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allmoshnobrain · 8 months

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𝐡𝐞𝐚𝐫𝐭𝐛𝐫𝐞𝐚𝐤𝐞𝐫

✧･ﾟ: *✧･ﾟ:* *:･ﾟ✧*:･ﾟ✧

part 26 of ? | masterpost

word count: 2085 | ao3 link | fic's playlist

I let out a quiet, pained noise, frightened and hurt like some scared critter stumbling into the lion's lair. James's eyes flicked up, catching mine for the briefest fraction of a second, shock and regret dancing in his blue gaze before I pivoted and beelined it out through the kitchen door.

✦ summary: Despite choosing to remain by Dave's side, Nore finds that getting over her feelings for James is harder than she thought it would be.

✦ on this chapter: dave mustaine x female!oc, james hetfield x female! oc, oc is cliff's cousin, +18, language, slice of life, angst, love triangle, drinking, recreational drug use, jealousy

✧ you got me wrapped around your finger, do you have to let it linger? ✧

The guys' last weekend in Los Angeles rolled around real quick, kicking off on a slightly chilly Saturday that practically begged for an afternoon tucked under the covers. We cooked up our own version of coziness; Cliff threw an invite my way to chill at Mike's place, puffing on some smokes and sipping drinks while diving into a stack of horror movies Kirk had snagged.

Running into James again was just about as awkward as I'd braced myself for. He gave me a somewhat normal greeting, but the turmoil in his eyes had my heart doing an uncomfortable squeeze. To top it off, he had Pat in tow, showing up at Mike's with this big grin, hand-in-hand with James, their intertwined fingers betraying a closeness I'd rather not have known existed.

I tried to brush that off, though. After all, I had made my choice, hadn't I? Coming back home later that night, I knew I'd land in the comfort of Dave's arms, and whatever leftover turmoil would get washed out like rainwater. With time, the pain and sadness in James' eyes would likely fade. And perhaps, we could go back to being just good friends, sweeping those stolen moments from that autumn under the rug like they never happened.

We kicked back in Mike's basement, popping those tapes into his brand new VHS player. Kirk and Lars posted up on the carpet, Kirk sprawled out with his head in Lars's lap, dropping the occasional comment about film quality or some backstage scoop. Cliff, Mike, and I settled onto one of the couches, passing around a joint, while James and Pat claimed the other one. As the beer stash ran dry, a pizza got ordered, and I started to chill out as the mix of booze and weed took hold.

We all glanced up at the doorbell's ring — probably the pizza delivery. James hopped up to get it, trotting up the stairs with a beer in hand. Pat eyed him for a sec, then decided to trail along. Mike sparked up another joint, which I happily took a hit from before passing it over to Cliff.

"Hey, did you guys know this movie set caught fire during filming?" Kirk tossed out as scenes from The Exorcist flickered on the screen. "They even brought in a priest to bless the joint afterward."

"Wow, spooky," Lars chimed in, sarcastically. Kirk nudged him hard. "Hey!" Lars laughed.

"Hey, Lars, toss me another beer," I casually asked, absentmindedly eyeing the bottom of my empty bottle.

"Ah, I think we're tapped out. Time for a run upstairs."

"I got it," Cliff mumbled, his words a bit slurred as he attempted to stand.

"I'll roll with you then," I chimed in, getting up and stretching with a sigh. "Might as well grab a round for everyone."

The two of us hauled ourselves up the stairs, the steps feeling way trickier to navigate than they should in my slightly buzzed state. Once we hit the kitchen, Cliff cracked open the fridge, hunting down the beer bottles.

I shot my brows up with a grin when I spotted the two pizza boxes chilling on the table, my stomach churning with post-smoking and drinking hunger. I popped open the box, snagged a slice, and chomped down, letting out a satisfied sigh as the warm cheese exploded in my mouth, eyes shutting in a little moan of delight.

My tiny moment of food ecstasy got cut short by the distant hum of laughter. I blinked, curious, realizing I hadn't laid eyes on James and Pat since they jetted upstairs for the pizzas. But if the pizzas were in the kitchen, where the hell were they?

Looking back, maybe tracking down the muffled chuckles echoing down the hallway was a lousy move. But I was riding a bit higher on intoxication than I expected, and a self-destructive curiosity just started creeping into my chest. I crept up to the living room door, halting in silence when I caught sight of James and Pat holding court in the center of the room, huddled up and chatting in hushed tones.

I don't know what hit me first, tearing my heart into a million pieces; maybe it was the way Pat's eyes lit up, her hands resting on James' chest while he gripped her waist, the phantom memory of his fingers on my hips stirring uncomfortably in my chest. Or maybe it was the way they talked and chuckled, clearly lost in their own little world. Or, what the hell, it could even have been the gentle kiss he laid on her lips, sprinkled with sweet nothings meant just for her.

I gulped down the cool evening air and shut my eyes, tears hanging on and refusing to fall. My hands shook a bit as I slapped them on the porch frame, the wood cold against my skin. I jumped when the door creaked open again, but it wasn't James; Cliff's worried eyes locked onto mine, sadness creeping in at the sorry sight I must've been.

"Cliff..." I said, my voice shaky and tearful before he stepped up, wrapping me in a solid hug.

I buried my face in his chest, letting out heavy sobs as tears flowed down my face, like a dam that had held back way too much. Cliff just held on, running his fingers through my hair as he kept me close. As awful as it all was, I felt relieved as well — like those tears were letting go of some of the crap I'd been carrying around for weeks. When I finally eased up, I pulled back with a sigh, tears still rolling down as I sniffled, trying to wipe them away with my fingertips.

“Ah, shit. Sorry, I totally soaked you," I mumbled, my voice all choked up as I noticed the tear stains on Cliff's shirt. He snorted.

“Screw that, Nore. Want a beer?” He lifted one hand, and I spotted he was carrying a plastic bag with the beers he’d grabbed from the fridge. I nodded, thankful. He plunked the bag down, grabbed one for me and one for himself, and we leaned against the porch railing. “So, spill it. What the hell happened?"

"You know what happened," I mumbled, holding back a sob. I took a swig of the cold beer, the bitter kick helping me calm down a bit. Cliff sighed.

"It's James, huh?"

"What do you think?"

"I don't get it," he said, and I looked up, raising my eyebrows when our eyes connected. "If you're into him, why not figure things out? You know he likes you too."

"Apparently, not that much," I grumbled, and he snorted.

"Nore, no offense, but if the girl I liked kept turning me down, I'd probably try to move on too. Maybe not jump into something else... but I don't know if I'd keep pushing after getting rejected as much as he has with you."

“I... “ my voice broke, and I sighed. "Cliff, I'm with Dave. I made my choice. He needs me... I won't bail on him. Not for James, not for anyone. But that doesn't mean I don't feel..." I stopped, the lump in my throat preventing me from talking. Cliff sighed before pulling me into a tight hug.

"It'll pass." He kissed my hair, and I nodded.

"I know."

"If it helps, I find her damn annoying. And I doubt those two will last more than three months." He murmured, clearly trying to make me feel better. I chuckled softly.

"Think we can still be friends after this?"

“Totally, Nore. Just gotta figure out where you both stand. But if you've made your call... Well, he'll have to get that, babe. Just give him some space, and cut yourself some slack too."

"If you weren't Bay Area's best bass player, I'd swear you missed your calling as a shrink," I teased, and he burst into laughter. I shot him a look, a soft, affectionate grin playing on my lips. It was reassuring to know that even in the middle of this mess, Cliff would always be there for me. "Thanks, Cliff."

"No worries. We got each other's backs, right?" He grinned and messed up my hair. I let out a soft laugh. "Plus, no one messes with my fave cousin."

"I'm your only cousin." I quipped, echoing his usual comeback, and he grinned.

"Exactly. Hey, you're not bailing, right? Wanna head back inside? Kirk might think we hated the flicks."

"Well, he wouldn't be totally off the mark," I swiped away the last of my tears with the back of my hand but made my way to the kitchen door with a sigh. "But let's go back."

As we stepped in, I noticed that James and Pat had vanished from the living room. No clue where James had wandered off to, and honestly, I wasn't itching to find out for the first time in forever. I paused for a beat, my eyes lingering on Mike's phone before a sudden determination took over.

"Cliff," I called, and he shot me a questioning look. "You go ahead; I'll catch up, alright? Got a call to make."

"Sure thing. You sure you don't want me to stick around?"

"Nah, all good. Seriously," I reassured him. He gave my face a once-over before nodding, taking the beers back with him to the basement.

I grabbed the phone, pressing it against my ear, hesitating for just a moment before punching in the number I knew by heart, even though it had been ages since I dialed it.

"Hello?" My mom's voice came through, causing my heart to skip a beat.

I was aware that this number, her personal office line, was the only one she personally picked up. No assistants or housekeepers screening calls. But despite that, a weird tension crawled over me at the sound of her voice. I paused for a sec before diving in:

"Hey, Mom. It's me."

“Eleanore?” she inquired, surprise coming through her voice. “What's going on? Did something happen?"

"Nah, everything's okay," I murmured, my voice slightly shaky. "I just... I..."

“Are you okay, dear? Were you crying, by any chance?”

“No, I'm fine. I'm fine,” I sighed, closing my eyes. "Actually, I called about that school offer."

"Oh? Tell me what's on your mind," I could feel my mother's tone of voice instantly changing, shifting to the interested and sharp tone she used during her negotiations.

"I'm taking it. But I want to focus on art, Mom. Not law or business. Just art."

"Alright. I'll have Alice look into the best art schools in the state, maybe even the whole country. We can explore international options if you're interested. You'll get a top-notch art education. But you remember your end of the deal, right?"

"Getting involved in the family business, understanding the ropes, so I can handle things when you and Dad can't. Yeah, I remember," I confirmed in a low voice, aware that this was the most challenging part of the deal.

Business never floated my boat, especially the whole legal operations deal with my family's law firm. But the payoff was too sweet to pass up. And maybe a major life change was exactly what I needed.

"Good call," my mom chimed in, and I could practically picture her smiling. "I'll talk with your father. You'll come back for Christmas, right? We can discuss it in more detail then. Feel free to bring your... Boyfriend along if you want."

The rest of the conversation was a bit of a blur. I knew I'd just made a call that would steer my life for the next few years. No clue if I'd regret it or what kind of person it'd turn me into. But I would do anything to beat the heartache gnawing at my chest. Maybe I was running away. Maybe I just wanted to ditch the sadness.

Perhaps I just wanted to wipe clean the pained look James and I exchanged moments ago. Maybe I wanted to forget that he chose not to come after me, not to offer me any comfort.

But did any of it really matter?

✧ if you'd like to be tagged on the next parts, let me know and I'll add you to the tag list! ❤ ✧

tag list: @killazilla777

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musicblogwales · 1 year

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Frankie and the Witch Fingers - Futurephobic (Official Video)

Los Angeles psych-punk quartet Frankie and the Witch Fingers have shared new track “Futurephobic” alongside an official video. The song is taken from their seventh studio album Data Doom, due September 1 via The Reverberation Appreciation Society / Greenway Records. FLOOD Magazine gave the video an early debut, describing it as “in line with the album title’s vintage dystopian sci-fi connotations, swapping weed-smoke riffs for frigid new wave pulses and staccato vocal deliveries.”

“The main riff was an idea we came up with during the writing process for our album Monsters Eating People Eating Monsters… but we kept it in our back pockets, as it wasn’t quite fitting in with the theme of that album,” the band explains. “When we started writing Data Doom, it reemerged very organically and everyone latched onto the idea surprisingly fast and ran with it. We expanded on the main riff and came up with the other parts and overall arrangement while writing with our new lineup in our studio in LA. The whole process went surprisingly smoothly. We added backing vocals and overdubs while on tour last year in Europe, doing all the passes to complete the song from various apart-hotels, attics in France and Amsterdam.”

Though they’re currently in the midst of a massive trek across Europe, the band recently announced an extensive run of headline U.S. tour dates for this fall, which include performances at such esteemed venues as Warsaw in Brooklyn and The Troubadour in Los Angeles. See below for the full list of currently-announced dates.

Through six progressively expansive albums, innumerable live dates on an ever-expanding list of continents, and performances with the likes of Thee Oh Sees, Ty Segall, Cheap Trick, ZZ Top and more (to say nothing of their impressive headline dates), Frankie and the Witch Fingers have earned their throngs of global fans with their ecstatically wild live shows and layered, visionary recordings. With Data Doom, the band is poised to welcome even more uninitiated into the fold – it’s their most eclectic work yet, while remaining undeniably cohesive, and they’re supporting it with the biggest headline shows they’ve ever played.

Over the past decade Frankie and the Witch Fingers have operated as an outright force of nature, offering up a revelatory form of psych-rock that hits on both a primal and ecstatically mind-bending level. In the making of their new album Data Doom, the Los Angeles-based four-piece forged a sublimely galvanizing sound informed by their love of Afrobeat and proto-punk—a potent vessel for their frenetic meditations on technological change run rampant, encroaching fascism, and corrosive systems of power. Animated by the explosive energy they’ve brought to the stage in sharing bills with such eclectic acts as Ty Segall and ZZ Top, the result is a major leap forward for one of the most adventurous and forward-thinking bands working today.

Rooted in the cerebral yet viscerally commanding songwriting of co-founders Dylan Sizemore (vocals, guitar) and Josh Menashe (lead guitar, synth), Data Doom marks the first Frankie and the Witch Fingers album created with bassist Nikki “Pickle” Smith (formerly of Death Valley Girls) and drummer Nick Aguilar (previously a touring drummer for punk legend Mike Watt). In crafting their most rhythmically complex work to date, the band drew heavily from each new member’s distinct sensibilities: Smith tapped into her extensive background in West African drumming (an art form she first discovered thanks to her music-instructor parents), while Aguilar leaned into formative influences like longtime Fela Kuti drummer Tony Allen. Self-produced by the DIY-minded band and recorded direct to tape by Menashe, Data Doom ultimately took shape through countless sessions in their Southeast L.A. rehearsal space, with Frankie and the Witch Fingers allowing themselves unlimited time to explore their most magnificently strange impulses.

Once again showcasing the expansive and fantastically eccentric musicality of past efforts like 2020’s Monsters Eating People Eating Monsters..., Data Doom encompasses nine high-wattage songs constructed with both dizzying intricacy and unfettered imagination. On “Mild Davis,” for instance, the band shares a gloriously spaced-out track inspired by a piece from Miles Davis’s early-’70s electric period, cycling through a vast whirlwind of rhythms and textures and wildly spellbinding guitar parts. “We worked on that for two weeks straight, puzzle-piecing together different parts into one very weird and stream-of-consciousness song that’s mostly in a 7/4 time signature,” Menashe recalls. Meanwhile, Sizemore’s lyrics shift between savagely despairing the state of the world and resolutely dreaming of a brighter future. “I wrote the lyrics to ‘Mild Davis' in a moment of feeling pessimistic about what technology is doing to our society, especially as AI is creeping to the forefront more and more,” says Sizemore. “But then the bridge comes from a more optimistic perspective, where it’s questioning whether we could reboot the whole system and start all over.”

After opening on the epic majesty of “Empire,” Data Doom launches into the first song the band’s new lineup wrote together: “Burn Me Down,” an irresistibly jittery track that perfectly encapsulates the album’s transcendent collision of blistering riffs and polyrhythmic grooves. On “Electricide,” Frankie and the Witch Fingers unleash the LP’s most unabashedly punk offering, a bombastic rallying cry built on Aguilar’s breakneck drumming. One of several songs featuring Menashe on sax, “Syster System” slips into a hypnotically fluid tempo as Frankie and the Witch Fingers muse on the possibilities of partnership culture (a concept introduced by futurist Riane Eisler in her seminal book The Chalice and the Blade). “Riane Eisler talks about how our society has a very masculine energy that manifests as the need to exert power, which she refers to as dominator culture,” Sizemore explains. “The alternative to that is partnership culture, which has a feminine energy that’s more symbiotic with nature. The idea behind ‘Syster System’ is that if we could bring that energy into technology, it could help make everything more harmonious.” And on “Political Cannibalism,” Data Doom closes out with a dance-ready anti-anthem stacked with so many loopy details, such as a warped and otherworldly guitar part Menashe spontaneously composed in an attic in France.

To create the cover art for Data Doom (a co-release from Greenway Records and the Reverberation Appreciation Society), Frankie and the Witch Fingers reached out to Italian illustrator Carlo Schievano and UK-based graphic designer Jordan Warren, who then joined forces in assembling an elaborate mixed-media piece complete with its own language system and accompanying decoder. “It was really fascinating to see two different artistic voices working together to make something so unique, with all these hidden elements for people to figure out,” says Smith. Not only an echo of the album’s endlessly immersive quality, Data Doom’s visual component reflects the band’s devotion to unbridled collaboration in all aspects of the creative process. “There was no pressure and no real time constraint for this record, and because of that the creativity flowed in a very free way that probably wouldn’t have happened if we’d been on the clock in a studio,” says Sizemore. “It showed us that the more we take the time to communicate and share our ideas with each other, the more it feeds our creative energy and helps us to make something we’re all really excited about.”

#Frankie and the Witch Fingers #Futurephobic #BigHassleZack #Youtube

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thcusa · 1 month

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thc

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canasylmarseo · 11 months

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herbariumla · 2 years

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xzibitswcc · 3 months

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highwaydtla · 4 months

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rootslosangeles · 4 months

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