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vyeoh · 3 years

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this is your chance: wax poetic about an Empires or DSMP character of your choice to a fan who is new to both. Explain why I should love them. I need guidance in this new and meme-populated land.

okok this is a lot of pressure haha. Spoilers for EmpiresSMP and DreamSMP below, obviously. I wrote a lot so prepare yourself, anon

I watch a lot of empires POVs but the ones I most anticipate every week are Scott and Sausage.

c!Scott (I'll call him Smajor for the sake of simplicity) starts off the series chilling, not really getting involved with the rest of the server, and staying aggressively neutral. After all, he's an elf. He has lived far longer than most of the other rulers already, and will most likely outlive them for many years. So, the best thing is to stick to his mountains and not get invested in the dealings of mortal affairs, maybe sometimes causing problems on purpose and dipping because what's life without a little spice right.

But then, this demon comes to the server, Xornoth. He's going around causing havoc and wants to send the world into an eternal winter, but he doesn't bother the kingdom of Rivendell much so Smajor stays tentatively cautious but ultimately unbothered. But then, the puzzle pieces start falling together. The first thing that the audience noticed was was Xornoth sounded like Smajor, but we mostly thought that this was just due to cc!Scott voicing both of them and there was nothing more to it. However, then, the people the demon starts possessing start chanting in elvish. The demon hates mortals, and the elves are conveniently one of the two confirmed not fully mortal races in Empires.

This culminates when Smajor stumbles across a cave that contains the backstory of the patron god of Rivendell, Aeor. Basically, there's two opposing forces, Aeor and Exor, and both have a champion. In a previous life, those champions were two brothers, where Aeor eventually prevailed and banished Exor. In this life though, the champions are - you guessed it - Smajor, and the demon Xornoth.

So now Smajor is like. Well fuck. It's my literal god-given destiny to be responsible for defeating this demon who is technically my brother, and if I fail the server gets plunged into an eternal winter. And I have no fucking clue what is happening because I've just been here on this mountain actively trying to stay out of the issues outside my kingdom. We watch him panic and teeter on the verge of spiraling for an entire episode, and when the followers of Xornoth go to the End to kill the dragon, releasing Xornoth's full powers, he fails to stop him. Smajor is a character who was used to being the smart one, the prepared one, the one who has the least deaths on the server. But he's also a character who runs away from his problems and ignores them. Before and during the dragon fight, we hear the desperation in his voice, as he's thrown into a situation he is wholly unprepared for, and it's bigger than him going to the Cod Empire to kill their king, or assisting in other people's plans to kill the codfather. He can't run from this. cc!Scott plays this scene so well as well, as I've said before, one of the best parts of Scott's acting is how he's never super dramatic, but he's so effective in the little things like inflection to make you feel, viscerally, the panic and dread.

So after the dragon fight, Smajor realizes, I can't do this on my own. I've tried and failed. So he gets allies. We watch him, someone who has so strongly been an isolationist, learn the benefits of allies and watch him learn to trust others and watch him learn how to get that trust in return.

My favorite thing about Smajor's characterization is that he's an incompetent protagonist, but not in the way of the "plucky young adventurer". He's capable skill-wise, and fairly jaded and very pessimistic. However, his issue is that up until recently, he did not care about the rest of the server at all, and by the time he learned to, it was way too late.

Also, in 3rd Life, cc!Scott and cc!Jimmy were canonically married and they reference it sometimes in Empires. Like, Scott goes over to the Cod Empire every so often both in and out of character to kill and/or flirt with Jimmy, the ruler of the Cod Empire, which may develop as a secondary plot into the future who knows. So ty Scott for giving the gays what they want o7

Now onto Sausage: his is a story of Icarus, his hubris and ambition being his downfall. He's one of the two followers of Xornoth, who promised him endless power in exchange for his servitude. He started the series being eccentric, but not outright unhinged, but slowly gets more and more extreme as the series progresses, as he gets brought more and more to Xornoth's side.

One of the best parts of Sausage's character, in my opinion, is how his gradual corruption affects the people around him. Initially, he got into a conflict with the Cod Empire and was allied with two other people in the Witherrose alliance. They were allies, but also close friends. The fandom liked to joke that the three had sibling energy, and I'm pretty sure the ccs played to that even more lol.

It was painful to watch the other two members, Gem and fWhip, watch Sausage get corrupted right in front of them, and see them desperately clinging on to this old idea of Sausage in their head because if they faced the truth, it would mean that their friend was gone. Eventually, they do finally cut him out of the alliance, leading him to fully commit to the side of the demon. Sausage felt very clearly betrayed by this, and declared the remaining two Witherrose alliance members to be enemies.

He gets more and more possessed, and we even see the other Empires, his enemies even, slowly realize that something is very wrong with the ruler of Mythland. He starts doing more and more evil things, like killing people more, making sacrifices to the demon, and eventually helping to kill the dragon to free Xornoth. So things are good for Sausage, for a bit. He won, and is more powerful than ever. Then he finds out: he's going to die. Xornoth's possession is slowly killing his soul, and eventually, his body going to be fully taken over and he himself is going to be trapped in the spirit realm. So how do you react to this? Over the next few episodes, we watch Sausage struggle between "the demon is literally killing me" and "the demon has given me so much, and I love it", all while Xornoth takes over more and more of him. We hear him exclaim that "don't worry!! I'm still about 15% there!" while trying to downplay every time Xornoth completely takes over his body. We watch him willingly oppose anyone who is trying to end the thing that is killing him.

My favorite thing about Sausage is that he is undoubtedly evil and proud of it, but he's also undoubtedly human. If you like to watch evil characters go absolutely feral, he's the guy for you. He makes the deal with Xornoth in the beginning, knowing and fully embracing the evilness of the demon, but at the same time he knows what he's doing is detrimental to both himself and everyone around him, but he's gotten in way too deep at this point, and to be fair the demon has held up its end fo the bargain, right?

Also, I would be damned if I don't talk about cc!Sausage's editing. Every one of his videos is like a movie. The way he does camera angles and uses music is so skillful- every lore scene feels like something out of a high fantasy action saga (think: LotR). Every big lore event I always wait in anticipation for Sausage's ep because his editing truly takes lore to another level.

I'm just generally very excited to see where this series goes. Empires is such a good mix of talented builders and good lore. Part of the reason why the series is so immersive for me, beyond any other lore smp, is that they have the settings to back it up. There is a certain charm to the DreamSMP's objectively terrible builds (with a few exceptions) but in Empires, the settings help sell the plot so much.

Another part of why I love EmpiresSMP is how much the ccs are involved with the fan community. I'm sure you've seen the memes about Scott being on tumblr, and Sausage regularly goes through the EmpiresSMP fanart tag on Twitter and likes art, even ones not related to Mythland. Most of the ccs, in fact, have brought up tumblr content on stream at some point or another. Like, several ccs have said that they read tumblr lore theories and hcs and stuff and sometimes take inspiration from them. Fun fact: Rivendell's church was inspired by my pinned drawing; confirmed by Scott Smajor himself. It's just such a good cycle of ccs and fans being excited about each other.

As for DreamSMP, I'm gonna be honest here, the only person I really am invested in in Technoblade. I started watching when he joined the server, and he's the only person whose lore I keep up to date with.

Techno's fun to watch because he's like the Deadpool of DreamSMP. Virtually unkillable, very skilled and scary, but consistently cracks jokes and breaks the 4th wall during plot. His POV is just fun. Like, he does wild plans and gives speeches and some of the stuff that happens to him should be called deus ex machine if it wasn't for the fact that Technoblade is the one who's doing it, and all the stuff is grounded in the fact that cc!Techno is just that good at the game.

However, the fact that he rarely takes anything seriously makes the few times Techno is 100% serious so much more impactful. His whole character has a basis in being perceived as inhuman and being treated as such, and therefore in return trying to hide his humanity. So, when he shows that humanity, whether that's fear, anger, or genuine love for his friends, it really makes you go "oh shit."

Techno's often said not to have character development, but I'd argue that while he remains steadfast in his moral code, he develops leaps and bounds as a person. Like, at the beginning, he's brought onto the server to help Wilbur and Tommy overthrow a government; them knowing he's 1) an anarchist and 2) very very powerful. His character was more of a plot device at that point and was treated as such in the canon. Wilbur and Tommy straight-up lie to him about their plans to establish another government after they overthrow the current one, while he was led on to believe that they were abolishing all governments in the area. But he isn't a plot device. He's a person, as much as he only shows the terrifying, blood god side of himself.

After the establishment of New Lmanburg (the new government its a long story), his friend Phil joins. And for the first time, we see him be fully human with someone and we see someone treat him like a human. Like, we saw glimpses before, with Wilbur and Tommy in Pogtopia, but Phil is the first person we noticeably see he trusts 100%. Then Doomsday happens, and Techno essentially retires to the tundra. During this time, we see Techno learn to be more human, first with Ranboo, then Niki when he establishes the Syndicate. In fact, the two of them, along with Phil, canonically throw him a birthday party, which is a far cry from his treatment in Pogtopia.

Techno's development is one of a god learning to be human, and I just think he <3

#vio.ask #empiressmp #empires smp #dreamsmp #scott smajor #smajor #smajor1995 #mythicalsausage #mythical sausage #technoblade #to be clear i am not an apologist for any character #i fully realize that they are doing wrong and I like to watch it happen #minecraft roleplay got be in full character analysis mode #long post

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carpisuns · 3 years

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New anon, but I saw the last one and I have some thoughts. Specifically, I have been obsessing over ml for the last month or so, and I’ve only seen three episodes, and they were the three released before crocoduel. And you know what? I wasn’t that into it, it wasn’t bad it just wasn’t half as engaging as fanon and fanworks have been for me.

I’ve also done this with the Magicians, Supernatural, and a couple others. I think the reason that this works, for some people, is because it is a more familiar and in many ways, easier way to discover and become attached to new material and new characters. Fan writers and artists are coming from a place of love for their source material (no matter what issues they may have with it) and that bleeds out into their work. Time is spent developing the characters and their feelings, their relationships, in ways that canon so often can’t or isn’t allowed to, and reading that, it’s very easy to fall in love with new characters very quickly. There’s also common AUs and dynamics that make it much easier to start something new.

And also: comfort characters. So many fans find common ground with characters and further project onto them, particularly in fanfic. And because of that it’s often easier to identify with a fan’s interpretation of a character than it is to identify with the canon’s, since you have these more deeply explored feelings and relationships based on a combination of canon and the personal experiences of the fan writer. Also, with these kinds of fics it’s extremely emotionally affirming since for someone who doesn’t have much of any connection with the source material, it feels like the original, even if you’re reading a large body of work by a lot of different people. And I’m so used to fanfic as a substitute for the emotional work and character development that shows/movies/books don’t have room for or aren’t willing to get into, that approaching a fandom as it’s own original piece of media in a way, feels very comforting.

That’s my perspective on it anyways, and why I do this. I do think it is a good thing to engage with the canon to an extent, even if it’s just watching a few clips (how I found ml) but I also don’t think you need any real connection or knowledge of it to be deeply invested in the fandom. Sorry, this got very long.

you know, i totally get being on, like, the fringe of fandoms and interacting with fanon to an extent without a proper investment in canon (I have a couple fandoms like that), but i honestly just can't imagine becoming super invested in a fandom when I am not invested in the source material...maybe that's just a difference between you and me, idk.

but also, i gotta admit that i'm struggling a bit to understand the reason. you yourself pointed out that fan work is enjoyable because the creator's love for canon bleeds into it. and isn't that the reason that you would want to give canon a real chance? obviously there is fan content made out of spite lol (and sadly a fair amount in this fandom), but to me most fan content is like a love letter to canon. like, "i adore this thing so much that it inspired me to create and share with other people who adore it." and what better recommendation is there than that?? i would think people would wanna familiarize themselves with canon in order to better enjoy fanon(?)

i completely understand your point about fan content delving further into characterization and relationships where canon hasn't/can't, and that is such a big appeal of fanfic/fanart. but i don't feel like that's a reason to not engage with canon? on the contrary, i feel like you are missing something important in your understanding and appreciation of that wonderful exploration if you haven't experienced firsthand the foundation that canon set. and maybe that missing thing is just your personal interpretation of a character/dynamic.

for example, i could say, "adrien agreste is this, this, and this and he would do this but not this." and of course i will think im right because my characterization is always perfect 😌sakjdfaldjks but someone else might have a slightly different interpretation, and someone else will have another interpretation, and when you mush all those individual takes on a character together, you will get a good sense of who they are, but you still don't have the Original™️ to draw your own interpretation from. idk, to me it sounds like basing your opinion of chocolate ice cream on what other people are saying about it without ever trying it yourself? ajsldakljf maybe that's an oversimplification but i do think that without experiencing it for yourself, your understanding will always be kind of incomplete.

idk, i big agree with everything you said about why fan content is special, but everything that is a point in fanon's favor is not a knock on canon. to me fan content feels pretty inseparable from canon, so it just doesn't compute to me to take canon out of the equation? then we would have nothing.

i feel like it's almost kinda trendy nowadays to be like, "oh this show actually sucks lmao but the fanon and AUs are good." like it's shameful to actually...enjoy source material? 😭 i mean i completely understand that miraculous ladybug is not gonna be everyone's cup of tea and that's fine! but if you truly enjoy the fan content that much i encourage you to give canon a real shot. it's not that surprising to me that you watched 3 recent episodes and didn't vibe that much, since you haven't seen the 3 seasons of buildup that lead to them. miraculous has a neat way of tying a bunch of things together so if you aren't familiar with all of it, you're probably missing out.

personally my love for miraculous was kind of a slowburn at first. i only started watching the show because my sister and i made a deal that forced me to watch the first few eps lol. and i didn't really vibe either. but there must have been enough of a spark there for me to keep watching bc for some reason i did and the more i watched the more i fell in love with it until it became the thing that occupies my brain more than anything else. i started with canon and then got into fanon, but it could easily go the other way too. and if you're already invested in the story and characters, i have to imagine it would be much easier to push past the initial cringe of "this is a show about a couple of teen furries rated TV-Y7 on netflix" lol and give anything you don't vibe with the benefit of the doubt.

again, to be clear, i'm not trying to judge or gatekeep here! i'm just saying this because i genuinely LOVE miraculous. it's my favorite show. that's why i make things for it. that's why i have this blog. i want people to watch it. so maybe, pwetty pwease, try watching the show you like so much? 🥺👉👈

(source bc i was too lazy to make my own so i stole this from twitter)

#anon #ask #fandom #long post

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onestowatch · 3 years

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Elliot Lee Charts the Rise and Fall of the ‘Queen of Nothing’ [Q&A]

Elliot Lee is a mesmerizing talent who is effortlessly melding a ripping rock sound with animated pop sensibilities. Her new EP Queen of Nothing is a dark and daring five-track collection that explodes with colorful, quirky arrangements and bold, intense vocals. The release narrates the ups and downs of life in power and the materialistic tendencies birthed from wealth and status. Each track slays with a confident queen-like energy without ever sacrificing its vulnerable messages of loneliness and misjudgment.

Within the elevated EP, she cleverly showcases her many musical styles. From fierce lyrical flows to stunning emotive pop vocals, Lee demonstrates she is a true musical mastermind. Through her unique musicality and aesthetic, she has captured the attention of a devoted fanbase known as “the bubblegum army.” Lee’s offerings create a space of open expression where you can listen and feel less alone.

Ones to Watch had the chance to talk with the Lee about the inspiration for her new concept EP, feelings of loneliness, and more.

Queen of Nothing beautifully illustrates the rise and fall of a queendom through the perspective of a harsh ruler. Can you explain this concept further?

Whenever I do interviews, and in many other aspects of my career, I always get the question “What’s next?” or “Where do you see yourself in the future?.” My mind is an unkind place, and it rarely lets me envision a future in which I’m at peace with where I am. I want to say that I see myself happy with a flourishing career because there are times when I can imagine that, but I also don’t like hiding my darker thoughts in spaces where my Bubblegum Soldiers can see what I’m saying. In reality, I have a fear that the darkness will take over one day, and I will make bad choices that lead me to losing everything. So I decided to give an honest answer to this question through the story of the Queen of Nothing.

The title track “Queen of Nothing” references the famous piano piece “Heart and Soul.” What inspired you to use this popular song as the base for your track?

When I was young, my grandmother was a lot like a second mom to me. She taught me how to play piano; we would sit on her old piano bench together and play songs together for hours. One of the first ones she ever taught me was “Heart and Soul.” She would play the low part, and I would play the high part. When I decided to write this song for other kids like me, I wanted to include a part of myself in it, kind of like a drop of blood on a covenant. So I infused it with this familiar melody that helped me feel safe and grounded my whole life, and in doing so maybe I can turn it into something safe and grounding for my Bubblegum Soldiers too.

“Pink (Freak)” is an intense, hard-hitting offering that narrates not fitting into the boxes we are placed in. In what ways have others misjudged you?

People are often confused by the fact that I actually like to spend most of my time alone at home doing things like studying, drawing, or producing songs. I have a very hard time socializing, and I struggle with my social battery getting drained very easily. I think I tend to give off this bubbly energy that makes it seem like I love to be around people and am good at it, but in reality I feel lost when it comes to things like small talk and hanging out with other people. I really feel like an alien trying their best to seem human, and maybe I’ve gotten good enough at it to fool people.

“Rubies” also details the idea of being an outcast and boldly fuses rock and electronic sounds. How was the track crafted lyrically and sonically?

When I wrote “Rubies,” I watched some cool trailers for movies like Blade Runner to try to sync the energy of the song up to the general flow of an action movie trailer. I wanted it to sonically have a beginning, a climax, and a cathartic end, but at the same time I wanted the lyrics to feel like they were going in a circle without ever reaching a conclusion. In some ways, I wanted it to mirror the feeling of someone walking through a post-apocalyptic world and maniacally hoarding remnants of the world before. It would be ridiculous to hoard rubies in a failed society with no economy and no one to even show the rubies off to, but that irrational need to collect useless things in an attempt to fill the void is exactly what “Rubies” is about.

It is tough to feel like an outsider. What advice would you give to someone who is struggling to fit in?

Even if you don’t fit in with the people around you, there are people out there you can feel at home with. I never fit in until I found my Bubblegum Soldiers, but now I know that I was never truly alone in the world. I want you to know that you aren’t alone either. You can sit with us at the La La Land Lunch Table.

What is next for Elliot Lee?

I want to see my Bubblegum Soldiers in person as soon as possible!! I have so much I want to say to them. So I’m hoping to be able to tour once it’s safe and reasonable to do so.

Who are your Ones to Watch?

My Ones to Watch are Bibi, WHOKILLEDXIX, and GIRLI.

#elliot lee #queen of nothing #interview #album reviews #pop #alternative pop

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elbracco · 4 years

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LiS2 Fanfiction recommendation list - updated

I updated the ff list I made a few months ago. As before, if anyone has any suggestions to add, I’m all ears. I divided the stories into three categories (Post-ending, AUs and Missing Moments) and all the ffs on this list are either completed or still actively updated.

POST-ENDING

Blood Brothers: To Puerto Lobos - And Beyond! by SerratedCucumber, in progress. It starts as the brothers break into Mexico and follows them as they try to build a life for themselves. I swear that I hear Gonzalo and Roman every time that Sean or Daniel say something: the dialogue is that good. 11,000 words for now.

Lone Wolf: The One You Feed by zeldanerdster, in progress. This work follows the "Lone Wolf" path immediately after events unfold at the border. Following that, it will chronicle Daniel's experiences for as far as they take him in an effort to reconcile the various open-ended resolutions of Life is Strange 2. Because LW didn’t break our hearts enough. 20,500 words for now. Lone Superwolf by Dreamprism, in progress. The ff begins with Sean’s death at the border and aims to show how Daniel got from the car to the “six years later” scene. The fanfic is written from the perspective of Daniel Diaz, similar to how Sean shares his internal thoughts with the player throughout Life is Strange 2. 17,000 words for now.

Parting Ways: After by koldtbold, one-shot. Sean gets to Mexico, Daniel doesn’t. Sean has a lot to do and think about. What I love about this story is that there’s much bitter and little sweet, but like in the game there’s an undercurrent of optimism, a feeling that tomorrow can still turn into a better day. 6,000 words. When There’s Nowhere Else to Run, by Autumnyte, in progress. It begins right after Daniel yeets himself from the car and follows Sean as he tries to build a life for himself in Puerto Lobos. I told Autumnyte that this story feels like a blanket: it’s warm and comfortable. No matter what issues Sean has to deal with, there is a pervasive undertone of "tomorrow will be better" that I think really captures the spirit of the game. He is done running, and he can now start to look to the future with hope. 31,000 words for now.

Redemption:

The Bravest Wolf in the World by RoodAwakening, 2 chapters left. Ask anyone for reading suggestions, and they’ll inevitably point you to this story, for a reason. Sean finds out he can use his sketches to time-travel, much like Max did with her photos, prevents Esteban’s death, and has to deal with the consequences as he tries to navigate the new life he made for himself. Wonderful characters, a realistic depiction of trauma, and golden dialogue. I love this Sean, I love the people in his life, I love his interactions with all the characters. 160,000 words (!) for now. A Howl in the Night by Bracco, one-shot. Sean is in prison, and Daniel is free: it’s everything that Sean had wanted when he surrendered. That means he can be happy… right? 28,500 words. Tomorrow's Horizon by AlariOdonell, in progress. A mysterious stranger recruits a post-bay Max Caulfield with the promise to bring Chloe back to life and to right a few wrongs along the way, like those suffered by two brothers. I am very partial to this story because it ticks every box in my list of narrative kinks: a well-written OC, an incoming threat, superpowers, misfits teaming up, IC characters, action and fuzzy feelings... 52,000 words for now, updated bi-weekly. Please, Please, Please Let Me Get What I Want by DarkJaden825698, one-shot. After his sentence, Sean reconnects with some old friends and says some things he didn't get to say when he had the chance. This story is a warm, fuzzy thing where everything goes well for a change. I may also be very partial to the title: that song is tied to some of my fondest memories, so extra points to the author. 4,000 words. Spirit Realm: Road to Redemption by Sombraguerrero, completed. Sean has served his sentence, abbreviated by a lack of success on the authorities' part to attain burden of proof on the supposed major crimes. The public has run out of patience and has allowed Sean and Daniel to try and pick up the pieces, with as much help as they can get along what is once again a rough road. 21,000 words. Stay Strange by DarkJaden825698, completed. Dr. Bright is assigned to Sean Diaz as his therapist in prison, and walks him through his trauma while trying to find him a lawyer to challenge his sentence. Crossover fic between LiS2 and The Bright Sessions podcast - you don’t know anything about the podcast? Me neither, and it’s not an issue. 32,000 words.

AUs

And All These Empty Streets by Riona, one-shot. After the apocalypse, Sean and Daniel have a run-in with Joel and Ellie from TLOU. I think that this is the story that made me realize how I love Sean and Daniel so much that I’m willing to read the weirdest AUs and crossovers so long. It flows really well and it feels natural. 2,000 words.

Riona has written a lot of stories that start from an unexpected premise and draw a little vignette. They are all different from each other and I loved them all. Check out her AO3 profile! Can you give me a hint by Idnis, completed. Teenage Daniel/Chris. If you like “mutual pining” and “dumb idiots in love”, this story will make your day. It’s just... fluffy and sweet and innocent, a tiny bit of teenage drama that Daniel and Chris deserve after everything they’ve been through. 22,500 words. Closer to the Heart by darkjaden825698, in progress. After the shooting, Sean waits for the police to arrive. He’s cleared of all charges and sent to live to Beaver Creek, where he must come to terms with what happened and rebuild a life for himself. A teen drama where nothing bad happens to the boys and they get to live normal lives? Hit me with it. 4,000 words. Double exposure by Riona, completed. It draws inspiration from *Your Name*: Max and Sean begin swapping bodies at random. If the premise doesn’t turn you away, it’s a beautiful bittersweet story about two people trying to help each other while their own worlds are falling apart. 11,000 words. Faithless by HollowK, in progress. Six years after the failed heist, Sean wakes up from his coma and has a brother to find. Exactly: oof. 6,500 words for now. I Took Both Roads, series by owlmug. AU where Esteban isn’t shot. Sean/Finn (with some Sean/Cassidy in the first story). It’s a coming of age story, and I really loved how the author mirrored some situations that are found in the game by giving them a new twist. I won’t lie, these stories hurt, because they made me think about what could have been. The characters are spot on, and the interactions of the Diaz family are golden. Bonus points for having Sean behave like a teenage brat at times, because the boy deserved to have temper tantrums and getting into fights with Esteban over stupid stuff. There are also a lot of beautiful images across the series, a lot of lines that feel raw and powerful, and a lot of healing. At times it’s like having a heart-to-heart with the author. Sometimes I felt that the sex scenes were too long, and some of them I found unnecessary, but that’s just my personal taste. I really liked all the four stories, but the last one is my favourite for sure because it follows Esteban’s point of view and it’s *chef’s kiss*.

1. A Way to Reappear (https://archiveofourown.org/works/19096837), 18,000 words. Sean’s POV

2. A Piece of the Puzzle (https://archiveofourown.org/works/19386670), 26,000 words. Sean’s POV

3. A Little left Behind (https://archiveofourown.org/works/19852561), 24,000 words. Finn’s POV

4. (I’ve Been Going Through) a Change (https://archiveofourown.org/works/20562086), 28,000 words. Esteban’s POV.

If I Lay Here by owlmug, completed. Diverges from canon after episode 3. Sean and Finn try to track Daniel down. Sean/Finn, 46,500 words. I can repeat here most of what I wrote for the earlier series: wonderful characterization, beautiful imagery, touching themes, characters that find themselves along the way. Something that makes you go “Please, sir, can I have some more?” at the end of every chapter. i just don’t know how i’m doing (i’m so curious about you) by Larrymurphycansteponme, one-shot. Another High School AU, another wonderful coming of age story for Sean. I wish I could make it justice without repeating everything I said about owlmug’s series: spot-on characterization, a beautiful narrative about growing up and finding one’s way, wonderful imagery. It’s the story of what Sean deserved to have, and one of my favorite ever. 28,000 words.

MISSING MOMENTS

A Night With Misty Mice by That_one_internet_lover, completed. It follows Sean and Lyla’s concert night that is mentioned in his phone chat in ep.1. It’s the first fanfiction I read after my endgame heartbreak: it gave me all the happy Sean I wanted, and even a bit more. The dynamic between him and Lyla is exactly what I pictured from their interactions in the game, put into words by someone who knows what they’re doing. 10,000 words. Astray by Riona, one-shot. Daniel leaves Sean behind after the events of Wastelands. It’s probably more of an AU than a Missing Moment, since it was written before Faith came out and so it’s not entirely canon-compliant, but it’s still a very good window on Daniel’s state of mind after the heist. I’m eternally grateful to Riona for filling some of the gaps that the game left in the development of these wonderful characters. 1,500 words. Fire and Floods by Riona, one-shot. Sean and Daniel go on the run, and this fic covers the first day of their journey. A spot-on dissection of Sean’s feelings after the shooting. 1,500 words. life is strange 2 poems by Spotsuns, an ongoing collection of one-shots. These stories have all the oooffness of the game. The stories in here hurt. In the good way, but they hurt nonetheless. Beautiful character studies, and some heavy-duty, post-ending feel unpacking. 11,000 words. Never Stop Shining by CorazonDesnudo, in progress. During his stay in Away, Sean receives a letter from Finn with an offer to help him and Daniel cross the border. It’s a chance to come to terms with a lot of things he didn’t really process before. 11,000 words for now. Torchbearers by Riona. Ep.1’s Sean and Daniel run into Max and Chloe among the ruins of Arcadia Bay. I can definitely see this story being a moment of quiet in the game. 2,600 words. What Remains of the Diaz Family by That_one_internet_lover, completed. Lyla sneaks into the Diaz household after the brothers have disappeared. Heartbreaking oofness ensues as Lyla walks through their memories and faces her own pain. 6500 words.

#life is strange 2 #lis2 #life is strange 2 fanfiction #lis fanfiction #sean diaz #daniel diaz #i'm terrible with tags

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happymetalgirl · 4 years

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October 2020

Six Feet Under - Nightmares of the Decomposed

I wrote a full-length review of this disaster of an album earlier in the month, and yeah, wow. Between the phoned-in performances from the instrumentalists who have proven themselves far above this joke of a band and the half-assed production this would have been a pretty crappy album even without Chris Barnes’ milk-aged vocals. But he’s here, and he’s managed to actually get worse too, gasping his way through the whole album and littering it with these ludicrous “high” squeals that would make Smeagol sound like a more competent death metal vocalist. It’s the worst thing I’ve heard all year, and what’s worse, I don’t think Six Feet Under is stopping.

1/10

With that out of the way, let’s cleanse the pallet right away with some really good shit.

Greg Puciato - Child Soldier: Creator of God

Ever reliable in his artistically integrity, explosive former Dillinger Escape Plan frontman, Greg Puciato, has been pretty sonically and artistically adventurous since the honorable dissolution of the iconic mathcore outfit, his most notable music project being the ethereal, synth-heavy The Black Queen. This year, however, Puciato has gone fully solo for a full-length project, and something told me to get ready for a wild ride, and boy was I right on that hunch. Borne out of an exponentiated process of songwriting that produced songs Puciato deemed unfitting for any of his current projects, what was planned as a small release to ship these songs out of the writing room eventually spiraled into a full-blown debut solo album clocking in at over an hour. A lot of solo projects play like clearly indulgent amateur hour sessions from an artist whose ego has been boosted pretty well from significant success from their main project, leading them to overconfidently try their hand at music they have no business trying it at. And it’s often approached under the understanding that it is a victory lap, more or less, and a satisfaction of creative impulses for the sake of it. Sometimes the resultant material is clearly inspired and showcases a side of an artist that certainly deserves some spotlight. Other times it feels like being trapped in an awkward situation with an acquaintance where they just show you all their newest pedals and production software and you’re just stuck there watching them fiddle around while you nod along and offer the occasional “wow, that’s pretty crazy” every now and then while they don’t pick up on the obvious cues that you are just waiting for them to finish playing with their toys. While Puciato was open about this album being borne from the very creatively borderless mindset that so often damns solo projects, Child Soldier: Creator of God is an actual realization of the type of grand, genre-spanning album that so many solo artists envision themselves making and set out to create, and it’s hardly a whimsical, amateurish crack at the styles within either. Puciato’s foray into sludge metal, industrial rock, harsh noise, darkwave, synthwave, and shoegaze, (1) makes for a hell of a dynamic and exciting track list, and (2) shows a much deeper than average respect for and relationship with the styles being played here. This isn’t some frontman thinking his charisma can carry him through a whole rap solo album; this is a well-rounded artist (also a hell of a frontman, no denying that) giving the most comprehensive look yet into his creative mind. The album leaps around in patches of different styles, strung together mostly by ambient connective tissue of various types, all with a great attention to detail paid to both texture and progression. We get early patches of smooth ambiance, but also aggressive industrial and sludge metal, eventually moving to more soothing and meditative synthy stuff around the middle, finishing with some serene, Have a Nice Life-esque shoegaze. But really there’s no way to sum up this album stylistically without breaking down every single song on here, and that would just ruin the fun and the experience. You really just have to experience it for yourself.

9/10

DevilDriver - Dealing with Demons I

Embarking on a conceptual double-album, Dez Fafara and DevilDriver’s first installment in the pair is a scoop of the, indeed, slightly above average, but unfortunately still plain and predictable modern groove metal they always offer up. I’ll give the band credit for keeping the pace up and clearly putting substantial energy into the performances on this album, while also trying to squeeze in a few shake-ups to their sound, like the clear Gojira-inspired riffage on the opening track. The album loses steam, unfortunately, as its punches lose their impact as it goes on.

6/10

Anaal Nathrakh - Endarkenment

While certainly cultivating a unique sound, Anaal Nathrakh’s unholy fusion of nasty modern blackened grindcore with sweeter metalcore and melodic death metal elements has its mixed results. And while that might at first sound like a relatively critical assessment of the Brits’ eleventh album, I’d say that there is actually a lot to enjoy and take in for at least the interesting mix of styles, most of which are hits rather than misses as well.

7/10

Enslaved - Utgard

Having been a fan of a good amount of their recent output, especially 2015’s In Times, I came out of Utgard moderately disappointed with how infrequently Enslaved galvanized their potent brand of Viking folky, progressive black metal effectively; the few moments the band do channel their strengths cohesively and purposefully left me wanting more rather than savoring those moments.

6/10

In Cauda Venenum - G.O.H.E.

It’s hard to, and indeed seems kind of in just to, sum up a heaping prog metal serving like G.O.H.E., comprised of two 22-minute halves, in a capsule review, but that is kind of the format my current busy circumstances have forced me into. French outfit In Cauda Venenum made a self-titled debut in similar two-long-track fashion back in 2015, and the band’s gothic and somewhat theatrical brand of atmospheric post-black-metal is continued on their sophomore effort here, drawing the obvious comparisons to Opeth and Katatonia, as well as Der Weg Einer Freiheit, Numenorean, and Sólstafir, and apart from the more frequent sample usage and extra drawn-out songs, there really isn’t that much to differentiate In Cauda Venenum stylistically. The band’s second album, unfortunately, resembles so many others in the field with big aspirations and the same inadequate means of getting there.

5/10

Apparition - Granular Transformation

A much more bite-sized early two-track offering, Apparition’s debut EP offers a more promising glimpse into a heady, atmospheric, yet still visceral manipulation of modern death metal that I would be curious to hear in a more long-form format. In a genre as extreme as death metal in recent years has been, finding artists effective at working with negative space can be difficult, but the two songs on Granular Transformation showcase a formidable dexterity from Apparition that I think can take them places.

6/10

Molasses - Through the Hollow

While indeed marred by some rough performances on songs with sometimes more desert to cross than water to make it there, there’s an undeniable occult hypnotism about the Dio-era-esque doom metal hollow that Molasses ritualize their way through.

7/10

Death Angel - Under Pressure

While certainly an odd choice on the surface, Death Angel’s acoustic EP and cover of the famous Queen song actually comes out pretty alright. The acoustic version of Act III’s “A Room with a View” comes off with the energy of something like Rush whenever they went acoustic, and the original acoustic cut, “Faded Remains” isn’t too bad either. The acoustic format did not, however, mask the drabness of “Revelation Song” from last year’s overall disappointment, Humanicide.

6/10

Necrophobic - Dawn of the Damned

The Swedes’ melodic brand of blackened death metal is nothing if not thorough on the quintet’s ninth full-length, Dawn of the Damned, covering all the ground that their fans expect their style to cover and doing so with more compositional and performative stamina than their average contemporary. While the band’s broader compositional approach is akin to the beating of a dead horse, I can’t deny it produces some tasty motifs in the process.

7/10

Bloodbather - Silence

After coming onto the blossoming metallic hardcore scene in 2018 with a standard, but potent enough 14-minute EP, Pressure, Bloodbather are back with another 14 minutes of similar, yet less promising material, doing little to set themselves apart from or on the same level of the likes of Jesus Piece, Vein, Knocked Loose, or Harm’s Way.

5/10

Infera Bruo - Rites of the Nameless

The Bostonians’ fourth full-length is, at the very least, a rather well-executed forty minutes of modern black metal a la Craft or Watain, but beneath the seams the band’s progressive tendencies twist what would otherwise be a fresh, but standard, slab of black metal into a more head-turning offering of the usual shrieks and blast beats.

7/10

Touché Amoré - Lament

While somewhat shaky in their compositional exploration in their fifth LP, the firmness of their emotive post-hardcore foundation allows for Touché Amoré to build upwards relatively steadily without losing that raw vulnerability that has made them so captivating to begin with.

7/10

Gargoyl - Gargoyl

This is the self-titled debut from Bostonian four-piece Gargoyl; a novel blend of dirty nineties grunge and gothic prog metal, Gargoyl come through with one of the more impressive genre fusions of the year, meeting the lofty sufficiency for dexterity with excessive vocal harmonies in a manner so uncanny that would make habe to Layne Stayley proud. While there is the expected room for improvement on the compositional end that many debut projects come with, Gargoyl have laid the groundwork for themselves fantastically and started off on a good foot.

7/10

Crippled Black Phoenix - Ellengæst

Through creative gothic flair and full-bodied guest vocal contributions that bolster the somber atmosphere beyond the typical post-metal album, the UK band’s most recent offering of “endtime ballads”, despite its few low points that undo its otherwise immersive atmosphere, serves as one of the more engaging releases under the broader post-metal umbrella of the past year.

7/10

Wayfarer - A Romance with Violence

The Denver-based quartet follow up 2018’s strong emotive case for the potential for evoking cathartic power of the atmospheric black metal which has so saturated the American scene to the point of numbness, their Americana-tinged third LP, World’s Blood, unfortunately, with a fourth LP whose compositional homogeneity and mere few intermittent bursts of enthralling atmospheric instrumentation more represent, rather than advocate the merit of, the saturation of the American atmospheric black metal scene.

6/10

Armored Saint - Punching the Sky

Though I think the structural homogeneity and John Bush’s similarly limited vocal delivery holds it back, with crunchy bangers like “Do Wrong to None” and “My Jurisdiction” alongside more tempered tracks the clearly grunge-influenced “Lone Wolf”, Bush and company provide a relatively stylistically diverse traditional heavy metal album for an age that could use more contemporary representation of classic styles (beyond the entire stoner metal genre LARPing as Black Sabbath too).

7/10

Spirit Adrift - Enlightened in Eternity

But it's not just the old guard representing their era of classic heavy metal robustly; a year and a half after their energetically melodic third album, Divided by Darkness, which took a triumphant melodic approach to classic heavy metal and doom metal similar to that of Khemmis on their excellent third album, Spirit Adrift ease up a bit on the hyper-soulful approach to guitar melody that had led me (and others I'm sure) to draw the comparison to Khemmis, and instead dive deeper into the headspace of the genre's earliest progenitors to achieve that unabashedly glorious rallying cry that is evoked by the very front cover of Enlightened in Eternity. While I am personally pretty partial to the very vulnerable and heartfelt melodic approach that characterized Divided by Darkness, the effectiveness with which Spirit Adrift are able to wield the sometimes Maiden-esque, sometimes Testament-esque sounds of the 80’s on this album is undeniably impressive.

8/10

Fever 333 - Wrong Generation

Providing the correction to this generation’s answer to Rage Against the Machine (after Prophets of Rage’s insufficient attempted revival) Fever 333 follow up last year’s debut of heavy, fired-up and modern take on rapcore with another 14 minutes of righteous anti-racist hardcore anger that’s attuned to the issues to a level that I wish more artists would at least express in their art. While the EP is 18 minutes long, the last two songs, “The Last Time” and “Supremacy”, don’t match the sonic energy of the first six tracks. The somber piano-led snippet-length ballad, “The Last Time”, should have been the conclusion of the album, but the closing track, “Supremacy”, while as conscious as the tracks before it, is basically a late-stage formulaic Linkin Park track that flatters neither of the two bands. Despite botching the landing though, Wrong Generation is a ripping batch of songs that well represent the current unrest and provide a positive hypothetical idea of what it might be like if Rage Against the Machine were in their prime and active today.

7/10

Mörk Gryning - Hinsides Vrede

The Swedes return from their 15-year disillusioned absence from the studio with a concise and clearly renewed enthusiasm for the energetic black metal that they put forth on Hinsides Vrede. Dynamically bolstered by folk-metal compositional tendencies and more than a dash of that famed Gothenburg melodicism (I know they’re from Stockholm and in fact their melodic approach often does heaven to that of their close neighbors from Uppsala, Watain), Mörk Gryning’s seamless return to music finds them jumping into the modern black metal scene’s advanced compositional rubric with relative ease.

7/10

Zeal & Ardor - Wake of a Nation

Having covered their output since their debut and being a big fan of Manuel Gagneux’ project, it pains me to say, especially given the noble pretext and occasional momentary flashes of sobering messaging, that this six-song mini release really doesn’t capture the unique sonic pallet that has made Zeal & Ardor such an interesting act to listen to for the past few years in the most flattering light. The title track is possibly the least of the offenders here, but all the songs here function by taking a little snippet of sound that samples Zeal & Ardor’s broader stylistic range, and drawing it out across these short, but all too minimally composed tracks in such a way that they lose their momentum very quickly. Like I said, I wholeheartedly appreciate, sympathize with, and support what Manuel Gagneux is doing to lend his band’s platform to the addressing of the dire issue of today’s racism through musical means with this project, and when its social motivation is at the forefront, it’s at its most potent, but musically, unfortunately, it’s just desperately underwritten in a way that doesn’t fairly represent how accomplished Zeal & Ardor really are with their sound.

5/10

Sevendust - Blood & Stone

The flashes of crushing grooves reminiscent of their earlier work on Blood & Stone that highlight how well Sevendust can harness nu/alternative metal to execute pummeling attacks with the right crunchy guitar tone, unfortunately, don’t come frequently enough on their twelfth LP to mirage the exhaustion that has come of the band’s writing process after such frequent, unrelenting output and the all too apparent desperate need for a recalibrating, refreshing break, which they certainly deserve for their tenacity.

5/10

Undeath - Lesions of a Different Kind

In one of those cases where the ridiculously gratuitous album cover actually represents the album’s sound quite well, Rochester, New York five-piece, Undeath mince neither words nor sounds on their debut LP in their 100% upfront, no-nonsense, and wonderfully nasty delivery of death metal. Eschewing even the slightest sense of snobbery or pretense for aimless ambition, the band simply compile the genre’s tried and true elements of bellowing growls, filthy riffs, mean-ass down-tuned chugging, and blood-pumping double-bass with blast beats into an addictive slab of raw, uncured death metal that serves as a testament to the merit of not overthinking shit.

8/10

Griffon - Ὸ Θεός Ὸ Βασιλεύς

On their sophomore LP, Parisian quintet Griffon channel the world innovative ethos that has become rather prominent in their scene into a somewhat short, but definitely sweet offering of modestly ambitious black metal that captures much more effectively than most albums of similar style and lesser imagination, the divine grandeur that the genre so often tries and fails to embody.

8/10

Bring Me the Horizon - Post-Human: Survival Horror

After taking the hard left into current pop music trends very transparently on their controversial, which was at least partially intentional on their part, and ultimately really patchy, but not wholly awful, 2019 album, amo, Oli Sykes and co. walk it back substantially for this smaller release here, back to That's the Spirit, even Sempiternal, a prospect that might get a lot of the band's more long-time, metalcore-centric fans excited, but I would suggest those fans temper their expectations of Post-Human: Survival Horror. The band reunite with the anthemic metalcore/deathcore that put them on the map for a good chunk of this album, and the intro track, "Dear Diary,", might even give some false hope of the prodigal sons returning home. But songs like the cookie-cutter single, "Teardrops", provide strong evidence that, while the band have re-embraced their old aesthetic, they have not kicked the pop vocal or compositional habits. And the project really does run out of energy in its final third because of this compositional homogeneity. I do want to highlight the song, "Kingslayer", which features a very in-form Babymetal (I loved their album last year), because their fun, not-so-serious approach to the crossing of J-pop and metal music in their feature on this track among the other songs around it provides a contrast to the more formulaic, disinterested radio pop swagger that Bring Me the Horizon have been trying to jam into their sound that could perhaps inform Bring Me the Horizon's artistic approach to integrating pop music if they really are so hellbent on doing so. Ultimately though, as much as they want to move into newer territory, this trajectory-revising release shows just how much more solid Bring Me the Horizon are in their metalcore territory than they were on amo. It had its predictable hiccups, but this thing wasn't too bad.

7/10

Pallbearer - Forgotten Days

With the slow, sludgy, down-tuned riffing of the menacing opening title track and the similar chug of “Vengeance & Ruination” being the sole exceptions, the remainder of Pallbearer’s fouth full-length largely sees them operating in the same niche they have in their three previous albums. And while this could invoke accusations of playing it safe, the brimming heartfelt sorrow and resistance to succumbing to despair across Forgotten Days is enough to wave that away, as Pallbearer showcase just how emotive doom metal can be.

8/10

Bleeding Out - Lifelong Death Fantasy

The very new act and fresh Profound Lore signing, Bleeding Out, certainly display more dynamic capability than your average local grindcore scene’s biggest names here on their 18-minute debut for the label, but as of now it is still just a glimpse of potential for more effective future implementation. It’s a good start, though, and I’ll be looking forward to a more long-form project from these guys.

6/10

Evildead - United States of Anarchy

Every year we get the resurrection of some long-inactive old-school band who seem to have found that missing spark at last; we’ve seen the return of smaller bands to the studio like Angel Witch or Sorcerer and long-awaited revivals of iconic acts like Possessed. This year, Los Angeles’ Evildead has seen fit to make their commentary on the massive ongoing sociopolitical upheaval. Despite my love for the 80’s thrash scene they were born out of, the combination of the utterly lame band name, logo, and covers for either their ‘89 or ‘91 albums never really made me want to check them out, but seeing the horridly cheesy and incoherent cover of United States of Anarchy (I mean how much more on-the-nose can you get), my morbid curiosity got the best of me. Maybe I’d be wrong to have judged them by their cover, plenty of my favorite 80’s albums have particularly goofy cover art. So what do we get from Evildead in 2020 with this fucking album? Well, it’s not as poorly performed as the past few Anvil albums I’ve had to review have been, but Jesus the lyricism is similarly cheesy 5th-grade-level stuff and smacks of silly political incoherence that essentially boils down to “enlightened centrism” with mix of that good ol’ Illuminati-conspiracy-theory belief that no political thrash album is apparently complete without. I mean there’s just basic acknowledgment of the prominent problems of the day and the fact that both major political parties are bad and that corruption is rampant all throughout DC, but Evildead not only barely scratch the surface, they apply the same level cynicism to the “both sides” they criticize with no substantiation to their criticism despite that mindset being a big reason for our being where we are right now, mixed in with the occasional conspiracy-paranoia about the shadowy underworld running everything, so no real solutions or even proper addressing of these problems. Like, the same level of criticism is levied at right-wingers and communists, like communists are at all why this country has gone to shit. And the generic Anthrax/Megadeth type of thrash instrumentation, while rumbly and mixed well to highlight its bass heaviness, doesn’t exactly make it easy to get past the commentary deficiencies on here.

4/10

Emma Ruth Rundle & Thou - May Our Chambers Be Full

Rounding off their year (at least I think), with a long-teased collaboration with Emma Ruth Rundle, Thou finally present their massive sludge-doom sound in a much more flattering light than the previous cover albums this year did. Thou's original material continues to highlight just why their relatively stiff sound is much more cut out for that, original material, than for trying to bend beyond its flexibility to tribute grunge songs. And while Thou being back in their more effective department, Emma Ruth Rundle's contributions, beyond just her gorgeous and ethereally haunting vocals, to the album's atmosphere, dynamic, and structuring really take the collaboration to the next level. Not to say that Thou are completely overshadowed and relegated to the background on this record or that they don't contribute to a fair share of the legwork here; the workload is shared pretty equally, and both collaborators have their moments of prominence, but Emma Ruth Rundle's ever-present gothic/folky influence really directs the music in a way that plays to Thou's strengths in a way I'm not sure they would have been able to on their own. It's great work from both of them, and I'd be eager to hear Thou find more collaborations like this in the future that push them into doing more interesting things with their crushing doom sound, as opposed to the rather tepid collaborations with The Body.

8/10

Auðn - Vökudraumsins Fangi

Sadly, three albums in, Auðn have only barely exceeded the bare minimum for naturalistic atmospheric black metal, with no signs of significant improvement to be found. The Icelandic band earn points for their earnest delivery, but they never seem to fully make it out of the rut that the genre’s many contemporary acts have dug.

5/10

Botanist - Photosynthesis

The black metal traditionalists might have had to accept that the floodgates to bright ambience and serene shoegaze in the genre have been opened and that there's no going back now, but even as an avid Deafheaven fan, I'm sometimes momentarily surprised at just how heavenly some black metal has gotten lately, and this new album from Botanist is one of those albums. And while it sometimes slips into some of the current wave's typical ruts, the sheer blindingly illuminating aura of this album when it reaches those high points (and it does so frequently) is enough to pull it out from those gutters and high into the cosmos. Yeah, another splendid offering of nature worship from Botanist.

8/10

Mr. Bungle - The Raging Wrath of the Easter Bunny Demo

Making their return after over a decade, Mike Patton recruits both Dave Lombardo and Scott Ian for the long-awaited fourth Mr. Bungle album, which is titled in homage to the first Mr. Bungle demo which it is comprised largely of much clearer re-recordings of. Ever impressive, Mike Patton balances aggression and eccentricity like a tightrope walker on this project too, while his bandmates do the same with thrash metal’s natural adrenaline rush while pushing the genre into new compositional and stylistic territory without sacrificing that crucial whiplash. It’s a great time, and definitely one of the year’s best thrash albums.

8/10

Carcass - Despicable

While they've been much less prolific since their reboot than they were prior, Liverpool's melodic death metal pioneers simply continue to demonstrate their excellence in this seemingly effortless four-track appetizer to next year's Torn Arteries. Anyone familiar with the band's brutal form of melodic death metal will certainly be pleased with the four quite sufficiently pulverizing cuts here; those who may only be familiar with some of the band's many less muscular imitators might be surprised, and pleasantly so, with the Englanders' ability to lay on the infectious guitar melody without sacrificing an ounce of force.

8/10

#metal #heavy metal #death metal #black metal #deathcore #sludge metal #post metal #new album #album review #new music #thrash metal #blackened death metal #blackgaze #experimental metal #mathcore #doom metal #stoner metal #groove metal

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anousiemay · 4 years

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Something Stupid

Another cold, dangerous night in Gotham looms outside of Anita & Jason's apartment. Almost finishing an essay, Anita hears music and footsteps coming from the living room. Jason shouldn't be home right now, let alone in his PJ's lighting candles and filling wine glasses. Just what is he up to? Song: ‘Something Stupid’ by Frank Sinatra Soooooo @symeona is an angel and commissioned me this beautiful piece. It got me so inspired I just had to write a fic for it. It’s on my AO3 but here’s a smexy tumblr version for y’all. If you enjoy, lemme know :3 I’m always so nervous showing off my OC’s; especially Anita. ----- It takes three clinks on the inside of Anita's mug of freshly brewed tea for her to hear music playing in the living room. The record player had been purchased just before her faithful trip to Hong Kong. When Jason had found it, he had quietly shuffled in a large box of vinyls from one of his more frequented safe houses.

"I stole them from Bruce." He had said with so much pride Anita couldn't help but snort.

"Ah yes, your greatest evil act to date, Hun. Stealing the Bats music collection." Jay had thrown a pillow her way from his seated position near the coffee table.

The next he spoke was after blowing some dust off a Billy Joel cover. "I'll have you know he was very depressed by it."

Anita bit her lip, God he was such a dork. But she could do him one better: "You could say he was stuck listening to the Blues."

Silence. Then, a deep laugh came from his chest and a large hand beckoned her closer.

"Oh my god, shut up and help me pick a record."

Anita giggled at the memory. It was only 3 months ago that Jason had moved in, but it felt like the two had been living in this small, scholarship paid apartment for 3 years. It was nice to have him with her, she still remembered how scared she was asking him to move in. Walking out of the kitchen with her mug, Anita contemplated between the two doors before her.

The one on the left housed her almost complete essay. She was a week ahead of this assignment as she always was. But the right door seemed much more tempting. Especially with music and Jason's shuffling footsteps hiding behind it.

Upon entering, Anita was met with a living room lit by small candles and Frank Sinatra's voice wistfully fading away to give space for a new song. Jay was in his usual bed t-shirt and cotton, red plaid pants. His hair was tousled artfully and blue eyes shining bright as he fluffed the pillows on their couch. He was obviously acting out some plan of his, she could never mistake that happy look.

Anita leant by the doorframe for a while, Jason was humming softly and kept looking at the back of the slip the vinyl came out of, trying to find the song he was after. Right now, he should've been in his Red Hood gear; getting ready to come into the study and give Anita a sweet kiss before leaping out the bedroom window.

This week had been a run-around for the Red Hood; being in good graces with his family meant more crime to fight and more accomplices to be alongside. Which meant Anita and Jason hadn't spent much time together besides the few moments in the morning before university and the moments after dinner where Jason would prep for patrol.

So, to see Jason fiddling with his shirt and a few wine glasses made it hard for her not to giggle softly. Alerted to her presence, Jason whipped his head up from the coffee table and gave her a big smile, his ears tinting slightly at being caught.

"Didn't hear you come in, Angel. Want a glass?" He gestured, but quickly pursed his lips when spotting her mug.

"After this tea, handsome." Anita met Jay at the coffee table, then grabbed a candle from it, reading the label with a laugh. "Jelly?"

Jay shrugged and wrapped his arms around Anita's soft, cotton-covered waist. "I thought you'd like it." He admitted softly in the shell of her ear, leaving a soft kiss on her neck then her jaw. Anita sighed softly, feeling so warm in his arms, “I do, but I thought you were patrolling tonight?"

Jason pressed their foreheads together, running his hands up and down her waist, scrunching up his shirt she had decided would be hers for tonight. After a few more squeezes he sheepishly responded: "Well I realized we hadn't celebrated your EP release yet." Anita couldn't help but smile at Jay. Oh, how he made her heart melt.

"Jay, I told you it was nothing major."

"But it is!" Jay pulled away in exasperation, Frank Sinatra was now in a crescendo as he walked back over to the record player.

"Gotham's important, Jay." Anita mused as she watched him play with the needle again.

"So are you, and I'd argue much more than Gotham." Then he put the needle down and stood straight, slowly walking over to Anita with a smile, the glint back in his eyes.

"Now, will you do me the honour of a dance?"

Anita smirked; Jason rarely ever danced. Even at her shows, he was the drink and talk type. Or the drink and make sure his 5’5 girlfriend didn't start a smack down in the club type.

'I know I stand in line until you think you have the time to spend an evening with me. And if we go someplace to dance, I know that there's a chance you won't be leaving with m e.'

Flipping her hair back, Anita waggled a finger for him to come closer. "You better not hold back, Jay." She said taking another sip of her tea.

"When do I ever?" He teased before wrapping both of his strong arms around her body and dipping her back.

'Then afterwards we'd drop into a quiet little place and have a drink or two. And then I go and spoil it all by saying something stupid like I love you'

"Jay, my tea!"

"Hush mademoiselle. Let the music and my embrace take you."

Anita and Jay began spinning and laughing. The wine and weird smelling candles forgotten as they enjoyed the song and each other’s company. It was these moments Jay loved the most. Because she was in them. His love, his angel. Once she started singing, he couldn't help but join her.

‘The time is right your perfume fills my head'

He spins her.

'The stars get red and oh the night's so blue'

Then draws her close. Anita leans up and kisses Jason's nose. Their eyes crinkle in joy, the idea of patrol and essays far out of reach.

'And then I go and spoil it all by saying something stupid like I love you'

Lost in one another.

'I love you'

The dance is done and Jay dives in for a kiss.

'I love you'

He can taste the tea in her mouth and Anita only just now smells his cologne, now that's something she'd want in a candle.

'I love you'

#OC #dc #Jason Todd #jason todd x oc #red hood #self-insert #fanfiction #ao3fic #songfic #squeee #I smile softly everytime i see this drawingggg #this angel has no wings

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aurora-daily · 5 years

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AURORA

Interview: AURORA for smoke and echoes (July 4th, 2019).

“I made the album trying to build an army of love and remind people that they can do incredible things.” – Aurora

It was a rainy summer day in Berlin, when we met the loveliest and most magical creature of all – Aurora. When she came into the room, her aura filled the space with such a special energy. A bit shy in the beginning, but her honest answers and that special kind of a very calming voice and the way Aurora was talking, were just a reflection of her peaceful mind and soul and we truly felt touched by her presence.

The Norwegian singer songwriter Aurora Aksnes, formally known as AURORA, is back with her second studio album ‘A Different Kind Of Human – step 2’ which marks the instalment of ‘Infections Of A Different Kind – step 1’, her EP from 2018. We were talking with Aurora about her latest record, her favourite plant, daemons and fashion of course.

When you woke up this morning- what was the first thing that came to your mind?

I was sleeping quite deeply and then I heard someone knocking at the door, I was at a hotel, it was quite strange but then it was my sister. And then I thought – hmm, hello sister!

What’s the best thing about being an artist and what is the worst?

The best thing is that I can do music and that my words mean something. That is very nice and very beautiful. The worst thing ist hat I have to fly so much.

Nature is kind of an escape, inspiration and a shelter for you – would you say that you’re good gardener and do you have a favourite plant?

My favourite plant is lavender, it smells really nice and the bees also like that. But I am not a good gardener. I prefer wild flowers that decide for themselves – I like independent nature.

Your second studio album “A Different Kind Of Human (step 2)” is out now – what inspired you the most for writing the album and would you say that you also turned into “A Different Kind Of Human”?

I want people to chose. Cause many people think I named the album “A Different Kind Of Human” because I am a bit strange. But that has nothing to do with the album, but of course I have always been a bit different. But I think it’s a choice you make. And If everyone made that choice, the world would be wonderful. I was really inspired by traveling around. I saw people around the world and heard their stories and I realised how much we want to be united and how much we have in common. How much potential we have, but people don’t know how much they are really capable of. I made the album trying to build an army of love and remind people that they can do incredible things.

What’s your favourite song on the record?

It changes from time to time. Some days it’s “A Different Kind Of Human” and sometimes it’s “Soulless Creatures”!

And what’s your favourite song to play live at the moment?

Now it’s “The Seed”. It’s full of anger and I can scream it out. I am in a phase where I want to be explosive and really shout. I love it – it’s very satisfying for me to sing it.

Do you have any good morning shower songs?

I really like listening to The Pointer Sisters with “Jump In or Jump Up”- “Jump In For My Love” is not that known but it’s very nice. In the morning I often feel quite shy to the world so I maybe like to listen to Enya.

In which way are you influenced and inspired by other artists?

Very little. I feel like the whole reason why I began to make music was around the age of 6, when we didn‘t have a radio and I only knew what my mom and dad had on their album collection. So I had little music in my life and what made me want to create music was that I didn’t find any perfect music out there. I wanna make what I feel the world is missing. And I am still working on it, hunting for the perfect thing. But I do get inspired from artists that use their power in a good way. I really enjoy that.

What’s the image of Germany you have after touring here several times?

You have a much more passionate audience than I thought. Cause in Norway people are quite stiff and shy maybe. And I thought it would be the same here but no! And they really understand it when I am being funny, which is really nice because some places they don’t. It’s a good audience, very respcetful. They listen, they care.

What was the most impressive gift you have ever received from a fan? And do you keep them all?

I keep as many as I can get with me. And If I can’t bring them I take pictures and I read all the letters . And many of them I hang up on the walls in my studio. So when I make music, I can look at them. One time I got a wax figure of myself. And it looked very much like me: the clothes and the hair and everything which was very impressive. They are really artistic.

Talking about being artistic – if you had to paint a picture of a daemon what would it looks like and which colour would it be?

I think it would be white. You know sometimes in the history of religion the true daemons can be angels. Some things so white that you are blinded. And white noise also is very annoying.

Fashion wise – what means fashion to you?

When I was little I dressed like I do now. I had many layers. A typical thing like one of each shoe on a different foot cause it looks nice when you look down. I was wearing sleeves. I really liked the characters in the wrestling games, like “Taken”. So I am really inspired by that kind of fashion. And I really like Anime and fantasy books. Also it’s good to have a sister that is a designer so I can ask her to make a dress. I can give her this ugly drawing of a dress and then she always nails it. She is very good!

Do you have an indispensable piece of clothing?

Something I can’t loose? No. I feel like if I use them a lot and I forget things in my hotel room. I feel like the meaning is that we part. I always hope that the maid in the hotel will find it. I feel like if I loose something it is my own fault. It happens a lot to me. I cannot be sad about it.

What do you pack in your suitcase? Do you have any travel essentials?

Yes – I don’t know if this is actually legal, but I bring a lot of candles. And I have InScents and a small lighter. I like it when the room smells nice, but I am very careful and often I light it in the bathroom on the tiles. But I know you’re not supposed to do that. But I just do it a little. And I always bring this tiny box with me. I have some lavender in it and a piece of my old hair. And I asked for a sisters tooth (Viktoria). She just pulled out a tooth but she has it in her witch box. Because we all – me, Viktoria and Miranda – we are witches and we have our small boxes with witch stuff inside. I bring mine always. Sometimes I bring my own pillow case and way too many books. The hotel rooms have no personality so it’s nice to bring nice things.

Music is…

Liberation.

Thanks for taking the time to have a chat with us and for your honest answers, Aurora. We truly enjoyed your aura and can’t wait to meet you soon, in the near future! If you wanna catch Aurora playing live, visit her website for tour dates and more.

Stay tuned.. xx smoke and echoes

#aurora #aurora aksnes #interviews #step 2 #soulless creatures #adkoh

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soundrooms · 5 years

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Soundrs: DJ CYBERDAD

My name is John Verchot, I’ve released music under several names: J-chot as well as DJ CYBERDAD. Locally, I’m usually just billed as DJ Verchot. I feel like the first thing I should tell you about myself is that I have severe ADHD, which seems to be the single most consistent force guiding my art and existence. I often get distracted and always get ahead of myself when I try to explain things. DJ CYBERDAD started out as a funny pseudonym to release more profane songs that I didn’t want my son to hear, but changed into an outlet for my smoother dance jams as well as more introspective music.

What are your inspiration sources?

It varies from project to project. Often times with tracks, the inspiration to work on them comes in two or three different phases. Inspiration to create sounds is one thing, as inspiration to finish and structure tracks, create moods/themes, or even package them into a finished project, all feel like different driving forces/processes that need to happen in order for me to get anything done. However, whichever one of those forces I am able to utilize when I sit down at my laptop often seems to be beyond my control.

Most times I’ll hear a sound, loop or phrase, I’ll start to wonder what I can do with it, or how I can change and manipulate it. It might be the timbre of an old instructional video’s narrator, or an odd metallic sound I’ve managed to coax out of some equipment. Occasionally I’ll think of a concept, either of overall sound or thematic content and before I know it, I’ve got half a track planned out in my head. Many times I’ll hear other tracks or songs, and want to use just one part/concept/sound or re-do the whole track differently. With “Emotional in Destin”, I was trying to convey moods or feelings I felt during an unexpected trip to Florida in the middle of a crushing depression. It sounds bizarre, but I've never channeled personal experiences into my music before.

Overall what inspires me to create different sounds is the novelty of technology and bits and other people’s music.

What makes me want to sit down and make music is personal or professional success.

What inspires me to finish tracks and projects is the distant white noise of overwhelming anxiety and dread setting in as the ennui of the imminent collapse of western society fades giving way to the dark, almost imperceivable thrumming of the void drawing nearer, and is definitely getting louder. Your “time” is almost up John. Did you even do anything, or are you too skiddish and feeble of heart and head to make any clear decisions, impulsively flitting from one animal urge to another bad habit, clogging the chemical receptors of your brain for simple stupid pleasure. It’s night now and your eyes and fingers grow weary…

What was the question again?

Tell us something about your workflow.

Most times, it starts with just noodling around. Sometimes, it’s with synths and sequencers, either recording sounds or looping notes and tweaking/loading patches (virtual or real synths), sometimes I’m browsing potential sample material, but what happens next is the same regardless of how I’m making sounds or what I’m doing:

…I think hear something.

…And I STOP noodling. Basically, I either hear something I like, or I hit a riff or whatever and it’s like a tiny, tiny light bulb that blinks barely. Occasionally it’s like a hundred watt, and other ideas quickly fall into place. Most times, it’s a process of trial and error, but I’m making sure to document or isolate the little pieces that click and then attempt to refine or improve on those ideas. Ideas can quickly diverge, multiple sets with different names get saved, and I often jump around and get lost. I use color coding on clips and pieces in Ableton to help me sort those ideas. Some ideas form by running one sequence I’ve had already through a whole different synth/patch.

Very rarely, I’ll get a concrete idea while I’m driving, maybe I’ll make some notes on my phone (text to speech notes, voice recording).

When I get a spark that makes me imagine a full concept (“Charles Nelson Riley”, or that “My P**sy tastes like Pepsi Cola” remix for example), the track is formed VERY quickly (four to eight hours working time) and I finish the mix, structure, everything. This is rare, but these tracks are almost always my better material.

The next step is always the same: Let the track “cool-off”. Leave it alone. Do something else for a few days, or weeks… or in some cases, years… Then I’ll fuck around with it even more, or move on to:

STRUCTURE & MIXING:

I look for/experiment with arrangements that compliment my DJ style, or allow someone to do a rough edit if they want, (breakdowns at the end), or I’ll load a track that I like to DJ that’s similar enough and I will STRAIGHT UP copy the song structure in terms of intro, (drums or keys?) repeating bits, breakdowns, outros… Most times I fuck with it until it sounds okay, which is kinda bad because I end up drastically overscrutinizing it.

When it comes to mixing, something that I should do more often but don’t is load a reference track (someone else’s track) and try to get my mix to sound like theirs… This technique REALLY helps stop “nasty surprises” when you listen to it on a big system, or in the car.

Most of the time, I’ve been tweaking the mix the entire time I’ve been working on the project.

TL;DR

The “Emotional in Destin” EP is almost entirely soft synths, but lately my flow is:

1. dick around on hardware

2. “oh that sounds good, let me make another sound to go with it” (see step 1)

3. record a few pieces to an Ableton project.

4. “I don't know what to do now.” …maybe mixing or structure…

…almost ALL THE TIME, however I jump around and do everything very non-linearly. Hardware helps me not spend so much time tweaking patches or EQ-ing a snare drum for an hour. Texture is SUPER important to me, so I’ll often get hung up on EQ and compression before I even start on structure or mixing.

How would creative rituals benefit your workflow?

The hardest part for me is ALWAYS ALWAYS ALWAYS getting started, or shifting gears from other activities (resting after work, reading tumblr, goofing off…) and going to sit down at my desk and start music stuff. I’m certain it’s an executive dysfunction thing. The less I think about doing it before I do it, the better.

Animal sacrifice SIGNIFICANTLY speeds things up. Try not to get blood on the gear/laptop, and make sure never to clean, but regularly sharpen the ceremonial dagger (VERY important).

How do you get in the zone?

I don’t really try…

As soon as I start to approach a task as “a thing” I get nervous and anxious. If I go “okay, I’ve got this task to complete…” my subconscious hijacks my higher functions to make me look at memes or tumblr for three hours instead of do what I “should” or “want”… The problem with me in the past has been how do I get OUT of the zone?

How do you start a track?

Oh jeez, I really jumped the shark with that question earlier, didn’t I? A technique I’ll sometimes employ is load up an old track, keep the drum sounds/patches but delete all the data, and make an entirely different genre of track… or one that's very similar… That’s kind of a fun exercise if nothing else. Also it often winds up getting tweaked and adjusted to hell and back.

Do you have a special template?

Nope. I make TONS of drum, EQ, and effects presets though. And they all have terrible names like “gooddrums”, “$GOODrums” and such.

Even though I’ve started with carbon copies, they ALWAYS end up sounding completely different by the time I’m finished with the track, because I can’t leave em well enough alone.

What do you put on the master channel?

Sometimes EQ, but always a phat ass compressor (limiting). I’ve been thinking about investing in a nice non-free one lately, but for some reason I am not comfortable with purchasing software plugins… I also have learned recently, that I’ve been using compression on the individual tracks way too much… which makes final-mixing a pain in the ass.

How do you arrange and finish a track?

DAMN IT. I really did go too hard with the first couple questions. The “finishing” of a track for me (arrangement, mixing) is usually done much later than the rest of the process. I try not to force stuff, but lately I’m realizing more and more that I need to not do this as much.

I can’t stress enough how using a reference track for structure or mixing can very often break up stagnation on a project.

How do you deal with unfinished projects?

Several ways. The first step is to judge an old file and see if it's worth finishing. If there is ANYTHING of creative/sonic merit, I put it in a folder with the other “sketches and ideas” (project graveyard). Otherwise, I have been trying to delete the “junk” projects… this can make it easier to focus. Another thing I often do is to make presets/patches/Ableton instruments from the parts I like, then drop it in a folder called “meh”. Or I drop them into several categorical folders, i.e.: “uncircumcised electro bangers”, “abrasive techno”.

How do you store and organize your projects?

Aw jeez. Oh gosh-oh darn. (See above answer.)

How do you take care of studio ergonomics?

Trial and error, trial and error, trial and error. This year alone my studio has been restructured and moved about my downstairs room at least five times. I’ve finally settled on something that feels very useful and productive. I am also this way with my work station at my job. CHANGE IT UNTIL IT WORKS GREAT. This can also help with creative stagnation, or can trigger it, so be careful. I keep my “electronics laboratory” close at hand so that more of that tinkering can find it’s way into my music… no such luck, YET.

I’ve currently decorated my space with all the crap I’ve saved up over the years, that for some reason, I’ve looked at this and thought: “This makes me happy” …SUUURE, my studio now looks like a fourteen year old decorated it, but I gotta say, I feel pretty phenomenal. Soon I’m gonna try to put this “stars and space” wall paper on my ceiling… I’ll update with a photo when that’s done.

Also I would like to say:

Minimalist spaces and studios are bullshit, y’all look like sick baby birds in empty shoe-boxes.

I mean, NOBODY LIVES THAT WAY, right? Maybe some boring rich people do, but damn… I mean, I try to clean and stay organized… and it helps, but I also try not to get to hung up on it.

Tell us something about your daily routine, how is your day structured, how do you make room for creativity?

**LOUD SUCKING SOUND THROUGH TEETH** I don't… at least, not very well at all… but I’m working on that.

I am not the person you should ask this question, because THIS RIGHT HERE is the BANE of my existence…

Share a quick producing tip.

MAN, I’ve already dropped like… seven, but okay, here goes:

BY ANY MEANS NECESSARY, FINISH THE TRACK. For me, this means ghetto-rigging, DIY, using the same goddamn audio interface from 2002 for f****ng fifteen YEARS… (recently fixed) don’t get hung up on “proper” ways, or ways that are outside your current means. Also, get a set of decent monitors… or use several pairs of headphones/speakers to double check mixes.

Recently, I’ve had less time, but a little bit of money, which is the opposite of how I’ve ALWAYS operated… it’s been difficult to unlearn “time consuming but cheap”. Also difficult not to impulse buy synths.

Making music with just a mouse and keyboard may be the least sexy thing ever… it works tho… cheap MIDI controllers CAN work faster however.

Share a link to an interesting website (doesn’t have to be music related).

My son just showed me this ➜ https://dddance.party/ and I have to say, this is an outstanding achievement of mankind.

List ten sounds you are hearing right this moment : )

Traffic outside my window, gentle hum of laptop cooling fan, dog snoring, fingers typing, birds chirping… that’s it.

John has a lo-fi house EP out on UltraBold Records as DJ CYBERDAD. It’s called ‘Emotional in Destin’. Stream it ➜ here, audio cassettes are available ➜ here.

Thanks John! If you want to get featured next, send a message here on tumblr or email [email protected].

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hippoarchive · 5 years

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A Quick Chat With Hippo Campus

Hippo Campus © Pooneh Ghana

JANUARY 24, 2019

Hippo Campus is an indie rock quintet from St. Paul who make infectious funky pop look easy. Over the course of the last six years, they’ve produced a handful of eclectic EPs and two very diverse LPs. They’ve toured the world – playing festivals like Bonnaroo and sold out iconic U.S. venues like Union Transfer in Philadelphia, and the 9:30 Club in Washington D.C.

As they set out on their latest world tour in support of 2018’s Bambi, I sat down with core band member Nathan Stoker ahead of their sold out Kansas City show at the Truman on January 25th.

Soundblab: Hey Nathan

Nathan: Hey!

Soundblab: Looks like you’ve been to Kansas City quite a bit.

Nathan: Yeah we’ve been there a lot, love that city.

Soundblab: You have quite the following here.

Nathan: Every time we’ve been there it’s been a great experience

Soundblab: This will be your largest venue show here, last time you played the Record Bar, but the Truman is over twice the size.

Nathan: That’s awesome.

Soundblab: Got a few questions here for you. How did you come up with the band name?

Nathan: Age old story is not very interesting. I was in psychology class and came across the term in a textbook and we had started just kind of sketching ideas. Nothing like super set in stone. But I always like to fantasize about naming bands. That’s the story.

Soundblab: What is the hardest thing about working in a group?

Nathan: There are so many things. The first thing that comes to mind is ego. Being okay with your ideas not being the best. Just shut up and listen type of thing. Always having respect for other ideas. How do I stick to my guns without coming off like an asshole? Maintaining friendships

Soundblab: Is Hippo Campus your first band?

Nathan: I was in a band with Whistler (Allen) our drummer in high school. That was the first band I was in and then this one.

Soundblab: What is your favorite song that you’ve written?

Nathan: They’re all kind of like our children so it’s hard to pick and choose. Usually, the songs we release are the ones that fit best with the album. But the ones we don’t release and haven’t found a place for yet are very special. “Alexandra” was a banger, so good, and it has yet to be released because it didn’t make the cut. So something unreleased I guess.

Soundblab: It doesn’t make the cut because?

Nathan: Band consensus, not the label. Labels are pretty easy going. Some songs just don’t mesh together as well as they could in terms of an album. No cohesion.

Soundblab: What was the meaning or inspiration for the song “South?”

Nathan: We were just writing over the summer, just set up with our parents. It’s about being an angsty teenager. And feeling like choices are being made for you and you can’t do anything about it.

Soundblab: Any bizarre stories from the road? There was a rumor that Rivers Cuomo required his dressing room to be decorated to look like a womb. Any brown M&M situations?

Nathan: Whoa. Um… there’s a venue in Portland that separates the minors and adults in different sections – like completely gated off from each other, which was kind of strange.

Soundblab: In lieu of stamps on hands or wristbands?

Nathan: Yeah just separated by like a barricade. We’re pretty low maintenance though, so we don’t make any crazy demands.

Soundblab: Anything current music wise you’re really into?

Nathan: I just got into Tom Waits, I’d never really listened to him before. Rex Allen, this old country star. Cautious Clay is pretty cool. Frog.

Soundblab: Frog?

Nathan: Yeah they are like a two-piece from New York. I just got into the new Amen Dunes record too.

Soundblab: Freedom. Probably his best one

Nathan: He’s pretty rad. And then I’m digging a lot of ambient stuff. Just a little taste for ya.

Soundblab: Variety of listens going on. What’s influencing your sound?

Nathan: That’s a good question.

Soundblab: Overall. When you woke up and decided to be in a band…

Nathan: We were listening to a lot of British indie bands like Bombay Bicycle Club. Not a lot of OG musicians, but stuff that’s been around for a while. Our individual influences are pretty scattered. Like I grew up around a lot of church music so there was always a lot of driving, physical force behind wanting to be in a band that was not religion based. Playing guitar on stage is a draw for me and continues to be a thing that I love. In terms of sound, big bands like Low did have an influence.

Soundblab: Low’s Double Negative was Soundblab’s Album of the Year…

Nathan: Yeah the new one is sick.

Soundblab: You worked with BJ Burton, who also worked on that album, along with others by Bon Iver and James Blake. What was that like?

Nathan: Um it was weird. BJ has been a really interesting influence on the way we approach music in the first place. The way we look at it now, after working in the studio with others it’s just weird but… overall it’s been great. A lot of interesting growing up that had been done between us in the band and BJ. He really challenged us, pushed boundaries. It’s an ongoing thing too, trying to figure out where we go after the experience with BJ - working outside of that in kind of a foreign land. Very talented dude.

Soundblab: What’s it like going from smaller venues to larger venues in less than two years?

Nathan: Every time we’re in a new city or town I’m amazed. There are elements of the smaller venues that are awesome, the intimacy. But the larger venues, it’s kind of nice to be able to take a shower and have a dressing room. Both have their perks. But no matter where we are we have the mindset that you can play in front of five fans and be awesome, or play in front of five thousand and suck.

(source: Soundblab)

#hippo campus #nathan stocker #written interview #interview #nathan interview #soundblab

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50thirdand3rd · 5 years

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Writer, producer, Poptone drummer, and co-founding member of Tones On Tail and Love And Rockets takes us back to his Bauhaus roots with The Bela Session EP and his new coffee table book, Bauhaus Undead and teases a few hints at what he has in store for 2019!

Bauhaus – photo by Graham Trott

Kevin Haskins, the elusive Bauhaus drummer is quietly powerful behind his placid, penetrating expression. The jazz trained boyish younger Haskins brother who drew more inspiration from Stephen Morris than Gene Krupa paid his dues in bands with older brother, David J. before forming what would eventually become Bauhaus with friend and fellow art student, Daniel Ash and Daniel’s friend, Peter Murphy. The band’s chemistry was instant and Bauhaus began playing shows wherever they could and on January 26, 1979, the band recorded their iconic debut single, “Bela Lugosi’s Dead” at Beck Studios in Wellingborough a mere six weeks after forming the group.”Bela” was just the beginning and soon Bauhaus found fame and an early fan in the late John Peel who kept the band in heavy rotation on his legendary Radio 1 program. By 1980, the band released their groundbreaking debut LP In The Flat Field to mixed reviews further solidifying their status as post-punk icons with their dark fusion of glam, punk, jazz, dub, and disco and gained a rabid cult following among the cool kids in black on both sides of the pond.

[embedyt] https://www.youtube.com/watch?v=K0bLCILyVRk%5B/embedyt%5D

Shortly after Bauhaus called it quits in 1983, Kevin and Daniel continued a fruitful collaboration in the short-lived and lightyears ahead of its time, Tones On Tail with bassist and former Bauhaus roadie, Glenn Campling. TOT scored a dancefloor hit in the US with their 1984 “Lions” b-side “Go!”.

[embedyt] https://www.youtube.com/watch?v=3TJC48BRBn8%5B/embedyt%5D

Two years later, Kevin and Daniel reunited with David J. to form Love And Rockets, who found success with early singles “Ball of Confusion” and “No New Tale To Tell” before scoring a breakout hit with their ubiquitous 1989 single “So Alive” which spent 20 weeks at #3 on Billboard’s Hot 100 chart.

[embedyt] https://www.youtube.com/watch?v=-L41MhFPU9s%5B/embedyt%5D

After 40 years of forward motion with not one but two highly influential post-Bauhaus bands, Kevin takes us back to his Bauhaus roots with his new coffee table book, Bauhaus – Undead “The Visual History and Legacy of Bauhaus” and The Bela Session EP which features four previously unreleased tracks along with the iconic 9:37 opus that started it all.

Photo: Jenna Putnam

50thirdand3rd: So, can we talk about Bauhaus Undead?

Kevin Haskins: A good friend of mine who works at Cleopatra, Matt Green, suggested the idea. He knew that I had this big container full of memorabilia. I was the guy who collected everything, kept everything. So, he says, “Why don’t you make a coffee table book?” “Matt, that’s a great idea.” And then he made me an offer to put it out on Cleopatra and I just felt that I would like to self-publish it. So he said, “Of course, that’s your decision. Go ahead and good luck. Wish you all the best.” And so, I went off on my merry way and so along into the process, I ran into this guy, Jeff Anderson, at gigs. And it seemed like fate kind of brought us together. On the third meeting, I said, “What do you do?” And he said, “I make box sets and re-releases for bands and so, I went to his house and I saw these amazing box sets from Sigur Rós and Roger Waters and Beck, Nine Inch Nails, The Pixies – beautiful ones! I thought “This was a no-brainer, let’s do the book together!” He was really excited working with me on that. He brought in a great design team and off we went. And I just sat down and started writing stories which I’ve never done, before.

[embedyt] https://www.youtube.com/watch?v=8aOk0A4pnN8%5B/embedyt%5D

So, it all took about two years and we designed this huge book with a slipcase and it was this huge, crazy size book! Basically, we really didn’t figure out how much it was gonna cost to make and how much it was gonna cost to ship and Jeff really wanted to use his regular printers in LA. Anyway, a month before, we put on a pre-sale to raise money to have it made. A month before the pre-sale ended, I found out how much it was gonna cost to have it made and it was ridiculous, it was like over $100 to make, in the end! (laughs) I spoke to publishers after the fact, who were very impressed with how many I sold, because it was like $180 or something. But I didn’t raise enough money to get it made, so I had to refund all of the money. Then I went to a bunch of publishers and got a lot of interest from boutique publishers, but they really didn’t have the means to do what I wanted to do, but I did decide to make this book a regular size book, so that we could sell it at a decent price and make it cheap for people.

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And basically, about two years or three years after Matt gave me the idea, I went around his house and he showed me a book that Cleopatra had just put out. I think it was Hanoi Rocks or something and he said it was a great deal for this band it was really great deal and I said, “Oh Matt, could you do the same deal for me, please!” Because I was back at square one, I had nothing, but I did have a book already made, all the layout was all done, all the stories were written, it was proofread. It was just ready to print. So, I was kinda handing him a gift, really, on a plate and he said, “Kevin, I think we can do your good deal.” Which they did and it ended up coming out on Cleopatra, so I did this complete circle, so, now I know everything about printing and shipping and fulfillment companies.

50thirdand3rd: You got a real education on the process.

Kevin Haskins: Yeah, it was a mixture of extreme pain and pleasure. (laughs) I’m really proud of it, it’s over 300 pages and it has some great content. We were all very art inclined so we do a lot of drawings and doodles and I kept all those and I think that’s the stuff that’s very interesting for people. Very personal stuff like that and handwritten lyrics. And when we went to shop “Bela Lugosi’s Dead”, Daniel wrote out all the names of all the companies we went to, EMI and Polydor, all the huge companies and what they said. They all rejected us, so he wrote a kind of note to them, it’s very scruffy, very Daniel and all over the place and there’s drawings of Bubble men all over it. It ended up the last piece that went into the book. I was kind of done and he had just come back from England and raided his mum’s attic and said, “Look what I found!” I’m like, “Oh my god, I’ve gotta get that in the book, it’s so cool!” So, it’s got a lot of funny stories and great memorabilia.

50thirdand3rd: Awesome! I understand you did a book signing at Rough Trade in Brooklyn, this past summer, was it? How did that go?

Kevin Haskins: It went great! We were on tour with Poptone and I set up an In-store for my daughter’s band, Automatic, they were supporting us.

50thirdand3rd: And that’s your daughter, Lola’s band, right?

Kevin Haskins: Yes, Lola (Dompé), Izzy (Glaudini), and Halle (Saxon Gaines). And then after they played, I did a signing and it was nice, you know, it was my first time in Brooklyn if you can believe that.

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We’re playing rough trade tn bbs come through

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50thirdand3rd: Wow, how’d you like it?

Kevin Haskins: We loved it. My wife came out and we rented a really nice Airbnb and got to really walk around, check it out.

Photo: Jenna Putnam

50thirdand3rd: Very cool! How’s the response been with the book?

Kevin Haskins: Really good. Yeah, it’s been great, people love it! I don’t wanna boast but I’m very proud of it and people respond really well to it. There’s a lot of good content in it and I was really happy with the quality and the printing and everything.

50thirdand3rd: It sounds awesome and you had some of the other Bauhaus historians kind of help out, too, with the timeline, did I read that right?

Kevin Haskins: Oh yeah, a guy called Andrew Brooksbank and also I should mention Vincent Forrest and they were very helpful. Andrew is kind of the Bauhaus historian and when our old label, Beggars Banquet, put out re-releases, he always writes the sleeve notes. He’s an extremely organized guy and he’s a good writer and he created this timeline of every show and every radio, like interviews, TV appearances, that type of thing. So, that was really so valuable to me because I can’t remember what I was doing.

[embedyt] https://www.youtube.com/watch?v=h5UFgXuz1Gc%5B/embedyt%5D

50thirdand3rd: Right, because you were like in the center of the storm.

Kevin Haskins: Yeah, I was. And he was a great resource and I think he gave me a few items. A few scans of this and that and also helped out in that way. So, it was nice to have fans included, there were people whose names, sorry, I can’t remember, right now, who sent me some great pieces to put in, so it was nice to include people, as well, like that.

50thirdand3rd: That’s really exciting! Seeing it all together in the context of a timeline, how was that? I imagine that would have to be a little awe-inspiring, like “Wow, I did all this!” Like, looking back on it?

Kevin Haskins: Yeah, I’m surprised at how many shows we played because I didn’t think we played that many, but, we did. We really worked! We started from nowhere and the only really then to get known was to play, you know, to get the ball rolling. So, there was a two year period where we were just slogging away. Just trying to get shows when we started, we played in the weirdest places. (laughs) Like, I got a gig, there’s a little village called Ilchester and it was a Sunday lunchtime community center and it was bright sunshine. It was in a modern kind of bland hall with big glass windows, very bright, and there were kids running around playing, parents just eating, and Bauhaus were playing to these people. It was completely ridiculous! And then Peter got us a similar thing but in a working men’s club on a lunchtime.

[embedyt] https://www.youtube.com/watch?v=G5DUQuY1mf4%5B/embedyt%5D

50thirdand3rd: Oh, wow! How was that?

Kevin Haskins: After our first number, this old character, this old guy who worked there came up to us and he said, “What are you trying to do? Blow the bloody roof off? Play something that people know! You know, something we can tap our foot to!” (Laughs)

50thirdand3rd: Character building, I imagine!

Kevin Haskins: Yeah, blow the bloody roof off! So, we would play anywhere we could. Actually, and I wrote about this in the book. Really, our first show, I think went kind of undocumented. Daniel got us this rehearsal room at a teacher training college in Northampton and we were in a kind of portacabin, this kind of a prefabricated classroom, you know, it was kind of like a trailer.

50thirdand3rd: Oh, okay.

Kevin Haskins: It was outside the main building, just adjacent. And it was adjacent to the student union room where they would have bands play and they had a bar. It was winter and it was snowing, I remember, and The Pretenders were playing that night. So, we were rehearsing late afternoon and we kind of finished and we were like, “Is anybody going to see The Pretenders?” “Yeah, I am.” Kinda fancied that and then one of us had this idea that why don’t we just follow them? “What do you mean?” So, the next minute, we open the door, dragging up our gear up this, it was like an incline, covered in snow, dragging all our gear, and there was the French door, like this big glass door that opened up and we just opened the door and we just set up really fast in the corner of the room and by this time it was like 7:00. People were just coming in and The Pretenders had just done their soundcheck and we just set up and started playing. So, a crowd appeared around us, and we got about two or three songs out of the way, we didn’t have many songs, we had just started, and the student union came up and he was like, “Wait a minute, stop, what are you guys doing?” We’re like, “Oh, we’re the support band.” And he’s like, “Really?” And we’re like, “Yeah, we’re the support band.” And he was like scratching his head and like looking at us very suspiciously and he turned away and he walked away and he was kind of looking over his shoulder. And we sold it and then we’re like, “Get into the next song!” And we managed to get two more songs done and then he brought everyone from the student union and they shut us down. They said, “Hey, you’re not the support band!” So, we supported The Pretenders, punk rock Guerrilla style. (Laughs)

50thirdand3rd: That’s awesome!

Kevin Haskins: I’m sure Chrissie Hynde would’ve appreciated that. I don’t know if she heard that we did that.

50thirdand3rd: I hope she finds out!

Kevin Haskins: We were dying to play, all we wanted to do was play.

50thirdand3rd: That’s really cool! So, The Bela Session EP you recently put out, could we talk a little bit about that? I understand it was the first time you guys worked with Derek Tompkins. Like, he was really important to like Bauhaus and he produced Love And Rockets, too, right? Like he was Engineer/Producer at Beck Studios for you guys, can you tell me a little bit about that?

Kevin Haskins: Sure, we’ll start with Derek. I think we went to Beck before Bauhaus, we were in other bands, like The Craze, Jack Plug and The Sockettes, these kinds of new wave bands, but it was Peter’s first time in the studio when we went with Bauhaus. And Derek was this amazing character. I always kind of viewed Derek as our George Martin. Mainly because he was older than us and he really didn’t know anything about fads or fashions which was good because he just approached it from what sounds exciting and what sounds good. He just instinctively knew how to produce bands and also he was a bit of a rogue, he was a really funny guy, very smart, very opinionated, a bit of a rebel. And he had a great stutter, he stuttered and just consumed endless cups of coffee and cigarettes. Like really unhealthy, but he kind of like built the desk. He built of a lot of the equipment in the studios.

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So, anyway, The Bela Session was the idea of Andrew Brooksbank. He emailed me one day and he said, “What do you think about this idea? Why don’t you release the entire recording from the day you recorded ‘Bela Lugosi’s Dead’?” Three of the songs had never been released and I just said, “This is a brilliant idea! I can’t believe no one had thought about it, before!” And he said, “Yeah, it would be the holy grail of the band’s fans.” And I said, “Marvelous idea!” And for some reason, he had the original 1/4” tape and box. I don’t know how these guys get hold of these things, you know, I know they’re in good hands. And so, his idea was to use a scan of the tape box and it’s to the cover and I later thought, it would be great for the inner sleeve. So, that’s what the inner sleeve is and you can actually see the front and back of the original tape box. It’s marvelous, it’s got the aged patina and the picks, crossing things out and notes, so it’s a wonderful thing just to view.

50thirdand3rd: That’s really cool!

Kevin Haskins: Yeah, and just for the cover we came up with the idea of just doing a negative of the original cover, so, it’s white on black and yeah, so it has three unreleased songs and they’re interesting to hear because, you know, some of them, one of them, in particular, I think “Some Faces” doesn’t sound like Bauhaus, at all. It’s kind of a chirpy, bright sort of a new wave song, but it’s interesting to listen because you can kind of see a bit of an evolution. Right, like this is us. We had only formed about six weeks before, I think. So, it captures the band in a period of its formative period.

[embedyt] https://www.youtube.com/watch?v=vV772Ht1Sys%5B/embedyt%5D

And we ended up going with Leaving Records which are an imprint of Stones Throw and they did a marvelous job, I think. They really chose a great kind of engineer and they’ve really been wonderful, I’m so happy with the product and also Bela hasn’t been available on vinyl for, I don’t know, twenty years or something crazy. It’s really nice to have it in record racks, again. And I just remembered another story from that day. So, “Bela” is about nine minutes long, but we actually laid down eleven or twelve minutes.

50thirdand3rd: Oh wow!

Kevin Haskins: And we kind of listened back and we thought, “This is a little bit too long.” And we could kind of imagine if we cut three minutes out of this, we’d probably be good. And Derek said, “I..I can do that!” And we were kind of naive and it was probably only our second or third time, Peter’s first time in the studio. And he (Derek) disappeared and he came back with a little razor blade and he got the tape and he laid it down and we were like looking at him like, “What’s he doing?” And then he began bringing the blade down towards the tape and we all knew we had recorded something really special and he was gonna cut the tape and we were like, “No! Stop!” “What are you doing?”

50thirdand3rd: Gasp!

Kevin Haskins: Then he like turned around and he’s like saying, “What’s your problem?” And he explained that he’s done this many times, before and not to worry, you know, you can always put it back together, again. And he did a great edit, you can’t hear the edit if you really listen out for it, though. He did a very good job.

50thirdand3rd: That’s awesome! So, if I can nerd out on you, for a sec, I know John Peel was like one of the first people to really play “Bela Lugosi’s Dead” on his show. Could you tell me a little bit about getting to go to John Peel’s studio?

Kevin Haskins: Sure, yeah. I actually devoted a story to John in my book. I cannot stress how important he was to bands such as us and I guess, after us. I mean, the airwaves were really, this was pre-internet, of course. The airwaves were really controlled just by the BBC. There were a couple of pirate stations, Radio Powerline and Radio Luxembourg that you could tune into and that was free radio but the BBC really controlled everything. They had John Peel on at 10 o’clock at night and they probably weren’t really listening to what he was doing. (Laughs) And his taste was just remarkable and I remembered he kept devoting his two-hour show to punk rock and in ’76, I think “New Rose” by The Damned had just come out and you know, there weren’t many punk records, back then, right at the beginning. So, he did this whole show and put bands that like influenced this new movement. So, there’s The Stooges and the MC5, bands like that and then he played every punk single that was out and it was a wonderful show. And he got a lot of hate mail, apparently, from hippies of the old guard saying, “How can you be playing this rubbish?” But he went on undeterred, he wouldn’t listen to anybody, he just played what he liked. So, he was invaluable to getting bands known. And it really helped us and a load of other bands.

[embedyt] https://www.youtube.com/watch?v=YMuB2PjjRic%5B/embedyt%5D

So, anyway, we heard “Bela Lugosi” and I think we just drove down to London, which I think was like an hour and a half’s drive and we went to the BBC Studio building and went to reception and we said, ”We want to see John Peel” and the receptionist looked at us like, “Who…Are you kidding me?” And she said, “Oh, well, I’ll call up.” And she did and his producer said, “Oh, show them up. It’s fine” which was remarkable, really. He was in the middle of a show, so, they let us come up and to us, we were in awe. It was amazing, we were actually in his studio with John and he offered us some red wine and we had a little red wine in BBC paper cups and gave him the record and he kind of sent us on our way pretty fast. He told us he’d play it and I remember, you know, when he played it for the first time, we knew that this night was gonna do it! We all lived in this house 37 Adams Avenue, it was like a little terraced house in town and you know, we would cook these awful meals with like vegetables because we were on the dole and we didn’t have much money. And it was freezing cold in this place and it was kind of haunted, it was kind of in a slum (laughs) but we were kids, it didn’t matter. But I remember we were all huddled around this transistor radio, listening to the show when he played our song. That moment is just imprinted in my mind because it was just remarkable to hear your music coming out of a radio, you know, it was just so exciting and it was like a benchmark moment. So, now, I remember that really clearly and yeah, I paid homage to him in my book and wrote a nice piece about him.

[embedyt] https://www.youtube.com/watch?v=FMLNwT4v5Rc%5B/embedyt%5D

50thirdand3rd: So, I’ve gotten really hooked on Poptone, recently and I was watching the tour livestreams you guys were doing on Facebook from last year. It looks like you guys were having fun, especially with the fans. Can you tell me a little more about how those tours have been going?

Kevin Haskins: Well, it was great but we kind of wrapped it up, over the summer. Basically, we kind of exhausted where everywhere people wanted us to play. It was great, it was so much fun! You know, Daniel’s still a very close friend of mine and we always have a laugh hanging out, we got on really well and then I was so glad to have my daughter involved (Diva Dompé). She plays bass and keyboards and backup vocals and she was amazing, she really brought so much to that project, I felt.

Photo: Paul Rae

50thirdand3rd: Yeah, she’s rad!

Kevin Haskins: She had big shoes to fill, she was playing my brother’s bass lines, Glenn Campling’s amazing bass lines, I mean I can’t say enough great things about Glenn’s playing in terms of what he brought to Tones On Tail. Like, those bass lines are just remarkable, there’s just so simple but so powerful, you know, kind of like riffs and so it was it was a great pleasure to play that music. Yeah, I knew that would be an attractive thing for fans just because we only played one little tour over a year and that was in the UK, so you know, it was fun for us to play those songs, again.

[embedyt] https://www.youtube.com/watch?v=GwYq2FfsBKo%5B/embedyt%5D

And I think people really love to hear them, we had a great crew, just like a small family, and we had a marvelous time. I was really taken aback in a marvelous way with the audiences who came out to see us. They were so appreciative and towards the end, I would out after the show to the merch table and sell my book, Bauhaus Undead by Kevin Haskins, *plug*. And then I’d get to meet all these wonderful people and they were so happy and appreciative that we were doing it, so it was like a whole celebration.

It was marvelous but it’s kind of on the back burner, now. I mean it is something that we could pick up, again. We did record an album, you know, it was kind of a retrospective project, just for people who were unaware, we were playing the music from Bauhaus, Love And Rockets, and Tones On Tail and we recorded an album. We did it as a Part-Time Punks session, Part-Time Punks radio station (KXLU) in LA and then Michael Stock he also puts a club night on and he’s a wonderful guy. So, we just kind of played pretty much live and put the songs down and that’s been released out on Cleopatra Records and so, you can go to Bandcamp and buy that or listen to it.

Poptone poster by Paul Rae

50thirdand3rd: Can we talk a little about the FOXES TV show you’ve got coming up and how you got involved in that?

Kevin Haskins: Sure, yeah! So, I met Tina and Julian (de la Celle), they are the creators of the show. I met them at one of their events. They put on events around Los Angeles, they get local musicians, they’ve done kind of thematic events where they portrayed Andy Warhol’s Factory, they had a bunch of young bands get together and play Velvet Underground songs. They did the same with CBGB’s and the Bat Cave, they’re really nice people, they love music and fashion, it’s such a strong passion for them. They have a magazine called FOXES and it’s a beautiful magazine, comes out twice a year, and they get really great photographers to shoot for them and they do interviews, so, I did an interview about my book, Bauhaus Undead, my coffee table book, plug! plug!

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50thirdand3rd: Right, yeah!

Kevin Haskins: There’s a singer from the New York Dolls who goes under the name, Buster Poindexter, now, and does kind of a lounge act, he was in the issue. I think Duff from Guns ’n’ Roses and they have these great fashion spreads. It’s shot very beautifully, kind of cinematic and stylish, stylized. So, they decide to turn the magazine into a TV show because there’s nothing really to watch like that, you know. So, anyway, they approached me around September time, last year and asked me if I wanted to be a producer and music supervise and I thought it was an exciting new challenge. So, we just kind of went on from there and the three of us kind of learned how to navigate the industry and what you have to do to get a TV show made. So, it’s taken us this long to really figure that and so we made like a great concept sizzle reel where we’ve taken slotage from other shows like The Tube and fashion show footage and just still photography and it really sort of represents the aesthetic of the show. And then we worked together a treatment which is kind of PDF, you do a similar thing, just for people who don’t know what treatments are, you explain what you’re going to do, you’ll explain what the episode will look like, and the sequence of events during that episode. You put bios from everyone who’s attached to the project. Your dream hosts, presenters, so there you go! So, when Richard submitted that to the network to my agency and we’re now waiting to hear back.

[embedyt] https://www.youtube.com/watch?v=5cd1LlXP_pk%5B/embedyt%5D

50thirdand3rd: This sounds really cool! Can you tell me a little bit about what views can expect to hear and maybe see?

Kevin Haskins: Well, the original feel for the show is very rock and roll. Basically, Tina, Julian, and I, we love glam, punk, post-punk rock and roll, you know, that area of things. But what we’d really like to do is we’d really like to broaden it more, now. Hmm, I don’t know who would be on the first show, I know Tina loves Duran Duran, so our dream show would include them, maybe for an interview or performance. And the project has to depend on who’s available for the team.

50thirdand3rd: Of course.

Kevin Haskins: And we want to give space for unheard of bands that we really like. Actually, we did shoot my daughter’s band, Automatic.

50thirdand3rd: Oh, cool!

Kevin Haskins: They’re worth checking out. Also, there’s a band called POW! I would definitely have them on. Other LA bands, Froth, Numb.er, and then, I’d love to get Nick Cave on, for instance. You know, it’s really wide open but they’re the artists that come to mind, right now.

Photo: Jenna Putnam

50thirdand3rd: Cool, I can’t wait to check that out! So, do you have any other music projects coming up for this year?

Kevin Haskins: Well, I’ve actually been invited to kind of produce, also, I’ve been kind of involved in writing on another tv show and I can’t say much about it for obvious reasons, but it’s a comedy set in Los Angeles. One of my close friends has created it and helped me write it, now, which is something I’ve never ever done, before and it was challenging and it was fun, so, I’m excited about that. I feel that it could really work out well, so, a completely new thing, once again, like the FOXES TV thing. And I have a new musical project that I’m very excited about. I don’t know if I can say much about that, but, I’ll give you some cryptic hints. There’s primarily three of us and we’re looking for a vocalist, right now. We’ve put word out to who we really want. We’re going to be recreating music from the bands we were in and also creating new music, but the instrumentation is very particular and different from what you might expect. (Laughs) And I think I’m going to leave it at that, but it’s a teaser and you’re really the first person I’ve told about.

50thirdand3rd: Thank you very much! An Exclusive!

Kevin Haskins: And the way things are going, we’ve got quite a ways to go, there. We’re just starting out and we haven’t got a full band, yet, so it might be the fall until we play or release something but we are going to work on a release and I’m really excited about it. It’s got great potential.

50thirdand3rd: Very cool!

Pick up a copy of Kevin Haskins’ Bauhaus Undead from Cleopatra, Rough Trade, and Amazon. Pick up Poptone’s self-titled LP and follow Kevin Haskins Official Facebook and Instagram for the latest on FOXES TV, updates on his next series, and more on his upcoming music project —You read it first, here at 50thirdand3rd!

Follow Kevin Haskins:

https://twitter.com/kevinmhaskins

https://www.instagram.com/bauhausundeadbook/

https://www.youtube.com/channel/UCNKf_DvhGkidQFDmnoxyO3g

http://poptone.bandcamp.com

Follow Foxes Magazine:

https://www.facebook.com/FoxesMagazine

https://twitter.com/FOXES_Magazine

https://www.youtube.com/channel/UCAC2rwsSytKP6kf-olCZ4Lw/videos

https://www.instagram.com/foxes_magazine

http://foxesmagazine.tumblr.com

50THIRDAND3RD INTERVIEW: Kevin Haskins Writer, producer, Poptone drummer, and co-founding member of Tones On Tail and Love And Rockets takes us back to his Bauhaus roots with…

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stevecanmakeanythingnerdy · 5 years

Text

Battle #12

The Vaselines : Sex With An X (Side A)

Vs.

Dead Boys: Young, Loud, and Snotty (Side II)

The Vaselines : Sex With An X (Side A)

The Vaselines are an alternative rock band from Glasgow, Scotland. Formed in Glasgow in 1986, the band was originally a duo between its songwriters Eugene Kelly and Frances McKee, later adding James Seenan and Eugene's brother Charlie Kelly on bass and drums respectively from the band Secession. The band released two short EPs, Son of a Gun, released in 1987, and Dying for It, released in 1988. The latter features two of the band’s most recognized songs, "Molly's Lips" and "Jesus Wants Me for a Sunbeam," both of which 90’s grunge superstars Nirvana would later cover. Though they were not widely known outside Scotland during their short career, their association with Nirvana brought major exposure to the band. Nirvana frontman Kurt Cobain once described Kelly and McKee as his "favorite songwriters in the whole world". With their songs "Son of a Gun" and "Molly's Lips" covered on Nirvana's album Incesticide and "Jesus Doesn't Want Me for a Sunbeam" covered on MTV Unplugged in New York, the band gained a new audience. I must admit, it’s totally how I heard of them. And thank goodness for that! Gems all of them! Kelly went on to found the band Captain America (later renamed Eugenius after legal threats from Marvel Comics), supporting Nirvana on their UK tour. RRW fans may remember them going quite far from a previous season of RRW. McKee founded the band Suckle and released her first solo album, Sunny Moon, in 2006. Shortly there after the band reformed on occasions and in 2010 they released this, their second full length studio album. “Ruined “ is the first track and it sounds amazing. More ballsy than the older stuff. Very produced and meaty by comparison. Drenched in melody and feedback. “Sex with an X” is the second and title track on the album. This is more like classic Vaselines. Light and jangling but still catchy like the clap (#seewhatididthere)! Following is the creepy, surf-like riffage that makes up the bulk of “The Devil’s Inside Me”. This has early Sub Pop written all over it. In fact, did Kelly find an old notebook or something?! It’s like they never broke up and we’re back in 1990. The Vaselines do such a good job of being both retro AND fresh...this is minimalist art! Beat Happenings anyone? (#seewhatididthere). “Such A Fool” is an example of another such artistic melody. Floating as if on sugar cube clouds, Frances takes lead vocals on this one. Pretty hooks and looks stunning on wax. “Turning it On” brings back the surf inspired leans into the curl and dreamboat Annies (#seewhatididthere). It’s a call and response song, and my response is brilliance. Morrissey would be proud. “Overweight but Over You” has more bounce to the ounce (#seewhatididthere). Fat man rock. An analogy to going under the knife. This is what makes them so good. Unique perspective and writing from unusual examples. Look, no matter how you slice it, this is their first output in nearly 20 years and it is sounding like they never quit. THAT is a talent all it’s own. Consistent and signature sound is everything in music and these guys have that formula down pat. They were one of the first two piece bands and with boy girl harmonies. Hipsters owe this band a LOT. PHENOMENAL.

Dead Boys: Young, Loud, and Snotty (Side II)

Dead Boys are an American punk rock band from Cleveland, Ohio. The band was among the first wave of punk bands, and had a reputation as one of the rowdiest and most violent punk groups of the era. Dead Boys were formed by vocalist Stiv Bators, lead guitarist Cheetah Chrome, rhythm guitarist Jimmy Zero, bassist Jeff Magnum, and drummer Johnny Blitz in 1976, splintering off of the band Rocket From The Tombs. They released two studio albums, Young Loud and Snotty and We Have Come for Your Children. Dead Boys were originally called Frankenstein, and as previously mentioned, they evolved out of the band Rocket From The Tombs . When the band members relocated to New York City in July 1976 at the encouragement of Joey Ramone, they adopted the Dead Boys moniker which came from the RFTT song "Down In Flames". The Dead Boys quickly gained notoriety for their outrageous live performances in the city that never sleeps. Lewd gestures and profanity were the norm. On more than one occasion, lead singer Stiv Bators slashed his stomach with his mic stand. These antics reportedly discouraged any mainstream rock following despite the relative breadth of their material beyond pure punk. Something tells me the Dead Boys didn’t give two shits about that. They frequently played at the rock club CBGB and in 1977 they released this debut album, Young, Loud and Snotty. Their song "Sonic Reducer" from it is often regarded as one of the classics of the punk genre, being covered by countless bands, some as diverse as Pearl Jam. Well, side two of this incendiary record starts off with “Caught With the Meat in Your Mouth”. That rock and roll riff, combined with Cheetah Chrome’s snot, form an animalistic ballistic statistic on this biscuit! Gimme some butter!! A great punch in the face to start. If you had any doubts if this was a punk rawk band, they are immediately shattered. “Hey, Little Girl” has a live-ish nitro. It’s about as laid back as these punx get. Another scorcher with those metallic guitar chords. “I Need Lunch” is next, and probably one of their more recognized tunes. Love that intro! Such poetic power trips here. It’s raw, uncensored, unapologetically sexist and NOT PC. In fact, it’s unadulterated filth and raunch, crawling straight out of an NYC gutter. This is what Dead Boys are known for. This captured well the short lived and self destructiveness of this band. “High Tension Wire” takes a little departure for the band. About as emo as they dare get in the times they lived in. Some good guitar work and a sad lamenting riff are all this song needs to draw you in. Nothing compares to

“Down In Flames”, though. If you listen to one Dead Boys still no in your life, make it this one. O. M. G!!! This song!! SOOOOOO GOOOOOOOD!! Again, the raw power is present and on full display. Guitar tones and fuzz on point! Brilliant screams and bleeds and leads. Even a mental breakdown right in the middle of the song, during the song! Amazing. The guttural throat scrapes are tops!! Look past the sexism and this band IS fucking rock. This is the classic album you always wish your band could write. 2017 re-issue On translucent green vinyl. Think Sex Pistols level greatness but not British, and more underground. The Stooges but on ALL of the drugs. In fact, I think you’ll get a contact high just from touching the record.

The Vaselines came back from the grave to have sex (with an X, apparently) and in doing so, wrote a slew of awesome new tunes. Wow. Re-reading that just now and it sounds pretty gross. Anyhow, They burned 143 calories over 21 minutes and 6 songs. That is 23.83 calories per song and 6.81 calories burned per minute. The Vaselines earned an impressive 15 out of 18 possible stars. The Dead Boys uprooted themselves from Ohio to New York City and became one of America’s most loved punk bands. They’re young, loud, and some of the snottiest punks you’re ever going to hear. Dead Boys burned 113 calories over 5 songs and 15 minutes. That is 22.60 calories burned per song and 7.53 calories burned per minute. The Dead Boys also managed to earn an even more impressive 13 out of 15 possible stars. Looks like those Dead Boys take the cake today!!

Dead Boys: “Down In Flames” (originally a Rocket From The Tombs song)

I just love that vintage footage exists...the audio is shit

https://youtu.be/Z3Cn4z4kYIA

Here is a better audio version

https://youtu.be/ueqTb0_jfMU

If you have half an hour to kill look up the amazing CBGB performance from 1977. It’s like having a time machine.

Oh hell here, I did it for you

https://youtu.be/QOHOM1hVM-M

#Randomrecordworkoutseasonsix

#Randomrecordworkout

#randomrecordworkout #records #vinyl #randomrecordworkoutseason5 #punk #dead boys #stiv bators #cheetah chrome #the vaselines #sub pop records #eugenius #80's music #80s music #80s #70s #70's music

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onestowatch · 4 years

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Raissa Is the DIY Artist With Dreams of Doing it All [Q&A]

They say if you want something done right, do it yourself. Raissa has taken this idea and run with it.

The 22-year-old is taking the music world by storm with her unabashed lyricism and unique creative direction. She proudly writes and produces all of her music, along with directing her music videos. In a landscape that can feel increasingly oversaturated, Raissa arrives like a breath of fresh air.

Raissa’s music is perfect for when you are deep in your feels but cannot quite put your emotions into words. She wears her heart on her sleeve and doesn’t shy away from being vulnerable in her songwriting. She is unapologetically herself and willing to bare it all in her lyricism. Whether it’s her self-love anthem “Angel Energy” or her untraditional love song “Bullying Boys,” Raissa is able to perfectly balance R&B musical elements with her soft and delicate vocals.

We caught up with Raissa to chat about finding inspiration in Lady Gaga’s theatrical stage presence and Joni Mitchell’s lyricism, staying wholly true to your vision, and the honesty found in writing and producing all her music.

youtube

Ones to Watch: What inspired you to start making music?

I come from a family of people who, even though they don’t work in music, have always been really big supporters of the arts, so I always grew up around a lot of music. Like when a David Bowie album would come out, we would go and buy it, like my parents have always been big lovers of music. It was very natural for me to start writing music at a really young age. I always felt like I was meant to be an entertainer and music was the one thing that felt easiest to make on my own time. It wasn’t a conscious decision to do it, it just kind of happened.

You mentioned David Bowie, what other artists influenced your musical style?

Prince and Bowie are definitely two huge inspirations. I’ve always been attracted to artists that are very theatrical and are playing a character. There’s a huge juxtaposition of the vulnerability in the music that they write and the theatre in how it’s presented like when you see them in concert or in a music video. Lady Gaga is another artist. I’m a massive fan. She made me feel like, from a young age, that there was room for me creatively to make music, especially as a girl. My songwriting background is more influenced by folk and singer-songwriter music like Leonard Cohen and Joni Mitchell. They made me want to write songs and see the importance of lyrics.

Of all the different places that you grew up, what made you settle down in London?

I came here for school. I got into a good school here, so I decided to go, it wasn’t so much that I really wanted to come to London. I was also looking at schools in the US, but your tuition is just a bit out of control (laughs). I grew up in Kuala Lumpur and I knew that I really wanted to leave, it didn’t really matter where I went.

You’ve gained quite the following in a very short period of time. Do you feel more pressure when you’re making music knowing so many people are listening now?

I actually feel less pressure. All I can really do is make people pay attention and be honest in my music. I feel like my fanbase is young, they’re really excited, and they have a real respect and love for artists. They come from such a place of love and excitement that it pushes me to do better and makes me really happy to be doing what I’m doing.

It’s so cool to see so many artists blow up purely because their fans love and support them. What specifically do you think is drawing people to your music?

I hear from a lot of people that my music makes them feel really empowered to be sensitive and vulnerable, which is always exactly what I’ve wanted to do with my work. There’s a strength in not always being strong and in being kind and hopeful and loving. I’m also just 1000% myself in everything that I do, and people really respond when they can tell an artist cares about their work. And nothing I ever do is cynical – that’s a really important rule for me. And I think that’s probably attractive for young people, too. Like they don’t have to feel silly for liking certain things.

Yeah it sometimes feels like there’s growing pressure to not get excited about things.

1000%. Like something’s either not intellectual enough or too ditzy or too pop or not pop enough. And it’s just like, yo, we are just here to have a good time (laughs).

So, I know you touched on it earlier, but can you take us through your creative process? What does making a song look like?

It really depends. I’ll be on the bus or in a car, and I’ll write a verse or chorus, or sometimes an entire song before I really know what the song sounds like. And then I’ll get into the studio and get on keys or on guitar and figure out the melody and work around that. I like to start with guitar or keys and then build the production around it later. And I like working in small spaces, usually just me and one of the producers that I’ve worked with a lot.

youtube

Would you be open to working with other writers and producers in the future?

I’m not opposed to anything. I just finished up my EP and am about halfway through my album, and there have been no writers involved whatsoever except for myself. I’m super attached to my songwriting and can’t see myself ever singing someone else’s words. My music is like me standing up in front of people and just talking to them, and if someone else wrote what I’m saying, am I really the one talking to the crowd or is it someone else?

And the lyrics are why people connect to your music so much.

Yeah, I’ve seen so many people posting my lyrics or quoting songs in their Instagram captions. People get really attached to the images that I’ve written, which is such a great reaction. There was one girl who posted a video of herself dancing to “Bullying Boys” and I called my manager like screaming because you could tell she was just so excited and happy, and I know exactly how that feels. I used to be that girl dancing in front of my mirror.

What was directing your music videos like?

My manager called me and asked if I would be able to make a video for my song. I’ve always loved drawing and painting and learned how to use different creative software pretty quickly. I knew I wanted to condense a bunch of visual images I loved so I just figured out how to make that happen. I ordered a green screen on Amazon, taped it to the wall, and shot myself against it. It all felt very natural. I did my own makeup, picked out my own outfits, and made my own gloves. It was super fun! It’s made explaining my creative ideas to people much easier, too. If I’m ever in a creative meeting, I can show everyone exactly what I want and make mock-ups myself.

That’s so empowering too. You can do it yourself and get the exact vision you want.

Yes, for sure. There’s so much value in your point of view and not compromising on it. I think its way more powerful to do a lower-quality project that’s completely true to your perspective than making something super high resolution that has no soul to it.

So, what can we expect from you for the rest of 2020?

An EP and an album! They’re one big story that fit together like two pieces of a puzzle. The EP is coming next month and titled Hero Girl. Every song will have its own piece of visual content. I honestly think it’s the best work that I’ve made to date. Not that there’s a ton to compare it to yet (laughs). And a merch drop along with the EP! I’m working on the design of it right now.

Final question, who are your Ones To Watch?

Mia Gladstone, Brevin Kim, and myself, why not! (laughs)

youtube

#raissa #interview #R&B #pop #indie #indie pop

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shemakesmusic-uk · 3 years

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This segment features artists who have submitted their tracks/videos to She Makes Music. If you would like to be featured here then please send an e-mail to [email protected]. We look forward to hearing from you!

Zoë Zohar

Raised in Israel by a South African mother and Israeli father, Zoë Zohar shares her story and take on life through upbeat melancholic ambience. By incorporating live with electronic instruments, Zohar constantly shifts between raw nostalgic tones and futuristic elements, searching for a new authentic sound. After moving to London at the age of 19, Zohar and her team began working together on her much-anticipated EP of four songs, one of which features her recent release ‘Paper Airplanes’. Through her EP, Zohar tells a story of feeling overwhelmed in a trapped environment. In this song, she portrays a sense of loneliness and feeling on the edge of defeat, only to realise that one may find comfort in this state of mind. Zohar aims to take the viewer on a journey that reveals the conflict of befriending our inner voices and running away from them. Listen below.

Zoë Zohar · Paper Airplanes

RIVITA

Hailing from the colorful escapades of India, Rivita creates electro-acoustic landscapes with her music. After completing an extensive education in music, she is currently based in LA and is focused on writing new music and playing virtual shows. Her latest single ‘Lonely With Someone’ is a story of the consequence of addiction and the unsaid hidden scars that it leaves. The song is a segway from her previous release ‘Someone Else’s Arms’, Rivita states “With this piece of work, I wanted to express the strength an individual really holds. There have been many moments in my life, I have surprised myself with my own strength and while facing some of my biggest fears in tough situations. While growing up I watched someone get lost in the sea of addiction. As I got older, I realized just how common addiction is across the globe and how well it is masked sometimes. It has caused me pain and it felt like I had no right to feel this way because I was not the one with the disease. I wanted to find a way to release my feelings without the consequence of being told to get over it or to stop thinking about it. This is the only way I thought I’d ever be able to fully express myself, through this song”. Listen below.

Rivita · Lonely With Someone

Alicia Lov

Spanish-Canadian artist Alicia Lov took to music at an early age. Music and dance lessons pushed her passion further and led to where she is now. Alicia has a love for lots of different genres including rap/hiphop, alternative, dancehall, latin pop and so much more. Dance is a big part of her inspiration and will continue to be a prime part of her career. Her latest single 'Magnetic' delivers a smooth romantic R&B feeling that makes you want to get cuddled up with that special someone. She explains further, "'Magnetic,' has romantic R&B vibes that were inspired by love between the sheets. Smiling and tracing each other with your fingertips. Love can sometimes just be free and chaotic. Head in the clouds, floating in another dimension." Listen below.

ALICIA LOV · Magnetic

Lyla DiPaul

Lyla DiPaul is an American recording artist based out of New Orleans. DiPaul grew up in Takoma Park, MD where she fell in love with playing guitar and writing songs at the age of 10. She draws musical inspiration from a variety of songwriters including Taylor Swift, Joni Mitchell, and Phoebe Bridgers. DiPaul eloquently relays the feeling of love and heartbreak through her music, and hopes to connect to people through her work. Her latest single is ‘Still Unwell’ and here is what Lyla had to say about the release: ”I wrote ‘Still Unwell’ with my friend MC in the fall of 2019. Simply put, it is a breakup song. We always describe it as being about nostalgia for a relationship. When you miss all the good things and bad things about a person, and just cannot move on. We recorded the bulk of the song in the studio at Loyola University, New Orleans and then ended up finishing up the guitar work and the vocals in my bedroom after things became unsafe due to the pandemic.” Listen below.

Lyla DiPaul · Still Unwell

Mango In Euphoria

Starting her project in London after being employed in Florida and travelling through the United States, French-born alternative artist and songwriter Mango In Euphoria quickly found her audience when she dropped her first experimental work at the end of 2020. The singer is an emerging talent noticeable by her quirky style and her mysterious signature voice, matching her very own unique musical tracks mixing Electronic Rock, Dream Pop and Dark-wave genres. Creating melodies coming from her mind with virtual instruments and recording with a very basic microphone during the global Coronavirus pandemic, Mango In Euphoria also began to work remotely with Belgian producer Philippe Francq who helped her in developing a lot of demos with physical instruments inspired from vintage influences such as the Twin Peaks series soundtracks, The Cure, and Garbage. As Mango was mainly musically influenced by Grimes and Lana Del Rey, there's no doubt that the result would be quiet outstanding. Her new song ‘Golden Shrine’ is about celebrating who you are as a unique person, embracing this uniqueness “and also about someone who started to copy everything I was doing when everything was coming from my creativity so instead of getting more pissed off I created a song about it!” she laughs. Listen below.

MangoInEuphoria · Mango In Euphoria - Golden Shrine

Shannon

East London singer-songwriter, Shannon is an indie-pop artist that brings soulful tones through her vocals. Her music shares stories and experiences through heartfelt lyrics and production driven by acoustic guitar. Her latest single ‘But He's There’ is an upbeat track about the complications of falling for a close friend. The lyrics reveal inner thoughts of uncertainty about stepping out of one's comfort zone to fulfil an exciting idea of love. As the song builds, the story unfolds and reflects the fantasy for a closer relationship. Shannon's high notes introduce an unexpected direction to the vocal line that mirrors the feeling of being caught unaware by your thoughts and feelings. Whilst picturing the production for this song, some influential tracks from the 90's came to mind from artists such as Corinne Bailey Rae, Lauryn Hill and Natasha Bedingfield. The laid-back drums and organ keys give off a chilled vibe, almost as if the song acts as a passing thought during a relaxed Sunday morning. Listen below.

officialshannonuk · But He's There

Heff VanSaint

East London-based alternative pop artist, Heff VanSaint has released her debut track ‘Nothing Lasts Forever’. The former one half of synth-pop duo Miracles has gone back to her roots with a song that fuses old-school storytelling, with a contemporary lo-fi indie sound. ‘Nothing Lasts Forever’ is a tale of lost friendship, at a time of carefree hedonism. It’s a bruised, melancholic song tinged with sadness. Lyrically sublime, its evocative lines hit deep and leave the listener experiencing a sentimental yearning long after its over. Listen below.

Nille Nyc

Following up on the release of her debut EP PowerPainPillsPercussion, Danish electro pop artist Nille Nyc has just released new single ‘Someone Else’, her first of 2021, as a per cursor to her upcoming full-length album. Let’s face it, we’ve all been there: a relationship that seems to constantly be teetering on the edge of the abyss, until one day when it finally implodes. Afterwards, all that we can do is pick up the pieces and move on. ‘Someone Else’ is a story about looking back at the aftermath of a bad relationship from the safety of a better place. With a playful guitar, heavy R&B beat and edgy vocals, ‘Someone Else’ opens a new chapter in Nille Nyc’s musical journey. “Throughout our lifetime we experience relationships which challenge our core values as human beings, both professionally and personally. Every relationship needs to grow and mature; to look to the future while keeping the lessons of the past in mind. The same holds true for music. Every musician needs to keep innovating and experimenting. They need to take risks and challenge themselves by exploring new ideas and new ways of expressing themselves. If they don’t, then they run the risk of becoming static and their music will suffer for it”, Nille Nyc says. Listen below.

Nille Nyc · Someone Else

Natasha Ghosh

Natasha Ghosh originated as a professional Dutch-Indian fingerstyle ukulele player, but nowadays she also focuses on singing and releases her own music. Natasha's main styles are R&B, indie electronic, lo-fi, and hip-hop. Her new single ‘Paradise’ is a deep and emotional vocal-led lo-fi track with a relaxed sense of beauty. It's a personal song about romantic escapism between lovers. Lush synthesizer melodies, emotional vocals, and dynamic, but the chill drums make this track a perfect fit for study, Lo-fi, chill, and dreamy playlists. This is a song that Natasha wrote with her girlfriend in mind. "I believe that it's important to show the people you love what they're worth to you. In an ever-changing society where all kinds of stuff are happening around the globe, it's good to focus on the good things.” The track was a COVID-19 project, made in collaboration with the famous lo-fi artist Kid Kio from home studios. Listen below.

Natasha Ghosh Music · Natasha Ghosh (feat. Kid Kio)- Paradise

Olivia Void

Berlin based experimental artist Olivia Void uses her highly recognizable voice and songwriting style to introduce us to her unusual sonic cosmos. Her debut ‘Made for You’ was published in October 2020. After collaborating with members of the local and international electro and folk scenes in the meantime, she now prepares for the release of her debut EP PHYSICAL later this year. Unpredictable and captivating, Olivia Void’s new single ‘Glory to Glory’ is a hommage to our physical selves. Led by the Berlin singer‘s characteristic voice and electric guitar play, we get carried away high and low until we want to join in the glory. Talking about the powers of the self-reigned body, the song‘s unique structure creates a whirl that drags you in. As more and more layers are added or taken away we find ourselves in a state of vibrant emotion. Listen below.

Olivia Void · Olivia Void - Glory to Glory

#submission saturday #zoe zohar #rivita #alicia lov #lyla dipaul #mango in euphoria #heff vansaint #nille nyc #natasha ghosh #olivia void #shannon

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thephoenixiaproject · 3 years

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Entry 01 (04/01/2020): Beginnings!

Introduction:

Hi there!! Welcome to what is hopefully the start of something cool! It genuinely feels daunting to be taking the first steps in this project, whatever this may turn out to be.

And it may turn out to be nothing at all! But a big part of why I’m doing this is to push out my comfort zone and try something new, and even if this doesn’t end up going anywhere, I’ll be happy that I tried, and hey, hopefully I’ll have learned some new skills and made something cool on the way! :D

There’s gonna be a lot of rambling explanation for the rest of this post so I apologise in advance, but I hope I explain who I am, and my plans for this project, as best as I can!

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Who are you, and how did you get in here!?

My name is Ben Moss (he/they), I’m a Bri’ish musician, actor and performer with an unexplainable obsession for dubstep and things that go vroom.

(Photo credit - Phyllida Joyce Hickish 2020 / @phyllidahickish on Instagram)

I’m currently studying creative music technology at university, with the aim of becoming a film/TV/game/VR composer (and maybe sound designer)! I’m also a massive fan of electronic music, audiovisual performances, virtual reality experiences, all that kind of stuff!

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Why does this project exist?

I’ve had it pretty clear in my mind at this point that I really want to do film/TV/game composition professionally: if I can help bring out a director’s message or intentions for a piece of work with the music that I make, and help create immersion into the world and characters they’ve made, then that’s what I’m here for, and I love doing it!

I so badly want to be part of a team that helps make and tell awesome stories that can educate and inspire as well as entertain, that immerse people in incredible new worlds and help people find themselves, or feel seen, or just make you feel good for a little while! Watching the behind the scenes development of films and TV shows I love just blows my mind and inspires me so much, and I’d love to be part of projects like that one day!

However, when it comes to personal music I make for myself, I’ve always felt slightly lost: I find it really hard to make my own music and see it through to the end because I don’t know why I’m making it or who/what for yet. The non-professional music I’ve made so far has been remakes of work I love, tributes to artists I love, or just playing around with different styles and improv-ing a little bit!

This has led to big problems though: making music is the only way to make better music, but being a massive perfectionist, and also massively afraid of failure and disappointing others, I’ve always stalled myself on progressing on anything that isn’t work, telling myself that I’m wasting time by not working. Combine this with the fact that I’ve always had the view that as long as people are impressed with the work I do, or as long as it fits the criteria or mark scheme, then I’m ok, regardless of whether I feel like what I made was bad or I could’ve done better.

I know I have a LOT to improve on in pretty much every area of music, but I’m not going to make progress on this skill (or ANY of the loads of skills I really want to learn how to do) by mentally blocking myself and convincing myself that making my own projects, either ones with a serious intention (hopefully like this one) or just musically goofing around for fun, aren’t worth it, because if I want to make good music/work for other people that BOTH I AND THEY feel proud of and happy with, I need to develop my skills away from assignments, or I’ll go nowhere.

I’ve only recently learned thanks to a short time of therapy that “because it makes me happy” IS a valid reason to do or make something. So I want to have some fun trying new and scary things to me -

Trying to create a story of my own.

Possibly learning to create some visuals, either as storyboards, or perhaps going into animation, or 3D modelling and animation?? Maybe virtual reality might come into it? I have no idea!

To make music that I’m happy with!

To develop and work on my existing skillset, and have a go at some new ones.

To accept that I’m going to make stuff that won’t work, and that’s ok and a natural part of the creative process, and not something to be afraid or ashamed of. Hell, this whole project might not work, and that’s also fine!! I just hope that I (and anyone else who might work on this) have some fun and get some valuable experiences from it! :D

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What is this project?

On October 6th 2014, a scientific study titled ‘AWARE - AWAreness during REsuscitation’ was published online, documenting the mental experiences of people who had suffered cardiac arrest and were successfully resuscitated. The study examined 2060 patients from fifteen hospitals across the United States, United Kingdom and Austria across a four-year timespan, 140 of whom were able to take part in structured interviews.

“46% had memories with 7 major cognitive themes: fear; animals/plants; bright light; violence/persecution; deja-vu; family; recalling events post-CA (cardiac arrest) and 9% had NDEs (near-death experiences), while 2% described awareness with explicit recall of 'seeing' and 'hearing' actual events related to their resuscitation. One had a verifiable period of conscious awareness during which time cerebral function was not expected. CA survivors commonly experience a broad range of cognitive themes, with 2% exhibiting full awareness.

This supports other recent studies that have indicated consciousness may be present despite clinically undetectable consciousness.” - https://www.resuscitationjournal.com/article/S0300-9572(14)00739-4/fulltext

Since then, more studies have taken place in the same field, panels have been held by some of the world’s leading scientists on the subject, and the field is still being very actively researched. The aim of these studies have been to try and draw conclusions on how resuscitation can be improved, to progress towards a higher success rate of resuscitation with little to no long-term consequences to the brain’s cognitive functions.

This project, however, intends to focus on another set of findings that this and subsequent studies revealed - there is a short period of consciousness after clinical death.

Whether the length is 20-30 seconds, as early studies suggested, or perhaps longer as is now being investigated, this seems to be something that we will all experience one day when we die. Depending on the person, these experiences may massively vary.

What might these final moments of consciousness be like?

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Current Plan (working idea):

The project will show the post-death conscious moments of around 7-8 characters, each with their own experiences. These will be presented in completely different ways format-wise depending on each character’s life, culture, interests and experiences! (Could be presented in virtual reality, a cartoon, a visual novel, a musical EP or album, an audio drama/podcast, whatever best represents each character!)

Some may have known or met each other, some may have had barely any association with the others, but though these different experiences, which may shed light on different life experiences, mentalities, cultures, and experiences of final consciousness, each story or experience is linked in some way, however small, which may tell another story of its own!

The characters who’s consciousness we are viewing/experiencing will all definitely die (i.e. we aren’t being told the story from the perspective of someone who has been resuscitated and is relaying the story to us. This doesn’t inhibit a story being told in the past tense/first person as a narrative device though!!)

This project won’t focus on the concept of an afterlife or resuscitation, this just deals with our very final conscious moments! (This does not rule out religion as something to be shown, for example, if one of the characters is of a certain faith!)

This project will NEVER become a bandwagon for trying to ‘disprove’ or bash religions and faiths of ANY kind. The day that happens is the day this project ends.

The name ‘Phoenixia’ (and its general black-and-white branding/logo/aesthetic) is very much a temporary working title - I’ve had it as a producing alias for a while, but it’s never had meaning attached to it. I have a couple of other ideas for working titles which more strongly link to the themes of the project which I’ll share in a later entry! (Because right now my research notes are a m e s s)

There’s a LOT of different opinions on how long consciousness actually lasts after clinical death - 20-30 seconds, three minutes, a couple of hours, all these are lengths of time associated with it. Some scientists have stated that as the brain is shutting down our consciousness ‘increases’ - in terms of representation within the project and lengths of time, it may result in a longer perceived experience? For example, 20-30 seconds of consciousness may be represented as 20-30 minutes of audio/video? (”The precise point beyond which the brain is no longer "living", a threshold which remains unidentified, is perhaps less definite than has been historically assumed.” -Persinger, Michael A., et al. "When Is the Brain Dead? Living-Like Electrophysiological Responses and Photon Emissions from Applications of Neurotransmitters in Fixed Post-Mortem Human Brains." PLoS ONE, vol. 11, no. 12, 2016, p. e0167231. Gale OneFile: Health and Medicine.)

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Conclusion:

And that’s it for the first entry!! I hope that wasn’t too much rambling!

The next month or so is going to be SUPER hectic for me due to university deadlines and working on this as much as possible, but I’ll do my best to keep regular updates!

#phoenixia #the phoenixia project #dev blog

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