#the way these songs are just... problematique.
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otterandterrier · 2 years ago
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thesunhatesme · 9 months ago
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The ghouls music taste - HC
I think Ozzy Osbourne, Kiss, Lana Del Rey and David Bowie is pack favorites, like that��s what they’re gonna play on full volume in the car
Rain
Rain is definitely an alternative rock girlie, he loves Muse and you can’t change my mind on that. His favorite Muse song is definitely micro cuts or spiral static. He just loves all their guitar sounding vocals, those old emo vibes songs and basically everything about them. His favorite album is probably Origin of symmetry and Showbiz. And he likes MCR and Suizid, cus like, he’s emo
Dew
He’s a Mike’s dead fan by heart, he knows every single word of every single song, like hell blast Bite down on full volume and scream the lyrics, it just makes him feel better. And he’s Aether’s Rob zombie friend (every Alice cooper fan needs a rob zombie fan and the other way around) And he’s a sabaton fan cus he’s a little nerdy about history.
Swiss
Swiss’s motto is: “the older, the better” and: “anything after 1999 sucks” He likes the old country rock like, Eagles. He also likes Santana, like c’mon, Santana is a guitar genius. There’s always some chill music coming from his room. Oh, and he listens to Paleface Swiss unironically (even though they are a new band)
Mountain
He’s a bit like Swiss but he’s not against new music (most of the time) but the song James Dean by Eagles always hits hard. He listens to the strokes and thin lizzy in the green house, but if he’s not with his plants he likes to listen to techno metal, or any type if metal, really, his favorite song is Undead by Hypnosaur.
Aether
Dad music. Alice Cooper, Iron Maiden, and his alltime favorite Meatloaf. He vibes with almost everything tho, hell vibe with Rains high pitched emo screaming, Dews angsty rap/rock but especially Rob zombie, Swiss’s old country rock, Mountains techno metal and chill oldies, and on like so. He doesn’t listen to music that much but if the others are playing music he won’t ask them to turn it down, he’ll vibe with them
Phantom
Phantom’s favorite song will always be Bat out of hell by Meatloaf. He also likes Muse, but not like Rain, he likes their new stuff better like Simulation theory and the 2:nd law, he’s emo but not that emo. He definitely likes Nickleback, Yungblud, Bring me the horizon and Bad religion. His favorite songs are Anesthesia by Bad religion and Fire escape by Call me karizma. He has a kinda love/hate relationship with Map of the problematique by Muse because he listened to it religiously when he was summoned and now he can’t help but cry when he hears it.
Cumulus
Elton John, Dire states and Greta van fleet. She loves crocodile rock by Elton John and it always makes her laugh when she watches him perform it on The muppet show. But like Aether she’ll vibe with pretty much anything
Cirrus
Cirrus likes the vibe of kinda dark doom metal/rock. She loves bands like The ocean and Soen and their song Hollowed. She’s a sabaton fan because they are super cool too and she’ll occasionally enjoy some good old Rammstein or The cure
Aurora
She likes a lot of different music, and if you put her playlist on shuffle, someone will end up with a whiplash injury. She’s a Louis Tomlinson fan, her favorite song is Angels fly and she loves five finger death punch. She’s Phantom’s Machine Gun Kelly friend (every Yungblud fan needs to have a MGK friend) chances are high that you’ll find her with Phantom jaming out to bodybag or acting like that by MGK and Yungblud
Copia
He is definitely a måneskin fan and his rats are named after them. I think he likes old bands like whitesnake and Lynyrd Skynyrd but his altime favorite song will forever be Brother Louie by Modern talking
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himebushou · 3 months ago
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S4 of The Umbrella Academy was so garbage.
Geez. Why limit the season to 6 eps when every other season has had 10... even a runtime of 8 eps would have probably helped with the pacing issues, at least a bit.
It felt like nothing had any payoff. The CIA turning out to be Keepers? Shrug emoji. Nothing of consequence. The whole subway system came out of nowhere — it turns out that there were other ways to travel through time after all. The whole Gene and Jean thing was stretched out for so long and we got zero insight into why Sy knew so much — unless he was Abigail in disguise the whole time? But who cares?
There were some nice moments between the siblings: Allison and Klaus were mostly pretty sweet (except WHAT the heck were Allison's powers supposed to be? Also, Klaus didn't get to do anything except get locked up and buried alive) and I like that Luther and Diego got some time to bond (though, again, their skills were wasted).
Ben was. Odd. Poor kid just gets to die multiple times. And props to Viktor for actually trying to reason with Reginald and finally getting some validation from him.
The whole Lila and Five thing was so gross and completely unnecessary... I've always had issues with the way Lila was written (those 'kooky for the sake of kooky' characters can get pretty boring and I felt the same way about Klaus throughout a lot of the show). Five was my favourite from the start and just. Eurgh. #noonewantedthat
And the dialogue was so BAD. Some of the lines made me cringe so much. "To be honest I can't stop thinking about her" like. Okay Ben.
And even worse were these poignant moments happening in front of audiences and all the other characters on set just standing around completely wooden... like. What? Lila's family are in the background hearing that her marriage has fallen apart and they don't even act remotely shocked? What?
Claire was definitely one of the best parts of this season. She was a sweetheart.
Urgh. Overall, the whole thing just felt incredibly sloppy, poorly explained (WHY did Jennifer get the durango?) and as though the creative team had run out of ideas. There were so many moments where the Umbrellas acted with no urgency at all (like sitting around enjoying a Christmas party when they were supposed to be looking for Ben, or going to work as normal when they'd promised some random guy that they'd find his daughter within 24 hours). Powers morphed at the drop of a hat for plot convenience. Everyone got on board with the idea of being erased from existence without much fuss (apart from the whole thing about where the kids would end up). What was the significance of the giant squid? How were there so many Keepers? And what exactly were they keeping?
Also, I'm annoyed that they used 'Map of the Problematique' (a song I adore) to no effect; the lyrics didn't match the scenes of the Keepers arming themselves and it didn't fit the mood and just!
Anyway, two of the biggest issues I have:
If this version of Reginald is as callous as the others (after all, he did have Ben shot), then why did he waste all that time creating a fake world for Jennifer to live in?
Presumably, the only reason the Cleanse worked is because the creature eventually found the other kids that had marigold in them? Or, in this timeline, did only the Umbrellas have marigold? And in 150,000 timelines, are we supposed to believe that the Cleanse only happened once?
It's so stupid, oh man. The show's refusal to bring in the other marigold children outside of the Umbrellas was always so stinky — I thought we'd get something interesting when the Sparrows were introduced last season, but half of them died within a few episodes and geez, so much wasted potential.
Pretty glad the show is done now if that was the trajectory, lol.
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cherrylng · 2 months ago
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Muse Live Report - iTunes Festival [INROCK (December 2012)]
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Muse Live at iTunes Festival at the Roundhouse September 30th 2012 REPORT: P.G. BRUNELLI/INROCK
Muse appeared on September 30th, the final day of the month-long iTunes festival at the Roundhouse. While other bands played relatively conservative setlists, avoiding new songs for fear of illegal downloads, Muse performed seven songs from their latest album "The 2nd Law" tonight, even though it is about to be released in several countries, including Japan.
Muse's verse exploded from "Supremacy", the opening track of the new album and also the first song chosen for tonight's performance. Matthew (vo./keys./g.) switches from a mellow guitar riff to a heavily distorted sound while singing in a melancholic voice. It was the very image of beauty created by contrast. The unusual feature of the set was the inclusion of "Save Me" with Chris (b.) on vocals. It was a surprise that a song with him on vocals was included on the album, but to perform it live in this way was very fresh and quite surprising.
The band members were all in a good mood. Matthew mentions that Jimmy Page (Led Zeppelin, g.) is in the audience tonight, and he enjoys sneaking riffs from Zeppelin songs into his playing at various times during the show. He also threw in a riff from Jimi Hendrix's "Voodoo Child" at the beginning of "Panic Station," nicely emphasising the '80s-style heavy bass funk.
In this context, my favourite of the night was "Uprising". It was the moment when Matthew's guitar was more brilliant than ever. Tonight they were, as the lyrics of "Uprising" say, "victorious".
SETLIST
Supremacy
Map of the Problematique + Who Knows Who riff
Voodoo Child (Slight Return) intro + Panic Station
Resistance
Supermassive Black Hole
Animals
Time Is Running Out + Heartbreaker riff
Save Me
Madness
Uprising (extended)
Follow Me
Plug In Baby (extended)
Man With a Harmonica + Knights of Cydonia Encore
New Born + Headup riff
Very Ape tease riff + Starlight
Survival
Translator's Note: I originally wanted to just use the setlist as set out in the magazine itself, but then I saw that it might not do it justice to show it in an incomplete look. So I decided to get the setlist from the Musewiki entry covering it, instead.
Please do support me with my Ko-fi! ☕
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roxycaptor · 6 months ago
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HS music HC's part 2: beforus time
extremely gratified by the positive response to My Personal Ideas about what the alpha trolls would listen to which motivated me to consider the rest of the cast as well. posting the dancestors first because i fear i may forget them otherwise.
Damara: visual kei, j-rock, and riot grrl. doesn't listen to country much but has a healthy appreciation for the "woman kills her abusive husband" subgenre. Rufioh: ska and pop-y love songs. also just likes anything he can sing along to. Mituna: hyperpop and educational rap. likes the noise from those algorithm sorting videos. Kankri: if you ask him he'll just go on a rant about how the music industry is Problematique and never actually answer the question but he secretly listens to musical soundtracks and like. carpetgarden and Sir Chloe and other repressed longing bands. Meulin: classic emo and pop punk, also listened to a lot of nightcore edits. usually let kurloz pick the music when they were hanging out, but didn't listen to his stuff on her own time. Porrim: goth queen. Lebanon Hanover, Xmal Deutschland, Siouxie. outside of goth probably enjoys Marina Diamandus and Hozier. Latula: game soundtracks, riot grrl, queer punk. G.L.O.S.S. and Bikini Kill. Aranea: Scissor Sisters, Autoheart, The Taxpayers. anything that would have been on a yuno gasai playlist in 2015. most of her friends think shes a classical music person and she doesn't go out of her way to correct them. Horuss: midwest emo and extremely grating meme edits youd find on youtube during a rabbit hole at 3am. Kurloz: juggalo stuff & brutal death metal. Cannibal Corpse, Carcass, Urgehal. anything where the growling is barely distinguishable from the lyrics. Cronus: showtunes, early rock and roll. The Beach Boys, The Beatles (mostly their earlier work), Elvis. Meenah: 90s rap and screamo.
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gowns · 2 years ago
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In regards to your repression post: aside from the obvious answer (therapy) what are some exercises or things we can do to tackle/acknowledge/defeat repression? If you can suggest any.
i think it really is so individual to different people. therapy will help (it helped me; i found a very progressive therapist who is familiar with trauma). a lot of self-reflection.
for me: reading about zen helped. i'm not very good at meditating (too much bonkers stuff going on up there) but i really like reading about zen concepts and what people get out of it. books that i read that helped me grasp zen were, in this order, the long quiet highway, you are here, nothing special, then goodbye things and the concept of minimalism (what are the things in your life that matter to you, and what is clutter?). also, previously i have been helped by reading books about how trauma manifests in your body, like "the body keeps the score," but now i know that guy is problematique so i would check out alternative books like what my bones know.
that was all kind of like the baseline stuff that was scaffolding for helping me get to a better position to grasp what came to me last year...
... which was a deeper understanding of my own sexuality, identity, how i relate to other people, how i present, feeling embodied instead of disassociating, actually feeling sensations instead of it all being mental. in other words, a deeper acceptance of the fact that i am gay and that queer sex makes me whole.
now, for me, that all started with deep vulnerable conversations with friends about sexuality, identity, desires, dreams. long, long conversations. having more LGBTQ friends. being more in community with people. putting myself out there more, not isolating myself, feeling like an island unto myself.
--
i must repeat: i think that the seed for unrooting repression can be many different things, for many different people.
for me, i found myself in a position where i was a parent of two, in a seemingly cis hetero marriage, experiencing years of isolation. this isolation was mostly self-imposed! my partner has always been very supportive of me in anything i wanted to do. i just had no concept of my own wants and desires anymore. i had been in a caretaker role for so long that any concept of a personal "want" was buried deep underground.
how did this happen? i have always been against the status quo, in concept. but i felt a nebulous social pressure to "perform" motherhood, marriage, nuclear family structure, to wear makeup a certain way, to have sex a certain way... i was living in an unquestioned "normalcy" which was actually actively harmful to me.
i am usually coy about this on this blog, but i'll tell you right out, i started actively dating again and engaging with new sexual ideas and i was astonished that it just... made me feel so real, so myself, in a way that years of therapy and different medications have never done.
over the past several years, in periods of re-experiencing trauma or being triggered, i felt asexual. i would often have to be very drunk or very high to enjoy sex. i felt separate from my body.
now i feel whole again. i feel lit up all over.
like: i sat down and tried to learn the piano this year, and i was amazed that for the first time, in a very long time, there was a connection between my brain, my hands, my ears, and i was capable of being fully embodied in that way too, being able to use my hands to make music, having the plasticity in my brain to learn new things.
--
tldr: i think the answer is different for everyone. for me, it was embracing my nature as an unabashed flirt and local lothario. for you? it could be writing a love song and performing it. it could be finally writing the book laced with details of family secrets you've always been afraid to write. it could be just, like, buying a leather harness, and enjoying the sensation of the leather against your skin. we're only here once (in this form of consciousness)! enjoy the ride!
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zahra-hydris · 9 months ago
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CATCH UP 。*・♡;
tagged by @waterdeep and @galedekarios - ty 💕
LAST SONG: map of the problematique, muse
CURRENTLY WATCHING: nothing, really. though, as I've been sick/stressed, I've been throwing on a comfort show: bob's burgers.
THREE SHIPS: just three? let's go with current ships: gale x violet, heinrix x ammabel, and shadowheart x mirielle.
FAVORITE COLOR: probably pink and red :3
CURRENTLY READING: in between reading for work and reading to bub (and parenting in general, lmao), I rarely get the time, but i'm slowly making my way through moon witch, spider king by marlon james.
CURRENTLY CONSUMING: morning coffee, my beloved.
FIRST SHIP: let's go with balthier x me after I played ffxii as a kid lmao
PLACE OF BIRTH: australia
CURRENT LOCATION: still here (australia)
RELATIONSHIP STATUS: partnered for over a decade now
LAST MOVIE: ready or not, which i'd been meaning to watch forever.
CURRENTLY WORKING ON: a million work things lmao - revisions for an article to be resubmitted, coding transcripts for a research project, writing a new article, drafting my section for a co-authored article (for a special issue i'm co-editing), research assistant work, writing a job application for a lecturer position, and planning my lectures/classes for a class i'm co-teaching. while also looking after a sick baby :):):)
tagging @gautiersylvain, @goodsprings, @irenabean, @ayrennaranaaldmeri, @rosenfey, @avallachs, @cryptcombat, @camelliagwerm, @terendelev, @faerune, @dorianpavus, and @sunites :3
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drones-of-innocence · 5 months ago
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I'm currently in the process of publishing a fanfic that is basically a conglomeration of almost every piece of media that has ever influenced me. One of the most prevalent examples is music; I hyperfixate on exactly three bands and occasionally a couple of others. Two of those bands I've literally loved since I was a kid.
Anyway, that's all just to say I noticed a pattern where my characters in the story match up with the vibes of some specific albums that I love from those artists.
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Mario aligns closest with Black Holes and Revelations. Every single song on this is a banger, though I'll say that about every one of these probably 😭 I can't explain the degree of nostalgia surrounding me every step of this story. These are songs I have known during my most impressionable years. I remember hearing Starlight live for the first time and how it changed my life. I have associated Starlight specifically with Super Mario Galaxy all this time—I mean, come on. All the space imagery is perfect. And so it only felt right to name the fic with some of the lyrics. "I'll never let you go, if you promise not to fade away..."
This album has songs like Supermassive Black Hole and Map of the Problematique. They are usually intense and with an undertone of sadness and fear. Muse is known to use language implying relationship struggles as metaphors for larger issues, and also the other way around. It's kind of amazing how they draw so many lines stringing the personal and the political together. There are some more morose pieces like Soldier's Poem and Hoodoo that have extraordinary pain behind them. I could go on all day about how every single lyric matches up with some part of Mario's journey in my story, but that would take both an essay and contain spoilers 😆
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Luma aligns with Strangeland. I didn't hear about Keane until my first year of college, but this band somehow landed firmly in my heart. I already have tickets to see them on their upcoming tour 🤩 Keane's style is much more mellow, with a piano lead instead of guitar, which sets them apart as a rock band. The contrast between the intensity of Mario's feelings and the calm of Luma’s experience is best exemplified by these albums, I think. The covers even seem to parallel each other, with an orange horizon colliding with the blue sky, and coincidence is one of the themes of the story ✨️
Strangeland is full of songs that contain hard-earned wisdom, like Day Will Come and In Your Own Time. There is an excitement and deep appreciation for lived experience, as well as encouragement such as in You Are Young. There are also some songs about the hardships of relationships that are inevitable with time passing, like Disconnected. But largely, the tone of this album is upbeat. A carefree and thrilled approach to life might be labeled as childish, but it might actually be the wisest approach of all. Luma is excited to travel and see everything, and not necessarily out of naivety.
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schmirius · 1 year ago
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ofmd 2x06 spoilers
right, a whole section specifically for la vie en rose:
Con got to do his Izzy torch song :D
somebody make an mp3 of it for me already pls
what the fuuuuuck what an unbelievable soundtrack choice for Ed/Stede boning I'm stunned. what the FUCK Stede/Ed/Izzy confirmed
there's a lyric "c'est lui pour moi / moi pour lui dans la vie" (~"it's only me for him / him for me, in life") that in the credits, Izzy changes to "toi pour moi / moi pour toi" (you for me, me for you) thus directly singing to. SOMEONE.
what the fucccccckkk wtf wtf
etc:
Izzy wearing makeup was not only beautiful showstopping spectacular etc but also really drew a line under how queer he is, stfu already, Izzy is straight truthers. I mean this is also a lovely instance of Izzy pushing his way out of the celluloid closet – the whole season – but more importantly, he sings his semi-coded torch song for Ed in public and sasses the enemy crew about his pain kink. 10/10
Ed really was like "okay so do you want to talk about that traumatizing thing you just did?" and Stede 100% decided they should fuck about it instead. (such a dick, such a dick!) the whole chorography of it: Stede pressing Ed up against the wall, bare-chested Stede pulling the curtain closed around them with still-dressed Ed on the bed! I suspect if a character who was not Stede did this there might be SOME WANK about how problematique the whole thing was. people who are not absolutely babies might however enjoy this character beat and what it means for The OTP and what they need to resolve between them next.
... I bet things happened in this episode that weren't about my OT3 too. uh, I think the Stede/Izzy side of the triangle was probably good too? but great, in 2x07; this episode can't compare.
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dancing-to-architecture · 1 year ago
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37 - Muse - Black Holes and Revelations (2006)
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As Mellon Collie was to high school, this album was to college/post-college. I have some pretty distinct mentors of driving around Bloomington-Normal with this album cranked.
Here's hoping it doesn't also emotionally devastate me!
Take a Bow-
i believe in every single word of this song, unironically.
Incredibly violent things need to happen to every single one of the terrible people in power.
Starlight-
I will never understand the fear some people have of alien life, and i can day with zero hesitation that if they offered me a way off this rock, i would take it.
Supermassive Black Hole-
(Because the girl he's talking about really, REALLY sucks.)
Fun fact: a girl i was seeing at the time wanted to sing this one with me at karaoke.
That relationship didn't work out for a wonderful and complicated variety of terrible reasons with a whole cast of characters at fault.
...I didn't see the irony in her song choice for quite some time.
Map of the Problematique-
"I can't get it right since i met you"
Yeah, i already talked about the bad relationship this album is associated with in my brain, let's not belabor the point.
Soldier's Poem-
(If it's not scrawled in Sharpie on a latrine wall, is it REALLY a "soldier's poem"? Just saying.)
So, this album came out in 2006. The US invasion of Iraq and Afghanistan ended with a spectacular plop in 2021, but even in 2006 anyone who was paying attention knew that we were just wasting lives, money, influence, and time on some horrible bullshit that George W only did to make his daddy smile.
I defy any soldier not to resonate with the lyrics, here.
"How could you send us so far away from home?
When you know damn well that this is wrong
-
There's no justice in this world
And there never was."
Invincible-
Please, please, let all of this radicalize you rather than lead you to despair. They may kill some of us, but they know that they can't kill all of us.
Question is: will you die on your feet, or on your knees?
Assassin-
Okay, see, i was worried about this album putting me down a bad mental rabbit hole regarding one of the worst breakups in my life, but I'm starting to think this album might actually be why I'm an anarchist.
I'm still eternally amazed that in a nation that has so many crazies and so many guns, we haven't had that many political assassinations, all things said and done.
I guess the right-wing psycho spree killers nowadays go after softer targets... like schools.
Exo-politics-
The recent drippings of military disclosure about UAP (unexplained aerial phenomena) still makes me feel like it's an op.
At the risk of sounding like a crazy myself, yeah, i would bet that there's stuff our government knows regarding alien life, but they have to sit on it because "releasing evidence that destroys the very concept of all organized human religions" might be a Bad Thing.
•City of Delusion-
"Destroy this city of delusion
And break these walls down
And i will avenge
And justify my reasons with your blood
You will not rest or settle for less
Until you guzzle and squander what's left
Do not deny
That you live and let die."
Eat. The. Rich.
•Hoodoo-
"I've had recurring nightmares that i was loved for who I am
And missed the opportunity to be a better man."
Yeah, i get that.
•Knights of Cydonia-
Honestly this one always just brings me back to one of the better party nights I can remember, me and a few buddies from college (two of whom are now openly living as trans women and ladies, i love you both and miss the hell out of ya) drinking and playing guitar hero 2 until we developed what we referred to as "the twisted claw" trying to get through this and Metallica's "One" on hard/expert.
Any other thing i might derive from this song is simply overwhelmed by that memory, though "Don't waste your time or time will waste you." is one hell of a great line and the video is incredible and should be watched.
•Glorious-
Wait, where did this come from? Knights was the last song on the album, wasn't it? Oh, it's on the Japanese release. Okay.
The guitar kicks ass on this one, the climbing chords just go on and on..
Has a big "there will be fighting, but i assure you, it will be worth it" vibe, but honestly i think Knights is the better album-closer.
Gotta say, it's pretty nice anticipating a swath of emotional trauma and instead ending this album fired up, ready to lace up my combat boots and kick the shit out of a fascist, while also pretty depressed that they called what's happening over fifteen years ago.
Favorite Track: Knights of Cydonia forever
Least Favorite Track: Supermassive Black Hole and all the bad feelings associated with it.
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supersymmetries · 2 years ago
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(making a new post since the last one was getting Long and i’m getting entirely off track) @aeolianblues​
agreed-- their music videos took an immersion blender to my brain and rearranged all my neurons.
a built-in whammy pedal would be fun! you could put a pressure sensor on the sole so you could just press into the ground as if you were controlling a pedal. only downside is that you wouldn’t be able to control when it goes off if you’re tumbling around on stage as matt is prone to do. maybe it could be controlled by twisting your foot in or out instead, and in = pitched up and out = pitched lower?
maybe it wouldn’t be very convenient for live performances, but it sounds like a very interesting way to meld music and choreography. smart clothing and wearable tech like google glass or shirts that can determine your body temperature and heat you up/cool you down as needed had a lot of hype about 10 years ago, though they never took off. the only wearable that’s common nowadays are smart watches. and i think that’s for a good reason; smart clothing has practical limitations in day to day use, but i think they absolutely could have a place in more specialized fields like coma patient monitoring or artistic performances.
like, what if you created a whole outfit made of garments that controlled the effects for an instrument? a dancer would wear all those clothes and the musician’s instrument would be hooked up to it. so the dancer would become an active participant in creating the music that they’re dancing to. that’s a concept just asking to be executed with plug in baby.
transcribed tags under the cut since they’re from another post:
#listen Matt plugging in his heels fundamentally changed me as a person#I may be ace af but surely that's a literal sexuality. #if the music video heels were real I wonder what they'd be for. Amplified foot taps? #Muse electronic flamenco? (I'm convinced Muse could pull that off successfully. #I'd point to songs like City of Delusion or Darkshines; even Undisclosed Desires itself. Muse could do it) #Seriously though Matt would absolutely go for something like an in-built pitchshifter pedal in his shoe! #Can you imagine how much that would simplify songs like Kill Or Be Killed and Map Of The Problematique for him? #he currently uses click-track synced off-stage MIDI pitch shifters for the various harmonies on MOTP and the #upward ballooning thingie in the intro of KOBK. If he could activate it with his foot he'd be like fuck yeah #probably #Muse
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microwavedlion · 29 days ago
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i am in uni :3 i too am having a dan howell moment, and i just got dropped from an 8 week course bc i procrastinated and didnt finish all the required assignments before i went to tit... hashtag worth it but anyway !! my top 10 songs at the moment are all by muse, oops 1. animals 2. the handler 3. undisclosed desires 4. map of the problematique 5. mk ultra 6. screenager 7. uprising 8. sunburn 9. escape 10. citizen erased
i love language and grammar i think it's really cool ! do you just do english and japanese or do you know any others ? i really like asl, it would be cool to one day practice signing w someone if you know any ! (if i come off anon 😭) i am curious... do you have any suspicions on who i may be ? i wonder if my writing patterns are distinct enough to notice last question before i go: what's something that makes you feel better when you're upset ? i like driving late at night with the windows down and the music blasting, it feels So Good meow ! -🐍
good to know we're in the same age range haha. so exciting you went to tit, i went last weekend (don't live there though, so this isn't a self-dox). how was it? what was your favourite part?
oh my god, i'm so glad i haven't been dropped from any courses yet but i did lose my scholarship </3 would not be shocked if my parents make make me withdraw after this semester (currently avoiding studying for an exam which is tomorrow 🤐)
shockingly i haven't listened to as much muse as you would think?? definitely about to go listen to all of these (10 -> 1 order, gotta save the best for last).
i used to know chinese, i grew up learning it, but i switched to french and completely forgot everything i've ever learned so. i speak baby babble chinese and first grade french. i actually have learnt asl though! i used to think i was going deaf (i wasn't) so i learnt the basics out of fear. i also took a proper asl class for the first time this summer (saved my gpa thanks asl). i would absolutely be open for practicing, provided you aren't a serial killer or something haha :)
I do have my suspicions but i think i'd have to bury myself in a hole for all eternity if they're wrong so it's a secret for now... mayhaps you like a certain album that isn't muse.............
for me when i'm upset, the only way to get through the feeling is to have a 4am crying session staring out the window at all the cars that pass by. i particularly like the lighting at that time of night (before the sun rises), nice and orange, it really suits music. sometimes i like to talk it out with someone, but it really depends on the feeling. i can't drive, but it really does sound amazing to go for a ride like that.
meow :>
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cherrylng · 5 months ago
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2006 'Black Holes and Revelations' Interview [CROSSBEAT Muse Special Book]
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"It reaffirms to me that even though we've tried different genres, we've always stayed true to who we are, and when the three of us play together, it's like Muse."
Interview in 2006 about Black Holes & Revelations Interview with Hidefumi Harima
The fourth album was a major turning point. Did you feel that it was finally completed after a process of trial and error? Or do you feel that you had a clear vision and you were steadily moving towards it? 「When we made the first three albums, our priority was to be the best live band we could be. And with the third one we came to the conclusion of what we had been doing. The only thing we knew this time was that we wanted to show a big change and a new direction with this album. We didn't have a concrete shape in our heads of what we wanted to sound like, or what we wanted to be. We went into the studio and played around and tried out ideas, and it just came naturally. We weren't afraid to try things out, even if they sounded completely different from what we had done before, and we weren't afraid to try them out.」
It's true that you have retained the "Muse style" that you have created with your last three albums, but you have also broken new ground. 「It seems that even if we play a different genre of music or a different style, when the three of us play together, the band's character comes out. I would describe it as the Muse sound. We've reaffirmed that even if we try something different, our character will always remain. There are different types of songs on this album from the past. Some of them are danceable with elements of electronica, like "Supermassive Black Hole" and "Map of the Problematique", and there are also acoustic songs like "Soldier's Poem" that have been stripped down to the bare essentials. I'd say it's inspired by the old Beastie Boys and Frank Sinatra. And there's some Italian influences in 'City of Delusion', 'Hoodoo' and 'Knights of Cydonia'.」
I think it's more varied than ever and very colourful. Have your musical interests and ambitions expanded further and risen to a higher level? 「Yeah, I think so. It's the age of MP3s. I used to buy CDs and just pile them up around the place without organising them, so I had a hard time finding the songs I wanted to listen to. But now that I have MP3s, I can listen to all the music I want, which is great. It's easy with MP3s to organise my music, which I never used to be able to do. So now I listen to a few songs by an artist and then listen to a completely different genre - piano music, for example - and then listen to a completely different genre again. Maybe that's reflected in the album. Music fans now have a better environment to absorb all kinds of music than they did in the past. Also, in the past, we only wrote about 12 songs and tried to make an album, but this time we tried a lot of different ideas and experimented with different things, so we had about 20 songs to choose from, which I think contributed to the richness of the variety.」
I felt that the songs as a whole were organically put together, with no one element in particular pulling the songs together, whether it be the guitar, piano or vocals. 「Being a three-piece band, I think there's enough space for each of us to develop our own playing. Chris' (Wolstenholme) bass has its own sound, Dominic's (Howard) drums and my guitar. In a four-piece band you tend to pile on the guitars, but in this band the bass and drums are just as important as the other instruments. So I think we've been able to create an original sound and style.」
In the past, contrasts such as "stillness", "intensity", and "explosions of passion and tranquillity" have been one of the main characteristics of Muse's music. But this time I felt that this was not the case as much as before. What do you yourself think? 「We've always tried to create dynamism within a song and between songs. There are many ways to create intonation other than just the intensity of the sound. There is a contrast between minimalism and lyricism, or between organic and electronic, as on the first album. We've always created a big dynamic within a song, between songs and between albums. Personally, I think that contrast is most evident on this album.」
I see. The three albums so far are of course different from each other, but there is definitely a consistent 'Muse-ness' to them. For example, the strong riffs and the "Muse-ness" of the chorus melodies. What do you think about that? 「I don't know if it's 'Muse-ness' (laughs). I feel like we're standing right in the middle of the band's potential right now. You know what I mean? I think this album is a transitional album for a band that's about to step into bigger territory. Because it's quite different from the three albums we've made so far. So if you ask us now to describe what Muse is, it's hard to answer. I think the 'character' of the band comes from the way each of us plays. We've been playing music since we were 16 years old……. so we don't have any fear of playing music. We can enjoy music purely without worrying about ‘Is this okay?’ is thanks to the fact that we've been together since we were young. It's hard to explain why our music is so unique to us, but I think one of the reasons is the big contrasts and inflections in the songs, which I mentioned earlier. Also, we don't stick to one genre. I also love instrumental music and listen to it a lot. I see a lot of bands who say in interviews that they had a period of time when they were into classical music, and in my case it was when we made our second and third albums. I got interested in classical music because that music is instrumental. Instrumental music stimulates the imagination because there are no voices or lyrics. I like the fact that you enter the world of music and paint your own scenery. It's like the difference between reading a book and watching a film. When I listen to instrumental music, I can create my own landscapes, atmospheres, and characters, and that's the same reason why I like classical music. This time I not only listened to classical music, as I did with the second and third albums, but I also enjoyed world music. Going back to the question of what is Muse-like, when you take the vocals out of a song, most of the songs have a vibe that is uniquely ours. I mean, I think the vibe when it's just instrumental is different from that of other bands. I think that's what makes us unique, is that when we take the vocals off, the atmosphere of what we're singing about in the lyrics is still there.」
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On 'Absolution', you said you layered 98 layers of vocals, but this time you tried your hand at 33 overdubs of guitar parts? 「(laughs) On the bonus track 'Glorious' on the Japanese release. I was inspired by the contemporary music composer Steve Reich and did 33 overdubs. He was experimental and had all the instruments play the same part, but at slightly different times, to give it the feel of a bunch of buzzing insects. It was a very interesting sound effect, so I gave it a go. You can hear the 33 guitar parts at the beginning of 'Glorious'. They're all playing the same part, but the timing is slightly off, which creates a back sound effect that adds depth to the song.」
Did you do any other interesting experiments or challenges with the sound this time around? 「There's a trumpet player on two of the songs. I think this is the first time we've introduced a horn section. Also, I think the string section on this album is a different style. All the strings are playing the same part, which is a technique you don't often use, do you? It's a style influenced by Middle Eastern music. What else have I done? On 'Exopolitics' I used to hit bottles and cans, and I also added hand claps to create background sound effects.」
In a sense, it's like 'film music', with lots of evocative sounds. It also stirs the imagination. You must have worked a lot in this area through trial and error, didn't you? 「As I said in the question about Muse's character, I tried to tell a story with the music alone. I try to make the scenery come to life without the vocals. I can't write lyrics if the music itself doesn't depict a landscape. I hope the music itself takes the listener out of reality. For example, "Knights of Cydonia", "Take a Bow" and "Hoodoo" have taken me to unreal worlds. The album title 'Black Holes and Revelations' means that the songs come from two different worlds. By 'Revelations' I mean 'Starlight'. In this song, I'm exposing myself. It's a song about self-discovery. Black hole-like songs are songs that don't come from my experience, but from another world. I don't know where "Take a Bow" and "Knights of Cydonia" came from. Maybe they came from within me, but that element is something I'm not aware of myself.」
You recorded the album in two opposite locations, in a castle in the south of France and in New York. That gave the album a lot of breadth and variation, wouldn't you say? 「I've made all my albums in isolated environments, like this one. I like to make albums in secluded places. When I want to explore new ideas and experiment with things, these situations are the best. I'm not tied down by time. I can go into the studio at midnight or early in the morning, whenever the spark strikes me. When you're in creative mode, you don't want to be limited by time. Another advantage of making an album in an isolated place is that there is no TV or telephone nearby. There are no people or influences trying to meddle or force me to change things. When you work in a studio in the city and stay at home, people around you can influence the music without you knowing it. I'm not saying that's always a bad thing, but it can influence the decisions we make. This time we spent over two months in a studio where we could sleep in and work, and I've never worked in a studio like that for such a long time. Every day we were creating new things and trying different things, but we were there for so long that we thought it was going to go on forever. I could have worked there for another six months and written 50 songs. But on the other hand, if I had taken that long, I would have been more worried about which ones to record. And after living like that for two months, I wanted to go out to the bars and join the crowds (laughs). Two months of that kind of life was enough and I had the ideas I needed. But I had a hard time choosing which of those songs were the best, so I decided to fly to New York. This was the first time we recorded in New York, by the way. It was also good to go out at night in New York and meet a lot of people. When we were working in France, I was worried that the songs were too experimental, but when I listened to them again in New York, I realised that they were actually the best songs. We didn't write the songs or do anything creative, but we worked on the song selection and on giving the songs a real shape. Like you say, working in opposite places has had a big influence on the sound of this album. The quirky, slightly twisted, world-music sound came from working in the south of France, and bringing it to New York gave it more of an electronic and rhythm & groove based sound.」
"This time I tried to tell a story with just the music. I'm trying to make the scenery come to life without the vocals."
This is Muse's fourth album. You've already become a top-class band, how would you rate your progress so far? 「It's been a long and winding road! (laughs). We've all changed a lot in some ways, but our basic approach is the same as it was at the beginning. From the very beginning we were never afraid to make music and try new things. The best thing is that when we look at each other and play, it still reminds us of when we were 16. I think it's good that the foundations haven't changed and we've gone through some big changes based on that. The band has taken us to places we never dreamed of going. We're all surprised by the fact that we've had so much success. We're also amazed at the scale of the shows we're playing now. We started out in small venues and it's nice to be able to play in front of a big audience. Live shows have been an important part of us from the beginning. I think the band shines the brightest when we're playing live and I'm proud to say that we blow people away the most when we play live.」
Translator's Note: When I first extracted the text for this particular interview article, I thought the paragraphs looked familiar to me. It wasn't until I translated them one by one that I saw that it was, indeed, an interview article from a previous CROSSBEAT magazine that I've translated before just recently.
Only this one helped confirm to me that the interview articles in the Special Book booklet were all possibly heavily edited. The reason for doing so is unknown, but I suspect that it's in order to fit it into the limited space and pages available on the booklet, so parts that were deemed unnecessary were taken off.
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imscissorbladez · 1 year ago
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Short Playlists for Tavs
I’m in the zone so for further context have some songs:
Rook
all fired up - interpol
the people person of this ragtag band. sees every social interaction as a game; how do i get what i want and we all still have fun. it works, mostly. and if not, they’re a bard with a sword and that’s a truly terrifying thing to see early game.
we appreciate power - grimes, HANA
this is essentially the mindset they were in as they started consuming parasites like it was their job. it’s fine! it’s not a problem! they’re just helping. and that’s how they became half illithid. it’s the tragic story of a half elf who knew they couldn’t help the way that they wanted to, and turned to power outside of their control because they do care, it’s just hard to see.
good grief - cleopatrick
is vaguely insecure as the bard! can’t do anything their companions can do, and it absolutely upsets them, yes, but when someone tries to talk down to them? all hell breaks loose. and this song is absolutely a tribute to that.
parasite eve - bring me the horizon
mainly because they’re a drum bard, and i love the idea of this being the song they play in the upper city with other bards just before the final battle. they know they’ve all done right and wrong, but there’s a time and place to unpack that. also the idea of them scaring the place with this song?? but rallying everyone? immaculate.
fun fact: headcanoning the fem and masc voice that joins in for chorus as shadowheart and gale, who were rook’s ride or dies.
Ry’lrr
black wave - k.flay
i just need you to know the lyrics ‘I swear to god you don’t wanna test me’ are said with an air of desperation that ry’lyrr embodies. she awakes knowing that she has the urge. she lives with it every day. it’s chaotic and painful and difficult to understand. and yet she prevails.
the moon will sing - the crane wives
i need you to consider for a moment what it’s like to have a dark urge tav who sees lae’zel as the sun. literally the only light she’s ever known. i am sobbing, crying, foaming at the mouth.
did you hear the rain - george ezra
this is deeply orin and ry’lrr coded in ways i cannot explain without an essay. sworn rivals, sisters who one of them doesn’t remember the other. the ry’lrr before dark urge was something else. orin lost her great rival and it’s actually very sad to me.
map of the problematique - muse
ry’lyrr cannot bear the idea of losing any of her companions. she knows that in another life, it would be none of them. now it’s all of them, and she goes to battle for them, not for the world, but for them.
honourable mention: obey by bring me the horizon and yungblud was so very orin and ry’lrr before…. everything happened.
Elys
get into it (yuh) - doja cat
let her have her moment. this is the noble that people knew in the upper city, betrothed, fucking around and finding out, seemingly untouchable. absolutely her opening song.
hurricane drunk - florence + the machine
where elys starts. traumatic breakup, has turned to self destruction. it helps that she’s a draconic lightning sorcerer realistically. so she went out! For weeks! …and was picked up by mindflayers.
money - lisa
i’m not going to lie, elys and astarion are besties for this reason: she spends the entire tadpole era dropping money wherever she can. morally grey and banked up. she’s a bad bitch. we allow it. her fellow tav hates it.
little girl gone - chinchilla
the emperor came to elys as essentially a full copy of their ex. and elys was struggling so was okay with it. but with a healthy love, she goes into battle now not trusting the emperor, a manipulator, and an actually terrifying sorcerer that her draconic ancestry would be proud of. she leaves him on the battlefield as he tries to fight her, which is the closure she’d never get otherwise. wyll is very proud and a little smug.
fun fact: the cave by mumford and sons is THE wyll/elys song
Haven
Haven requires essays so we unpack that later. There’s also a whole Spotify playlist so lmk if you want it.
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arbitrarygreay · 1 year ago
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The KyoAni Dilemma
Rewatching Dragon Maid S, particularly the ep with the Tohru/Elma flashbacks. And like most fans of the show, it's basically "gdi why does the story which is capable of being This also have to include all of That Shit?" KyoAni, in particular, has long been the studio of this lament! Their execution craft is absolutely impeccable, elevating and polishing some real otakushit turds again and again. Why, many critically-minded anime reviewers cry, can't KyoAni just do something serious with all of their talent? But then, like, it turns out that looks like Violet Evergarden. Ehhhhhhhhhhh. And honestly, the way I feel about Violet Evergarden extends to how I feel about all those PA Works "working girls and/or teen relationship drama!" shows, where it feels like they're high on their own "taking it seriously" supply. A Silent Voice is teetering on this, but may be more of a "this is too pretty and polished to be true to the ugliness driving the narrative" thing, as opposed to a "pretty and polished substituting for nuance" thing. But either way, these critic-bait efforts feel unbalanced in their own way. I had a reblog2018 post this week about how cute pop songs work the best with a mature performance contrast, instead of cutesy saturation. However, the desired effect of the optimized result is the best kind of cuteness, not an elimination of it. I also finally watched the Trigger OL show this week (Turning Girls), and it's clear that they relate hard to the gremlin otaku characters, whether it be the VK queen Bloodstained Bloody Roses, Twitch streamer Expy Nico (6 months after LL first aired), and most relevantly, a fujoshi shipping ALL OF THE THINGS while at work. One does not work at an anime studio that has a distinct artistic identity/culture without being some kind of weirdo! If they were normies they'd be working somewhere else. So, putting it together, I think perhaps that KyoAni can't actually "just do it seriously." Their own artistic feelings don't run that way. Their best nuanced work can only come out if they can vent their actual niche tastes as well. The multitudes within a weirdo only result in even more depth, for the sheer range. See also: Nisemonogatari, while who talks about Katanagatari, like ever? Of course, KyoAni has plenty of counterexamples in their oeuvre to damn this theory: Hyouka, FMP TSR, High Speed, Tsurune, Euphonium. But when I list them out like this, and also consider the likes of Nichijou and even K-ON, another reason to loathe the prospect of an only-serious KyoAni becomes apparent. KyoAni can bring out the true potential of genres that are otherwise ill-served by the industry. Crunch and the layouts crisis are making the state of most shows pretty dire, with upper-mid-table efforts often scraping by through manga panel recreation, and the lack of customizing to medium hits comedy especially hard. Some serious dramas can get their intent through even with subpar layouts. There are also other studios who can succeed at putting out critic-bait dramas. But can those same studios or critical darling auteurs pull off the fast-paced high-energy comedy that made KyoAni famous? I can think of single examples, but the track record of the responsible staff members is so far from consistent (and many of those productions nonetheless plagued by the usual industry ills). If KyoAni remaining in love with Les Problematique within their artistic tastes is the price for a healthier work environment and and "finally, some good fucking non-serious output", then yes, let the rising tides lift the Weeb Ass Shit, too.
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spocksgotemotions · 1 year ago
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@kaleidoscope1967eyes yes thank you for inquiring
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Okay SO! This is just a notes app doodle with three musicals. She Loves Me (1963) is my favorite out of this group, and it’s got some mild misogyny: bimbo character (literally illiterate, but not punished by the narrative for being a bit of a slut), women nagging about their husbands, being a bit shrill etc. BUT overall it’s a very cute and heartwarming love story between two extremely intelligent idiots. Real enemies to lovers (but they become lovers without knowing who the other is. I love it) with some sweet music and some really fun bits!
On the other hand we have How to Succeed in Business Without Even Trying (1967 I think?), which is lacking in charm imo. The songs are decently good, but they’re not really anything special. Meanwhile the story is just kinda eh (again imo), a guy tries to climb up to be a successful businessman, while he falls in love with his secretary. Which leads us intoooo misogyny! The female lead sings a song about how her main goal is to be a successful man’s neglected wife (which like yeah fair, but it feels less fun coming from a character written by a man). And then we have a song later called “A Secretary is Not a Toy”, which is technically against the objectification of women, but only technically!
And then we have My Fair Lady in the middle which, My Fair Lady is a staple and it’s very charming. The music is BEAUTIFUL and I love it and the character of Eliza is very endearing. But! The basic premise of the show is the fact that this woman is “stupid” and a man can fix her. No, this is not purely misogynistic, it’s classist too! (Older musicals are uhh a bit problematique in Several Different ways, but misogyny is the one I feel most qualified to talk about). ALSO THIS DOESNT MENTION THE SONG “A Hymn for Him” which I just cannot parse because it’s So Sexist I genuinely can’t tell if it’s just the character being sexist or if the lyricist was puttin some of his own thoughts in there???? Second verse of the song starts with “Women are irrational that’s all there is to that.” And then it just Keeps Going forrr uhh 3 more minutes.
But yes this is the misogyny to charm chart for pre 70s musicals (things got weird in the 70s, but MODERN MUSICALS ARE NOT EXEMPT)
old musicals are always on a chart where one axis is misogyny and the other is charm. In order for me to be able to enjoy the musical, the misogyny must be less than or equal to the charm.
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