#whole album is fantastic really

[sergle]

as Autoheart fan...what songs/albums do you recommend for a beginner who's looking to get into them....just your thoughts queen 💟

i'm an Autoheart Truther, so I really enjoy All their work so far, BUT!!!! The first song of theirs I heard is Anniversary Robbing Banks is a banger, and My Hallelujah is a flawless EP I Can Build A Fire is the album I've had most luck converting ppl with Rabbit in a Headlight is one of my most played songs

[some-greatreward]

fucking hell waterloo to anywhere is actually gddamn amazing???

[angelsanctuarys]

what did you think about Perfume Of The Timeless!!

I personally liked it, I think it gives a small hint of what the whole album is going to be without making it super obvious. Which is the point of a single, to just give a taste, a nudge.

Also, mark my words, the song is not going to be the 1st of the list, there's going to be at least 1 behind it that will connect to those initial drums.

Sidenote but oh joy of joys on that 5:30 mark where finally we make a return to a much missed element that I was weeping for: letting emppu going berserk and bring those gorgeous heavy riffs back to life with enough force to revive the dead!

[hoodienanami]

best and worst The Clash song?

excluding any song from cut the crap bc everything on that album is objectively the worst, i def think ghetto defendant is the worst clash song simply for having allen ginsberg on it. fuck that guy. combat rock is already a mid album but his presence just makes it so much worse

as for their best song...its white riot. i mean ofc its white riot. how can it not be white riot? its everything great about 1976/77 era clash distilled into one song. punchy and politically resonate lyrics, fast and catchy, joe giving it his all on vocals, and tons of fun of listen to. it makes you want to get up and pogo but the message behind the lyrics sticks with you long after the song has stopped playing

but my personal favorite clash song is stay free. mick has always been good at inserting real wistful longing into his vocals when its time for him to sing. you dont need to know that the song is based on a true story to tell that mick cares a lot about the person hes singing about and means every lyric from the bottom of his heart. its a powerful song and, like a majority of clash songs, the lyrics are some of the best ever written for a rock song

[kringelorde]

irrespective of the quality of anybody in these bands, why the FUCK do deathcrush, darkness descends, and south of heaven have some of THE meanest fucking opening riffs in (extreme) metal

[happylandfill23]

i want to inject technology is a dead bird and all of its versions into my bloodstream

[tarou-marus]

twenty one pilots stop dropping the best songs on the album as singles 💀

[bmpmp3]

after a whole year.....finally.....finally the aqours solo albums return!!!!!!!

[elvispresley]

sgt pepper

oh thank you!! 💞

• The best song on the album : lucy in the sky with diamonds

• My favorite song on the album : LUCY IN THE SKY WITH DIAMOOONDS

• My least favorite song on the album : when i’m sixty-four

• The most overrated song on the album : a day in the life 😅 (i don’t think a lot of the songs are reallyyy popular besides this one and lucy. i do love a day in the life so don’t @ me pls. just had to choose one lol)

• Most underrated : within you without you

• The banger of all bangers : LUCY IN THE SKY WITH DIAMONDS

• Rate from 0-10 : 7/10

[peresephoknee]

might just gain self-esteem by listening to kara jackson’s dickhead blues

[cityofmeliora]

the Terzo autism post ♾️

this is kind of an analysis post and kind of a headcanon post.

Terzo reads as autistic to me, especially during his first two concerts when he was speaking without a script and trying to figure things out.

Terzo has that "trying new things is scary and i need to feel like i'm getting a good grade at social interactions and everything has to be done correctly or i'm going to explode" flavor of autism.

[AFTER PERFORMING PRIME MOVER] PAPA EMERITUS III: How am I doing so far? I've been studying these moves so you would feel comfortable. Are you comfortable? Linköping, Sweden (June 3, 2015)

Terzo says he studied the choreography for 'Prime Mover' so the audience would feel comfortable. he's trying to do what people expect, and he keeps checking if he's doing alright and asking the audience if they like what he's doing.

[BEFORE PERFORMING ABSOLUTION] PAPA EMERITUS III: So, we're gonna finish this off with something as weird as a new song. What that delighting, or did you not like that? Yes. Good, good. Linköping, Sweden (June 3, 2015)

PAPA EMERITUS III: So, I know it might seem a little confusing –it's even a little confusing to me, sometimes– y'know, playing new songs for people who've never heard these songs. But I tell you what– we have a really good ending song that you will understand why it is an ending song when you hear it. But now it might seem a bit strange, huh? Sweden Rock Festival - Solvesborg, Sweden (June 4, 2015)

Terzo feels weird about performing new music because it's new and the audience doesn't know what to expect and neither does he. he keeps trying to assure the audience that it'll be okay. but i'm pretty sure he was the only person worried about it. he was about to release a new album, so it completely made sense that he would be performing new songs. he just hates not knowing what to expect, and it doesn't occur to him that not everyone thinks like him.

and then this clip... i think it speaks for itself, but let's talk about it anyway. (i included the audio because i really want people to hear him speaking here.)

PAPA EMERITUS III: Okay! We are now officially wrapping– with a song. It's not a rap song, though. [STUTTERS FOR SEVERAL SECONDS] I've heard from my brother that you are somewhat of a singing crowd. So you like singing, eh? That is fantastic because that is exactly what we're gonna do right now, and if you had said no, that would have been… weird. So thank you for not being weird and weirding me out. I'm weird enough as it is. Sweden Rock Festival - Solvesborg, Sweden (June 4, 2015)

like where do i even start with this. him thinking he needs to clarify he's not going to be rapping. the stuttering. the fact that he listens to what Secondo tells him so he knows what to expect. him saying "[...] if you had said no, that would have been... weird. So thank you for not being weird and weirding me out. I'm weird enough as it is."

he feels like a weirdo and he just wants things to be normal so bad. 😭

he also gets really irritated when people are incorrect / do things incorrectly. he has the literal / rigid thinking patterns characteristic of autistic people

PAPA EMERITUS III: Well, it's getting late. AUDIENCE: NOOO! PAPA EMERITUS III: Yes! It's not a matter of opinion. It is getting late. Sweden Rock Festival - Solvesborg, Sweden (June 4, 2015)

he tells the audience it is objectively true that it is getting late.

then there's the whole bit where he wants people to clap along to the music but he hates it if people clap wrong or don't clap with the correct rhythm.

and the bit where he asks the audience to say "Meliora" and emphasizes the correct pronunciation versus the incorrect pronunciation.

Terzo strikes me as someone who is constantly trying to perform a very intentionally constructed social personality, not only as an entertainer but as a person. and while he's naturally charismatic and charming, it's actually quite difficult for him to perform this public personality because he's constantly concerned with getting a good grade in social interactions and things being done correctly.

and there are all the quotes about Terzo being a recluse who only interacts with others as much as is strictly necessary. this is definitely clinical depression, but i think his autism is also a factor.

he got comfortable once he settled into a routine and created a script that he could repeat, though. after that, he was really on autopilot during his concerts. which is also so so autistic of him <3

[sevenop]

Billie Eilish x Fem!reader: Vroom Vroom

A/n: Billie brings you along for the shoot, but in the end she's suddenly jealous you not so much of Charli as of your attention to her as a celebrity. Charli playfully teases at her, but no doubt Eilish finds an original way to remind you about herself.

Their music video for "Guess" is a sudden bomb for my inspiration! And it doesn't have much to do with the text, but I do want to point out that Charlotte is an icon of my teenage years, lol.

Talking to Charlotte Aitchison, or more popularly Charli XCX, is definitely an exciting moment for you, given your strong fascination with her as a teenager. You're extremely visibly shaken from exactly the moment she gives you a welcoming hug and you're still in that excited mood. You've fainted about forty times in your mind, and you'd probably have realized one of those dramatic falls if it weren't for Billie's hand on your waist, which is clasping your side a little tighter than usual by the minute, or beating out some nervous rhythm of its own.

"It's very nice to meet you, Y/n!" - Charlotte smiles incredibly warmly, and for a second it seems to you that you are going to kiss the asphalt fantastically with your lips. Well, and with the whole face as a whole. - "Billie told me that you're an old fan of mine, you know, I'm really pleased."

"Gosh, uh... thank you!" - you touch the back of your head with the palm of your hand in burning awkwardness, only to then bring that hand back down sharply, as if spurring yourself on and sobering up. - "I just momentarily lost all the words I wanted to say to you, I'm sorry."

You're feeling incredibly uncomfortable with your surroundings under the weight of your own excitement and trepidation, even though Charli is looking at you as relaxed and friendly as possible-what's more, her dark brown eyes remind you of two mugs of hot tea, which with each sip envelope you with comfortable warmth, dispersing the delicious boiling water through your arteries.

Eilish, who has been gallantly silent all this time, understands you without any words, simply by reading your broken body language. In one deft but at the same time masterfully hidden in her persistence movement, she pulls you closer to her, right to her side, as if she were a mother duck and you were her obedient but confused duckling.

"Relax, my girl." - Eilish throws a slight smile on her lips, and puts her hand possessively much lower than your back, or rather, right on your ass. Just for a few moments, but you also instantly feel your ears light up like warning lights. - "Charlotte is exactly the same person as you, remember?"

Charli chuckles playfully as you nod and exhale slightly, gathering all the words and thoughts into the formerly organized piles in your head.

"Okay, let's start with something simple to bring you to your senses, hot chick." - you side-eye Eilish's eyebrows almost twitch, wanting to come together at the bridge of her nose, and that little silver snake rattling the tip of the tail foreshadowingly in her blue eyes. But the smile doesn't leave her face a quarter of an inch, so chalk it up to your nervous imagination: good idea, right? - "Name me your favorite song from my recent album."

And you babble inspirationally, like a renaissance poet who has met a sacred and previously unattainable muse: you note the meaning of your favorite lyrics, or the beat that comes into your soul, like was as if someone had unceremoniously opened the door with his hit foot. You praise almost every track on the album, unable to decide what you like best, and Charlotte laughs loudly, touching your shoulder lightly with a little pressure. And Billie sees how shocked you look at the singer, being doused head over heels in euphoria. She sees your gaze, with a million stars floating in it, sees your quivering smile. She sees it, and almost sending sparks of pure current straight into the asphalt. You don't admire her, but someone else, even if it is well extremely deserved for Charli. And the realization of your admiration definitely stings her painfully, like an angry wasp out of the blue. Sure, you're her girlfriend, but aren't you her fan anymore?..

When she notices this dazzling spark in your eyes, which ran through the moment when Charlotte offered to personally give you her autograph, O'Connell frankly breaks the first lock of self-control out of a possible three. She doesn't even have time to think properly, almost leans on you with her whole body, throwing her arm over your shoulder, hanging on you in mute demand. You immediately shift your gaze worriedly, shifting all your attention to her. For Eilish, holding back a satisfied smile, which is coming out of her cunning interior, is now a difficult task to heaven, but doable.

"Tired, dear?" - you ask sensitively, deftly reversing roles: your hand now firmly and securely on her waist. - "Do you want me to get you some water?"

"Or you can take a break in the dressing room," Charlotte gently advises, while devils dance invitingly in her eyes, as if her irises are bursting with the heat of inquisition bonfires. Oh, she definitely got it. That's why Eilish stabs her in response with her zealous blue blizzard, wrinkling her nose. Just a second, so that only she can see, but in no case not you.

As Billie opens her lips for a made-up answer, a thin female voice cuts through the air beside you:

"Ms. O'Connell, I'm sorry, but can I talk to you for a minute?

You all three of you look at the girl at once, as if the request wasn't addressed to Billie alone, which makes the petite blond stew, clutching the clipboard with neat palms to her chest, but then she finds the necessary composure.

"Your presence is required at the site to clarify a working point."

"Sure, no problem." - she moves out from under your palm ever so unwelcome, swaying slightly from side to side to prolong her contact with you for a few moments. Turning on her heel and shouting to you, she's already following the fast-paced assistant director. - "I'm fine!"

She feels your gaze on her with the back of her head, mixed with misunderstanding and slight excitement, and she almost choke on her own pride, finally allowing herself a cheeky smile. Suddenly, the tingle from the back of her neck is gone, and behind her your hear your loud laughter and Charlotte's azartic shout: "I'm going to steal your loyal groupie to show her the set, Billie! I can't promise I'll get her back!"

Eilish turns around, and Charli smiles at her like a cat contented under the heat of the sun. No, it won't work like that!

×××

"Really? I never thought you'd still love «Vroom Vroom» more than anything."

Stepping over millions of wires and stage markings, you survey location after location, noting how your excitement is gently shifting into confidence, and confidence into a slight premonition of anxiety warming at your fingertips and deep in your heart. Talking to your living dream in the world of Hollywood is extremely comfortable and desirable, but still you feel in your gut that something is wrong with Eilish, even if you can't explain what it is.

"This is my loudest baby, if I may say so," - Charlotte smirks, gently putting her hand out in front of you in a warning gesture, - "careful, there's another one here."

You step over the thick camera cord, suddenly feeling the ground beneath your feet shake slightly, or should I say vibrate. Far behind the two of you, you hear a mechanical, rumbling noise reminiscent of a construction site. Charli puts her tanned palm on your shoulder, instantly stopping you in your tracks.

"Turn around," - she smiles at you extremely contentedly, meeting a catchy sketch of misunderstanding on your face, - "I'm sure you'll like it."

One hundred and eighty degree turn around your own axis and you don't know what's deafeningly louder right now - the gushing laughter of Charli seeing your bulging eyes in amazement, or the helling murmur of the damn construction excavator that's coming your way slowly, led by her majesty Eilish, sitting regally behind the wheel.

"What the fuck, O'Connell?!" - you announce, folding your palms in a report-like fashion and bringing it to your lips: the only thing that helps a bit to overcome this sonic behemoth with a multi-ton bucket.

"Get ready to jump in!" - Eilish's eyes are burning a confident blue enough that you don't even need to squint to see it, and about a smile would be needless to say. - "I'm taking my loved groupie back, Charlotte!"

"I give up!" - Aitchison shouts, mixing the echo of his own voice with the roar of the engine, raising both hands in a surrendering gesture, grinning good-naturedly.

The excavator clanks, sliding at first a little to the left side of the wide area, and then leveling off again, still on course with the two of you, except now it's traveling at a safe distance from you instead of straight ahead.

"I wouldn't keep her waiting if I were you, or she'll burn with jealousy," - Charli puts her palm to your ear conspiratorially, except instead of the classic whisper: a shout. - "Come by my dressing room afterward, I promised you an autograph after all."

Something clicks shrewdly in your head as you smile, hugging the star briefly: you barely touch her waist and she pats you on the shoulders in return, and the excavator seems to make an even louder noise, like an iron bull spewing anger in the heat of a bullfight. The only one subduing him is Eilish. Charli hurriedly steps aside, watching with undisguised interest, and you only catch Eilish's outstretched left palm as you climb up the step. Her fingers grip you so tightly and securely that even the tattooed three of winged fairies embossed on her skin seems to be pulling at you with their little hands.

"You're crazy, Eilish!" - you shout with an outburst of laughter, wrapping both hands around the iron handrail.

"I'm your crazy!" - Billie returns both hands to the steering wheel, confident that you have a firm grip these.

"When did you even learn to drive this multi-ton monster?"

"Exactly half an hour ago," - an undisguised contentment plays on her lips as her gaze drifts forward. - "Not much different from a normal car, though there are nuances."

Glancing in the rearview mirror, you notice not only the surprised set workers, but also Charli waving at you. A grin spreads across your face.

"As nuanced as your jealousy of Charli?"

"I'm not jealous," - O'Connell lets a chuckle pass through her lips, and even drowned in the rumble of the car it doesn't seem sincere.

"Oh, what are you saying?" - you raise an eyebrow, and Eilish casts a quick glance at you-the blue sea is completely draped in eloquent silver serpents, to see which: an honor purely for you and no one else.

"Okay, yeah. I'm jealous." - Eilish exhales in astonishment, jerking the long clutch lever with her hand, to which the iron hulk rumbles, going leisurely to the right on its powerful tires. You see parking lot markings in the distance and a small silhouette waving two neon-orange flags: obviously the parking attendant himself. - "I don't like it when your attention and admiration isn't on me."

"My, you're greedy," - Billie tsked, rolling her eyes, but you only smiled affectionately. - "Would a kissing session make up for my shortcoming?"

Billie hesitates for a moment, rubbing her chin with one hand, then playfully pouts her lips in an olfactory pink bow like a child.

"If you also stand behind the cameras with the cameramen, catching my every glance, then quite possibly yes."

"Okay, I agree!" - You laugh, throwing your head back, and Eilish doesn't hold back in her supposed seriousness, drowning in laughter following you.

"Now get ready to get off. We'll walk from here. I have to see what kind of wall I have to break down."

You are silent, choking on air in a flash. Well, this is going to be an interesting shoot, though it's always just that way with Billie.

[vintage1981]

The Life and Deaths of Christopher Lee Kickstarts Deluxe Blu-ray Edition

The Life and Deaths of Christopher Lee mixes traditional documentary with a dash of fantasy. It is narrated by Christopher Lee himself... in the form of an elaborate marionette, voiced by Peter Serafinowicz. The marionette was custom designed and built by Arch Model Studios, who made all of the puppets for Wes Anderson's Fantastic Mr. Fox, Isle of Dogs and Asteroid City and Tim Burton's Frankenweenie. 

The film combines new, exclusive interviews with filmmakers, including Peter Jackson, John Landis and Joe Dante, friends and family members with animated flights of fantasy from a wide variety of artists including 2000AD's Simon Coleby, award winning stop-motion animator Astrid Goldsmith and the legendary illustrator Dave McKean who directed, scored and animated a whole chapter of the film himself. 

Spanning eight decades and almost three hundred films, Christopher Lee became famous for his iconic performance as Dracula. But he was so much more than just the Hammer Horror roles he is so fondly remembered for. His career took him from uncredited parts in 1950s swashbucklers with Errol Flynn, through famous performances in 007 and Star Wars films, cult hits like The Wicker Man and The Return of Captain Invincible, right up to a lead role in cinema's biggest event - The Lord of the Rings trilogy. Along the way, he worked with everyone from Orson Welles to Mario Bava, Jess Franco, Tim Burton, Martin Scorsese and Steven Spielberg. 

Yet his story is so much richer than just his career. Lee was born into Italian aristocracy, with a military career shrouded in secrecy and kept his private life closely guarded. Some of his ventures and adventures seem highly improbable yet, as the film reveals, he often found himself in unexpected situations - he witnessed the last ever death by guillotine, was cousins with 007 creator Ian Fleming, he met Tolkien, performed with the classic Saturday Night Live line-up, was a friend and neighbour of Boris Karloff, he was the oldest person to ever get on the Billboard music charts (with his own Heavy Metal album), was an expert knife thrower, professional opera singer and a Nazi hunter. And somehow, he also managed to appear in almost 300 films of both the highest and lowest quality imaginable. 

The film is finished and producers Jon Spira and Hank Starrs want to share it with you by producing a top quality Blu-Ray with great extra features and a really amazing LIMITED/NUMBERED EDITION COFFIN-SHAPED BOX SET, full of goodies, which will look killer on the shelf of any discerning cineaste. The jewel in the crown of this box-set will be a 3D 'death mask' of Christopher Lee designed and produced by Arch Model Studio exclusively for this set. They also want to host some screenings - both online and in real cinemas - so we can all experience it together and you can get to meet some of the people behind it.

Making this film has been a fascinating journey - producers excavated the British Film Institute archives where they hold Lee's personal collection of scrapbooks detailing his career in his own hand, been given access to personal photos from the family archive, they met and interviewed his closest friends and family from all over the world and we've worked with some incredible artists, puppeteers, animators, musicians and filmmakers to bring his story to the screen in the most cinematic way. Whether you're a fan of Horror, Star Wars, Lord of the Rings or just cinema history in general, we think you'll be delighted by this revealing and eclectic documentary.

Risks and challenges

The film is fully edited and ready to go. This Kickstarter is to fund the final bits of post-production and the production of a fantastic Blu-ray and deluxe collectors edition box set as we're all still committed to physical media. Please note that all illustrations of rewards are designs/prototype images. The final items might differ - we hope they'll actually be better.

[tavolgisvist]

The Beatle way of life was like a young kid entering the big world, entering it with friends and conquering it totally. And that was fantastic. An incredible experience. So when that idea really came that we should break up, I don't think any of us wanted to accept it. It was the end of the legend, even in our own minds. Marilyn Monroe gets to believe eventually that she's Marilyn Monroe. Now I feel that's how the Beatles got to be -- I'm just speaking for me. You were very much a Beatle in your own eyes, and to an extent we all still are. Thinking back, I think it was great what John said. And he told us, 'Look everything sort of comes together right.' And now I agree. We'd just made this album and it was to be called 'Get Back' and on the cover was a photograph showing us in exactly the same position as in the first album we'd made -- the whole lettering and the background was exactly reproduced. So John said, 'It's a perfect circle, you know.' I think what John did was tremendous from the point of view of 'Okay, so we are actually going to go our own ways.' You just can't be as tied together as we were for so long a period of time, unless you all live in the same house. From then onward it was to be a question of living your own life, which was the first real turn-on for me in a long time -- and this coincided with my meeting Linda. So early in 1970 I phoned John and told him I was leaving the Beatles too. He said, 'Good! That makes two of us who have accepted it mentally.'

(Paul McCartney, April 16th 1971, interview with Richard Merryman for Life Magazine)

By the way, what happened to my idea of putting the parody of our first album cover on the Let It Be cover?

(John Lennon's letter, published in Melody Maker in the December 4th 1971)

[the-east-art]

Hadestown High School production thoughts:

Overall great! Awesome costuming and great work and acting and set!

There’s still several songs I prefer from the earlier albums

I don’t like the line ‘why build wall make people walk in straight lines’ I think it casts the viewer farther away from understanding Hades

Hades couldn’t get deep enough but he had great character acting! Was good at getting in real close when he was angry, looking like he was above everyone else. And then in the later sections did a great job at looking uncertain

At wait for me ii Hades gives Persephone her suitcase. Nice touch

Oh also when Persephone and Hades hug the first time they do like a collapsible prop that that a flower springs up between them and it’s just so good.

The Wind and the Elements (like the trees and the birds) were interpretive dance which actually looked really good and was done really well.

Persephone did a great job at making it clear that when she’s up she plays to them and when she’s below she plays them as well. During Our Lady she kinda just shoves around the bar patrons around, which is great contrast to Orpheus later who actually helps people up.

The ‘road to hell’ (wait for me i, ii, and doubt comes in) was largely made by planks of wood the ensemble would move. They used it to make floating stairs and obstacles for Orpheus to climb across and through. It looks really cool.

Orpheus was fantastic. Voice of an angel.

Sadly, Persephone and Hades couldn’t quite pull of How Long. Persephone had a habit of stealing time a lot, which works in her solos, but less in How Long, and Hades agains struggles to actually get into the deep register.

There was no overture, the play just starts with Hermes asking if you’re ready. Intermission ends without house lights going off and Persephone just starts while they dim.

They did the bows after Road To Hell reprise, and then did We Raise Our Cups which was fun

The energy of the intros in the first song are INFECTIOUS. Absolutely loved it.

Hades wore a green tie, a snake pin, and snakeskin shoes. Very nice. And he has the rattle for the rattlesnake part.

They used the aisles A LOT but I loved it.

In Doubt Comes In Orpheus walks around the aisles around the contorted bodies of the ensemble which was a little weird but did a good job at making it feel like they’re navigating a cave or something, and I personally thought gave the vibe of them having to navigate around dead bodies.

Road To Hell reprise has them reset the blocking and the characters do the same stuff they did for their intros - very fun

Brownie said they should have had a new person for Orpheus and Eurydice in that song to show how the cycle continues with new people and she’s so right (although I totally get that it would have thrown off the audience too much)

The fates actually played their instruments, had cool tattoos, and fiddled with their string the whole time

I’ve never realized how much the dates are the ones pushing everyone to the dated outcome until this.

I also never realized that Chant ii ending is Hades tlaking to Eurydice

Oh when Eurydice speaks up Hades eyes her up and down before taking Persephone on the train

They had a whole scaffolding for Hell which was great.

Oh oh! In the Orpheus and Eurydice duets they have them on a wheeled tables that goes in circles. And they brought down ‘stars’ as strung up lights (which looked way better than just a light projection tbh)