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mitchellpete · 7 months

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Kinktober Day 5 - Spanking

pairing: tom “iceman” kazansky x f!reader

cw: spanking, fingering, dirty talk, crying, slight sub/dom dynamic, a play on dubious consent (all consensual)

word count: 1642

kinktober masterlist here.

18+ ONLY | MINORS DNI

You don’t think you’ve ever been more excited to get home.

The car ride had been silent thus far, 20 minutes of radio synth pop and the sound of Tom’s casual exhales through his nose. They sound almost like a sigh, almost like he’s deep in thought, trying to decide how to deal with you.

You’d been on your absolute worst behavior at the ceremony earlier tonight—the very prestigious and very important ceremony, Tom had reiterated as you both got ready on opposite ends of the room just earlier that evening.

If it wasn’t for the few signs—a smack to your thigh under the table, a rough grip around your wrist when you finally headed out and now a very silent car ride—you probably wouldn’t have been sure Tom even noticed your behavior at all. He’d been at his brightest tonight, shaking hands and flashing his teeth at every superior, colleague, friend, rival. You couldn’t ever challenge his Naval Academy etiquette. You could certainly try, at the very least, and boy, you had. Rubbed up against him on your way to get drinks, messed with his pants underneath the table, pulled his hand against your inner thigh. The Iceman guise did not falter once.

It lingers in the car with you now, his silence intimidating.

Your heart pounds in your chest when the car eventually pulls up into your driveway. The silence follows you both out of the car and to the door, and it waits with you as Tom unlocks it and throws it open.

He allows you to step inside first, allows you the 10 seconds it takes to take off your coat and toss it on the nearest surface. It’s after he shuts the door that you’re immediately cornered against it. A rush of adrenaline travels throughout your body as he suddenly pins you against the wood.

At first, nothing. You don’t move, don’t even pretend to be confused. You give him your most delicate eyes, gazing into his fiery gray ones.

“What’s your problem?” It comes out more like a statement than a question, seeing as he already knows the answer. Knows exactly what it is you were doing all night. He’s just going to make you say it.

“What do you mean?” You respond in your softest voice. You stare, feigning innocence, counting the seconds as his unblinking glare burns a hole right through you.

Your body grows hot at the feel of his own, hard and solid and strong against you. You couldn’t break free if you tried. Not that you’d want to, anyway; you had acted out all night for this very reason. You can admit it’s almost absurd the lengths you’re willing to go to force him here. Tom is a naturally authoritative figure, but you know that ultimately, it’s just an act. A part he can play very well. You’ve learned, over time, that he turns it off around you. You have to coax it out of him.

“You know what I’m talking about.” He speaks softly, but there’s an air of hostility in his voice. “You think you’re funny.”

“No idea what you mean, Lieutenant Kazansky.” You snicker internally. Lieutenant Kazansky. Probably the 50th time he’d been addressed as such tonight.

His eyes narrow at your continued teasing. Frankly, he’s tired from a long and exhausting night. You’re not helping.

Wrapping a hand around your wrist, there’s nothing gentle about the way he pulls you with him as he walks, leading you into the dimly lit living room. You stumble after him, nearly tripping on the back of his shoes and then you think you have when you find yourself suddenly yanked down with him as he throws himself on the sofa. A hard surface meets your middle—his lap—and your eyes widen at the realization.

“Tom!” Immediately, you try scrambling away. Your arms are suddenly pinned back instead, wrists joined together in one strong grip while his other hand snakes in between your bodies and up your skirt to wrap around your garments. Those are off before you can even process, and you squirm in his lap as he yanks on your skirt next, pulling it down as forcefully as he can.

“Okay, okay,” you plead, though it’s not a real plea and more so your way of playing along. “I’ll behave, I promise.”

“Will you?” he immediately responds.

You tense up at the sudden feel of his cold hand against your ass, lightly feeling around for his desired spot.

“Tom. Tom. Please,” you whine, trying to yank your wrists away to give him a challenge.

Not Tom. Iceman. Your thrashing does not affect him one bit. “Bullshit,” he states. “You wanted this.”

He got you there. You’re glad you’re facing the floor and not having to hide your little smile from him. Said smile quickly fades at the first smack, your mouth slightly agape at the surprise of it. Another one, on the opposite cheek, and it pulls a moan out of your mouth. Tom’s thighs tense underneath you at the sound.

“Yeah. Exactly what you fucking wanted,” he remarks, and suddenly the sound of his voice is the hottest thing you’ve ever heard. Paired with the sharp sounds of skin slapping skin, most definitely.

You flinch and moan with every smack, throwing your head back occasionally with a lip bite. Making sure he sees how much you enjoy it. He growls in response and aims the next one a little harder. And still, it’s kind of exciting to feel it, and the next, and the next. All spaced out so that you’re guessing where the next one will land. It stings a bit, yeah, but it’s barely painful, and you’re not sure if it’s because he’s taking it easy on you or because you’re just so fucking turned on that it feels good instead.

It’s not until your wriggling gets you somewhere, and you’re able to catch a side glimpse at the reddened skin of your ass that the real pain finally starts to creep in.

“Stop moving,” he hisses, his grip tightening around your wrists.

Still, you continue to thrash around on his lap, the material of his pants soft against your middle. “Ow, ow, okay,” you pant, nails digging into his leg. “Tom. I’m sorry. I mean it.”

He chuckles humorlessly, momentarily rubs at the redness spread all over your cheeks before he lands another smack. “Now you wanna beg.”

“Yes,” you whine again. “It hurts.”

His stinging hand dips into your cunt without warning, his fingers easily slipping into your folds from how wet you are. You have to bite down hard on your lip as he wordlessly begins to massage you, the pads of his fingers rubbing circles around your clit, teasing at your hole and back and forth.

“Wai-” You gasp at the feeling of his long and slender fingers, pain mixing with pleasure. Your breathing quickens, and then Tom’s lap just sort of feels uncomfy at this point—his thighs are a little too firm and it feels like they’re digging into your frame. You start to squirm around even more but much like before, it does not help you.

“Oh, fuck.” You sputter when the tip of his finger dips inside you, and then torturously pulls out. In again just an inch, and then out again. He tilts his head to watch your reaction, watches calmly as you attempt to grind your hips down against his digit.

He removes his hand as quickly as he’d begun to touch you, and you groan when it comes down to spank you instead again.

“Oh, you fucking tease,” you accuse, your voice creaky from the impending tears that threaten to spill from your eyes.

“Watch your mouth,” he warns, landing another one, and fucking Christ, now it really hurts.

“Oh—fucking—okay!” you cry out, breathing still erratic. “Okay.”

“Yeah?”

You don’t even know what he’s asking, but you’re gonna comply now. Actually.

“Mhm,” you manage to get out, tears welling in your eyes and blurring your vision.

You’re not sure if it’s the crying that finally satisfies him, or if the bright red skin of your ass is sufficient, but his hand dips into your core again to finish you off. The pleasure returns, subduing the harsh buzz that stings all over your backside—not completely, but enough to have you moaning out again in the midst of your crying.

His fingers slip inside you completely this time—two of them—and with the way you’re positioned, you get to feel them deeply. The pads prod at your spongy wall, delicately at first and then eventually at a dizzying pace, until you’re babbling incoherently under your breath at the ecstasy that courses through your body.

Tom’s lips are pressed together, eyebrows tight on his face as he works his fingers in and out, the slippery noises having replaced the sharp smacks from before.

You can’t pinpoint the exact moment you cum, but when it washes over you, you can’t hold yourself against his lap anymore, and go limp instead. Sobbing, you begin to slip as you shake through your orgasm. Tom yanks you up by your forearms, and for a moment you think he’s not quite done with you, but all he does is slot his mouth against yours as you lay slack in his arms. His facade slips, and he’s kissing you softly now, lips warm.

“You okay?” he murmurs against yours.

You sniffle, tired arms reaching up to wrap around his neck to pull yourself up against him as close as you can. You’re careful in hoisting yourself up, avoiding his lap as best you can as to not agitate your swollen bottom. “Mhm,” is all you can really say again—body spent and still glowing—but Tom smiles gently and wraps his arms around you to help you come down.

#kinktober 2023 #top gun #top gun: maverick #tom kazansky #iceman #tom iceman kazansky #tom kazansky x reader #iceman x reader #tom iceman kazansky x reader #ice #*#top gun 1986 #top gun fanfic #top gun fic

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vampire-meta-knight · 5 months

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I swear, some of these "goth is whatever you want it to be" people act like telling them they're not goth means the Federal Bureau of Goths is going to break down their door and confiscate all their black clothes.

Loves, no one is gatekeeping what you wear. No one is even gatekeeping goth events! You can still go to goth clubs as a non-goth--you just may not enjoy it as much if you don't like the music. All we ask is that you not use the label, which is shorthand for "fan of goth music," to describe yourself if you are not, in fact, a fan of goth music.

We love seeing your cool outfits and gorgeous makeup and flawlessly-dyed hair, and we love sharing aspects of our subculture! But the second you try to redefine it and take away the ONE requirement, we get protective. Darkly-inclined is a wonderful label--use it! Use alternative! Don't use goth, emo, punk, or grunge if you aren't fans of the corresponding music genres. Can you imagine if I, who's never listened to K-pop, only heard of two K-pop bands, and couldn't name a single member of BTS called myself a K-pop stan? (Punk is probably the only one here that's a little more flexible, since it's also rooted in a political movement and protesting, but it still found its birthplace in the music--music which then led to post-punk and goth rock, might I add).

Subcultures have to have a barrier of entry to be a subculture. There has to be a way to set apart the people who are in it and those who aren't. Saying someone isn't goth is not an insult! We don't look down upon you. We get annoyed with poseurs, but not someone who's just into the fashion and makeup aspect and doesn't try to redefine what a goth is. I guarantee there's probably a spooky, black-clad non-goth that I've followed a makeup or DIY tutorial from, and I think that's wonderful. I love that we have this shared interest, even if we have different taste in music.

We're not trying to be mean when we enforce the one rule to be a goth (there is a second unspoken rule, to not be a bigot, but that's a rule that goes without saying for most groups--please know that when you see a so-called "goth" spewing racist bullshit or other kinds of hatred, the rest of us are NOT in agreement with them and want them evicted from our subculture). We love welcoming new people in, and we love seeing the goth scene thriving. It's just that our subculture means a lot to us, and although fashion is a big part of it, it has always truly been about the music. The music came first (watch old videos of 80's goth clubs--hardly anyone there looks recognizable as a goth today!), and it's the backbone of goth. When you call yourself goth, you're telling fellow goths "we like the same kinds of music." I want to get music recommendations from you, dang it, and share some of mine! I've had so many people insult the music I like and tell me my taste is shit, so it's nice to find someone who likes the same sounds and connects with the same lyrics, you know? Music is the strong glue that holds us together and unites us all. It brought us together in the 80's and has kept us together up until now. So when you try to take that away, to mold the goth label into whatever it takes to fit you because you didn't fit it, that's when we've got a problem.

And if you're into the fashion but don't like goth music now, do not despair, because that doesn't mean you'll never be a goth! Give it a listen. Check out different subgenres and bands. You might like what you hear. Synth and EBM were what bridged the gap for me. I started off being super into the fashion, but would be hard-pressed to name a goth band other than Bauhaus or Siouxsie and the Banshees. I was listening to Halloween Vocaloid songs and Lady Gaga, for the most part. I tried a few goth rock songs and didn't like them. And then I found The Birthday Massacre, and suddenly, those goth rock songs didn't sound so bad anymore. They sounded beautiful, atmospheric, ethereal, melancholy in a way you can still dance to. It wasn't long before I was devouring every subgenre of goth music I could get my hands on and making an ever-growing list of bands to check out and songs I liked. I was digging goth music like a grave, and all it took was a band that fit somewhere in the middle of the upbeat, techno dance-worthy music I was used to, the spooky lyrics I liked, and a gothy sound that got me craving more. Sometimes that's all it takes. Goth music is noticeably different from other genres, and hearing the unfamiliar sometimes results in dislike. It's an acquired taste for some, kind of like coffee, but once you get into it, you'll wonder how you even hated it at all in the first place.

Goth is my home, my family, and although I welcome all who show an interest, there's a difference between someone who actually wants to get involved in the subculture and those who wear a mask so they can pretend to be because they like the sound of the label, the allure, how cool it makes them feel, and insist they must be goth and all who tell them otherwise are just elitists. We call those people "poseurs," friend--don't be like them. If goth music just isn't for you, but you love the fashion, that's cool. Just don't call yourself "goth" if you're not a fan of goth music, since that's what the word means in the first place.

#so this unexpectedly turned into a rant #but I've seen some nonsense recently and it's annoying so--#goth #gothgoth #goth subculture #goth music #goth rant

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rockstarhaechan · 3 months

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nct dream members as my favorite songs

ꨄ this is my personal opinion cause those are my favourite songs but those songs mean a lot to me, so maybe you’ll like them too! also kinda posting this as a filler since i’m still trying to work off all reqs ://

ꨄ warnings: none

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mark reminds me a quick flow and a few synth notes that are a little outta space, whenever i listen to psytrance i feel like mark would enjoy it as well so i’ll say that “maya by electric universe” fits to him so much. it’s one of my all time favourite songs and i could never live without it.

renjun, his vibe is more like a classic rnb or even a little jazz, i usually don’t listen to that type of genre, but he also reminds me of “HDMI by BONES” cuz there also is a line which says “the only reason they wanna meet me is to say they fucking met me” and i think that really fits to renjun!

jeno ahhhh, i connect all erotic songs with jeno, idk why heh. but i have a lot of favourite songs when it comes to that genre, especially my favorite artist for that type of music, Rosenfeld! his music is so good omg, and when i think about jeno only one song crosses my mind “like you by Rosenfeld”, if i could marry a song i would for sure marry that one.

jaemin! i connect “night drive (200mph) by Aryabeats” with jaemin. i feel like you could carelessly have a best friend and a lover in jaemin who would drive 24/7 around the city with you so you could forget about your problems. jaemin is a keeper, so is this song. it frees me from problems i have.

haechan, there isn’t much i need to say about haechan cause every song can be connected to him when it comes to me. but i would give him “ecstasy (remix) by Suicidal-idol,6arelyhuman,syris” it’s also one of my all time favorites and it makes me feel better on bad days, just like haechan does.

when it comes to chenle i would say, a good pop song (which i don’t know lmao) but i connect “lucky7! by sadfrienddd, pozle” with chenle! the song is bad ass, chenle is bad ass what else you want more!

jisung, he reminds me of my favorite artist, which is darci. every song from darci works with jisung tbh, he just gives off the same vibe. but i would say “wild horse by darci” fits jisung the most! (it’s also one of my all time favs)

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just another reminder, everyone has a different music taste, i usually listen to a lot of phonk which is my favorite genre, so i connect a lot of people to those songs.

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ckret2 · 2 months

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Say the pines gave Bill a device with the ability to stream music. For some reason. And headphones, but we both know he wont choose to use them. What is he putting on? Whats his jam? Is he, in fact, a Miku listener?

Time for me to pull out my post about his musical tastes, about what his musical tastes AREN'T, and his terrible in-character playlist.

In summary: 60s garage rock and psychedelic rock; modern party music, the more energetic the better; stuff nobody else thinks sounds like music, like rising shepherd tones and tornado sirens; and a smattering of pop music from across the centuries.

Dislikes synth-heavy music—you won't be finding any synth pop or retrowave. He's got a category of songs he thinks of as "fun to play on the piano" that's separate from what he regularly listens to, and that's where "We'll Meet Again" falls for him.

But he's capable of picking up more music as he goes. Mabel keeps playing soundtracks from shows like Believe In Yourself and Color Critters and Bill's like, sure, I can dance to this, no problem. This means he knows the lyrics to and will sing along to songs like this and this. In a few chapters Mabel's introducing him to Sev'ral Timez's discography and will be happy to learn that Bill doesn't go for the slow ballad-y songs but does like the upbeat dance-y songs.

At some point way down the line Robbie is introducing him to screamo and alt rock, and everyone's just gonna have to put up with Bill playing that at top volume.

#anonymous #ask #about my writing #bill goldilocks cipher #music

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zombieheroine · 16 days

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Initial D character headcanons (1/?)

Screw canon, I'll add my own. Here are some headcanons I came up with, take it, leave it, add your own, whatever we keep drifting.

Fujiwara Takumi

Music of choice: Eurodance, to stay awake. Works better than any caffeinated drink ever could. In his glove compartment: Take-out fliers, loose coins to spend on vending machines. Parallel parking skill: Has never parallel parked, but would succeed on first try. Could drift into the spot but doesn't want to look like a show-off. Driving pet peeve: Slow drivers who don't give way. Ticket score: Zero. He doesn't want to find out what Bunta would say.

Itsuki Takeuchi

Music of choice: Whatever is on the radio In his glove compartment: His driving license and the manual of the car, list of his work shifts, a car magazine, a pair of fluffy dice he hasn't dared to hang yet. Parallel parking skill: He's super nervous and sweats it every time, but does okay, even though he needs multiple tries. Driving pet peeve: Tailgaters. Ticket score: Since the first accident, he's a very responsible driver and doesn't have any additional tickets, but the points on his license remain.

Iketani Koichiro

Music of choice: Classic Japanese rock/pop ballads for strong independent manly men who need no woman In his glove compartment: A water bottle, a spare bowtie for work, forgotten old tests from high school, personal hygiene kit with mouthwash and a disposable razor, but he's forgotten to buy shaving cream. Parallel parking skill: He's proficient, but if someone's watching he gets too self-concious to even try. Driving pet peeve: Ending up on the slow lane and watching cars pass him on his left. Ticket score: He caught a few speeding tickets in his first year with a license due to being over eager and careless in urban areas, but wisened up before maxing out the points.

Kenji

Dayjob: A baker, which leaves him with lots of free time to bother his friends at their work place. Music of choice: Rock'n'roll from all over the world, to both knead bread dough and drive fast to. He burns his own mix CDs. In his glove compartment: CDs, several tubes of prescription hand cream, manga magazines, marker pens, post-it-notes and old shopping lists, crumbled up receipts. Parallel parking skill: None. This man has so far never been forced to even try, and so he won't learn. There's always a free spot somewhere in a small town, especially very late and very early. He would never want to drive in a metropolitan area. Driving pet peeve: Drivers who rev their engines and screech their tires to show off. Ticket score: A few parking tickets because he tends to forget himself in chatting with friends.

Takahashi Keisuke:

Dayjob: This rich problem youth has not worked a day in his life. His parents may have given up on him, but his allowance was never wholly cut to keep him from getting into even more serious trouble. Music of choice: Synth pop, like all the cool scene kids in the 90s. In his glove compartment: Snack bar wrappers, a cell phone charger, cigaretters and several half empty lighters, emergency condoms and a totally unrelated tube of body lotion (water-based). Parallel parking skill: He could, but would never expose his precious car to the other parked cars and their drivers like that. If there's no spacious parking spot, he won't leave his car for anything or anyone. Driving pet peeve: Prone to road rage just in general. Ticket score: Zero, but the local police knows him by name.

Takahashi Ryosuke

Day job: Full-time med student, favorite child. Music of choice: Heavy metal, it's excellent stress relief In this glove compartment: Vehicle license, the manual of his car, a logbook, maps, first aid kit. Parallel parking skill: Perfect, what did you expect? Driving pet peeve: People who get road rage. Ticket score: Surprisingly high. He's been caught speeding multiple times when looking for his brother during his gang days, and caught the occasional parking ticket due to forgetfullness.

Nakamura Kenta

Dayjob: An employee at a 7/11 Music of choice: Same as Keisuke's In his glove compartment: Wrappers from various snacks, empty noodle cups and an uneven number of disposable chopsticks, crumbled up energy drink cans. Parallel parking skill: Could do it, as long as he concentrates instead of trying to act too cool Driving pet peeve: Drivers who hit puddles on purpose, either spraying the pedestrians or risking hydroplaning needlessly Ticket score: He's got his license suspended once for three months. Since joining the RedSuns he's cleaned up his act in general.

#inid #initial D #inid headcanons

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tomorrowxtogether · 7 months

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TXT Talks The Name Chapter: Freefall, Adulting, and Growing Pains

I have a feeling we are not in Kansas Neverland anymore.

In the four-plus years since their debut, TXT (Tomorrow X Together) have always embraced eclecticism, but their third full-length album, The Name Chapter: Freefall, takes things a step further.

When they burst into the scene, TXT started weaving a complex story told through the lens of a group of young boys. First, there was The Dream Chapter, which focused on the transition from childhood to adolescence and relied on colorful aesthetics and optimistic lyricism. Then, there came the quasi-Kafkaesque Chaos Chapter, which shattered the illusion of dreams, introducing real-world problems and a looming sense of responsibility that comes full circle in The Name Chapter, the last page (so far) in this TXT's big book.

"The Name Chapter is about a phase where you solidify your identity and your name as you grow into adulthood," Taehyun explained to Teen Vogue earlier this year, when the first installment of this chapter, Temptation, was presented to the world. Temptation looked to Peter Pan for inspiration to depict the longing for lost innocence, but Freefall doesn't have time for more fairytales. The proverbial boys are going from the idyllic grasslands of Neverland to the graffitied streets of a stark reality where you have to fight to achieve your dreams.

As Beomgyu pointed out during a media showcase for the new album, Temptation's last track, "Farewell, Neverland," serves as an explicit connector to Freefall, which kicks off with "Growing Pain," TXT's first venture into heavy metal. The quintet had previously released the Ryan Tedder-penned "Back for More" and "Do It Like That" as collaborations with Anitta and the Jonas Brothers, respectively, though they appear sans company in the final album.

Going from '80s synth-pop on the Rock Mafia-produced title track "Chasing That Feeling" to melodic R&B in "Dreamer" and Jersey club in "Deep Down" and "Happily Ever After," The Name Chapter: Freefall finds TXT diving into uncharted waters across its nine original tracks, plus a digital-only English version of the title track.

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Ahead of the album's release, Teen Vogue caught up with the five members over Zoom to chat about working on the album, life on the road, and their own "freefall" into adulthood.

Teen Vogue: Congratulations on another great album. I wanted to start off easy by just letting you pick your favorite songs from The Name Chapter: Freefall.

Taehyun (in English): For me, it changes every day. Today, I'll choose "Deep Down."

Yeonjun: For me, "Growing Pain."

Beomgyu: “물수제비” — or “Skipping Stones,” in English.

Soobin: For me, it's also "Skipping Stones" because it's kind of indie rock style, which I really love, and it's our first foray into such kind of genre, so I really love that song.

Hueningkai: Right now, I choose "Dreamer."

TV: I thought some of you would say "Blue Spring" because it's your ode to MOAs that you all wrote together.

Hueningkai: [Giggles.]

TV: You actually unveiled the track during your last tour, Act: Sweet Mirage, right?

Taehyun: Yes, we actually made "Blue Spring" for the tour because we thought it'd be nice to present it to MOAs live. So, we made it rather quickly right before the tour so that we could fit it into the setlist.

TV: Was it initially just a tour song, or was it always the plan to add it to the album after?

Hueningkai: If the chance presented itself, we thought it'd be good to add it to an album. We didn't yet know which album it would be, but that was the plan, and fortunately, it fitted this album, The Name Chapter: Freefall, so well that it made it in.

TV: In a recent TMI video, which I believe was from one of your lives, Beomgyu said that this is his favorite album ever since your debut, even though you've liked every single album you've put out. Why do you like this album the most?

Beomgyu: Usually, when I listen to music, [though] I like a lot of genres, I typically tend to pick songs that have a kind of similar, very specific vibe to them. This album has a whole array of genres, but I still really enjoyed it. I really like it. I think we have something for everyone, and [because of that] I keep listening to it even to this very day.

TV: It's true. It's very eclectic. You have a really good mix of genres. In that same video, Yeonjun, you said that prepping for this album wasn't particularly easy. What did you mean by that? Was it because of your packed schedules? Was it because it's a full-length album after a while? How is it different or more demanding than your previous releases? Especially The Name Chapter: Temptation because I do think you incorporated a lot of genres into that one as well…

Yeonjun: Yes, schedule-wise, we were writing the lyrics while we were on tour, so it was demanding, and it didn't go as fast as we thought. Also, when we write lyrics, we run them by our label since we all have different ideas and views on the songs and [need to join forces to come up with the best options].

Hueningkai: Because this was our studio album in two years and four months, we wanted to make sure that we had the utmost quality, and that's why we had a lot of people jumping in and sharing ideas and feedback.

TV: Nice, it was a good collaborative process. While listening to the album, I couldn't help but notice that you put in a couple of references to your debut song, "Crown," both in the lyrics for "Blue Spring" and also in the Korean subtitle for "Deep Down"," which is “머리에 솟아난 뿔은 나의 왕관이었다,” meaning “The horn that rose from my head was my crown.” Why did you decide to make it a full circle and call back to your very first song?

Taehyun: This album is about facing reality and showing a determination to grow, which, of course, comes with some pain — growing pains. [This idea just naturally] circles back to our song “Crown” because, in a way, it also talks about those growing pains. There's a horn growing out of my head. I thought it was a pain, but because we have that horn, we could grow. So, it's actually a crown, not a horn. [It was an instinctive callback.

TV: As you kind of mentioned, the theme of the chapter is growth and hitting reality head-on. I know you have your boys in your story, but personally, what was the moment in your life when you realized that you were not kids anymore? What was your "freefall" in a way?

Taehyun (in English): I think ever since I joined our company. [That] showed [me adult] reality.

TV: I mean, that happens when you get a job, right?

Taehyun: That's right.

TV: Responsibilities.

Yeonjun: Yeah, I totally agree with what Taehyun said. Because we were [objectively] quite young when we started, I think joining the company was like jumping into society and a "freefall" into the [adult] reality.

TV: It must have been a big change, but you are doing great now, so it worked out.

Soobin: Thank you!

Hueningkai: Thank you so much!

TV: Okay, to counteract how serious that question was. One of the other concepts in this album is melancholy. Now that we are all in this adult world, what is something that you miss the most about your childhood? Something that takes you back and brings back good memories?

Yeonjun: I think, for me, it'd be just those normal days when you go to school and you hang out with your friends. Those are the moments I'd love to go back to the most. I think going back would make me even more appreciative of how precious and beautiful those days were.

TV: Yes. For me, it's watching cartoons in the morning during the weekends.

All: [Laugh.]

TV: Applied to your careers, you guys are going onto five years together now, which is incredible because it feels like just yesterday that you made your debut. How do you feel you have changed or grown from the rookies that you were then? What are some of the fears and anxieties that you have now compared to when you were starting out?

Beomgyu: I feel like we have grown a lot both personally and as a team, [and that can be seen] in the big stages we’ve been performing at recently. Personally, when we had just debuted and up until the first half of our career, I don't think I was too nervous about going on stage; but, [as the scale grows], I feel like it’s become a bit more nervewracking for me. I do get a bit more nervous and a bit more anxious lately [despite the experience.] That said, as soon as I am on stage, I [immediately] feel better since I get to rely on the other members.

TV: Why do you feel you've experienced that shift? Why do you feel more "pressured" now when you go on stage? Is it just the scale?

Beomgyu: Yeah, [I think so.] Honestly, I've been trying very hard to figure it out. I still don't know why. I'm trying to [have a concrete answer], but [I just know I get] very nervous [in big stages or with big crowds these days].

TV: You'll figure it out. Do the rest of the members feel the same, or do you feel more at ease when you're on a big stage now that you have two world tours and Lollapalooza twice under your belts?

Taehyun: Personally, [precisely] because we've been on bigger stages, and we've also shown our performance for pre-release songs at such big stages, I think these experiences have piled up and I've gotten to actually enjoy the time [on stage] more. It's fun.

TV: Tell Beomgyu your secret. Make him feel more at ease before going on a big stage.

All: [Laugh.]

youtube

TV: As part of Act: Sweet Mirage, you have a couple more concerts scheduled for later in the year in Seoul, and, of course, the end of the year is a big time for big-scale performances. What surprises do you have up your sleeve for the next few performances?

Taehyun: We have the finale concerts left in Seoul in December, so we are going to make them grand finale [worthy]. It's going to be a bit more flashy and we are going to have a very long set list, so people can look forward to that the most.

TV: Long setlist, okay. Bringing it back to The Name Chapter: Freefall. Is there any aspect that you're most excited for fans to see when you perform these songs live? I hear that the choreography for the title track has some voguing in it...

Hueningkai: Yeah, so as you said, there's going to be some voguing involved in the dance break, so I think we can make that into a challenge, and if it becomes a hit, then we'll love it too. It's not that difficult to do, so I think it could go viral.

TV: We'll 100% look forward to that. Though they are not part of the album, you've been collaborating with a lot of new artists these days: Anitta, Coi Leray last year, the Jonas Brothers.... I'm not going to ask you about who you want to collaborate with in the future because I know you've answered that question multiple times, but I am curious to know what have you learned from working with other artists outside of your bubble. Are there any memorable experiences or lessons that they have taught you, or have you ever felt starstruck working with such big artists?

Taehyun: Of course, musically, we learned so much from all of them. Personally, [I was a bit starstruck] when I met the Jonas Brothers. I thought, "They're such big stars, but they're so humble. They're so nice and gentle and such nice people." So I thought that I want to become like them. Even when I become a bigger star, I want to be humble and nice like them. Plus, they're still so handsome.

TV: Well, they also started around the same age that you started, so...

Hueningkai: Correct.

TV: On a more playful note, and since the album is all about falling, have you fallen down any rabbit holes recently? Do you have any new obsessions? I know for Soobin, it's probably anime...

Soobin: [Laughs and nods].

TV: What are the things that you've been enjoying the most when you're not working?

Yeonjun: I'm very into listening to and collecting vinyl records, so when it was my birthday, I even asked my members and my friends to give me a vinyl of their own choice, of their own taste.

TV: Did they follow through? Did they commit and gift you the records?

Yeonjun: Yes. All the members gave me a vinyl.

TV: Nice. Does anyone else want to share something that you've been enjoying outside of work?

Soobin: For me, as you said, I love watching TV dramas and anime after work. But if we have a day off, I've taken a liking for just strolling without a destination in the past year. I pick an area — Gangnam, Itaewon... — and just go there with my maps and walk around. If I see a cafe or a clothing store that catches my eye, I just go in and see what's there. That's the kind of thing that I like to do these days; spending the day just walking aimlessly without a destination, going for whatever I like.

TV: My social anxiety would not let me roam around without a purpose, but proud of you for that. It sounds lovely.

All: [Laugh.]

TV: Music-wise, what's on your playlist these days? Or better, what are some songs that you have been listening to these days that you feel will pair well with The Name Chapter: Freefall?

Taehyun (in English): Recently, I've been listening to a lot of rock. A lot of Bon Jovi. Guns N' Roses, they are my favorite.

TV: Old school.

Soobin: I think the members already know this, but "Skipping Stones" is my favorite song from this new album and [one of] the writers of the song is called Hanroro. She is a singer-songwriter. I've been a big fan of her for a long time, but especially recently, I've been listening to a lot of her songs again. I really like her music. One of her songs is named "정류장," and I think that goes really well with our album. They have really similar vibes.

TV: A full circle moment again.

Soobin: Yes. [Laughs.]

TV: The album is dropping on a Friday the 13th, which is notoriously a very spooky and unlucky day. Hopefully, you don't get the unlucky part, but do you have any superstitions? Do you believe in any of that?

Taehyun: I don't think this is a superstition, but [I'll turn it around]: I hope that people listen to our songs so much that it's almost spooky.

TV: Okay, nice, you are putting a spell on people to like the album.

Hueningkai: [Laughs.]

TV: I think that will work.

Hueningkai: I think superstitions are fun; I'm very much interested in superstitions.

TV: To wrap things up. Do you want to describe the album in one word each?

Hueningkai: Massive.

Taehyun: Masterpiece.

Beomgyu: Favorite.

Yeonjun: Best.

Soobin: Youth.

TV: They all go together: your best and favorite masterpiece of youth on a massive scale.

All: [Laugh.]

Taehyun: That's right.

This interview has been condensed and edited for clarity. TXT spoke via an interpreter.

#txt #tomorrow x together #231014 #article #teen vogue #soobin #yeonjun #beomgyu #taehyun #hueningkai #freefall #the name chapter: freefall #Youtube

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yjyt85r98r · 2 months

Text

Aikatsu song reviews: Glass Doll

Song

I like to think of this as the Aikatsu song that gets everyone excited, but I'm sure that can't be true of everyone... it's still an Aikatsu classic and one of the franchise's best works, though. It's heavy enough to appease those who are fans of gothic metal, but light enough to appease those who aren't... I think. Even if it doesn't have metal-style screams and growls, the influence is still there – the song's composer stated that the song was inspired by Dream Theater and Nightwish. And honestly it doesn't need to get any more metal than it is – I'm sure it already scared the kids anyway.

The intro does a great job building up the tension, using a keyboard or synth organ to achieve a very glassy sound, and repeating the same pattern to somehow make the listener feel unease and a false sense of security at the same time. As the glassy pattern repeats, you know it's going to change somehow and get even scarier. Sure enough, the beat drops and the song straight up turns into metal, but it's surprisingly clean metal that's atmospheric but not overwhelming. As the song goes on, the melody takes on a tone more reminiscent of pop-rock, but it still retains the atmospheric heaviness that makes it special.

In a lot of Aikatsu songs, the synth instruments blend in well with the live instruments, but in this song, the divide is quite obvious. The synths (especially the keyboard) have a sort of blocky, computer-y quality that stands out against the more expressive sounds of the guitar and bass. Sometimes it straight-up sounds like video game sound effects. Also, the percussion during the first verse is kind of annoying. I don't know if they were trying to go for the sound of a shutter flapping in the wind or some kind of creepy atmospheric thing or what, but it's just annoying to me.

Personally, I think the guitar 'solo' (technically not a solo since it also has drums and keyboard) is too long, and I found myself getting bored/annoyed before it was even halfway done. But I do understand that a minute-and-a-half guitar solo is exactly what this song needs in order to get the metalheads sold on it. I get it.

Vocals

They're the biggest thing holding this song back from being "true" metal, but honestly, I don't see it as a problem. It's a mistake to assume that all rock songs need powerful vocals. Yurika's voice gives the song a slightly delicate quality that makes the song feel more mature, and Sunao's backing vocals help create a haunting vibe.

In the Juri & Rin version, Rin's vocals are basically what you'd expect, and Juri... wow. She really gives the song a whole new life with her ethereal, emotional singing style. I can almost imagine her singing this under a spotlight while dangling from a chandelier and holding a single wilting rose. Miho sings this song in a way that shows how Juri is both a singer and an actress.

Lyrics

Depression. These are lyrics about depression! I mean, they're also just "gothic sounding" lyrics that convey the image of a vampire rock idol, but they're definitely about a person in distress. There are multiple times when I felt depressed and started crying and then just decided "you know what, it's Glass Doll time". And this song helped me, honestly.

Choreography

They were definitely going for a live rock show feeling... in vibes, not practicality. It looks like something that might work for a real concert, until the performers hilariously start running away from the microphones and just running all over the stage. There are also some unfitting bouncing/shaking movements during parts with a slower, heavier rhythm. Honestly, the choreography is probably the weakest thing about this song, especially with the awkward early CGI and a lot of angles that don't do it any favours. However, I do like the choreography near the end, especially the knocking part.

Visuals

I love the stage design!!! I especially like the bat-shaped chandeliers, wrought iron fence, and blue roses with curling vines. They even had gold bats escape from the Special Appeal and fly around the stage at the end of Yurika's performance in episode 20. The dark stage works really well against Yurika's clear white aura that glows like a ghost.

It's a real shame they never reworked the performance with updated CGI. It would've looked so good.

Good points: Intense atmosphere, good lyrics, reaches a level of hardcore rarely found in children's anime music Bad points: Guitar solo is too long, some instrumentals have a slightly stilted or computer-y quality

Rating: 9.6/10 Personal rating: Also 9.6/10, even though I think I like this song more than most people do.

#aikatsu song reviews #glass doll

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beautifulpersonpeach · 1 year

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Hi Dear BPP!

Have you noticed the trend of 4th gen boy groups having edgy vibes? Their fandoms think their music is superior to BTS because it is more edgy and hard with autotune. I've seen people say BTS is outdated, they should do songs like Stray kids, Ateez, Svt and I realized it's true BTS has never made a song like 4th gen biggest boy groups. Even TXT doesn't have an edgy song. Maybe the problem is Hybe? Hybe should hire younger producers who can make edgy songs. Then the groups will get more fans.

***

youtube

(Every time I remember this ad I chuckle. We get a wholesome message in between the sirens and syncopated synths. Classic BTS lmao)

Hi Anon,

The above video is an ad BTS made in 2018 that sounds exactly like a bunch of 4th gen groups' 'edgy' tracks today. In my opinion. In fact, I remember when this ad dropped, the 'edgy' sound of the song was not as prevalent among 4th gen boy groups as it is today (scroll through the debut/1st comeback albums of all the groups you listed Anon), but the ad was so ridiculous and yet so good, that it caught on for quite a bit. Fast-forward to 2023 and you're right that this is the dominant sound in 4th gen boy groups.

So I doubt the stylistic musical choices made by BigHit are because they don't have "young producers" who can create the sound you're describing. Especially given BTS/BigHit producers were utilizing UK and Chicago drill rap (in k-pop ads lol) way back in 2018, before the cross-over of that style into more groups' sounds.

That's all I feel the need to point out, Anon, simply because that misconception in your ask is the easiest to correct. You're free to keep up with other groups' whose sound you might prefer. I have no comment as to what you say 4th gen boy group fandoms think either.

#I nearly pissed myself laughing when this ad dropped #I can't even imagine the fun the boys must've had making it #bts #music ask #lotte ad #kpop music #kpop #hybe #bighit

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jewishbarbies · 11 months

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The one thing that really annoys me as an Indian person is Taylor Swift's misunderstanding of the word "karma".

Karma in Sanskrit actually means "an action" and there are plenty of meanings but the closest one is "a professional duty" as in what you do to uphold your cultural, moral and other important values. That is the true meaning of karma, as opposed to whatever "whatever goes around comes around" meaning. The problem with that is Taylor just takes in that and sort of deprives it of its original essence and what it stands for, so it's incredibly funny to see a person brag about how they're friends with Karma when in reality, they engage in performative activism, align themselves with questionable people, have like 5,000 jets causing global warming and countless others.

Karma is more about the "cause to effect" idea, at least in Hindu culture that I am familiar with, rather than getting revenge on her boyfriends. And people think she's some lyrical genius when she just strings together words that make no sense. At this point she's decided to manufacture music, just make them "look" good with fancy, flamboyant words than convey some actual meaning besides her usual themes that she's gained popularity for.

I know it's a silly thing to get worked up over but it bothers me because people at home here don't know the actual root meaning of Karma and what it stands for and believe that Taylor Swift knows more than they know about their own culture. I wouldn't be surprised if she milks this word and tries to idk, get it patented or something like how one of the Kardashians tried to brand their name or something.

I'm just sick of this lol. People wouldn't shut up about her love life and when you ask them why, they respond with "well, it isn't our business to know about Taylor's personal life" when she chose to air her personal life in the form of songs. She could've easily chosen to change her songwriting direction, perhaps in a way to stay attuned to her roots and be more culturally relevant as times pass, but eh..

Honestly I feel like Taylor just pops up then and now, at least from my perspective. Like her popularity shoots up, everyone loves her, everyone coddles her and then a couple of months, it's all silent. She just relies on quick short bursts of fame and tries to stay relevant during that period, then go on a break or something (?) and stir up the Press pot.

I'm just sick of her lol. Her music is kind of mid, like your average bedroom pop mixed in with some synth and a drum beat. I'm not a qualified musician but I don't understand why people see her as some God when she's just.. basic lmao, in the recent years. Like, boring vanilla lyrics with no substance in them and catchy choruses so she could stay afloat in this TikTok era. Like how many people made those "it's me hi I'm the problem it's me" videos?

#Asks #anonymoose #anti taylor swift #swifties dni

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manysmallhands · 4 months

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Top 10 Albums of 2023!

This was all supposed to work out differently. As i recall from the now long distant past, my original plan was to do a countdown where i put up one post a day throughout December. However, I got Covid on December 1st and that plan immediately became lame and useless. After that, my assumption was basically that i wouldn't be able to do any of this, but i got better more quickly than i'd anticipated and found myself working on these reviews in bits as the month has gone on. So, having rushed through all the the song blurbs that i wanted to do, here i am on New Year's Eve with a more or less finished Top 10 albums to put up.

The only problem is that there are ten quite lengthy reviews here and the vibe is already pretty tl:dr. But tbh that's fine: there really is only my girlfriend who ever reads everything (and i believe her, trust is what love is all about after all) so for anyone looking at this and thinking blimey, that's a lot of text, my advice is: you don't have to read any of it. Just look at the albums, scan thru to see if it sounds like something you might like and give one or two of them a listen if that looks like the case. The words are really just to keep me occupied but i'd like to hope that someone likes some of the records.

I said yesterday that i would reveal what the best one is and so I am now delivering on that important promise. The best one is Scarlet by Doja Cat. Anyone who follows me on whatever platform already knows that the best one is Scarlet by Doja Cat. Don't make me say it again.

Barbie - The Album

Few people have seemed much interested in the Barbie soundtrack, other than the punters who kept it atop the compilations chart for four months. I, as ever, channel the spirit of the populous. The sound is basically 80s synth pop updated for a modern audience - the likes of Haim and Ava Max slot in predictably well - but its the extra dimensions created by how the artists interact with the film that provide some of its more interesting aspects. Sam Smith’s Man I Am reflects a surprisingly LGBTQ Ken despite protestations (certainly its "I'm not gay bro, but..." T-shirt is prompting a lot of questions already answered by the shirt), while Billie Eilish dwelling on life as a manufactured product makes for interesting and uncomfortable parallels in What Was I Made For. Mark Ronson’s plasticky production suits its subject to a tee, further cementing the conceptual unity of the project.

Star turns abound throughout the album as A-listers like Dua Lipa and Lizzo bring their best games alongside some terrific and unlikely downcard cameos. What Was I Made For? and Dance The Night were both deserved #1s, but the pacey pop punk of GAYLE’s Butterflies and Dominic Fike’s breezy, hook laden Hey Blondie are as much highlights as any of the bigger names here. Special mention should be made for Ryan Gosling’s I’m Just Ken, a blockbuster 70s rock number that, whilst puncturing the wider stylistic template, is batshit and hilarious enough to more than justify its place as well as netting him a surprise hit too. The quality lapses once or twice (Tame Impala in particular are bloody awful) but by the time Ava fires the final laser I’m generally happy to go back and start all over again. With banger after banger here, my verdict is in: the Barbie soundtrack is *Charli voice* HOT!

Claire Rosinkranz - Just Because

While this has been a year that I’ve gotten more fully into pop, it took a while for me to find many new albums that I’ve been interested in. This may partly be to do with me clinging to an idea that LPs ought to be substantial beyond having good hooks and charm. In truth, all I needed to do was revert to my indiepop training, where bands have never knowingly been fussed about having any great weightiness. But even so, it took Just Because to make it clear to me that no, you really don’t need any grand vision at all: a high number of great if frothy pop songs will do just fine. It’s a record which bounces from banger to banger in an endearingly sunny style, with each tune so catchy that their lightness becomes a strength rather than a weakness.

Rosinkranz’s voice seems to mark her out as one of the many Billie clones who populate the current pop scene but her musical ambitions are both simpler and more instantly engaging. Not yet 20, her songs have an element of schoolyard whispers which add a welcome silliness here and there, but she also plays with the intensity of youthful emotions to make them a little heartrending even as she goofs off. Highlights include Dreamer, a break up song where the vocal makes it clear that she’s far from as done as she says she is, and Wes Anderson, which offers some sombre advice but packages it in a song so sweet that you’d never know. But in spite of all this it makes no end of year lists (well, maybe just the one), being merely a lovable set of songs that are very hard to forget. Need it be more? I don't believe so.

Doja Cat - Scarlet

Mired in discourse throughout the year, Doja Cat still found time to make a chart topping single (Paint The Town Red) that took the world by storm and a cracking album which, sadly, did not. Scarlet was in my opinion the better of the two: largely ditching the afrobeat pop of Planet Her, Doja staked her claim as an old skool rapper and brought it off pretty well, mixing hard rhyming with her more scattershot pop delivery and sounding entirely comfortable wherever she landed. While flitting musically between modern RnB and neo-soul grooves, her subject matter was largely taken up by how much she hated her fans, a bold strategy that found her shedding support even as blistering tracks like Fuck The Girls shaped up as some of my favourites of the year.

Whilst I’ve found myself uncomfortable with both the company that she keeps and the views which she may or may not subscribe to (i feel safe in saying that she's a right wing edgelord but i suspect that’s the least of it), Scarlet is such a good album that I’ve found myself, if not making excuses for her, then at least deftly navigating around my distaste in order to keep listening to it. While Agora Hills often reminded me how serious she is about her scumbag of a boyfriend, it’s still a song that can submerge me in its beauty entirely; while some of the complaints from her online audience are less easily dismissed than others, it’s more comfortable just to think about the morons calling her a devil worshiper, especially when she mocks them so wickedly on the elegant Skull And Bones. Am I the problem? Maybe I am: it’s a place I often find myself in with hip hop, where faves are frequently problematic and exceptions beg to be made. As such, I can not wholeheartedly recommend this record to people who might want to take a principled stand against some of her bullshit. I can only say that, as a musical talent, there was no one better all year.

Lana Del Rey - Did You Know That There’s a Tunnel Under Ocean Boulevard?

After 2021’s fairly middling brace of albums, Did You Know That There’s A Tunnel Under Ocean Blvd always felt like it was going to be a return to form and this time the faithful were not disappointed. It was another epic and sprawling record which unfolded like a cross between The Bible and a 50s musical. While changeable in style, ranging from hammy country ballads to trap beats and beyond, the thing that springs to mind most often is the Great American Songbook, as Lana takes the melodramatic grandeur of those standards and soaks them in her own messy and complicated worldview. This draws in family, romance, the future, her relationship with religion and how it all scrappily fits together, ranging widely and wildly across 75 extraordinary minutes.

Much of the album feels like it’s being broadcast from a kind of dreamworld, although one that overlays with reality neatly enough. Lana’s dismissive “if you want some basic bitch go to the Beverly Centre and find her” line undercuts the mood on the otherwise lush and evocative Sweet but the impact is hilarious rather than jarring, a perfect marriage of the strange and mundane. In contrast, the brooding A&W initially brings that realism to a far more uncomfortable level, before goofing off wonderfully in the second half in a way that only Lana ever really dares to do. Much of the record feels like it's creating its own language, as key phrases (“let the light in”, “when you know, you know”) are repeated and musical themes come back around in strange modulations. All in all, while perhaps less satisfying as a pop record than Norman Fucking Rockwell, Did You Know… feels like her most complete statement on a personal level yet, whilst still working well within the broader world that she’s spent over a decade constructing.

Mitski - The Land Is Inhospitable And So Are We

Despite liking the odd song or two, I have until now been largely immune to Mitski over the full length of an album. But The Land Is Inhospitable And So Are We has a much more organic sound than I’m used to hearing from her, well adrift from the polished guitar rock of her big 10s records. Instead, it takes many of its cues from classic folk and country, occasionally lush and expansive, often determinedly sombre but always at a distance from the areas where she’s generally been at home. Opener Bug Like An Angel is a brooding scene setter, where Mitski unveils the terse and grumpy presence we will grow familiar with over the next half hour. The main elements of the album are already in place - the spare instrumentation; Mitski’s extraordinary voice, hard and intransigent but still full of yearning; the occasional, overwhelming interjections from the wings. It all creates a distinctive atmosphere, extremely intense but intimate too: we’re allowed into Mitski’s world but there’s a lot to take in.

Lyrically, the songs are both heavily allusive and extremely personal, like hearing ancient parables told by the characters from the story. Surprise hit My Love Mine All Mine seems to sit apart as a relatively standard love song but a closer listen reveals deeper layers; the placing of her love as something independent from its object makes it feel more of a piece with the album’s other enigmas. At a time where Mitski seemed to be cooling on being a rock star, The Land Is Inhospitable adds a new twist to her long musical journey, seemingly presenting a more intimate portrait while in fact retaining most of her essential mystery. As an album, it really is quite something: what that is I’m less certain of but I like it regardless.

Olivia Rodrigo - Guts

Tho I wouldn't have called myself a hater (I don’t think I would have been bothered enough), I don't really like Olivia’s all conquering debut Sour, which I thought a bit too one-note and overpopulated with slushy ballads. But by the time Guts came around I was open to listening again, drawn in by its excellent singles and primed for a different experience. Vampire, the best of them and more or less of this year, was a fantastic example of taking something that Olivia is clearly very accomplished at (the grand piano lament) and then, rather than running that into the ground, instead using it as a springboard for an entirely different idea. Get Him Back and Bad Idea Right hark back to earlier guitar based tracks like Brutal, but on Guts they form a much more substantive part of the album, cementing its brand of addictive pop grunge and working up a much goofier version of her messy teen persona.

Elsewhere, the ballads did in fact return. Some have speculated that this may have been a bad idea (right?) but for me they’ve been growers, particularly the likes of Lacy and The Grudge, where Olivia explores the bitterness of youth and uses it to tear holes in the people who’ve wronged her. But if I’m honest, it’s the rockers that I’m usually waiting for: whether the new wave pastiche of Love Is Embarrassing or autumnal Cure homage Pretty Isn’t Pretty, each one feels like a mini-revelation and it’s the style that I hope she leans on most in the future.

Palehound - Eye On The Bat

Palehound have been around for a while now and every so often I’ve given their records a try and haven't really managed to connect with them properly. Eye on the Bat has been the first exception, though whether that's because it’s any better than the others or I just made more of an effort with it I don’t know. Its template is certainly well worn in the indie world - country rock with varying degrees of aggression or melodic sweetness - but there’s still a lot here that grabs my attention, especially in the charming indie pop of the title track and the heart-rending melancholy of Route 22.

But the thing that caught my ear the most was Ellen Kempner’s disarming honesty, with much of the album spent documenting what sounds like a deeply messy break up. Whether she’s bitterly picking through the fall out on Independence Day or remembering some hilariously embarrassing bedroom scene on opener Good Sex, Eye On The Bat's almost diaristic view is mesmerising throughout, making you warm to Kempner even as she works thru some of her own worst traits. And aside from anything else, her understanding of relationships underlines her strengths as a lyricist, as she dissects their complexities with wit, sympathy and occasional anger to capture all the stuff that transcends whatever we were hoping for in the first place.

Poppy - Zig

After the wild ride that commenced with 2020’s extraordinary pop/metal mash up I Disagree, Poppy has journeyed thru indie rock, goth and punk to wind up back where she started, only not quite. Zig may represent a return to pop - indeed it’s produced by Weeknd affiliate Ali Payami - but it’s one that’s filtered thru all of the places she stopped off along the way.

The crepuscular grind of Church Outfit and Knockoff sound like more danceable versions of the I Disagree sound, while the crunching title track suggests that she can still go as hard as ever. But there are nods to a lighter side here as well, particularly in the strong trio that wind up the album: The Attic recasts her sound in a euphoric drum n bass clatter whilst closer Prove It kicks up a remarkable blend of manic hyperpop and gentle electro-balladry, whilst still working in the rich emotional palette that she’s developed in recent years.

In one sense this is a huge departure from the frenetic punk of last year’s Stagger EP but the vibes here stake out territory that you’d still find oddly familiar. Some of the gothy ballads are less immediate than other songs but nothing on Zig is boring, just varying refinements on her ever evolving musical journey. The critics were split, occasionally rattled and sometimes just plain baffled, but that’s only to be expected by now. Poppy follows her own plan and rarely sticks to the same tune: in truth it’s a privilege just to be a witness to the chaos.

Sweeping Promises - Good Living Is Coming For You

One thing that I find missing in a lot of modern guitar based music is snappy songs with good catchy hooks. While Sweeping Promises appear to place their focus elsewhere - their high concept sound is best understood as someone broadcasting direct from 1979 through a wristwatch speaker - their second album still finds time to deliver fully on the tunes. Good Living Is Coming To You is steeped in bubblegum melodies and memorable choruses, with songs that become earworms before you’ve even registered how catchy they are.

More than anything, it's dominated by Lira Mondal’s imperious vocals: whether it’s in the cascading harmonies of Throw Of The Dice, the fierce yells and hisses that close out the title track or her sweet voiced switch-outs on Ideal No, her character springs out of every song in a way that few singers ever really manage to impose. While you might think that the post punk era has been mined to death by now, Sweeping Promises drag new life into it by going back further: their sound may be heavily rooted in a specific moment but the elements of songcraft often have more in common with 60s girl group classics than gnarled art rockers. Ten bangers and no filler: Good Living Is Coming For You is everything I wanted from it and more.

Wednesday - Rat Saw God

While the queasy vibes of 2021’s Twin Plagues are still high in the mix here, it was the welcome injection of melody on Wednesday's third album that managed to alert the media. That lightness was more apparent in Karly Hartzman's lyrics than you might notice on a passing listen too: though often praised for her grimly amusing takes on middle American backwaters, the key to them was her deceptively soft touch, casting a sympathetic eye over grisly scenes even as she retained their gnarlier undertones.

Single Chosen To Deserve, with its crunching chorus and heartwarming romantic turnaround, feels like the designated big moment from the record but in reality Rat Saw God has an embarrassment of riches. Quarry in particular, with its Waterloo Sunset-esque signature and matter-of-fact dissection of grim local gossip, is an almost pop version of the most haunting aspects of Hartzman's craft, while the washed out bounce of closer TV in the Gas Pump pitches a lonelier scene in a similarly gorgeous manner.

This is not to forget that Wedneday can still rock extremely hard when they want to, especially on the brutal 8 minute Bull Believer, an ambitious multipart epic that ends with Hartzman screaming “FINISH HIM!!!” repeatedly over the chaotic finale. But while Rat Saw God brought this kind of sawtoothed sound back to widespread acclaim, its real trick was how it sugared the pill just enough to get it past even the most determinedly sweet tooth.

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thethistlegirlwrites · 2 months

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Mine

Shay can’t sleep.

Most of that is just the simple fact that the home earth he brought with him for this case is miles away in a literally underground fight club that he and Sierra left on fire. Without that, he’s incapable of getting actual rest.

Another reason is the blood withdrawals. He hasn’t fed on real human blood now in over twenty-four hours and his body is refusing to accept that. They don’t have replacement synth-blood, which is part of the reason it’s getting this bad, but he’s been through this enough times now that he knows nothing really helps. His body wants real blood and doesn’t like settling for the substitute, which he won’t get until Sierra gets over the host version of the same thing and can drive them to civilization.

But even if he’d had everything else he needed, he can’t stop replaying what his answer to the vamp running the ring would have been, given a couple more seconds to get his brain out of crisis mode.

I didn’t tell you she used to be a hunter because she’s mine. I didn’t want anyone else thinking about her the way I did, wanting to get their teeth in her too. And I didn’t want someone else ripping her throat out while I was in the middle of a fight because they hate hunters on principle.

Sierra would probably tell him it’s a logical, valid response.

It would have been.

Probably wouldn’t have satisfied their captor, given the spectacle of making a vampire and their host fight each other was likely just too tempting to pass up for any reason, but still.

The truth is, his brain had stalled out less from the sheer stress of the situation and more from the fact that when the answer had popped into his head, it had seemed too right.

It was a bone-deep, visceral, instinctive response.

Mine.

Maybe it’s his own fault for letting the hosting go on to keep their cover.

Maybe it got to him.

Because there’s no way he should be thinking of Sierra as his. His partner, sure. His friend, sort of, in the weird way hunters and vampires sort things out. His roommate, even, as weird as that whole situation has been.

But not just his.

Even now, watching her toss and turn in the throes of the bite withdrawals on the bed he insisted she take, he wants to help. Every instinct in him is screaming that his problem and hers can be easily solved. If he would just do what his nature demands and feed.

But he let it go on too long already. If it was turning him into a possessive monster, he can’t risk even one more feeding, not even if it’s to buy them time to get somewhere there’s help.

Sierra shifts again and looks over at him. Enough sunlight is sneaking into the cabin through the various cloth scraps they used to cover the windows that it’s picking out the flush in her cheeks that contrasts against the unnatural paleness she’s developed from the hosting.

“Can’t sleep?” She asks, words slurring a little.

“Uh, no. No home earth,” he says.

“Sorry. Stupid question.” She shrugs. “Brain’s a little…scattered.”

She’s rubbing at her arm where he was biting her.

And he can’t not bring up the elephant in the room.

“I’m sorry.”

“If anyone should be sorry it’s me. I got caught and messed up the whole plan.”

“I meant about the whole host thing. I guess I let it go further than I thought.” He stares at the wall.

Sierra frowns. “We both agreed this was the play. If we’d faked it we would have been caught. I can deal with the withdrawals. Would be nice not to have them, but I wasn’t asking for easy when I signed on for this.”

Shay shakes his head. “This isn’t about the withdrawals.”

“Huh?”

“When he asked why I hadn’t told anyone about you.”

“That whole thing took us all by surprise. I don’t blame you for not having an answer.”

“The problem is I did.” Shay can’t meet her eyes. “I wanted to tell him it was because you were mine and I didn’t want anyone else to lay a hand on you.”

“That’s a good one. You just thought of it a second too late.”

Shay swallows. She’s thinking of it exactly the way he expected. As him finding a logical answer that would have satisfied their captor.

“I didn’t have to think about it.” He clenches his fists until his nails dig into his palms just a bit. Not enough to do damage, but enough to keep him grounded as a wave of hunger washes through him. Just another instinct he can’t crush far enough down. “It just wanted to come out.”

And that had scared him more than the threat hanging over their heads.

It’s one thing to face down the people in the outside world who want to kill them, human or vampire.

It’s another thing entirely to be reminded, viscerally and undeniably, that there’s a monster inside him too. A hungry thing that demands and takes and claims. That no matter what he does, no matter how much he tries to control it, can twist parts of him he never wants to let it touch.

“Oh?” Sierra sounds less angry and more confused.

“I don’t know if it was being surrounded by so many vampires, or that I’d been feeding on you for days, or some combination of that, but I genuinely felt possessive.” He halfway glances at her. “I’m sorry.”

“You’re sorry for instinctively wanting to protect me?” Sierra asks.

“When you put it like that…” He shrugs.

“It’s just part of who you are. Vampires bond to their hosts and get pretty defensive about them.” She shrugs. “Honestly, I’m fine if you want to call me your human if you’re fine with me calling you my vampire now and then.”

Shay raises an eyebrow.

“That sounded weird, didn’t it.”

“Yeah. It really did.” He chuckles in spite of himself, feeling just a bit less awful. Despite everything, they’re still what they always were. She still puts her foot in her mouth at the most awkward possible times. Guaranteed to break the tension even if it’s in the weirdest way he can think of.

She doesn’t hate him.

Maybe she should, but she doesn’t.

Now that this case is over, he can squash whatever part of him still wants their bond to be any deeper. It’ll be a lot easier now that they’re not intentionally playing into it with a cover story.

“Besides,” she adds sleepily, drawing his attention back, “you didn’t actually say it. You stopped yourself because that’s not who you wanted to be, regardless of whether it would have gotten us out of that mess.” She shrugs. “If you had said it I’d have kicked your ass in that fight anyway.”

He laughs. “Think you’ll remember this in the morning?”

She frowns. “Dunno. Why?”

“Because the look on your face if you do will be priceless.”

She flings the flatter of the two pillows from the bed at him.

He catches it out of the air. “I am going to ask if sober you is still cool with being called my human.”

She laughs. “As my vampire, you do realize that might have consequences.”

“Wouldn’t have it any other way.”

(This is a continuation of Day 20, which you can read on my WorldAnvil! And you can read this story and more from this universe there as well!)

@catwingsathena @nade2308 @the-one-and-only-valkyrie @telltaleclerk @ettawritesnstudies @writeouswriter @whump-place @the-lovely-wren

#febuwhump #febuwhump2024 #febuwhumpday25 #alt 1 #I love you #because these two say that in the weirdest ways #sierra aguirre-stoker #shane barrett

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thesinglesjukebox · 5 months

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YEAH THAT'S RIGHT WE'RE BACK WE WEREN'T JOKING AROUND NOW GET IN THE CAR BEEP BEEP LET'S RIDE

CHARLI XCX - SPEED DRIVE [5.07]

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Oliver Maier: A dark cloud seems to hang over Charli XCX as of late. Last year's perfectly passable Crash was touted by her as her "sellout" album, and while it charted impressively, it didn't demonstrate the effortless hitmaking that Charli sometimes implies she could pull off any time, if she only felt like it. That success instead has rather randomly gone to the risible "Speed Drive," her first UK top 10 since 2015 and first Billboard entry since a year prior. There's a lot I don't like about it, but enumerating its faults feels futile when it has the baked-in defense of just being a cute song for the Barbie movie!(!!!) Put simply, though, it's lazy to the point of feeling contemptuous. I have far fewer reservations about switching my brain off and having fun with pop when it feels like the artist is laughing with me, not at me. [2]

Alex Ostroff: On Crash, Charli started leaning into obvious interpolations to try to hit the charts. Hopefully, "Speed Drive" is the tail end of that tendency and not her new normal. The mashup of "Hey Mickey" and "Cobrastyle" works significantly better for me than the way she lifted from September and Robin S. for Crash singles, and there are a few excellent line deliveries, but this still feels like Charli on autopilot. The album's worth of unreleased songs with SOPHIE do more exciting and interesting things sonically than this PC-XCX retread, and if she isn't pushing the boundaries of pop music in weird and abrasive new directions, I'd much rather have the hooks and big choruses of "New Shapes" and "Lightning" than an under-two-minute sketch of an idea. The problem, of course, is that Charli on autopilot mashing up Robyn and Toni Basil, but fully committing to the performance and vocal delivery, still ends up giving us a: [6]

Alfred Soto: Charli XCX's reputation as a unsung pop master crumbles every time she releases another middling single. From the "Mickey" lift to the perfunctory rhythm track, "Speed Drive" is closer to assembly line than a Barbie factory. [4]

Jacob Sujin Kuppermann: The best Charli XCX songs in this lane are cleverly stupid ("Hot in It", "Yuck") or stupidly clever ("No Angel", "Vroom Vroom"), but this is just normal, garden-variety dumb -- less a song and more a collection of Pavlovian cues for stans to go wild over. All points here should be allocated to Easyfun, who at least does his job competently. [3]

Will Rivitz: Crash was Charli's worst release in nearly a decade for more reasons than I can fit in these few sentences, but most salient to "Speed Drive" was the record's uncharacteristically smooth polish. Her music achieves transcendence when it leans into its unsanded edges and hungover hedonism, channeling self-destruction and snottiness into bombast and excess. If it sounds like a first or second draft slapped onto Spotify before it's had the chance to hit a mastering studio, it's succeeded. Crash was too careful to hit those same highs, and as a result, its attempted mess felt lethargic and flat, indulgence as a single drunk cigarette instead of half an Adderall chased with absinthe. So, since "Speed Drive" sounds like it was mastered on a 2015 MacBook speaker and plays its two main interpolations as insouciantly straight as possible, it represents a return to form. Mess is more. [7]

Aaron Bergstrom: A perfectly acceptable Charli-by-numbers exercise: shiny, metallic PC Music production smeared over otherwise kitchy sonic references (and "Cobrastyle," which rules in any context); lyrics referencing cars, Japan, or cars in Japan; halfhearted attempt to tie it all back to Barbie somehow. [5]

Rachel Saywitz: Sonically, "Speed Drive" is one of the more interesting songs from this year's Barbie soundtrack -- unfortunately, that isn't saying much. A flurry of bubbling synth patterns echo the song's title, but what should be an exhilarating digital rush is overset by drab lyrics that sound like they came out of a Mattel exec's secret poetry diary (+ charm bracelet which unlocks the diary + a copy of the 2006 hit Barbie mocap film, The Barbie Diaries): "She my best friend in the whole world / On the mood board, she's the inspo / and she dressed in really cute clothes." Charli is in on the joke, but the joke isn't actually a joke -- it's a corporate branded major studio movie that was made to sell more toys, unable to subvert its maker no matter how many jokes it makes about male CEOs, discontinued toys, and "tax evasion issues." Can we just get Charli to soundtrack one of those poorly animated Barbie movies that know exactly what they are? Can we get a Barbie: The Princess and the Pauper remix album? Oh my god wait that would be incredible Mattel please call me I'll revoke my DSA membership please [5]

Hannah Jocelyn: I am a Barbie movie defender; you take your $100 million toy commercial and make the best possible trans allegory a cis woman can make, you have my respect. (Just as Little Women is the best queer movie a straight woman can make, love ya Greta!) I feel like mainstream feminism-attempting films, Barbie included, are so preoccupied with being Statements they'll sacrifice any momentum to get a message across. This is much less messy and complex than the movie it soundtracks, content to get in and out with its endearingly obvious samples. Charli's attitude makes the song sound more chaotic than it really is, but that effortlessness is a neat contrast to a movie that tries really fucking hard. Suddenly, I want to buy a 2024 Chevy Blazer EV. [7]

Brad Shoup: Like the vast majority of thinkpieces this movie elicited, this isn't really about Barbie, is it? It leaps into a gear and holds; there's nothing to distract you while the motor hums. It ends with Charli chanting "red lights," like she's desperate to pull over. [4]

Andrew Karpan: Perhaps the most important of the pop hits salvaged from an '80s nite at a club near you, "Speed Drive" is already a Greatest Hit among the stans, and justifiably so. Charli boils down what these nostalgia grabs are all about: misrememberences of a more understandable past, the fantasy of driving cars, the mood board stretched infinitely into the promise of a new century, the crux of Barbie itself. [10]

Jonathan Bradley: [A whiteboard with "Charli XCX Barbie soundtrack????" written on it and nothing else.] [3]

Wayne Weizhen Zhang: Even on this throwaway soundtrack cut where Charli sounds like she's putting in 25%, her pop flourishes and mannerisms are undeniably powerful. It's the way she rhymes "whole world" with "inspo", knowing it doesn't work; the way she races through the chorus like she's bored and speed-reading random words on a page; the way she robotically drones "Li-i-i-i-i-i-i-i-i-ghts," unbothered at the laziness of the hook. This can't even clock in at two minutes. Give us nothing, queen! [7]

Kayla Beardslee: Charli understands how to craft a hook better than 99.99% of all musicians that have ever existed. [7]

Dorian Sinclair: I would not have thought to combine "Hey Mickey" with Robyn's "Cobrastyle" at all, let alone as part of a massive Mattel movie. Perhaps this is why Charli XCX is a pop star and I decidedly am not. The result mostly works, though it feels a bit less than the sum of its parts. And while I don't entirely get the focus on the car, maybe it's so she can run it back for the Hot Wheels film? [6]

Peter Ryan: Pop's foremost interpolator doubles down for a truly inspired how-hasn't-this-been-done moment. As a chase scene backdrop it's an [8], but on its own it's not even her third-best car tune. [5]

Katherine St Asaph: Brainless, reckless fun utterly unfit for purpose. The song is called "Speed Drive" and is perfect in tempo and stupidity for racing down the highway faster than God intended. And Charli still interjects "hah!" like no one else. But when do you go on the highway? When you're planning on driving for more than 2 minutes! [6]

Jeffrey Brister: Sleekly built, moves quick without fuss, pushes up a bit, but never really crests into high gear. I'm not asking for transcendence, but maybe an acknowledgement of a higher power while you lightly tap the gas pedal? [5]

Edward Okulicz: Having stopped writing good Charli XCX songs years ago, Charli XCX has, with this, ceased to even sound like Charli XCX. The only good bit about this is the "Mickey" interpolation. Driving around with this would give me a headache within about two miles. [2]

Vikram Joseph: In which Charli decides to write an AI version of a Charli song before the machines get there first. [4]

Will Adams: I will own up to being one of those who were WRONG and DUMB about "Vroom Vroom" when it first came out; I still wouldn't rate it highly, but I recognize its importance and impact on pop music. Special thanks to "Speed Drive" for helping me through that process by demonstrating what "Vroom Vroom" would sound like if there were significantly less effort. [3]

Jibril Yassin: Sucker needed this more than we did, but I'll take any new Charli songs that use actual choruses again. [8]

Joshua Minsoo Kim: I applaud Charli for staying faithful to "Hey Mickey": the only good thing here is the hook. [3]

Crystal Leww: Funniest thing about this song is that one of my best friends in the whole world made an edit of it, and once we were out, the original played and I was like, "man this is so slow." And then she told me that the BPMs are actually exactly the same. Good song for Charli in her popstar elder era, but I'd always rather be listening to the edit. [5]

Michelle Myers: This would have been a fine addition to my 2009 pre-gaming playlist. I can taste the Smirnoff Ice and MAC Lip Gloss. [6]

Samson Savill de Jong: This is a banger that resists much discussion, just pounding you with being really really good and fun and HOT (but not, funnily, at all sexy). It needs a third verse, as it's over just as it really gets going, but ultimately probably better to leave you wanting more than wishing it was over -- though I find it hard to imagine this couldn't have stretched all the way to 3 minutes. [8]

Ian Mathers: It's good, but I've gotta knock it for three things (all possibly totally unfair, but that's the Jukebox babey!!!!!): 1. "Mickey" is a fine song but I am so sick of this kind of interpolation; 2. it reminds me at least by implication of "Vroom Vroom," and you, ma'am, are no "Vroom Vroom"; 3. it's only my second favourite 2023 soundtrack Charli XCX is featured on. [6]

Leah Isobel: Enough time has passed that we can admit Crash was mid, right? That in marking the moment in which Charli finally, actually committed to being a pop star, it also signaled her turn from real emotion to two-dimensional shtick? That her fanbase not only enabled this particular turn, but made it her only viable option? That her career is now defined by the need to please a group of people who treat her work as impersonal meme-bait instead of creative output from a real person? That, viewed in this light, the fact that "Speed Drive" has become her biggest hit in a decade makes perfect sense, even though it's the unsatisfying sonic equivalent of a single leftover french fry, drenched in grease? That pop stardom is, in itself, the reduction of a real personality and perspective into a flat and marketable image; that the aching, sincere heart of True Romance is actually dead and buried; that my youth is never coming back; that all I have left is this shitty, misogynistic world? And that, despite everything, I am physically and emotionally incapable of scoring a Charli XCX song that samples fucking "Cobrastyle" lower than this? [4]

Tara Hillegeist: It says a great deal about Charli's grasp on how to make hedonistic abandon actually catchy, even after the multiple ways that particular approach to imperial phases has shown their ass, that she can nearly faceplant on a still-mangled enunciation of "kawaii" and yet almost get away scot-free with her brazen interpolation of "Hey Mickey." I can yet imagine this scoring a campily villainous dance number in a Russel T. Davies SFnal dramedy on BBC Three and working. Sadly, Rusty's currently on contract to Disney instead, so an entirely different sort of Toymaker seems to have run off with the obvious bait for tiresome queens at present, and I'm not sure the vibe quite comes together as the prophecy was meant to foresee. Too bad. It'd be an [8] if it did, but only hypothetically. [3]

Nortey Dowuona: The problem with "Speed Drive" isn't the flat, pedestrian drum programming, even though that roots the song to the ground and never lets it become the exciting driving song it's meant to be. The problem is Charli constantly pushing forward in her music to embrace the more compelling and vivid music of the late '10s, only to be over-praised for a competent rehash of already marked territory by her elders. The same happened to Earl Sweatshirt, who doubled back to play in more conventional positions then, after the praise, re-doubled down on his direction. The way to engage with their music is to stop jumping up to beg them to pander to our changing taste and the industry's desire to cling to conventional wisdom. Let the Charli XCX of 2014 go -- she doesn't exist anymore, Charli's competent Toni Basil cover notwithstanding. Maybe actually trust them to chart their own paths -- you crafted your own, right? [6]

Frank Falisi: The streamlining of Charli's glitch-heat into soundtrack-ready radio-licking songs is good! PC Music was always a project about products, caring and careful as it was. Pop is a product about the project of being alive -- it's its own experimentation, it doesn't require archness. But to be alive is to seek out live wires and hearts to plug into, to give shape to. The pastiche that has haunted Charli's work in recent years takes as its engine dead objects: nostalgia (Crash), flippancy ("Hot Girl", Bottoms), and now, incorporation (Barbie). Can you feel a song begin to think of itself as servicing an occasion instead of a feeling? But you don't have to rope in career tea-leafing to know "Speed Drive" is plain boring. More like a treatment for a song than a composition moving through ideas, it cannibalizes the occasion of "Vroom Vroom" for a compensatory GM tie-in, settling for chorus as brand shoutout and production that's nearly apologizing for itself. Haters -- Lovers? Likers? I can't imagine a human being loving this song -- will tell me it's a fun, short song written for a fun movie that's been over-think-pieced and that doesn't deserve the hyper-scrutiny it received. I still think we deserve better than just "just" as far as the product-as-art future Barbie takes to be inevitable. I also think -- whatever their occasion -- all the song sequences in the film felt disposably-conceived, thinking a little of partnering with the image and thinking a lot about servicing the partner, which is the brand. Maybe pop music in cinematic space has always been product placement of a kind. Or worse, once it was a way to show love through intertextuality and now it's the moving image as Tumblr page, a cloud of association, a hungry rolodex of fits. And the suggestion of a pleasurable essence isn't the presence of pleasure. I know there's no purity, I don't want purity. But you have to let "want" in, have to want "want" to mean more than "get." Otherwise it's the experimental rendered in a language we already know. What I mean is: every day the inclusion of "Boom Clap" in The Fault in Our Stars feels surer. [2]

[Read, comment and vote on The Singles Jukebox ]

#charli xcx #music #music writing #music review #tsj #the singles jukebox #writing #Youtube

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things-about-cars-in-posts · 6 months

Note

favorite band/artist?

Sheesh. Complicated one.

You see, my music tastes are, to put it mildly, rather varied. I think it showed in my music recommendation post and the post that further explored one of those artists, but to further illustrate, my library includes:

Earth, Wind & Fire

New Kids On The Block's Jordan Knight's first solo single

Dubstep band Hadouken!’s Lana Del Rey cover

A mashup of Wham! and a fishing anime

A Japanese bilingual melodic punk rock band's two songs about bowling

80s remixes of Justin Bieber songs

A Japanese "punk ska and melodic hardcore band"'s cover of Scatman’s World

A 140+ song Beatles remix collection, featuring such gems as "Octopus's 3D Garden", "I Saw Her Yankin' There" and "Help!" (suspicious)

A eurobeat female duo of rotating Italian and British members’ Abracadabra-sampling track about falling in love with a banana

A remix of Azumanga Daioh’s Sata Andagi scene I retrieved from a porn site reupload

Moldovan folk punk band and folk musician duo’s collab about celebrating the reopening of a railroad

The soundtrack of Pictionary for the NES

A mashup of AVICII, Rick Astley and Chumbawumba

An 80s pop Linkin Park remix

Black Sabbath covers by The Cardigans (of Lovefool fame)

JT's solo debut

A Flock Of Seagulls (of I Ran (So Far Away) fame)

One (1) DJ Khaled song

A 2011 My Little Pony-themed song by then commentary youtuber

(And I beg each and every one of the people who read this list and thought "Okay that one cannot possibly be good" to hop in my askbox and allow me to prove them wrong.)

But let's go through bands and artists I've not posted about before.

Two Door Cinema Club Just out of statistics. I can prove I played I Can Talk over a hundred times and I can tell you any number under two hundred is underselling it. There is genuinely some problem with my brain that that intro slots into perfectly.

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Oh also all the rest of their first album this comes from is this great too, and if you ask me what a perfect album sounds like I will tell you it's not that far off their second album.

OK Go Now, I like the music. Actually, I'd left my two guitars alone for years until an easy OK Go song made me think "Oh, maybe I can play this" and realize that rather than -as I had prior- just play the music I'd been taught I could actually teach myself to play the music I was listening to, which snowballed into playing more OK Go songs and then it expanded and now I have a ukulele, a bass, a third guitar I need to merge with that bass (it's complicated), a fourth "guitar" (it's complicated) on the way, a Casio calculator/synth (it's complicated), a melodica, a launchpad and a kazoo. Whoops. But really, all you need to be sold on OK Go is see two of their videos. One to find out what they're like (and you're already good on that front because you have visited the internet ever and have thus seen Here It Goes Again aka "The Treadmill Video" aka what when posted to YouTube upon its CEO begging them became the biggest video of all time) and another to find out that no the first one was not a one-off fluke. I am serious, go click that link, it takes you to a playlist of their videos and each one is crazier than the last. I mean they played a song with a car. A song. That has a guitar solo. With a car. Have you seen the name of this channel.

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Ah, right, the name of this channel. I guess I have to say a thing about that car now. Uhhh this video was sponsored by Chevrolet to promote the Aveo which, despite being badged as a Chevrolet, like many of the more Europe-oriented Chevrolets was made by the automotive branch of Daewoo, brand General Motors picked up after the Daewoo conglomerate (then the second largest in South-Korea which may as well be called Samsungland) went bankrupt in '99 over almost $90B modern dollars in debt. Its founder Kim Woo-chong (because Lord knows the "woo" in Daewoo did not stand for "woo what a great car") earned a ten year sentence, but I feel they focused too much on the wrong guy. The REAL criminal is whoever penned Daewoo cars.

A good person doesn't do this on purpose.

Owl City I have too few of his songs, but I absolutely love how comically upbeat he is. He is so precious. If c: walked this Earth. I mean "Golf and alcohol don't mix and that's why I don't drink and drive / Because, good grief, I'd knock out my teeth and have to kiss my smile goodbye". Protect this man at all costs. Also one time I saw the Fireflies video after what must have been a good decade and you know when you feel near crying? I adored that song when I was a kid and I was right.

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Liquido European one-hit wonders - and not even "people know them just for one song", not even "people don't know them and just know the song"; I found you can tell people the name of their hit and they won't know what you're talking about. But hum the riff and infallibly, invariably any single person in my country (and, in my limited experience, the rest of Europe) will go "Ooooooh, that one". And to be fair, those guys did stumble on one of the most memorable riffs in modern history.

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Not saying this is a hidden gem of a band, I am sure some bigger music nerd would stamp a big fat "SEEN BEFORE" on all their stuff, beyond some enjoyable splashes of "I wonder how much of this is them leaning into it" cheese (yes, even more than that video) - but I've still got their whole discography including all the B-sides, because to me, so what? It's good music and I'll treat it like it. What's the point of praising "groundbreaking", "genre defining" works and then glossing over those inhabiting the ground they broke and making the genres they defined? When I eat bread I don't complain that it doesn't innovate or set itself apart from the rest of the genre, so as long as my music doesn't bore me why should those be problems there? I feel like people have a problem in general separating their enjoyment of a work from its artistic merit. I'm digressing.

The Beatles If you ask me "What's your favorite number of pant legs?" I'm not going to answer five because two would be cliché.

And now we get to the final answer, the real answer, in such a league of its own it deserves to be separated from the rest via a Read More.

I lied, this is under a Read More because it's an entire fucking dissertation. Your fault for asking.

Caparezza I've spent well over a decade of my life mulling over his lyrics to the point me and my ex-flatmate played this game where she told me a random word and I'd try to find it in his lyrics (e.g. the first word of your ask, "favorite", was used in the second verse of the sixteenth track of his sixth album, yes I am neurodivergent why do you ask), and still it happens that as I am going through my everyday life I happen to accrue some information and slam my forehead going "Oh my God THAT'S what he meant there". His songs are more layered, more deep, more thoughtful, more cutting, more witty, more clever than most prose you see around and still he manages to play with his words and rhymes with incredible dexterity.

Take his last record, Exuvia - actually, take the previous record Exuvia picks up from, Prisoner 709:

Its name not only introduces the theme of imprisonment, but also of dilemmas and juxtapositions, since the prisoner's number, 709, stands for the dilemma about the number of the record: it's the 7th in his discography as Caparezza, but the 9th if one also counts the two shit records he made under his previous name Mikimix (we don't talk about those). Its tracklist, indeed, while being as typical for him incredibly varied in topics (from religions to his affinity with Ludwig II of Bavaria to "I'm not [x], BUT-" types) is arranged as chapters of a journey through an imprisonment (The Crime, The Punishment, The Weight, The Psychologist, The Letter, The Visit, The Yard Time, The Torture, The Revolt, The Guard, The Infirmary, The Window, The Evasion, The Hiding) and associated to dilemmas - for instance, as the record is about his feeling imprisoned in his body and in his role, the first song -and first chapter, The Crime- is indeed Prosopagnosia (i.e. face blindness), a track about him no longer recognizing himself in the artistic reputation he built himself, with the dilemma being between "Michele", his name, and "Caparezza", his rap name. Oh, and if you also want a taste of the impressive wordplay, well, count the letters of those two names. Yep. Every single one of the 16 tracks is a dilemma is between a 7 letter word and a 9 letter word. Because of course it is.

So now, let's get to the last record, Exuvia.

Nah, the pop-up edition's cover fucks way harder.

That's more like it.

Exuvia is the exoskeletal remains left behind by ecdysozoans after ecdysis, i.e. when creatures like insects and crustaceans develop a new exoskeleton and crawl out of their old one, as this record starts from his escaping from the anguish compounded through all his previous records and through a deep analysis of his past, his self, his surroundings, his fate, condensing it all and moving on to a new self, a new birth, a new shell. (Understand how I feel when people say the greatest rapper of all time is one whose greatest record is called "Damn" because the songs made him go "Damn" and whose biggest song is "Biggie Smalls' Juicy but this time about me".)

Well, in the second track of it, about running away from the dire situation of hatred, decay and persecution described in the first track, he says, and I paraphrase,

I give it all up, I'm dying, I retreat - Caporetto plus Waterloo Dripping and smelling like my head was in a station's toilet- oh.

introducing the desperation and hopelessness of military defeats and immediately following it up with an image whose comedic nature makes a contrast so stark as to surprise even him while still, being a reference to the military's hazing and bullying, latching back to the line before. While the prose I represent it with is deliberately poor, the concept behind the words is brilliant enough that it would be a good line if it didn't rhyme at all. And yet the original lines rhyme for twenty syllables. TWENTY.

Thing is, you can be as clever as you want, but the underlying music, you know, it can't be clever, it can just be good or bad. One would think. And yet the music is not just good but full of clever, witty samples and ideas that don't just reinforce the track's mood but tie the instrumental inextricably into the lyrics' themes, like Larsen (the track about his tinnitus, which he calls by audio feedback's technical name of Larsen effect) using high-pitched synths and emphasizing cymbals, Prisoner 709's title track being 79bpm (I wager 709bpm was a bit non-doable), House Credibility's instrumental featuring intercom buzz and cowbells reminiscent of cookware, or, well, everything in Exuvia's second single. See, that song is about the choice he faces between the story of Beethoven, who despite all his challenges kept devoting himself to music until the day he died, or that of Mark Hollis, lead of Talk Talk, who despite all the fame peaced out to focus on his private life - and the entire instrumental is devoted to that concept: the verses' reference Für Elise, the chorus Such A Shame, and the bridge I Believe In You; and when you tun into the background choirs you find they are rhythmically repeating "I don't know".

You start to get a clue why there's three years between his records.

So if his songs are so fucking good, why is he not famous? Well, he is! Except for his first album which no one really noticed (fairly so in my opinion - while I like a few songs I feel he really got going in his second one), the following records did really well for someone with such dense content: his third record has been certified gold! And all the others platinum. Some twice. Never since the first one did a record of his peak under 5 in the charts, and he's got 8 gold singles, 3 platinums and a double platinum. And don't get me started on the shows.

(That's me in the background!) Hell, he's even been on the cover of Billboard! So why've you never heard of him? Well, see the word next to Billboard.

Yep. The man, Michele Salvemini, is an Italian born and raised and, like any proper Italian, doesn't speak a whole lot of English, so pretty much all the English you'll hear in his music are the handful of English features, like Michael Franti, DMC (!) and Spandau Ballet's Tony Hadley, with which he made a song about Italy's emigration crisis.

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Emigration that is also internal, from the underdeveloped, falling aparty and criminality-run south of Italy to where all the industries are, the richer and we-pretend-it's-not-criminality-run north. And since he's from Apulia, Italy's heel (his rap name in fact means "curly head" in Apulian dialect), he's made a song about its woes too, featuring the music of the tarantella, Apulia's traditional dance. (I don't know why y'all add an A in front. It's fucking "Puglia", y'all.) Here's an imperfect translation with a couple of helpful explainers to the asterisked terms over in the video's description.

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It depresses me every time I think about it that all the English speakers I know will never be able to fully appreciate his lyrical brilliance. But oh well. At least y'all can appreciate the music... so fuck it, have that song whose music I yapped about so much. You'll hear the choirs in the background say "non so" (I don't know)... and a bunch more Italian words (translated here for those on desktop who want to follow along).

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Links in blue are posts of mine about the topic in question - if you liked this post, you might like those!

#does it show #does it at all show #that you happened to tap into another one of my passions #music #chevrolet aveo #daewoo tacuma

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lialovestayswift · 5 months

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Taylor Swift, The Music Industry

Hi! I'm Lia! My favorite artist is Taylor Swift. I admire her for her talent in songwriting and singing. She has been part of my childhood since I learned to talk. Her songs have impacted my life, helping me stay calm during challenges and difficulties. I hope reading this blog will inspire you to listen to her music!

Starting her songwriting career at 14, Taylor signed with Big Machine Records in 2005, launching her journey as a country artist. Over six studio albums with the label, her self-titled debut album in 2006 introduced her to country music. Followed by the country-pop blend of "Fearless" (2008) with chart-toppers like "Love Story" and "You Belong with Me." She then released "Speak Now" (2010), embracing rock influences, while "Red" (2012) experimented with electronic sounds and delivered her first Billboard Hot 100 number-one track, "We Are Never Ever Getting Back Together."

Moving from her country roots, "1989" (2014) showcased synth-pop hits such as "Shake It Off," "Blank Space," and "Bad Blood." The later released a Media scrutiny influenced the hip-hop-inspired "Reputation" (2017) featuring the chart-topper "Look What You Made Me Do." She then signed with Republic Records, releasing her album "Lover"(2019) and the personal documentary "Miss Americana" (2020). She explored indie folk and alternative rock in 2020 with "Folklore" and "Evermore" and ventured into chill-out styles with "Midnights" (2022). Then, she re-recorded four albums as Taylor's Version after a problem with Big Machine. Her tracks like "Cruel Summer," "Cardigan," "Willow," "Anti-Hero," "All Too Well," and "Is It Over Now?"(one of my personal favorites) soared to number-one spots. She went on a tour called The Eras Tour and released its accompanying film.

Taylor's music connects with people because it speaks to common feelings and experiences, making it relatable. Fans like me love Taylor's honesty about her life, making her relatable and genuine, which builds a strong bond with her fans. Her ability to explore different music styles keeps her music fresh and appealing to an audience. I admire Taylor's strength, advocacy, and empowering messages in her music.

In conclusion, being a Swiftie is about more than just enjoying Taylor Swift's music; it's about feeling a deep connection to her as an artist and a person. Each fan has unique reasons for admiring her, but this combination of relatability, talent, and authenticity makes me love her.

#taylor swift #swifties #taylornation #the music industry #1989 taylor's version #red taylor’s version #speak now taylor’s version #the eras tour

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segredosjogados · 2 years

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Milan

Synopsis: Y/N and Urban have been friends since high school and they seem to have a romantic relationship. But who really loves who here? Are Y/N decisions change them forever?

Warnings: possibly toxic Urban. Reminder that this is fanfiction, all stories are purely fictional. Swearing, slightly +18. Themes of alcohol, drugs and s_x. ✏️🐜☕️ welcome to my wicked mind 🎱🔌📄

I've been waiting for the Scuola d'artista di Milano final selected artists for months. I submitted my portfolio and did interviews at the beginning of the year, for a summer exhibition tour of my portraits and a scholarship for their summer arts school. The problem is that I didn't tell anybody about it, because I was afraid of failing once again. It's hard to be an artist, it's not stable also there's so much pressure on you to succeed, to pay your own bills, to have the right connections. My family has never supported me and they will never either, even though I love my creations and it actually pays my bills, it's just not that stable like an engineering career, which is what I actually dropped out of college.

I was holding my phone and refreshing my email inbox every two seconds. It just refreshed, I did it again. I was sitting on my boyfriend's- I mean, my "friends with benefits"'s couch, with my legs trembling from anxiety and my heart racing like a horse. He wasn't home though. He left earlier for a photoshoot - he's a photographer and loves his job, but sometimes I wish he pursued some of his artistic abilities. He's got good eyes for colors and palettes, he draws really well and paints even better. I've encouraged him to apply for some exhibitions and curations, but he always says the same thing: "I'm good with what I have now, I'm happy working with Jack". However, I knew he wanted to explore more of his artistic side, he was just afraid.

I wasn't. I had a lot on my back to not pursue my dreams. I've dreamed of this summer arts school for a long time and I finally applied for it, because it only reopened now, after 2 years. It would be my biggest current dream come true. A whole summer in Italy, with possibilities of exhibitions in Milan, Rome, Turin, Tuscany, Napoli... I was nervous enough, then my phone popped out a notification.

Urban🌆💛: come to the studio later, we gon throw a party here

It would be good. It would be the perfect time to drink my life out of me if I didn't get the result I wanted or celebrate my biggest achievement this year.

And just like that, I didn't even need to refresh my email. The notification came up on the top of the screen. My whole by trembled. I opened it and tried to read with my best Italian, just to see it was in English too on the PDF File.

Accepted. With a huge feedback written in both English and Italian, my artistic project was accepted. A scholarship in Italy and the exhibitions tour. Tears of happiness streamed down my face involuntarily, my heart was heavy and light at the same time. Exactly what I needed, what I've been dreaming. I just wanted to share the news with someone I knew that would be as happy as me. Urban.

----

When I pulled up at the studio, the guys were having a blast. Everyone was just in a good mood. Jack, Urban's best friend who also happens to be a n.1 rapper in the country at the moment, was vibing to some fire synth tunes. There were some of the other guys from their group of arts and friends and some girls too. When I looked for Urban, I saw him talking to a brunette with wavy hair, wearing some tight leggings and way tighter long sleeved shirt. I froze for a second before approaching them. I mean, the biggest news of the year just came to my email inbox and nothing could break me down. Right?

I walked through the crowd, greeted everyone with the biggest smile on my face. Jack even came for a big hug because he knew how much I was important to Urban's life - I was the Urban's backbone, listening to him, encouraging him to be his best, to even get out of bed when he didn't feel like it, to pursue his dreams, to just be who he is unapologetically. Also, we were just super chill when we were together and Jack really liked my pieces of advice when he had to make some great decisions. And he knew how much I loved Urban, how much I wanted to transform this "friends with benefits" status to a real relationship, with the labels of "boyfriend" and "girlfriend". Even though Jack was not a fan of relationships, he knew how Urban and I were good for each other. Well, at least I was good for Urban. He supported me with the art thing, yes, but he got me confused a lot of times. Did he like me? He wanted us to be exclusive like this: he could be talking to other women... but when talked to other man... he would go nuts. And it bothered me. But I thought it was protection sometimes. I didn't have the best choice with the men I hooked up with. Urban seemed to protect me from the world a lot of times. And he was cute and tender when we were together. He just never showed me as his girlfriend, not even around his friends - who became my friends too somehow. When we're all together, he just dodges my PDA, we don't kiss not even hold hands. But everybody knows we fuck. It bothers me a lot. But what can I say, what do I have?

"Urban, can I talk to you?" I finally arrived at where he was, sitting on the couch with the girl almost all over him. My tone wasn't the best one because I was really bothered by him on that situation.

"Now? I'm kinda busy" he said scoffing. I insisted.

"It's really, really important and I wanted to speak to you in private, can we go outside a little?" I asked. He agreed, sighed and stood up. I tried to reach for his hand but he put his hands on his pocket. He was just cold for no reason.

When we got to the parking lot, it was a little fresh, the breeze of an upcoming summer was all around. I was too happy and it could show. But Urban's reactions were throwing me off.

"What do you wanna say?" he asked, lighting up a blunt.

"I've got news..." I sang with a high pitched voice. His face went blank.

"Don't tell me you're pregnant." he joked. I took it seriously.

I took it seriously because it was my biggest fear. He knew it. I was raised by a single mother and made a promise that I would never let my kid have no father. Urban knew it and that was the reason we had small arguments sometimes because he wanted unprotected sex and I didn't. No matter how into birth control pills I was, I just couldn't.

"What if I were?" I asked seriously. I wanted to see his reaction. And why did he think of it?

"Then... this would be news..." he started but I didn't even let him finish.

"What's up with you today?" I asked, I wanted to know what was wrong.

"Nothing, but you just interrupted something I've got going on in the studio, so..." he said. I nodded. Of course, the girl. The he was just shooting his shot. It was disrespectful to me. It was something small, yes, it was. Ok, no. It wasn't. Why could he just hang out with other women and I was there, at his flat, scrolling through instagram, ignoring DMs and men calling me for dates? What was wrong with me? "So, wait..." his face went blank again. He looked at my belly. I actually wanted to throw up. But it was just so diminishing. Imagine you want to tell someone you love great news about your dreams and they react like this?

"What... if... nevermind, Urban. Just go back to what I "interrupted"" I said, then tried to walk away.

"No, I mean, seriously, what's going on with you?" he thickened his voice.

"I wanted to share with you some great news and this is how you react, seriously, I can't."

"So you are..."

"No! And what if I were, is this how you would react? Gosh, you're the one who wants unprotected sex. And whatever now Urban, I'm just here to say that I got admitted to study arts and go on an exhibitions tour of my portraits in Milan!"I yelled with my heart, but it looked like I wasn't delivering great news, because my voice was shaking, my eyes were full of tears.

"Milan? As in Milan, Italy? Why haven't you told me anything about Milan, scholarships, portraits exhibitions... and... let me say, Milan again! It's on the other side of the ocean! How long are you gonna stay there?"

"Why do you care about the wrong things? Urban, this is a dream for me! I'll have my art physically being exhibited in Europe, there will be actual people seeing it, paying for it and I will learn how to master my skills at the best school in the whole fucking world! This is huge to me! I thought you'd at the very least say "congratulations" but I guess that's just not the case!"

"Because you're gonna be away from me for a whole summer!"

"Like we were not gonna be already? You're gonna travel with Jack for his summer festivals, in Europe too, that's a fact, and where would I be? Here? Waiting for you?"

Urban went silent when he heard me. He was going to be all around Europe with Jack, doing what he loves, and where would I be? I was chasing my own dreams, too, and going to Italy was just the beginning of the takeoff my career and I'd grab on it with my biggest strength.

"But..." he started but the loss of words was bigger. "Why would like to be away?"

"I wouldn't like to. I want to to to Europe, I want to expand my arts skills. What's wrong with that?"

"You're gonna be away from me, from your friends..."

"I can make new friends and you... well, didn't I interrupt something going on in the studio? You and the brunette...".

Silence fell again. I'm not the biggest confrontational person ever. I actually hate conflicts, I hate talking about my feelings. I like to put my feelings into my art and that's what really matters to me and what makes my art feel so powerful. This is my time to show the world who I truly am through my art.

"I'm not leaving, I'm chasing my dreams." I finally said.

"And you didn't even think about me?"

"Should I? Do you think about me? Seriously, because, when I'm around here, you act like I'm nothing to you. You text me to come over and then you're talking to someone else. You treat me like I'm no one for you. It's like I'm your side piece sometimes and all the other hoes are your main chick." I let my heart out.

"I just don't feel ready for a relationship, you know that, what's the issue?"

"The issue is that being in a relationship or not, I deserve respect, Urban. I deserve to be treated well by you in front of your friends. I deserve to be respected at all times, I deserve more than this "come over, I'm alone" bullshit, I deserve so much more than you can offer with your lame ass excuses that you're young and living, guess what I'm young and living too!" I said, turning around, fighting the tears and looking for a spot so I could open the driving app and find a car to pick me up. Urban followed me close behind and even he was repeatedly calling me, I gave no answer, just hearing the sound of my own steps on the ground and the wind whirling around my ears.

He then grabbed you my your arm, making me turn around to face him. The tears running down my face felt like waterfalls, unstoppable and uncontrollable.

"I love you, just... it's..." he tried to kiss me and clean my tears but I stepped back, using my hands to push him.

"No. You don't love a thing except your damn self, and maybe Jack! See you never, Urban!" I exclaimed and ran away, step after step further from that nightmare. I arrived at a café bar some miles away from the studio. I entered there not giving a single fuck to people looking at my red eyes, my crying face and my heart visibly beating. I was sweating and breathing heavily. I sat down and ordered something random from the menu just to stay there. I looked at my cell phone, it was on "Do not disturb" but the notifications bar showed some messages were coming. I unlocked it and saw Jack sending me a lot of messages, the gray bars of typing appearing and disappearing. I read them with my vision all blurred and just saw the words "Urban" "losing it" "where are you?"

I turned my phone off.

there will be a part 2 just because it got too long.

#jack harlow #jack harlow concepts #urban wyatt imagine #urban wyatt concept #urban wyatt smut #urban wyatt #fanfic

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