#this is my one no-skip album so in my humble opinion every song off this album is the best thing ever recorded but those three!!!

[iamidentical]

the run of songs in my back was a bridge for you to cross that goes sliver of ice -> can't -> scapegoat might be the best sequencing decision on an album ever

[amwritesitall]

Sarah’s AHS Characters (+Alice and a Ship) as Songs I’m Vibing With

Masterlist

Instead of a collection of songs from one artist these are songs I’m currently vibing with? Here’s the playlist if you wanna listen (warning it fluctuates a lot because it’s just songs a vibe with at the moment). I skipped the songs I used in artist posts.

Billie Dean Howard

“24 / 7/ 365″ by Surfaces

Met, this girl down by the vine Had long tan legs and big brown eyes Seemed the type I would wanna make mine

She said nine to five, I'm killing time But twenty-four-seven, three-six-five I have to be where I feel your sunshine

One to two-step, three-step, four She's everywhere out on the dance floor She's everything you could ever want and more

Picture it. Billie Dean is at some event. She spies a girl who’s mesmerizing, killing it on the dance floor. Realizing this girl is absolutely the person she wants to be with. The line “I have to be where I feel your sunshine”!! Big Billie Dean vibes right there. In the darkness that her job sometimes entails, she’s drawn to the light of her lover. A ray of sunshine if you will.

“Heaven Falls / Fall on Me” by Surfaces

Woke up early in the mornin' Just to feel the light of day Had to open up my window Get the shadows out my way Banana pancakes for my problems Find me jamming old Jack Johnson Swear I heard them angel calls Lay outside

As Heaven falls Heaven falls

If you can’t tell, Surfaces really makes me think of Billie Dean. This goes with my explanation for the other song. Billie’s job gets pretty dark and intense. Although she never completely gets a break from her job (because she can’t just turn off being a medium) she tries to use her time away from filming and darker locations to focus on the lighter aspects of life, savoring all around her and her lover. I have no idea if what I said makes sense though.

Lana Winters

“Let’s Fall in Love for the Night” by FINNEAS

Let's fall in love for the night And forget in the mornin' Play me a song that you like You can bet I'll know every line I'm the boy that your boy hoped that you would avoid Don't waste your eyes on jealous guys, fuck that noise I know better than to call you mine

This song gives me Lana vibes in the sense that she doesn’t really want to get too attached to people. This also makes me think of how Lana is the type of lover that someone’s conservative/strict family wouldn’t want them with (because of the gay). When you go this route, it’s hard for me not to picture teenage Lana when listening to this.

Fun fact: I have a vague idea for writing a Billie Dean Howard x Reader imagine over this song.

“me & ur ghost” by blackbear

I'm not alone It's just me and your ghost And this cripplin' depression I thought I learned my lesson But, I threw out my phone And I burned all your clothes And now I'm not alone It's just me and your ghost

Now hear me out. Post break up Lana dealing with all of her memories of her ex and then burning all of their shit because Lana is lowkey that bitch. It’s a bit of a stretch, but that’s just my humble opinion on the matter.

Cordelia Goode

“If We Were Vampires” by Jason Isbell and the 400 Unit

It's not the long, flowing dress that you're in Or the light coming off of your skin The fragile heart you protected for so long Or the mercy in your sense of right and wrong It's not your hands searching slow in the dark Or your nails leaving love's watermark It's not the way you talk me off the roof Your questions like directions to the truth

It's knowing that this can't go on forever Likely one of us will have to spend some days alone Maybe we'll get forty years together But one day I'll be gone Or one day you'll be gone

Cordelia knows that one day she will die. There will be another Supreme after her and she can’t live forever. This is her coming to terms with the fact that maybe it’s for the best that she won’t stay around forever. Not being immortal allows her to live in the moment and savor all the time she has.

“PlantedInMyMind.Memo” by Charlie Burg

Saying things I don't believe And your love casts it's shadow on the things I do And I can hear so clearly all the words I'd wish I'd said You're stuck in my head But I only think of you Will we be together soon? I'm thrown on the wayside You're planted in my mind But I don't wanna be ok without you

This makes me think of an angsty Cordelia relationship like post “In Another Lifetime”?!?! Cordelia being stuck on her lover from the past 

Also makes me think of Cordelia x Misty after the events of season 3

Bette and Dot Tattler

“prom dress” by mxmtoon

I can't help the fact I like to be alone It might sound kinda sad, but that's just what I seem to know I tend to handle things usually by myself And I can't ever seem to try and ask for help

I'm sitting here, crying in my prom dress I'd be the prom queen if crying was a contest Makeup is running down, feelings are all around How did I get here? I need to know

I guess I maybe had a couple expectations Thought I'd get to them, but no I didn't

I’m not going to lie, this is a bit of a stretch.

I’m kind of getting Bette and Dot wishing they could be like everyone else. They just want that normal teen experience?

Sally McKenna

“Teeth” by 5 Seconds of Summer

Call me in the morning to apologize Every little lie gives me butterflies Something in the way you're looking through my eyes Don't know if I'm gonna make it out alive

Fight so dirty, but your love's so sweet Talk so pretty, but your heart got teeth Late night devil, put your hands on me And never, never, never ever let go

The angst! The tension! The passion! SPICY TIMES WITH SALLY

“fuck, i’m lonely” by Lauv, Anne-Marie

I call you one time, two time, three time I can't wait no more Your fingers through my hair, that's on my mind I know it's been a minute since you walked right through that door But I still think about you all the time

Sally just wants love. She’s sick of being lonely and wants to be with the person she loves. Being a ghost sucks and she wants out of that damn hotel.

Dealing with her ex that is still alive while she’s not.

Audrey Tindall

“Prom Queen” by Beach Bunny

Shut up, count your calories I never looked good in mom jeans Wish I, was like you, blue-eyed blondie, perfect body Maybe I should try harder You should lower your expectations I'm no quick-curl barbie I was never cut out for Prom Queen If I get more pretty, do you think he will like me?

Teen Audrey. I will stand by this.

Now I’m thinking about teen Audrey and my heart :(

Ally Mayfair Richards

“I Needed You” by blackbear

When I needed you the most, I needed you I fucking needed you the most, I needed you, the most Now I won't be there to give you what you need Now I won't be there, no

You know this was never really about us And everything was always 'bout you You never knew a thing about trust And I knew everything about you, what's happening Three whole years, they can go by In a blink of an eye, and you won't know it, but What a damn waste of time

You can’t sit there and tell me this doesn’t sound like Ally dealing with Ivy’s betrayal. No. There is no way this song doesn’t give off those vibes. Like sis was dealing with a ton of shit and where was her wife??? Off gallivanting and murdering with a cult because she voted for Jill Stein. 

Wilhemina Venable

“Lovesong (The Way) [feat. Bluets]” by Charlie Burg 

Now you're away with nothing to say My heart aches like never before Filled with desire, you've inspired me to write another verse

I think we're alone now You can tell me it was all just a game Yes, we're alone now But the feeling's slightly changed

But you take your time, my love Don't ever tell me that it just takes time to love As long as I'm writing this song about my love for you Is it too much to ask For a reply? Or a text? Or a way to tell you love me like before

I don’t knooowww. This just makes me think of Mina trying to deal with her feelings and possibly her significant other kind of giving up because they feel like Mina will never reciprocate their feelings. Mina does love them but it’s hard for her to express it.

“Someday” by Peach Tree Rascals

I hate the fact that you Run on mind, all damn day There she goes

Girl won't you wait for me

I settled down, I'm better now I never knew what this life was about Days got too plain, colors got dull All of the roses fell on to the floor I'll pick them up, wipe the dust Need a chance for your love For your love, for your love, ooooh I've been floating between oceans And the darkness in the sky I've been lonesome in this old shed And it's burnin through my mind

Similar to the song above, Mina hates the fact that she’s stuck on this person, but she eventually realizes that she needs this person in her life. This love really out here making her appreciate life and all the good things in it.

Basically Mina is turning into a softie.

Alice Macray

“Mariposa” by Peach Tree Rascals

I can't wait for you To come my way I've been far away But I'll keep runnin' Just to find a way to you til' then

I been running from it Tired of running from it Scared of feeling something now I'm stuck and tryna get up out of this hole

Surface level this song has some good vibes like our baby Alice. Over analyzing level is not as good vibes. This song is kind of like our baby Alice running from her feelings for someone because the thought of such strong feelings is scary for her.

Billie Dean Howard x Audrey Tindall

“Channel Orange in Your Living Room” by Charlie Burg

We met when I was drunk That party didn't actually suck You made fun of how slow I drank

But now I can't stop thinking about you Each moment passes and my thoughts return to you And the memory of us too As we listen to Channel Orange in your living room

Even when you're away That album makes me feel like you stayed To listen now would make me a fool again for you

Without a doubt, I always think of these two when I listen to the song and that’s one of the reasons why I love it so much. I’m just picturing the two of them meeting a party together and Billie taking Audrey back to her place. Then they end up thinking of each other long after the night is over.

-

You might like:  Sarah Paulson AHS Characters as Hozier Songs or  Sarah Paulson AHS Characters as Rex Orange County Songs

[eraserhead-baby-girl]

I’ve been tagged by total cutie @c0ttagecorew1re to share ten songs I’m obsessed with at the moment. Prepare yourselves for an incredibly sexy deep dive into my psyche via my current musical hyper fixations 💖

Smog - Natural Decline 

I’ve had Rain on Lens playing pretty much none stop for the past month so it was really hard to narrow it down to one song but Natural Decline really captures the essence of the album as well as typifying Bill Callahan’s output under the Smog moniker. A song that both acknowledges the absurdity of life whilst laughing into the void. 

“I see the night sky as a jewelry store window And my mind is half a brick”

Mariee Sioux - Bundles 

An exquisite exploration of the intersection between femininity and Native American ancestry, that’s both gentle in sound whilst containing some of the most viscerally unpleasant imagery of the commodification of the body I’ve ever heard. Sonically manages to be both ancient and totally in keeping with the mid-2000′s Nevada city folk scene (yes i’m a JNew stan). Honestly the entirety of Faces in the Rocks is such a delight. 

“I'm eating my own hide to hide in my own skin 'Till I am left a hanging Upside down and draining Like skinned does a dangling From a hunters oak limb Like my sisters those does, woven in red shrouds Wearing bare ribbons of tightly wrapped muscles”

Shampoo - Bare Knuckle Girl

The perfect song for when you're drunk, pissed off at the world but also feeling sexy as hell (a niche emotion I seem to inhabit most nights). Glorifying whilst satirising the idea of the fucked up young girl. Really good fun. 

“Her Skin Is Dead Pale She's Broken All Her Nails And She Spent All Her Life Just Going Off The Rails”

Sufjan Stevens - Eugene 

Sufjan Steven’s album Carrie & Lowell has been a constant in my life for years but until the last month this was a song I always skipped. But sometime in the last few months, during a middle of the night sad song session™, listening to it was like a revelation. It sits at the intersection of pain and joy that surrounds childhood memories; the joy of loving and being loved, the emptiness of knowing it has passed and complex grief of seeing yourself slipping into the role of adult and how that interacts with our understanding of our own mortality. There’s a real sense of fragility, weariness and resignation in the vocal that both mirrors and enhances the lyrics and makes for an incredibly powerful listen. 

totally don’t listen to it thinking of my fav child from my old job or the passing of my grandmother

“What's left is only bittersweet For the rest of my life, admitting the best is behind me Now I'm drunk and afraid, wishing the world would go away What's the point of singing songs If they'll never even hear you?”

Angel Olsen - So That We Can Be Still

An understated lament for the passing of time and the way in which the diminishing of memories creates a twofold death; a cessation of the past interactions of self. The vocals on the entire ep (Strange Cacti) seem to coming from somewhere beyond the veil and make this song in particular especially evocative. 

“Must all of my memories drown into infinity? Try to grasp them, but I always miss Time goes by so fast as if it hardly wants to exist” 

Courtney Barnett - Pedestrian at Best 

High energy bop about female success and self image. I defy anyone to listen to this and not want to throw themselves around the room and possibly kick the coffee table. Perfect for anyone who thinks they are the both the best and worst at the same time. 

“Put me on a pedestal and I'll only disappoint you Tell me I'm exceptional, I promise to exploit you Give me all your money, and I'll make some origami, honey I think you're a joke, but I don't find you very funny”

Lloyd Cole And The Commotions - Rattlesnakes 

Whenever my mother feels particularly tenderly about me she plays me this, pats my hair and tells me it could've been written about me. As such, it’s my ultimate pick me up song and I’ve been playing it constantly the last couple of weeks. A tribute to every confused young woman, wrapped up in philosophy, flightiness and an unending sense of her own boredom. also feeds my ego that my mother genuinely thinks i look like eve marie saint

“Jodie never sleeps 'cause there are always needles in the hay She says that a girl needs a gun these days Hey on account of all the rattlesnakes She looks like Eve Marie Saint in on the waterfront As she reads Simone de Beauvoir in her American circumstance Her heart, heart's like crazy paving Upside down and back to front”

Manic Street Preachers -  Builder of Routines 

There’s never a point where I’m not overplaying at least one of the manics songs and at the moment it’s Builder of Routines (Rewind the Film is criminally underrated in my almost humble opinion). Perfect exploration of the tension between the safety adult life provides and the suffocating nature it has on the soul. 

“Builder of Routines It makes me safe and clean It crucifies parts of me But never seems to make me bleed”

Golden Shoulders - the Honey, the Power, the Light (Kyle’s Blues)

As an obsessive Joanna Newsom fan, I thought I’d heard everything she’d ever done. So discovering her pre Milk Eyed Mender work with Golden Shoulders was probably the most exciting thing to happen to me this month. A pertinent rally cry against the soul sucking nature of capitalism with a sound redolent of Bright Eyes’ Landlock Blues. 

“I cannot be swayed and I will not be quiet, Tell the fat cats and big wigs to go on a diet. They're taking up space that has better uses, So let's jump the tracks and unhitch their cabooses.”

Sibylle Baier - I Lost Something in the Hills

As soon as the weather turns, I play Colour Green on a loop whilst sitting on my windowsill, coffee in hand, staring out of the window blankly. It’s basically an autumnal tradition at this point. I’ve spent my entire life living semi rural on one side on a steep and densely wooded valley and I Lost Something in the Hills perfectly encapsulates the unique feeling of growing up somewhere that’s beautiful yet remote and enclosed. A song for autumn days spent in moments of abstract yearning and formless nostalgia. 

“I grew up in declivities Others grow up in cities Where first love and soul takes rise

There where times in my life When I felt mad and deprived And only the slopes gave me hope”

Why did I write this like I’m being paid by vice to self indulgently talk about my own music taste??? Who knows. is it obvious i miss being a lit student?

I’m tagging @lipsticktraces and @ki-flor as I’m pretty sure they have solid tastes in music and I’m always after song recs. 

[paranoidinspanish]

Happiness Begins by the Jonas Brothers: A REVIEW

Hi hello. Here it is. A review by a long time Jonas Brothers fan. A JoBroHo, if you will. AND DAMN PROUD OF IT. Let’s start this off with, I love clever and thoughtful lyrics. But I can overlook it if there’s a sick beat I can dance to. Let’s dive into this, butt first.

SUCKER: A wonderful way to kick off their 10-year hiatus and in my humble opinion, well worth the wait. A song I didn’t know I was missing until I heard it. The music video elevates the song like, 27 levels and adorable and fun to watch, especially on a dreary day. I’m sure this song would be impressive to witness live. 

Favorite line: I’ve been dancin’ on top of cars/And stumblin’ out of bars/ I follow you through the dark/ Can’t get enough

COOL: This song is SUMMER. It is that ice cold drink, condensation dripping down the sides, that is absolutely and mind blowingly (yes that’s a word) refreshing. The nods to their past lives and current lives in the lyrics are witty and effortless and deserve the endless amounts of times people will listen and laugh.

Favorite line: Sitting there winning like it’s Game of Thrones/ And now that we’ve made it/ How complicated was last year

ONLY HUMAN: This song was a very close second to being my favorite song on the album. It’s chill and soft like a good smoothie. The back beat underneath the high vocals of Jick Nonas (tell me you get the reference) are a match-made in heaven. I want he sound of the keyboard between the choruses and the verse to be my ringtone for all of eternity. My only complaint is the length of this song. I need it to be infinity long, please and thanks.

Favorite line: Just dance in the living room/ Love with an attitude/ Drunk to an 80s groove, ay

I BELIEVE: HELLO MY FAVORITE SONG ON THE ALBUM. For some reason, it reminds me of Fly With Me, but like the older brother of your best friend who wears just enough cologne and you think you might have a crush on (OH NOES). When I first heard this song, I think I played it on repeat 5 times until I realized that I had to listen to the rest of the album. Shout out to Priyanka for inspiring (*waggles eyebrows*) Nick to write this song. You are truly a thing of beauty. Please protecc our boy.

Favorite line: Every night, every day; how about every lifetime?

USED TO BE: I found this song to be underwhelming. The lyrics are lacking a bit, compared to everything else I’ve loved of theirs. I did spend most of the song wondering why my baby Kevin doesn’t grace us with his angelic voice. Mad props to a pre-chorus featuring Joe and Nick but next time, please squeeze Kevin in there.

Favorite line: Lately I don’t even know ya/ Too many devils on your shoulder, shoulder

EVERY SINGLE TIME: When Nick Jonas utters “Mr. Misdemeanor” at the top of the song, I’m not gonna lie, I squeaked. Don’t ask me why but it just thrills me to no end. What a little squish. And a reference to an actual bridge during the bridge cracks me up every single time (ayyyyye) I listen to this song. I feel like a lot of songs on this album sound like this; a reggae inspired beat and low vocals. But this is where I feel like they really shine with the combination. The timing of the beats with the sounds of the vocals winding in and out of each other give off a sensual, beachy vibe. As one Cora Corman once said, “Give me a beat: steamy and sticky.”

Favorite line: Because there’s too much water/ Under this bridge to go down like this

DON’T THROW IT AWAY: The opening verse to this song sounds almost like a pseudo-Imagine Dragons song but the comparison ends there upon reaching the chorus. It’s a beautiful blend of late 80s/ early 90s bubblegum pop without feeling full of saccharin. The boys pleading with me to “not throw it away” is enough to pull even the most stone cold person’s heartstrings. 

Favorite line: Pack up your love with all your things/ See if it helps, give it a week/ I bet no one else gets you like me

LOVE HER: The soft opening chords of the guitars calls back to the earlier days of the boys, although the lyrics bring it up to now. It’s a beautiful dedication to their relationships and how weirdly complicated things can be and how there’s still no other place you’d rather be. This song absolutely is so powerful in its simple quietness. I’m not crying. YOU’RE CRYING.

Favorite line: ‘Cause when you love her/ No matter the fight you know she’s always right/ And it’s alright

HAPPY WHEN I’M SAD: The chorus echoes in my mind and not always in a good way. Nick’s falsetto reminds me of when I’m feeling absolutely miserable and I’m trying very hard to hide it but failing. I still don’t know how to feel about this song but you bet your sweet bottom that I will be screeching it at the top of my lungs in a few months’ time.

Favorite line: I put on a smile, don’t need a face-lift/ Why can’t I when everybody fakes it?

TRUST: Another reggae inspired song. Memorable? Meh. Let’s go back to Every Single Time.

Favorite line: Take me back to when you were my only/ Well, we were thicker than thieves, like a pod, two peas

STRANGERS: This song rounds out my top three favorite songs on the album. It sounds like my old Jonas Brothers and I adore it. What can I even say? I get Joe’s high notes, Nick in a lower key and my boys singing “I just saw the lightning strike” and I now know what happiness sounds like. 

Favorite line: I just saw the lightning strike/ Knew it right then when I looked in your eyes

HESITATE: Look, boys. It’s these kind of lyrics that makes us fall in love with you and/ or expect people in the real world to love us in this way. This song is a lovely understanding of loving someone who is struggling. Mentally, physically, any kind of struggle really and loving them because of those things. Excuse me, there’s a tree branch in my eye.

Favorite line: If I could only read your mind/ Then I could map out all the ways to make it right

ROLLERCOASTER: I’m not gonna lie, I literally always miss the beginning of this song. IT’S SO QUIET. On the other hand, it does sound like a roller coaster. Somewhat chill and manageable until you hit the pre-chorus and the chorus, then the boys take you on a ride of melodies. I do prefer the chorus to the rest of the song but it is a fun song to scream in the car on a sunny day.

Favorite line: It was fun when we were young and now we’re older/ Those days when we were broke in California/ We were up-and-down and barely made it over

COMEBACK: I take this song as a promise from the Jonas Brothers. If they were to ever leave again, they’ll come back to the fans. Gah bless the Jonas Brothers. A wonderful end to a heartwarming album.

Favorite line: You know the place that I go runnin’ to/ I get scared when you’re scared but what else can I do?

OVERALL RATING: 4 kitten beans out of 5

Is this my favorite album ever? Not really. It’s not even my favorite Jonas Brothers album. (Here’s looking at you, Lines, Vines and Trying Times). To me, it’s a tad underwhelming, considering everything I’ve been hearing from the boys in the press. They were excited to get back together and give music to the fans and they’ve done that. I think this is an excellent jumping off point after being apart professionally for so long. Also my expectations are ridiculously high due to my annoyingly snobby opinion of the boys and their quality of music. They are hecking quality. My bar is set by “Can I listen to this album backwards and forwards and not skip any songs?” For this one, no. There are amazing songs on this album and I absolutely cannot wait to see them perform them in October and again in December. I will be throwing this album at anyone who comes within spitting distance of me and asking them to change my mind about songs that didn’t impress me so much. What do you think of this album? Favorite song? Favorite lyrics? Favorite moment?

Are you there?

[adrianalxander]

Lover

So as a Taylor fan, I of course waited until the clock struck 12 to listen. I was in my car and listened to it on my car stereo for the best sound so I could hear everything each song has to offer. I had some mixed feelings about the record but now that I’ve had a few days to really let this album simmer, I must say that I really do enjoy it. Is it my favorite Taylor record? No. But it has some very promising songs that are gonna stick with me for as long as I’m her fan...

Since the album is about love, I’ll be using the 💗 emoji to score.

Highest score: 💗💗💗💗💗

1. I Forgot That You Exsisted // 💗💗💗💗

So for me, this definitely sounds like a continuation of “This Is Why We Can’t Have Nice Things” off Reputation. I love that it’s not over produced and sounds like she’s talking about the Kanye situation one final time. To me, she’s pretty much saying, look, all that stuff really doesn’t matter to me anymore. This album is beyond everything reputation was about, so for starters- I’m chuckin the deuces to all my haters! Ahhhh I love it. Good way to start this record for sure!

2. Cruel Summer // 💗💗💗💗💗

One of my favorites off the album for sure. Everything about this track to me is pure genius. Sonically, just so beautiful. Ecspecially the hook, when she hits her falsetto notes and the instrumentals blare like they’re telling you to role down your windows and scream the lyrics at the top of your lungs! Pretty sure she’s talking about a past relationship one last time. She really wanted to get all her past negativity out of the way on this album before getting into her current endeavors. Plus, my favorite part of the song- when she growls in an echo like howl “HE LOOKS UP GRINNING LIKE A DEVIL”. My heart sank and I scream it everytime now. Love love love this track.

3. Lover // 💗💗💗💗💗

This song pulls on my heart strings quite a bit! I can definitely see why the album centers around this track. Y’all, Taylor is in love and she wants all of us to know, OKAY!? She’s pretty much talking about how she loves her man and how she gets jealous when people talk to him or how no matter what- she knows he’s the right one for her. Sonically and lyrically, this song is beautiful. Taylor also sounds so pretty when she hits those soft high notes. I also love how different this is for her, which I appreciate. Solid love song for sure!

4. The Man // 💗💗

So lyrically, I think the songs message is powerful. Women are still going through it and I love all these empowering anthems that are being released. My problem with the song is the instrumentals don’t match up to how important the lyrics are and what they’re trying to convey. It just sounds like a cheap pop song to me. Now it might be a grower eventually but so far , not one of my faves. In the song, she’s talking about how women have it harder then men, and if she was a man, how less taboo certain things would be in the industry for her. We see you Tay, we see you.

5. The Archer // 💗💗💗💗💗

When this song first came out, I was shook! Let me tell ya’ll, when she works with Jack Antonoff, they create some magic. And this song is a perfect example. So freaking breathtaking! To me, she’s talking about her past friendships. She’s taking responsibility for the loss of some and how she does mess up sometimes but wants those people to know that she understands what she’s done but is working on herself. One of my favorites off this album.

6. I Think He Knows // 💗💗💗💗

This cheeky little number is fun. Again, talking about her man. She uses this albums platform to let him know every single feeling she has for him. I love bridge in this song so much, it’s my favorite part! Cute song!

7. Miss Americana & The Heartbreak Prince //

💗💗💗💗

As the political track on the album, I absolutely love the metaphors she uses in the song. Comparing the sinister events in our country to a pageant...the lyrics are effective and it’s a pretty solid song with replay value. I dig it. Again, love love love the bridge when it sounds like cheerleaders are chanting parts of the lyrics. It’s a good one y’all.

8. Paper Rings // 💗💗💗💗

Yet another song that’s complety out of the norm for Taylor. It’s got a little alternative kick to it but the lyrics are so sweet. Another song talking about the man she loves and just letting him know that nice objects are nice but nothing really matters but him, she’s marry him with a paper ring bruh. Very cute, very different and stands out like a sore thumb on this album, in a good way!

9. Cornelia Street // 💗💗💗💗💗

One of my favorites off the album, it’s that song on the album that hits those heart strings HARD. This dude got her all in her feelings. She pretty much is saying in this song, that if she loses him, that things wouldn’t go back the same way like she’s been living for a while. Which is so relatable when people break up with their partner, adjusting is the hardest part. This is such a beautiful song and I love the intrumentals!

10. Death By A Thousand Cuts // 💗💗💗

So on the first initial listen, I didn’t like this track, but I have to say it’s growing on me. To me, this song is about being afraid of a relationship coming to a close and comparing it ending to death by a thousand cuts. Damn Taylor!!! It’s a decent track, I’ll listen to it more, but not my favorite.

11. London Boy // 💗💗💗💗

This song is so funny to me!! Taylor is like, y’all I just wanna be English okayyy. It’s a cute song. Obviously the London Boy is yet again, referring to her lover who is in fact English. So many rememberable lyrics in this song, “they say home is where the heart is, but god I love the English”. Okay Taylor, we hear you girl, you LOVE YOUR MAN.

12. Soon You’ll Get Better // 💗💗💗💗

I have some mixed feelings on this song but to start off, it’s a beautiful heartbreaking song. This definitely sounds like something from her Speak Now/Red era...and we know that her mom has been battling cancer so the song is pretty much how she’s been dealing with all of the events that happen when a family must deal with the awful “c” word. my only negative is the featuring of the Dixie Chicks...I love them but really didn’t understand why they were there? They really didn’t add anything to the song and I wouldn’t expect a feature on such an emotional personal track for her. Other than that, beautiful song.

13. False God // 💗

In my humble opinion, my least favorite song on the album. It just seems so off to me. As sonically different as Paper Rings adds to Lover, it still sounds like Taylor. Likes she’s taking a chance and those lyrics still have that deep meaning that makes you wonder. This track to me sounds like a failed experiment. I don’t like the lyrics or the instrumentals. From what I understand, the songs about the tough times in a relationship when shit hits the fan and your limits are tested. Again, don’t really care for the metaphors and this is just not it for me.

14. You Need To Calm Down // 💗💗💗💗

I’m calm I’m calm!! Well I wasn’t when I first heard this song. I adore YNTCD so much, it was definitely a fresh take on the album after she released the catastrophic first single, I saw hope for sure. It’s the LGBTQ anthem that we didn’t need from her but gracefully were gifted. Everything about this song is a bop and is one of those songs where certain lyrics make you laugh and some of them you just wanna scream at the top of you lungs! Love this song so mucho.

15. Afterglow // 💗💗💗💗💗

I crown this song my favorite track on the album. Oh man, where do I begin? Let’s start with the instrumentals, jesus this song makes me feel what she’s singing. the loud drums just get you going. and her voice sounds so good on this one! I even like the little use of auto tune on certain parts- it really works. So lyrically, in my opinion, this sounds like her apology song to miss Katy Perry. but that could just be me. She’s saying look, I’m taking full responsibility for the break in our friendship but I miss it and I want it back and what do I need to do to get it back? Relatable because we’ve all been there, and just flat out love love love this one. I wanna meet her in the afterglow :(

16. ME! // 💗💗

Soooooo let me tell you. When I first heard this, I was so disappointed. I was like, if this is what her freaking album is gonna sound like then I’m OUT. Thank god it wasn’t and this song is just a fluke. Now here’s the thing, I don’t hate this song entirely. I actually don’t mind the verses, it’s the chorus and the god awful bridge. Hey kids, spelling is fun! She was smart enough to remove that, but to me, this song sounds like a beginning theme song for a kids tv show. Not a song on a 29 year olds album. I just skip this one, y’all.

17. It’s Nice To Have A Friend // 💗💗💗

By far, the oddest song on the record. At first, I didn’t like it. But the more I listen to it, it has this creepy almost abandoned school yard feel that could’ve been played in Pretty Little Liars. I kind of dig it, but it doesn’t match the lyrical content for me. To me, the song is about a simple friendship where one might have more feelings for the other. But I don’t know, it’s gonna take some getting used to. Weird for sure for Taylor.

18. Daylight // 💗💗💗💗

Last track of the album and a beautiful way to end it as well. Ya’ll, Taylor wants everyone to know that she is happy, unbothered and has grown up. This track is about the person she loves changing her perfective on, well -love. One of my favorite moments on the album, she connects her song Red from 3 albums ago, saying she used to compare love to a burning red but now it’s golden like daylight. And ends the song and album with a person mantra that really stays with you.

This album is such a beautiful piece of work. I know I used that term a lot, but it’s how I feel.

I can’t wait to see how these sound in concert!

[priisakilljoy]

Now that May, Myself and I is over I’d like to reflect on this month a little bit. This project was super interesting to me so i’ll talk about every day 

Day one (running) had to be a homage to Carrie Hope Fletcher, it was my only idea and felt like the right way to kick off the month

Day 2 (star) might just be my least favorite of all, not only because I was not super exited but also bc the execution is not great. I would normally never post it but the fun thing about this kind of project it that I can push myself

Day 3 (donuts) came with the conclusion that I like to draw. Was that obvious to anyone else? Not to me lmao. I just had so much fun with the white donut and I don’t even like donuts so that was exciting. Feels like something big, I was wondering for a wile and now I finally have an answer

Day 4 (red lips) isis one of my favorites and I didn’t even plan it a lot, it just happened. I usually have a very clear idea of what I want the end result to look like but this one happened very organically

Day 5 (eggs) is cute as hell imo. i was really excited when i had this idea 

For Day 6 (weight) I just had to make some Luther fan art because that’s one of my favorite choices of character design. He is a big guy who carries the word on his shoulders, it’s a lot of weight

Day 7 (salty) freaked me out a bit tbh because I only had the mermaid idea but I felt like I couldn’t do it justice. I almost didn’t post it but again, it’s about putting myself out there

Day 8 (pranks) was easy and felt right to make some fan content about the Weasley twins again, trow back to my 2012 fic lmao

Day 9 (umbrella) just had to be about TUA, but the idea to do the totoro rain scene came later. I wasn’t expecting to do two fan arts of Luther but he is big and five is small so it fits and I love how it turned out. It was also fun to explore the comics style, I love Gabriel Ba’s work

Day 10 (bodies) is about my own relationship with body hair, so that was a obvious choice. I’m in a very happy place with my body at the moment and feel like I’m finally caring for it for the first time ever, but the body hair is still a struggle and I’m exploring with it. This day was also part of this exploration

Day 11 (sunflowers) is the most personal of them all. It’s my cousin who I love a lot and she planted a sunflower earlier this year so it fit perfectly

Day 12 (storms) looks cool, I struggled with the video colors so had to change a bit and I’m happy with how Kirstin turned out

Day 13 (little) was so funny to me and I feel like is seriously underrated lmao. It’s moomin! It’s John mulaney! Y’all are supposed to love that shit

Day 14 (curtains) was hard. I was so uninspired and it looks rough

Day 15 (black and white) looks cute. Every time I read the prompt list the song started playing in my had so it had to be

Day 16 (conscience) was also very personal because it carries a lot o weight to me and basically shaped who I am so there’s that. I like the end result

Day 17 (luck) was bad lol. I only had the idea very late and was not feeling so good, but it looks cool! The background was from another danger days fan art I did earlier this year and it was my first time mixing media like this

Day 18 (sparkles) was easy to choose and I like it

Day 19 (Myself) was a challenge! I wasn’t sure where I was going with it tbh but feels right

Day 20 (mundane) is honestly one of my favorites. I just love Mitch so much and he is anything but mundane so I wanted to play with it. The color palette came from his horny demon tattoo and I wanted to do some supernatural stuff but subtle, so mostly on the shadow. It looks really good in my humble opinion lol

Day 21 (space) is another one that I love. I wasn’t sure what to do with this prompt because my first idea was something that I still relate a lot with my ex and I’m not quite there yet to reclaim and not think about him. Lucky I couldn’t stop listening to thank u, next and ari gave me some inspiration. The color palette of this one is the nasa logo

Day 22 (bloom) was maybe the first idea I had for this month lol. I just love the album in general and this song in particular and it looks exactly how I hoped it would

Day 23 (kindness) was terrible, probably because I’m very unkind to myself. I make bulbasaur because he makes me happy and he is great but honestly it was a bad day

For Day 24 (letters) I was going to be sappy and write a letter to myself instead of drawing something but Sza saved me and I did her supermodel look instead. I still listen to this album a lot and it hits home for me

Day 25 (moon) was also easy. I love avatar, I love Yue, it looks just how I wanted it to look

Day 26 (Jekyll and Hyde) was challenging bc I’m not super familiar with it and I was going to read the novel but was not in the mood lol. I did listen to the musical tho and confrontation reminded of left brain right brain By bo burnham. What. is one of my favorite stand ups of all time so I used this as an excuse to watch it again. It fits tho, I’m happy with it

Day 27 (circles) is basically a redraw of one of my inktober posts. I was not feeling inspired but it looks better than the first one so there’s that

Day 28 (chaos) is all about my mental health and I think it translated it well. The colors are not the ones I usually reach for but that was cool and different. I think this one really stands out

Day 29 (praise) is the one day I skipped. I was feeling bad and had nothing, zero ideas. So I didn’t push it. It was a day to remind myself that this is a challenge but it’s supposed to be fun, it’s something I’m doing for myself

On Day 30 (apologies) I woke up feeling terrible and scared so I decided to listen to some soft music to calm down. That did Not work lmao, so I listened to my chemical romance and the used instead. This empty with you quote was on my IM messenger for a long time and it fit with both the prompt and my mood

Day 31 (Hope) I came full circle and made another Carrie Hope fletcher fan art. I talked a lot already about how I look up to Carrie, so that was a perfect way to finish this month

[woahhaleigh]

Heathers UK Cast Recording Review (From A Retired Veronica Sawyer’s Perspective)

If you are new to my blog, hi! I’m Haleigh and I am an actress local to Dallas/Ft. Worth, Texas. I had the utmost pleasure of playing Veronica Sawyer last summer in Plano, Texas. Veronica was an absolute dream role of mine. I feel so honored every day that I was chosen to tell that story. The show holds an extra special place in my heart because a little bit after the show closed, I started to date the wonderfully talented man who played my JD. So, Heathers holds a dear place in both of our hearts. We have spent a few evenings listening to the UK Cast Recording and gathering our thoughts on it.

I need to preface a few things. 1. I am a huge Carrie Hope Fletcher fan. So I am absolutely biased. Not sorry. 2. As a whole, I think my experience as Veronica would have been immensely easier if this album had been out for me to study and work with. The only Veronica when my show went up was the lovely Barrett Wilbert Weed. Anyone who has ever had the pleasure of playing this iconic role knows that it is insanely difficult to live up to such talent as hers. Carrie made the role seem a bit more human and her vocals, while still insanely difficult, were much more achievable. 3. I go on a few tangents about my experience as Veronica. We just celebrated the year anniversary since the first rehearsal. Your girl got a bit nostalgic. 4. Thank you for coming to my little corner of the internet. Let’s listen to the Heathers UK Album!

⬇ Keep Reading ⬇

Beautiful: I can hear the accents. I can hear them holy moly. It’s okay, Haleigh. Phew. I will say I could hear a distinct difference in the orchestration? It doesn’t feel quite so cutthroat and edgy as the Off-Broadway album. It really does sound more musical theatre. Which I truly enjoy. I like that it sounds like a completely different show. I’m not one for a carbon copy of something else. 

Candy Store: Okay, Jodie Steele is everything I never knew I needed?? This rendition is wonderful.

Fight For Me: Woah, this key change is everything! This song was really daunting to learn. And I seriously adore the changes in this album. This song was my favorite to sing. I hope they release the updated score for us on other sides of the globe to use for our books!

Freeze Your Brain: So I can hear Jamie Muscato’s every single syllable. Which is great for the pronunciation of his American accent. However, it was a bit jolting the first time through the cast album. Now that I’ve gone through a few times, I don’t notice it quite as much. Perhaps it’s just the recording and not him live. Such a gorgeoussss voice, nevertheless. 

Big Fun: The lyric changes were jolting at first, as well. Still takes a lot of time to get used to. Also, they took out the verse about “let’s use their showers. That sounds like big fun”. Don’t expect to be able to sing along with this one first time around. I do love that Heather Macnamara gets the line about “First it’s salt and then lime and thennnn shot!” like it was in the script when I did the show! 

Dead Girl Walking: Such a win, guys. The amount of fever dreams I had about this song is damn near embarrassing. I will say it again, if this album had been out when I did this role, it wouldn’t have been nearly as terrifying. Carrie’s belts were absolutely gorgeous!

Me Inside Of Me: Ugh, my least favorite song in the show. I will say, Jodie Steele, sounds absolutely stunning, though. Even more so than Candy Store. I can hear her bitchiness just in the audio. I wonder how chilling her performance was in person!

You’re Welcome: Unpopular opinion time; I dislike everything about this song. I’ve listened to it once and skip it every time I listen through the album. While Blue from the Off-Broadway album (if done wrong) can be just as predatory as this song, I’ve mainly seen it done silly and more comedic. You're Welcome is just plain scary, in my humble opinion. The vocals are undeniably stunning. Kurt and Ram are immensely talented. However, I just don’t feel like this was a good replacement for Blue. I feel this song is just scary and triggering. Especially for someone who has been in Veronica’s shoes before. While I respect that the writers prefer this song to Blue, I strongly stand behind my opinion on this song. 

Never Shut Up Again: I feel like this song is along the same lines as Dead Gay Son. It has a beautiful upbeat vibe to it. I’ve heard a lot of people say that it doesn’t sound like it belongs or flows. I completely disagree. Heather Duke deserved a solo. And T-Shan Williams absolutely slays this song. I also appreciate that they did a little nod to the Blue Reprise in here. This song will be a fan favorite if it gets released with the rights worldwide. 

Our Love Is God: Ah one of my most favorite songs to perform when I did this show. This song lives up to the outrageously high expectations I had for it. Brought massive tears to my eyes as I listened and replayed performing this scene in my head. I can only imagine how wonderful the performances were in person. 

Dead Gay Son: A song that is usually a skip for me. The vocals were lovely but this song is just better when you see the show live, in my opinion. 

Seventeen: Another song that had really high expectations. The vocals, the tone, the everything was truly wonderful. You could hear the love and the urgency behind both Carrie and Jamie’s voices. I was pleased when this song was released early. It was a great little taste to what a joy this cast album would be. 

Shine A Light: Less church-y than the Off-Broadway and more rock, I will say. Love Rebecca Lock’s choices with Fleming. She sounds so unapologetically her and it is truly a hilarious experience to listen to. (Funny story, James actually tripped and fell off a platform during our production of Heathers during this song. Just thought I’d share that with the world.)

Lifeboat: Sophie Issacs sure knows how to pull at your heartstrings with this one. It feels like there was a key change in this song too, I could be wrong, though. It also feels faster? I will say while her vocals are lovely since it does feel faster, the song doesn’t pack as much of a punch as it could have. 

Shine A Light Reprise: T’Shan is seriously terrifying. I loved the lyric and note changes for this one. Like man, that belt is too die for. 

I Say No: Added to my book and have already started to rehearse this so I can sing it at my first given opportunity. The lyrics to this song are really awesome. In the Off-Broadway show, I always was peeved that the musical took out my favorite quote from the movie “You know what I want? Cool guys like you out of my life.” And they included a bit of that in this song. As someone who is a huge fan of this movie, I was stoked when that was added in. From my understanding, this song happens after JD shoots the TV right after Veronica breaks up with him. (Correct me if my assumption is wrong!) James and I had discussed in the past how a song would have been awesome there. So, if that is where this song is, it just makes me that much happier. 

Kindergarten Boyfriend: Woah. I mean woahhhh. Those vocals are flawless. This is the only scene in the show where Veronica gets more than 30 seconds to be off stage. I always spent it listening to our Martha that evening sing her heart out. It is what got me into the mindset to cry during Meant To Be Yours. This rendition is so lovely and truly makes me cry every time I’ve listened to the album all the way through.

Yo Girl: So eerie and so haunting. I do prefer the Off-Broadway for this one. It felt more gut-wrenching. The lyrics changes, though, hit you right where it hurts. “what’s that brimstoney smell?” Ouch, guys. 

Meant To Be Yours: The differences are subtle between this and the Off-Broadway. I love Jamie’s performance. He truly sounds like he has lost his damn mind. And Ryan McCartan's JD sometime’s was really cartoony. (Still, absolutely adore him!!) My favorite performance from Jamie from this entire album. One character choice I really liked was the whisper of “No thanks”. So chilling. Okay, I’m crying while I’m listening to this. I gotta move to the next song. 

Dead Girl Walking Reprise: Carrie’s version is not quite as belt-y as Barrett’s. I always had to sing this after balling my eyes out and had to sniffle and belt this. I love that there is just as much power behind this version but not all the way sang up to the gods. It’s a much more achievable rendition for the average singer in a community theatre where this will get done more often. Again, Jamie for real sounds manic and I love every second of it. And I also looove that there’s an added “Don’t talk about my mom” and a “stop” lines in there. Every night when James and I sang this, he shot me a look like those were his thoughts, but I can’t say anything because she is singing and it’s not in the script. It’s really lovely to have that added bonus in here. 

I Am Damaged: These are the only lyrics changes I don’t agree with. I like how it was originally portrayed that JD may or may not be changing in this song. But either way, wow my heart hurts. That was so beautiful. Every night when I played Veronica, my interpretation of this song was probably quite different than most. I’d love to share that to someone other than James and a few members of the cast. When Veronica says “Say hi to God”, I always portrayed it as Veronica, despite all of the harm JD caused, truly believed he would still go to heaven. And it always got me to the depths of my core. 

Seventeen Reprise: The vocals and talent of this cast, my god. Just as beautiful as the Off-Broadway. Ugh, this is making me cry my eyes out, guys. 

There you have it guys. What did you think of this cast recording? If you haven’t listened to the album yet, you really should! Listen here. 

[musicfordinner]

Midnight Listen: Piano & I by Alicia Keys

Okay.. so Songs in A Minor is an legendary record and introduced an incredibly talented and inspiring young woman, Alicia Keys, to the world with some innovative and inspired tracks that were so relatable to the young folks coming up around them times *ahem: me*.

Yo so this song in particular goes so hard for an opener.. which is why it’s the track I selected tonight as a midnight listen. You know, this whole record is one of no skips. It’s so good from beginning to end and it’s just so heartfelt..

This opening track sounds like a rough and tumble young NY girl speaking her truths after finally finding her space to carve out and share her particular experiences.

Peep these lyrics:

It’s those middle lines for me..

I gotta amp myself up as well as you.. so yeah, so what it took me like two years and shit.. but I’m feeling prepared and I’m feeling a little more ready for the world.. a little less lost.

These lyrics are just so powerful, and such a great way to open a legendary record.

20 years ago. I was so happy that she re-released a 20 year anniversary Deluxe Edition of this record it’s sooo good.

My other faves off this record include of course: Fallin’, Troubles (so highly underrated), A Woman’s Worth, and every song from track 9-16 (the end of the album). This record is a huge comfort listen to me.

Why Do I Feel So Sad was another huge cut off this album. So underrated. It is my humble opinion that Alicia didn’t release an album as memorable as this one until 2016’s Here, which was no where near appreciated enough for how dope it is. The message and the delivery was too much for many and went over their heads. It was such an inspiring/inspired record.

Enjoy Piano & I and let Songs in A Minor take you places, even if that place is just deeper to bed. 🌚🌑🌃🌌

[doomedandstoned]

Seven Albums That Made 2017

~By Jacob Mazlum~

Seven is the number of luck, the number of God, the number of notes in the diatonic scale. As we begin with our end of year wrap-up, we've asked Kurokuma guitarist/vocalist and Doomed & Stoned contributor Jacob Mazlum to comment on his seven favorite metal releases of the year. They are presented to you in no particular order.

Genevieve -- Regressionism

Regressionism by Genevieve

If your typical death metal band is as camp as the titular creature in the 1931 version of Frankenstein, then Genevieve are as confoundingly destructive yet complex and vulnerable as Mary Shelley's creation in the original novel. There is horror here, real horror. It speaks of a darkness that can be found in every human being, that uncomfortable unspoken sensation that lets you know that, yeah, you could be the one to push the button, pull the trigger, lock the door despite the desperate screams outside.

Get It.

Bell Witch -- Mirror Reaper

Mirror Reaper by Bell Witch

An 83-minute solemn death rattle from beyond the grave, a masterpiece, and the most important doom album of the year by a mile. It takes a level of artistry and brilliance far above what most bands are capable of to create this kind of album, capturing an atmosphere that is so thick it can turn the air cold. Truly, Bell Witch create the kind of doom that should make most bands ashamed to lay claim to the same genre.

Get It.

Album Art by Mariusz Lewandowski

Code -- Under The Subgleam

Under the Subgleam by Code

There's something weird, something spidery and subversive going on here. Under The Subgleam belongs to that patch of black metal that has a distinctly urban sound. These are songs that conjure up dark wet alleys, unsettlingly empty streets, rain dripping off rusted wire fencing, and that sensation of being surrounded by millions yet feeling utterly alone. The modern urban megacity is an abomination to the animal side of mankind, and London's Code recognise this. Better yet, they revel in it.

Get It.

Mutoid Man -- War Moans

War Moans by Mutoid Man

The semi-superground Mutoid Man do what Torche (in my humble opinion) never really managed -- to marry the heft of sludge-doom with a poppy melodic approach and come out on top. Better yet, these Brooklyn boys merge such disparate sounds with the kind of boldness that suggests they've never interacted with your typical metal purist, and damn does it work. They may swap heaviness for accessibility, and this may understandably turn some off, but Marty Friedman provides a solo on the track "War Moans." Who could dislike that?

Get It.

Svart Crown -- Abreaction

As an Englishman (kinda), it comes with a degree of discomfort to admit that France are wiping the floor with the UK when it comes to vitally forward-thinking metal. Svart Crown are one such band, and after skipping their previous release, Profane (simply due to it’s the awful cover art), I decided to spend some time with Abreaction.   I now wish I hadn't, as its brilliance makes my musical manhood feel very small indeed.

Get It.

Thantifaxath -- Void Masquerading As Matter

Void Masquerading as Matter by Thantifaxath

If Code excel in their specialised urban black metal sound, then Thantifaxath go one step further, inhabiting a potentially one-band niche with their execution of some alien breed of swirling psychotic-savant black metal. The term "psychedelic" is all too often analogised as a smooth and pleasant ride, but here Thantifaxath use their own brand of psychedelia to take you through a twisting vortex laced with thorns and razor wire. It's unsettling, it's difficult, and it’s incredible.

Get It.

Tchornobog -- Tchornobog

Tchornobog by TCHORNOBOG

This may be, strictly speaking, a death metal album, but the feeling one gets when they sink into its darker, long-form recesses is akin to the brilliance that makes the best doom albums so great. The self-titled debut by Tchornobog is simply monstrous, as if it were the auditory manifestation of some ageless and vile colossal being. It is perhaps because of this that Tchornobog feels so predatory -- apathetically malicious, yet almost entertained by your presence. Try to pull it apart all you want, you're simply pressing your ear closer to the heartbeat of this awful beast.

Get It.

Album Art by Adam Burke

[stuckinthekookiejar]

Distractions pt 9

Pt. 1 || Pt. 2 || Pt. 3 || Pt. 4 || Pt. 5 || Pt. 6 || Pt. 7 || Pt. 8 || Pt. 9 || Pt. 10 || Pt. 11 || Pt. 12 || Pt. 13 || Pt. 14

Yoongi x Reader (ft. Jimin)

Genre: Angst/Fluff

Word Count: 2465

“Hyung?” Jimin whispered as he peeped his head from behind the bedroom door. It wasn’t surprising to see a blanket burrito stuffed with only the most premium of geniuses: Min Yoongi. All that was needed was a side of guac.

“Hyung, are you awake?” With every step Jimin took, the ground beneath him creaked just slightly. From within the encased ball of cloth annoyed groans could be heard,

“Does it look like I’m awake?” A small tuft of black fluffy hair and the tired, irritated face of its owner could be seen from a teensiest of holes that breached his fortress. 

“Jin-hyung made some food...want some?” 

“No, Jimin. All I want is to sleep.”

“But hyung, you haven’t eaten a proper meal for days. You won’t get better anytime soon at this rate.”

“Jimin, I can handle myself.”

“I’m sure you can handle yourself, but,” Jimin hushed his voice mindful of anyone in the other room who could possibly hear them, “...but what about 2S and their title song?”

Yoongi had been thinking about that too. It’s been nearly a week and he hasn’t shown up to Music Box at all due to his condition. He felt especially bad for Sol Mi since he had promised to help her with the cover, “I know, I know...trust me, I want to get back to work as soon as I can. I just have to get over...this illness."

“Okay, I’ll let you go back to sleep. But you better go eat something or else Hoseokie-hyung or Jin-hyung’s gonna pull you out of bed and force feed you.”

“Yes, ‘mom’.” Once again Yoongi retreated back into his comfy ball and groaned. He didn’t know that joining Bangtan would mean gaining three more mothers.

The duffle bag slung over Jimin’s shoulder rattled as he planted his feet left and right on his way to Music Box’s dance studio. The glass doors slid open and just as he entered, four girls were coming his way. He used to greet them shyly complete with an obligatory slight bow of the head, but now as he got to know you and them over the past few days he could confidently smile brightly in their direction.

“Hey, guys!”

“Jimin-oppa!” Hwa Joo smiled, skipped over to him and jokingly wrapped herself around one of his arms. She was only stuck to him for a few moments before Joo Yeon came over and pulled her off by the back of her collar,

“Yah, Hwa Joo-ah. You may be the maknae, but you don’t have to act cute all the time. Plus what’s with the whole ‘oppa’ nonsesnse? You two are the same age.” 

Hwa Joo pouted, “Nuh-uuuuuh. Oppa’s a WHOLE month older than me. You’re just jealous that I get to call him oppa.”

“Excuse me? Jealous? Huh, yeah right I’m totally...”

“Are we getting ramyun or not, you guys?” Sol Mi trudged past the maknae and the eldest with a sullen face. They all paused and stared at Sol Mi’s hunched back as she exited the building without even acknowledging Jimin. 

“Is Sol Mi-noona okay?” Jimin asked with concern laced on the expression of his face.

Sun Hee sighed, “She’s just a bit upset. Since you’re helping out Y/N-ah, you probably know that the cover project is due in two days. Yoongi was supposed to help Mimi, but he got sick so...yeah. How is he, by the way? It’s been few days and we’re all pretty worried.” 

“Hyung’s getting better. He just has to ‘get over this illness’ as he likes to put it. But he feels bad not being able to come in and work on the song with you guys.”

Hwa Joo stepped up and waved her hands in front of herself, “Oh no, please tell him to not feel bad. Everyone gets sick, plus we’ve been using the time to work on other stuff so it isn’t like he’s halting the production of the entire mini album.”

“Thanks, Hwa Joo. He’ll feel better knowing that he isn’t causing you guys too much trouble.”

“This is the last dance practice you’re having with unnie, right?”

“Yeah, it is. But I’m thinking about coming in for the filming of the video tomorrow.”

Once again the maknae came to his side and tugged at his sleeve, “So this means we won’t be able to see you anymore...” Her face brightened up as soon as an idea popped into her head, “Wait! I know! We heard from Y/N-unnie that you helped writing the song...why don’t you come with Yoongi-oppa and help us with the recording too?” 

“I don’t know...”

“That doesn’t sound like a bad idea, to be honest,” Jimin looked at Sun Hee a little surprised. As the leader of 2S, he respected her opinions when it came to the group, “You even recorded the vocals for the demo that Yoongi presented us. When he comes back the first thing we’re planning on getting recorded is the bridge with Y/N-ah. There’s a pretty high note during that section, and Y/N can get a little...less confident when it comes to those notes. I’m sure having you there and giving us some tips would help us out a lot.”

“You sure?”

“Yeah. Plus we should give credit where credit is due. Yoongi’s helping us since he made the song, but you also took part in creating it so it only makes sense for you have the opportunity to help with recording as well. Baek PD shouldn’t have a problem with you coming in. The more the merrier.”

“Alright, I’ll have to talk to Yoongi-hyung about it first. I’d better get going, Y/N-noona’s probably waiting.”

“Nooooo. Don’t leave yet!” Hwa Joo, who had been attached to Jimin’s sleeve for the entire time, snuggled her cheek against his bicep. Jimin just stood there all awkward and red in the face,

“Yah, you’re making him uncomfortable....sorry Jimin. We’ll get going now, see you later.” Joo Yeon dragged Hwa Joo away and Sun Hee let out a heavy sigh before leaving with the other two girls. 

Music was already playing by the time Jimin came in. He dumped his stuff in the usual corner. The song had quickly finished its course and you walked over to him and grabbed your towel from your pile of belongings to wipe away the sweat that was already streaming down your face,

“What took you so long?” 

“Sorry, noona. I ran into the others in the hall.”

“Oh, no need to apologize. I just got worried that you got lost or something.” You lightly punched him on the shoulder as you teased, “Anyway, I think I got the routine down. Let’s just run through it a couple of times.”

Jimin nodded and you went to the music player to start up the song again. Over and over and over, the two of you went across the floor dancing the routine until every little bit was perfected. Three hours into practice, your backup dancers arrived and Jimin sat to the side watching you dance with them. 

He loved watching you dance. Every move, every turn, every expression on your face just screamed determination and perfection. In a way, you two shared that. You both worked hard and trained until you could no longer stand because you both strived for nothing but perfection. That’s what being in this industry does to people: pressure you to produce only the best. 

But when he looked at you, he also saw something else. He saw the practical, humble person that you truly were. Sure, you strived for perfection, but you were also laid back, down to earth, in touch with your own abilities. You knew that there was a limit to what you could do and that was something Jimin believed he lacked. He admired you for embracing the fact that you had flaws and knowing those flaws and not caring about them preventing you from achieving pure perfection. Maybe that’s why he was so attracted to you. 

As the song came to a close he stood up and clapped with a ginormous smile plastered across his face. The other dancers said bye as they each left and eventually it was only the two of you in the room again. 

“Wow, noona. That was incredible! Sometimes I wonder why you even needed my help in the first place. You really got the routine down to perfection.”

“Oh, shut up, Jimin. I couldn’t have done it without you.” Jimin blushed and you pretended not to see as you turned your attention to packing your things. After all, you didn’t want him to notice the strain in your expression. Ever since Jimin told you about Yoongi, you hurled yourself into work to get him out of your mind. Thinking about him and worrying about him pained you so much. You couldn’t help Yoongi like you used to, so you thought that instead of thinking about him, you should put your mind onto something else, like work.  

“Hey, noona. Since it’s the last day of practice, why don’t we go celebrate?”

“Celebrate?” 

“Yeah. Grab some dinner somewhere, maybe get a few drinks....I don’t know...if you don’t wanna then..”

“Why are you always so shy when you ask, Jimin? It’s not like I’m gonna decline. Of course, I’d love to hang out with you.”

“Really?”

“Yeah. The girls are great and all, but they aren’t into the stuff that I’m into like you are. It’s refreshing to spend time with a person who just...gets me.” 

“O-Okay....let’s go then?”

“Yeah, let’s go before the drunkards get too drunk. I don’t want to watch some old farts brawling in the middle of the bar.”

It was too late. The old farts were already having a small fist fight on the pool tables, so you and Jimin opted to buy some convenience store canned beer and snacks to go drink next to the Han River. Luckily for you two, there wasn’t a large crowd out and it seemed like no one recognized you guys. You silently thanked both BigHit and Music Box for deciding not to dye your heads a very noticeable color. 

You opened your beer and clinked cans with Jimin before taking a huge gulp, “Ahhhh. This is so nice.”  

“Yeah, it really is.” 

The cool night air and the bright lights of Seoul shimmering across the reflection of the water was one of your favorite sights to see in all of Korea. 

“You know, Jimin, I’m really gonna miss our dance practices. We’ve known each other for a little less than a week now, but it feels like I’ve known you for years.”

“I could say the same thing about you, noona. You know, we could just hang out like this...we don’t have to have an excuse just to come out and have a drink together all the time.”

“That’s true, but I mean do you really have any time? Because being an internationally known star doesn’t really scream ‘I have a lot of free time’. Don’t you guys work like 14 hours a day or something?”

“Eh, I can get away with a few hours here and there. The company doesn’t breath down our necks like they used to, so we have more liberty. The only problem is getting recognized by people, so that’s why we’re always cooped up in the company or at our dorms.”

“Oh, that makes sense. Everyone wants to get an eyeful of Mr. International Playboy Park Jimin-ssi, right?” 

Jimin laughed, “Actually, Jungkook’s the real international playboy.”

“No way, isn’t he like...kinda shy?”

“Jungkook? Shy? That’s all for show. You should really see what he’s like. One time I happened to stumble across...”

“Shush, I don’t need to hear the rest of that story.” 

“Why?” 

“Because!”

Laughter filled the air as you and Jimin continued to share drinks and bond over personal stories and common interests. You got to know his that he was a cat person over a dog person (although he did say that puppies always stole the competition) as well as his constant battles with insecurity. He learned about your interests in cooking and your past struggles with onstage anxiety. It was like you two opened your books for each other to read. But of course, you would always keep one chapter of your life a secret. That chapter’s name was Yoongi.

By the time your ex’s name popped into your head again, you and Jimin had finished all six cans of beer. You could hold your alcohol well, so three cans wouldn’t have such a drastic effect on you as it did to some other people. However, it would be a lie to say that you weren’t even the slightest bit tipsy. 

“Jimin-ah...” His name rolled so easily off your tongue now, “Jimin-ah...I need some advice...it’s for a friend...”

Jimin was sitting hunched over on the steps his cheeks were flushed with a rosy pink hue, “Sure, advice is nice...hehe...that rhymed...”

“So...I have a friend...and she has another friend and they, uh...they were close. One day something happened and...now they’re not so close. But they met again much, much later...and it’s awkward and they don’t know how to act...but then her friend got hurt and she wants to help him...she doesn’t know what to do.”

“Does this friend of yours care for him?” You wondered when you started to lean your head on Jimin’s shoulder, but you weren’t sober enough to care,

“I mean...I guess...I don’t know...” Jimin tilted his head towards you placing his cheek on the top of your head and closed his eyes basking in the moment,

“If your friend cares then she should help him.”

“Even if they don’t know where they stand in their relationship? Even when it’s all awkward and weird?”

“If you truly care for a person, then the situation shouldn't matter...kinda like now.” 

“Now?” With your head against him and his head on yours, you could feel his breath shaking. 

“I shouldn’t be out here...drinking with you...in public where anyone can see us, especially with the kind of jobs that we have. But here I am with you. I’m here because I want to celebrate your success with you.....and because I...”

Quickly, you shifted in your place next to Jimin and wiggled his head off of yours. Soon you were on your feet rubbing your face with your hands. 

“Um, I’m going to buy us some water. We should sober up a bit before going home, don’t you think?”

He nodded, his eyelids still half closed due to his drunken state.

Gif not mine, creds to the owner

[burndownthehousetonight]

Hazel Reviews Music despite lacking Any Expertise or Cultural Knowledge of Anything

- Heather Dale - The Road To Santiago

Out of my entire CD stack, this was the album I most worried about listening to. Not the industrial metal or the hardcore punk rock or the oblong CDs I knew nothing about, this humble Celtic folk album. My worry was very simple: The third to last track on this album, Medusa, was my introduction to Ms. Dale. It is also one of my favorite songs of all time, and I feared something in this album would ruin it, that it would somehow not live up to the sheer love I have for Medusa.

Heather Dale’s voice is low and soothing, almost a contralto I would expect. The reliance on classical fiddle, piano, and various ambient instrumentals ground her music and vocals in an ethereal sense. The worlds are painted in the veneer of a folk legend. Appropriately, as many are explicitly based on several folk legends. The world itself is comfortable yet powerful. 

Of course none of the other tracks are as good as Medusa in my opinion, I would be surprised if any of them were. But it’s a full album of incredibly solid tracks. From the bare-bones simplicity of the eponymous Road To Santiago showing off her soothing voice, to the ever-moving and suspenseful Black Fox, to the sorrowful power of Confession, every track sticks out from the pack. Folk is the sound of my childhood, and hearing new music so masterfully crafted felt like a cozy blanket over my soul. 

Nitpicks are few. My only suggestion would be to skip The Pear Tree. Oh, it’s fine enough, sure, but it’s far too blithe and silly to mesh with the rest of the album. Otherwise... this is an album I need to give time to appreciate properly. Doubtless there will be more to love as I continue to listen to it. I cannot recommend highly enough you take the time to listen to this as well. 

[poetzproblem]

Something In Your Eyes Is Makin’ Such A Fool of Me

Something in your eyes is makin' such a fool of me When you hold me in your arms, you love me 'til I just can't see. ~Borderline, Madonna

Rachel is in an extremely good mood as she strolls along the sidewalk toward her apartment on West End Avenue, humming the melody to her very favorite song off her newest, soon to be released album. Well���all of her songs are favorites in one way or another, but she's exceptionally attached to this one because she'd written it about her beautiful little girl. It's a promise to always be there for her, and God-willing, she'll be able to keep that promise so much better this year than she had in the last.

Rachel loves her life. She adores her family. And she's thrilled with the sudden explosion of her career on every front that's been happening in the last two years, but she's the first to admit that she'd overextended herself more than a little in the past eighteen months or so.

That first year after Calliope had been born, Rachel made it a point to be home with her wife and daughter more often than not, passing the time by working on her first album with Atlantic Records—a moderate success that had earned her a Grammy for Record of the Year, thanks to one particularly catchy (and, in Rachel's humble opinion, masterfully recorded) song that had broken out and been all over the radio right before the nominations.

But when Callie was fast approaching her second birthday, Rachel decided to sign on for a television pilot that had been filming right here in New York, and to her surprise and delight, it was picked up by the network.

That had been the beginning of Rachel's newly crazy schedule, even though her role on the show, Union City Blues, is technically a supporting one. (One that won her a frickin' Emmy last September, thank you very much!)

Hard on the heels of her television success had been the offer to reprise her role of Iris in the big screen adaptation of Confessions, and there was no way that Rachel was going to pass up that opportunity, so she'd burned through her summer hiatus from Union City with an insanely exhausting film schedule before going right back to work on the second season of the show.

And in the middle of that, the record company had pushed her to start recording the second album of her two album deal, and—

Needless to say, she hates how little quality time she's actually been able to spend with Quinn and Callie recently. Quinn has been so wonderfully understanding about all of it—supporting Rachel and encouraging her to take these opportunities—but Rachel can feel the strain it's been putting on their family, especially with Quinn's time more in demand thanks to the success of her books and the resulting movies.

So now, finally, Rachel is looking at a blessedly light schedule for the rest of the year. Her album is coming out this summer (so she'd just been at the record company this morning to listen through the tracks again and offer some final input on the cover design) and the Confessions premiere is set for the end of August (appropriately in time for Callie's fourth birthday), and the fate of poor Abby (her character on Union City) is about to be tossed into cliffhanger-y suspense just in time for May sweeps, so Rachel already knows that she won't be required on set quite as often when they start filming season three.

(And maybe—just maybe—watching Santana and Teresa decide to take on motherhood for themselves had given Rachel a touch of baby-fever and caused her to mention to her producers that she and Quinn might be thinking about trying for a second baby in the near future and ask if the show would be able to work around a possible pregnancy. Nothing like that is happening just yet but it maybe could be in the next year or so.)

With a bounce in her step, Rachel turns into her building, waving at Stanley, the part-time doorman, on her way to the elevator. She loves that they have a doorman here. The apartment had been on the very upper limit of their budget when they'd signed the lease four years ago, but with the recent successes that they've both been enjoying in their careers, it's more than comfortable now—comfortable financially anyway. Space, on the other hand, might be becoming an issue with an energetic three-going-on-four–year-old who bounces around from room to room like a bunny on speed. (An adorable, cuddly bunny that Rachel loves with all of her heart and soul.) It might just be time for Rachel and Quinn to discuss upgrading to an actual house with a yard for Callie to enjoy somewhere outside of Manhattan, especially if they decide to go ahead with the potential expansion of their family.

When the elevator comes to a stop on her floor, Rachel practically skips out of it, eager to spend the rest of the afternoon with her girls. It's such a lovely day—in the mid-seventies and sunny with a nice breeze—and she's thinking that maybe they can all go play in the park. She's still humming when she slides her key into the lock and opens the door, stepping into their bright apartment with a cheerful, "I'm home."

She frowns a little when she isn't immediately greeted by her wife's voice or her daughter attempting to tackle her around her knees. "Quinn, baby? Calliope?" she calls out on her way through the foyer.

"We're in the living room," Quinn finally answers, voice sounding a little odd.

Rachel heads directly for the living room to discover Callie curled into Quinn's side on the sofa with wide, wet eyes while Quinn looks up at Rachel regretfully, one arm curled securely around their daughter.

Rachel's heart practically stops beating before jumping into her throat. "Oh, God. What happened? What's wrong?" she asks in a panic, rushing over and sinking onto the coffee table across from them, immediately reaching out to gently cup her daughter's wet face, but Callie only turns her head into Quinn's breast to hide from her.

Rachel sucks in a harsh breath at the rejection and jerks her hand away, her heart breaking as she turns to Quinn in hurt confusion.

Quinn reaches out a hand—the one that isn't currently holding their sniffling daughter—to take Rachel's limp one as she offers a reassuring smile. "Don't panic, sweetie," she instructs in a calm, even tone. "We're both fine. No one is hurt." Then she cringes mildly, glancing down at Callie. "Well…no one except Emmy."

Rachel's brows furrow even more as she glances between the two most important people in her life before her worried eyes settle on Callie, who's peeking around Quinn's damp shirt with doleful eyes.

"Who's Emmy?" Rachel asks in bewilderment, wracking her brain to remember if Callie has any little friends in her preschool class named Emmy.

Quinn sighs, shaking her head as she lets go of Rachel's hand and reaches down to pick up something from the sofa beside her. Rachel's eyes follow the motion, registering the flash of gold and—

Rachel's hand flies to her mouth to suppress a squeaking gasp of horror, and her eyes go wide as they take in her once beautiful statuette—now broken off its black base with a missing globe and bent wings.

"She took a little spill this morning," Quinn explains apologetically. "I'm afraid her condition is critical."

Rachel's attempt to respond to her wife's inappropriate humor is barely more than a pained grunt.

"I'm sorry Mama," Callie mumbles tearfully—though it comes out sounding more like Mm thawee Mmm since her face is still mostly buried in Quinn.

Rachel pries her hand from her mouth and forces a deep breath into her lungs, tearing her eyes away from her poor, mutilated Emmy Award to study her daughter's guilty posture. It finally registers that her precious baby girl is Emmy's assailant.

"H-how did it happen?" she finally manages to ask, glancing back to Quinn with a forced calm.

It's just a statue. An inanimate thing, she silently reminds herself.

The third piece to completing my coveted EGOT that is now in pieces!

Quinn sighs, rubbing a comforting circle over Callie's small, quivering shoulder. "Someone got a little too rambunctious during her reenactment of Merida's daring rescue of her mother and ended up tackling your award case."

Rachel's frown deepens, and she reaches up to rub two fingers over the bridge of her nose. "I knew we should have gone with the wall mounted one," she grumbles—but no, Quinn had thought that one would be too dangerous with both Oliver and Callie running around, so they'd gone with the floor cabinet instead, and—

"Oh, my God," she gasps in realization, immediately sliding off the edge of the table to kneel awkwardly on the floor in front of Callie, her decimated award all but forgotten. "Callie, baby, are you okay?" she rushes out, gently running her hands over her daughter's tiny form. That case is heavy oak with a thick, glass door. Callie could have been seriously injured. "Did you get hurt?" she asks fearfully, stroking Callie's dark hair as she tries to urge her daughter's face away from its hiding place so she can thoroughly inspect her for injuries.

Callie's little head shakes furiously against Quinn, but she still won't look at Rachel, and she's beginning to fidget noticeably even as she stays burrowed into Quinn's side.

Quinn bites into her lip, suppressing a smile. "She's perfect, Rach. No injuries whatsoever. I promise."

Callie makes a noise then that doesn't sound much like a sob at all. In fact, it sounds more like a muffled giggle, and Rachel frowns in apprehension as her gaze flies back to Quinn, whose eyes are alight with a suspicious twinkle.

"I don't see what you could possibly find funny about any of this," Rachel accuses, and her daughter—her sweet, guilt-ridden daughter—collapses into giggles.

Rachel's eyes narrow. "Quinn?"

Her wife ducks her head close to their daughter's hair with a mischievous smirk. "Callie, hon, what do you have to say to Mama?"

Callie pokes her head up then, all her tears dry as she grins toothily at Rachel. "April Fool!" she squeals before enthusiastically flinging herself at Rachel, tiny arms looping around Rachel's neck and tugging her forward.

Rachel teeters off balance from her daughter's unexpected weight, and she has to catch herself against the edge of the sofa to keep from toppling forward. Next to them, Quinn is laughing her ass off.

"This…this was a prank?" Rachel realizes incredulously, even as she instinctively wraps Callie in her arms. Belatedly, she remembers that today is, in fact, the first day of April. God damn it!

"We got you good, Mama," Callie boasts, obviously tickled pink at her part in this subterfuge.

"You certainly did," Rachel admits with a faint smile, unable to resist her daughter's infectious exuberance. She'd really believed—wait! Her eyes suddenly fly back to the mangled award still in Quinn's hand. "But…but my Emmy?"

"Safe in the closet," Quinn assures her. "This one is plastic," she supplies, holding it out to Rachel for closer inspection. "I have to say, those prop guys on your show do some high quality work."

Rachel's eyes widen in disbelief. "Quinn! You turned my own crew against me?"

Than damnable eyebrow inches up smugly—because yes, Quinn's eyebrow absolutely is capable of being a smug, little bitch all on its own. "What can I say? Tommy likes me."

Rachel scowls at her. "A little too much, if you ask me," she mutters, making a mental note to have a few words with the cocky, young prop master when next she sees him. His crush on her wife has just crossed the line from cute to bothersome.

"Your face was so funny," Callie tells her, still grinning irrepressibly.

"Oh, it was, was it?" Rachel challenges, feeling her lips twitch at her daughter's giggly nod. "And did Mommy tell you exactly what to do to get me to make that face?"

"Uh huh," Callie confirms happily.

Rachel darts her reproachful gaze back to Quinn. "I can't believe you dragged our innocent daughter into your wicked plot to dupe me again," she huffs, heaving herself off the floor with Callie still in her arms—it's not nearly as easy as it used to be when she was smaller—and settling them both onto the sofa next to Quinn with Callie snugly between them.

Laughing again, Quinn shakes her head. "You should be proud of how well she takes direction. She's a natural," she compliments with a proud smile, tapping their daughter's nose and receiving another delighted giggle before bowing her head to press a kiss to Callie's messy curls. "You're as good an actress as Mama."

"I know," Callie agrees, beaming up at them both and making Quinn laugh in delight.

Rachel presses a hand over her heart, realizing that Quinn is absolutely right. Callie had her convinced that she was distraught—tears and all—right to the moment she broke down laughing. Her daughter has talent.

She's so incredibly proud.

Except—

"You were very convincing, little star," Rachel promises her daughter, wrapping an arm around her, "but we really have to work on the roles you agree to take. Being Mommy's evil minion," and she side-eyes Quinn, "is a waste of your immense talent."

Callie giggles again, and Quinn rolls her eyes, reaching out to gently comb her fingers through Callie's hair and fuss with that one stubborn curl that always curls in the opposite direction. "But we had fun, didn't we, Sunshine? Mama's such an easy mark."

"It was fun," Callie agrees with a nod, kicking her little legs against the cushion. "I wanna do it again."

Quinn laughs in delight, and Rachel sighs in resignation at her daughter's easy betrayal. "I can't believe I have two of you now," she complains affably.

"You love that you have two of us," Quinn counters knowingly.

Rachel feels her mouth curve into a content smile as she gazes lovingly at her two pranksters. "I do," she agrees, cuddling Callie closer as she leans into Quinn and brushes a brief kiss across her smirking lips. She'll happily play the fool for them every single time.

[theseventhhex]

Amenra Interview

Amenra

Photo by Stephan Vanfleteran

Contrasts have always been deep, and at the very core of Amenra's music, ever since they started expressing their Prayers and holding their Masses eighteen years ago. ‘Mass VI’, Amenra’s latest release, more than any other album in Amenra's past, highlights those contrasts in a deeply affecting way. 'Mass VI' is an emotional rollercoaster until its very last second with each band member seemingly being stretched to their physical limits throughout. Tormented darkness has always coexisted alongside luminous beauty, thunderous impacts instantly followed by frail, delicate intricacies. As always with Amenra, this art has come straight from the souls of the musicians involved, they are capable of establishing connections with their listeners more reflective than most because they are direct heart to heart connections… The Seventh Hex talks to Colin H. Van Eekhout about a valued chair, singing in different languages and spirituality…

TSH: As you readied the excellent 'Mass VI’ you had a studio in the middle of the mountains, in the woods. Tell us more about the band camaraderie as you were out there…

Colin: We went in the valley and a couple of days it snowed so much we couldn’t get out of there anymore, which obliged us to stay ‘in the moment’, which was beautiful. We all stayed together for the entire process, which we hadn’t done for ‘Mass V’ and it did not feel right.

TSH: It took a while to write the album. Was this because you wanted to have a valid reason to write new material, as well a necessity and honesty to allow you to reach new levels of intensity?

Colin: That is exactly what we need to (in our opinion) write an album with value to us. Something we can truly cherish, and look at with a certain abstract respect. Truthful music is felt to the bone and marrow. You cannot deny or ignore true emotion in music.

TSH: Beneath the surface of the heavy riffs and the dark tones, you also feel that there is a light in your music. Do you feel you start from darkness and try to evolve towards the light?

Colin: Yes. We start off from the dark matter in life and try to bend it into light. In every moment of adversity, there is light, sometimes invisible, and it’s our task to help people look for that light in that moment in time.

TSH: I understand you like chairs very much. When you play alone, do you still always use the same chair?

Colin: I try to. I had to skip it a few times, for fly-in shows and so forth. But it was the chair I used for the first concert I did. I tried to take it with me everywhere I went, like a companion. It’s like I felt some form of gratitude to it for holding me together on that first show and made it my friend. I don’t know why but I am drawn to those objects, they can help you along the way, to tell your story. Everything is important. The chair you sit on, the glass you drink from, everything plays its part.

TSH: What does a track like ‘Children of the Eye’ convey to you personally?

Colin: I felt the song to be an all-out attack. The lyrics to the song needed to fit its suffocating effect - then I chose to spit fire… a lot. We are fighting a collective fight, as humans. During a lifetime, we have to fence off everything that threatens that life. That love.

TSH: ‘A Solitary Reign’ is a stunning track. Can you give us an insight into how you built this one and fleshed it out…

Colin: Levy pretty much gave form to this little stunner on his own. Being the last one to join the band, he was the only one who had not been able yet to put his signature under the body of work Amenra has created throughout two decades. During a period of time he chose to live in solitary for a while and lived during the night and slept during the day. In a way he was in an existential crisis and took the time to write it off. The music to ‘A Solitary Reign’ was formed by his hand and we all had our say in the whole, but not a lot changed. Around that time Bjorn’s Mom had passed away and we all felt that this song needed to become a hymn. An ode to our mothers.

TSH: Moreover, was the idea of having cleaner singing on this record something that was helped through playing acoustic shows?

Colin: The solo shows I did and the acoustic shows we did with Amenra probably made me a little more certain about my own singing. And slowly the clean voice has also become one of my ‘internal’ voices. As a singer you let the music sink in through repetition. And slowly you start hearing the voices inside your head; ‘what comes naturally’ and here obviously the clean singing voice made its appearance. But we soon realised that a live setting is unfortunately not as convenient as a studio setting to bring songs like these to the forefront.

TSH: You also sing in different languages on this album, as each language carries a different emotional effect. Were you drawn to different languages depending on what you were trying to say and state?

Colin: Pretty much. I came to the conclusion that some things are better said in this or that language. It not only sounds better (or more poetic) sometimes, but a lot of the times it has added value. It makes more sense, or above all has more power. In Belgium we are brought up with different languages, so it’s also a way for us to keep it close to home. The story we are trying to tell has no true language, but that of the heart.

TSH: For the performance side, how important is the imagery and the energy of the band in addition to the way the music is presented to allow fans to feel escapism?

Colin: The energy is of utmost importance, the fact that we give it our all gives it more momentum. It’s magic if you will. It allows us all to surpass that moment. The live visuals allow listeners and audiences to drown in self-reflection; sometimes it’s good to let our music become “abstract” matter. And the visuals can help with that, at times.

TSH: Amenra keeps the music really close to yourselves. You’ve mentioned you never go a lot further than your families and your close friends. How does this benefit your outlook on the music?

Colin: I hope it stays more honest and truthful. It makes sense to us and it’s not a constructed concept. It is still the truth we translate into music. Yet our truth, and the fact that our families and loved ones are involved makes it more heartfelt.

TSH: Growing up, you saw a lot of your friends going to church and mass, but you had an entirely different vision. Did this help you with your stance on spirituality as you got older?

Colin: I think so; I suppose it was still fresh for me. I believe you only need spirituality when you need it. It makes no sense to imply it on a person who has no need for it. The morals of religion at its origin can be considered beautiful - the importance of ritual in those religions as well… I mean we take what we consider to be valuable to ourselves and make it ours again.

TSH: The reception to your latest record has been amazing, as you’ve created something of value to not just yourselves, but others too. Are the personal connections that listeners have with your music one of the factors that makes you feel very grateful?

Colin: Above anything else it is the most rewarding thing I know. Realising that others can pull strength out of what we have created is beyond us, and is very humbling. We are graced by the impression that we are actually creating something valuable on earth. That we are doing “a good job” with what we create, you know? It’s hard to describe. Like if it were some kind of destiny.

TSH: When you overlook an amazing band like Tool, which attributes do you admire mostly?

Colin: Their vision and determination to do it their way.

TSH: What are you mainly passionate about when you’re not working on music?

Colin: Family and friends. Although I consider myself to be a lousy friend, I am never there but with my heart.

TSH: Finally, is it quite a therapeutic concept to know that Amenra has formed you as a human being and that the band will define your persona for many years to come?

Colin: I would call it frightening.

Amenra - “A Solitary Reign”

Amenra - “Children Of The Eye”

Mass VI

[raggywaltz1954]

This is one of my favorite Miles albums.  Tastefully recorded under electric circumstances, this live album comes from a 1964 benefit concert, and the material from this concert was put out on two records, this being one of them.  Interestingly, Columbia decided to put the more upbeat, faster tunes on one album (Four And More) and the ballads on the other. (this album).  Miles and his group are in a lyrical, whimsical mood on this album, stretching out on each track and probing each tune inside and out.

The Music

Recorded 12 February, 1964 in New York City, NY

Tune:  ‘Stella By Starlight’

Miles Davis:  Trumpet

George Coleman:  Tenor Saxophone

Herbie Hancock:  Piano

Ron Carter:  Bass

Tony Williams:  Drums

As mentioned before, this concert was a benefit event held at the Philharmonic Hall (aka David Geffen Hall) and was co-sponsored by the NAACP, the Congress of Racial Equality and the Student Nonviolent Coordinating Committee. The concert was specifically in support of voter registration in Mississippi and Louisiana.  According to a biographer, one of the concerts was in memory of John F. Kennedy, who had been assassinated the previous year. “Kennedy’s death had struck at the hopes of many in the Civil Rights Movement, a cause dear to Miles, who had expressed his admiration for the President in 1962: “I like the Kennedy brothers; they’re swinging people.””

The music on this album has been described by critics as ‘inspired’.  I agree.  Miles displays a movingly lyrical side to his trumpet that he rarely if ever displayed, at least on records.  He seems to have inspired the rest of the group as well, although it may not have been solely based off his playing.  During the intermission, Miles told the group they wouldn’t be paid for the performance, and that he had waived off the band’s fee in the name of the cause.  Understandably, the rest of the group was upset.  Miles credits the tension and inspiration behind the music to this argument with the group.

One of the reasons why I love this album so much is because of the chances the group takes with the songs.  Often times, the drums drop out altogether, or the bass plays out of time.  It makes for some arresting, beautiful and intense music.  This 13-minute outing on ‘Stella By Starlight’ is a great example of this.  Herbie Hancock (still with us and making music) plays a poignant intro, then steps aside for Miles’ entrance.  Miles’ tone on the trumpet is sour and a little rough, attributed to his sorrow over Kennedy’s assassination, but it’s still every bit as expressive.  The great thing about live recordings is you get the audience along with the music, and on this track, in response to sudden kick in Miles’ solo, somebody in the crowd makes a rather startling yell.  I would have loved to see the audience’s reaction.

In the many great line-ups that Miles fronted over the years, saxophonist George Coleman often gets overlooked, which is a shame.  He was (and is) a solidly swinging musician with a great tone on the sax, and in my humble opinion sounded just as great as Wayne Shorter and was maybe a notch more creative than Hank Mobley.  He didn’t make you forget Coltrane, but he was an interesting soloist just the same.  On this album in particular, which would be his last with Miles, Coleman plays some rather moving sax, weaving line after silky line.  He even pulls a Miles and ends his solo in the middle of the chorus.  Hancock plays some tasty piano here, and his flourishes behind Miles when he restates the melody at the end is gorgeous.  All in all, it’s a wonderful performance.

The Cover

College Jazz Collector Rating:  A

Miles was always a sharp dresser.  Always.  On this album cover, his impeccably fitted navy suit and the polka-dot tie (NOT a skinny tie like you’d expect in the mid-60’s.  Extra style points) against a crisp white shirt could very well appear on a model in GQ magazine.  His facial expression coupled with the way he’s holding his trumpet gives one the impression that this photo was snapped mid-performance, Miles in thought, concentrating on the music.  A very cool cover.  What you (fortunately) can’t see is the number ‘147’ that the previous owner wrote in black marker in the top left corner.  I have no idea why 147 is significant.

The Back

Again with the defacing of the record jacket.  “But I’m sure you wrote your name on some of your CDs”, you may say.  That’s different.  CDs aren’t art, and they sure won’t be worth big bucks one day (I would love to eat my words, but I doubt it).  This person had to write their name twice.  Maybe that’s why one name has the II?  The late, great Nat Hentoff provides the fantastic liner notes, chock full of trivia and intrigue.  Like the factoid that drummer Tony Williams was only 18 years old during this recording!  That bold ‘A’ at the bottom right corner apparently has something to do with where the album jacket was printed.  Nobody seems to know exactly what they signify though, and some albums have numbers instead of letters.  It’s a quirk unique to Columbia albums.

The Vinyl

Dark red two-eye labels with the black ‘360’ arrows signify a first pressing.  The runnout number ends with 1-C on both sides, which in Columbian means this is a 3rd cutting, which in civilian means next to nothing.  In theory, the closer the record is to the first cutting (1-A), the better the sound should be.  Depending on numerous factors, though, this is highly variable.  Columbia records were some of the best-sounding records during its day though, so any record by them is liable to sound great.  My copy was advertised as VG.  It’s got some snap, crackle and pop in it, as well as a skip or two, but the music comes through pretty well.  Every now and then, the bane of record collectors (especially poor ones like myself who can’t afford the better condition copies i.e. the more expensive copies) that is groove wear rears its fuzzy head, mostly affecting Miles’ already sour trumpet.  But as this is one of my favorite Miles albums, I feel the minor sound issues here and there are worth it; at least I have the album in its original form.  The stereo is nice, with nice placement of instruments.  The horns and the bass are right in the middle of the mix, with Hancock’s piano on the left and Tony’s drums on right.  The sound is so clear, during the quiet passages you can hear what I assume is the echo in the back of the building.  It’s one of the best-sounding live jazz concerts captured on record.

The Place of Acquisition

I had to fight for this record.  That is, I was in a brief eBay bidding battle with a few people.  The seller was bidding quite a few jazz records, and I had bids on five of them.  Lucky for me and my wallet, I only won two of them, the other being a Horace Silver album.  They all started at $9.99, and after the minor skirmish, won the bid for this album at a little over $11, slightly more than the typical iTunes album and much cheaper than a new CD (yuck) or new vinyl album at Barnes and Noble (yuck squared).  Not bad at all.  The college student scores again!  At this point, it seems like all my albums came from eBay; not true.  It’s just easy and convenient for me to shop while in class (not proud of that) than actually travel down to the store.  Then again, as of late, I rarely buy off of eBay, preferring to support the local record store.  I should probably start spot-lighting some of the stuff I’ve found there…

My Funny Valentine // Miles Davis (CS 9106) This is one of my favorite Miles albums.  Tastefully recorded under electric circumstances, this live album comes from a 1964 benefit concert, and the material from this concert was put out on two records, this being one of them.