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charlie-rulerofhell · 3 years

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For they know exactly what they do

Today there was a pretty long article published in the German newspaper FAZ, written by Julia Schaaf. Since there were quite a few interesting topics raised in it and Måneskin talked about some new aspects (or in more detail), I translated the whole thing (it might also have helped me to procrastinate).

Full interview in English under the cut.

For they know exactly what they do

June 22, 2021

Four young rock musicians from Rome are today's hottest band. Måneskin are enchanting Europe. Why? We met them for an interview.

Every romance needs its founding myth, an anecdote from the beginning, something you can tell later in more difficult times for self-assurance.

In the case of the band Måneskin, who first had Italy and now half of Europe wrapped around their fingers, and who are now trying to conquer the rest of the world with their rock music, there is the story of the shoe box. Rome, around five years ago: Four teenagers who are meeting every day after school in their rehearsal room to make music together, and sometimes they play their songs on the Via del Corso in the city centre in front of a changing audience. One day they want to record their own stuff. They find a studio that they can actually afford and as they go there they bring a shoe box, with the name of the band written on it, 'moonshine' in Danish, the bassist's mother is Danish. In the box: around seven kilogram of coins. The things you get from playing music on the streets. Everyone searching through Instagram for photos from that time can find four hippies with children's faces, three boys in batik, the girl is wearing a straw hat.

As they have to pay [for the recording], frontman Damiano David, 22, says that there was this guy, Angelo, and his bandmate Victoria De Angelis, 21, is interrupting: “No, Andrea, not Angelo”, and all of them have to laugh because a rigid studio manager with the Italian name 'angel' would be even funnier for a founding myth. David continues his story: “The guy was completely dumbfounded. 'We can't do that.' We went: 'Sure we can, that's worth the same even if it's just 20 cent coins, it's still 300 euros.” Thomas Raggi, 20, the guitarist of the band, is gasping for air as he laughs, while drummer Ethan Torchio, 20, is smiling dreamily. David finishes: “And then we snuck off before he was able to count it.” [the German text says 'verdrücken' here which is just a colloquial way of saying 'we left', but it entails some sort of a dramatic exit, so yeah, let your thoughts get creative how they left exactly :D].

Four young musicians on the verge of global fame are sitting on a white interview sofa in Berlin, completely styled, babbling across each other like overeager teenagers.

Ever since the Roman band first won the music festival Sanremo and then also the Eurovision Song Contest, carried by the enthusiasm of European viewers, you could say Måneskin has become a phenomenon. “Rock 'n' Roll never dies!”, Damiano David yelled fueled by the adrenaline of winning, and the insinuation that circulated on social media of the singer snorting during the counting of votes in front of a live camera – including their strict denial followed by a negative drug test result – might have given an additional boost to their public interest, their exploding album, ticket and merch sales, and their outstanding success on Spotify.

“We think it's a shit prejudice against rock music that there always have to be drugs involved. We fully threw ourselves into our participation with the utmost professionalism. We give everything for the music. So of course we don't want people to think that we can only do that because we take drugs.” – Victoria De Angelis

Prior to Eurovision, Måneskin was more of an insider's tip outside of Italy. Handmade rock music, not creating something entirely new but paying homage to the good old times with classic guitar riffs and cracking drum beats, being a lot of fun but also quite fragile and vulnerable at times and, first and foremost, conveying a captivating energy. Finally, on the stage of Rotterdam, live after so many months of isolation and renunciation, this wave of energy spilled straight over into European living rooms. It seemed easy to (mistakenly) interpret the winning song “Zitti e buoni” (Shut up and behave) as a declaration of frustration of our youth in times of a pandemic. In fact, singer Damiano David is singing about the favourite topic of the band: the unrelenting need to, against all odds, be yourself, despite or perhaps because you are different. The message fits their provocative sex appeal, which the band uses to demonstrate their independence of gender norms at any given time. But the core essence of rock music has always been the promise of unlimited freedom.

Thus at the first moment, the meeting with Måneskin is kind of startling. It's Wednesday, we are in the top floor of the new Sony head quarters in Berlin. The four Italians have just started their two-week long promotion tour through Europe. In the afternoon there will be a live concert in a queer club [the SchwuZ, but that's not mentioned here] in Neukölln, which will be streamed via TikTok. Around one million viewers will watch the show, some of them even from Brazil, so people at Sony are pretty excited [for Måneskin to come here]. But at first, these stunningly gorgeous creatures [yes, that's the exact wording :D] are standing surrounded by an entourage of people – their management, PR team, a stylist, a photographer, people who can hold a smartphone or a cigarette if needed [this paragraph is worded a little weirdly, especially taking into account that basically their whole team / 'entourage' is just friends of them, but it seems like the journalist didn't know that or maybe they just wanted to describe their first impression]. They seem like fictional / artificial characters out of a Hollywood movie. Transparent frill blouses with blazers and flared leather trousers, even the platform boots, everything brand-new, the makeup makes their faces look like a glossy magazine cover even in person. The smokey eyes of De Angelis and Raggi make them look smug and bored. Later, on the pictures it will probably look cool.

So of course your first impression might be: This band is under contract to industry giant Sony ever since their success on an Italian casting show [X Factor] in Winter 2017. The music industry must have its hand in the game when a band is photographed half-naked by Oliviero Toscani and styled by Etro. Also, one does not simply rent a villa with a pool in Rome to produce new music there, isolated from the rest of the world. And who else went to London for two whole months, shortly before the winter lockdown, just for inspiration? After the TikTok concert in Berlin – De Angelis and David are now wearing fishnet shirts that sparkle with every move, their bare nipples covered with an X of black tape – the band is posing with a few influencers. In the world of social media you would call that 'producing content'. But what does that mean for a band who are preaching their hosanna of authenticity? How authentic is Måneskin? And is their pointedly casual approach to sexuality and gender cliches in today's pop-cultural spirit more than a marketing strategy?

We're in the interview, the recording device is running for not even five minutes, when Victoria De Angelis says: “Actually, we just try to be ourselves and do what we really want to do.” And really: The more you listen to those four how they speak about the early days of the band in their slurred Roman dialect, about the shoe box and their own experiences with being different, but most importantly about their shared obsession [with music], the more you realise that [De Angelis] is very serious. Ethan Torchio, who got his first drum kit at the age of six or seven from his father because he was beating everything he could reach, says: “For me, music is like food. I cannot live without it.” The bassist next to him laughs at his pathos. Singer Damiano David applauds the otherwise more reserved friend for his truthfulness [it says 'klarer Punkt', meaning 'for the point he makes', but it makes it seem like Damiano is agreeing with Ethan here, although it doesn't indicate whether he agrees that yes, music is everything for Ethan or that he understands and feels the same].

De Angelis and guitarist Raggi already knew each other from middle school and they were the ones who tried to form a band at the age of only 13, a band that actually took music seriously.

De Angelis: “It's just difficult at that age to find other people who really put everything into music and who truly commit themselves and are willing to invest a lot of their time.”

Raggi: “We set strict rules and scheduled fixed times for the rehearsals, for every day.”

David: “Fever, stomach ache, there was no excuse. Even if you were feeling sick in the rehearsal room. At least you were in the rehearsal room.”

The way the four of them talk across each other, completing each other's sentences, taking turns in talking and sometimes joking about each other, seems intimate and playful. Singer David remembers how at first bassist [De Angelis] was merciless towards him when it came to her first metal band project, as she told him that he wasn't committed enough [to the music]: “Back then I was still playing Basketball. I was one of the people that Vic absolutely didn't want [in her band].” Drummer Torchio was later discovered through Facebook, even though there had already been a drummer, a close friend, but he was not good enough. It seems as if even back then music was everything for them. Even if it meant that only Raggi managed to graduate.

And why rock, why rock music of all things? Because it's great, the four of them say in unison. David adds: “Actually, it's a genre that allows you to do everything you want to do.”

When they played on the street, they were laughed at by their classmates. But not only there. De Angelis explains that she never wanted to be a typical girl: “I was always deterred by those stupid boxes that people put you in, and that are just restricting and constraining you, because something is only regarded as male or female. I always rejected that. Instead, I just wanted to do the things I enjoyed doing, I went skating and played football.” Torchio says: “Friends who are not friends anymore were already telling me at the age of ten that those“ – he grabs his long, silky black hair – “were wrong. Because I'm a boy and boys are meant to have short hair, long hair is only for girls. I was bullied a lot for that.”

“Compared to the past, people in our age became much more open-minded. It gets better.” – Thomas Raggi

Frontman David on the other hand, for whom eye shadow, jingling earrings and nail polish as well as his bare torso with the tattoos have become trademarks by now, says: “I was actually more of the average boy.” De Angelis convinced him to try out some eyeliner, which he describes as a spiritual awakening: “I liked myself much more [with makeup]. I saw myself more as myself. As if it had been a suppressed desire of mine.” On a trip to Copenhagen with the others, when he realised that it really didn't matter what people were thinking about him, he got his first fake fur [coat? the article doesn't specify that] in a second-hand shop and let his clothing style be guided by his own love to experiment: “I realised that my whole life I was just going at half speed.” When it comes to diversity all four of them are becoming almost missionary.

At the same time, their success is not only opening doors for them. Back home in Rome they are barely able to go out on the street due to all the paparazzi. “[You need a] hoodie and huge sunglasses”, David says, “the mask is quite helpful, too.” And still, none of them is complaining, and Torchio explains why: “Even if those experiences right now may have sides that are not so pleasant, we still know that for us a dream is coming true. We experience something that we always had in our minds, so we are willing to face every consequence that this entails.”

So is the band facing difficult times, is Måneskin going to change with all the success? Again, all of them answer at the same time.

David: “I'm not worried about that.”

Raggi: “No way!”

De Angelis: “On the contrary. Everything that happened to us happened because we are who we are, so we want to continue the exact same way and stay ourselves.”

Just a few hours later, they are at the stage in Neukölln, bouncing around like pinballs, hammering at their instruments, flirting with each other. “We are out of our minds, but different from the others”, David sings their winning hymn against conformism, and: “The people talk, unfortunately they talk.” Here on stage, the four paradise birds [a German word describing someone with a flamboyant personality] with their half-nude-glittering outfits are radiating an incredible energy with the utmost sincerity, and you begin to wish there was a live audience instead of the TikTok cameras, absorbing and spreading this energy. Måneskin. A cry for a life after the pandemic, a cry for freedom and a better world.

“We do what we wished for all our lives.” – Ethan Torchio

#måneskin #maneskin #måneskin interview #my stuff #i'm sorry if someone already translated it but i was working on this for the past 3 hours now so i'm still gonna share it #i know most of it is not very new but there were some quite interesting details in there #and it's just always great to read about those four dorks so i wanted to share it with all of you who wanted to read it but couldn't #enjoy and please ignore any possible mistakes i didn't have the time to proof-check everything

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creativeashproductions · 3 years

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Curiosity // Luke Patterson

Summary: After filling up another journal designed his songbook Luke is left empty handed. With the offer to a shelf of blanket journals is given he’s immediately choosing. But Luke’s curiosity leads him to a discovery. In other words Luke finds Perfect Harmony in Reader’s bedroom.

Requested: Yes by @averyharrypotterlife

Warnings: None.

Words: 1.7 (including lyrics)

A/N: Thank you from the bottom of my heart for the 5000+ followers whether it was years ago and you didn’t unfollow or in the future. Thank you for enjoying and interacting in something I’ve always loved: writing.

TO BE TAGGED SEND AN INBOX PLEASE!

Masterlist

Luke’s always been a curious person going as far back as his early childhood. The most consistent evidence being during the Christmas holidays. Until he was ten, yes, he’s aware that his friends stopped believing in Santa way earlier. The young lad would stay up hidden in the living room waiting to catch Santa. Without fail, Luke would wake up in his outer space planet sheets having fallen asleep in his mission.

When he was twelve years old, he was left at his aunt and uncle’s house for the weekend due to a work-related thing. His older cousin was eighteen at the time and at college, so Luke stayed in his bedroom. Luke couldn’t help but snoop through Bryan’s personal items, and in a drawer with a false bottom, he discovered magazines.

Luke had a lot of fun that weekend diligently going through the magazines his mother would skin his hide even knowing about them. He may have had to use the excuse of having a cold for the entire box of Kleenex missing. No one was the wiser on that weekend.

Now when Luke was fourteen years old, he had snuck into the Rated R film Candyman with Alex and Reggie. Luke’s parents had been strict in their rules and definitely had shot down the question of seeing the film. The three didn’t sleep with the lights out for a month after that, and the truth came out when no lie was sufficient to their concerned parents.

Luke Patterson didn’t care about boundaries. Why ask for permission when you can just ask for forgiveness? It worked with going through Julie’s dream box, but all personal items got hidden from the ghostly guitarist.

“No!” Luke exclaimed flipping through his song journal once more in hopes of a blank page. The frustration in his body snapping the pencil he had been using.

“You good?” You questioned glancing up from the essay you graded as a teacher’s assistant for an AP course. Luke’s frustrated brown met yours with a cute pout on his lips.

“I’ve filled my journal up. I hate using loose-leaf, but no money means no buying things.” Luke roughly scrubbed one hand on his face.

“You could always just forever borrow one from the- “Luke quickly shot that down with a look of absolute horror, “Okay…so stealing a no.”

“I did listen to my parents on certain aspects. I would never steal anything, other than the food when we didn’t have enough cash.” Luke’s brown hue had softened back into the hazel that caused flutters in your heart, “I have no respect for thieves.”

You nodded before scribbling a suggestion on the paper in dark red, “I have a shelf in my room dedicated solely to blank journals. If you want to, you can take one free of charge.”

With a quick smile, Luke disappeared from the room to your personal domain he sometimes hung out with you in. You had no misgivings on the teen finding solace in your room and gave him free rein; your prized possessions hidden very well.

Luke appeared in the soft blue and lilac bedroom with the queen white iron wrought style bed in the middle. A white desk in the corner with a multitude of bookcases and shelves in the room. The desk chair neatly pushed into the desk as well he went straight to the shelf.

Journals of all colours and styles with a label on the shelf noting them as empty. It was packed with dozens, but it was the midnight blue one that called to the boy. In his reach, he bumped an emerald green one off the edge. It opened having hit the edge of the desk.

As he leaned down, he noticed notations in the margins, now remember how Luke is a curious guy? He only hesitated a second before he was reading the pages of words in your signature script.

The guilt flared for a second before he justified it as being on the shelf you declared free game. So Luke settled sitting criss-cross against the side of your bed reading the words so eloquently written. Even notes allowed Luke to hear the melody in his mind.

Assignment: Write a piece of literature from two points of views. Genre doesn’t matter as long as it is a minimum of one page and not exceed eight.

Step into my world

Bittersweet love story ’bout a girl

Shook me to the core

Voice like an angel

I’ve never heard before

The words took his breath away, recalling a moment he gushed to Alex on how he had caught you singing. He had described your voice as being angelic, and it took him by complete surprise. He remembered Julie, and you entered the room shortly after with a nervous feeling if you had heard. Now Luke had his answer. His phantom heart pounded in anticipation for the reply to this first point of view.

Here in front of me

They’re shining so much brighter

Than I have ever seen

Life can be so mean

But when he goes, I know he doesn’t leave

The smile threatened to split his face with the elation as he continued reading with a subconscious hum. His fingers tapping the sides of the paper as his hazel irises tinged green ate up the words.

The truth is finally breaking through

Two worlds collide when I’m with you

Our voices rise and soar so high

We come to life when we’re

In perfect harmony

Whoa-oa-oa, whoa-oa-oa

Perfect harmony

Whoa-oa-oa, whoa-oa-oa

Perfect harmony

The world faded as Luke distinctly heard your angelic voice singing the parts he could easily recognize as perfect for you. There was something so powerful in this incredibly personal song only intended for your eyes and your teachers.

The next handful of lines left him breathless and astonished as he visualized not sitting across from each other. But engaging in another art form that can be so incredibly intimate for people; he imagined singing this while holding you in his arms.

You set me free

You and me together is more than chemistry

Love me as I am

I’ll hold your music here inside my hands

We say we’re friends, we play pretend

You’re more to me, we’re everything

Our voices rise and soar so high

We come to life when we’re

In perfect harmony

Whoa-oa-oa, whoa-oa-oa

Perfect harmony

Whoa-oa-oa, whoa-oa-oa

Perfect harmony

Luke went from humming to softly singing to the heartfelt tune with a flutter of butterflies deep in his stomach. When Julie saw Unsaid Emily, he had denied it as an experiment, and it was the truth. Luke wrote rock anthems and rock-pop with his living friend. He never dabbled into romantic ones.

He’d never read something so poetically beautiful it felt him weeping at the sheer amount of feelings.

I feel your rhythm in my heart

Yeah yeah yeah

You are my brightest burning star

Whoah whoah oh

I never knew a love so real (so real)

We’re heaven on earth

Melody and words

When we’re together we’re

In perfect harmony

Whoa-oa-oa, whoa-oa-oa

Perfect harmony

Whoa-oa-oa, whoa-oa-oa

We say we’re friends (we play pretend)

You’re more to me (we create)

Perfect harmony

His eyes found the last line of the song setting him back in a dead silence returning to the start to reread it. On his third read, he found the notes from your teacher on a separate page.

Y/N, in my years of teaching, I’ve never read something with such meaning behind it. The longing, passion, respect and love you artfully encapsulated is rare. To have written, this means you’ve felt this. No corrects needed, and I felt compelled to not mark on the piece. Thank you for being vulnerable with me, for letting me step inside your mind and please never let this emotion fade.

Your grade is A+.

Luke’s lips pulled apart at the genuine words your teacher had written because it indeed was a word of art. Carefully Luke returned the notebook back to the shelf to retrieve the blue one that caught his attention. AS he turned, he found you leaning against the door frame with a soft smile.

“I am so sor-“

“No.” You replied, walking into the room, “You’ve got nothing to be sorry for. I told you any notebook on that shelf. I can’t get mad, and I’ve seen you can’t leave something half-read.”

“Probably why my book reports were insanely well done in school.” Luke joked as you stepped in his personal space. The tension faded from his shoulders as he took in your features, “You got a perfect grade.”

“I did.” You simply spoke, staring up into his eyes, “You helped me with it.”

“How?”

“You told Alex what you felt about my voice. You looked nervous when I walked in, so I let it go. It wasn’t the time to bring it up. It’s called Perfect Harmony.” You told the ghost gently grazing your fingertips on his hand. The feeling sends shudders down his spine.

“I guess it just wasn’t the right time. With the band and-“

“-the whole soul owning thing. Too much but now that you’ve read that…what do you feel?” You hesitantly asked because reading it and discovering how someone feels is another to if the feelings are reciprocated back.

“That I was always meant to live in 2020. That I was meant to love you with every atom in my very being.” Luke murmured before he crashed his lips onto your own in a searing kiss that had your toe-curling.

The midnight blue journal dropped to the floor as his large calloused hands cupped your face to feel the warmth. The very journal would be filled with songs all about this person, Luke adored not matter his state as a ghost. Two worlds collided just as two souls came together in perfect harmony.

So, wrapped up in each other Luke didn’t notice something magical encased in the warm love. In the bedroom, the two teens were kissing in had two distinct heartbeats with a glow emanating from Luke Patterson.

Tag List (PLEASE SEND AN INBOX TO BE ADDED! I CANNOT GUARANTEE YOU WILL BE ON THE LIST VIA POST COMMENTS!)

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#luke patterson imagines #luke patterson x reader #julie and the phantoms imagines #charlie gillespie imagines #julie and the phantoms #luke patterson #caitsy and ash productions

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volleychumps · 3 years

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bro im am: in love with literally everything you put out and i've had this probably really specific, self-indulgent request and am highkey scared it'll flop because not much can relate but it's been living in my mind rent free: remember that one episode where hinata talks to a classmate, saying how it'd be cool to have a band cheer for the vball team?? Well, it gave me an idea, so how about boys of your choice with a musically adept s/o?? she's part of the school band which frequently performs in tournament matches to cheer. her talent made her pretty well-known, though fame can attract both good and bad people—what happens when a guy from the opposing team gets a little too friendly? headcanons or scenarios is also up to you, and feel free to make s/o a crush instead (they aren't dating yet) if that makes the writing process more flexible! thank you so much, and have a lovely day/night!

VolleyBoys with a Crush on Singer S/O

~ when you come and perform at one of their games in order to give school spirit, you’re approached by someone from another team because of your talent, leaving some less than happy boys

format: scenarios

genre: fluff

- includes: Suna, Semi, and Matsukawa

Warning(s): slight cursing, possessive volleyboys

Playing with some characters I’ve never really wrote for before, let me know how I do!

~~~~~~~~~~~~~~~~~~~~~~~~~~

Suna (main vocals)

“You’re staring.”

“Go give your attention to someone who cares.” Suna’s lazy tone was a bit more snipped than usual as the cheers from the crowd finally died down, irritation evident in his tone as Atsumu smirks. The dark-haired blocker could pretend to be as uncaring as he wanted, but his tone gave him away.

“Mad Y/N’s getting all the attention?”

“Nah, he’s pissed because he can’t hog her all to himself anymore.”

Suna rolled his eyes, Osamu merely shrugging alongside his brother as the three towel off in the middle of a break point for Inarizaki’s school band to make their performance. He hated that he loved seeing you up there, a light sheen of sweat on your forehead from the performance, your hair tied back with a wide smile on your face-

he hated seeing everyone see you.

“Yeah, so how’s that going for you? How are you two not dating yet-”

“Kita-san, I think Atsumu and Osamu have questions about the play.” Suna cupped his mouth as the twins stiffen. The dark haired spiker waved mockingly goodbye as his teammates were snatched by the collars, focusing his attention to what he had orginally been quietly watching. He tilted his head as you struggled to open the top of your water bottle, peering at it with a pout before he scoffs, beginning to walk-

“Need help, sweetheart?”

Suna stopped.

You blinked, eyes widening as Kuroo Tetsurou easily twisted the cap off, handing it back to you with a naturally sly grin. He reaches a hand to the back of his neck as you smile in thanks, tilting the water back.

“So the kitty can sing?”

“Kitty?!” You choked on your water, noting his school colors before flushing. Why on earth was the Nekoma team captain flirting with the lead singer of the school band for Inarizaki?

“I’m guessing you liked that.” Kuroo chuckles, patting your back in a more-than-friendly manner as you continue to cough, and your bandmates whistle, pretending not to notice the attractive captain’s advances.

“Untrue. Don’t you have a game to play or something?” There’s no malicious intent behind your words, so Kuroo’s grin turns into a soft smirk as he begins to lean a little closer-

“Gross. You’re all sweaty.”

A towel is pressed to your face, Suna unfazed as you complain against the material. You feel the back of your head touch his chest as Suna pulls you into him with the towel pressed on your face, sharp eyes narrowing ever so slightly as Kuroo’s feral ones remain amused.

“Looks like this kitten is domesticated.”

You break free for a second, popping out of the towel successfully. “I’m not a kitten!”

“Sure, kitten.” Kuroo winks at you again, beginning to walk off before sparing a glance to Suna, nodding once in amusement. You remain distracted, spinning on your heel to face your friend in embarrassment and confusion.

“Why would you-?!”

“Hey.” Suna tilts his head, dull eyes staring into yours as you find it a little harder to swallow.

“What?”

He bends down to your height, flicking the tip of your nose as you begin to protest-

“Good performance. Come meet me after I rock this cat’s ass in this match, yeah?” His palm is warm on top of your head as you find yourself nodding stupidly as he brushes past you to a smiley Atsumu, sharp eyes searching for Kuroo Tetsurou.

“So how’s it going?”

“Go to hell, Atsumu.”

“Is he blushing, Osamu?”

“Yep.”

Semi (Guitarist)

“Out of your league.”

“I literally haven’t said anything.” Semi shoots back at the redhead, and Tendou grins as he also watches your jogging-away figure as you head back for the stage. A scarlet bandana was now tied around your wrist, Semi’s eyes darting everywhere as Tendou’s grin turns sinister.

“Oh? Y/N-chan, will you wear my bandana so I can brand you? I’m begging-!”

“Do you want to punch him or should I?” Semi snips, and Goshiki slowly stops Shirabu from raising his hand as Ushijima props one eye open at the situation from his concentration.

“Why’d you give it to her then?” Taichi asks, genuinely interested as you bop your head to the final song atop the stage, fingering the strings of your guitar with a small smile at your new goodluck charm.

“Are you kidding me? Those two are always joined at the hip, I knew one of them was in love with the other.” Shibraru doesn’t miss a beat as Ojiro chuckles, having noticed that as well. Semi scoffs over the music, as if that were the craziest thing in the world.

“Y/N L/N? As if.”

“Have fun convincing yourself.” Ushijima closes his eyes again just as the song ends, and Semi’s cheeks begin to flare up as he grabs his hair in frustration, an annoying pounding in his chest.

“Well, don’t take too long now.” Tendou sings, looking at an entertaining sight. “If you don’t want Y/N, do you think the pretty boy from Fukurodani wants her?”

Semi stalls, thinking Tendou was playing another one of his mind games before looking as well, mouth drying at the sight.

Akaashi Keiji had offered you a hand as you propped your guitar, making your way off the stage easier as you had seemed worried about getting down before.

The setter’s throat tightened as you accepted, a smile tickling your cheeks as Akaashi helps you off the stage in a gentlemanly manner. You stumble slightly, giggling as Akaashi fondly steadies you by the waist, complimenting you on your performance.

“I could never do that, L/N-san. You’re very talented.”

“It’s really nothing...”

Semi felt it then. Too used to watching from so far away, yet always close enough to keep you in view.

But you stood close to him. Mere minutes before, excited gleam in your eye as he tied the bandana around your wrist, and you had locked eyes with him. It was only for a few moments, calloused fingers almost inching towards his-

“Y/N. I give you this crap and you don’t even use it?” Semi was annoyed, dark eyes flaring as he bounds over to the two of you as you blink in confusion, his teammates watching the spectacle with slight interest. You flush as Semi’s eyes harden in the direction of Akaashi, who’s head tilts slightly.

“What-?”

“Shut it. I’ll do it if you won’t, why’d you even ask?” Semi clicks his tongue as he unties the bandana, pooling your hair into a makeshift knot before barely glancing at the blue-eyed setter, focusing his attention on your hair as he stakes his claim.

“Something you needed with our band captain?”

“Nope. Just glad to have been of some aid. Then...” He nodded to you, but Semi could see the slight disappointment in his eyes underneath the cool atmosphere Akaashi held up as he walked onto the opposite side of the court.

“...Sorry Semi.”

“For what?” Semi questioned, feeling the embarassment beginning to creep up on him, heat tickling his cheeks as he watches you shuffle a bit from the proximity. He felt you shiver once his fingers accidentally grazed the back of his neck, causing Semi’s voice to get caught in his throat.

“Not using your bandana correctly...” You mumbled, the tips of your ears turning pink as Semi watches in bewilderment. A lilt tickled the edge of his lips as he finished tying the scarlet material, leaning down from behind you so his forehead touched your shoulder as if he were exhausted. You tensed up before relaxing, enjoying his touch.

“Don’t worry about it.”

Matsukawa (drummer)

“How far do you think I can go to piss off your little fanboys?”

“Why are you even over here?”

“Moral support, princess.” Matsukawa grinned into his water bottle as you half-heartedly help him wipe the sweat gathered at his neck, your friend flicking off Hanamaki and Oikawa in the distance as they make romantic gestures with their hands as they go unnoticed by you.

“You look like you’re dead tired and it’s only halfway through the game.” You note, handing him back the towel as Matsukawa grins, leaning a little closer to you from his spot next to you on the edge of the stage.

“Careful, you might make me think you care about me.”

“Of course I do.” You don’t miss a beat, already distracted with slipping your drumsticks out of your pocket. Matsukawa’s jaw slackens a little as you get up, nudging him with your foot to get off before shooting him an easy smile.

“We’re friends, aren’t we? Even though you’re kind of an asshole.”

The brunette recovers quickly, Matsukawa smirking as he slips off the stage as you settle back into your drumset.

“You love me, princess.”

“Yeah yeah, go swat a volleyball around.” Your tone is teasing as your bandmates begin to fall back into place, and Matsukawa mockingly salutes you before walking back to his team, ignoring the involuntary replaying of your words in his head.

Of course I do.

He was oddly quiet as Hanamaki teased him, watching as your band fell into a beautiful rhythm led by your hands. Agitation grew in his stomach as it mixed with his stupid crush on you, wanting nothing more than to let all your little fans to become severely disappointed because of him.

Matsukawa Issei was a very possessive man, but it was an underlying kind of possessive. The kind of posessive where he silently protected you from those who were attracted by your talent and style, or the kindness in your smile or witty comebacks-

“Uh, Matsukawa?”

“I don’t give a fuck if you think you’re going to be the best man at mine and Y/N’s nonexistent wedding-”

“No.” Hanamaki grinned, jutting his head in your direction. Matsukawa didn’t even realize the song had ended, watching as Atsumu Miya had picked up your hand, bringing it up to his lips flirtatiously as you stared wide-eyed as if you had busted a fuse.

“Yep. My bad, there will be no wedding.” Hanamaki clasps his shoulder, not realizing the impact of his teasing words. “Because Atsumu Miya’s gonna get her first if you don’t step up your game, bro.”

But Matsukawa didn’t reply with some witty comeback, still watching as Atsumu brushed a strand of hair behind your ear. He didn’t like it. The embarrassed look on your face, the awkward smile on your lips, the laugh in your throat- all caused by someone who wasn’t him.

“How about ya show me how to play those drums sometimes?” Atsumu had taken a step closer, and your fists had clenched as you felt yourself at a loss for words. You had opened your mouth to reply, but all that slipped out was a yelp.

Matsukawa easily threw you over his shoulder, grinning relaxedly at Atsumu who’s flirtatious grin had digressed back to a flat line. You knocked on Matsukawa’s back with embarrassment in your stomach, but the brunette made no move to put you down.

“Sorry, I’m her agent. She’s gotta go meet with her fans.”

“Issei!”

He ignored your chants to put you down as Oikawa and Hanamaki slowly clap as he brushes past them and out the gym doors, a pounding in his ears.

“Why are you doing this?” You question, now in an empty hallway as you hear Matsukawa scoff, still not answering your question as he continues to walk with you slung over his shoulder.

“Issei.”

“I told you I wanted to piss of your fanboys, didn’t I?”

“Tell me the truth!” You raised your voice just as he put you down, and Matsukawa looks at you for a second, your back hitting the wall as he towers over you.

“What?” Your voice was smaller now, feeling like you’ve shrunk under your friend’s serious gaze that was usually anything but. Matsukawa’s hand touches the area above your head, leaning into you so your noses are barely brushing.

“Tell me, princess. Do you still want the truth even if it ruins our friendship?”

--------------------------------------------------------------------------------------

General works: @takemetovalhalla @kasandrafaye @savemesteeb @dreebbles @yams046 @let-me-have-my-own-name @deadontheinsidebut @lifeisntjustblackandwhite @curiouslilbeast @aprettyfruit @wisepandaslimeland @h0ngh0ngh0ng @lmkjimin @orangegiraffe7 @dai-tsukki-desu @kac-chowsballs @spikertrash @yamaguwuchi @lord-suneater-explosion @nekomawhore @holaaaf@babyybokutoakaashi @lexysclubhouse

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soundsof71 · 3 years

Photo

FIVE ALBUMS YOU NEED IN YOUR LIFE RIGHT NOW!!!

aka, My Top 5 of 2020, but I didn’t want to seem too retro!

Yep, I have a classic rock blog. Yep, I think that the best rock and roll in history is being made RIGHT NOW. And yep, ALL of it is being made by women.

(Shown at top, Nova Twins by Ant Adams [x] and The Tissues by Michael Espleta [x]. I was planning to make a collage of all my faves in concert, but not all of them were able to play in 2020. Both of these photos are pre-pandemic.)

There’s been quite a bit of movement on this list, and all five of these have spent some time at Number 1 as the year has done (gestures broadly) All This™. Anyone looking for rock and roll is going to dig any of these.

Rocking out is just the start of it, though. Wrestling with my bipolarity and schizophrenia is tough on a good day, and there haven’t been too many of those lately. The plague has also taken its toll around me, with two family members dead and a third who’s doing better, but will likely never be all the way back. (Mask up, kids!)

I’ve written plenty about how deeply Taylor Swift and Phoebe Bridgers have moved me this year (and will do so again), but in those rare stretches where I’ve had enough spare energy to listen to music at all these days, I’ve mostly been looking for more than beautiful music. Heavy times need heavy lifting, and I find that in heavy music.

The five albums here have all helped carry me, pointing the way toward light.

1) BULLY, SUGAREGG

Alicia Bognanno is a force of nature as a guitarist, vocalist, composer, and producer/engineer. (While working on her degree in audio engineering at MTSU, she interned with Steve Albini, who remains both a fan and an admirer). A Nashville transplant from Minnesota, she’s still a natural fit in her home on Sub Pop: as heavy as Soundgarden, as hooky as Sleater-Kinney.

I was blown away hearing her searing honesty while working through her discoveries of her bisexuality and bipolarity (double bi!), and her triumphant roar lifts me out of my seat every time I listen.

“She sings the hell out of [these songs], her voice fraying to the point of combustion every time she launches to the top of her range. This is phenomenal music for converting anger and anxiety into unbound joy.” ~Stereogum, Album of the Week

Also, check this fantastic interview with Alicia in the New York Times talking about what she’s gone through to get here.

TURN IT UP!

youtube

2) GANSER, LOOK AT THAT SKY

Ganser syndrome is a rare dissociative disorder characterized by nonsensical or wrong answers to questions and other dissociative symptoms such as fugue, amnesia or conversion disorder, often with visual pseudohallucinations and a decreased state of consciousness. ~Wikipedia #it me

‘Just Look At That Sky’ doesn’t presume to offer solutions; it’s an honest document of what it feels like to wade through anxiety, day by day, not a survival guide or handbook of answers none of us actually have. Whether or not you pay attention to this, Ganser are simply one of the most invigorating, exciting new bands. ~Clashmusic

I saw one very positive review compare Ganser to a cross between Fugazi and Sonic Youth, but I think they hit much, much harder than either of those. And as you can surely guess, I also deeply relate to their themes of mental illness and dissociation while trying to make it through All This™. But my god, are they TIGHT. This is a BAND.

Ganser has two fantastic lead vocalists, and on “Bad Form”, bassist/vocalist Alicia Gaines wrote the song for the voice of keyboardist/vocalist Nadia Garofolo. Alicia also wrote a FANTASTIC essay on the strains that making an album during a pandemic puts on the mental health of the entire band at talkhouse: “Writing, recording, reaching out, balancing relationships outside and within the band, I found (and still find) myself under-rested and agitated to no particular end. More than not doing enough, I was not enough.”

(If you can’t relate to that, I can’t relate to you, tbh.)

This video also does a fantastic job of showing dissociation. TURN IT UP!

youtube

3) THE TISSUES, BLUE FILM

“Blue Film” is a ten-song shot of dagger-twisting electro-(s)punk. It’s completely addictive from the very first listen. The tour de force is “Rear Window”, an art-punk masterpiece of slashing guitars and mad caterwauling. Copious doses of jaunty poetics and social commentary reward the earlooker patient enough to untangle Kristine Nevrose’s hysterical meowing about intergalactic salt shakers and hysterectomies, but I’m too emotionally invested to look under the hood.” ~ Sputnik Music

“Rear Window” is in fact my most-played 2020 track. TURN IT UP!

youtube

4) GUM COUNTRY, SOMEWHERE

It’s not all heavy! But even when I’m looking for something light and hooky, I need a bite, and Gum Country has done it with the kind of swirly, feeedback-laden wall of sound that Lush or Yo La Tengo would make if they lived in LA. (Recent transplants to SoCal from Vancouver, I do think that the sunshine has gone straight to their heads, in the very best way.)

Indie music nerds will know guitarist/composer/singer/front woman Courtney Garvin from The Courtneys, and she really does throw up a glorious wall of sound. I adore this video too! Sweet, swinging, fun -- and yes, the drummer is playing keyboard with one hand while slapping the skins with the other!

I mentioned earlier that all five of these albums have spent part of the year at #1 on my list -- I think that this one might have spent the longest stretch there. Like all shoegaze, even as hooky as this, the truth of these songs is revealed in VOLUME. TURN IT UP!

youtube

5) NOVA TWINS, WHO ARE THE GIRLS?

Now, THIS is heavy! Amy Lee (vocals, guitar) and Georgia South (bass) are fucking LOUD, and insanely intense. A mix of grime, hip-hop, metal, punk, and good old rock and roll, they’re a harder-hitting, more theatrical Prodigy, with a pyre of intensity that recalls the heaviest howls of Rage Against The Machine. Indeed, Nova Twins spent a good bit of 2019 playing heavy metal festivals and toured as openers for Prophets of Rage. (Tom Morello has been a fan and supporter from the beginning.)

As you may have noted in the photo at the top of this post, their musical audacity extends to visuals too: they design their own clothes, hair, and makeup, they art direct their own videos, and more. They impress the hell out of me, and I’ve been a huge fan since hearing their first singles in 2018. I’ll plant a flag and say that Georgia South in particular is the most innovative musician on any instrument in any genre right now, but they’re both absolutely monsters.

I’m honestly not at all sure that #5 is high enough for this, but I’m absolutely certain that after this video, you’re gonna need to rest for a little. LOL

“Taxi” is the story of two gleefully and creatively violent women shaking up the local crime syndicate as they use a vintage cab for their moving murder scene. This is the movie that Robert Rodriguez wishes he was making with Sin City, if it were combined with Blade Runner and The Matrix. And gangsters. And a snake.

I’m gonna take your crown I’m gonna, I’m gonna bleed you out We demand it by the hour We devour, control, power

I’m gonna burn it down Even the, even the royals bow

So not the same kind of therapeutic work being explored on this rekkid, but you know what? Fucking shit up is therapeutic too!

Definitely take this full screen, and for the love of fuck, TURN IT UP!

youtube

SO. Not done with the best of 2020 yet? I’m sure not! A lot of my favorite songs aren’t on albums (at least not yet), so for an unedited list of everything I’m finding, check out my Spotify list, 2020: Shuffle This List! 268 songs and counting, over 15 hours, and not finished yet. I’m still checking out everyone else’s Best of lists (including yours! Message me links to yours!!!), so will probably be adding to this for most of 2021, too.

And for more banging tracks by women from 2020, plus a few 2019 gems that I’m still grooving to, check out my more thoroughly curated Spotify playlist Women Bangers: A Tumblr New Classics Jam. (You’ll see a couple of these tracks there!) I’m working on a YouTube playlist and an essay to properly roll that one out. I’m also still tweaking the ending, but the three dozen or so tunes there are definitely bangin’.

Tell me if you hear anything you dig here, and tell me what YOU’VE found! We’re gonna get through this together.

Yr pal, Timmy

#me #new classics #classic rock #women in rock #best of 2020 #bully #ganser #the tissues #gum country #nova twins #essay #youtube #punk rock #punk

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luke-patterson-owns-my-soul · 3 years

Text

The Interview: Part One

Title: The Interview - A Luke x Reader One Shot

Words: 3,177

Summary: Y/N gets to interview Sunset Curve when they finally go on tour near where she lives.

TW: None

Author’s notes: Ok… the interview part is kind of inspired by a glorious evening when myself and a friend got to interview our favourite band just before a gig. I was much clumsier that Y/N and made a complete fool of myself on more than one occasion, but it seemed to have worked because they loved the interview – or so they told us.

I hope you like it. I’m not 100% with it, but didn’t want to drag it out for the hell of it. This is set in the UK, so spellings may be a little different.

(credit @nikascott)

The first time you heard Now or Never, you knew there was something special about Sunset Curve. Their lyrics and the beats of their pop rock tracks made you feel amazing and you couldn’t help but dance every time you heard them.

You spent all your time online anyway, so you decided to set up a Sunset Curve fan account. You didn’t expect much to come out of it due to bein in the UK while they were based in the US. But you religiously shared photos of the guys, wrote funny articles about them after speaking to people who’d been to their shows. Shared credited photos from gigs which soon got you respect from the fans and you began to build up a following.

You managed to fit running the account single handed, fitting it in between being at university studying for your degree in media and working part time. You’re not in it for the recognition, you just want to show your appreciation for a band you love.

Your best friend, Carrie, doesn’t get it. She doesn’t understand how you can spend so much time expelling energy on four guys you’re never going to meet, but she indulges you because you also run one for her band, Dirty Candi. Your friend and the rest of her group are insanely talented, and even though they’re not a genre you tend to listen to, you support them because that’s what friends do.

It’s been a year since you’d first heard Now or Never and since you set up the account. You’ve amassed over ten thousand followers, most of whom are also in the UK, when you get your first band member follow. Bobby Wilson, the rhythm guitarist likes a post you shared about him and promptly follows you. You get constant likes from him and sometimes the odd comment. Your followers go insane but you manage to keep calm, ish.

The second follow is Alex, the drummer. This time you do go a bit crazy, because he’s adorable and you can’t help be a little in love with him.

It takes less than a day after Alex’s follow before the bassist, Reggie to follow you and send your notifications into overdrive by commenting on a ton of posts. You scream into a pillow on your bed because it’s 2 a.m. and you don’t want to wake Carrie up.

The one follow you’re waiting for doesn’t come. Luke Patterson, the lead singer and your favourite member hasn’t joined his bandmates, and while you never expected it, you’re more than a little upset by the fact.

“Honey, he’s like a Rockstar. He’s got more important things to do than follow fan accounts online.” Carrie was right, but it still stung a bit.

“I know, but…”

“Y/N, sweetie. I adore you, but you need to let it go. I don’t want you working yourself up over this, please. Why don’t we have a girlie night, just the two of us? We’ll watch cheesy films, eat junk food, and sing bad karaoke. No phones.”

“I love you, do you know that?” I told her.

“How could you not?” She flicked her pastel pink hair over her shoulder with a laugh before going to prepare snacks while I got the lounge ready for an evening of lazing around.

:: ::

Halfway through The Greatest Showman, Carrie falls asleep, so after you cover her over with a blanket, you pull your phone out of the box she hid it in and scroll through social media.

|Hey, @SunsetCurveFansUK did you see this??

Included in the message is a link to the official Sunset Curve account. You click on it and there’s a note from the band. Announcing a UK tour. You begin to hyperventilate as you try and prevent yourself from screaming out loud, but it doesn’t work and you let out a loud squeak, waking Carrie up.

“What’s wrong? Y/N, are you okay?” She sounds worried, so you shove your phone at her, unable to speak. “Oh, wow. This is cool. Start saving because I know you’re gonna want to go to every show.”

“Yes, yes I will.” Getting to your feet, you do a crazy dance around the small lounge of your apartment, making Carrie laugh. You only realise at the last minute that she’s recording you. “Don’t you dare post that online.” You warn her.

“Too late, sweetie. It’s already on my story and I tagged the band.”

“I hate you. Worst friend ever, I think I’ll advertise for a new one.” You grumble, making her laugh as you settle down on the couch to catch up on everything you’ve missed online.

:: ::

When tickets go on sale, you’re disappointed they guys are only doing four dates in the UK, but you buy yourself a ticket to all of them. Sadly, they don’t offer up any VIP tickets because they’re running contests for fans to win them for each show. Their tour manager, Trevor – who also happens to Bobby’s dad – has messaged your account asking if you’d like the opportunity to interview the band as a thank you for all the work you’d put into promoting them.

“Oh my God, Y/N. You’re gonna meet the band, your favourite band.” Carrie is grinning, happy for you as you stare at the message on your phone screen in disbelief. “Are you going to reply?”

“I… er… what is going on?” You stare over at your best friend who’s grinning widely at you. “This is a joke, right? Someone’s pulling the ultimate prank on me, aren’t they?”

“Y/N, look. For over a year, you’ve been pimping out those guys like crazy. You’ve increased their fan base here, which has made them want to tour here, and now they’re offering you this amazing opportunity. Take it and run with it, You deserve it.”

At her words, you reopen the message and reply to Trevor, saying you’d be honoured to do the interview. Then you freak out.

:: ::

The night of the first show and you’re hovering outside the venue waiting for Trevor to come and meet you once the guys finish their sound check. You can faintly hear the strains of Now or Never, and you get goosebumps. Thankful you’re nowhere near where the queue to get in is growing longer and longer, you start to pace outside the door. It suddenly opens outwards, making you jump, and Trevor’s head appears before behind it.

“Y/N?”

“Yeah, hi.” You hold out a hand for him to shake, surprising him and yourself with how composed your voice sounds. He shakes your hand and then motions for you to enter the venue.

“Great to meet you. The guys all love your account.”

“That’s amazing to hear.” You make conversation as you follow Trevor through a maze of narrow corridors.

“Are you ready?” He asks as you approach a closed door. You can’t help but hesitate, making him look back at you in worry. “Hey, are you gonna be okay?”

“Yeah, it’s all just a bit… overwhelming.”

“Look, they’re great guys, as normal as they come. There’s no need to feel nervous around them.” He smiles at you and pushes open the door, gesturing for you to enter. “Guys, this is Y/N from the UK fan account. Go easy on her, okay?” Once you’re fully inside the room, Trevor leaves and closes the door behind you.

“Hey,” Reggie speaks first as they all stand up. You shake hands and instantly feel at ease. “We all love your account, it’s very honest.” He’s clearly referring to your review of their last album where you openly said you weren’t a huge fan of a couple of the songs. It was an integrity you were determined to have on the account. You didn’t want to be seen as the type to blow smoke up their asses just because you were a fan.

“Thanks. I love running it. It keeps me busy and out of trouble, apparently.” You laugh as you pull a fold-up tripod out of your bag and set it up to record the guys for your account. “Do you mind if I film the interview?”

“Go ahead.” Alex waves his hand for you to continue. Once you’re set up, you pull out your journal with your questions written in.

“Hey, Luke. That looks like your journal.” Bobby comments, making the lead singer smile. So far, he hasn’t said much and it’s putting you on edge. Especially as he’s the only band member who hasn’t followed your account. Maybe he hates what you’ve done online. Trying to ignore the doubt, you press record on the video and start to ask the questions.

“My final two questions were submitted as part of a contest I put out to my followers. First up from Ellie is ‘if you could give the others a tattoo, what would it be and where?” As you’d hoped, the response to this question is all four of them bursting into laughter as Reggie’s face lights up.

“I pick Luke and would definitely get my face across his back.” You laugh at his enthusiasm. “Maybe if I get him drunk enough, I could at least get my name somewhere.

“Dude, there is no way I will ever have your name, any of your names, tattooed on me.” Luke grinned at them. “I’d probably get Bobby a dick, on his forehead. Just because it would be hilarious.”

You know Bobby is known as a bit of a womaniser and you’ve heard rumblings in the fandom that he’s slept with fans after shows, but you keep quiet as the guys laugh. Bobby picks a rainbow for Alex and Alex picks a cowboy hat for Reggie.

“Okay, the final question is from Sarah and her son Henry. ‘If the zombie apocalypse hit, who would be the first to die.”

“Reggie.” Three out of the four spoke in unison making the bassist pout and you laugh.

“But, we’d try our best to save him.” Alex pipes up, smiling at his friend. “We’d at least try to stick together, but if it’s a choice between me and them, I’m picking me every time.”

“That’s me finished,” you stop the recording. “Thank you for taking the time out of your busy day to sit with me. I really appreciate it.”

All four guys reassure you it’s been their pleasure and that they enjoyed the interview which pleases you as it took you almost six weeks to think of questions that they hadn’t been asked hundreds of times before.

“I’ll leave you guys to get ready for the show. I need a drink.” You stand after packing everything away and move toward the door to leave.

“Hey, Y/N.” Reggie’s voice calling your name makes you turn back to face them. “We put together a little goodie bag of merch for you as a thank you for all the work you’ve done in helping promote us here in the UK.”

“Oh, you didn’t need to do that.” You’re blown away and speechless. “I do it because I enjoy it.”

“And it keeps you out of trouble?” Bobby winks at you. Unsure how to react, you smile a little, positive it looks more like a grimace. You take the overflowing bag and clutch it in your hand.

“Hey, we need a selfie.” Alex says, pulling his phone out of his pocket. You suddenly find yourself between him and Luke, Alex’s arm slung over your shoulder and Luke’s hand resting on your waist. All you can feel is the head from his hand as you look at the camera Alex is holding out in front of you. Once he’s done, you take a deep breath, inhaling the aroma of Luke before stepping away.

Another round of thank yous and you leave the room and close the door behind you. Then realise you have no idea which way to go.

“Hey, you okay?” Luke’s voice makes you jump.

“Yeah, I just can’t remember the way out.” You’re embarrassed to admit, but you have to meet up with Carrie in the queue. She’d finally agreed to come to at least one of the shows with you, but only one.

“It’s a bit of a maze, here’ I’ll show you the way.” Luke falls into step beside you, his shoulder brushing yours in the narrow space.

“Thanks, you don’t need to do that.”

“It’s no problem, I’m on a drink run for the guys anyway, and the bar’s this way.” He shrugged, his shoulder once again brushing against yours.

“Well, thanks again. And for doing the interview, I hope it wasn’t too much of a chore.”

“Nah, it was fun. I’ll admit, I wasn’t sure what it was gonna be like at first, but you had some great questions.”

Silence fell and you start to feel awkward walking through the venue with a guy you’d crushed on from afar for well over a year. Eventually, the maze of corridors opened out into an area you recognised.

“Well, I guess I’ll see you later, at the show I mean.” You feel like a complete idiot.

“Yeah, it should be a great show.” You give Luke a small wave and make your way towards the door where a member of the security gets ready to let you out.

“Y/N?” Luke calls out. You turn to look at him. “Do you want a drink?”

Stunned, you kind of freeze to the spot you’re standing in. After a moment, Luke mumbles something and turns to walk away.

“That would be great.” You call out, knowing Carrie would kill you if you said no. You return to Luke’s side and follow him into the space that would soon be filled with fans. The stage was set up with their instruments and you can’t help the shiver of excitement that goes through you.

“Are you cold?” Luke asks.

“No, I just had a chill.” Before you finish speaking, he’s pulled off the flannel shirt he’s wearing and handing it to you. “Honestly, there’s no need. I’ll be fine.”

“Y/N, take the damn shirt. It’s cold in here and you’re in a tank top.” He insists with a laugh.

“God, you’re pushy.” You snap at him playfully as you take the shirt and slide it on. It’s still warm from him wearing it and you resist the urge to bury your nose in it.

“What do you want to drink?”

“Just a beer is fine.” You pull some money out of your purse, but he waves it away as he hands over a card to the bartender.

As you take a sip of cold beer, your phone chirps with Carrie’s ringtone.

“Sorry, I have to take this.” You pull your phone out as Luke asks the bar tender to take three of the bottles to the rest of the band. “Hello?”

“Where are you? The doors are opening soon.” Carrie’s voice is almost drown out by the noise around her.

“I’m just finishing up, I’ll be out soon.”

“Was Luke as dreamy as-”

“I’ll be out as soon as I can. Bye.” You cut her off, worried Luke will hear her question and shove your phone away again. “Sorry, my friend’s in the queue. I really should get out there.”

“Oh, yeah. Sure.” You go to put your almost full bottle of beer on the bar. “Take that with you. You can’t waste good beer.” You laugh and slide the bottle into the sleeve of Luke’s shirt to hide it from the security staff as the two of you walk over to the door. “Hey, it was nice to meet you.”

“Yeah, you too.” The two of you lock eyes for a few minutes before you remember Carrie. “I… I better go. Break a leg tonight.”

Before he can answer, you’re outside with the door slamming closed behind you. You take a deep breath to try and calm your racing heart as you walk around the building to find Carrie.

:: ::

“Where did that come from?” She asks, pointing to the shirt, as soon as you join her. You look around to make sure no one’s listening. You don’t want to be overheard.

“It’s Luke’s.” You whisper, laughing as her eyes widen in shock. Even more when you pull the bottle of beer out from the sleeve and take a long drink from it.

“When we get inside, you are telling me everything. But especially how you came out of an interview with the lead singer’s clothes on.”

Before you can answer, a cheer goes up near the front of the queue as the doors open and security begin letting the fans in.

Slowly, as tickets are checked, the queue moves forward and you’re finally at the front. The security guy recognises you and gives you a smile as he lets you and Carrie inside.

The first stop is the cloakroom so you can check in your bag and the goodie bag the guys gave you after the interview. Then Carrie drags you to the bar and starts pumping you for answers.

“How did the interview go? What took so long? Why did you come out wearing Luke’s shirt and carrying a beer?”

“Woah, slow down.” You order a couple of shots for the two of you from the bartender who served Luke earlier. He waves away your money, explaining you’ve been added to the bar tab the guys have running to your surprise and Carrie’s giggles. “The interview went really well. The guys responded so well to my questions and I took a selfie with them. Oh, shit. The photo’s on Alex’s phone.”

“Oh, really?” Carrie raises an eyebrow at you.

“Do you want me to tell you or not?” You move away from the bar so no one can overhear you. When you’re certain you have some privacy, you fill her in on what happened after the interview ended.

“Holy shit, Y/N/ I think you’re in with a chance there.”

“Carrie, no. He’s a bonafide Rockstar, who lives like thousands of miles away. I’m a student from London. Don’t get carried away. He was just being friendly.”

“Oh, sure. Because all rockstars offer their shirts to fans and buy them a beer.” She looks at you, a weird look in her eye as she orders another round of drinks. Out of the corner of your eye, you see Trevor the tour manager walking toward you.

“Hey, Y/N. I was asked to give you this.” He hands you a slip of paper before melting away through the crowd toward the stage.

“What is it?” Carrie askes as you unfold it. Written in the hardest writing you’ve ever had to decipher is,

Meet me backstage after the show? Luke.

You don’t know what to think, but Carrie crows like a damn rooster, attracting attention from other fans around you.

“Just being friendly, huh?” She hip bumps you, “I’m coming with you to the other shows, I need to see this unfold with my very own eyes.

Read Part Two here

#jatp #jatp fic #luke patterson #Luke x Reader #one shot #fanfiction #orginal character #bobby #reggie #ales #carrie #Mich writes fic

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newmusickarl · 3 years

Video

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Album & EP Recommendations

My word, the music world has well and truly spoiled us this week!

The past seven days has seen a colossal avalanche of new releases, so much so I’ve barely had chance to keep up with it all. Although this is not the full list of everything from the past seven days, here are the 16 (yes, 16!) new releases I’ve enjoyed the most this week.

As there is so much to get through the rundowns are (mostly) a bit shorter than normal and there is no single Album of the Week, instead I simply recommend checking out whichever album or track sounds most appealing depending on your preferred taste.

So without further ado then, here’s what’s good:

Californian Soil by London Grammar

It’s been four years since the release of London Grammar’s last record Truth Is A Beautiful Thing - an album that I enjoyed, but I’ll admit also left me feeling somewhat underwhelmed coming off the back of their incredible breakout debut, If You Wait. As it turns out, the band themselves were also having a tough time around that period, with front woman Hannah Reid in particular battling relentless industry sexism, as well as the persistent physical pain caused by her fibromyalgia condition. With this being the case, it is amazing that the young indie-pop trio have made it to their third album at all, let alone delivering what is their best work to date.

Opening on a grand, string-drenched Intro, the record soon morphs into the sun-soaked guitars and soaring orchestration of the album’s glorious title track. It marks an early highlight as Reid catches the audience up with the tribulations of the last few years – “I left my soul on Californian soil.” From there the album doesn’t really let up as the band move through a series of career-defining tracks – the gorgeous contemporary groove of Missing, the dance-influenced How Does It Feel, the chilled-out ambience of the dreamy Baby, It’s You and the sublime, stripped-back closer America.

However, the album’s strongest moment comes when Reid confronts music industry sexism head on with defiant anthem Lord It’s A Feeling. Beginning with some twinkly xylophone, before evolving into an atmospheric synth-laced backdrop where Reid pulls no punches:

“I saw the way you made her feel, like she should be somebody else,

I know you think the stars align for you and not for her as well,

I undеrstand, I can admit that I have felt those things mysеlf”

The cutting lyrics against some blinding quiet rave instrumentation leaves quite the impression, as does this sterling record in general. After a slight misstep, London Grammar have well and truly rediscovered themselves and they have honestly never sounded better – a truly incredible album.

If You Could Have It All Again by Low Island

Oxford electo-pop outfit Low Island are another band that have defied expectations to get to this point. This, their debut album, was not recorded in a professional music studio – in fact, the vocals were recorded in a bedroom cupboard of all places. The band themselves don’t even have a manager or a record label. In every sense of the word, they are a truly independent band. For a self-financed, self-produced effort, If You Could Have It All Again is a quite remarkable first outing.

From melodic, uplifting opener Hey Man, the record quickly jumps into spoken word electro punk banger What Do You Stand For, featuring acid-drenched synths and a dancefloor-ready groove. Fans of FIFA 21 will recall Don’t Let the Light In, with the glitchy pulse of recent single Who’s Having the Greatest Time also standing out. That said, it’s the smooth, infectious sway of I Do It For You that still pulls me in the most.

Having followed the band since their early EPs, I’ve been rooting for Low Island for a while now and this is one debut album I was highly anticipating this year. Safe to say, my expectations have been met – this is a fantastic, accomplished record, which leaves me eager to see where they go next.

The Greatest Mistake Of My Life by Holding Absence

There was a time when the difficult second album used to be a thing, but listening to the sophomore effort from Welsh rock band Holding Absence this week, I’m really not sure that exists anymore. After a dramatic and impressive self-titled debut two years ago, the band have wasted little time taking things up a notch, with this new album cinematic and masterfully produced from beginning to end.

From standout singalong anthems like Afterlife and In Circles, to the album’s epic seven-minute penultimate track Mourning Song, The Greatest Mistake of My Life shows a band pushing themselves and driving forward with ambition at every opportunity. In a year packed with outstanding rock and metal albums already, this is most definitely another one you can add onto that list. Soaring, impressive and demanding of repeat listens.

We Forgot We Were Dreaming by Saint Raymond

It’s been six long years since Nottingham-born singer-songwriter Callum Burrows, AKA Saint Raymond, released his debut album. However it seems the time away has been well spent as this long-awaited follow-up finds Burrows in fine form, with this album packed to the brim with catchy, glossily produced indie-pop anthems.

From the brilliant title track that opens the record, to the bouncy riffs of Right Way Round, Talk and Solid Gold, to more subdued and heartfelt moments like Only You, this album will have you smiling, singing your heart out and dancing your troubles away.

Flu Game by AJ Tracey

AJ Tracey may have only been three years old when Michael Jordan was winning NBA championships with the Chicago Bulls, but that hasn’t stopped him making a record influenced by the legendary icon and his famous 1997 Flu Game. Like many others including myself, grime superstar AJ Tracey spent lockdown watching the brilliant The Last Dance documentary, and this record weirdly works as a fantastic unofficial companion, but also just a great summer rap record.

McCartney III Imagined by Paul McCartney

Even if like me you completely missed Sir Paul McCartney’s 2020 album McCartney III, it’s well worth checking out this reimagining, where he has called on the help of some of his famous musician pals. This is a real who’s who line up of guest features including Beck, Khurangbin, St. Vincent, Blood Orange, Phoebe Bridgers, Damon Albarn, Josh Homme, Anderson .Paak and more, making for quite a fascinating mix of sounds and styles.

Moratorium (Broadcasts from The Interruption) by Enter Shikari

And finally on the albums front this week, genre-benders Enter Shikari have released a brilliant compilation of all their lockdown live performances, headlined by an incredible string-tinged acoustic version of The Dreamer’s Hotel and a beautifully stripped-back “At Home” rendition of Live Outside.

Tracks of the Week

Introvert by Little Simz

Wow, wow and wow again. Still fairly fresh off the back of her masterful, Mercury Prize nominated third album Grey Area, this week British rapper Little Simz released the first taste of her next record in the form of this epic and triumphant opening track. At six minutes in length, this majestic and operatic political anthem aims to grab the listener by the collar and shake them awake. Without a doubt, one of the best songs of the year so far, the powerful video for which you can view above.

Smile by Wolf Alice

The second taste of their forthcoming album Blue Weekend, Smile continues Wolf Alice’s pattern for alternating Loud/Soft releases, with this one featuring buzzy guitars, punky vocals and a hypnotic chorus melody.

Beautiful Beaches by James

Although written off the back of the California wildfires that impacted front man Tim Booth’s local community, the lyrics on the band’s latest anthem purposefully offer a dual meaning, giving hope to those dreaming of a post-lockdown getaway and fresh start.

He Said She Said by CHVRCHES

The Scottish trio made their much-anticipated return this week, with Lauren Mayberry also sharing her experiences of sexism on this arena-ready synth-pop banger.

Matty Healy by Georgia Twinn

Georgia Twinn delivers an infectiously catchy break-up anthem, inspired by an ex-boyfriend, who’s most interesting feature was supposedly looking like the 1975 frontman.

Kill It by Vukovi

Underground Scottish rock outfit Vukovi’s new single is so good, they even managed to get KILL IT trending over the weekend of its release. Masterfully produced with big bold riffs and trancey synths, this one just sounds huge.

Can’t Carry On by Gruff Rhys

The latest solo single from the former Super Furry Animals frontman is a stunning, super-melodic tune with an instant chorus you’ll be singing before the track has even finished its first play.

Ceremony by Deftones

One of the highlights off their last album Ohms, the nu-metal rockers have now delivered a cinematic new video directed by horror legend Leigh Whannell. Check it out!

Chasing Birds by Foo Fighters

And finally this week, Dave Grohl and company released a trippy new animated video for this Medicine At Midnight cut to help celebrate 420 in their own unique way. Again, well worth a watch!

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lovejustforaday · 3 years

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Sonic Youth Albums Ranked (Part 1)

There are few indie/alternative bands that I’d argue are as challenging and engaging, or as formative as Sonic Youth.

From their early days as a radical no wave project, to their mid-career as a hard-hitting noise rock band, to their later years as a mellow indie band with prickly guitar tones, Sonic Youth has reinvented the concept of both the guitar and rock music in general again and again. They’ve probably made at least fifty or so never-before-heard noises with their instruments. Combining these sounds with lyrics that regularly explore disillusionment, nihilism, social transgression, pop culture, feminism, abstract thought, underground scenes, and outsider art — it’s safe to say that Sonic Youth have always gone against the grain.

The members of Sonic Youth are obviously all musicians, but they have also been iconoclasts, satirists, and poets throughout their careers, creating music that demolishes both the conventions of rock as well as the social pretensions of the conservative American lifestyle.

Each member of the main lineup contributes something fundamental to the band:

-Guitarist/vocalist/de-facto leader Thurston Moore, the no-fucks-given anti-rock star icon and visionary (albeit he’s kind of a smug twerp these days)

-Bassist/guitarist/vocalist Kim Gordon, the reserved but sharp-witted feminist and multi-disciplinary artist

-Guitarist/sometimes vocalist Lee Ranaldo, the revolutionary master of bizarre guitar tunings

-Drummer Steve Shelley, whose soft and shy demeanor masks a deliverer of precise, high-speed rhythmic anarchy

I could go on and gush about this band forever, but I’ve decided to settle for writing a big nerdy list all about how I feel each Sonic Youth album holds up when ranked. With 15 proper records in total, there is a lot to digest. Likewise, I highly encourage you if you haven’t already to go listen to some of these LPs for yourself and formulate your own opinions about one of the most fascinating bands to have ever existed. This list is really just my two cents.

Note: we will be focusing on the 15 full-length studio albums recorded under the name “Sonic Youth”. This list does not include the s/t debut EP, nor does it include the “Whitey Album” or the SYR series since those are best understood as separate side projects. This list is going to be long enough as it is anyway.

15. Rather Ripped (2006)

Main Genres: Indie Rock, Alternative Rock

A decent sampling of: Noise Rock

From any other band, this is a perfectly decent album with a few nice, gratifying guitar tones here and there. But as a Sonic Youth album, Rather Ripped sounds like the band is on auto-pilot. This is the band’s only album that to my ears sounds like it could’ve been written by any number of other alternative rock bands at the time. It just lacks a certain essential edge that their music usually has.

It really doesn’t help the case for this record that Thurston Moore began having an affair at this point in the career, and it is disgustingly present in the lyrics in hindsight, with the offensively titled “Sleeping Around” and possibly even “Incinerate” both probably taking inspiration from his dirty little secret.

I usually separate art from the artist to a certain degree, but in this case it really does kill part of the experience, because I can’t help but feel that Thurston is having a stupid little giggle to himself by hiding his affair in plain sight and it’s really just kind of pathetic. Kim Gordon is my favourite member of the band, and to me she’s the epitome of an extremely cool person, which only makes the whole thing worse. Seriously, quit bragging old man.

Speaking of “Incinerate”, I can confidently say that I think this is the band’s most overrated song. Certainly not their worst, but I really can’t fathom how so many people consistently put this up there with “Schizophrenia” or “The Diamond Sea” as one of Sonic Youth’s top five songs when it’s honestly just so...by the numbers.

That being said, Rather Ripped is not ‘bad’ per se, it’s mostly just that it really lacks something the band usually has, which makes the project feel a little soulless. Still, the record has its better moments. “Pink Stream” is rather ethereal sounding, which is pretty rare in the band’s discography given their usual penchant for the bombastic and ear-shattering, or the ominous and unsettling. “Turquoise Boy” is also a nice mellow track that probably could’ve fit in quite well as one of many solid tracks on A Thousand Leaves, albeit most of those tracks would still trounce this one.

Rather Ripped is all-around competent; it’s a pretty consistent listen and a decent enough beginner-level Sonic Youth album in terms of accessibility. But there’s just nothing about this album that really grabs me like literally any of their other LPs. There’s almost none of the band’s personality on this record (save perhaps Thurston’s inflated ego). Perhaps it is best to call it their “least interesting” album instead of their “worst”. Honestly, you could just skip this one and you probably wouldn’t miss much.

6/10

highlights: “Pink Stream”, “Turquoise Boy”

14. The Eternal (2009)

Main Genres: Indie Rock, Alternative Rock

A decent sampling of: Noise Rock

The Eternal is the last LP Sonic Youth put out as a band. With context, the record has somewhat of a somber feeling. Even its name ‘The Eternal’ seems to suggest that the band might’ve known that it would be their last record, as if the album could be at least partially a reflection on the band’s legacy that will eventually go on to outlive each member.

The band really does sound a little burnt out at multiple points on this record, particularly in terms of Thurston’s vocals which can be best described as sounding ‘exhausted’. Again, like Rather Ripped, the music is certainly competent and enjoyable, but it’s also noticeably less adventurous than on earlier LPs. The album is also a bit more sluggish than most of the band’s past work, feeling just about as long as Daydream Nation or Washing Machine despite being well over 10 minutes shorter than either of those LPs.

I’ll be perfectly honest: if it weren’t for “Massage The History”, this record probably wouldn’t be all that much better than Rather Ripped. Kim Gordon gets to have the very last words on the record with this grim and cryptic requiem about hers and Thurston’s relationship, indicating that she was at least partially aware at the time that the two of them were growing apart.

This would be the last album Sonic Youth put out before Kim became fully aware of Thurston’s affair with a younger woman, leading to her divorce and the band’s inevitable breakup. The song is honestly kind of painful to listen to for that reason, but it is also tragically and morbidly beautiful. “Massage The History” is chronologically the last track in the entire Sonic Youth discography which stretches across 15 LPs over the course of three decades, and it’s a very worthy swan song for the band, if also a bitter reminder that most things cannot last.

“Malibu Gas Station” is another standout, a nocturnal alternative rock jam that sounds very much like a track from the Sister-Daydream Nation-Goo era, and yet another example of Kim Gordon’s capabilities as a member of the band. Really, Kim basically carries this entire LP on her shoulders in terms of the lyrics and vocals.

Nevertheless, I like this record for what it represents if nothing else, and I would still say that it is a level above Rather Ripped thanks to the album closer, and more on par with the next couple of albums on this list. However, I would never recommend that anyone start their Sonic Youth journey with this LP. You can listen to their discography in just about any order you want to, but I’d highly recommend that you save this one for last. The Eternal is a mostly bittersweet experience that is best appreciated after hearing the rest of the band’s output.

7/10

highlights: “Massage The History”, “Malibu Gas Station”

13. Experimental Jet Set, Trash, And No Star (1994)

Main Genres: Noise Rock, Alternative Rock

A decent sampling of: Experimental Rock, Post-Punk

Experimental Jet Set, Trash, And No Star came right after the modest commercial success of Goo and Dirty, and I think you can hear on this LP that the band is reacting to that success by trying to resharpen some of the edges that were smoothed out by Butch Vig’s production on Dirty. Basically, this sounds rather like Dirty but less put-together, less consistent, and a lot more raw.

I appreciate that they wanted to do their own thing and challenge expectations again, and you can really tell that the band is mostly playing around on this record, but in this case I gotta say that the songwriting seems to suffer a little because of that.

The album starts off promising enough with two major highlights. First, there’s a rare acoustic offering with the lo-fi opener “Winner’s Blues”, the first of many tracks that would appear on later Sonic Youth LPs proving that Thurston’s vocals can actually be quite soothing. Then there’s the winding, topsy-turvy patterns of “Bull In The Heather” where lyrically Kim mocks the infantilization of women in her usual snarky, sing-talking fashion. Later on the record, there’s also “Bone” which has a very sinister, bluesy swagger to it that I really enjoy.

But everything else from here on out is kind of a mixed bag. The main setback really seems to be the track lengths; it’s actually pretty weird for a Sonic Youth album at this point in the band’s career to be full of songs that are mostly only two or three minutes long like they are on Experimental Jet Set, Trash, and No Star. That’s not inherently bad of course, but a lot of these tracks really only sound like ‘parts’ of a Sonic Youth song; some really good ideas, but largely underdeveloped.

Take “Starfield Road” for example, which takes a whole minute to build up this really cool and bizarre turbulent sound storm, and then Thurston starts singing over it for a couple of bars until it all sorta just stops abruptly. This track could work in theory if it was structured differently. “Mildred Pierce” off of Goo does something similar, but with that track there’s pay off at the end with the sudden wicked, destructive breakdown which catches you off guard, but here there’s simply no pay off for the listener.

Combine the lack of complete songwriting with the fact that this is actually one of the longest tracklistings on any Sonic Youth album at 14 tracks, and you get an album that feels like it’s bloated with lots of filler. Mind you, there’s still a lot of great little moments on this LP, but very few of them come together to make great songs. It’s an excellent sampler of just how many different ways Sonic Youth can play with a riff or make weird new static noises, but with regards to songwriting, Experimental Jet Set, Trash, and No Star feels more like a collection of demo tapes than a proper album. Still, there’s some cool energy on this record and I’d say it’s a worthwhile listen for any diehard fan.

7/10

highlights: “Bull In The Heather”, “Bone”, “Winner’s Blues”

12. NYC Ghosts & Flowers (2000)

Main Genres: Experimental Rock, Noise Rock, Art Rock

A decent sampling of: Post-Rock, Art Punk, Beat Poetry, No Wave

This is a good example of why we can’t have nice things. Somewhere between A Thousand Leaves and this record, Sonic Youth had most of their gear stolen by some jackass, which effectively meant pressing a hard reset button on the band’s sound for at least one album.

Likewise, a lot of people say that this is their worst record, and yeah I get why those people feel that way, but I actually like NYC Ghosts & Flowers for the fact that it forced the band to undergo yet another major sonic transformation. It‘s certainly more consistently interesting than Rather Ripped or The Eternal, just a very strange album in general, and for that it gets some extra points. I should also mention that this is the first of a couple of albums where the band collaborated with the acclaimed avant-garde artist Jim O’Rourke.

With lyrics influenced by the legendary mid-20th century ‘beat poetry’ scene born out of the band’s own New York City, this is the most 'abstract' Sonic Youth ever sounded. You can hear hints of the band’s no wave origins on this record, but with all of the crude chaos of those early LPs replaced with cerebral tension.

It’s also more sparse than any of their other studio albums, even more so than the dark and intangible Bad Moon Rising. Unfortunately, in this case that also leads to some tracks like “Nevermind (What Was It Anyway)” feeling somewhat empty, or perhaps sometimes too monotonous or repetitive without enough sonically gratifying moments.

But there are exceptions, and the middle portion of this album is where the new formula mostly thrives. “Small Flowers Crack Concrete” is vivid post-rock art poetry, not unlike a more noisy, sporadic version of some of the songs off of Slint’s beloved post-rock classic Spiderland. “Side2Side” is very aurally pleasing, with plinkety guitar staccatos and Kim’s voice hopping from one ear to the other like some kind of noise rock ASMR.

“StreamXSonik Subway” is a freaky little track that sounds calmly menacing, and I really like the high-pitch computer-y bloops. But then right after that there’s the seven and a half minute title track “NYC Ghosts & Flowers” which could probably give me a headache if I didn’t distract myself with something else while I was listening to it; truly maybe the worst track of the band’s entire discography if I was asked to pick one.

Overall, I’d say that NYC Ghosts & Flowers is a very artistic and fascinating experience in the moment, but I don’t really end up remembering much of it an hour or two after listening to the record. It just doesn’t really stay with me like some of their other records, and I don’t often feel the need to revisit this LP. I think Sonic Youth does the whole ‘sparseness' thing better when they’re aiming to sound vast, haunting, or nihilistic, as opposed to this kind of small, cerebral, sit-down-in-an-empty-room-and-listen experience which I personally find a bit more suited to other bands.

That being said, I applaud them for taking a lot of risks on this one, and I genuinely like NYC Ghosts & Flowers for the moments where it really does seem to be on the cusp of something groundbreaking. It's also a pretty polarizing record for most listeners, so maybe you’ll love it.

7/10

highlights: “Small Flowers Crack Concrete”, “Side2Side“, “StreamXSonik Subway”

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a-silent-symphony · 3 years

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Nightwish’s Floor Jansen: “The way that things are now aren’t the way things are for life”

The gospel according to Nightwish singer Floor Jansen

It’s been eight years since Floor Jansen joined Nightwish, and in that time her already considerable star has only risen further. In 2020, she remains one of the most recognisable women in metal: a supreme talent and fascinating personality who has helped Nightwish into their most successful years ever. An unlikely career path for someone who originally just wanted to be a biologist and hang out with a ton of animals…

I never stood still as a child

“My dad was an ambitious man, so if there was a business opportunity, a better job to get, he would move. Let’s not forget that in those days there were no cellphones; it’s not like you could stay in touch through that, so if you moved you basically would never see [your friends] again. I don’t know what it would be like to grow up in one place and make friends there that you keep for life. I’m married to a man who has had that. Today he had one of his best friends over that he knows from primary school – now we have kids, they have kids of the same age and that kind of stuff. I think that’s romantic to me. But maybe because I moved too much, it was easy for me to emigrate [away from the Netherlands later in life]. I still miss people, but it’s easy for me to adapt to places, and put a value on actual friends that last.”

The only constant is change

“Life is flexible. I wouldn’t want to teach my daughter that the way that things are at the moment are the way things are for life, because it’s not. Life will change constantly, and I think it’s very healthy that it does. Sometimes people need to get out of their comfort zones to keep their energy going, to not fall asleep on the spot. Safety is a very strong thing in our human nature, but from where I’m standing I think it’s a good thing to get out of that comfort zone.”

I wanted to be a biologist

“It was my love for nature. That’s not something that came when I joined Nightwish, I’ve had it since I was a kid. I feel very strongly connected to it, and to the wellbeing of everything around me that lives and breathes, including plants and trees and, of course, animals. I didn’t really understand what a biologist does; I just wanted to work with nature, be a part of it and understand it better.”

The Gathering changed music

“They were life-changing. They came on the radio with Strange Machines from their album Mandylion. They really kickstarted quite a bit [of a movement] in the Netherlands and around there after. [After Forever] happened to start around the same time as Within Temptation. Nightwish were before us but still beginning to reach internationally around the same time. But, for me, the thought that I could sing in a metal band had never occurred to me before The Gathering.”

It wasn’t hard to become a vegetarian

“It was very easy for me to give up eating meat – a longer thought about what’s happening to the animals that need to be mass-produced to feed this human race. It’s not fair to them. I am not against eating other animals, but I don’t like the way we keep them, or the things we have to artificially make in order for them to not have mass disease outbreaks.”

Although hunting is actually cool

“Since I moved to Sweden and I basically live in the woods, I’ve learned a lot about hunting, which is still a very difficult subject for a lot of people, and especially people who are not close to nature. The closer you get to nature, the more part of it you become, and in nature, other animals hunt. In Sweden, as an example, they hunt to preserve the species. It all has to be done with a quick death, no suffering, it’s very important that they don’t suffer. The people that do it have a great love and respect for nature and the animals. And I gladly have a part of that – it turns out I am quite a good shooter! Though I would never actually go into the woods and hunt…”

Having a beetle named after me was unexpected

“That was weird! Ha ha ha! It’s special! That’s another connection back to nature, but yeah, fantastic, a real honour. There is now a tiny little bug [Tmesisternus floorjansenae], just a centimetre long, that has part of my name, just because the biologist loves my music so much. That’s exactly how it went! Ha!”

My daughter probably has metal in her DNA

“But we love music in its diversity, so she’s grown up with all kinds of stuff. Old McDonald Had A Farm is still way more popular than metal for her. You’ve gotta start with the classics!”

And if she wants to be a musician, we’ll be there

“We’re dreading that day because we know the struggles [Floor’s husband is Sabaton drummer Hannes van Dahl]. But if she has a talent for it she just needs to go and do it and believe in herself. Stay behind yourself, even when things are getting hard. It’s nice that mum and dad have some experience in it, but she needs to have her own back if she wants to really make it.”

Being famous is weird

“We moved to a very remote area in Sweden a year and a half ago and we didn’t really tell anybody anything about us. We think it must have been the previous owners who told people of the area who we were, because we thought that we had anonymously snuck in! The truck that helped us move emptied and left, and then this tractor came up to the property. A guy came out and was like, ‘Hey, I’m one of your neighbours – we heard that the Nightwish singer and the drummer from Sabaton just moved in, so I just thought I’d come and say hi and introduce myself!’ So, it was obvious that everybody knows, but maybe that gave us a good start because they’re all very cool people and we get along just fine.”

I was on a Dutch show called Best Voices

“It’s a show about the best singers of the Netherlands, people that have already had a career. People are put together on an island, and we go and play each other’s music to each other. Every singer came with a list of favourite songs, and the others picked one of those that they’ll sing as much as possible in their own style – and we all had very different styles! There was an opera singer who I did Phantom Of The Opera with, there was a pop singer, a singer-songwriter, a partially Dutch and partially Latin American guy who does reggaeton, a rock guy who I actually did know… it was a super-wild mix of people, all coming with different styles of music. It was a challenge for me, but I thought it was a huge opportunity for me to join and give the Dutch people an insight into my world without scaring them away. And that really worked! The way that the Netherlands is perceiving me has changed, and doors have definitely been opened.”

Certain interview questions can annoy me

“What I’m sick and tired of in interviews is when I have to answer a question that has already been partially answered by the person doing the interview. A question that’s asked with, ‘You must be feeling…’ and then comes an assumption. ‘I can really imagine it was difficult to write this album…’ OK, so the question is…? Assuming emotions and assuming things... I’m sick and tired of [interviewers] steering [me] into the direction of the answer..”

I'm not sure why Nightwish connect with so many people

“There must be something in the atmosphere in the music that goes beyond complexity or the genre. There’s something that has been connecting people to the band, and still does. We’re still growing! I do think that the songwriting is really, really good, even when it’s complex. I think people are open-minded to it – just because the radio thinks they need to feed the audience three-minute songs, it doesn’t mean that everybody in the world can’t deal with more. Maybe people find it refreshing when it goes a little bit beyond that. People can naturally feel when it’s good music. But, everything still needs to work. The stars need to be aligned, and then there’s hard work and [us having] great love for what we do.”

Published in Metal Hammer #336

#Floor Jansen #Nightwish #2020 interviews #metal hammer

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dustedmagazine · 3 years

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Dust Volume 7, Number 4

Axel Ruley x Verbo Flow

A little bit of optimism is creeping into the air as Dusted writers start to get their shots. We’re all starting to think about live music, maybe outside, maybe this summer. But as the spate of freak snow storms demonstrates, summer’s not here yet, and in the meantime, piles of records and gigs of MP3s beckon. This early spring version of Dust covers the map, literally, with artists representing Pakistan, Australia, Canada, Sweden, the UK and the USA, and stylistically with jazz, rock, punk, rap, improv and many other genres in play. Contributors include Jennifer Kelly, Justin Cober-Lake, Bill Meyer, Ray Garraty, Patrick Masterson, Tim Clarke and Bryon Hayes.

Arooj Aftab — Vulture Prince (New Amsterdam)

Vulture Prince by Arooj Aftab

Arooj Aftab is a classical composer originally from Pakistan but now living in Brooklyn. Vulture Prince, her third full-length album, blends the bright clarity of new age music with the fluid, non-Western vocal tones of her Central Asian roots. “Last Night,” from an old Rumi poem but sung mostly in English, lilts in dub-scented syncopation, the thump and pop of stand-up bass underlining its bittersweet melody. An interlude in some other language shifts the song entirely, pitting vintage reggae reverberation against an exotic melisma. “Mohabbat” (which is apparently Urdu for sex) soothes in the pristine instrumentals, lucid guitars, a horn, scattered drumbeats, but smolders and beckons in the vocals. None of these tracks feel wholly traditional or wholly Western and modern day, but sit somewhere in a well-lit, idealized space. Timeless and placeless, Vulture Prince is nonetheless very beautiful.

Jennifer Kelly

Assertion — Intermission (Spartan)

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Intermission comes from an alternate timeline. Founding drummer William Goldsmith started his musical career in Sunny Day Real Estate and had a notable stint with Foo Fighters. To cut the biography short, Goldsmith took a decade off from the music industry. He's returned now with Assertion, joined by guitarist/vocalist Justin Tamminga and bassist Bryan Gorder (both of Blind Guides, among other acts). This band picks up in the late 1990s, imagining a new path for post-hardcore/post-grunge music. The trio's name suits, as the songs' energy and the lyrical assertiveness develops the intensity of the release. The group works carefully with dynamics, neither parroting the loud-quiet tradition nor simply pushing their emo leanings toward 11.

“The Lamb to the Slaughter Pulls a Knife” epitomizes the album. The track sounds like Foo Fighters decided to get dirtier rather than more arena-friendly, while the lyrics mix violence with emotional persistence. First single “Supervised Suffering” finds triumph in endurance, turning the aggressive chorus into something of a victory. “Set Fire” closes the album with something more delicate, but it's just the gauze over a seething anger. Goldsmith's time off seems to have served him well, as does collaborating with some new partners. Assertion makes its case clearly and effectively, and if the intermission's over for Goldsmith, the second half sounds promising.

Justin Cober-Lake

Michael Beach — Dream Violence (Goner/Poison City)

Dream Violence by Michael Beach

“De Facto Blues,” from Michael Beach’s fourth solo album, is a barn-burner of a song, rough and messy and passionate, the kind of song that makes you want to take a stand on something, who cares what as long as it matters to you. It snarls like Radio Birdman, slashes like the Wipers and follows its muse through chaos to righteousness like an off-cut from Crazy Horse, just back from rockin’ the free world. It’s got Matt Ford and Inez Tulloch from Thigh Master on guitar and bass, respectively, Utrillo Kushner from Colossal Yes (and Comets on Fire) on drums, and Kelley Stoltz at the boards, and it’s a killer. The rest of the album is varied and, honestly, not uniformly astounding, but there’s a nice Summer of Love-style psych dream in “Metaphysical Dice,” a slow-burning post-rocker in the title track and a driving, pounding punk anthem in the opener “Irregardless.” Beach has been splitting his time between San Francisco and Melbourne, Australia, and lately settled on Melbourne, where he will fit like a native into their thriving punk-garage scene.

Jennifer Kelly

Bloop — Proof (Lumo)

Proof by BLOOP (Lina Allemano / Mike Smith)

The trumpet is already a catalog of sound effects waiting to happen, and Lina Allemano knows the table of contents by heart. So, to shake things up, she has paired up with electronic musician Mike Smith, who contributes live processing and effects to Allemano’s improvisations. A blind listen to Proof might leave you with the impression that you’re hearing a horn player jamming with some outer space cats, and we’re not talking about hip, lingo-slinging jazz dudes. In fact, everything on these eight tracks happened in real time. Smith’s a strategic intervener, aware that too much sauce can spoil the stew, so he mixes up precise layering and pitch-shifting with more disorienting transformations. It’s hard to say how much Allemano responds to the simulacra that surround her brass voice, but there’s no denying the persuasiveness of her melodic and timbral ideas.

Bill Meyer

Bris — Tricky Dance Moves (TrueStory Entertainment)

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Bris left some music behind when he died in 2020, but it took almost a year to shape these recordings into a proper CD. The label CEO Mac J (a fine artist himself) could easily capitalize on his friend’s death, stacking Tricky Dance Moves with features from the artists Bris never would have worked with. Yet the album was prepared with the utmost care, not giving an ugly Frankenstein monster feel. Bris’s references to his possible early death are scattered throughout the whole tape: “Heard they wanna pop Bris cause they mad I’m poppin.” Almost every song could be easily turned into a prophetic tale (a cheap move one wants to avoid at all costs). Nonetheless, something is missing here. Or maybe it is just an image of death that disturbs the whole picture, making us realize that this is the last we’d hear from Bris.

Ray Garraty

Dreamwell — Modern Grotesque (self-released)

Modern Grotesque by Dreamwell

I recently read an interview with Providence’s Dreamwell breaking down in almost excruciating detail the influences that led to the quintet’s sophomore full-length Modern Grotesque. I kept scrolling past Daughters and Deftones and Deafheaven and increasingly disconnected influences like The Mountain Goats and Nina Simone. I went back to the top and looked again. I typed Ctrl+F and put in “Thursday.” Nothing. This is preposterous. I may not be in the post-hardcore trenches the way I once was, but even I’d know a good Full Collapse homage if it swung a mic right into my face the way this one did; hell, just listen to “The Lost Ballad of Dominic Anneghi” and tell me singer Keziah Staska doesn’t know every single word of “Paris in Flames.” That may not look like flattery on a first read, but too often, bands striding the emo/pop divide have chased the latter into sub-Taking Back Sunday oblivion; what Thursday did was much harder, and Dreamwell has ably taken up the torch here. That they did it unintentionally is a curious, bewildering footnote.

Patrick Masterson

Paul Dunmall / Matthew Shipp / Joe Morris / Gerald Cleaver — The Bright Awakening (Rogue Art)

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It’s a bit perplexing that reeds player Paul Dunmall hasn’t spent more time playing with American musicians. He’s firmly situated within the English improvisation community, where he’s perhaps best known for his longer tenure with the quartet Mujician, and his ability to double on bagpipes has allowed him to establish links between improvised and folk music. But

his jazz-rooted approach makes him a natural to work in settings such as this one. When Dunmall toted his tenor to the Vision Festival in 2012 (even then, it could be costly to lug multiple horns on a plane), he found three sympatico partners in Fest regulars pianist Matthew Shipp, double bassist Joe Morris and drummer Gerald Cleaver. They all hit the ground running, generating a barrage of pulsing, roiling sound for over 20 minutes before the piano and drums peel off, leaving Morris to sustain momentum alone. Dunmall’s gruff, spiraling lines find common cause with each of his fellows, and the gradual addition and subtraction of players from that point makes it easier to hear the exchange of ideas, which often seem to take place between dyads operating within the larger flow.

Bill Meyer

Editrix — Tell Me I’m Bad (Exploding in Sound)

Tell Me I'm Bad by Editrix

Wendy Eisenberg’s rock band is like her solo output in that it snarls delicate, self-aware, mini-short stories in complex tangles of guitar, hemming in high, sing-song-y verses with riffs and licks of daunting difficulty. The main differences are speed, volume and aggression (i.e. it rocks.) and a certain communal energy. That’s down to two collaborators who can more than keep up, Josh Daniel on surging, rattling, break-it-all-down percussion and Steve Cameron, equally anarchic and fast on bass. The title track is an all-out rager, thrusting jagged arena riffs of guitar and bass forward, then clearing space for off-kilter verses and time-shifting, irregular instrumental interplay. “Chelsea” follows a similar chaotic pattern, setting up a teeth-shaking cadence of rock instruments, with Eisenberg keening over the top of it. “I know, perfectly well, that we’re not safe, safe from the men in power,” she croons, engaged in the knotting difficulties of the world as we know it, but winning.

Jennifer Kelly

Elephant Micah — Vague Tidings (Western Vinyl)

Vague Tidings by Elephant Micah

The new Elephant Micah album, the follow-up to 2018’s excellent Genericana, has an apposite title. Vague Tidings conveys an atmosphere of feeling conscious of something carried on the wind, a story passed on that may have shifted through various iterations, leaving only a sense of its original meaning. All that can be sure is that this is sad, sober music, unafraid to brace against the chill of mortality and speak of all that is felt. The instruments — guitar, piano, percussion, violin and woodwinds — move around Joseph O’Connell’s voice in stiff yet graceful arcs, distanced by an unspoken etiquette. Repetitive melodic figures, stark yet steady, gradually accumulate weight as they roll along like tumbleweeds. It’s a crisp, forlorn country-blues, in no hurry to get nowhere, carrying ancient wisdom that seems to acknowledge the empty resonance of its own import.

Tim Clarke

Fraufraulein — Solum (Notice Recordings)

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Fraufraulein’s music is immersive. Anne Guthrie and Billy Gomberg beam themselves, and us along with them, Quantum Leap-style directly into multiple environments in medias res. Through the clever employment of field recordings, they transport us to a hurricane-addled beach, performing a voice/piano duet as driftwood missiles careen through the air. In another “episode,” the manipulation of small objects conjures up the intimacy of a water garden filled with windchimes. Partners in both life and art, Guthrie and Gomberg are also consummate solo artists. He is a master of spike-textured drones, while she explores the intimate properties of physical entities. Like a child tends to resemble one parent while borrowing subtle traits from the other, Solum identifies more with Guthrie’s electroacoustic tendencies than it does with Gomberg’s electronics. This is in stark contrast to 2015’s Extinguishment, which felt a little more balanced between those two modes. Both approaches work, yet Solum feels more meticulously crafted and nuanced. Careful listening unveils multiple subtle tones and textures, and each piece is an adventure for the ears.

Bryon Hayes

Gerrit Hatcher / Rob Magill / Patrick Shiroishi — Triplet Fawns (Kettle Hole)

Triplet Fawns by Gerrit Hatcher / Rob Magill / Patrick Shiroishi

The album’s title implies a crew you wouldn’t want on your yard; while those adolescent ungulate appetites do a number on your bushes, the hooves are hacking up your grass. But if they knocked on your door, saxophone cases in their respective hands, you could do worse than invite them around the back for some blowing. Hatcher, Magill and Shiroishi present with sufficient lung power to be heard fine without the reflective assistance of walls, even when they aren’t making like Sonore (that was Gustafsson, Vandermark, and Brötzmann, about a dozen years back). This album, which was released in a micro-edition of 100 CD-Rs on Hatcher’s Kettle Hole imprint, builds gradually from restrained melancholy to pointillistic jousting to a climactic blow-out, and the assured development of each piece suggests that each player was listening not only to what each of the others was doing, but where the music was headed.

Bill Meyer

A.Karperyd — GND (Novoton)

GND by A.Karperyd

On his second solo release, GND, Swedish artist Andreas Karperyd broodingly ruminates on snatches of musical ideas that have been percolating in his consciousness over extended periods. Anyone familiar with his 2015 debut, Woodwork, will find these 55 minutes similarly immersive, as Karperyd manipulates live instruments such as piano and strings into shimmering, alien tapestries. Opener “The Well-Defined Rules of Certainty” appears to take Fennesz’s Venice as its blueprint, issuing forth cascading, percolating tones that tickle the ears. “The Desire to Invoke Balance with Our Eyes Closed” and “Failures and Small Observations” have a Satie-esque elegance to their piano lines, albeit refracted via a hall of mirrors. The 12-minute “Reminiscence of Tar” sounds like a slow-motion pan across the hulking mass of a shadowy space station. And closing track “Mummification of an Empire” slowly fries its piano in static, then unfurls wistful melodica and throbbing synth across the wreckage.

Tim Clarke

Kiwi Jr. — Cooler Returns (Subpop)

Cooler Returns by Kiwi jr

Kiwi Jr.’s brash, brainy indie pop punk vibrates with nervy energy, like the first Feelies album or Violent Femmes’ 1983 debut or that one great S-T from the Soft Pack. Those are all opening salvos for their respective bands, but this one is a second outing, suffering not a bit from sophomore slackening. Instead, Cooler Returns tightens up everything that was already stinging on the Toronto band’s debut and adds a giddy careening glee. An oddball thread of Robin Hood-ness runs through the disc, with Sherwood forest getting a nod in the title track and “Maid Marian’s Toast” tipping the love interest, but these songs are anything but archaic. “Undecided Voters,” the single jangles harder than anything I’ve heard since Woolen Men, slyly upending creative pretensions in a verse that goes: “You take a photo of the CN tower/you take another of the Honest Ed sign/Well, I take photos of your photos/and they really move people.” Has it been done before? Maybe. Does it move us. Yes indeed.

Jennifer Kelly

Kool John — Get Rich, Die $moppin ($moplife Entertainment)

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A year ago, Kool John was shot six times. Yet you wouldn’t know about it from the general mood of Get Rich, Die $moppin, his first tape since then. He does name one song “6 Shots” and explicitly mentions the shooting accident a few times on other songs, but his bouncy music says he wasn’t hurt bad after all. The beats perfectly match the rhymes, playfully ignorant and ignorantly playful. Kool John still doesn’t mix with broke people, doesn’t return calls if it’s not about money and “doesn’t get stressed out.” Instead, he gets high. His new tape is nothing groundbreaking, even though he’s pretending that is: “If I had no legs I’d still be outstanding.”

Ray Garraty

Nick Mazzarella / Quin Kirchner — See or Seem: Live at the Hyde Park Jazz Festival (Out Of Your Head)

See or Seem: Live at the Hyde Park Jazz Festival by Nick Mazzarella / Quin Kirchner

Perhaps the most remarkable thing about this recording is that the titular festival happened at all. While most festivals either canceled or went on line, Chicago’s Hyde Park Jazz Festival dealt with COVID by spreading out. Instead of big stages and indoor shows, last September it staged little pop-up events on sidewalks and in parks. So, if the sound of See or Seem feels a bit diffuse, it’s because it was recorded with a device propped in front of two guys playing on a grassy median. There are moments when the buzz of bugs rises up for a second behind Nick Mazzarella’s darting alto sax and Quin Kirchner’s brisk, mercurial beats. But the thrill of actually playing in front of some people (or actually being surrounded by them; when there’s no stage and social distancing is in effect, it makes sense to walk slow circles around the performers) infuses this music, extracting an extra ounce of joyousness from Mazzarella’s free, boppish lines, and adding a restlessness charge to the drumming, as though Kirchner really wanted to squeeze as much music as possible into this 31-minute set. This release is part of Out Of Your Head Records’ Untamed series of download-only albums recorded under less than pristine conditions. A portion of each title’s income is directed to a charity of the artists’ choice; the duo selected St. Jude’s Children’s Research Hospital.

Bill Meyer

Dean McPhee — Witch’s Ladder (Hood Faire)

Witch's Ladder by Dean McPhee

Finger-picked melodies cut through haunted landscapes of echo and hum on this fourth LP from the British guitarist Dean McPhee. Track titles like “The Alchemist” and “Witch’s Ladder” evoke the supernatural, as does the spectral ambient tone, reminiscent of Chuck Johnson’s recent Cinder Grove or Mark Nelson’s last Pan•American album. Yet while an e-bow traces ghostly chills through “The Alder Tree,” there’s also a grounding in lovely, well-rooted folk forms; it’s like seeing a familiar landscape in moonlight, well-known landmarks suddenly turned unearthly and strange. The long closing title track has an introspective air. Pensive, jazz-infused runs flower into bright bursts of notes, not quite blues, not quite folk, not quite jazz, not quite anything but gorgeous.

Jennifer Kelly

Moontype — Bodies of Water (Born Yesterday)

Bodies of Water by Moontype

Margaret McCarthy’s voice swims across your headphones like being on an innertube drifting languidly downstream. Typically, saying someone’s vocals are like water indicates a degree of timidity or laziness, obscured in reverb or simply buried by the mix, but on Moontype’s debut LP, it’s a compliment: McCarthy floats across the different styles of music she makes with guitarist Ben Cruz and drummer Emerson Hunton. You notice it not just because she often sings of water or because it’s right there in the title, but also because the Chicago trio hasn’t settled on any particular style yet — just listen to the three-song stretch at the heart of the record where achingly beautiful alt-country ballad “3 Weeks” leads into “When You Say Yes,” a sub-three-minute power-pop number Weezer ought to be jealous of, followed immediately by crunching alt-rock swoon and first single “Ferry.” All the while, McCarthy lets her melodies drift to the will of the songs. I’m reminded of recent efforts from Great Grandpa, Squirrel Flower and Lucy Dacus, but the brief, jazzy curveball of “Alpha” is a peek into whole other possibilities. Bodies of Water is a fine record, but perhaps its most exciting aspect is how much ground you can see Moontype has already conquered. One can’t help but wonder what sonic worlds awash in water await.

Patrick Masterson

Rob Noyes / Joseph Allred — Avoidance Language (Feeding Tube)

Avoidance Language by Rob Noyes and Joseph Allred

The 12-string guitar can emit such a prodigious amount of sound, and there are two of them on Avoidance Language. If Joseph Allred and Rob Noyes had planned things out in order to avoid canceling each other out, they might never have picked their instruments up, so they just started playing and listening. The result is not so much a summing of two broad spectrums of sound, but an instinctual blending of similar textures that ends up sounding significantly different from what either musician does on their own. Even when Allred switches to harmonium or banjo, as he does on the album’s two shorter tracks, the music rushes in torrential fashion. Their collaboration is so compatible that it often seems more like a recital for one big stringed thing played by one four-handed musician than a doubled instrumental duet.

Bill Meyer

NRCSSSST — S-T (Slimstyle)

NRCSSST by NRCSSST

There’s no “I” in NRCSSSST but there’s plenty of swagger. The Atlanta-based synth pop band, formed around Coathangers drummer and singer Stephanie Luke and Dropsonic’s Dan Dixon, taunts and teases in its opening salvo “All I Ever Wanted.” Luke rasps appealingly atop Spoon-style piano banging, and big shout along choruses erupt from sudden flares of synths. It’s all hedonism, but done with conviction. You haven’t heard a big rock song kick up this much fun in ages. “Love Suicide” bangs just as hard, its bass line muttering like a crazy person, unstable and ready to explode (and yet it doesn’t, it maintains its restraint even when the rest of the cut goes deliriously off the rails). Dixon can really sing, too, holding the long vibrating notes that lift these prickly jams into anthemry. It’s been a while since a band reminded me of INXS and U2 without sucking, but here we are. Sometimes guilty pleasures are just pleasures.

Jennifer Kelly

Zeena Parkins / Mette Rasmussen /Ryan Sawyer — Glass Triangle (Relative Pitch)

Glass Triangle by Zeena Parkins, Mette Rasmussen, Ryan Sawyer

Harpist Zeena Parkins and Ryan Sawyer have a long-standing partnership in the trio substitutes Moss Garden, a chamber improv ensemble with pianist Ryan Ross. But swapping in Danish alto saxophonist Mette Rasmussen brings about a change, not just in instrumentation, but attitude. She plays free jazz like a punk, impatient and aggressive, and Parkins and Sawyer are up for the challenge. This music often plays out like a battle between two titans, one blowing and the other pummeling, while Parkins seeks to liquify the ground upon which they stand. She sticks exclusively to an electric harp whose effects-laden tone is disorientingly alien, blinking beacon-like one moment, low as a backhoe engage in earth removal the next. The combination of new and old relationships promotes a combination of instability and trust that yields splendid results.

Bill Meyer

claire rousay — A Softer Focus (American Dreams)

a softer focus by claire rousay

In film, soft focus is a technique of contrast reduction that lends a scene a dreamlike quality. With A Softer Focus, claire rousay imbues her already intimate compositions with a noctilucent aura. She has created a dreamworld with sound. One glimpse at the glowing flowers that grace the cover art created by visual artist Dani Toral, with whom rousay closely collaborated on this release, and the illusory nature of the record is revealed. The reds, oranges, blues and purples of deep twilight are reflected in both the textures rousay weaves into her soundscapes and the visual themes that Toral conjures. Violin, cello, piano and synth are the musical origins of this warmth, which rousay wraps around environments crafted from the sounds of everyday life. She recorded herself moving about her apartment, visiting a farmer’s market, observing kids playing and just existing. These field recordings of the mundane, when coupled with the radiance of the musical elements, are magical. Snatches of conversation become incantations; auto-tuned vocals are the whisperings of spirits; fireworks explode into brilliant shards of crystal. With A Softer Focus, rousay takes a glimpse into the beauty of the everyday, showing us just how precious our most humdrum moments can be.

Bryon Hayes

Axel Rulay x Verbo Flow — Si Es Trucho Es Trucho / Axel Rulay (La Granja)

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Axel Rulay must be kicking himself right now. With more than three million plays on the original version and more than five million on the remix that adds verses from Farruko and El Alfa into the fray, the Dominican is cruising into our second pandemic summer with an unbeatable poolside anthem — and to think, after years of clawing his way up through the industry dregs, working to get his name out there, all he had to do was make himself the chorus over Venezuelan producer Manybeat’s 2019 tropical house trip “El Tiempo.” Presto: Massive visibility in the Spanish-speaking world and a song that ought to transcend any linguistic barriers unlocked even if the best I can manage is a title that translates as “If It’s Trout It’s Trout.” Expect that long-desired Daddy Yankee collabo to follow any day now.

Patrick Masterson

Rx Nephew — Listen Here Are You Here to Hear Me (NewBreedTrapper)

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Rochester rapper Rx Nephew trailed brother-turned-archrival-turned-back Rx Papi’s coming out party 100 Miles and Walk’in by just a few weeks with the 53-minute all-in proposition Listen Here Are You Here to Hear Me. Unlike Papi’s Max B-ish smoothness, Nephew is all rough n’ tumble through these 17 tracks, provocative pump action with narrative bursts of violence and street hustling delivered with a verve most akin to DaBaby or, in some of his more elastic enunciations, peak Ludacris. A recent Creative Hustle interview provides some insight: The first time he went into the booth, “I didn’t write anything. I just started talking about selling crack and robbing people.” The stories haven’t stopped since. If he can keep putting out music as engaging as Listen Here…, Rx Nephew is destined for more than just the margins; until then, we have one of the year’s densest rap records to hold the line.

Patrick Masterson

Nick Schofield — Glass Gallery (Backward Music)

Glass Gallery by Nick Schofield

Nick Schoefield, out of Montreal, composed these 13 tracks entirely on a vintage Prophet 600, the first synthesizer to designed to employ the then-new MIDI standard established by the instrument’s inventor Dave Smith and Roland’s Ikutaru Kakahashi. The instrument has a lovely, crystalline quality, floating effortless arpeggios through vaulting sonic spaces. Though clearly synthesized, these pieces of music resonate in serene and peaceful ways, evoking light, water, air and contemplation with a simplicity that evokes Japan. “Water Court” drips notes of startling purity into deep pools of tone-washed whoosh and hum. “Snow Blue Square” flutters an oboe-like melody over eddying gusts of keyboard motifs. The pieces fit together with calm precision, leading from one beautiful space to the next like a stroll through a museum.

Jennifer Kelly

Archie Shepp — Blasé And Yasmina Revisited (Ezz-thetics)

The Ezz-thetics campaign to keep the best of mid-20th century free jazz on CD shelves (yes, CD, not streaming or LP) breaches the walls of the BYG catalog with a disc that issues one and a half albums from Archie Shepp’s busy week in August 1969. Blasé is a stand-out for the participation of singer Jeanne Lee, whose indomitable and flexible delivery as equal to the demands of material that’s be turns pungently earthy and steeped in antiquity. But the rest of the band, which includes Philly Joe Jones, Dave Burrell, some harmonica players, and a couple members of the Art Ensemble, is also more than equal to the task of filtering the blues and Ellingtonia through the gestures of the then-contemporary avant-garde. “Yasmina,” which originally occupied one side of another LP, makes sense here as an extension of the raw, rippling “Touareg,” the last tune on Blasé, into exultantly African territory.

Bill Meyer

Juanita Stein — Snapshot (Handwritten)

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Juanita Stein was the cool, serene, Mazzy Star-evoking vocal presence in the Aussie dream-gaze outfit Howling Bells, and she plays more or less the same role on her third solo album. Yet she is also the source of mayhem here, kicking up an angst of guitar-freaked turmoil on “1,2,3,4,5,6” then soothing it away with singing, hanging long threads of feedback from the thump-thump-thumping blues-rock architecture of “L.O.T.F.” and crooning dulcetly, but with a little yip, in the trance-y title track. This latter cut reflects on the death of her father, a kindred soul who wrote a couple of Howling Bells songs for her and passed away recently. It distills a palpable ache into pure, distanced poetry, finding a cool, dispassionate way to consider the mysteries of human loss.

Jennifer Kelly

The Tiptons Sax Quartet & Drums — Wabi Sabi (Sowiesound)

Wabi Sabi by Tiptons Sax Quartet & Drums

Over its 30 years together, the Tiptons Sax Quartet has done less to hone its sound and more to figure out how many styles to embrace. The group (typically a soprano, alto, tenor, and baritone sax joined by percussion and even including some vocals) can dig into trad jazz but sounds more at home in exploration, adapting world music or other traditional American styles. The title of their latest album, Wabi Sabi refers to the Japanese concept of finding beauty in and accepting imperfection. The Tiptons, despite that sentiment, don't approach their play with a sloppy sound; in fact, they're as tight as ever. The understanding of impermanence and imperfection does help contextualize their risk-taking. When they turn to odd yodeling on “Moadl Joadl,” they find joy in an odd vocal moment that highlights expression and discovery over formal rigor. When they tap in New Orleans energy for “Jouissance,” we can connect the dots between parades and funerals, celebrating all the while. The whole album serves as a tour of styles and moods, always with an energetic potency. If it's more of the same from the Tiptons, that just means continuance of difference.

Justin Cober-Lake

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betweenthetimeandsound · 3 years

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Three Minutes to Eternity: My ESC 250 (#160-151)

(Author's note: Sorry about it being a couple of days late--I wanted to rest a bit--which I will do again because we hit the top 150--and had to download quite a bit for the gifs. Please enjoy this bunch, though!)

#160: Dihaj -- Skeletons (Azerbaijan 2017)

“When we hook up it’s fantasy We’re just like alchemy I’ve never been so ready”

I completely neglected Skeletons during the contest, as I didn't listen to it beforehand and didn't watch songs 12-17 when watching the grand final live. Along with "Grab the Moment" that year, it sandwiched a horrendous stretch of songs in #13-16.

Despite this, I listened to it a lot afterwards. It’s equal parts intriguing and mysterious, especially with the almost-nonsensical lyrics with interesting images. I always imagined a concept film in which the main character meets a potential love interest in a night club, only to go too far and almost kill him.

The atmosphere the staging created was a bit strange, in that it incorporates masks and a world inside a school chalkboard. For each of these aspects, Skeletons is my favorite Azeri entry ever—it stands out in a unique way because of its eccentricity.

Personal ranking: 5th/42 Actual ranking: 14th/26 GF in Kyiv

#159: Tommy Seebach -- Disco Tango (Denmark 1979)

“Hun er en stjerne på et dansegulv Slår John Travolta i en rock ‘n’ roll På diskoteket ta’r hun kegler, og der ka’ man se Dem stå i kø og skæve, hver gang hun gør sin entré”

“She’s a star on a dance floor Beats John Travolta in a rock ‘n’ roll At the disco she’s scoring, and there you see Them queue up with an eye on her, every time she enters”

Disco and tango are two genres you don’t expect to work together, despite them being so fun to dance to. Despite this, Tommy Seebach makes it sound natural. There’s a bit of adjustment needed when listening to it, but it’s equally flirty and groovy all at once, as one gets to know the many quirks of the song.

The live performance definitely elevates it--not only with Debbie Cameron's enthusiasm (she would come back two years later with Tommy in a bigger part), but also because of the orchestration. The mix with strings and castanets in the chorus was definitely the best part and gets me shaking.

It’s different for Denmark, but definitely a song you should put in a disco (*clap clap*) from time to time!

Personal ranking: 3rd/19 Actual ranking: 6th/19 in Jerusalem

#158: Poli Genova -- If Love (Were) a Crime (Bulgaria 2016)

“Unafraid, never fade When it’s dark we illuminate”

Bulgaria’s comeback after a two-year hiatus sees them with a hyper energetic pop song with an uplifting message. While it seems like a simple one at first, the diverse Eurovision community can embrace it for its openness and determination. The great production upholds this gem, and the lighting on stage adds to it, especially in the end.

Poli definitely makes this song come to life with her vocals and her upbeat personality, making it shine even more! (And I did like her costume--not something for everyday-wear, but definitely one fitting the song and a bit avant--garde too). Compared to her first entry, which fights against those who put her down in a pop-rock way, she delivers with fun.

And they got their first qualification in nine years and a start to a nice run of entries as a result.

Personal ranking: 5th/42 Actual ranking: 4th/42 GF in Stockholm

#157: Athena -- For Real (Turkey 2004)

“All I know is you don’t want to be part of the crowd Realise yourself You say it but don’t feel it, what you sayin’ has no meanin’ Don’t hide your soul”

For their host entry, Turkey brings upon Athena, a ska-punk (and former metalcore) band with this bouncy song. And it’s such a great one—filled with energy and fun. A bit different from what we expect from Turkey, but it shows what their music industry could bring.

It's lively and fun, with Gokhan leading the charge with his presence. At times, he shouts more than he sings and it seems like he didn't dress up for a more formal event. That said, there's still a lot of charm in "For Real's" performance, ranging from the sharks in the background to the "Hi mom!" and the peace jacket. It comes along in an eccentric package, and makes for a solid predecessor to their rock-based entries four years later.

And it definitely hints at being oneself, which celebrates individuality in a fun way.

(Plus, that's the reason why my top three in 2004 isn't the actual top three. Haha)

Personal ranking: 3rd/36 Actual ranking: 4th/24 in Istanbul

#156: Katarína Hasprová - Modlitba (Slovakia 1998)

“Láska kráčam údolím sĺz A len ty môžeš zmierniť môj žiaľ Túžim sa dotknúť tvojich pier, tvojich rúk Prosím vráť sa mi, nevzdaj sa nás”

“Love, I am walking the valley of tears Only you can get me out of misery I long to touch your hands, your lips Please, come back, do not give up”

A comment on the interwebs suggested anybody who has Horehronie as their favorite Slovak entry has never listened to this. I could understand why people would gravitate towards the former, but this stands out more for me (and not just because of the religious title).

The introduction reminds me of “Kiss From a Rose”, which here, is less meant to be about plagiarism and more about the 1990s feel of it. Musically, it takes the same medieval elements from other 1990s entries, but it tells a different story, one about trying to fix a relationship on the rocks. It builds well, going from an otherwise delicate ballad to something more explosive when one gets into the chorus. The orchestration really helps it too!

Modlitba got six points from Croatia...and then nothing else. It's still a shame it did so poorly, but as a potential nul-pointer too? Sad.

Personal ranking: 4th/25 Actual ranking: 21st/25 in Birmingham

#155: Melovin -- Under the Ladder (Ukraine 2018)

“Nothing but your will sets you on fire Fire lasts forever...”

The song that inspired a fervor from Melovin’s fans, including me! While I’m not as enthusiastic as them, I still love this song—it's pulsating and intense, with quite interesting lyrics about getting up again(with some enunciation issues). There was a point where the song got a musical revamp, and I feared it would make the song worse, but fortunately it kept the whole thing intact with a few production changes.

Melovin proves he's a talented showman, and seeing the stairs go aflame made me smile (even though I preferred the effect more on his Vidbir performance; the flaming LEDs really helped there). Good thing the televote swooped in, because last place in the jury vote feels really wrong (though it could be because of said pronunciation).

Plus he has some good post-Eurovision songs—check them out! My favorite is З тобою, зі мною, і годі.

Personal ranking: 6th/43 Actual ranking: 17th/26 GF in Lisbon

#154: Joci Papai -- Origo (Hungary 2017)

“Be kell csuknod a szemed Úgy láthatsz meg engemet Hogy meghódítsd a szívem Ismerned kell lelkemet”

“You need to close your eyes So you can see me To conquer my heart You have to know my soul”

While Az en apam (#240) touches me more than Origo, one can’t deny this is the more creative song. It combines not only Romani influences, but also a dark pop foreground which allows them to shine.

In addition, the lyrics are absolutely masterful—they are rooted in Joci’s story and packs a punch in the message. It's tells of a relationship with someone who doesn't accept him for who he is (cursing her forever as a result), along with how Joci grew up and used music as a weapon for himself and his people. He's a compelling storyteller, and you can tell he sings it from the soul.

Combined with a compelling rap and a neat violin instrumental, you get a completely unique experience.

Personal ranking: 4th/42 Actual ranking: 8th/26 GF in Kyiv

#153: Blanche -- City Lights (Belgium 2017)

“All alone in the danger zone Are you ready to take my hand?”

Blanche had quite the journey in Eurovision--first her song gets released, and immediately becomes a contender. Then she has problems performing in shows and during rehearsals, at which the odds star dropping like flies. Then her semi-final performance was notably wobbly, but she still qualifies and places fourth.

Despite the staging errors (I would've personally have made the lighting gold rather than natural-colored), it was fully deserved and I think it was better than the eventual top three.

The vibe of this song reminds me of walking down the streets of Tokyo, because of the visuals involved. Everything is in a rush, but one's not sure There’s also tension, because of the dark electronic sound that dominates it. Despite Blanche’s nervousness on stage, it worked well with the song—it amplified the sensation of walking down a wire and wondering if the relationship will work. A startling entry from Belgium and one that really strikes at modernity.

Personal ranking: 3rd/42 Actual ranking: 4th/26 GF in Kyiv

#152: Frances Ruffelle -- We Will Be Free (Lonely Symphony) (United Kingdom 1994)

“Welcome to the land Where all our dreams are planned And fighting is a thing to do...”

The first of the UK’s attempts to modernize the contest in the 1990s, it’s a cool, funky song with interestingly-written lyrics. Someone compared the chorus to a protest slogan for social justice movement, but the rest of the song discusses a complex relationship. The opening lines are a highlight in particular, and everything flows fantastically.

A few bits of the live-performance went out of hand, like with the orchestration and Frances’ vocals, explained by how she was bopping up and down and was told that she needed to keep that down. As a result, she couldn't focus on her vocals and they turned out a bit sharp at times.

That said, she had a pretty dress and charming look about her. And while it placed in the top ten, I think it should've done better.

Personal ranking: 4th/25 Actual ranking: 10th/25 in Dublin

#151: Sebalter -- Hunter of Stars (Switzerland 2014)

"I state my heart has been well trained I’m gonna be your candidate I am the hunter and you are the prey Tonight I’m gonna eat you up"

This word-salad of a song makes it quite hard to choose a good lyric, as it has a bunch of nice lines but almost no meaning to them. Reading them again, it seems like one is trying to get his affections to like him, to no avail, unfortunately.

But beyond that, we get a fun and wholesome song, which features a prominent banjo and even a violin solo! From the opening melody I can't help but smile, or even whistle along at points (everytime the latter synchronizes, I feel a bit of accomplishment). It's a bit more folksy than what the contest oriented on the time (slickly produced pop with a bit of dubstep), which makes it even more special.

Finally, we have Sebalter himself, who really carries his own song! Not only is he quite good-looking, but also very charismatic and knows how to have a good time. While Swiss entries have become better known since then, you can't replicate Hunter of Stars; it's too special!

Personal ranking: 5th/37 Actual ranking: 13th/26 GF in Copenhagen

#eurovision song contest #esc 250 #esc top 250 #esc azerbaijan #esc denmark #esc bulgaria #esc turkey #esc slovakia #esc ukraine #esc hungary #esc belgium #esc united kingdom #esc switzerland #vintage eurovision #three minutes to eternity

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parasighting · 3 years

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Top 20 albums of 2020

New place for Parasighting (here you can find the old blog), as it seems that Facebook and several social media platforms in general don’t very much agree with Blogger. Oh well, if we don’t change we die, isn’t that what they say? So, this will be the new place for posts from now on, including the Rodon Underground playlists (that is, if I manage to wrap my head fully around how Tumblr actually works). For now, and as a fitting starting post, here are the best 20 albums of 2020, always in my opinion and always in a mood for fisticuffs:

1. Fontaines D.C. - A Hero's Death

This normally shouldn’t come as a surprise, but it’s not like we haven’t had our fair share of scares in our lifetime when we’re dealing with a sophomore album following after an explosive debut. Last year’s Dogrel gave everyone what they wanted/expected, since basically it was, more or less, a gathering of all the great singles Fontaines D.C. had released in a 2-year period prior to that. As it seems, we are indeed dealing with an absolute gem of a band that, this time around, did anything but staying safe with an already tried-out and successful formula. Instead, they chose to give all weight to feeling, proving their songwriting genius at the same time. A Hero’s Death doesn’t contain intended typical radio hit songs (although it plays a lot on today’s radio, something hopeful for the music industry in general), instead it’s full of meaningful introvert compositions saturated in melody and atmosphere, while Fontaines D.C. themselves, despite their huge and abrupt success the last years, keep a low profile and support their material exemplary. This record is music history, and one to be mentioned for years or even decades from now in music in general.

Listen to A Hero’s Death

2. C.O.F.F.I.N. - Children Of Finland Fighting In Norway

Many have wondered about the air in Australia. Or the water. Or maybe it’s the crazy wildlife that makes one either to be on their toes all day or to “yolo” it like there’s no tomorrow. These lads right here sure seem to be the latter. It would be futile to try and get right now into the history of Australian music and what this country has offered the world, especially when it comes to garage/punk. So, it shouldn’t surprise us that C.O.F.F.I.N. have released this record this year but, then again, uncontainable excitement gets usually mistaken for surprise. It’s not that they had been under the radar or something until now, but Children of Finland Fighting in Norway is the flag all Turbojugends around the world should gather behind this year. This album is the Apocalypse Dudes of the band and, mind you, I’m not talking about copying Turbonegro or anything like that. I’m talking about the spontanity and the pure energy that is emitted here throughout. The band, although they surely step on the foundations of (especially the scandinavian) rock ‘n’ roll history, the final result can’t be mistaken with any other band. A look on the videos the band has put out will give you a total idea that here we’re dealing with original Aussie craziness, and that is something not to be messed with, if you ask me.

Listen to Children of Finland Fighting in Norway

3. Napalm Death - Throes Of Joy in The Jaws Of Defeatism

I don’t think that the name Napalm Death needs much introduction, even to those who have little contact with the extreme sound in general. Pioneers of hardcore punk, grindcore and so many sub-genres at their birth, they have been shaping much of the contemporary extreme music scene through the years. And, in order for this to be achieved, it couldn’t be without constant musical unrest and experimentation. Shane Embury & co returned in 2020 with their 16th album, in which they push their (and music’s in general) boundaries to new territories. Of course, this in no way means that it is a soft or mellow record, even for Napalm Death standards. Instead, the band incorporates even more diverse elements from bands that one could say have been their followers, only to prove once again that they are the true pioneers. Throes of Joy in the Jaws of Defeatism is a full record where something exciting happens each minute, and this is the chance for any listener that (maybe has been living in a cave up until now and) hasn’t yet captured the grandeur that a band like Napalm Death exhales.

Listen to Throes of Joy in the Jaws of Defeatism

4. All Them Witches - Nothing as the Ideal

What is “rock” anyway? If there was a faceless recipe, then everyone would be able to just follow the rules and do it. Instead, through the over-production in today’s music, it’s damn hard to find something original and spontaneous, as most bands can’t do anything better than copying a “recipe” or reverse-engineering their idols, at best. And this is why bands like All Them Witches shine brightly and justly from within the pile. Nothing as the Ideal elegantly showcases that this band basically carries a significant amount of all the weight of today’s rock music. Yes, they started off having been labeled as “stoner” or “desert” or whatever, but the signs were always there. Dying Surfer Meets His Maker was the first blast, but, with this one, All Them Witches establish themselves among the leaders. After all, how can you go wrong with a band that sounds better playing live than on their studio recordings?

Listen to Nothing as the Ideal

5. Hurula - Jehova

It’s safe to say that the name Robert Petersson is nothing short of a landmark when it comes to Swedish punk. Showcasing some fine moments of hardcore skate-punk with Epileptic Terror Attack, hardcore rock ‘n’ roll with Regulations, melodic punk with Masshysteri (among others), finally Hurula is his personal musical vehicle, where he is in absolute command of everything. And, although this is already his fourth full-length release and, thus, it’s not like we had no idea about the potential, Jehova proves to be his grand opus so far, in a sort of unexpected way. The general orchestration remains “rock”, but the multiple melodic layers all over make for a unique experience for the listener who is not limited within specific musical genres or styles. The Swedish lyrics throughout might make it a bit unaccessible to many, but don’t let this minor detail keep you from discovering an incredible record.

Listen to Jehova

6. Wailin Storms - Rattle

Wailin Storms are a “where had they been hiding up until now?” case. Although they released their debut album not before 2015, Rattle is already their fourth one, and what a kick in the head it was for me discovering them last year! Going through their discography in retrospect, one should not be surprised, of course. The North Carolina rockers always carried their certain and specific type of lyricism amid their heavy and, at times, almost noise/sludge guitars. Fitting all this alongside the mystical atmosphere and Justin Storms’ agonizing vocals, the speakers exhale a strangely attractive as well as condemning dark beauty through the speakers. Many things come to mind as to what one could say Wailin Storms sound like through their definitely personal identity; in my ears, it’s kind of like the Black Angels jamming with Unsane and smoking whatever Electric Wizard passed them through. If this doesn’t make you want to check out Rattle, I have no idea what could.

Listen to Rattle

7. The Hawkins - Silence Is A Bomb

All those that know me, also know what a huge sucker for swedish rock ‘n’ roll I am. But, ever since the great scandinavian rock ‘n’ roll revolution by Gods like the Hellacopters and Gluecifer started to happen, a lot of things have also happened in the meantime. Especially to the younger rockers, the aforementioned bands now carry a “classic rock” label, but then again that kind of makes sense if you were born around the years Supershitty to the Max! was released. Time for the new generation to show what they’re worth, then. Through the flood of copycat and mediocre bands (justifiably, in a way), luckily from time to time there will be one or two cases to stand out, and these four kids from Arboga, Sweden surely make the cut. Although their debut album three years back was definitely a beautifull high-energy record, Silence Is a Bomb is what adds a special kind of maturity in rock ‘n’ roll, while still maintaining its edge. The Hawkins take their Hellacopters, but they also add several doses of Queen in them, maybe making the final mix too soft for purists; but who cares about them anyway?

Listen to Silence Is a Bomb

8. Chubby & the Gang - Speed Kills

It feels like nothing short of a fresh breath of life, a feeling that there is still hope in this damn world, when debuts like this one right here appear out of nowhere. Chubby & the Gang are just some kids from West London who, with Speed Kills, give you, if not something else, a feeling that here we’ve struck pure gold. Carrying a hardcore tone, apart from that they’re just a bunch of absolutely fresh and fun punk rock ‘n’ rollers, and, if this is not exactly what we need these days, I just don’t know what is. With gang vocals throughout the whole record and with the average running track time below two minutes, this band has automatically climbed near the top of my bucket list of bands I want to see live at first chance.

Listen to Speed Kills

9. This Is Nowhere - Grim Pop

Plainly put: In a fair world, This Is Nowhere would be globally greeted as one of the greatest bands of today’s psychedelic heavy rock; and this is not an exaggeration. Then again, them being from Greece and their members being scattered in three different countries are not factors that objectively help. Even at that, it’s astonishing how they’ve obviously achieved a certain chemistry between them through the years in order to achieve such a feat, like Grim Pop definitely is. Their two previous albums contained a significant amount of all the mystical energy the band emits on stage, but, if you ask me, there was always something missing; something I couldn’t quite put my finger on. Well, with Grim Pop, it’s like everything is finally falling into place. This Is Nowhere have irrevocably and definitively left terms like “stoner” or “psychedelic rock” behind; instead they have unrepentantly dived into the ‘60s, distorted everything they found there through their personal prism and created an inviting sound vortex ready to suck you into its very own black hole. Who cares if we never return?

Listen to Grim Pop

10. Στράφι (Strafi) - Παραδομένοι στη Γιορτή (Paradomeni sti Giorti)

If you asked me some years back, I could never imagine myself including a street punk record in a yearly music list. I have to admit that Strafi being from my hometown Larissa played its role; but this role played a part only for me to take note of them. Because genre-wise, the band’s sophomore release is just perfect. Having gone over the somewhat general “shyness” of their beautiful debut album, here the band presents an absolutely confident and sturdy face. The sound production contains no faults, the compositions are meaningful and inspired, the lyrics carry a level of poetry rarely found in the genre (and yes, one would have to speak Greek in order to enjoy them, unfortunately for many). Really, this is one of the cases that there’s not much to be said, as music takes over all the talking. We need more music coming straight from the heart, and Strafi are here to deliver exactly this.

Listen to Παραδομένοι στη Γιορτή

11. Minerva Superduty - In Public

Another Greek entry, one that the world definitely has to discover. I find it a bit strange how Minerva Superduty started their discography, which was with an instrumental metal record that, amid its creativity, left the listener with a somewhat lack of closure and fullness. 2016′s Gorod Zero came to showcase a new potential for the band, and In Public, coming just days before last year’s end, fulfilled this potential to the fullest; well, until their next album, at least. Minerva Superduty merge their mathcore foundations with Converge-like hardcore and, under just 20 minutes, they deliver the absolute soundtrack for the chaos 2020 has left the world with. Do not let this gem pass by.

Listen to In Public

12. Yovel - Forthcoming Humanity

Blackmetal is a genre that has been through a lot. Of course, through its extremity, it has given way to experimentations that could never have taken place within other kinds of music but, on the other hand, this very extremity has always served as a twisted fortress for far-right and generally fascist ideologies. Yovel emerged in 2018 to rectify this problem and restore part of blackmetal’s infamy. Hɪðəˈtu had made clear of these intentions of the band, but Forthcoming Humanity drops like a milestone to declare that this was anything but a one-time wonder. Yovel take blackmetal forms and orchestrations but add atmospheric (not shoegazey) elements borrowed from folk music and create a concept album that speaks loudly against racism, fascism, bigotry, oppression. Interludes dressed with poetry and melody give place to wrecking sound outbursts and, if there is one thing they do, that’s passing on the message clearly and successfully. Yovel are here to stay, and that’s one encouraging thing about extreme music today.

Listen to Forthcoming Humanity

13. Oily Boys - Cro Memory Grin

Ahh Australia again. And a debut that has surely turned heads. Oily Boys come from Sydney and this is their hopeful debut, that being an understatement. This new band delivers an outburst of a record, bringing to mind New York hardcore at one time, taking you to sick psychedelic noise rock at the next. It all feels so cold and unhospitable in here, yet something urges you to look at it straight in the eyes. Of course, there are a lot of Converge elements in here, but this never stays in that place, as, before you know it, it jumps to post-punk and to other experimental lengths, always maintaining a chaos that may be baffling but, then again, you don’t exactly want for it to fall into order. Fans of Old Man Gloom will also find many things they like in here. Bizarre listen for bizarre times. It’s an uncomfortability we just cannot ignore.

Listen to Cro Memory Grin

14. The Good the Bad and the Zugly - Algorithm & Blues

The Norwegians with the funny and long name (one can only wonder after how many beers it was conceived) struck for the fourth time in 2020. Although their debut Anti-World Music in 2013 made an impact in the scene breathing Turbonegro with a hardcore twist, personally I can’t say the same for the next two albums; it always felt to me that something was amiss. Maybe it was that humor was taking over a bit too much or something. Mind you, the Good the Bad and the Zugly are not a joke band by any chance, but the playful sarcastic elements were always a basic ingredient in their overall sound. Coming on to Algorithm & Blues then, I think this time around thay have managed to balance it all out perfectly. With Ivar Nikolaisen being the lead vocalist of the mighty Kvelertak for a couple of years now, this might be a factor that has made the band mature compositionally. Algorithm & Blues is more melodic, more substantial, more sing-along-y, but it never loses its humorous charm, preserving the band’s identity. And with song titles like “Fuck the Police” and “The Kids Are Alt-Right”, you know they’re also on the right side.

Listen to Algorithm & Blues

15. Pallbearer - Forgotten Days

One of the most tired genres of extreme music is definitely doom metal. Ever since the “stoner” plague came into existence, the world has been saturated with kids that, discovering the pentatonic scale, thought they were the new messiahs drowning us in a sea of boredom. It was not all bad of course, but, having to surf through oceans of mediocrity in order to find something that stands out, can be quite tiresome. Pallbearer from Little Rock, Arkansas surely did stand out at the start of the last decade but I think it’s taken them a while to perfect their craft. Alas, Forgotten Days. The monster riff that starts off the opening title-track is more than enough to set the mood straight. Black Sabbath riffology, Candlemass atmospheres, even Electric Wizard and Cathedral hooks; all done in a modern manner breathing life into the genre which, with bands like Pallbearer, can look hopefully into the future. The incredible cover artwork and the lamentful lyrical themes revolving around family loss surely add to the big picture. This is the definite release of 2020 for doom fans.

Listen to Forgotten Days

16. Video Nasties - Dominion

Another debut of another band to definitely watch out for. Video Nasties from UK start off looking like they know exactly what they’re out for. The whole image is brought out from ‘80s horror video tapes and this is enhanced by the movie samples all over the place paying homage to John Carpenter. Musically, here we have some exceptional death/black ‘n’ roll, and what a pleasure it is when done right. Yes, the band takes a lot from Swedish melodic deathmetal but, to my relief, they surely sound like they detest metalcore and its sub-genres as much as I do. Dominion is an absolutely enjoyable record that flows beautifully, always maintaining its theme and atmosphere and calling for repeat plays. Fans of death, black, thrash and extreme genres in general will surely feel at home here. Sometimes it’s as simple as that.

Listen to Dominion

17. The Frights - Everything Seems Like Yesterday

The Frights from San Diego, California started in 2013 as garage surf punks carrying their own distinct feeling and melody. They were always enjoyable with the lyrical themes being more esoteric, something that set them apart from the usual stuff in the genre. At first, the songs of Everything Seems Like Yesterday were intended to be released by the band’s main man Mikey Carnevale as a solo effort, but something apparently changed his mind. Many were obviously surprised by this new acoustic direction the name Frights has taken, but, setting aside specific expectations, the best thing one has to do is appreciate the artistic worth independently. And how rewarded they’ll be doing that with this album! Everything Seems Like Yesterday is a beautiful introvert, substantial and entirely acoustic album, ideal to keep you company after a hangover or through many types of hard times. It’s one of those times that this type of quiet sounds just liberating.

Listen to Everything Seems Like Yesterday

18. Umbra Vitae - Shadow of Life

With Jacob Bannon from Converge and Jon Rice from Uncle Acid & the Deadbeats on board, here we’re dealing with nothing short of a super project. And especially when Bannon (apart from all his many other musical projects) decides to venture into death/black metal areas, this is absolutely something you don’t want to miss. Shadow of Life is anything but your average deahmetal fix, and it demands your undivided attention throughout. Explosive in its grim and dark temperament, and with stunning artwork dressing it perfectly, this is an album that grabs you by the throat. Not that you haven’t offered it willingly in the first place.

Listen to Shadow of Life

19. Idles - Ultra Mono

Unless you’ve been living under a rock for many years, there is no way that you’re ignorant on the Idles phenomenon. After Brutalism and Joy as an Act of Resistance, I don’t know what we all expected from them. It’s not the easiest task to surpass two albums that have set new standards in today’s punk music (”punk” being used as broadly as possible, as a term). And, to put it bluntly, Ultra Mono doesn’t do anything like that, like, it would be something impossible, especially so soon. Then again, Idles are a band just incapable of releasing a bad record and, although it didn’t make it to the top spots of 2020′s list, Ultra Mono is an Idles-trademarked sharp and edgy album (musically and politically) that preserves them at the top where they indicate to the rest of the world where music is going.

Listen to Ultra Mono

20. Protomartyr - Ultimate Success Today

Protomartyr from Detroit have always served their unique blend of post-punk. In Ultimate Success Today, they continue their gloomy journey in symphony with this dark world. Joe Casey, always carrying a Nick-Cave-like vibe in his tone, delivers his grim lyrics atop the heavy basslines, the strange drumbeats and the almost free-jazz saxophone. Always melancholic and dystopic, Protomartyr is the band this world needs and deserves.

Listen to Ultimate Success Today

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womanlalaboy · 3 years

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Ceaseman Seizing the Hip hop Scene

The time I spent going to places and meeting people is now the time I devote to binge eating, watching TV series, attending free webinars, and listening to music. I’ve been learning a lot more about our homeland and its people these days. Our rich history shows how much potential Filipinos have, but it’s such a waste that we’re taking that for granted.

We’re a melting pot of talents, and I can’t help but feel disappointed sometimes. Did you know that the first few countries in South East Asia to produce feature films include the Philippines? Oh, and we were the bomb in the industry! Did you know that there was a time when Filipinos were thought to be the best dancers in South East Asia? That we’re considered to be great singers? Oh, and did you know that the Philippines had the first hip hop scene in Asia?

You read that right, the Philippines is sort of a hip hop pioneer in Asia. Currently, we associate hip hop with streetwear, graffiti, MCing, flip top, break dancing, YOLO, swag, and of course, rap music. It’s not always easy to the ears, unlike pop music. It’s deemed to be childish or immature sometimes. But it’s unapologetic, and it continues to impregnate new subsections like trap, lo-fi, drill, and many others. The scene itself is ever-evolving, and so are its artists. Our rappers are collaborating with musicians from other genres and artists of different forms- they are making bigger ripples in the industry or at least in their respective communities. One of these evolving and striving hip hop artists is Ceaseman.

THE ARTIST

Ceaseman is a 26 y/o rapper with a lot of titles under his belt. He recently released an album with 31 tracks, and it doesn’t seem like he’s slowing down any time soon.

The subliminal rapper is a member of the hip hop group Kaustik Route. Apart from that, he’s also a film writer/director. Ceaseman is the founder of PFK Collective, the drummer of a surf rock band called The Chingks, and he also represents GSIDE Records, RESBAK, INGAY LIKHA, and The Toymaker Productions.

Life wasn’t exactly kind to Ceaseman. He’s a first-born child in a very conservative family and was expected to carry the responsibility as the breadwinner. But his father went missing, he was detained and eventually had to drop out. He has gone through failures after severing ties with his band back then in hopes of forming a new one among the many other misfortunes that happened in his life. He has seen and experienced a kind of world, not many people his age would have seen, and it’s evident in his compositions.

The variety of life’s horrors, pleasures, and rewards in his music reflects his life as an artist, as a Filipino, and as a man trying to live his life to its fullest. His comrades, Filipino arts and music scene made him feel the need to give everything he’s got to his craft and dreams.

Ceaseman sees himself as a “revolutionary artist” hoping to send messages through film and his music. He also believes that “that ignorance is a choice in the age of information and technology, “ so it’s expected that most of his songs tackle certain social issues that are particular in the Philippines. His bars aren’t always black and white. The lyrics would seem like provoking you to see different perspectives, which would sometimes require you to listen to it a couple more times.

What’s really amusing is his versatility as a musician. Before he became a rapper, he was first a drummer for a post-hardcore band. He also plays melodica as well as other percussion instruments. Ceaseman definitely has the ears for the beats. His skill for weaving words together developed from being an emcee, which requires someone to be quick-witted, interactive, and creative. Bring his musical inclination, life experiences, critical thinking, collaborative mindset, passion for the arts together with his wordplay and you got a recipe for a good hip hop artist.

THE ALBUM

On the 30th of October this year, Ceaseman released an album entitled “Carpe Omnia” which is currently available on Spotify, Youtube, Amazon, Itunes, Medianet, Tiktok, and other major music stores.

The title means “seize it all” following the theme of its precedent, “Carpe Deym” (carpe diem), which is the Latin translation for “seize the day.” The recently released album has 30 songs with a hidden track only available on the physical copy. The bonus track is in collaboration with two distinct figures in the hip hop scene and was recorded in Tondo, Manila.

Carpe Omnia will definitely take you on a ride with its variety of hip hop subsections. The jazz and lo-fi flavors, as well as the forgotten Tagalog words like ruweda (wheel), galugad (scouring for something), and bagwis (feathers), made the album refreshing and interesting.

Ceaseman said that he wanted to overwhelm the hip hop community and hype up his comrades by releasing this many songs. It’s like a compensation to his 3-year hiatus, which he spent playing as a drummer for Roots and flowers and The Chingks.

“So technically, Carpe Omnia is 3 albums in one for the three years that I should have released a single album per year.“

Among the many songs in the album, Ceaseman particularly likes Bon Vivant, Onis, Avant Garde Bagwis sa Hawla, and the hidden track. I personally loved Bagwis sa Hawla, which I think is the most personal. This sounded like a narration of his life when he was just deciding to pursue his passion, choose himself, and leave their home to take a chance- like the story of most artists who have a family member that doesn’t believe in their passion or dreams. The other songs I keep playing on repeat are Para-paraan, G, J. Crapola, and Ruweda.

THE FUTURE

Despite the pandemic, Ceaseman is planning to release yet another album early next year, which he will be entitling “Carpe Vitam” or “seize the life.”

Ceaseman said that he still has 4 albums worth of content in his creative bank, so there are definitely many possibilities for this young artist. He’s hoping to collaborate more with other artists, especially those that have greatly influenced his music.

It seems like Ceaseman is already claiming 2021 to be his year as he’s planning to do an album tour for Carpe Omnia, and release music videos and a new single along with his comrades from the PFK Collective. Supporters should also expect live hip hop sets with a band real soon.

Even if we don't want to admit it, the standard has always been the Western's in the music industry. With the scope of their influence and the history we've shared with them, we sometimes can't help but work on their shadows. As much as we want to be proud to be Filipinos, to be an independent nation with a culture and history of our own, we can't seem to detach ourselves from the colonial influence. But artists like Ceaseman, who seemed to want to desperately get out of the mold and share as much of himself in his craft, is what's making the Pinoy hip hop scene really ours. Artists like him who strive in their respective fields, though sometimes shunned by their kin or fellow Filipinos, are the very people that are saving the Filipino creative industry. They make it feel as if it's not hopeless at all.

Hip hop is unapologetic, is critical of itself, is flexible, and is resilient- much like us, Filipinos. Pinoy hip hop may not fit the masses' interest like how western hip hop does- it may not be as dominating as K-pop. Still, there are definitely many Filipinos who are passionate about it and have the talent to pursue it. We just got to acknowledge that potential, really see them, and support them. And guess what? We don't need to do much.

We just have to listen and let the beat flow.

#womanlalaboy #tawo #hip hop #ceaseman #carpe omnia #pfk collective #pinoy hiphop #ingay likha #thewritestuff #the write stuff

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zsweber-studios · 4 years

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Ranking all of the Marianas Trench Songs, Part 1: The Masterpiece Theatre

Since the start of the quarantine, I have listened to the entire discography of the Canadian punk-rock band Marianas Trench more times than I can count, and in doing so, I’ve made myself fairly well acquainted with them. However, of the people I know in real life, I am one of three people who know about Marianas Trench, the other two being my younger twin sisters, who initially introduced me to them via a Homestuck Lyricstuck video.

No, I am not a Homestuck, I just know they exist.

However, being as I am greatly acquainted with Marianas Trench music and supremely bored, I’ve decided to go ahead and make my own ranking of all of the Marianas Trench discography, to show the maybe half-dozen people who will actually see this post why Marianas Trench is such a good band, and why they too should be listening to them during this hellish quarantine when the whole of the world is dying and at war with each other.

With that said, let’s get started with the rankings, starting with the first album by Marianas Trench I ever listened to: Masterpiece Theatre

1. Masterpiece Theatre I: The first movement of Masterpiece Theatre, it gives a good introduction to this orchestral-punk style that pervades much of the album. The verses skirt the line between a beautiful choral breakdown and a rock ballad, while the chorus hits hard and strong. About halfway through, it switches styles suddenly, with a more jazzy punk style, before finally landing on a strong choral breakdown that fades into a soft harmonic union. A great start to the whole performance, but also a good stand-alone. 9/10

2. All to Myself: The first song after Masterpiece Theatre I, it displays a much more classic punk-rock feel that feels distinctly of early 2000′s era music. It hits very strongly in nostalgia for me myself, and the lyrics and style are both very strong. However, it doesn’t really stand out too much compared to much of the discography by punk bands of the early 2000′s, as such it’s probably one of the weaker songs on this album. 7.5/10

3. Cross My Heart: Another song that feels distinctly early-2000′s era punk. It took me a dozen listens of the album for me to realize that the opening few chords of the song was making me think of Counting Crows’ Accidentally In Love, which was why I was hit by such a deja vu sensation. Also, the first song to display the running theme of this album, which is the use of lyrics and lines from the other songs on the album in the Masterpiece Theatre itself. Very energetic and enthusiastic, the lyrics are fun and creative, and is always fun to sing and listen to. 9/10

4. Beside You: A bit jarring to go from such a pump-up punk-rock song to a soft and soothing solo, but once you reach the chorus, it picks you right back up again. Trading out the guitars and drums for maracas and vocal breakdowns in the background offer a very different, but very pleasant sensation, one that fills with emotion and lifts you up. By far, the most emotional part is the bridge, with the singer’s desperate pleas in his evocative vocal breakdown. Overall, 8.5/10

5. Acadia: Upon first blush, not that intense of a song, though it does feel nice to listen to. It’s your classic coming-of-age song, looking back on childhood and the path you’ve forged since then. The real strong point of the song comes from the supposed ‘Acadia’ mentioned in the song, which is apparently a real place in Vancouver, British Colombia. At that point, the song takes on a far more heavy and emotional weight to it, as it is a song about a home that was torn down, and now literally all that remains of this person’s past is the memories he treasures so dearly. Of the songs on this album, it’s one of the weakest, but the meaning behind it brings it up a bit. 8/10

6. Masterpiece Theatre II: The second movement of Masterpiece Theatre. Frankly, the weakest of the three movements, in my opinion. It doesn’t really add anything new to the piece, and leans heavily on the first movement, and the parts from the other songs on the album. Despite that, it is still immensely enjoyable to listen to, especially with the choral breakdowns and background music the album is known for. With the rest of the album, it fits very nicely as the midsection of the piece, however on its own it has less legs to stand on. 7/10

7. Sing Sing: Back to the high octane rush of punk-rock and pop that the first two non-Masterpiece songs had, it’s a fun and fast song that pumps you up and makes you feel good. It is very indicative of much of early 2000′s punk, as with the others, however stands out again with the fun choral and vocal parts thrown in around the midway part of the song. It’s fun, fairly unique, and pumps you up--what’s not to love? 8.5/10

8. Good to You: Once more, right after the rush of punk, we’re brought down by a beautiful rock ballad. It’s slower and softer than the other songs on this album, but the chorus picks up as it embraces the rock part of the ballad. The duet is beautiful and loving, and feels strongly of the devotion meant to be portrayed in it. It breaks up the intensity of the rest of the album beautifully, while also keeping itself distinct and withing the overall theme and style of the album. 9/10

9. Celebrity Status: Right beside Cross My Heart, possibly one of my favorite songs on the album. The lyrics are smart and quick, hit hard and fast, and make it a fun listen, both in the actual listening, as well as the meaning--of gaining celebrity status, but in order to do so, cutting off everything that really matters. It stands out with the choral-harmonic style during the bridge that is emblematic of Marianas Trench, while still feeling distinctly of that nostalgia factor I’ve mentioned previously. Overall, a great song. 9/10

10. Perfect: Can I speak frankly for a moment? This song gets it. This song gets what it feels like to strive for perfection, or to have someone expecting perfection from you, and you having to strive for it over and over again, only to fall short. It’s presented in this fun and energizing song style that buffers the heavy message of the song--that is, that having such high expectations, and forcing others to try to rise to those, can be a form of abuse that tears them down and is killing them, makes them desperate. 10/10

11. Lover Dearest: I’ve come to notice that just before the last song of the album, Marianas Trench has one last sad and somber song. This one is seeped with bitter sadness. The absolute absence of all other instruments but the piano really drives home the loneliness and solemnity of the situation the song is portraying. Though it does eventually include the other members of the band, closer to the end, it comes across as feeling more of that desperation. Again, a beautiful song. 10/10

12. Masterpiece Theatre III: Here we are. The moment we’ve been building up to all along. Literally every line, every moment, every breath of this song is a line and moment pulled from another song in the album, rewoven into a new setting, a new style that drives up, and up, through different styles and feels that this song is offering up. This was the piece that made me realize Marianas Trench was what would happen if Bohemian Rhapsody was an actual genre of music--the interweaving of genre, style, and emotion all builds up beautifully, in what has to be the strongest and most beautiful song on the album. On it’s own, it’s fun to listen to. As the final song of the album? It is perfection. 10/10

#marianas trench #masterpiece theatre #ranking

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doomedandstoned · 4 years

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AS I DIE AT MY DESK

Interview by Shawn Gibson

Can you tell me the meaning of the band name As I Die At My Desk? I imagine dying in a cubicle in corporate hell!

The honest answer to this is that it was a joke. I overheard a co worker say it at work and I thought it would be a hilarious band name. It is also a bit ironic as I always told myself that I would do work I truly love and follow my passions as they tell you that stuff in high school and college and it hasn't worked out that way for me yet! I am not deterred. I do get to make music in my spare time. Music gets to be my fun escape. It gets to be my artistic outlet that I don't have to share if I don't want to. All that aside I am a man who loves to laugh and loves to joke. Despite the themes and sounds of the music which are very real and emotionally heavy for me, the band name was a way to take the piss out of the situation. I can laugh at myself for being a weirdo who likes heavy music, where people scream and howl like demons and laugh even harder at how ridiculous I must look doing that in the bedroom for my music. I am pretty serious about most things, but I have to remember to have fun. That is what I think is important. I'm sorry it's not a very metal answer!

Suicide as Cleansing by As I Die at My Desk

You do everything in As I Die At My Desk, all instruments right?

Yes, I do all instruments and my main goal is to try to not suck. I actually record through a pre amp and I use different virtual amp sims like Amplitube for my tones. I used my Sterling by Music Man John Petrucci 7 string guitar, Ibanez BTB7 7 string bass, and an Alesis brand electric drum set for this record. It's a pretty basic setup, but given the size of my recording space, it's the best I can do. I have been writing for the past eight years or so. This is my first attempt at a metal release despite the fact I am a huge metal head! I was pretty happy with what I was able to do by myself.

What are your influences musically?

My influences range from classical music to jazz to anything under the rock umbrella. I am particularly interested in Soviet era composers. Dmitri Shostakovich, Sergei Prokofiev, and Igor Stravinsky. The first instrument I started playing was a cello at age 10. I graduated college in 2016 and gave a recital featuring Shostakovich and Prokofiev. The desperation and darkness they were able to convey so beautifully have influenced me greatly. I don't have a lot of experience with jazz, but the works of Coltrane, Thelonios Monk and especially Miles Davis have influenced me, as well. I just love especially experimental music and anything that ties to reshape and reform the genres wherein they find themselves pigeonholed. My music doesn't really sound like it to me, but Dream Theater and Iron Maiden are two of my favorites. I didn't actually start to get into doom or sludge until college. Now I love that stuff! Eyehategod is one of my newer favorite bands, as well as Sumac and YOB.

What are some of your favorite books and movies?

I tend to read non-fiction. I am a big history nerd. However I have spent a lot of time in the fiction world, as well. Some of my favorites are Catch 22 by Joseph Heller, Crime and Punishment by Fyodor Dostoyevsky, Twelve Chairs by Ilf and Petrov. I am a big Lynch and Tarantino fan! Blue Velvet and Eraserhead are two of my favorite films. Reservoir Dogs had a really big impact on me, as well. I first saw it when I was 14. It was so gritty and real to me then. That was a very realistic show of violence.

Are you a fan of horror books or movies?

I was a bigger fan of horror when I was in high school. I must have read every Stephen King a dozen times. I don't tend to like a lot of horror books or movies. There are some exceptions, I love monster movies. Give me Jaws or Godzilla any day! I tend to like movies that are creepy or unsettling, but I don't get into paranormal stuff. There are plenty of flesh and blood horrors in our world that are much more terrifying than ghosts.

You have some very heavy music with some very dark themes. What inspired 'Suicide As Cleansing' as your album title?

I am depressed and have anxiety. What more is there to say? To answer your question, though, the title popped into my head one day. I remember I was reading something on social media about mental health and the act of suicide. Someone described suicide as an act of cleansing. That idea stuck with me and I thought about it for quite some time. I decided to use that in an overall positive way. I thought that since I was channeling my negative and destructive feeling into my music, I was attempting to kill myself. Attempting to kill a bad part of myself that I don't want to have to deal with all the time and thus conducting a cleansing of sorts. I wanted that to be the album title because it reflected the whole reason I was making the record. It doesn't help to keep those feelings bottled up cause they fester. I urge anyone who has suicidal or self harming thoughts to seek help. Talk to people; they will listen. You may feel like it doesn't help, but it does. I struggle, but I feel better when I know I'm safe to talk about it. Here's why I give my wife a huge shout-out for being so supportive and understanding!

What was the inspiration for your songs on 'Suicide As Cleansing'?

The inspiration for this whole record was feeling trapped and depressed. Modern day life appears to be doing that for younger generations these days. Waking up one day and realizing careers that you were dead set on are no longer sustainable. Seeing all of the political strife becoming more prominent and ruining friendly and familial relationships. We live in a very depressing world. I don't need to get into all the issues facing us but there are many and enough that are potentially world ending are enough, to make anyone uneasy. In that way I feel that genuine themes of feeling trapped, powerless, isolated and really angry are appropriate.

I would say "No Pride" is one of my favorites. The gallop of the drums, the riff! I feel myself rocking and swaying. Definitely banging my head!

Thanks! It might be my favorite song on the album. It was actually fun to record that one and I did it in far fewer takes than the other ones.

"Trapped In The Bass-Ment" is hypnotizing! It's almost a chance to catch your breath from the other six songs that precede it!

I appreciate the comments! The whole track was written and recorded in one sitting. I am a big fan of drone and ambient music so it seemed fitting. I felt that even I needed a break after "No Pride." It just hit me really hard in conjunction with all the earlier tracks. I worried it might be boring for people, but I silenced that voice. I try to make music for myself, but I really appreciate it when people like my work!

"Annihilate Me" is the equivalent of the musical Dim Mak! Nine-minutes-and-fifty-eight seconds of destruction! Tell me about this song.

"Annihilate Me" was written over a span of about three days. I was in the middle of a very depressive episode and I remember sitting down with my guitar and playing the heaviest, angriest, gnarliest stuff I could get out of it. There was no preconceived plan as to lyrics or vocals. After I recorded the guitars and drums, I screamed anything that came to mind. It was a very cathartic episode and I view it as the perfect ending to an unpleasant journey.

Where did the artwork for 'Suicide As Cleansing' come from? What does it mean to you?

The cover art is a photograph taken from my lovely wife, who gets another shout-out. We were hiking at the Englewood Metropark and we noticed the tree almost all by itself. She took a bunch of photos of it because it was cool and interesting, also creepy. One thing I remember clearly, was the tree's base was covered with these beautiful yellow flowers. In a way I felt it represented the album. The tree itself was dead and bare. It was a little unsettling especially in the photos my wife took. The fact that life had sprung from this dead tree seemed to fit this theme of killing a part of yourself or perhaps a rebirth.

Calculating the Cost of Existence by As I Die at My Desk

Your second album 'Calculating The Cost of Existence' (2019) came out in December. What can you tell us about the new project?

I will say in terms of sound, the new record came out with a different sound. It's a doomy, sludgey mess for sure. There are more introspective parts included. The music is expressing a greater array of feelings than the first.

Another one-man effort?

Yes, I did all the instruments again. As long as I possess the tools to do it, it certainly makes it easier in the creative process not having to deal with other personalities or egos on something so deeply personal to me. Now with that said, I don't mind collaborating or anything in the future.

Is that strenuous at times doing everything in the band?

The worst part about recording is I am not the best musician. It is strenuous when I have to perform everything and I am not that great. (laughs) My skills on guitar and drums are intermediate at best. I have played bass longer so I am a much more confident bass player than I am anything else but that's not saying a lot. It also doesn't help that I don't like the sound of my voice. I fancy myself as a composer, not a performer.

As I Die At My Desk is from Dayton Ohio right?

Yes, the band is based out of Dayton, where I have lived for most of my life so far.

What are some bands from Ohio you love?

To be honest, I don't know a ton of bands from Ohio. I will say I am a fan of Mouth of the Architect and Others by No One out of Dayton, Cloudkicker out of Columbus. Oh I can't forget Skeletonwitch!

Have you been to Ohio Doomed and Stoned Fest?

This might be shocking but I have never heard of Ohio Doomed and Stoned Fest. So no I haven't been but I am certainly interested now!

Will As I Die At My Desk play live or tour down the road?

Well, As I Die At My Desk will probably remain a studio entity. As I said I wouldn't be opposed to any kind of collaboration or possible touring but I don't have any plans for that at the moment. Now for my pretentious answer. As an artist I do not want to feel confined to any one medium as it exists. As I Die At My Desk was born out of specific life circumstances. As long as these circumstances provide emotional weight and depth for me, this project will continue. Once that source dries up(if it ever really does) then I will move on to a new project. As it stands I have a few other projects that I am working on that I can't discuss much yet. Stay tuned!

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#D&S Interviews #As I Die At My Desk #Dayton #Ohio #Doom #Depressive #Sludge #Metal #Death Doom #One Man Band #Shawn Gibson #Doomed & Stoned

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doshmanziari · 5 years

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2019 Mega Drive Explorations [4]

A continuation of parts 1, 2, and 3. Click the link below to read the full post.

The NewZealand Story (1990)

This almost instantly became one of my favorite games for the Mega Drive. It was first an arcade release (1988), and got a ton of ports with, I assume, differences between each; Wikipedia notes that the version I played “had its levels based on the prototype version of the arcade game.” What that means, qualitatively, I’m not yet sure. This is some of the weirdest level design I’ve encountered in a platformer that’s not, like, a reactionary deconstructive work (in the way that the Japanese version of Super Mario Bros. 2 is). The only other somewhat contemporary title I can compare it to is Milon’s Secret Castle (1986). Each of The NewZealand Story’s stages is a sort of maze that’s completed when you reach a fellow kiwi and release them from a cage. What really lets the layouts grow as they do is that, once you get to the second zone (of four), you need to start making use of the various flotation devices which preexist here and there or are left behind by enemies you defeat. So the level design gets to, in a kind of freeform way, flip between “normally” accessible paths and platforms, and toothy stretches demanding aerial navigation. The flotation devices are distinct from one another, too, from how you adhere to it to the speed. What was especially fun about this to me is how, following a clear-out of enemies, you might have a selection of these devices to choose from, and there aren’t really comparative downsides between them (the closest you get to that are these things that look like, uh, torpedoes, which are slow, but they’re also the one device that can’t be popped by shooting at it or touching spikes).

Even if The NewZealand Story isn’t genre-/series-deconstructive, that doesn’t mean it can’t have whimsical moments. A standout for me is illustrated in the third screenshot, where a “room” you have to get to is surrounded by a barrier, and seemingly inaccessible, until you remember that if you are standing below platforms and walkways of a certain thinness and appearance you can jump through them. The solution is to get yourself up against that vertical band and jump through the bit where it briefly horizontally redirects. Cool!! The other thing I like a lot about the level design is that it’s not strictly economical, that some of the structural arrangements seem to exist to form visual patterns more than to control your route. So you have minor casual options for where and how to move through a space. Mercifully, amazingly, bosses are few -- only three -- and they have brevity: you can get rid of the final boss (see the screenshot above) within seconds by popping his balloon. I like looking at this game, too. A couple of stages reminded me of Falcom’s Xanadu and Faxanadu in their cute, flattish, compact representation of architecture or architectural elements within a screen’s worth of space and fortressed tiling. Once you’re past the first zone, loosely themed as a zoo, it’s impossible to tell if the zones’ apertures and voids admit further views or are all mosaics and/or props. It was an unexpected and engaging ambiguity: either interpretation has strange implications. Besides a couple of jumps over and under spikes which demand an inapt exactitude, this is pretty much a perfect game for me, and I wish it had gotten a handheld rerelease on the Nintendo GBA or DS.

Arcus Odyssey (1991)

As a Wolf Team-developed game, Arcus Odyssey sits snugly beside Earnest Evans and El Viento as a whirlwind of inexplicable plot points (rendered more inexplicable, and amusing, by an amateurish localization), lopsided pacing, and just a ton of baffling game design that doesn’t really care about you. Everything is exploding and the gravitas has no narrative grounding. It is at its best hilariously joyful and at its worst insensitively prohibitive. Environments, from a network of walkways suspended thousands of feet above the earth, to a colonnaded stepped complex that recalls John Martin’s infernal painting, Pandemonium, are set at an oblique angle and are swimming with sorcerers, skeletons, cockroaches, and other creatures who unendingly come at you from out of nowhere and half of the time spit projectiles. The palettes and narrow, minuscule tilesets give everything the veneer of a PC-98 title. Regardless of the character you choose (for me, it was the pink-haired Erin who wields a whip), the best strategy is to never stop mashing the attack button. This got iffy in one stage where a numerous type of flying creature left behind a crawling string of flames on the ground upon death. The best strategy for bosses? Use an invincibility-granting item you’ve hopefully snagged from a treasure chest, stand right next to the boss, and... yeah, mash that attack button. Which is fine! This is not a game where the mechanics could’ve yielded bosses who were interesting for reasons other than their appearance.

Arcus Odyssey has two serious, debilitating issues, though. The first is that you only have room in an inventory menu for six items (five, really; one of these items is permanent), and yet I have quite literally never seen another videogame with so many treasure chests relative to its stages’ sizes. You’ll mostly be passing stuff up then because you’re at capacity. Sure, you can consume the things you have to make room, but there are at least three items which have contextually valuable uses: the potion of invincibility, the lifebar-refilling lamp of life, and the resurrecting doll of life. Stocking up on one kind to the exclusion of everything else isn’t a sustainable plan. So the “economy,” as it were, is kinda fucked. The second debilitating, perhaps eventually paralyzing, issue is that Arcus Odyssey has the design of an early Japanese PC action-RPG like Ys or Rune Worth, where you are constantly harangued by waves of enemies who non-specifically occupy the level designs and bosses who may instantly unload multiple projectile-based attacks. That sort of design, somewhat haphazard as it was, could function (with degrees of success) in the context of the RPG part of the “action-RPG” equation, since you could reliably and incrementally level up (and save!). Arcus Odyssey doles out a few upgrades here and there, but it plays out like an action game that doesn’t understand the forms it’s borrowing. As such, it’s easy -- and become easier, the further along you are -- to get yourself into situations whose demands for superhuman, verging on omniscient, performance make no sense. Real shame.

Marvel Land (1991)

Like The NewZealand Story, Marvel Land is a Mega Drive port of an arcade game released a couple of years earlier. Also like the former, it quickly became a personal console-favorite. A few prickles keep me from fully loving it -- namely, the bizarre precision you need to have when jumping on enemies to not get hit yourself (and a hit here, as per usual with arcade games before the 90s, equals death), a few too many leaps of faith, and optional doorways which can send you back to previous levels, as far as the very first -- but the diversity of creatures, stages’ arrangements and themes, power-ups, and unconventional bosses have an individual and cumulative appeal that outweighs those problematics. I think I’m obligated here to say that I will almost automatically like any videogame that has a candy-themed environment, and Marvel Land has one of those, complete with waddling ice cream cones, gingerbread houses, and a maze built of cracker-cookies. The two main and most interesting power-ups are wings which temporarily give you a much higher jump and the ability to fly, and a string of self-duplicates which can be whipped around to hit enemies, collect items for score, and latch onto targets to swing from them. A later level surprised me when it both expected me to use the wings to progress and to be mindful about the height of my jumps so as to not skewer myself on spikes., denying the expectation that such a liberty would dissolve hard designs.

Bosses deserve a special mention because, god, by now I just hate bosses, they ruin so many of these games, and Marvel Land’s are designed as “minigames” -- a game of rock-paper-scissors, selecting an illustration in a grid that matches an example below, or Whac-a-mole (against a mole). It’s decent, clever, and properly playful. Despite this, the game is still compelled to have a “real” boss fight at the very end (were the developers anxious?), and I could’ve done without that; but, it was straightforward enough. The aforementioned bestiary, if you want to call it that, is wonderful and funny and can hold its own against any of the Kirby games’ rosters. You can see, for example, in the last screenshot that a feisty mallard duck who beckons at you with an index feather-finger is named COMEON. Other members include HEAVY, a chubby pink snake, and GIANTBURGER, a sentient burger. As a closing comment, I’ll say that it’s striking and odd how many videogames, from Japan, no less, were about restoring the rule of a Eurocentric fairytale monarchy. Hell, that’s what two of Nintendo’s most popular extant series are about (Super Mario Bros. and The Legend of Zelda). Why is this an international go-to for a premise? And how could anyone care about it? In some cases I think it’s fair to guess that the creator(s) did not care and simply went with a cultural trope that was within grabbing range; but the question remains of why those tropes are within grabbing range. We already know why these narratives are also fiercely heteronormative (even The NewZealand Story has to make the last kiwi you rescue be a girl -- wow, thank god!), but this prevalent medievalism that has an uncritical nostalgia for monarchy kinda mystifies me.

#sega genesis #mega drive #new zealand story #arcus odyssey #marvel land

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