#this song is labelled as live on the ep

[doyoulikethissong-poll]

Evanescence - Imaginary 2000

"Imaginary" has lasted for the whole span of Evanescence's recording history. The first version was released as a part of the Evanescence EP in 1998. It was remade and released again in 2000, for Origin (in my opinion, the best version of the song). Several demo recordings were made in the making of Fallen (2003), followed by an official appearance on the album featuring The Millineum Choir arranged by Amy Lee. Throughout the years, live performances of "Imaginary" have occasionally altered lyrics to fit that of previous versions of the song. Origin is a compilation of home-recorded demos from 1996-1999, the CD was self-released and sold at local shows, and then packaged to showcase to record labels. A total of 2,000 copies were made and sold on the Bigwig Enterprises website from 2000 to 2003. Immediately after the release of their debut album Fallen, the demo CD was sold for $400 on eBay. Origin was released commercially for the first time in February 2017 as a part of Evanescence's The Ultimate Collection vinyl box set. "Imaginary" recieved 72,6% total yes votes!

[louisupdates]

With the first quarter of the 21st century coming to an end, Billboard has been looking back on the 25 Greatest Pop Stars of the Past 25 Years. Below, we take a deeper look into the solo career of Louis Tomlinson — one of the members of our No. 22 pop stars, One Direction — and how his songwriting, originally honed in 1D, has helped him develop into one of the group’s strongest breakout artists.

When One Direction officially went on hiatus in 2015, Zayn Malik dropped Mind of Mine in 2016, Harry Styles’ eponymous LP dropped in 2017, Niall Horan followed with Flicker later that year and Liam Payne’s First Time EP arrived in 2018. Louis Tomlinson, however, took his time with releasing a full project – and entered an era of healing and self-discovery that saw him realizing his potential as one of 1D’s most self-actualized artists, even if not necessarily the starriest.

Even before going solo, Tomlinson showed he was meant for breakthrough success while in One Direction. Longtime Directioners know that Tomlinson wrote more songs in One Direction than any other member, penning long standing hits including “Perfect,” “History” and “Fool’s Gold” and proving his fortitude as a songwriter who understands lyrical cleverness and crafting the indescribably catchy refrains necessary to produce arena-ready hits. Beyond his musical abilities, Tomlinson’s sense of humor and friendship with fellow 1D members also ensured fans had a soft spot for him.

However, when he did go solo, the road was slippery at first. He teamed up with Steve Aoki for his first solo release “Just Hold On” in December 2016, and just three days before its release, Tomlinson’s mother died of leukemia. He still took the stage to perform the song on The X Factor, the first public testament to the star’s strength and dedication to his musical craft.

Tomlinson’s resilience amid adversity continued as he navigated the music industry. The star signed with Epic Records in 2017 and released a few singles – including “Miss You” and the Bebe Rexha and Digital Farm Animals-assisted “Back to You.” While the infectious hooks to both tracks could have easily solidified Tomlinson as a pop mainstay, the two singles didn’t perform as well as expected on the charts: “Just Hold On” peaked at No. 52 on the Billboard Hot 100 and “Back to You” hit No. 40, while “Miss You” missed the chart altogether. Ultimately, a full-length album never materialized with Epic Records.

Tomlinson shortly got back on his feet, as he always does, and signed with Arista Records in 2019 – where he honed his talent as a songwriter, this time feeling comfortable enough to tackle more vulnerable topics in his music. His first release under the label was “Two of Us,” a heart-wrenching tribute to his late mother. “I know you’ll be looking down/ Swear I’m gonna make you proud/ I’ll be living one life for the two of us,” he sings in the chorus, giving a glimpse into what would soon become a musical career full of honesty and vulnerability.

Unfortunately, shortly after its release, another hardship struck Tomlinson’s life when his 18-year-old sister Fizzy died of an accidental overdose. Both the release of “Two of Us” and the tragedy that followed showed just how close Tomlinson’s community of fans is, as they showered him with online love and support in the months that followed.

After taking some much-deserved time to heal, he announced in August of that year that his debut solo album was on its way – and shortly after, he released a follow-up single, the rock-leaning, drumline-driven “Kill My Mind.” Tomlinson admitted that he finally found his stride. “I’m actually really proud and relieved to finally find my place, find my lane musically,” he told Hits Radio Breakfast at the time, indicating a moment of relief amid his turbulent few years.

Tomlinson’s debut solo album, Walls, arrived in January 2020 and while it hit the Billboard 200‘s top 10, it was met with mixed reviews from critics, who suggested that the heart he wanted to portray wasn’t quite there. His growth outside of commercial success proved otherwise, as he had been spending the past few years building a solid identity not only as an artist, but also as a person. While some of the other One Direction alums are still finding their footing with their solo sounds to this day, Tomlinson grew strongly into an instrumentation-focused pop-rock artist whose lyrics go beyond the cookie cutter sentiments you might expect from a former boy band member.

And soon, all the hard work – both personally and musically – finally paid off. Faith in the Future, his 2022 sophomore solo album, debuted at No. 1 on the Official U.K. Albums Chart. In the United States, Faith In The Future debuted at No. 2 on Billboard’s Top Album Sales chart, and at No. 5 on the all-genre Billboard 200, his highest-charting set yet on both tallies. The album’s success, as well his sold-out live shows on its accompanying tour, not only showed the still-standing Directioner devotion to Tomlinson, but also made it clear that he picked up a slew of new fans along the way.

Tomlinson’s self-awareness was evident on the album’s lead single, “Bigger Than Me.” “When somebody told me I would change/ I was afraid, I don’t know why/ ‘Cause so does the world outside, I’ve realized/ It’s bigger than me,” he sings – indicating that the key for solo success all along was being himself, and letting go of the pressure that fame brings.

While Tomlinson has still yet to score the major chart hits stateside that his 1D bandmates essentially achieved right away – and has been more focused on his 28 clothing line the past couple years – he’s proven that he doesn’t need traditional pop crossover success to have a bright future ahead of him. With another couple albums and tours that continue to establish his identity and expand his artistry, it wouldn’t be shocking to see him making the jump to arenas in the not-distant future. Louis’ solo career may not have gotten off to the perfect start, but it just might end up being perfect for him in the long-term anyway.

[wisegirl25]

University AU Timebomb Headcannons!

-Jinx would major in engineering with a focus on weapons

-Ekko would also be majoring in engineering but with minors in quantum mechanics and visual art

-Jinx is a musician on the side who puts out mostly pop-punk and metal music. She hates sticking to one genre and refuses to let labels choose what kind of music she makes

-Her EP would be called “Get Jinxed” with the songs Get Jinxed, Paint the Town Blue, Rebel Heart, and two more metal songs

-Her music blew up after Paint the Town Blue was used in a huge show and her music became pretty popular

-Ekko would be a small rapper//his songs include Misfit Toys and Dynasties & Dystopia (Featuring Jinx)

-Ekko would eventually join the band True Damage and put out the song GIANTS which also blew up

-They help each other produce their music

-In their first year they were required to live in the student dorms and boys/girls were not allowed in each other’s dorm buildings so Jinx would constantly CLIMB Ekko’s building and sneak into his dorm (which pissed off Ekko’s roommate Scar to no end)

-In their second year they got an apartment off campus together

-Jinx is constantly forgetting to hand in her work even though she does it so Ekko keeps reminders for both of their deadlines on his phone

-Jinx convinced Ekko to get matching tattoos, she got his hourglass and he got her monkey

-They’re both scholarship students. Ekko does everything in his power to keep Jinx out of trouble so they don’t get kicked out (and if some mishaps were conveniently written off by the Heimerdinger, well that’s none of Ekko’s business)

-They’re both addicted to energy drinks and put off doing their huge assignments to the last minute so they can focus on their own inventions

-In their second year they won a national invention competition and they were granted a shit ton of money for their research

-Viktor and Jayce are their professors that end up basically being friends with them by the time Ekko and Jinx start their PhD’s

-They would publish research papers together and Jinx would always insist her name should be put first because “Jinx and Ekko sounds better than Ekko and Jinx”

-Ekko would end up doing his PhD on time in quantum theory while Jinx would stick to weapons engineering

-Although they had different specialties Jinx and Ekko would be extremely educated on the other person’s topic, and they would also use their individual knowledge for collaborations

-Jinx would wear those stupid physics and math joke t-shirts around campus as a joke and force Ekko into matching with her (totally not projecting I don’t love those shirts whatt)

[rocky-the-rockstar]

Not to yap about something almost completely irrelevant in 2024, but people on tiktok been pissing me off, so in PASSIONATE defense of Danger Days: I think it's really stupid when people feel the need to "defend" their dislike of the album by claiming that MCR somehow "betrayed" their audience by creating it. I heavily relate to the feeling of hating something because it's different from what I've grown to love and expect from a title, but that doesn't make that thing "wrong" or even bad. I can imagine how it felt to be so excited for new music only to not like it, but it can be left at "it sounds so different and therefore not my vibe and Im disappointed" without trying to accuse and vilify the artists.

Before he is an "emo icon" and even before he's a musician, Gerard Way is first and foremost a story writer and an artist. MCR has always existed to tell a story, spread a message, and be an artistic outlet. Which Danger Days does beautifully and creatively. Black Parade's story, hell even stuff like the I'm Not Ok music video etc etc, had themes of hope as well. While stronger and louder in Danger Days, it still wasn't a new thing by any means. It's by far their most political album, it's not like they "sanitized" themselves. It may be in a totally different sounding, less angsty, brightly colored package but "fight against those who hate and try to change you, live on and be ok after those you idolized and loved die, and create something good by being yourself" was not at all a new message from them. MCR's album world building, lore, detail, characters, and storytelling may quite literally be at its peak with Danger Days. Hell they even created a separate EP to make songs as a fictional band of side characters in the danger days universe so they could show you what kind of music the killjoys were listening to.

They gave us this whole fictional world to play with, that's not the act of sell outs who didn't care anymore, that's the act of an artist trying to share a part of themselves with you. That's the act of nerds and roleplayers trying to invite you into a self indulgent escape from reality.

A direct follow up to the Black Parade never would have worked. Trying to carry on a similar vibe immediately after the success of the Black Parade never would have worked. Both in terms of success and authenticity. The best and most creatively fulfilling option was to pivot entirely. They clearly knew and cared about this. Gerard said his heart wasn't creatively in the Paper Kingdom, he said there wasn't enough emotion in Conventional Weapons, he said that the "gothic vampire look" was no longer seen as "scary" and unsettling so they dropped it cuz they didn't wanna be "sexy vampires", the band broke up because "it wasn't fun anymore" Danger Days WAS an act of preserving their artistic vision and enjoyment of the band.

Gerard has always rejected labels, both on the band and himself. You can dislike Danger Days all you want for sounding so different, no one cares, but bands are allowed to experiment and the emotions they sing about are allowed to grow and change. Slapping a label on them and then turning your nose up in disgust and anger at anything they create for you that "isn't emo enough" and doesn't fit in the box you put them in is stupid. And, crazy enough, is one of the points OF the album.

[mysunshinetemptress]

Coal

Leah Williamson x singer!reader

Warnings: TW suicide, past abuse, child abuse, alcohol abuse, funeral. If I missed anything let me know. Also thank you to @pers1st for first of all listening to my idea and telling me to write it when I had my doubts about it and secondly for reading over it and helping me, I hope it doesn’t disappoint

You knew the minute he didn’t answer the phone and the unnerving feeling of dread filled your chest that this was it, that you were the last man standing from a life you thought you had both out run, out lived but this, what your brother had just done showed that no matter where you went, how fast you ran you couldn’t leave the sick and twisted past you both had lived through it was a heavy bag you would be forced to carry for the rest of your life.

You and your brother Luca had been born twins in a quite little, middle of nowhere town in New England to a mother who would end up leaving you both in the middle of the night with a heavily abusive father, who would never be charged for the unthinkable things he had inflicted on both you and your brother as he was to high in the police force in your stupid little town, best friends with the Chief had some perks it seemed.

You and your brother had grown up constantly relying on one another to get through the hard terrifying nights, where all you both could wish for was for someone to whisk you both away from it all but this is the real world and the only people who could save you from the nightmare was yourselves.

You had a talent that you had only discovered when you where 13 after a teacher had approached you hearing you singing in the hall, before asking if you wanted to join the choir, you began thinking an extra hour away from home wouldn’t be so bad agreeing only on the lines that Luca could come and sit in the pews as you practiced not wanting to leave him alone to face your fathers abuse alone.

As you both got older you found ways to escape through singing and music, Luca taught himself the piano and you learned guitar before teaching the instruments to each other before you both began recording videos of yourselves and posting them to YouTube while also beginning to write your own songs.

It would take till just after your 19th birthday for both you and Luca to make it out of that stupid little town in New England, both of you deciding to get as far away as possible flying to London England just as your first ever song written by you and produced by Luca blew up “Homesick.” Loving the way stories could so easily be told through country music you decide that it would be the genre you both would focus on, you writing and performing and Luca writing and producing stating he was much to bad of a singer to ever try.

Living in London was a cultural shock for you both coming from a quite town to a big bustling city sure was a change but you couldn’t help but enjoy the fact that not everyone here knew everyone and that you both got to start fresh.

Your label had rented a small two bed apartment for you both in Islington, just north of Central London where you both set up a small studio from the equipment supplied to you both and began working on an EP.

The EP was called Horizons both you and Luca had looked out on a same horizon every morning your entire childhood and hoped it would bring about change, only when you left to London did your Horizons change and so did your life finding it fitting you brought it to your label along with six songs on the EP one of which had already been released as a single.

Horizon

Track 1: Homesick

Track 2: Northern Attitude

Track 3: False Confidence

Track 4: Heavy Eyes

Track 5: Heading South

Track 6: Something in the Orange

Your label loved it approving a date that saw you and Luca able to preform at Country to Country in the O2, with your small set and unknown names your both were one of the first to perform, but feeling the rush of the crowd just after leaving the stage singing songs you both had written about parts of your childhood and leaving it behind felt magical and the crowd seemed to love it.

But that night wasn’t just the night you had both agreed that this is what you wanted to do, it was also the night you swore you found a four leaf clover. Leah had been standing in the crowd with Lydia Williams both big country music fans when she felt her breath hitch in her throat at the sight of you. You stood on stage in a simple pair of black jeans, white top with some red writing she couldn’t make out and a guitar smiling at the boy at the piano before nodding to the band and when you began singing Leah swore she had felt her heart stop from how quick it was beating.

You and Luca had made your way down to the crowd Luca nudging you saying he was going to get a drink as you nodded making your way to stand at the back keeping an eye on him as a blonde girl strutted over to you ever so confidently “Hi.” You turned taking your eyes off of Luca as you turned meeting deep blue eyes “Hi.” You smiled back “I’m Leah.” You grasped her hand shaking it your cheeks beginning to hurt from smiling at the blonde-Leah “hi I’m Y/n.” You didn’t notice that Leah seemed to forget to let go of your hand as you both began talking the English girl complementing your set as you complemented her outfit.

Luca turned back from the bar after downing yet another shot and beer looking to see where you had gone chuckling at the sight of you talking happily to a girl still holding her hand, sighing he grabbed three more beers and began walking over to you before clearing his throat and putting on a stern face “Y/n.” You unhappily tore your eyes away from Leah turning to see Luca “Luca this is Leah, Leah this is my twin brother Luca.” Leah’s shoulders seemed to relax at the confirmation he was in fact your brother and not your boyfriend “Beer.” You smiled thanking him before letting go of Leah’s hand and taking it before turning to look at him in surprise as he handed one to Leah “what can’t let your future girlfriend be left out of it can I.” You shoved him slightly as Leah choked on the beer coughing slightly as you apologised rubbing her back. Leah stood up shaking her head “well I better ask you out first then.” You laughed nodding agreeing to give her your phone number before saying goodnight and walking back behind the stage.

In the coming months yourself and Luca travelled promoting your EP both in the Uk and Europe as well as in the States refusing to step foot in New England just incase your father decided to show up, during this small tour you and Leah began talking nonstop either texting or FaceTiming and although Luca wanted to throw a pen at your head and tell you that there was an album that had to be written he couldn’t help but smile at the way your eyes lit up and your entire mood changed when the English girls name appeared on your phone.

Once the small tour was over and you had settled back into London, Leah had worked up enough nerve to officially ask you on a date. You had bid Luca goodnight telling him to not wait up as you ventured into Central London with the blue eyed girl excitement building for your date.

London was everything you ever wanted, you and Leah had been dating for a few months now and not wanting to keep secrets you had sat her down and told her everything, everything about how your mother had decided she couldn’t take it anymore and left both you and Luca stood crying on the porch step as you watched her run down the driveway aged four in the middle of the night, how your fathers abuse only got worse from that point, how as you got older you both felt so hopeless as no one would do anything as he was a police officer and best friend to the Chief of police, how he thought he could change you from being gay when he saw you walking holding another girls hand. Leah had sat eyes pooled with tears grasping your hand so tightly as you told her eyes racking your body and zoning in on every little scare she could see before pulling you into a hug “I’m sorry, I’m so so sorry Angel you don’t…you didn’t deserve any of that.” You didn’t cry but simply went limp against her as you felt the weight be lifted off your shoulders now that she knew, Luca had come in a short while later and Leah had moved you off her gently before grabbing him and pulling him into a hug, you watched eyes soft as your heart swelled they way she held him just as tight apologising for his trauma too, trauma she had never inflicted but felt so sick that no one in your town would help you both to scared of the consequences.

You had called Leah your four leafed clover, she was the luckiest thing you had ever found and while your relationship grew and your introduction to both her family and teammates saw that Luca turned to alcohol more than he ever had before.

You were both working on your first album when you had noticed how bad Lucas dependency on alcohol had gotten, writing songs often turned into nights you had to put him to bed he was to drunk to continue, or he wouldn’t show for meetings with the label, or dinner with you and Leah, or Leah’s family to busy sitting in a bar in London. You had called the label after a particularly bad day at one of Leah’s games at the Emirates, where your brother spent the entire match inside at the bar since he couldn’t drink alcohol in view of the pitch, drunk and moody you bid the Williamson’s goodbye apologising for your brother and sending Leah a quick text before dragging him home. The next morning you decided enough was enough and sat him down surprised when he broke down in your arms apologising over and over again that it was the only way he could find peace from it all even for just a few hours, that music simply wasn’t enough at the moment and in a way you understood, Leah gave you the same peace alcohol gave Luca but you knew it wasn’t a healthy option so you gave him an ultimatum, rehab and therapy or no more music, no more writing no more tours nothing. Agreeing to your ultimatum you rang your label telling them that the Album was on hold till Luca was healthy again before dropping him off.

You spent the month Luca was in rehab leaning on Leah and her family’s support, you had told them about yours and Lucas past the same day you dropped him off, and for the first time you knew what it was like to be loved by a mother and father. You cried into Leah’s chest that night until you fell asleep,nothing she said or did could make you stop and she quickly realised you needed this you needed to cry so she let you holding you tight and just reminding you of where you were, with her, with her family both you and Luca were safe. Amanda came up after you had fallen asleep to check on you her own heart breaking at the sight of you, you a girl who had the worst childhood imaginable handed to her and still found away to find love and make her daughter feel so loved, you a girl who was trying desperately to hold everything together for her brother because “he needs me, I’m fine I’ve got Leah but he, Luca needs me to be strong so strong is what I am.” Amanda placed her hand on your head “she’ll be ok Bubs, they both will, we got them.”

Luca had been allowed a visit half way through his rehab, the Williamson’s had all asked if they could come but his sponsor Danny had said it may be to overwhelming and asked for it to just be you, that didn’t stop them from waiting in the car park as you went in to visit him. He was different, brighter, happier and you almost cried at the sight for the first time ever he looked to be enjoying life not just trying to get by. You had ran straight for him sighing as you picked you up into a bear hug squeezing tight “Orlov.” You sighed relaxing into his arms at the use of your nickname.

Orlov a diamond, a cursed diamond and any time you tried to ask him why he had chosen it for you all those years ago he gave you one of two reason “Orlov, a cursed diamond that still shines through it all.” Or “Orlov, because pressure makes diamonds, and I just like the name of that one.” You laughed at the second slightly poetic but still funny just like him.

You had told him how supportive the Williamson’s had been for the both of you, how they were currently sat in the parking lot waiting for an update on him when he grabbed your hand “I’m glad you found people like them, to look after you.” You squeezed his hand “us, look after us they love you just as much.” Lucas didn’t want to believe you but you knew he did deep down, he knew it wasn’t just you that loved him anymore. You proceeded to tell him about you current life as a wag as well about the many songs you had been writing, some of them about your past, but for the first time ever you had also written about love and being in love with Leah. Lucas had told you he had also returned to writing and had a few stacked up ready to go when he was finished and for the first time he seemed happy about what he had written normally you had to tell him it was good, recording worthy and you couldn’t help the hope that bubbled.

15 days later Lucas got out of rehab with his therapy sessions block booked for the next while and for the first time in two months you guys began writing songs together trying to complete the album. Lucas was a changed man, he went to dinner without alcohol something you also did to support him, he attended Leah’s matches with you and actually watched and cheered instead of hiding in the bar and for the first time he seemed to be living.

Leah and her family had supported you both tirelessly and you couldn’t have asked for more, they were the family you had always wished would come and save you both as kids. Leah was around for nearly all of the album creation, Lucas teaching her piano and when he finally deemed her good enough you both agreed she could record it for the album.

Life was good, you both were happy in London writing and hanging out with friends and your found family so why had you woken up in the middle of the night with a feeling of doom looming over you as you untangled from Leah. You had gone into Lucases room to check on him something you had done since you could walk, wanting to make sure his chest would still rise and fall when your father had given you both a particularly hard beating. Only this time his bed was empty, walking into the hall you noticed all the lights were off so where could he be. You decided not to panic and not to wake Leah either instead getting your phone to call him.

You knew the minute he didn’t answer the phone and the unnerving feeling of dread filled your chest that this was it, that you were the last man standing from a life you thought you had both out run, out lived but this, what your brother had just done showed that no matter where you went, how fast you ran you couldn’t leave the sick and twisted past you both had lived through it was a heavy bag you would be forced to carry for the rest of your life.

As you recounted every move you both had made over the past three months it was obvious, Lucas had been getting all his ducks in a row, checking in on everyone and making sure the album was complete before leaving, but now it was done and set to be released next month he felt it was time.

You felt numb as you sat at the bottom of the stairs, you didn’t know how you knew he was gone, but you had all of a sudden just had the feeling of a missing piece, maybe it was your twin telepathy you both had so wished to have growing up, this was a sick joke if it kicked in now, now when he was gone.

You sat at the bottom of the stairs until you felt Leah’s hand touch your shoulder “Orlov.” Your heart clenched at the nickname, Lucas had given Leah special permission to use it, certain that she wasn’t going anywhere that you had her forever the engagement ring hidden in his dresser, not that you knew, certain that she knew about what you had been through, that she understood the meaning behind your nickname.

You didn’t have time to react as a knock came from your front door, looking at Leah smiling sadly you got up from the stairs and opened the door to two police men “Miss Y/n Y/ln.” You nodded, you didn’t feel Leah come up behind you as you listen to the police officers tell you about your brother, that you needed to identify him before they moved forward. You nodded along to it all before you asked “was he…do you think he was in any pain.” The officer looked at you softly “Hypothermia kicked in before he drowned, he simply closed his eyes and was gone, no pain, no struggle.” You nodded “no pressure.” You mumbled before turning to get dressed.

Leah couldn’t believe it, he was gone, Lucas was gone a boy she loved like a brother and she couldn’t understand why, he was happy, you both were happy with them, writing the album why, why had he done it. She had gone with you to the morgue and had said she would call her mum but every time she tried her fingers froze on the call button and words got caught in her throat. It was you who had done it driving you both to the Williamson’s house Leah unable to look at her family as you asked them all to come to the living room Leah sat beside you head buried into your neck as she grasped you tightly scared that if she let you go you would be gone too.

Amanda had let out a sob as you finished, Jacob got up and left the room and David just stared at you in shock as you held Leah impossibly closer watching this family, your family, Lucases family fall apart at the news, helpless you did what you had done since childhood and decided now was the time for you to stay strong, you could cry later and so you helped with dinner, helped tell the rest of the family, cousins, aunts and uncles and Leah’s grandparents who had adopted you both. The Arsenal girls had been informed all of whom made their way to your house along with the Williamson’s with flowers and food enough to stock the fridge for the next two months offering support and tears for you and your brother

In the coming weeks the Williamson’s helped you plan the funeral, you didn’t know how one went let alone one in England and you often found yourself and David talking to the undertakers for hours organising it. Until finally the day came, everyone had stayed in your house the night before and Amanda had started a big fry before you all headed to the church but you couldn’t eat, you were saying good bye to your brother, your other half, you were about to walk this stupid life alone and for the first time you cursed at him, you both had made it this far why, why did he decide he couldn’t take it anymore.

Leah had held your hand the entire way both of you following the coffin, with Amanda as Jacob, and David along with Leah’s cousins and Danny his sponsor carried him into the church. You got up and said a few words, talking briefly about your childhood before thanking the Williamson’s for everything they had done for you both, thanking Leah for being both you and Lucases rock when you felt like the world was to much. Heading to the crematorium you decided to swap out with one of Leah’s cousins wanting to carry your brother one last time, the sight made Leah sob as Amanda tried to hold her whispering into her ear, but nothing came of it you were saying goodbye to everything you ever knew and all she could do was hold your hand.

After it was all said and done and the after in the pub had finished you found yourself standing in the centre of his bedroom Leah lying asleep in yours. You looked at everything he had, all the pictures his rehab tokens, his guitar and piano, how were you supposed to do this without him, sing without him there beside you, live without him there beside you. You fell back onto his bed reaching your hand under his pillow when it made a crunch noise before finding a letter with your name on it “ORLOV”. You sighed knowing what it was you pulled it open.

Orlov,

I’m gone, I have left you on this earth alone and for that I am truly sorry, I’m sorry that I couldn’t fight any longer but I hope you understand how tired I am. Tired of living this lonely unforgiving life and I hope that someday you will understand, you have have been, my rock, my best friend and my twin sister through the hardest life no child should have to live, But you have come through it stronger, you have come through the it all a diamond in the rough. You see you are a diamond, formed under the pressure of our childhood but me, I am coal a dark rock not meant to last long on this earth.

I hope you know I have decided that now is the right time to say goodbye as I know you are going to be ok, you have the Williamson’s, the Arsenal and most importantly Leah. She is it for you, she is the only person you will ever need, she is your alcohol (bad comparison I know, she’s a lot healthier.) you are ready, ready to take on this life and conquer the world, but remember it’s ok to slip as long as you don’t fall.

One question you always asked me growing up was what did I think heaven looked like and I always told you I don’t know, but I do heaven is watching you fall in love with that girl sleeping in your room, watching you find a family who loves you the way you deserve that is heaven I love you always and forever.

I’ll be watching from stars Orlov .

Lucas TB

For the first time in weeks you cried, no you sobbed gut wrenching sobs and Leah found herself sprinting from your bed room catching you as you fell from the bed holding you tight whispering reassuring words into your ear crying along with you as you cried and cried, cried for your younger self, you cried for your current self but mostly your cried for him, for Lucas until you cried your self to sleep. Leah carried you back to bed before coming back into Lucases room and picking up his letter turning it over and finding a second one attached to it, opening it she found lyrics to a song and reading over it she felt her heart clench at the meanings behind them all.

The next morning Leah showed you the lyrics and before she even had time to ask if you wanted a coffee you were on the phone with your label canceling the album instead stating you had a different one.

Leah watched you tirelessly in the studio scared that if she left you alone in there you might never come back out, regretting her decision when you had dragged her in to record a piano piece.

A month later you handed your label a brand new album written mostly about you and Lucas with track six being for Leah, the label loved it and pushed for it to be released sooner than expected.

ORLOV

Track 1 Stick Season

Track 2 Bitter Winds

Track 3 Condemned

Track 4 Revival

Track 5 I Remember Everything (Lucas Y/LN, feat Y/n Y/LN)

Track 6 Sun to Me

Track 7 Dawns (Lucas Y/LN, feat Y/n Y/LN)

Track 8 Tourniquet (feat Leah Williamson.)

Track 9 Orange Juice

Track 10 Coal

With Leah's unwavering support, you found the strength to honor Lucases memory during the small tour you quickly been sent on leaving the grand piano seat empty until Leah came on to play her part in Tourniquet. You decided to end the small tour in London, your first headline show sold out at the roundhouse already playing five previous dates here due to the demand. Knowing this would be the last time of playing a small venue and with that a chapter closing and you having to enter one without Lucas you sighed retuning the guitar as you spoke to the crowd “My twin brother Lucas wrote this last song I’m about to play.” You cleared your throat looking out into the crowd before turning to the empty piano seat “We had a very hard childhood, but I knew as long as I had him, I’d be ok. Lucas left me on this earth alone just a couple months ago, but he knew something I didn’t, he knew I wasn’t really going to be alone, that I had a family that loved me, a girl who loved me even more and that really he wasn’t leaving he was just tired of his adventures on earth and wanted to see what the stars were like.” You sighed turning back to the crowd “this next song is called coal, and it talks about the pressures of life and I just want you all to know that when you feel like life is to full of pressure that when you can’t seem to find the light at the end of the tunnel that maybe look down you might find your four leaved clover, I got mine she’s in the crowd tonight, but there is always someone nobody here is alone.” You smiled catching Leah’s eyes “this is Coal.”

[inbarfink]

So when discussing the ending of ‘Over the Garden Wall’ and the nature of the Unknown in general, I think it is important to remember that it’s left deliberately up for interpretation. You know, it’s not a Quiz with one concrete answer we must uncover, but it’s more about our interpretations and personal feelings. Each and every one of us experiences that journey with Wirt and Greg into the Unknown in a slightly different way. 

So what I want to do here is not present a Correct Interpretation that will dispute all the others and prove them all wrong and prove myself right, I just want to share my own outlook on the nature of the Unknown. In the hopes that others will like it and it’ll inspire more cool readings and interpretations

So on some level I do agree with the popular theory that the Unknown is some sort of Afterlife - but I don’t see it as a regular Afterlife for human souls, I think it is an afterlife for Stories. This place is where fictional characters and stories end up once they’ve been totally forgotten by the living, ‘lost in the clouded annals of history’. and become.... unknown It is quite literally a place where ‘long forgotten stories are revealed to those who travel through the wood’.

That’s why the Unknown is a mishmash of different time periods and primarily visually and narratively influenced by stuff like fairy tales, ghost stories, children’s books and old cartoons - these stories have a high-tendency to be forgotten and thus get lost in the Unknown (whatever it’s because they rely on oral traditions or because they suffered from very poor preservation historically). 

And that is what the theme song, ‘Into the Unknown’ is talking about…

Where can we pretend that dreams do come true? In Stories.

And what are ‘the loveliest lies of all’? Now that would be Fiction. 

The entire concept of stories is a huge theme of this song, I think.

Beatrice and her family, Adelaide of the Pasture, Auntie Whispers and Lorna were all originally fairy tales. Maybe the same fairy tale, or maybe they were originally separated before being ‘melded’ together. (If, for example, the last child to Remember them before they were forgotten just assumed the Bad Witch in both the Auntie Whispers and Beatrice stories was Adelaide)

Pottsfield was an old urban legend about a haunted ghost town, Wirt and Greg basically played through its ‘plot’ directly. 

Miss Langtree, the schoolhouse and the other associated characters come from a long-forgotten and out-of-print children’s book. That’s why those characters tend to talk in comically-stilted expository dialogue. 

The Tavern was the setting for a series of 20’s animated cartoons.  (Although obviously set long before that era). The Tavern Keeper was created as a Betty Boop clone and was the main character. The Tavern setting was probably a mere framing device for all sort of musical animations. The reason why none of them can comprehend the idea of not having some sort of Title or Label is because that’s how they were written - all given job-related titles but not named.

Fred the Talking Horse was a main character from a forgotten tradition of humorous oral stories where he was sometimes a trickstery anti-hero and sometimes a straight-up comedic villain protagonist.

Quincy Endicott and Margueritte Grey were characters from a satiric limerick about the greedy rich and their wacky habits. (Quincy was at least inspired by a real-life person since his name appears on a tombstone in the real world)

Possibly the same limerick where the punchline was the status-quo at the beginning of their OTGW ep, that both rivals’ mansions have become connected and they assume the other is a ghost haunting their house. Or maybe they were each from different regional variations of the same limerick about a greedy rich weirdo being lost in their own house and going mad. 

Frogland and their little boat might be from a children’s book as well, but I also think that maybe… from the vignettes shown at the opening of the series…

That one might take place outside the Unknown, and shows the real inception of Frogland. Two brothers making up stories with their toy boat by the river. Since they never shared these stories with anyone else, when these two brothers died or maybe just grew up and forgot their boyhood misadventures by the stream - these stories also ended up in the Unknown. 

The Fishing Fish we see briefly in ‘Babes in the Woods’ might be a small comedic illustration from a children’s book, or another piece of limerick, or just someone’s random notebook doodle that gained a life of its own first in the creator’s mind and then in the Unknown. 

Cloud City, the North Wind and the Queen of the Clouds were also, much like the Tavern, from a very old cartoon.

The Beast was once just a mere Boogie Man to keep young children from wandering off into the woods. Ending up forgotten in the Unknown just ended up giving him a whole world of lost souls to harvest. 

Maybe the Woodsman and his daughter were always a part of the story of the Beast. But since it seems that the Woodsman being a lantern-bearer is a fairly recent development - they might have had their own separate story. Some sort of pastoral novel about a family moving near the woods? But their narrative has been ‘hijacked’ by the Beast. 

Wirt and Greg ended up lost within the Unknown cause had they actually died in the lake that night - they would have become a Story in their town. I mean we have a moody lonely teenager and his adorable little brother disappearing/dying - on the night of Halloween - after last being seen in a graveyard - with the older brother’s last act on this earth being to hand his crush a cassette of his love poetry. Can you imagine what sort of Urban Legenda you can grow from those seeds?

But as they were not yet dead, and not a Story yet… so they were technically an Unknown story. Between the borders of life and death from a human perspective because they were about to die, and from a Story perspective because they were just about to be born.

And the ending sequence, with the little vignettes showing where all the characters from all the episodes ended up. I think that’s almost like Wirt and Greg back in the world of the living and the real - being able to create happy endings for all of those stories they've met. That’s how the Woodsman’s daughter ended up being alive all along - it was less that the Woodsman's whole tragedy was a wacky misunderstanding all along. But it became so as a gift of thanks by their new storytellers - Wirt and Greg.

Because if dreams can't come true, than why not pretend?

[twig-tea]

Love in the Big City Timeline in the Series

Here are the facts I've put together about the timeline in the series (which feels, unlike the book, a little more linear and so actually possible to do this with):

[indeterminate, elementary school, est. early 2000s] Yeong's mom finds out about Yeong's father's second family and divorces him

[indeterminate, high school, est. late 2000s] Yeong is caught kissing another boy on the playground and institutionalized by his mother

2012: The year that T-ara's song Sexy Love comes out (at this point I've just kept this on here for reference)

2014: As per his own narration in ep5, this is the year Yeong contracts HIV (in Feb) and is diagnosed by the military (and he only spends 1 month in the military before getting a medical discharge). He meets with the T-aras a few months later and says they're next for the military (shoutout to @impala124); he meets Nam Gyu and Mi Ae in late 2014, and Mi Ae tries to bum a cigarette from him in Dec 2014 (shout-out to @my-rose-tinted-glasses); Yeong moves in with Mi Ae in either late 2014 or early 2015, and soon after that is the T-ara karaoke sendoff after which he breaks up with Nam Gyu.

2015: Mi Ae's application to her job had 2015 on it; Mi Ae goes to the job retreat for a month, meets Jun Ho, and then several months after that, Yeong stops talking to Mi Ae for 10 months after she outs him. Some time in late 2015/early 2016, Yeong breaks things off with Nam Gyu again.

2016: We know Yeong won the contest in 2016 as per the book we see on Yeong Su's nightstand, and since Yeong called Mi Ae after that, we know they reconciled in 2016. Also, as per the last text message from him, Nam Gyu dies in 2016. After his funeral, Yeong takes over Mi Ae's apartment and Mi Ae gets married. Also, Yeong's mother gets diagnosed with cancer 3 years before she dies, which would be 3 years before Yeong tells Gyu Ho about Kylie, so that means her cancer diagnosis was also in 2016.

2017: Yeong Su tells Yeong he's moving to America [guessing based on how much time seemed to pass in their relationship]; Yeong attempts suicide

2018: Yeong Su sends Yeong the manuscript (which he throws out) [we know this was a year after Yeong Su leaves, but before Yeong's mother dies]

2019: Yeong's mother dies [I'm inferring because we know Yeong tells Gyu-Ho about Kylie in Jan 2020 after his mother's death and after they'd been seeing each other for a little while, so that puts Yeong's mother's death in 2019]

2020: We see Yeong's phone date the day he tells Gyu-Ho about Kylie as Saturday, Jan 25, which was a date in 2020 (but not 2019) [shoutout to @my-rose-tinted-glasses for pointing this out]; Yeong also has an article in his office with 2020 on it, so he was definitely dating Gyu-Ho and had moved from his job at the musical theatre to the company by 2020.

2021: [This is a guess, but we know Yeong's been together with Gyu-Ho for a year when he complains to the T-aras about their relationship and they suggest a trip, so I'm guessing the trip to Bangkok took place in Feb 2021 (around Chinese new year)--my best attempt to date this was the reference to the construction of the Pearl Building in Bangkok but that was constructed 2015-2017]

2022: Shoutout to @my-rose-tinted-glasses for catching the label on the package of his suitcase that Gyu-Ho buys for Shanghai, which says Jan 2022. We know Gyu-Ho leaves for Shanghai soon after that because in Feb 2023 the T-aras check in with Yeong saying it's 'that time of year'.

2023: In Feb 2023 we see Yeong quits his company to be a full-time writer; he writes the date on the book he signs for his former colleague and on his phone screen we can see Feb 2023 as well. We also got some confirmations of the timeline above, since he says in his voiceovers in eps 7&8 that it's been a year since Gyu-Ho left and he's been living with Kylie 9 years. [Note: there were subs in ep7 that said 2022, but they don't align with what's actually on screen]. In March, Yeong goes to Bangkok with Q/Habibi (Habibi's phone screen says it's March 8 when Yeong looks at it in the shower).

Feel free to correct me or add any concrete dates that I missed! I've now updated this with details from the last 2 episodes on Nov 12.

[mooncalf87]

Sweet/silly/sad Alastor hcs because I'm going insane and am afraid of him after the last ep

SPOILERS FOR EP 8

He generally does care for everyone inside the hotel even if he doesn't really show it

The Great Depression during life actually took a pretty big toll on his mental state, and that has stayed with him throughout his death

He loves to hum old romance songs

He and husk are old romantics (even though Alastor is aroace) and so they both know how to slow dance and once when they got drunk they just randomly started dancing

Hes very bad with emotions, his sadness usually just turns into anger, which he ends up taking out on himself, and occasionally on Husk

He is the #1 huskerdust shipper (he came up with that ship name himself)

Alastor doesn't like Lucifer, but he is very glad to see that he does truly care for his daughter

He does infact own Niftys soul just the same as he does Husks, but he's never mean or rough on Nifty like he is to Husk (husk doesn't honestly blame him, Nifty is a sweetie)

He has resentment for Mimzy after the danger she brought to the hotel

While he was recovering from nearly being killed by Adam, he was worried about his friends being without him

When he found out Sir Pentious was killed, he was actually pretty upset

He has incredibly heightened hearing due to being a deer, and it is overwhelming at times

He gets headaches/migranes a lot due to his cause of death (being shot clean through the skull)

When Vaggie explains to him what Aromantic and Asexual is, he is very glad to finally have a label for himself

His motto is "you don't have to fuck to be fab" (iykyk)

He loves sleeping infront of a fireplace

He actually gets distracted by bright lights (like a deer in the headlights)

He can't sleep with something playing on the radio, whether its someone talking, jazz, or just straight static, it has to be on for him to sleep

Is an INCREDIBLY light sleeper, seriously, a whisper across the hotel could wake this man up

He has a special red arm chair in the living room area, no one has the guts to sit there. It might as well have "ALASTORS CHAIR" written across it in blood

Keekee likes to sleep in his lap and he doesn't have the heart to move her

[dailytomlinson]

A deep dive into Louis Tomlinson's career, both solo and in One Direction, and how he's grown into one of pop music's most thoughtful songwriters.

With the first quarter of the 21st century coming to an end, Billboard has been looking back on the 25 Greatest Pop Stars of the Past 25 Years. Below, we take a deeper look into the solo career of Louis Tomlinson — one of the members of our No. 22 pop stars, One Direction — and how his songwriting, originally honed in 1D, has helped him develop into one of the group’s strongest breakout artists.

When One Direction officially went on hiatus in 2015, Zayn Malik dropped Mind of Mine in 2016, Harry Styles’ eponymous LP dropped in 2017, Niall Horan followed with Flicker later that year and Liam Payne’s First Time EP arrived in 2018. Louis Tomlinson, however, took his time with releasing a full project – and entered an era of healing and self-discovery that saw him realizing his potential as one of 1D’s most self-actualized artists, even if not necessarily the starriest.

Even before going solo, Tomlinson showed he was meant for breakthrough success while in One Direction. Longtime Directioners know that Tomlinson wrote more songs in One Direction than any other member, penning long standing hits including “Perfect,” “History” and “Fool’s Gold” and proving his fortitude as a songwriter who understands lyrical cleverness and crafting the indescribably catchy refrains necessary to produce arena-ready hits. Beyond his musical abilities, Tomlinson’s sense of humor and friendship with fellow 1D members also ensured fans had a soft spot for him.

However, when he did go solo, the road was slippery at first. He teamed up with Steve Aoki for his first solo release “Just Hold On” in December 2016, and just three days before its release, Tomlinson’s mother died of leukemia. He still took the stage to perform the song on The X Factor, the first public testament to the star’s strength and dedication to his musical craft.

Tomlinson’s resilience amid adversity continued as he navigated the music industry. The star signed with Epic Records in 2017 and released a few singles – including “Miss You” and the Bebe Rexha and Digital Farm Animals-assisted “Back to You.” While the infectious hooks to both tracks could have easily solidified Tomlinson as a pop mainstay, the two singles didn’t perform as well as expected on the charts: “Just Hold On” peaked at No. 52 on the Billboard Hot 100 and “Back to You” hit No. 40, while “Miss You” missed the chart altogether. Ultimately, a full-length album never materialized with Epic Records.

Tomlinson shortly got back on his feet, as he always does, and signed with Arista Records in 2019 – where he honed his talent as a songwriter, this time feeling comfortable enough to tackle more vulnerable topics in his music. His first release under the label was “Two of Us,” a heart-wrenching tribute to his late mother. “I know you’ll be looking down/ Swear I’m gonna make you proud/ I’ll be living one life for the two of us,” he sings in the chorus, giving a glimpse into what would soon become a musical career full of honesty and vulnerability.

Unfortunately, shortly after its release, another hardship struck Tomlinson’s life when his 18-year-old sister Fizzy died of an accidental overdose. Both the release of “Two of Us” and the tragedy that followed showed just how close Tomlinson’s community of fans is, as they showered him with online love and support in the months that followed.

After taking some much-deserved time to heal, he announced in August of that year that his debut solo album was on its way – and shortly after, he released a follow-up single, the rock-leaning, drumline-driven “Kill My Mind.” Tomlinson admitted that he finally found his stride. “I’m actually really proud and relieved to finally find my place, find my lane musically,” he told Hits Radio Breakfast at the time, indicating a moment of relief amid his turbulent few years.

Tomlinson’s debut solo album, Walls, arrived in January 2020 and while it hit the Billboard 200‘s top 10, it was met with mixed reviews from critics, who suggested that the heart he wanted to portray wasn’t quite there. His growth outside of commercial success proved otherwise, as he had been spending the past few years building a solid identity not only as an artist, but also as a person. While some of the other One Direction alums are still finding their footing with their solo sounds to this day, Tomlinson grew strongly into an instrumentation-focused pop-rock artist whose lyrics go beyond the cookie cutter sentiments you might expect from a former boy band member.

And soon, all the hard work – both personally and musically – finally paid off. Faith in the Future, his 2022 sophomore solo album, debuted at No. 1 on the Official U.K. Albums Chart. In the United States, Faith In The Future debuted at No. 2 on Billboard’s Top Album Sales chart, and at No. 5 on the all-genre Billboard 200, his highest-charting set yet on both tallies. The album’s success, as well his sold-out live shows on its accompanying tour, not only showed the still-standing Directioner devotion to Tomlinson, but also made it clear that he picked up a slew of new fans along the way.

Tomlinson’s self-awareness was evident on the album’s lead single, “Bigger Than Me.” “When somebody told me I would change/ I was afraid, I don’t know why/ ‘Cause so does the world outside, I’ve realized/ It’s bigger than me,” he sings – indicating that the key for solo success all along was being himself, and letting go of the pressure that fame brings.

While Tomlinson has still yet to score the major chart hits stateside that his 1D bandmates essentially achieved right away – and has been more focused on his 28 clothing line the past couple years – he’s proven that he doesn’t need traditional pop crossover success to have a bright future ahead of him. With another couple albums and tours that continue to establish his identity and expand his artistry, it wouldn’t be shocking to see him making the jump to arenas in the not-distant future. Louis’ solo career may not have gotten off to the perfect start, but it just might end up being perfect for him in the long-term anyway.

[lgihtspeed]

SONG OF THE SUMMER — THE DEBUT EP

SONG OF THE SUMMER is the debut EP of fictional pop group LIGHTSPEED. It was released physically and digitally on JUNE 20, 2024 by C ENTERTAINMENT. The group promoted title track LEFT RIGHT for four weeks: two weeks on Korean music shows and two weeks on American television. Their American promotions were followed by live shows in a few of the cities the members are from, including Los Angeles, New York City, and Calgary.

The album covers were designed by ASH. The physical release comes in three versions: SUN, MOON, and STAR. 

They also released six member versions of CD-only jewel cases. Shortly after the album’s initial print, they released a limited-edition vinyl, all of which were signed by one or more members.

TRACKLIST

TRACK 001. LEFT RIGHT Written by Ash Jang, Constance Im, Ev Sharpe, LABYRYNTH Composed by LABYRYNTH Arranged by LABYRYNTH

TRACK 002. GOT IT LIKE THAT Written by Ash Jang, Seo Sejun, LABYRYNTH Composed by LABYRYNTH Arranged by LABYRYNTH

TRACK 003. HAMSTERBOY Written by Constance Im, RHYTHMAGIC Composed by RHYTHMAGIC Arranged by RHYTHMAGIC

TRACK 004. BUZZING MELODIES Written by Seo Sejun, Constance Im, Ash Jang Composed by RHYTHMAGIC Arranged by RHYTHMAGIC

With lyrics entirely in English, most of the songwriting is done by the group members rather than their Korean producers. CONSTANCE and ASH quickly emerged as the group's most prolific songwriters. Production was done by C Entertainment’s new in-house producer duo RHYTHMAGIC and by elusive producer LABYRYNTH, best known for his work with Lightspeed’s label mate, SEJUN. To fans’ surprise, Sejun also made a few appearances as a lyricist, keeping with his tendencies to write songs for everyone except himself.

STATS

13:01 — TOTAL RUNTIME

20M — MV VIEWS IN 24 HOURS

90 — BILLBOARD HOT 100 PEAK

8 — THEMED DANCE PRACTICES

LOOK BOOK

The era’s styling was entirely in shades of black and white and gray. The outfits were inspired by TECHWEAR—coincidentally one of the many themed dance practices—as well as the CYBERCORE and Y2K FUTURISM aesthetics.

HIGHLIGHTS

They were clowned to hell and back for the album title. They also made a disgusting number of “Did I just write the song of the summer?” TikToks, which did not help their case. The only one that went viral was the one of Ev deadpanning the script alongside his signature stiff peace sign ending fairy pose.

The music was well-received and that made the title slightly less egregious. Then Tyler and Mia went on the record and said they didn’t like it and everyone went back to clowning it.

The division between the people with more media training (Violet and Mia) and the people with less media training (everyone else) became obvious very early on.

There were three not-quite-but-almost-there PR disasters. The first happened not long after their debut: Tyler finally deactivated his controversial Twitter account. He probably should have stopped tweeting after he passed the first IGNITE! audition but he didn’t. The fan response was split between those who supported this decision, because idols shouldn’t be tweeting shit about their peers, and those who thought maybe it’s time an idol got to talk his shit. Three days after his account was deactivated, it was reactivated again, causing, in the nicest way possible, a shitstorm on Luminosity Twitter. C Entertainment finally did a bit of damage control by releasing a statement saying that multiple people had access to the account, which no one believed.

The second one occurred during a DIY karaoke livestream where Constance was taking song suggestions from the audience and someone asked for a boy group song. She singled out the commenter, and took a leaf out of Violet’s book by responding she “couldn’t care less about boy groups” and anyway, the people in her stream should just “listen to Lightspeed instead of men.” Never mind that there are men in Lightspeed. 

The third and final close call happened in an off-handed comment Ash made. While they were discussing their favorite and least favorite moments from IGNITE!, he remarked about how poor of a representation their profile pictures were. Having recently re-edited and posted his pictures to Instagram, he had to keep going and mention that ever since he graduated from college, he doesn’t have access to legal Adobe products. Everyone else sat in silence after he revealed that until Violet forced the conversation to move along.

They filmed a dorm tour that went viral because their dorm is a house. With six bedrooms and two kitchens and a second floor. In Seoul.

Between the two centers, Mia was clearly the favored one. She was the center of every chorus and the center of every OT6 photo and styled slightly differently from the rest of the group. 

Ev’s songwriting credit on “Left Right” came from a competition the group members minus Ash and Constance held to write the second verse of the song. To almost everyone’s surprise, Ev won. He was the only person unsurprised, revealing that his university major prior to IGNITE! was English Literature.

The “Left Right” line distribution was surprisingly bad. Constance, Mia, and Tyler sang most of the song, and the rest of them were left with crumbs. #LetEvSing trended on Twitter after their album release, especially because he wrote part of the song.

SHIP RANKINGS

ASH X TYLER (ASHLER) — One of the most popular ships from IGNITE! for their past friendship. Every single publicly available pre-IGNITE! interaction—all five of them—are also subject to intense scrutinization. Haters will say they can't possibly be dating because they dap each other up too much.

MIA X TYLER (MYLER) — The two centers! They were paired together for everything. Their shared dance break in a “Left Right” special performance had a ridiculous amount of chemistry, and then they covered Trouble Maker’s “Trouble Maker.” Absolutely no moving on from that.

CONSTANCE X MIA (CONIA) — According to their shippers, Constance doesn’t look at the Mia in the same way she looks at everyone else. The evidence is in clips of the two of them making eye contact slowed down to 0.5x speed. Also, they were roommates for the entire last half of IGNITE! (Oh my god, they were roommates.)

ASH X CONSTANCE (ASHSTANCE) — They wrote almost every song together, but more importantly, in vlogs showing off the time they spent in New York, the two of them sat next to each other in every restaurant they ate at. Their alternate ship name is Cash.

TYLER X VIOLET (TYLET) — Similar to the above pairing, Tyler acts in a noticeably different way with Violet than everyone else. He’s usually easygoing and quick to laugh with everyone else—especially Mia—but he froze up in all of the one solo conversation he had on camera with Violet. Which is clearly enough to make a ship.

[sophaeros]

love your blog, if possible could I get an Albert and Jules lore dump? I read your other post but I am hungry for more context (and sources)

omg hii glad u like it here !! 😋 umm ok i can try to do like a rough little timeline w notable moments maybe? whatever comes to mind lol

in err 1991 i believe when julian was 13 he got sent to that one swiss boarding school to curb his alcoholism (did not work clearly) and two years later when julian was 15, 13 year-old albert also arrived. julian stayed for two years and albert stayed for six months. julian had this to say about their meeting SNIFFLES. theyre never beating the soulmate allegations i fear

How did you become friends at first? Julian: Two of us arrived in a private school in Switzerland. I felt I had nothing in common with the others. They were so different from people I knew in New York, they were obsessed by clothes Haut Couture. I missed New York so much, it’s really a part of my soul. Meeting Albert was a relief. At last, someone with whom I could talk. There was immediately something, a feeling of complementarity. We talked a lot of music, of our band plans. We gave ourselves 2 years to create a band or to bury this dream. After 2 years, we gave ourselves 2 more years, (laugh).

— the strokes for les inrockuptibles, march 2002 (x)

after albert moved back to la he and julian lost touch until 1998 when albert moved to new york at 18 to go to film school and find himself or whatever. and of course they have the most red string of fate ass second meeting oh my god it makes my stomach hurt. I COULD LITERALLY SEE HIM FROM MY WINDOW. why arent they in a stupid hallmark movie romcom COME ON

“When I first came to New York,” marvels Hammond, resplendent in red and black winklepickers, “the way things happened to me, it was like there was someone… doing it. I moved into my apartment, it was directly across the street from where Julian worked. Like, what are the odds? I could literally see him from my window.”

— albert hammond jr for q magazine, april 2002 (x)

and so albert becomes the final member of the band, completing the set ❤️ (the talk, 2013)

Albert, did you have to try out to be in The Strokes? Yeah. I remember when I met everyone. I met Julian first, then Nikolai, got really drunk one night, and then I went to go try out, even though Julian told me later that in his mind I was already in the band. How come? I was an okay player, I could play chords and stuff, but I looked awesome. (Laughs) I just looked like there was only one thing I could do: be in a band.

albert and julian lived together for seven years from 1998 to 2005 when julian got married, they had two apartments together and the first one is the most well known, it's the dumbbell shaped one. idk about the layout of the second unforch

ehhh scrubbing ahead a bit. julian wasn't there for albert's intervention in 2009 because he was on his solo tour

but happily in 2013 we get albert releasing his comeback ep through julian's label cult records (and then he leaves cult records in 2015. c'est la vie.) (nme september 2013)

“I’d been talking to Julian about wanting to release something on his label since he started it,” Hammond Jr explains. “He was like, ‘Let’s put out a song’. So I went, ‘Alright, I’ll start working with Gus [Oberg] and maybe after we do a few songs there’ll be one that’s fun in there.’ I sent him the first, ‘Cooker Ship’, and he was floored. I got an email back with a million ‘yes’-es on it!”

speaking of which. i've posted this before but SIGHHHH (the talk 2013) that song is for his fucking then-gf justyna. (well, most likely. i dont think hes ever outright stated who he wrote it for but the mv is pretty domestic (for the most part......) and theres a bit where theyre kinda dancing in the living room which is one of the things albert told an interviewer he and justyna did a lot → vice june 2015 but of course i suppose you never know)

Kind of like The Strokes’ song “You Only Live Once”… Julian wrote that. I’m in the band, but I still take his lyrics like a fan would. You always relate lyrics to yourself, and I even do that with him even though he is one of my friends and we lived together when he was writing it. God knows what they were truly about. But it came full circle when he was over listening to “St. Justice” from my new solo EP. It was really cute, he was like, “Is this lyric about me?” And I was like, “…no, man.” It really wasn’t, but it was a good circle because I’ve felt that way about so many of his lyrics. When we got in the band, Julian had such a vision, he was just a strong writer, so the first three records are all his.

and then there's. whatever the fuck is up with one way trigger. i'll make a post about that swear

ending this post here i think bc otherwise i'm never gonna post this SORRY. i'll try to think of more but the tragedy of julian/albert is that it's actually really hard to find fuel for them. unlike milex where they're apparently physically incapable of not being all over and waxing poetic about each other. but then what you Do get is kinda crazy. such is life

[venusvity]

Jung Yoonah (Korean: 정윤아, born November 16, 1998), known professionally as Baebi (Korean: 배바이; Japanese: ベビ), is a Korean singer, dancer, and actress based in South Korea. She is a member of the South Korean girl group Venus, formed by Angelico Entertainment in 2018. She is portrayed by Jennie Kim, Im Youha, & Go Minsi.

Yoonah was born on November 16, 1998, in Guri, Gyeonggi Province, South Korea as an only child. Her mother taught art at a university while her father worked in sales. Yoonah began dancing at the age of three, being put in ballet by her mother.

Yoonah trained in ballet from a young age, having practiced it for eleven years before debuting with Venus.

Yoonah would attend the School of Performing Arts Seoul (SOPA; Korean: 서울공연예술고등학교 / 서공예), where she would be scouted by Angelico Entertainment.

𝟐𝟎𝟏𝟐 - 𝟐𝟎𝟏𝟑 : 𝐀𝐧𝐠𝐞𝐥𝐢𝐜𝐨 𝐒𝐜𝐨𝐮𝐭𝐢𝐧𝐠 & 𝐏𝐫𝐞𝐝𝐞𝐛𝐮𝐭 𝐚𝐜𝐭𝐢𝐯𝐢𝐭𝐢𝐞𝐬.

While attending SOPA, Yoonah would be scouted by Angelico's CEO, Son Jinhwa, and COO, Jeon Jihan, through an open audition the pair hosted at the school. She was scouted for her visual and dancing skills.

Yoonah would become a frequent feature in Priority music videos, acting as a love interest to the boys or as a backup dancer. She would also model for various CF brands and commercials.

In Januaray 2014, it was announced that Yoonah would debut in Angelico's first-ever girl group, Emphasis.

𝟐𝟎𝟏𝟒 - 𝟐𝟎𝟏𝟕: 𝐃𝐞𝐛𝐮𝐭 𝐰𝐢𝐭𝐡 𝐄𝐦𝐩𝐡𝐚𝐬𝐢𝐬, 𝐃𝐢𝐬𝐛𝐚𝐧𝐝𝐦𝐞𝐧𝐭, 𝐚𝐧𝐝 𝐀𝐧𝐠𝐞𝐥𝐥𝐢𝐞𝐬.

Yoonah debuted with Angelico Entertainment's Emphasis on May 21, 2014. Emphasis officially debuted and released their first mini album, EMPRINTSIS, accompanied by the title tracks "Symphony" and "Road Trip."

Emphasis would have their first and final comeback with their second mini album, EMPATHSIS, promoting the title tracks"Love Bomb" and "Wee Woo!" before falling into a year of inactivity.

On May 24, 2016, Emphasis was officially disbanded. Angelico Entertainment announced that Yoonah would be staying with the label.

Following Emphasis's disbandment, Yoonah would return to training and join Angelico's pre-debut team, "Angellies." The group would rotate trainees and perform around South Korea. The team would operate on a ranking system voted on by the fans they would garner from their performances and live streams.

Yoonah was a prominent member of the Angellies, often being voted as the fan favorite in their monthly rankings. By the end of the group's run, Yoonah was the second-most-voted fan favorite.

In 2016, Yuuna would officially take on the stage name Baebi.

In 2017, Angellies would be discontinued to prepare for Angelico's new girl group debut.

𝟐𝟎𝟏𝟖: 𝐃𝐞𝐛𝐮𝐭 𝐢𝐧 𝐕𝐄𝐍𝐔𝐒

On March 17, 2018, Baebi would officially debut in VENUS with the release of their first extended play (EP), SHE DEVIL, and its lead single, "SHE DEVIL."

She is the group's leader, main dancer, main vocalist, and lead rapper.

𝟐𝟎𝟏𝟗: 𝐒𝐨𝐥𝐨 𝐝𝐞𝐛𝐮𝐭

In late 2019, Baebi made her debut as a solo artist with the EP Bubble Pop!.  She released her debut extended play (EP), Bubble Pop!, in June 2019. It peaked at number two on South Korea's Gaon Album Chart, and charted atop the US Billboard World Albums. As of 2023, it has sold 360,000 copies in South Korea. 

Bubble Pop! 's commercial success was the main contributor to Angelico Entertainment's leading music sales. The song peaked at number one in South Korea, where it has sold over 2.5 million digital units. To accompany her solo release, Baebi held a series of small concerts called Baebi's Summer Splash. She was awarded Best Female Artist at the 2019 Mnet Asian Music Awards and at the 2020 Golden Disk Awards.

𝟐𝟎𝟐𝟏 - 𝐏𝐫𝐞𝐬𝐞𝐧𝐭: 𝐀𝐜𝐭𝐢𝐧𝐠 𝐃𝐞𝐛𝐮𝐭 𝐚𝐧𝐝 𝐜𝐨𝐦𝐦𝐞𝐫𝐜𝐢𝐚𝐥 𝐬𝐮𝐜𝐜𝐞𝐬𝐬

She made her acting debut in the 2021 Netflix K-drama Squid Game, in which she played Han Doyun, an unpaid intern at an unnamed company, alongside her husband, Han Wonil, played by Jang Kiha of Priority,  who need money to pay off their ever-mounting debt.

Doyun became a fan favorite, and Jung was called Squid Game's breakout star by critics. For her performance on the show, Jung won the Screen Actors Guild Award for Outstanding Performance by a Female Actor in a Drama Series at the 28th Screen Actors Guild Awards.

Baebi has had a controversial relationship with Mydol CEO Son Jinhwa. An anonymous source revealed the pair's relationship to the public in 2022, resulting in a wave of backlash that led to Jinhwa stepping down from his position as CEO of Angelico Entertainment and Baebi going on a brief hiatus. The pair never confirmed their relationship.

In 2023, Baebi would confirm her relationship with Kim Juwon, the lead vocalist of the boy group Priority. The pair had been dating for three years before the announcement, silently putting the rumors of her and Son Jinhwa's relationship to rest. Baebi and Juwon would break up in 2024 after spending five years together.

Baebi has been a vocal mental health advocate, being very open about her struggles with depression and anxiety. She often donates to mental health charities and volunteers at children's hospitals in her spare time.

𝐄𝐧𝐝𝐨𝐫𝐬𝐞𝐦𝐞𝐧𝐭𝐬

In 2019, Baebi became the face of Gentle Monster, a sunglasses and optical glasses brand founded by Hankook Kim, choosing Baebi to represent their brand due to her "hot and cool" image. 

On February 2, 2021, Baebi was announced as the face of Chum Churum, a soju brand under Lotte Corporation.

On March 8, Baebi became the advertisement model of HOT6ix, an energy drink brand under Lotte Corporation.

On April 8, Etude House introduced Baebi as their new brand model.

In September 2022, Baebi became a model for the Japanese bathing suit brand KŌRARU.

Baebi has walked in runways for Burberry, Miu Miu, Jason Wu, Chanel, Schiaparelli, Giambattista Valli, Bottega Veneta, Emilio Pucci, Prabal Gurung, Jacquemus, and Tory Burch. She has also appeared in advertisements for Louis Vuitton, Chanel, Hermès, and Bottega Veneta and on the covers of Vogue Korea, Vogue Japan, CR Fashion Book, and Harper's Bazaar Korea.

[missjoolee]

just thinking about an au where Julie works for her Tia's housekeeping company. they have contracts with one of the prominent labels in LA

it's a summer job maybe?

but she's getting the hang of dusting, cleaning glass, collecting trash and recycling, restroom maintenance, breakroom scrubbing, the works

when one day, one of the higher ups at the company seeks out her Tia for an unorthodox tasking

They need someone to go to an apartment and clean it up ASAP

Tia selects Julie because she knows she can trust her to work unsupervised as well as she can get the T-E-A later after the workday is over.

Once inside, it's got the musty smell of a place that hasn't been entered in a while and there is a light layer of dust on everything, including a very nice sound system connected to a high-end combination cd/tape/turntable with impressive library of cds, records, and the occasional tapes

Deciding that she doesn't have to work in silence, and whoever lives here won't be back before she's gone. she picks out a record to jam out to while she cleans, then throws open the windows she can and gets to work. She washes the linens, dusts, scrubs the bathroom, dusts, wipes down the kitchen, dusts, and when she finishes with all of that she can vacuum!

As she dusts in the living room, there are guitars on the wall and she can't help but notice 2 are missing

when one record ends, she switches it to something new, excited by the selection whoever lives here has curated

it's honestly hard to pick what's next but then in the CDs, down in the S's, she notices a rare gem from the music world!

They have Sunset Curve's first ever EP

It's a no brainer, she puts the CD into the tray and hits play as she picks up the rag she was using to wipe out the refrigerator. The guitars sound out the beginning of Now or Never and she's leaning inside the fridge, the french doors splayed open as she sings along to the song when a loud THUD startles her out and THERE IS A MAN and she is YELLING, and then he is yelling

and that is how she met Luke Patterson of Sunset Curve, freshly returned from their european summer circuit, as she explains to Flynn later

Once they'd stopped yelling, she had apologized, rushed to turn the music off and explained that she was almost done and to "please, settle in and pretend i'm not here. I will be gone in 10 minutes"

and he had, looking dead on his feet, probably from the time change (also very stunned from hearing a wrecking ball of a voice singing his lyrics from inside his fridge, but she doesn't know that) and then she was gone.

time passes and she keeps working the normal duties from the contracts at the company, only once did she see Sunset Curve and she did an about face and took an alternate route to the task she was doing.

but then Toby gets tendonitis or something and now Tia needs someone to cover the part of the building that features all the studios for the different bands in LA that are signed to the label and it has to be someone trustworthy because they might see or hear music that CANNOT be leaked or the whole cleaning service loses the contract. So trustworthy niece gets picked

Given a schedule each week of what bands will be in and when (ish) she is able to clean unobtrusively for the most part

It's the end of the day and she just needs to gather trash from the rooms that were used that day when she gets a bit thrown off by the set up in SC's studio. Everything is pushed to the edges of the small room and a keyboard is set up front and center.

Looking for where they'd moved the trash can, her eyes keep flicking back to the keyboard and she can't help brushing her fingers over the keys gently before she leaves. Only for someone to be in the doorway, making her jump!

It's luke and he apologizes for startling her but she is in "oh crap oh crap don't bother the clients" mode and so she apologizes and skidaddles out of there

and then and then

Suddenly on the schedule of when bands will be in, there is a request for her to clean SC's room at a specific time during the lunch hour that day. and when she arrives, the rooms is well, not spotless, but cleaner than it should be and there is a note on the keyboard saying to have fun for an hour maybe

and it keeps happening?

julie starts taking luke up on the opportunity to play around on the piano

and then suddenly luke is there but like "don't mind me, keep doing your thing!" and she very much does her own thing but that is grilling him about what is happening annnnnnnnnnnnd

they get closer as time passes

and eventually it becomes helping luke with a song which then becomes working on a new song together

and then excited about the song, luke shares it with the guys and they begin workshopping their instruments into it and Julie happens to hear it happening and thinks that Luke just used her for the music and stole the song they'd been working on for his band

so she stops showing up during that hour, instead working in a room somewhere else where he can't find her

annd she avoids him in the hallways, always turning and going the opposite direction if she sees him or the band

and finally Toby's arm is doing better and can come back to work so she is quick to relent the studio section back to them

Tia notices she doesn't even hum while working anymore and then one day she is cleaning a conference room, and

The door opens behind her. Reggie and Alex walk in. She can't run out, so she just keeps wiping down the windows.

"Did Luke do something wrong?" It could be just his friends trying to help a guy out but there is steel in alex's voice that lets Julie know that they will 100% be on her side if she told them Luke did anything royally stupid and offensive.

"No."

"Oh...okay. Do you think you'd want to write with him again?" the question is unsure. like alex doesn't know if he should even ask it.

Now Julie is mad. "I'm not paid to write songs. I'm paid to clean. I don't have time for this."

"a shame. That was a killer song you two wrote" Reggie hesitantly says.

"yeah. I heard you guys playing it. Hope it does well on your next album" she fails to keep any of her anger out of her voice. and since she doesn't want to get fired for fighting the labels talent, she grabs her supplies and leaves out the secondary door.

and then the guys realize that Julie may have a misunderstanding about what's going on with the song she wrote with Luke

but before luke can fix it, SC has to travel again, this time to Australia and then Canada.

so it's at least 3 weeks before they are back in LA

I don't know how this ends. How does Luke make things right with Julie? Any ideas? Would love to see your thoughts.

[dlstmxkakwldrlarchive]

(article) SHINee's ONEW hopes to make people happy with his songs

Singer Onew of popular K-pop group SHINee has been deeply thinking about happiness, a theme that heavily influenced his latest release."I think it's wonderful to be someone who can have a positive impact on others and make them happy," he said during an interview Thursday with a group of reporters.

"It's a great merit that I can lift someone's mood. When people tell me they've been comforted by my songs, it feels like I'm truly living," he said.

This introspection led to the creation of his third individual EP, "Flow," a departure from his previous albums -- his first solo album, "Voice" (2018), second EP titled "Dice" (2022) and first full-length solo album, "Circle," (2023) -- which centered primarily on his distinctive voice and emotional expression.

Instead, "Flow," due out Tuesday at 6 p.m., is designed to resonate more broadly with the public, featuring songs that are easy to follow and enjoy together.The album is led by "Beat Drum," an upbeat pop track characterized by "kitsch" vocals in the chorus and a synth melody, according to promotional material from his label, Griffin Entertainment. The lyrics compare the feeling of a racing heart to the rhythm of a drum beat.

Also included are five B-side tracks, all of which maintain a bright and cheerful tone.

"I wanted to become closer to the public, so I put a lot of effort into making songs that are easy to follow," the 34-year-old explained. He also tailored the choreography to be accessible, allowing more people to catch on after just one viewing. "I hope even those who don't know me can feel a bit of positive energy," he added.

Onew stressed that while his unique voice and emotional depth will continue to be central to his music, his current focus is on expanding his positive influence.

The vocalist also has a goal of creating his own performance brand.

"I think a concert becomes richer and more enjoyable when many people can immerse themselves in it and have fun together. I want to create an atmosphere where it's not just a performance by me, but an experience where everyone can play together," he shared.

After taking a hiatus of over 10 months due to health issues, Onew returned to the stage in May.

During the break, the vocalist had the opportunity to attend a Coldplay concert in the United States.

"I loved the excitement and anticipation that I felt while waiting for the show," he said, expressing hope that audiences would experience the same thrill at his concerts.

Performing in front of fans and reuniting with his bandmates were what he missed the most as he recovered from neck surgery. He lost so much weight after the surgery, making his fans feel concerned and worried about his health.

"Now, I'm in great shape. In fact, I'm so well that it's almost a problem," he said with a laugh.

He spent a lot of time traveling to places like the U.S., Japan, and Austria during the break, giving himself the space to think deeply on his own.

"While traveling, I learned how to fail. There was a time when I tried to catch a train during a typhoon and ended up sitting on the platform for six hours. Sometimes, things just don't work out. But I realized that you can always try again later. That was the biggest lesson I learned."

After this realization, Onew changed his attitude about performing. He used to believe he couldn't go on stage unless he was 100 percent perfect, but now he's more open to taking risks.

This new attitude led him to boldly take on producing for the first time while working on this album.

"I challenged myself by getting involved in producing, selecting demo tracks, trying out different ideas, and communicating with writers to incorporate my thoughts into the songs. It was a big challenge, but it was a fun experience," he recalled.

Onew also tried his hand at rapping for the first time.

"I was debating whether to use more melody or try rapping," he said.

He thought rapping might work, so he gave it a shot, and fortunately, it turned out well.

"This new challenge has become a great motivation for me," he said.

He has also started taking guitar lessons recently because he wants to play during his concerts.

"I read somewhere that singer Lee Hyori said she started learning something new and that in 10 years, she could become an expert. So I thought, 'It's not too late. If I start now, I could be playing in 10 years too.'"

[dustedmagazine]

Listening Post: Gastr Del Sol

Photo by James Crump

Gastr Del Sol was the convergence of two individuals who had not spent their youths like anyone else and were on their way to lives quite unlike most lives. Between 1991 and 1998 David Grubbs and Jim O’Rourke made a sequence of records that simultaneously pointed out what a lot of music listeners were missing and where music might go next if it was really interested in being interesting. Grubbs came from Louisville, Kentucky’s hardcore scene; he played in Squirrel Bait while he was in high school, and took Bastro with him to college. Jim O’Rourke grew up tracking down recordings from the far reaches of every fringe and then setting about making his own place within each method he learned. Before he was out of college, he’d already made connections with Henry Kaiser, Derek Bailey and the folks at Ina GRM. Each was a guy who knew what the other did not, and their collaboration pushed both to make music that they would never make again with anyone else.

Gastr Del Sol began when Grubbs decided to let Bastro get quiet, and made one LP before O’Rourke came aboard. Their first album together, Crookt, Crackt, Or Fly, was assembled from miniaturized poetry, elongated post-punk riffs, frozen improvisation and fluid, texturally-focused compositions. Their last, Camofleur, is a droll pop statement completed just weeks prior to the collapse of the duo’s relationship. The acrimony between them took a couple of decades to die down, but around the same time that they buried the hatchet, a live recording of their final concert surfaced. We Have Dozens Of Titles shuffles together that performance plus every compilation, single, or EP track that Gastr Del Sol released outside their core Drag City discography.

Intro by Bill Meyer

Jonathan Shaw: I have admired Gastr del Sol from a sort of distance. I like “At Night and At Night,” from the terrific Hey Drag Citycomp; I know Upgrade & Afterlife quite well and dearly love “Dry Bones in the Valley...”, the Fahey cover collab with Tony Conrad. The first song on this new-ish record sidles in alongside those wooden textures, but is a more anxious affair. I like that it never quite boils over or takes its propulsive energies to catharsis. It’s sort of a complement to the conversation with the French kid blowing up firecrackers at the track’s close: it can’t quite move forward, in spite of all of the things that want it to.

That’s also a handy metaphor for my relationship to the music. When I have listened to Crookt, Cracked..., I get the sense that these are really, really smart folks, doing some smart stuff, but I haven’t quite connected with and moved into the sounds. They can be forbiddingly remote. So, I am glad for this record, and its invitation to revisit the band’s trajectory.

Bill Meyer: Each record is so different that I can easily see someone liking one and not likening others, and if you held a gun to my head, Upgrade & Afterlife is the one I would name as my favorite. Which makes it all the more interesting that this collection spans their existence from O’Rourke’s first presence (the Teenbeat single — and it’s pretty amazing that they ended up on that label) to the very last concert (that trip is probably when the encounter with the Francophone child occurred, since the concert was in Quebec).

By virtue of its length and timespan, We Have Dozens Of Titles shows more sides of Gastr Del Sol than any other record.

Bryon Hayes: I think that’s one of the band’s traits that I find appealing, that their sound and approach shifted from record to record. “At Night and At Night” was my introduction to the band, and it also seems to encapsulate multiple faces of Gastr Del Sol in a single track: a drone intro, followed by a guitar/poetry passage, and then a dollop of minimalism accompanied by backwards cymbal splashes. I bought Hey Drag City for Pavement, Silver Jews, and Smog but was introduced to some new and intriguing sounds across the whole of the comp. That track, and Gastr Del Sol as a whole, always felt like a riddle or a logic puzzle to me, albeit one that continuously changed, so it wasn’t possible to “solve” it. But I actually like that fact: the thrill of the act of investigating is pure enjoyment itself.

I never did get to experience Gastr Del Sol in a live setting, so those tracks on We Have Dozens of Titles are particularly revelatory for me. I like the more stripped-down setting of “The Seasons Reverse,” for example. Maybe even more than the version on Camofleur. I’d also bet that the field recording of the kids came from Victoriaville. The town is far enough into Quebec that it’s likely there was a language barrier between O’Rourke and the local youth at the time. Also, the drawn-out version of “Blues Subtitled No Sense of Wonder” feels much fuller and richer in the live setting than it does on Camofleur. I’m not saying I dislike that album, but I too would pick Upgrade & Afterlife as my favorite...

Bill Meyer: Because I lived in the same town as Gastr Del Sol, I was fortunate to see them a lot. The concerts were pretty different from one another, and didn’t always sound much like the most recently released record. When they played with John McEntire, things could be more rock-ish, and I have one fond memory of them getting pretty wild with the feedback. Afterwards O’Rourke seemed embarrassed, like he’d lost control and done the wrong thing. There was room for spontaneity, but they were not an improv act. In 1997 they did lock into the two guys with two acoustic guitars thing for a while, probably because they had a fair number of out-of-town gigs in their later years; they didn’t necessarily want to lug a lot of gear around.

Another aspect of living in the same town with them was seeing the other things they had going. O’Rourke could often be seen accompanying someone whose work he championed (ex: Rafael Toral), and they both played with Red Krayola (although O’Rourke bailed for a while and Grubbs kept going), Edith Frost, and Arnold Dreyblatt.

Jonathan Shaw: Never saw the band, and the live material on this comp is what’s impressing me most. Given my proclivities toward their work with acoustic guitars, I am most compelled by “Onion Orange,” which works a space between gentle and tense to very satisfying effect. The repetitive sequence of notes in that initial six-or-so minutes is really engaging; it invites anticipation, flirts with letting that become apprehension. I can imagine that would be even more powerful in a real room, with the players really making the noises in front of you. But even here, via the mp3 I am playing on a device, it’s strong stuff.

Bill Meyer: I still need to a-b that with the original on Grubbs’ solo album.

That album, Banana Cabbage, Potato Lettuce, Onion Orange, seems not to be on Bandcamp, and Table of the Elements is long defunct. I’ll have to pull out my CD and play it. On the original edition, Grubbs plays everything, but O’Rourke recorded two of the album’s three tracks. I remember it being very still, a Grubbs take on Morton Feldman. What you hear in this live performance, Jonathan, is probably what makes me think I like this new version better than the original. There’s a management of tension that probably comes from two people playing it together in real time.

The way that We Have Dozens Of Titles is sequenced, with live tracks littered throughout the collection, makes it easy to forget that we’re hearing a complete set here.

Ian Mathers: There’s a relatively well-known tweet (for those of us that are too online, at least) where a guy who’s only ever seen one movie sees a second and immediately compares it to his only experience. As someone who’s never heard Gastr del Sol before (although they’ve lingered somewhere on my impossibly long “get to this someday” list) and only really knows Jim O’Rourke’s work via his Bad Timing album, I had my own “Getting a lot of ‘Boss Baby’ vibes from this...” moment playing the opening live version of “The Seasons Reverse.” The guitar playing there immediately put me in mind of Bad Timing, which isn’t a bad thing! I was slightly relieved when this compilation pretty immediately shows off different aspects of his and Grubbs’ sound, even in the other live tracks.

And while I did enjoy all of We Have Dozens of Titles, enough so that I’m wondering based on the comments here which of their albums I should check out next, the live tracks do feel like a cut above everything else. I’m probably going to try listening to just them, and while I respect the choice to scatter them throughout this release despite being one show (do we have any idea if they preserved the order of the setlist, or jumbled that up as well as splitting them up?) there is a part of me that wishes it was a separate release. Which is kind of silly, I know — absolutely nothing is stopping me from just playing the live stuff whenever I want, and I’m very glad to have the rest of the material here. My first question for those more knowledgeable: is the album version of “Blues Subtitled No Sense of Wonder” as amazing as the live one here, and should I make that my next stop?

Bill Meyer: If you like the live version of “Blues Subtitled No Sense of Wonder,” you definitely need to check out the studio version. For that reason, I’d point you to Camofleur and then suggest that you work your way backwards through the catalog.

Bryon Hayes: The album version has beautiful vocal harmonies with lyrics that are dryly humorous; the title of the box set is derived from them, actually. The music on the box set version feels fuller and louder than that on the album, the electronics bolder and noisier, accompanied by rich organ tones. Also, that interlude of shouted movie dialogue (or whatever it is), is not in the Camofleur version. Both are appealing, but I enjoy the live version slightly more. If Grubbs sang on the live version, it might be the clear winner for me.

Ian Mathers: Interesting, thanks for the tips! If I’m remembering correctly, there’s no vocals on this collection for at least a while, and I was slightly nonplussed when they came in; not bad, certainly, but it felt slightly out of place with the music. (I was working while listening, which might be the culprit there.) I’ll be interested to A/B the two versions and see what I think.

Bill Meyer: I just drove past the Lyon & Healy building at Lake and Ogden, which prompts the question — what do you make of “The Harp Factory On Lake Street”?

Jonathan Shaw: I sort of like it when there are vocals — in part because of the poetic nature of what’s sung (see “Rebecca Sylvester” on Upgrade & Afterlife), in part because it feels grounding in musical contexts that frequently get very abstract.

Bill Meyer: I like the way you frame that, Jonathan. Grubbs’ words do have a way of anchoring part of the music, bringing a sonic fixedness that contrasts with the music around them, but also introducing an uncertainty of their own because of their sometimes-oblique content.

Roz Milner: I’ve just been lurking this thread. I’m not familiar with this group, although I do like what little Jim O’Rourke’s music I’ve heard (Bad Timing, Happy Days). Any recommendations on where to start with them?

Tim Clarke: I’d start with Camoufleur, which is easily their most accessible album. I have a bit of an uneasy relationship with Gastr Del Sol. I got into them soon after I became obsessed with Jim O’Rourke’s Eureka, but it was quite a shift in tone from that album. I do enjoy Camoufleur a lot, and the album versions of “The Seasons Reverse” and “Blues Subtitled No Sense of Wonder” are, in my opinion, far superior to the live versions on We Have Dozens of Titles.

Gastr Del Sol are quintessentially experimental, in that much of their music sounds so open-ended, as though O’Rourke and Grubbs are constantly wondering what x would sound like played at the same time as y, whether it’s an open, suspended acoustic guitar voicing alongside a sour synthesizer drone, or some piano with some field recordings or samples. Upgrade & Afterlife actually freaks me out! The first time I listened to it after buying it from Rough Trade in London, I couldn’t venture past the opening track as a massive gnarly insect flew in through my open window while I was listening to it on a spring evening. It scared me so much I don’t think I’ve revisited the album since. There are moments on We Have Dozens of Titles that are truly magical, so I think I’ll have to get over my fear and revisit Upgrade & Afterlife after all this time.

Christian Carey: The timing of this release is interesting. David Grubbs was just appointed Distinguished University Professor by CUNY, the highest faculty distinction possible. In addition, he was just awarded the Berlin Prize, and will be in residence there next year. Wonder if the awards might have helped to fund the recording project.

Jonathan Shaw: Distinguished Prof at CUNY — pretty swell. Makes sense. Some of Gastr del Sol’s headiest stuff has the feel of the “experimental,” and in ways that engage the connotations of knowledge and concept in that term (which often gets used lightly and lazily, IMHO). That might have something to do with why I like the live tracks so much. There’s an organic quality to them. Still thorny and challenging music, like the ebbs and flows that make “Dictionary of Handwriting” disorienting and strange. But it’s happening. It’s made, not just thought or assembled.

Jennifer Kelly: Once again, not super immersed in this band, though I had a copy of Crookt, Crackt or Fly at one time, which I can’t find and don’t remember very well, though I’m listening to it on YouTube right now, and the combination of Grubbs’ wandering vocals and aggressive, stabbing guitars seems familiar-ish. So, coming to this a bit cold, though I’ve enjoyed Grubbs’ more recent work with Ryley Walker and Jan St. Werner — and there are definitely some common threads. Nonlinearity, an elastic sense of key and rhythm, a haunted room kind of aesthetic.

I found this track-by-track exposition at the Quietus, which I was trying to read as the songs came up and it’s quite good. I especially liked the paragraphs about “The Bells of St. Mary’s,” written for what sounds like a truly bizarre Christmas comp with Merzbow and Melt Banana on it. Gastr del Sol’s lone concession to the holiday form was sleigh bells, though Grubbs says the main reference was to “I Wanna Be Your Dog” not “Jinglebells.”

Anyway, you might enjoy this.

Tim Clarke: In addition to the Quietus piece, this recent podcast interview is also very enlightening in regard to the history of the band. A rare opportunity to hear Jim O’Rourke chat lightheartedly too.

Having spent more time with the album now, I realize that my listening gets derailed by a couple of Grubbs’ and O’Rourke’s tendencies with this music. The first is when Grubbs does a kind of scat singing that follows the spiky contours of the acoustic guitar parts. And the second is when they retreat into near silence.

Bill Meyer: Near-silence is an O’Rourke strategy to make sure that the volume is set high enough when you get to the loud part.

Christian Carey: I’m curious what connections to later projects people hear in the recording. As TJ mentioned, there are some mannerisms that seem to forecast avant moves by both Grubbs and O’Rourke, with greater assuredness in the idiom. The post-rock vibe is unmistakable, and I am finding the songs with connections to Tortoise et. al. to be the most compelling music-making here.

Bill Meyer: Re: similarities with Tortoise, it’s worth keeping in mind that John McEntire of Tortoise was also a member of Bastro and a key non-member contributor to Gastr Del Sol. Re: the term post-rock, I appreciate the irony that Gastr Del Sol was actually O’Rourke’s entree into rock following years of intense work in improvisation, musique concrete, etc. with people like Henry Kaiser, Eddie Prevost, Christoph Heemann and Illusion of Safety. It was his “I’m almost ready to rock" project.

Ian Mathers: Roz, if you still haven’t settled on a way to check out Gastr del Sol, I was in a similar position to you and honestly, I found this compilation a pretty welcoming (and broad-ranging) introduction! I haven’t moved on to checking out any of their albums yet, but I have played We Have Dozens of Titles a number of times, and while I’m still experiencing it more as a gestalt than I am picking out specific elements (so I’m not sure how I’d answer Christian’s question at the moment, for example), I find the time just slipping away when I do. I was reading Steven Thomas Erlewine’s newsletter recently where he was discussing this collection and he described Gastr del Sol as “music that changes the temperature of the room,” and I keep coming back to that as an apt description of what I’m experiencing.

Bryon Hayes: I read somewhere that Grubbs’ The Plain Where the Palace Stood is his solo album most similar to his work in Gastr Del Sol. I’m listening to that record now and it actually reminds me of the little Bastro that I’ve heard along with parts of The Serpentine Similar.

Bill Meyer: Gastr Del Sol’s existence corresponded with Grubbs’ time at University of Chicago, where he was getting his PhD. I believe it was in poetry, and the words he wrote for the band’s songs reflect that study.

Christian Carey: I've been having fun poring over David Grubbs’ trilogy of books and guessing which stories might be about Gastr del Sol. He's excellent at being covert, but I would be surprised if they weren't featured in some of his writing.

[noideamyguy]

Tumbling out of the same late-'80s post-punk Boston music scene that produced the Lemonheads, Dinosaur Jr., and the Pixies, geography was the only thing that Anastasia Screamed had in common with their contemporaries. With a dark, discordant hard rock sound that owed as much to sonic assassins like Hüsker Dü and Led Zeppelin as to the pop-oriented college radio rock popular at the time, Anastasia Screamed earned a loyal audience up and down the Northeastern coast with their unpredictable live performances. Formed in 1987 by guitarist Chris Cugini and drummer Chris Burdett, the band went through a number of roster changes until the pair met songwriter/guitarist Chick Graning on the subway one day. The musical interests of the three were similar and, enlisting the help of bassist Michael Lord, they recorded the self-released five-song Electric Liz EP in Boston's Fort Apache studios. Produced by Sean Slade, the 1988 EP came to the attention of London's Fire Records, which signed Anastasia Screamed to their Roughneck imprint. Tiring of the competitive Boston music scene (and high living expenses), the band picked up and moved to Nashville at the suggestion of Tennessee native Graning. Bassist Charlie Bock replaced Lord for the recording of Laughing Down the Limehouse, the band's 1990 debut album. Well received by the British music press, Laughing Down the Limehouse produced a minor U.K. hit in "Samantha Black." The five-song EP 15 Seconds or 5 Days followed in 1991. Distribution problems stateside, coupled with label problems overseas, prompted the band to break up in 1992, with Graning going on to form the band Scarce.

FACT: An album by Anastasia Screamed, Laughing Down The Limehouse, was sold for the high price of $30USD on discogs.com

THANK YOU @casiotone-nati0n FOR THE RECOMMENDATION!