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vyl3tpwny · 8 months

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Music Genres

When I was kid, you would have probably heard me say something like “I don’t believe in genre labels”. To a degree, there is still something about that sentiment that I agree with; I don’t think you can really put music and styles of music in neat little boxes. But otherwise, I was pretty much wrong about everything else.

Let’s go over that.

pictured: Mala, one of the godfathers of roots Dubstep

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To be blunt, “genre” isn’t just about approximating what a song sounds like. If you say “I love pop music”, that honestly doesn’t mean much. The more specific you get, the more you will approach something someone can imagine like “I like experimental progressive noise pop music”. Ok, I can start to imagine things that likely approach what you're talking about, but even then it will usually not help someone fully understand what something truly is. In categorizing and approximating music styles, genres only go so far. So what makes them important then?

Well, not to say that approximating a style when describing an artist to someone is a bad thing or that doing so isn’t meant to be valued, but it’s hardly the only reason these labels exist. Importantly, “genre” helps establish culture, history, and a musical identity. So when you're trying to tell someone you're listening to a "progressive rock” project, you’re not just imagining odd time-signatures and complex riffs, you’re also meant to understand and consider that whatever is being described as to you has some sort of relevance or importance with regards to the history behind progressive rock; the culture of college bands in the UK, the sound that the punk movement revolted against, the progression of musical storytelling in rock music since the late 60’s and early 70’s, stuff like that. There’s a distinct culture and history you can pinpoint and understand when you describe something as being progressive rock and you can’t just go around calling any complex electric guitar oriented music "progressive rock" unless it has those specific ties as well as understanding and iteration of the roots.

pictured: Genesis, because progressive rock mention

—

Genre labels help to clarify what kind of culture and histories a music project is being associated itself with and where a lot of its inspiration comes from. This is much more compelling reason for underlining the importance of genre labels and why they should be used correctly.

So, there is something I need to get off my chest then. There are a lot of misuses of genre labels all over the place, especially online. And I��m not talking about saying something is “Alternative Rock” when it’s clearly some kind of “Folk Rock” record instead. What I’m talking about is something like “Dubstep”.

Even as recent as a few years ago, I started personally reclaiming the term “Dubstep” as a genre label to describe any bass-adjacent music. At the time I did this, I thought it was cool, because the term Dubstep had been dubbed (pun intended) to be cringeworthy lexicon to some people. And while I feel that’s a noble reason to reclaim something like that, because some weirdos think it's cringe, in this case I actually think it’s wrong.

The term “Brostep” has been used to describe any non-roots bass-oriented music that originates from the proper roots Dubstep. It’s a term I didn’t like FOREVER, especially because the phrase was derived as a generalization of the kind of people who tend to listen to it. However, I actually think that Brostep is a title that people should be more comfortable and confident with labeling things as.

The original Dubstep came as a result of Jamaican immigrants bringing Dub music to the UK, which then fused with the remnants of 2-Step Garage which was prominent in the 90’s just years prior. Timbah.On.Toast made a great video called All My Homies Hate Skrillex and it is a really good breakdown of what separates roots Dubstep from the Americanized Brostep, which came after it. I think everyone knows by now that I have a deep, deep love for EDM based Broste and I am the biggest Skrillex fangirl alive. So being both a Brostep and Skrillex superfan, please understand that I think the video is one of the most important things you can watch as an EDM enjoyer.

Conflating the term Dubstep with things that aren’t actually Dubstep is honestly a slap in the face to all of the pioneers of Dub and Dubstep, which famously were both pretty much ENTIRELY invented by black people. I think it’s fair to say that incorrectly labeling music in this way has racist implications. It dishonours and twists the legacy of the music. You can find og Dubstep to listen to on the RYM Ultimate Box Set > Dubstep page. Check some of that out, then listen to some 2010, 2011 Skrillex and see how different things really went.

It confused me at first when I was a teenager, I didn't understand why so many people hated Skrillex back in the day. I came to realize so much of the hate wasn’t even really with regards music itself, but the total lack of understanding or care for the roots of the genre, which all of his work was founded upon and he then subsequently bastardized without caring at all. It was pure disrespect, it was practically cultural erasure and so many people will now only know of Dubstep as “that Skrillex transformer screech music”. Yeah. It actually fucking sucks.

But there is a LONG history of black music being erased from history and being undermined, whether entirely intentional or due to systemic unawareness.

I saw a post the other day talking about how it sucks that so much music is just lumped into being “video game music” when so much of this stuff has deep roots and cultural significance. The first example pointed how a lot of acid jazz music is just described as “Persona music” by the layperson now. Meanwhile, Acid Jazz as a genre is a huge development on things like roots jazz, disco, funk, and hip hop music. You know. All genres that were invented by black people. Fascinating, right?

Jungle music was also mentioned. And this one is very particular for me. Jungle music, when not being generalized as "PS1 Music", is often just called drum & bass or breakcore (also please Google the difference between breakbeat and breakcore, thanks) which are all fundamentally misunderstanding what Jungle music even is. Much of Jungle music, AS MANY THINGS DO, finds VERY prominent roots in Reggae, Dub, and sound system culture in Jamaica as well as countless other prominently black communities in the UK.

But it doesn’t stop there.

If you’re unfamiliar, there is a genre called “IDM”, otherwise known as Intelligent Dance Music. When I was a kid, and I first heard that word, I immediately was like “that is the most pretentious, stupid thing I’ve ever heard”. Eventually as I grew up, I just stopped thinking about that and started referring to more music as IDM. This style of music is generally characterized with “complexity” and being “not much danceable”. While I don’t think there’s anything wrong with the music that is called IDM, I do think there’s everything wrong with the term IDM, intelligent dance music.

When asked how he feels about being labeled as an IDM artist, Aphex Twin responded:

"I just think it's really funny to have terms like that. It's [basically] saying 'this is intelligent and everything else is STUPID.' It's really nasty to everyone else's music."

pictured: Aphex Twin, the funnyman himself

—

I think most people would agree with this sentiment. It’s so strange to call one kind of music “intelligent”, out of the hundreds of thousands of genres out there. But let’s bring this back to Jungle music. The reality is that IDM started to become a term around the same time that Jungle music became prominent, in the 90's. Both styles of music are complex, introspective, skittery, and chaotic (but refined and often disciplined) genres. Except, of these two, Jungle music was the one pioneered primarily by black artists. IDM was a sort in competition with Jungle. To therefore call IDM “intelligent” in comparison to Jungle music ... well. I don’t feel like I really have to explain why that’s fucked up.

A lot of people have proposed different names for IDM. A quick look on reddit yields things like “Experimental Electronic” and “Brain Dance” (which was coined by Aphex Twin's label). Me personally, the term “Electro-Prog” comes to mind. Sounds cool.

Similar conversations are presently being had about the term “Riddim”. This brings us back to the dubstep side of this discussion again. Riddim, as an EDM genre, is an offshoot of Brostep music that focuses a lot on repetition over the downbeat, maintaining an insanely distorted sound design, a lot more than the average Brostep song. However, the term “riddim” originates — yet again — from the Jamaican Patois for “rhythm”. And Riddim as a musical style in Jamaica is actually more associated with things like dancehall and reggae, rather than the commercialized "Riddim" that is several hundred times removed from its own roots.

Last year, musician INFEKT proposed that what most EDM listeners call “riddim” should be referred to instead as “Trench” in an article on their website. This proposed name is derived from Getter’s use of the term on his 2014 record “Trenchlords Vol. 1”. I don’t personally know how much I resonate with the term, but whatever the consensus is, I don’t think we should be conflating a westernized, commercialized, and EDM-centric genre like this to Jamaican roots music. Over and over again, it seems that black music is constantly overwritten by developments like this, so I think more care needs to be taken in not allowing that to happen.

As a side note, a lot of people online seem very keen on appropriating Jamaican Patois quite often? There are so many examples of this. When the term “Bomboclaat” started making the rounds on Twitter a few years ago, so many white people were quick to either talk wildly about the term and trend or otherwise start saying it as well. There was a fucking article that sought to answer “The Bomboclaat >> Meme << Meaning Explained”, like they’re not dissecting an element of Jamaican slang lol. Then there was a period of time where people were constantly saying things like “On Jah?” as a stand-in for “On God?” even though this, again, is Jamaican Patois. And even now, you have tons and tons of non-black people going everywhere being like “what is blud waffling about?”, the phrase “blud” ONCE AGAIN also being Jamaican in origin.

I shouldn’t even have to explain what makes these kinds of appropriations weird and messed up. But black people lose jobs and are denied basic things in life over their hair styles, their expressions and slang, and so many other things that a white person can just appropriate and face zero consequences whatsoever for.

That aside, aside. Understanding and labeling genres correctly is such a big part of music history and highlighting and preserving cultures worldwide. When efforts are made to undermine the meaning of a genre label or otherwise use it incorrectly, so much damage is done to the communities and people groups that innovate and pioneer this art to begin with.

For these reasons, I will gladly use the term Brostep. I will happily call things Electro-Prog. And when you talk about genres like Jungle and Dubstep, say it with your whole chest. Be proud of the human race, show respect and love for the people who have forged the greatest parts of music with their bare hands. We will always stand on the shoulders of giants as musicians, so instead of pretending you yourself are the giant, build monuments and maintain the history of these people. You as an artist are nothing without them.

pictured: Augustus Pablo, one of the most important innovators of Dub. Without him, and without many of his contemporaries, I would reckon that half or more of all modern music would simply not exist.

CONTENT WARNING FOR THIS FINAL SECTION, THERE ARE LIKE LOTS OF STRANGE SLURS AND RACIST VIBES.

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One last thing I wanna mention, this is slightly tangential but I think it's relevant to this conversation. It's always weird how lots of websites categorize things like this:

From Big Fish Audio... "G**sy*? "World/Ethnic Loops & Samples"? What the fuck are you talking about. Seems like racism to me.

On Loopmasters they have a "World" section. Any Americanized genre gets its own category, but the entire continents of Africa and Asia as well as the country of India and region of the Middle East (which are part of Asia, hope this helps btw) and lastly South America are stuffed into the nebulous "World Label". Seems like racism to me. Are you telling me you weirdos can't figure out a better way to represent these things?

But then Psy Trance gets its whole entire own category? Aren't there only like five people who listen to Psy Trance? /hj . But like come on.

Shoutout to WA Productions for categorizing a universe of suspiciously mostly black music as """Urban"""". And this company is a dime a dozen, hundreds of corpos do this shit.

East fucking West, what is this dude. There is a racism happening, I just know it. Please give me a count of how many poc are on payroll at your company, I am so curious.

And while we're at it, East West, what is this. Tell me. Fucking tell me.

Thanks for reading.

#vyop

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crmsndragonwngss · 6 months

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Y’all there’s a tab book for NWTB’s fnaf ultimate collection album

#she speaks #oooohhhhh if I had the money #some great pop punk riffs in them tracks y’know?#some good metalcore riffs too honestly

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jovenshires · 3 months

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THE BATTLE OF THE BANDS AU OFFICIAL SOUNDTRACK

THE BEST OF THE CHOSEN

the chosen is an alternative rock band, whose members are spencer agnew (lead singer / secondary guitarist), shayne topp (lead guitarist), damien haas (bassist / vocalist), and courtney miller (drummer / vocalist). known for their iconic guitar riffs and heavy bass lines, the band has been accused of relying heavily on their instrumentals to distract from their lead singer's vocal insecurity, to which they have not disagreed. hit songs include "short kings," "i was there man," and "nuclear rain." the band is inspired by the early 2000's alternative movement, specifically weezer, green day, and simple plan.

THE BEST OF FTC

ftc (short for full-time cast) is an indie trio known for their slow melodies and sad lyrics. their songs, typically written by their lead singer tommy bowe, are often explicitly queer, romantic, and yearning, though they also frequently feature themes of self-doubt and internal struggle. other members of the band are amanda lehan-canto (singer / guitarist) and kimmy jimenez (drummer / occasional background singer). with songs such as "creekside killer," "reading of the will," and "bones," ftc is inspired by artists such as boygenius, hozier, and mitski.

THE BEST OF KOLIVTION

kolivition is a hip-hop duo fronted by keith leak jr. (singer / rapper) and backed by olivia sui (pianist / dj / sound mixer). they incorporate r&b, funk, and rap into their music as well, with their soulful beats and psychedelic sounds. kolivition's songs typically revolve around romance in the modern world. the duo's hit songs include "life's a party," "give me all your money," and "bobby from the block." kolivition is inspired by childish gambino, frank ocean, and kendrick lamar.

THE BEST OF COVENTRY

coventry is a female-led punk band consisting of erin dougal (singer / guitarist), heidi ha (singer / drummer), and selina garcia (singer / bassist). they typically theme their songs around female empowerment and relationships - romantic, platonic, or otherwise. their hit songs include "sluts," "sunflower," and "wish i could (say the same)." they are inspired by paramore, no doubt, and veruca salt.

THE BEST OF LET'S DO THIS

let's do this, though a relatively new band, is an enthusiastic underdog pop trio. its members, chanse mccrary (lead singer / guitarist), angela giarratana (bassist / vocalist), and arasha lalani (drummer / vocalist), are clearly tuned into the pop scene and thus make current, upbeat, snappy music that is practically made for the radio, even if it's yet to take off. their songs rely heavily on romance, and are often either explicitly queer or gender-neutral. their top tracks are "i lied," "lost the room," and "coroner." ldt is based off of artists such as conan gray, maisie peters, and troye sivan.

THE BEST OF SMOSH

smosh is a moden reinvention of an early 2000's pop-punk / alternative duo. back after a 6-year hiatus and preparing to win a competition they've already lost, ian hecox (singer / bassist), anthony padilla (singer), and their rotating backup band are re-entering both battle of the bands and mainstream. their music centers around personal identity and how that identity affects one's relationships. though they are re-inventing their sound, smosh was and is still known for their heavy instrumentals and all-star vocals. hit songs include "shut up," "the sun," and "destiny," and the band was based off of twenty one pilots, fall out boy, and panic! at the disco.

THE BEST OF JACKIE UWEH

jackie uweh - also known as the most talented voice of our generation - is an r&b / soul singer who sells out football stadiums with her powerhouse vocals. her songs often feature themes of feminism, romantic relationships, and a continuous journey of self-discovery. this is her first year judging battle of the bands, and, according to her, hopefully not her last. jackie's hit songs include "buggin'," "over easy," and "been with." she is inspired by beyonce, rhianna, and lizzo.

THE BEST OF MYTHICAL

mythical, which consists of rhett mclaughlin (singer / guitarist) and link neal (singer / guitarist) and their fantastic backing band, is a country band notable for having won battle of the bands ten years ago. since then, they have created their own empire, complete with a record label and several signed artist - previously including ian hecox of smosh fame. though they are a country band, mythical is also known to incorporate alternative genres into their music, especially their most recent album, which has been by far their most controversial in terms of sound. their musical themes vary, sometimes instead focusing on story-telling rather than relatability, but typically they utilize love (romantic, platonic, and familial), religion, and self-expression and exploration. their songs include "will it?," "buddy system," and "let's talk about that." they are inspired by james and the shame, noah kahan, and the lumineers.

THE BEST OF TREVOR

trevor (that's it, just trevor) is a soundcloud-based rapper who's honestly just happy to be here. an up-and-coming (read: thus unsuccessful) artist, trevor is a part-time musician and a part-time sound designer and editor. after working on mythical's latest album, he was invited to emcee the battle of the bands and is ecstatic at the chance to promote himself. trevor focuses on the self-described subgenre "meme rap," which views modern life through a comical gen z lens. his songs include "another banger," "silly guy," and "o7," and he is based on yung gravy, yungblud, and danny gonzalez.

#smosh #smosh au #fic #rpf #playlist #edit #mine*#aued*#botbau #oh my god...... whew this took me OUT #writing up all the descriptions my detested. anyway hope you all enjoy! for any of you who picked up on the january 25th clues here's this!#idk when this series will be back?? just bc. that would mean either me having to write it or me figuring out what content to make next #but! botbau is out there for us all now <3 #or at least whats been sitting in my drafts anyway

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sansxfuckyou · 4 months

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sugar and spice, but not so nice

Summary: Riff's definitely not hurting for a Pop Troll, regardless, Barb offers to lend him a hand in getting Floyd's attention

Warnings: swear words censored when spoken by Pop Trolls cause its funny, there is tension and its almost sexual

Authors Note: the fliff brainworms got to me guys, I couldn't stop myself the second I got a keyboard in hand, it just happened. hope ya'll enjoy, and if you do consider dropping a reblog or checkin' the ao3 port

"Really, Riff? That Pop freak is the Troll you're jonesing for?" Barb asked.

Riff just nodded and Barb had the audacity to laugh, "What's so funny about it?"

"Oh nothing, it's just that he's the epitome of sugar, spice, and everything nice," Barb stated boldly, almost abrasively at that. She looks so very, very disappointed in Riff, "C'mon man! There's so many rockers and you choose a Pop troll! We got Death, we got Punk, we got Thrash- and you choose someone who clearly isn't any of the above."

"He's sort of like, Pop Punk," Riff said, "But he could totally pull a death scream if he wanted too."

Barb scoffed, "He's pink, he's so pink it makes me want to vomit."

"Magenta," Riff corrected sharply, "His hair is magenta and white, we could introduce him to hair dye."

"That's illegal in Pop," Barb said, "He'd be staked if you dyed his hair."

"Then he could stay in Rock, until it faded out, just for a little bit," Riff said.

Barb gave a faux gag and the tuft of her tail puffed up, "You're gross."

Riff props the rim of his toque up with the blunt end of his drumstick, "How about Viva? Isn't she also a Pop troll?" He's pushing his luck, he's pushing it harder than he thought he ever would.

"Let's move onto the next subject," Barb swiftly answered with, quick to defend her own sanctity of being a Rock Troll who definitely isn't out for a Pop Troll. A Pop Troll without any Rock tendencies, because she'll admit it, Floyd has some Rock potential despite everything. "Hair dye. You want to dye his hair for a date?"

"To help him blend in more," Riff answered with, tail flipping back and forth, "I'd really like to perform some music with him."

"I'll pull some strings for you, my shockingly smart friend," Barb answered with.

-/-/-/-

Floyd is the one who chose the song, he's the one who chose the list of songs he wanted to perform. And all of them were shockingly raunchy, shockingly explicit, very unbecoming of a Troll whose origin is Pop. It shocks Barb more than it does Riff, she just stares at the list and reads over them while Floyd looks at her like a puppy.

"Lemme just," She pauses, then speaks, "Nine Inch Nails?"

"If you don't mind," Floyd tacked on before she could further question.

Barb laughed a bit, "Please, I love them, woulda been a fan since day one but I wasn't quite born yet. But the songs?"

Floyd can't quite form a verbal answer, just give this sheepish grin. Barb swears his fringe falls a little further over his eyes and she's bold enough to reach out a paw and bat it away. The bleached section is frail, it feels like hay compared to what still retained that magenta hue she mocked. He almost lurches back, his fur just stands on end, and Barb pulls back her hand.

"Personally, I like them. But singing about fucking someone to feel alive doesn't seem your speed, isn't there a weird Pop language barrier?" Barb asked, "Or that one line from a different song, 'I am a good boy and I will swallow it all,' Floyd, that's an amazing song but jeez."

"I thought it'd be funny, cause whenever I try and swear it just," He pauses, trying to find out how to describe it before settling on just swearing, "F*ck, a$$."

Barb laughs until her stomach hurts at the garbled intentions of swearing that Floyd manages to provide. The Pop swear barrier has never been funnier in her entire life, but the fact he can enunciate enough to get the idea of an expletive across is impressive. Trolls like Poppy can barely say 'frick' without a large censor forcing itself in place, but Floyd? He's almost broken it.

"Alright kid-"

"I'm older than you,"

"Same difference; I'll cue up the songs for you and Riff,"

"You aren't joining?"

"Not unless you want me too, might hog the spotlight, sorry if I do," A small giggle snort, "It would be fun to try and go at it with a Pop Troll."

-/-/-/-

Riff stares.

He stares the entire fucking show.

He can't help it really, eyes stuck on a Troll like Floyd as he just drums out the beats and Barb strums out the additional bass lines. It's a comfort really, having someone in the back man the soundboard for the industrious instruments they can't quite do as a trio.

He holds on tight to whatever sense of sanity he can grasp whenever he gets gifted a glance at Floyd's face. He really is head over heels, he really is deep in this pit, for a Pop Troll of all genres. Albeit, a Pop Troll that's belting out songs of the industrial rock genre with an uncanny amount of ease. But still a Pop Troll, still something he'll be disowned over at the dinner table even if Barb goes public with Viva.

He'll just take this if he can't get anything else.

He'll take performing songs with his two favorite Trolls over nothing any day of the week.

-/-/-/-

Post show jitters reside comfortably on Floyd's fur, splayed atop an amp larger than he is with his tail lazily thumping on the material. His chest is heaving and he's curling and uncurling the mic cord around a finger, painted nail scratching at the plastic so rarely.

"Good show," He manages, voice cracking just a bit with how much he stressed it trying to break the Pop swear barrier for one song. He failed to do so, but he still tried until he felt like he was passing out, vision nearly going spotty. It was more fun than he'd ever had performing with his brothers.

Riff takes a heavy breath, "Great show," He's giving this long exhale that's almost a laugh as he speaks.

"Amazing show, I should go work an after party," Barb mused.

"Aw, is your girlfriend rubbing off on you?" Riff teased, rolling onto his stomach where he lay on the cold, hard, concrete ground. It eased his nerves, they were still on fire, the layers of denim and torn fabric probably didn't help much.

"Girlfriend? Tell me more, Riffy," Floyd said before he could stop himself, glancing down at the navy Troll from where he lay.

"Barb has a crush on Viva," Riff drawled as he pulled himself into a criss crossed position, one leg over the other. Floyd nearly laughs.

"Hey man! We agreed not to talk about her," Barb snapped as she stood up from her chair. She stretched her arms over her head and her tail snapped to punctuate her sentence, "Not like you can talk either."

Floyd raises a brow, "Tell me all about it, Barb," he lets his legs sway over the edge of the amp.

Riff sends Barb a pleading look, a begging look, desperation impossibly clear on his partially obscured face.

She just grins, "Well, our friend here has a crush on a Pop Troll. A fella trying to change genres when no one's looking," She winks at Floyd and watches as Riff tries not to respond to the words viscerally, that would give it away and he's highly aware that Barb is trying to play him like the cheap kazoo he is.

"Controversial," Floyd managed to supply, "But fun, inter-genre relations are still kind of, ya know."

"Yeah, kind of," Riff answered with, "Rock Trolls are wide open to the idea in my experience. We legalized polyamory a hundred some odd years ago. We're working on the papers for inter-genre stuff as we speak."

Floyd laughed, "I should just, live here as a Rock Troll. Pop Rock, Pop Punk, Pop Thrash- I could make it work."

"That you could," Barb said, there's this twisted grin on her face, showing off all of her fangs, "But really, I gotta catch that after party, you two can chat."

It's a segue into a conversation really, a shoe in for them to continue speaking as she leaves. She wants this as much as Riff does, maybe if she gets him with Floyd he'll let her fawn over Viva in peace.

Riff just taps his drumstick on the ground, balanced between fingers and tapping back and forth. Floyd just stares at Riff from the amp comfortably, sort of like a cat on a high perch.

"So this mystery Troll, tell me more," Floyd prompts as he slides off of the amp, "If you want too."

And Riff does want too, he wants to tell Floyd everything, but he bites his tongue. He just shrugs, "Nice guy really, probably heading back to Pop sooner than later."

"Pop? Are you crushing on JD?"

Riff shudders, "No offense, but he's too Country coded."

"Did you just call my brother Country coded?" Floyd asked with this devilish smirk, slowly stepping closer to Riff as he goes.

"Am I wrong?" Riff countered with a nervous chuckle.

"Never said you were, but continue about this Troll," Floyd urged, if he just reached out he could trace his hands across Riff's face. Learn every contour, twirl a finger through his hair, that would be nice, that could also be the adrenaline talking.

"Right, right," Riff stalled, what else he could say that isn't virtually outright saying that it's Floyd? Not a whole lot, "Got a great voice, an amazing voice with even greater range. It's scary really, he just hops on stage and gets into it, like he's a different person."

Floyd's tail flicks just a bit, Riff doesn't notice the tell that the Pop Troll is onto him.

"And then he starts to sing, most Rockers have deep voices naturally, but this breath of fresh air, a blend of Pop and Punk? It's amazing," Riff overexplained, just going off, "I'm talking too much, aren't I?" He looks up to find Floyd much, much closer than before. Red instantly rises to the Rocker's face, a stark contrast to his usual hue.

"No," Floyd said quietly, the flow of words pausing just enough to make Riff worry. He comes to a complete halt when the gap is small enough their knees are almost knocked against each other, "Keep going."

"I would," Riff begins, drawing out the syllables as he stares at Floyd through the blur of black hair and fabric alike. He brings a paw to run through his hair and it knocks back the toque just a bit, "But, I don't know what else there is to say without totally blowing the covers," He pauses, "He's really pretty."

"It's me," Floyd declares.

"It is," Riff confirms.

The Pop troll places a gentle kiss to Riff's forehead, one of the few spots where frizzy black hair isn't splayed over his fur. He rears back just a bit, "That's pretty fuckin' sweet," He doesn't even realize the Pop swear barrier dissolved entirely for a brief moment.

"Pretty fuckin' sweet," Riff echoes back before pushing aside a chunk of Floyd's fringe to return the motion. He almost flinches back from it, expecting the contact to sting or ache with how frail that performance left him, but it doesn't. It just feels nice, a warmth sprouting all over his body, it tingles and he loves the sensation.

"You should go tell Barb, we could pressure her into telling Viva," Floyd proposed, "That'd be fun, no?"

Riff is reeling, it took a moment for it to catch up but he is fucking reeling when it finally does. His eyes widen just a bit, there goes the boldness of adrenaline, "That actually happened," He tentatively places his paw on Floyd's, it isn't shoved off, "Oh my god it actually, it happened."

"Yeah man," Floyd said, pressing another chaste kiss to Riff's face, this time his cheek, "It did, and I'll do it again."

Before he freaks out he manages to collect himself enough to breath, "Let's go find Barb, she's been listening to me talk about you for a while now."

"Oh? So this crush isn't a new development?" Floyd teased gently.

"Not at all. But her thing for Viva? That's new," Riff countered with a laugh, it's nervous, just to fill the silence, "But us, we're a thing, those kisses?"

"Those kisses made us a thing," It's a calm reaffirmation, a promise with the squeeze of a paw.

"See, that's new, newer than Barb's crush on Viva," Riff explained, "Which is why we need to find her and tell her."

"You're freaking out,"

"Oh absolutely, you just kissed me, why wouldn't I be freaking out?"

#trolls fanfic #trolls #trolls band together #trolls world tour #fliff trolls #floyd x riff #floyd trolls #riff trolls #barb trolls #writing #fanfic #fanfiction

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slexenskee · 11 months

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Running List of No Scrubs Albums

Because even I can't keep up with them anymore lol. I'll update it as I go. Also yes there are 6 official albums with 6 songs each... because Gojo is lame lol. And yes the acoustic albums are 5 songs... because he's extra lame

Spotify Playlist

update as of 09/18/23 bc I'm a f** scrub with commitment issues clearly

1. Thanks, I Hate it Here:

The 2nd album by release order, but first in chronological order of when they played them live. Yes, Gojo was feeling himself in his classic FOB phase real hard on this one lol. I find the evolution of FOB's discography IRL to be really fascinating, so I wanted to emulate it in the fic. This album is almost entirely FOB because Gojo realized flopping around bands and genres was difficult for the rest of his band, so he decided to first focus on one kind of ‘sound’ until they got used to playing together.

Critics will later call it a bit unpolished and juvenile in comparison to the refined sound, themes, and quality production of later albums, with it's younger and simpler narratives. Thematically it tends to resonate more with a younger crowd, which people accredit to Ru-kun's assumed age of writing at the time (late teens). In other words, it becomes the quintessential 'middle school glory days' playlist for an entire generation of No Scrubs fans.

A Loaded God Complex - (Sugar We're Going Down) FOB

Reinventing the Wheel to Run Myself Over - FOB

In Too Deep - Sum 41

Homesick at Space Camp - FOB

A Little Less Sixteen Candles - FOB

Dance, Dance - FOB

2. Good News For People Who Love Bad News

This was No Scrubs' first album ever released on a streaming platform, but it compromises songs more from their 2nd live setlist chronologically. A cult favorite amongst the fans, this album is fun and bratty with a combination of punchy pop punk lyrics, theatrical narratives, and catchy hooks that become unanimous with the band's dramatic flair. No Scrubs always had a rep as an underground alternative band with petty delinquent vibes, but this album definitely solidified them as the patron saint of all the edgy and misunderstood goth punks.

At this point the band had been together for a few years and Gojo definitely felt satisfied with the way the band was coming together and wanted to throw in some more famous mid 2000s pop punk bands into the mix.

Nobody Puts Baby In The Corner - FOB

I'm Not Okay (I promise) - MCR

In One Ear - Cage the Elephant

But It's Better if You Do - Panic!

I Write Sins not Tragedies - Panic!

Jesus of Suburbia - Green Day

3. Death Before Decaf

After playing up the 'pop' quite a bit in the last album, No Scrubs digs deep into some gritty grunge roots with their third album, full of noisy amped up rock anthems. Thematically it was considered their strongest album at the time of release, with intense vocals and lyrics covering dark and personal topics beneath the guise of their distinctive and iconic instrumental riffs. The juxtaposition between the catchy sing-along hooks and the depressing deeper meaning to the words made this album an instant classic. It remains a fan favorite of music critics for Ru-kun's scorchingly honest handling of raw and deeply personal themes like suicide, depression, and substance abuses. After the identities of the band members became public, it became a hotly debated album amongst No Scrubs fans, who consider it a cathartic outlet for a lot of the trauma that turned Ru-kun into a villain, but also a worrying one full of suicidal ideation, alcoholism, drugs, and child abuse.

On his part, Gojo was feeling nostalgic for his youth and felt it an affront that the likes of Nirvana and Weezer had never been experienced in the MHA universe. He gets asked about these songs a lot, specifically about Today, Semi-Charmed Life, and Say it Ain't So, which all seem to allude to a dark history. He often tells people Semi-Charmed Life is one of his favorite songs ever, which doesn't help matters, and also alarms several psychologists, who worry he's romanticizing what was clearly a very unhealthy time in his life.

My Own Worst Enemy - Lit

Today is the Greatest - (Today) Smashing Pumpkins

Smells Like Teen Spirit - Nirvana

Come As You Are - Nirvana

Say It Ain't So - Weezer

Semi-Charmed Life - Third Eye Blind

4. Glass Onion Heart

Aka the "Baby boy who hurt you???" album inspiring sexuality crises across the world

Glass Onion Heart feels like a wild card of metamorphosis from No Scrubs' prior albums, with the addition of more electronic, pop, and synth instrumental mixing. Combined with the explosive and flashy tour that accompanied the album's release, it felt like a radical departure from the band's classic garage-band sound, into a more streamlined, pop format.

The album was met with divisiveness from fans, not helped by the news of the band's breakup following the album release and subsequent tour. While many adored the new direction, long-time fans mourned the loss of the quintessential indie and underground 'No Scrubs' aesthetic, especially when faced with the thought of their final album. Nonetheless, it was the band's most popular album at time of release by a wide margin. It certainly helped the album's popularity that Ru-kun did the entire tour in drag.

At this point fans the world over became intrigued by No Scrubs and their burgeoning fame, prompting Gojo to name the album 'Glass Onion' after the Beatles song of the same name, because there is no deeper meaning to any of his songs, he's literally ripping them off from bands that don't exist. Fans spend way too long trying to figure out who this album was inspired by - who could have possibly broken their precious Ru-kun's heart?? - and as we enlightened No Scrubs fans know, it was no one. Literally no one. Gojo just really liked this femme fatale vibe, and decided to cross dress the entire tour because of it.

Tokyo - The Wombats

Dance Floor Anthem - Good Charlotte

Thanks for the Memories - Fall Out Boy

I'm the Leading Man - (This Ain't a Scene) Fall Out Boy

Moving to New York - The Wombats

Misery Business - Paramore

5. Infinity on High

Hailed as a return to the unfettered, unabashed, anti-establishment garage-band jam-session appeal that had people flocking to No Scrubs in their heyday, this album made an intense splash as No Scrubs' Comeback Album. Despite the return to their signature gritty rock sound, this album was in fact the most produced of any of No Scrubs' albums. This album marks both the return of No Scrubs as well as their launch into global superstardom.

Ironically, Gojo named this after his favorite FOB album (I mean it IS called Infinity lol) despite not including a single FOB track. Fans widely consider "Island in the Sun" to be specifically about Hawks, which Gojo never confirms or denies (although he definitely did think the similarities to their island mission were amusing). In reality, the song that reminds him of Hawks - and himself - the most is Mayonnaise, which might be why it's one of his favorites.

Holiday - Green Day

Cherub Rock - Smashing Pumpkins

Cool Enough - (Mayonnaise) Smashing Pumpkins

1979 - Smashing Pumpkins

Island in the Sun - Weezer

Wake Me Up - (Wake Me Up When September Ends) Green Day

Bonus: Don't You Know Who (I Think) I AM? Acoustic Album

The first of Ru-kun's unexpected - and according to Makoto, utterly unplanned - acoustic albums, this bonus LP was met with delight and excitement from fans after Ru-kun had teased its release on Twitter. The intimate and personal nature of the simplistic mixing gave this album a cult following, and brought in a new segment of music fans that No Scrubs' music normally didn't appeal to.

Nobody Puts Baby In the Corner - Fall Out Boy

Grand Theft Autumn - Fall Out Boy

My Heart is the Worst Kind of Weapon - Fall Out Boy

Notion - Rare Occasions

No Such Thing - John Mayer

Bonus: Take (Me) With a Grain of Salt

Despite the critical acclaim this acoustic album (and the full band versions eventually released afterwards) it was met with a lot of incendiary response at the time of its release. No Scrubs had finally achieved global stardom and was regularly topping hit charts across the world with the release of their album Infinity on High - and while music critics unanimously praised the EP as a worthy contender for Album of the Year, it was generally acknowledged truth that the album's popularity was owed in no small part to lead singer Ru-kun's sudden infamy that coincided at the same time.

The unfathomable depths of Ru-kun's new celebrity status in parallel to the band's brand of off-label, anti-establishment themes created friction within the fanbase. Many accused them of taking advantage of the current media coverage to promote sales, which bassist and band leader Makoto clapped back as 'just doing smart business'. In general, consensus was positive towards the sentiment; capitalizing on Ru-kun's fame and releasing an album in parallel to his identity reveal was just genius marketing.

However the timing of the release of Ru-kun's second acoustic album kicked up the discourse once again, with fans decrying the release as 'a fake sellout' aimed to exploit current gossip trends. However the album's drop was sudden and unexpected - with little to no pre-release marketing - lending credence to the narrative that Ru-kun wrote this album under the emotional duress of his personal life at the time.

Due to the staggering popularity of the acoustic album, the band eventually recorded and released a B-Side with full band versions.

Disenchanted - MCR

Stay Together For the Kids - Blink-182

Iris - Goo Goo Dolls

How's It Going To Be - Third Eye Blind

All These Things That I've Done - The Killers

#fic may death never stop you #music recs #mdnsy art

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musicjam10 · 5 months

Text

Three Cheers For Sweet Revenge, My Chemical Romance, 8. June 2004.

Three Cheers For Sweet Revange, an album often conected with 2000s pop-punk and a staple part of emo subculture on the Internet. Today it’s remembered as nothing more than a joke and a laughing stock to many onlookers, but I’m here to prove you wrong and show you how behind these emotionally charged teenage songs stands an unbelievably great rock-metal album that is worthy of respect.

Helena and I’m Not Okay (I Promise) are songs that first come to mind when you think about Three Cheers For Sweet Revange , but I would say that they are nothing like the rest of the album and stick out unplessaently when listening to it; I would even say they are nothing more than a commercial pop-punk songs for MTV to bring a bigger audience to the band. It’s a shame because, without them, the album would be much more powerful as a whole.

Besides that, the album is filled with impressive guitar riffs, heavy basses, and an amazing vocal performance from Way. Even though some people (as well as me) find his voice a little like that of a preteen boy and can’t take him seriously, he still gives some amazing performances. For example, in I Never Told You What I Do for a Living, where he literally rips his voice to shreds (personally, that song could destroy the whole MCR image in seconds).

The most heavy songs are at the end, which I find pretty sad because you need to skip the awkward first faze (that is definitely not for everyone) to be able to hear songs like It’s Not a Fashion Statment, It’s a Deathwish, or Hang ‘Em High.

The Ghost of You will always be my favourite song from this album. It’s so heartbreaking, and it always gives me the shivers. It has one of the best guitar-to-voice blends ever and a beutiful music video that accompanies it.

I would say this album is a blend of artistic softnes and heavy metal sounds; it’s unique with its details, like visals, distorted voices and beats you would often associate with different genres, and amazing texts that would put any writer to shame for their maturity and honesty.

All in all, if I need to describe this album in a couple of words, it would be like listening to an 80s dracula, emotionally deceiving you with its vulnerability by screming at you. It’s kind of weird.

I would give it a: Don’t judge the book by its covers; it may surprise you.

If you found my review worth discussing in any way, I’m happy to do so.

Yours trully,

MJ.10.

#music #music blog #new music #mcr #mcr5 #my chemical romance #gerard way #frank iero #ray toro #three cheers for sweet revenge #black parade #mikey way #my chemical fucking romance

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