#eoin loveless

[bleeding---hearts]

it's a drenge kind of day

#mine #my photos #cassette tapes #cassettes #vintage #retro #music junkie #drenge band #eoin loveless #rory loveless #indie #indie sleaze #2014 grunge #2014 revival #grunge aesthetic #pale grunge #soft grunge #2014 tumblr #2014 aesthetic

[junksterrr]

Drenge

#<3 <3 <3 #drenge #rory loveless #eoin loveless #derbyshire boys meet london

[xserpx]

Tagged by @beeblackburn! ❤️

Rules: List ten books that have stayed with you in some way, don’t take but a few minutes, and don’t think too hard - they don’t have to be the “right” or “great” works, just the ones that have touched you.

• The Trouble With Peace by Joe Abercrombie

• Artemis Fowl by Eoin Colfer

• Night Watch by Terry Pratchett

• Mansfield Park by Jane Austen

• Desolation Island by Patrick O'Brian

• Frankenstein by Mary Shelley

• Boyfriend Material by Alexis Hall

• Blood Rites by Jim Butcher

• Loveless by Alice Oseman

• Flying Colours by CS Forester

Tagging @captaindibbzy @enonem @arrows-for-pens @verecunda @sanguinarysanguinity

#this is really an exercise in authors i love #bc i could fill the entire list with abercrombie & pratchett

[nicxxx5]

book wish list

hi! this is different from my typical posts ig but if there's one thing i love it's making lists! here is my wish list for books that i want to get as of now

The Hate U Give; Angie Thomas

I am Not Your Perfect Mexican Daughter; Erika L. Sanchez

You're Welcome Universe; Whitney Gardner

Leah on The Offbeat; Becky Albertalli

Picture us in the Light; Kelly Log Gilbert

The Red Scrolls of Magic

The Music of What Happens; Bill Konigsberg

Cupid Painted Blind; Marcus Herzig

The Dangerous Art of Blending In; Angelo Surmelis

Mexican Whiteboy; Matt de la Pena

Ball Don't Lie; Matt de la Pena

Bloom; Kevin Panetta

We Contain Multitudes; Sarah Henstra

This is Kind of an Epic Love Story; Kheryn Callender

Been Here All Along; Sandy Hall

You Asked For Perfect; Laura Silverman

The Music of Dolphins; Karen Hesse

Silence; Deborah Lytton

Accidental Love; Gary Soto

Every Day; David Levithan

Me Before You; Jojo Moyes

Artemis Fowl; Eoin Colfer

Unspoken; Sarah Rees Brennan

The Land of Stories: The Wishing Spell; Chris Colfer

Snakehead: Alex Rider; Anthony Horowitz

Fablehaven; Brandon Mull

Virals; Kathy Reichs and Brendan Reichs

His Dark Materials: Northern Lights (or the Golden Compass); Philip Pullman

The Last Apprectice/The Spook's Secret; Joseph Delaney

Disney After Dark: Kingdom Keepers; Ridley Pearson

The Thing About Jellyfish; Ali Benjamin

Pan's Labyrinth; Guillermo del Toro

History is All You Left Me; Adam Silvera

Mythology: Timeless Tales of Gods and Heros; Edith Hamilton

Starfish; Akemi Dawn Bowman

Mosquitoland; David Arnold

Challenger Deep; Neal Shusterman

The Ghosts we Keep; Mason Deaver

The Passing Playbook; Isaac Fitzsimons

The Tragedy of Heterosexuality; Jane Ward

Holding up the Universe; Jennifer Niven

All the Bright Places; Jennifer Niven

Renegades; Marissa Meyer

The Female of the Species; Mindy McGinnis

A Good Girl's Guide to Murder; Holly Jackson

Such a Fun Age; Kiley Reid

She Gets the Girl; Rachael Lippincott and Alyson Derric

Kisses and Croissants; Anne-Sophie Jouhanneau

Red, White and Royal Blue; Casey McQuiston

The Librarian of Auschwitz; Antonio Iturbe

The Rise of Kyoshi; F.C. Yee

The Shadow of Kyoshi; F.C. Yee

Love and Olives; Jenna Evans Welch

The Midnight Library; Matt Haig

The Spanish Love Deception; Elena Armas

Every Word You Never Said; Jordon Greene

When We Were Lost; Kevin Wignall

The Gravity of Missing Things; Marisa Urgo

We Are The Ants; Shaun David Hutchinson

Iron Heart; Nina Varela

Coming up for Air; Nicole B. Ryndall

Unmasking Autism; Devon Price

Planting a Seed; Kate Gaertner

Period Power; Maisie Hill

Disibility Visibility; Alice Wong

Queerly Autistic; Erin Ekins

We're Not Broken; Eric Garcia

Divergent Mind; Jenara Nerenberg

Loveless; Alice Oseman

I Was Born for This; Alice Oseman

there is for sure some that i am missing so there will definitely be a part 2 to this at some point

#books #book life #bookworm #book wishlist #book list #books to read #alice oseman #rachael lippincott #matt haig #david levithan #angie thomas #jennifer niven #tag some popular authors #queer books #lgbt books #autism books #ya books #memoirs #fiction #mythology #fantasy #historical #realistic fiction #nic's things #lists #list making #autistic #putting that because yeah i think my love for making lists is one of my autistic traits

[spooky11]

Fades to Black - Drenge

#drenge #eoin loveless #rory loveless

[punkscowardschampions]

Names & Faces & BDays

Family

Sue Bevan- Sarah Lancashire- Tess’ Maternal Grandmother- 1939

Bill Baker- N/A- Tess’ Maternal Grandfather- 1934

John Vickers- Matt King- Tess’ Father- 1939-1995

Megan Baker- Erin Doherty- Tess’ Mother- 1959-1981

Kayleigh Baker-Barnett- Victoria Smurfit- Tess’ (M) Auntie- 1962

Bill Baker Jnr- Michael Fassbender- Tess’ (M) Uncle- 1963

Sarah Ahmed- Joanne Froggatt- Tess’ (M) Auntie- 1966

Peter Baker- Marc Warren- Tess’ (M) Uncle- 1968

Chantelle Baker-Barnett- April Pearson- Tess’ Cousin- 1981

Masood Ahmed- Dev Patel- Tess’ Cousin- 1989

Tamwar Ahmed- Avan Jogia- Tess’ Cousin- 1991

Jasminder Ahmed- Anaya Kolvanker- Tess’ Cousin- 1997

Honey Baker- Morgana Davies- Tess’ Cousin- 1999

Daisy Baker- Alyvia Alyn-Lind- Tess’ Cousin- 2001

Poppy Baker- Hattie Gotobed- Tess’ Cousin- 2002

Brendan McKenna- Tom Hardy- Fearghal’s Father- 1942-2003

Brigid McKenna- Orla Brady- Fearghal’s Mother- 1944-2004

Diarmaid McKenna- Cillian Murphy- Fearghal’s Brother- 1962-1990

Angela McKenna- Susan Lynch- Diarmaid’s Wife

Donal McKenna- James Norton- Fearghal’s Brother- 1967-1990

Mary McKenna- Rita Simons- Donal’s Wife

Tara McKenna- Saoirse Ronan- Fearghal’s Sister- 1972

Kaitlin McKenna- Jessica Barden- Fearghal’s Twin- 07/08/1976

Samson Kalu- John Boyega- Kaitlin’s Husband

Eoin McKenna- Charlie Hunnam- Fearghal’s Brother- 1978

Maria McKenna- Cristina Brondo- Eoin’s Wife

Aislinn McKenna- Evanna Lynch- Fearghal’s Sister- 1980

Paddy McKenna- Harris Dickinson- Fearghal’s Brother- 1985

Natsumi McKenna- Shiori Kutsuna- Paddy’s Wife

Eddie McKenna- Finn Cole- Fearghal’s Brother- 1989

Niamh McKenna- Orla Gartland- Fearghal’s Sister- 1991

Sophia Garcia- Ana De Armas- Niamh’s Wife

Brendan McKenna Jnr- Jody Lantham- Diarmaid’s son- 1984

Aidan McKenna- Jack McMullen- Diarmaid’s son- 1985

Cillian McKenna- Johnny Bennett- Diarmaid’s son- 1987

Kearney McKenna- Adam Long- Diarmaid’s son- 1989

Bronagh McKenna- Tilly Keeper- Donal’s Daughter- 1987

Ferdia McKenna- Joe Cole- Donal’s Son- 1989

Malachi Kalu- Franz Drameh- Kaitlin’s Son- 1993

Lee McKenna- Danny Walters- Eoin’s Son- 1998

Liam McKenna- Harry Kirton- Eoin’s Son- 1999

Aoife McKenna- Aisling Franciosi- Eoin’s Daughter- 2009

Caoimhe McKenna- Sophie Borja- Eoin’s Daughter- 2009

Ruari Murphy- Cameron Monaghan- Aislinn’s Son- 1999

Niall Murphy- Gabriel Basso- Aislinn’s Son- 2002

Lennox McKenna- Ezra Miller- Paddy’s Son- 2017

Marvin McKenna- George Miller- Paddy’s Son- 2017

Liv O’Connell- Annes Elwy- Eddie’s Daughter- 2034

Gen One

Tess Vickers- Lily Loveless- 19/11/1976- Scorpio

Fearghal McKenna- Jack O’Connell- 07/08/1976- Leo

Kathryn Houghton- Vega Essermeant- Beeline’s Maternal Auntie- 29/12/1975- Capricorn

Natasha Houghton- Elizabeth McLaughlin - Beeline’s Mother- 17/03/1977- Pisces- 11/11/2000- 23 years old

Sonny Agosti- Azim Osmani- Beeline’s Father- 02/05/1975- Taurus- 11/11/2000- 25 years old

Gen Two

Ronnie Olufemi- Ruby Tandoh- 09/06/1991- Gemini

Joe Mckenna- Anton Yelchin- 01/01/1995- Capricorn

Fraze McKenna- Will Poulter- 30/04/1996- Taurus

Ray Mckenna- Milly Alcock- 30/04/1996- Taurus- 26/07/2009- 13 years old

Bea Agosti- Moya Palk- 15/06/1996- Gemini

Tommy McKenna- Bertie Gilbert- 26/12/1998- Capricorn

Ali McKenna- Dakota Fanning- 13/02/2000- Aquarius

Ro Agosti- Emma Roberts- 11/11/2000- Scorpio- 17/11/2030- 30 years old

Ronan O’Shaughnessy-Jeremy Allen White- 31/08/2000- Virgo

Bartley O’Shaughnessy- Miles Teller- 14/11/1999- Scorpio

Johnny O'Shaughnessy- Frank Dillane- 23/02/1996- Pisces

Moses O’Shaughnessy- Thomas Doherty- 30/09/1997- Libra- 

Caleb Cavante- Jaden Smith- 06/12/1999- Sagittarius

Meena Goldsmith- Daphne Groenveld- 17/10/2000- Libra

Carly Walsh- Elizabeth Olsen- 11/06/2000- Gemini- 24/04/2014- 13 years old

Rocky McKenna- Josh O’Connor- 01/04/2009- Aries

Gen Three

Django Walsh- Toby Wallace- 30/03/2014- Aries

Una Gallagher - Jenna Ortega- 26/07/2014- Leo- 22/07/2030- 15 years old

Buster McKenna- Justin Crichlow- 31/10/2016- Scorpio*

Nancy McKenna- Lucy Boynton- 31/10/2016- Scorpio*

Rio Cavante- Antonia Thomas- 03/12/2016- Sagittarius

Liam Foley- Jacob Elordi- 26/08/2017- Virgo

Edie O’Shaughnessy- Billie Eilish- 27/10/2017- Scorpio

Grace Cavante- Sammi Maria- 13/10/2021- Libra

Janis Cavante- Ella-Rae Smith- 13/10/2021- Libra

Ava McKenna- Jessica Alexander- 27/05/2022- Gemini*

Junior O’Shaughnessy - Ethan Cutkosky- 13/08/2023- Leo

James Pemberton-Howard- Nicholas Hoult- 16/01/2017- Capricorn

Chloe Woodall-James- Holliday Grainger

Teddy Pemberton-Howard- Lucky Blue Smith

Gia Pemberton-Howard- Gemma Ward

Jimmy Taylor- Nico Mirallegro- 08/09/2021- Virgo

Casey Taylor- Brenton Thwaites- 25/03/2024- Aries

Gen Four

Violette Rose Borello-Agosti - Bailee Madison- 14/11/2030- Scorpio*

Jay Pemberton-Howard- Barbara Palvin- 22/04/2034- Taurus

Mattie Pemberton-Howard- Kristine Froseth- 28/08/2038- Virgo

Fi Caldwell- Thea Sofie Loch Naess- 13/12/2041-  Sagittarius

Dolly-Blossom Farrington-Stone- Imogen King- 31/12/2042- Capricorn

Lulu-Bloom Farrington-Stone- Abigail Cowen - 31/12/2042- Capricorn

Hathor McKenna- Adwoa Aboah- 20/06/2041- Gemini

Sekhmet McKenna- Khadijha Red Thunder- 20/06/2041- Gemini

Adonis Saint McKenna- Younes Kahlaoui - 26/02/2044- Pisces

Tansy Pemberton-Howard- Lottie Moss- 2043

Maggie O’Shaughnessy- Ella Purnell- 17/09/2031- Virgo

Amber Jackson- Zoe Kravitz- 23/11/2031- Scorpio-Sagittarius Cusp

Libi Foley- Claudia Sulewski- 27/02/2032- Pisces*

Bobby Taylor- Fernando Lindez- 01/07/2032- Cancer

Cosmo Cavante- Arjan Van Hesteren- 23/08/2032- Leo-Virgo Cusp

Sylvie McKenna- Romi van Renterghem- 2032 ish

Jake Cohen- Timothee Chalamet- 2032 ish

Callum Quinn- Charlie Gillespie- 2032 ish

Margot McKenna- Camille Jansen- 2034 ish

Dash Cavante- Nayleye Junior Dolmans- 20/01/2034- Capricorn-Aquarius Cusp

Lux Abernathy- Hunter Schafer- 20/03/2034- Pisces-Aries Cusp

Jac Taylor- Alycia Debnam Carey- 17/09/2046- Virgo

Jameson Taylor- Iris Law- 21/06/2047- Gemini-Cancer Cusp

Savannah Moore- Laura Harrier- 12/05/2047- Taurus

#gen one #gen 1 #gen two #gen 2 #gen three #gen 3 #gen four #gen 4 #faces #plotting

[reviewsphere]

MUSIC REVIEW: Drenge @ Glasgow's King Tuts

MUSIC REVIEW: Drenge @ Glasgow's King Tuts ⭐️⭐️⭐️⭐️ @drenge @kingtuts #drenge

King Tuts Wah Wah Hut is a place with a sense of occasion built into its very foundations. This is the building where Oasis got signed and it’s filled with the Indie scene’s usual suspects wearing denim jackets, Doc Martens and t-shirts with band logos plastered on the front. The occasion is Drenge’s return to Glasgow since their comeback last year.

The band have seen some changes in the time in…

View On WordPress

#Drenge #Eoin Loveless #glasgow #King Tuts Wah Wah Hut #scotland

[wewerepromisedsomuch]

Album Review: Drenge

Artist:  Drenge

Title:  Strange Creatures

Record Label: Infectious Music

Release Date: 22nd February 2019

Rating: 9.0/10

For album number three, Drenge have ploughed headlong into a cinematic aesthetic that’s been teased by their earlier outings; ‘Strange Creatures’ is a record that quivers like a psychological thriller rather than a Hollywood blockbuster. This would be the kind of motion picture where your mind is urged to build up a mental image rather than having the story spoon-fed to you. The feeling of being an outsider is woven throughout the Loveless brother’s third record, you view the world through Rory and Eoin’s eyes as they opt to reject faux-American culture whilst painting the picture of people that like to observe from the shadows. The band themselves are open about their life on the fringes “being the outsider perhaps hasn’t permeated all our songs before, but we’re both weirdos”

Sonically, the Derbyshire duo have pushed themselves into further experimentation, the ferocity of their self titled debut has been evenly spread out, so keep the pair’s looming intensity but at a slower, more menacing pace. If ‘Undertow’, the band’s sophomore LP, was Eoin and Rory stretching their boundaries then ‘Strange Creatures’ finds the pair completely disregarding them by tinkering with electronics, brass and all manner of odd textures.

“It started with a bang” announces opening track ‘Bonfire of the City Boys’, a rampant bass and drum propelled throb, that sees stickman Rory flex his herculean muscles as colossal beats come at you from all angles. Bass thrum swells to earthquaking walls of sound, as Eoin can be heard switching from streams of consciousness rants to lung busting shouts. This is a song for the disenchanted as the band’s mouthpiece proclaims “we’re the fly in the ointment/the hair in the food” as if to quantify their status of being figures on the periphery of social standings. ‘Strange Creatures’ first foray into the twosome showing their disdain for recycled American culture comes via ‘Teenage Love’s dark, sardonic tale of milkshakes, diners and jukeboxes, “where the old dogs prowl/there’s a diner on the edge of town”. It would also seem Eoin disagrees with Kelis’ alluring, diary-based sirens call as well, as punctuated by the acidic “milkshakes make me sick/lactose intolerant”, the Drenge lads won’t be going to Kelis’ yard any time soon! ‘Prom Night’ twists the narrative of a school dance ending in a gory massacre. Surf guitars twang out an uneasy refrain, as Eoin goes on to detail some disturbing observations “people coming out covered in blood” whilst recounting the hazy vision of an unidentified being “but to swear to god/that night before the sirens arrived on the scene/something stepped out from under the rubble/whatever it was it was like Halloween”. An added drawl of saxophone just enhances these macabre visions. ‘No Flesh Road’ opts for more of an abstract approach, with drum machine taps wrapped around a solitary bass buzz, the track slithers and meanders while the band recount a mystery road trip where “taillights glow in the midnight snow”. A serrated riff and queasy synth lines convey a grinding sense of threat towards the track’s swelling climax. The album’s eponymous centrepiece takes on a spectral form, guitars splinter and ghoulish organ noises create a sense of unease. Drenge’s third effort revels itself like a ten-part series of spooky episodes but there’s also the occasional reference to some of cinema’s greatest films, most notably during ‘Autonomy’s squelching electronics and choppy rock ‘n’ roll riffola, you might want to keep an eye out for the Blade Runner Easter egg (spoiler alert!).

After four years in captivity ‘Strange Creatures’ is clawing at the cage door and is snarling to be set free. You’d better prepare yourself for this unpredictable beast.

#Drenge #Strange Creatures #Album Review #Music Review #Music #Rock #Indie #Punk #Music Blog #The Smiths #Cinema #Films #The Cure #Movies #Undertow

[medisinals]

character solidifying 1 & 2!

character solidifying questions | @ferocioushonesty | no longer accepting

blackwell + parents!

1. How does your character think of their father? What do they hate and love about him? What influence - literal or imagined - did the father have?

        First off, Blackwell doesn’t see anyone in his life as his father. There’s Augustus, his mother’s husband, who was probably the most present in his life, but wasn’t his father biologically and made it exceedingly clear he didn’t want to be his father socially. There’s Eoin, his biological father, whom he never met. And there’s Cathair, the gardener on his mother’s estate, who was probably the closest he had to an actual father figure, but… still not all that close, tbh.

        Augustus was entitled and insecure, a son of old English nobility reduced to marrying the noveau riche for money. He kind of hated the child’s existence. The child was a product of an extramarital affair; Augustus couldn’t look at him without seeing evidence of his wife’s infidelity and his own emasculation. He was all in favor of offloading the child elsewhere- they had three sons already, they didn’t need anyone else’s brat- but his wife Florence held the financial power in their relationship, and if she wanted the child raised as part of their family, Augustus had no way to refuse.He coped poorly, including projecting a lot of his rage and disgust onto the child.

        Publicly, of course, the child was Augustus and Florence’s own. The family knew of Florence’s infidelity, as did certain of their staff, but that secret wasn’t supposed to spread. The child looked more like his mother than either of his alleged fathers, so he didn’t seem out of place among the family, but Augustus worried that something about the child would give him away, so he wasn’t often brought with when the family went out in public. This was a matter of uneasy compromise between Augustus and Florence.

        When the child first started asserting his own gender, Augustus was… violently opposed. It took Florence’s interference to establish safety for the child, and even then Augustus only tolerated the child in the absolute worst sense of the word “tolerate.” If he couldn’t do anything about the child, he figured grudgingly, he might as well keep someone else’s bastard son as someone else’s bastard daughter.

        As soon as Florence died, Augustus found a way to get the child out of his sight. Florence’s will provided for the child’s schooling at a well-renowned boys’ school in England; what mattered to Augustus was that he would be gone. He sent the child away under another name, and gave him no reason to return.

        Blackwell doesn’t see Augustus as having had a significant impact on him or his life, but really- Augustus taught Blackwell to expect no compassion and no understanding. He taught him spite and stubbornness and survival, and to seek security wherever and however he could find it. He taught him how quickly things could be taken away.

        Eoin, as previously mentioned, was never part of the child’s life. Everything the child knew about him was secondhand: that he was a local (read: Irish), that he was a tailor, that he was a drunkard, that he left town six months before the child was born, that there must have been something wrong with him and that that must be why the child walked with a limp from his very first steps. Even then, the child held doubt on most of what he heard.

        And then there was Cathair, the gardener. Cathair taught the child the names of flowers and how to coax them into beauty. He taught him superstition and safety; he taught him which plants were safe to eat and how. He taught him Gaelige in stories and jokes and songs, even if the others would rip it back out of the child’s mouth. Cathair was the one who pulled the child out of the half-frozen pond when he nearly drowned one March. Cathair was the only one to show him kindness for kindness’s own sake.

        The child was attached to Cathair, of course. He tailed the gardener as he made his way through the grounds, listened to everything he said. They were far closer than Augustus and the child had ever been. Still, Cathair wasn’t exactly a substitute father. Close, but Cathair wasn’t available or reliable in the way a child requires. Which isn’t Cathair’s fault- it was never his responsibility to adopt or even care about his terrible boss’s creepy kid. The fact that he chose to show the kindness and care that he did, even if he couldn’t step in as an actual parental figure, did make a significant impact on Blackwell as a child, and on the person he would become.

2. Their mother? How do they think of her? What do they hate? Love? What influence - literal or imagined - did the mother have? 

        Florence was… very smart, and very driven, and very strong-willed. She was also petty and self-centered and often lacking in compassion.

        She cherished her fourth child as a symbol of her autonomy. She felt trapped in a loveless marriage, living a life that wasn’t entirely within her control. Her affair with Eoin was a rebellion against those trapped feelings, a way to prove to herself that she could break the rules that bound her. Her decision to tell Augustus about the affair came from the same impulse to prove he had no control of her, as did her decision to keep the child.

        She was the child’s first and strongest supporter when he began to assert his own gender. That, for her, was another power play. She knew how Augustus hated the child; defending and supporting the child was more about her showing her defiance of Augustus than it was about any actual affection or care for the child. 

        Of course, Blackwell was young when he knew his mother. A lot of the nuances of her motivations escaped him. He was always sharp, though, and he could read a situation well enough to know not to expect certain things from her: she wasn’t warm, she wasn’t particularly attentive, she wasn’t very interested in anything he had to say to her unless she could find a way to use it towards her own goals. But she was still the closest thing he had to a figure of safety. She defended him from Augustus’s wrath. She allowed him to grow up as himself. Whatever her motivations, she was a vital supportive presence in Blackwell’s early life.

        And then again, she was also the first of many relationships in his life to use caretaking as an excuse for controlling behavior. The fourth child was forbidden from many of the freedoms that his older half-brothers were allowed to enjoy (including such things as being able to leave the manor grounds), with his “delicate constitution” always being cited as the reason. (“Delicate constitution” can mean many things. Here, it is being used to mean you’re trans and disabled and we have no idea what to do with that.) To be fair, there may have been valid concerns about the child’s health- but no one ever brought up his health except to use it to prevent him from doing something. The real reason he was kept so cloistered was a compromise with Augustus. Florence had to give some ground, and that ended up being that the child’s existence was mainly hidden from the larger world.

        Florence taught Blackwell the importance of having allies stronger than he was. He learned that it wasn’t important whether or not someone loved him- what mattered was whether or not they were willing to defend him. She also taught him that any perceived vulnerability could and would be used against him, even by those who nominally stood on his side.

        And her death when he was 8 was what convinced him he wanted to be a doctor, but hoo boy that’s a whole nother post coming.

#ferocioushonesty #//augustus is terrible florence is also kinda terrible cathair is valid and eoin isn't there #//wow this got out of hand. thank you for sending it in! #and finish knowing– then– | ABOUT #transphobia /// #child abuse (implied) /// #the human heart is told of nothing | ANSWERED #florence tag tba. #augustus tag tba.

[jungleindierock]

Drenge - Bonfire Of The City Boys

An apt track for Guy Fawkes Night (Bonfire Night), Bonfire Of The City Boys is taken from the third album by Drenge, Strange Creatures, which is out 22nd February 2019.

Drenge consists of tbrothers, Eoin Loveless and Rory Loveless, from Sheffield, UK. They play riffy garage post-punk.

Links: Facebook | Twitter | Bandcamp

#Drenge #Bonfire Of The City Boys #new music #new video #2018 #indie rock #rock #alternative rock #alternative #indie music #garage punk #punk #punk rock #Rebjukebox #Jungle Indie Rock

[junksterrr]

Drenge

#drenge #eoin loveless #rory loveless

[xserpx]

Books Read in 2020

Emma - Jane Austen ★★☆☆☆

North and South - Elizabeth Gaskell ★★★★★

Peace Talks - Jim Butcher ★☆☆☆☆

Treasure Island - Robert Louis Stevenson ★★★☆☆

Northanger Abbey - Jane Austen ★★★☆☆

Persuasion - Jane Austen ★★★★☆

Sense and Sensibility - Jane Austen ★★☆☆☆

So You've Been Publicly Shamed - Jon Ronson ★★★★☆

The Fowl Twins: Deny All Charges - Eoin Colfer ★★☆☆☆

Loveless - Alice Oseman ★★★★☆

Mansfield Park - Jane Austen ★★★★★

Piranesi - Susanna Clarke ★★★★☆

The Trouble With Peace - Joe Abercrombie ★★★★★

Battle Ground - Jim Butcher ★☆☆☆☆

The Song of Achilles - Madeleine Millar ★★★★☆

I also re-read the entire First Law series by Joe Abercrombie, and I’m currently re-reading the Iliad bc The Song of Achilles made me miss Hector ;w;. I started Moby Dick but haven’t finished it. North and South and the Trouble With Peace get extra credit for being phenomenal books that became life-ruining hyperfixations. TTWP gets extra extra credit for getting me through the crushing disappointment of Battle Ground lmao.

#i'm pretty sure i've missed things especially any other re-reads #xserpx #also i feel like north and south is the peak period romance novel and i find it hard to believe anything could top it and that worries me

[27timescinema]

REVIEW - SPENCER

By Eoin O'Donnell

“You are your own weapon; don't cut it to pieces”.

This is the line that most resonates in Pablo Larraín’s tender, tragic but often playful portrait of a complex woman. Spencer is not an elegant, respectful stroll through Buckingham Palace; it’s an irreverent upending of the hierarchy and a violent disruption of the established narrative when it comes to the royals.

Much as the title implies, Spencer is a liberation of Diana’s story from the clutches of those who drove her to her death, re-claiming her humanity and warmth through a story that values no perspective but her own. While many might have wanted or expected a tender family drama featuring all their favourite highnesses and majesties, Larraín and writer Steven Knight re-imagine Diana’s story as a Shakespearean tragedy in the visage of Anne Boleyn and Jane Seymour: the ‘ghosts of Windsor past’ who visit her at night to warn her away from the poisonous, irredeemable disease that is the royal family, before she too loses her head.

Kristen Stewart’s Diana is genuinely remarkable, and whilst there’s certainly an ‘adjusting’ period of recognizing the trademark facial cues and speech patterns of an actor who, in a lot of ways, couldn’t be more different from their subject, it lends a dimension of endearing authenticity to her performance that a ‘perfect’ impersonation of a real person almost certainly couldn’t accomplish. It exhibits Diana’s unique humanity and kindness, but also doesn’t shy away from her struggles with her mental health, self harm and bulimia. Diana is ill, and only growing sicker by the day while trapped in a loveless, manipulative marriage. Diana regards herself as 'currency', to be looked at and used, but never listened to, her beauty and disruption her only means of fighting back.

The film takes place over a single weekend, and not even a particularly dramatic one for the history books at that, but rather the one where she decides to reclaim her womanhood and independence by rejecting her husband, his family, and all the baggage that goes along with it. It might be completely farcical, and royal experts and correspondents will no doubt be positively livid by the blasphemy exhibited in pitting their queen and her heir as villains, but that’s far from important. Just as Stewart’s Diana isn’t a carbon copy, Larraín’s vision of her is only an interpretation, one that’s incredibly compelling, and more than a bit believable.

Coming from a country whose relationship with the royal family is... complex, to say the least, I was more than ready to disregard Spencer as another vain, indulgently glamorous and emotionally manipulative tale of a wealthy heiress. Instead, much like he did with Jackie, Larraín’s film separates a woman afflicted by tragedy almost entirely from the complicated men and traumas that defined her, liberates her story as her own and delivers a complete, gorgeous tapestry of a character study, one which implores you to find the joy and beauty in the midst of an abundance of ugliness.

#venezia78 #reviews #competition

[byeee-bitch]

1/1/2021

Holy shit, I made it.

You know last year was just so insane, and everyone who lived through it will have their own story of what happened.  I rang in the new year this year very similarly to how i celebrated it last year... crying on the drive over to jamie’s over the same guy, being filled with joy through elliot, and then going home alone and trying to fall asleep before midnight so i didn’t have to be reminded of how lonely i felt.  you know... i fucking hate new years eve.  there’s so much expectation to find gratitude and surround yourself with loved ones and bla bla bla.

i’m glad i didn’t hype it up too much.

i made plans to break this relationship off.  to end it entirely.  to not try to be friends with him under false pretenses.  he is planning on talking on sunday.  i don’t know what’s left to talk about, i don’t know if he’s planning on coming over, i just don’t know what to expect.  a thousand things have gone through my head.... is he going to tell me he’s leaving her? is he going to say sorry? is he going to tell me he’s getting married? is he going to tell me they’re moving in together? i mean two weeks ago he was cracking jokes about marrying me.  i just want it to be over.  the signs are so clear that this is a time for me to set boundaries and walk away.  

i met up with tiernan and donal today, i’m so very happy that i have a job that means so much to me, with a family that means so much to me.  i know this career will open so many doors for me in every way imaginable. 

i kind of set this intention yesterday that i wanted to get away for at least a night this weekend, and when i woke up and a few friends had received their stimulus checks and my bank account was negative... i accepted it as a sign from the universe that it wasn’t meant to be.  then dani offered me work... enough work to pay for the hotel that i actually wanted to stay at.  so here i am, in this beautiful hotel, watching 90 day fiance.  i went to two meetings today.  i ordered a ridiculous amount of food that i couldn’t eat even half of.  today was actually really fucking good.  i’m taking charge of my life.  if this is a sign of what’s to come, i’m excited.

the thing is, that i just have to keep reminding myself of, is that it is ok to be content... to be simple.  i don’t need to have all this chaos and drama going on for it to be good.  you know the thing that has made me chase something is always the idea of turning a tragedy into a fairytale.

with davey.... where it all started, it was saving this sick man.

with michael, it was being with a man who was completely opposite of me.  the hardcore kid and the cheerleader.  and then again, it was having a horrendous break up and then reuniting after 10 years.

with paul, it was being the one he chose over krystal.

with skrod, it was being the one he chose over all the others that were chasing after him.

with mark, it was the same thing.

with eoin, it was finding a sober relationship (despite having absolutely nothing in common)

with bryan, it was saving him from a loveless marriage.

and with john... it was finding him through a broken relationship/friendship, saving him from a terrible relationship, finding peace from the unhappiness.  

and i still very much want that.  i can’t imagine being with someone without that high, happy love. 

but i need to fall in love with myself first.  and i need to spend time getting to know myself and what i love.  i just am also trying to be comfortable with the fact that i very much feel like part of my destiny is to have a great love of my life.  

i can’t imagine a life without the wild and crazy.  

it’s a terrible thing to admit, and i am in NO way whatsoever condoning this, but this is my place of refuge and i can’t talk to anyone about it yet so i will say it here.  if you are sensitive to self-harm, please don’t read on.

when i was in seventh grade, a girl in my class had carved a butterfly into her hand and so i did it.  and before long i began cutting myself.  it brought on negative attention, and for whatever reason, i loved it.  i loved everything from finding something to cut myself with, to having a secret that i had to cover, to someone accidentally seeing it, to purposely letting people “accidentally” seeing it and making something up about what it was.  but when i found alcoohol and drugs i stopped.

i am 34 years old and earlier this year i started again.  it’s different now, i do NOT want people seeing it or knowing i do it.  i’ve started doing it again because it’s an escape.  it takes me out of my head.  i feel the disfigurement somewhat appropriate because i don’t like myself and inflicting pain feels deserved.  i like being in the shower and it stinging, i like it rubbing against my clothes and it hurting, i like bleeding, i like having to restrict what i can wear because of it.  and i don’t know.  it’s not to kill myself, but i have thought several times about how i wish i would accidentally cut too deep and have to call an ambulance.  the thoughts of “this is how sad i am, this is how in pain i am, and all of you thought i was okay, and despite how hard i’m trying... this hurts so much more than you could possibly know.”

#new year #trigger warning #journaling #diary #journal #january first #2021

[herselfportrait]

ALBUM REVIEW: DRENGE / STRANGE CREATURES

(Written for Let it Happen)

Drenge’s long-awaited third album, ‘Strange Creatures’, ensnares you in a web of torment: the Loveless brothers are the spider, the architects of nightmares – yourself, the fly all too willing to be caught in their trap. Since their self-titled debut album in 2013, Drenge have crafted a warped soundscape, built on the foundations of post-punk existential terror. ‘Strange Creatures’ is undeniably their most cohesive work to-date, straying from the swamp of pedigree guitar music, and instead alloying their sound by lending from jazz and electronic sensibilities. The album was made “after months of chiselling away, ripping themes and ideas apart, and sewing them back together”, the band say. It’s a fitting description: much like Frankenstein’s monster, ‘Strange Creatures’ is a godless amalgamation of everything that bites.

“We are the fly in the ointment, the hair in the food/ The snag, the catch, the conundrum”, Eoin Loveless spits, his voice heavy with vitriol. Drenge turn your expectations inside out: they open with a crescendo. ‘Bonfire of the City Boys’ is far more than a song, but a propulsive piece of poetry with its own rhythmic movement. Drenge’s song writing has always been the ace hidden up their sleeve, but the opening track welcomes a precedent of their most illustrative, sensory lyrics thus far. Venom is concealed behind a mask of devil-may-care nonchalance; it rises and falls not unlike a Johnny Cooper Clarke poem. The chorus is an assault – its approach is nauseating as if you’re stood on the edge of a cliff, and you dare to look down. A hail of drums and guitars pummel your ears with haemorrhage-inducing violence. In the first three-minutes of these ten acts, Drenge have you by the collar, up against a wall, and aren’t showing any signs of letting go.

Often, throughout ‘Strange Creatures’ you can retrace Drenge’s steps back to the post-punk revivalists. ‘This Dance’, with its painstakingly laced guitarwork and infectious chorus, shares parallels with Bloc Party; all the while ‘Teenage Love’ and the track ‘Strange Creatures’ have hefty helpings of Interpolian signatures. Paul Banks’ analogue drawl bleeds into Eoin Loveless’ vocals as the band tamper with electronic elements.

‘Avalanche’ stands apart from the other tracks, taking on an ethereal quality among an album defined by a certain menace. It slows the pace, as if Drenge are stopping for a moment among the wreckage to take in what they’ve done. The intergalactic synth, though expansive, still sounds unnerving. The guitars rumble, taking a backseat, though still looming over a track laden with doom.

Beyond the martian, whizzing synth grooves of ‘Never See the Signs’ and unexpected inclusion of the organ on ‘Strange Creatures’, Drenge take it further still to prove that they are unafraid to cast off the ‘guitar music’ safety blanket. Beyond earning the appellation as the most instrumentally diverse track on the album, ‘Prom Night’ also wins the title of the most disturbing. The slow, western-style strums set the stage for Eoin’s observations of his sister’s prom night, seen, at a distance, from his car window waiting for her. This somewhat innocuous rundown takes a dark and sudden turn. With a torch held under their chin, it’s a retelling of Stephen King’s ‘Carrie’ weaved into reality: blood, guts and gore galore. The guitars groan like a rusty switchblade over indulgent saxophones that gives it cinematic appeal. Eoin narrates a ghoulish tale that “something stepped out from under the rubble, whatever it was… it was like Halloween” – Drenge have coined their own particular brand of pulp fiction that borders on garish. They bask in the hellfire, which could be light-hearted, if there wasn’t something so downright unsettling about it.

‘Strange Creatures’ is a neurotic slant on the well-travelled path of garage rock. It’s a disorientating album: at points troubling and at others, a work of wit. No two tracks are the same. Drenge deliberately rips up the blueprints of their previous work, wearing their influences on their sleeve while still retaining their own distinctive style. ‘Strange Creatures’ is an undeniable triumph of a record: the games they play are dark ones, yet they play them with such style. It’s more than an album – it’s a statement of intent. This is Drenge, and they are better than ever. 

[rollingstonemag]

Un nouvel article a été publié sur https://www.rollingstone.fr/drenge-strange-creatures-chronique/

Drenge : étranges et furieuses mélodies

Avec cet imposant nouvel album, Drenge accomplit peut-être le rêve de toute formation. Faire d’un troisième disque son plus en phase, son plus abouti

Dans la saga rocambolesque du rock anglais, il est difficile d’y prétendre une place. Beaucoup de candidats, peu d’élus – sauf dans le cas, miraculeux, de Drenge, pour qui le chemin s’est tracé en chapitres bien précis. Formé à Castleton, petit village du district de Peak, dans le comté profond du Derbyshire, le duo grunge a grandi loin des privilèges offerts par les usines à groupes de Manchester et Londres. C’est donc dans les battements effrénés venus des terres que tout s’est joué pour les frères Loveless. Eoin et Rory, vite rejoints par Rob Graham, ont ainsi débuté leur belle aventure avec le label Infectious. D’abord repéré avec un premier album éponyme totalement foutraque (dans le bon sens du terme), Drenge est littéralement parti à contre-courant avec Undertow, en proposant son segment de carrière le plus noir, le plus nocturne. Et il semble que cette ère ne soit pas totalement terminée.

Horrorshow  

Ce troisième disque, intitulé Strange Creatures, s’apparente davantage à une période charnière, située entre la nuit noire et le petit matin ; là où les bêtes sont les plus féroces. Ces dix morceaux, plus téméraires que jamais, sont tous sans exception structurés sur un ensemble de riffs acérés. Le point de départ (et culminant) « Bonfire Of The City Boys » enclenche le disque, qui restera dans une optique d’urgence tout du long. En équilibre sur un fil tendu, Drenge déchaîne les prouesses d’arrangements, affinant cet album comme son trésor le plus précieux et le plus osé. Outre l’étrange « When I Look Into Your Eyes », qui invoquerait presque Humbug d’Arctic Monkeys, on reste scotchés par la maîtrise de l’ambiance et de ses composants. « This Dance », « Prom Night », « Never See The Signs »… tous impressionnent et approuvent le talent du trio, qui a eu l’incroyable bonne idée d’ajouter des cuivres à la formation.

« C’est notre album le plus nocturne », a commenté Eoin. « Un film d’horreur psychologique qui sent la cire. Des hallucinations déformées par des réalités mondaines qui les traversent. » La sainte trinité n’a jamais été aussi torturée et nous si charmés.

Samuel Regnard

#drenge #Infectious #Strange Creatures