#these are from a recently rediscovered photo album

[macronectes]

kandalaksha gulf, the white sea, 2015

[harrisonarchive]

Photo by María Moreno.

In 1987, George was interviewed by El País; here's a translation of that interview (to the best of my school-level Spanish).

George Harrison On Cloud Nine

George Harrison recently released his first album since 1982, when he disappeared from music to work on movies and live his life in peace. In making Cloud Nine he called on his friends Eric Clapton, Elton John and Ringo Starr- Many of the songs are similar to those of the early Beatle years, but Harrison scoffs at rumors about the group reuniting.

Cloud Nine sounds so much like the Beatles that it ends up being a tribute to the band’s early music. One of the songs on this new LP, When We Was Fab, refers to that epoch in which ‚we were fabulous‘ and ‚we were doing everything.‘ The song, which recalls Beatles melodies such as Strawberry Fields Forever and I Am The Walrus, suggests the style of John Lennon. At times it sounds as the late rhythm guitarist himself is singing.

El País: Cloud Nine contains songs and harmonies that recall the early Beatles. Is that what you intended?

George Harrison: Yes. It sounds like the Beatles because of the 12-string guitar. This is the kind of guitar we used on the first Beatles records. The electric guitar I have on the album cover is the one I used when the Beatles were not famous, when we were playing in Hamburg (West Germany). I have recovered it and use it in several songs. In contrast to the heavy music of this generation I had the idea of making a contemporary record that permits young people to know what was happening at the end of the 60s. Some of the songs are similar to those of the Beatles in the late 60s. I did it intentionally. I didn’t want to bend to the pleasure of the record companies or the industry. I don’t want to be untrue to myself. I like this album… It is so old it seems new.

EP: Listening to Cloud Nine, one gets the feeling that you were comfortable and happy during the recording.

GH: I was because I was with Eric Clapton, Elton John, Ringo Starr and other friends I have known for years and with whom I get along well. Elton John asked to be part of the record when he found out I was going to make it. He is one of the great musicians of rock 'n' roll. And Ringo? Well, what can I say? We have lived and performed together for a long time. We are alike in the way we regard music.

EP: You invited old friends to the recording, but did you invite Paul McCartney?

GH: No. I didn't invite Paul.

EP: You recently said that it is good to grow old, that it is time to mature with dignity.

GH: Yes. After running around so much when you're young, you need tranquility. When we were the Beatles we lived in permanent turbulence, we were crazy. We met mountains of people and went to many countries but we didn't get to know anything well because we never had a moment of peace. Therefore, for the past few years I have been trying to find out what is happening. It would be rare if it was only happening to me, but we are all growing old together. Ringo and Eric Clapton are growing old with me and that makes it easier. I have always considered them friends, but after the craziness of our youth you rediscover them and they become your best friends. Another thing that compels me to mature is my son, Dhani. I try to devote time to him and be a good father.

EP: At one time you influenced the Beatles to look for an introspective path that derived from Oriental mysticism and transcendental meditation. What remains today of this stage in your career?

GH: It is something I still carry inside but I don't talk about as much. On the new record there are no songs that advocate this way of life as there were on other records.

EP: “My sweet Lord, I really want to see you, I really want to be with you …" Do you still believe in a Sweet Lord?

GH: Oh, yes. Absolutely.

EP: If you were to write the song today, would you keep the same lyric?

GH: I would keep the same lyric. I believe that the lyric is true. I would change a few notes in the melody. (Laughter. In 1976, a U.S. judge sentenced Harrison to pay a fine after determining that My Sweet Lord, which was on the 1970 album All Things Must Pass, was an unintentional plagiarism of another melody.)

EP: The Beatles are said to have taken drugs -- especially marijuana and LSD -- from 1965 to 1967. This comes across in the album Sgt. Pepper's Lonely Hearts Club Band, recorded in 1966. You began transcendental meditation the same year. Did this help you give up drugs?

GH: I think so. The discovery of LSD was something we could not avoid because, in the case of John and me, someone put LSD in our coffee without our knowing it. After having had an LSD experience you do not want to go back to the way you were, you lose the notion of ego and you change because you see things you didn't perceive before. Even if I had not taken LSD it would not have been long before I began spiritual activities. After LSD, I became aware of God. But like with alcohol or other drugs you go crazy if you consume too much.

EP: You have not given up tobacco. Are you still a vegetarian and ecologist?

GH: Ecologist, yes, but now I eat fish and chicken. I did not eat meat from 1966 to 1979. During those years I was undernourished because I didn't know what to eat to replace the protein. In 1979, I began to follow the Formula One auto races and I was in Madrid or other capitals and it was difficult to eat in restaurants and hotels. If you don't go to Indian restaurants, where you can eat lentils and greens, you cannot stay on a vegetarian diet. So I began eating fish and chicken.

EP: The press has presented you in the past as a lonely man, shy and frightened after the assassination of John Lennon in December 1980.

GH: That's what the gossipers say. From time to time I get a flash of John's death. Sometimes it happens when someone I don't know approaches me by surprise. But you can't be afraid. I live a normal life. I don't go to cocktail parties and discos.

EP: How has Lennon's death affected you?

GH: I don't think anyone ought to die this way, at the hands of a madman. John's death has affected me, like it has most people. It's sad that someone can ruin the life of another. And when it's a longtime friend it's like losing a family member, a father or a brother.

EP: Even though you have written popular songs you have not had a hit since 1969. Do you think you were misunderstood and your talent underused in the Beatles epoch?

GH: For sure, because John and Paul dominated the group and had an arrangement for songwriting. Our producer for many years, George Martin, has publicly asked me to forgive him for this. But there is a moment for everything and at this time I was marginal.

EP: I remember reading in Rolling Stone that Lennon once said you were an invisible man between two egomaniacs.

GH: Absolutely.

EP: Is there something to the rumors of a Beatles reunion? There are rumblings that Lennon will be replaced by Elton John.

GH: Every six months or so someone invents a story like that. There is no possibility of the Beatles coming back to life. That era has ended. It is better to leave it like that.

[littlequeenies]

The People Issue 2024: Renaissance Woman Bebe Buell

The longtime rock ’n’ roller has landed her spaceship in Nashville, and she intends to stay

Kelsey Beyeler

Mar 7, 2024

A musician, writer and longtime “it girl,” Bebe Buell has lived a mystical life in the world of rock ’n’ roll — a life most could only dream of, from growing up in the South to living with nuns, weaving herself into New York City’s 1970s arts scene, raising actress Liv Tyler and juggling various creative projects of her own.

Buell’s heart has always been in music. She could have pursued acting, prolonged her successful modeling career or even married one of her many rock-star lovers, but Buell had her own life to live, her own stories to tell, her own songs to sing. And she still does.

The Scene recently caught up with Buell backstage at a 3rd & Lindsley show dedicated to New York City’s ’60s and ’70s rock scene. She was there to join legendary local cover outfit The Long Players and her husband Jim Wallerstein, who formerly played with Das Damen and co-produces Buell’s music. On this recent Saturday night, Buell recounted her friendships with Patti Smith and Nico before singing “Because the Night,” “Femme Fatale” and other tunes in her rich contralto croon. While the show was dedicated to others’ music, Buell has her own discography — dating back to the ’80s and featuring a wide range of raw, energetic rock tunes both as a solo artist and with her bands The B-Sides and The Gargoyles. Throughout her music career, she’s worked with heavy hitters including Todd Rundgren, Rick Derringer and Ric Ocasek, as well as local legends like Jon Tiven and Dave Roe.

Buell spent most of her life in NYC. But after recording a track for ​​Plowboy Records’ tribute album You Don’t Know Me: Rediscovering Eddy Arnold in 2012, she was enticed by the spiritual connection she felt with Nashville. Since relocating, she says she’s formed countless friendships and performed at just about every venue in town, including frequent appearances at the recurring Thee Rock N’ Roll Residency.

Bebe Buell Photo: Angelina Castillo

“I wanted to come here to really get good at my craft,” says Buell. “Getting to live in this town and be an active participant in the musical community is a dream come true.”

Last year, Buell released her second book — Rebel Soul: Musings, Music & Magic. A follow-up to 2001’s Rebel Heart, the book is a mosaic of memories that combines past experiences and present insights. Landing somewhere between memoir and scrapbook, Rebel Soul invites readers to consider not just the glamour but also the pain of a rock ’n’ roll lifestyle. 

“I watched that life swallow up a lot of women that couldn’t hold on to their identity, and drug dependency destroyed a lot of beautiful lives,” says Buell. 

“I live it every day,” says Buell of honoring those memories without getting lost in the past. “I’m an active singer, songwriter, performer, writer. I have bestsellers. I am not just sitting there, melancholy, thinking about the cool guys I dated when I was 24.” 

Frustrated by local challenges such as the GOP-controlled state legislature’s attacks on reproductive rights, Buell was considering leaving Tennessee when Rebel Soul was released. But events like the Covenant School shooting and the subsequent expulsions of Democratic state Reps. Justin Jones and Justin Pearson — along with the Republican supermajority’s attempted expulsion of Knoxville Democrat Gloria Johnson — have since convinced her to stay. “I’m not turning my back on this town,” she says.

“I realized that I want to be here to help with the change. I want to use my voice, not to hurt anybody, not to call people names, not to finger-point, not to point out what’s obviously wrong — we already know what’s wrong. What we need to do now is focus on what we can do to make it right.”

Photographed by Angelina Castillo; hair and makeup by Emaline Briggs, BBC Nashville

[hopper-miller-lvl6]

Supporting Dementias and Alzhimer's Therapies (LO1)

(abstract) The rates of dementia are on the rise as populations age. Storytelling is commonly used in therapies for persons living with dementia and can be in the form of life review, and reminiscence therapy. A systematic literature review was conducted to examine the range and extent of the use of digital technologies for facilitating storytelling in older adults and their care partners, and to identify the processes and methods, the technologies used and their readiness levels, the evidence, and the associated outcomes

Older memories – which have been recalled or spoken about more often – are more firmly established than newer memories. This means that a person with dementia may forget recent events, but still be able to recall detailed memories from earlier life.

People with dementia may also be able to remember more emotional events such as weddings or birthday parties. This is because memory also has an emotional aspect to it. This emotional memory is usually affected much later on in dementia.

This emotional memory can be triggered by senses, such as hearing a certain piece of music or smelling a certain fragrance.

Life story and reminiscence work

Life story work involves the person with dementia making a personal record of important experiences, people and places in their life. They can do this with the help of someone else, such as a family member or care professional.

Their personal record can take the form of a book, photo album or something they create digitally – for example, through a tablet or smartphone app. Reminiscence work is similar to life story work.

Im just creating a modern streamlined version of this idea putting the heavy lifting on the service and the joy of telling stories in the hands of the users.

Reminiscence is often done using prompts such as music, objects and photos, which can be general or specific to the person. For example, if the person has always enjoyed travelling, looking at photos from places they have visited can be enjoyable to them.

Many people find life story and reminiscence work enjoyable as these approaches allow them to look back on their lives and rediscover past experiences.

They can help to maintain the person’s self-esteem, confidence and sense of self. These activities can also be used as a prompt for conversation and can improve the person’s social interactions with others.

this part is key this practice seems to bring people together and can be built to help rekindle the empathy between carer and loved ones

[itsyaboi-ray]

Queer Musicians that I Love and You Should too

I’m gay and I’m just in the mood to gush about music so here are some queer artists I wanna recommend:

Yves Tumor (they/them, nonbinary)

I first heard of them when their latest album Heaven To A Tortured Mind starting getting good reviews from critics, but it was their recent EP, The Asymptotical World, that made them a staple on my playlists. They make rock music like no other I’ve heard, every song is like an explosion. Go listen to their song Jackie and try not to have it on repeat for the rest of your week. 

Adrianne Lenker (she/her, queer)

She’s widely known as the singer in the band Big Thief, but I mostly know her for her soothing solo music. Her songs make me want to wander barefoot through a forest in spring, picking flowers and berries and making friends with the unknown. I really love her song anything, it gives me peace. 

Dorian Electra (they/them, genderfluid)

C’mon, I physically can’t talk about my favorite artists without bringing up Dorian. They’re a hyperpop extraordinaire, a drag king, a Lady Gaga remixer, and the maker of the funniest music video in history. A lot of their music criticizes forms of toxic masculinity and celebrates queerness and being a fucking weirdo. No song covers those topics all together better than their song Flamboyant, a song about going all the way. 

Teddy Geiger (she/her, trans woman)

I remember listening to her sometimes years ago, before she came out and she has a few hits from then. I actually rediscovered her while making this post, and it looks like she’s trying to make a comeback in the music industry, and I much prefer her newer stuff over her old songs. They all have a kind of “vibe” to them, pretty noticeable in the song Sharkbait, that I really fuck with. 

Remi Wolf (she/her, bisexual)

With Remi releasing her new album Juno in the next few days, now’s the perfect time to get into her music. Her song Photo ID blew up a bit on Tik Tok, and all her other tracks are just as earwormy (and if you’ve seen the music video, they’re all just as strange). Guerilla is probably my favorite of the singles for her new album so far. 

Issac Dunbar (he/him, gay) 

AKA an 18-year old who has more talent than I’ll have at any age. Especially for being so young, this guy puts so much effort into his music, the videos for it, and the personal lyrics that I’m shocked he’s not raking in fans. His music is honeslty way better than most pop that’s on the radio right now, Makeup Drawer is my current favorite of his but he has so many great songs. 

Glass Beach (3/4 members are nonbinary and use they/them pronouns)

This band, this fucking band, needs so much more love. They made an album that touches on the topics of anti-capitalism, gender dysphoria, rats, being a depressed young adult, and it’s all punk rock that combines other genres such as ambient, electronic, and even jazz. AND it was inspired by The Black Parade? These guys are awesome, go listen to the masterpiece that is classic j dies and goes to hell part 1.

Anyway, if y’all wanna recommend queer musicians too go ahead, I love discovering new music and supporting queer people, especially when music has taken a hard hit due to the pandemic. 

[bit-dodgy-innit]

when u get this u have to put 5 songs 🎵 u actually listen to, publicly. then, send this ask to 10 of your favorite followers (non-negotiable, positivity is cool)💕

hiiiii my love! ok lemme see here

Sweetest Pie by Megan Thee Stallion & Dua Lipa - I live for both of these women and this collaboration melted my brain and after seeing that photo of Oscar and Dua Sweetest Pie is here to stay

I Like You (A Happier Song) by Post Malone & Doja Cat - this reminds me of reader and Jake. Don’t ask me why

I Say a Little Prayer by Aretha Franklin - I’ve loved Motown/early R&B since I was young and recently rediscovered what an absolutely BANGER this song is

Dream a Little Dream Of Me by the Mamas and the Papas - Mama Cass’s voice. That’s it. That’s the tweet.

Lost in Your Light by Dua Lipa and Miguel - a HIGHLY underrated Dua masterpiece from her first album!

[natromanxoff]

Queen live at Oakland Coliseum Arena in Oakland, CA, USA - September 7, 1982 (Part-1)

(x)

The band are in great form tonight, full of vitality and passion. Only the intro of Rock It is performed from now onward. When the vocal is expected to re-enter after the rhythm section joins in, the band jump into the first verse of the fast We Will Rock You. John Deacon's bass solo after the second chorus is aggressive, and overall the band are clearly happy to be playing the longer version of the song again - although they do have a bit of trouble getting out of the middle section together, but they recover well. Freddie offers a great version of Play The Game. After the song, he has a word with the enthusiastic audience. "So here we are, back again in Oakland after a long time. Has everybody been keeping okay since we've been away?" Naturally everyone says "yeah", and Freddie replies, "Bullshit!" He continues, "Anyway, we have a lot of new songs for you since we were here last, and this next one is a song for all the girls here tonight, you know what I mean? The real girls. If you've got tits or if you haven't got tits it don't matter." The girls quickly stop cheering as Freddie is just trying too hard when he actually doesn't have to. He attempts to recover, "You just don't understand English. It doesn't matter. This is a Roger Taylor composition [the mention of Roger's name gets the girls screaming again] entitled Calling All Girls." Just before the first chorus of the song, Freddie adlibs, "I've got a message for you babe!" After the second chorus, following "take a message of love for all to hear," he adds to the energy with a few spontaneous words: "Have you got it? Can you hear it? Can you feel it?" Tonight is the first known performance of the Hot Space rocker Put Out The Fire, segueing from the vocal improv of Now I'm Here (Freddie doesn't have the lyrics perfected yet, which suggests it hasn't been performed too many times - fan club magazines from the period say the song was performed as a standalone piece earlier in the tour). After the second chorus, the band seamlessly jump into Dragon Attack. The combination of these three songs seems to recall the medley idea that had been dropped in 1981. After Now I'm Here, Freddie challenges the audience to one of his usual vocal duels. For the first time, he is heard singing "Dee do de de", something that would become part of the lyrics of "Living On My Own" off his first solo album in 1985. Shortly thereafter, after an "alright" that's held for a few seconds, he shouts, "You can do it!" in encouragement, after which he says, "Not bad! It's amazing what you will do if you're pushed." He really takes a liking to this audience. During the next song, Save Me, instead of singing the line "I love you 'til I die," he speaks the words "I love ya", and during the three quiet beats leading into the first chorus, he quickly and poignantly adds, "don't forget it!" Freddie once again dedicates Fat Bottomed Girls to "people who like fucking a lot." In the second verse of Crazy Little Thing Called Love, he modifies a lyric to say "she knows how to fuck and roll." One can draw their own conclusions as to where Freddie Mercury's mind was at on this tour. He turns in a very passionate version of Bohemian Rhapsody (despite not being in full voice by the end of the show), where everything seems to come home to him. Only he knew what the song really meant, but plenty have suggested that the proverbial man being killed in the first verse as told to his mother is his former self that had not yet come to terms with his sexuality. A clash of worlds in 1982, if that's the case. Matt Granz (also with a story from San Francisco '77) fondly shares his memories of this show here:

“This photo is from Queen's last Bay area show ever with Freddie Mercury. With the new direction that they took with the album "The Game" Brian May stated that Queen had "gained the world, but lost America". I think that after they played a Los Angeles gig or two after this particular show that they never did come back to the US. That is truly sad since they were one of the most charismatic of all rock groups to ever play on a stage. This concert was no exception! This photo was taken during Brian's echo solo. The three lights backlighting Brian belonged to one of two manned light pods that followed him around the stage. It was a spectacular effect!

The friend I went to the concert with (who's name I can't even begin to recall) took his SLR 35mm and I took a pocket fixed focus... after seeing me lament over the bad quality of my images he took mercy on me and sold me this memory as an 8x10 B&W Glossy that I kept secured in a folder... and just recently rediscovered and decided to digitize these many years later. My own pics from the concert all came out underexposed... drat! His SLR had some great lenses and he had his own darkroom. He also had great access to many good spots to shoot from.

By the way… remember the days when you didn't need a press badge to bring a camera to a concert? What happened??? Lawyers, I'll tell ya... Lawyers.

The story behind the Flying V being utilized was that at the very onset of his Echo solo, Brian busted a string on the "Red Special". He waked backstage and then shortly reappeared with this guitar. The sound was quite different. After the solo was done fifteen minutes later, he took back his own guitar and proceeded to use it for the rest of the show. It was pretty unusual to see him playing this and (besides the Tele he plays on Crazy Little Thing Called Love for the songs' first solo) have not seen him play another electric besides his main axe that he and his father made.

I was pretty poor at the time, but I liked this photo enough to buy it because of the before mentioned spectacular lighting and the fact that Brian is playing a Flying V.

Though I was not a fan of The Game, this concert was superb! I came to see Brian (being a guitarist myself) and was amazed at how distracted I was by the rest of the band. They were flawless that night and the floor seats I snuck into... 20 rows from the stage... provided the perfect viewing experience. The light show was also the best I had ever seen as well, in that it didn't distract from the music or musicians but rather pulsated perfectly with the beats and saturated the stage with great color combinations.

Freddie, Brian, Roger & John all had the whole auditorium held by the throat from the very start of the show till the last fading notes of "God Save the Queen". Sheer Excellence!” Most of the photos were taken by Sean Trend. A few of the pictures show Brian with the Gibson Flying V, as he had played in East Rutherford last month. But this time he begins his solo with the Flying V, as confirmed by someone who attended the show. Brian, in disbelief, later commented on this: http://www.brianmay.com

“Well, I'm shocked. I definitely would have sworn that I never played a solo live with a Flying V. I played around with them, but mainly at home, except for one video appearance for "Princes of the Universe" in which I'm obviously not really playing!!!

Cheers Bri”

(x)

Part-2

[creativeashproductions]

Healed by the Music // Luke Patterson

Summary: After the fallout of reckless behaviour and forced to return back home the reader had rediscovered her love for music. Close with her family once more her band Graveyard Petals receives an offer that could turn around the band’s tarnished reputation. The only issue is not wanting to hurt those close by leaving.

Warnings: Swearing, talk of death, angst, and fluff

Words: 3.3k

A/N: The second and final part to a lovely little series I had grown to love, the first part is Drowning From the Past. I came up with the band name so if you want to use it send an ask and we talk about it. This is set after the first season and Ray can now see them after the whole Golden glow thing.

Part One - Drowning in the Past

Masterlist

In the months you retreated back to Los Feliz the band had grown exponentially bringing in more revenue with merch. The social media followers grew as well with the hope of a new photo posted of you and the band. The most recent teased new music coming.

Speaking of music, it seemed to pour out of your body into two notebooks unknown to both your sister and her band—the band of ghosts that become massive fans of Graveyard Petals when Julie played full-length debut album Dahlia. Luke had even collaborated on a song for your band; his name the first of writing credits.

Now, seven months after the shameful return the band had gotten the offer of a lifetime to open for 5 Seconds of Summer on a world tour. The issue came with talking with Julie, and the guys gave you had shown your father you had healed.

"Hey, what's been up with you lately?" Julie asked, seating herself in the swing right beside you. Her hair pulled away from her youthful face.

Whenever you looked at Julie, you saw Mom with the gorgeous hair and gleeful smile that brightened a room. Even on your mom's death bed, the room flared with that same smile in every picture in albums and on the walls. Sometimes you swore the piano in the studio bath in the warm light brought by the one person that taught you and Julie to play.

"I've been thinking." You simply spoke eyes focused on the park that had been a massive part of your life.

Every year Rose and Ray Molina had brought their three children to the very park the two had met years before. Rose would bring flowers to a specific bench, and every time you asked why she had the same answer.

Little Y/N was a precocious child inquisitive of the world around her held at an arms life by her parents. Skilled at singing and natural affinity for music it worried Rose, in her eldest child she recognized something. The intense passion and talent that a particular guitarist had once displayed on a stage that would have changed everything.

"It a place of absolute joy and acceptance. Four legends came together in front of that very bench."

Rose would never know about the place had Bobby not subconsciously led her there for the first time mere hours after the devastating loss. He had collapsed to his knees, pleading for his best friends, his brothers to return. In broken sobs, he had told Rose that this park, this bench was the first place Sunset Curve played. Band fresh and still unnamed they had gotten confident enough to set up near the bench to start building a following.

Now it was eight years after the first visit with Bobby who started going by Trevor a year after the loss. The fresh-faced boy that had flirted with Rose had changed, and at that time, Rose wasn't sure it was a good or bad thing.

"It was the guys Mom left the flowers for." Julie started following your eyesight to the bench that had a fresh bouquet. A single dahlia in the middle of the flowers for your mother.

"Yeah." You softly spoke, turning to focus on the girl that had healed through music. Seeing how grownup Julie had become hurt your heart. Julie wasn't a child anymore, and you wished she never went through what you did for months.

The two Molina girls sat in comfortable silence with minds thinking the most opposite things possible.

"5 Seconds of Summer is going on tour. We should try and score some tickets when they come to LA." Julie spoke, raising one leg to rest her arm on it. The high waisted light washed jeans with paintings on them.

Your heart clenched at her excitement for a band you both adored for years.

"I know. 5SOS gave Lucy an offer for Graveyard Petals to open for them worldwide. The others are down to join, but if I'm not ready, we won't." You avoided the brown eyes burning your cheek for a second.

Julie's warm hand clasped yours in hers to jog to your car you had bought with your first paycheque. Unable to figure out her state on the possible tour, you quietly drove back home with no sound other than breathing.

"Hey!" Luke beamed as his two favourite girls, came wandering into the studio with pensive expressions and stooped shoulders.

Alex picked up on their moods almost instantly, "Are you okay?"

Your mouth opened before the loud yell of Flynn cut off your opportunity to respond and a slap smack to the back of your head. The sharp cry of pain stumbled from your chapped lips and Flynn's frustration rolling off her form.

"Flynn!" You sharply called rubbing the stinging spot with a glare outmatched by Flynn's fire. The look unlike you had ever seen on the girl with a sharp sense of fashion and unapologetic personality.

"You got asked by 5 Seconds of Summer to tour the world as an opening act!" Flynn elaborated at your confused expression, "Jules texted me. You need to do this! The amount of questions of if GP will return is outrageous! In the last two days, the band's Instagram got five thousand new followers."

The ghostly trio stayed silent as Flynn reprimanded her best friend's older sister with crazy talent. Flynn was your self appointed biggest fan with buying the first album at the store to demanding to wear newly designed merch before the drop.

"I'm enjoying being at home. I'm on good terms with Julie and Carlos, Dad doesn't look like he's gonna drop dead in disappointment when he sees me." You shrugged focusing on the discoloured mark on the ground.

"It's okay to be scared." Alex supplied smiling as Flynn nodded her thanks as the tall drummer stepped in.

After escaping the Hollywood Ghost Club (HGC), a handful of people gained the ability to see them, including Flynn. It was rather refreshing for the girl to finally interact with the guys with Julie being the middle man.

"I'm not-"You cut yourself off at the disbelief on Julie's face with her arms crossed just as your mother had done, "I nearly lost myself in the bottom of a bottle. I fucked up my relationships and tarnished both mine and the band's reputation."

Luke's warm hand came down on your shoulder in the act of support, the touch a new factor to the ghost. Your hand came to rest on his with a smile of gratitude cast to the dead boy.

"You have healthy coping mechanisms to fall back on. You'll have us to visit with the poofing ability. If you stumble, we will be here for you." Reggie informed you with his toothy grin and kind eyes.

The last piece of the puzzle clicked into place, feeling the wound close up, leaving a scar that had blistered and reopened since last year. The cheers enveloped you like their arms as you texted Lucy and the band your decision.

Dublin, Ireland 2021

"Hello, Dublin!" Your voice amplified in the large stadium of fans cheering for your band—the thud of Iris on her drum kit.

James idly stroking the strings on his dark green teal guitar your band had pitched in as a gift to him. On the opposite side of the stage was Sawyer with their custom-made gorgeous marble green and white colour.

"I hope you are enjoying yourself so far! It is our last song before the real act comes out!" You exclaimed to the boisterous crowd.

Just barely in the wing of the stage waited the band that had quickly become older brothers to you. A band that had given you a chance after the madness of your downward spiral.

"This song came out in 2018 and quickly became one of my favourites. It wouldn't be right to sing it without some friends." You continued as the guys walked onto the stage, "Without further adieu, this is Lie to Me by 5 Seconds of Summer!"

Luke Hemmings along with Calum, Ashton, and Michael ran to join your band as Iris started a sick beat. Calum and Michael already joining Sawyer and James in absolute perfect sync leaving Ashton to rock out by Iris. Hemmings, to not confuse him with Luke Patterson, came to stand next to you with a guitar.

[Verse 1: Hemmings]

I saw you looking brand new overnight

And I caught you looking too, but you didn't look twice

You look happy, oh, mmm

You look happy, oh

Hemmings angled his body to face you but not cut off the fans behind him, creating the vivid story you had done each rehearsal. The blue clashing your own eye colour holding your personalized sparkly emerald green mic.

[Pre Chorus: Hemmings & Calum]

Flashing back to New York City

Change your flight so you stay with me

Remember thinking that I got this right

Only adding backing vocals as Hemmings retreated to jam out with Calum leaving you to jump around the stage. Landing next to Sawyer they beamed with the loud stadium heard even through the in-ear monitors.

[Chorus: Hemmings & Calum]

And now I wish we never met

'Cause you're too hard to forget

While I'm cleaning up your mess

I know he's taking off your dress

And I know that you don't, but if I ask you if you love me

I hope you lie, lie, lie, lie, lie to me

Raising the mic to your lips, you came into your cue returning to the middle of the stage with Hemmings.

"Give it up for Y/N!" Ashton yelled into Iris' personal microphone.

[Verse 2: You]

It's 3 AM and the moonlight's testing me (Ah)

I know that you've been holding on to someone else

And now I can't sleep (Ah)

I ain't happy, oh

I ain't too happy, oh

[Pre Chorus: You]

Flashing back to New York City

I was done, but you undid me

Classic me to run when it feels right

The stage was charged with the chemistry the two lead singers of their respective bands all sharing grins. The cheers growing as Hemmings came closer to share the green microphone, the tech guys skillfully turning Hemmings off; no feedback sounding.

[Chorus: Hemmings & You]

Now I wish we never met

'Cause you're too hard to forget

While he's taking off my dress

I know she's laying on your chest

I know that you don't, but if I ask you if you love me

I hope you lie, lie, lie, lie, lie to me

Singing, lie, lie, lie, lie, lie

Li-li-lie, lie, lie, lie, lie

Lie, lie, lie, lie, lie

Li-li-lie, lie, lie, lie, lie (Yeah yeah)

I know that you don't, but if I ask you if you love me

I hope you lie, lie, lie, lie, lie to me

The Australian singer stepped closer to hug you quickly before finding his way to your bandmates too. The crowd all having their phones out in which the hugs would be made into edits, and the shipping would intensify.

"Dublin! You have been incredible to play for. Enjoy the rest of the concert and rock out because I will be doing so backstage." Your voice echoed over the fans with a beaming grin feeling comfortable on stage again.

"This is Easier!" Hemmings shouted as the rest of his band commenced their part of the concert just as they had the last few months.

Watching the guys perform with your own band with you was incredibly bittersweet after touring worldwide for months. The media had eaten up the sudden reappearance of the band with positive publicity increasing the popularity.

"I love this song," Sawyer spoke with a twinkle in their eyes tapping their foot to the beat. James was just barely moving his head to beat while Iris was jumping around uncaring of the people around.

"You love it because we got to collaborate on the song!" James exclaimed, tapping his hip on her thigh. Iris' 5'11 form towered over James' 5'7 height but that never caused issues with them.

James's black hair gleamed blue in the strobe lights tinting his pale complexion as well. Sawyer's hair dyed bright red pairing well with their tawny skin colour with their mocha brown irises. Iris had changed over the break abandoning her past style for a more laidback skater style.

"I'm gonna head to the bus. Grab a shower and change." You informed the band as you started retreating to where the bus was parked.

"See you soon!" Sawyer yelled with their attention halfway back on the band of guys that had given you all a second chance.

Walking down the hall with employees milling around, you barely acknowledged them other than a smile. The performing had taken a lot out of you after a fitful sleep. Carl, your band's security detail and current bouncer to the backdoor, nodded at you.

Carl's colleague would be stationed at the bus as per usual with your routine of catching one song and then leaving. Bea's hardened gaze relentless on scouring the area with her arms crossed over her chest.

"Hey, Bea." You spoke earning a grunt in response from the jaded security detail hired after adjusting back to civilian life.

You didn't have the entire story other than Bea had been in the military, but due to an injury had been medically discharged. Your manager Lucy had been the one to hire her as per the new policy of having two people of different genders on detail.

The bus was quiet as you entered flinching at the sight of your father sitting on the couch with Julie and Carlos beside him. Your mouth gaped at seeing your family after months of only FaceTime and calls.

"Oh my gosh!" You yelled lunging to hug your siblings with wide eyes matching.

Carlos had definitely grown at least two inches since you last saw him, and Julie's hair was pulled back in an intricate style. Her outfit screaming Flynn's advice but her ring was on show that matched your own.

"Surprise!" Ray exclaimed to his eldest child with pride written clear on his face, "I missed you, Mija."

"So, did I!" The cheerful voice of Luke interjected as the three boys of Julie and the Phantoms made their appearance.

Standing further back in a band shirt with Graveyard Petals was Alex's boyfriend Willie with a shy expression. He still felt incredibly guilty of delivering the boys straight into Caleb's hand and often voiced his feelings of not feeling he deserved to be friends.

"Hey, Willie. I like your shirt!" You told the tall skater who sent a shy smile.

"Still weird," Ray muttered having walked in on Reggie towel drying his hair the month before you left for tour.

It had been a very confusing and emotional time for Ray and Carlos to adapt to the new information. After Julie saved the boys and that weird golden glow happened, they had been able to make themselves visible; just no poofing in the vicinity of Ray after he nearly fainted that one time. The details hadn't been worked out yet, but Caleb was out of the picture.

"Did you catch the concert?" You questioned the group tugging on the damp t-shirt you had worn on stage. The fabric was drying after being drenched in the sweat after spending an hour under hot lights and continuous movement on stage.

"We stayed for the one last night. We stayed for your set tonight before we got Bea-"

"-she's terrified by the way," Alex interjected with a grimace on his face at the stoic young woman. The glare at focusing on her scars had truly scared the anxious drummer.

"-to let us on the bus. We wanted to surprise you and congratulate your success." Luke informed the group, "You're insanely talented by the way."

His left hand coming to intertwine with your right hand just as it had before you departed for the world tour. You had grown incredibly close to the guitarist firstly as best friends before developing into a relationship.

"We did explore Dublin for the morning. I'll forever be in Lucy's debt for sending the tickets for us." Ray happily sighed, thinking of the lovely woman that had helped Ray guide his daughter back to herself.

"I'll just hit the shower quick." You swiftly jogged to the back of the tour bus where the shower was situated near the five came rooms. The entire band each had one room and a spare for the driver.

Los Angeles, 2021

Your hair pulled away from your face you sat beside a willow tree in contemplative silence with only your guitar and notebook. You knew that in a few seconds Luke would appear for another writing session.

"I love you." Luke breathlessly spoke as he ran up to you with a great big smile.

The awe at his words blinding your thoughts from the hope you had been feeling for the last week. Luke's hazel eyes glittering in the sun and the smile bubbled onto his face.

"I love you too." The words slipped quickly off the tip of your tongue as the guitarist tugged your form into his body. Supple lips quivering on the skin of warm neck all Luke felt was gratitude.

Luke leant back to brush his calloused fingers on your cheek, "Julie got a call. Someone little birdie sent in a demo to a label."

"I wonder who that happened to be." Your smirk revealing just precisely who had sneakily grabbed the freshly recorded demo.

Lucy had always had an interest in Julie's talent in music but tabled in during the period that Rose died. The grief stealing Julie's voice and leaving behind stage fright hadn't been something Lucy would chance. The manager had always hoped Julie's voice would return.

"You gave Lucy the demo, and she passed in on to the Red Bedroom Records!" Luke was quick to tug you into his arms with a huge grin, "Julie and the Phantoms are getting signed! The owner is personally flying over on Monday to go over the contract and sign it!"

Your words muffled by his chest, "Lucy informed me about that, and she offered to manage you as well."

"Lucy is the best. She gonna mentor and give Flynn an internship to still work with the band. Thank you so much, baby." Luke whispered against the warm skin of your forehead.

"I just decided to speed up the process. Can I tell you something?" At Luke's nod, you continued, "I'm thinking in a few years to open a label of my own. I was hoping you guys and Julie would be interested in doing that with me?"

"I am so down to do that. We're gonna hire an investigator to make sure what Trevor did isn't able to happen at our label." Luke was already passionately thinking of what the hypothetical future label.

"That's perfect!" You beamed, "We could give a workshop to aid songwriting too! I thought that we could name it A Rosie Sunset. My dad called my mom Rosie most of my life and Sunset for your first band."

"I didn't think I could love you more than I did a minute ago. You proved me wrong." Luke breathless laughed before humming when your lips made contact with your own.

The warmth that had been missing the year after you mom passed away had returned, and sometimes you swore the sun shone down on you. You had no doubts it was your mom's way in heaven to hug her children. You and Julie had come to the conclusion that your mom had sent the boys into your lives.

Rose Molina, even in death, did her best to make her children happy. The three remaining members of Sunset Curve the absolute best part of her two daughters lives.

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[extremelyblackandwhite]

i wanna know what love is - 31

Pairing: rockstar! sebastian stan x writer!reader

Warnings: fluff

A/N: it’s the last chapter. guys it’s been such an honour to write for all of you, to listen to all of your feedback. this was my very first fanfic i felt people enjoyed and it’s been such a rollercoaster. it’s so bittersweet that it’s ending but it’s been a blast and i’m gonna miss it. i hope you enjoy it guys. much love, bea xx

(did i name one of their children after jess mariano? yes. do i have any regrets? no.) (if anyone wants any drabbles about them pls ask bc i’m finding it rly hard to say goodbye to them)

Last Chapter 

                                                   1 YEAR LATER

    - Y/N, wake up. - Mary hit the sleeping Y/N with the pillow making her whine as she opened her eyes to the bright sunlight. Y/N groaned, grabbing the pillow and turning to the side trying to go to sleep again. As she felt like she was about to fall asleep again, she felt cold water hit her. The girl raised her torso, eyes wide open as she stared at the red head holding flowers in one hand and a vase on the other hand. - It’s your wedding day and we have a schedule. 

   - You just tossed water at me. - she shrieked at her, feeling the coldness hit her. - God, this is my wedding day not the army.

   - We have facial, makeup, hair and dress, and that’s just for you. - Mary grabbed her by the arm pushing her up. - Let’s go.

Mary had been over the moon when Y/N asked to help her out with her wedding. They had to get married in London due to the boys being on the recording studio after Sebastian joined them back a year ago, therefore Y/N had made it well known that she was gonna get married in a garden which Sebastian didn’t really mind. What both of them minded was everyone wanting them to spend one week apart at least for luck. They both hated it, specially Sebastian who kept wondering she was gonna give up and be a runaway bride, something Y/N had told him she wouldn’t various times.

In order to make up for that stupid arrangement, they decided to have a first look away from everyone else much to both their families despair which keep telling them it was bad luck. They didn’t care however. 

Y/N spent four hairs in the makeup chair, between having face masks and her eyebrows tweezed at the same time someone did her nails along with the heat of the curling iron she found herself falling in and out of sleep. The photographer even took some photos of her asleep as Mary did her hair. 

She was finally ready and in her dress after four long hours, she felt beautiful in her wedding dress and couldn’t wait to see Sebastian, mostly because she couldn’t picture him fully dressed up. Mary and the rest of the team left leaving her in the room waiting for Sebastian who came in a bit later. His eyes watered as he saw her standing there dressed in white, looking like something that had fallen from heaven. 

   - I love you so much. - he pulled her into his arms, kissing her softly on the lips, missing her already. 

   - You can’t cry. - she said, noticing his watering eyes. - Or I’m gonna cry and I think Mary will kill me if I mess up the makeup. 

   - That’s not cool man. - she held her finger against the corner of her eye trying to prevent her tear from streaming down her face. - You look so handsome. 

   - Yeah, these are your father’s shoes. - he said making Y/N chuckle at how he did a little tap dance. - Oh, I got you something. 

   - C’mon, Seb. We promised no gifts. - she smiled at him as he took a small box from his trousers’ pockets. He handed it over to her, eyes set as she opened the little box to revel a pair of little pearl earrings. - Aw, Seb, you shouldn’t have.

  - I thought you needed something new for the wedding. - he kissed her forehead. 

  - Well, happily I knew you never follow your promises so I got your something too. - Y/N moved to her bedside table grabbing a rectangular back and walking back to him, slowly so she wouldn’t trip on her dress.

  - Now that’s just not fair, that’s a much bigger box. - he pointed at the box, making her roll her eyes. He took it from her, slowly opening it to see a pregnancy test, a positive pregnancy test. His eyes went from it to her and back to it. - Are you pregnant?

  - Yeah. - she smiled at him, the tears returning again. - I’m pregnant.

  - You’re pregnant. - he picked her up, twirling her before kissing her a few times, going from her lips to her nose to her forehead. - You’re pregnant, we’re gonna have a baby.

    - YOU’RE GONNA HAVE A BABY! - Mary opened the door, receiving confused looks from them. - What? I was just making sure you wouldn’t have sex and ruin my masterpiece before the wedding. 

    - Can you keep it a secret until the honeymoon? It’s quite recent. - Y/N asked, leaning against Sebastian’s side which had the biggest grin ever. - But yeah, we’re having a baby.

   - Right, we’ll talk about me being the baby’s godmother after the wedding. You go the altar, Y/N, we’re getting the garter. C’mon

                                                   5 YEAR LATER

Sebastian was driving down the highway like a crazy man. He had been away from his wife for a full month after doing press for the new album and all he wanted right now was to get back to their home. If Y/N was around she would’ve screamed at him to slow down but all he could think about was being with her again. 

He pushed onto the drive away, getting off the car and rushing over to the door, unlocking the door. As he stepped in he heard a high pitch voiced followed by someone hugging onto his legs.

   - Jess! - Sebastian saw his wife rush down the stairs, bath towel in hand and then looked down at his first born who was wearing his bath robe which meant him and his wife were fighting the bath time routine again. - Jess, what did I say about running down the stairs? 

  - But it’s daddy! - the little boy pointed at his dad who crutched down to pick him up. Y/N playfully rolled her eyes, walking over to Sebastian, placing a kiss in his lips as the toddler wrapped his arms around his dad. Y/N would always say that Sebastian was always Jess’ favourite, despite him being the one who looked more like her with the same eyes. He had been her hardest pregnancy when compared to his sister. All Y/N had wanted to do was lay down and watch TV, specially Gilmore Girls which had been where she had rediscovered her childhood crush on Jess Mariano. After a bit of name discussion, she decided to name the baby Jess. - Daddy’s back. 

  - Are you trying to avoid bath time again, bud? - Sebastian tried to apprehend him but he could never do that. He missed his wife and kids too much besides, his oldest had inherited his persuasion abilities. - You don’t wanna make mummy sad, do you?

  - No. - Jess cuddled onto his father’s side, arms still wrapped around his neck like a little baby koala. 

  - Why doesn’t daddy do bath time today? - Y/N smirked looking up to her husband. It was his time to try and hold down a slippery toddler. 

  - Alright, to the bath we go. - Sebastian held Jess as he climbed up to the upstairs bathroom along with Y/N which turned to enter the room near their own room. Y/N had already set the tub with some bubbles so Jess would find it interesting enough to care. All Sebastian had to do was managed to get his son into the tub which he didn’t do without a fight leaving his shirt completely drenched. - C’mon bud, it’s just a bath. Don’t you wanna smell nice for tomorrow’s party?

  - I’m gonna be 4. - he raised four fingers, his little smile that resembled Y/N’s so much splattered on his face. - Mummy bought a cake and we’re gonna have a bouncy house.

  - A bouncy house, no way! - Sebastian smiled as he carefully ran the loofa over his son. In no time he was out the tub and wrapped around a little green frog towel. He picked him up, still remembering the time when he would not walk unless Sebastian picked him up and took him to his bedroom. His friends always poked fun of how spoiled Jess was and Sebastian hated to admit it, but he did spoiled his kids like no one else. Back when Y/N was pregnant with Jess, every single thing possible available for babies was bought by Sebastian and it was no different once Jess got his toddler bedroom. He had been the only one for a long time and Y/N and Sebastian had so much love for him. - Ok buddy, which pyjamas are we wearing tonight? 

 - The space ones, please daddy. - he pointed at the NASA themed pyjamas they had gotten him once he started to get interested in space, something Y/N was really happy about. - Daddy, why do you leave for so long?

 - Well ... - Sebastian handed him the pyjamas, helping his son get dressed and then tucked into bed. - Sometimes daddy has to go away for a bit, but I’ll always return to you guys.

 - Can we read the new book mummy got me? - he held a blueish book in his tiny hands. Sebastian grabbed the book: I Love You to the Moon and Back. Well, he certainly did. 

 - I love our time together as we start each happy day, I love our bath time silliness the way we splash and play, I love to lift you way up high so you feel really tall. We’ll climb the highest mountaintops hold tight and you won’t fall, I love to share the magic of the stars above and think of all the different ways that we can show our love ... like when we’re touching noses, playing chase, or seeing friends. Our love is always with us, and it never, ever ends so snuggle safely in my arms, our day is nearly done. I love you to the moon and stars, my precious little one.

He looked up from the book, Jess fast asleep holding the very first stuffed toy Sebastian had bought for him when he heard Y/N was pregnant, looking like a precious little angel. Sebastian got up from the small chair, leaning to kiss his son forehead before walking to the master bedroom he shared with Y/N. There he found her wife with their second child, Marion. Marion was a recent addition to the family, she was about to turn one. Marion was the child that both Y/N’s and his mother said looked most like him with her big bright baby blue eyes, however her temper was Y/N’s. Mellow behaviour, liked to sleep a lot, specially leaning against their parents’ chest and unlike her brother adored the bath time.

   - Look who it is, Marion. - Y/N said, holding her baby girl in her lap. - It’s daddy. 

  - My little princess. - Sebastian threw himself onto the bed, holding his baby daughter in the air making her giggle. Marion still did not talk, she was an observant one like Y/N, however she had started to walk although Sebastian always joked she looked tipsy when walking. - You’re sleeping in daddy and mommy’s bedroom tonight? Are you, my little precious baby?

   - She’s with a cold, really whiney. Thought it would be better to let her sleep with us rather than wake up Jess. - she sat by Sebastian’s side, head leaning against his side. - I’m really glad you’re back home.

   - Me too, no more month long absences. - Sebastian held his daughter, getting off from the bed and walking to the crib Y/N had brought into the room. He laid Marion in the million of all her toys which both him and Y/N kept buying for her, leaning to kiss her on her head before turning to Y/N. - I think I might be thinking about a break for maybe a few years.

  - You sure? - Sebastian leaned next to her in bed, cuddling her. - I don’t want you to pause your career. 

 - But I miss the kids, besides, it wouldn’t be a complete pause. We could do some shows here and there, just not long months away from you and the kids. 

 - Whatever feels more comfortable to you, honey. - she smiled, tilting her head to kiss him. Sebastian smirked through the kiss, turning her on her back so he was standing above her. - Are you trying to get lucky, Mr. Stan?

 - I think you deserve some care, Mrs. Stan. - he leaned into her neck, leaving open kisses there. - Don’t you think so?

 - Mummy ...

 - Oh my god. - Y/N pushed Sebastian off her once she heard her son’s voice coming from the end of the room. She did not want to traumatise her son for the rest of her life. - Jess, baby, what’s wrong?

 - Nightmare. - Jess climbed onto the bed, putting himself between Y/N and Sebastian. 

 - Aw, baby. - Y/N pulled her son into a hug, kissing the top of his head. - It’s okay, why don’t you stay with mummy and daddy for the night?

 - Really? - he looked over to his dad who sighed before nodding his head. Maybe it would be better to have fun with his wife whenever the kids weren’t around. - Daddy, you’re gonna love the party tomorrow.

 - I’m sure I will, bud. - he pushed the duvet over his son and wife. - But now, we need to all go to sleep, okay?

 - Okay. - he closed his eyes, turning on his back. Sebastian leaned in to kiss Y/N goodnight.

 - Goodnight, Y/N. Love you.

 - I love you too.

He couldn’t ask for anything else. 

[tiesandtea]

SUEDE – now with humour

Suede featured in the Danish free music magazine GAFFA shortly after A New Morning came out, October 2002 (no. 10). An interview with Brett and Mat, short comments on the album tracks, and a review. 

Photos by Casper Helmer and Morten Larsen. The magazine can be downloaded as .pdf here (look for pages 22-24 and 50).

Translation of the interview by Peter Albrechtsen under the cut. Own work.

OUT OF THE DARK

Brett Anderson and the rest of Suede have acknowledged that the substance that dreams are made of can neither be ingested nor inhaled. It has to come from the heart. And it does on their new album A New Morning, which was one of the topics of conversation when GAFFA met a transformed band in Copenhagen

FIRST HE TURNS LEFT, TAKES A FEW STEPS FORWARD and looks towards the mirror in front of him. Then he turns right, but keeps looking at himself. Everything is taking place in sliding movements, and there is evidently some satisfaction with what the mirror shows: The black leather jacket with a retro cut and a white back label sits tight around the slender, yet top-trimmed body.

If you didn't know better, you would think that Brett Anderson was practicing for a catwalk. The 35-year-old Suede frontman is hardly going to throw himself into that kind of thing for the time being, though he would be guaranteed to do well with his obvious expertise in hip twists, affectations and flirting from the edge of the stage. Right now, though, Brett is in a Copenhagen luxury hotel, where he's trying on a jacket just purchased by the band's British make-up artist, Nicci Welsh, who eagerly watches Brett's shameless poses. Brett is satisfied, but he has a twinkle in the eye at the same time, which reveals that something is hiding behind the charismatic singer's wide smile and chalk-white teeth.

–What do you say, Mat? Isn't it cool? Brett asks and looks over to his childhood friend, bassist Mat Osman, who understands well the look Brett's sending: Now, Mat must nod affirmatively. So he does. Brett looks over at Nicci with "thank you – yes, he would like to take the leather jacket home with him to London". But Nicci has also noticed Brett's hidden agenda and politely but firmly points out that "if you just thought to give it to a friend when you get back to London, then you can easily forget that."

Oops. Brett is exposed and quickly hands the jacket back to Nicci, but his now even cheekier grin shows that he certainly does not feel guilty, but simply perceives the whole scene as a bit of a show-off. As he himself puts it, a few minutes later: –Had it been three years ago, I would have kept the jacket for fun and given it to a friend 14 days later – simply to take advantage of my position as a pop star.

In other words, Brett Anderson has undergone certain changes over the three years since Suede's previous album, Head Music, and their brand new, fifth opus A New Morning. And the changes apply not just to his relationship to leather jackets, but simply to his whole lifestyle. In fact, the whole band's lifestyle.

Breakdown

Ever since the ten-year-old debut single, The Drowners, Suede have been heavy consumers of drugs all over the world, and they have never hidden that. Right from deliberately ambiguous song titles as Heroine and The Chemistry Between Us for opinions on the benefits of narcotics in provocative interviews, which the sensationally horny British press has lapped up themselves. "Coke is good for sex", "it's great to hear music on ecstasy" and "it's better to take drugs than to drink, because then you have a better next day" – all immortal quotes from Anderson.

But now it's over: Suede is clean – or something like that – and Brett clearly states that "I have become a happier person. My life on hyperspeed is a chapter over. I've even gotten into a good shape!"

–You start taking drugs because you want to feel good. It's that simple. And at some point, you do not feel good any more. It's that simple, too. That's what happened to us, Brett states in a dry and declaratory way.

Since Head Music, Suede had to say goodbye to keyboardist Neil Codling, who collapsed due to overexertion on Suede's tour in Australia in the autumn of 2000 (actually 1999). Half a year later, he quit completely because he suddenly had a relapse after having been recovering otherwise, and was about to break down completely. Neither Brett nor Mat clearly want to talk about it, but then admit that "it made them reflect on some things around both the band and themselves“. Brett, however, insists that “It was many different elements that led to what has happened with our lifestyle in recent years. Both the band and I myself have entered a new stage."

The changes around both Brett and Suede have also taken place over a longer period. First, Anderson started with giving the critics right who had complained loudly that he repeated himself on Head Music. Then he moved from the hectic London into his newly acquired country house in the peaceful natural area of Croydon (somewhat similar to when he moved into a monastery to write the texts of Suede's eight-year-old masterpiece Dog Man Star). He totally isolated himself, lived without a telephone and television, "buried" himself in literature and wrote the first lyrics for A New Morning.

–Oh, now it's starting to sound like I've gone and became boring, Brett chuckles, but hurries to add: -This is certainly not the case. In the old days, I deliberately avoided literature because I was terrified that literature would spoil my pure language. I would not be a sexless secretary who clapped on a typewriter. But now, I have found out that it doesn't necessarily have to end that way, and I read like an obsessed now. I read like a motherfucker. In one of the new songs, Obsessions, I refer to Bret Easton Ellis, but my favorite author is Albert Camus.

Actually, my paranoia about literature just says all about how far out I once have been. I was so afraid that my mindset would be infected by everything possible, but honestly, I must have had a hysterical tendency to pump everything up to pretentious heights. After all, both love and music are in fact very basic emotions, Brett says, who, however, admits he let out a roar when he went as far as to get his hair bleached last year ("it looked like crap, for God's sake," he sighs with one head-shaking laugh). However, it was an obvious sign that Brett felt the changes coming. And enjoyed it to the fullest drag.

Producer problems

In fact, Brett enjoyed being away from the big city so much that he persuaded the others to go to Iceland for a while and work further on the material that gradually became structured. In Iceland, the band briefly collaborated with Sigur Rós producer Ken Thomas, who, however, should turn out to be the first in a series of failed attempts to find the perfect producer.

–The magic was missing, Mat explains, but the creativity did not fail, and the band engaged in vastly different concepts around the upcoming album – "we considered making both a pure acoustic pop and an electronic folk record."

A New Morning became none of those. After leaving former Beck producer Tony Hoffer, Suede ended up slipping into the studio with Stephen Street, who is best known for his collaboration with The Smiths and Blur, and with Street behind the mixer, a renewed focus was there. The opening number Positivity took only three hours to write, and Brett describes it as "one of those magical moments in a band where everything melts together in the most beautiful way."

Those kinds of moments are, of course, the result of the fact both I and the rest of the band are dedicated to the music in a different way than before. Every single moment in music is important to me now. Every single moment in my life is important now. I have rediscovered both myself and the music, proclaims Brett, who hasn't changed in one aspect: He is still extremely talkative, well-worded and energetic – even when he explains it new album title:

–It's not so strange if A New Morning sounds as a religious quote – the last few years have truly felt as a bit of a revelation. We have chosen to see life from a new perspective. We have pretty much spent the 90s on an insanely exalted search for success, fame, money and all that sort of thing. Of course, music was the starting point, but it was all about consuming, savouring and worshipping life excessively. For me, this record is about having a completely different approach to life: Life is something small, fragile and completely unique. Something to watch out for. The new record is simply more intimate, human and much more honest.

This shouldn't be perceived as if Brett is now taking distance to his characteristic textual universe populated by the sad fates of the big city. On the contrary.

–I still have a great sympathy for people who are left in the lurch by the system and politicians, and I will continue to have that, he emphasizes, adding that "it's very much my self-understanding that has changed recently – not my worldview". Osman nods approvingly at Brett's side and adds with no hidden allusion to the title Dog Man Star, that "if you were born in a pigsty, you have so much to achieve, so much to flee from" – both Brett and Osman originally come from the unglamorous London suburb of Haywards Heath.

–Our songs have always been about ordinary people who achieve extraordinary things, and that's how we have been as a band as well, I think. You can easily be something special, even if you come from the pure nothing, and we have stuck to it, even though we have personally driven it too far into the extremes. We are still very much real people who have lived very real lives, and our songs are still about very real feelings, Brett points out.

–We will always fight for all the people who are trying to cope against all odds, and who try to maintain pride in adversity and frustration. Now we just have more surplus, passion and energy ourselves to fight the battle. Now we can really do it with an open heart.

Photo descriptions: "I HAVE RE-DISCOVERED BOTH MYSELF AND MUSIC" Brett Anderson "I HAVE BECOME A HAPPIER PERSON. I'VE EVEN GOTTEN INTO A GOOD SHAPE!" Brett Anderson

A New Morning

– according to Suede themselves

Positivity

Brett: –In many ways our programme statement: It really strikes a new, more cheerful tone. As I said, it was written in no time, and that's pretty incredible for us, because we're really perfectionists when it comes to songwriting.

Lost In TV

Brett: –Probably my favorite track on the album. The melody is based on backing vocals, and in that part, the song is more related to the Beach Boys and the Beatles than to old Suede. Why is there no one doing that kind of thing anymore?

Obsessions

Brett: –This is the last piece we wrote for the record. That's my favorite text. The fun of it is that the lyrics are in a way very personal, but at the same time guaranteed incredibly universal. I will undoubtedly receive many fan letters about that song.

Lonely Girls

Brett: –One of the first songs we wrote. A lovely lullaby-like groove. We even use bongo drums on it. A really nice number, which probably comes from the fact that I originally wrote the melody while I was in the countryside.

Beautiful Loser

Brett: –One of those songs where I really sing in a different way than usual: Harder, raw, dirty. In many ways, it's the album's ultimate live number: The energy is fearless, and the chorus is silly.

Streetlife

Mat: –It started as krautrock: The same groove that ran and ran and ran for eight minutes – it was totally Germany in 1971 – but it changed radically when the chorus appeared purely out of nowhere.

Ashtray Girl

Mat: –Ashtray Girl and Beautiful Loser are perceived the most as “old-school Suede”, but actually, they were both written by Alex Lee, who is our brand-new keyboardist. Funny, right? Another funny thing is that the lyrics are totally meaningless.

Untitled

Mat: –My favourite along with Streetlife – right complex and yet a simple song. Originally a very folk-like song, but our producer Stephen Street made it more electric. Suddenly we began to sound like a whole band.

...Morning

Mat: –It's about getting up in the morning, and we discussed a lot how we could underpin that with sound. Several weeks later, we ended up sticking a microphone out of Brett's kitchen window. So simple. So difficult.

One Hit To The Body

Brett: –It's our attempt to make an I Will Survive. It's about me having to pull through, no matter how smashed I am. Actually an old song we rediscovered in the studio. Reminds of Bruce Springsteen, oh.

When The Rain Falls

Brett: –Believe it or not: it was originally a spoken-word number in the style of Serge Gainsbourg. I sat down and breathed heavily into the microphone. Now it has become something else after all, for I had to admit that I sounded neither French nor sexy.

Suede: A New Morning

Reviewed by Jan Opstrup Poulsen

After the very electric Head Music, Suede landed soft and comfortable in the poetic corner of A New Morning. Brett Anderson still sings about beautiful losers and self-created troubles of youth, but melodically, A New Morning is a luminous and optimistic album. As on the masterpiece Coming Up, it’s the individual songs that are in the centre, like little stars in the night sky. But Suede doesn’t have the usual tempo of melodies at all. A New Morning is distinctly an album of ballads, and in Brett Anderson's most captivating moments, the album hits sublime moments. There are more typical Suede songs on the album, like the excellent Beautiful Loser, that we have heard from them before. A ballad like When The Rain Falls doesn’t change the state of affairs either, although one has to indulge in a grumpy admiration how Suede fabulously handle these ballads. On the other hand, great things happen in the opening song Positivity, which is a proudly towering pop song. This magnificent approach to pop songs fits Suede's finely tuned melodies like a glove and is well followed up on several songs on the album like Lost In TV and Astrogirl. Brett Anderson hasn’t become less affected, and guitarist Richard Oakes balances, as always, on the edge of disruptive, to end up in a harmonious melody line. But on the more ordinary songs, Brett Anderson sings with the desperation of an angry rock singer and to that extent, he reaches beyond the edge of the stage as a performer. A New Morning therefore has all the ingredients for a good Suede album that will divide the record people between rapture and contempt for these assumed excesses, respectively. But it's just too sour to be negative when the world can be so bright and inviting.

[ifuckinglovestvincent]

THE RECREATIONALIST:

St. Vincent + Outdoor Voices

ANNIE CLARK, MORE COMMONLY KNOWN AS ST. VINCENT, IS A MUSICIAN, ACTRESS, PRODUCER, AND ALL-AROUND ARTIST. SHE’S ALSO A LIFELONG RECREATIONALIST.

Since her eponymous “St. Vincent” album won the singer her first Grammy in 2015 (it’s important to note that at the time, Clark was only the second female artist ever to claim the Best Alternative Music Album award), Clark has racked up a few more accolades, returned to the Grammy’s stage for an epic performance with Dua Lipa (“A dream!”), and proved that being unequivocally yourself is the only way up.

Clark can now add designer to her ever-expanding portfolio of talents with the reveal of her recent collaboration with Outdoor Voices. STV.OV is a collection built around Clark’s fascination with modular dressing and solving the problem of spending too much time deciding what to wear. We caught up with Clark about her childhood athletics career, staying Recreational on tour, and how movement can liberate our lives.

The Recreationalist: Tell us about your Recreational journey up until now.

Annie: I started playing soccer at age 5 or 6. I had mad skills but wasn’t quite aggressive enough to be of any actual use — besides diligently running up and down the field, waiting for a moment to arise when I could perform some fancy tricks for the adoring parents before passing the ball off to a more goal-driven teammate.

Then came basketball (point guard for four undefeated seasons, no big deal); volleyball (whoever decided to put self-conscious teenage bodies into tiny bloomers was insensitive at best and “check-their-browser-history” at worst); track and field (nobody wants to run the goddamn 400, it lasts 200 meters past the point where you want to be sprinting); and softball (too much standing around and I bruise easily). But things shifted in high school when I discovered theater and jazz band.

The Recreationalist: How did you keep Recreation a priority after your focus moved from an exercise-heavy athlete’s schedule to music and the arts?

Annie: I still made it a point to exercise regularly. There’s this old trope about the rivalry between jocks and outcasts — musicians typically fitting into the latter category. But in my experience, team sports prepared me for my entire life. They taught me how to be tough, how to push myself mentally and physically, and how to train for ‘showtime.’

WHOEVER DECIDED TO PUT SELF-CONSCIOUS TEENAGE BODIES INTO TINY BLOOMERS WAS INSENSITIVE AT BEST AND “CHECK-THEIR-BROWSER-HISTORY” AT WORST.

The Recreationalist: How have the lessons you learned through sports helped fuel your musical career?

Annie: Showtime is like game time. In music, you practice your skills over and over again so when you’re faced with the chaos of other people watching, you can execute your part without thinking. You can just perform. Just like you train for that big game. For fight night. In both, the pressure is on. You’re moving for an hour and a half, maybe more. The stakes are high and you have to think on your feet, somehow straddling the line between training and real-time instinct. And if you’re playing with other people, you learn when to pass the ball, give someone the stage, work together; you know when to push them and when to lie back, when to go for it.

IN MY EXPERIENCE, TEAM SPORTS PREPARED ME FOR MY ENTIRE LIFE.

DESIGNER’S NOTE

“When it comes to her day-to-day movements, Annie talked about wanting to build a wardrobe that makes it easy to dress herself when she has a million other things to do. So when she dropped the idea of building a ‘system,’ the modularity of the concept really stuck.”

— Zehra Naqvi, Outdoor Voices Designer

I FOUND THE EXPERIENCE OF LEARNING CHOREOGRAPHY INCREDIBLY LIBERATING. THERE WERE MOTIONS MY BODY HAD NEVER DONE BEFORE THAT WERE SO INEXPLICABLY EMOTIONAL.

The Recreationalist: This collaboration focuses a lot on the concept of movement, and the liberation that comes with feeling comfortable enough to move freely. How has this mindset inspired your everyday life?

Annie: Movement is crucial. So much of our daily lives exist in digital and mental spaces now that it’s very easy to be all brain and air and no body and earth when I’m constantly working. I sometimes have to be reminded that I have a body through physical exertion. Everyone holds their power in different places of the body. You can see a person’s power in how they move through the world, how they walk. How they carry themselves.

The Recreationalist: Now that you’re constantly performing, how have you incorporated movement into your shows?

Annie: After doing a record and tour with David Byrne (who’s an amazing dancer and person), I realized dancing had somehow become a source of shame for me. I was never feeling free enough in my body to do what normal people do and just let loose; I felt unable to dance. So, I started incorporating postmodern choreography into my shows. I found the experience of learning choreography incredibly liberating. There were motions my body had never done before that were so inexplicably emotional. I remember one in particular where I tilted my head back and showed my neck to the audience.

DESIGNER’S NOTE

“Legging fabrics are really emotional — people either love a fabric or completely hate it. It’s really specific to the wearer. We had all types of people try on the Hi-Rise Leggings and everyone had the same feel-good reaction to them. It was like the sisterhood of the traveling leggings. As designers, that’s when we thought ‘this is it.'”

— Hillary Sells, Outdoor Voices Associate Designer

The Recreationalist: How do you take care of yourself and stay Recreational while you’re on tour?

Annie: My routine on tour is that I’m so boring on tour. I do pilates, weights, and a little cardio almost daily, but I can’t blow out a workout because I need all my energy for shows. That means I also have to eat at least four hours before every show to make sure I’m not bloated or tired when I’m performing. It all comes down to knowing my body and doing whatever I can to be ready for ‘game time.’

The Recreationalist: Now that you’ve rediscovered your love for dance, what’s next in your Recreational journey?

Annie: Being newly in my body unlocked a lot of fear and stress (which, unbeknownst to me, I’d been carrying for years), but I love it. My general ethos is ‘what doesn’t change dies‘ — you never know what you can and can’t do, will or won’t discover, without trying new things.

Shop the collaboration at Outdoor Voices. Pro-Tip: Call 1-855-STV-OVOV for a surprise.

Photos by Matthew B Wright. Video Direction by Bill Benz. Video Production by Ways & Means.

[hebrideansky]

Quarantine Tag Game

Tagged by @reluctanthurricane (and then I left this draft half finished and forgot)

Are you staying home from work/school?

Well see, I work from home anyway. So no because I'm still going to work in the same place, but yes because that same place is home. Hmmmm.

If you’re staying home, who is there with you?

My housemate moved out just before lockdown. So dog, cat, rodents? I'm so fucking glad I have a dog in all of this.

Are you a homebody?

I don't understand the question wtf is a homebody I don't speak american slang

An event that you were looking forward to that got cancelled?

My sister's wedding :( They had an unwedding instead with hilarious photos and video, but very much not the same!

What films have you watched recently?

I don't watch films as a rule. I prefer TV programmes with their shorter story arcs.

What shows are you watching?

I'm currently researching Call The Midwife from the beginning and the BBC have put a shit load of older series on iPlayer. Also not asked but similar vein of listening to the first 50 episodes of Fish again

What music are you listening to?

NEW NIGHTWISH ALBUM YESSS. I've already listened to it like 22x. Also a short little schottische tune my friend wrote and recorded on the keyboard a few weeks back. And then over the past 24hra I've been listening to a lot of Inkubus Sukkubus which I listened to as a teenager and rediscovered as a result of a FB meme the other day. Haven't listened to any of their stuff in 10+ years, but ofc still know all the words.

What are you reading?

A Countryman's Lot by Max Hardcastle (first volume). Semi autobiography set <1hr away from here (fictional village, but I've been able to basically work out where from descriptions)

What are you doing for self-care?

Ensuring I drink at least 1L a day, and eat a meal with a vegetable a day. Intentionally low goals so that I always meet and then exceed them and as a result feel great about it. Also tracking peak flow for once. And also just generally avoiding scrolling on FB - I now go on for specific reasons or to see what friends have said or to make posts, but don't scroll down my timeline very far at all.

Tagging

Err not sure who to tag no spoons. If you want to do this feel free to pretend I tagged you :)

[maximumsunshine]

I’m trying to find words and I’m just lost.

First of all, Hozier is a religious experience.  He was my go-to when I was in my last stretch of school.  My last few months were well aligned with his second album’s release and I rediscovered his first album and it’s no secret that I spent half of 2019 wanting to decompose in a field, with or without my lover, or to crawl into a bog and become a bog mummy, so long as I didn’t have to write my dissertation.  Hozier defined my escapist fantasy for those last few months.

So seeing him live was like the only plausible way to celebrate my graduation.

Only, my spouse of 17 years could not go with me for various reasons and I don’t really have any super close local friends that I could call on to share this experience with.

So I eventually said fuck it and invited @vampireapologist. She’s not entirely local but she’s close enough that it’s a reasonable drive and she spends a fair amount of time in Columbus, where I live, so I figured I’d bite the bullet and put in the work to turn a casual online acquaintanceship into a solid real-world friendship.  I figured that the worst that would happen would be that we just didn’t hit it off in person, but at least we’d have a concert to fall back on.  She loves both Hozier and concerts so this seemed like a great first meeting.

Well.

I’m just making it clear right now that Mallaidh Anne is the easiest person in the world to be around.  At least for me.  Our personalities just mesh really well and where I’m a little more introverted, she’s extroverted enough to balance things out and keep the momentum going.  Plus we legit have a lot of things in common.  And she’s super kind and just really sweet.  She’s also super funny and has the best laugh to hear in person. 

Anyway, we fed her dinner at my house since it was about dinner time.  She met my family, everyone really got along so that was great.

Then we were off to the show!

The opening act was an Australian artist by the name of Angie McMahon.  Check her out.  I promise.

Then Hozier came on stage and just blew me away.  

I thought this was going to be a chill concert guys.  Like it was described as good but chill as far as concerts go.  But I just... there is nothing chill about having the song that defines your gender and sexuality awakening... your queer awakening played live before you.  I’ll come back to that. 

There were visual effects via a screen and projections.  Nina Cried Power was met with images of 2019's struggles.  Protests and riots and fire.  And just it was so moving.  I was not emotionally prepared for that.  Even Malliadh Anne, who’s seen him live a few times now, did not see that coming and it was just so moving.

He has new material.  He’s debuting songs here and there during shows.  He makes a personal plea, before he sings any of them, that no one record before he gets a chance to, and it seems that plea has been respected, but let me tell you guys... new music is coming.  And as he says himself, up on stage before he plays the song we heard tonight, he’s done being subtle.  Oh is he done being subtle.  I won’t spill the beans before he can, but his stance on things is made crystal fucking clear.

Then towards the end, he played Take Me To Church.  Now, this is a powerful song in its own right.  And the queers have rightfully claimed it.  I get that.  The song was first hitting radio play when I started questioning, well, everything there was to question about my gender and sexuality.  And it’s fun, or maybe sad, but I have never really resonated with queer anthems before.  It is probably because I generally struggle with music.  Anything involving noise can be overstimulating to me.  And queer anthems are just very overpowering and usually sung loud and proud, and I just don’t really understand music to begin with so I never understood.  But hearing Take Me To Church live tonight... I was reborn as Max.  I came out a year ago and asked those in my life that I could to start calling me Max.  But I’ve never really felt like Max.  I felt like I was still mid-transition, really.  But my transition is done.  I’m Max.  I sat there with a friend who mostly knew me as sister-forget-me-not, and recently as Max but never really knew me as my dead name and it’s like, <redacted> just isn’t who I am anymore.  Sure, I still have to use that name for legal and work processes, but before where I was questioning the motivation to make it legal, I’m fully committed now.  When I say I was reborn by the end of that song, I don’t mean that lightly.  And I suddenly understand the power of a queer anthem.

And the flags.  We all know it’s the norm for him to be handed flags.  This event he was handed the rainbow, lesbian, and bi pride flags and they all got displayed!  He is well aware of his status in the queer community and he is proud to be an ally.  He does not take it lightly and he makes no apologies.  

Also, I think I may have found a sexuality.  I’m not entirely sure what it is, but it involves super long legs from across the pond.  I’m telling you all now, Hozier is like 70% legs and 10% forearms.

On that note, I leave you. 

Though I am going to reblog this with a photo dump.

[shemakesmusic-uk]

Pale Honey release new single 'Set me Free' 

Swedish band Pale Honey release their new single 'Set me Free', the first new music from the band since 2017 album Devotion. The single is accompanied with news of their third album, to be released in February 2020 on Bolero Recordings.

'Set Me Free' started as a mere sketch in the dawning age of Pale Honey but has since been transformed into "a lead track about freeing yourself from others’ comments and opinions", says Pale Honey drummer, Nelly Daltrey. Musically somewhere in-between light 80’s disco and sad 90’s indie, it balances on a knife edge, perfectly.

A melancholic yet groove-laden track, it can be treated as a liberating experience in itself, songwriter and guitarist Tuva Lodmark explains: “To me, the song symbolizes the emotions following a recent break-up. I was pissed and bitter, and at the same time regretful and sad. There was also an energy in me that was about to explode. I couldn’t be still, couldn’t sit at home, I had to go out and constantly meet new people. Everything had to happen, and it needed to happen all at once. The danceable element of the song represents the stage in a separation where you’re rediscovering yourself. Or simply going out into the night and not getting home until dawn.”

Photo credit: Jasmin Storch