#the second is lyrics from toxic thoughts by faith marie

[wander-wren]

Oh I'm very interested in "shinkami make questionable decisions"

and the TDBKDK Character study!!!!!

well you happened to pick two of the fics i started very recently, shinkami was created like three hours ago actually but!!

shinkami make questionable decisions

this is a little oneshot that’s part of my d/s au (all sfw here, dont worry), which isn’t superrr important. it’s basically kaminari asking shinsou to use his quirk on him and lots of gay banter. mostly kaminari thinks brainwash is the coolest thing ever and it would be SO fun and shinsou is just ??? you’re not scared of me?? then they have fun with it.

in the context of the au, shinsou is the dom (cmon, i cant Not do it with that quirk) and kaminari is the sub, and he specifically wants shinsou to brainwash him into subspace bc hes a little dumb, a lot curious, and willing to try just about anything once. it’s not actually a lot of questionable decisions i was just not feeling very clever when i titled it lol. if you were wondering, i’m working with a version of shinsou’s quirk where people can still speak and do simple tasks and are like, Aware, but they dont have control, bc it’s more fun that way for Me.

tdbkdk character study

this one was created for a school project actually, i’ve been working on a video series of me writing fanfic and doing voiceover to talk about specific elements of writing it? this time i wanted to talk about keeping characters, uh, in character, and these three, as much as i love them, are hard for me to write sometimes, so i picked them.

the gist is they fight a villain with a quirk sortaaa like…weaker blackwhip? and bakugou ends up wrapped up in it with tendrils/tentacles in his mouth to keep him quiet and it brings up slime villain memories. he attempts to hold it together until he can be alone, but tddk are very persistent and eventually he breaks in front of them. i don’t have a solid plan after that, they’re not even established in this fic and idk if i want to make it a getting together thing bc it’s already like 4k words long and it would very quickly become like 20k if i did that. smthn about bnha, much more than other fandoms, just makes even my oneshots super long

tbh i this one was Not Working when i wrote it and i have some ideas for how to make it work but i havent gotten back to it. partially because, you know, i find these characters hard to write!!

intellectually i know how to do it, i can tell when other people do it right/wrong, but it’s still Rough sometimes.

thanks for playing!!!

[m0nost4tic]

i have this silly thing i like to do where i have playlists for characters i frequently write about. they contain a mixture of in-character songs they'd listen to, songs about their character/personality, and songs relating to their story as a whole

my personal favorite so far HAS to be hikari. there are so many songs that fit him???

full list below //

allies or enemies (the crane wives)

battle cry (the family crest)

battlefield (svrcina)

child of the stars (fish in a birdcage)

curses (the crane wives)

dog days are over (florence + the machines)

don't fall in love with me (tiger hawkins) - for everyone that interprets hikari as having a hard time letting himself be loved

don't save me (chxrlotte) - i'm a bit iffy on this one, but i'll go ahead and list it

fish in a birdcage (...fish in a birdcage)

for the dancing and the dreaming (erutan's cover specifically)

it's ok i wouldn't remember me either (crywank)

just a man (jorge rivera-herrans)

karma (ajr)

lost (fin)

love like you (steven universe)

my love is sick (madds buckley) - i normally see this as more gauged toward hikari/ritsu and the one-sided pain that comes with it

never love an anchor (the crane wives) - another about hikari giving himself a hard time when it comes to love

night watch (naethan apollo)

prophet of pain (ethan jewell) - technically, this is more poetry than a song, but i think it fits regardless

roots (fish in a birdcage)

second child, restless child (the oh hellos)

suffering (am��lie farren)

sometimes (nick lutsko)

the family jewels (marina)

the moon will sing (the crane wives)

thus always to tyrants (the oh hellos)

tomorrow we fight (tommee profitt, svrcina)

tongues & teeth (the crane wives) - yet again for those who see hikari struggling with love due to perceiving himself as a danger

toxic thoughts (faith marie)

two birds (regina spektor) - more hikari & ritsu shenanigans

two face (jake daniels) - iffy on this too, but listing it for the time being

wander. wonder. (the arcadian wild)

your light (will morton, julie wemyss)

three of the few songs i feel fit him the best (in no particular order)

--

i believe the lyrics speak for themself;

"watch the stars at night; how they shake against the dark, like firelight."

"oh, i will fight for you. i will die for you. i will die for you."

"feel the years pass by as the weight of time, it shakes; as the earth, it turns and quakes."

"shed your fears, your tears, your pride, and then ramp into the night; ...and i will fight for you."

in my interpretation, the lyrics primarily focus on hikari's cursed bloodline and his relationship with mugen

"i can't break the cycle, am i just a fool?"

"pass it down from kid to kid, the chain will never end."

"ooh, don't you find it strange? only thing we share is one, last, name."

"did i beat you at your own game? typical of me to put us all to shame."

hikari pushes himself to be better, to be *good* enough, and struggles with his image of self-worth. but this song ends on a more positive note, and i like to imagine that it's him slowly improving

"if this isn't right, then does that mean i failed?"

"the ceiling gets higher and higher, it's harder and harder to shatter; and when i fall, i fall worse than i ever did before."

"evaluating the damage, no, i just don't understand it; conflicted by the very air i breathe, a love with hatred laced between."

"i've lived my whole life afraid, it's time for me to be brave; to embrace a forest that's so dark and unknown."

[chorusfm]

Death Cab For Cutie – Transatlanticism

Transatlanticism is my favorite album of all time. Death Cab For Cutie’s fourth album, released fifteen years ago today, is the band’s second concept album. Transatlanticism centers itself around long-distance love, with both its strengths and downfalls. Ben Gibbard, the band’s soft-sung lead vocalist, lyricist, and guitarist, penned the term “transatlanticism” to express the unfathomable emotional space between two young lovers. The distance Gibbard discusses feels impenetrable. Transatlanticism sees Death Cab For Cutie experimenting with soft-loud dynamics (“Transatlanticism”, “We Looked Like Giants”), perfecting the gorgeous quiet track (“Lightness”, “A Lack of Color”), and witnesses them pushing themselves to go all-out and produce the flawless pop song (“The Sound Of Settling”). Completing all of this is the efforts of guitarist, co-writer and producer Chris Walla. Walla’s lo-fi production is perfect for Transatlanticism. Fifteen years later, and Transatlanticism still sounds incredibly rich and indulgent, yet also warm and intimate. Album opener, “The New Year,” is the first of many tracks to achieve the band’s main goal while working on Transatlanticism. Prior to the release of the album, Gibbard had this to say: We’ve tried to construct it with transitions of songs going in and out of each other, and I think it’s a little bit more expansive than the last record. Immediately, “The New Year” catapults listeners into Transatlanticism’s sweeping world, beginning with a rumbling train; ascending before the arrival of crashing guitars coupled with glowing, bright drumming. In “The New Year”, Gibbard recalls the absurdity of things like “New Year’s resolutions”, admitting: “so this is the New Year / and I don’t feel any different” then, in the second verse: “so this is the New Year, and I have no resolutions”. He also reminisces for simpler times, the periods where “the world was flat like the old days,” so he and his partner could travel to see each other by “folding a map.” Gibbard desires to rebel against distance, but instead, he, unfortunately, comes across as defeated. Transatlanticism explores the agony and challenges of long-distance love further in its runtime, but why should I rush myself? After “The New Year” is the misleadingly beautiful “Lightness.” It’s the first track that encapsulates Death Cab For Cutie’s vision of having songs transition in and out of each other, as “Lightness” flows from “The New Year” in stunning fashion. You don’t even feel it. “Lightness” follows Gibbard as he attempts to create a convincing argument to remain faithful, but ultimately accepts that his thoughts of disloyalty go against what he feels is right. His voice quavers as he tries to strongly declare: “you shouldn’t think what you’re feeling.” It’s brutally honest, in turn making “Title And Registration,” the next track, increasingly heartbreaking. Fun story: I was a foolish teenager who downloaded Transatlanticism from good old Limewire. The download didn’t include “Title And Registration.” I embarrassingly listened for months, not realizing a track was missing, a track I came to love dearly… Anyway, “Title And Registration” finds Gibbard in the devastating aftermath of a significant relationship breakdown. He rummages through the (incorrectly named) glove compartment, just to find “souvenirs from better times” – the souvenirs can be perceived as various trinkets his ex forgot in the car, as well as some photos. “Title And Registration” becomes more desolate when Gibbard recognizes that “there’s no blame for how our love did slowly fade.” Ben Gibbard is a master of capturing the beauty and ugliness of human emotion, as well as the full depth held inside the spectrum of human emotion. Where Death Cab For Cutie seems to thrive the most is in the under-appreciated beauty, “Expo ‘86”. The track sees the band firing on all cylinders: a mellow start, an exciting chorus and bridge, descending piano, and a wonderful juxtaposition between melancholy lyrics paired with extremely catchy music. “Expo ‘86” delves into the toxicity of repeated cycles – “sometimes I think this cycle never ends / we slide from top to bottom then we slide and turn again”, and for listeners who struggle with anxiety as I have, Ben Gibbard captures the uneasy dread of our day to day lives: “I am waiting for something to go wrong / I am waiting for familiar resolve / I am waiting for another repeat / another diet fed by crippling defeat”. With “Expo ‘86”, Death Cab For Cutie assisted confused teenage-me in identifying issues I couldn’t voice yet. I’m not sure if the band knew that this song, as well as the rest of Transatlanticism, really, would be so very helpful for legions of fans years down the track. “Expo ‘86” gave me solace when I desperately needed it. For that, I am eternally grateful. “Expo ‘86” isn’t the only song that makes use of a superb contrast between saddening lyrics and catchy music. “The Sound Of Settling,” a track Ben Gibbard initially disliked but was urged to leave on the record by Chris Walla (thank you, Chris), does it again. It’s a song that quickly turns out to be layered and huge. Opening with a pressing guitar, “The Sound Of Settling” is joined by Nick Harmer’s groovy bass line and Jason McGerr’s urgent drumming. For the first time, Transatlanticism is actually quite amusing, but still so sad: “and I’ll sit and wonder of every love that could have been / if I’d only thought of something charming to say.” It’s a tragic view of what life could be like if we didn’t take any risks. However, “The Sound Of Settling” doesn’t even come close to what the one-two punch of “Tiny Vessels” and “Transatlanticism” make me feel. For a long time, I couldn’t listen to “Tiny Vessels.” It’s a song concerning unrequited love, but on the other side of things. It’s cruel. I do applaud Ben Gibbard for writing the song now; it’s gutsy and emotive, perhaps these stories need to be told, too. But, when Gibbard gently sings “this is the moment that you know / that you told her that you loved her, but you don’t,” I instantly lose it. I’m transported back to a specific, very painful time in my life where my first partner was unfaithful. I’m left wishing he could be as blunt as Gibbard is in this song. As hurtful as “and you are beautiful, but you don’t mean a thing to me” would be to hear, it’s better than the alternative I had to reckon with. Coupled with mournful, swelling guitars and an explosive climax, “Tiny Vessels” remains an emotional powerhouse to this day. Then, there’s the immaculate title track. “Transatlanticism,” to me, is Death Cab For Cutie’s musical and lyrical magnum opus. It opens on a tender note. For half the song, it’s just Ben Gibbard’s voice accompanied by the piano. It’s a tale of the woes of long-distance love – Gibbard is simply beaten here: “the distance is quite simply too far for me to row / it seems farther than ever before.” The overwhelmed nature of “Transatlanticism” isn’t here to stay, though. Before you even realize it, the track opens itself up, developing a romantic swirling experience of both catharsis and celebration. The percussion and piano combined are almost deafening – I can only imagine what it’s like when performed live. Simply and sadly, Gibbard murmurs, “I need you so much closer.” The despair takes over, and multiple voices join Gibbard, wailing, “so come on.” Since October 7, 2003, “Transatlanticism” has soundtracked countless long-distance relationships, including my own. Where “Tiny Vessels” breaks my heart, “Transatlanticism” encourages hope and the release of pent-up emotion. Things get pretty interesting late in Transatlanticism, as “Passenger Seat” is the first happy song on the album. It’s solely Gibbard and a piano, and like “Transatlanticism” before it, “Passenger Seat” is majestic. Gibbard takes us on a road trip where he explores unconditional love. I can’t say for sure whether the duos he speaks of are soul mates or parent and child; you decide how you’d like to interpret it. “Passenger Seat” finds Gibbard feeling utterly safe and deems this person trustworthy: “with my feet on the dash, the world doesn’t matter.” This is a song of deep love and security. When Gibbard resoundingly declares, “when you feel embarrassed, then I’ll be your pride / when you need directions, then I’ll be the guide,” I can’t help hoping I can be that person for my partner, “for all time.” Transatlanticism’s final two tracks keep up the honesty and continue dissecting stories of love. Although, they couldn’t be any further apart sonically or in subject matter. Transatlanticism is a mostly mellow album, until the exhilarating penultimate track, “We Looked Like Giants” begins. The song builds and builds, from opening with droning guitar to the blend of beautiful, melodic piano and steady drums, to all-out jamming. From the moment “We Looked Like Giants” bursts into gear, the band fight to keep the bombastic vibe of the track. “We Looked Like Giants” is incredibly sentimental, seeing Gibbard evoking memories of first love and first sexual experiences. He’s visibly infatuated, and can’t keep his excitement to himself as he croons, “I don’t know about you, but I swear on my name they could smell it on me.” Gibbard also reveals the wonderful feeling of sharing music you love with someone you’re smitten with, looking back with endearment: “do you remember the J.A.M.C. (The Jesus And Mary Chain, who Gibbard himself is a fan of), and reading aloud from magazines?” It’s almost a shame that Transatlanticism doesn’t end there. But, it wouldn’t be right to close Transatlanticism on any song that isn’t “A Lack Of Color.” The closing track, “A Lack Of Color,” has a calming quality about it. However, “A Lack Of Color” ends Transatlanticism on a solemn note. The hushed ballad surveys Gibbard deceiving himself, “and when I see you, I really see you upside down,” and studies opposites: heart vs. brain, “fact not fiction,” before reaching a shattering ending. “A Lack Of Color” is mournfully honest. It’s an acoustic ballad done right. It’s short and not so sweet – thematically, anyway, and transitions all the way back to “The New Year,” with the rumbling, ascending train making its return. My heart falters when Gibbard chants, “I should have given you a reason to stay.” By the end of Transatlanticism, Ben Gibbard accepts that he’s alone. “A Lack Of Color” doesn’t tie up the album with a pretty red bow, and thank goodness for that. Transatlanticism saw Death Cab For Cutie undertake a brave, large sonic leap by sticking to their instincts, resulting in an album that’s equally expansive and personally affecting. I first discovered Transatlanticism when I was 15 years old. Today, Transatlanticism turns fifteen. I can’t begin to explain how much I’ve grown and changed in the last seven years, but I can be assured that no matter what path I go down in my life, Transatlanticism will always provide an immense sense of comfort. It’s still my go-to album on a crisp autumn or winter’s day. Transatlanticism still invites nostalgia, motivates me to frequently remind my loved ones just how much I love them, and one day soon, the album art will be my first tattoo. It’s a journey, from the incoming train circling “The New Year,” making its way back to “A Lack Of Color.” The stories enclosed in this record are all stories we know, understand, but might not have articulated ourselves. As a result of that, Ben Gibbard comes across as an old friend. The instrumentation and production envelop listeners in warmth to this day. Death Cab For Cutie captured magic with Transatlanticism. Even now, its core concepts, transitions, fuzzy arrangements, and lofty ambitions are inspirational, to musicians and fans alike. Simplicity is beauty, less is more – I’ve always strongly believed in those statements, and that’s where Death Cab For Cutie find their biggest strength. Transatlanticism is supremely relatable, dramatic yet restrained, and its humble power will endure for many more years to come. --- Please consider supporting us so we can keep bringing you stories like this one. ◎ https://chorus.fm/review/retrospective/death-cab-for-cutie-transatlanticism/