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saintveil · 7 months

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Bite Down

Tallah

Max Portnoy/Derrick Schneider

Smut

⛓ Handjobs, biting, mentions of blood ⛓

Max layed on the hotel room's bed, his chest pressed against the mattress. His mind felt fuzzy from the exhaustion. He took comfort in the sound of Derrick shuffling somewhere on the other side of the room, having just returned from a shower. Max was too tired to look over, but he knew his close friend was shirtless, his skin warm from his shower. Max liked knowing he would soon join him. He always stayed farther away than he liked when they shared a bed. He wanted to stay close, and feel Derrick against him; and he'd had the chance a few times, but it felt wrong. It felt like he'd be taking advantage. For now, being in the same bed as him would have to be enough.

Max heard a pill bottle rattling across the room. "...you okay?" He mumbled, not opening his eyes.

"Yeah, I think I just overworked myself at the gym. My back fucking hurts." Derrick said, zipping his bag and returning to bed.

"I'm sorry... come here, I'll kiss it better." Max joked, too delirious to have much of a filter.

"You mean that?" Derrick laughed as he pulled on his hoodie, before crawling into bed.

"Mhmm" Max hummed.

Derrick only smiled at Max's actions. "Go to sleep. You need it." He said, petting Max's hair and turning off the lamp.

Max smiled as he heard Derrick shuffling, trying to get comfortable. Max sleepily placed a hand on Derrick's back. He knew where it hurt. After months of painful obsession, he knew Derrick's body better than his own. He scared himself sometimes, but he just brushed it off.

He put pressure between Derrick's shoulderblades, feeling his body tense up.

"Does that help?" Max mumbled.

"A little bit." Derrick said.

He relaxed against Max's touch. It helped, even if it wasn't much. Max fell asleep like that, his hand on Derrick's warm body. Derrick closed his eyes, attempting to sleep.

It never came to him, though. As much as Max's hand was helping, it was distracing to him. Derrick's face burned. He wasn't sure if he wanted to cry from pain or heartbreak. He couldn't breathe under such circumstances.

Derrick choked back his tears, forcing his eyes shut as he heard movement behind him.

"Derrick, you okay?" Max whispered softly.

"Y-yeah." Derrick stammered, wiping his eyes quickly.

Max sat up, leaning over Derrick. He gently moved the hair from Derrick's face.

"What's the matter? He asked sleepily.

Derrick began to panic underneath Max.

He was grateful Max couldn't see his face reddening in the dark. He tried to speak, but he couldn't. He thought about what to do in this situation. Could he run? He had nowhere to go.

Max was still leaning over him, his hair falling just above Derrick's face. He could smell his shampoo, and it only sent him spiraling further. The muscles in his arms were tense as he held himself up, still waiting for an answer.

Derrick, truly scared out of his wits acted on impulse. He sat up and kissed Max, tangling his fingers in his long hair. Max flinched, caught off gaurd, but kissed back.

He let his hands briefly wander Derrick's body, before resting them on his hips. He pulled away from the kiss, out of breath.

"What the hell was that all about?" He laughed, pushing Derrick back down against the bed.

"I don't know. I'm sorry, I wasn't thinking." Derric said, covering his face.

Max climbed onto Derrick's lap, now sitting properly on top of him.

"Don't be sorry. It's okay." Max responded, gently pulling Derrick's hands from his face.

Derrick blushed, trying his hardest not to break eye contact. Max didn't look angry, or uncomfortable, or even upset. The realization that Max was sitting directly on top of him suddenly hit, and the panic heightened.

"It's okay..." Max whispered in his ear reassuringly, before leaving a kiss on his cheek. "It's alright."

It wasn't long before his lips were on Derrick's neck. He placed his shakey hands on Max's back, unsure of how to react appropriately. He couldn't think straight like this. When Max didn't object, he slid one hand under his shirt.

"Is this okay?" Derrick managed to ask, praying he wouldn't hear the anxiety in his voice.

Max did, but decided it would be best not to point it out. Instead, he petted Derrick's hair, an attempt at comfort.

"Of course, I don't mind." Max said, looking Derrick in the eye.

Max removed his shirt, allowing Derrick to touch him without worry. He was too tired for an excessive amount of foreplay, but he was determined to soothe Derrick's nerves. Max took a deep breath, hoping that he wasn't moving too fast for his friend. He took one of Derrick's calloused, scarred hands in his, and pressed it against his stomach.

"You okay with this?" Max asked, pressing Derrick's palm gainst his lower stomach.

Derrick thought for a moment, semi-distracted by Max's warm skin.

"Yeah..." He finally replied.

"Let me know if that changes, baby." Max whispered. Derrick could hear the exhaustion in his voice, but he knew his words were sincere. They had been close friends for years. Max would never hurt him.

Derrick nodded, before Max began to guide his trembling hand farther down. Derrick's heart pounded as his fingers slipped past Max's waistband, and stopped between his legs.

Max waited, giving Derrick the chance to object if he wanted. When he didn't, he began to move his hand. Derrick's cheeks burned as he allowed Max to show him what pace to move, and how much pressure he needed. Max's movements were sloppy, and tired, but he continued to study Derrick's flushed face. He searched for any sign of fear or discomfort. He noticed anxiety, but little worse.

When Max was sure Derrick wasn't uncomfortable, he moved his hand away, allowing Derrick to continue himself.

"Good boy." Max murmered.

"Thank you." Derrick replied, blushing harder at the praise.

Max laughed softly, amused that Derrick's good manners didn't cease in bed. He let out a soft moan. It was a bit forced, and out of character for him, but he thought it might help Derrick relax.

It definitely did. Derrick's eyes were beginning to adjust to the darkness. The little bit of moonlight allowed him to see Max's face. He looked just as beautiful as ever. His hair fell across his shoulders, and his breathing was heavy.

"Max, you're so pretty." Derrick murmered.

The compliment made Max blush. Before long, Derrick's hand was pulled away and his wrist was pinned above his head. Max was tired, but determined. An orgasm wouldn't help him any in that moment. He wanted to make sure Derrick would feel as good as possible first. He held his free hand over Derrick's mouth, not hard enough to prevent him from speaking. He watched, waiting for an objection that would never come.

"Bite down." He whispered.

Derrick was confused by the strange request, but obliged. He was rewarded with a pained groan. It was much more real this time.

Max began to move his hips against Derrick's, his movements slow, and cautious. Derrick bit Max's palm again, gripping his thigh with the hand that wasn't pinned.

His moans were muffled by Max's hand, but they sounded beautiful nonetheless. Max laughed to himself, pausing a brief moment to pull Derrick's pajama pants down. Max decreased the weight on his hand as he pulled his underwear down as well.

"This okay?" Max asked.

"Yeah..." Derrick confirmed, breathing hard.

Max smiled, pressing down again. Derrick blushed as he gazed up at Max. He was rough, but not hostile. He wouldn't truly hurt Derrick, <i> ever. </i> Suddenly, the cold air hit his skin and he felt Max against him again.

Max moved his hand from Derrick's mouth, holding it out in front of him. There were bitemarks on his palm, one of them still dripping blood.

"Look at what you did." Max said quietly. Derrick felt his heart racing again. He hadn't meant to hurt Max. He was only trying to make him feel good. "Such a good boy."

Derrick let the praise calm him down as his legs began to shake. Max wasn't mad. He hadn't fucked up as bad as he thought he had. It was okay.

"You getting close baby?" Max whispered in his ear.

Derrick hummed a response. He could barely form words at this point. He still managed to call Max's name as he finished. Max's movements were growing sloppier, and before long his whole body temsed up on top of Derrick, finally loosening his grip on his wrist as well. It would probably leave a bruise.

"Come on, let me get that hoodie off of you." Max offered.

"No, I've got it. It's okay." Derrick said. He was beyond tired. He couldn't imagine how Max must be feeling.

Max crawled off of him, allowing him to take his dirty hoodie off. He dreaded getting up.

<i> 'So long for making up for lost sleep...' </i> Max thought as he stood up to change.

Before he left, he turned around.

"How's your back?" He laughed.

"It doesn't hurt anymore. Care to change that sometime?" Derrick said, laughing.

"Perhaps." Max said, walking to get clean clothes from his bag.

#tallah #tallah band #fanfiction #fanfic #rpf #max portnoy #derrick schneider #code orange #smut #tallah fanfiction

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fuestra · 1 month

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Not Dead Yet #1

I decided to make posts dedicated to new-ish rock bands or releases from the last 10 years, in part because I want to have an archive of band I learn about. I'll try to avoid bands formed before 10 years ago, but I have no doubts I'll make multiple exceptions.

Anyway, it's almost 4 AM, so I'll make this one brief. Not so long ago, I came across Tallah. As a pre-teen I loved nu metal (and by loving nu metal, I mean knowing System of a Down first album, Issues era Korn and Significant Other Limp Bizkit existed). Then as a metalhead teenager I disowned that and with 20-few as a young adult I finally reconciled with my younger taste and explored all the bands my older brother never could present me because of my trve kvlt stvpidity. Flash-forward to the lonely pandemic nights after my 29th birthday, and a Youtube recommendation blew my mind. Slipknot violent groove and turntables, (hed) P.E. vocal energy and deathcori-sh grunts. Tallah's "Overconfidence" was a love at first sight, and I've been following them ever since.

Here's a single from their last album The Generation of Danger (2022), "For The Recognition"

youtube

#not dead yet fuestra #music recs #song recs #music review #rock music #tallah #nu metal #justin bonitz #max portnoy #alex snowden #derrick schneider #Youtube

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abodyfarm · 4 months

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it always makes me so sad how few tallah fans there are that r as weird as i am ,, cuz like who am i gonna talk to abt how puppyboy derrick schneider is if not other weird metalhead fags on the internet ☹️

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xxeggywazherex3 · 2 years

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𝘛𝘩𝘶𝘴, 𝘺𝘰𝘶𝘳 𝘩𝘦𝘢𝘥 𝘴𝘱𝘪𝘵𝘴 𝘱𝘢𝘪𝘯, 𝘢𝘯𝘥 𝘵𝘩𝘦 𝘣𝘶𝘭𝘭𝘦𝘵 𝘳𝘢𝘮𝘱𝘢𝘨𝘦𝘴 𝘛𝘩𝘦 𝘨𝘦𝘯𝘦𝘳𝘢𝘵𝘪𝘰𝘯 𝘰𝘧 𝘥𝘢𝘯𝘨𝘦𝘳 𝘛𝘢𝘭𝘭𝘢𝘩 - 𝘛𝘦𝘭𝘦𝘴𝘤𝘰𝘱𝘦

#tallah #the generation of danger #my gifs #nu metal #metal #justin bonitz #mewzen #max portnoy #alex snowden #hungry lights #mewzxn #code orange #neon #metalcore #heavy metal #Derrick Schneider

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0verconfidence · 2 years

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Tallah Live @ The King of Clubs 03.21.22

#Tallah #Justin Bonitz #Mark Naples #Joel Edward Riley McDonald #Mewzen #Alex Snowden #Derrick Schneider

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lgbtqreads · 3 years

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New Releases: September 21, 2022

Middle Grade The Insiders by Mark Oshiro San Francisco and Orangevale may be in the same state, but for Héctor Muñoz, they might as well be a million miles apart. Back home, being gay didn’t mean feeling different. At Héctor’s new school, he couldn’t feel more alone. Most days, Héctor just wishes he could disappear. And he does. Right into the janitor’s closet. (Yes, he sees the irony.) But one…

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dear-indies · 3 years

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hi hi! I was hoping you could help me find a Jewish male fc that’s mid-20s, ethnicity doesn’t matter as long as they have some resources. Thank you so much for everything you do!

Hale Appleman (1986) Ashkenazi Jewish - queer.

Jesse Rath (1989) Goan Indian / Ashkenazi Jewish.

Carter Jenkins (1991) Russian Jewish, Belarusian Jewish, Polish Jewish / Irish, English, Scottish, at least 1/8 Cherokee (mother, who converted to Judaism).

Logan Lerman (1992) Ashkenazi Jewish.

Max Schneider (1992) Ashkenazi Jewish / German, English.

Ari Stidham (1992) Sephardi Jewish / Ashkenazi Jewish.

Ronen Rubinstein (1993) Ashkenazi Jewish - bisexual.

David Corenswet (1993) Ashkenazi Jewish / English, some Irish.

Noah Galvin (1994) Ashkenazi Jewish / Irish, Italian - gay.

Ryan Potter (1995) 1/2 Japanese 1/4 Ashkenazi Jewish 1/4 Swedish, English, German, Scots-Irish/Northern Irish.

Derrick Monasterio (1995) Italian, Jamaican [East Indian, Lebanese, Sephardi Jewish, Scottish] / Tagalog and Waray Filipino, Spanish [Castilian, Valencian], English.

Skyler Gisondo (1996) 3/4 Ashkenazi Jewish 1/4 Italian.

Charlie Rowe (1996) English, Scottish, 1/8 Ashkenazi Jewish, 1/8 Greek, 1/16 French, some Manx.

Austin Abrams (1996) Ashkenazi Jewish / English, Scottish, Welsh, likely Italian.

Leo Howard (1997) Russian Jewish, Austrian Jewish / English, Scottish, Irish.

All the older faceclaims have resources from when they were younger!

#fc help #rph #rpc #jewish fcs

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spy-in-the-house · 3 years

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TEKNOBRAT aka THOMAS STEPIEN

Brief bio of a DJ/Producer: WTF IS TEKNOBRAT? Hailing from Montreal yet currently living in Ottawa, Thomas Stepien aka Teknobrat has been in the scene since 1987! His prior musical training includes having studied the trumpet and piano at the Musical Academy in Canterbury High School in Ottawa. And he has worked for 11 years at ABM Records in Ottawa, a dance music record shop selling all kinds of electronic discoteque music and with several European techno/house distributors such as INDISC, PIAS, PRIME, CYBER and KUBIK. At this time, Stepien had an ever-growing music library comprising of an astounding 5.000+ albums. The early Detroit Techno sounds are in his blood and soul as well as the early Chicago Acid House and Ghetto Trax sounds from the end of the 80's early 90's. A a DJ and recording Artis as well he can been seen weaving Techno, House, Electro, Minimal, Deep House, Detroit TechnoBass & UK/EU style Techno plus essential Underground Disco Classics at the leading and underground parties. Teknobrat recently also holds a DJ residency at Mercury Lounge one of the most mythic House Music venues of Canada's Nations Capital. In addition to playing these venues, he used to have his own Techno/House music radio show, LA TEKNOSPHERE RADIO SHOW on CHUO 89.1 FM, Ottawa, wich aired from Sept 1997 to February 2005. Also he was the main host of the legendary techno house music radio show, PLANET RAVE, aired on CKCU 93.1 FM Ottawa, from 1991 to 1997. Today he's still busy at Otztawa's VANGUARD PULSE radio. By the way, Stepien has been appearing worldwide as a serious producer of House, Acid and Techno tracks on labels such as Komatsu, Ascend, Hemisphere, Missile UK, Communique US, Soiree Rec.Int. and Psycho Thrill Recordings since 1997. And this journey is not over yet but continues tirelessly ...

without the past … there’s no phuture … these alltime top20 faves in no particular order

01 BLACK DEVIL [BERNARD FEVRE]: H Friend [ A1-track from "Disco Club" RCA PL-164 FRA LP | 1978 ] 02 RHYTHIM IS RHYTHIM [DERRICK MAY]: It Is What It Is _ Juan's Majestic Mix [ A-side from "It Is What It Is" Transmat MS 6 US 12" | 1988 ] 03 JESSE SAUNDERS: On And On [ A-side from "On And On" Jes Say Records JS-9999 US 12" | 1984 ] 04 UNDERGROUND RESISTANCE: Jupiter Jazz [ A2-track from "World 2 World" Underground Resistance UR-020/ Submerge US 12" | 1992 ] 05 3 PHASE [SVEN RÖHRIG] feat. DR.MOTTE [MATTHIAS ROEINGH]: Der Klang Der Familie [ Transmat MS17/ Tresor US 12" | 1992 ] 06 LFO [GERRARD VARLEY, MARK BELL, MARTIN WILLIAMS]: LFO _ The Leeds Warehouse Mix [ A-side from "LFO" Warp Records WAP 5/ Outer Rhythm UK 12" | 1990 ] 07 PHUTURE [DJ PIERRE, EARL 'SPANKY' SMITH, HERBERT 'HERB J' JACKSON]: Acid Trax [ Trax Records TX-142 US 12" | 1987 ] 08 KEBEKELEKTRIK [PAT DESERIO & GINO SOCCIO]: Magic Fly [ A1-track from "Kebekelektrik" Les Disques Direction Records DLP-10005 CAN 12"/LP | 1977 ] 09 GIORGIO MORODER: The Chase [ Casablanca NBD-0146 US 12", single sided Pitman Pressing | 1978 ] 10 DREAMER G [J.GORDON]: I’ve Got That Feeling [ Madhouse Records, Inc. KCT-1001 UK 12" | 1992 ] 11 DONNA SUMMER: I Feel Love _ Patrick Cowley MegaMix & Edit [ Casablanca FEEL-12 US 12" | 1982 ] 12 [MARC] CERRONE: Supernature [ A-side from "Supernature/ Give Me Love" Atlantic K-11089 UK 12" | 1982 ] 13 PLASTIKMAN [RICHIE HAWTIN]: Sheet One [ Plus 8 Records PLUS8028/ Intellinet 2x12" | 1993 ] 14 M.F.A. [JÖRG BURGER, WOLFGANG VOIGT, CEM ORAL]: Music For Assholes on Blue [ Blue BLUE-001/ Blue German Electronic Foundation GER 2x12" | 1992 ] 15 X-102 [JEFF MILLS, MIKE BANKS, ROBERT HOOD]: Discovers The Rings Of Saturn on Tresor [ Tresor ‎4 GER 2x12" | 1992 ] 16 NEIL LANDSTRUMM: Brown By August [ Peacefrog Records PF-040 UK 2x12" | 1995 ] 17 CHOICE [LAURENT GARNIER & DIDIER DELESALLE]: Acid Eiffel [ A-side from "Paris EP" Fnac Music Dance Division 590155 FRA 12" | 1993 ] 18 DAPHNE ORAM: Oramics on Young Americans [ Young Americans YoungAm-001 RE UK 4x12"/ Album | 2013 ] 19 KRAFTWERK [FLORIAN SCHNEIDER, EMIL SCHULT, RALF HÜTTER, WOLFGANG FLÜR ]: Trans Europa Express [ Kling Klang 1C-064-82-306/ EMI GER LP/Album | 1977 ] 20 LIL'LOUIS & THE WORLD [MARVIN LOUIS BURNS]: Blackout [ FFRR LILLP-1 UK Promo-12" | 1989 ] #teknobrat #bookmarks: FACEBOOK | ARTIST | INSTAGRAM | DISCOGS | SOUNDCLOUD MIXCLOUD | VANGUARD PULSE | YOUTUBE | TWITTER BUBBLE WERKS EP | DEFCON ALERT EP

#teknobrat #technocanada #ottawa #montreal #soireerecordsinternational #psychothrillrecordings #communiquerecords #vanguardpulseradio

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vanillapastemp3 · 2 years

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swim away, go be my muse

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ovrlord · 6 months

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Tallah 2023

pics by Vanessa Valadez / lionrevolt on IG

#tallah #nu metal #true american nu metal #nucore #nu core #justin bonitz #max portnoy #alex snowden #derrick schneider #tyler hinson #metal #metal bands #band photography #nu metal bands #next to none #perfect shadows #coldxpanic #hungry lights #call it ego

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saintveil · 9 months

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Masterlist:

*I don't crosspost fics here anymore, but if I have a fic you would like to see on tumblr, don't be afraid to send an ask or a dm 💖💖

Noah Sebastian/ Nicholas Ruffilo One-Shots:

I Bottled Up and Drank the Pain:

Remember My Misery (Will Ramos/Justin Bonitz)

Part 1:

Part 2:

Part 3:

Part 4:

Part 5:

Part 6:

Ao3

Part 7:

Ao3

Tallah:

Bite Down:

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thelastuniverse · 3 years

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GRAMMYs Awards 2021

GENERAL FIELD

Record Of The Year: ‘EVERYTHING I WANTED’ — Billie Eilish Finneas O’Connell, producer; Rob Kinelski & Finneas O’Connell, engineers/mixers; John Greenham, mastering engineer

Album Of The Year: ‘FOLKLORE’ — Taylor Swift Jack Antonoff, Aaron Dessner & Taylor Swift, producers; Jack Antonoff, Aaron Dessner, Serban Ghenea, John Hanes, Jonathan Low & Laura Sisk, engineers/mixers; Aaron Dessner & Taylor Swift, songwriters; Randy Merrill, mastering engineer

Song Of The Year: ‘I CAN’T BREATHE’ — Dernst Emile II, H.E.R. & Tiara Thomas, songwriters (H.E.R.)

Best New Artist: Megan Thee Stallion

POP

Best Pop Solo Performance: ‘WATERMELON SUGAR’ — Harry Styles

Best Pop Duo/Group Performance: ‘RAIN ON ME’ — Lady Gaga with Ariana Grande

Best Traditional Pop Vocal Album: ‘AMERICAN STANDARD’ — James Taylor

Best Pop Vocal Album: ‘FUTURE NOSTALGIA’ — Dua Lipa

DANCE/ELECTRONIC MUSIC

Best Dance Recording: ‘10%’ — Kaytranada Featuring Kali Uchis Kaytranada, producer; Neal H. Pogue, mixer

Best Dance/Electronic Album: ‘BUBBA’ — Kaytranada

CONTEMPORARY INSTRUMENTAL MUSIC

Best Contemporary Instrumental Album: ‘LIVE AT THE ROYAL ALBERT HALL’ — Snarky Puppy

ROCK

Best Rock Performance: ‘SHAMEIKA’ — Fiona Apple

Best Metal Performance: ‘BUM-RUSH’ — Body Count

Best Rock Song: ‘STAY HIGH’ — Brittany Howard, songwriter (Brittany Howard)

Best Rock Album: ‘THE NEW ABNORMAL’ — The Strokes

ALTERNATIVE

Best Alternative Music Album: ‘FETCH THE BOLT CUTTERS’ — Fiona Apple

R&B

Best R&B Performance: ‘BLACK PARADE’ — Beyoncé

Best Traditional R&B Performance: ‘ANYTHING FOR YOU’ — Ledisi

Best R&B Song: ‘BETTER THAN I IMAGINED’ — Robert Glasper, Meshell Ndegeocello & Gabriella Wilson, songwriters (Robert Glasper Featuring H.E.R. & Meshell Ndegeocello)

Best Progressive R&B Album: ‘IT IS WHAT IT IS’ — Thundercat

Best R&B Album: ‘BIGGER LOVE’ — John Legend

RAP

Best Rap Performance: ‘SAVAGE ‘— Megan Thee Stallion Featuring Beyoncé

Best Melodic Rap Performance: ‘LOCKDOWN’ — Anderson .Paak

Best Rap Song: ‘SAVAGE’ — Beyoncé, Shawn Carter, Brittany Hazzard, Derrick Milano, Terius Nash, Megan Pete, Bobby Session Jr., Jordan Kyle Lanier Thorpe & Anthony White, songwriters (Megan Thee Stallion Featuring Beyoncé)

Best Rap Album: ‘KING’S DISEASE’ — Nas

COUNTRY

Best Country Solo Performance: ‘WHEN MY AMY PRAYS’ — Vince Gill

Best Country Duo/Group Performance: ‘10,000 HOURS’ — Dan + Shay & Justin Bieber

Best Country Song: ‘CROWDED TABLE’ — Brandi Carlile, Natalie Hemby & Lori McKenna, songwriters (The Highwomen)

Best Country Album: ‘WILDCARD’ — Miranda Lambert

NEW AGE

Best New Age Album: ‘MORE GUITAR STORIES’ — Jim “Kimo” West

JAZZ

Best Improvised Jazz Solo: ‘ALL BLUES’ — Chick Corea, soloist Track from: Trilogy 2 (Chick Corea, Christian McBride & Brian Blade)

Best Jazz Vocal Album: ‘SECRETS ARE THE BEST STORIES’ — Kurt Elling Featuring Danilo Pérez

Best Jazz Instrumental Album: ‘TRILOGY 2’ — Chick Corea, Christian McBride & Brian Blade

Best Large Jazz Ensemble Album: ‘DATA LORDS’ — Maria Schneider Orchestra

Best Latin Jazz Album: ‘FOUR QUESTIONS’ — Arturo O’Farrill & The Afro Latin Jazz Orchestra

GOSPEL/CONTEMPORARY CHRISTIAN MUSIC

Best Gospel Performance/Song: ‘MOVIN’ ON’ — Jonathan McReynolds & Mali Music; Darryl L. Howell, Jonathan Caleb McReynolds, Kortney Jamaal Pollard & Terrell Demetrius Wilson, songwriters

Best Contemporary Christian Music Performance/Song: ‘THERE WAS JESUS’ — Zach Williams & Dolly Parton; Casey Beathard, Jonathan Smith & Zach Williams, songwriters

Best Gospel Album: ‘GOSPEL ACCORDING TO PJ’ — PJ Morton

Best Contemporary Christian Music Album: ‘JESUS IS KING’ — Kanye West

Best Roots Gospel Album: ‘CELEBRATING FISK! (THE 150TH ANNIVERSARY ALBUM)’ — Fisk Jubilee Singers

LATIN

Best Latin Pop or Urban Album: ‘YHLQMDLG’ — Bad Bunny

Best Latin Rock or Alternative Album: ‘LA CONQUISTA DEL ESPACIO’ —Fito Paez

Best Regional Mexican Music Album (Including Tejano): ‘UN CANTO POR MÉXICO, VOL. 1’ — Natalia Lafourcade

Best Tropical Latin Album: ‘40’ — Grupo Niche

AMERICAN ROOTS MUSIC

Best American Roots Performance: ‘I REMEMBER EVERYTHING’ — John Prine

Best American Roots Song: ‘I REMEMBER EVERYTHING’ — Pat McLaughlin & John Prine, songwriters (John Prine)

Best Americana Album: ‘WORLD ON THE GROUND’ — Sarah Jarosz

Best Bluegrass Album: ‘HOME’ — Billy Strings

Best Traditional Blues Album: ‘RAWER THAN RAW’ — Bobby Rush

Best Contemporary Blues Album: ‘HAVE YOU LOST YOUR MIND YET?’ —Fantastic Negrito

Best Folk Album: ‘ALL THE GOOD TIMES’ — Gillian Welch & David Rawlings

Best Regional Roots Music Album: ‘ATMOSPHERE’ — New Orleans Nightcrawlers

REGGAE

Best Reggae Album: ‘GOT TO BE TOUGH’ — Toots & The Maytals

GLOBAL MUSIC

Best Global Music Album: ‘TWICE AS TALL’ — Burna Boy

CHILDREN’S

Best Children’s Music Album: ‘ALL THE LADIES’ — Joanie Leeds

SPOKEN WORD

Best Spoken Word Album (Includes Poetry, Audio Books & Storytelling): ‘BLOWOUT: CORRUPTED DEMOCRACY, ROGUE STATE RUSSIA, AND THE RICHEST, MOST DESTRUCTIVE INDUSTRY ON EARTH’ — Rachel Maddow

COMEDY

Best Comedy Album: ‘BLACK MITZVAH’ — Tiffany Haddish

MUSICAL THEATER

Best Musical Theater Album: ‘JAGGED LITTLE PILL’ — Kathryn Gallagher, Celia Rose Gooding, Lauren Patten & Elizabeth Stanley, principal soloists; Neal Avron, Pete Ganbarg, Tom Kitt, Michael Parker, Craig Rosen & Vivek J. Tiwary, producers (Glen Ballard, composer; Alanis Morissette, composer & lyricist) (Original Broadway Cast)

MUSIC FOR VISUAL MEDIA

Best Compilation Soundtrack For Visual Media: ‘JOJO RABBIT’ — (Various Artists) Taika Waititi, compilation producer

Best Score Soundtrack For Visual Media: ‘JOKER’ — Hildur Guðnadóttir, composer

Best Song Written For Visual Media: ‘NO TIME TO DIE [FROM NO TIME TO DIE]’ — Billie Eilish O’Connell & Finneas Baird O’Connell, songwriters (Billie Eilish)

COMPOSING/ARRANGING

Best Instrumental Composition: ‘SPUTNIK’ — Maria Schneider, composer (Maria Schneider)

Best Arrangement, Instrumental or A Cappella: ‘DONNA LEE’ — John Beasley, arranger (John Beasley)

Best Arrangement, Instruments and Vocals: ‘HE WON’T HOLD YOU’ —Jacob Collier, arranger (Jacob Collier Featuring Rapsody)

PACKAGE

Best Recording Package: ‘VOLS. 11 & 12’ — Doug Cunningham & Jason Noto, art directors (Desert Sessions)

Best Boxed Or Special Limited Edition Package: ‘ODE TO JOY’ — Lawrence Azerrad & Jeff Tweedy, art directors (Wilco)

NOTES

Best Album Notes: ‘DEAD MAN’S POP’ — Bob Mehr, album notes writer (The Replacements)

HISTORICAL

Best Historical Album: ‘IT’S SUCH A GOOD FEELING: THE BEST OF MISTER ROGERS’ — Lee Lodyga & Cheryl Pawelski, compilation producers; Michael Graves, mastering engineer (Mister Rogers)

PRODUCTION, NON-CLASSICAL

Best Engineered Album, Non-Classical: ‘HYPERSPACE’ — Drew Brown, Julian Burg, Andrew Coleman, Paul Epworth, Shawn Everett, Serban Ghenea, David Greenbaum, John Hanes, Beck Hansen, Jaycen Joshua, Greg Kurstin, Mike Larson, Cole M.G.N., Alex Pasco & Matt Wiggins, engineers; Randy Merrill, mastering engineer (Beck)

Producer Of The Year, Non-Classical: ANDREW WATT

• Break My Heart (Dua Lipa) (T) • Me And My Guitar (A Boogie Wit Da Hoodie) (T) • Midnight Sky (Miley Cyrus) (S) • Old Me (5 Seconds Of Summer) (T) • Ordinary Man (Ozzy Osbourne Featuring Elton John) (T) • Take What You Want (Post Malone Featuring Ozzy Osbourne & Travis Scott) (T) • Under The Graveyard (Ozzy Osbourne) (T)

Best Remixed Recording: ‘ROSES (IMANBEK REMIX)’ — Imanbek Zeikenov, remixer (SAINt JHN)

PRODUCTION, IMMERSIVE AUDIO

Best Immersive Audio Album: Due to the COVID-19 pandemic, the Best Immersive Audio Album Craft Committee was unable to meet. The judging of the entries in this category has been postponed until such time that we are able to meet in a way that is appropriate to judge the many formats and configurations of the entries and is safe for the committee members. The nominations for the 63rd GRAMMYs will be announced next year in addition to (and separately from) the 64th GRAMMY nominations in the category

PRODUCTION, CLASSICAL

Best Engineered Album, Classical: ‘SHOSTAKOVICH: SYMPHONY NO. 13, ‘BABI YAR’ — David Frost & Charlie Post, engineers; Silas Brown, mastering engineer (Riccardo Muti & Chicago Symphony Orchestra)

Producer Of The Year, Classical: DAVID FROST

Beethoven: Piano Sonatas, Vol. 9 (Jonathan Biss) • Gershwin: Porgy And Bess (David Robertson, Frederick Ballentine, Angel Blue, Denyce Graves, Latonia Moore, Eric Owens, Metropolitan Opera Orchestra & Chorus) • Gluck: Orphée & Eurydice (Harry Bicket, Dmitry Korchak, Andriana Chuchman, Lauren Snouffer, Lyric Opera Of Chicago Orchestra & Chorus) • Holst: The Planets; The Perfect Fool (Michael Stern & Kansas City Symphony) • Muhly: Marnie (Robert Spano, Isabel Leonard, Christopher Maltman, Denyce Graves, Iestyn Davies, Janis Kelly, Metropolitan Opera Orchestra & Chorus) • Schubert: Piano Sonatas, D. 845, D. 894, D. 958, D. 960 (Shai Wosner) • Shostakovich: Symphony №13, ‘Babi Yar’ (Riccardo Muti, Alexey Tikhomirov, Chicago Symphony Orchestra & Chorus)

CLASSICAL

Best Orchestral Performance: ‘IVES: COMPLETE SYMPHONIES’ — Gustavo Dudamel, conductor (Los Angeles Philharmonic)

Best Opera Recording: ‘GERSHWIN: PORGY AND BESS’ — David Robertson, conductor; Frederick Ballentine, Angel Blue, Denyce Graves, Latonia Moore & Eric Owens; David Frost, producer (The Metropolitan Opera Orchestra; The Metropolitan Opera Chorus)

Best Choral Performance: ‘DANIELPOUR: THE PASSION OF YESHUAH’ — JoAnn Falletta, conductor; James K. Bass & Adam Luebke, chorus masters (James K. Bass, J’Nai Bridges, Timothy Fallon, Kenneth Overton, Hila Plitmann & Matthew Worth; Buffalo Philharmonic Orchestra; Buffalo Philharmonic Chorus & UCLA Chamber Singers)

Best Chamber Music/Small Ensemble Performance: ‘CONTEMPORARY VOICES’ — Pacifica Quartet

Best Classical Instrumental Solo: ‘THEOFANIDIS: CONCERTO FOR VIOLA AND CHAMBER ORCHESTRA’ — Richard O’Neill; David Alan Miller, conductor (Albany Symphony)

Best Classical Solo Vocal Album: ‘SMYTH: THE PRISON’ — Sarah Brailey & Dashon Burton; James Blachly, conductor (Experiential Chorus; Experiential Orchestra)

Best Classical Compendium: ‘THOMAS, M.T.: FROM THE DIARY OF ANNE FRANK & MEDITATIONS ON RILKE’— Isabel Leonard; Michael Tilson Thomas, conductor; Jack Vad, producer

Best Contemporary Classical Composition: ‘ROUSE: SYMPHONY NO. 5’ — Christopher Rouse, composer (Giancarlo Guerrero & Nashville Symphony)

MUSIC VIDEO/FILM

Best Music Video: ‘BROWN SKIN GIRL’ — Beyoncé, Blue Ivy & WizKid , Beyoncé Knowles-Carter & Jenn Nkiru, video directors; Astrid Edwards, Aya Kaida, Jean Mougin, Nathan Scherrer & Erinn Williams, video producers

Best Music Film: ‘LINDA RONSTADT: THE SOUND OF MY VOICE’ — Linda Ronstadt, Rob Epstein & Jeffrey Friedman, video directors; Michele Farinola & James Keach, video producers

#grammys #grammys awards #Awards #2021

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unscharf-an-den-raendern · 4 years

Text

Interview with Ralf from 2005 (translated from German)

Read the original German version here: http://www.electroempire.com/index.php?thread/1755-ralf-h%C3%BCtter-kraftwerk-interview-2005/

They’re the most influential German band of all time, for a third of a century they advanced and shaped electronic music like no one else. During that time, they only gave about one hundred interviews worldwide, the living legends are considered to be media-shy. Now Arschmaden-rave-magazin managed to be the first German magazine since 2001 to get an exclusive interview with the Düsseldorf sound pioneers Kraftwerk. Hauke Schlichting was allowed to spend almost an hour on the phone with Ralf Hütter and found out that music gods are also completely normal people sometimes.

Hauke Schlichting: Are there many pre-order of the notebook edition of “Minimum Maximum” already?

Ralf Hütter: I think so. Kraftwerk is not just music, we also create the lyrics, the pictures and the entire visual concept. I’ve been doing that with my partner Florian Schneider since 1970. This notebook edition enables us to put a lot of ideas into effect that we had for a long time. And now that it's finished, it's a liberating moment.

Hauke Schlichting: I once saw you in the audience of a talk by Oskar Sala. I suppose that pioneers like Sala, John Cage and certainly Karlheinz Stockhausen were a source of inspiration for Kraftwerk...

Ralf Hütter: Especially in our living environment in the second half of the sixties. Our friends and we were involved in the art scene. Electronic music was not foreign to us.

Hauke Schlichting: In an old interview from 1976 you said: "The world of sounds is music.” The first thing that came to my mind was whether the members of Kraftwerk listened to and liked music by noise musicians or even industrial music? Is that a similar approach?

Ralf Hütter: I can only speak for myself now, but I definitely see a spiritual kinship there. Definitely.

Hauke Schlichting: You called your music "Industrial Folk Music" once...

Ralf Hütter: Yes, but not with an F. It was about "Industrielle Volksmusik", the English translated it. It was an idea of the electronic Volkswagen. That's a concept. We have always reported on everyday things. "Autobahn", for example, was an attempt to make everyday music.

Hauke Schlichting: Is there any electronic music from - let's say the last 20 years - that inspired you?

Ralf Hütter: Yes, especially this spiritual kinship between the two cities starting with a D.

Hauke Schlichting: Düsseldorf and Detroit!

Ralf Hütter: Right. We know the creative heads of Detroit like Derrick May, Mike Banks and Kevin Saunderson. And that's what we consider to be a real inspiration, alternating, which finds its sound in this language. The dynamic that's in there, like in here. This electric funk or whatever you want to call it, that's a spiritual kinship.

Hauke Schlichting: Were the first Cybotron records of Juan Atkins things that you already noticed back in 1981?

Ralf Hütter: We were also in New York earlier, where the record company took us to some afterhours in non-authorized clubs.

Hauke Schlichting: They already existed back then!?

Ralf Hütter: Yeah, sure, at the end of the seventies. Then we had the experience that Afrika Bambaataa played our song “Metall auf Metall”. I thought, oh, fine, and then more than a quarter of an hour went by and I started wondering, because the song is not that long. Until I realized that he combined it with several record players.

Hauke Schlichting: A live remix with turntables, so to speak...

Ralf Hütter: That must have been in '77.

Hauke Schlichting: Mr Bambaataa is definitely a pioneer as well.

Ralf Hütter: Definitely.

Hauke Schlichting: There are an infinite number of songs nowadays which obviously sampled Kraftwerk. You were once described as "the most sampled artists besides James Brown". Are you annoyed when this happens without being asked?

Ralf Hütter: In the right music it is mental communication. Creative feedback. But if they appear on any “cucumbers” (Translator’s note: Ralf means bad musicians) or purely commercial products, then our publishing house will take action.

Hauke Schlichting: Do you collect your own records? If you want to own all the Kraftwerk records, including all the different pressings, you’d have to collect several thousand.

Ralf Hütter: I think that's materialistic nonsense. It's like collecting beer coastes. That’s totally uninteresting. It's about music, not about some pieces of plastic.

Hauke Schlichting: But they say that you collect old synthesizers.

Ralf Hütter: Our studio has been changing constantly since 1970, there are always new things being wired, installed or programmed. Improved. So often some equipment is put away, first in the warehouse, because you might need them again. At some point they were standing there, nobody wanted them, then they got dusty, then reactivated in the Kling Klang Museum. Ten years later we restored and repaired them all to the latest state of the art. Now we have been asked if we could make them available for an exhibition, but at the moment we can't give them away because they are actually in use. Over the last twenty years, we have transferred all the original Kraftwerk sounds to the digital level. Together with our electrical engineers Fritz Hilpert and Henning Schmitz.

Hauke Schlichting: You used to take a lot of equipment weighing tons with you on tour.

Ralf Hütter: Yes, the Kling Klang Studio is our instrumentarium. It has been like that ever since the first concerts. At that time they were still single instruments or single racks with many cables. Then at some point we assembled them in multi-racks.

Hauke Schlichting: The live equipment was always identical to the studio equipment. Is that still the case now? The things you carry around with you now are much more compact.

Ralf Hütter: Now we play with the virtual Kling Klang Studio with laptops at concerts in real time and mobile. That's why we have been able to travel all over the world since 2002. Today we have complete access to the entire audio-visual show, which also changes a bit from concert to concert. That's what makes it interesting. We no longer have to build it up every day to reach a fixed status, we can work with it live. In the past we were on tour rather reproductively, a lot of things didn't work, that was actually a torture, these concerts back then. That's why we only did one tour, in 1975 ("Autobahn"), then for years almost nothing and in 1981 ("Computerwelt"), when we did another tour, we also used many tapes in addition to my analog sequencer, because our music was actually not playable live at that time.

Hauke Schlichting: The live DVD you’re releasing now gives the illusion that it is the complete recording of one concert. If you take a closer look, you will see that it has been put together from many concerts. Was there no concert that was great from front to back?

Ralf Hütter: We recorded and documented everything. We then selected the recordings based on quality and intensity. That was then put together. That is also our concept of electronic mobility. "Tour de France" should definitely be from Paris, "Autobahn" from Berlin, "Dentaku/calculator" from Tokyo. We had a lot more material available later, but we couldn't put that in. In Santiago de Chile, for example, the audience has the best timing in the world when clapping along. I've never experienced anything that synchronous before.

Hauke Schlichting: When Kraftwerk is in the studio, do you sometimes make music just for fun, just playing around a bit?

Ralf Hütter: We once said that the music composes itself.

Hauke Schlichting: That means constant trying out and jamming around?

Ralf Hütter: That's where we actually come from, we've been doing that since the late sixties. For more than a third of a century we've been walking on the same electronic path. We just try to be open for ideas. They come when you cycle, like “Tour de France”, they come when you drive, like “Autobahn”. Some things also arise from texts, from books, from all kinds of things. We use all mental ideas, we do not work according to one principle. The freedom lies precisely in the fact that all art forms are open to you today. It is a gift that we live in a time where you don't need a large orchestra and where you don't need a nobleman who puts gold ducats at your disposal. Now there is an autonomy that can be realized through the man-machine Kraftwerk.

Hauke Schlichting: Your studio seems a bit like a fortress against the outside world. But you have emphasized several times that you are not isolated at all, that you meet a lot of friends and actually lead a very normal life. But we know relatively little about that. Does that mean that private life is the super important compensation for an artist's life?

Ralf Hütter: No, we see ourselves as scientists, as music workers. We do our work, we drink a cup of coffee in the morning, on weekends we ride our bikes. We go to clubs because the lively scene of electronic music is important to us. And that's where it takes place. We have been connected to club culture since the sixties.

Hauke Schlichting: Does that mean that you now travel more often or specifically to performances by live artists or DJs?

Ralf Hütter: Mostly that happens when we are on the road. If the travel plan allows it, because otherwise it can happen that you can't concentrate at concerts in the evening due to lack of sleep. Working at the screen, with the mouse, they’re very fine movements. Minimal movements with maximum effect on sound and images. Again a mental reference to this work "minimum-maximum".

Hauke Schlichting: Can you imagine working with other musicians?

Ralf Hütter: We already worked together with different musicians, especially with music engineers. For example with François K, with William Orbit, with Etienne de Crécy, with Orbital, with Underground Resistance.

Hauke Schlichting: The revision of your back catalogue is now finished...

Ralf Hütter: Yes, finally. It is also about clarity and now for the first time everything is as it was intended.

Hauke Schlichting: Can you release more albums in the future that way?

Ralf Hütter: Yes, also because the technical development has changed in our favour. We now have the right tools at our disposal, so we don't have to spend so much time on wiring and installation.

Hauke Schlichting: The teen newspaper Bravo quoted you in 1975 with the sentence: "One day they will imitate our music. Could you have imagined back then that this would really happen?

Ralf Hütter: Yes, we thought so at that time. We played the album to them in my old Volkswagen. We had a big loudspeaker in the back, we didn't have the kind of equipment we have today. And then my friend Florian and I drove on the motorway with our poet and painter friend Emil and Bravo. At the beginning of the seventies our music was mostly only played in special radio programmes, e.g. by Winfried Trenkler. Before "Autobahn", Kraftwerk only existed in this art and student scene. And then live, we come from this live music scene. That we now play electronic music all over the world again is something where the circle closes. Now it takes on the shape we imagined in our imagination at the time.

Hauke Schlichting: Thirty years ago you also said: "In twenty years, in our opinion, there will hardly be any groups with guitars and drums any more. For us these instruments belong to the past already today."

Ralf Hütter: Right.

Hauke Schlichting: But that didn't quite come true.

Ralf Hütter: There are many antiques. But that is still true. There are also still symphony orchestras. In our opinion, the thoughts or essence of the present can only be realized with adequate means.

Hauke Schlichting: You have very few concrete political statements in your music...

Ralf Hütter: Rather socio-political, from our everyday life.

Hauke Schlichting: You only find a concrete one in the new version of "Radioactivity".

Ralf Hütter: Yes, we inserted that because there were endless misunderstandings. We simply wanted to clarify these misunderstandings with one word ("Stop").

Hauke Schlichting: Because of the last album the topic of cycling was once again massively brought into the picture...

Ralf Hütter: I had written this lyrics in 1983 with my French friend Maxime Schmidt. Florian was experimenting with sounds at the same time with his first sampler. This resulted in the album concept "Tour de France". At that time we released only that one single under time pressure and then the ideas fell a bit into oblivion. However, this practically slumbered as a film script in a long version in the studio under the heading unfinished projects. And we just finished that now.

Hauke Schlichting: You have been active as cyclists for a very long time...

Ralf Hütter: Yes, since "Mensch-Maschine". The concept of "man-machine" has brought an awareness, from the pure sound field of music a dynamic physicality man-machine has conclusively emerged. We tried that out and the fascination has remained.

Hauke Schlichting: The unity of man and bicycle is still the man-machine.

Ralf Hütter: That's how it is.

Hauke Schlichting: The man-machine motif has always been a dream of mankind. It already existed with the Greeks, it played a major role with the alchemists, in E.T.A. Hoffmann's "Sandman", in the film "Metropolis" - there are countless examples.

Ralf Hütter: That had become reality for us. There was often the misunderstanding of the machine-man, but we were always concerned with man-machines. We are interactively connected with the machines, that has remained so until today, that is actually a synonym for Kraftwerk.

Hauke Schlichting: Was Kurt Schwitters' "Schmidt-Lied" from 1927 the model for the album "Radioaktivität"?

Ralf Hütter: I've never heard it.

Hauke Schlichting: May I quote from it?

Ralf Hütter: Yes, of course!

Hauke Schlichting: "Und wenn die Welten untergehn, / so bleibt die Welle doch bestehn. / Das Radio erzählt euch allen, / was immer neues vorgefallen. / Und funk ich hier ins Mikrofon, / hört man im Weltall jeden Ton. / Und bis in die Unendlichkeit, / erfährt man jede Neuigkeit. / Wir funken bis zum Untergang / ins Weltall kilometerlang." ("And if the worlds go under, / the wave will still exist. / The radio tells you all, / whatever new happened. / And if I radio here into the microphone, / you can hear every sound in space. / And to infinity, / you'll hear every news. / We'll radio until the end / to space for miles and miles."

Ralf Hütter: A spiritual bond!

Hauke Schlichting: It only remains for me to say that we all hope not to have to wait that long and we are looking forward to new material. You will be turning sixty next year, I hope that Kraftwerk will continue to produce music for a very long time and present it live. But if you've been cycling for 25 or 30 years, like you do, then you should probably be fit.

Ralf Hütter: Yes, we are.

Hauke Schlichting: Wonderful, good luck for the future and thank you very much.

#kraftwerk

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