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captainsophiestark · 8 months ago

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Come Here Often?

Cassian x Reader

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Written for my personal fic writing challenge for 2024, Sophie's Year of Fic! Featuring a new fic being posted every Friday, all year long :)

Fandom: A Court of Thorns and Roses

Summary: Everyone in the Inner Circle knows Cassian and Y/N have feelings for each other, except the two idiots in question. Thankfully, the IC's not known for minding their own business, especially in matters like this.

Word Count: 1,772

Category: Fluff, Humor

Putting work into an AI program without permission is illegal. You do not have my permission. Do not do it.

"Are you sure you don't want to go see a show at the Ampitheater tonight?" I asked, trying to give Mor a guilt trip with no more than a look as we carried bags towards the river house. She just scoffed at my attempt.

"I already told you, I can't. I wish I could, but our lovely High Lord has me doing work all night tonight."

I huffed. "Fine. Let me know if I can do anything to help with the work, since I'm losing my theater buddy."

Mor shot me a grin. "I'm sure you could find somebody to replace me if you really wanted to."

I narrowed my eyes at her. I knew what she wasn't saying: that I should invite Cassian. To do something, if not to go to the amphitheater. I regretted ever telling her I'd caught feelings for the Illyrian general.

"Whatever, Mor," I scoffed, failing to come up with a better comeback. She grinned, clearly sensing her victory, but luckily for me I'd reached my room. "Enjoy all that work you have to do tonight!"

I didn't wait for her response before ducking through the door and shutting it behind me. I could hear her laughing as she continued down the hallway to her own room, but I did my best to block it out as I dropped my bags.

I hovered a little longer in my room, taking my time putting away the things we'd brought back from the market, until I heard Mor leave to go do whatever work Rhys had her doing. I checked both ways in the hallway when I finally emerged before heading down to the kitchen.

All of my friends had been hounding me about Cassian lately, and as much as I loved them, if I heard another word from anyone trying to nudge me into asking him out or whatever, I was going to lose it.

I made my way towards the kitchen, intending to make myself a snack before figuring out what I wanted to do with the rest of my evening, but I stopped short at the sound of harsh whispers coming from within. It sounded like somebody was having a heated conversation, and I didn't want to interrupt anything. But then my stomach rumbled, and I decided to go in anyway.

I cleared my throat and made as much noise as possible so I wouldn't interrupt any Inner Circle members in the middle of something serious. When I rounded the corner, I found Cassian and Azriel sitting at the table in the middle of the space, leaned back in their chairs and trying way too hard to look casual.

"Hey guys..." I said, eyeing them both suspiciously as I slowly moved further into the room. Az gave me a little nod, and Cassian gave me a smile that looked more than a little forced. "What, uh... what are you both up to?"

"Rhys needs my help with something," Azriel said, standing abruptly. I narrowed my eyes at him, but of course his expression gave away nothing as he headed for the door. "I'll see you both later."

I watched him go, then turned my gaze to Cassian once Az was gone. His back was to me, so I couldn't read his expression, but his shoulders were tensed and he hadn't turned from the doorway Az had disappeared through.

"Okay..." I said, deciding to just move past it as I turned to the counter to start making myself a snack. "What about you, Cass, you got anything going on tonight?"

Cassian cleared his throat. "Me? Nope."

I heard him shifting in his chair behind me, and a moment later he was standing at my side. I prayed he couldn't hear my heart racing faster at his proximity as I tried to keep my focus on the fresh fruit in front of me.

"So, uh, you..." Cassian's wings rustled behind him, usually a sign of nerves. I frowned. "You come here often?"

I paused, setting the knife down and opting to slowly turn to face Cassian, one eyebrow raised. He fidgeted as he stared back at me, and I caught him forcing a grimace off his face in favor of a small smile. I'd never seen him look so nervous before.

"I... Cass, we both live here."

The grimace returned in full force, and I couldn't help smiling as Cassian brought a hand to his forehead.

"That's not what I meant to ask you," he said, shaking his head and meeting my eyes again. "What I meant was, uh... do you have a bandage?"

"A bandage? Did something happen? Did you get hit-"

"Dammit! No, I'm fine. Never mind, I need to go find Az-"

He started to push off the counter, but on a reflex, I stopped him with a hand on his forearm. He stopped dead in his tracks and stared at me, and my heart almost stopped in my chest at the intensity of his gaze.

I quickly pushed down the butterflies in my stomach to give Cassian a once-over. No matter what he said, he clearly was not fine. I didn't see any obvious physical injury, but a hard hit to the head would definitely explain some things, and when I met his eyes again he had a weird look in them.

"Cassian, are you sure you're okay? What's going on?"

He took a deep breath and then hesitated, his eyes darting over my face and his brow furrowed. Then, he sighed, his face and shoulders relaxing with him.

"I'm sorry, I just... I was trying to ask you out." My eyebrows shot up, but Cassian continued before I could muster a coherent response. "I've been wanting to do it for a while now, but I lost a bet to Az last week and my 'punishment' that I finally had to go through with it. I've been trying to figure out the best way to do it, but... I guess that wasn't it."

Cassian huffed a little laugh at himself, his expression drooping as he stared at the ground. I just blinked at him for a few seconds, trying to process everything he'd just told me.

"Hold on... you're asking me out because you lost a bet to Az?"

"Not just for that," Cassian assured me quickly, looking worried. "Or, I guess, if you're not into it, then maybe yes?"

I just laughed, which didn't seem to make him feel better. I felt guilty, but I also just couldn't help it. My heart leapt as I put a hand on Cassian's shoulder and his eyes snapped to mine again.

"Cass... I barely escaped that exact same bet with Mor last week."

His brows furrowed. "What?"

"Yeah," I said, laughing a little. I couldn't quite help it. Cassian apparently felt the same way about me as I did about him, as evidenced by our friends' ridiculous tactics. My heart soared, and I stepped a little closer to him. "I cheated a little to get out of losing, but she's been pressuring me to ask you out somewhere anyway for the last week and a half."

"Because... you like me?"

"Yeah. A lot."

The frown finally lifted from his face, replaced with a beaming grin that made my heart race. Slowly, he moved one arm to wrap around my waist, pulling me a little closer to him. I let one hand rest against his chest, and Cassian's lopsided smirk almost made me faint.

"Our friends are going to be rubbing this in for a long time, but I can't make myself care," he said, voice low. I bit my lip and smiled up at him.

"Same. Especially since I think they're all out of the house right now on a fake assignment for Rhys."

"That's definitely a perk of all their bullshit."

"So... what now?"

Cassian's eyes flashed as he leaned forward, pulling me flush against his chest. He dropped his mouth towards mine until they were barely inches apart, then met my eyes. Based on his grin, I knew he could hear my heart beating out of my chest.

"I have a few ideas," he breathed.

A heartbeat later, his lips were on mine, and fireworks exploded in my chest. Being with Cassian like this just felt right, and now that we were finally together, I never wanted to let him go.

I wasn't sure who initiated it, but we deepened the kiss as Cassian's grip tightened on my waist. I let my hands wander over his chest, to his shoulders and arms, but stopped dead in my tracks when I heard a disgusted scoff from behind me.

Cassian and I broke apart, arms still around each other, and turned towards the door to find our friends standing there, staring at us with their hands on their hips.

"Well, I guess this is what we wanted," said Mor with a shrug.

"Pretty sure I told him to ask her out, not make out with her in the kitchen," Az chimed in from beside her. Rhys and Feyre just grinned at us, while Amren stared, clearly unimpressed.

"Do you all mind?" Cassian ground out, his hands tightening a little more around my waist. Mor just grinned and skipped into the kitchen completely undisturbed, heading for my unfinished fruit platter.

"Not at all," she said. Cassian sighed, but I couldn't keep myself from laughing. Our friends were absolutely ridiculous, but I loved them dearly. And Cassian and I had just made out in the kitchen, so I really don't think much in this world could've ruined my mood.

"Why don't the two of you go see a show or something?" Feyre suggested, following Mor into the kitchen, the other batboys following behind her. Cassian narrowed his eyes at his brothers, but I just smiled, at last stepping out of his grasp and taking his hand.

"That's a great idea, Feyre. Cass? What do you think?"

His expression softened the minute his gaze shifted to me. My heart melted.

"Sure. How about we go to Rita's after, too? Do some dancing?"

"Sounds like a plan. Just let me go get changed."

"I'll meet you back down here."

We shared a smile, and I leaned up to give Cassian one last quick kiss before turning on my heel to go get ready. Rhys and Az both smiled at me as I left the room, and I shot them a wink as I left. I would've preferred it if they'd all given Cassian and I our space tonight, but at the end of the day, we wouldn't have admitted our feelings for each other without our nosy, pushy friends. So I couldn't exactly stay mad at them, at least not this time.

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Everything Taglist: @rosecentury @kmc1989

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d-criss-news · 7 days ago

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Darren Criss Is Betting Big on Maybe Happy Ending, the Musical You're About to Fall in Love With

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Darren Criss on the Timelessness of MAYBE HAPPY ENDING

Darren Criss has danced up the corporate ladder as J. Pierrepont Finch, stripped down to his skivvies as a queer East German rock star and tackled the “profane poetry” of David Mamet. And still, he says, there’s one thing he hasn’t done: “I haven’t taken any risks on Broadway.”

That ends this season with Maybe Happy Ending, a new musical on a mission to draw audiences to the Belasco Theatre without the benefit of a recognizable title, popular source material or songs that have already spent time on the Billboard Hot 100. “It's a really, really hard market right now to be making art,” Criss says to Broadway.com Editor-in-Chief Paul Wontorek, chatting at So & So's Neighborhood Piano Bar. And commercial Broadway theater? It’s “tedious, expensive and a gamble.” So naturally, Criss is going double or nothing as both star and producer of Broadway’s next thrilling crap shoot.

Maybe Happy Ending takes the trappings of a classic love story and inserts futuristic robots with outdated software. Criss plays Oliver opposite Helen J Shen’s Claire—a pair of Helper-Bots who, on a quest to contact their former owner, evoke a kind of Millennial-Gen Z mismatch. But rather than getting swept away by love, the two retired machines take the concept itself and try to break it down to its zeros and ones. As Criss explains, “[It’s] two computers trying to computationally synthesize and process what love is and why human beings do this.”

The musical was a hit when it debuted in Seoul, South Korea nearly a decade ago, and now, writers Will Aronson and Hue Park have a crafted an English-language version that Criss thinks has the potential to ascend to the proverbial Heaviside Layer of musical theater. “This is the seminal version that I hope can last in perpetuity for the ages,” he says, adding confidently, “I do feel like this is a timeless piece.”

Original musicals have the most challenging road on Broadway. But when you look to grassroots successes like Urinetown, or Dear Evan Hansen, or even The Prom—which ran in New York for less than a year but inspired a starry film and a slate of regional and international productions—you see how quickly an unknown quantity can become canon. “People are always like, ‘There’s no one creating original things,’” Criss says. “They are. It’s just really, really hard to produce them because you really have to believe in something hard enough to be OK with the risk.”

The fact that Maybe Happy Ending has earned that belief from some of the theater’s heaviest hitters is telling. Director Michael Arden, hot off a 2023 Tony Award for his revival of Parade, chose the piece as his next musical. And producers Jeffrey Richards and Hunter Arnold, with nearly 20 Tony Awards between them, have given Arden free rein to make a capital “B” Broadway meal of it.

The show’s cast is deceptively modest (Marcus Choi and Dez Duron complete the four-hander), but there’s nothing minimalist about Arden’s vision for Maybe Happy Ending or the high-tech space he’s worked out with set designer Dane Laffrey. In short, “They don’t f**k around,” says Criss. “This show is very technologically advanced. I think it's kind of the ace in the hole that people aren't expecting.” He tosses out comparisons to Miss Saigon’s descending helicopter and The Phantom of the Opera’s haunted chandelier—emblems of the bygone ‘80s megamusical. In an era of subtlety and economy (think recent Tony winners Kimberly Akimbo or The Band’s Visit), this, Criss promises, is “a big-a** mother**king spectacle.”

It's another bold, all-in move from the Maybe Happy Ending team, but Criss is determined to hedge no bets this time around. He looks back at his Broadway resume: How to Succeed in Business Without Really Trying (“Glee was white-hot and I was going in for three weeks after Daniel Radcliffe”); Hedwig and the Angry Inch (“People love that show. With or without me, it would be just fine”); American Buffalo (“A beloved and respected American play”).

“They're all classics to some degree,” he concludes. “This is not that.” Of course, understanding what Maybe Happy Ending is not is less of an issue than getting audiences to understand what it is. Right now, Criss says, there are rumblings around town that it’s “the cute little robot show.” The thought puts a mischievous grin on his face: “You have no idea.”

#darren criss #broadway.com #paul wontorek #maybe happy ending bway #maybe happy ending #press #youtube #video #nov 2024

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the-bensolos · 7 months ago

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No I’m SO sorry but it’s truly so funny to me that a lot of dudes going to see challengers for the idea that they’ll see a hot naked Zendaya and what they actually get treated to is tasteful and delicate aspects of the male form from the visionary that is Luca Guadagnino (and of course very very explicitly homoerotic imagery.) And there is a healthy amount of sexualization for both forms. But the fact that there is full frontal male nudity in this movie, the only true nudity in this movie is of the male form, marketed the way it is is just so good. Like I work in a theater and the amount of dudes coming out lambasting that this movie sucks is so fucking delicious. The way straight guys have to sit and accept the queerness of this movie that it EXISTS, that it’s beautiful and tender and gentle, and intimate, but also loud, and brash, and seeped into every conceivable corner adds another 10 on top of this already 10/10 movie.

#challengers #challengers movie #challengers spoilers #and like don’t get me wrong Zendaya is stunning and they way they treat her body is so graceful and respectful and tasteful #again this is her first leading film role as she’s stepping into a new chapter of her career #and the way SHE especially has been sensationalized is so infuriating #and to see a sports movie being so loudly and subtly queer and again that just being able to exist is thrilling #and again the marketing being two boys fighting over very beautiful woman also being about the relationship between two men is just yeah

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vmygdvlv · 3 months ago

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Stray Kids AU (italian boy version) ;

Lee Know as Leonardo Caruso

Leonardo came from a Sicilian family, Caruso surname basically gives it out, but he moved around considerably due to his parents jobs and making him growing up around different cities: late childhood in Florence, high school in Rome and University’s life in Milan.

Even if he never lived the Sicilian lifestyle and customs, he proudly says he is. He also deeply loved the food and culture. He doesn’t know Sicilian unfortunately but at lest he was fluent in different languages (Italian aside) such as English, French and Spanish. He knows some Germans basics, but he’s not able yet to hold long conversations.

Leonardo was born into a loving family that celebrated creativity and passion. His father, Giovanni, was an architect who admired precision, yet harbored a secret love for theater. His mother, Maria, was a marketing manager with a deep appreciation for literature and the performing arts. Together, they nurtured Leonardo’s talents from an early age, recognizing the spark in him that longed to create and express.

As a child, Leonardo was constantly moving to music. He loved the way dance allowed him to express emotions that words could not capture. His parents, recognizing his passion, enrolled him in dance classes, where he thrived. Dance became a vital part of his life, not just as a hobby, but as a form of self-expression. However, when it came time to choose a field of study, Leonardo didn’t pursue dance professionally.

Instead, he chose to study Performing Arts Management, a field where he could combine his love for the arts with his natural talent for organization and leadership. Thanks to his family economic status, he was able to enroll at the Università Bocconi. Even if the school had a residence located right on campus, he decided to rent a rather cheaper place since the university’s regulations, obviously, would not allow animals inside and he wanted to bring with him his cat (Bella) and his little parrot (Gino).

There was also some times where the dream of becoming a professional dancer/choreographer would come up in conversations, but since it was not a well-supported field in Italy he decided to pick a more solid path while enjoying dance’s classes and teaching it to kids as a part-time job. This decision helped him creating choreographies for shows and events around the country, giving him the possibility to know more while coordinating both studies. His parents supported this decision wholeheartedly, understanding that it was a path that allowed him to blend his passion with practicality.

Leonardo’s time in Milan wasn’t without its challenges. The competitive nature of his field sometimes led to intense stress, and his perfectionist tendencies made it difficult for him to accept anything less than excellence. Leonardo’s perfectionism wasn’t his only burden. His fear of failure, of not living up to the high standards he set for himself, created a constant state of anxiety. He became obsessed with his work, unable to detach from it even when he knew he needed to. His mind was always racing, always thinking about the next project, the next goal. He pushed himself to the brink, ignoring the toll it was taking on his mental and physical health.

However, unlike those who might have crumbled under such pressure, Leonardo’s drive was tempered by the unconditional support of his family and friends. His father often reminded him of the importance of balance “It’s the imperfections that make something truly beautiful.” While his mother encouraged him to stay true to his passions. “Art is about expression, Leo. Don’t lose yourself in the pursuit of success.” This foundation of love and support kept Leonardo grounded. He learned to balance his high expectations with self-compassion, realizing that mistakes were not failures, but opportunities to learn and grow.

His life in Milan was filled with both work and play. By day, he attended classes, managed events, and collaborated on projects. By night, he would often find himself in a dance studio, lost in the music, or out exploring the city’s vibrant arts scene with his friends. The balance between his studies and his love for dance made him a well-rounded individual, respected by both his peers and his professors.

He might be seen as energetic, charismatic, and driven, with a strong sense of discipline and creativity. His personality would reflect a blend of confidence and approachability [when he wanted] combined with a passion for his interests such as dance, football (he is an AC Milan supporter) and museums. On the other hand he was impulsive, potentially causing issues in some situations, impatient, with high expectations and a tendency to have conflict avoidance.

Through it all, Leonardo remained a paradox—a man of incredible strength and fragile insecurity. He was a loyal friend, always there for those he cared about, yet he struggled to let others be there for him. He was creative and innovative, yet trapped by his own need for control. And while he pursued beauty in all things, he often overlooked the beauty within himself.

Even if he came out as an introvert, he actually loved social interactions, especially if he could’ve communicate with people who had a similar interest. Plus drinking was a common part of Italian social life, so he did likely partake in it. When he was younger this thing helped him a lot in social settings, making him feel more comfortable and confident. Now he just enjoyed being there and have a nice glass, maybe two or three, of Chianti (red wine) or Negroni (cocktail).

He was also a social smokers. Didn’t have an addiction since he was a really health-conscious and has active lifestyle, but he smoked during night out or in social gatherings. Normally the pack of Camel Blu he bought on Friday lasted seven days. He stoled the first cigarette from his father.

Leonardo, also, got frustration with inefficiencies like bureaucracy, the chaos of traffic, that’s why he decided to have a motorbike instead of a car, relaxed attitudes toward time since he gets annoyed by people being late or plans not starting on time; gossip culture finding it intrusive and unnecessary and overly traditional mindsets. These aspects clash with his desire for structure, privacy, and progressiveness.

Family background

He has a supportive relationship with his parents, who encourage his interests and career aspirations. He has a strong bond with both his older brother and younger sister. They share common interests in art, design, and fashion, and often collaborate on creative projects.

Giovanni “Gianni”, father (architect, 60) supportive and disciplined, with a strong emphasis on education and professional success. He has a passion for art and design.

Maria, mother (marketing manager, 55) – warm and encouraging, with a strong influence on Leonardo’s cultural and academic interests. She enjoys cooking

Luigi, older brother (graphic designer, 30) – creative and outgoing, with a passion for music and the arts. He is close to his younger brother and often shares his interests in fashion and trends.

Rosa, younger sister (fashion design student, 22) – studying fashion design in Milan, she looks up to Leonardo and shares his enthusiasm for artistic and creative pursuits. Energetic and fashion-conscious

Friendship

His social life would revolve around close relationships and local traditions. Also his friends are the ones made along the way, having a tight-knit group of people from school and cultural events.

Francesco – an old friend from high school in Rome, they bonded over sports and have maintained a close relationship.

Sofia – his sister’s friend, who shares interests in design and fashion. They became friends through family gatherings and shared activities.

Elena – a university classmate in Milan who shares his interest in performing arts. They met through academic projects and social events

Cesare (Chagbin) – they met in Milan through a mutual friend, connecting over coffee to discuss a potential collaboration. The friend knew Leonardo was interested in organizing dance events and thought Cesare could help with the business side, given his expertise in finance and management. Their shared ambitions quickly deepened their relationship, with Leonardo’s creativity and Cesare’s business acumen complementing each other perfectly. Over time, their professional connection blossomed into a strong, supportive bond, with both relying on each other for advice, motivation, and friendship.

Riccardo (Bang Chan) – they met at a dance workshop in Milan. Carlo was attending to improve his rhythm for music production, while Leonardo was refining his choreography skills. They connected over their shared dedication to mastering their craft. Their mutual respect for each other’s dedication led to a lasting friendship, with Riccardo often offering guidance and support as Leonardo navigated his studies and creative pursuits.

Edoardo (Hyunjin) – they met thanks to their professional collaboration in a major fashion and performing arts event in Milan. They began collaborating on dance performances, with Edoardo designing costumes for Leonardo’s shows. Their friendship is built on mutual respect for each other’s talents. Leonardo admires Edoardo’s fashion design skills, while Edoardo appreciates Leonardo’s dedication to dance.

Federico (Felix) – Leonardo met Federico through Cesare. Cesare and Federico were childhood friends from Naples, and when Leonardo and Cesare became close during their time in Milan, Cesare introduced Federico to Leonardo. Federico’s warm and friendly nature quickly led to a strong bond between them. Despite their different fields of study, their shared love for creativity and the arts solidified their friendship

Giulio (Han) – they met at a university event in Milan where they both attended a literary discussion panel. Giulio was studying literature and Leonardo was intrigued by his insights. They struck up a conversation, discovering a mutual interest in storytelling and the arts. Their shared passions and intellectual curiosity led to a close friendship

Vittorio (Seungmin) – met at a theater production in Rome. Lee Know was assisting with choreography, and Seungmin was part of the musical ensemble. They connected over their love for performing arts. They discovered a shared enthusiasm for storytelling and visual arts, which led to a strong connection. Their friendship grew as they collaborated on various artistic projects and supported each other’s academic and creative pursuits.

Valerio (Jeongin) – met during a collaborative project between Milan and Turin’s universities. Leonardo, studying performing arts management, was tasked with organizing a multimedia performance event, while Valerio, a sound engineering student, was responsible for the sound design. Their friendship is characterized by a dynamic where Leonardo plays a somewhat protective and advisory role, while Valerio brings fresh ideas and energy to their interactions

Neighborhoods

Milan – Isola District, a trendy and up-and-coming neighborhood with a mix of modern and industrial charm

Rome – Testaccio, known for its authentic Roman atmosphere, food scene, and a more local, laid-back vibe

Florence – Santo Spirito, a charming and bohemian neighborhood with a strong local vibe and artistic flair, with plenty of bares and cafes

Favorite Italian artists

Tedua – his lyrical depth, unique flow, and ability to blend trap with introspective themes would resonate with his appreciation for artistry and emotional storytelling. His innovative style aligns with Leonardo’s love for both modern and classic influences.

Marracash – appreciated for his depth and socially conscious lyrics. He loves his lyrical depth, versatile sound, emotional expression and cultural significance. Marracash’s music offers the kind of artistic and meaningful content that Leonardo value. Songs such as Crudelia, Madame and Bravi a Cadere are some of the first songs he added to his playlist

Lazza – his technical skill as a rapper and his classical piano background would intrigue Leonardo, who appreciates both precision and creativity. Lazza’s versatility in both hardcore rap and more melodic tracks would align with Leo’s eclectic tastes.

Adriano Celentano – one of the most important singers of Italian pop music. In the beginning of his career, he was heavily influenced by Elvis Presley and other American musicians.

Lucio Battisti – widely recognized for songs that defined the late 1960s and 1970s era, considered a progressive artist, though his original approach to the music was highly influential for many later performers

Favorite dishes

Pasta alla norma, sicilian classic made with fried eggplants and ricotta salata

Pizza alla diavola, spicy and flavored

Cannoli, a sweet and crunchy sicilian dessert

Osso buco, milanese specialty, consisting of braised veal shanks cooked with vegetables, white wine and broth

Caprese salad, a light and refreshing dish with fresh tomatoes, mozzarella, basil, and a drizzle of olive oil

Pasta alla carbonara, a satisfying rich and creamy roma’s pasta dish, made with eggs, cheese, guanciale, and pepper

Favorite movies

La Vita è Bella (1997) by Roberto Benigni: a heartwarming and tragic story set against the backdrop of World War II

8½ (1963) by Federico Fellini: a surreal ad introspective film about the struggles of a filmmaker

The Best of Youth (2003) by Marco Tullio Giordana: an epic tale spanning decades, exploring family and personal growth

Favorite writers

He would likely be drawn to writers who explore themes of identity, independence, relationships, and the human condition

Luigi Pirandello – “Uno, Nessuno e Centomila”, the first book he read and one of his all time favorite, narrates Pirandello’s exploration of identity and the masks people wear. It resonate with Leonardo’s reflective side, as he values self-awareness.

Alessandro Baricco – “Seta”, his personal favorite, represents the poetic and evocative style of Baricco’s storytelling. This book appeals him, who appreciates beauty and subtlety in art.

Giovanni Verga – “I Malavoglia”, Verga’s realistic portrayal of rural life and the struggles of a Sicilian family definitely interest him, who has a deep appreciation for stories about resilience and family ties.

Favorites seaside spots

Caprera – located on the northeastern coast of Sardinia, Caprera Island is known for its pristine landscapes, historical significance, and outdoor adventures

Taormina – located in Sicily, perched on a rocky cliff above the Ionian Sea, Taormina is a charming beach town known for its beautifully restored mediaeval buildings

Bari – features a charming old town and a lovely coastal promenade

Most used slang words

Figo – similar to “cool” or “handsome,” often used to compliment someone’s appearance or style

Sbroccare – means to “freak out” or “lose it,” reflecting his passionate nature

Che tamarro – someone with flashy, tacky taste

Gufare – to jinx something or bring bad luck.

Sgasare – to accelerate quickly (usually with a car or motorbike).

Most used slurs

Cazzone – term meaning “big idiot,” used to describe someone who is perceived as quite foolish

Imbecille – means “imbecile,” used to express that someone is not very smart

Merda – literally means “shit,” used to express frustration or anger

Testa di cazzo – meaning “dickhead” (very strong, derogatory term)

Vaffanculo – a strong expression meaning “fuck off” or “go to hell,” often used when someone is extremely irritated

Representatives phrases

Essere se stessi è il vero successo [ being oneself is true success ] reason: emphasizes authenticity

Il tempo vola quando ci si diverte [ time flies when you’re having fun ] reason: reflects his enjoyment of life and creativity

La bellezza è negli occhi di chi guarda [ beauty is in the eye of the beholder ] reason: highlights his appreciation for diverse perspectives.

Favorite idioms

L’abito non fa il monaco [ the habit doesn’t make the monk ] meaning: appearances can be deceiving

Prendere due piccioni con una fava [ to catch two pigeons with one bean ] meaning: to achieve two goals with one action

Essere al settimo cielo [ to be in the seventh heaven ] meaning: to be extremely happy

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bananaofswifts · 10 months ago

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01 - Taylor Swift

No one in the music industry wielded more power over the past year than Taylor Swift, who made history at stadiums, movie theaters and on the Billboard charts, leaving even the most seasoned executives speechless. While they’d long celebrated her staggering popularity as a singer, songwriter and performer, her force as a strategic business leader suddenly came into sharper focus — and industry veterans took notes as they watched some of her bravest and most innovative business risks reap remarkable rewards.

At 34, she is one of the music industry’s most charismatic and influential leaders — and she rewrites the rules.

“The piece of advice I would give to the other executives on this list is that the best ideas are usually ones without industry precedent,” Swift tells Billboard. “The biggest crossroads moments of my career came down to sticking to my instincts when my ideas were looked at with skepticism. When someone says to me, ‘But that has never been done successfully before,’ it fires me up. We have to take strategic risks every day in this industry, but every once in a while, you have to really trust your gut and take a flying leap. My rerecordings are my favorite example of this, and I’m extremely grateful to my team and fans for taking that leap with me because it absolutely changed my life.”

Sage advice for an industry in which instinct has largely been supplanted by metrics and data analysis.

In December, Time named Swift its 2023 Person of the Year. In September, after encouraging her 279 million Instagram followers to vote and linking to vote.org, the nonpartisan nonprofit said it received over 35,000 registrations. She appears on the cover of this issue of Billboard and in the No. 1 spot of our annual Power 100 issue because her force across the business of music is now unparalleled — and because she models commitment to innovation that the rest of the business will need in order to tackle the big challenges ahead.

Swift’s gambles have paid off handsomely over the past year.

Her massive The Eras stadium tour, which began in March after she controversially put all the tickets on sale at once, crashing Ticketmaster and sparking mass hysteria, grossed an estimated $906.1 million in 2023 and is poised to become the highest-grossing global tour of all time before it wraps in December, according to Billboard.

The Golden Globe-nominated Taylor Swift: The Eras Tour film, taped during her six-show run at SoFi Stadium in Inglewood, Calif., in August, has grossed over $261.6 million worldwide since its October opening, according to AMC Theatres Entertainment. In January, the publicly traded movie-house chain announced that the film’s box-office take made it the highest-grossing concert/documentary picture ever released, surpassing Michael Jackson’s 2009 This Is It. Once again blazing a new path, Swift made a groundbreaking distribution deal directly with AMC Theaters instead of linking with a film studio.

Swift has shaken up the catalog market, too. When Scooter Braun infuriated her by acquiring the master recordings of her first six albums through his Ithaca Holdings and then sold them to investment firm Shamrock Capital at a profit, Swift rerecorded the albums with loving precision and added bonus tracks to the new releases. They performed phenomenally well, as she deftly used her tour to promote them. When her latest rerecording (and 14th studio album overall), 1989 (Taylor’s Version), spent its fifth week at atop the Billboard 200 at the end of 2023, Swift beat Elvis Presley’s record for the most weeks at No. 1 by a solo artist. Her industry market share last year was 1.72%. If she were her own genre, she’d rank ninth for 2023 — bigger than jazz.

“She’s the smartest artist I’ve ever worked with,” says Messina Touring Group’s Louis Messina, who promotes Swift’s tours and has worked with her since 2005. “She outworks everybody and she has always had this vision. If you’re around her, you can’t help but believe in her.” —Melinda Newman

#taylor swift

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tlbodine · 18 days ago

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Overthinking: Welcome to Dead House

Welcome to Dead House (1992) is first in series and proof of concept for what Goosebumps would become. To briefly contextualize the series: R.L. Stine (Bob to his friends) began as a comedy writer. He worked in magazines and television, helping to create the surreal muppet humor kid's show Eureka's Castle.

He started writing the Fear Street series -- a bunch of YA horror novels -- in the late 80s, at a time when horror was at its peak in pop culture and teen slashers were all over the movie theater. But horror for younger kids was a largely untapped market rife for the taking. (Alvin Schwartz's Scary Stories to Tell in the Dark books blazed the way initially, between 1989 and 1991).

And thus, Goosebumps was born. The challenge? Writing books that would intrigue the middle grade set (generally readers between 8-12) and deliver them some proper scares without being too traumatizing. Where the Fear Street books often draw on tropes from 80s slashers, Goosebumps is more likely to emulate the kind 1950s pulp monster movies that Stine would have grown up on. Eventually, a pretty consistent formula would arise, and some favorite recurring elements begin here: siblings, a dog, an unfamiliar location, unhelpful parents. But in other ways, Welcome to Dead House is decidedly un-Goosebumps-like. We'll break that down, but first...

The Story

Welcome to Dead House is about Amanda and Josh, siblings who are rather reluctantly moved to the unnervingly named town of Dark Falls after their father (a writer eager to quit his day job and write full-time) inherits a house from an unknown great-uncle. He's excited for the opportunity to sell the old house and live off that until his career really takes off, and his wife is going along with that plan for....some reason. Hey, it was the 90s, maybe it could have worked!

Along for the ride is Petey, a white terrier who's normally sweet-tempered and obedient but will spend the rest of this book barking and growling at everyone he meets. If they'd just paid attention to Petey's instincts, this book's tragedies could have been avoided. Alas.

After a tour by the charming, handsome, (and utterly unpopular with Petey) realtor Mr. Dawes, the family moves into the big house. It's on a shady street, with tall trees looming over all the buildings, and a cemetery at the end of the block just past the school. Nobody ever seems to turn their lights on. We do eventually meet the neighborhood kids, though. There's a ton of them and they're very friendly but more than a little unnerving. Also, they keep telling Amanda that they used to live in her house. What's up with that?

We eventually figure out, after a few nights at atmospheric creepy haunting events -- figures seemingly appearing and disappearing on the stairs, giggling in the closet, curtains fluttering without a breeze -- that the neighborhood kids are undead ghouls. In fact, everyone in town is dead, courtesy of a toxic gas leak from a nearby factory. And in order to maintain their living dead status, they must annually sacrifice and drink the blood of a family. Which they do by luring them out with an enticing letter about inheriting The Dead House.

What a racket!

We find this out after, tragically, catching up with a now-ghoulified Petey. They had to kill the dog because he was onto them. Those jerks. Also, they're about to start the sacrifice with mom and dad. Luckily, the ghouls are weak to bright light, so the kids are able to free their parents by knocking down a tree (just go with it) and they haven't sold their old house so they pack up and leave right away.

Just in time for...new owners to show up at Dead House? Amanda tells them, "I used to live in your house." before they speed away, and surely that realtor couldn't have been Mr. Dawes...

Overthinking It

I read Welcome to Dead House the first time out of the library. I was already a dyed-in-the-wool Goosebumps fan at this point, so I read it with a kind of reverence, as if it were an ancient tome and not a book that had come out less than five years before I read it.

I have, since, always remembered it as the only Goosebumps book where a character actually dies.

In fact, in my memory, all of the characters die. That's the way I've remembered it for thirty years: the parents are lured to a party with all the neighborhood ghouls. There they are dead and turned. Petey is found dead and turned. And in the end, the kids have joined the rest of the community in perpetuating the cycle.

"I used to live in your house."

I had, apparently, completely forgotten the climax where we rescue the parents. What I had remembered instead was the truly chilling line from Mr. Dawes: "It's time to join your parents. It doesn't hurt to die."

Now, this would not be the first time I have rewritten the ending of a childhood story to be darker than it actually was. We all recall that I spent many years firmly believing that The Velveteen Rabbit ended with the titular stuffed bunny being burned alive in the trash heap. But in this case, if Reddit is any indication at least, I'm not the only one who thinks Stine's ending is at least ambiguous.

I think the ending I remember is certainly a stronger one, even if it's likely too dark for a Goosebumps book. It's already brutal that we kill Petey, and that the kids discover him, smelling like a corpse, with red eyes and a total disinterest in them. It's certainly for the best that they didn't find their parents in a similar state. (So why do I remember so certainly that they did?)

The book is at least purposefully ambiguous about the survival of Mr. Dawes. This is perhaps justified in that Amanda, our narrator, is frequently letting her imagination get away with her. Her natural-born anxiety is the main vector of scares for the first 2/3rds of the book. She's constantly getting herself worked up about things that aren't really there. Or is she? Because she's not really wrong about the ghost kids in her house. Her instincts actually seem pretty spot-on. I hope she lives long enough to learn to trust her own gut feelings.

I have many unanswered questions about the mechanics of the haunting in this book. They seem to be physical beings that can touch you and interact with the physical world well enough to play softball. But they can also seemingly appear and disappear at will inside the house? And the beam of a strong flashlight is enough (in the book's most horrifying sequence) to melt a ghoul's flesh off and render him to dust (not before his eyeballs pop out and roll away) but the dog isn't affected by the flashlight? Is it because he's newly turned? Are the rules different for dogs?

Also like. How does this entire town work. Is it just their neighborhood that's full of ghosts? Are there ghouls working at the grocery store? Who manages the utilities? Aside from Mr. Dawes, we never see any other adults, although presumably they must be there at the end in time to kill(?) them all (?) with sunlight??

At one point, George Romero wrote a screenplay for a film adaptation, and I am deeply saddened that we never got to see it made. I'm 100% Here For This.

If You Liked This One, THESE Will Really Give You Goosebumps

If you enjoy the idea of a young heroine rescuing her clueless parents, may I pointed you toward Neil Gaiman's Coraline (book or movie) or the Miyazaki film Spirited Away?

(I know Gaiman is persona non grata. But Henry Selick's film adaptation is top-notch. Your choice whether you feel comfortable supporting that).

For the specific horror of a beloved pet becoming an aloof, living corpse, there is of course Stephen King's Pet Sematary.

As for stories about haunted houses, there are too many to count. For the vibes of this particular book, though, may I direct you to the OG 13 Ghosts, directed by William Castle in 1960. It has essentially nothing in common with the 2000s film of the same name. Instead, it features a family who get the opportunity to change their socioeconomic status by moving into a home they've seemingly inherited, only to discover it comes with more than a dozen ghosts...and that's the least of their worries. Compare and contrast with Sinister (2012) in which an author's insistence on moving his family to a haunted house is their undoing.

When was the last time YOU read Welcome to Dead House? Do you remember the ending any differently than I do?

#overthinking goosebumps #goosebumps #horror #rl stine #welcome to dead house

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thedoubteriswise · 5 months ago

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just had the most endlessly long and detailed dream in which rachel, mickey, amy, harry, and an unspecified bunch of other related mutuals and I were in new york seeing a musical where a major role was ash playing herself. there were logistical challenges. generative ai was used in the marketing for this show and it was bad. the theater was very bright and colorful and difficult to navigate, sort of like a fun house. most places we went that were not the theater were a bit moldy. we all went camping together at one point and the people at the next campsite over were dicks. halfway through the show we identified that the floor was covered in marbles, which rachel decided they needed to pick up. mickey eventually pointed out that this was a very noisy activity for the middle of a show, so the three of us left and had drinks in the lobby. I haven't heard harry's voice enough times to reliably dream about it, so it mostly sounded like my own voice, which I did know enough to realize was wrong. amy was only ever outside my line of vision even though she was there the whole time. ash hit some incredible high notes. it's 8 am and I feel like I've been on a very tiring week long vacation

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buzzdixonwriter · 28 days ago

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Duty Now For The Future [AI edition]

First the eyes gave it away, then they figured out how to make them the same size and facing the same direction.

Fingers and limbs proved to be next the next tells, but now limbs usually look anatomically correct and fingers -- while problematic -- are getting better.

Rooms and vehicles and anything that needs to interact with human beings typically show some detail that's wrong, revealing the image as AI generated.

But again, mistakes are fewer and fewer, smaller and smaller, and more and more pushed to the periphery of the image, thus avoiding glaring error.

Letters and numbers -- especially when called to spell out a word -- provide an easy tell, typically rendered as arcane symbols or complete gibberish, but now AI can spell out short words correctly on images and it's only a matter of time before that merges with generative text AI to provide seamless readable signs and paragraphs.

All this in just a few years. We can practically see AI evolving right before our eyes.

Numerous problems still must be dealt with, but based on the progress already displayed, we are in the ballpark. All of this is a preamble to a look at where AI is heading and what we'll find when we get there. I haven't even touched on AI generated music or text yet, but I will include them going forward.

. . .

The single biggest challenge facing image generating AI is that it still doesn't grasp the concept of on model.

For those not familiar with this animation term, it refers to the old hand drawn model sheets showing cartoon characters in a variety of poses and expressions. Animators relied on model sheets to keep their characters consistent from cartoon to cartoon, scene to scene, even frame to frame in the animation. Violate that reference -- go “off model” as it were -- and the effect could look quite jarring.*

AI still struggles to show the same thing the same way twice. Currently it can come close, but as the saying goes, “Close don't count except in horseshoes, hand grenades, and hydrogen warfare.”

There are some workarounds to this problem, some clever (i.e., isolate the approved character and copy then paste them into other scenes), some requiring brute force (i.e., make thousands of images based on the same prompt then select the ones that look closest to one another).

When done carefully enough, AI can produce short narrative videos narrative in the sense they can use narration to appear to be thematically linked.

Usually, however, they're just an endless flow of images that we, the human audience, link together in our mind. This gives the final product, at least from a human POV, a surreal, dreamlike quality.

In and of themselves, these can be interesting, but they convey no meaning or intent; rather, it's the meaning we the audience subscribed to them.

Years ago when I had my first job in show biz (lot attendant at a drive-in theater), a farmer with property adjoining us raised peacocks as a hobby. The first few times I heard them was an unnerving experience: They sounded like a woman screaming help me.

But once I learned the sounds came from peacocks, I stopped hearing cries for help and only heard birds calling out in a way that sounded similar to a woman in distress.

Currently AI does that with video. This will change with blinding speed once AI learns to stay on model. The dreamlike / nightmarish / hallucinogenic visions we see now will be replaced with video that shows the same characters shot to shot, making it possible to actually tell stories.

How to achieve this?

Well, we already use standard digital modeling for animated films and video games. Contemporary video games show characters not only looking consistent but moving in a realistic manner. Tell the AI to draw only those digital models, and it can generate uniformity. Already in video game design a market exists for plug-in models of humans, animals, mythical beasts, robots, vehicles, spacecraft, buildings, and assorted props. There are further programs to provide skins and textures to these, plus programs to create a wide variety of visual effects and renderings.

Add to this literally thousands of preexistent model sheets and there's no reason AI can't be tweaked to render the same character or setting again and again.

As mentioned, current AI images and video show a dreamlike quality. Much as our minds attempt to weave a myriad of self-generated stimulations into some coherent narrative form when we sleep, resulting in dreams, current AI shows some rather haunting visual images when it hits on something that shares symbolic significance in many minds.

This is why the most effective AI videos touch on the strange and uncanny in some form. Morphing faces and blurring limbs appear far more acceptable in video fantastique than attempts to recreate reality. Like a Rorschach blot, the meaning is supplied by the viewer, not the creator.

This, of course, lends to the philosophical rabbit hole re quantum mechanics and whether objects really exist independent of an observer, but that's an even deeper dive for a different day.

* (There are times animators deliberately go off model for a given effect, of course, but most of the time they strive for visual continuity.)

#duty now for the future #artificial intelligence #AI #movies #creativity

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iwanthermidnightz · 10 months ago

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1) Taylor Swift

At 34, she is one of the music industry’s most charismatic and influential leaders — and she rewrites the rules.

Sage advice for an industry in which instinct has largely been supplanted by metrics and data analysis.

Swift’s gambles have paid off handsomely over the past year.

#taylor swift

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dustedmagazine · 3 months ago

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Dust, Volume 10, Number 8

Orcas (not Oasis)

Welcome to our all-Oasis edition of Dust!

Just kidding. We slog through August bemused by the excitement over big ticket tours, though we will, if pressed, admit to a fondness for “Wonderwall,” a song often sung jubiliantly by someone we love on the way to track meets and XC ski practice and theater rehearsal years ago (though not as many years ago as it first emerged).

Anyway, we once again trawl the slush pile for the good stuff, opine briefly on its merits and share it with you. We’re sure you’ll find out what the Gallagher brothers are up to from other sources.

This month’s contributors included Bryon Hayes, Ian Mathers, Jonathan Shaw, Tim Clarke, Jennifer Kelly, Bill Meyer, Mason Jones and Christian Carey.

Ark Zead — Niptaktuk (Glacial Movements)

The Italian label Glacial Movements specializes in music that’s chilled, immense and slow, just like its namesake. Niptaktuk continues this icy throughline, offering a series of highly resonant, frost-tinged drone passages. The creator, of which no information is known, sourced these textures from gongs and singing bowls, stretching the frequencies into lengthy, subtly shifting tone clouds. They cleverly balance lighter shades against darker hues, layering pre-dawn shimmer over sub-sonic bass pulses. The delicate patter of scraped and stroked metal adds a sense of the real to these otherwise uncanny soundscapes. Ark Zead drew influence from the cold northern Canadian winter when they created these sounds, yet the experience of listening doesn’t evoke frostbite or blinding blizzards. Instead Niptaktuk, which is an Inuit word that implies oncoming clear skies, is a remedy against frostiness, a kernel of warmth that seeks to melt the winter ice.

Bryon Hayes

The Body & Dis Fig — Orchards of a Futile Heaven (Thrill Jockey)

At this point, at least going by actual releases, surely there are no greater collaborators in heavy music (in all its forms) than The Body. In addition to their stellar work as “just” a duo, Chip King and Lee Buford have at this point collaborated with a real murderers’ row of bands and artists, and those albums absolutely refuse to stick to any particular formula. That they’d work with Dis Fig (aka Felicia Chen), who’s made an excellent, emotionally/sonically challenging record called Purge and sang on a full length by The Bug, makes perfect sense. The result, as with many “The Body &” LPs, is so seamlessly satisfying you’d think this was everyone involved’s main gig. The thunderous drums, harsh noise, and King’s peerless shrieks are all present, and Chen gives a hell of a lead vocal performance to centre it all. The closing one-two punch of “Coils of Kaa”/“Back to the Water” is one of the best endings any 2024 is going to get, Chen wailing in rage and despair as the music collapses buildings around her.

Ian Mathers

Demiser — Slave to the Scythe (Blacklight Media/Metal Blade)

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Retrograde throwback thrash isn’t exactly a growth area in metal, or a particularly enlightened undertaking, culturally speaking. But dudes in denim and bullet-lined bandoliers don’t make records like Slave to the Scythe because they foresee mass-market opportunity or stadiums full of fans in the immediate future. Mostly they don’t see much future at all. Demiser seems to share those perspectives — live fast, die faster, have as much fun as possible in the brief and weird interregnum. Is Slave to the Scythe fun? Depends on your sense of humor, and your tolerance for metal’s more reductive shenanigans. The fellows in the band have given themselves stage names like Gravepisser (he plays guitar) and Infestor (he drums), and they have supplied us with the sublime song title “Hell Is Full of Fire”; no points for innovation, but maximum points for unconquerably up-for-it idiocy. Motörhead seems as significant to Demiser as early Exodus and Kreator (especially the genius of Pleasure to Kill). Sort of nice to hear a thrash record that’s more interested in the riffs than the solos. Sort of fun to play this record really, really loud. Sort of certain that doing so results in becoming materially stupider. That’s okay — it makes that aforementioned lack of a viable future a little less awful to contemplate.

Jonathan Shaw

Dummy — Free Energy (Trouble In Mind)

Dummy’s debut, Mandatory Enjoyment, lived up to its title; it was a record difficult not to appreciate. In her Dusted review, Jennifer Kelly praised it as “a listening experience that simultaneously braces and soothes, agitates and lulls.” Dummy’s second album, Free Energy,has a similar appeal, but knocks this listener off balance with its bizarre fixation on dated drum machines and backwards sounds that bring to mind the baggy indie-dance of the 1990s. You know the stuff: Carter the Unstoppable Sex Machine, Jesus Jones, Pop Will Eat Itself. There are some great songs here, such as “Nine Clean Nails,” but you have dig around amongst the misfires to find them. Dummy still have an ear for a good tune, so you can forgive their more questionable aesthetic decision-making.

Tim Clarke

“Father” John Misty — Greatish Hits: I Followed My Dreams and My Dreams Said to Crawl (Sub Pop)

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With streaming supplying abundant amounts of playlists, one might reasonably ask why a greatest hits compilation would be useful. Curation instead of algorithms. “Father” John Misty’s Greatish Hits presents the high points in his catalog, beginning with early songs“Real Love Baby” (2016) and “Nancy from Now On” (2012). It is by no means a chronological survey, nor is it front-loaded like so many collections and playlists. The popular “I Love You Honeybear” (2015) is saved for the penultimate track. The finale, “I Guess Time Just Makes Fools of Us All,” is new. At eight and a half minutes long, it stretches out with saxophone, bongo, and electric piano solos interspersing bluesy pop vocals. Worth the wait - don’t skip ahead!

Christian Carey

Ben Felton A Lot (Island House)

Ben Felton lets the drones linger, layering sounds on top of sounds, like primary-toned transparencies on an overhead projector. You can spend this album watching the colors these tones make when the light shines through them, hitting one, two, three or more guitar/synth textures before getting to the other side. Complex yes, but peaceful, drowsy almost. One track called “A Foghorn or a Loudspeaker,” sounds like just that, an uneasy truce between natural serenity and amplified buzz and hiss. The space it lives in is large and echoey, a cathedral or, more likely, a vast underground cavern with water lapping at the walls. Occasionally, the electronic mode predominates as in the airy percolation of “What You Need.” Yet though the blippy motif is bright and uncorroded, it sits atop a woozy soup of tone; guitar notes crash in sporadically intimating a rustier, more industrial territory nearby. Felton comes from New York but now resides in more bucolic Carrboro, North Carolina. His soundscapes find a meeting place between folk-adjacent ambience and rougher, noisier music. The album gets more propulsive as it goes. Shaken-not-stirred “The Fifth Day,” turns a three-note upward lilting motif into something approaching rock anthemry. You can’t blame the sustained notes for hanging around. It’s nice here, and you want to stay.

Jennifer Kelly

Margarida Garcia And Manuel Mota—Domestic Scene (Feeding Tube)

Upright electric bassist Margarida Garcia and electric guitarist Manuel Mota are part of Lisbon, Portugal’s experimental/improvisational music scene and have worked together with and without the participation of others on seven records besides Domestic Scene over the past decade. It is their first LP to be released in the USA, and there’s something poetic about that fact, because it feels like an echo of the work of one American musician — Loren Connors, and more specifically, 21st century Connors in solo mode. It shares his sparseness, boiled-down lyricism and willingness to disappear into a haze of noise. Since Garcia has associated with him at times, there’s definitely a shared aesthetic. However, these are not young copycats. Mota’s spare progressions proceed according to a different logic, purged of blues and baroque elements, guided by a north star of sequential consonance that adds up to quiet dissonance. And Garcia’s subdued, bow-born cries have an ability to compound, making the music thick with atmosphere, but still stingy with note counts. Play it late.

Bill Meyer

Geneva Jacuzzi — Triple Fire (Dais)

Geneva has been making bedroom synth pop for years. On Triple Fire (named after her astrological sign), the production values tick upward, and several of the songs are club ready. “Laps of Luxury” is a case in point, with Geneva’s dulcet singing abetted by backing vocals, early digital synth sonics, and mechanized beats. “Scena Ballerina” recalls her early bedroom pop, with a taut riff and harmonic swerves. Trebly synths and out of the box percussion underscore an emotive vocal on “Take it or Leave it.” Geneva’s speechsong in “Art is Dangerous” and “Speed of Light” recalls Laurie Anderson’s 1980s work, while “Heart of Poison” has an art rock ambience that incorporates tenor saxophone and is rife with shimmering synths. “Rock and a Hard Place” is an aggressive example of dark wave electronica. The closer, “Yo-yo Boy” is an anthemic piece of minimal synth-pop that reminds listeners of Geneva’s roots while presenting memorable tunefulness.

Christian Carey

Katatonic Silentio — Axis Of Light (Midnight Shift)

Axis Of Light by Katatonic Silentio

Italy-based Mariachiara Troianiello is a long-time DJ, and independent audio and ethnomusicology researcher at the University of San Marino. She also creates electronic music under the name Katatonic Silentio, and on Axis of Light explores a spatial dub, filled with palpating beats and flickering synthesizer sounds. The five tracks on this EP are all based on rhythmic frameworks that skitter and thud with a dark, night-time vibe for the most part. As the title indicates, opener “Drip in the Cave” is indeed subterranean in nature, with rubbery pads and liquid drums reverberating in tactile space. “Bridging the Gap” is lighter and bouncier, bubbling at a fast tempo and filled with electronic hoots and blips. The other pieces mix slow with fast, and machine-like rhythms with heartbeat-like pulses, all swirling in a warehouse ambience populated by ghostly static, quiet bells, or spooky, whistling tones. It’s all a neat combination of machine world and organic atmosphere, like a science-fiction world populated by real, messy people.

Mason Jones

Nicole Marxen — Thorns (Self-Release)

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Nicole Marxen puts an eerie shimmer over rough crescendos of metallic noise, keening in the ghostliest, most disembodied way amidst vibrating slabs of guitar sound. “Thorns,” the album’s spiritual center, floats a chilly line of vocal melody—think Beth Gibbons or Chelsea Wolfe—over a machine-like industrial beat. Fragility blooms in an apocalyptic afterworld. “The Executioner” is heavier, more ominous, slithering to life out of the flickering buzz of downed powerlines. A stolid march emerges soon, swaggering with drums, swelling with amp-frying volume. Marxen presides like a high priestess, unperturbed amid flares, fills and violence. Like Jarboe astride a Justin Broadrick wall of noise, she stakes her claim, with operatic trills and whispered confidences. Dramatic, large-scale stuff.

Jennifer Kelly

Magda Mayas’ Filamental — Ritual Mechanics (Relative Pitch)

Keyboardist Magda Mayas’ music has often evidenced expansive thinking, but it took the resources of a festival to first bring her large group Filamental together. Once convened, she took full advantage of her octet’s assembled potentialities for imagination and sound. Having had one such experience, Mayas wasn’t going to wait for a festival to marshal such a breadth of mindpower and material again, nor was she going to let the impediments to travel and gathering imposed by a world pandemic get in the way. So, she sent out an invitation to an invitation to Filamental’s members and turned their gathered input into two pieces that run a bout 20 minutes in length. Each sets small, contrasting gestures dancing atop a consonant surface of elongated, layered sonorities. Ritual Mechanics is not so much a drone piece as an expression of continuous, focused action, richly detailed and consistently focused.

Bill Meyer

Rob Mazurek — Milan (Clean Feed)

Rob Mazurek has been recording for nearly three decades and performing much longer. His methods encompass composition and improvisation using brass, electronics, voice, and other instruments. In any body of work so broad, there are themes, some more dominant than others. Milan is a successor to Rome, which together comprise a smaller trend that involves recording solo performances in Italian radio studios with nice pianos. Recorded nine years apart, they offer a measure of how Mazurek’s work has changed in that time. Instead of cornet, he plays concert and piccolo trumpets; sternly ceremonial vocalizing and fistfuls of percussion dropped purposefully into the piano assert a more explicitly ritual intent. And, perhaps reflecting the amount of work that Mazurek has done with Damon Locks of late, the electronics now include playback options, so that vocal and instrumental samples (Is that Sun Ra I hear in there? And maybe some Ocora ethnic recordings?) as well as beat patterns muscle their way through the sizzle and smash of the prepared piano. Explicitly conceived as a journey, it’s quite a trip. Mazurek’s ensemble work can be pretty widescreen, but Milan reminds us that he can be epic on his own.

Bill Meyer

Nadja — Jumper (momentarily records)

Out of the many, many records put out by ambient and/or doom metal duo Nadja, it’s truly rare to find one that doesn’t feature Aidan Baker’s guitar in one form or another. But on Jumper, originally released as a bit of an art object on cassette (the online cover art is a look at the contraption that the tape comes in), he restricts himself not just to their drum machine but to layering and processing one particular pattern from it. Leah Buckereff provides bass, a more typical entry in the credits of their release, but here the way the slowly accreting digital noise plays over and around its pulses and feedback gives the whole album a very distinct feeling. Despite the use of drum machine there’s almost no rhythm to the whole hour here (until a surprise right at the end that catches me off guard every time), instead the effect is one of meditative harshness. The result is absolutely industrial, like a factory that’s weirdly compelling to listen to.

Ian Mathers

Orcas — How to Color a Thousand Mistakes (Morr Music)

Orcas — Rafael Anton Irisarri and Benoît Pioulard — haven’t recorded together in a decade, but they have been abundantly busy with their own projects. How to Color a Thousand Mistakes is consistent with past Orcas recordings and also reflects the music they have made in the interim. “Wrong Way to Fall” stands out in both regards, with Pioulard’s husky vocals over shimmering electric guitar solos, synth riffs and minimally complicated, but driving, drums. “Riptide” is populated by a number of different synth parts against a terse countermelody in the guitar. “Swells” has a strong vocal performance, while vibrato and pitch bends in the synths and economical guitar parts make for a memorable arrangement. “Fare” covers all the bases, with Pioulard’s voice double-tracked in a soaring chorus alongside mellifluous electronics, emphatic guitars, and plenty of drum fills. The recording’s closer, “Umbra,” has an extended introduction with a bass melody and warm synths. Then tangy dissonance and glissandos abound in both voice and instruments. It epitomizes the atmospheric textures that Orcas seem able to summon at will.

Christian Carey

Oxygen Destroyer — Guardian of the Universe (Redefining Darkness)

Guardian of the Universe by Oxygen Destroyer

Guardian of the Universe is another slab of monster-movie-themed, death-metal-inflected thrash from Oxygen Destroyer. The Seattle-based band’s previous LP, Sinister Monstrosities Spawned by the Unfathomable Ignorance of Mankind (2021), expanded their long-standing kaiju theme to include colossal beasts from outside the canon of the Tojo Studios Godzilla movies. The new record shifts tactics, focusing exclusively on Gamera and the giant turtle’s films for one of Tojo’s competitors, Daiei Films. It’s hard to know how much the record will appeal to listeners for whom those inside-baseball kaiju references mean little to nothing. But if you’re down for songs that attempt to replicate the absurd pleasures of Gamera in flight — head and limbs retracted into its massive shell, which then spins and shoots sheets of sparks from the holes, natch — this may be the record for you. Guardian of the Universe is non-stop fireworks: crazy, thrashy riffs; maniacal flat-out sprints; dive-bombing guitar solos. Should we take any of it seriously? This reviewer won’t hold forth (again) on the cultural stakes of post-war kaiju films. If you know, you know. And mostly what matters here is the band’s complete conviction and the joys of the music’s excesses. In these dog days of summer, it’s exactly what some of us need.

Jonathan Shaw

Peel Dream Magazine — Rose Main Reading Room (Topshelf)

Rose Main Reading Room by Peel Dream Magazine

It’s been four years since I’ve checked in on Peel Dream Magazine, whose second album Agitpop Alterna I described in my Dust review as “just like early Stereolab, with occasional blasts of shoe-gazey guitar thrown in for good measure.” I missed PDM’s third album Pad, so this brings us to album number four, Rose Main Reading Room. There’s still plenty of Stereolab in the mix, especially in the Mary Hansen-style backing vocals, the Farfisa, and the squelchy synth sounds (see “Oblast”). But here there’s more of a lean towards the baroque pop of Sufjan Stevens circa Illinois, mainly thanks to the chunky glimmer of vibraphone and the spiraling flute lines, which really brighten up proceedings. This balance between droning indie-rock and tuneful pop is very pretty, with sufficient musical complexity to invite rewarding repeat listens.

Tim Clarke

Plastic Bubble — Circular Breathing EP (Garden Gate/Moon Control)

The Circular Breathing EP by Plastic Bubble

Here’s a slab of happy, giddy, psychedelic garage rock which, except for the 2024 release date, wouldn’t be out of place in the Elephant Six universe. Lexington, KY’s Matt Taylor and Elisa McCabe are the chief blowers of bubbles, spinning out rough but iridescent songs like “Recontextualize,” where a guitar vamp grinds but vocals drift in pop ideality, “ah, ah, ah,” indeed. A classic indie boy-girl vibe permeates these five songs, with McCabe especially fetching in “Bright Morning.” “Forever” pulls back on the guitar roar to uncover a jaunty, girl-group bounce, with sweet counterparts and harmonies weaving in and around McCabe’s part. The set closes with a banger, part Who, part Fountains of Wayne, and all the way infectious, “Anything and Everything.”

Jennifer Kelly

SUUNS — The Breaks (Joyful Noise)

The Breaks by SUUNS

Elusiveness characterized SUUNS’ last album, 2021’s The Witness. As I noted in my Dusted review, “There’s no denying that its elusive character is part of its charm, but there are stretches where it feels more evasive than elusive, stubbornly refusing to engage more directly.” On their new album, The Breaks, the Montreal band are more direct in terms of the sounds they’re employing, but more evasive when it comes to songwriting. The majority of contemporary pop music is based around heavily effected vocal melodies and beats, which The Breaks seems to take as a cue towards similar immediacy. However, aside from the title track, the nagging piano of “Road Signs and Meanings,” and the loping stomp of opener “Vanishing Point,” this record is a tough nut to crack.

Tim Clarke

Tatsongs — Bushcraft (Self-Release)

Bushcraft by tat songs

Tatsongs are neither tat, nor really songs. The former implies fussy decoration, and these long, glacially evolving pieces seem as raw and elemental as rock formations. You can almost hear an icy wind blowing through their sheered off contours. The latter argues for a Pavlov’s buzzer of pleasing tone arrangements, and Tatsongs’ Tom Sadler is really not concerned whether you can guess then next 10 seconds of his compositions from the preceding 20. But even so, there’s something to be said for looming, sheeny layers of guitar and synth sounds that carve space and time into epic, barren landscapes. Tones vibrate in and out of true, zooming close and fading back, twitching in rhythm and coalescing in static fuzzed drones. Not a song in the bunch, nor much embroidery, but powerful stuff nonetheless.

Jennifer Kelly

TELESTIALVISIONS — Taurus in a Field (Island House)

Taurus in a Field by TELESTIALVISION

As Dittocrush, Pittsburgh resident Trevor D. Crush assembles tape loops into ambient symphonies. He often adds layers of live instrumentation from other musicians, such as Island House associate Chaz Prymek (Lake Mary, Fuubutsushi) and guitarist Ryan Fedor. TELESTIALVISIONS is his latest project, a tag team with New York guitarist Brinton Jones. The pair offer up a frothy brew that tastes rich and complex. Their debut Taurus in a Field is a pair of woozy collages that, while undeniably loose, are sharp in focus when compared to Dittocrush’s ghostly soundscapes. Crush’s tapes construct tangible shapes that intersect in a variety of patterns, while Jones unveils angelic melodies with his guitar. These two are telling a story that’s more Borges than Burroughs, a fantastical tale that defies conventional logic but manages to meander toward a graspable conclusion.

Bryon Hayes

Tycho — Infinite Health (Ninja Tune)

Infinite Health by Tycho

Tycho is Scott Hansen, and Scott Hansen is a designer. You can hear Hansen’s day job in Tycho’s music: the clean lines, the smart use of space, the sheer digestibility of it all. But should music go down quite this easy? Listening to Infinite Health feels a little bit like you’re at a trendy gym, playing a bit-part in an advert, or hitting up a bar packed with influencers. The common denominator is wanting to feel seen; everything plays a part in attracting attention. The synths sound like Boards of Canada, some of the funkier electro-pop moments sound like Daft Punk, and there’s an expensive sheen over everything. It’s hard to deny it’s appealing, but it also feels like experiencing capitalist obsolescence in real time.

Tim Clarke

White Collar—S/T (Static Shock)

White Collar by White Collar

Listeners with a long memory for North American hardcore might flash on those mid-1980s records by White Flag when listening to this new release from White Collar. Like that earlier Inland Empire band, White Collar frequently turns its critical gaze and its caustic smart-assery on the contemporary cultural climate of punk and politics as lifestyle (and your reviewer uses that odious term advisedly here). Songs like “Compassion Fatigue” and “Petition Signer” snarl at and spit on liberalism’s excesses of self-righteous smugness, to often hilarious effect. There’s a puritanical element to Gen Z’s dispositions and discourse that White Collar finds deeply irritating — not that the band is against strong ethico-political speech; check out “Meat Market” and “Equal Wrongs.” This is not the space for sustained analysis of Gen Z punk, and the extent to which we may want some sort of political purity from punk in the first place. But certainly, it’s an intrinsic good for punk to have snotty, disputatious and nasty voices in the mix. White Collar’s songs are short and sharp, and vocalist Loosey C’s performance is memorably unpleasant. Snarl on, punks.

Jonathan Shaw

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