#lyrics from straight through the heart by dio | Explore Tumblr Posts and Blogs

multiverseofimagines · 2 years

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hi!! could i please have a male and female stranger things ship?

i’m a plus size bisexual girl, 5’3 with medium length shaggy blonde hair and blue/grey eyes. I'm very artsy and really really into music and I would describe my style as punk/90's grunge. I try my best to come off as a confident person but I do get flustered and shy rather easily, I am the designated badass mum friend though. I am a pisces and an INFP. Thank you sm ❤️

I ship you with

Eddie Munson

Oh my god just imagine him smiling at you like that 😭 I’m fucking dead, deceased, gone.

I think you two just would vibe really well. He would confide in you often about his issues with his father, and his family in general.

You’re always there to take care of him, and make sure he’s okay.

You guys are both weirdly, lone wolves? You guys like to wander and be free, this sense of like, wanting open road and just living you know? You spend your time in the woods or at reefer ricks, getting stoned, deep talks.

You guys are literal soulmates, like it feels destined to be. Complete twin flames.

He has a ceremony with the hellfire club to make you an honorary member for life, they make you your own tshirt and everything.

He’s terrified of losing you. Would definitely sacrifice himself for you, because the last thing he wants is for you to get hurt + you make him brave, his love for you is hella inspirational.

He gives you his guitar pick necklace 😭 so you have a piece of him wherever you go.

When he distracts the bats, you jump into the gate instead of dustin and run after him. You find him fighting for his life before death settles in. Your hysterical but trying to stay calm so you can talk to him “you idiot! Why would you do that? why? “ he can’t help but chuckle as he coughs up blood, your hands have settled upon the bloody wounds he’s suffered, you can’t let go. “ It’s okay, we just gotta get you back, its okay.” he looks up at you, tears rolling down his cheeks, his breathe is rattled, “ I told you, that I would do anything to protect you.” You cried harder your hands soiled from his bloodied wounds, “Im gonna get you home okay? and we’re gonna go back to the way it was.” he smiles softly, you can tell he’s in pain, “that place was never my home, you were.” he rattles out his last breath. You do not leave his side.

(I’m sorry y’all were giving me starcrossed, destined to be doomed vibes and plus im emotional tonite so don’t hate me 😂)

Look-Book

- it was a little difficult finding plus size friendly examples, ( cause fatphobia is so prevalent on sites like pinterest still and within the fashion community tbh) but as a plus size woman, I wanted to choose the best options that not only would fit all sizes, but were keeping accurate to the time period and your style so hopefully your good with this!

Playlist

- when looking for the music for this I was like SO INSPIRED. I stg I wanna write a whole ass fanfic about you guys. I chose songs that were giving me; you and eddie vibes, I chose a couple that were definitely more 90’s instead of 80’s. I decided for this one I wanted to add like my fave lyric from the song that made me pick it, so you can have some insight(from one music nerd to another), and also cry with me cause y’all made me soft ANYWAY.

Heaven and Hell By Black Sabbath; “ Love Can be seen as the answer, but nobody bleeds for the dancer.” And “ The world is full of Kings and Queens, who blind your eyes and steal your dreams.” THAT ONE had me like “vecna???” also the guitar solo and bridge right there is AMAZING. Waisted potential they didn’t use this song in Season 4.

Straight Through The Heart by Dio; “ Living in a world of Make Believe, I can hide behind whats real.” This whole song gave me Eddie vibes and how he felt growing up, being kind of abandoned by his Family in a way, and being bullied.

Bigmouth Strikes Again By The Smiths; There wasn’t much of a lyric in this song that really took me by the heart, it was just the whole thing, it sounds sad and somehow romantic? Its about how the protagonist feels as though he is being judged for the things he says, and how he has a big mouth, which is just so relatable to Eddie, how passionate he is about being different and how he feels about society (jumping up on tables with his big speeches and such) The way he says “Sweetness” really sold me as something Eddie would say as a nickname for you perhaps as well.

Love will Tear Us Apart By Joy Division; “ Why is the bedroom so cold, turned away on your side.” Honestly I thought about the aftermath of his death after Dustin probably had to drag you away, the feeling of not knowing how to move on feeling the coldness of the room without his presence. Also feeling resentment for his sacrifice, how his love for you tore you apart.

Heart-Shaped Box By Nirvana ; You said 90’s grunge and that you were pisces and I was sold on this one lmao 😜 okay that was only half of it!! The whole song is super romantic, its so devotional to the person he loves and I feel like Eddie would be similar, just completely utterly in love with you in a torturous way.

Separate Ways (Worlds Apart) By Journey; “If we can’t go on, to survive the tide love divides.” “ If you must go, I wish you love, you’ll never walk alone, take care my love.” This one had me in like TEARS. Like if You and Eddie were in the show, this would be playing as he sacrifices himself i stg.

1979 by Smashing Pumpkins; “ I know you better than you fake it.” The whole song sounds like love ended too early, so I added this one! And “ We don’t know just where our bones will rest, to dust I guess.” Its really about the mortality of a relationship, and accepting it because you appreciate the time you have with that person.

Malibu by Hole; The whole song sounds like grief from tragedy of losing a loved one, trying to save them from their fate. I just really wanted some tragic songs to go along with my headcanon so have fun with that. (Also Hole lowkey slaps so hard, Like I’m not a huge fan of Courtney, but damn I just love all her music?)

#stranger things #stranger things imagine #stranger things headcanons #eddie munson imagine #eddie munson #stranger things ship #multiverseofimagines ships

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brett-the-brett · 2 months

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The Branches of Brett

Hi, I'm Brett! This is a brief introduction to who I am, however, I will elaborate on my personal views and ideas via essays that I will be posting here. Also, my weird ass likes to think of myself as a tree because I have many "branches".

Haha, get it?

. . .

Anyway, here's a little about me:

I am an extremely political person. Everything I do or say here will be political in some way because EVERYTHING is political. I'm an anarchist, first and foremost, a communist, feminist, etcetera, etcetera, you get the picture. I will talk more about my politics later.

How I racialize myself is much more complicated. I don't believe in the concept of race (there is no evidence for it and it's stupid in general) but I do believe in racism. In the context of discussing racism, I am a light-skinned black person. Otherwise I am African-American with distant European-American descent (my great grandfather is mixed race).

I am gender-fluid, but this is less of an idea and more of a basic description of my gender identity because I don't believe in the concept of gender at all. (I am a gender abolitionist.) I use any pronouns though, but I do prefer they/them pronouns.

I am pansexual. But if gender is a social construct, so is sexuality. I'm not attracted to genitalia nor gender, I am attracted to the person. (like literally everyone should, imagine telling someone you're attracted to them because they have a penis lol)

I am an Anti-theistic, Agnostic, Satanist. My beliefs are based on the writings of The Satanic Bible. 99.9% sure a God doesn't exist, but I'm 100% sure it wouldn't be a good one. Anyone who believes that they need to believe in a God (or, many say, relationship with one) will get an instant side eye from me.

I am both nuerodivergent (autistic) and physically disabled (toe walking). I have autistic family members on BOTH sides of my family. My brain got double penetrated. (DOUBLE PENETRATION RABID FIRE THROUGH YOUR SKULL- Takyon by Death Grips)

I am an interdisciplinary artist, meaning I delve into multiple art types.

I am a writer and I write fan-fiction (that I will be posting here), erotica, and I'm beginning to write horror. I am currently writing a fantasy series and I will be posting about it. I also write social commentary and political essays.

I write lyrics and I plan to learn music theory.

I am a 2-d traditional artist. I mostly draw character concepts.

I am learning and practicing how to belly dance.

Alongside being an artist, I love art. I prefer stylistic art styles to realistic ones but I accept all style types. (Except A.I., A.I. Imagery sucks.)

People often say they like reading but never specify what they like. Personally, the genre of fictional books don't matter to me because I like character driven stories. What matters to me is the story itself, not the genre. My favorite book of all time is She's Come Undone. I like trivia books, graphic novels, and art books. I also like erotic fan-fiction. (As long as it's moral and the characters are of age.)

I don't know what genre it's called but I'm obsessed with movies about a group of people having to work together to survive a horror situation. Movies I like like this are: Cube (1 and 2, Cube 3 sucks), the Saw Series, Elevator, Would You Rather, the Final Destination Series, Exam. I guess I like survival movies in general. I do like female-centered coming of age films, like Mustang (2015) and Katie Says Goodbye. I do like queer films but wish there were more slow burn and had more diversity. A hilarious gay comedy I like is called Straight-Jacket. (The intro song is a bop.)

But my all-time favorite movie is Jack and the Cuckoo Clock Heart. So heartfelt, so creative, so underrated. I am currently writing an entire fanfic about it. There's also a book and album made by the same people, you should definitely check it out.

I watch anime sometimes but my favorite will always be Jojo's Bizarre Adventure. Jonathan and Giorno is best bois. Dio is best villain.

My favorite bands are Ministry, Ho99o9, Death Grips, and the french band Dionysus. I like Rio Romeo (underrated), fka Twigs (unfortunately she's a colorist prick), and a bunch of other artists I'm too lazy to name.

My fav flower is the Sunflower. My favorite bush is the Boxwood Shrub. My favorite tree is the Stripped Maple. And I like Aloe Vera plants. Unfortunately I can't plant any of these because I'm allergic to pollen.

I LOVE children because I like people and I might become a foster parent one day. I also like amphibians and I might keep a frog/turtle as a pet.

I'm a philomath; I like studying religion, sociology, psychology, and sexology. I'm a natural hair enthusiast, nudist, minimalist, solarpunk, polygamous, and a conditional pacifist.

So, that's it, that's who I am. (Gat damn this is a long ass post.)

#introductory post #self introduction #whoami

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brn1029 · 2 years

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Time for today’s Rock Report, brought to you by Meriwether’s bistro! swing by for, breakfast, brunch lunch or dinner at Meriwether’s Bistro inside Hells Canyon Grand Hotel in Lewiston.Buy 1 Dinner entrée, receive the 2nd Dinner entrée for 25% OFF all through May at Meriwethers Bistro! Located inside the Hells Canyon Grand Hotel.

Rhino Records has announced that a super deluxe edition of Dio's 1983 debut album Holy Diver will be out on July 8, two days head of what would have been Ronnie James Dio's 80th birthday. The Holy Diver: Super Deluxe Edition set, remixed by Joe Barresi, will contain some unreleased outtakes, live tracks and rarities from the era, will be available in four-CD, two-LP and digital editions. "Dio … provided vocals and lyrics for some of the most iconic rock albums of all time with Black Sabbath and Rainbow, before establishing his own band Dio," the label said in a statement. "Holy Diver was a platinum-certified smash and one of the late singer-songwriter's most groundbreaking achievements." Barresi "used the original analog tapes to remix all nine tracks on the album," the statement noted, adding that a "newly remastered version of the original 1983 mix" is also included.

Alternate takes of "Rainbow in the Dark," "Invisible" and "Straight Through the Heart" and an unreleased live recording of the band's performance in Fresno, California, are also featured in the deluxe edition.

Def Leppard recently released "Fire It Up," the third single from their upcoming twelfth full-length album, Diamond Star Halos, due to arrive on May 27. The band is set to premiere the music video for "Fire It Up" on May 26 and follow it up by releasing a YouTube premiere-exclusive afterparty that will see the group engage in a discussion about the hotly-anticipated album. Def Leppard previously released "Kick" and "Take What You Want" from the upcoming album.

The first clip previewing Spinning Gold, a biopic about Casablanca Records founder Neil Bogart, features a live performance from KISS. The biopic was first conceived in 1990. After several drafts, multiple castings and a decades-long search for the right director, the movie has finally arrived with Neil's son Tim Bogart directing the project.

"Born Neil Bogatz in the Brooklyn projects where he plotted his dreams and schemes to escape from poverty, Neil Bogart was my father — and it's taken me over twenty years to finally tell his story," Tim Bogart said of the project. "And I know people say that all the time, but the first option on the film really was back in 1999," he added. "From there, through obstacles nearly as challenging as what my father faced in bringing Casablanca Records to the world, the obstacles in bringing this film to light were just as daunting."

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juliaisabellphoto · 3 years

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My 2020 Albums of the Year

Never requested, always provided. Here are my favorites of 2020. Here’s the playlist.

The Secret Sisters, Saturn Return

As soon as I saw “Water Witch, featuring Brandi Carlile” on this tracklist I knew that the Secret Sisters would be a favorite of 2020. In February, I was staying with a friend in Nashville and she mentioned them as a local favorite, and when I stopped at Grimey’s to shop for records I came upon a signed copy of “Saturn Return.” I had never heard the Secret Sisters before, but there is nobody I trust more to recommend music than this Nashville friend of mine, so I bought it. I made no mistake here: this record blew me away. The soft, soulful, lullaby of “Healer in the Sky” pulled me through the pain of the first month of quarantine and soothed me as the world was turned upside down. In reading more on the record, this seems to have been the point: they say, “this album is a reflection of us coming to terms with how to find our power in the face of an unfair world… our hope is that women can feel less alone in their journey through the modern world.” There is something in the caramel-thick sweetness of these sisters’ voices that makes a listener feel as though they’ve been bewitched into calm. When I think of this album, I think of the cross-country drive I took at the beginning of the pandemic to make my way home and the happy moments that can be found in darkness. No album touched my heart this year in the way that “Saturn Return” did.

Taylor Swift, Folklore and Evermore

Taylor Swift… can even be said? Somehow, while we all sat on our couches in quarantine, this woman created not one but two musical masterpieces. She begins “the 1” by stating “I’m doin good, I’m on some new shit,” and that says a lot about the album as a whole. She created the 2020 we all wish we experienced: soft, sweet, and gentle. Listening to Folklore feels like visiting a cabin in the woods, with a fireplace well lit. Swift tells winding stories of love, hardship, and mystery and tenderly walks us through the forest of her imagination. This magical feeling was amplified by her release of The Long Pond Studio Sessions, a film in which Swift, Jack Antonoff, and Aaron Dessner finally play the album together for the first time after recording it entirely remotely. The setting matches the sound: they play in an album in the middle of the woods, cozy and hidden from the snow. Evermore cuts through the delicate ice of Folklore: it is the color to Folklore’s black and white. Swift combines the soft folk sound of “willow” with some of her country and Americana roots in “no body, no crime,” drawing us in once again. She includes Bon Iver singing in his lower register in Folklore and then in his falsetto in Evermore: two sides of the same magic coin. The work in these two albums is Swift’s strongest ever, and solidifies the fact that no modern artist can really reach her.

Chris Stapleton, Starting Over

Following a three-year hiatus, all lovers of southern rock deeply needed a Chris Stapleton album. In “Starting Over,” Stapleton yet again does what he does best: combines his unique whiskey-tinged growl with the best lyricism present in country music today. This record can’t be captured in any singular fashion, neither musically nor emotionally. The title track sets a high bar for the rest of the record with a reflection on re-remembering what really matters, a message certainly relevant for this turbulent year. Stapleton’s typical outlaw-country brand is present in full with “Devil Always Made Me Think Twice,” “Arkansas,” and “Hillbilly Blood,” but other songs take him in a completely new stylistic direction. “Maggie’s Song” takes on a very classic old-time country feel, as Stapleton weaves sweet and simple stories as he processes the loss of his pup. He harnesses the energy of the Chicks as he angrily lambasts the perpetrators of the 2017 mass shooting at Route 91. The song is a Stapleton-sponsored judgment day reckoning, including the cacophonic sound of a crowd in panic and the shrieks of a gospel choir. In contrast with this energetic high, Stapleton goes deep into his blues side by finally releasing “You Should Probably Leave,” a song he has been sitting on for six years. This one feels just right to sway around the kitchen to. With each listen to “Starting Over” I find new lyrics to write down and remember, new sounds to love.

Bad Bunny, YHLQMDLG

Bad Bunny. Our unproblematic reggaeton prince. In the wake of his many popular features and his collaborative album with J Balvin, Bad Bunny makes it clear that it is time for Balvin to share the throne of popular reggaeton. He features the original reggaeton king Daddy Yankee in “La Santa,” paying tribute to the very classic reggaeton style before mixing it and transcending beyond the classics in the following tracks. “Yo Perreo Sola” is the album’s standout track, accompanied by my favorite music video of 2020. The song is an ode to gender equality and the destruction of the patriarchal norms contributing to gender-based violence. “Yo Perreo Sola,” meaning “I twerk alone,” sets the overarching theme of consent present throughout the song’s lyrics. In the video, Benito’s backdrop references the Argentinian-born “Ni Una Menos” movement, a now global movement against gender-based violence. As if this wasn’t enough to make you adore him, the video further extends its activism to the LGBTQ community, with Benito appearing in full drag, in his normal attire, and at some points held in chains by women. He makes a statement about sexuality and gender expression in the video, twerking solo. The other jawdropper track on YHLQMDLG is Safaera, a perfect display of Bad Bunny’s skill in expanding the scope of reggaeton as a genre. In the same thirty seconds of the song, he subtly samples both “Could You Be Loved” by Bob Marley and the Wailers and Missy Elliot’s “Get Ya Freak On” - a segment I just can’t get out of my head. Bad Bunny’s prowess on this record is rounded out with the aggressive and prideful “P FKN R.” What a masterpiece.

Mac Miller, Circles

A posthumous record that never should have been posthumous. A companion-piece to Mac’s 2018 record “Swimming,” Circles takes a similar tone, one of resilience through pain. The title track serves as a somber introduction, followed by the funk energy of “Complicated” and the GO:OD AM energy of “Blue World.” The song that really got to me, and many other fans of Mac, was “Good News.” It is the pinnacle of Mac’s musical insight and talent. The melody matches the melancholy of the track, as Mac sings of his desire for time and space. The melancholy is matched in “Everybody” with the lines about death feeling particularly haunting in the wake of Miller’s accidental overdose. Somehow, Miller wrote the perfect eulogy for himself prior to his passing, one that will live in the hearts of his fans forever.

Kali Uchis, Sin Miedo (del Amor y Otros Demonios) ∞

I’m not quite sure what to call this record. If I just listened to “la luna enamorada,” a cover of a classic Cuban bolero, I would call it gorgeous. If I just listened to “fue mejor” featuring PARTYNEXTDOOR or “quiero sentirme bien,” I would call it sexy. If I just listened to “vaya con dios,” I would think she wrote the theme music for the next James Bond film. The bottom line of the record is Uchis’ absolute stunning use of her upper register. She hits notes that “Isolation” never would have foreshadowed, painting a dreamland for any listener. She slides back into the energy of her sophomore album in “telepatia,” but adds in moments of her new sound. She incorporates a slower reggaeton beat into no eres tu (soy yo), and dives into a heavier reggaeton sound in te pongo mal (prendelo.) My personal favorite of the record is “aqui yo mando!” with Rico Nasty: it is the perfect display of Uchis’ unique upper register combined with Rico’s trap style. Anyone passing this record up for another “Isolation” listen is missing out.

FLETCHER, The S(ex) Tapes

This record has a story like no other, coming from a woman like no other. This EP was recorded while Fletcher quarantined with her ex-girlfriend, who also happened to film all of the music videos for it. It is this messiness that makes The S(ex) Tapes absolute magic. Fletcher’s own description of the name of the release explains the situation best: “A sex tape is someone being captured in their most vulnerable, wildest, rawest form, and my ex has always captured me that way.” She captures all of the feelings of a breakup with someone you still love deeply, and the relationship relapse that comes with moving past those feelings. Fletcher’s special ability comes in representing these deeply painful experiences in an uplifting manner: this is a sexy pop EP meant to be danced to. Fletcher simultaneously validates all of the emotional tumult, but subtly nudges the listener toward blissful reckless abandon. It almost makes me wish I had a breakup to go through! The abrasive apathy of “Shh… Don’t Say It” and the flippant, angry vulnerability of “Bitter” are paired perfectly with Fletcher’s raw brand of distortion. In an interview with Nylon, Fletcher speaks to this: “Listen, I've done my fair share of just straight-up sad, crying in your bed music. I'm still going through shit, but I want to bop to it. We can still be emo and want to twerk at the same time.” Yes, Fletcher, we do.

Halsey, Manic

Prior to 2020, I wasn’t Halsey’s biggest fan. I wouldn’t have even called myself a fan. I just wasn’t that excited by her music. “I’m Not Mad” was the song that triggered a 180 for me. The heavy, dissonant kick of the drums and her raw, angry lyricism drew me in without hesitation. I suppose this was just the push I needed to fall in love with the rest of her music: the songs with similar bite, “Without Me” and “killing boys,” and the more raw side of the record in “You should be sad,” “929,” and “Graveyard.” Her vulnerability is so much of what makes this record perfect. The album fully made sense to me when I listened to her podcast feature on “Armchair Expert” with Dax Shepard. In it, she talks through the time period covered by the record and gives context to her powerful lyricism. “Manic” is a story of chasing someone she loved into drug-fueled oblivion, and then finally finding the power to leave. The album is brimming with this power, and I just can’t turn it off.

HAIM, Women In Music Pt. III

HAIM is THE soft rock band of the modern era.Women In Music Pt. III, their most mature album yet, solidified this opinion for me in a way that I didn’t expect. There is so much to be said for this record: it is innovative and skilled, with the perfect balance of softness and hardness. Though the record is one of pain and trauma, you wouldn’t know it purely from its melodies. “Don’t Wanna” is a very classic HAIM pop rock number, and “The Steps” follows suit making frustration fun to dance to. Though one may not notice at first, in this record HAIM dives deeper than ever before. “Now I’m In It” does a phenomenal job of sonically representing the feeling of being completely and utterly overwhelmed. “I Know Alone” is a beautifully intimate rainy-day account of Danielle’s struggle with depression. Then comes “3AM” - a lighthearted song about a booty call with Thundercat-type bass and an R&B vibe - just in case you didn’t already know how much range these three sisters have. Everything about this record is filled with talent.

Phoebe Bridgers, Punisher

Only Phoebe Bridgers could write a song about murdering a skinhead and fill it with nostalgia. “Garden Song,” the leading single preceding “Punisher,” foreshadowed a record that is just so very Phoebe: melancholy, vulnerable, and heart-wrenching. The eagerly awaited album certainly followed suit, with typical sad ballads “Halloween” and “Moon Song” played alongside more raucous, Better Oblivion Community Center-esque songs such as “Kyoto” and “ICU.” She goes bluegrass on “Graceland Too” with banjo, violin, and layered harmonies from boygenius collaborators Lucy Dacus and Julien Baker. In “Punisher,” Bridgers shares with us the wistful catharsis that she is so very talented at creating.

Noah Cyrus, THE END OF EVERYTHING

I always underestimated Miley’s little sister, but here I am writing about her EP before I write about Miley’s in my end of the year roundup. Every piece in this record gave me chills: Cyrus’ lower register allows her to access a somber kind of ballad that I just can’t get enough of. The record starts off at a peak with the slow burn of “Ghost” and somehow manages to get even better with “I Got So High That I Saw Jesus.” This powerful song, even better in the live version where Miley joins her younger sister, builds into an almost gospel-like ode to the idea that everything will be okay. “July,” the single featuring Leon Bridges that pushed Cyrus into the national spotlight, stands as the most beautifully layered song of the EP. The soft guitar picking and choral sound complement Cyrus’ upper register. The whole record, extending through the closing title track, is a comforting, soft emotional analgesic for 2020.

The Chicks, Gaslighter

This record is gorgeous. It is painful. The feelings Natalie Maines expresses in this record are feelings I have felt far too deeply in personal relationships, and they also are feelings everyone is feeling globally in 2020. “Gaslighter” is just straight up fun, a perfect extension of the Chicks’ energy found in “Goodbye Earl” and other older revenge numbers (but with an extra poppy Jack Antonoff twist this time.) “Tights On My Boat” is bitter, funny, and shows off Maines’ upper register with stripped guitar. “Sleep at Night” musically and lyrically embodies the pain of being betrayed. “Julianna Calm Down” is a stunning ballad of female resilience. “Texas Man” perfectly captures the bubbly feeling of moving on. “For Her” and “March March” fit in with the frustrated, betrayed, power-centered theme of the record in a very different way. The Chicks’ dualistic ability to discuss her ex-husband’s cheating alongside the band’s political views is what makes the record special: not only are we watching a woman try to move on and develop her personal strength, but we are also seeing this personal strength harnessed for political impact. They simultaneously denounce the abuse of power in both politics and relationships, while reclaiming that power for themselves in standing up for what they believe in. How very Chicks of them.

Dua Lipa, Future Nostalgia

Dua motherfucking Lipa. This woman would have been the official owner of 2020 had we been able to dance to this record at bars and clubs. This was proven ten times over by the success of the album’s first single, “Don’t Start Now,” a song that is absolutely the MOST fun. Or so I thought… until I heard “Physical,” “Levitating,” and “Break My Heart.” What poor timing for such a phenomenal dance record, but at least she gave the people some great material for Tik Tok dances! All COVID-dance-related concerns aside, this is a really well done sophomore album for Dua Lipa. The funk elements of the album most clearly seen in “Levitating” elevate Dua’s brand of pop to a new level. The all gas no brakes nature of this dance-pop record works wonders for her - she knows what the people want from her, and she delivers.

Megan Thee Stallion, Good News

THIS! RECORD! If WAP could be an album of the year, it would be, but it’s a standalone single and Megan Thee Stallion proceeded to release the next best thing. The explosion of Megan Thee Stallion has been a pleasure to watch in 2020, with both WAP and Savage leaving the charge. With an artist like her, it’s easy to get lost in the smash hits and ignore the prolific nature of her work. “Good News” is an immaculate rap album, brimming with sass and defiant bad bitch energy. “Shots Fired” kicks off the album with a Biggie sample and a diss to the man who shot her in the foot earlier in the year, personally my favorite track of the record. Other highlights of the record include “Don’t Stop” with a Young Thug feature, “Body” which is now a Tik Tok staple, and “What’s New.” Perhaps the most impressive work Megan does on “Good News” is “Girls in the Hood,” a rework of Eazy-E’s Boyz-N-The-Hood. She inverts the classic misogyny of the original song by emphasizing her control over men like Eazy-E in an indignant assertion of female power. This embodies Megan Thee Stallion’s essence: busting in on a male industry and making her presence known.

Rico Nasty, Nightmare Vacation

Nobody does it like Rico Nasty, and I’m convinced nobody ever will. I saw a New York Times headline titled “Can the Mainstream Catch Up to Rico Nasty?” the other day and I think the answer is a firm no. Rico is abrasive, rude, and outside the box in the absolute best way. Need an album to slap in the car when you’re feeling like a bad bitch? This. is. it. The record kicks off with “Candy,” a song with a wild beat and the iconic chorus line “Call me crazy, but you can never call me broke.” Following is a Don Toliver and Gucci Mane feature in “Don’t Like Me,” a song that truly should have hit the mainstream by now. She gets back to her signature scream-rap in “STFU” and “OHFR.” “OHFR” is the confident standout of the album, along with the reworked re-release of “Smack a Bitch,” making it clear that Rico Nasty is not a woman to be fucked with. In “Back and Forth” with Amine, Rico steps into Amine’s “Limbo” style and does it well. The record’s second single “Own It” is a more classic club banger that unfortunately didn’t get to see the dark of night in any clubs this year. Even if the mainstream never catches up to Rico Nasty, I’ll be following along with her self-labelled “sugar trap.”

Ariana Grande, Positions

I mean, duh. Ariana just doesn’t miss. She surprised everyone with this album’s release in Fall 2020, displaying the bliss of her relationship with later-confirmed fiance. She goes dirtier than usual in the sex-centered “34+35” and “nasty,” rounding the record out with the Craig David-reminiscent “positions.” Ariana allows herself to lust for someone and even love for them in these three, but defaults to her brimming self-confidence in “just like magic” and “west side.” The album is more R&B than pop at times, with the peak of this style visible in the groove of “my hair” and the Mariah Carey ballad-like nature of “pov.” Each album, Grande shifts just a little bit, keeping us attached: “Sweetener”’s cotton-candy pop, the savage pop-trap of “thank u, next,” and the R&B conclusion of the spectrum with Positions.

Miley Cyrus, Plastic Hearts

This year I anticipated no record more than I did “Plastic Hearts.” Its leading single, “Midnight Sky,” described by Pitchfork as a “cocaine-dusted disco track,” channels Stevie Nicks’ eighties rock-pop era in the absolute best way. Apparently this opinion was even picked up by Stevie herself, as the two collaborated on a mash-up of “Midnight Sky” and Stevie’s “Edge of Seventeen” (the excitement from which nearly led to my passing away, by the way.) Cyrus’ voice is in the perfect place on this record, with “Plastic Hearts” emphasizing her rasp and making me want to spin around a room. She dips into the pop realm in “Prisoner” with Dua Lipa, a song that Lipa clearly influences with an unforgettably sexy music video. Every song is different on this record: “Gimme What I Want” channels the grinding rock sound of Nine Inch Nails, “Bad Karma” allows Joan Jett’s punchy style to run the show, and she slips on the shoes of Billy Idol in their collaboration, Night Crawling. Somehow, Miley manages to wear the shoes well, and 80s copycat record or not, I can’t stop listening. “Never Be Me” is where she shines most deeply, baring her soul, the complicated nature of her past few years’ journey, and her knowledge of who she is and always will be for the world to hear. I’m not sure if I’m blinded to the album’s flaws by my absolute and complete love for everything about Miley’s current persona, but I am a huge fan.

Glass Animals, Dreamland

The sound of this album is such a blissful respite! Glass Animals gives us the fun and funky techno-pop that they always do, but dive into personal lyricism in a way that they never have before. Many of the songs actually have a storyline (an intentionally rare feat for Dave Bayley, first broken with the incredible “Agnes” on their last album.) This record explores trauma and pain in “Domestic Bliss” and “It’s All So Incredibly Loud,” Bayley using the soft sides of his voice to express pained desperation. The boisterous energy of the past two records is not forgotten in Dreamland’s intimacy, however: “Hot Sugar,” “Tokyo Drifting,” and “Space Ghost Coast To Coast” do the trick. “Space Ghost Coast To Coast” is the most intriguing song on the record: at first listen, I had absolutely no idea what Dave was discussing and assumed it was just his typical neuroscience-inspired ear-candy. Upon a deeper dive, the song addresses the factors that encouraged Dave’s childhood friend to bring a gun to school. He disguises a discussion of the risk factors involved in school shootings within his flowery, figurative linguistic excellence. This duality of blissful melody and solemn subject matter is the magic of Glass Animals.

Empress Of, I’m Your Empress Of

This album is an emotional electro-pop masterpiece. This record meditates on the feelings felt in the wake of a relationship’s end. She begins the album with a quote from her mother about the reality and value of struggle, then launching into a synth-filled storm of missing someone. “Love Is A Drug” is the album’s next fun dance track, addressing the addictive quality of touch after you lose someone you love and embodying the urgency of the feeling. She takes a more somber tone with the influence of Jim-E Stack in “U Give It Up,” incorporating quotes from her mother about the difficulty of womanhood and reminiscing on love lost. In “Should’ve,” the post-relationship regret is palpable in her vocal tone and production, and in “Maybe This Time” she contemplates this pain. In “Give Me Another Chance,” her emotions swing the other way, with a bouncing dance beat and pleading vocals. The album concludes with the heartfelt and pain-filled “Hold Me Like Water” and the dissonant “Awful,” leaving the listener to meditate on the mood swings of a broken relationship.

Tame Impala, The Slow Rush

This album came out so early in 2020 that it already feels like a vintage piece of music. Perhaps that was the point. Although “The Slow Rush” had a hard time living up to Kevin Parker’s last epic masterpiece “Currents,” it was the fix many fans like myself needed after five years without an LP. “Borderline,” the single that allowed anticipation of the album to build, stands out as one of the most essentially Parker tracks of the record. He introduces a little Toro y Moi style funk in “Is It True,” and highlights his voice more than usual in “Lost In Yesterday.” “Posthumous Forgiveness” builds in the wonderfully dissonant fashion that fans learned to love through “Eventually.” The bass track on “Glimmer” is so good that I never even noticed it had nearly no lyrics. This record is not groundbreaking by any standards in the way that “Currents” was, but it is intentionally jubilant and energetic in a way that still feels good. Even if he doesn’t shatter any expectations in “The Slow Rush,” Tame Impala’s tracklist still makes the perfect sunset companion.

Joji, Nectar

Joji’s “Nectar” is just that: sweet R&B nectar, from the minute the first track plays. Joji’s work here is not in the individual tracks, but in the sonic experience he creates with the album as a whole. This is not an album to pick out singles from: it is a full cinematic mood adjustment. Maybe it’s the weed I smoked when I first listened, but the record feels like a wonderful progression of gentle yet rhythmic R&B songs. The transition from the soft and contemplative “MODUS” to the more upbeat trap-infused “Tick Tock” to the full R&B ballad “Daylight” featuring Diplo raises the listener’s energy gradually to a crescendo. “Run” is a gorgeous and sad confessional of disappointment, and “Sanctuary” follows as a soft and uplifting analgesic to that pain. “Pretty Boy” and “777” mark the more upbeat section of the record, filled with Joji’s accounts of living far too fast. The tracks of this record all bleed into each other seamlessly, mixing pain and confidence in an emotional rollercoaster.

Amine, Limbo

My journey to being an Amine fan started with “Caroline,” ended with “Heebiejeebies,” and started back up again when he found depth in “ONEPOINTFIVE.” His 2020 release is exactly why I came around to his music yet again. The record is soulful and fun, with the flute and cocky lyrics in “Woodlawn” and the funky beat and Young Thug feature of “Compensating.” The two songs I absolutely can’t stop listening to however, are “Can’t Decide” and “Becky.” “Can’t Decide” highlights Amine’s singing voice and dips away from rap and trap into the more traditional R&B realm. “Becky” is an intimate account of the difficulties involved with interracial dating, both in public and in the family realm. The two sides of the album, one emphasizing rhythm and immaculate production, and the other lyricism and emotion, are found in these two songs. The punchy “Pressure In My Palms” (featuring slowthai and Vince Staples) and “Riri” round out the record’s light side. In “Limbo,” Amine finds the perfect balance.

Fleet Foxes, Shore

This album is a wave of calm. Robin Pecknold’s soothing voice is exactly what we needed more of this year. Pitchfork described his mission as “turning anxiety into euphoria,” and that is how this record feels. Each song is dynamic and filled with what makes Fleet Foxes so special. There is a choral quality to the vocals of “Shore,” as always, adding to the calm aura of the record. “A Long Way Past The Past” takes the listener on a what feels like a long walk filled with serious conversation. “Going-to-the-Sun Road,” a song that takes its name from the famous cliffside road through Glacier National Park, oozes sunshine in its Tame Impala-Bon Iver crossover sound. “Cradling Mother, Cradling Woman,” truly feels like being cradled in sound. Fleet Foxes has a knack for beginning songs by hitting the listener with a wall of sound, and that is so perfectly represented in this track. This is a seriously beautiful album.

Cam, The Otherside

Cam’s voice is irresistible. She showed her talent for sharing painful ballads in her breakthrough single “Burning House,” and in “The Otherside” she digs deeper. She writes this record in a period of change, and captures this change and dissonance in the nostalgia of “Redwood Tree.” She teamed up with Avicii for the title track before he passed away, and it shows. His signature building melodies and guitar breaks are clear, and they go perfectly with the range of Cam’s voice. She truly shows her range in this track and this record in general, from the highs in “The Otherside” and the lows of “Changes.” “Changes” is another standout of the album, co-written by Harry Styles. This record is a gorgeous account of outgrowing love and outgrowing people after the deep bliss that you felt with them in the past. “Till There’s Nothing Left” and “Classic” are the big love songs of the record, one that melts you and one that makes you want to dance in a field of flowers. The sisterly confessional “Diane” pulls Cam back to her country roots. She ends the record with what made her famous: a beautiful, sad ballad backed only by piano. Her unique vocals are on full display as the record concludes, and I couldn’t have asked for anything more.

Omar Apollo, Apolonio

Omar Apollo had his breakthrough in this record. His work spans languages and genres in a big way in “Apolonio.” “Kamikaze” and “Staybacik” stick to his typical R&B style, better produced than it ever has been. “Dos Uno Nueve (219)” goes a completely different direction, a Mexican corrido track featuring Yellow Room Music, honoring the Latinx musical styles that he expressed admiration for. Apollo also explores his sexuality in this album, fluidly discussing his bisexuality in “Kamikaze” and “I’m Amazing” in an exploratory manner. The whole album is generally quite exploratory, a quality that makes me even more excited for the work that is to come from Apollo.

Also worth mentioning:

Diplo, Diplo Presents Thomas Wesley: Snake Oil

Thundercat, It Is What It Is

Sylvan Esso, Free Love

Lauv, ~how i’m feeling~

Niall Horan, Heartbreak Weather

J Balvin, Colores

Kelsea Ballerini, kelsea

Dominic Fike, What Could Possibly Go Wrong

#music #2020

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askbohemiancompany · 6 years

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Munday Mix Tape Compilation

To those who did submit for this meme, please let me know what you thought of the mixes.

iamyourdoubt asked:Oh my, what does this 🎼 bring to your mind?

Oh boy! This one was easy as hell

Terrible Lie- Nine Inch Nails

Window Licker- Aphex Twin

Battle in Me- Garbage

In My Head- Queens of the Stoneage

Eh- Death Grips

I admit for this I picked mostly tracks that would fit the mood with dealing with Doubt from denial in Terrible Lie, the active fight in Battle in Me and indifference with Eh. Window Licker just feels like you are being choked by a serpent that points out your mistakes. In My Head is over the bad deal making aspects of Doubt I wanted to at least touch on.

asktheboxghosts asked:🎼

Sick Sick Sick- Queens of the Stoneage

Kids See Ghosts- Kids See Ghosts

Downward Spiral- Danny Brown

Everything She Does Is Magic- Police

Knife Party- Deftones

Ok this one was also pretty fun to come up with. I wanted to make the playlist mostly around Fool. Downward Spiral can represent her on maybe one of her bad episodes and Sick Sick Sick can be the danger around her. Kids See Ghosts is a whole album about and made by people that are bipolar and have depression, so naturally, a song should fit there. Also, it has the chorus Kids See Ghosts which can mean false visions or how one can cope as a child. Everything She Does is Magic could capture that, despite how initially unintimidating she is, there is something unnerving when you pay attention. Knife Party is there because she has a knife.

askinggourgeist asked:🎼🎼👀👀 I’ll do it off askinggourgeist

Garden Shed- Tyler, the Creator

WASTE- BROCKHAMPTON

You’re My Best Friend- Queen

Take Care- Drake ft. Rhianna

The Thief- Minus the Bear

This one I knew immediately I wanted to go with Geist’s on hang ups on his past. Garden Shed and WASTE both deal with the angst he dealt with being alive, both as being a lowly thief and being rejected for being gay. You’re My Best Friend and Take Care are optimistic, regarding how he has come to accept himself better and finding good influences such as Eddy. Thief is more of a mood song, with a title about his old occupation.

transient-birds asked:// I'm too lazy to log into my other blog, so take this for Tobias 🎼

Hurt- Johnny Cash

Way Down- Kaleo

Sitting on the Dock of the Bay- Ottis Redding

Time Flies- Porcupine Trees

Sad and Lonely- DJ Shadow

Okay this playlist is just summarized as “Tired and Warry Music”. So I chose tracks that emphasized regret and being beaten down by life. I chose Time Flies because this blog had one of the most drastic reboots I have seen, one I still actually appreciate to this day.

askthepathfinder asked:🎼

Shock Me- Baroness

The Weapon- Rush

Ashes to Ashes- David Bowie

Trooper- Iron Maiden

Building Steam with a Grain of Salt- DJ Shadow

I admit I had a bit of a hard time making this one. Don’t know why. I went with some quintessential soldier-esque songs. Also DJ Shadow because I will convert people to his brilliance.

askgng asked:🎼this sounds interesting. Think you can do it for my blog?

Robot Rock- Daft Punk

Take a Byte- Janelle Monae

Metal Heart- Garbage

Trash- Death Grips

Harder Than Steel- Megas

Most of the these tracks have to do with robots with Take a Byte for Gardedroid and Harder Than Steel for 107-001 RR respectively. Trash represent Gardebitch looking through the gardevoir tag on tumblr or google.

Sorry Varta

deathbycelosia asked:🎼

Where This Flower Blooms- Tyler, the Creator

Egypt The Chains are On- Dio

Tragic Kingdom- No Doubt

Inchworm- Battles

Pyramids- Frank Ocean Child of the Desert- Circa Survive

I wanted tracks that would get the feeling of going through a desert on your own, with no one else but people you are wary of. Where This Flower Blooms relate to Celosia, just being an elegant song about someone who is not traditionally masculine and owns up to it. Also because Celosia is a grass type. Inchworm is like interacting with Ravenger, at first intimidating but winds up sounding goofy by the end.

NOTE: I did change one of the tracks for this one.

im-crow asked:🎼

My Thoughts on Neo Gaf Dying- JPEG Mafia

Everyday Bro- Jake Paul

What’s New Pussy Cat- Tom Jones

Hotline Bling- Drake

Photograph- Nickleback

Hey. You like memes. Here are some memes you meme. MEMES!

ghost--mod asked:🎼 for DailyArcticVaporeon!

Art Angel- Grimes

Feels Good- Jamiroquai

Gimmie Love- Carly Rae Jepsen

Waterslide- Chon

Ice Cream- Battles

Boy howdy I do not know a lot of bright optimistic music no I don’t. Most of these were mood centric tracks since River seems like an upbeat person. Hope you like the mix bag. One has a video of a dog on a skateboard.

leilani-popplio asked:🎼

Another Day In Paradise- Reel Big Fish

Red Rubberball- Street Light Manifesto

Mr. Bluesky- Electric Lights Orchestra

Circles- Incubus

Step Outside- Screaming Females

This one was interesting because again I tried to pick up beat songs, but each with their own kind of twists in the lyrics especially with Another Day and Red Rubber Ball. Bluesky is meant to be straight optimistic with Leilani being a sweet child. Circles and Step Outside are meant to be more representative of Kass, someone who is antagonist and enjoys a fight.

a-drays-mind asked:I'm on the phone don't mind me :'D music note for the twins' blog?

Bottomless Pit- Death Grips

HEAT- BROCKHAMPTON

TABOO- Denzel Curry

Bad Boyfriend- Garbage

Misfit Love- Queens of the Stoneage

This was one that I had a blast with and one I had in my head for a while. Bottomless Pitt and HEAT both have the energy of what it feels like being in Jake’s presence: it is stress inducing with Jake threatening you in some capacity. TABOO does sort of handle in how the siblings handle all of their sexual relationships with everyone involved. Bad Boyfriend does highlight how really warped and fucked up Sara and Jake’s relationship are. Misfit Love, however, could best describe the whole cast, fucked up but with varying degrees of comradery.

askbookwormflareon asked:🎼For Isis if you're still doing this?

I will also throw one track for Rosie and Honey as well.

Glass House- Screaming Females

Bergschrund- DJ Shadow

Can You Forgive Her- Pet Shop Boys

Don’t Speak- No Doubt

Rattlesnake- St. Vincent

Since this one was for a specific character this was a bit tougher, but I still think I managed to make a decent list. Glass House deals with how Isis was raised by her mom, in an abusive cult-like household. Can You Forgvie Her and Rattlesnake deal with the uncertainty about leaving her mom in terms of learning about what her mom withheld from her. Bergschrund is what I would see as her fight theme, very distorted but sharp. Don’t Speak deals with Rosie and Honey’s romantic relationship deteriorating and how it pains the both of them

occasionalmawile asked:🎼 (if you are still doing those of course!)

Can’t Get You Out of My Head- Kylie Mignoa

Venus Fly- Grimes

D.A.N.C.E- Justice

Heart- Petshop Boys

Making Most of the Night- Carly Rae Jepsen

The only reason this one was hard was because I had to cut a bunch of tracks due to lyrics having a double entendre which would not have jived at all with your blog, but had the word pink in it. I chose some more aesthetic stuff, a lot of happy and upbeat music that seems fitting for Azamu

🎼 i dont suppose you'd do one for askcannelleandfriends?

Step Outside- Screaming Females

Golden Gun Girls- Metric

In Your Honor- Foo Fighters

Bakuretsu Panie San- tricot

You Can Do It- No Doubt

For this one I chose a lot of tracks that convey Cannelle’s spunky attitude and willingness to persevere. You Can Do It, Golden Gun Girls and Step Outside both convey this well. In Your Honor is for Cannelle’s relationship with Lenox and how close they have become. The tricot song was just more of a mood piece because I want to rep tricot.

themeowsticvigilante asked:🎼 (I follow you on my main blog and I want to try this)

My Hero- Foo Fighters

Never the Heroes- Judas Priest

Hero- Nas

Demolition Man- Police

Cabin Killer- Doomtree

I had a theme with these, I’ll give you a hint. This list is a spectrum for a “hero”. My Hero being the most optimistic to Cabin Killer being the most brutal. Despite of the name Demolition Man can be read into as a film about the guy you call in to get a job done.

asktidethegastrodon asked:I’m not sure if you are still doing these but! 🎼

Violet- SavageGarden

Grow Up and Blow Away- Metric

November- Tyler the Creator

Mysterious Traveler- Weather Report

Frozen Creek- Circa Survive

And here is the last one! This one was hard because the cast was so big, but I chose to go with tracks to cover the mood of the blog. The first three meant to each be a mixture of happiness to nostalgia, due to the blog being about a group of friends. But the last two tracks deal with the more sinister stuff lurking in the blog, namely with the giratina.

#munday mix tape #ooc #meme

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transvros · 6 years

Text

The Silence Sings Volumes

one-shot coco fic tw: death, hallucinations, guilt, disturbing imagery ernesto de la cruz and hector rivera

Silence would have been a welcome companion on this journey. Ernesto had hoped that carrying out the final steps of this dark deed would have been filled with silence- something that would be utterly foreign to him given his profession of noise and music. But it was not silent. The sounds were all much too loud, instead. The heaving of his breath could very well have been just as loud as the ringing of a bell, and the thudding of his feet against the dirt pounded like great big drums in the night. And of course, the noise that racketed off of the skidding, dragging body he was pulling against the ground was not at all any quieter... Especially when that body belonged to someone who was once a friend. Ernesto paused, standing up straight to stretch his spine as his eyes peered around thoughtfully to assure the promise of isolation was still covering his tracks. He reached a hand up to wipe the sweat from his brow, before glancing at Héctor's unmoving form from over his shoulder. For a moment, something in his gut tightened- like a snake coiling into itself over and over until all that remained was a stack of colored rope in the midst of an unsuspecting walkway. Waiting to strike at any moment and constrict him until he could not breathe. Ernesto took a deep breath, closing his eyes tightly and once more reaching to wipe the sweat off his brow. It was unclear whether or not he was sweating from the heavy lifting or if the sweat came from his skin because of the crime he had committed, trying to drown him for a sin that he knew he would be condemned for one day. No, he could not be swayed by things like remorse. He had no reason to feel bad for what he’d done- he had to seize his moment and Héctor had placed himself in between him and the moment that he needed to take hold of. His amigo had become an obstacle, and he had needed to jump that hurdle before he stagnated and withered into nothing. Héctor’s words were like magic, and Ernesto was the magician. He had to weave those lyrics for the unsuspecting crowd and bring himself up to the fame that he so righteously deserved. He was the voice of the group- the face, the social king next to a hermit-ed wordsmith that cared more about going home than he did the cause they set out here for in the first place. Ernesto took another breath, letting the air fill his lungs and trying to keep his head on a single thought. You have done nothing wrong, Ernesto. The thought is a comfort to him. A mal tiempo, buena cara. He straightened his face out, unfurrowed his brow and put on a brave face. This would all be over soon- Héctor knew very little people in all honesty. He had some friends, but his wife was his life. And nobody had to know that he was gone- it wouldn’t matter one bit when he became famous. These words in this notebook, and this guitar... it was all his now. His words to be strung along by his guitar. Just as he was starting to feel better about the whole situation, Ernesto felt his face fall once more when he heard something in the distance. The fear of being caught shot through him like an arrow, and he felt Héctor’s corpse leave his tired hands as it dropped to the dirt. Ernesto’s eyes went wide as he swung his head around, frantically searching for the source of the sound, but was utterly addled when there was nothing around that could have made any sound. He stilled his breath, holding it in like cigarette smoke as he listened for the sound again. For a moment, all he could hear was the howling of the nighttime winds and the hushed sound of his own pounding heart. But as a moment ticked by...and then another... the sound came back. It wasn’t the shuffling of feet or the shouts of someone who had seen the task he was about to complete- but it was something far, far more menacing. The sound of a guitar... soft...unassuming against the moonlight. Ernesto breathed out, squinting his eyes against the fog- ... Wait a tick. Had there always been fog? If there hadn’t, there certainly was now. He couldn’t see who was playing a guitar- he couldn’t even see the guitar. But he recognized that tune- one that he wished that he didn’t. It was a song that Héctor had been working on for so long- one that he apparently had been writing for that family of his. Recuérdame, his pride and joy. Why would that song be playing- and who would be playing it?? Ernesto took a step, and felt that his legs were suddenly quite heavy. Like he had something attached to them, or as if someone was trying to pull him back down to the ground right next to the body he was planning to bury. He shook the thought, and took another step forward. As he continued moving forward, the fog started to move against his sides and clear forward. But as soon as it had just enough for him to see where the sound was coming from, Ernesto wished that he hadn’t fought against the weights attached to his feet. It was Héctor. The idea of it was crazy- completely impossible, but it was unmistakable. The form of his former best friend was standing, guitar in his hands and fingers plucking at the strings in a calculated motion. He took a step back, widened eyes gazing in terror at the man before him. In a swift attempt to rid himself of the vision, Ernesto glanced back at the body of Héctor lying limp on the ground behind him, but when he swung back around to see if the living version was still playing eerily before him, he found that it was now much closer. Ernesto shouted in surprise, and nearly fell backwards, just barely catching his balance enough to remain steadied. “Héctor- how- dios mio, how are you-” Ernesto spoke frantically, feeling as if his voice had up and abandoned him, leaving ice in his throat in it’s place. “Where did you come from?!” There was no response. His mouth did not open to reply- there was no shout of accusation nor movment to suggest hostility or revenge. Instead, after a second of nothing changing, the hand that held the end of the end of the guitar held it out slowly. He lifted his head slightly, so that his eyes would meet Ernesto’s and he simply dropped the instrument on the ground haphazardly. Ernesto glanced at the guitar, now flat against the ground, before he raised his eyes to meet Héctor’s, and found that keeping the gaze was too difficult. The expression of betrayal, those eyes that swam with the disdain of a broken friend reminded Ernesto of his disloyalty. The feeling was so heavy against his shoulders that they began to ache. “Please, Héctor... Mi amigo-” The two worded phrase was met with a twitch- a clenching of a fist at Héctor’s side. “- Please, do not hurt me. I am-” Ernesto paused, taking another step back, his hands raising to clutch against his own chest like a fearful child. “Lo siento, Héctor, I’ve made a mistake!” His voice broke, any semblance of calmness lost as his pitch changed to one of horror. This was a punishment- a karma that he was not prepared to face. But Héctor said nothing. He just stared, hatred burning in his face and fist now clenched at his side. The hand that dropped the guitar moved back to his side, and he stood stiffly, coldly watching Ernesto as he trembled and fretted over what to do. Ernesto hesitated, awaiting some kind of reply- but nothing would break the quiet. He kept switching between holding his breath and heaving, getting everything out of his lungs only to bring all the fog back in. The silence was killing him- Héctor wouldn’t say a word- he wouldn’t even move. It was making him paranoid- it was making him angry... it was making him feel GUILTY. Ernesto sucked a breath in through his teeth. “What do you want from me, Héctor, please-! Just tell me what you want! Lo siento, lo siento, fue un accidente!!” Ernesto exclaimed desperately, falling down onto his knees, desperately digging his nails into the dirt. He felt suddenly very weak... even though Héctor hadn’t touched him at all it was as if somebody had punched him over and over in his gut. “It was on an impulse, I thought it was the right thing to do! I wanted to live in the day- seize my moment! I was blinded by fame, por amor de Dios, tenga compasión!” He shook, visibly quaking on the ground as his eyes remained widened and on the ground, avoiding that piercing stare at it had already rendered him nigh useless on the floor. “Stand up.” The voice was so sudden, cutting into the noiseless panic Ernesto had paralyzed himself in. When Héctor said it, he had brought his eyes up to look at him dumbly, unsure if he had actually heard him right. “Stand up.” Héctor repeated, his voice unchanging. Ernesto scrambled to his feet, the fear of his impending comeuppance leaving him completely obedient. Héctor gently lifted his hands up in front of him, slow and zombie-like. Ernesto was confused when he put his hands against his chest- and then shoved him backwards lightly. He blinked at him, the alarm still clear along with the confusion. Héctor shoved him again, and Ernesto figured he’d just do what he thought was wanted of him. He turned around, and started to walk. Every few steps, he would feel a light shove forward. When Ernesto realized where they were going, his face paled, and he nearly stopped walking, but another cold shove coaxed him to keep moving. “Héctor-” He started, but shut his mouth tight when the sound of his voice was met with a much harder shove forward. After what felt like- and honestly what could have been- an eternity, Ernesto found himself staring downwards at a big hole in the ground. He knew why it was here- for he had been the one that dug it earlier that night. He glanced over his shoulder at Héctor and found that the look of loathing was stronger now. It was as if he was attempting to land a knife directly in between Ernesto’s shoulder blades using nothing but his eyes. He didn’t have to say anything- he knew why Héctor had brought him here. It was only more evident when the man he had killed’s arm raised to point at the hole with purpose. No words had to meet Ernesto’s ears for him to understand the message; This was no accident. It was not an act of impulse- something done on a whim in the blinding light of stardom. This... was a calculated decision. He had picked the poison. He had readied his lies. He had dug his grave. There was nothing Ernesto could say to pretend that this was not something he had fully been preparing for. He hung his head downward, and felt the hot sting of regret crawling along his spine. Ernesto couldn’t find anything to say- there was nothing but a soundless tension. What else could there be? He had breached his faith- he had broken his trust- he had killed his best friend. He had KILLED his BEST FRIEND. The thought shattered the walls he built around himself and shot him hard in his brain and stomach. He felt the realization springing some kind of leak- and Ernesto found that tears were welling in the corners of his eyes. Finally, he found that his lips were not sewed shut enough for him to open them. “I-” Before he could utter another syllable, Ernesto shrieked as Héctor’s hands were on his back once again and he was propelled forward with a rough shove. He stumbled forward, hands going out in some kind of desperate attempt to balance himself- but his feet left from under him as he collided face first with the grave that he had created. He pushed himself up by his palms, and sputtered, coughing out dirt and drool before he turned rapidly in his place. His heart dropped as he found himself gaping, jaw dropped upwards at the form of Héctor glaring downwards at him with a shovel in his hand. “Héctor, por favor, don’t leave me here-” But his words didn’t mean anything to the ex-friend. Héctor glanced at him once more, and then dug the shovel hard against the ground to start burying the man that had poisoned him. Ernesto gasped sharply as suddenly, the noises and fog and vision around him were gone. He found that he was standing above the grave he made for Héctor, and the body on the ground was entirely still. He looked around, panting and wheezing to himself in the dark. It was all some twisted nightmare. He placed a hand on his chest and applied a little pressure, trying to get himself to calm down and ease his rapidfire heartbeats. Once he was calm, he picked up Héctor’s body and peered down into the grave- which now seemed quite endless. The taste of dirt was still heavy on his tongue... but his mind had been made up the moment he had dripped poison onto Héctor’s tongue. He could not turn back now- no matter what the consequence would be one day. As clear as the sound of bells ringing in his ears, leftover from his haste... he knew what he had to do. And it was silent to him when Héctor’s body hit the bottom of the darkness.

#coco #pixar coco #hector rivera #hector #ernesto de la cruz #fic #please reblog

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cpgtb · 7 years

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Che io adori Eminem, per chi mi ha seguito nelle live, non è un mistero, e questo ragazzo mi stupisce sempre di più... vi lascio le parole (supercelebrative... e, per me, ha tutte le ragioni del mondo!) e una traduzione semiautomatizzata, ma credo comprensibile di uno dei suoi brani...

PS. Il lavoro nobilita l’uomo ...dicono... ma quello che non ti dicono è che ti fotte la vita...

Eminem, Rap God (testo)

I’m beginning to feel like a rap God All my people from the front to the back nod Now who thinks he’s arms are long enough to slapbox? They said I rap like a robot so call me rapbot But for me to rap like a computer must be in my genes I got a laptop in my back pocket My pen’ll go off when I half cock it Got a fat knot from that rap profit Made a living and a killing off it Ever since Bill Clinton was still in office With Monica Lewinsky feeling on his (nutsack) I’m an emcee still as honest But as rude and indecent as all hell Syllable, killaholic [?] This slickety, gibbedy, hibbedy hip hop You don’t really wanna get into a piece of match With this rappidy rappack and a mack in the back of the yac, pack backpack rap yep yackidy yac The exact same time I attempt these lyrical acrobat stunts when I’m practicing that I’ll still be able to break a motherfuckers table over the back of a couple [?] and crack it in half Only realized it was ironic I was on the Aftermath after the fact How could I not blow? All I do is drop F-bombs, feel my wrath of attack Rappers are having a rough time, period; he’s a maxipad It’s actually disastrously bad For the wack to masterfully constructing this masterpiece ass

I’m beginning to feel like a rap God All my people from the front to the back nod Now who thinks he’s arms are long enough to slapbox? Let me show you maintaining this shit ain’t that hard Everybody want the key and the secret to rap immortality like I have got Well, to be truthful the blueprint is simply raging youthful [?] Everybody loves to root for a nuisance Hither up like an asteroid, did nothing but chew other moons in Emcees get taken to school with this music cause I use it as a vehichle to bust a rhyme Now I lead a new school of students Me, I’m a product of Rakim, Lakim, Shahbaz, 2Pac and W.N, Cube, Doc, Ren, Yella, Eazy, thank you they got Slim Inspired enough to one day grow up, blow up and be in a position To meet Run DMC and induct them to the motherfucking Rock and Roll Hall Of Fame Even though I walk in the church and burst in a ball of flames Only Hall of Fame I be inducted in is the alcohol of fame On the wall of shame You [?] it’s all a game till I woke a flock of flames Off of planking, tell me what in the fuck were you thinking? Little B looking boy, so [?] I can barely say it with a straight face looking boy You witnessing a massacre like you watching a church gathering take place looking boy Oh [?] that’s all they say looking boy You take a thumbs up, pat on the back the way you go from your label everyday looking boy Hey, looking boy, what you say looking boy? I got a hell yeah from Tre looking boy I’mma work for everything I have, never ask nobody for shit Get outta my face looking boy Basically boy you’re never gonna be capable to keep up with the same pace looking boy

I’m beginning to feel like a rap God All my people from the front to the back nod The way I’m racing around the track, call me Nascar [?] heart of the trailer park, the white trash God Kneel before generals off this planett’s Krypton, no Asgard So you be Thor and I’ll be Odin, you [?], I’m omnipotent Let off then I’m reloading immediately with these bombs I’m totin’ And I should not be woken I’m a walking dead, but I’m just a talking head, a zombie floating But I got your mom deep in [?] I’m out my ramen noodle We have nothing in common, poodle ? pinch yourself in the arm and pay homage, pupil It’s me, my honesty’s brutal But it’s honestly futile if I don’t utilize what I do though For good at least once in a while So I wanna make sure somewhere ? I scratch, scribble and doodle Enough rhymes to maybe to try and help get some people through tough times But I gotta keep a few punchlines Just in case cause even you unsigned Rappers are hungry looking at me like it’s lunchtime I know there was a time where once I Was king of the underground, but I still rap like I’m on my Pharoahe Monch grind So I crunch rhymes, but sometimes when you combine A pill with the skin color of mine You get too big and [?] Like that one line

When I tried to say I take seven kids from Columbine Put ‘em all in a line

See if I get away with it now then I ain’t as big as I was but I’m Morph into an immortal, coming through the portal But you’re stuck in a timewarp from 2004 though And I don’t know what the fuck that you rhyme for You’re pointless as Rapunzel with fucking cornrolls Fuck being normal And I just bought a new raygun from the future to just come and shoot ya Like when Fabolous made Ray J mad

Oh, man, oh, that was a 24 special on the cable channel So Ray J went straight to the radio station the very next day ”Hey, Fab, I’mma kill you” Lyrics coming at you at supersonic speed Uh, sama lamaa duma lamaa you assuming I’m a human What I gotta do to get it through to you I’m superhuman Innovator, made [?] so anything you saying ricocheting off of me

Never fading, and I know that the haters are forever waiting For the day that they can say I fell off, they’d be celebrating Cause I know the way to get ‘em motivated, I make elevating music You make elevator music Oh, he’s too mainstream – well, that’s what they doing jealous, they confuse it It’s not hip hop, it’s pop, cause I found a hella way to fuse it With rock, shock rap with Doc [?] to make them loose it I don’t know how to make songs like that, I don’t know what words to use Let me know when it occurs to you While I’m ripping any of these verses

How many verses I gotta murder to prove That if you’re half as nice at songs you can sacrifice virgins too School flunkie, pill junky But look at the accolades the skills brung me Full of myself, but still hungry I bully myself cause I make me do what I put my mind to And I’m a million leagues above you Ill when I speak in tongues, but it’s still tongue in cheek, fuck you I’m drunk so Satan take the fucking wheel, I’m asleep in the front seat Bumping Heavy D and the Boys, still chunky, but funky But in my head there’s something I can feel tugging and struggling Angels fighting with devils, here’s what they want from me They asking me to eliminate some of the women hate But if you take into consideration the bitter hatred that I had Then you may be a little patient and more symphatetic to the situation And understand the discrimation But fuck it, life’s handing you lemons, make lemonade then But if I can’t battle the women how the fuck am I supposed to bake them a cake then? Don’t mistake it for Satan It’s a fatal mistake if you think I need to be overseas and take a vacation to tip a broad And make a [?] on the face and don’t be a retard Be a king? Think not – why be a king when you can be a God?

Look, I was gonna go easy on you, not to hurt your feelings But I’m only to get this one chance. (Six minutes, Slim Shady, you’re on) Something’s wrong, I can feel it Like a feeling, like something is about to happen, but I don’t know what If this means, what I think it means, we’re in trouble – big trouble And if he is as bananas like you say, I’m not taking any chances (You were just what the doc ordered.)

Eminem, Rap God (traduzione)

Comincio a sentirmi come un dio del rap tutte le persone da qui davanti fino al dietro annuiscano ora chi pensa che le sue braccia siano lunghe a sufficienza per uno schiaffo? dicono che rappo come un robot, chiamatemi rapbot ma per me rappare come un computer deve essere nei geni ho un portatile nella tasca di dietro il mio pene si spegnerà quando lo fotterò a mezzo ho un nodo di grasso dai profitti del rap mi sono fatto una vita e l’ho fatta fuori tutta da quando Bill Clinton era in ufficio con Monica Lewinsky che gli succhiava le palle sono un MC ancora onesto ma maledettamente rude e indecente sillabato, voglioso di farvi fuori questo lubrificante, gibbedy hippedy hip hop non vuoi davvero farti avanti nel match con questo rapidissimo rap e microfono sul retro del gioco, pack backpack rap yep yackidy yac Allo stesso tempo provo questi stunt acrobatici quando mi esercito sarò ancora in grado di sfasciare il tavolo dei figlio di putt*na sulla schiena di qualcuno e romperlo in due ho realizzato che ero ironico ero nella Aftermath dopo quel fatto come potrei non farlo? rilascio Bombe-F, senti la rabbia del mio attacco i rapper passano un brutto periodo, è un maxipad è veramente disastroso per gli sfigati costruire un capolavoro come questo cul*

comincio a sentirmi come un dio del rap tutte le persone da qui davanti fino al dietro annuiscano ora chi pensa che le sue braccia siano lunghe a sufficienza per uno schiaffo? Fammi mostrare che mantenere questa roba non è difficile tutti vogliono la chiave e il segreto per l’immortalità del rap come me beh, per essere sinceri il giovane blueprint è solo un giovane incaz*ato tutti amano le radici per noia lanciato in cima come un asteroide, non ho fatto altro che masticare le altre lune GLi Mc sono portati a scuola da questa musica perché la uso come un veicolo per lanciare una rima ora porto avanti una nuova scuola di studenti io, sono un prodotto di Rakim Lakim Shahbaz, 2Pac e W.N, Cube, Doc, Ren, Yella, Eazy, grazie per Slim ispirato a sufficienza per crescere un giorno, scoppiare ed essere in una posizione incontrare i Run DMC e portarli dentro la caz*o di Rock and Roll Hall Of Fame anche se cammino in chiesa e brucio in una palla di fuoco l’unica Hall of Fame cui mi hanno iniziato era la Alcohol of fame sul muro della vergogna tu, è tutto in un gioco finché non ti svegli in una lingua di fuoco quando fai il planking, dimmi a che caz*o pensavi Little B stile ragazzino, posso a malapena dirlo con una faccia da ragazzino tu sei testimone di un massacro come se guardassi una chiesa piena di gente che si siede ah è quello che dicono, bel ragazzino ti prendi i pollici su, una pacca sulla spalla sulla strada dalla tua etichetta discografica ogni giorno, bel ragazzino oh, bel ragazzino, che dici bel rgaazzino? ho ricevuto un “caz*o sì” da Tre, bel ragazzino lavoro per ottenere quello che mi serve, non ho chiesto mai un caz*o a nessuno via dalla mia vista, ragazzino non riuscirai mai a mantenere la stessa velocità, ragazzino

comincio a sentirmi come un dio del rap tutte le persone da qui davanti fino al dietro annuiscano il modo in cui guido la canzone, chiamatemi Nascar il cuore del parcheggio per roulotte, il dio della spazzatura bianca inginocchiatevi ai generali di questo pianeta Krypton, non Asgard così tu fai Thor e io Odino, tu sfigato, io sono onnipotente lascia stare che ricarico immediatamente con queste bombe che lancio non mi devi svegliare sono un morto che cammina, ma sono anche una testa parlante, uno zombie ho preso tua mamma sono il mio noodle cinese non abbiamo niente in comune, ciccio pizzicati il braccio e rendi omaggio, studente sono io, la mia onestà è brutale ma onestamente sarebbe futile se non usassi cosa faccio in fondo per bene, almeno una volta ogni tanto voglio essere sicuro da qualche parte? faccio scratch, scarabocchio e scarabocchio abbastanza rime per cercare di aiutare le persone nei tempi duri devo tenerne alcune più cattive giusto in caso perché pure tu hai rescisso il contratto i rapper sono affamati, guardami, è ora di pranzo so che c’era un momento dove io, una volta ero il re dell’underground, ma rappo ancora come se lavoraasi ancora al Pharoahe Monch mastico rime, ma qualche volta quando ti unisci una pillola col colore della mia pelle ti fai troppo grande come quella linea quando cerco di dire che ho salvato sette bambini da Columbine mettendoli tutti in fila nella mia rima

Guarda, se ottengo quel che mi serve allora non sono così importante come pensavo ma mi trasformo per morphing in un immortale, passo attraverso un portale ma sei fermo in una curvatura spaziotempo dal 2004 non so perché caz*o tiri fuori rime, allora sei inutile come Raperonzolo con quei caz*o di capelli in su fanc*lo essere normali ho comprato una nuova pistola laser dal futuro per venire a spararti come quando Fabolous ha fatto impazzire Ray J

oh man, erano uno speciale di 24 ore in tv via cavo allora Ray Jj è andato in radio il giorno dopo ehi Fab, ora ti uccido le parole arrivano a velocità supersonica uh sama lamaa duma lamaaa tu pensi che io sia un umano che devo fare per farti capire che sono un superuomo innovatore, così ogni cosa che dici mi rimbalza addosso

Non sono mai svanito, e so che chi mi odia aspetta da sempre quel giorno che potranno dire che sono caduto, lo festeggerebbero perché so come motivarli, faccio musica che innalza tu fai musica da ascensore è troppo mainstream - beh, è quello che pensano i gelosi, si confondono non è hip hop, è pop, ho trovato un modo per metterli insieme con il rock, rap shock con Doc li faccio sballare non so come far canzoni in quel modo, non so che parole usare fammi sapere quando ti capita mentre sistemo un po’ di questi versi

quanti altri versi devo uccidere per provare che se fossi almeno metà bravo con le canzoni potresti anche sacrificare vergini sei lo sfigato della scuola, un drogato di pillole ma guarda gli accoliti che mi portano abilità pieno di me, ma ancora affamato mi faccio bullismo da solo perché così faccio quello che mi dice la testa e sono un milione di linguaggi oltre te malato quando parlo in versi, ma ho ancora la lingua in bocca, fanc*lo sono sbronzo così Satana può cominciare con la sua ruota, dormo sul sedile davanti ascolto Heavy D e i The Boys, un po’ fighi ma funky ma nella mia testa c’è qualcosa che posso sentire sbattere e godere gli angeli che litigano con i diavoli, ecco cosa voglio da me mi chiedono di eliminare alcune donne odiate ma se prendi in considerazione l’odio amaro che lo avrei fatto devi portare un po’ pazienza ed essere più comprensivo della situazione capire la discriminazione ma fanc*lo, la vita ti tira dei limoni, fai la limonata allora ma se non puoi dar battagli alle donne come caz*o posso preparargli una torta, poi? non sbagliarti con Satana è uno sbaglio fatale se pensi di dover andare dall’altra parte del mondo in vacanza per goderti l’estero non fare quella faccia e non essere ritardato vuoi fare il re? non ci pensare, perché fare il re quando puoi essere dio?

guarda, volevo andarci piano per non farti male ma ho solo questa chance (sei minuti, Slim Shady, sei arrivato) qualcosa è sbagliato, lo sento come un sentimento, come qualcosa che sta succedendo, non lo so cosa se questo significa quel che penso, siamo in un casino - un gran casino e se lui è un idiota come dici, non ho alcuna chance (sei stato solo ciò che ha ordinato il dottore) comincio a sentirmi come un dio del rap (dio del rap) tutte le persone da qui davanti fino al dietro annuiscano (annuiscano) ora chi pensa che le sue braccia siano lunghe a sufficienza per uno schiaffo?

#eminem #lyrics #traduzione #testo canzone

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gojiro · 7 years

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The Vinyl of the Day is ‘The Last In Line’ by Dio, 1984. One of the true Metal Gods, in 1982 Ronnie James Dio had formed the group ‘Dio’ after quitting his 3 year stint as lead singer for Black Sabbath, and bringing along his former ‘Rainbow’ bassist Jimmy Bain and Black Sabbath drummer Vinny Appice - together they recorded their debut album ‘Holy Diver’, which has been hailed by critics as Dio’s best work and a classic staple in heavy metal. Could he follow it up with something on par with the standard he set for himself? Well, the answer is a mixed “yes”. While there are some really outstanding songs here (The title track especially is powerful, with fantastic riffs and hooks, and it’s probably the best on the album at showing off Ronnie’s vocal abilities), “Last” has a few decidedly B grade tracks while “Diver” was straight A’s. On “Last In Line”, like “Holy Diver”, the imagery is pure Final Fantasy or D&D fiction. Still, “Line” doesn’t feel quite as cohesive as “Diver” thanks to a decent but out-of-place “breakup song” (“Eat Your Heart Out”) and the lyrics of “One Night In The City”. Even the radio-friendly “Rainbow In The Dark”-clone “Mystery” doesn’t fit seamlessly like “Dark” did on “Holy Diver”. By no means does that mean this isn’t a good album, it most certainly is, it just doesn’t quite have the spark of the previous one. The album also certainly has a more accessible to the masses sound than before, and Dio has always been best suited to sticking to pure Metal rather than appealing to a bigger audience. This is still a fantastic album and a must own to anyone who wants to truely understand the greatness of Ronnie himself.

When Dio Released a Metal Masterpiece

‘The Last in Line’ By Eduardo Rivadavia

For Ronnie James Dio, the title of his band Dio‘s second album, The Last in Line, could very well have referenced the legendary singer’s lengthy wait for much-deserved solo stardom after decades served as the ultimate team player.

After all, the previous year’s hit Holy Diver was a debut album in name only. Between his recent exploits with Black Sabbath (whose career he helped save from oblivion), prior service with Ritchie Blackmore‘s Rainbow, the band Elf and countless, oft-forgotten groups dating all the way back to the late ’50s, Ronald James Padavona had been preparing for his close up for a long, long time.

As with Holy Diver, Dio produced The Last in Line, which had been recorded in the early months of 1984 at the same Caribou Ranch Studio made famous by Elton John‘s LP of that name. It welcomed back the same core trio of musicians — guitarist Vivian Campbell, bassist Jimmy Bain and drummer Vinnie Appice — that so competently backed up Ronnie on Holy Diver, contributing excellent song ideas, as well as their talents. The addition of former Rough Cutt keyboard player Claude Schnell gave their efforts new dimensions, and the end results were, as Dio himself might have put it, magic.

“We Rock” ensured that The Last in Line would storm out of the gates at full power and breakneck speed, thus paving the way for the anthemic title track and rockers like “Breathless,” “One Night in the City” and “Eat Your Heart Out” that were as heavy as they were hook-filled. Sprinkled among these were further samples of pedal-to-the metal head-banging (“I Speed at Night,” “Evil Eyes”), “Mystery” and an epic closer rife with mystery and grandeur in “Egypt (The Chains Are On).”

An instant success story around the world, The Last in Line hit No. 4 in the U.K. chart and No. 24 in the U.S., on its way to earning a gold certification within two months of its release, and powering through to platinum sales by the following year (thus becoming the first Dio LP to earn that distinction).

By then, Dio — the band — had become a touring machine, crisscrossing the U.S., U.K. and Europe beginning in June until the end of 1984, before returning to America for a final leg that ended on Jan. 27, 1985. Over that span, the quintet performed more than 100 shows with the likes of Whitesnake, Twisted Sister, Queensryche and Dokken as support acts.

All in all, the tour signified perhaps the height of the group’s popularity and helped make The Last in Line first among Dio albums for many fans.

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#show me your record collection #vinyl of the day #ronnie james dio #dio #the last in line #heavy metal #80s rock #80s music #80s metal #vinyl #vinyl records #vinyl lps #my music #album covers

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vampiricvitriol · 7 years

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~Shuffle your music and post the next 9 songs with your favourite lyrics~

Tagged by the always great @nataliaroserain :D

1.) ‘Do you remember the first time?’ by Pulp

You say you've never been sure, Though it makes good sense for you to be together

2.) ‘VLG’ by Watanabe Kazuhiro

All I want, I want to be your God All I want from you, pathetic soul Oh the only thing I want is your love Scream my name in pain tonight

3.) ‘(s)AINT’ by Marilyn Manson

But now I'm not an artist I'm a fucking work of art

4.) ‘Longview’ by Green Day

Bite my lip and close my eyes Take me away to paradise

5.) ‘Yule shoot your eye out’ by Fall Out Boy

And all I want this year is for you to dedicate your last breath to me Before you bury yourself alive

6.) ‘I’m not a vampire’ by Falling In Reverse

Well I can lure any woman that I want to in my bed With me, and whiskey seems to be my holy water

7.) ‘I'm Like A Lawyer With The Way I'm Always Trying To Get You Off (Me & You)’ by Fall Out Boy

I only keep myself this sick in the head 'Cause I know how the words get you (off)

8.) ‘Straight through the heart’ by Dio

Living in a world of make believe I can hide behind what's real

9.) ‘Dark times’ by The Weeknd and Ed Sheeran

I got another man's blood on my clothes But an endless fog's the life I chose

I’ll tag @jojo-shitposting @the-trashchild @steamboatpunk @promptls @kingsofleonkuwata !!

(You don’t have to do it if you don’t want to)

#tag

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happymetalgeek · 4 years

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Tonight was road trip time from Belfast to Dublin, because tonight was a special night in the 3 arena. Tonight was when the one and only mighty TENACIOUS D, Jack and Kyle, were landed to launch their European Post-Apocalypto Tour.

It was an uneventful drive down and going via the toll roads its basically a very easy drive straight down to the 3 Arena. Even with the bitingly cold wind whipping round the queue was already well formed well ahead of opening time. Once we were in it was plain to see that tonight was a special night for Tenacious D fans from across the island as the floor and seated areas were filling up quickly. The buzz in the 3 Arena was very loud indeed.

Photos by Darren McVeigh MetalPlanetMusic.com

Then the lights went down and the rumbling sounds of thunder and lightning booms from the stage. A quick stunned silence spread throughout the arena before a roar went up as two guys walked onto stage and picked up their acoustic guitars. Its important to point out this was not Jack and Kyle, it is in fact WYNCHESTER. The support act and touring with Tenacious D. Fronted by Kyle Gass Band vocalist Mike Bray and Tenacious D electric guitarist John Konesky. The band released their self-titled debut album – Wynchester in 2018.

With a “Hello Dublin” they launch into their title track from their EP “Spreading The Gospel Of Good Times”. Immediately they stamp how incredible they are with their brand of powerful booming country rock. The audience is stunned at what they are witnessing but soon rallied as they got into the catchy rhythm pouring of the stage. Once they finished to a rapturous applause the interaction was just as good with a “What’s going on Dublin?” and the joking begins. It’s a perfect start, not only was the opening song a sledgehammer of pure excellence in masterful vocals, lyrics and acoustic guitar but the guys are chilled, down to earth and ready to chat and have a bit of fun. The two tag team chatting back and forth with each other “Everyone ready for the D? we love those guys as they taught us a lot. Taught us about Satan, about Sasquatch, Keilbasa Sausage and Ronnie James Dio!” to the last a roar of approval filled the air. And with that they performed a fantastic countrified rock version of “Rainbows In The Dark” before then heading into their own “Two Man Job”

Introducing the next song as a new one “South of the Border” was just perfectly rocking out until there seemed to be a problem with the mic cable. One of the roadies ran out to fix it during this impromptu intermission to which the crowd in true Irish response sang out their lungs with “Olay, Olay, Olay, Olay”. Once it was fixed and as they started back up, they praised the audience for the magic powers of their chanting.

On they went with the drinking song “Ridge Runner” which seemed to be in tribute of the perfect Guinness before dropping a wonderful cover of “Easy Like A Sunday Morning”. They finished off with “High Desert Rambler”

And so the intermission for the set change. Down went the lights and on came an animated show on a screen in front. And Lo! From the stage came the entrance theme of Post-Apocalypto to herald the saviours of rock!

Photos by Darren McVeigh MetalPlanetMusic.com

To a massive deafening roar, the dynamic Duo of Jack and Kyle strode into the light and started playing their absolute hearts out kicking off with “Hope”. It was a little jarring to begin with as between the band and the audience was the screen. But it was quickly forgotten as everyone there began to slip into a trance of a fully immersive show as the Tenacious D performed their new album with added D as the slideshow and story telling from Jack and Kyle taking the jam packed arena on an epic journey of post-apocalyptic psychedelic proportions.

Interspersed between “Making Love”, “Take Us Into Space” and “Fuck Yo-Yo Ma” the animation pulled the story onwards into the type of madness only Jack and Kyle can create. On went the musical odyssey with “Daddy Ding Dong”, “Robot” and “Colors” until the end began to speed up with “JB JR Rap”, “Woman Time” and “Save The World”. Everyone was entranced as the story played out in front of them roaring with applause and pure joy all topped off with hilarious rude, crude and lewd jokes involving penises, vaginas, bums, a terminator that kills, sucks dick and fully kitted out to pleasure man or woman. The sheer lunacy of the plot line, the animation, the intermixing of Tenacious D performing live and the energy was a perfect storm of a piece of performance art of epic proportions.

And so the first half (yes! First half) of the gig came to close with the “Post-Apocalypto reprise”

Photos by Darren McVeigh MetalPlanetMusic.com

The screen disappears and in an almost jump scare moment Jack and Kyle strode unexpectedly to the fore of the stage as Jack calls out “Thank you Dublin. We missed you. You’re looking good and even better than we remember”. The crowd were going apoplectic with joy. “That was our album Post-Apocalyto. Now its time for our greatest hits!” The roar of approval was deafening.

Then they launched into “Rize of the Fenix” and “Low Hangin’ Fruit”. The absolutely packed almost fanatical D fans went insane jumping, rocking and singing along. Up came the infamous “Sax-a-Boom” as the trance beats dropped like a hammer dropped from a 30 floor high building as Jack kept stopping in disappointment. “no, no. This isn’t dancing.” Each time they started up again and then stop to cajole more dancing from the audience until both the floor and the balconies ‘be trippin’ out’. The security staff were freaking out with all the balcony dancers letting go. It was a beautiful childish moment taunting the poor guys just trying to do their job.

It settled (if you can call it that) back down a bit with “Roadie” before the ineviable moment when Jack and Kyle argue on stage in a moment of wonderful theatrics as Kyle loudly declares “I quit” and walks off stage to roars of “awwwww” from the arena. Jack follows only to be heard saying “He’s gone? What? Cancel the show? NO!! I need the money……for cocaine. What? This mic still on??” before he rushed back out and without a word the audience knew what was coming next with “Dude (I Totally Miss You)” and then “Friendship”.

The crowd were on a complete joyous high as “Kickapoo”, “Beelzeboss (The Final Showdown)” and “The Metal” were played with utter perfection. While Jack’s incredible vocals were pitch perfectly loud, so too the crowd fought back singing each and every word back.

“Dio” landed with just as much force before “Wonderboy” took everyone to a new level of experience. The sheer joy in people’s hearts showed clearly how much Tenacious D are beloved, how rapturous it felt to have Jack and Kyle physically grace the 3 Arena and how superb a performance was happening there in that moment.

Could it go any higher?? Well, yes. Yes, it could as the universally lauded song “Tribute” became a fully participation moment. The floor went mad with a mass of bodies heaving in time, lungs being pushed to hard and vocal chords pushed to their very limits as everyone was determined to become one with Tenacious D in that moment of ecstasy.

They finished their set with “Double Team” before thanking everyone. The applause was thunderous, it shook through everyone there.

And yet there was one last burst of musicality that night as Jack, Kyle and the band came back on to perform a cover of Thin Lizzy’s “Jailbreak” before finishing with “Fuck Her Gently”.

The final applause of appreciation was capped with a full standing ovation from the balconies. And thus the tale was spun, the band and audience were spent and the lights came up.

The whole show is something unique to behold, as a Tenacious D show should be. Wynchester were more than impressive and would be well worth seeing as headliners themselves. They rocked everyone’s socks off with relaxed, skilled and professional guitar mastery. Flawless, even when the set had its own hiccups. Tenacious D were transcendent, resplendent and 100% awesome. The first half was a weird musical Monty Python journey that just landed every song perfectly, even with the five minutes screwup from the slideshow. It was an accident, but the way they turned the whole thing round with usual comedic aplomb it could be something to watch out for. The second half of greatest hits was like a dream state for anyone who has ever heard of Tenacious D. each song and tune rammed home with passion and genuine energy. It was impossible for anyone there not to be moved or stand still. No one was leaving without a massive grin on their face as if they had the greatest and chillest trip with the Sasquatch in the world.

It is a show that you could watch night after night without ever getting bored. You really, really, really need to see Tenacious D live. That is all.

Originally on Metal Planet Music

GIG REVIEW: @tenaciousd Bring The Post-Apocalypto Rock To Dublin Along With #WYNCHESTER @jackblack @GassLeak @Metalplanet72 @mcd_productions @ColumbiaRecords @MikeBrayMusic @JKonesky Tonight was road trip time from Belfast to Dublin, because tonight was a special night in the 3 arena.

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