#DELUXE INSPIRATIONAL SENTIMENT

[oh-saints]

gift

when your boyfriend is manchester city’s infamous number 3, it’s a bit hard to find a suitable gift for someone who practically has the world in his hands.

rúben dias x engineer!OC

word count: 3.7k

note: due to popular demand on my askbox (of which i can no longer reply 1-by-1) and as a thank you for the enthusiasm you showed in there, this is the 2nd part to this but can be read as a standalone for those who haven’t read the 1st part. this is also mildly inspired by this ask AND THE GIF (asfghjhjhj i'm still not over it tbh). however, as usual, i happen to always write around dawn so ofc this is not beta-read.

tags: @thatonesexycancerian <3

it didn’t take valentine’s day to know that rúben dias’ dominant love language is giving gifts.

hell, it didn’t even take a week for adrianna to know that. it wasn’t everyone’s cup of tea to curate a spotify playlist specifically for someone, inspired by the way they met and the current long-distance relationship they were holding on, and kept expanding whenever the boyfriend was missing the girlfriend—which was a lot.

the listing parade continued with a letterboxd list of movies to watch so adrianna wouldn’t run out of things to watch and a goodreads list of books so adrianna wouldn’t feel bored when the mood to watch had deserted her. the latter touched a part of her she didn’t know existed because she knew he wasn’t that much of a fan to books, but he’d vouched he’d read them before he recommended it to her.

maybe the sentiment behind them got her more than she’d liked because let’s be realistic, rúben dias is a busy man with a very demanding job, physically and mentally. not to mention he spent more time on the jet plane than on ground. yet, he spared some time—obviously more than he’d admitted over the phone when she confronted him—to create something so personal like that.

but what started small became something else entirely.

the lists, at least those she could take on. however, when adrianna told her boyfriend she was heading for the shore for the first time in a while, the portugese decided by himself that it was a good idea to upgrade her ordinary deluxe hotel room into a suite. while the luxury that was entitled to the hefty price tag was an absolute pleasure to be indulged in after months of being in a rig, adrianna vowed to repay him one way or another, despite rúben’s insistence that he wouldn’t take on the repayment because he'd “be more than happy to give his girl nothing but the best.”

and he lived up to his words. by the time they stepped into the 3-month mark, adrianna shook up the entire rig from having a 100-piece fresh flower bouquet delivered to the facility right before the day started for the engineers. the flowers surely was a rare sight to see, even more unheard of than the legendary blood moon, hence her male counterparts were genuinely elated for her. for her excellent catch, and for the hope it sparked to their love life—be it single-ready-to-mingle-but-distance-sucks or the helpless long-distance relationship.

6 months in and her royal boyfriend treated the entire rig for a banquet with food they rarely had the chance to devour unless they went back on-shore. he slipped in a little gratitude note for always looking out his girl when I’m not around, albeit anonymously because both rúben and adrianna agreed on not telling anyone until they were fully ready to share the relationship with the rest of the world, just like how adrianna had to share rúben.

there was also time when he missed adrianna so much he sent random gifts to the rig. today was a bouquet of lego flowers that rúben had constructed himself and framed in a box, complete with a little note to show how much he longed to have her in his arms once more and a polaroid of him and his dog, sporting all black fashion because they were mourning. she was astounded that (i) he remembered adrianna said the water the rig was using was actually filtered from the surrounding sea and it unfortunately wilted the flowers sooner than expected, (ii) he asked her if she also missed him they way he did her. the last part made her heart skipped a dozen notes.

it wasn’t like she never reciprocated how rúben expressed his profound love towards her—telling him how much she loves him, despite their short time together physically—but she’d never had to show how much she loved someone with gifts. sure, she wasn’t a plain jane or some sort towards that kind of lifestyle but she was more familiar in the tradition of gifting someone else a practical gift. at least something she knew they needed it so she bought it, none gone wasted.

and now… she wasn’t sure at all. because it wasn’t only about what he liked, but it was about how to blow his waters off the pool, too. at the same time, it should also be something that was equivalent as to saying i love you without spelling the 8 letters. she didn’t want rúben to think he was dating someone no good for him, someone who couldn’t match his level. someone not worthy of him. if there was one thing adrianna hated the most was to disappoint people she deeply cared about.

what do you give to someone who’s already had everything best in this world?

while she was now past the privilege of looking at her bank account every pay check day to ensure she could live off safely for the next month, she didn’t hold a single candle—not even the gigantic bath & body works 3-wicks candle—against what could possibly run down deep in rúben’s pocket. she didn’t need to look up his weekly salary—weekly, mind you!—on search bar to know so. take a look at the wall of rúben dias’ corner in her room and you’d get a good guess.

whoever implanted the idea that petroleum chemical engineering would bring abundance of fortune to adrianna’s pocket, surely never had the misfortune of dating someone in the same calibre as rúben dias of manchester city. she certainly had a hard time figuring out what kind of gift could be deemed acceptable for the rúben dias.

good lord, please help. or maybe rúben’s brother if lord was too busy taking another call.

＊✿❀○❀✿＊＊✿❀○❀✿＊＊✿❀○❀✿＊

adrianna, at this point, didn’t know whether her heart was beating rapidly to match the drums played at the background or due to the nerves jumping up and down under her consciousness. all she knew was that whatever it is she was doing now was definitely on the scale of something she’d never done before, and the desire to give rúben only the best of her—in her capability, that is—was her only drive to play this crazy card.

crazy because she thought of all the things that’d need help arranging when she was so far away from where her boyfriend now and had no prior experience conducting this whole charade; not crazy because ivan thought his brother would want nothing else but what she had up in her sleeve. “crazy? this is probably the best gift he’ll have,” was ivan’s response when she confided her plan.

no matter how much ivan reassured her that her decision was brilliant—to the point he was very willing orchestrating everything else that was out of adrianna’s reach, in order for her plan to be perfectly executed—adrianna couldn’t stop herself from fidgeting her fingers on her lap. what if it still wasn’t enough for rúben?

what if she wasn’t enough for rúben?

if her sister whined once more about wanting to get married someone rich instead of finishing her study, she’d cut off her allowance for the rest of her life. it should serve her the reminder that it wasn’t easy to date someone that seemed… so larger than life. at least, her life.

yes, she’d seen a glimpse of what life next would bring to her back when they met for the first time at the airport. people started to made a sizable crowd around them, with their phone cameras pointed at rúben and her. the photos made the internet go berserk briefly and netizens tried to figure out who rúben’s newest, mystery girl was. but she could take that on, she’d thought. as long as they didn’t step over the boundaries, she understood that much. she was a fan of the jonas brothers herself a long time ago.

but now, as she stepped inside the packed etihad stadium for the last game of the season, she realised what dating rúben dias entailed. the cameras had been set up around the stadium, and it dawned on her that the crowd she went in together with today was only a miniscule part of city fans all over the world. what she did would affect rúben, and what if she took a wrong step? what if that wrong step was a sufficient reason to break their newly-embarked relationship?

adrianna felt like puking this very minute.

“you okay?”

ivan’s voice was enough to cancel her initial reaction of vomiting but not enough to conceal the shaky breath she took as she looked up to the man resembling rúben by the eyes. like his brother, this man harboured some sort of invisible power that unabled her to tell lies. but her mental breakdown was beyond comprehensive words at this point, and there was no way to summarize what she was feeling right now. so she swallowed every last bit of her sanity down the throat and took the seat beside the older man.

＊✿❀○❀✿＊＊✿❀○❀✿＊＊✿❀○❀✿＊

rúben played excellently as usual, but it was nothing but expected of the backline captain. still, manchester city conceded two easy goals for the opponent. absolute shambles, especially when they were in tight positions to secure another premier league trophy. they lose and the trophy goes elsewhere.

having watched her boyfriend’s matches now, adrianna recognised the look of frustrations rúben sported. frustrated that his team could’ve done better, frustrated that his team were on the verge of giving up, frustrated that he couldn’t contribute better on the other goal end. they needed two more goals to make an epic comeback.

they were running so well for the whole season that adrianna couldn’t help but blame herself, should they lose in her presence. she was halfway believing it was because of her that the team was behind because it was supposed to be an easy team win. it was the day she decided to come to manchester to finally catch her boyfriend in action after all.

“you should text him,” ivan said when the referee blew the halftime whistle and adrianna watched as her boyfriend was walking towards the tunnel, shaking his head, obviously disgruntled at the result so far. “it’ll cheer him up.”

why bother on placing another jinx of misfortune towards rúben and his teammates?

maybe her idea of coming here was bound to doom.

“i don’t want to distract him, ivan.”

“contrary to your belief, you’re the reason he’s so focused, adrianna,” ivan clicked his tongue in disbelief. “you make him better than every day before. it never happens to my brother.”

maybe ivan was only saying it was a good one out of pity towards her, seeing that her plan was failing.

“whatever,” ivan continued, his voice matching his gruff exterior. “i sent him one picture of you already, thought that might fuel his spirit even more.”

should she? what if her text wasn’t enough to lift rúben up?

just as about adrianna was on the verge of giving in, she felt something running down her spine. that familiar shiver when you know someone was watching you from behind. but instead of fear, she felt warmth. the kind of warmth that only rúben could emit. be it his voice, his presence—him. she turned her line of sight to the direction of the grass pitch and there he was, standing tall and proud and unbothered like his reputation of wall of china while looking at her with eyes smeared with a little bit of disbelief, but zeroed on her nonetheless. contrasting the traditional centre back posture was his mega-watt smile, the one he never failed to show her whenever she picked up his video calls before greeting her with, “minha vida, meu amor, how are you today?”

the one she knew he reserved it only for her. because it never failed to make her feel like the only girl in the world at that moment, like she was the centre of his universe and nothing else mattered to him the most.

and at that moment, she knew rúben chose her because she was enough for him.

it was easy for them the first time they met, and it was easy now for her to feel the affection rúben loved to shower her unconditionally with.

and before her brain could take over the last piece of logic inside her, adrianna flashed him a grin that stretched from ear to ear at the view that reminded her of a chesire cat eager to play with alice in wonderland. her version of the smile that was only intended for rúben dias and only at rúben dias, no matter the time and place.

she waved at him involuntarily, the part of her body that had been missing him to bits since their airport encounter stole the start from her rationale, unable to contain the lingering that had been gnawing her heart for months now. fuck distance makes heart grow fonder, it softened the hell out of the organ she could combust if she didn’t get to touch her boyfriend when they were now this close to being together, physically and mentally.

she didn’t think his smile could grow any bigger but it did, as she waved at him. and the disbelief in his eyes turned into something else entirely. fierce, but elated. like he was so happy she was here that it was enough to fire again the determination and desire to grab the win from the back. like he’d finally found his reasoning and awakening altogether at the same time.

and it was enough for him to light up the spirit. of him, of his fellow defenders, of his team. of the stadium and the fans everywhere else in the world when he slotted another well-executed header into the opponent’s goal to level the score. it looked effortless; perfectly timed and executed by kevin.

and for rúben, effortless was something he grew accustomed to lately, despite some people calling him crazy for his “rash” decision. but he couldn’t blame people when they don’t exactly know the real meaning of the word, not when he knew they didn’t have adrianna to show him everything he needed to know about falling in love effortlessly. like his goal, his encounter with adrianna was perfectly timed. so for him, there was nothing else more suitable than a celebration to match the theme.

the portugese didn’t think twice when he ran to the other end from where the goal just went in, so fast his mates were screaming his name to slow down, and then he simply stood there with the same smile he knew she loved and knew only came out when he was with her. no grandiose gesture, he just straight on looked up at his girlfriend, now wearing the blue shirt he’d always dream to see her on. erupting crowd and back hugs from his teammates paled to the pride and proud she wore in her face as she looked down at him.

ilkay shook the stadium once more when his strike went past the goalie the last 3 minutes of the game, pretty much sealing the most coveted trophy in the football industry for the 4th time to manchester city. when the whistle finally blew, literally and figuratively, the crowd went wild to the point the players had to be rescued from the pitch towards the tunnel. rúben didn’t think twice to call ivan immediately as he reached the locker room to ask if they were safe and sound.

(well, the implied question was if adrianna was safe and sound.)

the roaring stadium couldn’t even conceal the palpitating beats inside his ribcage, the blood rushed to his ears faster than his regular pace that his phone had to alerted him to calm down. but how could he calm down when he just contributed the most important goal of his career, in the presence of the woman he loved? in the presence of the woman whom he knew must’ve taken half of her precious annual leave so bravely just to see him?

how could he calm down when he knew she was so close yet so far? when he knew he could’ve run upstairs just to have her in his arms for a minute before returning back in time for the trophy lift?

should he just forego this whole thing and be with her instead? he’d won 3 epl trophies before, the thrilling feeling shouldn’t be new anymore, right?

unfortunately, however, before he could execute his crazy escapade, the staff ushered the first team out to the field again for the one thing the entire building had been working on.

rúben waited in line for his turn to earn his silver medal with “4-time champion” inscribed on it and while doing so, he couldn’t help himself to look up to the tribune where adrianna was at. as soon as he saw the grin she was sporting, jumping up and down beside his brother ivan, looking as real and as regal as the first time he saw her, he smiled so wide john stones had to elbow him on the belly. “where’s the missus at? she here?”

rúben only answered the barnsley native with a nod towards his girlfriend, the grin on his face never perished. she waved again at him, her excitement so infectious that rúben couldn’t stop himself from blowing a kiss at her. john laughed at how corny that was but couldn’t bring himself to blame the portugese from being lovesick. being deserted by your ex just when you popped the question wasn’t something easy to comeback from. john was only glad he’d found a better match in all aspect for rúben, despite the distance the couple had to endure together.

the trophy lifted and paraded to every corner of the pitch, photos taken at every sequence, and now it was time for the family to congratulate their loved ones for the hard work they’d committed this past year. adrianna, included, although she only had the privilege recently.

despite the ardent crave to jump into rúben’s strong arms as soon as the portugese was in her sight, adrianna gave some space to the dias brothers to celebrate first. rúben had several times mentioned ivan and his cousin were two people that inspired him the most in regards to his professional career so she wouldn’t want to try to break the bond and respect that were shared between the two, and rúben swore he fell in love again once more when he realised the meaning behind her action.

as soon as rúben’s eyes diverted from ivan to her, adrianna didn’t hesitate to cut off the last remaining distance between them. and as soon as her head fitted under his palm and her legs hung around the back of his waist, rúben released the breath he didn’t know he was holding. at last, he muttered against her hair. who knew the smell of a shampoo could be so comforting?

at that moment, reality hit him. rúben dias had been too focused on chasing something—anything; trophies, titles, awards—that he forgot the meaning of home. and adrianna just handed it back on his plate.

it was so soothing how small she was in his arms, yet it felt like he had come back home. like he was holding his entire world in his embrace, and he couldn’t ask for anything else better, even if it meant that he had to undergo the whole failed proposal all over again.

“you’re here.”

“i am,”and there was the sound he’d been missing the most, clear as crystal. not the one he’d been hearing over the phone, through the endless video calls when he was about to sleep and she just woke up. “parabens, querido.”

“i must be dreaming,” rúbenhad to pull her closer to him—as if it was possible—to make sure she was here, in flesh and blood. “you can’t be real, you know? but i keep seeing you.”

adrianna pulled away from rúben’s lock around her, mirth glinted her eyes. “should i just go back to—”

“no,” rúben didn’t hold back as he kissed her. finally. her lips felt like the sweetest victory; for winning the title again, for waiting for her no matter how long it takes. and he devoured every last bit of it, slowly but sure, not wanting to miss any more detail. “you don’t know how long i’ve been praying to hold you like this again.”

“well, you got your wish,” rúben’s dropping bass tone to his voice sent shudders all over her body, both from the voice and the desperation that lingered behind his words. she kissed him once more to show she felt exactly the same and he hummed, as he felt her nipping his bottom lip. “happy birthday, benzinho. i hope you like your present because i don’t know what else to give you if you don’t like it.”

this time, rúben was the one who pulled away first, confusion written all over his face. “what, you think i’m not going to like it?”

“well, look around you, rúben,” adrianna casted a glance everywhere else but him, awkward and so unlike of her. “i can’t possibly compare to—”

“you’re the best thing i could ever ask for, gatinha,” rúben moved up his hands from her waist to cup her face, the sharp jawline contrasted the soft glimmer in the beautiful eyes he loved. “doesn’t matter if it happens on my birthday this year, next year, next decade—i want you and i will always ask for you until the day comes. you’re the reason i start looking forward for tomorrow, knowing you’re awake already when i wake up, and you’re the reason i want to be better everyday so that one day, when the day comes, i can be the man that deserves you entirely.”

“rúben—”

before adrianna could say anything else that described the way his words swayed her world, rúben closed the vacant space between their lips, effectively shutting her up. “i don’t know what’s that pretty mind of yours have been thinking but te amo, meu amor. you’re my love and my life, meu anjo, and i don’t want it any other way.”

#ruben dias #rúben dias #ruben dias fluff #ruben dias fic #ruben dias fics #ruben dias fanfic #ruben dias fanfics #ruben dias imagine #ruben dias imagines #ruben dias one shot #ruben dias x you #ruben dias x y/n #ruben dias x reader #ruben dias smut #ruben dias angst #ruben dias blurb #ruben dias blurbs #footie fic #footie fics #footie fanfic #oh-saints writes #oh-saints writes request

[seasurfacefullofclouds1]

what kind of promo do you think he will do? or do you want to see him do? obviously he’ll be on radio stations again but i would hope he’d be on a few talk shows - i cant speak for the US ones but maybe some of the UK ones like graham norton even liam has been on that multiple times

Hmmm so far, BMG hasn’t shown their cards really. It seems that at least internationally, Warner Music will be distributing and promoting FitF.

(There are lots of pieces to this album release, so a mistake anywhere along the chain could have resulted in the Amazon leak.)

By going with an early November release, my bet is that BMG is willing to put some money behind the promo. It’s a good release date for winter/ holiday considerations. As I said before, it also dovetails into the Walls January 31, three-year anniversary, which could increase sales of Walls too (a nice gift to fandom would be a deluxe edition of Walls with live remixes and additional tracks like Copy and Change … I’m just saying).

Pre-release promo will be centered around the singles. Ideally they’re spaced 4-6 weeks apart with room for charting and growth. I expect another single after the album release, around end of November/ early December 2022.

I would LOVE to see some long, serious interviews about the album-writing and recording process. I want to hear about the fun things Louis did during the pandemic, the shows he binged, his inspirations, ways he dealt with boredom, where he traveled, books he read, music he listened to, stuff that inspired him. Why does he like BVG so much? Why did he grow his hair long, when Eleanor’s best friend’s boyfriend is a professional barber?

I also want to see really fun segments like Hot Ones and Louis playing with puppies on Buzzfeed.

I know this will probably not happen but … Louis doing comedy skits (and performing music, of course) on UK television. He would feel at home and it would BUST the internet! Completely. I know he never looks comfy in USA TV, so he should do whatever he likes.

Louis invited to perform on SNL. Again, this is not likely, but it would give the album great exposure.

BBC Live Lounge. Isn’t it about fucking time.

Holiday festivals 2022.

Photoshoots… we’re all waiting for model Louis to slay. I hope he’s able to have exposure on bigger media platforms - all of his previous magazine shoots sell out in a matter of minutes, no matter who the photographer is or how he is styled (my favorites from Walls are Cosmo, 1883, and TMRW which was so classy to have an entire zine for him). The portrait photographers adore him.

A serious journalistic profile (NYT, Slate, Vice, Pitchfork, Village Voice). Unlikely but a girl can dream! Maybe for LT3.

Louis plays a small but sentimental NY venue in December 2022. For indie cred!

Headlining India Lollapalloza January 2023.

Lolla Argentina March 2023.

Glastonbury 2023.

#lt2 promo #louis tomlinson

[mieux-de-se-taire]

The Black Parade - Part 3

This is the final installment of my song-by-song review of TBP. You can also check out the first 2 parts of TBP as well as reviews of Bullets and Revenge on my blog.

Sleep - this fucking song, my god, one of my favorites off TBP, I go insane every time I listen to it, the way it starts with that audio clip of Gerard talking about night terrors with a simple repeating piano melody in the back and then goes full throttle at 0:31, and later when that audio clip comes back at 2:47 and the song slowly builds until the guitars go fully insane, god, with Gerard absolutely wailing “wake up” in the background, this song feels like an exorcism, everything from 3:11 to 4:24 is one of my favorite parts in any MCR song, and then there’s the lyrics, “The hardest part is letting go of your dreams”, “Three cheers for tyranny / unapologetic apathy / cause there ain’t no way that I’m coming back again”, “The hardest part’s the awful things that I’ve seen” (jesus christ), and ending it all with the line “I can’t ever wake up”, screaming. And the backstory makes it even worse: “Gerard would struggle to sleep and would go on to suffer what he called ‘night terrors’ in which he said it felt as though someone was gripping his throat and squashing his lungs. He used it as inspiration for the song ‘Sleep’, written in the studio around the same time as ‘Famous Last Words’, but it pointed to the intensity of the experience. He became obsessed with Joan of Arc, and considered shaving his head as she had once done. He bought countless films about her and would watch them alone in his room, prompting nightmares in which he watched her burning alive” (The True Lives of My Chemical Romance, 147).

Teenagers - such a fun song, my god, so deceptively theatrical and almost goofy but containing such a poignant message, it doesn’t really fit in with the rest of the album as it has nothing to do with the concept, but I totally understand why they kept it in, it’s loud and in-your-face and catchy as hell, I like how it starts very simply before bringing in full instrumentation, which allows the lyrics to really take center stage, I love the snare(?) thing at 0:33, 1:25, 1:44, and 1:59, my favorite part is the lines “The boys and girls in the clique / the awful names that they stick / You’re never gonna fit in much kid” at 0:51, I just love Gee’s delivery so much, I also really like the scream at 2:16. If you want some great lore on the song, check out the full album commentary at 29:10-32:26, which you can also find on the deluxe version of the album as “My Chemical Romance Welcomes You to the Black Parade” (at least on apple music), in it Gerard sums up the song at 31:39 by saying, “It’s a very important song because it talks about how teenagers are engendered to violence and how they’re watched over and how they’re over-medicated and how they’re a group of people that, they feel that they -- a lot of them are made to feel like they can only solve their problems with violence, a lot of them are made to feel invisible. And this is a song that addresses a lot of issues about kids lashing out against other kids, lashing out against society.” Underneath all the glitz and playfulness is a deeply powerful social commentary that is still relevant to this day. On a lighter note, the music video is a blast, from Gerard spasming at 1:29 to Ray cowering at 2:26. I imagine it was very fun to film, especially the ending when the stage is stormed

Disenchanted - overshadowed by a lot of the more elaborate and theatrical songs on the album, but possessing one of the most impactful messages on TBP, largely because of how universal the sentiment is, fairly simple and stripped down, especially in the beginning, but so pure and powerful, it took me a while to understand why they put it directly after teenagers because it’s such an abrupt tone shift, but it makes total sense, because after the intensity and angst of your teen years you’re expected to just settle into adulthood and ignore the disappointments and injustices of the world, disenchanted is about the disillusionment and apathy of being in your 20s and idly letting life pass you by and never making a difference, and it’s so mundanely soul-crushing, listening to the lyrics properly is always a gut punch, god, the quiet everyday tragedy of “I spent my high school career / spit on and shoved to agree / so I could watch all my heroes / sell a car on TV” and don’t even get me started on “You’re just a sad song with nothing to say / about a lifelong wait for a hospital stay”, jesus fuck, one of their most cutting lines, on a record all about high stakes like war and death, disenchanted is so easy to overlook, but it’s one of their most haunting and relevant songs, thank god for Mikey Way. The full album commentary I mentioned for teenagers also has some very interesting (and funny) info about disenchanted, at 32:59-35:17

Famous Last Words - one of my all time favorites, just an amazing song, the intro may be my favorite MCR intro, the way Gerard grits his teeth when he says “But where’s your heart”, god the audible pain and anger in his voice, and knowing it’s about Mikey when he left the Paramour, christ, just everything from 0:00 to 0:32, the simple but memorable guitar melody, the way the drums and guitar punctuate the phrase “I know”, pure perfection, it’s my second favorite part of the song, then there’s the chorus and by god Gee did not hold back with the lyrics, I mean “I am not afraid to keep on living / I am not afraid to walk this world alone” is about as blunt as you can put it, but it’s so powerful how unflinchingly and unapologetically direct it is, one of the interesting things about this song is how all the metaphor Gee is usually so fond of is almost entirely absent, but the raw sentiment stands on its own, and the chorus becomes this rallying cry, (speaking of lyrics, I adore the line “A love that’s so demanding / I can’t speak”), the breakdown at 2:38 is phenomenal (thank you Ray Toro), but then comes the bridge at 3:08 and I start to go insane, god the way everything falls away to highlight Gerard’s voice and the lyrics, and the fucking lyrics, “I see you lying next to me / with words I thought I’d never speak / Awake and unafraid / Asleep or dead” how am I supposed to be normal about this, I want the words “awake and unafraid, asleep or dead” tattooed on my body, god, and then it builds so majestically and beautifully, and then Gee starts wailing “Asleep or dead” and my soul starts ascending, christ, and the layered harmony that starts at 4:10 with the chorus coming back in with the line “or dead” soaring in the background, it’s totally breathtaking, the entirety of 3:08 to the end is my favorite part, what a way to end the album, concluding a record about tragedy with a powerful message of resilience and hope, the song is so brutal and honest yet uplifting, it’s extraordinary. And the video, my god, very simple conceptually but executed brilliantly, you can tell they’re all really tired because they all have this manic, desperate energy about them, and it really adds to the performance. The making of video is rough, seeing all the injuries they got just from this one shoot, but still very interesting (check out 5:56 and 11:16), and the outtakes video is fun, especially 1:40, 8:09, and 9:11. And finally, a very long quote: 

“One night at 4 a.m., two weeks after Mikey’s departure, Gerard heard Ray playing around with a song then called ‘The Saddest Music in the World’. Gerard says Ray would often play alone late at night at that time and that ‘it sounded like he was fighting his guitar, frustrated that he couldn’t play our songs.’ This time, Gerard joined him. The two of them started working on Ray’s music while Gerard emptied into it his fears and frustration about Mikey...It was as if Gerard’s feelings about his brother had been the cork that was blocking their creativity. Once he let those feelings out with Ray, music began to flow once more...Heartfelt, brutally honest and anthemic, it would become known as ‘Famous Last Words’ and would eventually close The Black Parade. It was a hell of a thing to write about your struggling brother, as Gerard’s lyrics sharply challenged Mikey’s spirit over angry, soaring guitars. But it came to take on more meaning as Gerard wrote. It evolved from being a song about Mikey, to being a song about the band in general. It became something very powerful. ‘Right away I felt like I was singing about the thing I was most afraid of,’ Gerard said. ‘It felt like what it meant to be in this band, it felt like it was about Mikey, and it felt like it was about our lives, thinking of yourself as despicable or hated.’ All it lacked was a chorus. That came later, when Gerard was alone in the studio. ‘We all left to get coffee,’ said Ray, ‘and we came back an hour later and Gerard had done this awesome layered chorus. It was so inspiring – the words that he was singing, the melody, it came out of nowhere really. It tied the whole song together and ties the whole record together.’ It would be the chorus that offered the song some balance. While the verses questioned and criticized, the chorus was uplifting and proud, offering some hope amid the despair, as Gerard defiantly and pointedly sang that he would keep on fighting for life. It was a line that would define the record. With such conflicting emotions, Ray was keen to ensure his guitar solo captured the fraught mood. He had long been influenced by Ozzy Osbourne’s late guitarist Randy Rhoads and turned to his playing for inspiration. He knew he needed to write something that mirrored the emotion of the lyrics, something frantic but fraught. He went to bed that night listening to his favourite Rhoads solos and, on waking up, immediately reached for his guitar and laid down the first thing that came to him. His spontaneous guitars became vital to the song...‘We all got a shot of inspiration when that song came together,’ said Frank. ‘It gave us a new life, a new hope. It really put us back in the mindset of making a great record.’ Even when Mikey returned to The Paramour and heard what the band had been working on in his absence – essentially, a song that was inspired by him – the mood remained high. Because despite its subject matter, the bassist realized quite how glorious ‘Famous Last Words’ was. He told them it was an anthem.” (The True Lives of My Chemical Romance, 151-152)

Blood - genuinely one of the funniest things they’ve ever done, you spend 49 minutes listening to a very serious and emotional rock opera concept record about cancer and death and grief and guilt and perseverance with an epic inspiring show-stopping ending, and you think it’s over but you don’t bother to stop or restart it (because you’re probably still reeling from the rollercoaster of emotions you just experienced), and for a minute and a half there’s silence, and then all of a sudden you hear a jaunty little piano tune and “Well they encourage your complete cooperation”, and you spend the next minute and a half listening to a satirical ditty about fake blood complete with nonsensical lyrics, cartoonish ghost sounds, and weird lip noises, they’re all insane for this, literally incomprehensible, I know it’s poking fun at all the photoshoots with fake blood they did during Revenge, but to put it at the end of TBP, I have no words, pure comedy gold. And then they went and made a video for it, and it’s literally just them fucking around awkwardly in a locker room while cheerleaders dance seductively against the lockers, what even

Sorry for how long Famous Last Words got. I tried to cut down the quote to its essentials, but there was a lot I wanted to include. I’m finally done with TBP (I’m doing the b-sides later). I’ll probably do Danger Days next, then Conventional Weapons, even though CW was written first. Feel free to share your own thoughts and opinions

#mcr #my chemical romance #the black parade #tbp #sleep #teenagers #disenchanted #famous last words #blood #blood (hidden track) #album review

[stpaulsuk]

Best Catholic Gift Ideas For Any Occasion.

Choosing Catholic gifts for any occasion can be an excellent way to celebrate and share your faith with loved ones. Buying Catholic gifts for your loved ones can hold significant importance for several reasons: Expression of Faith, Strengthening Bonds, Encouraging Spiritual Growth, Inspiring Gratitude and Reflection, and more. For devout Catholics, religious items can symbolise their faith and devotion to God. Gifting Catholic items like rosaries, crucifixes, or religious artwork can help reinforce and express their spiritual beliefs, reminding them of the presence of God in their daily lives. Moreover, when you give someone a Catholic gift, you show that you understand and respect their faith. This thoughtful gesture can strengthen the emotional bond between you and your loved ones, demonstrating your support for their religious identity and practices.

Catholic gifts have the potential to nurture faith, love, and spiritual growth in the lives of your loved ones. They hold deep sentimental value and can become cherished items accompanying them on their faith journey. Buy Catholic Gift Items Online in the UK from St Pauls UK. We offer catholic gifts on every special occasion like wedding anniversary, first communion, confirmation, and more.

Here are some of the best gift ideas for special occasions.

BAPTISM

Gifting on a Baptism day holds significant importance as it symbolises love, support, and blessings for the person being baptised. Baptism is a sacred and joyous occasion in many religious traditions, representing the initiation of an individual into the faith community. When selecting a gift for a Baptism day, it is essential to consider the religious and cultural context. Religious books are one of the best options. Here are some of the products you can gift to your loved ones.

1. Picture Book of Saints: St. Joseph Edition

This beautiful and inspiring volume by a well-known author, teacher, and missionary will bring the young and old joy—the presentation page to personalise as a gift. The book contains the lives of over 100 popular Saints, and each is made more memorable by a twofold portrayal in word and picture. The life of each Saint is carefully written in an informal, pleasing style that will delight parents, teachers, and the children with whom they share these pages. The glorious, full-colour illustrations are stunning and marked by their fine detail.

2. Catholic Child's Baptismal Bible-OE

Gifting on a Baptism day is a tangible way to express love, care, and support for the baptised person. It shows you are there for them on this important day and throughout their spiritual journey. Each of the 38 stories from the Old and New Testaments is one page of text and a beautiful illustration. So, gifting this one will be a perfect gift.

FIRST COMMUNION

First Communion is an essential religious milestone, particularly in Christian traditions like Catholicism, representing a significant moment in a child's spiritual journey. Gifting on First Communion holds several meanings and plays an essential role in celebrating and commemorating this occasion. You’ll get the Best First Communion Gifts online in the UK from St Palus UK.

Here are some of the items you can gift.

1. My First Mass Book: Cathedral Edition Deluxe Boxed Set Boys This Deluxe Boxed Set for boys contains a CATHEDRAL EDITION FIRST MASS BOOK, a deluxe chain rosary in a two-piece illustrated twist case with Scripture verse, taper candle, and laminated bookmark.

2. New Catholic Picture Bible

A perfect gift for First Communion: Here are Catholic stories taken from the Holy Bible, intended for the whole family and easy to understand. The first part treats the Old Testament from Adam to Christ and contains the most important and memorable events in God's dealings with man during that time. The second part contains sixty stories from the New Testament that beautifully narrate the life, teachings, and work of Our Lord and Savior. These written stories, praised by leading Catholic educators for their style, will delight children time after time.

WEDDING

Gifting religious items at weddings holds special significance, especially in cultures where religion is central to people's lives. Here are some reasons why gifting religious items at a wedding is considered important:

1. Wedding Rosary in Heart Box

The gifting of a Wedding Rosary holds special significance, particularly within the context of certain religious and cultural traditions. The Rosary is a significant symbol in the Catholic faith. It represents devotion to the Virgin Mary and serves as a tool for prayer and reflection. Gifting a Wedding Rosary encourages the couple to incorporate prayer and spirituality into their married life, seeking guidance and strength from their faith.

2. Card - Wedding Congratulations

Gifting wedding cards is a tradition that holds several important purposes and sentiments. Gifting wedding cards are important because they symbolise love and support, a keepsake for the couple, and a personal touch.

Giving Catholic gifts can be a heartfelt and meaningful way to strengthen the bond with your loved ones, celebrate their faith, and share in their spiritual journey. Whether it's a special occasion or just a gesture of love and support, these gifts can impact their lives.

[irritablebowels]

#piccies #upload #aesthetic #the future bites #deluxe inspirational sentiment #weirdcore #oddcore #swagcore #based #TFB™ #corporatecore

[deadwinglullaby]

#DELUXE INSPIRATIONAL SENTIMENT #THE FUTURE BITES #STEVEN WILSON #without the zoom the spacing pissed me off so Yeah #TFB™

[tillidontneedfantasy]

Defined by the Things She Loves: A Track-by-Track Breakdown of Taylor Swift’s 7th Studio Album, ‘Lover.’

Contrary to popular belief and misconception, Taylor Swift has always been more of a lover than a fighter. Yes, she can be a fighter, but only when she feels she has no choice. Often times, the combative side of her is brought out as a means to protect her ability to love. “Combat, I’m ready for combat. I say I don’t want that, but what if I do?” is how Swift opens up the vulnerable fifth track from her new album, Lover, titled “The Archer,” in which she explores her automatic defenses when things go well, because how can they possibly stay that way? This is an incessant fear of Swift’s, as seen through her personal diary entries included in the 4 different deluxe versions of the album. In deluxe album 2, there is an entry from 21-year-old Taylor that says: “This ridiculous thing happens to me when I’m this happy...I start feeling like karma will balance it all out by making something tragic happen.”

She then counters her own negative thinking: “But I’m trying to just show gratitude as much as I can. Every day, every minute. I’m grateful for being happy right this moment.” In the foreword for this album, Swift notes how a majority of these diary entries actually do document her taking a moment to cherish the small joys in her life: “I wrote about tiny details in my life in these diaries from a bygone age with such...wonderment. Intrigue. Romance. I noticed things and decided they were romantic, and so they were.” And not much has changed. Even on reputation (2017), an album that evokes a combative stance, or so it seemed to the naked eye, she still always finds the romance in life. Coincidentally, reputation is an album in which the general public took around 2 years to admit was actually good. In a lot of ways, it felt like the reputation era was deliberate in that sense, as if Taylor only trusted her loyal fans to get what she was trying to say and do, almost not wanting the skeptics and overly zealous critics to see what was underneath the armor. All the reviews of reputation slammed it as an album about her infamous feuds, and although they are of course addressed famously on songs such as “Look What You Made Me Do,” “I Did Something Bad,” and “This Is Why We Can’t Have Nice Things,” and sprinkled a little more here and there throughout, that was more of a distraction to the actual inspiration: love. Almost every other track on reputation explores her anxiety and relief around her newfound relationship at the time with British actor Joe Alwyn. It’s really a love story about finding someone who sees you for who you really are, rather than how the world is painting you.

On Lover, Swift takes command of the paintbrush, trying to get the world to see her the way her “lover” and her fans have the whole time. In “Dancing With Our Hands Tied” from reputation, Swift sings, “deep blue, but you painted me golden.” On “Daylight,” Lover’s closer, she describes love as golden like daylight. “Step into the daylight and let it go,” she almost whispers. She’s shedding her snakeskin, and she is ready for people to see her in all her loving and golden glory.

Swift is a storyteller like no other pop singer this generation, and so it would feel wrong to skip any chapter of this beautiful story. And thus, please join me in the track-by-track breakdown of the triumphant and magical Lover.

01. I FORGOT THAT YOU EXISTED

“How many days did I spend thinking ‘bout how you did me wrong?” she opens the album, seemingly reflecting on the reputation era and image. She revels in the magical feeling of forgetting that someone who wronged you even existed; obviously not forever, but just for even a single moment when you’ve realized, “Ah, I’ve made it to indifference! How wonderful!” She laughs and becomes more playful as the song progresses, showing her relief, although not exactly her freedom. In a recent interview with CBS Sunday morning, Swift asserts, "You know, people go on and on about, like, you have to forgive and forget to move past something. No, you don't. You don't have to forgive and you don't have to forget to move on. You can move on without any of those things happening. You just become indifferent, and then you move on." This sentiment is evident throughout the song, and in the nonchalant way she ends it by going, “so...yeah...” As in, yes the drama has affected me, but I’ve come to terms with it, so let’s move on, shall we? And so, we shall! 

02. CRUEL SUMMER

Sometimes, listening to a song can feel like electrocution. “Cruel Summer” is an immediate shock to the system following the bubbly first track. Suddenly, for 2 minutes and 58 seconds, we’re transported back into the anxiety of reputation, but through a different lens. Chronicling what seems to be a fraught start to her current relationship, Swift seems to be suffocating under her own emotions, trying to play it casual and cool, however against her nature. The production is astounding, and it is one of her most intriguing songs to date. Each lyric can be analyzed again and again from a new perspective, leaving you to wonder more and more. (And what so significant happened at a vending machine that she felt the need to include it in this story?) At the climax of the song, she admits that she can no longer keep her feelings secret, and has to risk telling him how she feels, even if that means losing him. “I scream, ‘for whatever it’s worth, I love you, ain’t that the worst thing you ever heard?’” she shouts in the bridge. Earlier in the track she states that “devils roll the dice,” and after her dicey proclamation of love she tells the audience that “he looks up grinning like a devil,” as if he were to say, “Of course I love you back, I rolled the dice for it to be so, didn’t I?” The entire song can be interpreted in a multitude of ways, but one thing is certain: the summer may have been cruel, but it was all love come the fall.

03. LOVER

The best-received and final pre-release, the title track is an ode to her main muse for this album. “Have I known you 20 seconds or 20 years?” she wonders, before asking to be with her lover forever and ever. She’s felt like she’s known him for almost her whole life, and wants to spend the rest of it with him, too. So much so that the bridge sounds like Swift’s (future? past? are they secretly married?) wedding vows, especially with the play on words for something borrowed and blue. The song even sounds like it’s being played by a wedding band with the use of live instruments. Although it has been pushed as a single and is destined to be a wedding song for many couples to come, I unfortunately cannot see it having the same success as Ed Sheeran’s “Thinking Out Loud” or “Perfect,” despite its superior lyrics and greater emotional depth. And why might that be, you ask? Great segue into the next track... 

04. THE MAN

It’s really a staggering thought experiment to think of how Taylor Swift’s career would be perceived if she was a man. I could write a novel on this, but Taylor did a pretty good job of summing it up in a 3-minute pop song: if she was a man, she’d be THE man. This is without question the truth. The woman has 10 Grammys and countless other accolades, she has written her own music since the beginning of time (her third album, Speak Now [2010], was entirely self-written, no co-writers). Yet she is continually ridiculed and mocked for things for which men are praised. Swift sings the song slickly in her very comfortable alto-range, which feels purposeful. It feels oddly powerful to hear Taylor Swift sing the word “bitch” twice in one song, which not only hearkens back to her defense for the infamous Kimye call, but for a moment really highlights the distinguished usages of the word “bitch,” forcing you to really consider why we let men just get away with it. And yes, the song’s take on misogyny is pretty surface level, but Taylor herself only has to deal with it on such a level, so we have to work with what we’ve got. Either way, I don’t think I’ll ever be over the line, “I’d be just like Leo in Saint-Tropez.” Someone had to say it, and she did!

05. THE ARCHER

The third pre-release from Lover, “The Archer” is a slow-build examination of Swift’s role in her relationships, both with others and herself. We have never seen this side of Taylor, but it feels like we were waiting for it all along, like we needed it. It’s very rare that someone as successful as Swift lays out their deepest flaws and insecurities for the world, other than Lorde on “Liability,” also co-produced and written by Jack Antonoff. “I never grew up, it’s getting so old,” she says, echoing a common criticism of the way she has dealt with feuds or breakups publicly.  “The Archer” is placed at track 5, a track that Swift has historically reserved for the most vulnerable song on the album. The bridge officially earns this spot; it is simple and simultaneously one of her best ever, as she transitions from, “They see right through me” to “Can you see right through me?” and then finally to an agonizing “I see right through me.” Swift’s self-awareness is painfully relatable, as she pleads, “help me hold onto you,” after each pre-chorus as an important reminder that sometimes we need to ask for help in order to grow.

06. I THINK HE KNOWS

It almost feels like whiplash going from the vulnerability of “The Archer” to a song that has the line, “He’s so obsessed with me, and boy, I understand!” But it’s a fun type of whiplash, as if Taylor is saying “wipe your tears and let’s skip down 16th avenue together.” What is admirable about Swift’s craft is that she is able to mature and cover maybe more sexual topics in her music while still keeping it discrete enough for her younger audience. “Where we gonna go? I think he knows,” feels like a wink to the camera (microphone?) moment. And yes, Taylor, we do know. Happy for you, girl.

07. MISS AMERICANA & THE HEARTBREAK PRINCE

Many deemed Lover’s second single, “You Need to Calm Down,” along with its Video of the Year winning music video, which explicitly outlines her support for LGBTQ rights, as an outright opportunistic ploy to win over liberal music consumers rather than a genuine showing of solidarity. The unflashy “Miss Americana & The Heartbreak Prince” proves that Swift means business. The casual listener might not realize the subject matter right away as it masked underneath school tropes and cheerleader chants. Quite effectively, Swift uses high school as a metaphor for the current political state. This song could be better explained through a 7 page MLA formatted essay, but in short, it’d be helpful to take note of Swift’s recent explanation and regret  for her silence during the 2016 election. The lyric “they whisper in the hallway, ‘she’s a bad, bad girl,’” echoes the similarities between Swift and Hillary Clinton that she outlined to Vogue. It is refreshing to hear Taylor write about something perhaps out of her comfort zone with the same eloquence and strength as she would about topics she’s been writing about for years, and her message is clear: she is against the current president and administration, and always has been. “Boys will be boys, then where are the wise men? Darling, I’m scared,” she sings frantically. Me too, Taylor.

08. PAPER RINGS

Quite like “Lover,” this song feels timeless. “Paper Rings” is a series of quips, connecting the moon being high to his friends, her cold wine to her cold shoulder, and feeling blue to the color they painted his brother’s wall. There’s quite a charming sigh after she chants that she will kiss him a third time “’cause you waited your whole life,” and then proceeds to proclaim that she would marry her lover even with paper rings. With the upbeat, musical number like rhythm and the line, “I hate accidents, except when we went from friends to this,” this track is destined to be in romantic comedy films until the end of time, as it should.

09. CORNELIA STREET

Out of all 18 tracks on Lover, “Cornelia Street” is the most reminiscent of Taylor’s staple songwriting, and self-written at that. A beautiful, lengthy retelling of the “sacred new beginnings” of her relationship, the song centers around the street on which she rented an apartment in 2016. She swears if she lost him, she’d never walk the street again. Once again, Taylor masters the ability to make extremely personal details feel completely universal; we all know what it’s like to associate a specific place or time with someone we love or lost, and how that link can never be fully broken. It’s hard to smell the scent of someone you no longer speak to, or hear their favorite song, or walk down the street where you shared something special. On top of the beautiful production, the way Taylor’s voice cracks right before the last chorus when she says, “I’d never walk Cornelia Street again,” is just an immediate tear duct trigger. You need proof that Swift can write on her own? Look no further.

10. DEATH BY A THOUSAND CUTS

Inspired by the Netflix film Someone Great (which was coincidentally inspired by Swift’s “Clean” from 1989 [2014], says writer and director Jennifer Kaytin Robinson), “Death By A Thousand Cuts” explores the pain of separating from someone, not because some tragic event happened that tore you apart, but because you naturally grew away from each other. “Gave you too much but it wasn’t enough / but I’ll be all right, it’s just a thousand cuts,” she tries to say casually. There is a unique mixture of production styles, and an absolutely mesmerizing bit of piano at the end of the hook. The echoing “my, my, my, my” in the beginning makes sense when it returns for the second half of the song, in which Swift lists all of the things taken up by this person. Though we know this song is not from personal experience, it shows that she can still write one hell of a breakup song.

11. LONDON BOY

A catchy, upbeat song filled with totally cliche tropes of London men, including British vernacular such as “I fancy you!” While some people are taking the song a bit too seriously, it is a fun track that shows just how head-over-heels she truly is with Joe Alwyn, as she giddily describes herself as a child when their eyes meet. “They say home is where the heart is, but that’s not where mine lives,” she croons. Although the meaning of the saying “home is where the heart is” would point to the fact that her home would actually be in London with her lover rather than where she’s from, it’s still a cute twist on the phrase. 

12. SOON YOU’LL GET BETTER featuring The Dixie Chicks

Probably the saddest song Taylor has ever written, “Soon You’ll Get Better” is a mantra to her mother, Andrea, during her cancer relapse. (The Dixie Chicks, Andrea’s favorite artist, lend their beautiful harmonies). However, it is also a mantra to herself to get through the impossible. “Desperate people find faith, so now I pray to Jesus too,” “I know delusion when I see it in the mirror,” and “I just pretend it isn’t real” painfully show how Taylor is dealing with it. But she’s willing to go to any lengths for her mom as she sings, “I’ll paint the kitchen neon, I’ll brighten up the sky / I know I’ll never get it, there’s not a day that I won’t try.” One of the most heartbreaking moments comes in the bridge with the lyric “I hate to make this all about me, but who am I supposed to talk to?” She has said multiple times that she does not think she’ll ever perform the song live and that she cannot even listen to it. Anyone going through a similar situation can understand; it’s a very difficult song to get through without crying. And although the pain Taylor and her family must be going through is unimaginable, there is extreme bravery in sharing such a personal account that is also, unfortunately, a universal experience.

13. FALSE GOD

“False God” is a sultry and confident song about convincing herself and her partner that they can still make their relationship work despite all of the breaking points they’ve reached. “I’m New York City, I still do it for you, babe,” she states, reassuring the both of them that she shines like the brightest city in the world, and there’s no way he’s going to let that go...right? The track is elevated to another level by the saxophone in the chorus, and the way she almost trips over her words, somewhat offbeat with the track in the pre-chorus when she says, “They all warned us about times like this / they say the road gets hard and you get lost when you’re led by blind faith” feels like she’s guiding the listener through the uncertainty and desperation behind blind faith too.

14. YOU NEED TO CALM DOWN

Lover’s second single, “You Need to Calm Down,” is a song about dealing with people who just can’t mind their damn business, divided into three parts: the online bullying Taylor has received, the homophobia displayed outside of her concerts by Westboro Baptist protesters, and the constant comparisons between and competition projected onto different female artists. With its release during Pride month and an array of LGBTQ celebrities in the music video, casual listeners were extremely skeptical of Swift’s intentions, feeling as if she is only showing support for the LGBTQ community now because she thinks it will help advance her career. This judgment is misplaced for two reasons: 1) Swift started off in country music, and so the majority of her fanbase are from red states, so she has much more to lose than to gain, 2) clearly these people have not been paying attention; not only has Swift shown her support to the community in various ways throughout the years, but this is already her second time showing it through music, as she celebrates “you can want who you want, boys and boys and girls and girls” in 1989′s opening track, “Welcome to New York.” Again, she wants to show that she values love- all types of love- above all. Was Swift’s execution perfect? No. Were her intentions in the right place? Yes. Everyone’s been crying for Swift to be more outspoken, and she’s doing her best. And she has been continually showing avid support for The Equality Act, as she started a petition which she asks people to sign at the end of the video. And although I am straight and cisgender and thus everything I just said isn’t actually important, and what really matters is what her fans in the LGBTQ community have to say, I have seen many of them express feeling really seen by their favorite pop star because of this song, and isn’t that the most important part of it all? Taylor can definitely do more and do better, but it’s a genuine start.

15. AFTERGLOW

It’s been years of pleading...years of completely original outcries...”Write a song called ‘Maybe I’m The Problem’!’” Well, maybe she didn’t make that the title, but “Afterglow” is the closest thing we’re going to get. “Hey, it’s all me, in my head / I’m the one who burned us down, but it’s not what I meant / Sorry that I hurt you,” she apologizes, taking complete ownership for a blowout. “Fighting with a true love is boxing with no gloves,” she observes, as when you hurt someone you love so much you are also hurting yourself. Then she turns the fight on its head, making it for one another instead of with one another: “This ultraviolet morning light below tells me this love is worth the fight.” Lover is such an interesting album from Taylor Swift because we get to see the sides of her in love we haven’t before, and in “Afterglow” she shows us all sides: combative, overdramatic, reflective, apologetic, and reparative. So maybe it’s time to retire the joke, kids.

16. ME! featuring Brendon Urie

I don’t care what anyone says: spelling IS fun. And it’s truly tragic (yes, tragic) that Swift decided to remove such a bold assertion from the lead single, “ME!” right before the album’s release. When it comes to Swift, it seems like her critics are constantly waiting for her downfall, which in some way admits that they know she’s good. But what they fail to comprehend is that a songwriter can write serious, profound songs as well as songs that are just for a laugh or to make them feel good. Anytime Swift engages in the latter, it’s responded with aggressive amounts of “Taylor Swift sucks! This song is horrible!” And then when the full album comes out, they sigh, “Damn it, she doesn’t actually suck- just that one song does,” and await the next album cycle for her to prove them wrong again. It seems like Swift is the only one of her contemporaries to receive this treatment. (I wonder why? See: “The Man.”) Was “ME!” a great single choice? Not really. Is it one of the weakest songs on the album overall? Unfortunately, yes. But within the context of the album, following songs like “False God” and “Afterglow,” she’s trying to say, “Yeah, I’ve messed up, but I clean up my messes, and what we have is special because we are both individually special.” That’s a great message! Just because something might appeal to children doesn’t inherently make it childish. And you know what? You literally cannot spell ‘awesome’ without ‘me.’ (And by the way, Brendon Urie is actually the one who wrote the bridge, but alas, no one cares. I repeat, see: “The Man.”) Either way, the overwhelming ridicule over the lyric “spelling is fun” as if the girl was truly serious rather than just trying to be silly was simply ridiculous. I wish Taylor could have just let the haters hate and instead just shake shake shake, but she succumbed to their criticism. RIP spelling is fun, I still have you on the original copy of the single I bought on iTunes and will cherish you forever. 

17. IT’S NICE TO HAVE A FRIEND

The shortest track on the album and the most hauntingly beautiful, “It’s Nice To Have A Friend” features a sample from students of Regent Park School of Music in Toronto. How fitting too, as it tells a tale of childhood love. Swift starts off the first verse by gently singing, “School bell rings, walk me home / sidewalk chalk covered in snow,” and then begins the final verse with, “Church bells ring, carry me home / rice on the ground, looks like snow.” The parallel between these verses highlights that at the end of the day, eternal love is really all about forever friendship, in all its forms.

18. DAYLIGHT

“Real love shines golden like starlight, and doesn’t fade or spontaneously combust. Maybe I’ll write a whole album about that kind of love if I ever find it,” Swift wrote in the prologue of the Red (2012) lyric booklet. Well, she did find it, as is evident throughout the entire album. But it’s stronger than starlight: “I once believed love would be burning red, but it’s golden like daylight,” she sings on the final track of this album. In a perfect closing, Swift describes this love as the light at the end of a “twenty-year dark night.” Now that she has this love, she doesn’t want to look at anything else; she just wants to soak it all in. “Daylight” is hope; it is the message that things always get lighter eventually as long as you let love in. That love can be from anywhere: a parent, a friend, a lover, a song, an album, an inspiration. But you have to let go of the darkness, even when it's all you’ve known for so long, in order to embrace the new. Taylor did that, and we can all follow the daylight she now emits as our guide. 

“I want to be defined by the things that I love,” she declares in a spoken ending. And I believe that this celebration of love through Lover will not only define her professional career, but also her personal legacy.

DISCLAIMER - REVIEWER’S BIAS: Taylor Swift is THE songwriter of our generation. This isn’t bias this is just a fact. Why Are You Booing Me I’m Right dot jpeg.

#taylor swift #lover #red #1989 #review #lover review #daylight #me! #it's nice to have a friend #afterglow #you need to calm down #false god #soon you'll get better #london boy #death by a thousand cuts #cornelia street #paper rings #miss americana and the heartbreak prince #i think he knows #the archer #the man #cruel summer #i forgot that you existed #jack antonoff #taylor #swift #music

[webcricket]

Castiel Imagine

Imagine: Eavesdropping on your beautiful singing - something you do when you think no one else can hear you - is Castiel’s guiltiest pleasure until he gets caught in the act (ft. Dear Abby, aka Dean Winchester).

Requested by: @earl-grey-cafe

“Dean-” Castiel pushes the bedroom door inward; widening the sliver of an inch the hunter left it open, he swings it all the way to the gaping limits of the hinges.

A wall of pepperoni grease, malt hops, and gun oil - none of which he finds alarming or unusual - accosts the angel’s senses; nor does the sight of Dean in boxers and socked feet scrambling to mute the horror film scream of the television whilst simultaneously shoving a half empty pizza box under his pillow and sloshing beer onto the bed sheets while he sits up provoke any special interest beyond the fleeting thought that Dean’s dietary choices, perhaps, are not ideal for his long term cardiovascular health.

Cas pauses after stating his friends name to allow Dean’s threading pulse a moment to recover from the surprise of the sudden intrusion. Not that Dean should be surprised by the suddenness of the intrusion after nearly a decade of friendship spent unsuccessfully trying to teach the celestial being to knock first.

The seraph takes Dean’s grumbling around a mouthful of coagulated cheese and irately glistening green eyes as an invitation, if not into the space itself, as one begging expedience to clarify whatever the hell he wants in order to beat a hasty exit. He speaks both without apology and without further delay, “I need to ask you a question.”

Dean swallows hard to dispatch the gummy wad of pizza. He swipes his mouth with the back of his sleeve. “Do you ever knock?”

Cas ignores the query, determining Dean to be employing sarcasm on account of the obviousness of the answer. He moves on to the matter on his mind; namely, you. He overheard you singing in the shower again last night when you couldn’t sleep, which - the singing and the sleeplessness - happens often enough to pique his concern.

It’s a habit of yours to stretch your voice - a heavenly voice if the angel ever heard one, and he would know - only when you believe no one is listening. “Have you ever heard Y/N sing?”

Dean’s glower wobbles and weakly rolls, his temper consoled and conversely further incensed at the lack of seriousness in the situation. He makes a mental note to have a conversation with his friend about what does and doesn’t warrant the disruption of his preciously rare me time; not - Cas’ idea of urgent often dwelling in the empiric satisfaction of curiosity over the human condition - that it will make any difference.

“Yeah, I’ve caught a couple notes here and there, and-?” Dean’s huff accentuates his annoyance.

You’re talented - talented and shy. You keep your gift to yourself and Dean, having sacrificed much for family, respects the need to shroud some things in a shield of selfish pleasure to preserve the status quo of inner sanity; for example, a double cheese double meat deluxe deep dish Chicago-style pie from Gianni’s in central Lebanon on a Saturday night.

Cas’ gaze narrows; some of his friend’s snark refracts in the brightness of the blue; he feels Dean knows the unspoken remainder given what he knows regarding the angel’s especially interested affections toward you and is playing a game of chicken. In retrospect, he thinks he should have sought out Sam.

Dean sighs, and concedes to the seraph’s silence if only to be quickly rid of him to restore his peaceful pepperoni and slasher movie solitude. “Listen up - some things, people don’t share with anyone. That’s Y/N with singing. Just leave it be.”

Crease of brow softening in comprehension, Cas thoughtfully eyes the corner of the pizza box peeking from beneath the drape of the pillowcase. “So it’s like you wanting to consume copious amounts of artery clogging cholesterol while lying prone and watching Hatchet Man in private.”

Deeply wounded by the angel’s holier-than-thou tone, and a recent brotherly lecture regarding bacon from Sam, Dean scoffs, “Nobody asked you.”

Cas gets it - your singing, however beautiful, is a subject of taboo unless you choose to share. He’s glad he didn’t go directly to you and cause you the discomfort of a compliment and discomfit of a request to hear more without the barrier of a bathroom door or concrete wall between you.

“And shut the door on your way out,” Dean grouses since the angel continues to linger meditating upon this newfound clarification and the sentiment of disappointment stirring in his chest that it means he cannot compliment you or request the favor of a direct audience to your talent.

“Thank you, Dean.” Stepping backward with a grateful bob of the head, Cas does as directed and strides into the hall.

In as much as Dean has his secret enjoyments, and you your solo performances, Cas, too, considers his routine of straining to catch your murmured melodies a guilty pleasure; those sweet reverberant notes caress his ears irresistibly like a siren’s call and nurture a reverence for your singing in his celestial center such that it seems to hum musically in time, delightfully thrumming through his vessels veins, whenever he chances to perceive your sensuously strung voice.

He thinks it not a guilty pleasure in the traditional sense of the phrase, a saying which suggests he finds profound pleasure in a sound which would not inspire general awe in whomever heard it - quite the opposite, there can be no doubt in his mind, or any other, excepting perhaps your own in not sharing, of your talents; nor is it because he feels any guilt in the actual eavesdropping - one hears much, whether one wants to or no, when blessed with the aptitude of angelic perception; rather, he considers it so only because you yourself, seeming not to trust to your gift in a capacity allowing you to openly share it, and it light of Dean’s elucidation, save your songs for a safety inherent in solitude.

Your lips part, tongue plucking strings of air in vibrant tone in moments when you believe you have a motel room or the bunker all to yourself. The oxygen belts from your lungs with force to flood the vaulted heights of the ceiling on those welcome weekends with a buffer of many miles between you and the Winchester brothers.

In the spaces in between, when you aren’t quite as alone as you surmise, Cas cherishes every illicitly captured dulcet lilting of soulful tune.

It’s not that you don’t account for Castiel being around; it’s that he’s so damned quiet padding around the place with divinely dampened footfalls. And it’s not that he’s lurking intentionally long around corners or in shadow before announcing his presence; it’s that he is struck in rapture, determination of direction and intent distracted as he stills to follow a phrase of lyric or two to its mellifluous terminus.

This time though, there’s no sneaking about on the angel’s part to blame. Sat at the kitchen table in the semi-dark, flesh of his forehead folded in a neat stack of seriousness over a knotted brow, Cas sifts through Dean’s box of Krunch Cookie Crunch in search of the cheap plastic trinket promised in colorful graphics to be hidden inside - the absence of which the elder Winchester will hold his brother accountable for whenever their latest adventure permits them to return home; needling his friend’s nerves in this manner is a lesser of the angel’s surreptitious and innocent amusements.

He stops his rustling task at the scuffing approach of your slippers and turns toward the threshold. He thought you were asleep when he arrived back and did not deign to wake you to inform you of his late arrival. His features flatten beneath the involuntary feeling of gladness the promise of your presence fosters; the early assemblage of your name rasps in the back of his graveled throat as he prepares to greet you. There, it husks into unspoken oblivion when the first hum of your voice titillates the air.

Oblivious to the celestial company, you step into the kitchen, swiping the light switch as you skip down the two shallow steps and make for the sink to fill a glass of water. Cushioned toes tapping the concrete floor, the kitchen being one of your acoustically favorite rooms in the bunker, the fullness of your unfettered voice echoes off the walls.

Glass brimming, stopping to wet your palette with a sip of the cool drink, you spin on a heel, snap shut your eyes to isolate yourself from the room and the rigors of this life, and settle your spine to the steel skirt of the sink.

Having no contingency plan that doesn’t involve awkwardly breaking for the door, Cas stares, cereal sugar-dusted palm propped to push himself up from the table, wide-eyed and speechless as you continue the tune.

By gradual degrees in sensing a worshipful sort of warmth washing your cheeks with heat, and then the unmistakable scent of the seraph tickling your nose - that uniquely stormy discharge of revving grace skimming his vessel’s skin in lieu of sweat when his adrenaline rises - you become aware of being watched and listened to.

Tongue skipping mid-note on the back of your teeth, your lashes flare and flash on the seraphim-shaped mass of trench coat seated at the table, his stance somewhere between sitting and standing, and the outline of an apology molding his mouth.

“I’m sorry, I tried-” he stumbles over the words and his feet as he straightens upright and steps into the light and nearer- “I didn’t mean-”

“It’s okay. I didn’t see you.” You soothe his fumbling; your chin drops to your chest, a bashfully-tinted flush unfurls across your face. “I just don’t usually sing in front of anyone.”

Cas cannot help his blunt honesty in reaction to your confession. “Why not? Your voice is exceptional.” His already bass register lowers as he extends his fingers to loop at your jaw, gently lifting your gaze to his. “Beautiful.” He does not add the ‘like you’ that naturally links to the accolade in his thoughts; the impact of that bit of unspoken affection stamps his own cheeks to match your blush.

A smile tugs doubtful at your lips. “You think so?”

His attention flicks from your eyes to your mouth, following the minute movement, and back. “Without a doubt.”

Self-conscious at the magnetism of desire felt to press his pout to yours in physical proclamation of his praise, his fingers falter from your chin and the tenderly glossed blues revolve to study the span of inches set between your beating hearts.

You feel it too, have felt a sentiment stronger than friendship solidifying between you for a while. The seams of your body tremble to contain a soul bursting in song at the suggestion of something more. “I could, I mean, if you wanted me to - if you’d like it-”

“Yes.” The bright shine of his eyes spill unfettered happiness to crinkle the skin surrounding them before the essence of a smile spreads to lighten his entire aspect.

The seraph’s smile - it’s purity, and the adoration reflecting the radiant potential of you as the source of his joyful feelings - is all the ovation your heart needs.

Castiel tag list:  (Closed, if you’d like to be removed please let me know!)    @jeepangel  @sammiesamness  @willowing-love  @roxy-davenport  @blueicevalkyrie   @im-the-nerdiest-of-them-a11  @thesugargalaxy    @bluetina-blog  @dont-trust-humanity   @honeybeetrash  @bucky-thorin-winchester  @superwholockz   @tistai  @wordstothewisereaders  @gill-ons  @mrswhozeewhatsis  @marisayouass  @stone-met   @castiel-savvy18  @samualmortgrim  @trexrambling  @magnificent-mantle  @kdfrqqg  @xdifsx   @mandilion76  @rockfairy  @peaceloveancolor  @unicorntrooper  @anisolatedship  @itsilvermorny  @aditimukul  @kudosia  @goofynerd-67babylove  @uninspirationalsonglyrics  @gray-avidan  @mishascupcake   @mishapanicmeow   @praisecastielamen  @roseyhxnt  @jessikared97  @let-the-imaginationflow  @warriorqueen1991   @sebastianstanslefteyebrow   @hisnameisboobear  @kristendanwayne  @fuschiarulerinthebluebox  @coolpencilpie  @jenabean75  @luciathewinchestergirl  @morganas-pendragons  @heyitscam99  @fangirl-and-stuff  @selahbela  @realgreglestrade  @splendidcas  @pointlesscasey  @i-larb-spooderman  @thewhiterabbit42  @thelostverse  @castieliswatchingoverme  @beccollie18  @dragonett8  @dixie-chick  @jtownraindancer   @carowinsthings  @passionghost  @ladyofletters67 @futureparent  @gabbie7-11  @myfandomlife-blog  @dreamerkim   @shamelesslydean  @earthtokace  @neaeri  @justanormalangel  @lone-loba  @supernaturalymarvel  @lilrubixx  @wings-and-halo  @thehoneybeecastielfollows  @musiclovinchic93  @81mysteriouslyme  @the-bottom-of-the-abyss  @jaylarkson @pixiedusts  @spookysculderfiles  @laqueus-ludovicus  @missjenniferb @lexininja  @jessiekay2010   @skrratata  @rhiannonj79  @calicat79

#castiel imagine #spn imagine #castiel fluff #castiel x reader #castiel x you #castielxreader #castielxyou #castiel #cas x reader #cas x you #reader x castiel #you x castiel #castiel fanfic #spn x reader #cricket writes cas

[a-handlers-thoughts]

1 5 7 ?

1: What hunting style/weapon do you main?

I’ve bounced around 3 weapons: I picked up light bowgun first, then kicked into insect glaive, and now I’m working on bow. Bow and insect glaive are my favorites of ranged and melee weapon types.

5: Favorite monster(s)?

Two categories for this:

Monsters I love the design of:

Velkhana is just my entire aesthetic

Tobi-Kadachi stole my heart in low rank and I haven’t gotten it back since

Fulgar Anjanath is too pretty for its own good

Monsters that I have sentimental memories of:

Bazelgeuse (that one is a long story, but more or less Bazelgeuse is kind of low-key a matchmaker in my life

Azure Rathalos

Velkhana again

Amatsu (Amatsu is my boyfriend’s favorite monster of the entire franchise)

7: First Monster Hunter game?

Monster Hunter: World is my first MH game ever. The franchise wasn’t even on my radar outside of tiny exceptions. Then the man who would become my boyfriend (and also inspire the Hunter character as the partner of my handler character) up and gifted me the deluxe edition of the game complete with Icebourne for no reason other than “sharing the fun” because I mentioned interest in the game.

#ask memes #ooc #darkrai-the-dreamkeeper

[yescs2020]

apparently this list was blocked in Canada and Cuba and all it is is somebody’s opinion:   By Hannah Mylrea- 8th September 2020 “Every Taylor Swift song ranked in order of greatness She's one of the greatest pop stars in the world, and she's released the official lockdown album in 'Folklore'. But which is Tay's single best song of all time?” article with rankings starts here:

A few months ago Taylor Swift did something totally un-Swiftian, and surprise released her latest record ‘Folklore’. The indie-inspired album, which featured collaborations with Bon Iver and The National‘s Aaron Dessner, was remarkable and unexpected, and another example of the bold moves Swift has navigated throughout her career.

From the country of her early albums to the glittering synth-pop of ‘1989’ and experimental sounds of ‘Reputation’, this is an artist who’s constantly reinvented her sound. Yet at the core of it one thing remains: Swift’s sheer songwriting talent. It’s worth remembering that Taylor is the person who wrote ‘Love Story’ in 20minutes on her bedroom floor when she was only a teenager.

Now, almost a decade-and-a-half into her career, we look back on Swift’s glittering discography and rank every single one of her songs. That’s right: all 161 of ’em.

A few caveats to begin with – no officially unreleased songs have been included, nor songs that are “featuring Taylor Swift”. Anything written under a pseudonym has also been forgone (so her credit as Nils Sjöberg ‘This Is What You Came For’ isn’t given a look in). We have, however, included officially released cover songs – so that includes all of the Swifty renditions on the ‘Speak Now World Tour Live’ record and her bevvy of Christmas covers.

Additional words: El Hunt, Nick Reilly

161‘Christmases When You Were Mine’ (2007)

There’ve been a handful of Swift-does-Christmas moments over the years. Some are truly lovely – but this original tune from 2007 EP ‘The Taylor Swift Holiday Collection’ is not one of them.

160‘Superstar’ (2008)

A syrupy song about Swift fancying a celebrity, the puppy love of ‘Superstar’ is innocuous but bland.

159‘You Are in Love’ (2014)

A sweet bonus track from ‘1989’, it’s inoffensive but you can see why it was only bunged on the end of the deluxe edition of the album.

158‘White Christmas’ (2007)

This festive cover is absolutely fine – nothing more, nothing less.

157‘Silent Night’ (2007)

A cover of the classic Christmas carol, Swift well and truly puts her stamp on Franz Xaver Gruber’s song. Growing to a melodramatic finale, it’s an overblown rendition.

156‘Beautiful Ghosts’ (2019)

Written by Swift and musical theatre composer Andrew Lloyd Webber for last year’s film adaptation of Cats, this is a bit slushy. But, no, we wouldn’t say it’s a CAT-astrophe.

155‘Christmas Must Be Something More’ (2007)

Another festive tune: this time Swift questions the commercial nature of Christmas over rootin’ tootin’ country instrumentals, concluding that December 25th is actually about “the birthday boy who saved our lives”. Happy birthday JC!

154‘Umbrella’ (2008)

An acoustic cover from Swift’s ‘iTunes Live from SoHo’ EP. It’s nice, but little more to it.

153‘American Girl’ (2009)

A cover of the Tom Petty classic, you can’t deny it’s a beast of a song. But this slowed down rendition saps some of the energy out of it.

152‘Last Christmas’ (2007)

There’s plenty of Christmas joy in this cover, but it doesn’t have a patch on the Wham! classic.

151‘King of My Heart’ (2017)

This electro-pop moment has a sweet sentiment: that the extravagance of past relationships isn’t what Swift wants anymore, and now this new love interest could be The One (“Is this the end of all the endings? / My broken bones are mending”). But this soppiness is delivered over jittery instrumentation, which three years on already sounds dated.

150‘If This Was A Movie’ (2010)

A bonus track from ‘Speak Now’, ‘If This Was a Movie’ is frustratingly repetitive. With its droning guitar licks and dreary chorus, it stutters towards the finish line.

149‘Last Kiss’ (2010)

A plodding waltz from ‘Speak Now’. Fine, but by no means vintage Taylor.

148‘Santa Baby’ (2007)

A twee cover of the iconic Christmas song, it’s a sauceless version of the usually sultry festive bop.

147‘I Did Something Bad’ (2017)

A cavernous slab of EDM, this was basically Swift proving that she’s a good girl gone bad. The devilish lyrics are fun (“They say I did something bad / Then why’s it feel so good?”), the dubstep-laced hook of “Ra-di-di-di-di-di-di-di-di-di-da-da” less so.

146‘You’re Not Sorry’ (2008)

Imagine Swift doing Eurovision – this is what ‘You’re Not Sorry’ sounds like. Filled with melodramatic piano chords and overdone vocals, it’s a histrionic ballad that you can imagine accompanied with bombastic visuals and a ton of pyro.

145‘Girl At Home’ (2012)

The bubbling ‘Girl at Home’ fuses the driving country of ‘Red’ with bleeping 8-bit sounds, and is a sweet but bland tune.

144‘Come Back… Be Here’ (2012)

A weepy ballad where Swift reminisces over a lost love, this is uneventful – but fair play to Swift for managing to get “nonchalant” into a pop song.

143‘I Want You Back’ (2011)

A cover of The Jackson 5 taken from the from live album ‘Speak Now World Tour – Live’, this 90-second cover is short, sweet and absolutely fine.

142‘The Way I Loved You’ (2008)

A bit of a head-banging country moment, ‘The Way I Love You’ lacks the radio-ready hooks and megawatt moments of Swift’s other tunes.

141‘So It Goes…’ (2017)

An ethereal synth-pop moment laced with EDM and trap, this ‘Reputation’ cut is sleepy filler.

140‘Sweet Escape’ (2011)

This Gwen Stefani cover is deliciously entertaining, with Swift spitting out the tongue-twister pre-chorus of “Cause I’ve been acting like sour milk that fell on the floor / It’s your fault you didn’t shut the refrigerator” and almost nailing it. Taken from the Target DVD version of ‘Speak Now World Tour – Live’, is an intriguing rendition.

139‘This Is Why We Can’t Have Nice Things’ (2017)

This song was written as a response to the media after they criticised her decision to throw big parties for her pals and get them up on stage during the tour for ‘1989’ – things she considered “nice things”; a powerful sentiment, but an acquired taste.

138‘Haunted’ (2010)

Sounding like it should be accompanying a wild fantasy movie, with over-the-top strings and belted vocals, ‘Haunted’ feels like the younger sibling to Swift’s fairy-tale epics such as ‘Love Story’. They’re fine, but lack the nuance that some of her enchanting, happy ending filled romances boast.

137‘Long Live’ (2010)

A fairly pedestrian song from ‘Speak Now’, ‘Long Live’ is a fairly generic slice.

136‘Ours’ (2010)

With its muted acoustic instrumentals and mawkish lyrics, ‘Speak Now’ is sickly sweet.

135‘Breathe’ feat. Colbie Caillat (2008)

A sleepy, acoustic number that sees Swift teaming up with American singer-songwriter Colbie Caillat, it’s a largely forgettable tune taken from ‘Fearless’.

134‘Drops of Jupiter’ (2011)

Another cover from the ‘Speak Now’ live album, this rendition of Train’s 2001 hit ‘Drops of Jupiter’ is a stripped-back version of the bombastic pop rock song.

133‘…Ready for It?’ (2017)

This slab of industrial pop opens Swift’s ‘Reputation’. With its dubstep wubs, EDM beats and trappy instrumentals, this messy number feels like a tug of war between this collection of different genres.

132‘September’ (2018)

Earth, Wind & Fire, but make it Swifty! Recorded for the Spotify Singles series, this stripped back cover is lovely. Plus it features a typically Swiftian Easter egg, where she changes the opening line of “Do you remember the 21st night of September?” to the 28th night, a cute tribute to her anniversary with boyfriend Joe Alwyn.

131‘This Love’ (2014)

A weepy moment from ‘1989’, ‘This Love’ feels remarkably maudlin when nestled in-between the bevvy of synth-pop bops that Swift’s fifth album holds.

130‘A Place In This World’ (2006)

Written when she was just 13 years old, ‘A Place In This World’, it feels like a glimpse into a Swift’s secret diary. Opening with the wonderfully teenage: “I don’t know what I want, so don’t ask me”, it’s the musical equivalent of telling your mum that she just doesn’t understand you!

129‘Superman’ (2010)

If you were ever imagining what Taylor Swift covering McFly would sound like – this could be it. The cheesy ‘Speak Now’ bonus track is filled with adolescent lyrics (“I watch superman fly away / Come back, I’ll be with you someday”), and is topped off with a pop-punk tinged chorus.

128‘I Heart?’ (2008)

Taken from Swift’s second EP ‘Beautiful Eyes’ – one that was exclusively released in Walmart in the US – this is a lovely country bop.

127‘A Perfectly Good Heart’ (2006)

An absolutely fine slice of country-pop from TayTay’s first album. On ‘A Perfectly Good Heart’ Swift depicts her very first experience of heartbreak. It’s one of her earliest breakup ballads, but quasi-emotive couplets like “It’s not unbroken anymore / How do I get it back the way it was before?” fail to pack the emotional punch some of Swift’s later tunes do.

126‘Untouchable’ (2008)

This cover of rock band Luna Halo’s ‘Untouchable’ is sweet, but largely unexciting.

125‘Jump Then Fall’ (2008)

A bonus track taken from the platinum edition of ‘Fearless’. Swift herself has described the song as “really bouncy and happy and lovey”. It’s an accurate description, as the bouncing banjo-led number is sickly sweet, but lacks much depth.

124‘Sad Beautiful Tragic’ (2012)

A weeper taken from ‘Red’, this gloomy tune sees Swift reflect on a relationship that was a “sad, beautiful, tragic love affair”.

123‘Bette Davis Eyes’ (2011)

A song popularised by Californian singer-songwriter Kim Carnes in 1981, Taylor’s live cover of ‘Bette Davis Eyes’ is nice but innocuous.

122‘Breathless’ (2010)

A uninspired cover of American alt-rockers Better Than Ezra’s ‘Breathless’, Swift performed the tune for Hope for Haiti Now: A Global Benefit for Earthquake Relief in 2010 (with her version later appearing on live album ‘Hope for Haiti Now’).

121‘Look What You Made Me Do’ (2017)

It’s only TayTay sampling Right Said Fred’s ‘I’m Too Sexy’! The bolshy ‘Reputation’ lead single  saw Swift giving a massive middle-finger up to the haters, and accompanied her comeback after a year-long hiatus. It impact was huge at the time, but in the meantime ‘Look What You Made Me Do’ feels like a bit of a mis-step.

120‘Crazier’ (2009)

It appeared on the soundtrack for ‘Hannah Montana: The Movie’, and critics said it was the best song in the film. Bad luck, Miley.

119‘Eyes Open’ (2012)

From the soundtrack to The Hunger Games, ‘Eyes Open’ sees Swift go stadium rock. Too bad hair-whipping number’s repetitive chorus begins to grate.

118‘Nashville’ (2011)

A cover of Nashville-based singer-songwriter David Mead’s ‘Nashville’, this cover (taken from the Target exclusive version ‘Speak Now World Tour – Live’; yes, we’re really into the deep-cuts here) is pretty impassioned .

117‘Invisible’ (2006)

On this lacklustre cut from Swift’s eponymous debut album ‘Invisible’, she laments feeling invisible to the boy she fancies. It’s a bleak sentiment, and the emotive instrumentals in ‘Invisible’ mimic this.

116‘Hoax’ (2020)

The least memorable moment from the fantastic ‘Folklore’, this slow, waltzing tune is inoffensive, but lacks excitement.

115‘London Boy’ (2019)

The lyrics to this ‘Lover’ cut are wild. On ‘London Boy’ Swift proudly asserts her love for the nation’s capital, listing her fave places (including Brixton, Shoreditch, Highgate and for some God-forsaken reason “walking Camden Market in the afternoon”). With a bizarre spoken word intro from James Corden and Idris Elba, it’s cringe and weirdly entertaining in equal measures.

114‘Wonderland’ (2014)

It’s Swift does EDM, and it’s total chaos (albeit with a chorus that’ll be frustratingly caught in your head for weeks on end).

113‘Tied Together with a Smile’ (2006)

A bonus track from the debut album, ‘Tied Together With a Smile’ was written the day Swift found out one of her best mates was bulimic. An early indicator of Swift’s impressive turn of phrase (“And you’re tied together with a smile / But you’re coming undone”), it’s a lovely country moment.

112‘Beautiful Eyes’ (2008)

The title track from Swift’s EP of the same name, ‘Beautiful Eyes’ is an underrated stomper from TayTay’s extended discography.

111‘This Is Me Trying’ (2020)

A slow-burner from ‘Folklore’, this soft ballad sees Swift grapple with accepting blame for a crumbling relationship.

110‘My Tears Ricochet’ (2020)

This Jack Antonoff produced tune from ‘Folklore’ is about an “embittered tormentor showing up at the funeral of his fallen object of obsession.” Although fairly unremarkable, it does include the brilliantly Swiftian put-down: “And if I’m dead to you, why are you at the wake?” Ooft.

109‘Me!’ feat. Brendon Urie of Panic! at the Disco (2019)

A saccharine collaboration with Panic! at the Disco’s Brendon Urie, this semi-irritating (and unbearably catchy) tune is an absolutely fine single from Miss Swift. Although it gained several places in our ranking after Swift removed the “Spelling is fun!” lyric.

108‘Come In With the Rain’ (2008)

‘Come In With The Rain’ sees Taylor showing off the country-pop that defined her early years. It’s a nostalgic snapshot at Taylor’s life before world domination became the main priority. NR

107‘Cold As You’ (2006)

As Shakespeare once wrote in ‘Sonnet 18’ – “Shall I compare thee to a summer’s day?” If it’s Tay Tay you’re asking, then absolutely not. Instead, this break-up ballad compares thee to a grey, dreary and completely sodden wash-out of a day. EH

106‘Never Grow Up’ (2010)

Taken from ‘Speak Now’, this ballad moment peers out into a dimly lit crowd, and sees Swift dealing out her best life advice for younger fans in particular. “I look out into a crowd every night and I see a lot of girls that are my age and going through exactly the same things as I’m going through,” she’s said. “Every once in a while I look down and I see a little girl who is seven or eight, and I wish I could tell her all of this. There she is becoming who she is going to be and forming her thoughts and dreams and opinions. I wrote this song for those little girls.” EH

105‘Bad Blood’ feat. Kendrick Lamar (2017)

This Kendrick Lamar-featuring cut would have been right at home on Taylor Swift’s villainous ‘Reputation’ – a record on which she embraced her false depictions in the media, and ran with them. Instead, though, it felt like an outlier on ‘1989’. Swift herself said that it’s a song about a friendship with a fellow pop star that turned sour: “She basically tried to sabotage an entire arena tour,” she told Rolling Stone. “She tried to hire a bunch of people out from under me.” EH

104‘Afterglow’ (2019)

It’s a crying shame that the track fails to live up to its title. There’s little that live longs in the memory about this drum-driven number from ‘Lover’. NR

103‘The Other Side of the Door’ (2008)

A slightly slept-on fan favourite, ‘The Other Side of the Door’ features a deliciously dramatic guitar solo and even more melodrama. Like so: “I said, ‘leave’, but all I really want is you to stand outside my window throwing pebbles screaming ‘I’m in love with you’’. Exquisite. EH

102‘Soon You’ll Get Better’ feat. the Chicks (2019)

Featuring country music icons The Chicks, ‘Soon You’ll Get Better’ is one of Swift’s most personal songs; both of her parents have had cancer, and this year the singer confirmed that her mother Andrea has been diagnosed with a brain tumour. It’s a difficult listen precisely because it’s so incredibly honest. “I hate to make this all about me but who am I supposed to talk to?” she asks. “What am I supposed to do if there’s no you?” EH

101‘Miss Americana & the Heartbreak Prince’ (2019)

A slow burning, electro-pop moment that’s meant for soundtracking a moody walk to the shops in the rain.

100‘Ronan’ (2012)

One of Swift’s most affecting ballads, this song pieces together quotes from a blog by a mother named Maya Thompson, who wrote about her journey with four-year-old son Ronan, who died from a rare cancer called neuroblastoma in 2011. Swift credited his mum as a co-writer and donated all the proceeds to charity. EH

99‘Stay Beautiful’ (2006)

This twanging debut cut is dedicated to the high school crush that Swifty never worked up the courage to ask out; and by the time he moved away, it was too late. “After hearing my songs, a lot of people ask me, `How many boyfriends have you had?’” she said of the song. “And I always tell them that more of my songs come from observation than actual experience. In other words, you don’t have to date someone to write a song about them. This is a song I wrote about a guy I never dated!” EH

98‘Tell Me Why’ (2008)

Despite including the brilliantly searing take-down of “You could write a book on how to ruin someone’s perfect day” this up-tempo bop is errs on the side of humdrum.

97‘The Outside’ (2006)

One of the first songs Swift ever wrote, ‘The Outside’ speaks to the feeling of being a misfit growing up: “So how can I ever try to be better?”  she asks, “Nobody ever lets me in”. EH

96‘Getaway Car’ (2017)

This banger from ‘Reputation’ references novelist Charles Dickens, epic war film The Great Escape, a runaway Bonnie and Clyde and even various meta details from Swift’s own romantic life. EH

95‘Mirrorball’ (2020)

In her candid 2020 documentary Miss Americana, Taylor Swift speaks about the struggle of your every move being followed by an audience and remarks that many women, particularly in pop, are “discarded in an elephant graveyard by the time they’re 35.” Broadly, this is what ‘Mirrorball’ seems to be about; balancing her skill for performing with the huge pressure of constant reinvention. “All I do is try, try, try I’m still on that trapeze,” she says, “I’m still trying everything, to keep you looking at me””. EH

94‘Change’ (2008)

Delivered as an official anthem for the 2008 US Olympic Team, here’s a track that sees Swift exploring the idea of overcoming adversity on the road to success. It’s easy to be cynical about it all, but it gave Swift her first US top 10, so maybe that message got through after all. NR

93‘Innocent’ (2010)

Sometimes the best revenge is to take the moral high ground. And performing at the MTV VMAs – where Kanye West infamously snatched the mic from Taylor Swift mid-acceptance speech – Swift appeared to get hers by playing ‘Innocent’. “You’re 32 and still growing up now,” she sings. Guess how old West was when he declared “I’mma let you finish, but…” Yep. EH

92‘Begin Again’ (2012)

Marking one of ‘Red’’s more pointed returns to her country roots, ‘Begin Again is, according to Swift, “about when you’ve gotten through a really bad relationship and you finally dust yourself off and go on that first date after a horrible breakup, and the vulnerability that goes along with all that”. EH

91‘I Know Places’ (2014)

Ahead of making ‘1989’ Swift long harboured ambitions of working with Ryan Tedder – most recognisable as the lead vocalist of One Republic and record producer for everyone from Adele to Lady Gaga. And their eventual collaboration came about on ‘I Know Places’ – a song that explores falling in love amid high pressure fame, and finding places to outrun the cameras. EH

90‘The Lucky One’ (2012)

Speculation orbits around ‘The Lucky One’ – which dissects the more taxing sides of fame that people don’t speak about. “Now it’s big black cars, and Riviera views, and your lover in the foyer doesn’t even know you,” Swift sings, “and your secrets end up splashed on the news front page”. Fans reckon it’s about everyone from Joni Mitchell and Shania Twain to Kim Wilde. Possibly, it could also be a reflection of Swift’s future fears. EH

89‘You Need to Calm Down’ (2019)

Delivering an effective riposte to endless streams of internet trolls can often prove to be the toughest of tasks. It’s testament to Swift then, that she managed to deliver a swift fuck you, all packaged up in the shape of a bonafide banger. Bow down. NR

88‘How You Get the Girl’ (2014)

The 10th track from ‘1989’ is like the less sabotage-hungry answer to Robyn’s ‘Call Your Girlfriend’ – here, Taylor’s full with useful tips for winning an ex back after an unwise dumping. She’s even got a script ready. “And then you say: “I want you for worse or for better, I would wait forever and ever,” she sings, “broke your heart / I’ll put it back together.” EH

87‘New Year’s Day’ (2017)

The groggy clear up that takes place after a raucous New Year’s house party has never sounded so idyllic – despite the fact their entire floor is splattered with glitter and stale old beer spilling out of half-empty bottles, Swift’s just happy to have a worthy clean-up buddy. “I want your midnights,” she sings, “but I’ll be cleaning up bottles with you on New Year’s Day” Sometimes those small, mundane moments are just as romantic. EH

86‘Dress’ (2017)

By a mile the steamiest cut from ‘Reputation’, this slinking song details the pang of secret lust in breathy falsetto. “Carve your name into my bedpost, ‘cause I don’t want you like a best friend,” Swifty pleads. “Only bought this dress so you could take it off.” Get it, girl! EH

85‘Mary’s Song (Oh My My My)’ (2006)

This debut album cut is archetypal vintage Swift, drawing on the people around her for storytelling material. Twanging and country-pop, ‘Mary’s Song (Oh My My My)’ borrows Swift’s next door neighbour – and her long, rock-solid marriage – as a protagonist. “I’ll be 87, you’ll be 89,” she sings wistfully, “I’ll still look at you like the stars that shine in the sky.” EH

84‘Christmas Tree Farm’ (2019)

Sure, it’s cheesier than an explosion at the Kraft factory, but this track sees Taylor successfully using the festive season to look back on her own childhood (she grew up on a Christmas tree farm). Christmas is now Swiftmas. NR

83‘Everything Has Changed’ feat. Ed Sheeran (2012)

Warm, fuzzy, and firmly hanging onto its rose-tinted glasses, this collaboration from ‘Red’ has a cutesy video to match, featuring miniature child versions of the pop stars. EH

82‘Should’ve Said No’ (2006)

“It’s strange to think the songs we used to sing, the smiles, the flowers, everything is gone; yesterday I found out about you,” sings Swift in the opening lines of this debut album cut – which exposes a boyfriend for cheating, and proceeds to rip him apart atop country-rock guitars and a ripper of a string solo. EH

81‘The Last Time’ feat. Gary Lightbody (2012)

On this intensely catchy anthem from ‘Red’, Swift teams up with none other than gruff-vocaled Gary Lightbody from Snow Patrol – lighters in the air, everyone. EH

80‘Starlight’ (2012)

This ‘Red’ cut sees Swift transporting back to the 1940s – inspired by a photo of two loved-up teenagers dancing together. The teenagers in the photograph were actually US senator Bobby Kennedy and his future wife Ethel, and ‘Starlight’ imagines their adventures early on. “I ended up meeting Ethel and going and playing it for her,” she wrote of the song, “and she just loved it,”. EH

79‘The Best Day’ (2009)

R’The Best Day’ is one of Swift’s earliest odes to her mother Andrea. Recalling her happy childhood, it’s a sweet, if somewhat cloying look at the early years of the planet’s biggest pop star. NR

78‘I’m Only Me When I’m With You’ (2006)

Easily one of the more head-banging moments of Swift’s debut – with the hardest slapping violin solo of 2006 – ‘I’m Only Me When I’m with You’ is dedicated to the singer’s best mate Abigail Anderson, who also features in the video. EH

77‘It’s Nice to Have a Friend’ (2019

A minimal intermingling of steel drums and choral backing vocals, ‘It’s Nice to Have a Friend’ arrives near the end of Swift’s ‘Lover’ – and also features some snow-tinted nostalgia, and slightly rogue but highly enjoyable brass solo. EH

76‘The Moment I Knew’ (2012)

Nine years ago, Taylor Swift had a right stinker of a 21st birthday – her ex boyfriend never showed, and left her sobbing beneath the Christmas lights (her birthday is on the 13th December). Still, at least it inspired this deluxe edition ‘Red’ song. EH

75‘Paper Rings’ (2019)

This fidgety cut from ‘Lover’ is Swifty’s big jitterbug moment – singing about her current boyfriend Joe Alwyn, she declares that she’s willing to chuck aside all her magpie tendencies just to be with him. “I like shiny things, but I’d marry you with paper rings,” she sings. Loved up – and thrifty! EH

74‘Only The Young’ (2020)

‘Only The Young’ saw Taylor truly nailing her political colours to the mast for the first time. Tackling gun violence and providing a message of hope for the next generation, Taylor emerged as the activist we all need right now. NR

73‘Treacherous’ (2012)

One of the quieter moments from ‘Red’, ‘Treacherous’ eventually grows to a subtle roar, and details a pairing that’s gradually unravelling like a ball of twine. “All we are is skin and bone, trained to get along / Forever going with the flow,” she sings, “but you’re friction”. EH

72‘Better Than Revenge’ (201)

Across Taylor Swift’s entire back catalogue, ‘Better than Revenge’ is perhaps best suited to soundtracking an angsty high school drama; think along the lines of 10 Things I Hate About You. It has its fair share of cutting one-liners, too. Case in point: “no amount of vintage dresses gives you dignity”. Burn. EH

71‘I Wish You Would’ (2014)

Co-written with frequent collaborator Jack Antonoff, ‘I Wish You Would’ started with a guitar line Antonoff sent to Swift during her Red tour – and it eventually evolved into this slightly Haim-ish pop juggernaut. Lyrically, it tells the story of a heartbroken protagonist who watches her window in the middle of the night and notices that headlights keep flickering past at the same time. “It’s two AM, here we are,” she sings for the big reveal, “I see your face, hear my voice in the dark.” EH

70‘Stay Stay Stay’ (2012)

If there’s anyone who specialises in nailing the many sides of romance, it’s Tay Tay – case in point, ‘Stay Stay Stay’. The song’s placed immediately after the defiant break-up anthem ‘We Are Never Getting Back Together’ on ‘Red’ – and in many ways, it’s that song’s foil. Atop chronically catchy ukulele, she details a more generous kind of love that’s still worth fighting for. EH

69‘Sweeter Than Fiction’ (2013)

Taken from the soundtrack for the movie One Chance, this John Hughes-channelling tune is a new-wave belter that forecast the shimmering synth-pop of Swift’s fifth album ‘1989’.

68‘False God’ (2019)

A sultry, R&B ballad filled with religious imagery and trap beats, ‘False God’ finds Swift all grown up.

67‘Don’t Blame Me’ (2017)

This thundering, foot-stomping, fist-pumping moment from ‘Reputation’ will make you want to set fire to your ex’s car (in the best possible way).

66‘August’ (2020)

This Jack Antonoff co-write from ‘Folklore’ is a melancholic dream-pop ballad. Part of a trio of songs that Swift has dubbed the Teenage Love Triangle, ‘August’ is the tune that comes from the point of view of the other woman, telling the story of forbidden love.

65‘The Lakes’ (2020)

The ethereal ‘Folklore’ bonus track sees TayTay channel the Lake Poets in a romantic number about love, resilience and the Lake District.

64‘Daylight’ (2019)

The lovely final song on ‘Lover’ is wistful number about healing, hope and healthy new relationships.

63‘Welcome to New York’ (2014)

The opening track on ‘1989’, ‘Welcome to New York’ ushers you into the sleek synth-pop world of Swift’s fifth album. With its bouncing bassline and hand-clapped beats, it’s a bombastic tribute to the Big Apple.

62‘I Forgot That You Existed’ (2019)

There comes a moment while growing up when you just stop caring about what everybody else thinks of you. The fizzing opening track on ‘Lover’ celebrates this, with TayTay rejoicing in the peace and quiet brought on by not giving a shit about the haters.

61‘Hey Stephen’ (2008)

‘Hey Stephen’ is the stuff of gooey rom-coms. “‘Cause I can’t help it if you look like an angel,” Swift sings over warm instrumentation, “can’t help it if I wanna kiss you in the rain”. It’s wonderfully schmaltzy stuff, and comes with a chorus you’ll sing full belt after a Tinder-date-gone-right – just don’t let the date hear you.

60‘I Almost Do’ (2012)

‘I Almost Do’, Swift’s explained, is “about the conflict that you feel when you want to take someone back, and you want to give it another try, but you know you can’t”. Exploring the internal battle between moving forward and looking back, the poignant ballad fuses country-pop with soft-rock, and the result is a brutally honest and quietly powerful song.

59‘I Think He Knows’ (2019)

This sharp-edged, upbeat moment from ‘Lover’ would have stood up well as a single – charting those early will-they-won’t-they moments complete with suggestive sighs. EH

58‘Mad Woman’ (2020)

This ‘Folklore’ track skewers the sexist trope of angry women being branded hysterical. “Every time you call me crazy, I get more crazy,” she claps back, rising to the challenge, “what about that?” EH

57‘Peace’ (2020)

Like much of ‘Folklore’, the sparse ‘Peace’ ponders how much life has changed, and celebrates a partnership strong enough to withstand the soaring highs and painful lows alike. EH

56‘Picture to Burn’ (2006)

Peak debut album angst, ‘Picture to Burn’ is jam-packed with sizzlingly mean one liners. Case in point: “I hate that stupid old pickup truck you never let me drive / You’re a redneck heartbreak who’s really bad at lying”. EH

55‘Fearless’ (2008)

Taylor Swift wrote the title track for her second album while touring her self-titled debut – whisked away from everyday life, the song muses on the perfect rainy first date. “I wanna ask you to dance right there, in the middle of the parking lot,” she says. EH

54‘Seven’ (2020)

Chiming and reflective, this string-adorned ‘Folklore’ track sees Swift hark back to childhood: “please picture me in the trees,” goes the opening line, throwing back to the Pennsylvanian Christmas tree farm where she grew up. It’s a snapshot of being young and carefree while real life gradually creeps into the picture – the song appears to be addressed to a friend who had a difficult upbringing. EH

53‘Call It What You Want’ (2017)

As far as years go, Taylor Swift’s 2016 was relatively tumultuous, featuring the whole ‘Famous’ lyrics debacle feud with Kanye West and Kim Kardashian and two very public break-ups. ‘Call It What You Want’ appears to address the singer weathering that particular series of storms, and finding quiet contentment with partner Joe Alwyn. “Call it what you want,” sings a smitten Swifty: she doesn’t care what people think any more. EH

52‘Death By A Thousand Cuts’ (2019)

Apparently inspired by the 2019 film Someone Great (which in part took influence from Swift’s ‘1989’ closer ‘Clean’) this upbeat track from ‘Lover’ seems to get inside the head of the film’s music journalist protagonist right before she flees heartbreak to another city. “I ask the traffic lights if it’ll be alright,” Swift sings, “they say, “I don’t know”. EH

51‘Dear John’ (2010)

Is ‘Dear John’ about Taylor Swift’s short-lived relationship with the musician John Mayer? Well – John Mayer certainly thinks so: he told Rolling Stone he was “humiliated” by the song, and added that “it was a really lousy thing for her to do.”  Tay Tay remained tight-lipped “How presumptuous!” she told New York Daily News. EH

50‘End Game’ feat. Ed Sheeran and Future (2017)

Taylor’s own homage to the R&B-laced slow jam, ‘End Game’ is less spiky than the rest of ‘Reputation’ – instead Swift muses on wanting her relationship to last forever, while Ed Sheeran and Future chip in with punny takes on reputations that precede them. EH

49‘White Horse’ (2008)

The dual-Grammy winning ‘White Horse’ is wonderfully understated moment. Filled with romantic, fairy-tale imagery, it’s run through a realist filter that makes it like the older, more sceptical sister to ‘Love Story’. It’s one of the best Swift heart-break ballads.

48‘Epiphany’ (2020)

The warm, unpretentious ‘Epiphany’ is an exquisite ‘Folklore’ song. Filled with powerful instrumentals that could have fallen off the latest Bon Iver record and Aaron Dessner’s glittering production, it sees Swift go full-on indie.

47‘The Archer’ (2019)

The minimalist The Archer is a meditative moment from ‘Lover’. Filled with ambient synths and soft instrumentals, as Swift discloses her own insecurities in a remarkably vulnerable way.

46‘Holy Ground’ (2012)

This galloping soft-rock moment celebrates whirlwind romances, and comes with a chorus perfect for shouting along to on road trips.

45‘I Don’t Wanna Live Forever’ with Zayn Malik (2017)

Look, it might have come from the soundtrack to the Fifty Shades of Grey sequel; but that doesn’t mean that Taylor’s collab with ex-1D member Zayn isn’t a bit of a banger. All sensual electro-pop and breathless vocals, this sultry number deserved better than the film it was soundtracking.

44‘Betty’ (2020)

This swaying folk-rock tune tells the tale of a cheating boyfriend trying to apologise for his indiscretions is a highlight of ‘Folklore’. With its woozy harmonica riffs and chiming vocals, it’s a beaut.

43‘All You Had to Do Was Stay’ (2014)

A sweltering synth-pop banger that comes off like Carly Rae Jepsen’s ‘Emotion’ meets Lorde’s ‘Melodrama’.

42‘Fifteen’ (2008)

‘Fifteen’ is one of Swift’s greatest ever songwriting moments. The cautionary tale of young love it as a country epic – complete with the utterly shattering line “Abigail gave everything she had to a boy / Who changed his mind and we both cried”.

41‘Back To December’ (2010)

‘Back To December’ is a musical apology, with Swift explaining that she decided to write it as “sometimes you learn a lesson too late and at that point you need to apologise because you were careless,”. With an accompanying orchestra and grandiose instrumentals, it’s unflinching and honest, with Swift taking responsibility and asking for forgiveness after a breakup.

40‘Cornelia Street’ (2019)

A highlight from ‘Lover’, ‘Cornelia Street’ is a dazzling tune that’s made even more powerful in this acoustic version performed in Paris last year.

39‘Safe & Sound’ (2012)

Before Swift took a trip to a metaphorical cabin in the woods for recent album ‘Folklore’, she dabbled in writing indie-folk tunes with ‘Safe & Sound’. Taken from the soundtrack to The Hunger Games, this pretty, stripped-back track is enthralling.

38‘Red’ (2012)

The hair-whipping, chorus-screaming title track of Swift’s fourth album is an adrenaline-charged ride.

37‘Gorgeous’ (2017)

‘Gorgeous’ is about having your head turned. It’s about seeing somebody who is so unbelievably hot that you develop a massive crush, existing partner be damned. It’s the perfect song to soundtrack a particularly juicy episode of Love Island and comes with a killer chorus to-boot.

36‘Today Was A Fairytale’ (2010)

Written for the soundtrack to 2010 film Valentine’s Day, this song was one of the only redeeming moments of the trite rom-com. A classically Swiftian country ballad stuffed full of romantic lyrics, it’s lovely.

35‘Forever & Always’ (2008)

On ‘Forever & Always’ Swift manages to evoke the crushing feeling of a crumbling relationship in under four minutes, but no couplet cuts as deep as the utterly millennial “And I stare at the phone, he still hasn’t called / And then you feel so low you can’t feel nothing at all”.

34‘The Story of Us’ (2010)

Swift was inspired to write ‘The Story of Us’ after running into an ex at an event and both of them trying to ignore the other. A break-neck tune, it’s a catchy nugget of country-pop.

33‘New Romantics’ (2014)

‘New Romantics’ was done dirty. The stomping synth-pop knockout was relegated to bonus track on ‘1989’, when it deserved pride of place. Hell, it should have even been a single! The sparkling success is pure euphoria.

32‘Dancing with Our Hands Tied’ (2017)

This electronic, beat-heavy song from ‘Reputation’ is basically as close as we’ve ever come to a Swiftie club remix.

31‘Invisible String’ (2020)

Filled with unusual turn of phrase (“Green was the colour of the grass / Where I used to read at Centennial Park“), ‘Invisible String’ is a sweet ode to Swift’s past relationships, and how they lead her to where she currently is.

30‘Illicit Affairs’ (2020)

Taken from Swift’s most recent record ‘Folklore’, ‘Illicit Affairs’ is a heart-wrenching story of complicated infidelity. Over scintillating stripped back production courtesy of Jack Antonoff, Swift manages to spin a whole tale of secret meetings, lies and clandestine romance, and the emotional impacts it can have.

29‘Tim McGraw’ (2006)

Swift’s debut single ‘Tim McGraw’ isn’t actually about country legend Tim McGraw, but instead about a boyfriend she had whilst at school who was a senior. In it, she warmly reminisces on their past relationship, with Swift knowing he was going to break up with her when he headed off to uni. It’s pretty emotionally astute stuff for the then-teenage songwriter.

28‘Mean’ (2010)

The dual-Grammy winning celebration of self-empowerment sees Swift slamming bullies over joyous banjo strums, reminding them that: “Someday, I’ll be living in a big old city / And all you’re ever gonna be is mean”.

27’22’ (2014)

Before ’22’ nobody cared when you celebrated your 22nd birthday – but then along came this gargantuan cut of bubble-gum pop, and somehow Swift turned it into a milestone.

26‘Sparks Fly’ (2010)

Swift wrote ‘Sparks Fly’ when she was only 16 years old, when she performed at small bar shows back in the late noughties. A video of one of these SHOWS made it onto the internet and fans started to request she released it. This lead to her reworking it for her third album of the same name, with euphoric results.

25‘Wildest Dreams’ (2014)

Channelling her inner Lana Del Rey, this breathless ‘1989’ moment is a synth-pop beauty.

24‘Speak Now’ (2010

‘Speak Now’ features some of Swift’s most vibrant storytelling. With lyrics that detail a wedding, giving you the full picture of the snotty bride “dressed in a gown shaped like a pastry” and how the groom’s marrying the wrong girl, it’s a brilliantly intricate story.

23‘The Man’ (2019)

A searing take-down of sexist double standards wrapped up in a synth-pop bow, ‘The Man’ sees Swift getting seriously feminist.

22‘You Belong With Me’ (2008)

A country-pop thumper from Swift’s second album ‘Fearless’, Swift was inspired to write ‘You Belong With Me’ after hearing a friend arguing with his girlfriend on the phone. Rotten for him – but we got this catchy number out of it.

21‘Enchanted’ (2010)

‘Enchanted’ is one of Taylor’s most underrated songs. A fairy-tale epic that acts as an elder sibling to ‘Love Story’, it captures the dizzy infatuation of a new romance, with huge swooning instrumentals and a heartfelt chorus.

20‘Exile’ feat. Bon Iver (2020)

2020’s been a strange year and brought with it a ton of surprises – one of these being Taylor Swift’s eighth album, and another that she managed to wrangle Bon Iver’s Justin Vernon for a guest appearance on the cinematic ‘Exile’. The gorgeous duet sees the two singers singing over each other, as the two portray ex-lovers seeing each other after a breakup. It’s an emotive cut, and one of Swift’s most impressive collaborations.

19‘Our Song’ (2006)

Taylor wrote ‘Our Song’ as she needed something to perform at her high school talent show. Built around a jangling banjo riff, with bouncing vocals which see Swift dissect how her and the lad she was dating didn’t have a song, it went down such a treat with her classmates that she stuck it on her debut album. With its enthralling lyrics, that paint a vivid picture of the young couple, it was an early indicator of Swift’s songwriting capabilities.

18‘Shake It Off’ (2014)

There’s no two ways about it: ‘Shake It Off’ is a stone-cold smash. It’s got bolshy brass, several hooks that are catchier than a rash and Tay Tay even does a rap. The uptempo tune ushered in Swift’s sixth album ‘1989’, paving the way for her new era of pop belters – but none of them slapped quite this hard.

17‘Teardrops On My Guitar’ (2007)

Swift’s breakthrough single, ‘Teardrops on My Guitar’ is pure country-crossover star. With its soft guitars, and Swift’s early earnestness, unrequited love has never sounded so good.

16‘Clean’ (2014)

‘Clean’, the Imogen Heap co-written closer to ‘1989’, is an understated moment of clarity. It’s the feeling when you’ve started to move on with your life post-breakup and you realise you haven’t thought about your ex for several weeks, and when you do, you don’t want to key their car. With chiming soft-rock instrumentals, and gorgeous layered vocals, it’s an unfussy song that’s filled with Swift’s impressive turn of phrase, including the particularly devastating: “Ten months sober, I must admit/Just because you’re clean, don’t mean you don’t miss it”.

15‘We Are Never Ever Getting Back Together’ (2012)

There’s a lot of reasons that Swift’s Billboard Hot 100 topping, Grammy-nominated ‘We Are Never Ever Getting Back Together’ is excellent. There are the snarky lyrics, the ear-worm guitar riff and the megalithic chorus. But perhaps the best moment in the entire song is the delicious spoken word interlude in the middle-eight, where Swift deadpans: “Ugh, so he calls me up and he’s like, “I still love you” / And I’m like… I mean, this is exhausting, you know?/ Like, we are never getting back together – like, ever.” Wickedly savage.

14‘I Knew You Were Trouble’ (2012)

Back in 2012 things were different. David Cameron was still Prime Minster; Corona was only a type of beer and Taylor Swift experimented with dubstep. ‘I Knew You Were Trouble’ was a bold step for Swift, marking a departure from her trademark country crossover songs, but somehow the genre-melding smasher just works. From the icy kiss-off lyrics that raise a middle finger to fuck-boys everywhere to the thumping dub bass, it’s Swift’s most brilliantly bombastic release.

13‘The 1’ (2020)

“I’m doing good, I’m on some new shit” Taylor begins on ‘The 1’. It’s a punchy way to begin a song, let alone ‘Folklore’. The new shit could be Swift accepting her past fights over her discography, or the indie-folk direction she took for her most recent album. But whatever “new shit” TayTay is on, if it means she makes songs as good as this, we back it.

12‘Lover’ (2019)

The slow-dancing title track of Swift’s seventh album is a celebration of being smugly, head-over-heels in love. Ready-made for waltzing at a wedding, this enchanting, romantic tune is a sepia-tinged dream.

11‘Mine’ (2010)

The lead single from ‘Speak Now’ is pure Swift. In under four minutes Swift manages to spin an expansive story of a girl who’s parents’ broken marriage caused her to put up walls and avoid putting themselves out there – who gradually falls in love and has to deal with the fear of something potentially going wrong. It’s a country-pop epic, with more of a narrative in each verse than an entire Nicholas Sparks novel.

10‘Delicate’ (2019)

This vocoded beauty was a highlight of ‘Reputation’. Whilst the bulk of Swift’s seventh album was bold and brash, ‘Delicate’ offered a gorgeous moment of vulnerability. From the exposed opening (“This ain’t for the best / My reputation’s never been worse, so /You must like me for me…”) to the lush instrumentals that mesh the woozy vocals with tropical twinkles and slinky house beats, ‘Delicate’ is dazzling.

9‘Style’ (2014)

This slice of ’80s pop from ‘1989’ embodies the change in Swift’s sound for her fifth album. Filled with chugging synths, strutting guitar licks and glittering production, it’s an effervescent, hook-laden nugget filled with sleek electronics that dissects an unhealthy on-again off-again relationship (that “never goes out of style”). It’s Swift at her best: clever lyrics? Check! Earworm melodies? Check! A chorus that you want to sing at the top of your lungs? You bet.

8‘State of Grace’ (2012)

Ever wondered what Swift singing a massive arena-rock song would sound like? Well, just listen to ‘State of Grace’ and you’ll find out. The huge, U2-flecked opener to ‘Red’ is filled with guitar reverb and vocals that are meant to be screamed back by a stadium full of fans.

7‘Out Of The Woods’ (2014)

With shimmering indie-tronica-laced production and its anthemic, exhilarating chorus, ‘Out of the Woods’ is another belter from ‘1989’. Written about a high-profile relationship that was cut short due to fear of the media’s reaction to it (Swift explained it “that song touches on a huge sense of anxiety that was, kind of, coursing through that particular relationship”), it’s a breathless, honest depiction of a lost relationship; and one of Swift’s greatest triumphs.

6‘Cruel Summer’ (2019)

‘Cruel Summer’ should have been a single. It could have been the lead single. We all know it’s true; yet it was cast aside for the likes of ‘Me!’ and ‘You Need to Calm Down’. A standout moment on Swift’s seventh album ‘Lover’, this synth-pop bop was co-written with indie legend St Vincent and Jack Antonoff.

It was written about “the feeling of a summer romance, and how often times a summer romance can be layered with all these feelings of pining away and sometimes even secrecy”. Swift recounts the feelings of anxiety and uncertainty that plague a new relationship; before revealing her feelings and finding them reciprocated: “And I scream, ‘For whatever it’s worth/I love you, ain’t that the worst thing you ever heard?’”

It’s the musical version of a perfect romantic comedy ending, complete with a chorus perfect for riding off into the sunset on a lawnmower a la Can’t Buy Me Love.

5‘Love Story’ (2008)

What would you do with a spare 20 minutes? Watch an episode of Friends? Aimlessly scroll through Instagram? Well, if you’re Taylor Swift, you can use that time to write ‘Love Story’. Her 2008 country-pop fairy-tale epic remains one of her biggest hits – climbing charts worldwide and receiving near-constant radio rotation. It’s still one of the biggest-selling songs ever. With its Shakespearean narrative (it sees Swift reinterpret Romeo and Juliet), and huge, megawatt chorus, ‘Love Story’ remains a classic from Swift’s bountiful back catalogue.

4‘Cardigan’ (2020)

The lead single from Swift’s latest record is a swirling amalgam of glittering production, swooning strings with flickering piano, and lyrics that evoke the pain of young love. From the searing “When you are young, they assume you know nothing”, to the heart-wrenching “And when I felt like I was an old cardigan / Under someone’s bed / You put me on and said I was your favourite”, Swift conjures up a story of teenage love and betrayal, all anchored by the Aaron Dessner’s jittery production.

We’ve all felt like someone’s old cardigan at one point in our lives, and Swift stunningly manages to convey these complex mixed emotions – the hurt, jealousy and heartbreak – in a gorgeous folk-laced package.

3‘Blank Space’ (2014)

Swift’s got a lot of chart-smashing pop gems in her armoury, but ‘Blank Space’ is surely one of her crown jewels. This megawatt electro-pop tune sees her most cutting, satirising the media’s perception of her dating life and relationships. Knowingly spitting out wry couplets that hit back at the media’s portrayal of her reputation as a man-eater (“Got a long list of ex lovers / They’ll tell you I’m insane / But I’ve got a blank space, baby / And I’ll write your name”), it’s brilliantly wicked – and it absolutely slaps! A work of art.

2‘The Last Great American Dynasty’ (2020)

Swift’s latest album, ‘Folklore’, saw her write more regularly from the point of view of other people, telling their stories as opposed to her own. ‘The Last Great American Dynasty’ was an intriguing case of this – as Swift depicts the life of American artist and socialite Rebekah Harkness, who had previously owned Swift’s Rhode Island, dubbed ‘Holiday House’. Detailing how Harkness married into a wealthy family, was hated by the town and then blamed for the downfall of the Harkness family (including the death of her husband) , Swift pithily compares her scrutiny in the media to the criticism Harkness has experienced.

It’s an impressive song, managing to communicate a huge amount of Harkness’ life across in only a few minutes; and Swift does all of this and tops it off with a banging chorus.

1‘All Too Well’ (2012)

‘All Too Well’ is Swift’s magnum opus. Beginning life as a deep-cut on ‘Red’, it’s become a favourite of both critics and fans – and there’s good reason for it: it’s the perfect example of Swift’s song-writing skills. On it she movingly conveys the heartbreak of a painful break-up, spinning a tale of lost scarves and autumn days as she jumps between different points – both good and bad – in a relationship.

There’s a focus on small, painful details, which are offset by some of Swift’s best ever couplets: “And you call me up again just to break me like a promise / So casually cruel in the name of being honest” can’t be beaten, can it?. Swift takes you on the entire journey of a relationship, and its masterful – just as we’ve come to expect from her.

[grimelords]

Hello I finished my July playlist a week ago but when I went to post it tumblr was down, and then I just plumb forgot! Anyway, here it is - properly sequenced this time for a very special listening experience that seamlessly delivers you from disco heaven to black metal hell and everything in between. Also I’m thinking of making these playlists a tinyletter that people can subscribe to that comes out on an actual schedule, rather than me posting them at a random time weeks after they’re finished. Is that something you’d be interested in? Who knows. Check back next month! Anyway, here goes:

listen here

Stay Away From Me - The Sylvers: You know when you’re listening to a song and the sample is super hot but the rest is just ok, so you think to yourself well why don’t I just listen to the original instead? That’s what happened to me with Final Form by Sampa The Great. That song is good but it’s also kind of not doing enough to convince me not to just listen to this super hit by The Sylvers instead. A fun thing with this song is to try to count how many instruments you can hear because it is surprisingly densely arranged for some reason. There’s a xylophone back there going off if you listen.

Sizzlin’ Hot - Paradise: The same thing happened with this song and Sizzlin’ by Daphni. I think they were going for an Armand Van Helden style distillation of the pure essence of the song, sampling the hookiest part and speeding it up and thickening up all the percussion and all that, which can work amazingly but for me it just made me want to hear the original and so I have been all month. What’s so good about being alive now is that in most cases it’s just as easy to access music from 2019 as it is to access music from 1981 where an original copy is apparently going for $1000 on discogs. Every day I thank god for inventing mp3s and putting them on the ark.

Manaos (Canzone) - Fabio Frizzi and Crossbow: I forget how I came across this, I was going through random Fabio Frizzi soundtracks for some reason. I just love the concept of a disco song about escaping from vicious assailants. Funkily singing ‘God help us, if they catch us we all are gonna die.’ as spears fly past you.

Holding On - Julio Bashmore: I think this is one of my favourite pieces of sampling ever. The way the vocals in the background are cut they don’t even sound like vocals. They just a strange contextless textural sound that works so well before eventually revealing itself as vocals in the run before the drop. It’s just so good.

Weight Watchers - Parallel Dance Ensemble: First of all I love this disgusting bass sound. It sounds like two different indistinct bass lines playing at the same time and they both drowned. I’m also mounting a change.org petition to bring back this kind of extremely naff Tone Loc flow, it rocks.

Dance - ESG: I found this incredible band while I was looking for the rapper ESG and I’m so glad I did. Their song UFO is one of those songs that’s been sampled so many times you think of it as more of a sound effect than a song, like it comes preloaded on a drum machine everyone has or something, but it’s also a good template for ESG’s sound. Every ESG song I’ve heard so far goes like this: a straightforward beat that doesn’t change for the whole song, a functional bassline that doesn’t change for the whole song, and good old fashioned simple lyrics about dancing and having a good time that sound more like schoolyard clapping games than anything. It doesn’t sound like much but over the course of an album it adds up to this incredible sort of hypnotic post-punk funk that I cannot get enough of. It sounds like kids who have 1 idea making a whole album out of it because that’s exactly what it is and it’s great!

Crave You - Flight Facilities: I love how elementally simple this song is. The vocals are hypnotising enough so everything else just quietly supports it. The only part that stands out is the thick bass synth halfway through which makes the short sax solo at the and all the sweeter, a tiny little cherry on top.

You - Delta 5: Get a load of this band bio: “Initially inspired by the success of local heroes The Mekons and Gang Of Four, Leeds, England’s Delta 5 later emerged as one of the key figures of the feminist new wave. Formed in 1979 by vocalist/guitarist Julz Sale, fretless bassist Ros Allen and bassist Bethan Peters.” Just going to gloss over them having TWO bass players before they even have a drummer?? Absolutely amazing. I love this song because it’s such a specific, targeted fury. Imagine being the loser at your girlfriend’s gig when she launched into this one for the first time. ‘who’s got homebrew with lots of sediment?’ oh fuck that’s me ‘who took me to the Windham for a big night out?’ oh fuck that’s me ‘I found out about you’ oh FUCK

Siren - Gong Gong Gong: I love the way the bass works in this, just looping and layering different variations of this noisy, stationary riff on top of itself - steadfastly staying in the exact same place the whole song and growing in power the whole time as it sits in its stubbornness.

Changes - Antonio Williams and Kerry McCoy: This came up on my Discover Weekly and I completely fell in love with it, then I realised it’s Antwan and Kerry McCoy from Deafheaven which is extremely intriguing collaboration and fell in love even more. The vocals are so good. The pure broken-hearted anguish, and the super blunt delivery that progresses to straight up yelling by the end of it combined with the Radio Dept type instrumentation is just so powerful. This feels like it’s a song that could really be a life-changing piece of catharsis for everyone in a 5k radius done live.

Fuck A War - Geto Boys: Absolutely in love with the conceit of this song: rapping a whole song down the line to the army drafter. The incredible part being of course that Bushwick Bill would be able to dodge any draft easily, being as he was both a dwarf and blind in one eye.

God Make Me Funky - The Headhunters: I found a lot of great songs going through the samples list for We Can’t Be Stopped by Geto Boys and this is one of them. I have so much love for any song that takes its time like this: nearly two minutes to set the scene and somehow taking deadly seriously the very funny lyrical idea of desperately praying to god to PLEASE make you funky.  The way this song escalates is also amazing, moving from a hot groove that sits in place to a full-on saxophone meltdown that feels like god placing his finger on your forehead and saying ‘so you want to be funky, do you?’ in a scary voice.

Use Me - Bill Withers: Fortunately and unfortunately, because of how this song was in Anchorman and because I’ve seen Anchorman one million times I can’t listen to it without hearing the noise Ron Burgundy makes when he sees Veronica in the first few seconds. Anyway, this song is so horny. The part where he has to explain to his bro how good this shit is? Doing all kinds of weird dom shit like ‘getting him in a crowd of high class people and then acting real rude to him?’ Weird. And the escalation into the claps at BABY! is amazing, he’s just going off powered by horniness and god bless him for it.

America! I’m For The Birds - Nicolas Jaar: Unbelievably, the deluxe edition of Sirens is possibly superior to the original. It’s a whole new tracklist, new songs interspersed throughout rather than the usual ‘three new songs at the end’ and it really gives it a whole new feel. This song is my favourite of the new ones and it’s a song I had in my head for a solid week. A perfect song to sing to yourself because the lyrics are so indistinct that you just end up mumbling pleasantly exactly like he is.

Cable Guy - Tierra Whack: I’m finally catching up on Tierra Whack and everyone’s right: she rocks. The sheer restraint in these songs is amazing, they just get in and out with only the good parts and no bullshit. It reminds me a lot of To The Innocent by Thingy which is one of my favourite albums for the same reason - the economy of the songwriting just serves to amplify the feeling of it. They both have this total irreverence in the lyricism where the songs are kind of about nothing but they’re so short and heartfelt that you dig for the feeling underneath it.

No Drug Like Me - Carly Rae Jepsen: I’ve previously written that what I love the most about the Carly Rae Jepsen is how horny it is and I’d like to double down on that sentiment here. I love how slow this song is, it’s the perfect tempo between danceable and ‘fucking’.

Con Calma (Remix) - Daddy Yankee, Katy Perry and Snow: I’ve been on a european holiday for most of this month and I would like to report that across Spain, Portugal, Czech Republic, France and Germany this is the absolute song of the summer. It is completely inescapable and personally I can’t get enough. Informer is one of the greatest and strangest one hit wonders of all time (it’s also canada’s highest selling reggae song of all time and Snow is thusly named because he’s white) and I’m psyched to hear it reworked by Daddy Yankee like this. Katy Perry being on the crossover attempt remix isn’t a good sign for her new album but she kills it so maybe that’s all that matters.

Chase The Devil - Max Romeo and The Upsetters: Here’s the other half of my short lived dub phase from the end of last month. This is a good example also of how completely beguiling lyrics can still be so effective. I have no idea what he means by putting on an iron shirt but it rhymes and he’s saying it with conviction so I’m nodding!

Glass - Bat For Lashes: The new Bat For Lashes songs have got me revisiting Two Suns which is an all time great five star album and this is my favourite song from it. Maybe the most powerful opening track of all time, it does as much worldbuilding as most fantasy novels do in 1000 pages. In fact almost every line in this is a viable fantasy novel title. A Thousand Crystal Towers. The Hand Of The Watchmen. A Knight In Crystal Armour. A Cape Of Rainbow. The way she sings ‘to be made of glass’ is.. incredible. I love Natasha Khan and I cannot wait to see what she does next.

Unsquare Dance - Paddy Milner: In searching spotify for other interpretations of Unsquare Dance after getting obsessed with it last month I came across this absolutely bonkers version. It’s maniacal, it feels like you would be physically and mentally drained by the end playing it because I am just listening to it. Need a little lie down.

Gimme Some Skin, My Friend - The Andrews Sisters: My girlfriend has turned me onto The Andrews Sisters lesser known hits recently and this is the best one: a song from when high fives were a novelty that those wacky blacks over in Harlem town were inventing. Extremely odd but an undeniable banger. The thing about The Andrews Sisters is one of them was an absolute force of nature as a performer and the other two were complete wet blankets and it’s kind of funny they were together as a group for their whole career because anyone with eyes can see where the real star is. The way she sings ‘baby’ at 1:25, and that whole run really, is absolutely amazing and so much better than this extremely dumb song deserves.

Kids On The Run - The Tallest Man On Earth: The piano sound alone in this is just so beautiful. This song could be about anything at all and it would still make me cry, and luckily for me: it basically is!

King Of Spain - The Tallest Man On Earth: Good song I had in my head the whole time I was in Spain. It’s incredible that his voice is so good. It feels like if it was even the tiniest bit different, slightly rougher or tinnier he would be completely hilariously unlistenable but instead he’s amazing. Plus the fact that he leans into it with the purposefully lo-fi trebly production is just so confident you can’t help but love it.

Romeo And Juliet - The Indigo Girls: A great cover I wasn’t aware of before that I heard in this great documentary Wildwood I was watching https://www.youtube.com/watch?v=rOWxnh012J0. The way she absolutely flies off the handle and nearly tears the song down around her near the last chorus is pure power and I love people who can do that in an acoustic song without it feeling overblown, just getting totally swept up in it and taking everyone along with you.

On The Bus Mall - The Decemberists: Definitely the number one song about gay teenage prostitutes who love each other and are optimistic against the odds.  

White Fire - Angel Olsen: This song feels like a piece of dark magic. It feels like a 4am moment of clarity, speaking everything true in a five minute monotone and then instantly falling back to sleep with only a dim memory in the morning.  

Glass Eyes -JW Ridley: JW Ridley is a genius and I cannot wait to see what he does with an album. Every song he puts out seems to be better than his last. The central melody in this is just beautiful, and the whole thing has so much space in it it feels so much longer than 3 minutes. It’s like a song you can live in.

Nullarbor - Floodlights: I love how rough this song is, and driving across australia because you’ve got nothing else going on and want to rattle your own cage is a Huge mood.

Made Too Pretty (Audiotree Live Version) - As Cities Burn: I’m so glad As Cities Burn are back, because it means they get to do good shit like this Audiotree session where they absolutely killed it.

Dirty Hearts - Dallas Crane: I think I’ve put this on a playlist before for exactly the same reason: it’s a song I wake up with in my head fairly often for some reason and it’s a very fun slice of pub rock that doesn’t overstay it’s welcome.

Ruin This Smile - The Number 12 Looks Like You: Did you know The Number 12 Looks Like You have reformed after 10 years away and haven’t missed a step at all?? I’m salivating. This song is as good as anything they’ve put out before, and feels like it fits somewhere between Mongrel and Worse Than Alone which is fantastic news for me who always loved those a lot more than their earlier more explicitly grindcore stuff.

Nutrient Painting - Yellow Eyes: A special thanks to my friend and yours Powerburial for linking this song on his twitter. There’s something about the guitars in this song, in almost every riff, where it sounds like they’re playing backwards somehow. Like the structure of the melodies is backwards. It doesn’t make sense but that’s what it sounds like to me and it’s very disconcerting.

Jejune Stars - Bright Eyes: I think this an underrated Conor Oberst era, when he became a sort of buddhist for a while and wasn’t sad anymore but just observed earth from outer space instead. I also love the instrumentation of this song, Bright Eyes and blast beats a match made in heaven. Also the strange sample about pom’granite at the end is one of my favourite things ever. A very strange album to retire the Bright Eyes name on but a very good one too.

At The Bar - Dirty Three: When I was overseas I was thinking about cultural music, and Australia’s place in the world and things like that. I ended up thinking about Dirty Three who I think along with The Drones make the most distinctly Australian sounding music to me. Just the vastness they manage to conjure from such straightforward barebones instrumentation is incredible.

listen here

#Playlists

[taylorteffyswift]

State Of Grace (Piano Cover)

In celebration of the 7th REDiversary... I'd like to share one of the most sentimental covers I've ever done. My piano cover of State Of Grace.

As I mentioned in my REDiversary Review post earlier, this is one of my favorite songs if not THE favorite off of RED (which is saying a lot because I stan them ALL). This song has always felt so ethereal to me. I don't really know how to describe the effect it's had on me. The best way I can think is to say that listening to this song (either the acoustic unplugged version or the full album version) for me is like an out of body experience. It takes me back to the loneliest parts of my childhood but in an alternate reality where I wasn't so alone.

This song makes me enthusiastic about life and hopeful for the future. It almost makes me sentimental about parts of my past that I thought I'd never be sentimental about haha. Everything about this song resonates with me. The simplicity of the chord progression and instrumentation. The atypical lyrical roadmap. Taylor's celestial singing and hook melody that is oh so simple but oh so impactful at the same time. I love how the entire song it feels like she's whispering in my ear. Even during the hook when she's yelling. There are elements of both the album version AND the acoustic version that I like for completely different reasons.

I'm so glad that Tay decided to share the acoustic version with us on the deluxe album. Especially since it's rare that labels go for the idea of including bonus editions of NON single songs on deluxe record batches. I took some inspiration for my cover from this but not all.

In my cover I am performing piano and singing (obviously). I also scored out parts for a 62-piece strings ensemble that builds throughout gradually (performed by a few friends and session folk), accented with a bit of brushed tom percussion as well as some very cinematic "Armageddon drums" as they call them in the film biz. It's the only cover that I can go back to even now and it takes me right back to where I was and how I felt when i was singing it in that moment. I've never had a song that I've done, original or cover, give me such a vivid recall like that before.

This cover and this song are very special to me and near to my heart. I know it probably get's annoying seeing so many people make covers of Taylor's music especially when nothing can really hold a candle to Taylor's amazing and legendary work. But either way I hope you enjoy it.

Happy REDiversary❗❗❗

The artwork is not mine. This was drawn by a truly gifted friend of mine named Aytakin. We met in the TSL days and she was thrilled when I asked her to use the artwork in my video. you can find her on IG as @art.a.kin and check out some more of her amazing vector art.

#taylor swift #state of grace #red deserved a grammy #red deserves a grammy #red era #red album #cover song #piano cover #music cover

[heartbreakhemmings09]

Changes / Luke Hemmings x reader

this is my first imagine, like ever. I’ve been reading a lot though and was inspired to make one. I’m sorry if it’s really bad. :)

It was hard to ignore the way Luke changed over the years. You were his next door neighbour and had been since you both were in preschool. The past two years had been the most drastic change for him though.

Luke Hemmings, the boy who went from an awkward fluff of hair to the long messy curly style he was wearing nowadays.

It wasn't just his appearance that changed though, it seemed that everything had changed in a summer you were at a writers retreat. He seemed to rely on music a lot, and when the rest of his family moved out, a beautiful white piano replaced the dining table. Ben’s room became a collection of the records he had collected, his room that carried him through the teenage years became his music room, a well thought out studio.

The most noticeable change though was his voice - something you got the pleasure of hearing most nights. When he was a teenager, him and his three friends would play around with melodies. Luke's voice was always the strongest, yet he didn't have the control he did now.

You first noticed it when you heard the delicate notes on the piano accompanying it, you were coming back from the mile run you had done and you heard his voice filling the dining room. You stayed at listened for a few moments before going along with your night - feeling like a creep.

You didn't know though, that that would get worse.

The window in your bathroom looked directly into Luke’s bedroom, which used to be his parents. You didn't notice this until a late visit to the bathroom, and you happened to see a bare chested Luke, strumming his guitar with a peaceful smile on his face. You watched for what seemed like a short time, but soon Luke turned off his light and left the bathroom. You snapped out of your trance and went to hop in the shower only to find out you had run out of hot water. You sighed and went back to the lounge.

But of course, Luke knew that.

Luke had never forgotten about you, and when he realised you had become interested in him again, he made sure he put on a show.

The bathroom visits became more frequent for you, Luke made sure of it. He had started working out more, and you couldn't take your eyes off of the way his muscles moved, the way his eyebrows frowned, the sweat gathered on his chest. You couldn't stop watching, you tried to tear your eyes off of him, but you couldn't.

The thought of Luke filled many nights of yours, in the shower, in your bed, in his bed. But it wasn't all sinning acts, you thought about his guitar, the way he looked strumming it, humming a song you didn't recognize, the way he so effortlessly manipulated his voice into the high notes before dragging them. You hadn't heard him sing bad ever. You went to bed with that thought in your mind that night, humming a song you had heard Luke singing.

“Luke, we need you in here.” Luke heard, his eyes snapping away from your bathroom to Michael. His eyes were focused on the way your hair looked behind your eyes, the faces you were making in the mirror which gripped at his heart. “What are you looking at?” Michael asked, joining Luke on his bed. He chuckled once seeing you. “You're perving at your neighbour!” He said with a mocking tone, nudging Luke in the ribs. Luke shook his head. “No I’m not, but she does.” He smirks, locking eyes with Michael.

That day, Luke's mind kept wandering to you, your eyes, hair, lips, hips. Luke couldn't stop thinking about you. “Okay Luke, you said you had some lyrics written down?” Ashton said to him, disturbing Luke once more. “Oh yeah, sorry.” He apologised quickly before grabbing the piece of paper. “Every moment spent, I wish I was with you. And every night I slept, I dreamt I was with you.” The words left his mouth, a smile on his mouth as he thought of you again.

It was a friday night, the night of the party. And you had a deadline to meet. Loud bass disrupted your thoughts, your brain going empty as you looked at Luke's house. You groaned loudly, throwing yourself down on your bed, your head on your pillows. You thought for a moment before getting up.

And now here you were, at Luke's doorstep, the doorstep you were at every Saturday night for dinner when you were 11. You fidgeted with the hem of your skirt, beginning to turn away before the door clicks, meaning it's opening.

And oh my god, Luke Hemmings has never been more beautiful.

His eyes spark as a surprised glint fills them. “Y/N!” He cheerfully greets, pulling you in for a hug, and ohmygod he smells so good. “Come in, please. You haven't been around for so long.” He smiles, grabbing your hand. You try to ignore how smooth his palm is and the way being in his house makes you fall in love with the moment.

“Guys! Look who came!” Luke yells over the music, bringing you over to the three familiar faces. They all looked so different, so grown. They all looked at you, Calum’s and Michael's eyes flicking down your body, smiling gently. Ashton was the first to say anything. “Y/N, you look really nice. It's good to see you after these years.” He came closer, pulling you in for a side hug. Ashton was your favourite of his friends, he was so sweet to you. “I've missed you losers.” You chuckle, all of them nodding and sipping their drink. Luke took your hand delicately. “Would you like a drink darling?” He smiled, linking your pinkies.

It had been about a hour, Luke had left a little while ago and you were standing with Michael's girlfriend, Crystal. “They really have seemed to miss you, Luke was talking about you the other day.” She said, a playful smirk on her lips. “He's changed so much.” You smiled, thinking about the pet name, darling, and the way it dripped off his tongue so easily.

You felt light hands on your waist, and as you turned around, you met Luke's eyes and calmed down, looking at his lips. “Come back to the kitchen? Please.” Luke asked, his hands wandering to your hips. You nodded, noticing Crystal come as well.

“High school was so sucky.” Calum groaned, downing another shot. You all laughed in agreement and placed your head lightly on Luke's chest, his hand respectfully around your collarbones. You craned your head to look up at Luke when a conversation sparked up. He was so pretty, his jawline had defined itself and the light stubble blended into his hair. “Stop staring at Luke Y/N.” Michael teased, making Luke look down and you quickly tear your gaze off oh him.

“You haven't seen the house since everyone moved out.” Luke smiled, taking your hand again, and it was getting harder to ignore the way your heart skipped when he touched you.

You both ignored the calls the boys made, and heard a girl telling them to stop, thanks Crystal.

You both made your way up the stairs, the conversation easily flowing between you, jokes about high school and blushes following you both. He led to a room. “This is my room now.” he said, gesturing to the warmly lit room. “It's really nice.” But of course, you knew that. This is the room you had been looking into for the past six months.

Luke knew that too, and the slight tint of pink covering your cheeks just confirmed it. You both sat on his bed, his legs crossing. The room went quiet, a comfortable silence falling down the walls as you laid back on the bed and smiled slightly at how soft it was. “I've really missed you Y/N.” Luke broke the silence, his voice quiet.

You sat up and looked at him. “I’ve missed you as well Lukey.” You repeated, bringing out the nickname.

“I meant so many times to call, to come over, to do anything to get you to pay attention to me.” he said, sentimental eyes locking onto your eyes. You felt yourself blush as you placed a hand on his cheek. His eyes fluttered down as he leaned into your touch.

“Luke.” You whispered, and he opened his eyes slowly. “You've changed so much.” You chuckled, running your hands through his messy curls. “So have you.”

You both stared at each other, your hands fumbling with the hem of your skirt again, before you felt Luke's hands on top of yours. “You really do look nice tonight darling.” He complimented, making you silent. He chuckled lightly before bringing his hands to himself.

“Lukey.” You quietly said, positioning yourself closer to him. “Yes love?” He asked, stretching his legs out, his lips looking pinker than when the night started. With a flip in your heart, you pushed your lips to his. A fire igniting in your stomach.

You let out a shaky breath after you pulled back, looking down, feeling heat on your cheeks. “Y/N.” Luke whispered, placing a hand on your cheek before pulling you on top of him, your legs straddling his thighs. You moaned softly at the feeling of his muscles under you.

He tangled his hand in your hair as he kissed you softly, his tongue slowly licking your bottom lip, wrapping your arms around his neck as you squeeze your body against his. “Y/N” he moaned softly, pulling back from you.

“I’ve wanted that for so long.” You laughed, your hand at the base of his neck.

“I know, your bathroom window isn't tinted.” he giggled, pulling you back in before you could process what he said.

#lukehemmings #lukehemmingsfanfic #lukehemmingsfluff #lukehemmings5sos #lukehemmingssmut #readerinsert #5secondsofsummer #lukehemmingsimagine #calumhood #ashtonirwin #michaelclifford #mystal #crystalleigh #5sosimagine

[irritablebowels]

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[deadwinglullaby]

#DELUXE INSPIRATIONAL SENTIMENT #THE FUTURE BITES #STEVEN WILSON #TFB™

[onestowatch]

Multi-Talented Japanese Wallpaper Talks Past Successes, New Sound, & Upcoming Album [Q&A]

Photo Credit: Giulia Giannini McGauran

Melbourne-based artist Japanese Wallpaper has had a rather unorthodox first few years of his career. Having burst onto the electronic-music scene by winning a 2014 high school producer competition hosted by national Australian radio station Triple J, it seemed the only direction to go was up for the then 17-year old Gab Strum. After racking up a solid 20+ million plays on his 2016 self-titled debut project, and subsequently finding fans in Charli XCX, Flume, Gotye, Lily Allen, Chet Faker and Bombay Bicycle Club, the past few years have seen a relatively infrequent trickle of releases for Strum.

Yet reclusive as he may have been, Strum’s hard work and silent planning has started to come to fruition. Along with some considerable changes to his production style, workflow and overall sound in light of a near two-year break, we now have the pleasure of bearing witness to Japanese Wallpaper’s triumphant and unconventional return.

The late 2018 “Fooling Around” was Japanese Wallpaper’s first single since 2016 and two separate tours with Shallou and Lily Allen. We sat down with Strum to discuss his changing musical style, discovering his voice and the heaps of new music he has in the works.

OTW: It’s been a while since your first big track “Breathe In.” Obviously that song was of great importance for you and your career - I’m curious though, what are your thoughts on it now? Has the emotional significance changed?

JW: It’s interesting... Songs kind of lose their emotional significance every time I play them live. They become associated with work and touring, but also gain a different sentimental value. That song was me when I was 16 - it opened a lot of doors for me.

OTW: That release does seem to mark a time of change and growth for you. How did you deal with that sort of transition from being a high school musician to touring indie-electronic artist?

JW: I think the more music I’m exposed to, the older I get and the more confident I get in what I’m doing... I feel like the music changes as a result. My goalposts have shifted basically. I guess doors are still opening to me that haven’t been in the past and I’m meeting more people and playing more shows and all of that. I feel like on this new record there’s a sense of boldness and confidence that there might not have been in the past.

OTW: After your self-titled EP you dropped a few remixes, your deluxe album, and then your single “Cocoon,” but then 2017 is a bit of a sparse release year for you aside from “In Motion” with Allday. Was this a big writing year for you?

JW: Yeah, 2017 was the first year that I had a big chunk of time to get stuck in writing and producing. 2016 was my first year out of high school and I was traveling a bunch. “Cocoon” came out and we did a lot of festivals but at the end of 2016, I was like, “Cool time to make a record.” 2017 was just a year of every day opening up Ableton and spending like eight hours experimenting and messing around with stuff. After touring, I had a bit of money so I bought some equipment and set up a little studio space and that was the biggest learning experience - just having a year to write and mess around which turned into finishing an album and narrowing down ideas into what would make up the record.

OTW: Was that collab with Allday incepted around that time?

JW: The Allday track came about early 2016 actually. The first iteration at least came about early in 2016. We’d never met before, he just got in touch with me on Twitter and came around to my studio. We talked about Jamie xx, ate a really good falafel, made the beat, and started messing around with ideas for the chorus and that was it - I left him with the beat. Then a year later he hits me up and says, “Hey here’s the song. It’s the lead single on my record; it’s coming out in a few months. Hope you like it.” And it was wild! Like, it was something that going into it, I had no expectations and it was a good lesson in just saying yes to things and being open to meeting people.

OTW: Now fast-forward to 2018 and you’re working with swim good now and remixing Charli XCX! Both awesome releases, but the Charli remix definitely seemed like a bit of a departure from your normal collaborations. How did that one come about?

JW: That remix came about definitely around the time of my first EP. I think something happened with her and the label? They decided that the song wasn’t going to be a single and that there wouldn’t be any remixes coming out... But I had already done it (laughs). So then two years later, I was in New York in June, and I randomly met the head of her label and he said, “Man, (those remixes) were one of our favorite things we’ve worked on. We’re doing this compilation; could we put yours out on that?” It was weird because like, then I was going into the start of an album cycle I guess with music that feels so different to that remix. I was a bit like, “How is this going to fit in with my stuff now?” But it’s cool, and I’m really proud of it. Charli is one of my favorite artists so I’m just stoked at the fact that it exists.

OTW: Amazing, such an incredibly opportunity to reach larger audience. I guess now going back to “Cocoon,” that transition from your self-titled EP to you introducing your own vocals into a more indie-electronic sound makes sense. Your music seems to be much more emotionally intentional at this point. What inspired that sort of evolution?

JW: In hindsight, a lot of the shifts that have happened in my writing and producing have been brought about just by touring and playing live. Singing was something I never thought was for me - I’ve always been self conscious about it. I got to a point in my live shows where I realized playing vocals over the backing tracks was really boring for the audience. But it’s also monetarily restrictive to bring all these guest vocalists from the record on tour so I had to figure something out which was when I started singing in the live show. That was a year of basically just building my confidence to where it felt like it was something I could do. At that point I had written “Cocoon” and I had made a big list of people who I thought I wanted to sing it, but I played it for a friend and they actually really liked my vocals on the demo and just persuaded me to keep it. That was kind of it, I was like, “Alright, I’m doing it!”

OTW: It seems a bit like you’re going in the opposite direction of a lot of electronic artists nowadays. By that I mean that there are a lot of prevalent solo artists that played in indie bands for the first part of their career and branched out to electronic music, but you’re doing it in reverse?

JW: Yeah, it’s interesting! I feel like indie-alternative is something I’ve always been drawn to and always wanted to do. I mean there's times when I feel like the solely electronic route would be a lot more convenient, but I’m really fascinated with this other sound at the moment and I guess I’m just trying to follow it.

OTW: It’s apparent you’ve got a passion project on your hands. Which I guess leads us to the big question, what’s next for you? What can listeners expect in 2019?

JW: Album’s gonna come out sometime in the first half of this year, hopefully we’ll be able to come back to America and play some more shows. Just finished a tour with Lily Allen and then I’m already halfway through another record so hopefully lots more music, lots more touring and yeah. We’ll see!

#Japanese wallpaper #indie #alternative #interview