#the vocals and harmonies in boss are excellent

[ennuijpg]

okay the new japanese versions of libido, dora maar, and boss on the chrome arts mini-album are actually rly good, this is what japan best album wishes it was

[blasphemousclaw]

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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[shemakesmusic-uk]

This segment features artists who have submitted their tracks/videos to She Makes Music. If you would like to be featured here then please send an e-mail to shemakesmusic@hotmail.com. We look forward to hearing from you!

Emily Kate

Toronto-based recording artist, Emily Kate perfectly bridges the gap between country and pop with her unique sound and lyrical storytelling. Pulling from real life experiences, her music conveys relatable thoughtful messages weaved with fresh, soulful melodies. Her meaning filled lyrics coupled with her warm sound is often described as Kelsea Ballerini meets a motivational speaker. She has just released her new EP All In. “These songs have taught me how to love myself, feel inspired, chase my dreams, have fun and grow as a person,” says Emily. “They've been my reminder and helped me through heartbreaks, insecurities, and now they get to be yours. All In features a track which I wrote the morning after a fun night out. This upbeat song is about going out with friends and meeting someone who takes your breath away. Its lyrics are a twist on the common saying, you had me at hello, and instead, this song is about someone having you ‘The Whole Time.’” Listen below.

Emily Kate · The Whole Time

Jordana Talsky

Jordana Talsky is a singer-songwriter and vocal looper who fuses multi-genre influences into her own sound. She accompanies herself by voice with a Roland Boss RC505 loop station. Her ethos is to incorporate digital means into live performance in an organic way, and with the loop machine, she creates a choir on the spot with no pre-recorded parts. Her new single ‘Oh Yeah,’ represents a moment of awakening, like when you remember something you had forgotten about a dream that all of a sudden comes back in a flash, a moment to stand outside of yourself and contemplate, embrace, and inquire of your life. “It takes work, all the time, to choose not to look away and to be honest with ourselves,” says Jordana. “These moments, delicate and challenging, are insights into our authentic selves, that may offer a fresh vantage point from which we can choose to heal and evolve. Inspirational, fun and harmony-rich indie-pop, ‘Oh Yeah’ is about listening to your inner voice and taking faith in the spark you uncovered deep within you.” Listen below.

Jordana Talsky · Oh Yeah

Nimkish

To fully immerse in the multitudes of rising queer Indigenous star, Nimkish, is to honour the past, look ahead to the future, and bask in the resplendent present all at once. The Vancouver-based artist is fearless in her lyricism, confronting anti-Indigenous racism and colonial violence alongside other hard subjects like anxiety, grief and heartache. To the great tradition of singer-songwriters healing through their music, Nimkish brings a bright-eyed aim to flourish in all she has experienced. Nimkish’s lyrics give affirmation to past pain while living in the moment. To some it may sound like escapism, to others it may sound like moxie-driven R&B-pop pulsing through the club. What’s certain is her fortitude — she’s on a mission, combining the coolness and creativity of the TikTok generation with the lucidity and confidence of a grown woman. Nimkish’s anthemic new single, ‘YSB,’ features ASCXNSION and is about the need for healing, freedom, and to be heard. "’YSB’ is about the need for healing, freedom, and to be heard,” explains Nimkish. “Are you listening? Do you hear me? Am I screaming out into nothing? This song is about feeling like you can't get ahead, and specific issues that we as Indigenous women work through on a daily basis. Our generation has been left to deal with trauma and we are continually fighting for equity. It can feel exhausting to constantly try to be truly heard. I wanted to go deeper on this project and write about real shit. What we have created is anthemic, resilient, and confrontational, despite the vulnerability that it took to write about our lived experiences. This release is about showcasing Indigenous excellence and the need to amplify our voices. Our time is now – the future is Indigenous.” Listen below.

NIMKISH · YSB (feat. ASCXNSION)

Tana

Tana is an artist, writer and a topliner with charge and a unique flair for lyrics and melody. Her rich and diverse views on gay culture, have strongly influenced her musical and personal journey. Tana’s music is unapologetic, revolutionary, and liberating. At heart, Tana is a true artist, and is inspired by many things around her - people, sexuality, her heritage (being half Italian and Nigerian), the city she grew up in, and the LGBT community. She places diversity at heart and aims to make music that relates to the masses, whilst pushing her creativity at all times. Her array of influences create new ideas and sounds that break traditional boundaries. Think Halsey & The Weekend. She has just released her new single ‘Bad Habits (Keep On Coming)’. Tana says of the track: “I wrote ‘Bad Habits (Keep On Coming)’ over lockdown, and it’s about wanting to grow from a toxic relationship. I found myself holding onto flaws and limitations that really effected my personal growth, and writing about it helped me recognise these issues and learn from this experience.” Listen below.

Love Crumbs

Love Crumbs is a folk-rock and Americana group based in Massachusetts. Known for blending poignant lyrics with evocative vocal storytelling, their nostalgic, timeless, heart-on-sleeve sound harkens to a bygone era. They have just released their new single ‘Ellipses’. “The track is about trying to connect with someone and not being able to despite the best of intentions,” says Mike. “It's about the things that aren't said or are left unsaid. It's about a meaningful relationship that ended kind of suddenly. The person was typing to me (as evidenced by the "...") but I never got to hear their response. Closure isn't something that someone gives us, in the end. It's something that we have to come to on our own. The sonic influences for me on this track, probably in particular the chord changes in the verses are Neil Young, the pre-chorus Tom Waits.  I wanted to stack Ali's vocals because it has an unreal sound (not occurring naturally, similar to Royals by Lorde) that can work in the right context.” Listen below.

Love Crumbs · Ellipses

Anniee

Anniee is an electronic artist and theatre composer based in Montclair, NJ just outside NYC. As a vocalist she has performed in a variety of styles and genres. Recently she has turned her attention to producing synthwave and retrowave tracks with modern and minimalist vibes. She has just released her new track 'Lonely Wolves'. "'Lonely Wolves' is moody and driving, with retro vibes and a modern sensibility—an intense journey exploring breakdown in relationship," says Anniee. Listen below.

Anniee · Lonely Wolves

Leah Rose

Emerging pop songwriter and producer Leah Rose has released her debut single ‘Goodnight’. The melancholic hue of ‘Goodnight’ arises from the sentimentality of a writer reflecting on a landscape they no longer exist in. The song was written and recorded in lockdown and is a prime example of how an artists’ time in isolation can result in the inevitable dissection of their past. Sonically, ‘Goodnight’ was inspired by artists such as Lorde, The Weeknd and Charli XCX. Leah Rose is a Cork-born artist who has spent the last 5 years based in Dublin. She spent much of that time honing her craft, finding inspiration in lyricists such as Alex Turner and Lana Del Rey. Strong imagery and colour play a huge role in Leah’s songwriting. Growing up with artists for parents meant that Leah was exposed to a range of visual art forms at a young age. She strives to create art not only through music but through her artwork, photography and overall visual aesthetic. “I see my songwriting style as atmospheric and somewhat abstract,” she says. “I love being able to use music as a tool to materialise the things I see in my mind. So when I write a song I try to place the listener right in the centre of my memories and daydreams”. Listen to ‘Goodnight’ below.

Leah Rose · Goodnight

Felyce

Felyce's alt-pop root influences shine through on her shuffling and atmospheric alternative Pop/R&B new single ‘Skin’. The Paris-based singer-songwriter Felyce shares the struggle she faced accepting the color of her skin while growing in France. Getting away from slow tempos, ‘Skin’ offers an energetic but still dark ambiance. Felyce wrote and performed ‘Skin’ and she worked with professional arranger Nicolas Lassus to make the song what it is now. She said in statement: "I wrote 'Skin' thinking about that beautiful story I heard once. A young black girl wondered why her skin was so dark and her mother told her the reason was because the sun loved her too much. That story really stuck with me". Born and raised in Paris, she spent most of her time between stage performances and school until high school when she put most of her focus on studying while writing her first full songs on the side. Felyce graduated from university in 2016 before starting a short career in HR but she realized that music was the only career for her and began learning production the next year while working on her debut EP Fear which dropped in 2018. She's been steadily releasing singles and crafting her sound since; embracing her formative influences, including British pop music acts like Sam Smith, Robbie Williams, Birdy, and American pop acts such as Lana Del Rey or Banks. Listen to ‘Skin’ below.

Kenzie Webley

Kenzie Webley has been writing songs since she was 13 years old but only started recording last year just before lockdown. Her new single 'Loveable' is out now to coincide with her finishing her A levels. Her debut album is almost finished and she already has the songs written for her second album! 'Loveable' tells the story of a couple arguing in public after a night out. It's from the perspective of someone who recognises their own culpability in the events. Listen below.

URARTA

URARTA’s new EP consists of four tracks centred around the issues of standing up for yourself and others, respecting the planet’s boundaries and looking out for your own. Musically, the band has its heart in punk, but simultaneously flirts with genres such as post punk, alt-rock, noise, Goth and indie. The lyrics are in English and in the dialect of Skåne –the southern part of Sweden where the band also has its geographical base. URARTA consists of Monica Richter (vocals), Ketty Hagmann (bass) and Tove Lorentz (drums). Listen to the song ‘D.I.Y’ below.

Vol 2: Vi Fick Fel Adress by Ursäkta Röran

[jupibu]

“I am that bitch” Playlist

Here is a description of an all women playlist featuring super varied genres and feels for dancing and raging to all at once. No boys allowed! (in the list of artists. All can feel free to enjoy the jams!)

1. Little Simz - Venom

Song description: Little Simz is a highly skilled UK rapper who has been killing it for quite some time now (“do you want to see a dead body? prolly not”). This track features some spooky strings and a beat you can bounce to while you smolder with rage. What’s not to love? This and the rest of the album, Grey Area, are absolutely fantastic.

Choice lyrics: They would never wanna admit I’m the best here from the mere fact that I’ve got ovaries. It’s a woman’s world, so to speak. Pussy, you sour, never givin’ credit where it’s due ‘cause you don’t like pussy in power. VENOM.

2. Poppy - Bite Your Teeth

Song description: Switching gears to some heavy metal (forgive me if this characterization is off, rock sub-genres are very difficult to tease out if you’re not paying close enough attention). This soft spoken lady will rock your face off with very to-the-point lyrics. Though Poppy is a bit of a controversial figure, I salute her emancipation from the clutches of a shitty dude and bow down to the achievement that is her most recent album, I Disagree.

Choice lyrics: Bite your own teeth, don’t cry just bite your own teeth. Don’t cry, keep on trying. Don’t cry, keep on trying to bite. Creeps are creeping, teeth are sinking into my teeth.

3. Saweetie & GALXARA - Sway With Me

Song description: From the Birds of Prey soundtrack (which may have served as a bit of inspiration for this playlist) this pop banger is too much fun. You can imagine yourself kicking ass and taking names with Harley and the crew. Saweetie and GALXARA are awesome together and make you want to dance.

Choice lyrics: Tell your people to call me if it is ‘bout that chicken, the most wanted in Gotham, all your diamonds is missing!

4. The Like - What I Say and What I Mean

Song description: A little early 2000s indie rock from girl group, The Like has fun crunchy guitar chords and a couple cool harmonies for jumping around and shout singing along to. Rock on, girls!

Choice lyrics: Never going back and forth I’m only going forward, that’s what I keep saying. Never going back and forth I’m only going back, that’s what I mean. Something haunts my dreams. Don’t know what it means.

5. SOPHIE - HARD

Song description: Deranged electronic music is what this is. Just industrial, sexually charged, clanging metal and snapping polymers to oppress the senses. SOPHIE’s music is excellent and interesting. Her songs almost always have fun juxtapositions like the sweet little voice in this track against the noise that is the beat. Shout out to all the trans ladies!

Choice lyrics: Latex gloves, smack so hard, PVC, I get so hard. Platform shoes kick so hard, ponytail, yank so hard.

6. Doja Cat - Rules

Song description: Meme goddess and all around fun artist, Doja Cat has a very eclectic style. This track features a sexy, laid back vibe, and Doja just has the coolest attitude on it. (She also has a club banger on the Birds of Prey soundtrack!)

Choice lyrics: Look at me like I’m alien, bitch, I’m fucking reptilian. Bitch, bitch, ah. All y’all bitches was wrong, talkin’ bout how I fell off, you ain’t even get on. Bitch, bitch, ah.

7. Amy Winehouse - Me & Mr. Jones

Song description: A swinging, slower-tempo, horn band backing Amy’s fabulous vocals and attitude-filled lyrics. She is that bitch. Rest in peace, girl.

Choice lyrics: What kind of fuckery is this? You made me miss the Slick Rick gig.

8. Lily Allen - Insincerely Yours

Song description: The anthem for an office party where you resent your bosses for making you work long hours and not recognizing you. Lily Allen may have a sweet voice but she cuts right through bullshit and makes it clear why she’s at this lame event anyway on this track. This pop tune features a smooth R&B feeling beat accompanied with very jaded lyrics. Everyone can relate.

Choice lyrics: I’m not your friend and I can’t pretend, I ain’t being funny, funny. Let’s be clear, I’m here, I’m here to make money money money. If I force a smile I can make it worth while. Don’t touch me honey, honey. Let’s be clear, I’m here, I’m here to make money money money.

9. Yeah Yeah Yeahs - Heads Will Roll

Song description: Another early 2000s indie rock song but with a very different feel to The Like. What can I say? When Karen O says that heads will roll, you believe it, and it makes you want to dance!

Choice lyrics: Off with your head, dance ‘til you’re dead. Heads will roll, heads will roll, heads will roll, on the floor.

10. Beyonce - Formation

Song description: I mean come on, it’s Beyonce. This track in particular has such a weird beat that I love and the predominant mood here is “I slay.”

Choice lyrics: Always stay gracious, best revenge is your paper.

Enjoy!

[crimsonrevolt]

Congratulations Eliza you’ve been accepted to Crimson Revolt as Sirius Black

↳ please refer to our character checklist

Sirius Black is a character held very close to my heart, and let me say that when your application came through we were obsessed! You capture him so well, I found myself so drawn in with every new section. From your explanation of him as a character to your headcanons and question responses, it’s obvious to us that you love him as much as we do and will write him beautifully. We’re so excited to see you join us, welcome to the group! *Your faceclaim change to Matthew Daddario has been accepted.

OUT OF CHARACTER

Introduction: I’m Eliza, I’m 22, and my preferred pronouns are she/her.

Activity: I’m currently in my final year of uni, so aside from any sudden tsunami of work (always possible) I’m legit doing nothing except sitting on my laptop trying to figure out how to procrastinate my Commodus essay. So, uh, high.

How did you find us? through the marauders era tag, I think!

Anything else? Nothing that I can think of.

IN CHARACTER

Desired character: Sirius Orion Black – Orion for his father. Sirius is a family name; he’s technically Sirius Black the Third, but that’s not something he likes to shout about.

Birthday / star sign: Sirius was born on November 3rd 1960, which makes him a Scorpio, and if you need anymore proof that astrology is real I don’t know what to tell you.

Occupation:

Bartender. Sirius doesn’t need to work – his Uncle Alphard made sure of that – but he learned the hard way that nothing’s worse for his mental health than sitting around all day, picking at old wounds. He works at a bar just off Diagon Alley, wizarding, except for the occasional lost confused muggle. He’s good at his job; he likes to talk to customers, he enjoys small-talk, and he makes a killer martini – plus, it’s the perfect position to be in to gather information. He’s friendly with his boss, and on the second floor there’s a large room that is the perfect size for meetings of a book club. A very special book club, with no books.

Faceclaim:

I absolutely love Miles, but finding gifs for him is tough – could I use Matthew Daddario instead? (or, if you hate him, Aidan Turner or Harry Styles or Ezra Miller?)

Reason for chosen character:

This is actually the last part of the application I’m filling in – I’ve spent ages trying to figure out how to answer this question. Why did I pick Sirius? I can write him well, that’s true, I have a proper handle on his voice and how I think he’d react in most situations, but it’s more than that. I think that Sirius, in any marauders era rp, has the greatest possibility for plots; he’s extroverted, has a finger in basically every pie, and his future looks pretty bloody dreadful from a canon perspective, which is something I love. Give me all the blood and tears you can and I’m happy. Besides, I like Sirius. I think he’s a good man at heart, but his flaws are so immense that he’s fascinating to write. So I guess I picked him because I’d like to be his friend, but would hate him at the same time, and that’s all you want in a character, really.

In this section you should also describe the character and how you see them.

Inherently, Sirius is a man with many flaws that often overwhelm him. He is trying to be good, but not always succeeding. He enjoys the pain of others too much for comfort; he can switch to cruelty in an instant when threatened. He has much less of a conscience than James does – in fact, many would say that James functions as his conscience, that the two of them are two parts of one whole. When, at sixteen, he finally left the Black family for good, he cut them off in his mind as well as in practice, finding it easier to cope with the pain if he forced the world into black and white instead of shades of grey. It is only as he gets older that he is beginning to see the difficulties of choice facing his cousins – but his pride won’t let him admit such a thing. He was brought up with all the prejudices that came with the Black family name; his parents, though not Death Eaters, were violent people, viciously against muggles and muggleborns. He’s certain that his father at least is a murderer, and knows that they rejoice in the insanity of his cousin Bellatrix and all that brings with it.

The main way Sirius coped with the loss of his family was by demonising the lot of them. That isn’t, in a way, incorrect: the Blacks were and are at the forefront of the Death Eaters, and Sirius was always too compassionate to easily accept that ideology. But equally he refuses to see any good in them. Anyone who is even neutral in the war turns his stomach. He cannot understand the difficulty of choosing between your morals and your family – after all, he did it, didn’t he? He sees fighting as the only moral option, and that puts him in conflict not just with Death Eaters, but with other bystanders too.

Preferred ships // Character sexuality // Gender & Pronouns:

Bisexual | cis male | he/him

Preferred ships: I’m a sucker for wolfstar, but honestly anything with chemistry works for me. If you can come up with a horribly angsty plot, so much the better, because Sirius is not lucky in love.

Details:

Walburga and Orion had a happy marriage, but it was not one that set a good example to their son in terms of love. They never showed affection in public – Sirius never saw them so much as hold hands; when, as he was storming out of Grimmauld Place for the final time when he was sixteen, he saw his father place a hand on Walburga’s shoulder, he knew that he had truly gone too far to turn back. Their affection was based on fierce loyalty, concurrent goals and ideology, and matching intelligence that they both passed down to their eldest son, but they treated each other only with cold respect in front of their children. With no model of domestic harmony to fall back on, Sirius has never been very emotionally capable. Passionate by nature but always unsure of the affection of others, he tended at Hogwarts to fall into a pattern of obsession and then rejection that had him labelled a womaniser.

Sirius’s love for boys – it is a love for boys, he’s long since accepted that; at first he told himself it was just because he liked sex, but that theory’s been scuppered over and over again – is something that he is relatively open about. He is lucky in that his group of friends are quite accepting; even those who don’t understand the sexual revolution that has been happening in the last decade see it as another of his quirks, oh, that’s just Sirius. His self-confidence, as fuelled by the Marauders, has meant that he has rarely struggled with his sexuality – it’s another thing his family would hate him for, and therefore something else to be proud of.

CREATE ONE (OR MORE!) OF THE FOLLOWING FOR YOUR CHARACTER

Potential plots:

1. James Potter:

James and Sirius are two parts of one whole – Sirius sees him, with typical casual self-deprecation, as the sunlight to his own shadow. Sirius is hardly the sort of person to let anyone take a curse if he’s in the vicinity, but for James Sirius is pretty sure he’d do anything. Not only did James complete the transformation, already begun through his parents’ cruelty, of Sirius from Pureblood supremacist to fully-fledged blood traitor, but also makes him the best person he can be. Around James, all of Sirius’s rough edges are smoothed out; he’s at his funniest, and also at his kindest. They see each other every day, people take the absolute piss, and Sirius loves it.

2. Remus Lupin:

Ah, Remus. Sirius has been in love with a lot of people throughout his life – he can’t help it, he’s a Scorpio – but Remus, well, he lingered. Not that Sirius would say anything, and he spends half his time mocking his friend so thoroughly that no one suspects, and anyway, he’s over it, obviously, times five hundred. But there it is – Remus Lupin, lingering.

They work well together, is all. Remus looks blankly at him every time he makes a bad joke, which is excellent for Sirius’s ego; when Remus wakes up bloodied and furious with himself and the world, Sirius is there, feet up on the bottom of his bed, bottle of water in one hand and cigarette in the other. Remus knows that Sirius secretly likes to read, curled up in his kitchen with a mug of strong coffee, and Sirius knows how Remus likes his gin (strong, expensive). They might not be like James and Sirius, but they can sit in silence for hours, and a lot of the time, that’s all Sirius needs.

3. Regulus Black:

For a long time, Regulus was Sirius’s only friend – something he now says in a tone that’s supposed to be funny, but no one really laughs. A large part of Sirius, larger than he’d like to admit, knows how similar they are, how easily he could have been like Reg, had he not been the heir and subject to more pressure, had he not had James, and for a while he tried to be James to Regulus. But it was fruitless; perhaps it always would have been. Every so often they see each other, and it makes Sirius want to go and drink for five days – usually he then does.

4. Aversio

Sirius was an obvious choice for Aversio recruitment – not only is his cousin Andromeda a member, but he has often vocally and emphatically (and sometimes violently) declared his dissatisfaction with the Order. Weighed down by bureaucracy and occasionally the very prejudices they claim to fight against, Sirius sees the Order as a useless, bloated organisation, too afraid to do anything except wave placards in the air outside the Ministry. He has taken part in several Aversio attacks, but keeps his involvement entirely secret, except from other members. He is suspected, of course, and doesn’t like to openly lie, but there’s no proof; he’s still a member of the Order on the surface. He sees fighting fire with fire as a moral choice – to do anything other than the utmost is to betray the cause, and to be no better than the enemy.

Mini-headcanons:

nicknames padfoot

star sign scorpio

mbti ESFP, the Entertainer

greek mythological counterpart Poseidon, god of the sea, of earthquakes, of storms and horses, protector of seafarers, associated with drowning and madness.

season autumn

deadly sin pride

heavenly virtue liberality

element fire

flower gladiolus. Gladioli symbolise strength of character, faithfulness and honour, as well as remembrance and infatuation, with a bouquet conveying to a recipient that they pierce the giver’s heart with passion.

colour storm-grey

wand elm wood, unicorn hair, 11 inches, excellent for hexes

patronus black dog

early bird or night owl night owl

greatest fear rejection by his found family

secret superstition has a terrible habit of crossing his fingers while he sleeps to ward off bad dreams

small facts

Sirius can ice skate. He can play the piano. He can ballroom dance. He can make a wicked spaghetti bolognese. He likes to read, but can’t write to save his life; his handwriting is something close to incomprehensible. He has an average singing voice, he loves muggle music, and he wishes that he was born a Beatle. When he was fifteen years old he lost his virginity to a distant French cousin of James’s somewhere behind the Potters’ Quidditch pitch. He has been in love, at various points in his school career, with Remus Lupin, Lily Evans, Glenda Chittock, and probably Minerva McGonagall. He hates anything that tastes like nuts, won’t touch sugar quills, and changes his hairstyle every three days. You can tell that he’s unhappy because he retreats inwards, goes quiet, stormy. He likes Quidditch but prefers motorcycles, much to James’s disgust. He thinks marriage is a scam, but secretly wants children desperately. He loves cats, but they hate him. He would die for his friends.

IN CHARACTER QUESTIONNAIRE

Do you think it is more important to be feared or loved? Which would you rather be?

SIRIUS: Loved, for sure. Who’d say feared? Being feared is awful; there’s nothing more toxic. It wraps itself around your lungs like a sickness, like clove cigarette smoke, and twists you all up inside until it’s all you lust after, that look in someone’s eyes when they’re afraid of you. No, that’s not for me – I couldn’t trust myself not to want more. Love is good enough.

What is one thing you would never want said about you?

SIRIUS: That I was boring. Can you imagine? You’re sitting there, in your Hufflepuff scarf (you’re definitely a Hufflepuff in this scenario), and you’re eavesdropping on some older, way cooler students (one of them is especially dashing) and they say that they got trapped in conversation with you on Tuesday and couldn’t get away. They wanted to get away from you because you bored them to tears. I think I’d rather die than be in that position. You know what they say – all huff, no puff. Or something. Do they say that? They should.

If you were able to invent one spell, potion, or charm, what would it do, what would you use it for or how would you use it? Feel free to name it!

SIRIUS: oh, I’d absolutely invent a cure for lycanthropy. I don’t know if it’d be a charm, or a potion – probably a charm, because Lupin’s the worst at taking potions on time, and he’s the only werewolf I give a fuck about. Wait, did he not say that? Did he forget he was a werewolf? What, and I’m here, slaving over a cauldron, wasting my life away in this dingy basement (obviously I’m brewing this world-changing potion in a basement, by torchlight, also for some weird reason I’m wearing a full-length black robe?) like Nicholas fucking Flamel? I swear to God –

What kinds of decisions are the most difficult for you to make?

SIRIUS: it’s not necessarily that I find making decisions hard. I make decisions fast, and find it hard to go back on them. It’s more that – well, making the correctdecisions is difficult.

When I was sixteen – and I’m not introducing my age because I think it excuses it; it doesn’t, I’m just trying to set the damn scene – I made a mistake that could have – well, I was going to say it could have destroyed my friendships, but it was more than that. It could have made me a murderer, and Remus too. I’m only telling you this because I am assuming it will never go any further than the two of us. I don’t tell other people’s secrets.

I hated Severus Snape from our first day at Hogwarts. He was arrogant, and he was nasty, and he was clearly in deep with the dark arts, which I don’t hold with. Prongs hated him too, for other reasons that he’ll probably tell you considering he takes any opportunity to go on about Evans. And sixth year was shit. Again, that isn’t an excuse – but that’s what my mindset was, that autumn. My uncle Alphard had just died. I knew that I would never see my brother again, and traitor that he was, he was – is – still my brother. I came back to Hogwarts in September and it felt like a dark cloud had just broken over my head. It wouldn’t go away. I’m going to put this bluntly, because it’s how I do things best – Remus is a werewolf. That’s relevant.

In November, we all knew Snape was sniffing around. Moony had been off at the beginning of the month, and it had been a shit full moon; I wasn’t in a good enough place to control him as well as I should’ve been, and we were all roughed up the next day, Moony the worst. Prongs had a nasty black eye, as I remember; I had a cut up face, Peter was limping. Snape had been watching us. We were all on edge; he’d been close to figuring out Moony’s secret for years, and we knew that if he found proof he’d spread it all around the school. He’d want Remus out – expelled, or worse. As December grew closer, we grew worse. We were snapping at each other, we were getting close to fights every damn evening. Moony was pale and ill the entire month, there wasn’t even the usual grace period between moons. It felt like everything was bad.

The full moon was on December 2nd. That day, James and I had had a catastrophic fight about everything and nothing – we bickered like fucking lovers back then. I bumped into Snape at the bottom of the Astronomy tower, and I – I told him where to find Remus.

God, I regretted it. I regretted it immediately. But even then, even though I knew it was wrong, I hadn’t figured it all out. I’ve always been bad at seeing consequences. When I found James and told him, I was laughing. I thought we’d give Snape a scare – then he’d never bother us again. James has always been a better man than me; he knew immediately what would happen. Remus would kill Snape, or bite him – we weren’t sure which was worse. James went after him. He saved his life. Snape wasn’t grateful, the fucker, but I – well.

Remus forgave me first. He shouldn’t have; I didn’t deserve it. I couldn’t give less of a shit if Snape dies, but Remus would have been affected; I would’ve made a killer out of him. But we could never fight for long; we don’t give each other the silent treatment. I think Remus would forgive me anything. James, on the other hand, took months. Even now, he looks at me different. That’s the sort of decision I’d take back in an instant. That’s the sort of decision I find hard to make.

REACTION TO LAST EVENT DROP

Sirius would be right up there with Amelia and Dirk at the Quidditch match – he fiercely believes that Aversio has the right way forward, and especially after the Order’s apparent dismissal of Edgar Bones’s disappearance (Sirius sees everything other than intense passion as dismissal), he’s feeling even more frustrated and disenfranchised. He would absolutely be helping Marlene and James, though likely getting in the way somewhat, given his tendency to go in all guns blazing (all wands blazing?) when it comes to his family. Fuck Bellatrix is his phrase of the week…well, the month. The year?

I don’t know if Sirius would take direct part in the actual mission to rescue Edgar – it probably makes more sense rp-wise if he didn’t, maybe because the others don’t trust him (though I don’t know if James would leave him behind). Either way, Ed’s return is a positive for two reasons – one, Sirius likes the bloke, and two, he’s hoping he can use Ed’s rescue as a concrete example of Aversio doing better than the Order. Politics, mate.

WRITING SAMPLE

Sirius Black was up a tree.

He didn’t spend a lot of time up trees, as a rule. But it was the first of September, and as such he was avoiding people - and in the Potter household, the only place it was feasible to be alone was in the branches of the huge oak tree in the grounds, out by the Quidditch pitch. He’d climbed it, hands slipping on the wet bark, about an hour previously, and he was starting to shiver.

It was unseasonably cold for September. The wind whistled through the leaves of the trees and caught at his hair, tangling it into messy curls; he huffed and pushed it out of his face and let the rain sweep down in huge sheets. He imagined it washing his features away, leaving him with nothing but a blank canvas which he could paint over, inscribe new eyes, a new nose, a new mouth. Maybe he would make himself a Potter. He closed his eyes and imagined them hazel and bright instead of grey and sharp, and knew he was being fanciful. In the Black household, being fanciful was on a par with dreaming below your station, and Sirius, though naturally imaginative, couldn’t shake that last remnant of his mother’s distaste.

He opened his eyes and watched the water drip off his eyelashes in diamond flashes. He was freezing. Surely, he thought, somewhat bitterly, if this was meant to be a formative moment in his life the world would allow him a few more moments to be at least healthily warm so that he could get his musings into better shape. But it was not to be: he was starting to shake, and even he couldn’t pretend to be fine much longer.

Below him, a figure was struggling through the wind, down the sloping grass from the front door. “Sirius!” the figure howled into the combative weather, the wind tossing his voice away towards the lake. “Oi! Black! Are you completely fucking insane?! Get inside, it’s half-eight! Mum’s made bacon!”

Bacon - now that, at least, jerked Sirius out of his stupid melancholy mood. He slid gracefully down the trunk of the tree and landed with a thump and a squelch of mud in front of his friend, who glared at him through rain-speckled glasses.

“I,” he explained, with dignity, “was having life-changing thoughts.”

“Brilliant,” snapped James, in a manner that suggested it most definitely was not. “But Catchlove’s tits can wait, Black, because I’m starving.”

[8dpromo]

Azieb and KiloWatts - Glimmer in the Dark (Harmonious Discord)

8DPromo · Azieb and KiloWatts - Glimmer in the Dark (Harmonious Discord)

"Keep your balance, don’t let it rock you. When you are feeling uncomfortable, that’s a sign you need to grow.” Even the longest wars subside, and collectively humans reach for the light, the "Glimmer in the Dark." An empowering message from Chicago DJ and performing artist Azieb, who is infecting airwaves and inclusive spaces with a cerebral brand of cross-genre melody. Azieb transverses broadband wires and outer space satellites to collaborate with Harmonious Discord hometown hero KiloWatts. The result is an undefinable mixture of calculated atmospheres and guiding lyrics with spectacular reworks from Polygon Rainbow, PointBender, and Patchen. Swim through this palette of textures and sounds. The original is a particularly musical construction with a strong focus on subversive yet complex synth and drum construction. Front and center are Azieb’s messages ushering and often leading the musical discourse. Later entrances of stuttered percussion and interleaved bass turn this taste into a bonafide journey, a fitting task for upper west coast journeyman Polygon Rainbow. His remake embodies the musical space and expansiveness of the original while exploring new broken beat variations and breathtaking breakdowns. HD label boss PointBender provides a stripped electro revision with progressive layers and tendencies. This remix captures the power of the original vocals and elevates the energy for the dancefloor. Rounding out the project is Patchen, hot off his recent album Southwest Passage. Patchen layers cinematic atmospheres and outer space leads until an evolving arpeggio dominates the musical expanse. This project is a reminder that the creative energy of the underground may prove to be the elusive glimmer in the dark.

Jon Fugler (Fluke) – “Beautiful vocals blending effortlessly with a fine selection of remixes - Patchens Affirmation wins by a whisker.” Flash Atkins (Paper Recordings) – “Great EP but it’s the original that does it for me.” Redstickman (The Ambient Mafia) – “So Chill! Love this so much.” Nick Warren (The Soundgarden) – “Excellent music.” Double-D (Funky Fresh Radio Show) – “PointBender’s electro mix is rockin’.” Dr. Best (Radio Z 95.8, Neurnberg) – “The Polygon Rainbow Rework is my favorite here.” Sandro Bianchi (Ibiza Sonica) – “Great original & Brilliant Remixes.”

Available Now From: Beatport, Bandcamp, Apple Music, And Spotify.

[plungermusic]

A fifth of 80º proof, oak-aged, smooth, and golden …

… vocals. Up until now Plunger have had to make do with occasional nips of the whiskey-and-molasses voice of Drew Young, in his occasional singles, but finally thanks to Bourbon & Bad Decisions we’ve got fourteen-tracks-worth of those warm, treacly tones to savour. 

Not to mention his way with a grab-you-from-the-off tune: opener Try Me, a relaxed sunny stroll in a Bruce-on-the-West-Coast vein, features organ, piano, slide dobro and Jason Roller’s killer electric guitar hook to reel you in, plus a sweet harmony vox midbreak and a proper ‘Boss’ quiet-piano-building-to-full-band-close finale. You’re Just Too Good To Let Go and A Couple Of Rounds maintain the easygoing ambling pace: Matt McGee’s Meisner-y to the fore bass in the former is accompanied with Dwain Rowe’s swirly Hammond and high “Ooh!”s from Amy Trail and Roan Smith, and some gently melodic 80s guitar noodles; while the latter’s blue collar anthem finds Drew’s honeyed rumble at its lowest, as well as a near a cappella chorus and more Knopflery mellow twiddles.

Rootsier flavours come in the country-troubadourish Don’t Leave This Magic Moon, with acoustic guitar and Steve Holland’s train-track brushes (although there’s still plenty of sophistication in the surprise major-to-minor-and-back shifts and polished multi-vox harmonies) and in the twin-acoustic filigree and chamber-bass (from Kilbey Mears) of Wondering Where This Will End where warm harmonies from Kelly Bayfield and David Booth gently build to a rich a cappella close.

Sing Me A Happy Song employs pedal steel-like shimmer, mandolin and drums for an upbeat Nashville roadhouse love song, while the thumbs-in-belt-loop boogie It’ll Be Soon steps up a gear with rollicking saloon piano and Teletastic twang.

Anthemic progressions and dramatic piano and organ from Steve Peffer lend a touch more Bruciness to Falling Down, before Drew takes a sharp turn into left-field with It’s All Up To You: its tight boppy beat with jangling guitar, busy lithe bass and glam doo-wop interjections (from two Amy’s, Trail and Lott) evoke an Americana M (remember Pop Muzik?) - a feel heightened by the fuzzy guitar-and-synth ‘string’ lines and wall of harmony bvs!

Drew reveals his inner rocker on the last two (regular) tracks, first the excellent rocking southern two-step stomp of Stuck On Believing has stylish electric piano and cymbal-rich drums topped with Scott Neubert’s brassy stinging slide and Amy Trail’s impressive Shaun Murphyesque belt, as well as an edgier lyric (“Americana crooner says ‘shitty’ shock!”) The final studio track is Bourbon And Bad Decisions itself: a jangly rocker with tight bass and drums, and yet more fiery additional vocals from Amy, it also sees Drew injecting a grittier edge before Jason’s smooth slide break leads to a ‘big rock’ ending.

Completing the album are three songs recorded live for BBC Suffolk in 2019 with local luminaries Kev Walford and Kelly Bayfield: the all-acoustic three-part harmony versions adding a folkier vibe to a relaxed Clearly, a fine two-guitar interpretation of Falling Down, and a gentler run at Stuck On Believing with Kelly’s rather more limpid 2nd vox (and a Beeb-appropriate rude word change!)

Having been recorded over a number of years (and locations!) the band line up isn’t a constant, with the core of Neubert/Roller/McGee/Holland joined by rolling cast of guests but everyone brings a very high degree of polish and aplomb to their endeavours, as do engineering/production personnel Robbie Dunne, Kyle Hershman, Ben Lorio, Matt McGee and David Booth.

Drew’s rich, warm tones are matched by a similarly sunny (in songwriting, at least) disposition, there’s no whiny angst, crying-into-your-beer heartache or self-pity wallowing laments; in fact there’s barely a minor note at all - even the rueful regret of the title track is delivered with a wry jauntiness, all of which makes for a very upbeat positive listen.

If your lugholes are tired of musical rotgut then the mature, smooth, well-rounded sounds (with depth and kick aplenty) of Bourbon & Bad Decisions will hit the spot nicely.

Bourbon & Bad Decisions is available in download and CD formats now from here: https://drewyoung.bandcamp.com/album/bourbon-bad-decisiions

[metal-patches-vinyl]

Skeletonwitch - Devouring Radiant Light: Review

We metalheads are an elitist bunch. We stake out boundaries and draw lines in the sand to differentiate bands or albums that are acceptable from those that are not. If a band changes direction in a way that puts it outside those boundaries, readmission to the safe zone can be a daunting task. While these boundaries may be unique to each individual listener, metalheads – as a group – seem to uniformly react the same way to music that falls outside them. I’m sure you’ve seen it yourself, even exhibited these reactions just as I have: “[fill in the blank] sucks!” I say all of this because you – the comment reader – are bound to see many negative reviews of this album. Devouring Radiant Light is the first full length album by Skeletonwitch to feature a vocalist other than Chance Garnette, a co-founder of the band who performed on all prior releases. Longtime fans may feel like this change in the lineup moved Skeletonwitch outside their staked-out boundaries, and therefore deserves an automatic negative review (example: “No Chance, no Skeletonwitch!”). It is incumbent upon you to determine whether the negative review is written because the reviewer actually analyzed the music and has a rational reason for the rating, or if it can be attributed to the reactionary elitism that permeates metalhead culture. Good luck with your quest. I stand before you to say that Devouring Radiant Light is a true 5-star record, and a contender for any credible metal album-of-the-year list for 2018. It is absolutely true that this record sounds very little like any of Skeletonwitch’s prior albums (the band’s recent EP, The Apothic Gloom, does foreshadow DRL nicely). There are several reasons for that. First and foremost is the change in vocalist from Chance Garnette to Adam Clemans. Chance had that perfect blackened-thrash metal voice that gurgled and gasped in a way that complemented Skeletonwitch’s trademark formula of compiling three-minute rippers in enough quantity to constitute an album. He was a cool dude that concluded live shows by reminding male fans, perhaps in a very direct way, to always please the women in their lives. A true gentlemen and musician for our modern age. Adam was not brought to Skeletonwitch to simply be a Chance clone, and that’s a good thing because his vocal style is awesome in the context of the band’s new style. The second distinguishing factor that sets DRL apart from the band’s prior output is the big shift to what I describe as “epic, melodic black metal.” Half the songs on DRL are over six minutes long; only one is under four minutes. These long tracks each take you on a journey, and by the time you find yourself listening to Sacred Soil – the album’s brilliant closing track – you feel like you’ve earned the payoff it provides. You’ve completed the journey, finished the quest, conquered the enemy boss, or rescued the princess. Better still, you want to flip the record over and experience that journey all over again. DRL’s opening track, Fen of Shadows, is a great preview and representation of the entire album. This song is not a ripper and requires listener patience. There are dynamics (gasp!), and a slow buildup before the band kicks into gear. The payoff is totally worth it, though, and careful attention to the two hard-panned guitarists is particularly rewarding. Nate and Scott don’t simply double up their guitar work; they play complementing rhythms in different registers that harmonize or provide texture to the buzzsaw riffs they play. Evan’s bass work is excellent, though I do wish it was slightly higher in the mix. Dustin’s drumming is creative and tastefully serves each song. The musicianship is wonderful throughout. The standout tracks for me are: Sacred Soil, Fen of Shadows, Temple of the Son, and The Luminous Sky. Temple and Sky are a little more in line with traditional Skeletonwitch, as they are shorter and rip right along. Sacred Soil is a testament to what this band has become (I rank it in the top 5 Skeletonwitch songs ever), and provides a perfect closing argument to the case for why this album should be in your collection. In summary, this is an exceptional record that you should definitely check out, and I fully recommend that you buy it on vinyl (my favorite variant is the clear with red splatter, but the blue w/sparkle retail variant is also awesome). If you are expecting Beyond the Permafrost Volume 2, you will be disappointed. However, you will be pleased if you are expecting a well-produced metal album that exhibits features such as dynamics, epicness, variety, aggression, harmony, melody, possible face-melting, and even “hope.” I’ll note that Adam’s lyrics are surprisingly positive in their messaging, which is a welcome reprieve from worn out tropes involving Satan or guys on horses with swords.

-MPV

[pervitiini]

Top 3 eurobeat songs per season of Initial D.

This has been in my askbox forever, sorry about that. I decided to be sneaky and did not include my all time favourites I listed in this reply in order to have more space to share my other favourites, hehe. Here they are (under read-more):

1st stage

3. Dave Rodgers - SpaceboyAt first I did not plan to include Spaceboy at all but when I waded through all favourite candidates, I ended up listening to it anyways and a wave of so strong feel of nostalgia washed over me that I realized that I just cannot leave it out. Spaceboy was one of the first eurobeat songs I heard after Touhou eurobeat and Initial D’s opening scene is legendary; the song is simply iconic. The song reminds me of many happy memories :’)

2. Niko - Night Of FireThis one was difficult. For a long time I kept Get Me Power on the list instead of Night Of Fire because it has such a cool intro but… in the end it was the nostalgia (and meme) value of Night Of Fire that changed my mind. A true classic.

1. Mr. Groove - Night & Day“I don’t know what I am doing –”Surprise, it’s a song from Takumi vs Ryosuke race but not Beat Of The Rising Sun like one could have expected.

2nd stage

3. Derreck Simons - Station To Station2. Mega NRG Man - Burning Desire1. Derreck Simons - Make My Day

Second Stage top 3 seems to consist purely of Tomas Martin’s songs. Anyways, what all these songs have in common is a combination of very nice synth sounds and jumpy eurobeat-typical bassline, an upbeat and moving rhythm, clear melodic vocal parts and that they are catchy af (especially Burning Desire). Distortion guitar sounds and modulations are also musical turn-ons.

Battle Stage

3. J. Storm - Dancin’ in My DreamsThis is on the list purely because of its shock value. I had not heard Fabio Lione singing eurobeat before listening to this one and I will never forget the exact moment when I recognized his voice.

2. Mega NRG Man - Express Love“Express love / And I cry (die) for you tonite / And I’m dying (crying) but you, you give an / Express love”I just love how the lyrics are desperate but the melody is catchy and jumpy riffs are even slightly goofy :D Gotta love eurobeat.

1. Max Coveri - Golden AgeCatchy. Lyrics are kind of nonsense (typical eurobeat) but they give these very cool “90s cyberfuture utopia” vibes.

3rd stage

3. Michael Beat - Kiss Me GoodbyePurely because of intro and synth riff.

2. The Spiders From Mars - Fly To Me To The Moon And BackKind of adorable song with a nice intro and jumpy riffs.

1. Dave Rodgers - The Race Is OverMy favourite ending along with Rage Your Dream and Gamble Rumble (using 3rd stage’s opening as Final stage’s ending was literally the best idea).

4th stage

3. Manuel - On My WingsFav boy had to be on the list.2. Dave Rodgers - EldoradoThis one has a very generic eurobeat song structure but it works damn well. Transitions between parts are noticeable but smooth. I like dem harmonies. (In addition, guitar solos sound exactly what they should sound like in a Dave Rodgers song.)1. Dave Rodgers - Wild Reputation (2005)Dave Rodgers sounds amazing in this one. I like lyrics and how the song is more atmospheric and in some way more emotional than generic eurobeat.(4th stage was one of the hardest ones, so many good songs…)

Battle Stage 2

3. Mega NRG Man - Back On The RocksI am a thot for songs that use melodies from classical music and Toccata and Fugue in D minor is also The Official Skyline Theme Song, enough said. (However, on a separate note I must say that I am disappointed that the anime does not feature Bach is Back. It would have been perfect for Fifth Stage’s fav R32 asshole. Eh, back to the list.)

2. Manuel - Sun In The Rain Somehow a very energizing song; puts me in a bit better mood right away.1. Ace - Futureland Classic. Clear melody lines and catchy rhythms combined with visionary and escapist lyrics justifies its top position.

Extra Stages

(I got informed that extra stages count as one season.)3. Paul Harris - Everybody’s Looking2. Michiko Neya & Yumi Kakazu - Impact Blue1. Michiko Neya & Yumi Kakazu - Wings Of FireMaybe a predictable list but when talking about Extra Stages, Impact Blue and Wings of Fire just have to be there.

Fifth Stage

3. Dave Rodgers - The Race Of The NightEurobeat songs about cars and racing always have a special place in my heart and this one is especially clever.(Also fav boys’ song –)2. Jager - I Won’t Fall ApartEurobeat itself is a rather homogenous genre (lyrics are often about same subjects, songs have similar structures, synth sounds are alike…) so it is nice to have artists who have their own easily recognized style. Jager, along with several other artists, is one of them. Lyrics in this one are powerful and more serious than eurobeat lyrics in general.

1. Dejo & Bon - WheelPower & GoCan I just say that I love this song? It is everything I wish from a eurobeat song. Having heard intro’s car noises and sick guitar solo, I was already smitten. And then the bass and synth parts kicked in and it became even better. The lyrics are absolutely one of my all time favourites and combined with guitar, strong bass and just wonderful synth parts really captures that excited racing feeling fraught with adrenaline. (A guaranteed-speeding-ticket song)

Final Stage

3. David Dima - Dancing On The StreetThe choice between Magic Sunday and Dancing On The Street was tough. I guess the decisive attribute for choosing Dancing On The Street was plainly all those good memories I associate with the song (hehe). An energetic, feel-good song.2. Dave Rodgers - 1 FireIt is a funny association but the intro always gives me Rammstein vibes (must be synth riff’s scale and sound and lyrics about fire). Anyways, dramatic riffs fit “the final boss battle” excellently.1. Nuage - Crazy Little LoveIconic.

Thanks for the ask, Honey ;D

[97dami]

i saw yoonjo on tu and i really wanna stan hello venus (any ideas where to start?)

an EXCELLENT decision that i would recommend to all

i think the most important thing 2 know like straight off so that u don’t get confused is that there is essentially helbi 1.0 and helbi 2.0:

 helbi 1.0 was (from left to right) yooyoung, yoonjo, ara, alice, lime and nara. they had 3 comebacks: venus (their debut, yoonjo was injured so couldn’t participate), what are you doing today and would you like some tea. they were pretty popular (think early aoa/apink) then bc they were essentially split between 2 different companies, pledis n fantagio, they were split up in 2014 and the pledis girls (yoonjo and ara) were removed while alice, yooyoung, nara n lime continued on under fantagio as hello venus

which gives us helbi 2.0 - (from left to right) lime, yeoreum, leader alice, yooyoung, seoyoung and nara! yeoreum n seoyoung were added by fantagio n then they came back w sticky sticky later in 2014 :) 

i’m going to focus on helbi 2.0 bc they’re the girls you’ll be stanning now as hello venus but there r tonnes of helbi 1.0 videos out there: check out mtv diary, birth of venus, weekly idol n this channel for all of the world’s cutest baby yoonjo fancams)

here’s a list of helbi 2.0′s mvs/comebacks (u might’ve missed a couple bc they weren’t all promoted)

sticky sticky (seoyoung n yeoreum’s debut, single w whisky which is one of their best and most underrated songs u gotta listen to it n appreciate)

wiggle wiggle (truly iconic digital single which tends to be the only song people know by them lol i’m linking the choreo practice bc trust me the real mv is not worth bothering w)

i’m ill (glitzy club bop girls served looks deserved better ‘performance’ mv linked bc it has more views than the ‘actual’ mv lol make sure u listen to whatcha talk about and chameleon especially on the mini)

glow (unpromoted collaboration w producers devine channel a sad bop introducing main vocal ahn yeoreum w an mv serving aesthetics n girl love)

paradise (another unpromoted collaboration w devine channel chill summer bop introducing main rapper ahn yeoreum w the world’s CUTEST mv)

mysterious (their most recent comeback!!! 2017′s most slept on masterpiece tho the mystery of venus mini album was only mysterious + the devine channel songs including runway which is another collab but for whatever reason didn’t get an mv)

in terms of getting to know the girls we don’t really get any english subbed videos these days :( but there’s still a lot:

waaa! it’s yeoreum! (i would recommend these first!!! their most recent lil ‘reality show’ all subbed by fantagio)

helbi on after school club (eng subbed)

these are all their subbed videos on vlive from most recent to oldest(they r v cute would highly recommend): 1 2 3 4 5 6 7 8 9 10 we don’t get subs for anything any more n they don’t have their own channel but they r live regularly on fantagio’s channels u can watch loads more streams here

the immigration w helbi (lots of cute english/eng subbed)

hi my name is alice

i’m a born hater

save nara

basically anything marked hvtv on their channel is gold like what even is this

their amazing cover of boss when will they get a girl crush concept

their similarly amazing cover i will never let you down enjoy the harmonies and lime flexing that main vocal spot

their performance of when tomorrow comes on immortal songs 2 during mysterious promotions!

yeoreum’s unreal cover of i will survive

this remains the funniest asmr version i’ve seen to date they can’t take it seriously at all watch nara smack lime n seoyoung knock the fuckin mic over

they rly tried w this dance relay

eng subbed cut from a music show behind the scenes during wiggle wiggle promotions

there r also cute compilation videos that cupids have done!!! 1 2 3

world’s cutest fancam of it’s just love at their 4th anniversary fanmeet featuring VOCALS n the girls being the cutest

there are so many cute fancams they might be a little harder to find bc they don’t rly have much of an international fanbase but lots of hello cupids have been here from the beginning n truly stuck w them they themselves absolutely love being hello venus n each other n they have no intention of disbanding any time soon

i would recommend @hellovnus n @fykimlime (tho incredibly sadly inactive rn they still have lots of amazing helbi/lime content from debut right through to mysterious era) for hv blogs check out all their tags for more helbi videos n stuff! i try to keep @helbiupdates relatively up to date w fantakens/releases for all 8 members so u’ll see yoonjo n unit g stuff there too :)

[icawritestbh]

REVIEW: “Waitress” Serves Up a Feminist Pie

Upon entering Brooks Atkinson Theatre, I caught a whiff of a freshly baked pie. Although there was no real pie being baked inside the theatre, as it was a little stint by the set designers, it begged the question—What’s cooking?

Waitress tells the story of Jenna (Jessie Mueller), who works in Joe’s Diner and has a knack for creating mouth-watering pies. She has dreams of opening her own pie shop, but is weighed down by her abusive husband, Earl (Nick Cordero). She’s close friends with her co-workers, Becky (Keala Settle) and Dawn (Kimiko Glenn), and her demanding but sweet boss, Joe (Dakin Matthews). At the start, she finds out that she has an unwanted pregnancy with Earl and begins her regular visits to Dr. Jim Pomatter (Drew Gehling), her new OB Gyne. To kickstart her dreams of opening a pie shop, she plans to join a pie-making contest. But things get messy, as she starts an affair with Dr. Pomatter and deals with the abuses of her husband. Sounds like a simple formula for a Broadway show, but what’s inside?

          The sugar. In baking, sugar serves several purposes. The most obvious is that it gives our pie its sweet taste, making it the crucial ingredient. After all, does anyone really enjoy a sugarfree pie? Likewise, the music in a Broadway show sweetens the experience and is a defining component of any show.

          The music and lyrics of Waitress are by Sara Bareilles, a singer-songwriter known for her hits like “Love Song” and “Gravity.” Her musical style of mixing pop and soulful acoustics with a sweet yet powerful vocal has certainly carried over to Waitress, with the songs sounding distinctly created by her.

          Some songs on the cast recording sound like they could have easily been part of Bareilles’ discography and played on the radio. With a few tweaks with its lyrics, the 11 o’clock number, “She Used to be Mine,” could be a pop heartbreak anthem. Similarly, “Everything Changes” features falsetto riffs that are reminiscent of Bareilles’ “Gravity.” This is what Bareilles excelled at—she created pop-influenced Broadway songs that are relatable and digestible to all.

          Other songs are less radio-ready, but are ear candy just the same. Mueller, Settle and Glenn’s vocals melt like butter onto each other, forming the perfect harmonies. At the start of the show, we meet our trio as they showcase their vibrant personalities and tight vocals in “The Negative.” Our heroine, Jenna, is a sweet southern gal who’s too nice for her own good. Becky is sassy, strong and brutally honest, while Dawn is awkward, nerdy and timid. On paper, they sound like an unlikely band of friends, but like their vocals, they relate harmoniously and have a genuine connection with one another, most strikingly in “A Soft Place to Land.”

          “The Negative” also kickstarts the show on a feminist note. The song is about how Becky and Dawn convince Jenna to finally take a pregnancy test, the three of them hoping that it would come out negative. They speak graphically, in terms that only women would relate to. With lyrics like, “A squat and a squeeze, a prayer and a please” as well as “What if his boys don’t swim, I mean wow! Miraculous luck!”, we are immediately thrust into a feminist ride. As seen from this song number, the show has no plans to shy away from showing the raw and real struggles women face. Several other song numbers, like “Contraction Ballet,” with synchronized breathing sounds to signify Jenna’s childbirth agony, and “I Didn’t Plan It,” a song where Becky tries to justify her infidelity, are proof that Waitress will make sure that the perspectives of women are not kept in the dark, but put under the spotlight.

          My personal favorite was Glenn’s performance of “When He Sees Me.” This song number made Kimiko Glenn an instant stand-out in the cast. Dawn’s personality shone through this number—quirky, overly cautious, but all-in-all, vulnerable to falling in love. Dawn sings, “He could be less than kind/Or even worse he could be very nice, have lovely eyes/And make me laugh, come out of hiding.” Crazy enough, most of us can relate to this fear of love and happiness, and this was perfectly encapsulated in this fun and genuine song number.

          The butter. In baking, butter works in concert with other ingredients to give our pie its body and texture. Similarly, the actors work with the script, score, and set to form and give character to the show. Waitress’ story is focused on the struggles of our trio, and featured three powerful actresses to match. Jessie Mueller was spotless as our heroine, Jenna. As expected from our Tony-awarded lead, she delivered a three-dimensional character, portraying Jenna as a hard-working waitress, a supportive friend, an abused wife, a foolish lover, and a gifted pie-maker, all in one. Her vocal control was impeccable, switching from sweet falsettos to powerful belts effortlessly. It’s as if the role of Jenna was made for her.

          Keala Settle and Kimiko Glenn also fit like a glove in their respective roles as Becky and Dawn, portraying their characters as imperfect, but understandably so. This trio had such great chemistry together, and their antics and raw dialogue provide some of the highlights of the show.  

The male cast delivered some highlights as well. Christopher Fitzgerald, who plays Dawn’s creepy-stalker-turned-love-interest, gives us a memorable performance in “Never Ever Getting Rid of Me.” On the other hand, Drew Gehling’s performance as Dr. Jim Pomatter, the leading man, falls flat. Even when he delivers his line in the turning point of the show, his expression made me feel nothing. Perhaps the story purposely never fleshed out his story enough as to focus more on the female characters, but as he was the leading man, I never felt compelled to root for him. Ultimately, it’s the female leads who steal the show.

          And finally, the flour, which gives our pie its structure. Just the same, it’s the book of a play that ties all the different elements together. Waitress was based on the 2007 film of the same title, written, directed, and starred in by Adrienne Shelly. Just as the source material’s creative team was headed by a woman, the Broadway version is a landmark production, as it is the first to be directed, written, scored and choreographed by an all-female team.

          Waitress has a simple plot. It’s an unpretentious story about a woman whom we’ve all met before—the unhappy wife, who is resilient yet impulsive, daring but fearful. What makes this story so exhilarating is how it truthfully depicts the struggles of Jenna and her friends, giving us flawed yet likable characters that make us laugh, scratch our heads, and cry in the span of two and a half hours. Jenna feels familiar, like a friend we’d scold for having an affair with her OB Gyne, cheer on endlessly as she prepares for her pie-making contest, and hold in our arms as she breaks down and loses hope for herself. She is real and full of depth, making her story one that is undoubtedly feminist.

          It is noteworthy that she eventually sees her newfound romance, not as the solution to her problems, but as a catalyst to act on them. And as seen in the songs and dialogue of Waitress, its all-female creative team had no plans of sugarcoating the desires of women that society has marked as taboo. Our trio sings about not wanting to be pregnant, wishing to leave their husbands, and desiring other men. But more importantly, they sing about their fears and dreams.

          In the end, our sweet Jenna triumphs. We see her making pies with sugar, butter, and flour, but feeling happier and freer than ever. What’s cooking, you ask? No longer a Pregnant Miserable Self-Pitying Loser Pie, but a Fearlessly Fun and Feminist Pie.

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Game Review 07: Night in the Woods

Let me start this review by speaking very plainly. Night in the Woods is a beautiful, amazing masterpiece of a video game. It features a perfect blend of thrilling mystery, humorous banter and satire, and genuine, personal, down to earth commentary on real-world issues not often found in games these days. This includes mental disorders, politics, economics, all tied into a surprisingly compelling narrative, one I enjoyed immensely. It's barely March, and this game is, currently, my leading nomination for Game of the Year, at least so far as my interests are concerned. That being said, onto what this game is all about.

Night in the Woods puts players into the boots of one Mae Borowski, an anthropomorphic cat. However, Mae isn't the only protagonist, arguably. I found in my time with Night in the Woods that Possum Springs, the town where NITW takes place, was just as much the main character as she was, growing and developing itself right along with you. When all's said and done, though, you don't play as a town. You play as Mae, who is returning to Possum Springs, a small town in the Midwest, which she hasn't seen in years. Mae is fresh from dropping out of college, eager to get on with her life. She is a humorous, idealistic character with an excitable personality, and is a far deeper character than you may initially expect. Mae is joined on her story by friends both new and old, each of whom she meets and connects with as the game progresses. Players are first introduced to Gregg, a hyperactive, gruff, exuberant fox, who also happens to be Mae's best friend. From there, we meet Angus, a dapper, nerdy, and hopelessly kind bear who also happens to be Gregg's boyfriend, and Bea, Mae's longtime accomplice and former best friend, a down to earth and somewhat withdrawn...Alligator? Lizard? It's unclear.

Before continuing on with the topic of characters, it seems important to discuss the game's emphasis on Exploration. While never outright stated, Night in the Woods is a game that very much encourages extensive exploration. There is a lot of content to discover in the town of possum springs, ranging from conversations with villagers to small yet notable discoveries that elicit remarks from Mae. The game is largely a side-scroller, with players able to traverse the town by walking left or right across the screen, and plenty of buildings to enter along the way. Aside from just strolling across the screen and going into homes or businesses, however, Night in the Woods features light platforming, with Mae being as agile as she is commentative. You can run and jump on anything from mailboxes to telephone wires to house roofs as you wander about Possum Springs, with very little being out of reach or impassable. As the game goes on, more and more of the town opens up, offering new places to poke about in and new things to find. If you see it, you can probably jump on it or to it, and you probably should. This fact is aided by just how good moving around the game feels, from walking or running to the platforming segments as well.

Looping back to the subject of Characters, exploring offers more than just new things for Mae to remark on, or an opportunity to see just how much work went into creating Possum Springs. It also allows Mae, and you as the player, to discover characters normally hidden or out of reach. These characters usually have at least a few things to talk about, and a few of them go on to even become your new friends. These new friends can include Lori, an anxious mouse and horror movie enthusiast, and Germ, a bird who lives on the outskirts of town. As for the other NPCs you can find, I'll leave them to prospective players' explorative skills. Even if you end up missing someone, Night in the Woods is filled with people to hang out with, all with stories to be told or opinions to share.

Despite the innumerable conversations and quips that fill the world of Night in the Woods, the game is largely lacking in voicework. The most vocal character is Mae, and all you hear from her are the sounds of exertion as you hop about. Oh, and Sharkle, a desktop buddy who hangs out in the corner of your laptop screen, saying hello if you click on him. Though voiceless, Night in the Woods is hardly a silent experience. While characters might be mute, Possum Springs is not. Between the rustling of leaves, the guitar string twang of telephone wires, the hum of cars, and the bustling sounds of everyday life, Night in the Woods is an aural harmony worth taking in. Aside from this, Night in the Woods features a soundtrack that perfectly blends with the sounds of the city. The game's score is brilliant, featuring melodic electronica, synthesized rock instrumentals, and at times, even some smooth jazz. No matter the genre or style being played at a given time, every song that makes up Night in the Woods' soundtrack is worth listening to. Examples of this can be found at the game's Bandcamp page, in the form of a four-track album preview. Unfortunately, no full release has come out thus far.

Gameplay wise, Night in the Woods runs the gambit. You've got your side-scrolling, platforming exploration, but also a myriad of minigames to take part in. These range from Guitar Hero like rhythm sections, a potential knife fight, shoplifting, and even a fully playable, in-universe video game called Demontower. Demontower is a sort of Dungeon Crawling hack and slash, where you play as a sword-bearing adventurer carving their way through the eponymous, monster-filled Demontower. It isn't a complex experience by any means, but don't assume that means Demontower is easy. It features functional combat mechanics and a modest difficulty all its own, with varying enemies and challenging boss fights making up each floor of the tower. Despite its challenge, Demontower is entertaining, as are all of the other minigames you encounter. The long and short of it is; Night in the Woods is quite fun to play, no matter what you're doing in it.

So, Night in the woods has a fantastic narrative, believable and relatable characters, and enjoyable gameplay. But all of that is made all the better by the game's gorgeous visuals. Night in the Woods is a great looking game, with little details thrown in everywhere that make the game pop and the world come to life, like spots of graffiti on buildings, lovingly rendered NPCs that wander the streets of Possum Springs, and much more. Demontower, meanwhile, has a completely separate visual style, sporting retro, pixelated graphics that compliment the dungeon-crawling genre. Concerning visuals, I would be remiss not to talk about a game feature that accompanies you throughout the entirety of your journey. Mae comes equipped with a journal she uses to record her thoughts and lovingly sketch her discoveries or reminisce on humorous moments. Every piece of this journal is hand drawn by Mae, cataloging various points in the game's story and being expanded by near on every interaction you have in town. Flipping through these doodles at the end of the game was a genuine treat, and allowed for a certain level of nostalgia and laughs to be had before the credits rolled.

The best way to conclude this review would be to restate what I said as its opener; Night in the Woods is a beautiful, mysterious, masterpiece of a video game that few should pass up. It has a relatable cast of characters, a down to earth style of storytelling filled with humor, satire, and realism. It has a soundtrack that beautifully accentuates the game at every turn and a visual style that doesn't really ever fall flat. All of this compounds into a game that proves its worth and serves as an excellent debut for the development team, Infinite Fall. I really can't recommend the game enough, but if that's not enough to convince you, just look at the ratings the game has received across the net. A 10/10 on steam, for example. Night in the Woods is available on the PS4 and on computers via steam. UPDATE: Night in the Woods is now available on Xbox One, Mobile platforms, and the Nintendo Switch. 

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Top 10 Guitar Amplifiers: Our Pick in Budget

When it comes to guitars then amplifiers automatically comes in the mind as a next thought. The sound of a guitar not only depends on the guitar coils but also on the type and quality of the amplifier. Jamendo music free download

There are too many brands that are available in the market and hence opting for the right product becomes difficult. Here at Gaanatunes, we have come up with a list of top 10 best guitar amp. These amplifiers belong to different categories and price range, you can choose your amplifier after going through the features and technical specifications.

Check Here –  Types of guitar pickup – All you need to know

So let’s start

Fender Mustang LT-25

Fender Mustang is known for its versatility and efficiency at its respective price range. It provides you exceptional sound with customization potential that comes with loads of sound effects and presets. worldfree4u HD movies download

It comes with 30 unique integrated presets, 20 open sound banks, 25 effects, and 20 amp types. It also includes various distortions, modulations, reverbs, octaves compression, delays, drivers and much more. Apart from this, it sports an onboard tuner and US connectivity that allows you to do whatever you want with it such as plug and play, record, find some tones, etc. In addition, Mustang LT-25 features a beautiful and durable cabinet that protects the motherboard from hits and shocks. www.mp3 juice con

It only features 25 amps so, most of the people characterize Mustang LT-25 as a home amp. But, you can take this amplifier to your rehearsal and practice. Make sure your drummer is not too loud otherwise the sound of the drum will overshadow the sound of this amplifier.mp3juices music download free

This amplifier is best for beginners and those who regularly practice at their home only. It will not bother your neighbors as well. bestwap.in movies download

Let’s check out its features

30 greatest-hits patches covering decades and continents of beloved amp tone

Includes 20 amp models, 25 effects, and 50 presets which includes 30 pre-loaded and 20 easily accessible

Built for rehearsals and performance

Comfortable subway size

Powerful 8″ Celestion speaker

5/8″ wraparound wood cabinet

8″ color display

1/8″ headphone output permits the silent practice

1/8″ auxiliary input for convenient solo performance

USB connectivity for easy preset management

Technical specifications

Type: Solid State with Digital Modeling

Number of Channels: 1

Total Power: 25W

Speaker Size: 1 x 8″ Celestion

Effects: Yes

EQ: Bass, Treble

Inputs: 1 x 1/4″, 1 x 1/8″ (aux)

USB: 1 x Micro-B

Headphones: 1 x 1/8″

Footswitch I/O: 1 x 1/4″

Footswitch Included: No

Construction Material: 5/8″ plywood cab along with black textured vinyl covering

Power Source: Standard IEC AC cable

Height: 5″

Width: 8″

Depth: 9″

Weight: 9 lbs.

Read This –  Top 10 guitar strings | Reviews & Price Comparison

Pros

Exceptional versatility – It offers you dozens of preset sounds that allow you to shape your tone any way you want. mp3 juice con

Great sound quality – The tone provided by this amplifier is pretty robust and strong. bestwap full HD movie download

Built like a wall – Fender’s Mustangs cabinets are too strong and provide complete protection to the motherboard and speaker. mp3juices music download free

Cons

Only 25 watts – This amplifier is not suitable for medium-sized and bigger gigs.

MRP –  INR 12,396

Buy – https://amzn.to/2PpJxon

Fender Mustang LT-25 is probably a cost-effective amplifier for the initial stages. In fact, In my initial stages of guitar journey, I too had used Fender Mustang LT-25 for practice purposes. As a beginner, you have to focus more on the tone and rhythm and less on the loudness. So, if you are at a learning stage then lt-25 is perfect for you.bestwap movie

Price

Quality

Tone

2. Boss ACS Live

This amplifier features 60 watts booming sourced from a 6.5-inch woofer. It packs two channels with analog inputs that are dictated by a 3 band equalizer. The real name of this premium class is Acoustic Singer Live and really, it comes with a plethora of various premium quality features. mp4 mania HD movies download

The Boss ACS Live amplifier is a dedicated channel complemented with the well known Acoustic resonance technology. This channel helps in providing a significant boost to the overall clarity. It allows you to experience the same quality in the stage as you experienced at your home during tehersealss. bestwap movie download

Moreover, Boss ACS Live is perfect for beginners and can enhance the overall experience of your rehearsals. This amplifier features an integrated looper that is really effective in practicing and provides you a better platform for backing tracks.mp3 juice gana

Let’s check out its features and technical specifications mp4mania movies

Following are the key features of Boss ACS live:

60 watts pro gigging power

Bi-amped, 2-way speaker system

Custom 6.5″ + 1″ speakers that deliver punch and dynamics

Real-time vocal harmonies

Loop backing percussion and jam tracks

Acoustic Resonance processing

Onboard vocal delay independent reverbs and guitar chords.

USB audio interface

Separate DI outputs for voice and guitar

Send dry or wet signals to FOH

Phantom power for a stage condenser microphone

2-button footswitch toggles vocal harmonics and looper controls

Technical specifications

Type: Acoustic Combo Amp

Number of Channels: 2

Total Power: 60W Bi-amped

Speakers: 1 x 6.5″ speaker and 1 x tweeter

Inputs: 1 x 1/4″ (instrument), 1 x XLR-1/4″ combo (mic) and1 x 1/8″ (aux)

Outputs: 2 x XLR (DI/line out), 1 x 1/4″ (phones/rec)

USB: 1 x Type B

EQ: 3-band EQ

Reverb: Yes

Effects: Chorus (guitar), Delay/Echo (mic), Harmony (mic)

Feedback Control: Notch filter control

Footswitch I/O: 3 x 1/4″ (harmony/mute, GA-FC, looper/chorus)

Footswitch Included: 2-button footswitch

Power Source: Standard IEC AC cable www.bestwap film download

Pros

Amazing sound clarity – this amp allows you to sound the same at rehearsals and live performances.

Powerful – Boss ACS Live packs 60 watts of sheer power.

Great for rehearsals and solo practice. www.filmywap.com

Cons

Not for heavier of music

Price – INR 54,000

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Boss ACS amplifier is an effective amplifier, it facilitates you to play on stage and rehearse in your living room. This amplifier belongs to a totally different class. This is amplifier is slightly more costly to the beginners. But yes, it can give you an overwhelming experience of playing as a professional. newgrounds video downloader

Price

Quality

Tone

3. Roland AC-40

AC-40 is one of the best compact guitar amplifiers in the market. Simply speaking, this amplifier brings a lot many benefits to your table. It is light and compact, sports integrated stereo effects, and Roland’s patented chorus and digital reverb. Regardless of the type of music you play on Roland AC-40, you will get enough punch and control for any genre. bestwap movie 2019 download free

Furthermore, It also sports a convenient feature to know and automatic anti-feedback function. This feature kills any unwanted. mp3 juice cc con

You will get a big sound in a compact package. It uses DSP technology that delivers pure acoustic sound. bhojpuri mp3 songs free download

Let’s check out its features and technical specifications

Compact 35W stereo acoustic amplifier that provides pure, natural tone and excellent projection bestwap movie 2019 download free

2-channel design – Guitar input and mic input

Stereo 6.5-inch speaker configuration suitable for coffeehouses and small club gigs

Onboard DSP

Inbuilt auto anti-feedback controls allow for maximum volume

Mute switch for silent tuning onstage

Stereo Line Out for recording and PA applications. mp4 mania.in

Technical specifications

Number of Channels: 2

Total Power: 35W

Speakers: 2 x 6.5″

Stereo: Yes

Inputs: 1 x 1/4″, 1 x XLR-1/4″ combo, 1 x 1/8″ (aux in)

Outputs: 2 x 1/4″ (R, L/Mono)

Headphones: 1 x 1/8″

EQ: 3-band

Reverb: Yes

Effects: Reverb, Chorus

Feedback Control: Yes

Footswitch I/O: 1 x 1/4″

Power Source: AC adapter

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Pros

Perfect for traveling musicians – It is small and compact, ideal for practice on the road. wap.in movie 2019

Powerful features

Automatic anti-feedback feature

Cons

Quite expensive

Price – INR 38,000

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If you travel a lot and love to carry your electric guitar or you are a traveling musician doing concerts all over the world then this amp is perfect for you. It is handy, light and effective. djmaza mp3 song download

Price

Quality

Tone

4. Fender Super champ X2

Fender Super Champ X2 features a 15-watt tube that sports fender’s 6V6 and 12AX7 tubes along with Fender’s exquisite Special Design type speaker. This amplifier is small and slightly less loud than Fender’s flagship models. On the same hand, this amplifier is decently strong enough that makes your sound present at rehearsals. It sports a voicing knob supplied with 16 amp types that include Blackface, Metal, Twee, British. Furthermore, it has 15 FX settings and a TAP tempo. In a nutshell, it is best for playing at home. Top 10 Best Guitar Tuners 2020

Let’s have a look at its features

5-watt tube power amp with 2 x 6V6 tubes and 1 x 12AX7 preamp tube

Voicing knob with 16 different amp types

15 effects www.bestwap.com movie download

TAP tempo control for delay time/modulation rate adjustments

1 x 10″ Fender Special Design speaker, external speaker output and 1/4″ line output

USB output for speaker-emulated digital recording

Technical specifications

Type: Tube with Digital Effects

Number of Channels: 2

Total Power: 15W

Speaker Size: 1 x 10″ Fender-designed speaker

Preamp Tubes: 1 x 12AX7

Power Tubes: 2 x 6V6

Reverb: Yes

Effects: 15 effects; Delay, Chorus, Tremolo, Vibratone, Tap Tempo

Amp Modeling: 16 x Voices

EQ: Treble, Bass

Inputs: 1 x 1/4″

Outputs: 1 x 1/4″ (internal speaker), 1 x 1/4″ (line out)

USB: 1 x Type mini-B

Footswitch I/O: 1 x 1/4″

Footswitch Included: No

Computer Connectivity: USB

Power Source: Standard IEC AC cable

Pros

Ideal for home practice

Superb analog

USB connection

Cons

Not suitable for gigs

Price – INR 23,391

Buy – https://amzn.to/2t5gizW

In my opinion, it is a premium quality home-based amplifier that can enhance your rehearsals. Yes, it can be used for small gigs in parties and occasions but you can’t use this amplifier in concerts. www.bestwap film download

Price

Quality

Tone

Also Read:-  Top 10 guitar strings | Reviews & Price Comparison

5. Marshall AS50D

It is one of the best amplifiers for acoustic gigs. This amplifier features a smaller selection of onboard FX features. There are only choruses and reverbs, but its sonic performance sounds superior to the Singer. pagal world music.com download

The bass and treble response of this amp is really appreciable; this amplifier was purposefully designed to be used with different instruments. It can accommodate guitars, microphones, even digital pianos. bhojpuri mp3 songs free download

Let’s check out its features and technical specifications

50-watts of power push 2 x 8″ speakers and a tweeter

Line out and DI out for going to a mixer and recorder

Built-in chorus and reverb

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Technical Specifications

Number of Channels: 2

Total Power: 50W

Speakers: 2 x 8″, Tweeter

Inputs: 2 x 1/4″, 1 x XLR, 2 x RCA

Outputs: 1 x XLR (DI out), 1 x 1/4″

Effects Loop: Yes

EQ: 1: 2-band, Ch. 2: 3-band

Effects: Chorus, Reverb

Feedback Control: Yes

Footswitch I/O: 1 x 1/4″

Power Source: Standard IEC AC cable

Pros

Exceptional sound

Two channels

Decently strong

Cons

Not suited for heavier types of music

Price – INR 26,756

Buy – https://amzn.to/35bs6i6

As we all know, Marshall Amplifiers are always top-notch regardless of the variant we talk about. AS50D is no different; it provides you amazing sound quality in a durable vintage look frame. mp4mania movie download in Hindi

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6. Line 6 Spider V 120 MkII

Line 6 Spider is a digital amp that is preferred by those musicians who don’t want to cramp up their rig with dozens of pedals. If you prefer digital amp over tube type ones then this amplifier should be considered by you guys.mp4 mania HD movies download

It is one of the highest value options on the market. Line 6 Spider sports 120 watts of power that can easily be used for any kind of gig. mp3juices music download free

Let’s have a look at its features

Compatible with Line 6 FBV control pedal

Headphone output, aux input jacks120-watt guitar amp

Fast and easy color-coded controls

200+ pro-crafted presets

Full-range 2-way speaker system sounds

Classic Speaker mode

Wireless-ready for use Onboard tuner, metronome, looper, and drum loops

Android, Mac/PC, and iOS connectivity.

Technical specifications

Type: Solid State with Modeling

Number of Channels: 1

Total Power: 120W

Speaker Size: 1 x 12″ Woofer, 1 x Tweeter

Reverb: Digital Reverb

Effects: Over 100 Effects Models

Amp Modeling: 78 x amps, 24 x cabs, 4 x Mics

EQ: 3-band EQ

Inputs: 1 x 1/4″, 1 x 1/8″ (aux in)

Outputs: 2 x XLR (Right, L/Mono)

USB: 1 x Type A, 1 x Type B

Headphones: 1 x 1/4″

Footswitch I/O: 1 x RJ-45 (FBV 3)

Footswitch Included: No

Features: Tuner, Metronome, 60-second looper, Relay wireless receiver

Computer Connectivity: USB

Software: Spider V Remote App

Construction Material: Poplar Plywood with Black Vinyl

Power Source: Standard IEC AC cable

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Pros

Superb versatility

Integrated tuner and metronome

Very powerful

Cons

the presets you get onboard resemble tube-style amps

Price – INR 48,347

Buy – https://amzn.to/2t6GOJf

Well, this guitar amplifier is more costly as compared to other amplifiers on the list but it is completely value for money. mp3 juice con 2019

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7. PRS Sonzera 50

Sonzera 50 is an analog guitar amplifier that sports EL-34 tubes and Celestin V type speakers. This is the main source of sonic performance that makes this amplifier authentic and remarkable. Apart from that, clean and gain channels are completely customizable via the 6 bands EQs. You can easily switch between your favorite tones with 2 button footswitch that comes as a complementary feature.pagalworld music.com

Let’s check out its features

2 footswitchable channels

Clean channel’s three-dimensional tones

The gain channel provides everything from boosted cleans to saturated distortion

Independent tone controls

global Presence knob

Bright switches

12″ Celestion V-Type speaker

4-/8-/16-ohm speaker outputs

In-built effects loop integrates your time-based effects without impacting your tone

Rich-sounding reverb

Technical Specifications

Type: Tube

Number of Channels: 2

Total Power: 50W

Speaker Size: 1 x 12″ Celestion V-Type

Preamp Tubes: 1 x JJ ECC835, 3 x Ruby 12AX7AC5 HG

Power Tubes: 2 x Ruby EL34 BHT

Reverb: Yes

EQ: 3-band EQ

Inputs: 1 x 1/4″

Outputs: 2 x 1/4″ (8 ohms), 2 x 1/4″ (4 ohms), 1 x 1/4″ (16 ohms)

Effects Loop: Yes

Footswitch I/O: 1 x 1/4″ (channel, reverb)

Footswitch Included: Yes, 2-button footswitch

Construction Material: Poplar Plywood with Black Tolex

Power Source: Standard IEC AC cable

Pros

Strong and robust

Separate clean and gain channels

Tremendous analog sound

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Cons

Decently expensive

Price – INR 63,652

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Price

Quality

Tone

8. Blackstar HT stage 60 mkII

Blackstar HT stage 60 mkII is one of the top-rated guitar amplifiers. It features 60 watts two 12-inch speakers, three channels which are powered by proprietary Blackstar tubes. Apart from this, there is the Blackstar overdrive that is held in incredibly high regard by musicians. On the other hand, the HT Stage 60 MkII has a unique variety of some clean tones as well. wapking mp3 songs download free

Let’s check out its features

60-watt all-tube combo

3 foot-switchable channels take you from clean to metal

1 x 12″ Celestion speaker

Patent-pending Infinite Shape Feature (ISF) allows for variable voicing controls

Voicing switches enhance each channel’s flexibility

Digital reverb

Speaker emulated output with 1 x 12 / 4 x 12 voicing

Effects loop with effects level switch

USB audio output

2-button footswitch

Foot switchable boost

Technical Specifications

Type: Tube

Number of Channels: 3

Total Power: 60W/6W

Speaker Size: 1 x 12″ Celestion Seventy 80 speaker

Preamp Tubes: 2 x 12AX7

Power Tubes: 2 x EL34

Reverb: Dark/Light

EQ: 3-band EQ (OD1, OD2), Presence, ISF

Inputs: 1 x 1/4″ (instrument)

Outputs: 2 x 1/4″ (8/16 ohms), 1 x 1/4″ (internal speaker), 1 x 1/4″ (emulated out/headphones), 1 x XLR (DI out)

Effects Loop: Yes

USB: 1 x Type B

Headphones: 1 x 1/4″ (line out/phones)

Footswitch I/O: 2 x 1/4″ (2-way, 5-way)

Footswitch Included: Yes, 2-button footswitch

Computer Connectivity: USB (4 x 2)

Construction Material: Birch Plywood with Black Leatherette

Power Source: Standard IEC AC cable mp4mania

Pros

Very strong sound

Solidly built

Great clean tones

Cons

Not the easiest amp to use

Price – INR 53,025

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Price

Quality

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9. Mesa/Boogie Triple crown TC-50

TC-50 is a three-channel amplifier that features independent preamps covering clean, low-gain and high-gain ranges. Its front panel consists of three identical sets of controls including gain, master volume, treble, bass, mid and presence. With a two-way toggle switch that changes the channel gain and voice. mp3 juice con.cc

Let’s check out its features

All-tube head amplifier

3-channel design

CabClone DI output

Footswitchable Spring reverb

MIDI-capable switching

EL-34 power tubes

Footswitchable Solo level

Tube-buffered effects loop

Accepts EL-34, 6V6, or 6L6 power tubes

Technical specification

Type: Tube

Number of Channels: 3

Total Power: 50W Class A/B

Preamp Tubes: 6 x 12AX7, 1 x 12AT7

Power Tubes: 2 x EL34

Reverb: Tube, Spring Reverb

EQ: 3-band EQ per channel

Inputs: 1 x 1/4″

Outputs: 2 x 1/4″ (speaker out), 1 x XLR (DI out), 1 x 1/4″ (headphones), 1 x 1/4″ (line out)

Effects Loop: Yes

MIDI I/O: In, Out/Thru

Footswitch I/O: 1 x 6-pin DIN

Footswitch Included: Yes, 6-button footswitch

Construction Material: Black Taurus Vinyl

Power Supply: Fixed AC cable www.filmywap.in

Pros

Tight articulation

Snappy bass attack

The exceptional tone from all three channels

Cons

The control panel lettering is hard to read

Expensive

Price – INR 1,34,414

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Price

Quality

Tone

10. Hughes and Kettner Black Spirit 200

It is a digitally controlled analog amplifier that features a whopping 200-watt power stage that can be tamed to 20 watts or even 2 watts for offstage use. It has a unique eye-catchy design and has a long list of unique features. gaana.com mp3 song

Let’s have a look at its features

200-watt, 4-channel guitar amplifier

Sag control for fine-tuning tube-like compression

Clean, Crunch, Lead, and Ultra channels Epic tone at any volume level and with any speaker cabinet, from the bedroom to the arena

Built-in Bluetooth connectivity

Built-in Red Box AE+ DI output Amp settings can be saved to 128 preset locations for instant recall www.bestwap.com movie download

Speaker output can be switched between guitar speaker mode for a traditional cab, and FRFR mode for a Full Range Flat Response cab

Runs reliably on power anywhere from 100V to 240V

Optional FSM-432 MK III MIDI board

Switchable 200-watt, 20-watt, and 2-watt power modes.

Built-in reverb, delay, and modulation effects

Technical Specifications

Type: Solid State signal path, Digital switching/control

Number of Channels: 4

Total Power: 200W (2W, 20W settings)

Reverb: Digital Reverb

Effects: Delay, Modulation

EQ: 3-band EQ, Presence

Amp Modeling: Spirit Tone Generator, DI out Cabinet Emulation

Inputs: 1 x 1/4″ (instrument), 1 x 1/8″ (aux)

Outputs: 1 x 1/4″ (8/16 ohms), 1 x XLR (Redbox AE+ DI out)

Headphones: 1 x 1/4″ (headphones/line)

Effects Loop: Yes

MIDI I/O: 7-pin In, 5-pin Out/Thru

Bluetooth: Yes

Footswitch I/O: 1 x 7-pin MIDI

Footswitch Included: No

Power Supply: Standard IEC AC cable

Pros

Incredible versatility

Stunning tones

Onboard effects

Excellent app integration

Lightweight

Cons

MIDI controller isn’t included

Price – INR 62,205

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Price

Quality

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So, these were top ten guitar amplifiers that are available in the market and you can choose them in accordance with your requirements, level, and budget.

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guitar, Guitar Amplifier

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[8dpromo]

KiloWatts & PointBender - Western Wolf Remixes (Harmonious Discord)

8DPromo · KiloWatts & PointBender - Western Wolf Remixes (Harmonious Discord)

Last summer Harmonious Discord released a rare vinyl feature highlighting two long-time label creators, KiloWatts and PointBender. The EP featured deep, cerebral journeys like “Circling the Crown”, pulsating nighttime anthems like “Western Wolf’, and low-swung cross-over classics like "Swangert." For this release, the two producers enlisted the brainpower of close friends, returning artists, and consistent innovators to help celebrate 20 years of the label. Included in this set is the return of house music legend Demarkus Lewis. Demarkus remixed Morgan Page on Harmonious Discord in 2004 and his applied skills to this project produced two fantastic flavors of "Western Wolf," ripe with bumping movement. Behind The Sky boss and genre-bending force, Bluetech applies his deep knowledge and context to deliver a beautifully evolving masterpiece. Berlin’s Noah Pred explores innovative angles of bio-mechanical feedback with a beautifully growing, often organic feeling re-imagining. The project starts off with a musically elevated remix of “Swangert”. Bluetech sets free the dithered musical undertones with modulated synth patterns that dance romantically by and through each other. The vocal treatment enters cosmic terrain while the subtle bass jamming keeps a funk focus flowing. Next up is the Deez Puppy Chow Mix of "Western Wolf" which tames the elements of the original into a body-moving selection prime for rocking big-sound speakers. The remix reaches peak-time tension with the introduction of expertly crafted acid lines. The following Deez Acid Free Remix delivers the same energy without the frontal acid line, but more emphasis on rising effects patterns that maintain the level of insanity. Our final guide into the deep crevices of a-cult warehouse worship is the Acid Reign Remix by Noah Pred. Pred doesn’t hesitate to get into melodically complex corners from the start and leaves plenty of room for sonic expansion as his synthesizer elements embody a mind of their own. A true embodiment of Harmonious Discord's 20-year celebration is perfectly captured in this high-powered collection.

Colin Dale (Abstrakt Dance Records) – “A solid EP with some really cool sounds.” Anthony Pappa (Bedrock) – “Noah Pred’s Acid Reign remix is cool.” Rory Hoy (Howlin’ Records) – “I really like the Bluetech remix. Funky stuff!” Scheibosan (Shanti Roots) – “I like the acid on Deez Puppy Chow Mix.” Black Mighty Wax (Irma Records) – “An intriguing release.” DJ Firefly (Couch Dancing) – “Great new takes on some excellent originals.” Simon Kirk (Proton Radio) – “Powerful remixes. Truly forward thinking music.”

Available Now From: Beatport, Bandcamp, Apple Music, And Spotify.

[plungermusic]

“Indian Summer, It’s On It’s Way, Cool All Night…”

“… And Hot All Day.”

Maverick Saturday kept its (nearly) perfect run of perfect festival weather - blue skies, hot sun and light breeze greeted the gathering crowds, particularly on the open air Green Stage. Drew Young Band (below)had the honour of opening on the Green, and despite expressing shock at the early start (“I mean, I knew there was an 11am but the idea of playing music then was a new one!”) Drew and co (Kelly Bayfield second vox/bvs, David Booth drums/bvs, Kilby Mears bass, Andy Trill electric guitar) impressed with a suitably warm-but-breezy set, including a Knopfleresque Clearly with its airy harmonies, the chicken-picking line-dancing chug of It’ll Be Soon, the darker melancholic country of Georgia Line, and Sideways’ bouncy Tex-Mex-spiced stroll. The joker in the pack was the beefy roadhouse rocker Stuck On Believing, with Kelly doing a fine Shaun Murphy gritty counterpoint vocal, great drum and bass work, and gutsy guitar.

Following Drew, Suffolk locals The Joe Keeley band tempted us to stay put with a promising soundcheck for their twin-guitar line-up (particularly Jack Lawson’s cranked-up Les Paul!) Sadly once they got going proper, Jack’s way-down-in-the-mix sound and an opener drawn from the southern rock cliche songbook (name a bunch of states, mention outlaws, badmen and women) lost our interest and we headed for the bar.

Hannah Aldridge (above), another Maverick favourite, was playing as a duo (nominally… as her set progressed she was joined by various ‘friends’ from her UK touring partner Lachlan Bryan & The Wildes). Her honeyed Nicksian tones were perfect for the mix of Cali-country and southern gothic, with some excellent near-a cappella harmonies particularly in a cover of Lachlan’s Dugdemona with added atmospheric fiddle, and her own anthemic Burning Down Birmingham with its customary crowd-participation choir finale.

Blue Highways’ Brucetastic bluster was an ideal match for the Green stage: very much Plunger’s idea of ‘proper festival music’, they took full advantage with the full-on sprawling Bossness of Take Me Away, a barrelling She Moves, Have You Seen My Baby’s bouncy saloon country and the high-octane post-pandemic hedonism of I Wanna Party… and despite the setting they still held the crowd rapt with another emotional and intimate rendition of Tonight.

Canada’s Redhill Valleys (above) were another “Never heard of them… Oh, they’re great!” bonus: Chelsea McWilliams (bass/vocals), Tim Allard (lead guitar/vocals), Danielle Beaudin (guitar/vocals), and Matt Soliveri (drums) lit up the green stage with a mix of slick multi-vox Laurel Canyon country rock, Sunset Strip sleaze and 70s N’awlins funk. Nice to see them making full use of the two guitar line-up on Burn It Down and they also gave us a killer cover of Lucinda Williams’ I Lost It. Right up there with Mickelson as this year’s Maverick surprise discovery.

Evangeline Gentle’s self-titled release was one of Plunger's fave releases of 2020, but ‘events, dear boy’ had conspired against us seeing her live until now. She has a new look (think tycoon’s wayward daughter in a 40s Hollywood noir) but the sublime voice is unchanged, and although the rich production of the record was perforce absent in this duo performance, songs from the album (So It Goes, Long Time Love, Drop My Name) and new ones like Dancing At The Gay Bar, stood on their own right and stripped back highlighted Evangeline’s seductive fragile-but-defiant vibrato-laden vox… it wasn’t just the sun that had Plunger melting like mivvi by the end of her set.

Still a bit Evangeline-dazzled we drifted down to the Green to catch the end of Peter Bruntnell’s set. Shamefully (as he’s a bit of a ‘ledge’) Plunger have no idea what he played or even if it’s typical of his output, but it sounded pretty damn good blasting out across the sun-baked grass: Youngian anthemic progressions with extended wild flaring solos, eastern-drone spacey passages and hallucinatory shambling grooves with harmony guitar. One for further investigation, definitely.

The Sam Chase was a big Plunger favourite on our three viewings of him last year, and he proved just as entertaining here. His folk/rock/roots/kitchen sink-and-anything-else-to-hand set delivered tales of horror, murder, ghosts, drinking and despair with lots of excellent strings from violinist Chandra Johnson and cellist Devon McClive, as well as a generous helping of wry dark humour (like introducing Everyone Is Crazy But Me as “a children’s song - now what they mean is that it’s simple… since kids are generally at the dumber end of the spectrum.”)

Next up on the sun-drenched green were Treetop Flyers (above): presumably named for the Stephen Stills song they’re often billed as CSNY-ish. While chugging progressions and a splash of Youngian harmonica did hint at ‘Y’ occasionally (and there was indeed a brief snatch of intricate CSN harmonies) mostly this was robust, rollicking 70s roots à la Caravan-era Van Morrison, as epitomised in the soully bustle of Golden Hour - keys, sax and guitar driven by a Chapman-like powerful lead vocal - and several snare-led upbeat Motowny numbers, all ideal to get the Green moving.

Plunger’s first Saturday foray down to the Moonshine was for Tim Gerard: another return visitor and Plunger favourite, Tim proved equally at home in the Greenwich Village coffee shop troubadour narrative of Pretenders, the bluesy boogie of Trouble On The Move or the impassioned western-tinged Savannah. The impressive set also featured the live premiere of new song International Show a somewhat wry look at the ‘jet set’ life of the travelling muso!

Returning to the Green we caught the tail end of The Hanging Stars: despite the presence of the brilliant Joe Harvey Whyte on shimmering pedal steel what we heard leaned more toward indie rock than their professed cosmic country, although the not-entirely-protest song I Don’t Want To Feel So Bad Any More (introduced as being “for anyone who hates the Tories” - which raised a cheer from at least half the assembled crowd!) did combine pedal steel and jangly Rickenbacker to just that effect, so we could be wildly far of the mark…

Fellow Londoners Forty Elephant Gang (above) brought their newly beefed-up presence to the Barn, the addition of drummer and bassist adding a punchier feel to the mando folk-meets-punk field holler of Songs Of Praise (we did say it was perfect festival fare!) and the crowd-pleasing crowd-participation stomp of Hands Out Your Pockets. A particular Plunger favourite was the slow and Squeeze-y Nashville-via -Neasden waltz Young Man’s Game with its tight three-part harmonies.

Nashville native (and previous Maverick attendee… admittedly 12 years ago) Rod Picott drew a reverential crowd to the Barn. However for Plunger’s tastes his solo acoustic set was a bit unremarkable (despite some fine guitar and a nice line in US/UK culture clash gags… “A whole HOUR of radio for women?”) lacking either the variety of a Tim Gerard, the treacly warmth of a Drew Young  or the grit of a Mickelson, so it seemed an appropriate time for a meal break …

Plunger often lazily pigeonhole Lachlan Bryan & The Wildes as solely purveyors of outback outlaw ballads, and while there were some of those in their Barn return, particularly Ballad Of A Young Married Man, we tend to forget the Springsteeny lopes, dark tom-led swampy grooves and of course the previously Hannah-covered epic Dugdemona that really is a ready-made classic (and notable post-festival earworm).

With night falling, Plunger took to the Moonshine for another dose of Mickelson, passing on the way the Peacock stage which was rammed solid for the Gram Parsons tribute. With songs from all available acts, covering the alt-country hero’s back catalogue, including Tim Gerard (above) and most notably The Sam Chase who covered the Gram and Emmylou cover of Love Hurts in their own inimitable gruff,  threatening manner: you really believed that love would definitely hurt delivered in those tones… Down by the waterside, Mickelson’s smouldering twilit performance was another hugely atmospheric highlight (unchanged set or no) with some fantastic banjo playing, chiming Stillsian guitar and spine-tingling vocal sincerity.

Terra Lightfoot’s headline slot in the Barn (the first of two) was a stunning tour de force (and boy, what force - both vocally and with her cranked Gibson SG)! A trouser-flappingly loud guitar intro heralded Stars Over Dakota, followed by more heavy-riffing-and-doo-wop Stax/metal hybrids Called Out Your Name, It’s Over Now and Hold You with its audience call-and-response. Plunger can’t think of anyone else who can successfully mix light soully pop with rafter-rattling rock to make bobbysox metal (bubblegum rock?) Slightly (only slightly) more relaxed vibes came in new song The Only One Of Your Kind, and the shoutalong Pinball King. Slick Back Kid included showboating solo spots for both bass and drums, and a thrashy Consider The Speed (with Redhill Valleys sitting in) ended a thrilling set. Or almost… to the surprise of everyone (including the crew) Terra did return for a gooseflesh-raising solo encore of Angel From Montgomery, showcasing that phenomenal voice.

Ears still ringing, we stumbled off into the cool of the night, a little thunderstruck and somewhat crisped by the sun. Bring on Sunday!