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#psychobilly style
mdashow · 9 months
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Wario only make him rockabilly (with a pinch of psychobilly thrown in for good measure.)
One more in my series of rockabilly-inspired Mario characters. Not the best in the series, but I was contractually obligated to add him to the line-up! 😄
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grungybill · 2 months
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Unisex Goth Mock Bolo Ties with Bats or Crows
This unique handmade piece of jewelry can be worn as a bolo tie or a lovely lariat style necklace! The neck chain has wide links that make it fully adjustable up to 18 inches in length. Shop link in bio
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michaelkei · 1 year
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Recent my inidividual fitting collection.
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𝑱𝒐𝒉𝒏𝒏𝒚 𝑫𝒆'𝒂𝒕𝒉 𝑨𝒏𝒅 𝑻𝒉𝒆 𝑺𝒌𝒆𝒍𝒍𝒊-𝒕𝒐𝒏𝒆𝒔 𝑺𝒕𝒊𝒄𝒌𝒆𝒓
𝕊𝕥𝕒𝕣𝕥𝕚𝕟𝕘 𝕒𝕥 £𝟙.𝟜𝟝, 𝕨𝕒𝕤 £1.94 (𝟚𝟝% 𝕠𝕗𝕗)
Our world famous Rockabilly, voodoo zombie cursed band can now be found on a sticker.
⛧ Decorate and personalize laptops, windows, and more
⛧ Removable, kiss-cut vinyl stickers
⛧ Super durable and water-resistant
⛧ 1/8 inch (3.2mm) white border around each design
⛧ Sticker types may be printed and shipped from different locations
⛧ For orders with 2+ small stickers, they will be printed in pairs with two stickers on one sheet to reduce sheet waste
⛧ Sizes - 💀Small 7.6cm x 8.9cm 💀Medium 12cm x 14cm 💀Large 18.5cm x 21.6cm 💀Extra Large 30.4cm x 35.6cm
Can also be found as a Fridge magnet in 3 sizes, also more expensive products which come with 𝟚𝟝% 𝕠𝕗𝕗 the listed price. Don't hang around, 𝒂𝒔 𝒆𝒗𝒆𝒏 𝒘𝒆 𝒅𝒐𝒏'𝒕 𝒌𝒏𝒐𝒘 𝒉𝒐𝒘 𝒍𝒐𝒏𝒈 𝒕𝒉𝒊𝒔 𝒐𝒇𝒇𝒆𝒓 𝒘𝒊𝒍𝒍 𝒍𝒂𝒔𝒕.
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thespliffbunker · 26 days
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NO TATTOOS -- NO PIERCINGS -- NO ENORMOUS SUNGLASSES -- ✅ ✅ ✅
PIC INFO: Resolution at 1402x2048 -- Spotlight on Poison Ivy Rorschach, lead guitarist/co-founder of American psychobilly/punk rock band THE CRAMPS, photographed during the band's tour of Japan, c. November 1990. 📸: Masao Nakagami.
Source: www.flickr.com/photos/goro_memo/223858861.
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theterrornaut · 9 months
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PSYCHOBILLY DOODLE!
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manriah · 1 year
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Nothing's better than the way you bat your eyelashes at me❤️
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bungowife · 3 months
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I’ve been following your art for a long time and I was just wondering what do you use as inspiration for your stuff, and do you have tips for people who kind of want a cartoony stretchy and very expressive art style (sorry if this is too much to ask I just love your stuff! Also what do you use to draw your stuff)
Thank you!!! Nice to see long-time followers :3
When I was first learning how to draw cartoons I bought the book Cartoon Animation by Preston Blair. It's a really good source that covers all the basics + some animation. When I started animating as a high school freshman I copied his walk cycles before trying anything on my own
This is a very old mini guide I made for a friend on how I push poses so the art's a little outdated but the idea is the same... I think line of action is neat lol I try to make the character follow the line as much as possible with the only thing that might break the silhouette being appendages like tails etc
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My personal rule for expressions is that it just has to look like an exaggerated version of a real expression a human could actually do. To me it's not as appealing when artists add wrinkles in random places with no forethought, faces stretch around the eyes and mouth and chin and that's where I usually place wrinkles
I take inspiration from a lot of shtuffs these are just the ones I can think of right now:
-Fleischer cartoons. Favorite 30s studio besides Van Beuren
-obviously 90s cartoons, for Smokey my main inspiration is Twisted Tales of Felix The Cat and Pat Ventura's shorts for Oh Yeah! Cartoons. Animation wise I try to do something similar to season 2 of Space Goofs and Cats Don't Dance
-90s 2d point and clicks. Two big favorites are Toonstruck and UFOs
-anything by Ralph Bakshi. Fully aware it's bad lol but Cool World is one of my favorite movies ever
-underground comix but specifically 80s/90s newave stuff
-music!!! I like psychobilly and ska and it helps me draw. Massive Frank Zappa fan too
I think it's good to vary what you take inspiration from. When I started drawing cartoons I didn't let my myself improve because I only took inspiration from 30s and 90s cartoons and was so bent on perfectly replicating it that I didn't develop my own style. I see a lot of cartoonists blend together because they're only influenced by ren and stimpy and looney tunes that they don't have their own voice or bring anything new to the table
I recently just switched to my relatively new ipad so I'm using Procreate and then Procreate Dreams and Toonsquid for animation. Since 2020 I had been using Firealpaca and pencil2d because they were both free. I used a screenless Gaomon tablet I got for 30-40 dollars. I do all my sketches on paper and then airdrop them to myself since my hand doesn't move as naturally when sketching on a screen
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citylawns · 5 months
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'Psychobilly'. The Face, January 1994. Photography by Corinne Day and styling by Cathy Kasterine.
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sassmaster-artjay · 2 years
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"I pretended that the sky was a sheet of music and each shooting star that fell was a single note."
Oh, Operetta. I do love her but she's always been so tumultuous with me. My Operetta headcanons seem to draw the most ire, so I'll just preemptively say, if you have a problem with her size, go touch grass.
Other than that, her style is hard for me to wrap my head around. She has a clearly identifiable style, which not all the G1 characters can boast, but I can't say rockabilly (or even psychobilly) are things I have much experience with. The things I think of have already been done for her: swing dresses, pencil skirts, cigarette pants etc.
For this look i leaned a bit more to the Phantom idea instead of being pure rockabilly. Her black and white corset with the row of buttons is supposed to bring to mind a black vest and white dickey, while the cut of the shirt underneath mimics coattails, bringing to mind popular depictions of Erik. The touches of yellow in the mask, earrings, chain and shoes are a callback to Operettas' original design. As for her birthmark, it's kind of the draw for the character, so I made it more prominent and made it go down her side and up one leg.
Overall, I feel like she's probably not as luxe or detailed as the other designs I did, but I think it suits her character.
As always, my ko-fi is linked in my bio! You're getting art for free, spare a tip if you can!
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theunderestimator-2 · 8 months
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Gerard van Herk (guitar and vocals) and Tony Dewald (drums) of Déjà Voodoo onstage and backstage at the Cat's Paw, probably in fall 1982, photographed by Marla Master.
Inspired by The Cramps, the cult Montreal-based duo developed a distinctive style which they termed "sludgeabilly”, blending their primitive, swampy and minimalistic psychobilly/garage punk sound with `50s horror themes and surreal, dark humour. Struggling to find an audience, they eventually launched Og Records to promote their stuff but never managed to break into the mainstream markets, remaining under the radar till the day they split up in 1990.
Both Tony and his wife were diagnosed with cancer only months apart -both for a second time, ffs-, so here's a GoFundMe link for anyone that wishes to help: https://www.gofundme.com/f/please-help-as-we-both-battle-cancer
(via)
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lovejustforaday · 7 months
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Shoegaze Classics - Loveless
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Loveless - My Bloody Valentine (1991)
Main Genres - Shoegaze, Noise Pop, Dream Pop
A decent sampling of: Experimental Rock, Neo-Psychedelia, Alternative Dance
DUT DUT DUT DUT VREW VREW VREW VREW VREW VREW VREW
Well, if you knew anything about shoegaze going into this series, you knew that this review was going to be inevitable.
Today I take on the most truly revered shoegaze band, and probably one of the most legendary indie bands of all time. God help me, I'm going to do my best, so here goes nothing. Let's talk about My Bloody Valentine and Loveless.
The Band
My Bloody Valentine is an awesome band. Plain and simple. The name is awesome, the sound is awesome, their public persona is awesome. Just, lots of awesomeness.
Okay, I can probably do better than that. Hmmm... Okay wait, stay with me here.
My Bloody Valentine were originally an unlikely, little-known post-punk band from the 80s, that somehow went on to being one of the most important and influential bands of the 90s whilst only having dropped one record for the entire aforementioned decade.
After a series of lineup changes that coincided with a search for the bands' sonic identity, the true My Bloody Valentine lineup solidified as Kevin Shields, the madman musical genius leader of the crew on guitars and vocals, Bilinda Butcher, a feathery soft-spoken punk on guitar and vocals, Colm Ó Cíosóig as the animated, flappy-haired drummer, and Debbie Googe as the badass butch bassist (BBB) who was originally from the anarchist punk scene.
I've been trying to consistently use the term "British Isles" to describe the epicenter of the initial first wave of shoegaze. I wanted to be careful not to just say "Britain" or the U.K., because that would be somewhat revisionist.
Proto-shoegazers A.R. Kane may have formed in London, but other "proto" bands like Jesus and Mary Chain and Cocteau Twins were from Scotland. As for the band most credited with the true inception of shoegaze by its strictest definition, that would be My Bloody Valentine, hailing from Ireland, folks who often (for very good reason) don't take too kindly to being described as "British". That being said, Debbie and Bilinda are English.
I won't waste too much time going into the history of the band for this review, mostly because this is already gonna be a long one and I've got so many things to say about the record itself. So I'll give you the sparknotes version.
Like most early shoegazers, My Bloody Valentine dropped a few EPs before their first full-length LP, albeit in some completely different genres. C86 style Jangle Pop, Post-Punk, and frigging Psychobilly of all things apparently?
The band really found their sound, and pioneered the definitive collective traits of shoegaze in 1988, signing with Creation Records and dropping the EP You Made Me Realize and, later that year, their debut full-length Isn't Anything which, depending on who you ask, is the first true shoegaze LP (Though a very little known post-punk band named A Primary Industry may have something to say about that).
Shoegaze was invented with the propagation of a new world of sonic timbres discovered through the usage of guitar pedals, and My Bloody Valentine in particular really loved their pedals. On top of those pedals, the band laid a lot of distortion and harsh volumes.
Likeswise, My Bloody Valentine has pretty much always been just as much a noise pop band like their contemporaries The Jesus And Mary Chain. The two scenes overlapped a lot during the first wave (just like dream pop and neo-psychedelia), and some even describe the shoegaze formula as essentially being dream pop + noise pop = shoegaze. Personally I think this is a reductionist definition when there are many shoegaze bands that don't fit nicely into either of those other categories. But I digress.
Isn't Anything was the record that launched a thousand (shoegaze) ships. It's certainly a bit more overtly post-punk in its foundations, and rougher around the edges than what would come next. But I also really do love this record. "You Never Should" and "No More Sorry" in particular are two of my favourite My Bloody Valentine songs.
What came next, however, is a whole different beast entirely.
The Record
I'll start with the disclaimer that everything I could possibly say about Loveless is probably already a cliche by now.
Insanely fuzzy and warm. Layers upon layers of sound that demonstrates a level of musical precision and perfectionism that almost doesn't seem human. Reinvented the guitar like virtually no other record before or since. Oddly arousing and potentially even sapphic if you read into the lyrics (tbf Debbie is a confirmed gay indie icon). Sounds exactly like the neon shades of magenta displayed on the cover art.
2023 is frankly a little bit late to be writing a review about this heavily celebrated 1991 record. Others have already written entire dissertations about this revolutionary LP. I don't promise this is going to be the most definitive and thoughtful review of this record, nor am I anywhere close to being the first or last indie nerd to ever champion and fanboy over this goddamn masterpiece of its genre, but I do wanna talk about how I myself personally experience Loveless.
Funny enough, my favourite memory of listening to this record (which I've been loving since 2015) was actually when I was dog-sitting for a friend's mom at her house in 2018 during the early autumn. The dog herself even seemed to wanna dance with me while I was spinning in little circles to the rhythms of "Soon". I think that's the season when I enjoy this record most - probably a mix of the coolness and crispness of the autumn breeze, and wearing the same kind of cozy sweaters that the My Bloody Valentine members are wearing in like half of their 90s photoshoots.
Okay, enough chitter chatter. Let's get into it.
"Only Shallow" is one of the most iconic album openers of all time, period. Instantly overpowers the listener with those first few overblown snare stabs before exploding into a pounding noise pop delirium of screeching banshee guitars. Letting up only slightly for the verses, where Bilinda Butcher describes something sweet, soft, and warm, in a brazen contrast to the blustering razor guitars that are unleashed after each verse. This track most perfectly encapsulates a pervasive trend across the rest of the album, wherein the sonic mosaic of textures can be described paradoxically as both cushiony and razor-sharp at the same time.
Lyrics and their delivery will continue from this point on to be every bit as textural and vague as the music itself, creating abstract entities that are transient and androgynous. Indeed, I struggled a lot on my first few listens to discern which tracks were being sung by Bilinda and which were Kevin or the both of them. Bilinda recalls that she would often take naps in the studio when they were recording Loveless and would do her vocal tracks soon after being awoken, which lends itself to her very tranquilized delivery in which I feel like I can picture the drowsy bags under her eyes in some of these songs. Likewise, most of this entire album is best appreciated in a half-awake mental state, even more so than other dream pop / shoegaze records.
"Loomer" is the dark underbelly of Loveless, like listening through the old floorboards of a basement ceiling to sounds of the band playing a live house show in the living room upstairs. It's a grainy, gloomy bed of sound that feels as though it could be physically slept on if desired.
I have no idea how many actual layers of track recordings went into the concoction of the heavily experimental "To Here Knows When", but it feels like hundreds. This song is a whirring helicopter blade of thousands of little sounds, scattering everywhere until it creates a thick, opaque, sparkling lilac mist that obscures the upbeat melody that's utterly buried in the fog of noisy drones and distortion. The mastering sounds as though you're listening to all of this happen through a small tubular opening in a giant glass wall, as if all of the tonal anarchy is happening from the other side, perhaps in another dimension. For a bonus observation, this one in particular sounds even more unreal and transcendental when you're tired as fuck on an early morning bus ride after a night of zero sleep (Don't ask me).
"When You Sleep" is probably My Bloody Valentine's most acclaimed and influential song. That de-tuned, icy, fluorescent glowing pop melody motif is seriously addictive, and it sounds almost deranged. The heavily compressed drumming provides the propulsion needed for a track that feels like its intensely vibrating every last quark of matter in its audible vicinity. I really have to remind myself that these crazy sounds are being made by guitars with effect pedals, and not with synthesizers (or, as the meme goes, vacuum cleaners).
The record really crunches in on those guitar textures with "Come In Alone" a track that you'll be hearing echoing in the back of your mind long after its finished (note: this record is NOT recommended to those especially prone to having tinnitus). This track is like all of the blood rushing to your head when you would hang upside down from the monkey bars as a kid. It feels intoxicating in the best way.
The band takes an unsuspecting turn for gut-punching emotions on "Sometimes", likely the only song with a more or less discernible lyrical theming on the record, about sharing intimacy with another person and the insurmountable fear of isolation from someone you love. The timbral effects are applied minimally on this song, but the dozens of recorded guitar tracks drone in a wondrous hum that resonates with the vibrations of a lonely soul. Usually, I'd say this is my favourite My Bloody Valentine song, though "To Here Knows When" and "Only Shallow" occasionally compete for the number 1 spot as well.
"Blown a Wish" is cool, dreamy shoegaze that fizzles and melts in your mouth like an ice cream soda. Pure pleasure is the best way I could describe its sensation, with all of its rippling, neck-tingling guitar effects that dance in and out of the foreground. Alternatively, this is like being high on helium and having so many butterflies in your stomach that you actually start to feel like you're levitating in a luscious trance. Delicious song.
The record closes with its poppiest and most accessible number "Soon", a mix of comparatively light shoegaze psychedelia and alternative dance beats that sounds enormously sexy. Evokes psychoactive substances, gently swaying hips, and grassy fields filled with buzzing fireflies. A very stylish way to end the record and solidify My Bloody Valentine's status as indie music legends.
What Came After That?
Loveless was a certified gold commercial success, about on par with the success of Ride's Going Blank Again, but it was also purportedly so expensive to make that it bankrupted the Creation Records label (serves you bastards right for making Oasis happen) and caused the band to be dropped.
I honestly kind of laugh to myself whenever I think of Alan McGee's pompous ass looking at the numbers and having a panic attack, almost as much as I laugh when I remember how Catherine Wheel gave him a big fat "NOPE!" to being signed after he pestered them. Have I mentioned I really don't like Creation Records ways of doing things?
*seething* ANYWAY, My Bloody Valentine basically disappeared for the rest of the 90s. Members moved on to different projects.
And then, after years of teasing a third record, the band's self-titled mbv was finally dropped in 2013. This one seems to divide fans a lot more than their other records; it wasn't as universally received as the Slowdive comeback record a few years later. This one is arguably more experimental than Loveless, and there's even a couple of tracks with some DnB influence. I think all things considered, it's a pretty great comeback record. I think many folks were probably expecting a Loveless 2, and it probably helps that I didn't even listen to this band before the new record came out, so I had no expectations built over years for this record.
There is allegedly a fourth record (and possibly fifth) LP in the works, but Shields has been teasing at it for years now, and its sort of becoming a running joke in the shoegaze community that we're gonna be waiting another five or ten years.
But hey, good work takes time. After making a record like Loveless, I personally think you've earned the right as an artist to afford yourself all the time in the world. I certainly wouldn't know how the hell to follow upon something that masterfully crafted, and some bands probably wouldn't even try to.
But besides all that, Loveless speaks for itself. It is a singular album experience. Nothing really sounds anything quite like it, to the point that newbies often getting into shoegaze for the first time with this record often lament the fact that the scene is not full of other records sounding just like this. It's for this reason precisely that, if you are totally new to shoegaze, I don't recommend this as a starting point. A lot of other great shoegaze records are unfairly compared to this record a whole fucking lot, and it can have a spoiling effect for some folks. But not every shoegaze band should sound like My Bloody Valentine, or have a Loveless in their discography.
But, at the same time, holy crap this is one of the coolest records of all time and if you haven't already heard it by now then you're doing yourself a huge disservice by not listening to this some time in the next week at the latest. Loveless is something that every fan of music should experience at least once, and there's only a handful of albums that I could confidently make that statement for.
So, yeah. Go listen. (✿ ᵔ ᴗ ᵔ )y
10/10
Highlights: "Sometimes", "To Here Knows When", "Only Shallow", "When You Sleep", "Blown A Wish", "Soon", "Come In Alone", "Loomer", "I Only Said"the
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radiomaxmusic · 3 months
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In Memoriam: Mojo Nixon (1957 - 2024
Neill Kirby McMillan Jr. (August 2, 1957 – February 7, 2024), known professionally as Mojo Nixon, was an American musician and actor best known for his humorous, irreverent novelty song “Elvis Is Everywhere”, which was an alternative staple on MTV. His style could generally be defined as psychobilly, a musical genre which blends rockabilly with punk rock. Nixon hosted the “Loon In The Afternoon”…
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thirium-800 · 9 days
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if you get this, answer with three random facts about yourself and send it to the last seven blogs in your notifs! anon or not, doesn’t matter, let’s get to know the person behind the blog <3
HOOKED 💙💙💙
When blogs and moots collide. HELLO. Sincerest apologies. This has been in my inbox FOREVER. I am terribleeee at replying but today I am on a roll. IN THE ZONE 🙌🏻
The Wizard of Oz is one of my favourite films of all time. The reason why my favourite colour is red. I love it with all my heart.
Psychobilly is my favourite style of fashion! Horror and rockabilly in one? YES PLEASE. I need a white stripe in my hair more than I need air to breathe.
I LOVE fridge magnets. If a friend or family member goes anywhere on holiday YOU BET I'm asking for a fridge magnet.
Thank you for the ask lovely! 💙
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