hill I will conquer, blood is running deep, some things never sleep"

this song always makes me think about chivalry, I don't know why, but Emma is as stubborn as these lyrics. some things never sleep indeed, like her passion and the need to find answers about her parents. plus, she wields a mythical sword, like a knight; now the chivalry thing makes more sense.

Dead Weight, PVRIS • Julian

"I can't take it over and over, dead weight hanging off of my shoulder, nothing changes I'm getting colder"

Jules always had a big weight weighing down on him, from an early age, that progressively became bigger. he got through it all, but sometimes he can get as cold as ice and he needs some cuddles.

Hold Me Down, Halsey • Matthew

"saying that I want more, this is what I live for"

Matthew has this way of seeking solace in autodestructive habits, like drinking and enjoying the finest mundane things, so he just continues searching for more while struggling to cope with his problems.

Only If For A Night, Florence and The Machine • Clary

"and the only solution was to stand and fight, and my body was bruised and I was set alight"

Clary never thought of backing off a fight, never. she understood what needed to be done, she understood her pain and just did what was best. I always admired her for having both heart and guts.

Devil In Me, Halsey • Will

"I won't let anyone down if I crawl tonight"

Will struggled a lot with his supposed curse, when he was young, he would never let that be the cause for someone's pain, so whenever he felt down he just picked the pieces up on his own.

Snakes, PVRIS • Jace

"you're a snake, you're a snake, just like the spitting image, fate how's it taste it's your own medicine, make no mistake got 20/20 vision, if I see your face don't think I'm forgiving"

Jace is the best Shadowhunter of his generation, come on, he beat every bad guy and made no mistake. these lyrics just give me his vibes.

Ribs, Lorde • Cristina

"and I never felt more alone, it feels so scary getting old"

"laugh until our ribs get tough, but that will never be enough"

the first lyric makes me think about the last moments in Mexico after her fight with the Rosales brothers, how she feels things changing and the effect time has on people.

the second one is about how she misses being close to Diego, but now she has the clarity to understand that they both grew up and chose different paths.

Is There Somewhere, Halsey • Tessa

"is there somewhere you can meet me? cause I clutched your arms like stairway railings, and you clutched my brain and eased my ailing"

this reminds me of Tessa feeling alone after Will's death and her subsequent distance she took from her family, the only person she has is Brother Zachariah and how he, even though they see each other once a year, helps her cope through the decades.

Homemade Dynamite, Lorde • Christopher

"blowing shit up with homemade dynamite"

need I say more?

[horselover107]

Captain John Hart, Note the Sarcasm

A Playlist for Torchwood Villians Fest. Descriptions and key lyrics under the cut (spoiler:most of those descriptions are just "was a vibe")

Warning for adult themes and sexuality explicit lyrics in some songs

Song 2 by Blur

It's from the soundtrack but also it sets a vibe

The Cult of Dionysus by the Orion Experience

I'm feeling devious You're looking glamorous Let's get mischievous And polyamorous Wine and women and wonderful vices Welcome to the cult of Dionysus

Sex, Drugs, and Violence by Green Day

Mainly here for the title tbh

Ex and Ohs by Elle King

John is the ex in this song

'Cause I found me a better lover in the UK Hey, hey, until I made my getaway

One, two, three, they gonna run back to me 'Cause I'm the best baby that they never gotta keep One, two, three, they gonna run back to me They always wanna come, but they never wanna leave

Ex's and the oh, oh, oh's they haunt me Like ghosts they want me to make 'em all They won't let go Ex's and oh's

Hit and Run by Lolo

I previously did a fic based on this song for Alice/Emiy but this song is ALSO a Jack and John backstory vibe

Don't Threaten Me With a Good Time by Panic! at the Disco

Really just here for the vibe

Champagne, cocaine, gasoline And most things in between

Bad Reputation by Joan Jett

I Don't Give a Damn Bout My Bad Reputation is a VIBE

So What by P!nk

A Jack/John vibe from the bar fight to "you weren't there, you let me fall"

Toxic by Britney Spears

Aside from the relationship vibe, literally just poison lipstick and the whole thing about The Rules

Kiss With a Fist by Florence and the Machine

Literally just this whole song is the bar fight make out scene

Bad Boyfriend by Garbage

Once again here for more vibes than anything else.

It's wild, the way you tease me It's wild, the way you free me It's wild, the way you reach me Wrapped me up in your wire from the start

Kill All Your Friends by My Chemical Romance

Here for the title because you know, exit wounds

It's been eight bitter years since I've been seeing your face Ba ba ba, ba ba ba And you're walking away And I will die in this place

Sometimes you scrape and sink so low I'm shocked at what you're capable of And if this is the coronation, I ain't feeling the love 'Cause we are all a bunch of animals that never paid attention in school So, tell me all about your problems, I was killing before killing was cool

I'm Going to be a Slut by Pansy Divison

I wanna live for pleasure I wanna live for fun So many lovely guys I want to sleep with every one

I'm gonna be a slut

Fuck Machine by Mindless Self Indulgence

Now we don't care If you're a girl or a toy If you're a game or a boy If you're nerd or a whore

You can have the sex with me (Woah-oh-oh) Science fiction fantasy

Also just the title and artist

Science Fiction by Rufio

Here for the future boy time agent vibes

Toxic Valentine by All Time Low

This is also kind of ALSO a Jack/John vibe.

Sex and white lies Handcuffs and alibis She lays her halo on the pillow where she sleeps Her heart beats, red wine My toxic valentine Lays her halo on her pillow that used to be... She lays her halo on her pillow that used to be mine

Whiskey in Hell by Anarbor

I hope they serve whiskey in hell, 'Cause I'm already on my way. And I've fucked up, You can't save me now. 'Cause I'm already on my way And I'll buy the first round If you come down. I hope they serve whiskey in hell.

[thequibblah]

hi so i'm looking for some new music to listen to and i thought you could help because you have great taste!

if this helps, i'll tell you what i normally listen to, which is very basic & basically the same few artists over and over lol

- mostly just taylor swift, she makes up 70+% of my listening probably haha and if i had to pick a favorite genre of hers it would be the folkmore style

- some other pop, like olivia rodrigo and conan gray and lorde & some doja cat but i'm not a huge fan of doja's lyrics

- lyrics are really big for me, so is having a pretty voice and nice melodies

- i love your playlists but the old songs are usually not my style (there's been some though that i really like, ty for that !! <3)

- ceremonials is my favorite florence album

- liability is my favorite lorde song

no problem if u don't want to!

OH i basically recommend things for a living so why not music, eh?

so. what i'm getting from this is that you have three big listening buckets: soft acoustic and indie pop and just plain old pop. so i will divide my recs by those broad genres! i too prefer singable music so i will try to lay off on especially dissonant artists, or mark them as such so you can be prepared (LOL)

acoustic/folksy (i'll admit i am a big indie pop girl so this stuff will be a bit sparser)

phoebe bridgers — admittedly she is more alt-rocky, but see garden song, savior complex, moon song, graceland too, prayer in open D

waxahatchee — can't do much (GOD THIS SONG), lilacs, st. cloud

lucy dacus — also more alt-rocky, but here r some softer jams: hot & heavy, christine, green eyes, red face (a jily song)

anything by first aid kit! start with stay gold and the lion's roar

hozier — i feel like most people on the internet have listened to SOME hozier but check out wasteland, baby! (i tried to pick individual songs and ended up listing most of the album LOL)

kacey musgraves — another artist you've probably listened to already, but try golden hour

brittany howard — stay high must be the sweetest song in existence, and basically all of her album jaime

arlo parks — the whole album but especially caroline, hurt, and black dog

lake street dive — i can change, good kisser (a mary song if i've ever heard one), and i adore their hall & oates cover!

anya marina — this whole album has had me by the throat since like 2013

lucius — just the whole album wildewoman, h/t @figg-anon for putting me onto this!

idk what tf genre fiona apple is but try her out as well!

artists i listen to less of but are in this vein: the lumineers, bon iver, vance joy

u know i had to rec some old people shit (LOLLLL), so in this vein, joni mitchell, heart, judee sills, emmylou harris, joan baez, vashti bunyan

one-off songs you might like: hold you now by vampire weekend, big wheel by samia, i eat boys by chloe moriondo, strawberry blond by mitski (i worship at the altar of mitski but she might not be your speed haha), like i used to (acoustic) by sharon van etten & angel olsen, body by julia jacklin, jackie onassis by sammy rae and the friends, cowgirl bebop by HANA

indie pop BELOVED

maggie rogers — ok i cannot recommend this higher like if u like lorde and conan gray drop everything now and mainline maggie's brilliant debut album

HAIM!!!!!!!!!!!!!!!!! — they've got poppier songs like want you back and more mellow songs like summer girl, but honestly i would just recommend a deep dive because they have a pretty surprising breadth within their own alt-rock/pop niche

caroline polachek — can sometimes get way out n weird in the pop sense but so hot you're hurting my feelings is a very listenable pop standard (also it's so funny she's such a clever lyricist also this is irrelevant here but she sounds amazing live), also love look at me now and her cover of breathless

charli xcx is more experimental pop but would rec trying out warm (FT HAIM!!!), blame it on your love (FT LIZZO!!), and official

rina sawayama — technically her album is all sorts of genres but especially XS, comme des garcons, paradisin', bad friend, and tokyo love hotel

orla gartland is a lil softer and i love more like you, oh GOD, and did it to myself

king princess — especially cheap queen, 1950, holy, but basically all of cheap queen

more one-offs: kansas by ashe, comeback by CRJ (full paean in her honour to come in the pop section), i am a big fan of other people covering the bleachers (LOL) especially rollercoaster by charli xcx and i wanna get better by tinashe (full tinashe praise to come too), saturdays by twin shadow (FT HAIM!!!), the kiss of venus and 3 nights by dominic fike (also his interlude on halsey's album), aute cuture and milionària by rosalía, young lover by st. vincent (i love her but again might not be for u haha), good days by sza, backyard boy by claire rosinkranz, slow dancing by aly & aj, hot sugar by glass animals

if ur down to try out something weird witchy and cool, kate bush is like the originator of 9 billion pop and rock genres and hounds of love is a masterpiece

pure pop (we can split hairs on what makes pure pop LOL but basically everything here is based on ur enjoyment of doja)

carly rae jepsen — ok if u haven't listened to her non-radio-hits u may be like "what?? call me maybe lady???" to which i say YES, especially window, stay away, no drug like me, and too much

victoria monet — this may or may not be a selling point to you, but victoria is a frequent ariana grande collaborator and you can absolutely hear it in her music (see also: the mattress spring background noises in dive JUST like they are in positions...), and i love experience, go there with you, and we might even be falling in love, and why not throw in her ariana grande collab monopoly

magdalena bay — how to get physical which i am destined, nay, contractually bound, to put in a jily modern AU someday, killshot, stop & go

tinashe — basically ALL of her new album!!! SO good. i also love rascal (superstar), esther, and old jams like company (and i JUST found out she has a chaka khan cover!)

chloe x halle have the most angelic vocals in the world

this might sound actually demented because WHO hasn't heard love on the brain but rly... go give ANTI a re-listen...

tove lo — especially are u gonna tell her, mateo, and jacques

WAIT I FORGOT TO SAY ROBYN!!!!!!!!!!!!!!!!!!!!!!!! EVERY ROBYN SONG!!!!!!!

for that throwback poppy sound u may as well go real throwback KJAHKJA and check out donna summer!

one-offs: right to it by louis the child n ashe, serial lover by kehlani (also more by her but im getting lazy now kdjfhgk), missed calls by max n hayley kiyoko, peppers and onions by tierra whack, idk who hasnt heard this song but circles by meg, todo de ti by rauw alejandro (the way i wanted this to be song of the summer so bad ;___;)

hope you enjoy and pls come back and tell me if you really liked any of these!!!! xoxo

[theworldbrewery]

A playlist for my current party: 4 idiots + their honorary cult grandma, four with new names and one with someone else’s--god I love them. they requested a playlist breakdown so i’ve placed it under a cut for brevity. I’m always soft for making fan content for the campaigns I’m in tbh.

Alice: an elf-turned half-orc after a reincarnate spell went awry, her wild magic caused her marriage to fall apart when she accidentally burned down her home. She’s looking for control over the magic that is ruining her life.

Remmy: a man of many names, Remmy is an aasimar cleric with more secrets than even the other party members are aware of. He’s untrusting and full of fear, but the party gets him to open up--against his better judgment.

Gadao: an earth genasi from an isolated monastery, he’s looking for an identity of his own after realizing he may not be an incarnation of an ancestral spirit after all. Looking for his place in the world, the party’s fast-paced life contrasts with his steady nature.

Leap: an elderly tiefling ranger, she grew up in a cult of pain and left it only by good fortune. Her taste for adventure--and a need for closure--keep her on the road, though she looks forward to seeing her family again.

Blue: an aarakocra bard, Blue awoke with no memory and promptly joined a shady merchant vessel as a good-luck musician. They’re always down to fight, curious, and ready to hoard as many items as they can get their hands on.

Anger | Sleeping at Last

I love the way this song opens, the energy it has. Favorite lyrics are “it all spills out/reckless but honest words leave my mouth,” which maybe speaks to my love of intra-party conflict… but I also have a soft spot for “and suddenly I’m someone that prays/last-minute man of faith” given the campaign’s attention to the divine. I’ve really loved leaning into that. It feels like this song has threads that connect to every character.

Hellfire | Barns Courtney

God, I love the chorus to this song. I feel that in this party, Leap and Remmy have the strongest links in these lyrics, between Leap’s simmering fury at her cult and Remmy’s...everything. There’s a period of the song that isn’t quite an instrumental, but has sort of mangled lyrics/rap, and though I can’t quite make it out, one bit sounds like “roll the dice” -- a fun nod to D&D as a whole and the risk-takers among the party.

Blood I Bled | The Staves

My favorite lyric here is “raise your banners and ride to war/throwing ‘round your name.” This song feels like a challenge to the world, suitable for a group of adventurers just forming a party. The singers and songwriters mention the song as one of “no, I won’t take this bullshit,” and that strong message really speaks to the PCs.

Hustler | Zayde Wølf

Hustler is all about coming out on top, and y’all are “turning up the heat” all the time. “Looking at the city like I already own it” feels like a foreshadowing moment to me; one day, when you all are level 10, 15, 20, you might reach an unmatchable power, if you live long enough to see it. 

Homemade Dynamite | Lorde

I chose this song for the absolute clusterfuck D&D parties can be. “Don’t know you super well/but I think that you might be the same as me/Behave abnormally” encapsulates something really funny about party members getting to know each other and start to trust each other, even when the rule might still be “I’ll give you my best side, tell you all my best lies,” and your secrets and private problems haven’t yet come to light.

Nervous | X Ambassadors

The chorus of foreboding in “cause what comes up must come down”  is, how do I put this? Iconique. I think this song especially fits Leap and Alice, both of whom are aware of how quickly things can go awry but put a cheerful face on their own worries. Even when nothing’s wrong (“and I can’t complain, it’s amazing”) they know things could go south quickly.

An Act of Kindness | Bastille

This song best fits Leap and Gadao’s relationship, especially when they met. “Oh I got a feeling this will shake me down/Oh I’m kind of hoping this will turn me round” seems to speak directly to Gadao pulling Leap away from the cult and giving her the opportunity to be better than she was. On another level, the party’s bonds are born from acts of kindness and friendship--Remmy buying lorebooks for Alice, Leap making tea, Gadao stepping in to defend the party from the mimic.

Everybody Wants to Rule the World | Lorde

Despite the name, this has something for everyone, I think. “Turn your back on Mother Nature” suits Alice’s vendetta against the Forest Father, “Help me make the most of freedom/and of pleasure” fits Blue’s brand of hedonism, “It’s my own remorse” echoes Leap’s regrets. Gadao alone doesn’t quite fit in here...unless… >:)

Kicks | Barns Courtney

This is a Blue song! “I’ll show you how to live for free” the artist sings, and Blue’s freewheeling lifestyle seeking “kicks” matches this energy really well. If Blue is “a wild one” “singing in the midnight street,” they’re getting their kicks with this party for sure. Blue lives without being tied down, theoretically limitless. 

Hail to the Victor | Thirty Seconds to Mars

This song is about Leap, no question. “Another life, another love/another kill, another drug” fits into Leap’s two lives, one in the cult and one out of it. And in this new mission against Babylon Lionel, she’s seeking a revenge of her own, though it’s one against her childhood more than her actual enemy.

I’m a Wanted Man | Royal Deluxe

Remmy “would kill again to keep from doing time,” without a doubt, so this one’s for him. Constantly warning he’s trouble for his friends, saying that “you should never ever trust my kind” isn’t too far off. Like Remmy, this song is edgy, but with a hesitant moment of emo-ness that makes the performance of darkness something a little more genuine.

Big God | Florence and the Machine

Alice is not a faithful woman, but she’s unfortunately entangled in some religious nonsense she hates. At the same time, I feel lyrics like “you’ll always be my favorite ghost” refer best to Alice’s fraught relationship with her wife. My favorite line here is “Sometimes I think it’s getting better/and then it gets much worse,” which is essentially Alice’s experience of her wild magic. Deep down, she might even be drawn to the magic’s chaos, but she can’t help but resent what it’s taking away from her.

Wisdom, Justice, and Love | Linkin Park

This one’s for Gadao. It starts off so peaceful and hopeful, the instrumentals overlaid with a speech by Martin Luther King, Jr. But as he starts to list the evils of the world, King’s voice, so steady and confident, is warped. Gadao’s own faith experience becomes warped by the power games of the people around him, and even as he’s seeking “wisdom, justice, and love,” he can’t escape the effects of materialism and violence around him.

Icarus | Bastille

Some folks live steady lives, but not these people. Adventurer’s lives tend to burn bright, hot, and short. From Leap’s perspective, most of the party is made of kids who don’t know the world yet. Are they “digging their own grave,” “too close to the sun?” Despite their ride-or-die commitments, Leap can see all of you risking yourselves--and for what? Who do you want to be, at the end of it all? A wife and mason? A sage and monk? Or do you want greater things than that?

Losing My Religion | Dia Frampton

I can hear so much of Remmy’s opinions in this song, saying “I’m choosing my confessions, trying to keep an eye on you” but realizing, over and over again: “Oh no, I’ve said too much.” As he tries to keep up his own facades, Gadao and Leap’s own faith collides with the beliefs of a cult leader and Alice struggles with a religion she doesn’t care for at all.

Start a War | Klergy and Valerie Broussard

Like Hail to the Victor, this song is all about Leap’s conflict with the cult of Loviatar and the Mother of Martyrs. Even though the Loviatar cult might be gone, the spirit lives on. My favorite line for Leap here is “bang, shots fired/pain is what you desire,” for the decision to challenge Babs to a one-on-one fight. But is it Babs who is starting this war, or Leap?

Friction | Imagine Dragons

This one kind of gives me Gadao vibes with the lyrics “when you’ve made it/won’t you tell me what to do?” After all that pressure to fulfill the expectations of other people, he has to get out of the middle and move on, maybe even become someone new. Key line is “why can’t you let go/like a bird in the snow/this is no place to build your home,” reminding Gadao that he doesn’t have a place in this world. Not yet.

Transcendental Youth | the mountain goats

“Sing, sing for ourselves alone,” sings John Darnielle, and maybe that’s what makes this feel so much like Blue. Maybe it’s the lyric, “cedar smudge our headbands/and take to the skies/soar ever upwards,” calling to Blue’s dislocation from time and place, flying away from their problems. Blue doesn’t remember their childhood, and has no idea how old they are. Even if they did know, their lifespan is short. They live every day like the halcyon days of youth, footloose and fancy-free indeed.

Champion | Barns Courtney

I swear this is the last Barns Courtney song. But this song is the resilience of coming through fights and perils and dangers. My favorite lyric is “Oh, Lord, save my soul/take my pain and turn it into gold” which, incidentally, is exactly what happens when you level up. The party’s struggles translate to strength, to influence, to skill, and even riches.

In the Woods Somewhere | Hozier

On the one hand, this could be about any combat in the dark woods at night (*cough*, Remmy killing that dragonborn, *cough*). But more importantly, this song is about Alice. She struggles with a power she doesn’t understand, with something’s eyes on her that she can’t fight. The best she can do is run from the danger and try to survive it. Whatever eyes are watching her now, Alice better take care. Favorite line? “I clutched my life/and wished it kept/my dearest love/I’m not done yet.”

Natural | Imagine Dragons

Natural tells the party one way of surviving. The line “you gotta be so cold/to make it in this world” suits Remmy’s outlook so well, the one he pushes at the rest of the party. The line “rather be the hunter than the prey” speaks well to Blue’s tactics--preferring to act from above. Alice and Leap know better than anyone that “nothing ever comes without a consequence or cost,” and Gadao may be the only one ‘holding the line’ against a harder heart. Another song with bits and pieces associated with everyone.

Dead Hearts | Stars

There isn’t a specific lyric here that jumps out at me, no line that tells me who this song is for. This is the song for the ones who die--those who have, and who will. We might not be there yet, but this is a song for acknowledging the sacrifice of your friends and allies. The knowledge that you knew them once, and in some ways, their ghost stays with you. Or maybe they’re revived, or reincarnated, but there’s always something a little different.

The Projectionist | Sleeping at Last

Eventually the session ends, and the story closes, and the lights come up. “We’re leaving our shadows behind us now/we’re leaving, we’re leaving it all behind for now,” Ryan O’Neill sings. We’re putting on costumes, telling a story for each other, and maybe the game ends every time, but maybe it makes us brave. I’d like to think so. 

The lyrics to all these songs can be found at Genius.com. Thanks xx

[suredahlia-arc]

hello hello ! i’m daisy ( 19 // est // she/her ) and my mind has been tricked by florence into thinking it’s 7am when it’s actually,, 4:30pm. i’m in the mountains so we shouldn’t be having it as hard as other places, but everyone is still worried abt falling trees and such ! all my suitemates decided to go be storm-chasers ( every single one of them ? ), so i could be living my best life rn, but i’d rather be writing up an intro for a character i have tried to play over four times then the rp died after,, like,, a day. bless. more below !!

♪ { MARINA DIAMANDIS. FEMALE. MARINA (AND THE DIAMONDS). }Oh shit. Is that BUY THE STARS by DAHLIA ANGELIS on the radio right now?! I stan, omg. SHE’S that INDIE-POP solo artist who’s TWENTY-SEVEN years old. They’ve been in the game for EIGHT YEARS and have THREE ALBUMS out right now. I think they’re very VERSATILE and INTUITIVE, but for some reason they come off as OBSESSIVE and CYNICAL in the tabloids. You mind if I turn this up? daisy. 19. est. she/her.

first, i feel inclined to say why i put “and the diamonds” in parentheses bc without context i either look super uninformed or like a total douchebag?? basically she’s going by just “marina” now but i didn’t know how wide-spread that knowledge was yet and technically all of her work still has “and the diamonds” so i was like “hm. parentheses.” and there’s ur explanation ! onto the intro:

BACKSTORY

TRIGGERS: extreme misogyny, brief mention of gaslighting/emotional abuse, briefly implied physical abuse

so i have been waiting to play a bitch inspired by the stepford wives for forever. if i ever actually finished books that weren’t assigned, wbk i’d read that bitch. but we settle for the 1975 movie. there’s ur preface.

i often get way too caught up in the story of the parents and wind up making just intros like,,, a novella, so i’m gonna do my best to skim over them and go more in-depth when i write the bio later on!!

so dahlia’s mom is inspired by neely “i’m a BIG STAR!” o’hara from ‘the valley of the dolls’ and her dad is, ofc, inspired by walter “no fun quotes or super extra™ monologues” everhart from, you guessed it, ‘the stepford wives (1975)’

just as a very brief explanation as to why “i’m a BIG STAR” wound up in the neighborhood she would, typical fall from glory, first manager whisked her away, “fell in love”, moved to a neighborhood where 95% of the women only found joy in cooking and cleaning

maybe if you HAD a fucking business...

i’ve made this joke so many times i’ve memorized this entire scene.

only one person irl has ever genuinely laughed.

it was my mom.

through a series of gaslighting, emotional manipulation, and groupthink, dahlia’s father gradually got her mother to buy into all of it and have strong opinions on the best laundry detergent.

so this was a strange place to raise a child, amirite ? i mean, you got women discussing tide vs. bounty while baking cake, you got men being treated like kings – we over here in the stereotypical 1950s. 

they stanned super small neighborhoods in wales, but should they have ?

so she had a very skewed idea of what was acceptable and what wasn’t. the boys were treated extremely “boys will be boys!” like – like... more than they are when we talk abt the problem with that sentence – and the girls were all wives in training.

it was acceptable for boys and men alike to do whatever they wanted without asking the other. it was acceptable for boys and men alike to complain over anything they wanted. it was acceptable for boys and men to do all of these things that, if we heard about them today, we’d be like “jail??” or, at the very least “leave.”

it was all good and well though!! but one of the four (4) duties dahlia’s mother had was taking care of the child (the other three were cooking, cleaning, and pleasing)

you see, she was used to dahlia’s father blowing things out of proportion when it came to herself – it was normal and healthy!! but she was not used to him blowing things out of proportion on their child, aka dahlia (you see, this is what happens when i start talking about the parents too much)

the first time just warranted a brief “hey, maybe don’t.” the second time warranted a conversation that ended poorly. third warranted an empty threat of leaving that ended poorly. fourth warranted an actual threat that ended poorly. fifth and a bitch was like “ok where r we and how do we get out!!”

after finding her way out, she settled with dahlia in a rly crummy motel, but what else are u gonna do when u only have the few dollars u managed to steal from ur guy??

y’all see i’m already talking in perspective of the parents i hate myself

so dahlia’s mom phoned so many old friends and relatives. unfortunately, as a previous neely “the whole WORLD loves me!!” o’hara who just seemed to drop off the face of the earth, almost everyone was like “bitch tf no you ain’t stayin here”

the last person she phoned was her mom, aka dahlia’s grandmother, down in athens. reluctantly, a bitch was like “fine.”

so dahlia was ~13 by now. her mom found work as a maid bc she was rly good at cleaning and also had no clue how she would ever get a good acting career back (although, mind you, you know a bitch went out for some community theater plays). her grandmother was able to live off the inheritance her late husband, dahlia’s grandfather, left behind – however, she also had a work ethic that drove her to just... do whatever she deemed the right thing to do at the time. 

an old woman doing some odd jobs?? you know it!!

dahlia learned how to speak greek which is great bc you know what?? i duolingo’d that bitch and that owl is a jerk who wouldn’t let me get past “ο άντρας” even tho i spelled it!! right!! i had so many ppl compare what i spelled and what the answer was and i’m still bitter!! 

anyway.

so like,, wbk a bitch has some unresolved problems. when you grow up in the equivalent of stepford (copyright 1972, ira levin), you gonna have some things to work thru!!

but she was also basically trained by that community to keep everything inward??

this is a musician rp so you know what she did??

SHE TAUGHT HERSELF TO PLAY PIANO AND WROTE SONGS!!

was a myspace queen tbh. technically speaking, she has more work out there than the three listed albums (i mean, we got mermaid v. sailor, the crown jewels, etc., etc., bUT)

decided “bitch i’m gonna make smth of this” and,,, did. so when she was 19 ‘the family jewels’ was released and,, like,, she decided “wow time to go be an american!!! i love bald eagles!!!”

so i figure the rest is kind of history?? i think i’ll be going in chronological order with the albums (in that a few years after that ‘electra heart’ was released, then ‘froot’, then a hiatus which we do NOT stan, then coming back with a leak ksksksks. BUT i may switch up electra and froot i’m not quite sure yet??)

ya! 

PERSONALITY

VERSATILE: ok so she never really does things quite the same ? alexa, play ‘can’t pin me down’ by marina (and the diamonds) dahlia angelis. musically speaking, she really loves experimenting with different sounds. overall, she is still considered indie-pop, but we had some good new-wave pop in ‘the family jewels’, we had some good electropop in ‘electra heart’, we had some good general versatility in ‘froot’ (compare the song ‘froot’ to ‘immortal’ like we were boppin then we were havin an existential crisis). does not like keeping things the same in her music. does not like being compared to other artists bc?? everyone!! is different!! generally speaking, she’s just a very?? open person?? not as in emotionally open, open book – all that, as in willing to try pretty much anything?? as long as it’s not her actual routine, if a wrench is thrown in her plans, a bitch don’t care as long as the wrench ain’t smth dumb. here for a good time, not a long time.

INTUITIVE: ok so she got really into trying to read people and tbh psychoanalyze them ( alexa, play ‘savages’ by marina (and the diamonds) dahlia angelis ) after leaving that. town. with a name she doesn’t even recall?? wbk a bitch would speak up abt it if she could so that all of the women could be fckin saved but she j doesn’t remember anything abt it!! other than the environment in general!! what’s the name?? besides somewhere in wales, what’s the location?? she doesn’t know!! mainly bc i don’t!! and also for the sake of her not actually saying anything abt it willingly!! anyway!! she really does her best to read people and situations in order to analyze like?? the safety aspect, the other person’s stance, etc. doesn’t always work, but she tries. is pretty good at it, but no pro.

OBSESSIVE: ok so y’all see up there me talking abt routines?? there are two (2) ways in which girly is obsessive. first, a literal manner. routines that need to be done so the world doesn’t fall apart. i mean, we stan obscured brain chemistry, but we also stan horrible environments that just exacerbate it, even into adulthood, in the end ( alexa, play ‘obsessions’ by marina (and the diamonds) dahlia angelis. ) (also, i feel i should clear the possible iffy-ness this would have by saying that i’ve got ocd and will, therefore, be portraying it in a manner similar to mine so that it doesn’t come across as offensive to anyone else who may have a different form?? but most of the ‘routines’ won’t be very prominent in interactions). second, music!! when she gets started on a new project, -the mask vc- try ta’ stop [her]! -end vc- . will live in the studio until everything is complete and perfect. will spend her free time writing lyrics she knows she’ll never use bc?? why not?? gotta get that practice in!! can also apply to any other project types, but ofc the main ones would be music related so??

CYNICAL: ok. who’s gonna have a positive worldview after growing up where she did?? ( alexa, play ‘hermit the frog’ by marina (and the diamonds) dahlia angelis ) who’s gonna stan that?? that said, there is not a single genuinely good person in this world ( alexa, play ‘savages’ by marina (and the diamonds) dahlia angelis again ) if u ask her like?? not only did she already have that view after coming to her senses but?? now she knows about terrorists, about people from the usa who are SUPPOSED to be the good guys killing innocent ppl from ‘enemy territories’ for fun, ppl assaulting and killing minorities just bc they’re not like them, etc., etc., etc. convinced no one is inherently good. rly has a love/hate relationship with life ksksksks

HEADCANONS

a lot of these kind of tie into personality tbh?? 

literally knows everything about every cleaning product ever. ask her about the pros and cons of any and she will tell you. she’ll also tell you when it was manufactured, the ceo of the company that created it at the time, what went in it to make it, etc., etc., etc. knows so much.

kind of going off of that, actually really good at cooking and baking?? she rarely does it willingly, but will make a hell of a chocolate soufflé.

TRIGGER: IMPLIED SEXUAL ASSAULT -  i don’t want to go too far into this bc it’s very triggering content to many ppl (and even to ppl who it isn’t, it’s j?? not good.), but.... i mean.... the boys in her formative environment were literally encouraged to do whatever they wanted and they didn’t need permission?? END TRIGGER.

i have a whole-ass routine already figured out. there are a lot of facets obviously, so i’ll just mention a few?? but count them all as one headcanon to be fair. 

sets an alarm to get into bed at 1:11am bc it’s a good number but 11:11 is usually too early. sets an alarm for 11:11am to wake her up. will chill in bed if she’s awake before then but it has yet to go off. only exceptions are when she’s working on something she deems urgent.

that said, good numbers are 1, 3, 4, 5, 6, 8, 10, 11, 12, 14, 16, 17, 18, 21, etc. no rhythm to it, but i wasn’t gonna go?? up until?? infinity??

if there are two doors that are both available to be opened and closed (aka not one of those “enter through this one, exit through this one”), will always enter through the right and exit through the left. 

we don’t stan sidewalk cracks!!

a lot of superstition plays into these. but?? loves black cats. they’re chill.

i have a stats page coming that has more so!!

during the eh era, be it the last one or the one before that, decided to method act while she was still writing the songs ksksksks. that’s going to go into some of her more specific connections.

a bitch will both fight and not fight. got ‘the family jewels’ attitude back and we stan!!

was obviously able to write the ‘housewife’ archetype songs from her own personal experience ksksksks. didn’t rly have to dive into the stereotype. j knew it already.

more?? later??

CONNECTION IDEAS

so i have a few specific ones that are attached to a different blog (u kno one of the ones that died) that i’ll be moving over here, but here are some of the ones that stuck out more than others – also, all are open to any gender!:

UPDATE: wc page is here!

during the eh era while she was ‘method acting’ (we hate.), she knew this muse was in a relationship but was still like?? “hey let’s go have a meaningless ons” bc we stan "homewrecker”! (can have a number of muses!!)

a relationship that really didn’t work out in the end. the other kept trying to make things better so they would stay together. inspired by “buy the stars” (one muse)

the first celebrity whose discography or filmography she got really into before moving to america. would’ve had to have been around for longer than eight years. slightly inspired by “hollywood” (one muse)

ok this one. makes me laugh. literally just someone who always gets her mistaken for someone else – it doesn’t even have to look like her. 100% inspired by “hollywood” ( oh my god! you look just like shakira! no, no – you’re catherine zeta! ) (open to two muses)

she’s not known for a good reputation, but she’s also not known for a bad one. this muse wants to turn her to the dark side and make her become everything she never wanted to be?? so very similar to ‘the bad influence’ connection, j w/ a slightly different connotation on dahlia’s end. inspired by “oh no!” (open to two muses)

these bitches were either friends or love interests once, but things fell apart (either mutually or on the other’s side like?? i don’t want to godmod but for the song’s sake). dahlia is,, bad abt forgiveness,, but there have been enough apologies. inspired by “forget” (open to one muse)

dahlia has a very keen interest in this person. whether it’s infatuation or literally just interest, god only knows! obviously goes deeper than that but i’m horrible at explanations. suffice it to say, inspired by “immortal”

ok!! so now j some general ones!!

best friend

ride or die

drinking buddy

fwb

ons

exes

enemies for whatever reason

frenemies

collab partner

muse for any of her songs?

etc., etc., etc. !

LIKE THIS OR HMU IF U WOULD LIKE TO PLOT !

u can also find me on discord @ john donne’s whore #5590

[shemakesmusic-uk]

Etaoin reveals new single ‘Sick of Me’

After the success of her debut last year, Irish singer-songwriter Etaoin’s new single, ‘Sick Of Me’, develops her sound while still keeping the London-based artist’s trademark brutal honesty and heart wrenching lyricism. It is the first taste of her upcoming EP, I Hate Everyone (But I Don’t Mind You), due out later this year via MADE Records, where Etaoin adds a poppier sound to her arsenal without leaving behind her stripped back, tender acoustic style.

The new single takes the real story of Etaoin and her best friend Florence, with her melancholic vocals singing about the pain of drifting apart after they both went to university, and after one heated argument, stopping talking to each other completely. The song occasionally bursts into powerful, belting codas as the melody explodes. The production, by Joe Rubel, acts as a conduit for this emotion, escalating on words that Etaoin wishes she could have said to someone while the relentless acoustic strum dances underneath.

Etaoin explains: “I felt hurt and replaced by her new life and friends. I was totally heartbroken and thought about her literally every day but was far too proud to message her and tell her that. The whole situation had me feeling totally unhinged if I’m honest. I felt like I’d caused the problem and would tell myself there was no point in trying to fix it because the friendship was over and I just needed to get over it - but I would lie in bed at night and write diary entries addressed to her on my iPhone notes and then never send them.”

With all of her songs coming from her real life experiences, ‘Sick Of Me’ at least had a happy ending, with the pair reconnecting as best friends again. “I ended up having my wisdom teeth out, and calling her when loopy and off my face from the pain medication they’d given me. I remember I told her I love her and I look like a puffer fish who got slam-dunked by Arnold Schwarzenegger into a moving car. We laughed, and cried and she said she loved me too. Everything went back to normal and she’s still my best friend. Funny how life works itself out.”

Etaoin · Sick Of Me

[graesays]

Grae Reviews: Frank Turner - Be More Kind

It’s been a while since I reviewed some music, and that’s mostly because I review stuff that I like. That’s a problem when a lot of modern music is (to be as charitable as possible) utter horse shit. Thankfully the folk rock scene has provided a lot of gold over the last few years so it would have taken a lot for me to not like new music from one of the genre’s best, Frank Turner. That being said, I wasn’t expecting to be hit so strongly in the feels by such a politically charged work.

Frank Turner is obviously no stranger to the political tune. This year is the 10th anniversary of his album Love, Ire & Song. The title track of which is very overtly political (as is it’s re-releases 2nd disk track called ‘Thatcher Fucked The Kids’). This new album however manages to simultaneously step it up a notch and mellow the message out. Adopting a more “mainstream” sound that may well be too much for those who think Frank peaked with England Keep My Bones. Like I said in the sub-title though, this album struck a chord with me, and that is probably just a personal reaction but hey, this blog is all about my personal reaction to things, so lets run down the album track by track.

Don’t Worry - Mental health is a running theme of this album. Frank has said in interviews that he drew on his experiences undergoing CBT (Cognitive Behavioural Therapy) in his songwriting and this song does a good job of conveying this overarching state of mind. That said, it’s not the best example, we’ll get there in a bit.

1933 - This is the obligatory return to the Frank Turner that fans of his earlier work will be most satisfied with. If you’re gonna discuss politics in 2018 there’s two topics that are gonna dominate any writings, Brexit & Trump. This is the Brexit rant, comparing the closing of borders with the rise of fascism in the build up to World War II, and a very well done one at that with some top notch lyric writing (“well I don’t know, what’s going on anymore, the world outside is burning with a brand new light but it isn’t one that makes me feel warm”).

Little Changes - THIS is the best ode to mental health treatment on this album, and the most overt references to the methods behind CBT (“the big things stay the same until we make little changes”). I love this song in particular because it’s so upbeat, which fits well with a topic that unintentionally frightens so many people because of the stigma attached.

Be More Kind - The title of the album (and obviously this track) is based on a Clive James poem that Frank read in US magazine 'The New Yorker’ “I should have been more kind. It is my fate. To find this out, but find it out too late” Another overarching theme of this album is the idea that empathy and compassion is dying in the face of the dark turn our politics is taking lately and that rather than engaging in tribalism, we should be setting an example to be better to others. It’s not often that I describe a song as beautiful, but this one more than deserves that label, and is by far and away my favourite song on the album.

Make America Great Again - So we’re talking politics again and this English americophile is giving probably the friendliest Fuck Donald Trump message ever committed to tape. This is a serious topic executed in a very tongue in cheek manner, as the lifted Ramones chord progression ('Bonzo Goes to Bitburg’ if you were wondering) and the ironically un-ironic ending chorus key change (the scourge of the indie folk rock scene!). A good natured, playful fuck off is the best kind of fuck off though and I do have a big soft spot for this song, even if it has caught the ire of some old school Frank Turner fans.

Going Nowhere - Well someone got a girlfriend between records didn’t they? I joke, this could easily be a song about platonic friendship, and that is a sentiment that I can completely sympathise with in fairness. This one is pretty much a collection of cliches to describe how he’s got his friends backs. The most prominent of which is best described by Frank’s labelmate (and another favourite musician of mine) Beans on Toast “any song that has the line 'in there like swimwear’ in it deserves to be number 1!”.

Brave Face - No album of this genre is complete without a stadium singalong anthem, and this is the song that fills that quota. That joke I made earlier about Going Nowhere being a romantic song is probably best applied to this song in fairness. Best demonstrated with the chorus “Make me a promise, That when the world ends, You’ll kiss me, And you’ll hold my hand, And then we’ll get through this, Whatever happens, One look at your brave face, Makes me a braver man”.

There She Is - Frank teamed up with Charlie Hugall, a collaborator with Florence & The Machine in the making of this record, and this song is probably the most striking example of his influence. Plus it’s the third track in a row that’s about a girl, and while that theme would probably get repetitive by now in the hands of a lesser artist, Frank manages to pull it off though and while it’s probably one of the less memorable songs on the album, it’s by no means bad.

21st Century Survival Blues - Hey old school Frank Turner fans? Feeling isolated with the change in direction? Well I’ve got some good news, here’s something that would actually fit in well on 'Sleep is for the Weak’! Following on a similar theme to Brave Face, how the narrator and his partner will be fine in the middle of the apocalypse as long as they have each other, the new theme is blended well with some old school Frank Turner & The Sleeping Souls musicianship and is another standout from the 2nd half of the album.

Blackout - This was the first single from the album and don’t get me wrong, I like it, but it fails to live up to the hype (solely in this authors opinion). It’s a lament about Frank himself stepping away from political themes after his interviews about his personal political beliefs got him death threats, and how he should step out of his comfort zone. Which he has done with this record in more ways than one. As said, it’s not the best on the album, but by no means does that suggest that I think the song is in any way bad.

Common Ground - The theme of this one is pretty much explained in full by it’s title, that we should look more for what we have in common, rather than what separates us. specifically that we should build bridges. Frank’s music has a knack for forcing the audience to think for a minute and this one definitely manages that. The latter songs on this album lack the catchiness of the earlier stuff, but if you’re after the introspection that you’ve come to expect from Franks last few records, this is where you’ll find it.

The Lifeboat - Just when you think the upbeat tone of the album takes a backseat for a moment in the penultimate track, which describes a sick world and a sick society that should be left behind. You get hit with a 180 degree turn to describe the leaving behind and defeat of a toxic world. Another chance for a slow introspection as we start to wrap up the album.

Get it Right - This song tackles a matter that actually means a lot but never gets mentioned in polarising times, it’s ok to admit you’ve changed your mind on something, and holding your hands up is preferable to continuing down a dangerous path just for the sake of saving face. Frank delivers most of this one standing alone with his acoustic guitar, a one on one conversation with the listener until we hit the end and a bit of a stadium singalong to sign off on.

This might just be me, but the topics Frank touched on in this album seriously hit home, and did so to the point where I might actually consider this my favourite of his albums. I’ve always been a fan of about 3 or 4 songs off previous albums so to have 9 or 10 songs I love on one album is incredible in my mind. Is that because he went 'mainstream’? Maybe, maybe not. Maybe I’m letting my own circumstances dictate how I digest this music, but isn’t that what you’re meant to do? To be honest, I’m probably putting too much effort into justifying why I love an album by one of my favourite artists in a genre I’ve grown to love over the last few years (and not just because it’s one I’m active in, honest!). All I need to say is that I love it, and I hope if you decide to check it out that you do too.

[tori-castellan]

song ask: 2, 3, 6, 23, 32, 52, & 54 pls!

Me: Hello again! I hope you like our guests, because it took some … work getting them here.

[To her right, Luke and Tori sit tied to chairs, looking absolutely murderous.]

Luke: Who are you?!

Tori: [sighs] It’s no use; I think she’s some kind of god. She keeps making stuff happen.

Me: [smiles] I’m not a god! Just a humble writer.

Tori: Why are we tied to chairs this time?

Me: Because I don’t trust Luke, and I definitely don’t trust you two together. [beat] I’m actually not sure how well those ropes are going to hold up against you… anyway, let’s answer some questions!

2. Favorite lyrics

Me: Good start. One of my favorites is from Love and War, “Lover, hunter, friend, and enemy. You will always be every one of these.” It’s a great song! I’m not sure how Tori feels about it though. [turns to face her]

Tori: [rolls her eyes] Yeah, no. I guess mine would be “The sky is coming down, and time is running out, but I’m not leaving here without you now. They can say what they will do, I’m a fighter and a fool, but I’m not leaving here without you.”

Me: [grins] Will you sing for us?

Tori: No.

Me: [sighs] Luke?

Luke: [now more confused than anything else] Okay, uh, from Twin Flames, “We were on fire. One flame bursting into two”.

Me: [nods] Good song.

Tori: [gives Me a death glare]

Me: [sees this and quickly decides to move on]. Next question!

3. Favorite band/artist

Me: I have three; Svrcina, Halsey, and In This Moment. 

Tori: I agree with your second one; Halsey has an amazing voice. And her songs are so emotional! [smiles, enjoying herself] 

Luke: [is jealous]

Tori: [does not realize Luke is jealous]

Me: [kicks Luke’s leg] 

Luke: [gives Me a dirty look] Panic at the Disco. 

Me: [surprised by his tone] Jeesh, calm down…

Luke: No.

6. An overrated band

Me: Fall Out Boy. They’re not bad, honestly. I like a lot of their songs. I just don’t think they’re as good as everyone makes them out to be.

Luke: Yeah, I don’t think I know enough about music to answer this…

Me: You two can skip this one. 

23. A song that punches you in the gut every single time 

Me: Just off the top of my head, Island by Svrcina (I have a problem). And, because I just thought of this one and don’t want to leave it out, Dynasty by MIIA. 

Tori: [nods appreciatively] Mine would be Hurts Like Hell, by Fleurie. Luke, your turn.

Luke: I don’t know.

Me: Come on, you can think of something.

Luke: I can’t!

Tori: Oh, no! If I have to do it, so do you!

Luke: Fine! I guess… On Top of the World, by Greek Fire. [gives the girls a look] Happy now?

Me: [smiling] Very.

32. What are some song titles that you love

Me: I really like Lover. Fighter., Island, and Heaven in Hiding.

Tori: Yeah, my favorite is Dynasty by MIIA. 

Luke: I really like Emperor’s New Clothes.

52. A song that makes you want to dance on a table 

Me: Well, if I could at all dance, it would probably be to Drumming Song by Florence + the Machine.

Tori: Well, I can dance, and sometimes I like to dance to River by Bishop Briggs. [gestures in Luke’s general directions while hoping Me doesn’t notice that they’re wearing through the ropes around their wrists]

Luke: [subtly picking at the rope] Rock Show, as sung by Halestorm. 

Tori: [looks at him]

Luke: What?

Tori: Nothing. Just didn’t think you liked them, is all. 

Luke: [charming] Not as much as I like you.

Me: [screams internally]

54. Favorite Disney song

Me: Love Will Find a Way, from the Lion King II. That was one of my favorite movies when I was a kid. The original was good, but I’m a sucker for romance, so. [shrugs] Tori, hop to.

Tori: Do not. And mine would be Reflection from Mulan.

Luke: The Plagues song from the movie about Moses. Is that a Disney movie?

Me: It’s The Prince of Egypt, and no, it’s not. Pick a different one.

Luke: [groans] Okay, then I’ll Make a Man Out of You, also from Mulan.

Tori: I didn’t know you saw that movie. 

Luke: You made me watch it!

Tori: [remembers] Oh yeah!

Me: [before they can keep talking] Well, we are out of questions! 

[the ropes fall from the chairs; Luke and Tori jump up, preparing for a fight, but Me waves, and they disappear]

Me: See you guys later! [smiles] They are so cute together.

[worldartsmusic-blog]

New Post has been published on WorldArts

New Post has been published on http://news.worldarts.com/plexxaglass-is-our-february-spotlight-artist/

PLEXXAGLASS is our February Spotlight Artist!

Our WorldArts Spotlight Artist of the Month is PLEXXAGLASS! This dynamic artist (and pianist) covers the musical spectrum from alt-pop, to indie-folk and electronica. Check our exclusive Q&A with her to learn about her musical journey, her influences, and to see which Harry Potter House she’s in (hint: Ravenclaw can suck it)!

1)  Tell us about how you got started in music & your collaboration with Kevin Billingslea?

I’ve always been singing and writing (filling journals with my thoughts). Growing up I did a lot of musical theater, but didn’t dabble in writing my own music until about 5 years ago when I was living in Orlando, FL. I went through my biggest break-up that year, and like any melodramatic young adult, I put it into song. Just melody and lyrics.  After moving to Los Angeles with my best friend, I started to get serious about it. I learned piano in 6 months so I could properly convey my creations to a producer; I can sight-read chord progressions. I recorded a 6 track EP under my name that released in 2014. The problem with it was… it wasn’t good. At. All. The production, my writing, everything. It wasn’t there.  I hadn’t found myself as an artist yet.  I truly, nearly, gave up. Stopped being active for over 6 months. But writing music is so deeply embedded in my bones, I couldn’t stay away.  I needed new direction. I dusted myself off finally, and realized the answer was rebranding and observation.  My socials had the handle ‘PLEXXAGLASS’ for years— my manager suggested I start releasing under that. It stuck like marshmallow fluff.

A former client of my manager, a band called ‘Hours North’ from Wells Maine, approached me about collaborating on writing a song for their album which was being produced by Kevin Billingslea. After having the chance to record with him just for that one song, I knew he was the producer I wanted to work with for the rest of my career.  We created ‘Lament en Route’ and ‘Liar’ over the course of only two days. I had never worked with a producer before that fully understood the music I was writing and knew the perfect ways to expand upon those ideas, let alone fully finish tracking a song in a day… that doesn’t typically happen. After observing the market, instead of releasing a full album, I decided I’ll be releasing a single every 3 months through the end of the year, all produced by him.

2)  What influences do you draw on when you create music?

Originally, I stayed very true to the ‘Adult Contemporary’ female songwriter bubble, but I’ve fallen in love with this meld with electro that singer-songwriters are using right now.  Artists like Regina Spektor, Bishop Briggs, Florence + the Machine, the duo Marian Hill get me super jazzed and inspired to try new things.

3)   What was the music scene like in your hometown when you were growing up?

Melbourne, FL was kind of shit when I lived there. I haven’t been back in years, but I’ve been told it’s better for young people now.  My friends and I grew up listening to mostly punk/alternative rock. Blink 182, My Chemical Romance, Paramore, Motion City Soundtrack, Say Anything, No Doubt… so my singing style definitely took a lot of inspiration from that era and eras before. Patti Smith and Ann Wilson are the baddest female vocalists around. 

Overall, I was lucky that despite it being a lower to upper-middle class community in a mostly red state,  where arts are typically discouraged, we had a pretty nurturing arts environment… to an extent. Most adults thought it was great to have it as a hobby as a kid, but when I told them I was going to college for it, kinda told me I’d fail.  In my formative years, though, I definitely would call New York City the place I feel most at home. I lived there for about three years and think about moving back all the time.

4)  If you could go on tour with any artist (past or present) who would it be?

Duuuude, 100% Kaleo. Or Regina Spektor.

5)  What’s your ‘go-to’ karaoke song?

‘And I Am Telling You I’m Not Going’ as sung by Jennifer Hudson for the Movie-Musical Dreamgirls (serious karaoke-er over here)

6)  WorldArts is all about giving tools and opportunities to artists.  What advice would you give to aspiring musicians?

1. Treat your music like your job. It’s a business. There’s a lot of great music out there that never gets heard because people don’t invest, not only monetarily, but also time into growing. Grow as an artist, but also help your brand grow with marketing. It sucks, but it’s not all about the art, as much as I would like to escape into this private bubble where all we can do is create all day… you have to play the game.

2. Don’t be a douche. Even if you’re a solo artist, like me, you most likely have a band backing you. Without that band, you’re back to playing open-mic nights at your local bar. Be gracious to the people who lift you up. It’s not all about you. A band is a family.

And 3. It’s cliche, but if you really want this, and get the above, don’t you dare give up.

7)  If you could change anything about the music industry, what would it be?

I’m naturally a bit of an introvert. Like most musicians, you’d never know from how I am on stage, but I’m a bit of a hermit. I’ve had to force myself to network, and I hate feeling like I’m bothering my friends just by asking them to listen to my music.

8)  What is the best way you’ve found to market yourself as an artist?

Spotify.  I’ll admit, I avoided it when it first came out because so many people told me it’s basically satan as far as monetary return goes. The problem is, it’s not going away. It’s steadily growing into the most used music service, and there’s not fighting that. Exposure is everything for indie artists. So, I had to swallow my pride, and I started submitting to playlist curators. I don’t regret it at all.

9)  Apparently you also have a bit of a Harry Potter addiction… 

It’s less an addiction, and more of a lifestyle…  My dog’s name is Remus (Remus Lupin, for those of you out there who get it…). I’ve read all 7 books at least 50 times each at this point.  I have this giant box set with all 8 movies in both DVD and Blu-Ray (WHY??!). I have a tattoo of Snape and Lilly Potter’s patronus [doe] on my left foot (with Deathly Hallows symbol, obviously). I’m a slytherin (believe me… I’ve taken every test. It’s that ambitious characteristic, seems to beat out Ravenclaw every time). My husband proposed to me in front of Hogwarts in London at the WB Studio Tour (he wins for life).

NERDDDDDDDD, representing!

10) What next on the horizon for you (shows/new tracks/in the studio etc.)?

I’ll be releasing my second single on all digital platforms on March 25, which I’ve coincided with our next show at The Mint in Los Angeles.  I’ll be returning to the studio with Kevin this Spring, with the third single expected to drop around June.  Hoping to get my foot in the door through tour support or music fests.

Listen to “Liar” on Soundcloud:

Listen to “Lament en Route” on Soundcloud

Download “Lament en Route” on iTunes today!

CONNECT

PLEXXAGLASS

W.A.Profile | Website | Instagram | Facebook | Twitter

WorldArts

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[musicoccurred]

Tedeschi Trucks Band

Who: Tedeschi Trucks Band Where: Tuscaloosa Amphitheater When: June 30, 2018

Aside from being generally unqualified to write period. I'm uniquely unqualified to write a review of the stellar Tedeschi Trucks Band. They have legions of devoted fans that travel to see them, following the band on multiple runs of shows. Taping and sharing, analyzing and dissecting the various performances. I can relate. As a Pearl Jam fan, I can spot like-minded folks a mile away, even with a band I'm relatively unfamiliar with. But it's my site and I love music so here we are. I've been familiar with TTB for ages, bands I like tour with them and people I like listen to them. It took my Father-in-law asking to check them out that spurred me to finally go. One of my favorite bands, the Greyhounds, were the opener and it was one of the finest nights of music I'd ever witnessed. Fast forward a couple months and they announced a show at the under-appreciated Tuscaloosa Amphitheater with the mighty Drive-By Truckers in tow and there was no doubt I'd be in attendance. One thing I've always admired about TTB, albeit from afar, is they take really good bands out on tour with them. That says a lot about their character, they don't simply drag some cheap band around the country, they promote less-famous but highly skilled artists. Giving them a chance to make some cash and spread their name a little more widely. As a music fan and frequent show-goer, I appreciate this on multiple levels.

TTB are a sight to behold, there's no less than ten, usually more on stage at any given time. Derek Trucks, despite his age, has been around for decades and had his own successful band. Susan Tedeschi had carved out an enviable career as a blues artist and when they got married they essentially merged the bands into a powerhouse soul outfit. Two drummers, a horn section, keys/organ and I hesitate to use the phrase background singers, as they all are accomplished singers that sing lead on several TTB songs. They perform the type of unclassifiable music that is near and dear to my heart. Not blues, not pure-soul, not rock, not jam but a mix of all. Truly Southern in sound.

The music gods smiled on us this blazing hot Saturday. My seats were in the upper bowl of the amphitheater in full direct-why-am-I-here Alabama sun. Fortunately, just as the fantastic Marcus King Band opened their set, it come up a cloud, as they say, and blocked the sun all the way to sunset. While on the subject. I have a confession to make, I hate outdoor shows. I just want to enjoy the music, I don't want to worry about weather or mosquitoes the size of Apache helicopters. When I can, I avoid outdoor shows whenever possible. After attending my fair share of summer music festivals set in the South I found myself asking why these weren't in October? I digress.

Regular readers will note that I just saw Patterson Hood a week prior to this show and wrote about it here. So, I was still glowing from that when I got to see the full Drive-By Truckers experience live and in color. As per usual, I was a little late to the DBT party, but I am driving the bus now. I love the crunchy sound, earnest lyrics and the shared connection with my hometown of Florence Alabama makes it that much better. The Truckers have that "any place, any time" vibe. Want them to open? No problem. They play like headliners everywhere they go. Highlight of the performance was when DBT invited music legend and Patterson's dad, David Hood and some guy named Derek Trucks to join them on stage for "Everybody Needs Love" by the late, great Tuscaloosa/North Alabama native Eddie Hinton. This is truly a great band, deserving of far more success than what they currently have. Although I suspect they are happy where they are.

TTB began the show with "Show Me," a Joe Tex cover, and right away the tightness of a band that size impresses. I asked my friend "have they been playing for two hours backstage?" Despite being quite jammy, the TTB don't play marathon shows, nor a large quantity of songs. However, they play long, elaborate songs that feature ridiculous musicianship and vocals to die for. I mentioned earlier my usual disdain for outdoor shows, particularly those in the brutal Alabama summer. Well pass the salt, I'm about to eat those words.. Once TTB settled in and the evening began to cool I was washed over by not only a soft breeze indicative of a distant summer storm but with a feeling that can only be had by witnessing incredible music amidst a sea of like-minded people outdoors. The Tuscaloosa Amphitheater is nestled against the Black Warrior river with an old elevated rail line sitting picturesquely behind it. As if on cue a train rumbled slowly along while the band played. You can't get that indoors.

Prior to creating TTB, Tedeschi toured extensively with BB King. In both shows I attended they performed "How Blue Can You Get" with Susan delivering a vocal performance that BB would certainly approve of. I must add, Susan Tedeschi has blown me away both times I've seen TTB perform. Yes, Derek Trucks is a wizard, yes, the band destroys. But she commands that stage with a powerful voice that just drips authenticity, and she can shred on the guitar whenever she feels like it. We need more Tedeschi's in this world. 

Highlights of the night for me, Eddie Hinton tribute, the train rolling through and forgetting all my troubles during four hours of glorious live music.

-JS

[spiceukonline]

Loyle Carner - The underdog who should win the Mercury Prize

Loyle Carner - The underdog who should win the Mercury Prize

Originality

Production

Tracks

Lyrics

Impact

2017-07-31

4.6/FIVE

It makes me laugh that I only came across Loyle Carner because of a PR email sent to SpiceUK. A little over 18 months ago, his manager was asking us to come and see him in concert. Now we’d do anything for an interview.

Yesterday’s Gone is definitely my album of the year up to now, but my choices don’t often correlate with the Mercury Prize judging panel. Sometimes criticised for being a bit ‘snobby’ with their choices, they are on the search for “artistic achievement'”, celebrating a range of different genres that provide “a snapshot of the year in music”. Their top 12 albums will always be criticised by someone, and there will inevitably be arguments about the winner. But one thing remains, it’s kind of a big deal.

So why is Loyle a deserved winner?

  Pushing boundaries in a genre

Name a British hip-hop star who is respected in the mainstream, as well as within the genre. Now don’t bite my head off, I’m not talking about Grime, we all know Grime is massive, I mean proper hip-hop. Old-school, stylistic, clever lyrics over a funky beat with a few DJ scratches. There has never been an equivalent in this country to the likes of Dr Dre, Tupac and Drake. The way they rhyme has more bounce than UK rappers, Grime is more confrontational, and whether fanatics of the genre like it, this isn’t for everyone.

In my opinion, Loyle is the first of his kind. No one has been able to replicate this style, adored by millions, within the UK’s borders. Moreover, creating such content without relying on the usual rapper go to’s is mind-boggling. There’s a reason hip-hop has a bad name. Even though it speaks the truth about a lot of people’s lives, you can’t get away with talking about drugs, bitches and guns all day long on the radio.

A first person confession about his upbringing in South London, Yesterday’s Gone doesn’t need to rely on the usual click-bait inspirations, no gun fingers or young money will be found here. Carner is part of a new age in this genre,  following the likes of Chance the Rapper and King Kendrick, who are using their music to show you don’t have to be a bad guy to make a rhyme. When you hold artistic influence, it is important to use it wisely.

On Stage Presence

I know this award is about the artistic brilliance of an album but, for me, to discount how it is performed, is naive. Would Skepta really have won last year if all the albums had been listened to independently, discounting who they were and how they are on stage? Knowing how a performer transforms their work is essential to understanding their true talent. For Loyle, this is what he excels at.

He skips through his lyrics with an infectious charm, an ultimate confidence, which reminds me of Kendrick Lamar in a lot of ways. He has no on stage ego, no fake gangster signs, no lies, just him. Balancing cheeky cockiness with respectful modesty, he even brought his mum on stage at Glastonbury, before making the crowd bounce to a song about her. Girls love him, boys want to be him, and the critics can’t shut up about him.

For me, his relationship with DJ and right-hand man, Rebel Kleff, is a big part of his on stage persona. They must practice their songs to within an inch of their life, telling stories about failed fathers and teenage struggles. This connection with the music is hard to find, bubbling through any venue he decides to play. It is this energy that makes me know he could fill any room with his style, from the smallest of venues to the most of impressive of stadiums – his narrative holds no boundaries.

Community Factor

I’ve touched upon how Yesterday’s Gone is not your usual rap album. His understated tone relies upon his childhood memories, and I think it is important to understand how a person’s life controls their music.

Benjamin Gerard Coyle-Larner grew up in Croyden, with his Mother and Step-Father. (He says he has little contact with his biological father). He has ADHD and dyslexia, has been involved in music and drama from a very early age and now helps run several community projects to help children in similar circumstances. The most famous of these are the cookery classes he helps run with The Goma Collective, taking full advantage of his other passion, cooking, and helping children who have similar “problems” that he had.

“She could be my freckle-face fidgeter, me but miniature, sleeping on the sofa ’til she tackles and I tickle her” – Florence is Loyle’s story pretending he has a little sister, so his Mum has another girl to spend time with

Of course, you might be sitting there saying there are plenty of nice people about but that’s got nothing to do with their music. But what I plead with you to understand is how effortlessly eloquently Carner puts this across in his music. ‘NO CD‘ follows the story of an excited child building their music collection, ‘Isle of Arran‘ creates sounds that seductively describes a grieving family and ‘Aint Nothing Changed‘ faces up to the rejection Carner faced when trying to reach the top. This album is a journey through the life and times of a boy wanting to make a name for himself, and the thing that will project him from yesterday into the future.

Simply put, Loyle Carner stands out for all the right reasons. Charismatic yet modest, talented with a personality, honest but doesn’t feel the need to depress you whilst on stage. He is an artist as well as a musician, in everything he does, ticking a lot of the Mercury prize boxes. And when all this is said and done, he probably has no chance of winning because he is too niche, even for this prize. A real underdog amongst a vast array of talent, would they really give it to an MC two years in a row? Well, if that is their choice, there is no stopping where he might end up next.