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#medusas banger posts
antimony-medusa · 1 year
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Fit joins the ranks of streamers flirting with phil
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Phil responds
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Mumza responds.
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medusasstory · 2 years
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I love Jonathan, starting out his diary with “some strange things have been happening but I am only going to write down facts. Facts only. None of this catastrophizing” and then immediately picking it back up later to go “Fact: saw the count go out the window of the castle like a demented lizard. Fact: have now hung up crucifix over my bed. Fact: not having a GREAT time.”
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Okay hi I have more takes about the new Percy Jackson show from my earlier post so here they areee:
- the wheelchair representation with the one camper who was really good at bow was super cool!
- the camp is a neurodivergent community and I love it
- I hate Luke but props to him for drinking the respect women juice bc at least he recognizes how good of warrior both annabeth and Clarice are
- chiron is perfectly played as his character has an aire of authority but also kindness, but I like that we get to see his emotional/tense/unfair side too
- the costuming for this show must've been so easy lmaooo
- but the SETS omg especially the cabins?? Banger
- the SOUNDTRACK??? esp that song when percy's godly parent is revealed is so good
- my one criticism is that I think Dionysus should serve more cunt, and Gabe should be meaner/ abusive..? I like the direction the show went with Sally being the focus and like she's so badass but if they're gonna include the Medusa scene from the end of the book I just feel like the abuse part of this is missing ykwim? And that was really satisfying to see Sally able to liberate herself and get out of that toxic relationship in the book
- anyway Dionysus trying to get Percy to get him liquor was so funny bc like can you imagine Percy as his son and also props to him trying
- the characters feel so appropriately middle school and not in the way that audience members cringe at them but they are properly young (as they should be it really makes the point). But like they're so endearing too and the flossing??? Like BAHHAHA Percy please it was a great touch (also the gecko/iguana/lizard thing was so cuteeee)
- I know this is far ahead but I can't wait for the actors to age with the series like it's gonna be so sweet and it'll actually match the books ahhh
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cariciapadre · 1 year
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HELLO I AM VERY SORRRY IF I HAVE BEEN SPAMMING YOUR NOTIFS AND ALSO WHAT IS YOUR FAVORITE MYTHICAL CREATURE?
SHH I LOVE WHEN PEOPLE SPAM MY NOTIFS it makes me feel like i post bangers and its silly heueheueh . also i literally LOVE greek mythology and im honestly in love with water themed creatures like the kraken and sirens !;!; i also love medusa and banshees AND WUAHAHUWHSHSDBEJNRISNEWIMQOAB $;&3$3!;&:&:'sn
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radwolf76 · 4 years
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FLASHBack: Week 87 [Bisected-Month Brackenwood] - The YuYu
As is custom here on FLASHBack, the third Thursday of the month means a visit to Brackenwood. When last we checked in on former Disney animator Adam Philips' fantasy world, his Dashkin character Bitey, had just been knocked out by a boulder because he was being a jerk, leaving him vulnerable to the shadowy and malicious YuYu, who had said they were going to steal him away. The next chapter of the story, aptly titled The YuYu, was posted to Adam's own website on 01 May 2006 (it would hit Newgrounds two days later), and would go on to win the Cartoon Cateogory at Flash Forward 2006. The animation opens with the YuYu turning into a black fog that envelops Bitey -- as it swirls around him he finds himself slipping from Brackenwood into the YuYu's own shadowy realm. But looking up, he still catches a glimpse of Brackenwood's night sky and makes one of his epic standing vertical leaps for it. It is then that Bitey discovers that this new threat is a match for him in matters of speed. Unable to outrun or evade this problem, he turns to face it head on, using his speed to dissipate the inky fog back into individual YuYu, which he then stomps with his hooves. Bitey was lucky to escape the YuYu, but others were not; Phillips penned a short text story of a boy from Earth who was stolen by the YuYu, at least mentally, his physical body remained behind. There is a dedication on the story saying it's in loving memory of a great uncle who died in 2007, but curiously, the Internet Archive has snapshots of the story's page with that dedication on it dating back as early as October of 2006.   Last time I had mentioned that this episode was originally planned to be the final episode of a two, only to become part 2 of a three part arc, and that it would also mark the first time that Philips used outside music. Those two facts are tied together. After finishing Littlefoot, Adam had been working on the next part of Brackenwood, when he thought it'd be nice to have a short opening theme song for the series, possibly something in the style of Gaelic folk music. In one of life's happy coincidences, it was that moment his iPod chose to shuffle to the song The Wake of the Medusa by one of his favorite bands, The Pogues (a band who's name is derived from the Irish phrase "póg mo thóin" which translates to "kiss my arse"). Inspired, Philips searched on the internet to see if there was a way to get in touch with any of the band, and found a way to contact Spider Stacy, the band's tin whistle player and occasional singer. Spider was happy to give the project a go, but when asked for a 10-20 second introductory jingle, what he ended up giving Adam was a full three-and-a-half minute banger of a song, one that the animator felt was too beautiful to even think of trying to cut. So Phillips looked at the story beats he'd been wanting to cover in the next episode, picked only the ones that were an immediate consequence of the cliffhanger he'd written himself into on the last episode, and animated a music video for Spider's song.   That wraps up this week's FLASHBack. Next week, we'll shift from a Gaelic soundtrack, to a Flash who's soundtrack has more of a Norse theme.
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Bring Me The Horizon - amo album review
I’ve been a fan of BMTH since the late-There is a hell era and obviously they surprised me once again. I’m gonna go song by song on the album because each of the songs have something in them that differs from the one before.
i apologize if you feel something, the first track is already a lot more different than the previous BMTH albums. It begins as a typical intro with long silences between the melody. Then Oli starts to sing on a really high pitched poppy autotuned voice. You can hear no instruments whatsoever except the synth that plays the melody. Then it changes to this ambient style that somehow suits the band’s music but feels awkward without the guitar and drums. When I first heard this song I already realized it was nothing special, just a little intro that might hype up the crowd before they start performing.
MANTRA, the first single of the album is a little less heavy than the That’s The Spirit era songs. A lot less heavy if you think about how Oli’s vocal style changed since 2015. It finally has drums and heavily distorted low tuned guitar and even screams in the background but it still feels like an alternative rock song just because of the verses and the high pitched bridge. The guitar riff is banging, the chorus is catchy, not a bad song afterall but it will still disappoint the old fans of the band.
nihilist blues is definitely the weirdest song on the record. It’s basically a trance/europop song that divides the listeners to two types: the first one would say: what the fuck is this shit, i’m not listening to this album anymore, and the second one would be: wow they’re brave as hell for doing this, I’m looking forward for the rest. I’m not a big expert on europop or trance or whatever electronic music genres there are but it really reminded me of an Armin van Buuren beat and apparently they copied a little from a relatively new Evanescence song as well. Grimes is featured in the song and her vocal style fits it really well. It has a creepy feeling that makes the song feel like you’re in a club full of drug addicts and the only thing left for you to survive is becoming an addict (for the music). Personally I think probably something like this was on the band’s mind when they wrote this. You definitely won’t like this one unless you like electronic music. You can hear the drums and guitars in it (they’re playing the electronic distorted thing with a tremolo pedal probably) but it’s barely recognizable.
in the dark, the next song has a really strange feeling. It sounds like a pop song because of the samples it uses but it still has the guitar (both clean and distorted) that reminded me of Doomed from the previous album. Both the guitars and the vocals are catchy as hell and after the first few listens you can hear what was the point of writing this song, here that “gateway band” thing begins that Oli mentions in a lot of his recent interviews. They want to be a gateway band that shows people the grand spectrum of music from electronic to heavy metal (or metalcore if you’re a genre-nazi) and do the same thing that Linkin Park or Limp Bizkit did for popularizing the crossover of rap and hip-hop and screamy, heavy rock music. It has the same experiencing feeling that got me into Linkin Park and even tho the song and its lyrics are kinda forgettable, the intention is clear and I personally like it a lot.
wonderful life, the second single of the album is without a doubt one of the heaviest ones on it. The intro seems like a classic BMTH style guitar intro with a little less distortion and a really weird, progressive time signature (for my ear at least). The main riff is simple, heavy and you can definitely bang you head to it. The chorus is catchy, the lyrics are relatable for the emo kids, it has a squealing scream from Dani Filth, which makes it seem like the metalcore days are creeping on the band. The outro chorus reminded me of their song ‘Oh No” from the previous record just because it’s so monumental but maybe that’s just me.
ouch is a cheap interlude in my opinion. It’s not even 2 minutes, the samples get boring in the end. It has a drum and bass kind of feeling to it. It reminded me of Cure For The Itch by Linkin Park, just because of the placement and the “drum” beats on it. The nanana thing that goes on in the chorus also gets boring really quickly. The lyrics are about Oli’s ex-wife Hannah Snowdon and it has a nice throwback to their 2015 song, Follow You with the “under your spell” lines, and it’s clear that he left that time behind with this song.
medicine, the song with the weird-ass video is the next one on the album. If you haven’t heard a single BMTH song in your life and you’re into the more pop-ish side of alternative you’ll probably say: holy shit this is a banger. The first couple of lines in the chorus are really far-fetched in my opinion, it’s the “we’re edgy and cool kids” vibe that is either cringy or makes you feel like the band got old and they still want to appeal to teenagers and young adults. The message of the song is the same as the previous one. The melody of the chorus and the vocals overall are not that bad, they’re catchy, but just like the intro of the album, it still misses the guitars, although this one has some really quiet clean guitars in the background. It’s clear that the vocals are in the focus and it’s stressed by shoving autotuned Oli’s voice down our throat.
sugar, honey, ice and tea is one of my favorites off the album without a doubt. The riff is heavy, the song still feels like an alternative rock song but this time the guitar tone for me seemed like an old HIM song that’s mixed with a That’s the spirit era beat, lyrics and melody. It has the same feeling when I heard Happy Song for the first time but this one has a Throne-like chorus with the samples going instead of Oli’s voice. In the outro Oli goes crazy and lets out Count Your Blessings-era styled screams which definitely help the song appeal to older fans. It’s gonna be played at concerts for sure.
why you gotta kick me when i’m down, oh boy where do i begin. Imagine Post Malone writing a song for a no name alternative rock band. Add overdistorted guitars and a mumble rap beat and lyrics. You’re done, you get this song. It shifts genres so fast that it seems like Oli went from ‘Lil Sykes’ and back to himself a couple times in just 4 minutes. It’s not a terrible song but if you don’t like the style of modern soundcloud rappers and the whole mumble rap mixed with guitars thing you’re gonna hate this one. 
fresh bruises, after the mumble rap song the boys in the band were probably like: hmmm what’s the next popular thing in 2019 that has nothing to do with rock. That’s right:”lo-fi hiphop for sleeping and studying” radios. The lyrics are only 2 lines, the beat gets faster but it’s still boring, even for an interlude. Definitely the most forgettable song in the album.
mother tongue, is the last single before the album came out. It’s the most honest love song from Oli that he’s probably ever gonna write. For personal reasons right now I can relate to it but if you can’t, you’re gonna forget this song even after a couple of listens. It has a powerful chorus, a radio friendly pop beat, cute ass lyrics and the most important thing: it has the potential to infect the radio stations and get the band even more recognition. The chord progression is really popular, (has the same chords as Africa by Toto), the vocals (with the help of autotune) are great. It has the Follow You vibes all over again but here you get an impression of a happy Oli Sykes that is in a fulfilling relationship and has a stable mental state. This progression is really respectable even if you don’t like the song itself.
heavy metal is my most favorite track from the record. It’s basically a huge “fuck you” to the oldest fans who only play Medusa and Pray for Plagues on repeat to this day, 13 years after their release. It’s got that middle finger in the lyrics that makes you think: damn this band really wanted a change and nothing can stop them. The song made me feel like Meteora days Linkin Park once again because of its beatbox styled bridge and the dropped, heavy guitars. This song shows the new direction of the band once and for all: they wanna make all types of music for both new AND old fans (listen to the last couple of seconds for the Pray for Plagues style vocals from Oli) but still says that nope we’re not gonna change, we grew up, we still like our old songs but you’re not gonna hear them from us because we’re different people now. Big props to the band to be this brave and say: this shit ain’t heavy metal.
i don’t know what to say, the last song on the record for me seemed really off topic from the album until I read what it’s written about. It’s about a friend of Oli who passed away from cancer. Oli didn’t write a song posthomously but the lyrics make it seem like he did. The song itself would sound like an 80′s power ballad from a classic rock band for me if I wouldn’t notice Oli’s vocals and the modern drum beat at some places. It even has a damned guitar solo, an acoustic guitar throughout, and orchestra. (which again reminded me Oh No, the closing track of That’s The Spirit) The song is forgettable for me, even though the message is really touching and meaningful. For a closing track it’s good but since it’s really different from the rest of the album it seems that they only put this song on just to honor that friend that it’s written about.
The album is one of the weirdest concepts I’ve heard from any rock band since A Thousand Suns by Linkin Park. The band put their heart and soul in it, you can tell by the level of production. On some songs it’s really well executed, others seem cheap and boring. My summary is that old BMTH is dead, they’re still gonna play rock music as they did with their previous records but they’re gonna expand and experiment to other directions, making it as progressive as possible just to keep the music entertaining.
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gigsoupmusic · 5 years
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ArcTanGent 2019 review
‘ArcTan…what?’ ‘ArcTanGent. In Bristol. Same team as 2000trees.' ‘Oh yeah, the chilled punk fest you keep talking about. Same vibe?’ ‘Similar set-up, but different music.’ ‘What kind of music?’ ‘Heavier, more prog and math-rock’ ‘What’s math-rock?’ ‘…..never mind.’ If 2000trees is the UK festival worlds best kept secret, its sister festival ArcTanGent is a fleeting rumor, a prog and math-rock haven known only to insiders. While Trees has, despite its relative obscurity, bolstered something of a ‘little fest that could’ indie-reputation, and a whack of awards, ArcTanGent seems to only be known to those who go to ArcTanGent*.   Seven years in, and Goc O’Callaghan’s Bristol event has expertly carved out its niche, filling that gap between Download and Bloodstocks ‘big arena festival with a general-heavy vibe’  and Damnations ‘niche genre festival that’s too small to justify a full weekend’. With a cap just shy of 10,000, ATG (as she’s known to friends) enjoys a nice-sized crowd while retaining a relaxed ambience, mellower staff and the gratifying ability to manoeuvre the site, check a new stage or run to the car within a 10 minute window.
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While it’s categorically a genre festival with no claim to offer ‘variety’ in the Glasto or Leeds sense, it would be remiss to call ATG one-note – there are plenty of flavors within the fairly flexible  boundaries set here. Those looking for ‘fuck my eardrums’ heavy get an atmospheric, highly visual set courtesy of the always-excellent Cult of Luna and tech-metal Scots Frontierer. Bossk are out offering the layered sludge, enigmatic Carpenter Brut does his synth-wizard thing, with Bostonian veterans Caspian providing the bass-laden post-rock. Further afield, affable Taiwanese trio Elephant Gym are a grand discovery.  Matt Calvert makes two appearances this years event, once with Three Trapped Tigers, and again with an orchestral arrangement – only the third time he has performed in this style, and a thoroughly enjoyable change in tone. There’s more experimental and some brass with The Physics House Experiment. And The St Pierre Snake Invasion, swiftly becoming one of the most fun heavy festival staples, bring the hardcore, the cracking stage-irreverence (‘this is a song about being a sad Welsh twat’), and whatever the hell that keyboard-recorder is – if you’ve not seen a St Pierre set, get right with that. Friday night splits the crowd and pits the experimental (official headliner Battles) against the groove-metal (Brutus, packing out the tiny PS3 stage)
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Opening night headliners Coheed and Cambria are probably the closest thing to a ‘mainstream’ act on this years bill – one of the few on a major label anyway - and considering they are an indie-prog band whose albums are accompanied by a series of existential graphic novels, that says a lot. Lets talk about that headline set though - their first this side of the Atlantic, and it was a journey – both a display of prog-smithery and a nostalgia bite for those of us who cut our teeth on ‘Good Apollo’. With swirls and eddies of melodic riffs backed by enticing yet unobtrusive visuals, Claudio ‘Cousin It’ Sanchez* and his merry prog-men prove an excellent choice, and a contender for the ongoing ‘next generation of metal headliners’ debate. Setlist-wise, it’s a very ‘festival’ tracklist – aka, heavy on the 00’s ‘hits’* and the latest album. Not a bad thing - Dark Sentancer proves a powerful gig-opener, and we get ‘In Keeping Secrets of Silent Earth’, an unexpected ‘The Suffering’, and come the encore, an explosive cheer as the iconic acoustic intro of ‘Welcome Home’ ushers the first night to a close.
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The event has been lumped with something of a ‘Friday curse’ – this year is no exception, as the second day was treated to 12 hours of relentless downpour, turning the entire site into a quagmire of Mr. Whippy-consistency. If there’s one negative to throw out about this years Arc, it’s the relative lack of effort from the team to counter-act this apparently recurring problem – the stalls quickly ran out of ponchos and there was enough straw for the main stage, but not for the mud-Baikal that blocked the entrance. It’s a festival of treats, many sets feeling like rewards for the loyal punters here for the music. Northern Irish instrumental colossus And So I Watch You From Afar have garnered a well-earned reputation as one of the most exciting live acts in the genre, and their playthrough of their self titled debut to mark its tin anniversary is an experience – watching the pure intensity on their faces as they carve out an intricate wall of sound is a feeling of watching master craftsmen at work. Its not even the only album play-through, crowd favourites Black Peaks give their last record, ‘All That Divides’ a full run, with Jamie Lenman (‘I don’t have a saxophone and my moustache isn’t as good’ he cheekily warns the sodden crowd) featuring up front.
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Speaking of treats, a rare set from elusive Swedish titans Meshugghah finishes the weekend – the crowd gathered before the Medusa columns segue beautifully between a 10k strong sing-a-long of ‘I Want to Know What Love Is’ into a war chant of ‘ME-SHU-GAH!’ as the grizzled quintet emerge on stage for a blistering, relentless hour-and-fifteen onslaught that is both technically complex and phenomenologically overpowering. Its an unassuming festival with no need for bells and whistles – while there are a few fun side activities (axe throwing, a board game café) the crowd are unquestionably here for the music. Still, the team must be commended for the subtle touches – havens of quiet, some intricately designed merch. Food-wise, Arc shares Trees selection of small-time festival stalls with few of the big names from arena events – the Pad Thai stand bringing so many bangers it became a sixth stage. Shoutout to Piggie Smalls and a peanut-butter jelly hot-dog that was transcendental. A selection of local ales, real West Country cider and White Russians grace the bar, while new for 2019 is the Bar Room stage – treated to a number of sets, the apogee of which comes courtesy of No Violets, whose frantic grungey vibe and captivating PJ Harvey-esque front-siren Ellie* mark them as one to keep a serious eye on.
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The after-hours entertainment is a fun twist on the norm - ArcTanGent does the typical Silent Disco but with its own take on this festival staple – the Thursday night crowd are treated to a full-on silent gig, with Gost providing an entire set through the headphones. The Disco King revellers for Friday and Saturday get an astute blend of nu-metal classics and 80’s numbers….with the added option of an entire channel dedicated to Mars Volta* ArcTanGent is a strange one to critique – of course its highly recommended for fans of the heavy and the intricate – but it seems a futile recommendation when pretty much anyone whose heart lies in this heady world is likely already an ATG convert. As for casuals looking to explore a new avenue…. Well if you like your riffs complex, your crowd in good spirits, and a place that’s somehow heavy-as-balls while retaining an easy-going atmosphere, well, ArcTanGent has you covered. As long as you can deal with a little mud. *As a metal-fest aficionado but math-rock casual, I was only dimly aware of Arc before my flatmate Nathan, an ATG regular, piqued my curiosity enough to check it. *There was something of a contest going on in the photo pit as to if anyone could get a shot of his face. *I mean, Coheed don’t really have ‘hits’ as such, but the Apollo/Silent Earth tracks that were singles – Suffering and Home here. My wish for Ten Speed wasn’t met and Wake Up would have probably confused the crowd…. *6 seconds of Google did not turn up a last name so……sick vocals, Ellie. *Speaking of bar…. the crowd managed to literally drink both remaining bars dry by the end of Sunday’s disco. I’ve literally never seen this at a festival before, and took weird pride in having the last can of cider at the event. *I’d heard of this beforehand but genuinely wondered if Nathan was going for satire. Nope. Whole channel. Just plays Mars Volta for four hours. Read the full article
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Trouble – Medusa ft. Jeezy
MP3: Trouble – Medusa ft. Jeezy
Trouble Medusa ft Jeezy Mp3 Download.
Trouble comes through with new masterpiece titled –“Medusa” featuring Jeezy. This track was lifted off his forthcoming album “Thug Luv.” The banger kicks off on a wild note and sees the both rappers spitting bars.
RELATED: ALBUM: Jeezy – Twenty20 Pyrex Vision (Zip File)
You can now, Stream, Listen & Download Trouble Medusa ft Jeezy Mp3 song for free below.
DO…
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mezitli33 · 5 years
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BAUSA CASANOVA HERUNTERLADEN
Hinter welchen Hits Diplo noch so steckt und wie unterschiedlich sich die Musik des Jährigen anhören kann, könnt ihr hier im Special Channel hören! Summer Cem Erster Alles Musikvideo. Dardan Medusa Nordpol Prinz Pi feat. Dance Pop Rock Black Schlager. All Time Videocharts Top
Name: bausa casanova Format: ZIP-Archiv Betriebssysteme: Windows, Mac, Android, iOS Lizenz: Nur zur personlichen verwendung Größe: 37.95 MBytes
Hayko – Mi Gna. Durch cawanova weitere Nutzung der Website stimmen Sie dem zu. Wann habt ihr das letzte Mal versucht, jemanden aus seiner Telefonzelle anzurufen? Tobee – Helikopter Mach‘ den Hub Welchen Fehler haben Sie entdeckt? Und wir hauen euch noch drei weitere Stunden HipHop oben drauf. Summer Cem Erster Alles Musikvideo.
Welchen Fehler haben Sie entdeckt? All Time Videocharts Top Fitch N Stilo Don’t Talk. Summer Cem Asozialenslang Chakuza feat.
Summer Cem & Bausa – „Casanova“
Ganz wie beim venezianischen Vorbild. Aktuelle Top All Time Videocharts. Radio im Zeichen der Popkultur: Den Erfolg hat er hauptsächlich Kygo zu verdanken, mit dem er den Song zusammen aufgenommen hat. Adel Tawil Voll mein Ding Musikvideo.
Dance Neuvorstellungen
Madrid Summer Cem feat. Mal sehen, was Summer Cem und Bausa so schreiben, wenn sie erst mal alt sind.
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Summer Cem Banger Imperium Majoe feat. Summer Cem Erster Alles Musikvideo.
mix1.de Top-Videos
Summer Cem Crew Musikvideo. Albert Gold – Trouble Sandro Nicht nur gute Freunde sein.
Sefo Rap Money Kollegah feat. Era Istrefi mit Bonbon Bausa In Berlin Bausa feat. Neuer Abschnitt Was für eine Kombo!
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Neuer Abschnitt Obwohl, eigentlich sind die Boys nur ehrlich. Neu für den Sektor Weitere Informationen zu: George Ezra mit Hold My Girl Certificados Portugueses Welcome to portuguesecharts.
Neu für den Sektor – Musik – 1LIVE – Radio – WDR
Bausa Tropfen Unterwegs Bausa feat. The Dome – Summer Summer Cem Düsen Musikvideo. Denn, wie auch kaum anders erwartet, sitzt in ’ner anderen Stadt schon die nächste Flamme. Summer Cem Asylanten Status Bushido feat.
– Summer Cem & Bausa – Casanova
Elias Es ist soweit Farid Bang feat. Summer Cem Hör mal wer da hämmert Majoe vs Jasko feat. Flo Mega Niemand ist wie du. Durch die weitere Nutzung der Website stimmen Sie dem zu. Summer Cem Augenblick Musikvideo. Neu für den Sektor Neu für den Sektor: Es ist wahrscheinlich sehr, sehr lange her.
The post BAUSA CASANOVA HERUNTERLADEN appeared first on Mezitli.
source http://mezitli.info/bausa-casanova-23/
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antimony-medusa · 7 days
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Today in “apparently communication is impossible in 2024” the French union never contacted Quackity beyond a Twitter call-out???
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medusasstory · 3 years
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A strong start. 
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swimintothesound · 6 years
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Holiday Traditions, Metalcore Nostalgia, and Worshiping Our Own Past
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Now that the holidays are upon us, it’s officially my power season. As much as I am a militant proponent of Having a Summah, Winter is a close second favorite for one reason, and that’s tradition.
Tradition is the all-encompassing, all-important, and infinitely-renewable source of holiday cheer. A celebration of our own past, and the past of our loved ones. It’s the one thing that makes this time of year truly precious and different from any other. Perhaps best of all, “tradition” is entirely unique from person to person; a double helix of reverence for our own history and memories.
Obviously, most people have traditions that they share with loved ones; picking out a Christmas tree, overeating at family dinners, watching specific seasonal movies, etc. Even the most atheistic household in the world probably has something unique that they do around this time of the year, even if it’s just going to the movie theater to avoid crowds. As great as those communal institutions are, I’ve been a staunch believer that the small, self-made traditions are as just as important as the big shared ones.
Tradition as a concept is so important to me that it was one of the first five posts I ever wrote on this site. Since I’ve already got multiple Christmas/year-end posts cooking up (and because I recognize my excitement for the holiday is offputting to some), I’ll instead use this specific write-up to focus on November.
Fueled by nothing but the endorphin rush of nostalgia and slavish devotion to the Christmas spirit, hyper-esoteric rituals begin to leak into nearly every aspect of my life by the time that Halloween is over. I watch specific episodes of TV shows, replay old video games, change the wallpapers on all of my devices, listen to old podcasts, and of course break out the winter music. In fact, one of the primary reasons for my seasonal exuberance is because I’m allowed to revisit music that’s only “acceptable” to listen to during these months.
As much as I love the gigabytes worth of Christmas music in my library, my “Winter music” playlist consists of much more than just on-brand holiday tunes. Over the years I’ve come to fully-embrace being the guy who gets into Christmas as soon as Halloween is over only because it marks the time of year that I get to break these songs out. Like I said, I’m not going to dip into holiday music on here yet. I don’t want to subject you guys to that much Christmas spirit, I’m merely trying to contain myself.
The point is that it would be a disservice to listen to these songs any time besides now, if only because it would make them less special. Obviously “Jingle Bells” would feel weird to listen to in July (and it does sound like a quirky character trait from a Noah Baumbach movie), but there’s just as much, if not more “regular” music that I relegate to the holiday season.
Case in point: the topic of this post. I tend to dip back into my high school-era metalcore around this time of year. Psychoanalyze that all you want, but I’ve now got a fiercely-cultivated playlist culling hundreds of songs from various years of angsty Christmases past. It’s a weird combination, but maybe this music provided me with some counter-programming that combatted both the warm holiday music and cold weather.
You can consider this write-up a bit of a pseudo-sequel to this post from earlier in the year about springtime metalcore. It’s weird because these two seasons are really the only time that I dip back into the genre, but man do I still have a soft spot for it. It’s mainly weird because these songs and albums now fill me with as much joy and holiday happiness as the tonally-inverse Christmas tunes.
At any rate, the same disclaimer on that earlier post applies here: I’m not necessarily proud of any of the music on this list, but it’s a concoction of albums that I find particularly potent. Records that have brought me years worth of happiness, and still have the power to collectively inspire me.
Artifex Pereo - Am I Invisible (2009)
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Much like Julien Baker’s 2017 album, Am I Invisible begins with a single, eerie wooden creak. Perhaps belonging to an old floorboard or the frame of a handmade door, this haunted timbered gasp immediately gives the listener a sense of place, as if the entirety of Am I Invisible is settling into your headphones then and there. There’s a brief pause, and then the group’s vocalist Evan Redmon makes his presence known as he belts out the album’s title over a seemingly infinitely-layered vocal take. The remainder of the EP is a 25-minute sample platter that combines the best moments of Kurt Travis and Tilian Pearson-eras of Dance Gavin Dance. The album’s closing track “Neighbors” showcases the band’s already-sharp ear for songwriting, melody, and awe-inspiring emotionally-impactful build-ups. While the group only put out one more release with this early line-up, they still managed to capture something incredibly special on this early EP.
Bring Me The Horizon - Suicide Season (2008)
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Back in high school, Bring Me The Horizon’s debut album, Count Your Blessings was the hardest thing I’d ever heard in my life. Filled with bangers like “Braille (For Stevie Wonder's Eyes Only)” and “(I Used To Make Out With) Medusa” multiple tracks from this album would go on to become genre-defining anthems for this era of the hardcore scene. As you could imagine, the record was an absolute revelation in 2007 and served as the first real brush with deathcore that I’d found palatable at the time. When stacked against the genre-wide impact of their debut, most fans went into the band’s sophomore album with near-impossible expectations.
Softening every aspect from vocals to instrumentation, Suicide Season represents the band’s fully-fledged pivot into a more accessible metalcore sound. While it initially fell flat for me, something kept calling me back to Suicide Season, and in 2017 it’s now my favorite album of the entire genre. Filled with immaculately-produced songs of bile and aggression, tracks like “Diamonds Aren’t Forever” have come to represent the absolute best that this scene has to offer. While the band has continued on a path toward an increasingly-accessible sound, Suicide Season is an achievement that remains an untouched peak of 2000’s metalcore.
A Bullet for Pretty Boy - Revision:Revise (2010)
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Hailing from East Texas, A Bullet for Pretty Boy’s debut album is a near-perfect Woe, Is Me doppelganger. Featuring punchy driving instrumentation, tight glitchy drumming, and absolutely crushing breakdowns, every track on Revision:Revise is a pointed showcase of each band member. Guitarist Derrick Sechrist belts out catchy clean choruses, alternating vocal duties with Danon Saylor whose throat-shredding screams impress their weight upon the listener’s consciousness.
While each track is thoughtfully put-together, the album’s definitive performance comes in its final six minutes on “I Will Destroy the Wisdom of the Wise.” The track, which initially made its debut on the band’s 2008 demo, finds new life here thanks to two years of instrumental honing, and a newly-added Tyler Carter feature. It’s quite hard to oversell exactly how much I love this track, but up until last year the song had the unique distinction of my most-played song of all time, and if 200 listens isn’t a commendation then I don’t know what is.
“I Will Destroy the Wisdom of the Wise” is my single favorite song of the entire metalcore genre, my wonderful discovery, and lone takeaway after years of embedding myself in the scene. Every element of the song is immaculate, a marvel to have been captured and recorded in such a flawless state, forever encased in unchanging code. Every word is considered, the drumming is ferocious, every moment is well-placed, and the Tyler Carter feature is the vocal cherry on top of an already delicious sundae. A triumph of the genre.
Chiodos - Illuminaudio (2010)
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Fronted by the inimitable Craig Owens, Chiodos was a trailblazing post-hardcore band whose 2005 sophomore album All's Well That Ends Well served as an entry point to the post-hardcore genre for millions of listeners. In late 2009 Chiodos announced their intention to carry forward as a band without Owens, publicly ousting one of the genre’s most seminal figureheads. Skeptical, cautious, and apprehensive, most fans went into the band’s following album with their guard up; how could the next guy possibly stack up? Like many other fans, I assumed I’d be over the band given the major pivot the comes with the changing of vocalists. In late October of 2010, a friend gave me an impassioned plea to give Illuminaudio a listen, and man am I glad he did. The record is a sprawling, conceptual, and voracious release that aimed high and still managed to surpass every possible expectation.
Much like his predecessor, Brandon Bolmer finds himself handling both clean and screamed vocals throughout the project, managing to reach both high-pitched Owens-esque croons and deep, soul-puncturing screams. The guitar and bass both sound full and rich, providing the perfect counterpoint to Tanner Wayne’s tightly-wound drum patterns. To put it simply, everything is on-point because the band wanted to prove their mettle now that the main star had left. Not only did Chiodos succeed, but they also created the best album in the band’s history and another one of my favorites in the metalcore genre. Owens’ eventual return in 2012 turned Illuminaudio into the unwanted black sheep of the Chiodos family, but in a way that makes this record all the more one-of-a-kind. Truly lighting in a bottle.
Crimson Armada - Guardians (2009)
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With unrelenting vocals, and brutal machine gun-like instrumentation Crimson Armada’s debut album is a little rough around the edges but worth revisiting. The album’s title track “Guardian” alternates from fierce rapidly-spit screams to deep skull-crushing breakdowns. Similarly, “The Sound, The Flood, The Hour” is an absolutely punishing and ruthless track with a surprising amount of melody and musicality (once you adjust to the band’s vocals).
Dance Gavin Dance - Acceptance Speech (2013)
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Far and away the most recent album on this list, Acceptance Speech released in the fall of my third year of college. While I’d largely grown out of the post-hardcore scene by 2013, Dance Gavin Dance remains the one group from the genre that I still listen to regularly. After numerous lineup changes, Acceptance Speech marked the band’s first release of its current incarnation featuring Tides of Man’s Tilian Pearson on vocals.
The album kicks off aggressively with “Jesus H. Macy,” luring long-time fans into a sense of familiarity with Jon Mess’ screamed vocals. The album is home to some of the band’s most experimental tracks like a crushing riff on “Carve,” chopped-up vocals on “Demo Team,” and the remix-ready “The Jiggler.” The album also hosts one of the strongest closers that the band has ever had on an album, making for a nice bookend of screamed Mess vocals.
While I didn’t think much of it at first, Acceptance Speech grew to be my favorite from the band. The entire record has a beautiful feeling uniformity and wholeness to it, making for one of the most pointed albums in the band’s discography. The whole thing has a wonderful haze to it, like it’s been filtered through a cold December night in the city. There are warm glowing lights, and you can practically see the steam rising off the band as they play. It was proof that Dance Gavin Dance wasn’t going to let one member stop them. I’m glad that they’ve continued with this lineup for so many fantastic releases now because this album only represented a new creative peak that the group set for themselves.
A Day To Remember - And Their Name Was Treason (2005)
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A Day To Remember made a name for themselves in 2005 by embracing a unique mixture of metalcore leanings and bouncy pop-punk influences. While later albums are far more polished, fleshed-out, and nuanced, there’s something undeniably charming about the group’s debut. Every band member is still so young and green here, it’s endearing and inspiring to hear such a massively-successful and influential band in such a rough state.
Starting off aggressively with “Heartless,” the band eventually winds its way to the light with “You Should Have Killed Me When You Had the Chance” and “1958,” songs that offered glimmers of the group’s later brilliance. Even in this underdeveloped, underproduced, and underwritten state, there’s an undeniable appeal and magic at play on And Their Name Was Treason, and it’s easy to see how the band made a career out of jumping from pop-punk choruses to metalcore breakdowns. The first of many successful outings in an incredibly-fruitful career.
Dead and Divine - What Really Happened at Lover's Lane (2005)
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Much like A Day To Remember’s debut album, Dead and Divine’s 2005 EP captures a band in its charming infancy. While their later full-lengths would go on to favor (and hone) a much more aggressive post-hardcore sound, What Really Happened at Lover's Lane features a softer, more careful approach to the genre. With crisp cleans and deeply-growled screams, each song explodes into brutal crescendos of original storytelling. The band’s masterful approach to the build-up is best exemplified by the album’s closing track “Goodnight, Quiet City,” an acoustic ballad that suddenly erupts into a fierce wall of grief before finishing in an orchestral swell accompanied by piercing anguished growls.
Emarosa - Emarosa (2010)
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Things seemed to be trending upward for Jonny Craig in 2010, he’d rejoined Dance Gavin Dance after a two-album absence and mended fences with Emarosa in order to helm the group’s killer sophomore album. While things came off the rails quickly after its release, Emarosa’s self-titled record took every sound developed from the band’s earlier works and improved on them markedly.
This is the first time the band congealed into a fully-formed, standalone entity. While many of his other projects see Craig’s vocals taking the lion’s share of the spotlight, on this release the band figured out how to fit his singing into the instrumentation in a way that everything folds together into one presentable package. It’s a record of constant forward momentum, and one of the best uses of Craig’s incredibly-distinct vocals.
Issues - Black Diamonds (2012)
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Formed after the spiteful dissolution of the groundbreaking Woe, Is Me, Issues features a nearly-identical lineup of musicians with a few welcome additions. The group’s 23-minute Black Diamonds EP officially announced the members reuniting, addressed the previous group’s turbulence, and outlined their resolution to move forward with positivity.
After addressing the extra-musical drama, the remainder of the EP is simply overflowing with unique ideas, bringing dozens of fresh elements to a genre that had become stale within the space of a few years. By infusing metalcore with electronic elements, R&B, pop, hip-hop, and much more, the group managed to create something far greater than the sum of its parts: something wholly original and different in a scene where such concepts are often rejected and deemed unmarketable.
Featuring poppy cleans by Tyler Carter and deep fight-inducing screams from Michael Bohn, Issues added some much-needed excitement to the metalcore scene, and Issues’ originality helped differentiate them not only from their previous group but also from the rest of the genre. Two years later the band had released their first full-length, and an accompanying EP that reworked 8 of the band’s songs into newly-formed acoustic tracks. These acoustic versions managed to breathe new life into these already-great songs while also serving as further proof of the band’s musical versatility. These releases represented a positive turning point in my view of the genre and definitive evidence that there’s room for growth in this industry and in life.
Secret and Whisper - Teenage Fantasy (2010)
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As with any other popular music scene, bands are born, break up, and then disappear forever. Throughout the early 2000’s literally hundreds of post-hardcore groups got together, created a Myspace, released some music, and then vanished as quickly as they’d appeared. Of all the bands from this era that released music and died out, the one that I miss the most is Secret and Whisper. If anything, I suppose we should consider ourselves lucky that they worked together long enough to leave us something as heartbreakingly beautiful as Teenage Fantasy.
Probably the least “hardcore” of all the bands on this list, this would be my one recommendation to anyone reading this list who is not interested in the scene. It’s one of the most out-there and original approaches to the post-hardcore genre, and an entry I hesitated to include with the other entries on this list.
For 44 minutes Teenage Fantasy shines, glimmers, and brims over the top with fresh ideas. Simultaneously otherworldly and down-to-earth, the album is a glossy and emotional journey into the depths of frontman Charles Furney’s psyche. “Youth Cats” opens the album with a snarling guitar riff and a mythical lyric about the ‘lady of miracles’ who commands the river. Straight out of the gates Furney’s voice is volcanic, straining and stretching, brushing his upper register as the bass bounces back and forth beneath it. “Youth Cats” kicks the entire record off with an unrelenting forward momentum that gives the whole album a sense of immediacy and spectacle.
From there literally every. single. track. hits. Throughout the 44-minute running time the vocals soar, the drums hit hard, and the guitar rumbles, all of which swirl together like paint on a well-worn wooden palette, resulting in one singularly flawless record. Even the slower songs like “Upset Seventeen” have a Daniel Johnston-esque charm to them that make them more personable than nearly every other post-hardcore song you’ve ever heard. There are weird electronic diversions like “Pretty Snarl,” and even typically-boring song topics like love and death are addressed in surprisingly eloquent and thoughtful ways. Sometimes the group ventures out even further than expected, addressing topics like animal testing on “Star Blankets” and drawing parallels between serial killers and stardom on “Famous For a Century.” Everything is handled with a surprising level of tact, but also in a way that nothing sticks out as a poor fit. The entire record is unreal, cavernous, and dream-like. It impacts you once and then slowly envelops your body like warm sand. Truly unlike anything I’ve ever heard before or since. A wonderful and underappreciated masterpiece.
We’re Not Friends Anymore - You Are Television (2010)
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Clocking in at a blazing 13 minutes, We’re Not Friends Anymore’s second (and final) EP finds a band that is hungry for success. The vocals explode and smolder, and the instrumentation brings a distinct groove and movement, making for surprisingly danceable tracks that spring to life. It is a breakup album, but one that seems as ready to move on as it is willing to dwell in the past. I’ve never heard anything like it, and the EP’s punctuality makes for a breezy listen that will quickly embed itself in your brain and worm its way to your heart.
This is only an abridged list of my favorites, you can listen to these albums and many others through this Spotify Playlist.
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antimony-medusa · 11 months
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"Normally on a server like this I'm uh-uh, a uh—" "A homosexual?"
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antimony-medusa · 8 months
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"This is for impersonating my fucking son."
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antimony-medusa · 11 months
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Tallulah my heart.
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antimony-medusa · 1 year
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Missa hits a sick water bucket clutch (lying)
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