#this is the only song i wanted to add to the setlist so now it's literally perfect

[risu442]

Jeff Satur in his own Words - #Legend interview

Q: Are they any ongoing projects or creative works you're focusing on right now?

J: These days it's mostly festivals. I also have a show coming soon and there'll be an EP in english as well as new songs. This year I'm focusing quite a lot on music. Last year the work was very varied. This year there also will be concerts. Towards the end of the year I'll be producing a series called "Happy ending".

Q: Is there a song of yours that you feel especially connected to?

J: If I had to pick a song that feels like the origin of many things it would be "Why don't you stay". It marked the beginning of a journey, a spark that unexpectedly set many things in motion. Back then after exploring various carreers I returned to acting full-on. People forgot that I was once a singer 10 years ago, things like that. That song brought back my identity as a singer and reminded people "Oh, this is that Jeff Satur".

Q: Your music videos often carry hidden messages. How involved are you in the creation of your music videos?

J: I'd recommend watching my latest music video 'Ride or Die'. It was one of the most exhausting shoots I've ever done. You'll see why once it's out. Recently, I've been listening a lot of Elvis\laufey along with jazz, blues and soul with old-school vibes. It makes me feel refreshing and breath easier. (Thanks for answering but not the question- Risu)

Q: Do you have any plans to release an international album in the future?

J: I've been working on songs with a producer in Sweden and there are quite a few we've written. The opening track for the EP, in English is Ride or Die. Ride or Die is like a bird without legs - it has to keep flying because stopping means death. The song is faster than anything I've done before. Most of my tracks are slow or mid-tempo, this one is truly upbeat. I think it's going to be so much fun to perform live and hope everyone will rock out of the hook.

Q: We've noticed that your concertfashion is always fun and fancy. Where do the ideas behind these looks come from?

J: Usually, I just wear what I bought that day because there's no choice. Just kidding. I want every show I perform whether it's the setlist or the performance itself to be unique, not just the same show repeated over and over. I don't see it as simply playing a concert or anything like that. For me it's about creating a fresh show everytime. Even outfits, like, what will I wear today? Things like that. It's the fun in deciding wheter tomorrow I want to wear the same kind of clothes or stay in my comfortzone. Honestly, I'm a person who get bored easily. Even with the setlist. So I always want to make it diffrent and unique. For each show I gather references and brief the team. For instance, if I perform in the North, I want to incorporate elements that reflect the North region, add it as a gimmick while staying true to myself.

Q: If you could collaborate with any artist in the world, who would it be?

J: I'd like to work with Elvis though he is no longer with us, but truly still willing to work with him. His comeback era is so inspiring, it's magical. Singing alongside him would have been incredible and a huge experience for me.

Q: Your song 'Rain Wedding' has recived great feedback. Could you share a bit about the creative process behind this song?

J: Actually the song 'Rain Wedding' something I wrote a long time ago. I had told my fans, 'Khun Wan-sao' - You know, there's going to be a song about a wedding, about the rain. That's how it started before evolving into the version you hear now. I completly reworked it, keeping only the chords and the first verse. I deconstructed the song delving into the lyrics along with recapture that feeling of 'Thongkham' and bring them back into the song then wave it into the melody. This song, I collaborated with khun Vivi who's both a songwriter and a writer. Then, her skill is truly brings an added elegance to the song. Then, I incorporated my own elements, tweaking certain parts and adding new ones. I remember that the phrase 'Hug Jao Lai' was there from the demo version. It just came out naturally. So was 'Yam Muea Fon The Long Ma' which has been part of the song since the very beginning, which I produced it, naturally. These became signature lines that I kept intact. The whole process was incredibly fun! And it's incredible how many people have gone to see the movie and shared their thoughts, saying: "Wow, it feels completly diffrent!". Watching it changed the meaning of the song entirely. It's reached a point where people watch the film just to discover how the song's meaning evolves. Initially, it's a love song, but later it becomes... something else.

Q: As someone who has overcome challenges: What advice would you give to those still searching for themselves?

J: The diffrence lies in self-awerness, I belive. Often we live under pressure without realising it, pressured by our own expectation and the others'. It's a normal part of life no matter the profession. But the moment we become aware of it we free ourselves from the unspoken rules of life. That awerness allows us to move forward without constantly worrying about whether something is "good enough" for this person or that person. Sometimes we forget that the most important thing to focus in life is whether we, ourselves are happy with what we've done. Success is fine, it's how society defines who has "made it" and who hasn't. But it's not necessary for us to strive to meet those. It's just life, and the question is: Do we enjoy what we're doing? No one can hold onto a throphy forever, at some point, we all have to set it down. So enjoy success and enjoy failure as well. In the end success and failure don't really exist. What remains is simply whether we loved and found happiness in it.

Q: Who is your #Legend?

J: It's still Elvis for me. He continues to inspire me deeply such as how he performed on stage. I watch his performances repeatedly and it's not just about singing or acting. He poured his souls into his shows. Even if I didn't understand any about music but I belive I still feel the spirit he conveyed without the need of knowledge to understand. That's what we, as artists need to preserve. I'm working in an industry driven by a huge amount of trends. The best thing we can do is not let those trends control us. Staying true to who we are and creating art that genuinely represents us is vital. That's what Elvis taught me, learning from mistakes and be the real artist that truly communicate to audiences, with heart.

Q: Could you tell us about 'Khun Wan-Sao'? Could you share a memorable story involving your fans?

J: Hmm, what truly impressed me is seeing Khun Wan-Sao and other fans following us to diffrent places even to provinces I'd never been to before. I aimed to visit all four regions of Thailand seeking festivals that truly represents each regions. Sometimes, I confuse about the names like Chiang Mai and Chiang Rai, but still want to reach every part of the country. What's heartwarming is people came sang along our songs and some even showed up just to hear us perform. That's incredibly touching and it's moment that reminds me why I wanted to be a singer. And it's because of the privilege given to connect with fans from all over.

[pardonmydelays]

OLDIES STATION

[delicatebarness]

if walls could talk

Summary: Tension between you grows as your secret relationship adds a thrill to your pre-show warm-up. You and Bucky, the band's bassist and drummer, steal a passionate, heated moment backstage.

Warning: Explicit Sexual Content- Under 18s DNI. Public Sex. Exhibitionism.

Word Count: 1303

The Tour Setlist | Support: Ko-FI

Edit A/N: This is now a stand alone. It did not get picked up from Prologue Season this time round 🥺🫣 Hopefully these two make a comeback.

A/N: Oh look another prologue for 'Prologue Season'. This one is just pure smut, I won't lie. Also, the tour setlist is all 5 Seconds of Summer songs, that’s the kinda vibe I have for the band. - Please feel free to leave feedback or let me know where and how you want the story to continue, this is just as much yours as mine. - B

If Walls Could Talk: @inlovewith505 | @justaspeachy | If you would like to be tagged, let me know.

Everything: @hallecarey1 | @pattiemac1 | @uhmellamoanna | @scraftsku35 | @ozwriterchick | @sapphirebarnes | @rach2602 | @thetorturedbuckydepartment | @lanabuckybarnes

Lost beneath the muffled roar of the crowd, the door of your dressing room slammed behind you. Imagining the pulsing light, thundering bass, and the crowd screaming, you became high on adrenaline. But now, your mind was elsewhere as Bucky was already on you. 

Grabbing your waist, he pulled you into him before you could say a word. As he pressed you against the door, your skirt rode up and his lips crashed down on yours. You moaned into his mouth, and your hands gripped the fabric of his shirt. 

“Fuck baby, you look good,” Bucky growls against your lips while sliding a hand under your skirt, his fingers brushing the waistband of your pants. 

With a smirk, you pushed back against him. “You like the pink Docs, huh?” you teased, lifting one leg and wrapping it around his hip. Your thigh pressed against the bulge in his jeans. 

He grunts, curving his lips into a grin as his other hand trails higher up your thigh. “You know I do.” 

You deliberately picked out tonight’s outfit– a black skater skirt, a ripped band tee from his favorite band, and the bubblegum pink Doc Martens that always drove him crazy.  When you put it on, you knew exactly what you were doing. And so did he. Bucky never could resist when you dressed like this.

Tugging his hair, you pulled him into another kiss, only messier this time. Your tongues slide against each other, and his rough, calloused hands cupped your ass. He dug his fingers into your skin causing a gasp to escape your lips.

“We don’t have time,” you whispered, trying to convince yourself more than him as your hips ground against him, the heat pooling between your legs. He was hard and insistent, and it only made the need for him burn hotter within you.

“We’ll make time,” he smirked, pushing your pants aside and sliding two fingers between your folds. A low chuckle escaped his lips as he felt your wetness. The anticipation for this exact moment had built up since the second you stepped into the dressing room. As his lips found your neck, he pressed his thumb against your clit, rubbing slow and delicate circles, making your head fall back against the door. 

You tried to stay quiet, biting your lip, but it was impossible as he slid inside you, curling just right. You gripped onto his shoulders, digging your nails into the skin that was slightly exposed as he moved his hand faster. You struggled to stay on your feet as his teeth grazed against your skin, biting down lightly. 

“Buck–” you breathed, barely able to form words as his fingers moved relentlessly. “I’m gonna–” 

Just then, a knock on the door came, moments before you were about to lose it. 

“We don’t want to know what’s going on in there, but you better wrap it up!” Sam’s voice echoed through the door, soon followed by Steve’s laugh. 

Bucky grinned against your neck, refusing to stop. His fingers pumped faster into you, his thumb rubbed harder against your clit, and the moans, loud enough to make you blush, slip from your lips. Bucky slaps a hand over your mouth, your eyes grow wide staring up at him, but the bastard just smirks as he leans down to whisper in your ear. 

“You wanna finish for me, baby?” His voice was taunting, sending a fresh wave of arousal through you. “Don’t hold back. Come for me, right now.” 

His fingers pushed you over the edge, and you tried to keep quiet as your body began to tremble with the orgasm ripping through you. You bit down hard on the hand muffling your cries, and your legs shook as the pleasure washed over you in hot, pulsing waves. Bucky’s eyes locked on yours, he watched every second as his expression switched to one more dark and possessive. He slowed his movements, drawing out every last bit of your release. 

He pulled his fingers out and began undoing his belt, and before you could catch your breath, he yanked his jeans down just enough to free himself. The sight of him made your already tingling body shiver. 

“Turn around,” he ordered, his rough voice leaving no room for argument. 

Doing as he said, you turned using your hands to brace against the door. He hiked your skirt up around your hips as he tore open a condom. Then, in one swift movement, he was inside you, slamming into you with one hard thrust. You gasped, digging your nails into the wood of the door. 

“You feel so good, baby,” he groaned, gripping your hips as started to move, fast and rough. Desperate for more of him, you pushed back against him as your cheek pressed against the door to try and keep quiet. The wetness between your legs, his body slapping against yours, and the sounds of the distant roar of the crowd, all blurred together in the haze of heat. 

You could barely keep up with Bucky’s brutal pace, your body pinned against the door as he fucked you like he couldn’t get enough. He tightened his grip on your hips, digging fingers into your skin, bound to leave bruising, but you didn’t care. You wanted it– needed it.

Sam and Steve were talking outside, but it was just noise to you, backgrounding the way Bucky’s cock filled you, stretched you, and made you see the stars with each thrust. Your body coiled tight, as you were ready to snap.

“I’m close, Bucky,” you pant, pushing back, desperate to reach another high.

“Oh yeah? You wanna come again, baby?” he groaned, leaning over you and slipping a hand between your legs, rubbing your clit in rough, tight circles. “Do it. Come for me.” 

That was all you needed. 

You cried out, your second orgasm hitting you like a freight train. The pleasure tore through you, nails scratching against the door as you rode out the wave, your body shaking. Bucky thrust harder, faster, his movement becoming erratic as he chased his own release. It wasn’t long before you felt him tense behind you, and a low rumbling came from his chest as he slammed into you once last time, spilling into the condom as his cock twitched against you.

The air in the room was thick with the smell of sex, and for a short moment, it was just the two of you, panting and tangled together. You tried to steady your breathing while he rested his forehead against your back. 

But then, another knock. Only this time, louder.

“I swear to god if you’re still in there–” It was Steve’s voice this time, it was clear he was running out of patience. 

You glanced back at Bucky, and despite everything, you both burst into laughter. After pulling out of you, he quickly disposed of the condom as you fixed your skirt, and smoothed out your hair with shaky hands. Your heart continued to race, the rush of what happened left you feeling exhilarated, and more alive than ever. 

Bucky gave you a playful smack on the ass as he opened the door, smirking toward Sam and Steve. “Relax, we’re ready.” 

“You two are going to be the death of me,” Steve crossed his arms, giving you both his disapproving look. Sam just shook his head, a grin plastered across his face. 

You couldn’t help but blush as Bucky shrugged unapologetically. Grabbing your bass, the familiar weight grounded you as you slung it over your shoulder. Bucky walked beside you as the four of you moved toward the stage, excitement from the crowds vibrated through the walls. But, all you could think about was the way his hand gently brushed against yours, your little secret still burning between you.

[jadeoru]

SMUDGED LIPSTICK

07: silent treatment -> prev / mlist / next

now playing: tightrope - movements 🎶

Awkward. Everything about this was awkward. You were sitting on the floor beside the bed, your back pressed against the bed frame. You haven’t looked at him once. He sat on the bed beside you, sitting cross-legged on the edge of it.  He was shamelessly staring at you; yet you refused to even acknowledge his existence. He silently admired your features, watching as you typed away on your phone. After taking a quick peek at your screen, he deducted that you were writing song lyrics. His eyebrows raised up briefly, face filled with amusement. Selfishly, he was glad to be here during your writing process. He thought to himself that maybe if this song gets finished, you might decide to release it to the world. And maybe, if that were to happen, you might add this song to future setlists; perform it for thousands to see. Then, maybe, just maybe, as the words you typed out right here beside him left your lips, maybe you would think of him; you would remember this moment. He shoved his ‘maybe’s’ aside, and watched your face scrunch up in concentration. As he watched you structure each verse carefully, only one thought crossed his mind:

Holy shit, you’re beautiful.

He’s glad you haven’t told him off for staring yet because god, he missed your face. He missed hearing your voice, even if your words were fueled by hatred; disgust. You made even the most incoherent of ramblings sound like poetry. His eyes scanned your face, putting every inch of your skin to memory, almost in fear that he would never get the chance to see it again. His heart panged at the thought of never seeing these expressions of yours again - how your tongue darted across your bottom lip. You shifted around on the floor. He knew you were incredibly uncomfortable down there, but your spite and pettiness outweighed any discomfort you felt. He fidgeted with his phone, trying to look like he was doing something, anything. He tried to act as if he wasn’t as desperate as he really was.

He failed.

Clearing his throat, he spoke up. “So are y-” “no.” ouch. You shut him down immediately, not even bothering to hear him out. He deserved it, he thought to himself. He would try again regardless. He would keep trying to get a word that wasn’t ‘no’ or ‘shut up’ out of you, no matter how annoying he got. But after the sixth time, it was evident to him that this would be a lot harder than it seemed. He was ashamed of how pathetic he was towards you, but the thought of giving up hasn’t crossed his mind once. If you didn’t want to speak physically, maybe there were other ways to get a conversation out of you.

He turned his phone on, and quickly added you to his contacts, before beginning to type.

extra:

BOKUAKA IS REAL!!!

sakusa feels SO pathetic but he always feels that way when it comes to you

you somehow always leave him speechless

but that doesn't mean anything!!!! he just misses your friendship!! thats all!!! totally!!

i wonder what the song yn was writing is about 🤔🤔

noya and hinata are having the equivalent of a 6 year old girls sleepover

like theyre giggling and talking about boys n shit

7 chapters in and they still hate each other.... oops...

its okay guys we're getting to the good part i promise

good things are coming!!!

kinda!

TAGLIST: @gojoed @itsdragonius @sleepy-writer84 @anianurst @yuminako @wolffmaiden @tenjikusstuff4 @juie13 @ilyless @arachnoia @choizzn @3lectraheart @diorzs @le000xxgrd @aboveasphodel @petrus1989 @aria-in-wonderland @sugarrhiccupp @bbybibi @walllflowerrrsss @wave2mia @loveelylacey @marimisses @alpha-mommy69

reply to this or send me an ask to be added to the taglist ! ^__^

[munson-blurbs]

@corrodedcoffinfest Day 24: Behind the Scenes

Word Count: 701/Rating: T/Pairing: Eddie Munson x Reader/CW: Eddie's got a crush, theatre girl!Reader, reader wears a dress, one dirty joke thanks to Gareth/Tags: Eddie Munson, Gareth, Grant, Jeff, theatre girl!Reader, Principal Higgins

Divider credit to @silkholland

“This is all your fault,” Gareth hissed at Eddie. “I should be behind the bleachers, making out with Annie right now.”

Eddie rolled his eyes, swiping a paint brush over a two-by-four. “Sure, blame the guy standing up to The Man. Let’s not consider that Principal Higgins was the one who banned us from the talent show.”

Jeff hiked up his sleeves and grabbed the nearest hammer, ready to construct the Scarecrow’s perch. “Higgins didn’t ‘ban’ us,” he countered. “He just told us we couldn’t play War Pigs.”

“And that’s better?” Eddie shook his head. “No, we were given freedom of speech for a reason! We should be able to play whatever we goddamn want!”

Mrs. Porter, the school play’s director, glared at him and shushed. Eddie held up his hands in surrender, but continued complaining in a loud whisper. 

“All I’m saying is, if he didn’t want us putting on our own lunchtime performance, he should’ve let us do our thing at the talent show.”

“I think the lunch ladies enjoyed it,” Grant chimed in, earning himself a thwack in the back of the head from Jeff. 

Eddie was about to thank him for his support, but a flash of pink caught his eye. You were standing in front of the girl playing Dorothy and twirling in your Glinda dress. After a few spins, you got dizzy, and Dorothy caught you as you both burst into laughter.

Gareth resumed his rant, oblivious to Eddie’s sudden smittenness. “I’d rather play Girls Just Wanna Have Fun than build sets for the fuckin’ school play.” He held the perch in place so Jeff could hammer in the nail. “At least we could write lyrics and plan campaigns in regular deten–are you even listening to me?”

“Huh?” Eddie blinked a few times, snapping himself out of his daze. “Yeah. Girls Just Wanna Have Fun. Got it.”

“What’re you looking at?” Grant peered around one of the fighting trees, his face splitting into a grin when he saw. “Oh, that’s why you’re not pitching a fit about this set design detention.”

Jeff batted his eyelashes flirtatiously. “Eddie, do you have the hots for the fairy princess?”

“Shut up!” Eddie grumbled. “And she’s not a fairy princess; she’s Glinda the Good Witch.”

The backup guitarist put up his hands in mock surrender. “My apologies.” 

“You gonna ask her to play with your wand?” Gareth snickered, but he quickly stopped once Eddie shot him a look that could kill.

You disappeared back into the makeshift dressing room, and Eddie let out a silent sigh of relief. He might not be able to stare at you from afar, but at least he could think about you without the guys interfering. The subject naturally shifted to the songs they wanted to add to their setlist for their Hideout gigs, and Eddie was in the clear.

Until.

“Those look great!” 

Eddie’s head shot up at the sound of your voice. His cheeks reddened and his mouth relaxed into a sheepish grin.

“Thanks, yeah. I’m not much of an artist–like, a painting artist. I band. Um, I mean, I play in a band. So, like, music artist. I do music. Yeah.”

You raised your eyebrows, clearly unsure how to interpret his rambling. “Well, a music artist is still an artist.”

“Yeah.” Christ, Munson; is that the only word you know?

Gareth was more than happy to supply further conversation. “Sorry, he’s kind of an idiot around girls he’s hopelessly in love with.”

‘I hate you’ was perched on Eddie’s tongue, but you stepped in. You paid no attention to the menace-formerly-known-as-Gareth as you spoke directly to Eddie. “Well, we always need music artists to help make the orchestra pit fuller. If you’re interested.”

“No–I mean, yeah, I’m interested. Super interested.” The paint brush clattered to the ground, but he barely noticed. “Where do I sign up?”

As Eddie followed you to where the orchestra conductor was tuning violins, Gareth leaned closer to the two remaining bandmates. “Think it’s a good idea to tell him that Higgins is technically the reason why he got to talk to his dream girl?”

Jeff clapped a hand on the drummer’s back. “Good luck with that.”

--

[aois-amaterasu-painting]

Bass Magazine - Reita interview (2022)

In 2022, the GazettE celebrated their 20th anniversary by releasing an expansive three-disc best-of album, the GazettE 20TH ANNIVERSARY BEST ALBUM HETERODOXY-DIVIDED 3 CONCEPTS, featuring 47 tracks. Each disc contains songs selected by the band members, encapsulating the band’s history and evolution over the past two decades.

Bassist REITA’s playing, in particular, showcases how he has adapted his approach to support the increasingly heavy band sound, while maintaining a firm foundation for the ensemble.

We had a chance to speak with REITA about the band’s two-decade journey and the evolution of his bass playing.

Interviewer: First of all, congratulations on your 20th anniversary. How do you feel now, having reached this milestone?

Reita: Thank you. Honestly, it feels like we’ve been charging forward without stopping, and suddenly, we realized it’s been 20 years. Saying “20 years” out loud makes me think, “Wow, we’ve really been doing this for a long time”. Still, it doesn’t feel like 20 years to me. It feels shorter, almost like we’ve only been doing this for about five years or so (laughs).

Interviewer: So, it feels like the time flew by. That said, it’s rare for a band to continue for 20 years. What do you think has been the key to your longevity?

Reita: Hmm… I think it’s because all of us in the band have always shared the desire to stay at the forefront. Many bands that last 20 years usually have periods where they take a break, right? But for us, we’ve always had this collective mindset of wanting to keep going, of not wanting to take a break. That shared commitment among all the members has been a huge factor, I think.

Interviewer: The three-disc best album the GazettE 20TH ANNIVERSARY BEST ALBUM HETERODOXY-DIVIDED 3 CONCEPTS- includes 47 tracks divided into SINGLES, ABYSS, and LUCY. Could you tell us about the concepts and song selection for each?

Reita: The SINGLES disc is simply a collection of our singles arranged in the order they were released. Of course, there was an option to release just this one disc, but we felt that wouldn’t capture the full picture of who we are. So, we decided to add to it. Previously, we’d done concerts themed around “ABYSS,” focusing on slower, deeper tracks, and “LUCY,” which featured intense, loud tracks. Taking inspiration from that, we created the ABYSS and LUCY discs by selecting songs based on those concepts. With these three discs, we feel we can show both—the face of the band and our essence as a live act. We thought that this would be the best way to get people to understand the GazettE.

Interviewer: Did you select tracks for “ABYSS” and “LUCY” from their respective live setlists?

Reita: That's right. We chose the songs together while discussing, “If we were to do ABYSS or LUCY concerts now, which tracks would we play?”

Interviewer: Using the tracklist of SINGLES as a starting point, let’s delve into the GazettE’s 20-year journey and your evolution as a bassist. Listening to the first track, "Cassis," I can really sense how both the band’s sound and your bass playing have developed over time.

Reita: Yeah, the phrases and the tone definitely feel youthful to me now (laughs). The bass playing on singles tends to be pretty simple overall. Even now, we still perform some of our older songs live, and there are definitely elements in those songs that still resonate with our current approach. So, even when I play them today, they don’t feel entirely out of place.

Interviewer: Up until your second album NIL (2006), which features “Cassis,” the band had a melodic and pop-influenced sound. Your bass lines often seemed to connect closely with the melodies, utilizing mid-range phrasing.

Reita: That’s right. These days, I often play phrases that are in unison with the guitars, but back then, we weren’t using the low-A tuning we use now, and my playing often involved following the melody. Without emphasizing the mid-range, the phrases wouldn’t have stood out. I also thought that simply supporting the low end wasn’t enough. Plus, I was young and had this urge to push myself to the forefront.

Interviewer: What kind of tuning were you using during that period? The bass sound also feels relatively clean.

Reita: Back then, all the strings were tuned down by one whole step. The recording environment was completely different from what we have now, too. We’d record in tiny, two-tatami-mat-sized studios that cost about 40,000 yen a day. And we could only make noise until around 9 PM (laughs). That meant we had limited time, and there were constraints on how much we could refine the sound. At that time, I didn’t have multiple amps to experiment with either. I just recorded with a single bass and used either the Ampeg or Markbass amp I owned back then. We couldn’t tailor the gear selection to each song like we do now.

Interviewer: Thank you for sharing those early-career struggles! Moving on, with tracks like “Filth in the beauty” and “Hyena” leading the way, STACKED RUBBISH (2007) marked a shift towards a heavier, breakdown-driven sound. It feels like a turning point for the band. How do you look back on that period?

Reita: I definitely see that era as a turning point. The sound we developed around the time of “Filth in the beauty” still lives on in what we do today. I think that period laid the foundation for where we are now. At the time, there was a trend for songs with big, groove-heavy rhythms, and we were also aiming to create tracks with those kinds of rhythms.

Interviewer: This was the time when sounds like metalcore and screamo were rising in popularity. Did those influences play a role?

Reita: I wouldn’t say we were consciously aiming for that, but back then, I was listening to bands like Limp Bizkit and Linkin Park and I wanted our fans to feel that kind of vertical rhythm. So even though we weren’t intentionally drawing from nu-metal influences of the late 90s and after, they probably crept in subconsciously.

Interviewer: Around this time, you dropped the tuning down to low B. With such a heavy sound, I imagine the demands on your bass playing also changed. Is that something that's still relevant to the current band dynamic and your playing style?

Reita: That’s right. Back then, we tuned down to low B, and I was using my white ESP signature model. Around that time, my playing became more focused on adding depth and weight to the sound. After recording STACKED RUBBISH, I started expanding my gear collection rapidly. I wanted more options, so I was buying a new bass almost every month (laughs). The style of music we played back then still aligns with what we aim for as a band today. And in terms of the sound I want to produce and the role I want the bass to play, the experience I gained during that period has been hugely influential.

Interviewer: Starting with TOXIC (2011), which includes tracks like "VORTEX" and "Red," the band adopted low-A tuning for both guitar and bass. This was a bold decision, and I think it was the moment when your approach to bass and your way of playing changed drastically.

Reita: I believe it was Uruha (guitar) who first brought in songs with low-A tuning, but honestly, my initial reaction was like, “A, seriously…?” (laughs). The other members create songs using programmed basslines, where low A notes come out cleanly and easily. But actually playing those notes live? That was difficult at first. Especially with the more aggressive songs, sometimes I’d have no idea what I was even playing. It got to the point where, during recording, I couldn’t tell whether a take was good or bad. I guess back then, I didn’t fully understand how to create a proper low A sound. Now, though, anything other than low A feels off. But at the time, it was a real struggle to get used to.

Interviewer: Around that time, you also started using a 35-inch scale bass with Bartolini pickups. Was this part of your approach to adapting to the heavier band sound?

Reita: Yeah. It was all about how to produce a precise low A sound. I asked ESP to make me a red-colored super long-scale model, with various modifications to achieve greater string tension. They added a tension bar on the headstock to create a steeper angle and made the bridge string-through to increase tension as much as possible. I always liked and was most comfortable with the JB-style bass, but it wasn’t ideal for producing heavier tones. That’s why we made a new model with altered pickups specifically for low A tuning.

Interviewer: You were using a 4-string bass but stringing it with the 2nd to 5th strings of a 5-string bass. Was using an actual 5-string bass ever an option?

Reita: Honestly, I think I missed the right timing for that decision (laughs). Back then, I had this stubborn mindset that “bass is supposed to have four strings.”, “Using a 5-string bass is heresy.” There was a period when I did use a 5-string, but I wouldn’t string it with the 1st string—it was this weird fixation I had. Looking back now, I regret not getting comfortable with a 5-string earlier (laughs). That said, I own plenty of 5-string basses, so who knows? There might come a time when I fully switch to them.

Interviewer: I see (Laughs). On TOXIC, there are also mellow tracks like "PLEDGE," which remind me of the early phases of your music. It seems like the album showcases not just heavy bass work but also a variety of approaches adapted to different songs.

Reita: When we were making TOXIC, we had our Tokyo Dome performance coming up and were releasing singles one after the other. Naturally, since singles would end up on the album, we couldn’t fill it with just heavy tracks—it wouldn’t have been balanced. As a result, the album ended up with a mix of different types of songs. But thanks to that, I think, my range as a bassist expanded.

Interviewer: In 2013, you released your 7th album, BEAUTIFUL DEFORMITY, and embarked on your first world tour. Looking back on that experience, how do you feel?

Reita: The world tour was an incredibly significant experience. I’ve always been the type who thrives in challenging environments, and live venues overseas often don’t have the same great setups as those in Japan. I think my mentality of being prepared for tough conditions served me well on tour. As a bassist, I think it’s important to maintain an air of composure. Panicking on stage doesn’t look cool—it’s crucial to project this sense of “I’ve got this, no matter what.” Also, since most of the audience overseas were seeing us live for the first time, it reminded me of the early days when we played joint events at live houses. Watching people in the back start to move along to the music gave me a nostalgic feeling—it was similar to those early days.

Interviewer: As evident from "UGLY," since 2015’s DOGMA, the band has leaned into a louder ensemble with strong metalcore and deathcore influences. Has there been a greater demand for "heaviness" in your bass playing as well?

Reita: Absolutely. With songs like these, there's a clear demand for more extreme heaviness. It felt like the theme of "heaviness" was being challenged anew. That’s why a song like "DOGMA" was particularly difficult.

Interviewer: To achieve even greater heaviness and intensity, did you use any new gear or techniques?

Reita: In terms of gear, BEAUTIFUL DEFORMITY was recorded with a ZON bass, but for DOGMA, I used a Music Man StingRay exclusively. ZON basses produce a balanced sound across all frets and are great for intricate, moving phrases. However, for DOGMA, where there are a lot of unison lines and a heavier focus, the StingRay’s distinct humbucker punch stands out better and fits the ensemble more.

Interviewer: I see. By the way, what gauge strings are you using for low-A tuning?

Reita: I use .130 for the thickest string. It’s not an extremely heavy gauge; it’s fairly standard.

Interviewer: For achieving heaviness with the low A string, picking technique is also an important consideration. Is there anything specific you focus on?

Reita: I adjust the strength of my picking based on the song. The faster the song, the lighter my picking. Lighter picking provides more consistent resonance and helps maintain the strings' stability. With mid-tempo songs, you can play with more force without issue, but in faster tracks, softer picking sounds noticeably more stable. When I played with the same intensity as before, the strings would vibrate too much and couldn’t keep up, so I was reminded once again that picking strength is important.

Interviewer: Additionally, in heavy ensembles, you need to adapt your sound to match the low-end presence of the guitars and drums. How do you approach that?

Reita: Guitars also need to bring low-end presence, which means their core sound starts to overlap with the bass's low end. This can result in both instruments canceling each other out, which defeats the purpose of the ensemble. My initial thought was to move even lower, but when you go too low, the sound doesn’t project clearly anymore—it just spreads out without definition. Balancing that was challenging. The bass drum's size also kept increasing—starting at 22 inches, then 24, and eventually 26 inches. Balancing the low-end frequencies between all the instruments became a significant area of trial and error.

Interviewer: When the guitars’ low-end overlaps with the bass, do you ever coordinate with the guitarists to resolve this?

Reita: My approach is more reactive—I try to use the available space. I don’t recall ever asking the guitarists to "cut back on the low end." Instead, it’s more like, "If they’re bringing that much low-end, I’ll adjust and find my space elsewhere."

Interviewer: In 2014, you performed at LOUD PARK 14, and in 2016, at KNOTFEST JAPAN 2016. Do you think participating in these metal festivals influenced your transition toward a heavier, louder sound?

Reita: I think it played a significant role. After performing at those metal festivals, we released DOGMA. And while we were there, we also took the opportunity to listen to various bands' sounds and learn from them. As a band, I think we consciously decided to head in a louder, heavier direction.

Interviewer: Listening to your playing, Reita, even within the heavy, dense phrasing, I noticed that in the sections with clean vocals, you match the melody with thoughtful note choices and phrasing. It feels like you’re adding color to the song, even within a heavy sound.

Reita: That’s true. While we’ve been leaning toward more metalcore sound, my musical roots don’t include much metal. Naturally, I gravitate toward creating more active, moving phrases. That kind of phrasing feels closer to my musical roots. Also, I feel like clean vocal sections are a prime opportunity for the bass to shine. Sometimes, during recording, I’ll suggest a line for a clean section, and it gets shot down with, "We don’t need bass here." (laughs) The lines that make it into the final track are the ones that somehow survived the process. I feel like subtle moments like those really showcase the bass as an instrument.

Interviewer: How would you describe your current approach to sound design? Your tone seems to emphasize a midrange core while also incorporating aggressive high-gain distortion, rather than the traditional scooped sound.

Reita: These days, I lean heavily into distortion. In the past, I used to focus on the 60–80Hz range for the low-end peak, but now I aim around 130Hz. Since MASS (2021), I’ve been deliberately crafting my sound around that frequency range. I’ve moved away from the mindset that "lower is better." Instead, I aim to create a low end that’s more audible and practical—something that still sounds good even when played on computers. Considering how many people listen to music this way, I'm conscious of making sounds that are easy to hear even on computer speakers.

Interviewer: So, you're adjusting the frequency range to suit modern listening environments.

Reita: Super low frequencies depend a lot on the speakers or earphones used for playback. But if you focus on slightly higher lows, they come through well on most speakers. That’s why I try to create lows that can be reproduced clearly on any speaker.

Interviewer: Looking back on everything we’ve discussed, how do you feel about the changes in the band’s sound and the evolution of your bass playing and sound?

Reita: In the early days, I really wanted to stand out on stage and make the bass felt in the forefront—it was all about getting the bass out there. But as time passed, I started wanting to play more in the background. That shift became especially noticeable around the time of Filth in the Beauty. Back then, I used to move around a lot on stage, but now I tend to stay close to my cabinet. I think my approach shifted from "assertive bass" to "supporting bass" over time.

Interviewer: Was this a deliberate shift in perspective for you?

Reita: Hmm... maybe it was the songs themselves that led to that change. When the songs became louder and more unison-based, I felt like the bass had to support the sound more. But now, I feel that kind of bass is ideal for me. After 20 years, I guess there’s a certain maturity that comes with it (laughs).

Interviewer: Lastly, as the band marks its 20th anniversary, what are your plans for the future?

Reita: To keep moving forward without stopping, so that one day people will say, “Oh, it’s their 30th anniversary already?” I want us to keep battling at the forefront. Many veteran bands tend to scale back live performances, focusing on just a few large shows each year. But that approach doesn’t really suit us. We want to keep a down-to-earth feel. Of course, we want to play at big venues too, but we also want to keep doing proper tours and traveling around the country. That’s the kind of band I want us to remain.

Interviewer: As a bassist, what kind of playing do you aspire to in the future?

Reita: What I’m always striving for is “a sense of security.” I want to give off the feeling of 'I can feel safe when he’s playing behind me.' That’s something I’ve been particularly focused on over the past few years. Of course, there are still parts where I’m inexperienced or areas where people can’t fully rely on me yet, but I want to make sure to build that up properly.

[bagofburntcreampuffs]

ʀʜʏᴛʜᴍ ɪɴ ᴏᴜʀ ʜᴇᴀʀᴛꜱ

Set List★

« previous · masterpost · Yuuken»

➼ now playing...ASAP

It’s been a couple of hours of laying around in the practice room, the setlist was only halfway done and it’s filled with festive music. Some with recommendations from Crowley and the rest was filled in by Kalim and Cater. Lilia wanted to include some random songs that weren’t festive, but it’s been hard to choose between some. Especially since some of these you had to sing. 

What’s considered festive, while also not really festive? Is jazz considered festive? You rack up your brain with song ideas as you try to think. Kicking your legs back and forth as you lay on your stomach, you doodle on the notepad you brought with you. The door bursts open as Yuu’s face peeks in. “Hi! Crowley wanted me to check up on you guys!” He excitedly moves towards you as he looks over to your notepad. Jamil enters the room right after Yuuken’s outburst, “How is the progress?”

“It’s alright so far, we’re a little stuck on some song choices. We have about 7 so far, we wanted to play 15.” Lilia responded.

You fiddle around with the corner of your page, folding and unfolding it. Yuu stares at you from the corner of his eyes. “Well, maybe you should do songs that remind you of home. Since the holidays most likely remind you guys of home right? You can do a song for each dorm and that’s about like, 7 more.” Yuuken suggested. He walks by the door and waves to you all, “I have to go check on the other dorms! Bye!”

Jamil mutters about finishing some more work and rushes out. The rest of the group sit in silence as they take in the suggestion. “That would be perfect!” Kalim yells out. Everyone else nods as they write down songs from their dorms. Now they have 11 songs. “We’ll have to ask the other dorm heads what song will be good to perform,” Cater said, “I can go ask the rest of the dorms, so that will give us 14. What should the last song be?”

It was silent for the moment, as everyone’s stuck thinking. “Can we perform a song from Yuuken’s world? He’s so far from home, I think it would be nice for him. But, let’s keep it as a surprise. I don’t want him to know!” You suggested. “That’s so sweet, Y/n!” Cater yells as he pulls you in a side hug. “Let’s do it, then!” Kalim responded joining you two in the hug.

After finishing up the setlist, you guys went ahead to practice the first 7 songs on the setlist for an hour before heading back to your dorm. Lilia and Cater needed to talk to Kalim so they waved you goodbye as you headed out of the room. Right as you open the door you almost crash into Jamil who was about to enter. 

“Sorry, I didn’t realize you were about to enter.” 

Jamil looks towards you and tilts his head, “Are you heading out now? I can walk you back to the mirror, it’s easy to get lost in the dorm.”

You stare at him, blinking owlishly, “Oh! Sure, I get lost a little easily.” Jamil nods towards you and starts to walk down the hall, you have to hurry to catch up as you shut the door.

“Jamil’s really sweet towards, Y/n, huh?” Cater looks towards Kalim and Lilia for a response. “A little uncharacteristic of him,” Lilia responded as he stared at the door. “Really? I haven’t noticed anything.” Kalim responds staring at the door with the others.

You and Jamil are halfway towards the mirror, but it’s quiet and a little awkward. “Did Kalim add you to the club’s group chat?” Jamil breaks the silence. You open your phone and realize that you don’t even have their numbers. “Oh, I don’t even have their numbers.”

Jamil stops in his tracks as he stares at you, “They didn’t give you their numbers? Ugh, of course, they didn’t.” He raises his hand and rubs his temples as he opens his phone with his other hand. He passes the phone to you, and you are greeted with the new contact information. Grabbing the phone, you type in your information and hand it back to him. “I’ll add you to the group chat later.” You nod at him. Then you realize you made it to the mirror during the time you two exchanged information. You push your hand toward the mirror, and you turn to look at him. “Thank you for walking with me, Jamil. Goodnight.” You said smiling up at him. He nods slowly and smiles back, “Goodnight, Y/n.”

a/n: Jamil is definitely ooc. Sorry guys

Taglist: @ars-tral @bookworm666 @cecil-garlicbread @mysme-stuff @doughnuts-eater @kirexa @s7-evermore

[tomorrowxtogether]

TXT Talks The Name Chapter: Freefall, Adulting, and Growing Pains

I have a feeling we are not in Kansas Neverland anymore.

In the four-plus years since their debut, TXT (Tomorrow X Together) have always embraced eclecticism, but their third full-length album, The Name Chapter: Freefall, takes things a step further.

When they burst into the scene, TXT started weaving a complex story told through the lens of a group of young boys. First, there was The Dream Chapter, which focused on the transition from childhood to adolescence and relied on colorful aesthetics and optimistic lyricism. Then, there came the quasi-Kafkaesque Chaos Chapter, which shattered the illusion of dreams, introducing real-world problems and a looming sense of responsibility that comes full circle in The Name Chapter, the last page (so far) in this TXT's big book.

"The Name Chapter is about a phase where you solidify your identity and your name as you grow into adulthood," Taehyun explained to Teen Vogue earlier this year, when the first installment of this chapter, Temptation, was presented to the world. Temptation looked to Peter Pan for inspiration to depict the longing for lost innocence, but Freefall doesn't have time for more fairytales. The proverbial boys are going from the idyllic grasslands of Neverland to the graffitied streets of a stark reality where you have to fight to achieve your dreams.

As Beomgyu pointed out during a media showcase for the new album, Temptation's last track, "Farewell, Neverland," serves as an explicit connector to Freefall, which kicks off with "Growing Pain," TXT's first venture into heavy metal. The quintet had previously released the Ryan Tedder-penned "Back for More" and "Do It Like That" as collaborations with Anitta and the Jonas Brothers, respectively, though they appear sans company in the final album.

Going from '80s synth-pop on the Rock Mafia-produced title track "Chasing That Feeling" to melodic R&B in "Dreamer" and Jersey club in "Deep Down" and "Happily Ever After," The Name Chapter: Freefall finds TXT diving into uncharted waters across its nine original tracks, plus a digital-only English version of the title track.

Ahead of the album's release, Teen Vogue caught up with the five members over Zoom to chat about working on the album, life on the road, and their own "freefall" into adulthood.

Teen Vogue: Congratulations on another great album. I wanted to start off easy by just letting you pick your favorite songs from The Name Chapter: Freefall.

Taehyun (in English): For me, it changes every day. Today, I'll choose "Deep Down."

Yeonjun: For me, "Growing Pain."

Beomgyu: “물수제비” — or “Skipping Stones,” in English.

Soobin: For me, it's also "Skipping Stones" because it's kind of indie rock style, which I really love, and it's our first foray into such kind of genre, so I really love that song.

Hueningkai: Right now, I choose "Dreamer."

TV: I thought some of you would say "Blue Spring" because it's your ode to MOAs that you all wrote together.

Hueningkai: [Giggles.]

TV: You actually unveiled the track during your last tour, Act: Sweet Mirage, right?

Taehyun: Yes, we actually made "Blue Spring" for the tour because we thought it'd be nice to present it to MOAs live. So, we made it rather quickly right before the tour so that we could fit it into the setlist.

TV: Was it initially just a tour song, or was it always the plan to add it to the album after?

Hueningkai: If the chance presented itself, we thought it'd be good to add it to an album. We didn't yet know which album it would be, but that was the plan, and fortunately, it fitted this album, The Name Chapter: Freefall, so well that it made it in.

TV: In a recent TMI video, which I believe was from one of your lives, Beomgyu said that this is his favorite album ever since your debut, even though you've liked every single album you've put out. Why do you like this album the most?

Beomgyu: Usually, when I listen to music, [though] I like a lot of genres, I typically tend to pick songs that have a kind of similar, very specific vibe to them. This album has a whole array of genres, but I still really enjoyed it. I really like it. I think we have something for everyone, and [because of that] I keep listening to it even to this very day.

TV: It's true. It's very eclectic. You have a really good mix of genres. In that same video, Yeonjun, you said that prepping for this album wasn't particularly easy. What did you mean by that? Was it because of your packed schedules? Was it because it's a full-length album after a while? How is it different or more demanding than your previous releases? Especially The Name Chapter: Temptation because I do think you incorporated a lot of genres into that one as well…

Yeonjun: Yes, schedule-wise, we were writing the lyrics while we were on tour, so it was demanding, and it didn't go as fast as we thought. Also, when we write lyrics, we run them by our label since we all have different ideas and views on the songs and [need to join forces to come up with the best options].

Hueningkai: Because this was our studio album in two years and four months, we wanted to make sure that we had the utmost quality, and that's why we had a lot of people jumping in and sharing ideas and feedback.

TV: Nice, it was a good collaborative process. While listening to the album, I couldn't help but notice that you put in a couple of references to your debut song, "Crown," both in the lyrics for "Blue Spring" and also in the Korean subtitle for "Deep Down"," which is “머리에 솟아난 뿔은 나의 왕관이었다,” meaning “The horn that rose from my head was my crown.” Why did you decide to make it a full circle and call back to your very first song?

Taehyun: This album is about facing reality and showing a determination to grow, which, of course, comes with some pain — growing pains. [This idea just naturally] circles back to our song “Crown” because, in a way, it also talks about those growing pains. There's a horn growing out of my head. I thought it was a pain, but because we have that horn, we could grow. So, it's actually a crown, not a horn. [It was an instinctive callback.

TV: As you kind of mentioned, the theme of the chapter is growth and hitting reality head-on. I know you have your boys in your story, but personally, what was the moment in your life when you realized that you were not kids anymore? What was your "freefall" in a way?

Taehyun (in English): I think ever since I joined our company. [That] showed [me adult] reality.

TV: I mean, that happens when you get a job, right?

Taehyun: That's right.

TV: Responsibilities.

Yeonjun: Yeah, I totally agree with what Taehyun said. Because we were [objectively] quite young when we started, I think joining the company was like jumping into society and a "freefall" into the [adult] reality.

TV: It must have been a big change, but you are doing great now, so it worked out.

Soobin: Thank you!

Hueningkai: Thank you so much!

TV: Okay, to counteract how serious that question was. One of the other concepts in this album is melancholy. Now that we are all in this adult world, what is something that you miss the most about your childhood? Something that takes you back and brings back good memories?

Yeonjun: I think, for me, it'd be just those normal days when you go to school and you hang out with your friends. Those are the moments I'd love to go back to the most. I think going back would make me even more appreciative of how precious and beautiful those days were.

TV: Yes. For me, it's watching cartoons in the morning during the weekends.

All: [Laugh.]

TV: Applied to your careers, you guys are going onto five years together now, which is incredible because it feels like just yesterday that you made your debut. How do you feel you have changed or grown from the rookies that you were then? What are some of the fears and anxieties that you have now compared to when you were starting out?

Beomgyu: I feel like we have grown a lot both personally and as a team, [and that can be seen] in the big stages we’ve been performing at recently. Personally, when we had just debuted and up until the first half of our career, I don't think I was too nervous about going on stage; but, [as the scale grows], I feel like it’s become a bit more nervewracking for me. I do get a bit more nervous and a bit more anxious lately [despite the experience.] That said, as soon as I am on stage, I [immediately] feel better since I get to rely on the other members.

TV: Why do you feel you've experienced that shift? Why do you feel more "pressured" now when you go on stage? Is it just the scale?

Beomgyu: Yeah, [I think so.] Honestly, I've been trying very hard to figure it out. I still don't know why. I'm trying to [have a concrete answer], but [I just know I get] very nervous [in big stages or with big crowds these days].

TV: You'll figure it out. Do the rest of the members feel the same, or do you feel more at ease when you're on a big stage now that you have two world tours and Lollapalooza twice under your belts?

Taehyun: Personally, [precisely] because we've been on bigger stages, and we've also shown our performance for pre-release songs at such big stages, I think these experiences have piled up and I've gotten to actually enjoy the time [on stage] more. It's fun.

TV: Tell Beomgyu your secret. Make him feel more at ease before going on a big stage.

All: [Laugh.]

TV: As part of Act: Sweet Mirage, you have a couple more concerts scheduled for later in the year in Seoul, and, of course, the end of the year is a big time for big-scale performances. What surprises do you have up your sleeve for the next few performances?

Taehyun: We have the finale concerts left in Seoul in December, so we are going to make them grand finale [worthy]. It's going to be a bit more flashy and we are going to have a very long set list, so people can look forward to that the most.

TV: Long setlist, okay. Bringing it back to The Name Chapter: Freefall. Is there any aspect that you're most excited for fans to see when you perform these songs live? I hear that the choreography for the title track has some voguing in it...

Hueningkai: Yeah, so as you said, there's going to be some voguing involved in the dance break, so I think we can make that into a challenge, and if it becomes a hit, then we'll love it too. It's not that difficult to do, so I think it could go viral.

TV: We'll 100% look forward to that. Though they are not part of the album, you've been collaborating with a lot of new artists these days: Anitta, Coi Leray last year, the Jonas Brothers.... I'm not going to ask you about who you want to collaborate with in the future because I know you've answered that question multiple times, but I am curious to know what have you learned from working with other artists outside of your bubble. Are there any memorable experiences or lessons that they have taught you, or have you ever felt starstruck working with such big artists?

Taehyun: Of course, musically, we learned so much from all of them. Personally, [I was a bit starstruck] when I met the Jonas Brothers. I thought, "They're such big stars, but they're so humble. They're so nice and gentle and such nice people." So I thought that I want to become like them. Even when I become a bigger star, I want to be humble and nice like them. Plus, they're still so handsome.

TV: Well, they also started around the same age that you started, so...

Hueningkai: Correct.

TV: On a more playful note, and since the album is all about falling, have you fallen down any rabbit holes recently? Do you have any new obsessions? I know for Soobin, it's probably anime...

Soobin: [Laughs and nods].

TV: What are the things that you've been enjoying the most when you're not working?

Yeonjun: I'm very into listening to and collecting vinyl records, so when it was my birthday, I even asked my members and my friends to give me a vinyl of their own choice, of their own taste.

TV: Did they follow through? Did they commit and gift you the records?

Yeonjun: Yes. All the members gave me a vinyl.

TV: Nice. Does anyone else want to share something that you've been enjoying outside of work?

Soobin: For me, as you said, I love watching TV dramas and anime after work. But if we have a day off, I've taken a liking for just strolling without a destination in the past year. I pick an area — Gangnam, Itaewon... — and just go there with my maps and walk around. If I see a cafe or a clothing store that catches my eye, I just go in and see what's there. That's the kind of thing that I like to do these days; spending the day just walking aimlessly without a destination, going for whatever I like.

TV: My social anxiety would not let me roam around without a purpose, but proud of you for that. It sounds lovely.

All: [Laugh.]

TV: Music-wise, what's on your playlist these days? Or better, what are some songs that you have been listening to these days that you feel will pair well with The Name Chapter: Freefall?

Taehyun (in English): Recently, I've been listening to a lot of rock. A lot of Bon Jovi. Guns N' Roses, they are my favorite.

TV: Old school.

Soobin: I think the members already know this, but "Skipping Stones" is my favorite song from this new album and [one of] the writers of the song is called Hanroro. She is a singer-songwriter. I've been a big fan of her for a long time, but especially recently, I've been listening to a lot of her songs again. I really like her music. One of her songs is named "정류장," and I think that goes really well with our album. They have really similar vibes.

TV: A full circle moment again.

Soobin: Yes. [Laughs.]

TV: The album is dropping on a Friday the 13th, which is notoriously a very spooky and unlucky day. Hopefully, you don't get the unlucky part, but do you have any superstitions? Do you believe in any of that?

Taehyun: I don't think this is a superstition, but [I'll turn it around]: I hope that people listen to our songs so much that it's almost spooky.

TV: Okay, nice, you are putting a spell on people to like the album.

Hueningkai: [Laughs.]

TV: I think that will work.

Hueningkai: I think superstitions are fun; I'm very much interested in superstitions.

TV: To wrap things up. Do you want to describe the album in one word each?

Hueningkai: Massive.

Taehyun: Masterpiece.

Beomgyu: Favorite.

Yeonjun: Best.

Soobin: Youth.

TV: They all go together: your best and favorite masterpiece of youth on a massive scale.

All: [Laugh.]

Taehyun: That's right.

This interview has been condensed and edited for clarity. TXT spoke via an interpreter.

[alltheselights]

Hi Emma! I really value your opinion, and I was just wondering about your thoughts on everything? I.E. the fandom, Louis… You always seem so levelheaded compared to others so I wanted to ask. Have a good night!

My only real thoughts about it are that it's really tiring to be in this fandom and see what's happening with Louis. On principle, I'm probably an exception to a lot of Larries in that I don't really care if he wants to dunk on Larries, though he chose a really stupid way to do it. A large group of these fans try to make everything he does about Harry and disrespect him regularly. For me, that's not the part that really bothers me.....it's everything that comes along with it.

I wish I understood the contradictory choices that Louis makes regularly but I just don't. He wants success and enjoys success, but he continues to surround himself with incompetent team members who don't promote him properly. He wants a broader audience to enjoy his music, but nobody outside of his existing fanbase ever hears about his music unless it's from fans' efforts. He wants people to take him seriously as a musician and is annoyed by Larries, yet he pushes other aspects of his personal life to the forefront of his public image through interviews, his documentary, and tweets. He's proud of his most recent album and feels that it represents him as an artist, yet he cuts those songs from his setlist on tour and performs covers instead. He cares more about touring than anything, but he frequently skips songs from his setlist, doesn't put effort into his stage outfits (or even hair sometimes now), and has said several times that he's hungover and not feeling his best during his shows. He adores his fans and treats them incredibly well most of the time, but the fan interactions that frequently get traction with a broader audience are things like yesterday's rude tweets or him aggressively flipping off fans who tried to rip his clothes at the barricade (as deserved as that may be, it's not really a good look).

It's just.....so incoherent? Like I truly don't understand why he and the people around him make the choices that they do based on what he himself says he wants and cares about.

He's playing some massive venues on his Latin American tour, which was just announced, and yesterday was the perfect opportunity to talk about that and push how excited he is about it during his Twitter reply spree. Instead, even 24 hours later, all people are talking about is his reply to that Larrie when he could have just fucking ignored that stupid ass tweet. A bunch of things related to that tweet were trending on Twitter - along with "Freddie" because of his two tweets about his supposed child - and now there are articles about another Larry denial. Is Louis on tour? Has he put out any albums? Is he still a musician at all? Nobody in the general public has any idea, but at least they know that he denies Larry on a near yearly basis and that he has a kid that is apparently his twin. Congrats!

And it's annoying because solo Louies are so busy enjoying that a Larrie got publicly dunked on that they can't even see that this kind of shit actually doesn't help Louis at all. Oh, sure, it's driving away fans! And I know that a lot of solo Louies think Louis would be better off without Larries (and trust me, I feel that about some Larries too when they're making everything about a relationship instead of his career) but the reality is that Louis shouldn't drive away fans. There are ways to deal with annoying fans that don't include publicly degrading them and making MORE fucking headlines about rumors that you supposedly want to die out. If he was actually trying to expand his fanbase and then tried to get rid of fans that aren't here to appreciate him as an individual or his solo career, I could respect that.....but that's not what's happening. Instead, he drives away existing fans and does nothing to add new ones.

As someone who has loved him since 2012 and wants nothing more than his success, watching his lost potential over the course of so many years has been one of the worst things ever. I see things like what happened yesterday and see the reactions to it (both people getting angry and leaving AND people rejoicing because they're too short-sighted to realize that this doesn't solve problems and only hurts Louis in the long-run) and I just roll my eyes. I'm not upset, I'm not angry, I'm just tired. It's hard to keep saying that you want better for someone who doesn't seem to want better for themselves.

[thebreakfastgenie]

Music asks 2,6 ,20-24

2. what is your go-to karaoke song?

I've only done karaoke properly once because I have to be really drunk to sing (I'm not good at it and I'm self-conscious) and I did Big Shot. Next time I want to do The Bitch Is Back and those will probably be my go-tos.

6. is there/what is a song that you secretly love but you hate to admit it?

No I usually admit it even though it's embarrassing. Like Rockstar by Nickelback.

20. do you have any band t-shirts or other clothing items and what are they??

I have two Billy Joel t-shirts from the concerts I went to! One is from the road (Chicago) and the other is from Madison Square Garden. I don't think I have any other band merch.

21. what is the best album of all time?

The Nylon Curtain (this is such a silly question though there are many equally great albums that are so different from each other they don't compare)

22. what band do you think has the best or most interesting story? (toxic breakup, bandmates in love, etc)

And if I say Attila (1970)..... what then... more serious answer, I am so fascinated by The Beatles, I want to read a book about them (I know there are some I just have to get one)! I know Fleetwood Mac is the obvious choice and them too for sure but I think it diffuses the tension a little when they actually fuck each other.

23. Do you create your own playlists? If so, how many do you have?

Every now and then. I have a bunch on spotify from doing the winners playlists for the Billy Joel Ultimate Song Bracket and for making playlists to share, like the underrated Billy Joel songs sampler (they're mostly Billy Joel related). I have a couple short ones or works in progress on my music library where I actually listen to music, but the only three I use with any frequency are Billy Joel Chronological and my two Billy Joel concert setlist playlists. I do have a 9/19/06 playlist on spotify because I don't own all the songs and also on YouTube because Silver Seas isn't a real song so it's not on spotify. That's the dead best friend playlist but it's called 9/19/06 because it's more cryptic (it's her death date). I like the idea of playlists but I don't know enough music well enough to really make good ones. Maybe someday! Playlists are like mix tapes to me though, I would never ever make one of those giant playlists to listen to all the time. I like listening to albums. Occasionally I'll shuffle, usually a specific artist though. I do make playlists where the order doesn't matter and they can be shuffled but I prefer playlists with a deliberate order.

24. How many hours a day would you say you spend listening to music?

Most days not many! Maybe 1 or 2 at the very most. But some days it's more and there have been more of those lately. I can't really do other things while I listen to music, except specific chores like cleaning, so I can't listen to it a lot. I usually spend a half hour to an hour listening to music while I play NYT games and drink coffee in the morning (it doesn't take that long to do the games but I like dragging out the ritual). If I walk somewhere or take a walk I often listen to music while doing that so that can add an hour. If I'm traveling I usually listen a lot more. But it truly blows my mind that people just listen to music all the time. I literally could not function doing that.

[miashyperfixations]

HONEY REVENGE: THE EUROBEEAN TOUR

22.05.2024 @ The Deaf Institute, Manchester (250 Capacity)

Over 3 weeks late but better late than never! Honey Revenge has been my favourite band for a little while now, so seeing them live at The Deaf Institute, with another of my favourite bands, Artio, was such a special night. This concert fell right in my 2-week long break in the middle of my final exams, so it was a no-brainer. The tickets were bought as soon as they went up for sale, in my college’s library, whilst I should’ve been studying. 

The band was in town for Slam Dunk on the weekend, so were playing some warm-up shows in the week across the UK. In this small tour, they weren't coming to my home city, so Manchester it was, we’ve been to quite a few shows in Manchester now, specifically this venue too. Classic Manchester, it was a very rainy day but it didn't matter to me, they're my favourite band and I was determined to see them live - Honey Revenge are the only band I'd do a 5-hour commute for (BOTH WAYS!).

The set itself was incredible as always. It always amazes me how singers can keep up such energetic vocals for entire sets, and rock singers, especially Devin, just adds to that. Accompanied by their touring band, Tay on bass & Matt on drums, it’s clear that they have fun on stage. There was even a circle pit during 'Distracted’, which I wasn't expecting AT ALL, considering their songs are pretty tame compared to other rock bands on the scene right now. But that’s what makes them stand out, it’s the kind of music that you can dance to, headbang to, and cry to, and I love them for it. Their several synchronized high-kicks over the course of their set only emphasized this. We were in a similar spot to last time, on Donny’s side of the stage so we were able to watch their insane guitar solos from RIGHT THERE in real time and it was absolutely amazing. The setlist was a little different to the last show as they didn’t play every song in their discography, with only 2 cut out though, so most songs were played.

At the time of the show, they hadn’t released anything new since the last time we’d seen them live in December, however they did play their (then unreleased) new track ‘Recipe For Disaster’ in full [see above video]. They’ve since released this song alongside the announcement of ‘Retrovision: The Extended Edition’ to be released in early August. Even though the song was only released on the 24th of May, it was still my top song of the month (🫣) - It was ON REPEAT for the whole weekend. 

In between sets, we bought merch from both bands and had a chance to chat to both merch sellers for both bands as they were both friends of the band and not just a random crew member. After the show, we were also able to hi to one of the band’s team crew, and Devin’s boyfriend, Kyle who is also a musician, he was really cool and gave us some solid advice for venturing into the music industry. It was fun to meet Claire again, a photographer friend who has worked with Honey Revenge before as well as South Arcade back in March.

Once the show was over, Devin & Donny came back out to say hi to everyone whilst their crew packed down. We first chatted to Jai & Ieuan of Artio who had also come back out, but eventually we were able to talk to Honey Revenge themselves. I wasn’t able to go back in and meet them last time, due to the gig being in the upstairs of a bar and I was under 18, but to my surprise, they remembered this and were greatly appreciative of us waiting so long to meet them this time! As we were some of the last people in there, we were starting to get ushered out, but they still made sure to have a full conversation with us as we wanted to talk to them more about the scene and the industry as well as tell them what big fans we are. It was so incredible to finally meet and have a conversation with them having been a fan for so long and they also made sure to take a photo with us and sign the poster I'd bought earlier. Devin also encouraged me to talk to their sound guy as I’d mentioned that this is what I want to do after education!

This night was EVERYTHING and more. This band is without a doubt, one of the biggest, and best, newcomers to the scene in recent years. With plans to go on Idobi Radio’s Summer School Tour this July, and no doubt more plans afterwards, I can’t wait to see what the future holds for Honey Revenge.

[thegreatimpersonator]

Can you maybe (only if you want to) rank Taylor’s albums and maybe also explain why you’d rank them like that?

oh okay ill try

evermore - my beloved, i love how every single song has such a strong identity if that makes sense. like there's this common debate that evermore is the better album but folklore has better songs? i think folklore has a strong identity as an album but the songs dont as much as evermore. every song is so unique and lives in it's own world and i LOVE taylors voice with real instruments and her storytelling is peaked here.

folklore - everything that i said about evermore basically but slightly less. i love the vibes she was able to capture and the whole album paints such a picture- i've always felt like taylor is at her strongest when she's doing something new and this being such a new place for her (genre and writing wise) shows how refreshed she must have felt.

speak now - the most dramatic, messy and honest album in my opinion. its so late teens/early 20s to me in terms of subject matter and i love when she uses some rock influence in her songs and theres so much guitar in this album i love it. also the fact that it's entirely self written insane.

1989 - a modern classic. this also strengthens my theory that taylor is at her strongest when she's doing something new and challenging. i cant believe the first time she tried pop she came out with style, ootw, blank space, etc.... like wtf. the lyrics arent as poetic as one would hope but there still good and very impressive.

fearless - my baby. there's just something so bittersweet about this album and it's so solid. there's not a lot i would cut (from the standard version... vault tracks are different) and its so wholesome and full of whimsy. i love the production on it too, i think it works with her voice so so well and it's aged beautifully.

midnights - okay heres the thing, every criticism ive seen about this album makes sense and i agree but for some reason after seeing it live... idk i like it a lot. there definitely are skips and i get why people were just unimpressed truly... but some of the songs are so insanely catchy and i like the way her voice sounds... cant explain it.

red - i think this album is really good when you're in a certain place in your life or a certain mood, it's not an everyday album for me. i think it has some of her best ballads/slow songs but the upbeat ones lack for me. the best ones are holy ground and state of grace tbh. plus with how long red tv is... it's a bit overwhelming.

debut - she's cute but she could be improved upon and it's her first album so we can cut her some slack, i love iomwiwy, tim mcgraw, picture to burn, should've said no, our song, etc. she has standouts she's nice.

reputation - this is where we go into the negatives outway the positives. this production is way too much for me, like i said her voice sounds it's best with real instruments underneath is to me- so this really fake manufactured production just doesnt work. it also aged sooo badly to me. this album live is a different story tbh but recorded it's just not my fav. when she's performing it live she adds real instruments and im praying that she does that with the rerecording because it helps so much. the only songs i would literally die for her not to change is lwymmd, dress, so it does, and ready for it. i think dont blame me is so overrated and dont understand why people love it.... im sorry. it's so basic to me... we've seen the whole 'your live is my drug' this so often and the production is basic too... i feel like anyone could be singing it.

lover - my god what this album could have been. this has some of her best and some of her worst. my list of complaints is long. i dont like the production- same reasons as reputation, way too fake and clunky. some of the lyrics are.... wild. the setlist is strange, i would cut like 4 songs tbh. i love cruel summer, inthaf, sygb, lover, london boy and false god.

[rileylou99]

The Eras Tour is SO MUCH bigger than people are giving credit for

Hi, these are my observations of the era's tour after going to the Santa Clara Night 1 show.

PEOPLE ARE NOT GIVING TAYLOR EVOUGH CREIT FOR THE ABSOLUTE ATHLETE SHE HAS BECOME

She is playing three hour shows while singing and dancing and RUNNING basically the length of a foot ball field. Santa Clara is home to the Levi's stadium which is HUGE but also obviously a football stadium. She doesn't take any intermission and really only gets a break when she's doing an outfit change which were not longer than maybe a minute or two. As someone who has done theater, costume changes are not a break at all, she possibly got a sip or two of water and changed while also moving half a football stadium in length. She looks SUPER FIT buy also very healthy. She has been known for being extremely vocal about how her weight has been unhealthy on tour and how it made it extremely hard so just the physical training she has to have done along with vocal training to sing HUGE NOTES and continuous for three hours is amazing. and I know someone is going to say " oh she's not singing live its recorded" I CAN GARENTY SHE IS AT LEAST 90% of the time because you could hear it in the speakers from the third tier of the stadium. if she was recorded, I wouldn't be able to hear in the speakers her vocal influxes so don't even try. Her vocals sound different every night, with different high notes and adlibs she adds in. ( Also she hella messed up the words on one of her songs sooooo)

2. THE STAGING IS EXCEPTIONAL

I know lots of artist are putting on exceptional stages and as someone who frequents concerts, there is a lot to take away visually from what her and her team did. The dancing was very clearly choreographed to be visible from both the floor level and the highest seats. the formations were EXCELENT, the movements were LARGE and the lines were beautiful. Along with the dancers being AMAZING the stage was made of screens that were constantly having some visual that either acted as a backdrop to those of us high in the stadium and mirrored the backdrop that she has playing which also integrated the camera visual. Lots of artist have screens and they just project different camera angles but the large cream changed from a full back drop to multiple screens, to two tall screens. The staging has a beautiful musical theater feel to it that it elevates the songs and how the experience is felt in the audience. there was only a few moments from the high level that I couldn't either see he on the stage or on a screen and part of that was speakers and part of that was a very tall man just happen to be in front of me. Her costumes are EXCUISIT and I know plenty of people have talked about them and while I now REALLY WANT her purple dress from our show because its was so fluffy, enough places are talking about her costumes that I'm not gonna rant about them because I could just gush.

3. HER SETLIST IS CRAFTED BEAUTIFLY

Taylor has been known for having great shows since she was like, 19 that's been kind of her legacy and this blew away my expectations. I am not a self proclaimed "swifty". In wasn't a huge fan of her music in my teens years and I really only knew songs because they were on the radio in the car and we didn't have CD's playing lol. I only got into her music once her album Fokelore came out in 2020 as it was lockdown and I honestly was going through a lot emotionally and that album accompanied my healing very well. This tour has a collection of her songs but she has a huge discography so she cant possibly play every song but she plays ALOT! Some songs are the whole song =, she will fuse a course with a verse and maybe two to transition into another song, but she plays a lot of songs going from early country to her folk songs to her super synth pop albums and while not everyone will be happy because their favorite song may not have been played, I would be very surprised if someone left that show disappointed. I got lucky with our show because she played at least a quarter of the songs from my two favorite albums, but it was a great playlist that gave someone a song they could scream ( I screamed a lot and I am feeling it but so worth it ).

Was this show the best show I've seen as a fan of her music, yes. Would I argue everyone agree, of course not. If she isn't an artist you enjoy, I'm not sure you would have a good time, but the statement that it is a well crafted performance is indisputable. NOW DO I THINT SANTA CLARA NEEDS TO GET CROWD CONTROLL, yes!. Dear god, I understand the stadium is in an unfortunate spot, as it is 90% residential, yes but my god it it was like leaving a theme park at closing on a holiday . 70,000 sold seats, and while they did close 5 streets in every directions, it took way to long to just walk away from the stadium. I would not feel safe leaving a football game from this stadium and the only reason this crowd didn't make me nervous was the fact it was like 80% 16-25 year old girls moving like a zombie horde.

I spent at most 400 bucks between my ticket, hotel, food and drinks and gas and I would say its WELL WELL worth it. If you have been debating going to her next tour, I would 100% recommend.

So thank you Taylor Swift for an amazing show.

[ice-sculptures]

Curious anon: what is your ideal setlist?

this is kind of old but there’s no better time to answer it than now

assuming we keep approximately the same number of songs and keep personal events in taylor’s life out of it, i’d want it to go something like this..

miss americana and the heartbreak prince (i actually do like this as the opener if only for the “it’s been a long time coming” portion)

cruel summer for obvious reasons

paper rings

cornelia street

death by a thousand cuts

daylight

fearless

you belong with me

love story (the fearless set was perfect, 10/10 no notes — i didn’t expect her to play fearless the song but I’m beyond thrilled that she did)

tis the damn season

willow

marjorie

right where you left me

champagne problems (i think it deserved to be the final song from evermore)

dress

delicate

don’t blame me

look what you made me do

long live/NYD mashup from the rep tour

sparks fly (this is the part where i cheat and give speak now more songs bc it deserves it 💜)

back to december

haunted

last kiss

i knew you were trouble

red (the song)

the very first night/message in a bottle mashup

forever winter (this is where i cheat again and scrap ATW10 in favor of three songs that add up to about the same time as that one song)

better man

begin again

the 1

seven (like, actually sung)

the last great american dynasty

this is me trying (i do like the songs she chose for the folklore set but i would’ve loved this as a permanent song even more)

illicit affairs

my tears ricochet

cardigan

style

blank space

shake it off (so glad she included this bc if u don’t get to scream the lyrics to this song w 50,000 other swifties then what’s the point of going to this concert?)

how you get the girl

wildest dreams

new romantics

bad blood/should’ve said no, also from the rep tour

tim mcgraw

mary’s song

anti-hero

vigilante shit (let it be known that i am Only keeping this for the choreography 🙏🏼)

you’re on your own kid

karma

[mrschwartz]

As a Taylor listener and fan, like, i know what you mean. She made like 100x types of vynils, 100x types remixes, 100x types of physical albums, she even sold a clock with the album. And if she likes these stuff, ok.....

I follow many swifities and their answer to this is: "well she's the only artist out there right now that can make all this versions of the album and sell, and make people WANT 5 types of cds" and what i say is: "that is true, but is it necessary?" I get the fans get excited but do people actually need 5 types of CDs and vynils of THE SAME songs in their homes? Shouldn't we care for the environment and stop accumulating stuff?

And following Taylor for like 12 years now, she likes charts and numbers. She's kinda obessed. And also she likes to be liked, wich comes from like not having friends as a child. So she does anything to be liked and to chart #1 (and i believe is not even fully for the money truly just the fact that she's #1 and liked).

But then what i bring to the conversation is: is this all for the business or music?

Cause i know music is a business and everyone in it has to do business. But it's also art. And is beyond the lyrics and instrumental, cause i do think she's a sick songwriter and musician and i would never take that from her. But part of the art of music is saying 'fuck u' to numbers. When you are making an album everything should count in your mind: the flow of the setlist, the colors, the images and YES the songs itself. So if you can make 100x different types of album covers and add 100x of deluxe songs, and make 100x types of remixes: do you care about art or do you care about the business?

Sorry for being too long but everytime i talk to swifties i get kicked out of their blog. Oh wel....

oh but you said it. yep this is it.

[theghostpinesmusic]

Alright, one more and then even I will be Goosed-out for one day.

This is "Everything Must Go," also from the monster 4/7 show. I'll have tunes from the 4/8 and 4/9 shows eventually, and I already weighed in on the one jam from 4/10 that got posted to YouTube awhile back, albeit in an odd, sort-of backhanded way.

But for now, let's finish this sucker off.

That sounded bad. Oh well, too bad there's no way to edit text on the internet!

I've written about "Everything Must Go" already, so even though I still haven't gotten to covering the incredible Red Rocks '23 version, you can read about the song in general here.

This was one of the band's most consistently great jam vehicles in the months before Ben left, so I was happy to see it not only get dropped into the setlist for his debut show, but also get taken for another huge walk.

I think Cotter's drumming on the composed part of the song is semi-significantly different than the way Ben played it, but I'm not sure. Cotter's take sounds a bit more backbeat-y to me. Too bad there's no way to listen to old shows on the internet!

We get some good, long shots of Jeff doing his thing during the composed portion of this version, along with a shot at 2:45 that tells us that Peter hasn't even opened his grapefruit Spindrift yet and it's midway through the second set! C'mon, man! Some of us can only buy that shit when it's on sale!

I usually don't pay a ton of attention to the short instrumental break during the song that happens during this version at 3:30, but this version features a great drum breakdown. I'm not sure who's doing what, but both drummers are playing offbeat off and on, and I think it's Jeff who briefly plays a digital pad (it sounds like) right when and after the lights go out at 3:43. Regardless, it's super cool and I want more of it.

(Actually, at 4:19 it looks like Cotter is the one playing the weird effects. Whichever. They're both killing it during this song.)

At 5:25, we get a hard drop into the jam via a decisive key change, and initially Rick leads the way with a particularly dark tone. Peter plays off of him for a bit on the piano. Cotter continues being an absolute maniac.

Also, can I just say how fun the stutter/trill thing Rick does at 6:25 is?

I like how, throughout this section, Peter is adding to the jam on piano by playing around what Rick is soloing without falling into one particular, repeating pattern (like I was complaining about in the "Pancakes" jam).

The mood of the jam changes subtly at 7:58 and we move to something a bit more lighthearted.

Eight minutes and thirty-two seconds into the jam is one of the many, many times I've heard Rick tease "Seven Below." I don't know if it's intentional or not, but I hope so and would love to hear them cover that great-but-semi-obscure Phish tune some day.

This is a great video/jam for getting a feel for what Jeff - often the least-heard player in the band - adds to their sound. For the record, I've never been a Jeff naysayer, but there are certainly times when he stands out to my ears more than others. This is one of those times.

The "Seven Below"-flavored jam continues in its buoyant vein for awhile here, a nice counterpoint to the mellower, moodier "Drive" and "Pancakes" jams from earlier in the show (and most of the longer, previous versions of "EMG" which tend to go dark). Rick also really commands the momentum of the jam here, rather than largely laying back as he did during the earlier jams in the show.

I really dig the lights at about the 12:00 mark. That is all.

This portion of the jam peaks around 13:15, and then as we come down the back side, Cotter switches up the beat, causing the rest of the band to move into a funkier space. Peter moves to the clav, which precipitates some gnarly rhythm playing from Rick. These transitions have always epitomized the band's jamming style, but I feel like they've somehow gotten faster and smoother with Cotter behind the drum kit.

Rick takes the wheel again pretty quickly after the transition and starts ripping off some "vintage" '19-'20-style licks. This is a super fun section.

Peter gets a neat little clav breakdown at 16:00, which lightens the sensory assault a bit while letting Rick switch to a tinnier tone. Peter moves over to the Vintage Vibe in response and Rick drops back out a bit, allowing Trevor to really dominate for the first time in this particular jam.

When Rick jumps back in at 17:15, it's to suggest a new key and set of chord changes. The rest of the band adjusts accordingly, and for a minute or so the jam is a weird combination of funk and distorted almost-90s-rock. In the end, the funk wins out.

At 18:40, with a look over to Trevor, Rick switches back to the "Everything Must Go" key and the band moves into the outro of the song proper. Peter stays on the Vibe because, hey, why not?

We get a little bit of an extended outro jam here, which is fun, but it's more of an exclamation point on the jam than some entirely new idea. Nobody tells Rick this, though, as he continues to destroy his guitar in grand fashion.

These guys are ridiculous. Maybe more tomorrow.