#also the title is a lyric from a Dio song | Explore Tumblr Posts and Blogs

kurumeki · 1 year

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When u get this u have to put 5 songs u actually listen to, publish. then, send this ask/tag 10 of your favourite followers✨️🎶

I was tagged by @phant0m-l0rd, thank you! ☜(ﾟヮﾟ☜)

I will list five songs that are stuck in my head lately, and that I simply cannot get enough of.

Black Sabbath / The Sign Of The Southern Cross From Sabbath's album Mob Rules (1981). This song is haunting me lately. Despite the title, it's not about religion really, it's not a reference to Christianity. Southern Cross, also known as Crux, is a constellation of the southern sky that is centred on four bright stars in a cross-shaped asterism. It's about realising how small we are compared to the night sky, and that life itself is much bigger than our what we experience here on Earth. Love Tony Iommi's heavy guitar riff and Geezer's complimentary bass. My favourite line from lyrics: Don't live for pleasure / Make life your treasure / Fade away.

Aerosmith / Draw The Line Title song from their 1977 album. I'm still not very familiar with their discography, but it should be no surprise one of their early releases got me with the groove. The bass line is permanently stuck in my brain, I'm afraid. Classic Aerosmith song that never fails to rail me up to get some very much needed kick of energy.

Judas Priest / Victim Of Changes From their 1976 album Sad Wings Of Destiny. Another album that got me in when I kind of accidentally listened to other two tracks from this album, Dreamer Deceiver and Deceiver (youtube is amazing sometimes with suggesting you stuff). I've been enjoying my journey to the roots of metal, so Judas Priest is a must. Love their heaviness and of course Rob Halford's vocals, my queer icon!

Rainbow / Stargazer Listen. Liiisten. When I first heard this song last year, I seriously wondered under which rock I've been living so far, not knowing this monumental masterpiece. I heard it at the movie premiere "Dio. Dreamers Never Die" (2022) in the cinema and my mind was literally blown. It wasn't even the full song played in the movie, and I was already hooked, obsessed, my brain rewired. I came back home very late, and instead of getting ready to sleep because of work on the next day, I put the song on and... yeah. It's love for life. Ronnie James Dio is a vocal genius there, his emotional performance will always give me chills. Cozy Powell's drum solo intro will never not be iconic. Ritchie Blackmore's guitar solo will never not be a work of art. The song is from their second album Rising from 1976. And in terms of favourite lyrics... hard to pick just one part. Stargazer will forever be in my top ten favourite songs of all time, and I know it will be the same at the day I die, no exaggeration.

MORRIE / あとは野となれ山となれ Speaking of songs that have forever rewired my brain - MORRIE's ultimate masterpiece and "healing song" from his 1992 solo album ロマンティックな、余りにロマンティックな (Romantic, All Too Romantic). It wasn't a love at first listen, but it sure has this unique quality that touches your heart and sends shivers down your spine. This song had to grow on me, but I was completely gone for it, when I was able to hear it live in 2019 at Solitude show in Yokohama O-SITE. He performed it alone on stage, with just the electric guitar, and the arrangement was just slightly different and he used a lot of loop, but it made so much sense to me that version will forever live in my heart. The song is about being eternal, about seasons passing and us being part of the nature's cycle, from the day we're born till we die, and then when we're born again, in human form or not, only to die again and one day just become cosmos nothingness and everything at the same time. I had the pleasure to try translating the lyrics of this song and this part always moves me almost to tears: You can become the star You can become the sea You can become the wind You can become the sand And still find the way To that place Of infinite dream within your heart

If you made it there and read through all of this wall of text - congratulations! Now, my tagged beloved mutuals are:

@mystical-glider, @crash-to-create, @vinidra, @thedevilinbloodminor, @quartzfrost, @ranuunculus, @rayinpixels, @angels-holocaust, @hattoririma, @yridenergyridenergy.

#thingy

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daggerzine · 7 months

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Mainland Break – One Way Ticket to Midnight (self-released)

The title track to One Way Ticket to Midnight references early 80s heavy metal with a line nodding to Ozzy Osbourne and another mentioning an unnamed song by Dio after a quip about having hair swept back. The title is also a reference to the Sammy Hagar song “Heavy Metal” and let's hope the better version from the soundtrack to Heavy Metal: The Motion Picture and not that included on Hagar's 1982 album Standing Hampton. But you're not going to hear heavy metal on this album full of bright and upbeat power pop. What you will hear is a poetic and insightful evoking of memories that reignite one's emotions and often that can be triggered by feelings of nostalgia or romanticizing a time or place you may not have experienced because of its appeal and how it is anchored in your imagination. Drawing on a specific set of cultural references that have stuck with people who experienced that glorious time of the popularity of heavy metal before it got a bit tarnished later in the decade was especially deft.

The sparkling guitar work of “Portland” serves as vivid contrast with lyrics that seem to be about going to a city about which one has heard so many wonderful things and it stands as almost legendary in your mind until you get there and no place could really ever live up to expectations. Throughout the album Mainland Break reveals a consistently surprising knack for crafting melodies and moods unique to each song even given a consistent style. The layered guitars grounded by rhythms that are almost as atmospheric and textural as they are at guiding a pace. One gets the sense that at least one person in the band has “tried out” cities other than home only to find that you can't escape your own mind and that a social support system you took for granted isn't exactly transplanted or immediately at your fingertips in a place you haven't set down any roots. The title track brings to mind the headspace you can talk yourself into when you put all your hopes on one shot thinking that might be it but along the way ignoring other actual opportunities that would serve your life and personal aspirations better. The record hits like an adult coming of age story cycle and coming to terms with the way you've lived your life and trying to get crushed under by your regrets and bitterness at all the times you took a wrong turn on your life's journey. In the end, nostalgia and fond and not so fond experiences are memories and one thing is true as you age, indeed, “Memory Fades.” Fans of The Feelies, Let's Active and the perhaps slightly more obscure indiepop group Desolation Wilderness will appreciate the ways in which Mainland Break expresses the depths of melancholy and the will to use the power of creativity through music to give those feelings a form that will resonate with listeners who may not share anything like the specific biographical details but will recognize those feelings articulated so vividly and know they're not alone in their grappling with complex feelings. (REVIEW BY TOM MURPHY)

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futureboy-ao3 · 2 years

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Hello! I just started fic recently, and I really (!) love your writing - and, I was wondering: how do you typically title things? I'd love to hear your process, as I'm having much trouble deciding! P.S. I'm so sorry you have Covid, I hope you feel better soon! D:

that's so kind, thank you so much?? i'm always happy to talk about this so here we go omg!

i tend to use either lyrics or descriptive phrases for my titles.

i'm picky about songs and poetry - it has to fit the setting (time period, country, etc.), it has to fit the central character's tastes, and it has to make sense content-wise.

this is my hyde side (IT) - 90s party song that describes the personality swap trope i used.

undo man (succession) - song about regret and wanting to roll back some pretty fucking big mistakes. no dice, though - these characters are gonna keep making more.

take care of business for me, for me, for me (fake ah crew) - a bit of nina simone for a bloodied diner shootout! it adds something formal, classy, and brutal, with a bit of a tarantino flair.

i'm also working on a stranger things trilogy centred around steve, eddie, and chrissy. started with some queen (steve walks warily down the street.... hahaha). eddie's is going to be a dio track which references a sexuality crisis and trauma between a trio. chrissy's is likely to be some lighter mid-80s synthpop. all of these tracks for me have to be pre-march '86, content-relevant for their love triangle, and a good fit for their personalities. i couldn't use a dio track for a chrissy POV fic - it wouldn't play in the back of her brain while being lovestruck!!

---

for descriptive titles, i like to use either a snappy, memorable phrase [inevitable (bttf), vice versus (ah), con safos (watcher)] or something that tells you exactly what you're getting.

kiss x6 (red web) - it's a 5+1 with kissin'.

the worse mixtape in the world (stranger things) - steve makes eddie a truly fucking dreadful mixtape and shenanigans ensue.

radio cunningham (stranger things) - chrissy's title for her own mixtape of faves, which acts as the structure for the fic.

trying not to be pieces (disco elysium) - recovery post-canon fic, also a direct quote from harry in-fic.

i'm happy to talk more about this if you have any questions!!! especially if they're about specific titles i didn't mention, or if you just want some more info. i tend to come up with a title instantly before i've even written anything, or i spend ten solid hours scrolling through a spotify wormhole until the perfect song lands in my lap. there's no inbetween hahahaha.

thank you for this!! it was fun to write out!!

#misc #titles

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deliriumsdelight7 · 2 years

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C, D (for any fic that this question jumps out at you), F, G, H, M, N, V, W, X, Y, Z? (Sorry if this is a lot😅)

You are single-handedly giving me an excuse to not clean my counters and fold my laundry. I appreciate you. Gonna throw this behind a tag because it's gonna get long. I am a wordy fucker.

C: What character do you identify with most?

Gotta go with Chrissy. While Eddie's interests and ADHD-coding are definitely things I can relate to, the whole living in an emotionally oppressive household thing is something I know intimately well. And... well, let's just say that when Chrissy has her first vision, and the rattling lock makes her curl up into a ball in the corner and scream for the monster on the other side to go away? Been there.

D: Is there a song or a playlist to associate with [insert fic]?

No playlists, but nearly every fic title I've come up with is from a song title/lyric. For "We Could Be Invisible," the song is "Invisible" by Dio, and that's the song that popped onto the radio to break Chrissy out of Vecna's grasp. I think it's a song both Eddie and Chrissy could really connect to.

F: Share a snippet from one of your favourite dialogue scenes you've written and explain why you're proud of it.

I have a very difficult time taking pride in my work, to be honest. Writing is just something I do, and there are so many other incredible writers out there and I'm always comparing myself to them. But one that I kinda sorta like is from Chapter 2 of Invisible:

“Hey, uh, Chrissy?” His voice sounded ridiculously loud in the hush of the boathouse. “Look, um… I know I’m not exactly your first choice party member on this fucked up adventure we’ve found ourselves on. I always kinda thought I’d be like… the Strider of my story. But, um… looks like that’s not the case.”

He paused, wondering what she’d have to say. Part of him hoped that she’d say something to his defense, even if he didn’t deserve it. But she didn’t say anything. Hell, she probably had no clue what the hell he was even talking about.

“Anyway. Just wanted to say that… whatever the hell’s going with you… you’re handling it like a real badass. It takes a lot to carry what you’ve been carrying. I might not be a Strider, but you, Cunningham, are one badass little Frodo.” She didn’t answer. He snickered; yup, he’d definitely lost her there. “Anyway, point being, uh… I’m not going anywhere. You know? I can’t fight what you’re fighting, but I can listen. I’ve got a pretty good ear.”

G: Do you write your story from start to finish, or do you write the scenes out of order?

Start to finish. I can't do it any other way, because generally, when I write, the characters tend to take a scene and twist it into something new that I never intended, which forces me to change things as I go. It makes outlining or writing out of order borderline impossible.

H: How would you describe your style?

I have no idea. I'll be honest: I don't really pay attention to style, when I read or when I write. I just sort of... do it. I know that my prose is pretty basic compared to a lot of the gorgeous stuff out there. Not too heavy on the symbolism and imagery and descriptions and emotions and stuff. Thing happens, character reacts. That seems to be how I do things.

M: Got any premises on the back burner that you'd care to share?

I've got another Kas!Eddie fic sort of percolating at the back of my mind. This one would lean harder into the whole vampire angle, and would take place during a hypothetical season 5. It would have sort of a Beauty and the Beast angle, where someone actually does something with the mob Jason whipped up. It's still in early stages.

I also have a Steddissy/Hellcheerington fic that I'm actively resisting. The premise is, Chrissy breaks up with Jason, which makes things unbearable for her with her mother. To spare her the worst of Laura Cunningham's abuse, someone gets the idea that she should get a fake boyfriend. Eddie offers to step up (out of the goodness of his heart and certainly not because of a longtime crush), but dating someone like him would only make things worse. But if she were to date Steve Harrington, the popular former jock with the good family... Things sort of develop from there, and what starts out as a romantic rivalry becomes a love triangle and eventually develops into a full-blown throuple. Because my girl Chrissy deserves two gorgeous himbos with fantastic hair.

N: Is there a fic you wish someone else would write (or finish) for you?

All of them. Writing is HARD. I don't wanna WRITE this fic, I wanna read it!

V: If you could write the sequel (or prequel) to any fic out there not written by yourself, which would you choose?

I actually am writing a sequel to another author's fic (with their permission). The fic is called "SnapeChat" by OracleObscured, and it's a Severus Snape/Hermione Granger phone sex oneshot. (Don't @ me about the pairing, I've been stuck on it for like twenty years). The fic is fantastic, but it leaves me desperately wanting more. I'm kinda stuck on it at the moment, but I'd love to get it finished one of these days.

W: Do you like more general prompts, or more specific ones?

I don't like prompts. Or rather, my muse doesn't. I find them incredibly difficult to work with. I actually envy the people who can take a prompt and turn it into something amazing.

X: A character you enjoy making suffer.

Any character I like. I saw a post on Tumblr a few weeks back that compared a good character to a glow stick: bend 'em til they crack and watch 'em shine. Then just give 'em a happy ending afterward. That's basically my M.O.

When it comes to characters I hate, I have no urge to make them suffer in my writing. They're beneath my notice, so they get glossed over, if they're mentioned at all.

Y: A character you want to protect.

Same as above. You know that meme, with the guy who shoots someone and then says, "Why would ____ do this?" Yeah, that's me, writing my faves. How dare anyone hurt them? *proceeds to hurt them*

Z: Major character death—do you ever write/read it? Is there a character whose death you can't tolerate?

I'm writing ONE Major Character Death fic for the Rumbelle fandom. I really can't say more about it without giving massive spoilers. Suffice to say, that tag (among others) has scared off a lot of potential readers.

MCD definitely does scare me off, to an extent. I can do unhappy endings in books, movies, etc. But when I read fic, I'm looking for a getaway to a world where happy endings are guaranteed. So... I think that tag would keep me from reading something until the work was finished (and even then, I'd skip to the ending to see who it was so I could emotionally prepare).

Thank you for the ask! I suppose I should go do some housework now.

#fic ask game #ask answered #hellcheer #eddie x chrissy

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captainjamesjoneshook · 7 months

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Day 15: NPC Playlist - The Boy's Noise

What Hook's son listens to

The Evil that Men Do by Iron Maiden

The first half of this album is rock songs because that's a majority of he listens to. Old rock, metal, screamo, etc etc. Stuff that is loud and has good musical riffs. Things with lyrics that make him wear his headphones, staring at the wall, zoned out, as he absorbed them into his skin. This ALBUM in particular is like one of his go to's. It is an Essential Listen To if you're going to say you like rock music to him. He is that guy.

2-4. Another Brick in The Wall by Pink Floyd

A classic for a reason. He doesn't think this song is over hyped, it is what it is because it is what it is!!! Which, to him, is a work of art. The music is perfect, the build up from the beginning and the ability to keep everything restrained until it gets the suspense going of when the big climax comes in, and then it just keeps on grooving. Then of course we have the lyrics and the overall thesis of the songs, which is like, just another product of the system, some kid, the accumulation of how life shaped one's childhood to make up the person. He relates to that, as everyone else can since it is the human condition. But he's also been told by his dad that he shouldn't just follow the crowd or really trust authority figures (a product of Hook's own upbringing and getting to break out from underneath all the adults in his life telling him what he was going to become to go do his own thing with smee <3) so you look at part 2, the boy can relate to that because I also imagine he was that kid in class who didn't necessarily START trouble on purpose, but asked questions that got teachers flustered or was always trying to deepen the conversation and that just annoyed people, esp when he would also goof around because he would get BORED, so they wrote him off as a trouble maker or an annoyance. another brick.

5. We Rock by Dio

this song really has no deep cut. it's a banger. it fucks severely. it's a fun time, it's got great music to head bang to. mr. dio had a GREAT voice in the boy's opinion, which always brings him back to this band. this song never has a lull, it is go go go go from the absolute jump and he likes that kind of music because it drowns out a lot and lets him just sink into the music.

6. Highway Star by Deep Purple

again, loves it for the music of it all. it's got some BANGING synth and guitar. he listens to it on repeat for those alone!! another song that just is pumbling everything down around it from start to finish. it feels like it could be the source of the energizer bunny's ability to bang that bass drum. when the guitar solo hits he'll vibrate out of his skin <3

7. Balls to the Wall by Accept

another head banger. what can i say, he's all in on songs that can knock a sock or two off. and this song's title does not disappoint. the vocals alone are /mwah, esp when they're just copying the guitar's progression there like a choir, but with the addition of the good music to back em up make it a top tier song. plus the lyrics, going back him questioning authority and just going through life by his own step, the song is how authority will fall and the people will be the reason because they've had enough of the bs.

8. Seek & Destroy by Metallica

to the boy, there is no other way to listen to this song than at full volume. it demands it, from the very beginning with the guitar going as hard as it does!!!! he doesn't always listen to metallica, but when he does, the whole town does too <3

9. Escape (I Need a Break) by Whodini

now we have the second half, bringing us to the rap portion. because rap is the second most listen to genre by the boy. it's another genre that is easy to escape into for him, with the good beats that he can turn up and being able to focus on the flow of the lyrics. he does like contemporary stuff, but his favorites are stuff from the older generation, like the rock and metal already listed here. whodini are an ESSENTIAL for him. this song is one of the best for both the beat and the lyrics themselves. i imagine the boy is v excited to get out of town and onto this grand adventure his dad and smee always described in their stories, while also being scared to leave the only thing he has ever known. this song is telling the story of like, life sucks, i need a fucking break, all the little things add up. then there's a reply of all the things that can be done to fix those little things, the main being, "so do what you gotta in order to escape // take it from me it's never too late."

10. I Ain't No Joke by Eric B. & Rakim

another essential. the lyrics are just ... /clenches fist. even to this day they go harder than a lot of the stuff out there but that's probably because rakim and eric were like the foundations from which the genre could build itself from. this isn't necessarily a dis track on anyone in particular, but it is about how he can take anything and make it sound better than the people who pretend they know what they're doing. like "ven if it’s jazz or the quiet storm // i hook a beat up and turn it into hip hop form." described hip hop!!! in a line !! and did it with perfect flow !! the boy loves and respects 'em

11. Posse In Effect by Beastie Boys

licensed to ill is probably one of his top albums of all time, this is just an example of that for this playlist. the music in this goes a lil slow but it keeps him nodding to the beat and the lyrics are just so good and crunchy, he'll keep a few in his mind to chew on all day since they just get stuck in there on repeat. like the way they say mustard. he'd probably live with that in his head rent free for days. truly proved they were MC's within the game, and the boy loooooves how that shows up in this album.

12. Smooth Operator by Big Daddy Kane

another song that's kinda about the rapper saying, "i'm the real deal." but who is ACTUALLY the real deal. this song is just a fun time and while the boy does like songs that are hard hitting, overall he is someone who likes stuff that he can listen to and just disappear into. all of these songs do that for him, and this one is more like a buttery version of that rather than the more chaotic version of that. this one doesn't drown everything out so much as it invites him in. if that makes sense lmfao. but yeah, as opposed to the others here, this artist has a sort of polished tone to his voice and his production. it's classy. it doesn't stray from his roots ofc but it's refined. very unique in comparison to a lot of rappers out there, even now. it's why the boy really loves his music.

13. Evil that Men Do by Queen Latifah

book ending this lil playlist of essential listening with a song of near the same title but from the other genre of his musical tastes. but also because it's a good song!!! queen latifah has some GREAT albums. this song has a great beat and flow, as well as the message of it all about gender equality. another song/artist that he just really enjoys putting on and listening to until he forgets about his day.

#swynwrimo

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spicysix · 11 months

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22, 31 and 78 for the fic writer asks!

22. Do you title your fics before, during, or after the writing process? How do you come up with titles?

99.7% of my fics are based on songs, and usually the title is the song name or one of the song verses! so on most cases i have the titles before if by minimal chance i don't base the fic on a song, then i find a song i can relate the fic to LMAO i usually search "songs about/with [fic keyword]" and choose from there. i did this just the other day with some fics from the celebration - i wanted to put them on ao3 and they had no titles. for exemple, one of the fics was about helping eddie through nightmares, i searched for "songs about nightmares", found dream evil by dio and used the lyric "don't think about the darkness" if i also can't find a song through google, i just hit shuffle on my phone and the first one that comes up wins LSKDASK

31. Do you use a beta reader/editor?

i do not 💀 so any mistakes on my fics are all my own! lmao

78. What motivates you during the writing process?

since i'm a fluff queen, i usually stay motivated thinking "okay i really wanna reach the part where they're together and kissing and live happily ever after" lskdlsakda if it's not a fluffy fic (rare) it's the challenge of writing angst that keeps me going - i really wanna see if i can [shia labeuf's voice] just do it, y'know? ldsksldkwm if it's a multichapter and i'm writing and posting, feedback from readers is also really really encouraging!!

send me some writing asks!

#lui answers #read 💙#moots ♡#ask games #writer things

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crysisjustcrys · 3 years

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Hermitcraft X JOJO's Bizarre Adventure AU Masterpost

In this AU, hermits gains physical manifestations of superhuman powers named 'Stands', which comes from the Jojo's Bizarre Adventure franchise. Some of the other features will also appear in this AU. All posts are tagged as #hc x jjba AU.

Hermits and their [stands] (some are from the same post):

Grian [Mr. Sandman]

Tango [Hammer To Fall]

Cubfan [Yellow Brick Road]

Scar [Rocketman]

Iskall [Feel Good Inc.]

Etho [Smoke On The Water]

Ren [The Carpenters]

Mumbo [Scarborough Fair]

Impulse [The Works]

Pearl [Thriller]

Zedaph [Back To Humans]

Keralis [When Doves Cry]

False [Aerodynamic]

Jevin [Little Help From My Friends]

Stress [Little Creatures]

Beef [Man After Midnight]

Misc:

Boatem+ collection

Spotify Playlist for referenced songs (WIP, might contain spoilers)

More information under cut.

You expected to find useful info here, but it was me, Dio! /ref /j

What are 'Stands'?

'Stands' are manifestations of one's life energy, and grants the wielder powers that are beyond physical abilities, sometimes even beyond scientific explanations.

The wielder of a stand is named a 'stand user'. When a stand is summoned, it manifests into physical form and hover over the user. Only stand users can see each others' stands, and only stands can attack and cause injury on another stand. (Stands can interfere freely with non-stand entities, however.)

Detailed info can be found on this Jojo wiki article.

What is that with all the song names?

The author of the JJBA franchise loves rock and pop music and often names the stands and characters after songs he likes. Usually only the song or album title is related to the stand ability itself, and the lyrics can be irrelevant.

How does one gain a stand?

In the multiple universes in the franchise, stands are usually gained from getting into contact with mysterious, relic-like objects. In this AU, the relic is an unknown 'suspected to be radioactive' substance called Redstone. (Not the red stone of Aja from the original franchise)

Will any lore from the original JJBA storyline be referenced?

As a 4th-wall breaking joke, perhaps-. But they won't interfere with any lore that happens in this AU. Joestar family doesn't exist in this AU either.

But isn't JJBA like...you know...a bit violent?

No heavy gore, toilet jokes and nsfw content will appear in this AU.

"Stand Users attract each other."

#hc x jjba AU #hermitcraft

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doomedandstoned · 3 years

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Cassius King Drums Up Hard Driving New LP, ‘Field Trip’

~By Tom Hanno~

In the doom/stoner metal circles, the name Dan Lorenzo has become synonymous with his Vessel of Light project, but there is more to this prolific guitarist than just that band. From his days in Hades to Non- Fiction to Vessel of Light, Dan has laid his trademark work to many albums, and now he presents us with an album of original music from his latest project, CASSIUS KING. 'Field Trip' (2021) will be out next week and is, in my opinion, a must-have album.

For a bit of historical context, I want to add that Dan has been using the Cassius King name for years, from his debut solo album to his endless cover song CDs with various lead vocalists; but it wasn't until 2021 when Lorenzo decided to make an all-original album with vocalist Jason McMaster (Watchtower, Dangerous Toys, Broken Teeth, Howling Sycamore, Ignitor). This decision stemmed from the Covid-19 pandemic keeping Vessel of Light from touring in support of their Last Ride album, with Dan also feeling that fans weren’t ready for a fifth VoL album without touring the last one.

Ironically enough, the song “Join the Exodus”, which we’ll talk about later in this review, was originally written during the recording/writing sessions for the second Vessel of Light album, Woodshed. Dan tells me that, “I actually recorded the music to the song Join the exodus for the Vessel of Light album Woodshed. I wrote so many songs that Nathan forgot about it. So then Ron ended up playing on it, and it just sat there for two years until Jason sang on it. It’s probably one of my favorite songs on the album.”

Despite the connection to Vessel of Light, I don't recommend jumping in thinking you're getting music that is just like them; there's obviously going to be a comparison because of Dan, but it's not an overly large one. Cassius King is less doom, even though there’s a definite Black Sabbath sound, and Jason McMaster has more in common with singers like Bobby "Blitz" Ellsworth and Dio, than he does with Nathan Opposition; who, as you know, provides his own awesome vocal style to the Vessel of Light albums.

Jason McMaster explains further, by saying that "It was the kind of material I had been wanting to do for a long time. It feels a bit like Ozzy and Dio playing poker over some leftover Sabbath material. The melodies came to me quickly, as well as some of the lyrics. Things I already had fit the visions I had upon first listen and it all flowed immediately. I would not call it a full "doom" application of terms, but its heavy, it reminds me of what I love about Sabbath and Dio songs."

Now that we have an idea on what we’re getting into, let’s begin talking about the best tracks on the album. We'll start with the aforementioned song, “Join the Exodus.” This is the one track where I will draw that direct line to Vessel of Light, and I had thought so even before Dan shared its origins with me.

Beginning with a heavy intro, with the guitars playing a stripped down version of the main verse riff, and Jason singing:

TEARS ON THE TRACKS IN A RACE, EMOTION GLEAM AROUND THE BEND I TASTE THE RAIN DROPS AS THEY TRICKLE DOWN MY FACE AGAIN REMINDS ME OF THE SAND FALLING FROM THE HOURGLASS TIME DISAPPEARS WITHOUT A TRACE.

Jason’s vocals are performed with such conviction, such power, that you can get the idea that he’s really really feeling what he’s saying, which helps make the song seem more honest than it would if he was just “phoning it in.” This goes without even mentioning the Dio influences in the lyrics themselves, and in certain areas of his performance here.

Musically speaking, this track is heavy, with a strong groove, which really makes sense because of the era of its beginnings. Woodshed had that heavy groove throughout the album. As always, Dan has a phenomenal guitar sound, and even if you didn’t know it was him on this, you’d still know that it was him within moments after hitting play.

Towards the end of the album, we find a song that is titled, "Six," which had a working title that Dan told me came from the way the intro guitar part had sounded to him.

"And I didn’t tell anybody else this," he confided, "but the working title for the song 'Six' was 'Randy,' because I thought that opening riff sounded more like Randy Rhoads than me! Not sure if you agree, but just a little bit of knowledge on the track."

I can definitely hear that Randy sound in the intro riff, but, in my opinion, it doesn't really sound like that iconic guitarist as we get much further into the track. In all honesty, I hear more of a Kiss meets Black Sabbath vibe once the riff opens up for the verse.

Jason really brings in that Dio vibe with his vocal performance, and it shows exactly why Dan partnered up with him for this album. Between Jason, Jimmy Schulman, and Ron Lipnicki, Dan put together an immensely talented band for this album, and they all absolutely crushed it on this track.

One of my favorite tracks is titled, "Apocalyptic Nations," which just so happens to be my favorite song on the record. This tune opens up with some tribal influenced drumming, and is a perfect way to bring in the album. I think of Judas Priest's Painkiller when an album opens this way. Lyrically, this song could be about many things, but I catch a Stephen King influence in there, with his book The Stand.

TRASH MY NAME ACROSS YOUR SEAS YOU CONTROL MY DESTINY BRINGING FATES UNKNOWN TO ME LEGENDARY, WHEN PEOPLE USED TO DREAM ANCIENT STORIES OF THE TRAVELIN' MAN YOU WILL BELIEVE

If you've ever read The Stand, you'll know that the villain, Randall Flagg, is known as "The Walking Dude" and that he is hell bent on destroying civilization through terror, violence, and death. The lyrics really could be about this "Man in Black," as he's also called, but it could just as easily be about a government that is just as hell bent on the same things as Randall.

As per his usual modus operandi, Dan pours his all into the riffs contained within "Apocalyptic Nations." They create the power needed to propel Jason’s vocals into the stratosphere, while also leaving the perfect amount of room for the other instruments to shine through.

The last track that I'd like to bring up is "Below the Stone," and is one of my two top picks from this album; with the other being "Apocalyptic." The riffs have a sweet little groove to them, and are, once again, the perfect vehicle for the vocal work. I'm unsure of what the lyrical content is about, but the execution, and the arrangement, makes this song shine, really standing out from the others. This chorus section really exemplifies what I mean:

OH, OH, OH, WE PRAY FOR THE LIGHT WE MAGNIFY ALL HOPE AND THE SEARCH WILL BEGIN BELOW THE STONES THE SECRETS LIVE AND BREATH OH, OH, OH, WE PRAY FOR THE LIGHT

Field Trip will be out in digital format July 23rd, with compact disc and vinyl due out this October. The CD will include two bonus tracks, a cover of Led Zeppelin's "Out on the Tiles" (Dan actually plays the bass and guitar on this cover). and Cheap Trick's "Big Eyes." The other ten tracks are all original tunes. I have an earlier Cassius King CD that Dan sent me, which is full of cover songs, and hearing them attack these originals is really great for me.

To sum it up in one short sentence: you need this album. Pre-orders will be announced soon via Nomad Eel Records, so get ready for that and I'll see you in the next review really soon. Enjoy!

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#D&S Reviews #Cassius King #Dan Lorenzo #New Jersey #metal #heavy metal #Tom Hanno #Nomad Eel Records #Doomed and Stoned

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rebellionbeach · 3 years

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Down To Earth: The Perfect Rainbow Album

Hello, today I’d like to talk about an album which holds a very special place in my heart. Down To Earth is the 4th studio album produced by Rainbow and the first not to feature Ronnie James Dio, instead having vocalist Graham Bonnet as the lead. This album marked the start of the commercialization of Rainbow and to many, saw the decline of the pure medieval rock sound that was first cultivated. However, I feel that these notions while not entirely false, are far too critical and often pass upon the sheer brilliance of this album so therefore I hope that with this post maybe more would be more willing to open up and actually listen to this brilliant piece of music.

Well, let’s start with the overview, as stated before this album marked the start of Graham Bonnet on vocals who is a stark contrast from Ronnie James Dio. If there was one way to describe Graham’s vocals on this album it would be sheer power. The man just belts out many of the tunes in a way where you can tell how much force he’s putting into his vocals. Many may be dismissive of his performances due to this point but I just absolutely adore it. The prominent complaint that I find many point out toward his style is the almost screaming-tone he puts out however I don’t think his vocals reach a point where it’s screechy. Rather it’s a very powerful style that does reach a rather high volume that people may find a little discomforting but he still maintains a great control of his voice as well. Graham’s range is just incredible, take Only One Woman when he was in the Marbles for instance, a very controlled yet extremely high vocals that he nails. I find that Graham’s vocals instead enhance the hard rock energy of the songs through his performances and really throughout any album he’s been in.

This album also saw the introduction to new keyboardist Don Airey and bassist Roger Glover who many will know from Deep Purple. Roger had also been the producer and advisor to many past and future Rainbow albums however this album marked his true introduction into the band. They’re both phenomenal and especially Don Airey who you may know as well as the current keyboardist for Deep Purple who is a master of his instrument and breaks out in brilliant solos throughout the album.

Each band member was a true master of their own craft and for this reason Down to Earth really got to shine, as well as the brilliant guidance of Roger Glover who is an excellent producer. However, starting with the actual album itself, it’s incredibly hard rock.

Sure, it may not be Rising but it isn’t completely watered-down, commercialized tunes made to be played on the radio as well. Take the beginning tune, All Night Long, which is just a pure hard rock song. It has a simple yet addicting riff which catches the ears of the listener which is only amplified through Graham’s vocals just belting out that pure rock sound that many claim Rainbow had lost overtime. The actual difference which I believe many listeners find so unappealing about the album is actually it’s lack of lyrical theming. Down to Earth was the first album to drop that medieval-style that characterized the band up onto that point. This was due to Ritchie Blackmore’s desire to appeal to American audiences and have charting singles and, while may be disappointing even to myself, was a task not done in any disrespectful fashion. The album is still very hard and talks about many hard themes such as in Eyes of the World which many fans cite as the greatest track. “Evil takes, evil kills, with no shame or concern, killing me, killing you, watch the end of the burn.” There is still great lyrical writing to be found throughout this album and even in other songs such as a personal favorite, Makin’ Love which, although being a song focused on themes of love and heartbreak, still holds itself in a very respectable fashion. In fact, several of these songs actually have an alternate lyrical version where you can really find some great stuff. Take Makin’ Love which originally started as Ain’t a Lot of Love in the Heart of Me and, although is a mouthful, has some great parts that show a hold of the mature theming that many fans desired.

I often like to say that Down to Earth by far had the hardest job to do in the entire history of Rainbow. With the loss of beloved singer Ronnie James Dio and the shift to a more commercial direction, there is possibility for horrendous backlash from loyal fans who believe that the band has lost their credibility. In some way, this may have been true yet I still believe that for this brief period of time, Rainbow managed a beautiful balance between hard rock and commercialization, a fine line that was hard to stay upon and ultimately ended with a lineup that was perhaps doomed to fail from the start.

Nonetheless, what they were able to produce was brilliant and in no better way is this shown through a personal favorite and probably my favorite Rainbow song, Lost in Hollywood. In many ways, the song reminds me of Deep Purple just because of the sheer talent that is displayed from every member from Cozy’s furious drum intro to Don’s unbelievable keyboard solo that transitions right into Ritchie’s part, similar to many Purple tunes. The grand scale of the entire piece really sets it apart from the rest of the album and stands out as a shining example of the talents that the Mark 4 lineup had to offer and what they could achieve at their height. It’s beautiful, bombastic, overdramatic and truly feels like a sending off piece to a brilliant album and lineup.

Just as the title states, this album truly grounded Rainbow back down to Earth and I implore anyone who still has doubts to just give it a listen as I feel that many will be pleasantly surprised.

#rainbow #rainbow band #ritchie blackmore #don airey #cozy powell #graham bonnet #roger glover #mark 4 rainbow #sorry if it carries on too long #but seriously this album is incredible

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tisthenightofthewitch · 4 years

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THE 20 GREATEST GHOST SONGS – RANKED - KERRANG!

From Opus Eponymous to Prequelle, we rank the greatest compositions from Ghost

Words: Sam Law

Photo: Tom Barnes

Undoubtedly the breakout band in heavy music over the past decade, it’s been a wild ride for Swedish creeps Ghost. Melding elements of hard rock, doom, classic metal, psychedelia and outright guitar-pop – then daubing on the corpsepaint – their combination of deceptively digestible sound, occultist ethos and anti-ecumenical aesthetic has captured the imagination of music fans and sling-shotted their live ‘rituals’ into arenas on both sides of the Atlantic.

Of course, mysterious mainman Tobias Forge (aka Papa Emeritus I-IV, aka Cardinal Copia) has had his struggles. In 2013, the band was forced to temporarily rebrand as Ghost B.C. for legal reasons in the U.S. The initially intriguing, fluid anonymity of his bandmates’ Nameless Ghoul personas (even Dave Grohl apparently once donned the cowl) became a sticking point, too, as the collective sued Tobias in 2017, failing in their suit but also dispelling some of the precious mystique.

That Tobias has endured – not just surviving, but flamboyantly thriving in the heightened spotlight – feels like proof his band are here to stay. New music is eagerly anticipated in the not-so-distant future but, for now, we rank the 20 tracks on which Ghost have built their unholy empire thus far…

20. MUMMY DUST (MELIORA, 2015)

‘I was carried on a wolf’s back, to corrupt humanity / I will pummel it with opulence, with corpulence and greed!’ Arriving on a wave of staccato percussion, spiked with gnarls of riffage and flashes of synth, this pounding cut from 2015’s Meliora – named after the insubstantial detritus of years past – plays out as one of Ghost’s most compelling indictments of the avarice of mankind. Although its creeping instrumentation, growled baritone and choral climax don’t exactly show the Swedes at their most inventive, Mummy Dust has been elevated massively in the live arena, with Papa leaning into the lurching malevolence before showering the audience with ‘money’. In Ghost we trust.

19. WITCH IMAGE (PREQUELLE, 2018)

Ghost might have traversed a full spectrum from gouging metal via classic rock to shimmering guitar-pop thus far, but the further their sound has strayed into the light, the harder the lyrics have drilled down into darkness. It’s never been truer than on this underrated ditty from Prequelle. A textbook three-and-a-half-minutes built of sweet acoustic and rich electric guitars surging towards its massive chorus, you can practically taste the relish as Tobias ladles the syrup onto some of his darkest words. ‘While you sleep in earthly delight, someone’s flesh is rotting tonight / Like no other to you, what you’ve done you can not undo…’

18. CON CLAVI CON DIO (OPUS EPONYMOUS, 2010)

After the baroque organ intro of Deus Culpa, it’s the throbbing bassline of Con Clavi Con Dio that truly pulls back the sacristy drapes on Ghost’s compelling debut. Translating crudely as ‘With Nails, With God’, the title Con Clavi Con Dio is actually an attempt at clever wordplay, drawing comparisons with the nails of crucifixion and the conclave of bishops at the head of the church as Tobias sings, ‘Our conjuration sings infernal psalms and smear the smudge in bleeding palms.’ Theological musing aside, it’s the dark swirl of sound here that truly draws the listener in, with gauzy layers of guitar, synth and vocals – not to mention the devilish tritone interval – building into a towering cathedral of subversion.

17. FAITH (PREQUELLE, 2018)

No relation to the oft-covered George Michael classic, the fourth single from 2018’s Prequelle feels like a defiant statement of the band’s arena-straddling prowess twelve years in. Powered by snarling six-strings and pounding drums – custom engineered to get tens of thousands of fists pumping – it’s seething proof that this band’s heaviest sounds are still among their best. At the same time, we get a furious flash of the man behind the mask as Tobias takes aim at his ex-Nameless Ghouls with some serious lyrical barbs: ‘The Luddites shun the diabolical, a fecal trail across the land / Although it stinks, feels and looks identical / And a pack of fools can take the stand.’ Oooft.

16. PER ASPERA AD INFERNI (INFESTISSUMAM, 2013)

Riffing on the popular Latin phrase ‘Per aspera ad astra’ (‘Through hardship to the stars’), Per Aspera Ad Infini literally translates as ‘Through Hardships To Hell.’ Its churning sound diabolically matches up. Layering on riffage that calls to mind the epic doom of heroes like Candlemass, marching-beat percussion and a lyrical treatment revolving around that title chanted as a mantra, there is sinisterness throughout. Its defining quality, however, is the fragility and despair Tobias manages to summon as he begs with ecstatic fervour, ‘Oh Satan, devour us all / Hear our desperate call.’

15. SECULAR HAZE (INFESTISSUMAM, 2013)

The lead single from 2013’s sophomore LP Infestissumam immediately built on the spooky foundations laid by Opus Eponymous with broader pantomime atmospherics and – on its live premiere in Linköping, Sweden, where Papa Emeritus II was unveiled – the first branches of their expanded mythos. A carnivalesque organ sets the tone of mischievous eeriness before the pendulous musicality hits full swing with Papa inviting us in: ‘You know that the fog is here omnipresent when the disease sees no cure / You know that the fog is here omnipresent when the intents remain obscure – forevermore!’ As if their mainstream-invading intent wasn’t clear enough, its single release even came with a B-side cover of ABBA’s I’m A Marionette featuring Dave Grohl on drums!

14. SEE THE LIGHT (PREQUELLE, 2018)

Another barely-veiled reference to Tobias’ struggles with ex-bandmates, See The Light is also one of his band’s most shamelessly uplifting compositions. Feeling like a positivist ’80s anthem – shot through with a little venom – its tinkling keys, soaring synths and understated, rumbling riffage propel an effortlessly memorable message about transcending the ill-will of one’s antagonists. Sing it together: ‘Every day that you feed me with hate, I grow stronger!’

13. DEUS IN ABSENTIA (MELIORA, 2015)

Riding on the metronomic beat of their Monstrance Clock, the closer on Ghost’s third album (translated from Latin as ‘In The Absence Of God’) is an extravagant exercise in arch theatrics. Benefiting from Klas Åhlund’s grandiose production, Tobias comes across as both demon and angel, extending his dark invitation: ‘The world is on fire, and you are here to stay and burn with me / A funeral pyre, and we are here to revel forever.’ Concluding with a hymn-like Latin chorus, it feels like the ultimate corruptive culmination: a musical sacrament truly touching only to those in the know.

12. STAND BY HIM (OPUS EPONYMOUS, 2010)

The track that started it all. Inspired by that irresistible lead riff – stumbled upon while practising for another band – Tobias foresaw a deep, dark well of potential waiting to be tapped and threw himself in headlong. Although Stand By Him’s schlocky lyrics feel gleefully on-the-chin nowadays (‘The Devil’s power is the greatest one / When His’ and Hers’ holiest shuns the sun / A temptress smitten by the blackest force / A vicar bitten blind in intercourse’), they paved the way for everything that followed. On top of that, its soaring ‘It is the night of the witch…’ chorus line even rivals that of Donovan’s Season Of The Witch (an obvious influence) for sheer spellbinding catchiness.

11. GHULEH/ZOMBIE QUEEN (INFESTISSUMAM, 2013)

One of the less immediate tracks on Ghost’s second album was also its most important. A staggering, seven-and-a-half minute opus that unfolds from its sorrowing piano line and Papa’s desiccated hiss through a swaggering midsection to a conclusion full of proggy bombast; this was proof of the untold breadth and depth of their vision and sound. Pushing from their basis in ’80s classic rock through the looser sounds of the ’70s and right into ’60s psychedelia, this ode to the titular zombie queen (‘Up from the stinking dirt she rises, ghastly pale / Shape-shifting soon but now she’s rigid, stiff and stale’) feels like Tobias’ first real attempt to stretch his (cursed black) wings and remains amongst their most rewarding compositions.

10. RITUAL (OPUS EPONYMOUS, 2010)

Anyone who remembers Ghost’s ethereal emergence from the shadows likely does so with this earworm writhing in the back of their mind. Combining the slick melodies and wry fatalism of prime Blue Öyster Cult with the crunchiness of Pentagram and Saint Vitus – soothing organs and a driving bassline pulling away – they had the musical formula nailed. It was the imagery contained therein, however (all ‘bedouins and nomads’, fallen angels and ‘smells of dead human sacrifices from the altar bed’) that captured the imaginations of a congregation ravenous for a fresh take on ancient evil. Here, the doors to the sanctum were truly open.

9. YEAR ZERO (INFESTISSUMAM, 2013)

Tying into the Ghost B.C. renaming necessitated by their Stateside legal wranglings (the year zero being the pivotal point between the B.C. and A.D. timelines), Infestissumam’s sixth track developed into one of the greatest showcases of their dark majesty. Opening with a powerful Gregorian chant (‘Belial, Behemoth, Beelzebub, Asmodeus, Satanas, Lucifer’) calling to mind Jerry Goldsmith’s legendary soundtrack to The Omen, Ave Satana, the direct riffage and bludgeoning choruses that follow hammer home a sense of sheer monstrosity. Typically, the Year Zero concept is subverted, with Forge (and, reportedly, guitarist Martin Persner) picturing an ancient antagonist far predating biblical times: ‘Since dawn of time the fate of man is that of lice, equal as parasites and moving without eyes / A day of reckoning when penance is to burn, count down together now and say the words that you will learn.’

8. MIASMA (PREQUELLE, 2018)

Just when you think you’ve got Ghost figured out, they pull something like this. The first of Prequelle’s two extended instrumentals feels like showboating from an outfit whose legitimacy some fans had dared question following the acrimonious departure of so many players. Rearing into view as an expansively primitive space-rock soundscape, layering up into an ’80s prog epic, then exploding in a kaleidoscopic whirlwind of synths, Michael Jackson riffs and the best metal saxophone this side of Norway’s Shining, it was proof that Tobias’ vision would not be dictated solely by his own crooning King Diamond fixation and that it, frankly, knew no bounds.

7. ELIZABETH (OPUS EPONYMOUS, 2010)

Four years since their formation, Elizabeth felt like the break Ghost had been waiting for. Released on 7” vinyl (with the less-ear-catching Death Knell on B-side), the Mercyful Fate comparisons were immediate, with many seeing the sense of eerie grandeur and kitsch luridity at play as directly descended from the great Danes’ 1987 classic Devil Eyes. An ode to infamous Hungarian Countess Elizabeth Bathory – alleged serial killer and bloodbather – sees Papa getting his teeth sunk in lyrically: ‘Her pact with Satan, her disposal of mankind / Her acts of cruelty and her lust for blood makes her one of us!’ The fine balance between sensuality and sin has yet to be bettered.

6. RATS (PREQUELLE, 2018)

The lead single from 2018’s Prequelle feels like a bridge between the (relative) heaviness of the band’s past and the unfettered theatricality of the album that was about to follow. Powered by a straightforward riff and piercing organs, dazzling solos and a rogue harpsichord, its introduction of the Black Death concept in which the album would wallow (refracting contemporary grievances through the filthy lens of the 14th century bubonic plague) felt both atmospherically appropriate and deliciously alive. The Scandi-pop ‘oooh-aahs’ in the chorus remain one of the band’s most gleefully irreverent touches, too. And the question of whether ‘them filthy rodents still coming for your souls’ is reference to Tobias’ old bandmates has provided rich fuel to keep the metal gossip mill turning.

5. MONSTRANCE CLOCK (INFESTISSUMAM, 2013)

In the Roman Catholic church, the monstrance is an (often ornate) receptacle in which the consecrated communion host is displayed for veneration. A monstrance clock was an aesthetically-similar Renaissance-era timekeeping device capable of displaying date, time and a wealth of other celestial information, often used in church rituals. We suspect that Ghost just liked the faintly cheeky sound of the phrase when quickly spoken. Still, the song they wrought from that initial giggle is utterly unforgettable. Deliberately paced and overflowing with evangelical zeal, a slow build flourishes into a splendiferous closing chorus that’s turned many an arena into a church of the Dark Lord: ‘Come together, together as one / Come together for Lucifer’s son!’

4. DANCE MACABRE (PREQUELLE, 2018)

If Rats was pandering somewhat to the existing fanbase, Dance Macabre was the other side of the coin. A shamelessly retro ’80s-style power ballad that’s as light on overt Satanic references as it is heavy on the cheese, some fans saw it as a form of selling-out: a dilution of devilish imagery in service of greater American radio-rock appeal. Perhaps they had a point. From its fist-pumping percussion and effervescent guitar solo to that ‘wanna, be wit chu’ chorus hook, however, it’s executed with enough committed precision and knowing panache to stand on its own terms, and a whole legion of new fans couldn’t help be swept along through the gateway and on to far darker delights. Tobias’ explanation that this is a soundtrack for people living like there’s no tomorrow – as many literally did during the plague – adds an extra dimension. Best experienced with the gleefuly vampiric music video.

3. CIRICE (MELIORA, 2015)

It’s strange how things work out sometimes. Originally conceived with producer Klas Åhlund as a nine-minute instrumental deep cut, Cirice was chopped down and reworked into Meliora’s irresistible lead single – becoming the song that really kickstarted Ghost’s stratospheric ascent. An insidious opening combusts into an infernal crescendo before lurching into the band’s most bludgeoning riff to date. All the while, Papa’s beguiling vocals reach out, full of dark romance, for new converts to their corrupted congregation. 2016’s GRAMMY for Best Metal Performance felt like just reward for such inspired work. The Roboshobo-directed music video – featuring a school talent show that’s almost as horrific as the ones we remember – is another stone cold standout.

2. SQUARE HAMMER (POPESTAR, 2016)

Following the unprecedented success of Meliora, Ghost found themselves suddenly commanding crowds far larger – and more diverse – than they’d seen before. Most of the ingredients for these grander live rituals were already in place, but they lacked the barn-burner early in their set to get these massive rooms onside. Dropped as the standalone original track on the Popestar covers EP, Square Hammer gave them just that. Abstractly melding the cultist themes of Satanism and Freemasonry, the concept of selling one’s soul – ‘ready to swear right here, right now, before the devil’ – was hardly new, but the outright pop energy of those surging synths and that exuberant chorus clearly signalled that the game had changed.

1. HE IS (MELIORA, 2015)

If Ghost’s diabolical mission statement is to make the Luciferian ideals more palatable to the masses, then He Is must be their masterpiece. So perfectly camouflaged – with twanging acoustic guitars and reverberating vocals that could’ve been nicked from the golden age of AOR – is their message, that they could drop this at any Christian rock festival and only the most switched-on devotees would know the difference. Openly indebted to giants like Kansas and Journey (and less openly to more recent occult acoustic acts like Ancient VVisdom), there’s a burning light to the sound. The use of divine-sounding Latin (‘Nostro Dispater, nostr’alma mater’) to identify the titular ‘He’ as the dark lord of the underworld is just another characteristically twisted masterstroke. Kneel at their altar.

All rights owned by Kerrang!

What do you guys think?

Personally there’s a few I’d replace and Ritual is always my NO.1.

#The Band Ghost #Ghost Band #Cardinal Copia #Tobias Forge

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princegumbxll · 4 years

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jjba characters as metallica songs (part 1) Warning- LOTS OF SPOILERS

Risotto is first for obvious reasons

He also gets 2 songs for the same reason (and b/c I really like him)

Risotto Nero: Bleeding Me and Master of Puppets

Both of these seem like obvious choices but bear with me. So we have ‘Bleeding Me’ because of the (sometimes) high amounts of iron in blood, his stand controls that iron to make weapons, sharp weapons cut and make you bleed so on and so forth...This also has to do with the fight with Doppio/Epitaph where Ris turns his blood yellow. He’s probably bled a lot too: physically and emotionally. The bassline in the beginning of the song is mellow and slow, just like Risotto’s chill and stoic nature. In fact, the song stays at a slow tempo the whole time while still having metal guitar/vocals/drums/bass. Lyric: “Can’t stop to save my soul/I take the leash that’s leading me/I’m bleeding me, I can’t take it”

Risotto Nero is the capo for La Squadra Esecuzioni; some argue that he was a better capo than Bruno (I’m neutral on that).Point is, he was a nice leader to a bunch of assassins, whom he all cared about. He was a 6′5″, all black wearing knife man with red and black eyes. So it makes sense that he would be a “Master of Puppets”, he has so much domineering energy. The ‘puppets’ could be Diavolo, La Squadra, Passione, or you, if you’re into that. The version of the song from the album ‘S&M’ has a LOT more bark and bite to it, but the version from the album ‘Master of Puppets’ works too. The chorus is slightly better, it’s timeless. Lyric: “Master of Puppets, I’m pulling your strings/Twisting your mind and smashing your dreams/Blinded by me, you can’t see a thing/Just call my name ‘cause I’ll hear you scream”.

Prosciutto: Until it Sleeps

First off, The Grateful Dead aged people up until they died, which is essentially killing someone “until it sleeps”. The whole song emphasizes something becoming less of something else-- less pain, less dirt, less guilt, less time being “awake”. This is just like how your body temperature slowly but surely rises While he *does* kill people in cold blood, you could say that he felt some remorse leaving Pesci behind as he died- or began to “sleep”. The whole sound of the song (the version from the album Load) is slow, mellow, and quiet for the most part, which fits Prosciutto as an assassin as well as his stand’s ability. Lyric: “I’ll tear me open, make you gone/No more can you hurt anyone/And the fear still shakes me/So hold me until it sleeps”

Hayato Kawajiri: The House That Jack Built

Oh my sweet child. I felt for him the most during the Bites the Dust part and when Kira became the Kawajiri family homewrecker. Seriously though, Kira ruins his life over and over again to the point where he tries to k--l himself just to stop everyone from dying. As an INTP, he was observant to, and tortured by what was going on instead of just being a normal child. The “house”, in this case, can very much be seen as Kosaku/Kira’s house and Hayato being trapped in it (you could say this makes Kira “Jack” too). The song itself is about a 3.5 out of 5, but several parts of it sounds very eerie and ominous, like that anxious pit in your stomach. The song’s tempo included. The song is set up so that it feels like the reader is progressing through the “house”, and disappears at the end. All of which is comparable to Kira and Hayato’s arc. Lyric: “Open my eyes, just to have them close again/Well on my way, but on my way to where I’ve been/It swallows me as it takes me in its fog/I twist away as I give this world a nod”

Johnny Joestar- Turn The Page

The initial reason I chose this song for him was because the guitar in this song has a country twang to it, which obviously goes along well with SBR. The vocals also sound a little bit country. I initially chose this song for Gyro, but examining the lyrics, it is more fit for Johnny. But if you want to associate this song with Gyro, feel free to. I really like him too! The song has an easygoing tempo (like 75 BPM), but is still aggressive, like the long, grueling journey of both his story and the race. Like, you can feel the pain. The song happens to progress the reader through what feels like this dusty American road to home, possibly? I specifically say American because the song starts with “On a long and lonesome highway/East of Omaha”. But they never get there, as at the end, the song has the lyrics “There I go” twice. The main chorus repeats at the end, beginning with the lyrics “Here I am/On the road again”. These both imply that the listener is stuck in a cycle of their journey, either physically still travelling or memories are stuck in their head. This is also emphasized sound-wise when the tempo slows down, and the ending beat where everything just drops down. Johnny will never forget the events of SBR, and you bet it haunts him at night for sad reasons I don’t wanna say. Yet he has to move on with his life (and does eventually), hence the name of the song to begin with, Turn the Page. He probably feels responsible for some of it, like when Funny Valentine offered him The Choice™. This comes out in the lyric “You pretend it doesn’t bother you/But you just want to explode”. Likewise, this applies to the foes he encountered during the race that really pushed his buttons. Dio included. Johnny was under a lot of pressure especially during those last couple chapters, and the moments when Gyro wasn’t by his side (like the Sandman fight). Whether or not he knows it, his every move is being watched; he is the star of the show, and we were all waiting patiently to see if he messes up or not. “There I am/Up on the stage/Here I go/Playin’ star again”. Stars are one of the things we associate with Johnny, and another one of those stars is BEING a star. Almost all of the song applies to him, but I feel these lyrics apply to Johnny the most. Lyric: But your thoughts will soon be wandering/The way they always do/When you're ridin' sixteen hours/And there's nothin' much to do/And you don't feel much like ridin'/You just wish the trip was through”

Jotaro Kujo- The Unforgiven

Regardless of parts 4,5, and 6, we all remember Jotaro as the asshole who shouts at women. When we first met him, we probably didn’t like him that much. Over time he DOES grow and change as a person, but he has a trail of his past mistakes behind him. DIO and his henchmen want him dead. His wife and daughter hate his guts. And Jotaro won’t tell you that it hurts him, because he’s not good at expressing his feelings properly. Nor will he tell you that he cares. At age 17, showing feelings shows weakness for a delinquent like him. At 28, he’ll slowly open up to people he cares about. At 42, it’s too late to show affection. This goes along with the lyrics: “They dedicate their lives/To running all of his/He tries to please them all/This bitter man he is”. I chose this song for him specifically because of how the title goes along with Jolyne’s hateful feelings toward him in Stone Ocean. He was “unforgiven” by her for most of that part, and it’s unsure whether or not she fully forgave him before the ending events of Stone Ocean. We’re not even sure if he fully forgives himself for everything that happened, especially in Part 3. This is conveyed in the chorus: “What I’ve felt/What I’ve known/Never shined through in what I’ve shown/Never free/Never me/So I dub thee Unforgiven”. We know that the events of SDC terrorize him, at times with visions and nightmares. Jotaro is an angry and hateful person, so it’s not surprising he would hate himself for these things. This is especially shown in the repetition of “never”. The song is 71 BPM, and personally, I think it sounds like someone trekking tiredly on a lonely path. Jotaro is definitely tired after everything, and probably tired in general. The guitar makes the song sound a bit like a ballad. In a way, it sounds like the song goes through his life as “The Unforgiven”. The song says “young boy” in the beginning, and ends with “old man”, too. Lyrics: He’s battled constantly/This fight he cannot win/A tired man they see no longer cares/The old man then prepares/To die regretfully/That old man there is me”

#jjba #jojos bizarre adventure #jojo no kimyou na bouken #risotto nero #metallica #proscuitto jojo #prosciutto #hayato kawajiri #johnny joestar #jotaro kujo #vento aureo #steel ball run #stardust crusaders #diamond is unbreakable #jolyne kujo #vinegar doppio #la squadra #yoshikage kira #gyro zeppeli

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