#speak now was like a foundational album for me

[ourstaturestouchtheskies]

Image of a Ghost, Produced by Double Exposure, 1899 from The National Archives UK // Haunted - Taylor Swift

#i just had to do this for the announcement of speak now tv #y'all have no idea i am so excited #speak now was like a foundational album for me #ghost #spirit photography #historical photography #black and white photography #haunted #haunted taylor swift #speak now #speak now album #speak now taylor swift #speak now tv #taylor swift #ts edit #tswiftedit #lyrics #lyric art #tw ghosts

[howtotrainyourrei]

anywho here are maneskins albums ranked according to which ones i like best, if you're also into them i would love to hear your thoughts (this is also LONG AS FUCK)

1. TEATRO D'IRA

this was the first one i listened to, i dont even remember why, i vaguely remember thinking of beggin' and being like,, omg i remember that song, i wonder if they have any good albums. so i googled which maneskin album was best and MY LIFE WAS TRANSFORMED. every single song on this album is such a banger there are no skips, like usually on albums i like there are at least a couple songs where i'm like,, ehhh could be better. NOT HERE. idk which song is my favourite i think it's a tie between IWBYS, coraline, zitti e buoni, and vent'anni (literally that is half of the album, that's how good it is).

anyway i love love love the hard rock sound, but it's also not just that, like there is so much variation but it's all very cohesive. maneskin is known for their unique sound so that makes sense but my mind is still sort of boggled. it has like some harder songs but they all feel emotional?? i dont even speak italian but without even looking up the translation i almost cried from coraline because it was so beautiful. and vent'anni is ON ANOTHER LEVEL. IT IS THE PERFECT SONG TO END AN ALBUM WITH. it like combines all the ideas of the album into one song, it has hard rock elements but it still almost feels like a ballad.? GOD I LOVE THIS ALBUM. i think it might be my second fabourite album of all time now,,, it's just actually perfect. i think it's the best album i've heard in 2024. FUCK ITS SO GOOD.

2. RUSH! (ARE U COMING?)

GOD GOD GODDDDD THIS ALBUM. this is a totally different sound to any of their other albums. it's also LITERALLY DOUBLE THE LENGTH OF THEIR PREVIOUS LONGEST ALBUM (il ballo della vita, which is 34 minutes) WHICH MEANS THIS ALBUM HAS ONE HOUR AND EIGHT MINUTES OF MUSIC. TEATRO D'IRA ONLY HAS 30 MINUTES!!!! YOU DONT UNDERSTAND THIS IS REVOLUTIONARY. okay so this album was at first released just as RUSH! with five less songs, but apparently as they continued touring and stuff they felt they had more to say so they added more songs (correct me if i'm wrong but i think this is what happened). I AM OBSESSED WITH THIS ALBUM, IT IS ONCE AGAIN VERY GENIUS. the songs are almosr completely english. i really love their italian songs, but they have always wanted to write in english so i understand why they're moving back to english.

SO!! this album is so good, it has a lot of extra depth that none of their previous albums had (musically),, except for maybe il ballo della vita. like in teatro d'ira it's basically just bass, guitar, drums, vocals, and tambourine. there might be a couple other instruments but the reason that album is so strong is because of the foundation and stuff. but with rush! there is not only a strong foundation but they also had so many types of songs!!!! there were ballads, there were harder songs, but there were also weird songs like bla bla bla and kool kids. i really LOVE kool kids, i love the punk sound. i think my favourite songs are HONEY (ARE U COMING), off my face, gossip, timezone, baby said, feel, and mammamia but EVERY SONG IS SO GOOD. just like the prev albums THERE ARE NO SKIPS!! that is so crazy for me because even with my one love (david bowie's ziggy stardust and the whatever lol) there is one skip, and måneskin has THREE ALBUMS WITH NO SONGS I WANT TO SKIP. THIS IS SO RARE FOR ME YOU DONT UNDERSTAND. i got off track there back to rush. this album is, also, SO COHESIVE. despite all the different styles they try it all fits together so well, it's such a magical experience to listen to this album. okay so this album was going to be number three on this list but i'm going to switch it now bc im currently listening to it and writing this is sort of changing my mind lol, ITS SO GODDAMN GOOD. tbh i would say this album is equally aa good as teatro d'ira but i have a sentimental attachment to teatro already lol and it's also more my usual style of music.

3. Chosen (this is an ep but whatever)

so this was their first album thing they ever released, it's mostly covers but there are two originals which are the first two songs. the originals are SO GOOD expecially for being some of the first music they ever released????? im obsessed with chosen (the song), i really REALLY love the line "this is not music, this is my life, this is what i live for." IT FEELS SO TRUE BC THATS HOW I FEEL ABOUT MUSIC (i literally do not make music i just like it lol but its like an important part of my life idfk but this line just hits hard) anyway i think the reason i like this album sm is because it's a lot more lighthearted?? i really like the style of their music, how it all feels connected even though it's mostly covers. also i think i like this album so much too because i found this english translation where they competed on x factor and most of these songs were there (if anyone wants the link lmk).

my favourite song by far tho is SOMEBODY TOLD ME. GOD FUCKING DAMN THEY EXECUTED THAT SONG SO WELL. and their FUCKING PERFORMANCE on x factor that went with it was SO GODDAMN GOOD. i love watching choreography and stuff, its my fucking jam, but i dont usually feel actual emotions about it?? like obviously it was very attractive, damiano is stunning, but also it was just so gorgeous..?? i felt real emotions watching that one performance, it was so good. im going to put the link at the bottom of the post bc GOOD LORD. god that was a brilliant performance. anyway i just love the sound of this ep, it's very raw and i really love that it was when they were first starting out,,

also the goofy little intros on both of the original songs on these albums are SO FUNNY why did he do that

4. Il ballo della vita

we've reached the final album :(((( i honestly feel bad for putting it at the end, but the reason it's all the way down here is because there's actually a couple songs i don't love, so i'll say those first. the first one is immortale. i cant tell if its a bad song or not, but i think its good, i just personally dont love it lol. but the other one is "are you ready?" this song is not even that bad it's just kind of goofy, but once again, it's not my usual style of music and it's not something i think i would listen to if it wasn't maneskin.

okay now we can get into WHAT I LIKE!!!! WHICH IS LITERALLY THE REST OF THE ALBUM. this album's style is very similar actually to the chosen ep, except it's all originals, and it's also VERY EXPERIMENTAL. i love love LOVEEEE that. like you can tell this is their first lp by how many different things they try. they're finding their style BUT IT STILL REMAINS EXTREMELY IDENTIFIABLE. on x factor their little music coach guy kept emphasising that when the other judges commented on how maneskin should try different styles and saying that its more important to be recognisable, but MANESKIN DID BOTH!! they tried so many tyoes of songs with different structures and stuff, but they also remained maneskin. obviously damiano's vocals are a huge part in that, he has a distinct af voice, but it's also the other instruments, i particularly noticed vic's bass, and i love LOVE thomas's riffs OMG. this isn't even just on this album. i dont play guitar so i have no idea if he's technically skilled (i think he is???) but i LOVE HIS STYLE AND THE CLASSIC MANESKIN RIFFS OMGGGGG. anyway tho the reason this album is so good bc it has so much variation, although i would say it's not as cohesive as the other albums, even chosen. my favourite songs tho are definitely torna a casa, fear for nobody, and close to the top. torna a case is a BEAUTIFUL ballad. it's brilliant and amazing,, i LOVE that song.

also, they made a documentary about the making of this album which was so so interesting. it was very real, and you kind of get an insight into their dynamic as a band, which was just so SHAJAISISI. but it definitely made me appreciate this album more when i could actually get a look into its production. anyway listen to torna a casa it's gorgeous.

OKAY!!! this was so fun to write actually, i doubt anyone is going to read it because it's so goddamn long but if you did i am kissing you on the lips. here is the promised link to their performance of somebody told me by the killers covered by måneskin https://youtu.be/ADcTUnUJnGs?si=3Iht9sLZn2ZRbuAW

seriously, this band is so good. i'm obsessed with them yeah but they're honestly revolutionary. not only are they basically the only world famous italian band (that i know of at least?? lmk if there are any), but they do so many INTERESTING THINGS. i have been SEARCHING for a modern band who takes old music, particularly 70s bc that's what i'm into, and takes inspiration from it but still makes something original. they are doing so much for music nowadays, obviously there are lots of amazing modern rock bands, but the fact that maneskin is SO popular is crazy to me, it makes me so so happy. and not only that, it's also so amazing that there are two queer band members (vic and ethan) who (especially victoria) talk about being queer. they also act very modest in interviews and stuff, which i really appreciate, and they're all very well-spoken and good at communicating their thoughts even though it's in a second language, which can be SO FRUSTRATING sometimes bc you know what you want to say but it can be so hard in a second language. they are just very eloquent and they act very wonderful (i say "act" and "seem" bc i understand it's a parasocial relationship lol, they could all be assholes, but they seem very, VERY genuine). they all impress me a lot and i am so excited to see what they do next.

damn this is so long im sorry but i had to say this I AM OBSESSED WITH THESE GUYS, maybe if you're also into maneskin or want to get into them you could dm me to talk about them........??..?🥺🥺

#im actually tagging this bc i need maneskin fans to talk to #good lord i wrote so much #im sorry in advance for this being so hard to read #tldr måneskin is an amazing and revolutionary band #they make so much good and interesting music #måneskin #maneskin #damiano david #victoria de angelis #thomas raggi #ethan torchio #rush! (are u coming?) #Youtube

[theblackvomit666]

Black Doom (Written by Phantom Slaughter of WORM)

[Article taken from Arcane Archivist Zine #5]

For as long as I can remember, I have always favored a slower to mid-tempo black metal. Perhaps I should say I have a strong attraction to glacial paced music in general. To me, it leaves much more room for depth with an almost larger than life atmosphere and dread. My first experience with this macabre sound would have to be with Hellhammer/Celtic Frost. My favorite First Wave BM entity. While Bathory and Venom are mainly chaotic, most of Tom G. Warrior's riffs seem to be directly influenced by early Sabbath. (Honorable mention would be Poison from Germany). I mean just listen to the opening riff of "Dawn of Megiddo"! If that ain't doom, I don't know what is. Or the lead heavy bends on "Procreated (of the Wicked)". This is why I must cite them as the starting point and birth of black doom.

As I furthered my research, I soon stopped at two albums which are a huge influence on Worm's first full-length, "Evocation of the Black Marsh". Goatlord's "Reflections of the Solstice" and Samael's "Worship Him". This had that same doom foundation but added way harsher vocals than what I had heard previously. I still get shivers down my spine when I hear "Into the Pentagram". Speaking of influences for Worm, it would be a crime to not name this next band. They started out as one of Finland's first BM bands under the name Holy Hell but soon their Procession of Black Doom became fully realized as Unholy! "The Second Ring of Power" would have to be my favorite album by these cloaked shamans. While we are in Finland, I would also like to mention some equally important releases. Barathrum's "Witchmaster/Hailstorm" as well as Dolorian's "When All the Laughter Has Gone".

We must now move onto Norway for a black doom band I feel is extremely underrated. Svartsyn with their only release "Aandens Melankoli". Anyone who is into funeral doom like Skepticism/Shape of Despair/Thergothon/Worship should feel right at home with this album. Another Norwegian connection would be Carpathian Forest's demo "Bloodlust and Perversion". The track "Return of the Freezing Winds" has those same Celtic Frost bends I dig so much. Let's not forget my favorite Darkthrone song "The Hordes of Nebulah".

Surprisingly enough, one of the richest scenes for this sub-genre would be Poland. Some speculate this due to the classic Samael tour which influenced many local bands. One of the earliest bands in this scene would be Xantotol, but I believe the true Polish standouts to be a tie between two records. Themgoroth's "Gate to the Unknown", and Taranis's "Faust". Both extremely gloomy and melancholic masterpieces.

I'd like to end this chapter of blackened sludge with some albums that are currently spinning in the Fantomlodge and quite possibly ones that are influencing the latest Worm material. This may be a controversial statement but I believe Katatonia's "Dance of December Souls" to be 100% black doom. If you think Katatonia has nothing to do with black metal, ya should go check the promo photos of "Jhva Elohim Meth". I'd like to piss off some more stuck up purists by adding Bethlehem's "Dictius te Necare", Argentum's "Ad Infinitum Funebrarum", and Salem's "Creating Our Sins/Kaddish". In a time where it seems like the modern underground scene is beginning to put a spotlight on death doom, it's very important to also show some love to its even more obscure evil twin brother BLACK DOOOM!

#worm #worm band #phantom slaughter #bluenothing #black doom #black doom metal #blackened doom #blackened doom metal #symphonic black metal #black metal #doom metal #usbm #american black metal

[herrlindemann]

WOM - September 1997

Interview with Till for WOM. The scans and article were shared by @rammsteinhistory on their Instagram page.

Till Lindemann's slightly irritated expression speaks volumes: Interviews are not one of the Rammstein frontman's favorite pastimes. The former European runner-up swimming champion and single father would probably prefer to swim laps in the outdoor pool or take care of his daughter. The former basket-weaver complains that he is asked about his texts so often that he runs out of vocabulary, and he is often misquoted. The " flambéed man" (STERN) still had to answer our employee Henning Richter's questions.

Did you feel you had a special responsibility when you started the new album?

More excitement than responsibility, because the pressure of expectations was very high, the sales figures speak for themselves. Reaching or exceeding this level will be difficult.

Under what conditions was the album created? And what makes it different from its predecessor?

We didn't have any arguments at all, it was relatively harmonious, which is unusual, since we usually have tough fights. Everyone tries to assert their position. Through the stress and hate of the first few albums, we had a foundation of experience and warmth that made things run more smoothly. The recordings were made in Malta, where the climate is fantastic. What I wanted to free myself from is gone, it's in the first record. Now I'm looking underneath, now there's something thinner, more filigree and more emotional. That applies equally to the lyrics and the music: today I go more into the finer points.

STERN has described your texts as « ghastly tales »...

German texts are usually pretty flat. I wanted to do better, which on the one hand was successful, but on the other hand naturally provoked questions. I usually get the music for a new song on a four-track tape from my colleagues and listen to it very loud at home. Either I follow my first impression, or I have to listen to it 20 times in a row, then it becomes very difficult.

So the music creates aggressive images in you?

Yes. However, the new songs like "Sehnsucht" are a bit softer, this is about wanderlust and not about violence. With "Seemann" on the first album, something very sad came to my mind, and with the music of "Weißes Fleisch " I immediately thought that it was someone who is mentally ill and is attacking a minor.

Do you actually understand the accusations that you were politically on the right?

We didn't expect it and didn't get it at first. In the meantime the pressure has become so strong that we have to start dealing with it. But we don't want to apologize either, because none of us knows what for. You try to understand it, but you can't. That's why you can't comment on it. Someone should just tell me where he sees the political right in our country. It's always just scratching the surface because they want to pee on our legs. All I can say is let the facts speak for themselves, for example our band chronicle: We've been on tour with the Ramones, with Project Pitchfork and Clawfinger. We are played in heavy rotation on VIVA, we have a good relationship with Die Ärzte, these things speak for themselves.

How would you classify yourself politically?

Actually, I'm completely apolitical. I find it incredible that they want to ban me from talking about child abuse. I have a daughter who is potentially at risk. It happens left and right, that's a fact, everyone knows it. But many don't want to talk about it.

Of course, one can argue about the form in which you do this. Anyone who goes public has to live with criticism.

That's right.

Are your lyrics and your martial demeanor also a late protest against the authoritarian GDR system?

Not necessarily a protest, but now it's pouring out. None of us took to the streets energetically at the time. But that remains subconscious. Now you can do anything and say things like “I want to fuck” or “I hate you” and it even plays on the radio. On the other hand, it seems a bit like it used to be, only with the difference that they can't pick you up anymore.

In the magazine PRINZ you were described as a « social-democratic version of the Böhse Onkelz ».

I don't want to comment on either the first or the second word.

Why did you actually adopt your jagged stage choreography and these pithy Teutonic gestures? And who had the idea to make your stage show so pyromaniacs?

I wanted to avoid idling on stage. Others dance or hold on to the mic stand — that doesn't go with our music because it's very static. I always stood in front of the microphone like an idiot and thought I was incredibly shitty. Then came two fountains, then four, then one effect after the other, which has now become a bit of an addiction. Music for the ears and the pyros for the eyes, for me that's the parsley on the chop. Of course you have to be careful not to turn it into a circus. If I roll my eyes or bang my head with the mic, it’s a support of what I'm trying to convey right now. When I use such gestures or shoot an effect, I just feel good about it.

Skins and Nazis also come to your concerts. Are these the wrong fans for you?

In any case. I've just never seen any. In a hall where more than with 1,000 people hanging out, there will always be rights. I'm sure they're also running around at Die Ärzte, Toten Hosen, Ramones and Bad Religion. You can't do anything about it. With us, they are only welcomed and recognized immediately by the media. If we knew how, we wouldn't let them into our concerts. But how are you going to recognize them? For example, our tour manager has the task of coming onto the stage immediately when fascists show the Hitler salute. Then I stop the concert and wait for these people to be removed.

Did your huge record sales actually make you rich?

It's different than before, but what is rich? We are a GbR (“corporation under civil law”), the money that flows is powdered into the next show. The autumn tour will be even bigger and have even more effects. Our show is incredibly expensive. We don't want to be a flash in the pan. If you saw the last Metallica show, then you know there's no end. Look at the movies, there is «Terminator 1» and «Terminator 2», the effects can become more and more numerous and violent. Like the 100 meter freestyle swim. They used to be happy if they got under a minute, now it's 50 seconds.

#Rammstein #Till Lindemann #interview #translation #1997 #*

[lebomboniere06]

Cherry Magic Blu-ray Booklet Akaso Eiji Interview

- It's been a while since the filming ended, do you inadvertently think back to when you were filming the movie? When was that, and what will be recalled?

Every day, I will think of it in an inadvertent moment.

When I was relaxing at home, when I was at the filming site, when I passed by the filming location, when I looked at the photo album on my mobile phone, what I recalled was the faces of the smiling people at the scene.

I feel like I have really met a great work

——When the movie was released, you were with Machida San and everyone during various promotions. Do you have any memorable events or memories?

What impressed me most when promoting Machida-kun was the online meeting and the stage greeting.

The online meetup was really fun, and became convinced that our relationship was stronger than it was in the show.

At the stage greeting meeting, I was able to meet everyone who supported us at the scene. I was thinking at the time, I hope everyone can enjoy the air between all of us. This is the biggest repayment to everyone. Was very pleasant.

——Did this work have any direct or indirect influence on the current Akaso san?

I've said it many times, in my heart, "Cherry Magic" is a treasure.

Together with Adachi, I learned the importance of self-recognition, which is now the foundation of my stance.

Also, the cast and crew who I meet occasionally are now my motivation

Therefore it's has gone beyond the influence and becomes a part of the body.

——It’s been a while since the movie was released. For yourself, what kind of existence has Machida san, who performed the partner role, become?

Machida-kun has helped me a lot physically and mentally for about a year.

Since he is older than me, it may be rude to say it from my mouth, but he is a very important work partner, an ally, these words are the most appropriate.

Now, I will support the works he is shooting and the works in the future, and he is the existence that I sincerely hope that can be happy from the bottom of my heart.

🔸Mention

from Machida Interview

——When the movie was released, you were with Akaso San and everyone during various promotions. Do you have any memorable events or memories?

The conversations never stop, we keep talking until just before we went to the stage, I remember how we all talked together saying we wanted to speak more

——It’s been a while since the movie was released. For yourself, what kind of existence has Akaso san, who performed the partner role, become?

"He's an special being who has taught me the true strength of kindness,I feel very happy to be able to deeply participate in a part of Akaso kun life,we spend a lot of time together & build this relationship ,that I have forever cherished it & I think we will stimulate eachothers as actors in the future,I want to have a leisurely tea and chat,we probably will share a lot of things,I'm looking forward to that"

#ahhhh 🥰 #warning for misinterpretation& pharaphase 🙇 #cherry magic the movie #cherry magic #cherry magic! thirty years of virginity can make you a wizard?!

[twiggeh1339]

So I have a theory about the papa's that ties to the robo papa we are seeing. This robo papa has 3 forms, similar to the previous papa's and that had me thinking about how we see the trinity and how it connects to the body. It also raises some other connections with the possible horsemen theory about our 4 lovely papa's. To start off I want to explain why I see each connection to the specific papa's.

Primo, he is the horseman of famine, the mind and father in the trinity, and he takes the form of the skull robo papa. He is the foundation and the pillar of the mind and belief. In his album, we hear this dedication he has to his faith through ritual and con clavi con dio. Famine is heard in stand by him and Elizabeth and prime mover. Held together with the "I'm crucified" cover.

Secondo, the horseman of war, the soul and son of the trinity, and the muscle of the robo papa. He is the call to action and the will of the soul. We see his personality give rise to a call to action but also to act on our soul desires. He is deeply sad and angry taking position as Papa with neutrality. His album we hear his voice call us to act on our desires and the call to action in year zero. The connection to the son while not super apparent connects with his willingness to step down from his position as Papa, willingness to give up and accept his retirement. The cover of "I'm a marionette" supports the theory.

Terzo, the horsemen of death, the body and spirit of the trinity. He takes the form of the flesh of the robo papa. His album presents the question of death and what comes after, from pinnacle to the pit is reflecting on his fall from power for his strong independence. He is the papa that is outspoken and not afraid to push the ministry on their own beliefs and traditions. He embodies the confidence and independence that challenges life and looks death in the face. His album also reflects on the physical and spirit. We hear this through absolution, spirit, and he is. The cover of "if you have ghosts" speaks to the physical fighting the spirit, that regardless of the physical desires, the spirit has everything. Like his status of the horsemen of death, and the uncontrollable nature of death that happens when we least expect it he is removed from papa status and we see his death along with the others after his removal.

Copia, the horsemen of pestilence, the vessel for the dark one/satan/etc. He is the copy of that is waiting for inhabitants. Because we see him as the first papa to break the bloodline of the previous papa's, which is a very important lore peice, he is able to be a clean slate and able to succeed where the previous generations have not. How does he connect to the previous papa's for the horsemen theory? Well, we see in his album as cardinal, he's untouched by the sickness of his pestilence as he's not yet papa. But his album warns us how with every album before his rise to power, he was in the background. The overarching themes of the albums before prequelle struggle to only support war/death/famine. When we see these themes, pestilence, sickness, and corruption take place. In rats and faith, it's shown to us that these pests are everywhere and always watching and listening. This growing madness of the mind, body, and soul is ever present and can not be stopped. When copia becomes papa emeritus iv is when his full horsemen power begins to degrade his form. The madness and paranoia and personality shift to untrusting others is apparent. He gears his ghouls up for war. He dresses himself as a commander and fearless, strong leader. But underneath that facade copia is fighting the pestilence that plagues his mind and soul. That leaves him wide open to become a vessel, both mind and soul weakened to not fight the dark one inhabiting his body. As said before, he's a copy, not by blood line but by a pillar to usher in the end of times. We see this now in the LP he shifts lyrics to put himself as the devil, as the dark one that will reign.

Hope this is entertaining I'm having fun with all the possibilities, the connection of trinities and how we could see the hag, the mother and girl possibly?

#thats just a game theory #ghost the band #the band ghost #ghost #ghost copia

[luuurien]

Jessie Ware - That! Feels Good!

(Dance Pop, Disco, Funk)

Luxurious as its predecessor with red-hot sensuality as its guide, Jessie Ware’s follow-up to her 2020 juggernaut What’s Your Pleasure? features more live instrumentation, more expressive performances, and more glamorous disco fantasies. It’s classic, classy disco revival, and nearly every moment is a dream.

☆☆☆☆½

That! Feels Good! sounds expensive. It’s in the album’s DNA through the luxurious strings and live backing band and Jessie Ware’s magnificently trained voice, but also in the feel of it all, how the music transports you to her world of fruit innuendos and 70’s disco-funk and anthemic choruses until nothing else matters but the next beat to grace the dancefloor. Her music has always had romance as its guide - think back to her ravishing 2012 single Running or her smoky R&B hit Say You Love Me - but it wasn’t until 2020’s What’s Your Pleasure? she could show off a more expressive and distinctive side of her, stepping away from clean-cut pop soul and diving headfirst into swooning disco-pop, putting her music back in the spotlight her 2017 record Glasshouse produced relatively middling results. Now, with a balance in her life that’s strengthened every side of her, That! Feels Good! continues the work of her previous album with a greater connection to ‘70s disco foundations, linking with jazz-funk octet Kokoroko to bring a jolt of live band energy to her music while keeping in line with the tight and fast disco style of her previous release. It’s a wildly joyous and uplifting album that, unlike its predecessor, captures love rather than pining at it, Ware commanding the dancefloor with expertly crafted disco where surrendering to your immediate desires is the only concern; if love is the solution, Ware ensures it’s delivered in utmost glamour and excess.

From its first moments, That! Feels Good! makes it clear Ware is not here to linger: the opening title track packs food innuendos (“I gotta something to get you high / Sugar 'n' salt it, lick that lime / Lick, lick, lick, lick, lick, lick that, get in line!”), calls for gratification (“Freedom is a sound / And pleasure is a right!”), and sumptuous verses (“Every time I get a little bit of an inclination / You can throw me to the shock of a new sensation”) into its four-and-a-half minute runtime, laying the groundwork for the following songs and heading right into the heart of the nightlife. Ware has always been an exceptional vocalist with a propensity for both smooth jams and sing-your-heart-out anthems, but That! Feels Good! reveals her excellence as a performer, often playing the party host as much as she plays the singer on the stage - Shake the Bottle anchors itself in Grace Jones-esque speak singing with only the chorus fully sung and These Lips sends the album off with elegant strings and seductive spoken word - and it pulls you right into Ware’s fantasy like never before. The first seven tracks are a masterclass in pop album structuring, coming right out of the gate with the opening trio of the title track and album singles Free Yourself and Pearls before opening up with the Philly soul-indebted Hello Love, sitting squarely in the world of organic 70s disco and soul (save for the notes of garage house and europop in Free Yourself) but never sticking to a single style - Ware has done her homework in this era of underground dance. It’s not to say she’s the first to do this kind of pop revivalism, disco and dance pop have come back the past few years in all sorts of different forms from Dua Lipa’s crisp nu-disco to the glamorous ballroom of Beyoncé’s RENAISSANCE, but Ware opts for more directly retro sounds without too much touch-up, going for classic french touch on Freak Me Now and letting instrumentalists solo through sections of Begin Again and Beautiful People, staying far from being a rehash of old sounds by perfecting all the little details. It lacks some of the chillout, atmospheric warmth of its predecessor, but never before has Ware’s vision been so bold and in your face, That! Feels Good! guiding you through every step of the party from first stepping onto the dancefloor to sneaking away with a new lover to leaving at sunrise with the music still blaring behind you.

Her focus here is almost solely on physical desire, letting her need for touch propel Freak Me Now’s uninhibited house-pop and Pearls’ dance ‘til you drop diva house, but Ware’s music has never been unfocused, this turn away from What’s Your Pleasure?’s yearning for connection during pandemic lockdowns replaced with music that knows exactly what it wants and where to get it. Beautiful People makes it Ware’s mission to fit as many people into the party as she possibly can, fueled by cowbell and a peppy horn section and rejecting misery in favor of finding a new person to party with and pouring another drink, while Begin Again finds spiritual rebirth through a syncopated Latin disco groove and lush, elegant backing instrumentation, each finding euphoria their own ways while staying true to the inclusive, community ethos that ‘70s disco was built upon. Even Lightning, the album’s one slight misstep due to its trading of disco for the moody alt-R&B jams of her early albums, doesn’t lose a whole lot of magic, still functioning as a breath mark before the album comes to an end even if it’s too drastic a step away from everything before it. She doesn’t need to take up too much of your time because these 40 minutes are more than enough to get every idea of hers across - Ware the club diva, Ware the romantic dreamer, Ware the sexual temptress - and no time is wasted in that, Ware keeping the album focused and on a defined path from start to finish.

That! Feels Good! is the kind of party where everything seems to go right: the perfect amount of people, the right kind of drinks, the perfect lighting across the dancefloor, and the most welcoming host in the form of Ware. Her music may stay in one place, but it’s because she’s never sounded better than she does here, a smooth and singular listen with one goal it achieves with absolute precision - few pop albums, especially in this revivalist style, manage to be so refreshing and true to its roots at once. Balancing so many different ideas so effortlessly is a feat in itself, yet Ware makes That! Feels Good! exciting to come back to outside of its pure craftsmanship with her passion for her musical forbearers and how she carries their ideas forward. These songs are waiting for you to lose yourself inside their rich, timeless disco fantasies, and it’s impossible to resist Ware’s invitation to the party.

#jessie ware #that! feels good! #emi #dance #dance pop #disco #funk #house #pop #9/10 #2023 #album review #album reviews #music review #2023 music #new music #2023 albums #luuurien

[iloveyouphillipmorris]

hiiiii can we get a list of top 5-10 songs u've listened 2 in the new yr ? ^_^ Wld loooove annotations. i wanna hear Ur thoughtsss🔊🔊🔊🔊🎤🎙📻

yes bby!!!!! since thee new years has started iv been a little everywhere with what iv been listening to but here’s some stuff iv either recently discovered or have been continuing to love <333

[IBRAHIM HESNAWI — TENDME] — this is an interesting cross between reggae and funk, hailing outtuv libya. ibrahim was one ov thee most prominent reggae artists to come outtuv libya n seeing as how reggae is like . Such A Big Deal 2 Me, it can be hard to find things i feel compare to thee og wave outtuv kingston, however libyan reggae is coming up a hard second place. this features on one ov thee iconic “Habibi Funk” compilations released by thee label ov thee same title. they focus on arabic speaking countries, you can find their bandcamp here. [it’s friday! any purchase off bandcamp goes 100% towards thee artist]

[DIVINE — LOVE REACTION] — so i heard this on a comp called “twelves inches of pleasure” i think it was vol. ii which included some tracks produced by my man patrick cowley. i’d heard love reaction before but this particular mix is combined & beat mixed with “blue monday” by new order which is NOTHING short ov GENIUS i was so amazed by it. it’s on thee playlist i listen to thee most which is basically just gay club music. huge fan ov divine and all she does and she just sounds utterly sinister with gillian & stephen’s synths underneath her prowling voice. adore it, adore it.

[RUPAUL — SUPERMODEL (YOU BETTER WORK)] — another pick from my gay club music playlist that im always listening to but this time probably a more known track from a big name. alyssa edwards’ homage to this track’s intro in her AS S2 EP1 performance is iconic and ofc this track is, also. it’s very good for turning your brain off. i was listening to this album and rupaul’s other 90s lps interchangeably with tammy faye baker tracks. not much to say about this, just been on thee mind. here’s a cool interview between rupaul and tammy faye baker in substitute ov my lack ov anything to say !

[JOHN CALE — EVERYTIME THE DOG BARKS] — so most reviews n i think most musical historians will tell you that john cale’s 80s work is unremarkable if not downright awful. i don’t think that’s true, with thee exception ov carribean sunset [which is truly offensive to thee conscious n should not be counted], they’re fairly good at worst average all thee way up to veering on some ov his best work. this track is thee first off his record ‘artificial intelligence’ which most people regard [seemingly?] as his best ov thee 80s. now that’s flagrantly ridiculous bcoz ‘music for a new society’ came out in thee 80s but i suppose ‘artificial intelligence’ isn’t as soul crushingly depressive. i love thee guitar work on this track, john’s delivery is exciting & thee electronics keep your nerves on a particularly seedy edge. i love john cale so much.

[JOEL VANDBROOGENBROECK — NIGHT CITY] — iv mentioned this a few times so i figure i should talk about it a little bit. so joel vandroogenbroeck is a prominent name in thee library music genre, which i have mentioned a little bit here and there. library music is a work for fire type genre where musicians make music on demand for television or movie companies, so it will have sortuv ‘default’ type settings to it to thee listener’s ear cuz odds are you’ve heard Plenty ov these tracks before and just didn’t know it. since thee advent ov beat making & hip hop production, library music very much found a new home. now being transformed into samples and thee foundations for beats, it lives again !!! one such track [gerhard trede’s “B11” from “electronic fields,” 27:00] is sampled predominantly in kid cudi’s “distant fantasies.” just to provide an example :] <3 as well as i would like to say that library music is quite different from ambient music and it is quiet different from muzak as well ! as thee #1 ambient defender i would like to say that….

OK I GOTTA STOP SOMEWHERE!!! THANK YOU!!! I LOVE YOU!!! YOU FAN DM ME WHENEVER U WANT!!!

#replies #music talk #MWAHHHHHH #forreal msg me anytime i wanna get to know u better!!!!

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I know this isn’t really the thing you do, so I totally get if you just wanna delete this I just don’t really follow any other blogs I could ask this. Guns N’ Roses, like, took over my life for the past few months, and now that hyperfixations kind of… over. And I’m outta music. D’you have any idea of good music that would be a good transition from that? I don’t listen to a whole lot of rock outside of them atm so really anything is on the table

A little note before the actual post starts, half of this ended up as just me gushing about musicians I like. I think I sell them pretty well, but some of this wording stops being “this is why GnR fans would also like this artist” and turns into “here’s 30 reasons why I love x.” I would try to re-write this to make it sound more like what it was supposed to, but I know myself and that’s not gonna work out well. This is, very literally thousands of words. To anon, and anyone else interested, if this whole… fiasco is not your thing, I list some intro songs at the end of each very, very, long segment. If that’s all you’re here for, and I totally get that, then it’s there!

~~~

As someone whose life was also ruined by a GnR hyperfixation, I think I can help! I do wanna say, first, no one really sounds like Guns N’ Roses on the whole. There are similarities with groups of songs to other stuff, or somethings in general playing style, but I can’t really recommend bands saying that they completely sound like them. But! There are some bands with a really similar vibe for one reason or another (mostly their inspirations or bands that were inspired by them), and others with some very similar songs, so I’ve got those!

~~~

This one could just be me being a little off, so take it with a grain of salt. My Chemical Romance has a pretty similar vibe to a lot of GnR’s music, especially on the UYI albums. For the more… “literal” stuff,  a lot of the drumming on The Black Parade and I Brought You My Bullets reminds me of Appetite for Destruction (and also Civil War and the songs that Steven Adler did the demos for in 86), as well as Hard Skool & the Chinese Democracy tracks with Ferrer. Ray Toro’s solo style also reminds me a lot of Slash’s stuff, a good example is November Rain and I Don’t Love You feel very similar to me, and there’s just a similar energy there overall. Gerard Way & Axl Rose’s voices aren’t similar in the sense of you hear one of them and think “oh yeah, they sound like the other one” but there’s something there to me. They have a lot of the same strengths: distortion and fading from clean singing into fairly heavy distortion pretty fast, the ability to dance around their range (espeically higher up) pretty easily, incredibly emotional vocals, and some other stuff. I could talk way more about their vocals/voices, but if I do we’ll be here for thousands of words, so I’ll cut that off here. 

There’s also something that just really captivating about both bands’ lyrics that I’m not sure are exactly similar, but they’re both just incredible lyrically, storytelling, emotion, all that fun stuff. Some good intro songs, and ones that remind me of GnR in some way are: I Don’t Love You, Welcome To the Black Parade, Honey This Mirror Isn’t Big Enough for the Two of Us Our Lady of Sorrows, House of Wolves, This Is How I Disappear, Cancer, Sleep, Foundations of Decay, Famous Last Words. Some other stuff on I Brought You My Bullets has a very My Michelle & You’re Crazy vibe to me, musically speaking. The guitars at the start of Vampires Will Vever Hurt You, Early Sunsets over Monroeville, & Skylines and Turnstiles also remind me of Paradise City in a weird way, but that’s more a vibe thing and most people probably would not agree with me here, so take all of that as you will.

Also, this is where I admit I’ve only listened to that album and The Black Parade so far, I’m working on getting to their other stuff, there’s just also a ton of other stuff on my list (help me).

~~~

Motley Crue. I’ll be honest, I’m not as big of a fan of them as I am most of the other bands I’ll mention here, but a lot of fans of GnR found them through Motley Crue and vice versa at this point, so I figured I should mention them. Also, I don’t hate them, it’s more of a personal taste thing than anything wrong with their music. Most of their songs up until Generation Swine are really good, and I do adore a lot of Shout at the Devil, Theater of Pain, and their self titled, I just don’t listen to most of them a whole lot so I can’t gush as much.

The very, very easiest point is just that they were both hair metal/adjacent, and I know that doesn’t mean a whole lot since Bon Jovi is, too, but they do have some songs that fit in a very similar niche to each other. A lot of their party songs, which is arguably most of thier music, has a very similar energy, especially to Right Next Door to Hell, My Michelle, and You’re Crazy. There are some others, too, but those are the most striking to me. They both also have very acclaimed and very unique bassists and, at least for GnR’s tracks with Steven Adler, drummers. I also think Tommy Lee and Frank Ferrer have some similarities, but a little less so.

A lot of the guitar work across Motley Crue’s first 6 albums also reminds me a lot of some of Izzy Stradlin’s work, and also feels a little Slash-y. There’s some other stuff, I think the chorus vocals on their cover of Smokin’ in the Boys’ Room is very Paradise City (also the chorus), some of the other songs on Theater of Pain remind me a little of the “western rock”/“cowboy rock” songs on UYI1 (mostly Vad Obsession, a little Dust N’ Bones) and also Back Off Bitch a little, Kickstart My Heart reminds me a lot of Right Next Door to Hell, and there’s some other minor stuff.

My best intro suggestions (more based on the ones that are my favorites & that I remember the names of off the top of my head than what’s similar) would be Merry-Go-Round, Live Wire, Smokin’ in the Boys’ Room, Shout at the Devil (most of that album, really), and Red Hot.

~~~

Quiet Riot. There aren’t a whole lot of similarities there, but they are one of the grandfathers of hair metal & 80s hard rock, along with Def Leppard & Motley Crue, so they’re here. Also I love them and need an excuse to talk about them.

Most of the similarities here are very “fundamental” if that makes any sense. A lot of times, especially looking from Mental Health to Appetite for Destruction and the UYI albums, it seems more like Quiet Riot just laid a lot of the foundation for the whole subgenre and GnR just used them as a kind of necessity. Not in a begrudging way, just that there doesn’t feel like a lot of direct inspiration in that sense. There are a lot of similar notes in the drumming across all four of the albums I just mentioned and it’s really clear that Quiet Riot’s foundation is there in a lot of GnR’s music.

The more interesting thing to me, though, is that it kind of looped around to Quiet Riot feeling kind of inspired by GnR! They’ve been making music semi-consistently since 1983, so they, in a way, outlasted GnR, until the singles in 2021. I can’t prove if they really were inspired like that, since I don’t know if there are really any recent interviews with them, but I choose to believe it. Two of their most recent albums, Hollywood Cowboys and Road Rage have a very “western/cowboy rock” feeling to them, specifically in the way that Bad Obsession and Dust N’ Bones do.

Also, just more generally, they’ve had a couple singers over time that have a very similar power to their voices that Axl Rose does. I don’t know how to make this any more coherent, but I hope it makes sense to anyone who’s listened to both of them. In specific, their original lead singer, Kevin DuBrow, and their singer for Hollywood Cowboys, James Durbin. I really can’t figure out how to put it into words, but listen to My Michelle right before Mental Health (the song) and Think About You right before Hellbender. There’s just a weird similarity there.

I’d probably recommend Arrows and Angels, Hellbender, Mental Health, and their cover of Cum On Feel the Noize as starter songs.

~~~

Avenged Sevenfold. Their the first band that I can say for sure had a lot of their sound, at least for some songs, influenced by GnR. Like, GnR is listed as one of their influences and A7x is listed as a band inspired by them. This is clear-cut. It starts really clearly in City of Evil and kicks into a whole different gear, for me, at Nightmare. 

The first thing, that I’ve never seen anyone mention also, is that M. Shadows and Axl Rose have very similar voices. There’s a very similar tone in both of them that I can’t really describe, but they also do some very similar things in their singing. The start of the outro to Danger Line reminds me a lot of Chinese Democracy, especially the start of Street of Dreams and a few parts of Prostitute, and Seize the Day reminds me of songs that are lower in Axl’s range but still a step above Mr. Brownstone or Sorry.

I am going to sound like a dork here, I tried to hold it back during the MCR section but I can’t anymore. You can also cross-apply this to the similarities with MCR, just pretend I used different names.

There’s a very specific kind of… emotionality, I guess, with a lot of the drumming and guitar work across both bands’ music. Especially for A7x with Nightmare and, in the drumming, most - if not all - of The Rev’s work, that is very similar to GnR, especially with Slash and Steven Adler. I have a very hard time explaining this - I have tried with friends and it never comes out coherent - so just… As a very general explanation, to sort of get at what I’m talking about - and why I feel like it’s important for anyone curious - imagine if November Rain had one of its first solos replaced with Eruption from Van Halen. Or, for a more real example, the end of the solo of Every Rose Has Its Thorn suddenly gets a lot faster compared to the rest of the song and it has a very different energy and it’s just very jarring. That’s kind of what I mean by emotionality, it’s capturing the energy of a song/segment, not just doing what is very technically well done. The same applies to really every aspect of music, drumming included even though a ton of people would disagree with me. That whole long thing to say, Slash, Zacky Vengeance, and Synyster Gates have a very strong grasp on that whole concept, as do Mike Portnoy (the session drummer for a lot of Nightmare), The Rev, Steven Adler, and Frank Ferrer. A lot of the guitarists that worked on Chinese Democracy do, too, I’m just way less familiar with a lot of their work. Also, I’ve learned I can’t really talk too much about Izzy Stradlin without it turning into a whole… thing, so I just can’t, right now. Anyway, in addition to a very strong grasp on the emotional side of things, they’re also all incredibly good at what they do from a technical level. I would also argue that that’s where a lot of GnR’s influence shines through most, but this always ends in me laying out very minute similarities that no one else cares about and this post is already getting way too long, so I have to move on to the beginner songs.

Nightmare (most of that album, but…), Danger Line, Seize the Day, Roman Sky, and A Little Piece of Heaven.

~~~

Now a shorter one for everyone’s sanity: Aerosmith! I will be completely honest here, I’ve only really listened to their big singles and not all of those yet. I… I know, Im getting to them, too. But, I know they did shows together a while back, GnR covered Mama Kin, and they have some other similarities (very expressive singers with killer ranges, a bit of an affinity for piano ballads, etc.). I don’t think I can really offer better suggestions other than what still gets radio play and what would show up on greatest hits playlists. I’m more mentioning them out of obligation than being able to actually give a good recommendation. I will say, thier cover of Remember (Walking in the Sand) is amazing and, imo, underrated.

~~~

The Sex Pistols. This is more in energy than anything literal, outside of a couple few things, I just figured it wouldn’t be right to completely ignore them. The big “literal” similarity is that Paul Cook and Steven Adler have very similar drumming styles, in my opinion.  I’m not very good at describing stuff like that, but it’s definitely there.

The other big, non-energy similarity I have is the style of lyrics between the Sex Pistols and Appetite for Destruction. They’re both very blunt and matter-of-fact and a very specific kind of angry, but it’s all also sort of poetic? I don’t know exactly how to explain it, but I think maybe listening to or reading the lyrics for Paradise City and then God Save the Queen or Holiday In the Sun maybe makes it make sense?

Other than that, it’s just energy. Appetite for Destruction and Never Mind the Bollocks are both very intense and angry and cutting, to me. I know Appetite for Destruction has its happy moments, but they’re all “cut” by something. Sweet Child O’ Mine has the “where do we go” breakdown, the positive parts in Rocket Queen and My Michelle are preceded by just… the rest of those songs, and Think About You is very likely about drugs. There’s this underlying kind of… not pessimism, but definitely some kind of negativity and acknowledging the seedy through that whole album that’s very Sex Pistols.

Pretty much everything else is that they just feel very similar to me. I can’t reall put words to it it’s justa  feeling. They’re both pretty hard edge, I feel like you can tell both bands have a pretty solid respect for more ‘clasic’ bands (at least what was the main era of classic rock when they were big), and all the music across both groups feels very sincere to me. It isn’t all sweet, but it’s sincere.

Intro songs I’d recommend are, personal favorites, Anarchy For the UK, God Save the Queen, Problem, Liar, Pretty Vacant, and Holiday In the Sun.

~~~

Velvet Revolver. I’ll be honest, here, I’ve listened to most of their music, but I did it as a quick once-through one night and I haven’t gone back through most of it to internalize song names and favorites, so the suggested songs and some of the similarities/selling points are gonna be brief. However!…

The major point for Velvet Revolver as a GnR follow-up is that every member, other than the singer, was in GnR! That was the big selling point when they first got going. They don’t sound a whole lot like Appetite for Destruction through The Spaghetti Insident GnR, but they all, Slash and Duff McKagan especially, have a very unique sound/style that carries over to Velvet Revolver.

Their music in some ways also reminds me of parts of Chinese Democracy. Not super ‘literally’ (are you sick of that vague bs yet?), but they both exist in a similar, sort of post-grunge segment of alt-rock of the time.

Like I said, I have very little to offer for recommended songs, at the moment, but I will say that Slither took over my life for months on end after I listened to it the first time, so do with that what you will.

~~~

Bon Jovi. Okay, hear me out. I know that, on the whole, Bon Jovi and GnR don’t have a whole lot in common, they’re not even really the same subgenre of hair metal. However, I just think I should shill for Bon Jovi- I mean… Jokes aside, I think there are a couple reasons why this is actually way more of a reasonable suggestion than it might look like. A lot of that comes down to that I’m not really recommending their whole discography as a GnR replacement. Honestly, I haven’t even listened to their whole discography yet. What I will say, though, is that there are a lot of similarities between some of their songs with some GnR songs. This whole section honestly doubles for song recommendations, but I do have some extras that don’t really sound like GnR songs that I just like.

Dry County sounds a good bit like Civil War. not cut and paste, but it’s similar. It’s one of, if not definitively, Bon Jovi’s longest song. It’s borderline southern rock, the guitars are very Civil War-ish (stripped back, melancholy, that sort of thing), and some other stuff that I can’t just put in a list. Dry County doesn’t start with movie audio, but it does have an intro with slightly different music and that is sung in a slightly different cadence that feels like it leads into the “true” first verse in a similar way. The way they lead into their guitar solo(s) also feels very similar, and the drumming style is fairly similar. They’re also both melancholy as all get out and just have a very similar energy to them. If I don’t stop myself now, this is going to turn into another few thousand words, so I’ll move on.

Homebound Train reminds me a lot of Rocket Queen, of all songs. It’s a lot more western, maybe southern rock, but the similarities are there. The guitars sound very similar (I’m bad at describing riffs and stuff like that, you just have to take my word on this), there’s a very similar effect over Jon Bon Jovi’s voice in what I think is the bridge of this song that’s a lot like the one Axl Rose used in the chorus of Rocket Queen, and the drumming is very Steven Adler in a way most of their other drumming isn’t. There’s also a really long instrumental segment with no vocals (keyboard solo, guitar solo, and what I’m pretty sure is a harmonica solo) that takes up a lot of the song, like the section in Rocket Queen.

There very well could be other songs with strong similarities between some of their other songs, but I’m days deep into writing this thing at this point, so I’m gonna stop here. In addition to the song-to-song comparisons, there are also some general similarities, especially looking from GnR’s whole discography to Bon Jovi’s first five albums. Jon Bon Jovi’s voice doesn’t really sound like Axl Rose’s, but he’s also really good at portraying emotion through his singing and he also has a pretty solid upper range (obviously not comparable/anywhere near as high, but it’s still really good).

I know this isn’t really the draw for most people, but it’s there and it actually does something for me, so I figured I’d still mention it, anyway. There’s a pretty solid thread of vaguely to strongly religious lyrics between both bands. If you’ve listened to their music and think I sound like I’ve lost it, give a couple songs a listen. Strong examples would be the first verse of Homebound Train, the chorus of Born To Be My Baby, a very specific line in the pre-chorus(?) of I’d Die For You, and a few lines in Dry County, then a quick line in Sweet Child O’ Mine, parts of the chorus for Don’t Cry, a few lines in Yesterdays and a few lines in Civil War. Lay Your Hands on me is a weird case, because I don’t think the lyrics have many religious allusions iirc, but it’s very clearly based on church music. They both have more than this, but if I don’t stop now, I won’t stop, like, ever.

Some other start songs (that aren’t the massive hits) are Social Disease, The Hardest Part Is The Night, Love Lies, and Only Lonely.

~~~

Def Leppard. Again, not their whole discography. Their second album, High ‘N’ Dry, has a very Appetite for Destruction sound. Obviously there is some difference, since it’s about six years older and technically pre-hair metal, but the similarities are there. It’s sort of like the early Quiet Riot thing, but I think they’re more similar. Joe Elliot also doesn’t really sound like Axl Rose, but he’s also a very emotional singer and spends a lot of their music in a pretty high part of his range. They’re also next level at breakup songs in a way that very few artists are (Bon Jovi, too, but I can’t talk about them for too long without it becoming a thing). Admittedly, I have a lot less to say about Def Leppard, not because I don’t like them but because they’ve never taken over my life with a hyperfixation so far so I can be normal about them.

Just to summarize the rest of their music that I’ve listened to, there are still some similarities through Pyromania, but Def Leppard were clearly shifting to a more synth-y style of hard rock so there’s less common ground there. And most of this is completely out the window by the time you get to Hysteria, even though it’s still a really good album.

Good starter songs (that aren’t Pour Some Sugar On Me, because that’s too easy) are Hysteria, Too Late For Love, Bringing On the Heartbreak, Let It Go, God of War (or Gods of War?), and Foolin’.

~~~

Nine Inch Nails. This is strictly between their music and Chinese Democracy, I don’t really think there’s literally anything similar before that. Also, I don’t listen to a whole lot of NIN, so I… cannot talk a whole lot. What I’ve heard is good and you can definitely hear that Chinese Democracy was at least somewhat inspired by their music, but that’s about all I can say atm. Starter songs (really just the ones I’ve heard) could be Closer, Head Like A Hole, Hurt, and Terrible Lie.

~~~

So… this is getting really long. Because of that, and because I don’t have a lot to say about these artists (either here or at all), I’m just gonna list out a couple bands, some starter songs and then stop because this post has done some feral things to me. Also, a lot of the artists here are less literal similarities and more similar energy, just so we’re all on the same page, here.

Green Day: Are We the Waiting; Blood, Sex, Booze; She; Viva la Gloria!; Viva la Gloria?; Peacemaker; Letterbomb (there are more, I just have to stop talking about Green Day at some point, before we’re all here for another three thousand plus words)

Twisted Sister: I Wanna Rock; We’re Not Gonna Take It (look, I listened to Stay Hungry once, I didn’t internalize most of it yet, sorry)

Slipknot: Snuff; Circles; Vermillion (pt. 2, also); Til We Die; Psychosocial; The Devil In I; Duality

Adore Delano: Witch Hunt; 3 Flowers; Pretty Boys Cry; 27 Club

The Clash: London Calling; Should I Stay or Should I Go; I Fought The Law (I have not listened to a lot of their music yet)

Fastball: The Way; Out Of My Head

Pink Floyd: In the Flesh?; Waiting For The Worms; Goodbye Blue Sky; The Thin Ice; Young Lust; One of My Turns; Another Brick In the Wall pt 2; Comfortably Numb (I’ve only listened to The Wall so far)

If I haven’t mentioned someone here that anyone who’s made it through this whole post thinks that I should’ve, you’re probably right and I just haven’t listened to them yet! I think this kind of outed me on this, but most of my music knowledge stops dead before the 80s, outside of Motown, so I don’t completely know what I’m talking about yet.

All that out of the way, thank you for reading, I hope this helps, and I’m so sorry this thing is so long.

#ask #anon #not a gender #uh... hope this does something for someone #this is over 4000 words #swearing in tags #what the fuck have i done #long #long post

[ourstaturestouchtheskies]

Fanciful Landscape - Thomas Doughty // Upper Hudson, Catskill Mountains - Thomas Doughty // Spring Landscape - Thomas Doughty // Landscape with Stream and Mountains - Thomas Doughty// Romantic Landscape with a Temple - Thomas Doughty // In the Catskills - Thomas Doughty // Long Live - Taylor Swift

#happy speak now taylor's version release day to all those who celebrate! #speak now was like a very foundational album for me #and long live has always been one of my favorite taylor songs so i just knew i had to do an edit to celebrate #thomas doughty #long live #long live taylor swift #long live taylor’s version #speak now #speak now album #speak now taylor swift #speak now tv #taylor swift #ts edit #tswiftedit #lyrics #lyric art #art #art history

[samkuchingdraws]

The Postcard 1920 x 1200 SketchBook

so you left for the city i hope you like it there you're only here now to see the Village Fair you're just here for the music, that's all or could it be, you miss the good old times when you danced with me

-- ABBA, When You Danced With Me

This painting is inspired by a song by ABBA from their latest album 'Voyage' called 'When You Danced With Me', which is a personal favourite of mine because of how Celtic it feels and sounds and also because of the poignant story it tells.

The painting took a while to work through. Normally my painting process tended to be more paint-as-I-go. This time around, however, I decided that I would like to be a bit more mindful and thoughtful in my decisions.

So, I began with the colour palette. This is my first time doing this; I tended to choose my colours from the wheel on a whim. Once I was satisfied, I started sketch-painting, keeping in mind that I would be adding two little guys into the foreground after.

After I got the general look sort of right for the landscape, I started on the little guys. I sketched them first to get a general idea of their postures, before switching off the background and sizing up the sketch layer. Normally I would work these figures together with the background, but not this time. I wanted to be a little more precise with the details, so I thought I should just hide the background for a bit so that I can focus.

Here are the figures with their base colours blocked out.

And here they are with details, shadows and highlights.

After that, I turned the background back on and scaled them down to fit with the background and adjusted where I needed to, before filling in the rest of the details -- which was where I returned to my default paint-as-I-go mode, only now with the foundations laid in. Also, added a painterly border at the end, which made it look almost like a postcard, hence the title.

By the end of it, I do feel a greater sense of accomplishment and satisfaction from having gone through the process. Sure it took more time to plan out, but it helped me break down the elements of the pictures and to focus on each elements without feeling the need to rush into the others -- something which tends to happen when I work on the painting as one entire whole. I guess, I tend to bite more than I can chew -- and I'm not necessarily speaking metaphorically here either.

A new lesson gained. And an important one at that.

#digital painting #digital art #digital landscape #landscape painting #landscape #landscape art #mountains #scenery #bright #fields #plains #nature #nature art #nature inspired #art process #painting process #artblr #artist on tumblr

[yesterdaysanswers]

Patrick Djivas / PFM / The man with the computer (Fare Musica, 1984)

translation:

Patrick Djivas came to the editorial board of Fare Musica to tell us stories old and new about the Premiata, the band, now almost of age, that continues to represent the only reliable attempt at the internationalization of Italian rock. Then things went a bit wrong, but Patrick will tell us about that in the interview. The only note that I think is right to put before the live dialogue concerns the setting in which PFM wants its work to be interpreted today. Much water has passed under the bridge, many mistakes have been made and a lot of experience has been accumulated. The musicians in question experience these past events in the light of new awareness, which translates into the introduction of an unprecedented language within the band’s philosophy. Patrick insisted on speaking of programming, organization, planning, division and specialization of tasks, of taking responsibility for his role and for his eventual near future. 

Program: to build the relaunch of a group on solid foundations that technically, and from experience, has little to envy to anyone. Work on everything with order, the means, and clear ideas. Revitalize an enthusiasm that the last few years had undoubtedly consumed a little.

Djivas seems to me to have taken the helm of this relaunch operation on the basis of his own undoubted managerial ability. He is a man who manages to combine his enormous skills as a musician with a clear and lucid vision of mechanisms that govern today's music business, knowing its progress and being able to interpret its meaning. He has a rational as well as passionate personality, a mind capable of synthesizing organizational needs, production purposes, and ways of developing group work. Flanked by the effervescence of the public man - Di Cioccio and the artistic sensibility of Mussida, he can count on a work team with all the credentials.

PFM therefore makes an attempt, which is not a bluff, but that has, conversely, great cards to play. Nothing is certain, but starting from this basis it can be assumed that the future of this historical nucleus can again be filled with significance. And, as a natural consequence, of success. Certainly they are musicians that few can teach anything.

Talking about all this, and much more, we sat around a table, with the company of Fernando Fera and an Olivetti M10 from which Djivas never separates, like any good self-respecting manager.

You are good friends with Leo Fender…

Yes. He built for me his first fretless bass…he had never done any before. It was a Music Man.

PFM? PFM! arrives after a long period of silence for the Premiata…

We had to get out of the vicious tour/album/promotion circle: after thirteen years it is a procedure that tires you and makes you lazy. We decided to stop and start working like a group on their first album again, with calm and tranquility. Too many times we have arrived in the studio with not even half of the material written due to time constraints. Performance closed a chapter of PFM: that of changes, of instability of the formation. Now a new one has opened, with defined personnel: it had been years since PFM had made two consecutive records with the same lineup. 

Are you all full members of the group now?

Yes. Walter Calloni and Lucio Fabbri are also members of the Premiata for all intents and purposes. This situation allows us to start looking at the international market again: It is a discourse that you can only seriously face if you have a formidable internal strength; it's very, very difficult. The comings and goings of our lineup have forced us to give up this discourse. 

What are the chances today of a lineup like PFM on the international scene?

They haven't changed at all. The first international attempt of PFM was certainly not exhausted by failure. It actually went great! We didn't realize it. The deal was - let's put it this way - interrupted. The Americans in the music business in recent years have always asked us: why don't you come back? An anecdote: Billy Idol’s guitarist, that we met in Riva del Garda, kept walking around us. In the end he came to the dressing room, apologizing, and declared that he has always been a PFM fan... He had seen us a lot of times in concert and he knew all the parts of me and Mussida by heart; he told us that in NY the Premiata is something that has remained over time... a myth!

Then let’s continue to talk about the international scene: how did the American story end for PFM, and why?

Naturally the thing was paralyzed due to various factors: the deadly blow came to us from that famous Roman concert we held in support of the Palestinian struggle. On that occasion Pagani gave an interview to Rolling Stone precisely on these political issues. A big article came out entitled: PFM support OLP. That same afternoon, Bill Graham, the organizer with whom we were most in contact and who, as you know, is Jewish, showed up, and several others soon after. The message was only one: PFM will never set foot in America again. In reality we still did something there, but in the meantime our internal problems were growing. People who entered and people who left the group, some who did not like the international experience too much, Mussida and Premoli with family problems. If you want to face America you must first go there to stay, concentrating with all your energy. It was a very provincial, if human, reaction. Certainly they are mistakes that we will not repeat. At the time we didn't realize the chance we had in our hands: in 14 states we were first in FM radio and the record company literally went crazy. From the outside, no one understood how at that point we could not finally explode. 

At that time it all seemed due to us; also the fantastic welcome we received in places like London and Los Angeles. In Italy we were number one and every recognition seemed obvious to us. We had a superior attitude and didn't understand that the PFM effect was hitting America. 

At a compositional level, you, Di Cioccio and Mussida do the lion's share on PFM? PFM! 

Yes, Di Cioccio composed a lot for this album. Since singing, Franz has started playing the guitar; he knows 4 chords, but has a remarkable melodic sense. For example, take the piece Capitani coraggiosi: I had created the whole instrumental situation many years ago. It was a piece that I had written to test a system of automatic arpeggio on a keyboard that had come to me, a Jupiter 8. After a long time Di Cioccio got the melody out of it…not a beginner thing, with a nice development. Only in the beginning, the piece was oriented at a slow pace. Many pieces, as in this case, arise from subtle surgeries, cuts, sutures, joints, perhaps between ideas of different people.

You are the production manager of PFM? PFM!: Tell me about the work from this angle.

Initially, we had in mind the idea of ​​making a very sparse record, four or five instruments and go. After the construction of the bases, several things were changed at the Castle from the design point of view of the room. In light of this novelty, and after a series of replays, we decided to start all over again. We only kept part of the drums. The new sound condition thrilled us: it is a very real sound. Usually, for example, when you listen to 120 dB levels you can't speak, you have to scream in your ears; in this case, on the other hand, you don't have to make the slightest effort; the frequencies are so separated that...it seems to be in the open air!

So you used a lot of overdubs…

Yes, because we could trust the placement in the frequency bands. Goldberg and I were able to foresee a whole series of fixes, first of writing and then of sound, which it was possible to respect perfectly during the realization phase. We hear everything we wanted, there is not the slightest overlap. It was not only a very profitable job, but also a very interesting one.

Did you work by ear or using spectrum analyzers?

Absolutely by ear. The analyzers seem like a big rip off to me. They can help you live, but in the (recording) room they only complicate your life. They only serve one thing: to keep in mind that in the realization of the bases the hole in which the voice will have to be inserted is always respected; for Franz this loophole was established around 1000. In reality there is another little secret why it can be useful to adopt the analyzer in the room. By being able to view the position of the voice, you can check that the absolute peaks of the recording are not just the voice itself. It would be a big mistake: it would mean that it is the voice that takes the level of the record forward. 

Why the half speed mastering?

To remedy as much as possible to the cutting problems we have had, as well as to guarantee us a perfectly satisfactory level of quality. Tigre's stereo bass literally made the grooves dance. Thanks in this sense goes to Piero Mannucci who is passionate about the cutting of this album in a formidable way. We absolutely didn't want to miss Tigre's bass, but it cost us two days of work. By comparison, he thinks that Tigre was born in the studio, and that since Franz glimpsed the melody in the final recording, it's only been a day and a half: music, bass, lyrics.

Mussida’s arpeggio on the piece is of a virtuoso level…

It is a Chet Atkins Gibson passed through a Rockman. It is a guitar that works amazingly in the studio: in certain cases it can be confused with a keyboard for the breadth of sonority it possesses. Tigre is certainly my favorite piece, because it manages to balance the commercial side and the technical, virtuosic side. After all, this album has two different levels of reading. You can appreciate it as a listening product, or you can study the web of sounds with which it is built.

Tell me about the making of your bass parts on the album.

The decision to take care of the production of the record forced me to sacrifice the time I usually dedicate to my instrumental parts. After all, I felt tight in the role of the band's bass player. It therefore came naturally to me to conceive my bass parts much more as a producer than as a bass player. I created a very large, very deep sound that served as a support base for the other instruments. The bass is the platform on which the whole sound system of a record rests. Of course if you enter this order of ideas, you have to forget all the virtuosities and solos. I used a Music Man and an active Gibson.

For the keyboards?

I played a good part of it. We used the Yamaha DX7 a lot but the most compelling experience was the encounter with the Synclavier. It is a device through which I truly understood FM programming. Let's say that the Synclavier instructed me to work with the DX7, which proved to be an extraordinary device, with timbral abilities equal to those of the Synclavier.

To conclude: what is the role of PFM today, in the musical scene of 1985.

I think that PFM now synthesizes a concept of exchange between what experienced musicians like us can give to today's music. We do not want to miss what is happening around us, we want to acknowledge, and then add the weight of decades of professionalism.

Is Di Cioccio definitively the voice and the frontman of PFM?

Yes, we needed a character like that. He has to be. Both from the point of view of connection with the public and as a point of reference for the musicians on stage. A singer who, like Franz, is at the service of the group. Franz started out as a histrion, clearly he is not a natural singer, but thanks to the work he is doing, the results are beginning to be felt. It was a joint decision that consciously forced us into a period of adjustment. Looking for a singer abroad would have meant inserting a new character in a central role in a group that has a great history. It is clear that the position of the newcomer in a group does not carry the same weight as that of an elder; if the singer is in this position, it can be a big problem. We didn't want to take this risk.

Concerts?

We will start with a tour in the major cities, playing in small clubs. It is a good habit of American stars to tackle small clubs from time to time. Four lights and two hours of music, perhaps with two outings. Like Zappa or the Stones periodically returning to the Roxy, we want to rediscover the pleasure of playing at the Piper. Then will come the regular tour in the theaters and sports arenas. The whole thing will last four months. We want to do a lot of concerts, because in order to face the international discourse again, a big break-in has to be done.

Restarting the PFM machine is complicated and expensive. We have a facility that costs 4 million a day and a technician of 6 million a month. It's a new management idea; Mamone represents the organizational side. Alongside me, Francone and Franz have created a production group, which we called Performance, within which each one of us has very definitive tasks. Franz thinks of public relations, Francone of the artistic direction and I take care of production, and of actual realization.

#patrick djivas #pfm #premiata forneria marconi #franz di cioccio #franco mussida #lucio fabbri #walter calloni #fare musica #translation #my translation #article

[dherzogblog]

songs/22

The "Press and Play"list version (click the links for music and extras) songs/22 playlist

1. Elvis Costello -“Farewell, Ok”: A garage rock burner with a bit of the attitude that made E.C. the dean of the class of ‘77. 2. Band of Heathens - “Carry Your Love”:  A monster hook, and every time I hear this it, it makes me think of Tom Petty & The Heartbreakers. That's a good thing. These guys also released a cool Covid covers album this year. 3. Nikki Lane - “First Time: On-the-rise outlaw rocker recalls her 80's high school rock roots. It features my favourite lyric of the year: "Take me back to the first dream, 501 blue jeans, tighter than god damn Springsteen”. 4. Lucuis- “Next To Normal'': Produced by Brandi Carlile, this deceptively funky tune has been in my head for months. 5. Khruangbin/Leon Bridges: From "Texas Moon" the lone star state collab and follow up to 2020’s "Texas Sun". The adventurous and vibey, Khruangbin have become one of my favourite bands. 6. Lizzo - “It’s About Damn Time”: "It’s bad bitch o’clock". 7. Elle King - “Honky Tonk Disco Nights'': Been listening to Elle for a while now as an emerging star in Americana/Country world. But on this one she makes a left turn teaming up with Chic’s Nile Rogers on this country/disco mash-up. "Dance, dance dance". (Hollywood Fun Fact #1: Elle the daughter of comedian and former SNL cat member Rob Schnieder). 8. Say She She- “Pink Roses”: Slinky cool and danceable, this Brooklyn based female trio love Nile Rogers too. So much so, their band's name is a sly nod to his group. "Yowsah, yowsah, yowsah". 9 .Stone Foundation - “Heaven Knows Why”: Smooth disco grooves and wah- wah guitar from UK soul revivalists. Bell bottoms and platform shoes not included.

10. Dreadzone - “Dread Town”: The eternal spirit of 2-Tone lives on this bouncy single from veteran British reggae/dance outfit featuring lead vocals by Emily Capell who borrows the style of Amy Winehouse and the attitude of Lily Allen, on a joyous celebration of London's multi racial musical melting pot. 11. Pearl Charles -“Givin it Up”:  Last year I stumbled on Pearl’s brilliant ABBA inspired “Only For Tonight” and was subsequently blown away by the whole album. She’s back again with another lush and luminous 70’s styled single whose swirling strings, memorable hook, and slyly funky finish made it one of favourites of the year. (Hollywood Fun Fact #2: Pearl is the daughter of Larry Charles ofSeinfeld/Curb fame). 12. The Dip - “Real Contender”: Big horns and big hooks from a Pacific northwest band that gives me Jamie Cullum vibes. 13. Mapache - “Light My Fire”: Cosmic folk rock harmonies for your mellow mood. 14. River Kittens - “Hate To Break It”: Speaking of harmonies, this break-up torch ballad sounds like it came straight off Shelby Lynne’s country/soul masterpiece, “I Am Shelby Lynne”. 15. The California Honeydrops - “In Your Arms”: More soul horns and a chugging Stax rhythm from Oakland outfit who sounds like they may have been fans of Oaktown homeboys Tony! Toni! Tone'! 16. The Harlem Gospel Travelers - “Nothing But His Love”: Nope, this is not a gospel tune, just some sweet vintage styled soul and harmony in praise of a higher power. 17. Miko Marks/Ressurectors “Feel Like Going Home”: Rising star Miko Marks and the guys may actually get closer to church on this one. Her album has blues, country, and gospel influences, think The Staples Singers and The Band on the "Last Waltz, All of which reminds me there was a pretty great posthumous release this year from the late Leon Helm and the very much alive Mavis Staples.18. Lee Bains + The Glory Fires - “(In Defense of the) 40 Hour Work Week: Blue collar country rock in the spirit of The Drive By Truckers.

19. Titus Anddronicus - “Give Me Grief”: A jangly, angsty pop anthem from post punk Jersey boys. 20. Pinegrove - “Alaska”: More catchy indie pop from Jersey (Montclair!) 21. Wet Leg - Wet Dream: Isle Of Wright indie pop duo exploded on the scene last year with two great singles, "Chaise Lounge" and this one. A proper album was released in '22, so the song still qualifies, and I get to make up for missing them first time around. 22. Hurray For The Riff Raff - RHODODENDRON: Always moving in new directions, Alynda Segarra and crew are back. This time they bring the spirit of The Velvet Underground with them. 23. Melissa Carper - “Ramblin Soul”: Old-time Texas Swing from the woman they call the “The Hill-Billie Holiday”. 24. Taj Mahal/Ry Cooder - “Hooray Hooray”: Roots rock veterans and former Rising Sons bandmates reunite over 50 years later to pay tribute to blues legends Sonny Terry and Brownie McGhee. Hooray Hooray indeed. 25. North Mississippi AllStars - “See The Moon”: These guys have always drawn on the southern rock and blues they grew up on. The connection runs deeper on this album with the addition of Lamar Williams Jr, son of former Allman Brother Band bassist Lamar Williams. 26. Wilco - “Falling Apart” (Right Now): I’ve enjoyed all of Wilco’s sonic explorations over the years. but If I’m gonna be honest, I always loved their early alt country outings the most. 27. Reigning Sound - “Lonely Ghost”: This long running Memphis garage rock band broke up late last year…but they released this Dylanesque single early this year. So, have they “ghosted” us or not? Either way, it’s the final rattle of a hard working band at the end of the road, but going out defiantly.

28. John Doe - “Never Coming Back”: Former X-Man John Doe reminds us you can’t go home again in this dark, moody song with a memorable hook that will stick with you and your subconscious. 29. Valerie June - “Use Me”: No, not the classic Bill Withers tune, (it actually has the opposite sentiment), She has an idiosyncratic vocal style, but like Bill Withers, Valerie June is the real deal. 30. Deslondes - “Good To Go”: A charming world weary tale of hard luck and never giving up. 31. Billy Swan - “Don’t Be Cruel”: Season two of “Euphoria” opened with this haunting 1974 cover of the Elvis classic and it blew me away in much the same way the show does. I couldn't stop listening to it for weeks.

If you got this far...thanks for checking it all out. I appreciate you. Hope you all have a great holiday season and I look forward to seeing you in the new year. Peace, Doug

Los Angeles, December 2022

[sanctificetur]

plotting board.

jess x harry x heath.

#haruto ic. | shades of green ++ parramatta park.

jess walks into montmermil town square with her direwolf, eponine. tagged (gently woven with a thin transparent tangile string -- in which the string holds (not the actual ear) red tag, eponine. she wears her evenstar necklace united with purple necklace -- morning evenstar -- united lights guiding her in her life -- faith coming back to her that they will meet, and better sleep in long run -- less wandering of feeling eternally torn between consciousness and sleep, longing for salvation. there are white clouds of steamed rice currently cooking in deep reserve -- white feathers forming into unified solitude -- in fuzzy microcomputer (steamed cooker) horizon of twenty degrees sunny (check remaining dfort points of francis plotting). yet clouds not static in living high above the mountainous buildings -- above and below -- it sprinkles down like sakura snow like the scene in edwqard scissorhands with that girl dancing in snow/ same actress as joyce in stranger things : past and present uniting. she balked in the middle of the drawbridge, shook the rain off, and howled at the portcullis. its the sound of the river she fears. beasts know to avoid the river in flood. jess is impatient yet also understanding of eponine. there is a horse statue within the canopy of trees, called Glendower. there is only one horse eye side, looks white cloud blinded. spouting out water through shadowed crevices not confined to mouth or the foundation base it’s physically encased in. horse is speaking in thought and voice, which water represents. (emerson the horse ref: immediate twitter hearted) water of life is also elemented -- sprinkled like snow of the overall park, not just fountain or river -- desert water : dark and light pink uniting in difference and similarity but also gaarra/hinata -- red and purple. jay bird landing on flower or maybe the horse statue. exploring healthy re-development relation of hinata x neji) mention the candle flowers growing in park -- white pear and blossom smelling like sorbelene cream, tiny flowers : white petal, yellow centre, the green grass candle flower (sharp tang overwhelm if sniff too closely), and the one we have iin apartment bathroom now next to me for immediate reference : pink coconut and watermelon : light pink ; yet a darker shade than my pink jacket. ( i need to rename the flowers, because candle names describe the smell exactly! ) one flower called moonshine, another called byakugan (might change it a little so not too obvious and flower maybe elementing other aspects too).

watch internship portfolio video ++ illuminarte festival video again in new light. refer to the photos  im currently staring at too. and aligned dash pictures. tie haruto ic of countryside ++ francis city parra drabble / or could be the remainder of dot points of francis planning board = this parra park drawbridge photo.

oc base would be the bios, mainly the long ass cassian one which i weaved other charas

 internship. 

harrison pontmercy - joe cole. heath pontmercy ; brother to harrison -  james mcavoy. how relate ot marius? could be twin (ellai and nitid) elements of marius’ confused clarity!! jess thenardier - jessie mei li ++ ayami nakajo united varies in scene - as jess is not static only one fandom (uh how could this then rel to cassian?? maybe elements of cassian)

les miserables manga ++ peaky blinders unification bigger picture

internship portfolio video ref - WP.

catapult : jack savoretti.

refer back to thomas kinkade painting - concentrate on one painting as base setting - go back to select one : i think best to set it at hunter valley, gazebo, goosewing.

jesse pinkman fan edits / actual clip of him and walter talking / jesse x walter fmv.

fairfax foxes ref -- might look at heath’s fb album for photo timeline tagged photos -- refers more fantastically to the fox nikolai - in grisha books, fmv, *the story of the fox in language of thorns (pp. 50 - 78)

nikolai in beast form (could be the horse coming to life) astral project hurrying past me ; embarrassed of his nicheo’vya self ; yet also battling mind and body of wanting to scratch out microchip nestled in him - he sense something wrong digging into his subconscious. horse history: spell that made horse turn into statue. welsh king glendower. darkness of life shadowing horse into statue. yet statue is thawing. sudden movements ++ crash down relentlessly like when i talking on zoom and phone fall down on end of call. represents rose mirror falling down. nin o chithaeglir lasto beth daer. rimmo nin bruinen dan in ulaer. also refer queenstown for  base foundation structure ref : peter hollens arwen song. horse + the building represents the thing i propped up the phone on : placed next to computer/

trees with bare branches nestled in leaves whistling in the wind -- shadowing the light in swaying sync to the wind. suddenly! eighteen degrees clear. what would they do in park other than talk? not limited to only one meeting so not too much stress. because they do not have to go into explanatory overload -- because i already endured it beyond words -- my explanatory overload of already : i see what i can make use of. so they go to yum cha like restaurant parra phoenix where jess orders the gibbous moon dumpling ( picture on phone + staff) saved in library cabinet. and also bigger picture picnic! we eat parra phoenix stuff in picnic laying out blanket like amy x rory x doctor united as one of vincent van gogh. of the suburban landscape. even though need to be careful because ants crawl on blanket. maybe table gazebo shelter with blue ceiling stained glass transparent to allow natural weather to pierce through like that song by years and years : multi people united video of breathe. urban table in country park. (SECOND DRABBLE)

aspects of illuminarte festival maybe like shining yellow flower crown fairy lights illuminating in decoration like small bursts of lantern in the darkening night

photo of harrison in the park with family : check his album

bonfire heart - james blunt ref. uhh i have imagined hanging out with them again in my mind some time ago -- when i read what they up to with career in city & i looked up potential careers where they working at. uh just hanging out and chatting probably sitting near fountain in town square of digiland (parramatta real life ref) but not too close or water will spray everywhere (REF: the water spraying outside animal holding facility : spray art of cat and dog sign). cafe cerise (oliver brown ; it’s like cafe musain). ease of travel with parramatta station - parramatta  park bigger picture than the mini park just very near station.

maybe toolbox meeting could be like a fortnightly thing -- one day per fortnight -- but day not confined to specific -- because days could clash between someone in the Power of Three. imperfect solitude, not isolation. we are connecting as human to human, not by status. this would help me be more stable, yet we all treat each other better (including ourselves) while acknowledging we’re not perfect -- less doubting of reality -- like fmv refs  : cirilla and geralt in not just as child vs adult but we are child adults of human status -- reincarnation development the witcher s2 and a half : they teach each other to fight, not just geralt lighting cirilla on fire or in dune with that evil mage lighting paul atreides on fire -- instead it’s jessica and paul working together. but why fortnightly not just one. because people change and just one single burst of light within one’s life will not save us. need to arrange this bulleted stable into more solid stable para. ic + ooc mash up drabble of future development hope. like what WP post: castle hill development council building -- suburb + urban city uniting. actually after i arrange this whole thing, i tag them on a fb post o nmy own profile linking to this post -- solidly stable ic + ooc request : abstract basic premise && link to full text drabble.

being human us (aidan x josh) picture of them sitting on bench together (try to find on google as one of my first photos/wallpaper on my iphone 4 as i look at phone while on bus from high school to north rocks : friends staying), FMV’s

REF: Harrison’s FB video of him exercising and saying it’s ok not to be ok maybe??

oh also that clip of emerson the horse talking! i hearted it! relates to #haruto ic. with haruto x fiammetta at the ranch place. yet also the bigger picture group c ic i joined in digis roleplay event -- it was furry four-legged themed, strictly in event rules (this could have tied into raising more awareness of how animals feel ; re: microchipping ; but also to not judge disabled people so quick because they find it difficult to communicate straight away to another).

could also ref : the story in language of thorns : when the water sang fire? of ulla and signy -- which sounds like sigyn : aka my thread with whereherloyaltieslie my bias but also maybe look at her blog too (this is just random void stuff ; maybe drabble later of not strictly tied to harry x heath x jess)

--- 

they go to cabin in the woods of parra park forest (ref : goosewing cottage). yet without the annoying frogs tha tkeep one awake all night. play video game together like blazblue or bioshock infinite (multi-player -- maybe they can come over to bella cabin? (but issue with tv internet which is why i do netflix phone -- need to fix tv net ++ connection issue (and find console) with console. so multiplayer worry not so immediate - because it can just be me playing Bioshock infinite. where eponine is barely there ; she mains in parra. and i say the just hanging out to mum/dad : but not to eponine : and thety will not be as worried as eponine bc english language.

put some important other stuff in plotting board. also discussion on how to work out communication with me & eponine + parents, where i am the bridge of calm yet immediate progressive healing, with help from harrison and heath. probably just briefly talk about all the stress i endured OR maybe we also reference where we last met too : this is called talking human to human. Bella ++ Parra cabins++ outside to forest too.

another potential thing is talking about more heavy stuff in my bedroom with door closed / voice not too loud / bc we are calmly working through conflicts -- must be mindful of eponine. yet window open for breathing air. need to open light probably or the curtain on window.

cook meal together too. like what i cooked with stir-fry. cookbook i already have. or pie --  quiche aug 2019. but very yummy (dean winchester and pie relation). (maybe select one random recipe) other health issues.

getting a career outside stark’s stock. us talking and hanging out. mindful of spending so  i can live life ++ build up acct of possibly a small career role part time && still go to stark’s stock too (so unification of places + money). idk what career yet, but we just talk it through first. because they know im not one dimensional. like with robot resume apply : employer vs. potential employee. maybe practice scenarios of them as employer and with me as employee.

fmv refs  : cirilla and geralt in not just as child vs adult but we are child adults of human status -- reincarnation development the witcher s2 and a half : they teach each other to fight, not just geralt lighting cirilla on fire or in dune with that evil mage lighting paul atreides on fire -- instead it’s jessica x paul x chani working together.

could ne in generqal discussion elemented athelstan ic ++ sansa ic -- elemental old+new. athelstan ic recording OLD ++ one recording of NEW in voice memo. 

 ------

FUTURE OUTINGS:

JESS:

"career. can expand to other places in parra, not just park, yet not cabins. once weekly ; can vary in days.”

HARRISON:

"not everyone is evil ; yet we all have good and bad sides : called being human. when wilfred is smoking, unification of man and monster ++ pain and pleasure” maybe descrive his voice inpodcast. not sure how to descrive his voice, i bring along: video game + blazblue bioshock infinite : maybe at an small not noisy arcade like place  : maybe we book a quiet room with tv” TImezone for more general gaming : Level 4 Parra shopping centre [ 0.00 - 0.41 : Unleashing the power of the mind. ]

HEATH:

"we are working together through the trenches. bridge of healing suggestion working together for commuincaition with eponine and parents. maybe do karaoke singing at that karaoke place”

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#below : pinned #in mean time : 'like' posts. #board continually edited in progression : not urgent. #yet first drabble has a deadline of 29/08 MON morn at latest. #writing.

[dayas]

Y’all do NOT get it like… I will LOSE my MIND when 1989 TV comes out.

Like.

1989 was the first album I listened all the way through from start to finish. I’d heard all the foundational tracks from Speak Now, Debut (Taylor Swift), Red, and Fearless but I really connected with 1989 the most. This Love TV just reminded me of it and really hyped me up because this is my favorite album!!!!! IDGAF the tracks got me through it (cannot tell you how many times I sobbed to Clean), inspired a lot of writing (HYGTG & I Know Places were top tbh), began the true romantic/bad bitch era (SCREAMED the lyrics to Welcome to New York and Bad Blood and still do) and quite honestly, imprinted on my SOUL. It’s full of bops, but, as Tay always manages to be, heart-achingly real as well. Plus it accompanied the Haylor era which was a time in and of itself skjsjshsj

BUT ANYWAYS!!! Just SUPER SUPER SO PUMPED for the rerecordings and to jam out fully and get all excited all over again for my first TS spirit album 😂🥰✨

#taylor swift #1989 #1989 tv #k chats #in the current day and age this era still tops but lover and reputation complete the holy trinity and evermore cycles in every other weekend

[perpetual-fool]

Music?

In my blind writhing I've picked up guitar again. By 'guitar' I mean 'making music generally', entails means 'guitar + singing'. And it's making me feel a little better? which is very strange for a couple reasons.

Mainly, nothing should be making me feel any better. I've tried everything, there's nothing left. I thought. So I don't know what's going on. Speculating, it might feel like putting feelings to music gives it legitimacy. Like, she has a couple songs that sound like they're about what happened, except the events are completely flipped around. Like "..can't bear you to leave.." when she was the one who abandoned me. And the songs feel like hard proof that she's right and good and perfect and I'm lying and wrong and evil and crazy. So having my own as rebuttal would mean I'm not crazy?

But also, this should be extremely triggering. She's the root of this torment and this was very very much her thing. Professional musician, album on spotify, opened for a big famous band once (supposedly). And it's just not? I think, somehow, this never got contaminated. Like pretty much everything is like: I tried picking up card stacking, then when I told someone about it they it was inherently unethical because the national card stacking association supports a known hate group, and it doesn't make any sense but it leaves a bad taste in my mouth about the whole thing. Which is to say, pretty much everything has bad memories attached. And we just never got into it. I tried. I asked about how to go about writing songs or learning to sing and play. But the shit she told me was like "just do it" and "finish what you started". So she never told me anything about it, actually.

If I keep thinking about her the daymares are going to start up again.

So, music and stuff. As a bass, this is actually fairly complicated. The voice is going to be lead melody of course, would sound very strange otherwise. The problem is that the lowest notes are the foundation of the harmony. And with a single instrument or one that blends really well I can do some interesting stuff. Like, you can play a chord on guitar and keep moving the bass note down one fret, and that still sounds good. But with a different instrument it just sounds out of tune. And up in alto range you can sing/play whatever note you want and it'll sound right so long as it's in the same key. But me, if there's a chord happening anywhere in the low end, then I have to be singing one of those notes, else it sounds off. And singing arpeggios as a melody would be very limiting and strange, so what I'll have to do is rapidly change the chord to keep up with the melody.

Here's a video of that being done well: (https://youtu.be/TLvtw4nXou0?si=nQDI0QGqkjRJulKX)

I don't think this instrument is at all appropriate. I can't change chords that fast, even ignoring the screeching. I could maybe play fast and loose with dyads but the instrument really is optimized for fat six-string filler chords. And anything whose range overlaps mine significantly is going to sound very muddy or be very awkward to play around that. So what then? Bass wasn't totally off base, I could directly harmonize with that. Would be awkward. A chord instrument an octave or more above me would work, ukulele or something. I hate how those sound, not my thing. (https://youtu.be/Vqbk9cDX0l0?si=nYme3tApMTzFwSUG) So it seems like my best option is my first love, viola. I can make that work now. Also, my fingers are too fat for guitar, it's really hard to play. I'd be better off with something more like piccolo bass. Though I also don't have monster bass hands a la Justin Chancellor, so I guess I have cello-sized hands? And speaking of, bass would be more suitable for the kind of thing I'd want to play anyway. (https://youtu.be/ke6Qxkel8cU?si=NAM9FFFQ9haj1pYcl)

I want to hear what bass rock-voice sounds like. Like Chester but down an octave.

Anyway, running out of steam and the daymares are coming back. I should try and go to sleep. I don't hurt when I sleep. currently.