#to go through the effort and time to make a synth is admirable i feel like | Explore Tumblr Posts and Blogs

tsururoach · 3 months

Note

EXCUSE ME I RECENTLY DISCOVERED VOCALOIDS AND IMMEDIATELY FELL IN LOVE WITH OLIVER /p

thank you for blessing us with ur Oliver art <3 he needs more love fr. and more happy songs.

i just got here so im not sure if you've mentioned it before, but do you have a fav Oliver song? :3

I'm glad you like my art of him! I've been drawing him for 9-ish years now, but it's always nice to hear other fans of his also like my art! I don't actually talk to a lot of Oliver fans haha.

I always really really admired Dappleback/Lawlietlk's designing skill, and I had a whole presentation how much I appreciated his character design and how it lead back into why I think as a vocaloid he has one of the best designs.

Like don't get me wrong, Vocaloid (and other synths) have really good designs, just sometimes they aren't necessarily as good as Vocaloid designs y'know?

Like hear me out, I feel like the biggest appeal of vocaloid mascots is this: They can be whatever you want. Now on one hand you can argue that 'no mascot' is even Moreso freedom and should have worked better than mascot, but what's missing is the intrigue. There is a breeding ground of creativity hidden beneath restriction.

Like, often enough what people need most in order to create something is just a guideline, and for me that's what Oliver offers. Like, sometimes, too much canon is a bad thing, and people need to remember that.

The #1 selling point of Oliver's design is the intrigue his design offers. There's so much of it that once changed loses that 'space of expression.' And yet, no matter how much you are able to change, he also is able to maintain that 'constant' that lets you know that yes, that is still him, even if you change it. I don't have it anymore but it's been years, but I had a whole chart explaining it.

Over the years Oliver has gotten a lot of motifs and concepts assigned to him, that only derive from smaller aspects of his designs, for example: His bandages.

While you may argue it's not entirely unique, that is exactly the beauty of it. It's because of that so many different concepts stem from it.

One of the biggest themes correlated with Oliver is a monster/horror theme and you have the bandages to thank for it. The amount of concepts I've seen born from the sheer mystery of his bandages were so vast it's crazy. Whether it's because he's a cryptid/monster/cursed or otherwise, people are forced to make an effort to use that "why?"

And on the flip side, there is other mysteries people find from his bandages that aren't horror, they're instead going for something else: A poor waif, a vigilante, a witch, and etc. Through the simple [why], Oliver becomes limitless.

And while we're still discussing his bandages, there is elsewhere you can find beauty in his design. I know a lot of his fans are or were children when they became fans of him, and I know for a fact that some of them related to his design. It's not like he had much to go against them in thinking that-- and it's not just because of his song. For me as a child I projected onto him as a (character) as someone I could relate to. That's uh, probably why a lot of people tend to use him for horror or darker stuff. I know that some people are... unsavory, but that's why I don't really like when people hate on horror content made from him. I know a lot of people are weird about him, but it's a form of self-expression all the same.

Even aside from his bandages, his design still manages to offer intrigue. While Miku allows herself to be a blank canvas (being a mascot with very little ties, a digital idol who represents exactly that) Oliver is more like... a puzzle? Except there is no wrong answer and every time you put it together, it's always different.

There was a lot of misconceptions around his design, but Oliver was based off choirboy outfits-- not that everyone knew that. A lot of people interpreted it as a sailor outfit with nautical themes. That's why you can often see Oliver with sea-themed artworks or songs and/or if it's still around, sea-side waif depictions of him. But on the other side, there were quite a few interpretations of Oliver as a time-traveler- a noble- or hell: a literal bird boy.

Had he been given a more generic design, a more modern one, a more idol-esque version of himself, most of these interpretations of him would not exist. There would be less incentive for people to create that answer without the "why."

I don't really have a proper ranking on a more 'objective' ranking of designs as vocaloid specific mascot designs, but I feel like it's somewhat similar to... actual popularity?

Like... If i had to separate them, there's three categories in a venn diagram: Just straight up Good design (though I'd argue a lot of the other two would still fit in here), Fill-in the blank design, and blank canvas design.

I would say the OG Miku fits in all 3 categories but has been erring into just good design or her own category: too engrained into pop culture to fail.

Fukase is a good example of a Fill-in design, because he also has the classic "why" to his design. (Why is his coat like that? why does he have scars? is he human? is he a robot? Is he circus themed? Who knows?) You can see a lot of exploration of his character through that.

Vflower I feel like is primarily in the blank canvas design, because she more-so encompasses a certain fashion style and is able to attract the blank canvas of gender expression as well.

At the moment, to be honest, I can't really think of someone who only fit's in the straight up good character design but doesn't offer any mystery or fluidity, but that might just be my personality.

To be entirely clear, this venn diagram is probably closer to just a single circle instead of 3, but I'm mostly talking about which part of their design they align most with. (and the most common consensus of how to interpret them.

To be honest this is probably why I feel a bit like a Fake Oliver fan, bc I care more about his design more than his voicebank itself. (Sweats as I look at the vocaloid editor on my computer)

Man. Favorite Oliver song is tough.

Favorite Usage

I'll only be mentioning the publicly released songs using him, since it's a bit unfair if I recommend you something you either have no access to or I'm unable to find again.

To be honest I'm not a huge fan of some of Oliver's most known producers, mostly because I know they're not great people and refuse to support them. It's none of my business if you still listen to them, but I'd rather not. But, It's nice going down my old masterlist of Oliver originals.

I really like Rawbeans-P, if you ever heard her usage of Oliver, it's crazy stunning. Probably some of the best usage of him you'll ever hear.

Cat in a raincloud I know is relatively popular among my friends that I've pushed Robyn's music onto.

I feel like high up there is also Corasundae, who is honestly has a pretty refreshing (?) song-making style. I'm really not a music guy- meaning I never learnt a lot of terms properly and can't describe a lot of things to you, but I really like the general sound that corasundae uses in her works.

I think T.V.V.S is a pretty iconic song, but I'm emotionally attached to Other Side.

One of the songs I see people rarely talking about is Requiescat in Pace- I get it's probably because it's an older song, but I've always liked how it sounded and was a staple for me as a kid (and still fairly fresh into Vocaloid.) I don't think PARADIGM really released much else, but this song is sooo cool, I think about it a lot!

I'm not sure if you don't like horror, or just disappointed that it's a majority of his songs, but I don't think it's leaning too much into horror? It's really good though!

youtube

Another one of my favorite Vocaloid producers (the one I bought a keychain from as well!) is Veran Kuriensu! I found them originally from their original Lay, and it's possibly still one of my favorite Vocaloid Oliver Originals still to this day. While it's my favorite, I do know that they've improved drastically and their other works with Oliver is crazy good, but Lay has a special spot to me and makes me feel especially Nostalgic.

I've always liked how the lyrics sounded as well. I think otherwise my second favorite song from them is 星をあつめに. It's really good I Promise. Please please do give their stuff a chance!!

youtube

I feel like another producer I'd recommend for similar reasons to Rawbeans-P is Baggagelizard. He's always forever been kind of a legend to me! He's a super cool guy, and he has really good usage of Oliver's voicebank as well. One of my favorite songs he's done is Song for the forgotten, which was even my Oliver Collab piece back in like... 2016? That's honestly a bit crazy to me seeing how long it's been.

Baggagelizard tends to have such a special sound to the music he makes, I think it's kind of... a morose wistfulness? If you're into this one, I genuinely hope you check out his other works as well!

youtube

Actually I'm adding this one, because I really like the atmosphere of it! It's called Tavern and it's a really fun song using Big Al, Oliver, and Kaito and I think it's such a fun song! Apparently other Oliver fans I've recommended it said it wasn't their cup of tea though (′д｀σ)σ.

youtube

OH and how could I forget: Childhood Bye-Bye is honestly borderline a classic for me! I think it's a really iconic song, but it always surprises me that it's not as popular as I think it is. The producers other works are also really good!

youtube

Oooh, another Producer I can recommend is Compasscat! They use Uni, SeeU, and sometimes Oliver (maybe other vocaloids but I'm actually writing this in class (lol). You should try checking them out! I think I enjoyed it but I've been told the things I like are... different from how other people like things.

youtube

Actually, on the thought of not-so dark songs using Oliver, I hardly see any Oliver fans (or Yohioloid) fans talking about Yellow Card. I hadn't listened to it for years, but I still think it's pretty fun to this day, you could try checking it out if you feel like it. While we're at it, I'll add a bunch of special mentions for songs I knew were fairly liked enough when I was deeper into vocaloid but never see people talk about anymore as well. To be honest, I'd have a lot more to add to this list, but a lot of Oliver Originals I really liked are deleted or missing.... I understand it's at the producer's own discretion, but it's a little sad.

Unfortunately, A lot of the Bilibili/Niconico songs that I really liked were deleted or really really hard to access/find, but I'll reblog if I find them again.

youtube

#vocaloid #vocaloid oliver #roachie recs #Roach rambles #Not my art #vocaloid recommendations

15 notes · View notes

placeinthisworld · 1 month

Note

what’s strange to me is that some blog was like “why is everyone defending Joe when everything we know about him is from Taylor’s perspective? you were so quick to believe the good but refuse to think that he could be bad based on what we learn from this new album??” and yeah, I technically see what they’re saying, but also how do they not realize that a lot of these opinions are based on how both Taylor and Joe have acted these last few months? Joe’s been silent through everything, and I’ve always thought it was so healthy and admirable. Not even because she’s a celebrity! I think more couples/people could stand to be less public about their lives. But this was good especially given Taylor’s fame. Anyway, I’m still looking forward to the album, but I’m dreading all the anti-Joe posts that are going to stem from all of this. I hardly know anything about the man, but I really feel like he doesn’t deserve all of this. Sigh.

tbh if we’re gonna run with that argument, i can say all that we know about taylor’s love life/ SO’s have been told through songwriting in her POV so like everything we know is solely from her perspective (so unreliable narrative?) which is why i always found it soooooo weird that swifties were SO obsessed with her exes and relationships in general bc all the info we ever get is from HER perspective so ofc it’s going to be jaded. like the whole speculation about the red scarf representing ts’ virginity and JG being the one to take it and how he got all this weird press about that like that’s SOOO weird. the way swifties just like treat taylor like her as if her life is a tv show and they created these assumptions and stories that just don’t exist solely based on some lyrics from a song from 2020. tbh i feel like these swiffers are gonna be sorely disappointed bc by the looks of it taylor’s just gonna bitch about joe and her growing apart and nothing saucier than that but im sure somewhere there will be a grey line thin enough for people to fight over.

and like tbh…..the lack of effort it feels like she puts into these albums lately makes me not even look forward to the new music. i literally never thought id say that, but the songwriting on midnights wasn’t my favorite and i feel like she’s just going to give us more shit like that but make it *dramatic* with the LDR- esque titles and synths so i’ll kindly take my time getting around to it. nothing about ttpd excites me. the songwriting already feels mid, album photoshoot+ merch/ vinyls are very lame (and excessive), the impending joe massacre swifties are already starting, none of it makes me feel good lol.

#answered #anonymous #anon #blah as soon as she announced it i went ‘oh this is it this is the hill i die on huh’ and i was right

3 notes · View notes

commonwealthoccurences · 3 years

Text

Let It Snow

Word Count: 1,580

Prompt: Snowed In

Day: 07/27

The morning air held a chill that wasn’t there when Curie and Sole went to bed; it pierced the layers of blankets they’d piled over their bodies and turned Curie’s nose red. Sole shifted in discomfort, reluctant to rise from what warmth they were provided by Curie’s body heat, her body wrapped in theirs, legs tangled together, their head resting on her chest. However, the need to light a fire was too pressing, and they untangled themself from her carefully to peel back the blankets, rewrap her in them, and crawl out of bed.

They shivered violently as they crossed the room, but paused and went still when they looked outside. It had snowed. Not only had it snowed, it had snowed so much that their door was nearly covered completely. They were stuck indoors.

Sole rubbed their arms vigorously as they continued across the room and leaned down to light a fire. The logs smoldered at first, barely noticeable, before tiny flames leaped up and began dancing across the dry wood and scraps of paper. Then, they grew larger. Satisfied, Sole straightened up and quickly returned to their bedside, crawling in as carefully as they could so as not to disturb Curie.

Unfortunately, it didn’t work, as Curie was a light sleeper. Just as they settled back into the mattress, shivering at the way the blankets had already chilled in the time they were gone, Curie’s eyes blinked open sleepily and she shifted slowly. She struggled to let her eyes adjust to what seemed like a ridiculous amount of light, the details for the morning bleary in her sleep-coated gaze. After a moment her eyes finally focused on their face and her expression lit up with warmth. “Good morning, my love.”

Sole reached out and pulled her closer, pressing a sleepy kiss to her forehead. “Morning. I hope you’re prepared to be lazy for a little while. We’ve been snowed in and until someone can get to shoveling our door, we’re trapped in here.”

“Oh, mon dieu. Whatever will we do, unable to work.” Curie stretched out her arms with a pleased grin, her tone bleeding sarcasm.

Sole laughed quietly before rolling closer to Curie and propping themself up on one elbow to look down at her. They smoothed some of her short hairs out of her face and brushed a thumb against her temple, content to simply admire her in the morning light, silently thanking the way the sun reflected off the snow and cast a spotlight on her face. She blinked up at them. “Should we get breakfast?” She asked quietly.

They responded with a noncommittal hum. Sure, breakfast would be nice, but it was so much better to simply lounge in bed for the first time in as long as they could remember, wrapped up in blankets with her. She brought her hands up, tenting the blanket slightly and letting the cold air flood in, before she snuck her hands under their shirt and pressed them against Sole’s warm back. Sole shuddered at the feeling of her ice-cold skin and gave her a playful dirty look. “Curie you’re gonna let me freeze to death.” They pouted before leaning down to peck her on the lips.

Curie laughed and wrapped her arms around them tighter, pulling them down against her chest where they buried their cold nose against her neck. She squeaked quietly as a shiver ran down her spine. Karma, she supposed. “We really should go make breakfast.” She mumbled against their shoulder.

Sole groaned in disagreement and snuggled deeper against her calm form, relaxing their full body weight on top of her. She laughed again, shaking both of them as she rolled her eyes at their antics. Curie looked to her side and saw that the window had already fogged up from the contrast in temperature. With a soft sigh she rolled over, taking Sole with her and turning the tables as she dumped them on their side of the bed with the momentum. They let out a quiet, “Umf.” and simply laid where she left them.

Reluctant, but ready to start her day, Curie peeled back the covers and tossed her half over Sole’s body before pushing herself out of bed. She picked her cardigan up from where she had left it neatly folded on her nightstand and shook it out before pulling it over her already-shivering body. The fire was just getting started with heating up the house, and she knew she’d be cold for at least the next half hour.

Sole simply watched as Curie made her way around the room and did her usual morning routine. She watered the herb that sat in it’s pot on the windowsill and pulled back the curtains, musing over what they would do later in the day. She pushed a stray pair of socks towards the hamper Sole had just woven recently and leaned down to pat Dogmeat’s head, where he lay in his cushioned bed at the foot of theirs.

God, Sole loved her. It was obvious, they knew, from the way they looked at her, no ounce of self restraint in their expression; from the moment they’d met they stared at her like she hung the stars in the sky. They weren’t self conscious or embarrassed about it, either. Instead, whenever someone would try to tease them about it, they would simply grin and embrace the teasing, agreeing readily when people told them they were head over heels. Even if they were embarrassed it would be worth it to see the way Curie grinned in response to the confidence in their replies. Their confidence in the way they loved her.

They sighed quietly to themself when she finally left the room, presumably to go make the breakfast she was so determined to get ahold of. Really, they couldn’t blame her. It had been a late night and she probably needed some sort of sustenance. After complaining out loud to Dogmeat that the world was unfair to be so cold and still force them out of bed, they rolled over and emerged once again from the blankets.

When they left the room and entered their small kitchen, Curie was already at the stove mixing a sugar syrup, razorgrain flour, and part of a Mirelurk egg to make pancakes. She’d picked up converting pre-War recipes to post-War alternatives after a few long conversations with Sole about how they missed some of the food they could no longer get ahold of. Their heart swelled at the sight; the effort she put in, the way she loved them both through her words and actions. They could never get enough.

Curie turned when she heard their footsteps and smiled at them before turning back to the skillet coated in bubbling Brahmin butter. Sole didn’t hesitate for another moment to join her, coming up behind her to wrap their arms around her waist and hide their face between her shoulder blades. She let out a quiet laugh, shaking slightly in their arms, and poured some of the batter in the skillet. “Are you hungry?” She asked.

“Mhm.” Sole responded, pressing a kiss to the back of her neck before moving to stand beside her.

The top of the window was the only uncovered area, leaving just enough room for them to peek out to the outside world. Curie followed their gaze to the snow-coated Commonwealth and leaned against them, letting the pancake bubble by itself, the smell filling the room. “It’s beautiful, isn’t it? I never thought I would see something like this, all that time I was in the lab.”

Sole beamed. There was something special about witnessing Curie’s firsts ever since she made it out of the lab. The first time she tried food in her synth body, the first time she felt the sun on her skin, the first time she kissed Sole. It was something they could never take for granted, and this was the first time she’d seen snow stick to the ground, much less been snowed in.

“Hmm. Maybe in a couple days it’ll have melted enough and we can go out in it.”

Curie tilted her head curiously, thinking to herself. Sole could practically see the gears turning in her head as she debated whether or not that was a good idea. Sure, the cold and the wet was a downside, but her scientific curiosity almost always got the best of her, and maybe Sole was counting on that. They couldn’t wait to see how she reacted to a snowball fight between her and Preston.

The pancakes were fixed rather quickly and they settled at their small kitchen table to eat. It was peaceful in a way that was so strange to embrace. Not out of a dislike for the calm, but out of a wariness; the wasteland was never so kind as to give them a day off, much less time to have breakfast together. Like a family. And as Dogmeat trotted sleepily out of the room to join them at their feet, hoping for scraps and a lazy time waking up, Sole smiled to themself. They had a family again. “Ooh, once we clean up breakfast we can go try painting. We’ve never had the time, but it seems the stars have aligned for us this time.” Curie looked at them and beamed.

Yes, the stars had definitely aligned for them to have met Curie. They nodded. “That sounds amazing.”

#Fallout 4 #Fo4 #Fallout 4 February #Fo4f #Curie #Fluff #Domestic fluff #Oneshot #Imagine

23 notes · View notes

oneweekoneband · 3 years

Text

her Nebraska (1982)

In July I flew to Massachusetts with a plague on, and I felt that it was wrong, but my mother had begged and I’d been out of work for months. Mornings there I ran in long, uneven ovals on the same roads I’d memorized in high school. There’s no sidewalks, but the few feet of dirt between the craggy pavement and the open mouths of the fields serve all right for a single body in motion. When a truck comes up close from behind, the ground shakes, and I step away bouncingly from the street toward thigh-high yellow weeds and grass, and keep going. I was slowly picking my way back in that dirt, sweat-slick from only a plodding couple of miles in peak summer heat, and sucking the wet cotton of my mask in between my teeth on every inhale, when Taylor Swift announced she was releasing a surprise album produced by the guy from The National. Not the guy from The National, like, the voice, but the guy from The National whose photo was circulated on Twitter earlier this year as some kind of antifa super soldier, which isn’t the case, but would’ve been rad. First, I stopped dead to send some outraged, misspelled text messages, and then I ran home faster than I’d moved in years.

Tall, blonde, patrician pop star Taylor Swift is to me something like a cross-between a wife and a boogeyman. Bound we’ve been since we were really children. Time and its changes haven’t rid me of her, and what’s worse is I have never quite been able to wish they would, though I claim as much all the time. Countless hours of my one wild and precious life have been spent on endlessly analyzing the minutiae of Taylor Swift’s music, the mind that made it, the real world events which influenced it. And though all the while I have known she is only a person, and that people, while each strange and lovely in their own ways, are, in the end, mostly dull, needful in just the regular manner, the fantasy is better, the sick dream of a megalomaniac songstress, curious, thrilling, probably evil, and I choose that. I don’t know Taylor Alison Swift, born to this world in, I presume, the usual way. But my Taylor Swift? I’m a renowned expert. I’ve always eaten up stories—movies, music, celebrity news, the one my grandfather tells about falling off his bike once in Ireland as a boy and his face “cracking open like an egg”—like a starved dog. I’m obsessive about my interests, but not inclined to intense fandom, and certainly not fandom in the mode of the stan. For one, I’m too self-absorbed. But caring intensely for a famous person is falling in love with a ghost, and that’s all right—I mean, what the hell? We’re here together just dying... Let’s enjoy—but is an affair best undertaken with the knowledge that everyone alive has their own complex interiority, as unruly as your own, and that you, a stranger, are not in any real way connected to the lawless, blurry middle of that celebrity, and will never be. It’s freeing and fun to know this. I mean, these people are basically in your employ. Glamorous dollhouse dwellers. Acknowledging that uncrossable distance allows for a different, healthier closeness of pure imagination. My feelings, then, can comfortably be at once both fiercely intense and entirely silly. I am a foremost scholar in the art of the Taylor Swift who exists in my head. The real person raised in Pennsylvania I don’t know at all. I have some conjectures on the matter, and, as with all my conjectures, every hackneyed theory, each picky little opinion, I’m sure they’re perfect, brilliant, just absolutely right, but that’s still all they are. Taylor Swift, figure of the cultural imagination, is the Jodie Comer to my Sandra Oh in Killing Eve, annoying and pretty in frills, taunting me endlessly and holding us trapped together in a dance of most enchanting death. But the real Taylor Swift has favorite bed sheets and a social security number and a British boyfriend, none of which I have any desire to know about, and if I saw her at a restaurant I’d politely avert my eyes before, yes, dive-bombing the group text. There’s nobody on Earth I’d stand in line to speak to, but then I’ve been speaking to a certain figment of Taylor Swift for nearly half my life.

I went to a Taylor Swift concert the night before I moved into college in 2009. My father’s work friend, firefighter by day, near professional gambler by night, got comped tickets to the Fearless Tour stop taking place at the nearby casino, and he let me have them as a reward, mainly, for happening to be seventeen. Live in-person and performed acoustically, “Fifteen” made me cry. A few years after that, in the thick, sticky part of my first post-college summer, I wrote approximately twenty-three million words about her in these very pages. (”Pages”) At that point, Taylor’s most recent release was 2012’s Red, and the work I produced that long ago July about Taylor and her career, writing I was fairly pleased with at the time, feels now, besides just being extremely clearly written by a twenty-one year old, strange to me for the way it favors the sweet over the sour almost uniformly. There is a wholesome kind of ardor in that writing which maybe I’ve outgrown the ability to hold. Or maybe Taylor just proceeded to spend the next half a decade plus releasing one bad single after another, and it was taste—and trespasses against taste—and not some shift in my nature which altered the tenor of our bond. I have real love for my particular image, gleaned from public statements and published art, of smart, bizarre famous woman Taylor Swift, and I admire the bulk of her output very much. I’m just no longer so inclined to fawn. This is not to say I am here to offer a Taylor Swift hate screed. I couldn’t swing it, and, anyway, I’m not a pop feminist-for-hire circa 2010. But we’re older now. Things are different. At twenty-eight, twenty-nine this month—Taylor will, also this December, turn thirty-one—I regard Taylor Swift warily, like an ex with whom you have a tentative friendship, perpetually on the brink of falling one way or the other into hatred or delight, only to wobble back the opposite direction again at the slightest provocation, but still, despite best efforts, even, I regard her all the time.

folklore was released at midnight on July 24th 2020, but I was at a cabin in rural Vermont without Internet or cell service. I drank Bud Light seltzers with my mother while watching the eerie pandemic return of Major League Baseball, and when I got into a strange bed there I stewed, knowing there were people out in the world all over who were hearing Taylor Swift songs I never had, and that this was a fundamental wrong, a disruption in the balance of the universe. I listened to it the next morning in a Dunkin’ Donuts parking lot.

And folklore is great. That’s the terrible thing. Slightly less great, maybe, than some people have insisted, tricked, I think, by just the pronounced shift in sound. But it’s great. A little gift I asked for a thousand times and was still surprised to get, like a wife who didn’t expect her henpecked husband to ever follow through and buy the paraffin wax hand bath as-see-on-TV. For years, I’ve been halfheartedly insisting that Taylor had a great album in her. I’d say it even, perhaps especially, while she stubbornly fed me gruel. Or worse, gruel with the occasional whiff of something better. With a ripe, little raspberry dropped into the slop. The bright, villainous thrill of “Getaway Car” made me believe Taylor, my Taylor, was in there somewhere under the lacquer of sequins and synth, which, while not objectionable by default, seemed a costume, and an ill-fitting one. The lived-in world of “Cornelia Street” made those old scars sting. That gay “Delicate” video. When she did “Call It What You Want” on SNL and played guitar while wearing an ugly sweater. If the abominable “ME!”, lead single off Lover, was the stick, 1989’s “Clean” was the carrot. I was Charlie Brown, and Taylor my Lucy, yanking the football back again and again. Over drinks I still yelled that Taylor Swift’s next album would be, “her Nebraska”, referring to my favorite Bruce Springsteen record, and learned to live with that egg on my face for good. I suppose I even came to like it. There was something inherently funny in taking up, like, “blind faith in the as of yet untapped greater artistic potential of massively wealthy and popular singer Taylor Swift” as my totally inane personal cause du jour, and eventually it was a bit, a gag I performed to be obstinate and didactic, but way down somewhere awful near my kidneys I meant it the whole while. And then she did it. A pandemic befell the world and amid a sea of human suffering Taylor Swift remembered she can write. She wrote, and with a massive, crucial assist from Aaron Dessner, whose music on this record is sometimes so beautiful it actually angers me, as the last thing I needed in already perilous times was to be made to try and marry my uniquely perverse emotional responses to beloved divorced dad band The National and fucking Taylor Swift, she made an album which, if not her Nebraska, per se (I’ve come to realize that a major part of believing Taylor Swift will one day make an album I find as quietly devastating and gorgeous as Nebraska is knowing that no album will ever actually be Her Nebraska... That each will, rather, to me, be more and more evidence that it’s coming still, more proof that the limit is untouched, on and on ad infinitum, or at least until the seas take us into a place of salty peace.) is a shocking credit to all my hard-fought and deluded confidence. folklore is great. This fact has made me feel almost equally as disoriented from my understanding of the world as the time-melting COVID-19 lockdowns have, and it turned my Spotify year in review annual collective AI humiliation kink thing into a glaring indictment of my mental state, but still, I mean... It’s great.

In talking about folklore a bit this week, there are a number of specific topics I intend to cover—what a thrill it is to hear Taylor say “fuck”; Taylor’s terrifying birth chart; the astoundingly perfect bridge of “the last great american dynasty”; “because my ass is located at the back of my body”; the bit in last year’s “Lover” where deranged WASP Taylor Swift implies that to “leave the Christmas lights up til January” is some signifier of being a love-struck bohemian, when actually everyone who doesn’t employ domestic staff to take their lights down does this; how reputation is the best of the Taylor Swift records released in the latter half of the 2010s, actually, and the people who can’t see that are cowards—but intend mostly to let the muse move me where she will. Against the advice of my better angels, she—that tie-in marketing eldritch terror—always does.

#taylor swift #folklore

31 notes · View notes

dprdabin · 4 years

Text

DPR Live Breaks Down His First Full-Length Album 'Is Anybody Out There?'

DPR Live's first mini album, Coming To You (2017), made headlines for featuring famous artists such as Dean, Crush, Loco, and Jay Park, all while strengthening the artist's presence as a hip-hop frontrunner in Korea.

Since then, he has been in the spotlight with a number of popular songs, such as “Jasmine” and “Martini Blue.” For his 21-city world tour in 2018, 16 cities were sold out, with the Seoul tickets selling out just one minute after the ticket sales began. It proved DPR Live's global popularity -- and then it took two years to see his face again.

Now, DPR Live, born Hong Da-bin, is back with his first studio album, Is Anybody Out There? He breaks it down for us below.

How did you celebrate the album's release on March 3?

I popped a champagne bottle with DPR members. I listened to everything -- from the first track to the last track -- wearing earphones while drinking soju at [a] Korean barbecue restaurant.

This is your first full-length album. How did you feel once it was out in the world?

I felt very relieved. A lot of things happened to me in the past two years and I didn't really show myself to my fans, except through performances. And my emotions were complicated, too. After I released this album, I felt like I was free from the heavy burden. It's cool, but it's sad, it's empty, and it feels good. There are so many emotions.

I had a hard time in the process, but I am satisfied because it seems that I put everything I wanted in the end.

Two years is a long gap. Is there a reason why it took so long?

This album contains the process of me getting out of a slump. Actually, I think it took longer to overcome the slump than to make music. Tracks 1-4 (“Here Goes Nothing,” “Geronimo!” “To Whoever” and “Out Of Control”) were made during the world tour. It took a year to make track five, “Disconnect.” I didn't make music for a year, but I focused on having my own time. I think it was a time when I was thinking about, "What are the problems inside of me? What kind of burden do I have that is hindering me?”

After overcoming that time, I wanted to reach out to my fans again. That's what “Disconnect” is all about. Also, I'm not the type to make songs quickly. I'm the type to put in effort slowly. I think the album is a gift for the fans. Like when I put a lot of thought into picking a color or a ribbon, I cared about the details with affection. Two years is not a long time, if you put these together.

Did you feel pressure to live up to fans' expectations for what a full-length album by DPR Live should sound like?

I think a full-length album is a white canvas. I didn't want to capture what others wanted, but I wanted to instinctively draw what I wanted to capture -- what I felt, with colors that I wanted to use.

Did you want to make changes to your style, such as using synth or switching beats?

I didn't mean to. It was natural. I think the color changed because I used the sound that I needed to express my emotions as much as I could.

The album concept is space. Is there any reason to liken the journey out of a slump to that?

I think I really like metaphors. One day, I saw DPR members, and they all had different mental worlds and different colors. It looked like one planet after another. I also thought that I was experiencing slumps, performing, and working on music on earth and the universe was a place that gave me liberation. The universe is an infinite space. As these thoughts that I usually had were put together like puzzles, I naturally likened them to the universe.

What does the album title [Is Anybody Out There?] mean?

DPR Rem, the creator of DPR, came up with the idea. There was something I wanted to hear when I was having a really hard time. “You don't have to do music. You don't have to manage your schedule right away. You don't have to rip the stage apart. You did a great job. You are special as you are and I love you. You can go slowly, or you can go fast. We just care about you.”

I think I was hungry for those words. At that time, I was wondering if there was anybody who could tell me these things. I think Is Anybody Out There? implicitly expresses it. Actually, I used that sentence a lot before this album. It was at the end of "Color Drive" by DPR Cream, and my song’s lyrics has that kind of nuance too.

Previous songs featured artists like Crush, Dean, Jay Park, and so on. This album only features the members of DPR. Why did you insist on this?

There are many artists who want to make great pictures together. I have a golden list of those I admire. I really want to do it when the opportunity comes, but this album wasn't the right time. It's weird to suddenly have another artist in the middle of my own story. I wasn't even in the mood to meet people and pretend to be happy. I think we naturally got together with DPR members and just worked on it.

Can you tell me who's on the golden list?

GD and Beenzino. Dean and Crush never leave the list. When I see artists who have their own distinct color and are not ashamed of their color, I feel empathy and attraction. I like Honne and Jaden Smith in terms of international artists. But it is not necessarily my goal to release a song with these artists -- I just want to interact with people I'm attracted to. I want to talk comfortably and empathize with each other. It would be good if something comes out in the process. I think time is very valuable even if there is no outcome.

At the end of the third track on the album, “To Whoever,” the voices of fans at a concert hall can be heard. What's the message there?

Fans who shared that time together will be very happy. First of all, I put it in thinking it's a feature for the fans and I wanted to bring up the feeling of nostalgia. Even though I was passing through a long tunnel at that time, it still remains a very pleasant memory.

You said you were cut off from the people around you until track five was released. How did you spend your time?

At that time, even though I had a good-sized studio, I spent time in a tiny [10 meter by 10 meter] one. I used to go back to Guam where I grew up and sit in the hallway of the school I went to. I had time to look back on my difficult childhood. I tried to fix my habits one by one. For example, I was constantly on social media. When you are constantly on social media, you unconsciously compare yourself to other people's lives. I tried not to look at social media except when communicating with the fans.

Also, when I hang out with people with new ideas, I get a new perspective. I tried to meet a friend who was living a better life than me or a friend working in a field that I wanted to venture into. As I immerse myself in their world and talk with them, I can feel my consciousness. Naturally, new ideas and new solutions arise.

Starting with “S.O.S,” the mood of the album turns bright. Is that what you felt after exiting the slump?

Right. As I said before, I've had my own time for a while, and I think I developed a way to love myself. Once I was full of self-love, I wanted to reach out to my fans, family and friends. Maybe my friends thought it was weird because after suddenly going out of contact with them I came back to see them again.

Anyway, I put the feelings of that period into this song. It was expressed with lyrics like, "I want to enjoy the flow with you, I want to feel the flow with you," and hopeful lyrics like, "Let’s go beyond," are also there. When I started to love myself, that love poured out to the people around me.

Now, I want to deliver a lot of frequencies of hope to others. There is a saying that looking at artwork completed with hope makes people feel better. I believe in the energy delivered through the work. I wanted to put positive energy into this album, too. This album is not to make people sink, but to bring them up. Although I had a dark time, I wanted to show hope through the process of overcoming it.

You released the videos for “Legacy” and “Kiss Me+Neon” in a series. It seems like you put a lot of effort into them.

DPR Ian directed the album, and we've been talking since the beginning of the album and we've developed ideas. He picked a source and showed me one by one. Then I added my ideas and he added more. We kept repeating this process constantly. Usually it's embarrassing to tell incomplete ideas to someone, but we both communicate without hesitation. It seems to inspire each other and create synergy. And eventually, one painting was completed.

What do you want fans to take away from Is Anybody Out There? How do you recommend enjoying it?

First of all, I think it's good to understand and listen to the story of overcoming a slump with love. It would be nice to interpret and listen to English lyrics, right? Personally, I also recommend drinking and listening. If you just turn off the lights and lie down without thinking about anything with your earphones on, you'll feel like you're in a different world.

#dpr live #dabin #hong dabin #dpr #article #200422 #billboard

85 notes · View notes

doomedandstoned · 3 years

Text

Italian Doomers BRETUS Tell Ghostly Tales on New LP, ‘Magharia’

~Doomed & Stoned Debuts~

By Billy Goate

Artwork by DamianaMerante

Hailing from the City of the Two Seas, Italian doomers BRETUS return with a new album of ghost stories. Longtimers know that Bretus and Doomed & Stoned practically grew up together. Though the band has been active since the turn of the century, our first exposure came with their debut full-length 'In Onirica' (2012) and subsequently we formed a friendship with the Catanzaro doomers that continues to this very day. It's hard to believe they're already over two decades old (okay, 20 years young, if you like). And what do they have to show for it? A handful of LPs, an EP, and a split with fellow Italianos Black Capricorn.

If you're as much a fan of vintage horror movies, H.P. Lovecraft lore, mysticism, and the occult as Zagarus (vox), Ghenes (guitar), Janos (bass), and Striges (drums), there's a whole world of story and sound awaiting your deep dive into the Bretus catalog. Adding to their already excellent discography, a fifth album now reveals itself: 'Magharia' (2021).

I won't spoil my interview with the band (see below) if I tell you that the album concerns, shall we say, several tales of the supernatural variety. An ominous gong is struck to the backdrop of monastic chant as Magharia opens in epic fashion "Celebration of Gloom," a song characterized by a chugging proto-trash tempo, trve metal stylings, and Gothic vocals appropriate to it's subject. It's a rather grim account of a certain sacrilegious priest and his daliences with young women of the church. As a preacher's kid, I've seen this kind of thing play out a hundred times and can assure you these sweeping romances between clergy and laity never end well. In this case, it winds up with a ghoulish rite and a victim's vengeance.

"In the sky lightning strikes...wicked laments rise from the ground." Welcome to "Cursed Island." True to the spirit of the lyrics, this track really let's it all hang out, with quasi operatic vocals that occasionally erupt in maniacal laughter (reminding me vintage Reagers-era Saint Vitus, with its lusty swagger). And why not? This is after all about the mystery that surrounds one of the most haunted islands on earth.

Thus far, the record's been sporting a pretty up-beat pulse, so surely you're ready for some good old fashion doom? "Moonchild's Scream" concerns a albino girl accused of being possessed by the devil for her appearance. One day, she disappears in the dungeons of a castle and legend has it that her cries can still be heard every five years during the Summer Solstice. Doesn't get more doom than that, folks!

After a brief interlude ("Necropass"), we arrive at my favorite track of Magharia. "Nuraghe" concerns the spirit of a woman judged and condemned for a crime she was innocent of still roams among the ancient stones. Boy, the ancients sure did have a hang-up with free-spirited, independent women, didn't they? The song itself is possessed by the spirit of Pentagram in its biting guitar work and rhythmic attack. Love the riffage on this one! Some of it could have been played out just a little more for my taste, like the all-too-brief Soundgardenesque motif at the two-minute mark. It returns a minute later, again in brief. C'mon Ghenes, let your inner Kim Thayil loose! Maybe we can convince them to improv at this point with a bitchin' guitar solo at their next festival appearance. Then again, perhaps this fits artistically with the song, which speaks of obscure "grim dancing bats" and a ghost that haunts through swift shadows passing over glimmers of light. Once again, Zagrus expressive song style comes through to distinguish this as a gem of the genre. I shall be revisiting it on my personal playlist often.

"Headless Ghost" strikes graceful Goatsnake groove as the yarn is spun about the restless and tormented soul of an ancient Roman warrior who has risen from his place of rest. All he wants is the skull that was looted from his place of burial. Give it back to him! "No one will be spared tonight," the lyrics warn, as the song shifts down to a dire doom dirge as the night unveils a strange moon and the wanderings of a cursed soul, seeking his head and not more. "He is living again in this hell."

"The Bridge of Damnation" is one of the creepiest of the record, said to be about "a bridge, a young boy, and his three torturers." The mood is quite dark, with esoteric atmosphere, reverberating vocalizations, guitar and bass trading off notes. Oh, and did I mention this tale from the crypt involves death and resurrection, as well? The riffmaking and drumming are absolutely on point, as is the singing -- which by now in the record I'm not only am accustomed to, but have grown to admire. Another keeper!

"Sinful Nun" winds and grinds as Zagarus croons about the inner torment of a Sister who has never gotten over her beloved, who died under such unspeakably tragic circumstances that she decided to consecrate herself to God in celibacy. However, her vows are in vain as she still pines for her long lost lover. The verses are sung to the accompaniment of a galloping tempo, which seems to represent the fevered anguish of a soul forever stricken by grief and the haunted memories of lost love. This is juxtaposed in the chorus by a cursed riff that seems to speak as the Hand of Fate itself. "Farewell to this life," are the Sinful Nun's final words.

At last, we reach the album's namesake and though "Magharia" is entirely instrumental, it would be a mistake to assume you know what it's going to do. Around the four-minute mark, I had to check and make sure I was listening to the same album, as dark synth busted out a metronomic rhythm, leading to a declamatory section of keyboards to accompany the math-like guitar play and an improvisation of almost creepy seventies-sounding prog, which after its playful fit dissipates suddenly in a bluesy collapse.

Bretus have cooked up a remarkable horror soundtrack that, though it speaks of ancient lore, is very much a fitting backdrop to the unreality of our own times. Fitting somewhere on the stylistic spectrum between Candlemass and Paul Chain, Reverend Bizarre and Cardinals Folly, Margharia may be the band's finest effort to date. Certainly, it rewards repeated listens, and will haunt you for many years to come. Look for the record to drop this weekend (pre-order here), with multiple physical formats releasing via The Swamp Records (compact disc), Burning Coffin Records (cassette), and Overdrive Records (vinyl). Until then, you can stream it all, right now, right here!

Give ear...

Magharia by BRETUS

An Interview with Bretus

What is the concept behind the new album and what themes do you explore?

Musically the new record is most "in your face" than the previous album. Also our approach to the recording was different. We rehearsed and arranged together more than before. The result is an album more raw to us. It is a concept album born around different italian old ghost tales. Some of these is supposed to be legend or myth, who knows.

When did you write it? Was it during the pandemic lockdowns?

We had more ideas about new stuff long before the pandemia arrived. We spent this time working on the pre-production of the tracks.

Can you give us a track-by-track explanation of each song on the album?

For sure!

"Celebration of Gloom" is a strange song because there are many influences in it. Including a solo flute in the middle of the track. However is a very loud and gloomy song.

"Cursed Island" probably is the most rock 'n' roll song of the album. If you know what I mean. Rock in the attitude. Also the first video of the album.

"Moonchild's Scream" is 100% pure Doom with a heavy mid-section.

"Necropass" is like Caronte travelling the damned souls across the Stige River.

"Nuraghe" is a heavy oriented track with a very dark feeling.

"Headless Ghost" has a more stoner trend than the others and in the end there is a psycho riffing.

"The Bridge of Damnation" includes our '80s dark influences into our sound, probably the most haunted track of the album. The story is based upon an old weird story that happened in our native city, Catanzaro.

"Sinful Nun" is like an experiment and neither of us can explain really what it is... ah ah aha! For sure the most heavy track of all.

Finally "Magharia." You cannot believe it but the idea comes from a Who's album, Quadrophenia. Either of us wrote a part of the song. The result is a kind of horror soundtrack.

Magharia by BRETUS

How do you feel that your basic style or approach to song composition has changed since you first started writing songs in the early days?

You already know a lot of things about us, we know you from so long ago! Please don't ask how old we are. (laughs) Basically our approach is the same from the beginning. Of course we listen to a lot of new stuff during these years so every album brings different "colors."

Where are you most looking forward to playing live once pandemic restrictions are eased?

Everywhere! We are angry for live gigs or simply to drink beers with friends.

Follow The Band

Get Their Music

#D&S Debuts #D&S Interviews #D&S Reviews #Bretus #Catanzaro #Italy #doom #metal #doom metal #horror #occult #stoner rock #HeavyBest2021 #Doomed and Stoned

2 notes · View notes

dizzydennis · 5 years

Text

A long, in-depth review of Mario & Sonic at the Olympic Games Tokyo 2020

I remember playing the first Mario & Sonic game back on the Nintendo Wii. It was simple and a bit unbelievable that this was the first time these two gaming icons would be in a video game together. While the Olympics were literally nobody’s choice to have these heroes meet, it made for a fun albeit simplistic party game. I enjoyed my time with it, but it wasn’t until the second game, Mario & Sonic at the Winter Olympic Games that I fell in love with the series. The amount of variety and fan service was staggering and it was very clear that a lot of passion had gone into this game, but as the games moved to the Wii U, it was apparent that the creative was drying up as the game focused more on the typical Olympic events.

That takes us to 2019 where the series has returned on the Nintendo Switch. Considering the fact that this game was made to coincide with the Tokyo 2020 Olympics, I was very excited. Not only is this the home country of both Mario and Sonic, but it’s where I’ve been living for the past 4 and a half years. I was worried when the series skipped the Pyeongchang Olympics that we would never see them in Japan. However, fate would be kind to me. The only question was: does this new edition reach the previous highs that the best Mario & Sonic outings have reached or is it another missed opportunity.

This game has a very interesting premise too. Since Tokyo was the host of the Olympics back in 1964, there is a time travel plot where Sonic, Eggman, Mario, Bowser, and Toad get sucked into a video game world based on those events. It allows for a fresh idea presented with classic sprites of these beloved characters. With the 2020 Olympic events combined with the 1964 events, there are plenty of events to try out.

I’d be remiss if I didn’t describe how nice the game looks. Mario & Sonic at the Olympic Games Tokyo 2020 is a very good looking game. In single player, the game constantly runs at 60FPS with highly detailed character models and lush environments. The crowds consisting of Toads, Shy Guys, Flickies, and more are still 2D textures that are animated well, but when inspected, they do not hold up. In Olympic events where the game is handled in splitscreen, the framerate can often take a hit. It’s nothing unplayable, but it is very noticeable. The menus are also very slick though a bit simplistic from past entries. Even so, you’ll be treated with wonderful character renders over the backdrop of various Tokyo locales. The only problem with the visuals come from the retro 1964 mode. While the sprites look fine, there is a huge clash between the Super Mario characters being 8-bit sprites while the Sonic characters are 16-bit sprites. It seems as this was done for broad appeal since Mario’s NES outings and Sonic’s Genesis outings are arguably their most well-known appearances. Even so, it doesn’t mesh together perfectly.

So the game looks good for the most part, but how does it sound? Honestly, it’s a mixed bag and a particularly odd one too. During story mode, characters do not speak in full sentences. Sonic may say “Hey” while the text box fills in an entire sentence of dialogue. This isn’t a problem, but what is a bit distracting are the voice samples chosen; specifically, the Super Mario characters. Mario and Luigi have no text boxes with their dialogue, but instead will only make small noises or words. It becomes increasingly annoying as their responses are so limited. You cannot skip or fast forward any dialogue boxes or animations either. There was no reason to keep them from talking as Bowser, Princess Peach, and Toad all talk just as the Sonic characters do. However, characters like Luigi, Daisy, and the Koopalings have the most peculiar voice samples. Daisy sounds like she’s about to cough up her lunch and the Koopalings have this odd reverb effect that sounds like a rendering error. Many of these samples just sound unpleasant and you’ll be hearing them enough that it becomes grating.

Now, the Mario & Sonic series has been praised by fans for their amazing remixes of classic songs. These remixes allowed some unique flair to be given to countless songs from Mario and Sonic’s catalogue. So, one may wonder how many remixes there are in Mario & Sonic Tokyo. Two. There are only two remixes from the respective series. Sonic’s side received a rather standard and unimpressive remix of Metropolitan Highway from Sonic Forces. It doesn’t improve the original song at all and feels a bit half baked. On the other side, Mario received a remix of Peach’s Castle theme and it’s frankly awful. Just sped up with synth-like instruments. When this has been a repeated highlight for these games, (even in the less-than-stellar Wii U games), it’s baffling that SEGA and Nintendo didn’t try harder here. It feels lazy and extremely disappointing. In past games, you could go back to any event and change the standard background music to whatever songs you have unlocked. It’s just not possible here. That means that during the events, you’ll be listening to original music. Thankfully, it’s mostly very good! I am a big fan of the tunes set to Rugby Sevens, a battle with Metal Sonic, Surfing, and Dream Shooting. A lot of the music has a Japanese flair to it and it’s very well composed. Some songs are extremely catchy and I’ve found myself remembering and humming them outside of my time with the game. However, during the lengthy story cutscenes, you may be cycling through the same 5 or 6 songs and it can become old very quickly. They are good songs, but even the retro music wears thin when it’s been playing for most of your downtime.

Sonic fans have always been passionate about the voice work of the Sonic the Hedgehog series. Thankfully, the new voice clips (during events) are pretty good. Characters have interesting remarks when winning and some of them speak perfectly to their established characters. I believe that for the Sonic characters, most if not all of the voice clips are new. There are some baffling ones like Sonic saying “Ole!” and “Right through that wall!” at the most random times. Characters like Tails and Vector are very endearing in this game. Even so, it works well and as a fan, it was fun to hear. The Mario characters definitely have some new voice clips, but it’s hard to tell when their characters don’t vocally emote as often outside of this game. I’m sure there are some repeated clips, but there not all reused.

As this is a minigame collection, it’s important to question how the game actually plays. Overall, I think the Olympic events have been reworked in a significant enough way that it feels rewarding… though not perfect. For example, the 100M race, skateboarding, and badminton are a few events that are just too simplistic for their own good. They are just not as fulfilling to play through as other events. Rugby sevens, soccer (which is strangely called Football despite the fact that Japan calls the sport soccer), Karate, Archery, Sport Climbing, and Equestrian are a few of the events that are just exhilarating. Most of the events have done an admirable job allowing for motion controls with two joy cons, one joy con, or buttons. Since I have been gaming since the early 1990s, I almost always prefer button controls. Even so, I have to admit that the motion controls are fun… for some of the events. Archery is a blast with motion controls, as are the track & field events. The game seems to make a conscious effort to balance the less accurate use of motion controls to button controls. That’s great, but it can make some events feel unfairly difficult due to the handicap. For example, when using button controls, the Boxing event feels almost impossible to win without a huge amount of luck. If you’re knocked down while using buttons, you have to jam the A button to get up and it feels nearly impossible to recover within the allotted time. It’s something that was so aggravating that I found myself praying that SEGA would release a quality of life patch for this game to iron out some of the problems.

The 1964 events are pretty different from the 2020 events. Since they’re based on retro video games, they only allow for button controls. But with this aesthetic comes simplified gameplay. I found these events to be fun, but not too engaging. Shooting, 10M Platform, Marathon were pretty fun, but I wasn’t wowed by these. It’s 2019 and I think I can speak for many when I say that using retro sprites in your game doesn’t excite people as much as it used to. It sometimes comes across as desperate fan service. While these events are fun, I have to question: Has the game really benefited from going with this throwback? It has certainly increased the amount of events and didn’t hurt the overall package, but I also wasn’t blown away by their inclusion. Speaking of these retro events, it’s very saddening that it’s only limited to 8 characters. Classic characters like Donkey Kong, Metal Sonic, and especially Amy Rose are left out for seemingly no reason. This kind of exclusivity from the “classic” side of Sonic has been limited to Sonic, Tails, Knuckles, and Dr. Eggman for a long while now and it seems to ignore that Amy was part of that original crew too. Moreover, I’m sure fans would have loved to see more characters in this retro style. If SEGA/Nintendo had made more of an effort, we could have possibly seen more modern characters like Shadow the Hedgehog or Waluigi.

Throughout story mode there are also a number of mini games. In 2020, Luigi and Tails partake in many events. Whether it’s climbing up the side of Tokyo Tower, battling Shy Guys, or kicking a rugby ball to attack Metal Sonic; these events share their DNA with the normal Olympic events. Some of the ideas are creative, but they are over before they really begin. Again, they’re simplistic and through that simplicity is their downfall. I love the ideas on display, but I want them to be more engaging. One particular mini game that I was fond of has you searching for a particular Toad at the famous Shibuya Scramble. It’s basically a virtual version of a Where’s Waldo game, but it’s very fun and unique. The only problem is that it ends after finding three targets. If there was an option for this to be expanded into an endurance mode, then I think it would really have some legs.

The mini games for the 1964 world are a bit more unique, but are still overly simple. You might be sneaking into a museum, using Sonic’s speed to chase down a bullet train (shinkansen), or even using the biplane known as the Tornado to attack Eggman’s mechs above Tokyo. Interestingly, that sky battle is the most complex of all the mini games, but even it ends after three stages. What works so well with this mode is that the stage consists of numerous Sonic enemies with decent fan service throughout. You’ll battle Eggman’s first boss from Sonic the Hedgehog 1 as well as Mecha Sonic and the Metropolis Zone boss from Sonic 2. It’s so bizarre that this great amount of fan service is so hidden. You must re-enter this game a second time from a completely different menu to see this.

There are three Dream Events in this game. The first being Dream Racing which is honestly fantastic. It’s based on a stage from Sonic Forces and features a downhill race on hoverboards with Mario Kart-like items. It’s a bit clunky on certain parts, but it’s a lot of fun. The kinetic energy of the whole thing makes me want more than just one stage based on this. It’s definitely a highlight and if there was entire game based on a more refined version of this... I wouldn’t be opposed. Following that is Dream Karate based on the Mushroom Kingdom from Super Mario Odyssey. It’s a mess. There doesn’t seem to be any clear strategy and it favors chaos over defined goals. Also, it hardly uses the Mario universe. It’s just a square arena set in a Mario world with a bad remix in the background. Very disappointing. Lastly is Dream Shooting which takes place in a Japanese temple with each corner of the temple representing a different season. It uses the gyro controls of the Nintendo Switch and it’s very fun. A little clunky here and there, but enjoyable nonetheless. It has one crucial flaw in the fact that your character will laugh every single time they hit a target. It gets annoying quick when you’re constantly firing away and hearing them cackle nonstop. I don’t know how that sort of thing still gets by developers.

The story mode was heavily pushed with a lot of the promotion for this game. I can honestly say that this is not the type of game that needs a story, but it’s the kind of dopey thing that I am absolutely on board for. I was hoping for an over-the-top plot that had these characters doing ridiculous things based on idea from the Olympics. My expectations weren’t completely baseless either. Past games on the Nintendo DS and Nintendo 3DS have had story campaigns and they got wild with shadow clones of the characters to Dr. Eggman releasing giant robots. The games even featured some surprisingly well animated cutscenes too. You wouldn’t be wrong in thinking that I was hyped for this mode. What we got, however, was bare bones. I like the corny idea of the heroes and villains getting sucked into the retro game world. That’s wonderful, but unfortunately it doesn’t really get zanier than that. In 2020, Tails and Luigi work to save their friends by participating in regular Olympic events. In 1964, Mario and Sonic save themselves by participating in regular Olympic events. Yes, there are occasional mini games, but as I mentioned earlier, they are so simple and feel like they’ve finished before they’ve begun. Where’s the fun, the stupidly epic nature you can achieve when featuring franchises like Super Mario and Sonic the Hedgehog? Why can’t Eggman use the Gold Medals to make this fire monster that will compete against Mario and Sonic? Why can’t Metal Sonic cause chaos in Tokyo while Tails and Luigi stop him with a small platforming challenge? I know that there was an attempt with the mini games that are available, but it still comes up short and leaves me wanting a lot more.

This problem is completely related to the story as well. Meaning that while it has some genuinely great moments, it is a slog to get through at times. It has one formula and it follows that formula for the entire campaign. Every time, it’s a chore of: “go to this venue, talk to the character, face that character in an event, have them give you an item.” It never breaks off from this formula. Even the mini games follow the same structure. Again, where’s the heart? This is just running through the motions of a story. I’d love for it to really go wild with the Olympics and the characters at their disposal. One thing I couldn’t wrap my head around was the use of Luigi. This game really, really, really likes Luigi. He has the most mini games out of anybody, he’s featured in the story more than any other character, and once the game is finished, you are stuck using Luigi for any of the events within the epilogue. This includes the Dream Events too. Considering the fact that this game came out just one day after Luigi’s Mansion 3, I wouldn’t be surprised if this was intentional. It’s very odd that a game with Mario & Sonic in the title gives so much of the spotlight to Luigi. Along with his annoying vocal grunts that I mentioned earlier, I found Luigi got on my nerves throughout the story. The game also never lets you control any Sonic characters outside of a few events. Despite the fact that they are in pairs for the entire story, on the map screens, you can only control Mario in 1964 and Luigi in 2020. Not for nothing, but I’d like to control Sonic and Tails if I had the choice. This isn’t a huge complaint, but it’s something I noticed.

There are some positives to the story mode though. Certain character interactions are fantastic. I really loved bumping into Jet the Hawk, Wario & Waluigi, and Ludwig von Koopa during the campaign. Jet still refers to Sonic by his full name which was a bit of character consistency that made me smile. Sonic is also written pretty well. Since Mario doesn’t talk, Sonic does all of the talking for the heroes. He’s got a great mix of cockiness, heroism, and that cheesy factor that makes him so likeable. I was happy seeing how Sonic acted even if it wasn’t anything too mind blowing. Bowser and Eggman are written a bit more incompetent than usual, but it works well for comedic effect. There is also a moment in the climax that taps into that greatness I was hoping for. It’s a fantastic moment that I won’t spoil, but I enjoyed it and cared about what was happening to all of the character in the retro game world.

Throughout the map screens, you can find trivia pods. This seems like cheap filler, but I have to be honest… I actually found them very fun. There are 4 types of trivia cards: Olympic trivia, Japan trivia, Mario character trivia, and Sonic character trivia. I found myself learning a lot about the Olympics and Japan through this game. Often I became aware of things I never knew of. As a fan too, seeing Amy’s love for fortune reading or the game teasing that Wario and Waluigi are just two dudes who hang out together was a nice treat. However, being a big fan also means you know when they make mistakes. So when they say that Eggman Nega is Eggman’s descendant, I can’t help, but roll my eye. Yes, I know the Sonic Rivals games messed up the continuity, but the Sonic Rush games clearly established he’s from another dimension. His name is Eggman NEGA for crying out loud! In fact, his whole character is stated time and time again that he hates Eggman and yet he spends a vast majority of the campaign actively trying to save Eggman from the video game world. How many wires got crossed when they were making this game? Also, some pods say that Shadow being born on the Space Colony ARK is just a rumor... when we’ve had TWO games dedicated to that backstory. It just left me flabbergasted. Other trivia pods are just a waste of time though. “What color are Wendy’s shoes,” read one question that had a full body picture of Wendy attached to it. (Yes, you could clearly see her shoes). Were they that lazy with some of these?

One particular thing about the story mode that had me laughing while also sighing was how much this game praises Japan. It’s honestly hilarious. Talking to Toads or animals around the map screens almost always has them saying how amazing Japan is, how the Olympics are this perfect accumulation of everybody’s efforts, or how nice and incredible Japanese achievements and citizens are. I’m not saying that Japan is a bad country, but when you’re constantly being told this stuff, after a while it just seems like excessive. I’m not blind to the fact that this game was made to be a commercial of sorts for the 2020 Olympic games and for Japan too, but the game clearly has more love and more of a desire to promote Japan than it does the two lead stars of the game. Let’s be honest here, Olympic fans aren’t coming out in droves to play this game, Mario and Sonic fans are.

Online play has been included too. Honestly, there isn’t too much to say about it. If you’ve played Super Smash Bros. Ultimate or Super Mario Maker 2 online before then you know what to expect. Nintendo’s shoddy online service doesn’t do Mario & Sonic any favors. It’s functional, but button delay and occasional lag are very apparent and do hamper the experience. I enjoyed a few games of Rugby Sevens online, but I never felt like I had as much control as I did when I was playing solo. For games like the Javelin Throw or Triple Jump that require pinpoint accuracy, I don’t see how this is going to be viable. Nintendo can make some great games, but they are constantly behind in all other aspects.

Plenty can be said about Mario & Sonic at the Olympic Games Tokyo 2020. Mechanically, all of the changes to the many events have benefited how they played. There’s a lot to experience here, but the game shies away from using the potential of having such iconic heroes in their line-up. I don’t know if it’s incompetence or laziness, but this doesn’t not reach the heights that it should. It has less Dream Events, less music remixes, less fan service, and a less ambitious story than previous Mario & Sonic games. Many people come into these games knowing they’ll be simple, but also feeling that the fan service and winks to the source material will elevate it into something great. Nevertheless, it feels like SEGA and Nintendo believed that putting Sonic and company in cute outfits would be enough to excuse other lackluster elements. I worry that this review may have come across as overly negative. There are many things I love about this game and I find that the game can be a real blast to play! The variety of the events and the pure fun factor of some cannot be denied. There are many good qualities to be found in this product, but when it lacks that special shine and polish that is to be expected by now, it inevitably feels disappointing. I don’t hate this game in the slightest, but I’d be lying if I said it I wasn’t left wanting more as a fan. SEGA and Nintendo are big companies and they can do better than this; we should expect more from them. At the end of the day, I will definitely be popping this game in from time to time. The mechanics are fun and there are lovable characters in here. I just wish they were celebrated more than the Olympics themselves.

#Sonic the Hedgehog #Nintendo #Mario and Sonic #mario & sonic at the olympic games #nintendo switch

12 notes · View notes

teamhawkeye · 5 years

Note

🍓 ok listen hear me out i know you said not your cyberpunk ocs, but WHAT IF (also all of your other ocs 🙌)

asdfghjkl; - you’re really gonna make me pull something outta thin air for them, huh? FINEEEEEEE

Anna: Before the Collapse, she was closest to Staci Pratt in all of Hope County. He was less instrumental in showing her the ropes - like Hudson was - and more into showing her how to have a good time while the county descended into a bigger mess. She came to enjoy her time on patrol or behind a desk with him, since he did his best to keep the atmosphere lively; he was also the only one to be able to convince her to head to the Spread Eagle for drinks after work instead of heading home to her rented place to be alone and even while some of his antics and flirting exasperated her, she really liked him and enjoyed his company. She’s greatly affected and angered by his transformation under Jacob and is fiercely protective of him, prepared to do anything to get him back.

Reese: Her father drew away from his children following his wife’s death and it only got worse for him when the Collapse happened. He eventually withered away, unable to be inspired to continue on despite his children’s best efforts. Even while he was still alive, Reese looked to her brothers for male role models, as they were the ones to care and teach her more than anyone: specifically, her elder brother Danny, who had always been fiercely protective of her and always pushed her to the heights he knew she could reach.

When she reaches Hope County, Reese is drawn in by Joseph Seed’s magnetism and finds herself accepting him as a father figure, despite warnings from the former Resistance members she’s allied with. He initially provides a steady reassurance that she felt denied by her biological father and she’s taken by the

Kate: One of the very few possessions she has and prizes above all else is the photo or her and her father, James, taken on her 10th birthday. When Amata pleads for her to return to Vault 101 and help her with the coup she is staging, all Kate returns for in her former home is that picture and leaves everything else behind when she is banished once more. The other things she cherishes are the holotapes of James’ diaries working on Project Purity both before and after she was born and being able to hear his voice again...she replays his voice so often that the tapes start to run and she has to make her replays more sparing to preserve them.

Jem: Has a very strong connection with Joshua Graham upon first meeting. She’s in awe and a little wary of him, having heard the stories of the Malpais Legate and the Burned Man but comes to admire him. Joshua in turn sees the help she provides, but also the brutality and cruelty that lurks inside her from her former self - and that comes out to rears its ugly head from time to time - and sees a great deal of his younger self in her and hopes to steer her away from the path he walked. Eventually, she proves herself able to overcome the darkness that lurks inside when she takes mercy on Salt-Upon-Wounds and convinces Joshua to spare him. They part ways when he takes the Dead Horses back to Dead Horse Point and she returns to New Vegas to prepare for the upcoming battle at the Dam, but they both have a feeling of “in another life, maybe...-”. He gives her his pistol, A Light Shining In Darkness, and it becomes her sidepiece from that moment onward

Deckard: Deacon is her best friend: they have similar senses of humor and he can make her laugh like no one else can. Deacon always sees the goodness inside her and how she tries to help people and admires her maintaining nobility even in the strange, cruel new world she finds herself in. While he disapproves of her allegiances with both the BoS and the Railroad, seeing the danger there in trying to straddle both lines, he comes to understand her perspective when she can’t support the worst of the Brotherhood’s bigotry but also can’t support the Railroad turning a blind eye towards the suffering of those who aren’t synths. He joins her with the Minutemen to take down the Institute and elects to remain in Sanctuary from time to time to look after her, following her depression after she kills her son, Shaun.

Eventually, his feelings become more than just friendship but he’s willing to hide his love for the sake of her happiness with Danse after they become a couple. However, she approaches Deacon when she and Danse consider the possibility of having a child, and he becomes father to her daughter, Ripley. Deckard comes to acknowledge she loves Deacon as well and he rounds out the strange little family they now form together.

Cyberpunk 2077 OCs: since you convinced me to maybe have two characters instead of picking between two names, they’re gonna be Brody and Hudson Stark. Brody is female, Hudson is male: a younger sister and an older brother. As is tradition for most of my characters, their names are inspired by other fictional characters i admire or like. The last name “Stark” comes from my boy Tony Stark. “Brody” comes from Chief Martin Brody of “Jaws” and Hudson comes from Pvt. Hudson of “Aliens”. I haven’t had a female protag with red hair before so Brody is going to have red hair

...and that’s legit all i’ve got so far, lmao. they’ll take shape the closer we get to release and more info is put out, and then they’ll go through major overhaul once i actually play the game through once or twice

thank you for asking!!! <3 <3 <3

#Deputy Anna Bishop #Captain Reese Jaeger #Lone Wanderer Kate Antilles #Courier Jem #Sole Survivor Deckard Grant #outranks

6 notes · View notes

theflenser · 5 years

Text

Street Sects interview with Ad Libitum.

A interview with Street Sects, originally published in Polish in the Ad Libitum zine.

Interviewer: Lidia Kowalski

1) In one interview, you stated that Rat Jacket was kind of "transition point" for you. Was it only in musical kind of meaning or was it also concerning lyrical content? What kind of "topics" will be brought up on the newest album?

Leo Ashline - Mostly it was a musical transition point. I tend to approach lyric writing from a song to song basis, depending on how the music that Shaun sends me makes me feel at the time. Shaun was introducing a lot of melody on that EP, twitching guitars, slightly more patient structuring, and some really sad, melancholy synth work, so the words reflect those things. Lyrically, the thematic connective tissues of Rat Jacket are trust, betrayal, and regret. It differed from End Position in that it was less hateful and nihilistic, albeit only slightly.

On The Kicking Mule there are a lot of different themes at play. The record is more of a collection of vignettes than it is any kind of concept record. A lot of the songs are incredibly personal. “Birch Meadows, 1991” is about my parents divorce, and “Everyone’s at Home Eventually” deals in part with my love/hate relationship with alcohol, and how it has always been first and foremost a symptom of my fear and anxiety. Other songs, like “Chasing the Vig” and “The Drifter” are my feelings and experiences filtered through my love for crime noir writing, much like “Featherweight Hate” was on End Position.

2) Firstly, you have been working on making your project into a "total aesthetics" one. What exactly does it mean, what does it involve? And is it possible that one day it will go beyond simply music and visuals?

LA - An old friend of mine impressed this idea upon me about a decade or so ago. To me it means having all of the facets of your work (the music, the visuals, the words, the live performance, etc) coalesce into a unified or singular aesthetic. I think our work as a whole speaks pretty clearly to that intent. And yes, I do think it can and (hopefully) will seep into other mediums. Time will tell.

3) Concerning the visuals - on almost all of the covers of your releases, a silhouette of woman which (imo) symbolises death, can be seen. Does her presence mean simplz that death, or a thought of it, is present through full duration of your life, or does her symbolical role differ? What's your view on that?

LA – Death, or “Lizzy”, as we call her, represents different things in different images. In the original Gentrification seven inches, she represented the culture, the color that gets pushed out and washed over when a neighborhood is gentrified. People want to destroy what they are afraid of. People are afraid of what they don’t understand. Death, like diversity, scares certain people. Lizzy was beautiful, and look what you did to her. Now you can drink your fucking pour over coffees and your fifteen dollar craft cocktails in clean, vanilla scented, color-free comfort. Happy?

In other images, she is the voyeur. She is watching, waiting, refusing to participate or interfere because she knows better. She knows how it’s going to end, one way or another, so she may as well sit back and enjoy the show. In other images she is the chauffer, our guide from here to there. In those instances I’d like to think that she represents hope, optimism, and a chance at finding something more meaningful than what we have allotted ourselves this time around.

4) You have once told about that there were periods in your life, where your only motivation to get up was music you got to make. Has making music had a cathrarctic, self-therapic role for you? Or maybe it played a part and made you see anything else in life worth living for only a bit?

LA - I think maybe a bit of both. Focusing so intently upon negative energy can be therapeutic in that the negativity can, on a good day, become something purposeful. It can be a tool to be utilized rather than a weight or a burden. And yes, certainly touring, meeting people, being fortunate enough to see your work have an effect on others, all of that can be incredibly rewarding. It can sometimes help to restore that lack of faith in the whole thing. But most of the time, unfortunately, it isn’t enough. You reach down and try to dig for that feeling, and it just isn’t there. Shaun and I do what we can to keep pushing each other forward, and I think that we are fortunate to have that dynamic. I see a lot of people, artists, who struggle to make it on their own, and it’s such an uphill battle. Trying to dodge depression, rejection, self-doubt, and a constant lack of encouragement all while pushing yourself creatively can quickly become a bleak and impossibly lonely road. It’s hard to blame people for wanting to walk away from that.

5) Well, it is obvious becouse of your experiences and feelings, but in your music you often display the darkest, most ugly side of live. You had your fair share of really awful times, but here comes the question: what, do you think, has the most power to destroy a human: his surroundings or him alone?

LA - That’s a pretty big question, and honestly I don’t think I’m really qualified to answer that, at least not in any kind of broad sense. Speaking for myself, I blame the majority of my hardships, past and present, on my own poor decisions. I’ve had a lot of opportunity, and I have wasted almost all of it. Now I’m playing catch up, and I’m still paying for a lot of those mistakes. I used to move around a lot, different cities…different states. Wherever I went I kept fucking up. I don’t think my surroundings had much to do with it.

6) There are a lot of people in the world that live in their safe world, completely unaware of what can be happening three steps from their home, completely unaware of how depression feels. Do you see "consciousness" as a value? Would you rather be totally blind, but happy?

Shaun Ringsmuth: Consciousness is something I've had to teach myself to value. Of course, the mind records what's happening whether you appreciate it or not, but it might be to one's advantage to find a place of calm before blowing one's brains out, or worse having one's brains blasted by another person. Violence like that, either way, always scares me, because of how little value is placed on the moments, whether it's sentiment between two people or the greatest speech ever being spoken--it all seemingly becomes a waste staring at the barrel of a gun. On this topic, I would recommend Viktor Frankle's book Man's Search for Meaning. It is with great luck that tragedy doesn't happen to a person, and of course that begs the questions of how to live, why, and what for. Arguably it is better to try to live with purpose, and if that purpose is found to then not diminish it with negative self-talk, or rot away on drugs and alcohol, and to not take out on other people one's personal sense of injustice. With the creation of art, a sense of purpose can be easily associated, because it is often self-created and comes from a place of inner truth. Even in collaboration, like with me and Leo in Street Sects, we share what we can, go our separate way for a while, and then come back with we've found. Sometimes this is a song, or a new image, or a lyric, but whatever it is the aim of these created things is to give time--time being the only thing we ever really own--a story, a way of relating the human experience, which with any luck gets passed on long after we're dead. However, to get back to your question, is it better to be totally blind but happy: that's not for anyone else to say but yourself. You have to step away from your everyday reality for a number of minutes and ask yourself, Is this who I am, is this what I want? And then change the "why" to the "how"--as in, not "why am I doing this," but "how am I going to do this."

LA - Do I see a consciousness as a value? I can’t imagine any artist or musician answering “no” to that question. If I was “totally blind, but happy” I don’t think I would have much use for art or music as a creative outlet, because I doubt that I would have anything interesting to say. Pain and despair, like death and diversity, are a part of life.

7) On "The Defence of Resentment", you start by listing some of the fears you have. However, is there any particular fear that is close to you the most, that haunts you, if I can say it this way, "personally"? 

LA - My biggest fear is the fear of being a failure, of having wasted my life. To reach the end and have to own up to the fact that I could have done so much more, that I could have tried harder, done better. The potentiality of that kind of regret is terrifying.

8) In one interview, you said that being sincere while writing lyrics isn't enough, it is also a matter of finding a unique perspective. In what way you see your perspective as unique?

LA: Everyone’s perspective is unique, not just mine. However, not everyone is able to communicate their perspectives in a way that does justice to their particular experience. Art takes form, and we look to preexisting forms as influences and guideposts for our own work. Even the most abstract artists are often hard-pressed to outrun the shadows of artists who came before them. With my writing I try to focus on expressions of sincerity and honesty, and try to couch those expressions in a form that appeals to my inner critic. I don’t want anything that I write to have the stink of familiarity or nostalgia. It has to be clear that there was an effort made to approach the work from a fresh perspective. Whether I’m successful in that or not is not really for me to say, but the effort is there.

9) Do you think that we, as a human kind, have a tendency to run away from thing we'd be better off not knowing? What we escape most frequently in modern world? 

SR: Some of us, yes. I've known and admired people in my life who have preferred truth in every instance. I was not one of those people. I wanted escapism and fantasy, some of which was self-destructive. Not wanting reality exactly as it is can also lead to creativity: novels, movies, music, paintings, architecture. Attempting to see reality as it is, and attempting to see reality as better than it is--these are worthy pursuits. Lately, I'm finding what's most important from day to day is knowing exactly what one thinks and feels, followed by deliberate action. Like, really stopping all movement and asking what's going on. It's the only way to care for oneself and for others. It is worth taking the time to breathe deeply, look around, and be in that very moment of reality, because that's the best chance to really see and to create. This is easier said than done, of course, because one wakes up and all the shit from yesteryear is right there, and nothing seems good enough and nobody is kind. Everyday one has to make a choice of how to live.

10) On "Rat Jacket", I can feel a distinction, yet a weird relationship between abrasive mechanisation and a "human side" to this music (by which I mean post-industrial melodic hooks). Do you think that the same kind of connection between pure human soul and that what is cold and obcure can be found?

SR: Yes! Though, I would add that every Street Sects recording has attempted this connection between warm human melody and cold machine sounds. Humans have the gift (and burden) of being self-aware, unlike other animals, and with that comes the urge to name, to conceptualize, to make meaning where there seemingly isn't one. It's how people come to such wildly different interpretations over pieces of abstract art. The less a piece is controlled by labels the more room a person's mind has to dream. Even if something begins with a narrative or directive, it can take a turn for the surreal and then allow more headroom for the spectator. We see this in Ingmar Bergman's films. We see this in John Barth's novels. We feel this in Harold Budd's music. Any abstraction of course does ask participation of the listener/viewer, and not everyone wants that experience. Sometimes all we want is escape. Creating these things can get complicated, but it doesn't have to be a single extreme choice, thus the use of melody or a relatable narrative coursing through abstract imagery.

On "In Prison, at Least I Had You" I wrote a fairly abstract intro. Originally it was supposed to go toward a split release with the Cincinnati band Curse. Some

of their songs have slow, doomish metal-inspired parts, so I wrote what I thought would complement that. When the song starts, it's all bits of sound, total collage work, which eventually flows into what I hoped would be doomish metal tempo, followed by the main portion of the song itself. The final version you hear on Rat Jacket didn't come out as I intended, at least the intro part before the wind-up sound that kicks off the song, but I spent a lot of time on that intro collage part, really feeling out those sounds, connecting them, making sure they had the right rhythm in the mix. The intention of that song in particular serves the human/machine dynamic, I think.

11) During the times of "Gentrification" you said that you don't exactly write lyrics, but rather do some kind of stream of consciousness resolved around central topic. Are you still working like that?

LA: No. With the Gentrifiction singles there were these pieces of micro-fiction that I had written to accompany the records, these sort of journals from characters who were caught in the crossfire of social displacement. Those pieces were the core of the writing, and the “lyrics” were more guttural abstractions of those pieces. Since End Position, my approach to lyric writing has been more traditional and meticulous.

12) Also, many times when you were asked about your process of creation, you mentioned talking with each other a lot about it. What were those conversations about? I don't mean to dwell to deep, just the general.

SR: Leo and I don't sit down and work out songs on instruments together. We tend to talk through the parts, and later I work them out in the instrumentation. This is why I sometimes only write a snippet of a song, maybe one minute or two. I'll send it over to him to think about, and he'll often listen to the pieces in his van. The conversations, on the whole, cover a long period of time in our friendship, to my mind, because he and I have been talking about music since we first met in 2002. Sometimes in talking about a current thing we're working on, we'll reference a ten-year-old conversion about a band or song. It breathes new life into old ideas.

13) This question can be a bit personal, and even if your music and lyrics are generally confessional, I'll understand if you don't answer. What's you experience with the spiral of self-hate? What makes it worse and harder to escape (if it is possible at all)? How do you experience it, can you desribe in your own, abstract way?

LA: I don’t mind answering. My relationship with self-hate probably began around the time my parents got divorced, in 1991. I put on a lot of weight and it made my life harder in terms of school, peers, and my interest in the opposite sex. I have struggled with having a negative body image my entire life, and it has greatly effected my self esteem, my confidence, and my overall mental health. These issues in turn led to eating disorders, isolating myself from other people, and self medicating with alcohol and drugs. The chemical dependencies then in turn created a maelstrom of other problems, culminating in extreme and obsessive self destructive thoughts and behavior. Fixation on suicide as a solution, which is still a huge part of my mental framework, unfortunately. I feel like I have been trying to work backwards through these problems for a long time now, but the root problems are still there. Getting off drugs and alcohol was only the tip of the iceberg in terms of the mountain of work I still have in front of me. What makes it worse is inertia. Sitting around. Not doing anything. I have to keep busy with the band. I don’t go to therapy, and I stopped attending (AA) meetings years ago. Street Sects is the only real cure I have found. I don’t know what I would do without it.

14) This will be less of a question and more of a confirmation (or denial) of my predictions. On your lyrics to "In Prison, At Least I Had You", there is a fragment that says "I'm holding the same position". Is it reffering to title of your debut LP, "End

Position"?

LA: Yep. Nice catch!

15) And finally. How are you feeling these days? Is life quite OK? I wish you the best, honestly.

SR: I am now almost two years sober, so my feeling about things in general is one of hope. Without sounding corny here, I really want to live with passion, put all the ideas into the music, and try to connect with people along the way. When I drank, i drank to black out and forget myself, and I lived that way from about 14 to 32 years of age. There was so much self-loathing, trepidation, anxiety in my life. I was afraid of everything. These days I try not to take anybody or anything for granted. I let people know that I love them and that they are loved, which is something I couldn't do pretty much my whole life. I'm grateful that I'm still making music with my best friend, Leo, and I truly believe our best work is still to come.

Thank you, Lidia, for listening and looking into our music, and for taking the time to interview us.

LA: I’d be lying if I said that I feel good more often than not. Staying positive is a constant struggle. But I have a lot to be grateful for, most of all this band and my friendship with Shaun. I’m also extremely grateful for my mother, who helped me get sober, for the small handful of friends I have, and for everyone who has ever supported Street Sects in any way. Thanks for the interview, Lidia. Sorry it took us so long to get these answers back to you.

#street sects

17 notes · View notes

osakawise · 5 years

Link

OSAKAWISE002 TALK CONTENTS IN ENGLISH

Translators:Fu Kawashima and Tomoka Moli

Editor:Kota Tensaka

-8:40 Kota(K): Goon evening, for OSAKAWISE series two, I will be delivering from NOON+CAFE in Osaka, whilst welcoming a guest tonight. We actually met around 15 years ago when I first started going to clubs, as well working together here at NOON to organise parties, an artists that I admire; I have invited Taichi aka RHy-s. Taichi (T): Good evening K: Today, I’d like to interview Taichi regarding his performances of course, but also about his music production and recent activities. Oh and, Taichi, you’re the manager of NOON, correct? T: At the moment, although NOON is a nightclub in the night time, but there’s been efforts to open this place as a CAFE during the day. I manage the space in the evenings; when it turns into a nightclub, bookings for live events and managing the bar area. So yeah, you could say I’m the manager for the night time. K: I see. I’m guessing you’re interacting and meeting with a lot of local artists, as well as contributing to parties with variety of genres, so it’d be great if I could ask you about the Osaka music scene later on. For now, if you could explain briefly the equipment you’re going to use for LIVE show tonight, but I notice you don’t have your laptop with you? T: I went through a period of using a laptop, but I found that it was troublesome; in that there were probability that the songs would stop playing all of a sudden, I feel like the risks are too high to be using it for LIVE performances. Since it’ll be the end if the PC breaks down. Other than that, I mainly use two Electribe from KORG; the SX and MX. It’s three generation prior to the newest versions with vacuum tubes. I use SX as a main to create beats and put filters on the drums. With MX, I hardly hit the drums, but instead, I use the feature which allows you to produce 5 different synths to create that bass and upper sounds. I do use some sampler sounds from the SX, for example putting in speeches from films. Oh and, sampler using ROLAND SP-404; I don’t use the pre-recorded samples, but I record upper sounds without beats at home, then incorporate it in here and I use that a lot. K: Do you also record environmental sounds? T: oh yeah yeah, I remember last year when a massive typhoon hit OSAKA, I recorded downstairs at my apartment, and it had that `the end of the world` kind of sounds that I use a lot when playing LIVE. Lets give it a listen. -00:15:00

T: Sounds mad doesn’t it? haha Cranes nearby was swaying and made a melodic sound... I took my iPhone outside to record it... So yeah, I use SP-404 for things like this. Also I bought the ROLAND SPACE ECHO RE-20 recently, and I use it a lot; its pretty good for how it decays the songs, and by using it, I feel like it puts together the sound nicely. K: I see. Just started career using TAICH as his artist name for DJing, today I would like him to perform live as RHy-s. Later on, I would like to share with you facts and information on his music career, as well as party information in OSAKA. To all you listeners, you can download the Mixlr app and subscribe for an account, which will allow you to interact with us through the chat. If you have any questions to RHy-s, or comments, anything is welcome for us to make it a topic for today’s show. Before we move on to the LIVE, is there anything you would like to say to the listeners? T: Today I resembling the vibe from a normal LIVE set. I wouldn’t know how todays set would sound for you via internet, since I’ve only done it at home and at the nightclubs, but I hope you all will enjoy my LIVE set. K: I’m looking forward to this one! Let’s go!

-1:00:17 K: OSAKAWISE series two, delivering from here, NOON with guest RHy-s. Wow, that was phenomenal! T: Was I too keen? haha K: You just played for around 40 minutes, is this how long you’d usually play？ T: LIVE sets require focus so I usually only as for around 30 minutes. The longest was 90 minutes, but it gave me time to think haha K: For real! When I watch the set right in front of you, you’re always moving your hands and I do think it requires skills; but speaking of tunes, if you played them like in the first half, I reckon you could reach 2 hours?

Yeah I could do it, if the concept of the LIVE show was like you said, more like techno,dancey sounds. When I play for longer though, I’d have to assemble tunes to some extent, so I feel like the improvisation vibes will be diminished.

Yeah, since you’re playing in real time.

Fundamentally, There’s the sequences I already made, and use them to take it in and out or change them. Or even remake them.

Are you committed to the style of LIVE shows?

For sure!

At first, I wanted to make tunes that I’m 100% satisfied with, a tune where I know its good whenever I listened back to it, for my own sake.

But from then, I changed my views when I was performing live in front of crowd and organizing parties like DEPTH at NOON.It really influenced me through the party style and LIVE sets.

At that time,in heads and IDM locality, There were artists who made completed sick tunes that were played on the LIVE set performances. I also saw a lot of LIVE sets of artists abroad, but even if it was one of my favorite artist, how it just finished with just performing already composed tune on their laptops didn't feel right; I almost felt disappointed that I watched their live performances haha

LIVE sets really is all about experience. It’s important for audience to enjoy the good music, but there has to be that element of impact of stimulation on the audience.

By the way, the LIVE set that left the most impression for me is Ceephax Acid Crew.

It was like listening to a hard core band’s live. I would always want to see his LIVE sets.

I personally like how your LIVE set has that element of nervousness. There’s always that risk of making mistake, but there’s things that can only happen and be experienced in that space and time.

Hmm, its in that moment you know, that's why I wouldn’t want it to be recorded sometimes. But I think it would be interesting for those listening to the live set.

I think I can create the atmosphere of a sense of live to a certain extent.

The reason I started to produce dance track was when custom law of ‘dancing is prohibited’ was set. So I opposed by just creating dance tracks haha

Till then I was only focused on music that can blow minds.

So yeah, then that influenced the counter movement of dancing at bars, not just dance floor of clubs; left an impression not just on the environment but the production side too.

So I see, music production is influenced and inspiration are born from the environment too then.

A bit like the emotions trigger the production of tunes…

This is just my personal impression, but Taichi you’re usually sociable person, I just don't hear that side of your character in the music. I sense more darkness, anger and sadness.

When I’m working at NOON, from the external perspective, I feel like I have to be that person with responsibilities, and I am like that. But when its music related, I feel like I can do anything and its liberating; I can deliver a message about my thoughts and what I like through music.

How is your music production recently?

Not really sampling, but I have been using 1 bar patterns a lot recently.

I don't build up on that really.

Tunes I’ve produced before are all because there were deadlines for releases and what not, then there’s that sense of “I have to”, so then I finally finish making a tune.

When I have bookings, I always want to try out something new, so that gives me a reason to produce tunes.

Otherwise, when I feel real anger and sadness that can’t be expressed, I don't feel like producing tunes when I’m having a good time.

I can also escape reality for a bit when I’m producing music.

There seems to be some similarity with art and sports; allowing yourself to release them strong emotions through activity and feel refreshed after you know.

I know you buy quite a lot of vinyls; do you get influences and inspiration from other artists?

I see you dancing at other clubs and I know you go to other places other than NOON.

While on the job, there’s been times where I go out and have fun, I touch upon music that aren’t related to genres, but when I feel like producing tunes is when I’m listening to shit music haha

Isn’t that also anger though? Haha

You’re not wrong, anger does drive me to produce music. That's why I end up producing dark and scary music haha

When its from feeling happy, I use SP-404 to make a story-like snippets and save them like a diary, then I add on beats to that.

Not just dark stuff.

I see.

I heard that you were on the news years ago for someone reporting you for lost in the mountains, so does you’re hobby of mountain climbing influence your music production?

Actually yeah! It does! When I went mountain climbing in Canada. I’m gonna listen to it before the last half of the LIVE!

Known to only those who know, but it's a song I produced after I climbed a mountain with a DJ called Return Trip in Canada.

-01:18:35

-01:20:30

So it goes like that.

I don't remember it clearly, but Takaaai, a legendary member from the DEPTH was there, and I think I borrowed his NODE LEAD to make the tune.

The sounds of footsteps, rain and lightning while mountain climbing is incorporated into the tune too.

That time too, I was climbing without any plans, I challenged snowy paths and was faced with serious situations; really made me think how small human were and the greatness of nature.

It was that time, that feeling of soul beating by the nature which made it into this song,haha.

The song was a great acclaim by Return Trip too, I wonder how he’s doing…

Ahh Return Trip, feels sentimental.

So Taichi, you’re also organizing new parties as well as DJing, right?

Now, I’ve been doing parties called “moltal”, here at NOON, on a Thursday, once a month on a weekday.

There’s a hall with a decent sound system, but the party is based around the bar area with simply a DJ booth.

The concept is to have fun freely, not all about listening to the DJ or geeked out by the music.

Musically, we don’t really care too much about the genres either.

You’re close to the DJ booth anyway.

About the combination of yourself and guest artists, what kind of artists do you welcome?

Usually, those I see a lot at the club and get along well with.

There’s others that are willing to play and happily accept my offer.

I’m not all about the technique or the genre, but if their attitude and mindset are similar to mine, and can have fun with, then anyone is welcome.

Osaka scene is narrow, and even though you know their name and their face, there’s not much contact. Sounds fun if the party is open to whoever then you know.

When I started to go to clubs and parties ten years ago, there was an impression that genres didn't really matter; parties were put together by booking artists that varied in genres.

I wonder when that concept started to disappear…

Any thoughts on the Osaka clubbing scene now?

There are parts that I do like and don't like, but I’d like to make as many connection as possible. Without putting limitation on the genres to have fun.

You are hosting the other event that is held irregularly?

Yeah, “ECMN” short for ECM Night, which derived from a German Jazz label ECM established by Manfred Eicher; I was really into the ECM sounds, but realilsed that many people actually know the label ECM when I spoke to them about it.

Their artwork is unique, and the music has a vibe that can really be called ECM sound, really good.

Then, I was bored of listening to dance music, so MITSUKI, COTA, TSUTOMU and I started an event so we can listen to ECM in decent environment.

At the same time, I was watching a film at home while playing ECM music.When I switch tracks like DJing,it was like making soundtrack for films but ECM sound.It was quite fun, so we decided to do this at the club, I think haha

We just hung a screen on the stage and projected films, the DJs produced soundtracks in real time behind the screen, can even control the sound of the film; that was the format.

The floor had sofas haha

This year marks the 50th anniversary, so we should definitely do an EMC Night!

For sure!

It almost time for the second half of the LIVE. However the online chat has been faulty today, and I have contacted the UK mixlr office, the chat should be up and running by tomorrow so I will be replying then.

RHy-s is gonna do second live set for the next 20 minutes, then we will be delivering you some information on parties in Osaka as usual.

Please Taichi-kun(RHy-s), take the stage!

-01:31:05

-01:54:35

Love that; really enjoyed listening to that, haven’t felt this way since maybe February when I listened at Mole music. Taichi-kun, the atmosphere of your sound doesn't blur, but you can really play a lot of different sets.

Organisers and promoters should check him out.

Thank you very much. I would love to play in different situation to be honest.

Now, I’d like to deliver some party information for this week.

Umm, although we have just started, organisers of parties and events especially, if you could DM us your party information on OSAKAWISE Instagram, or directly through email. I reckon there’s more people out there doing fun things. Please don’t hesitate!

9/6(Fri)TUFF DISCO feat.LUCRETIO from The Analogue Cops at daphnia 9/7(Sat)2×4 at CLUB STOMP 9/8(Sun)HIGH TIDE at 和歌山Bagus 9/12(Thu)moltal feat. YAMADA the GIANT & MITSUKI at NOON 9/16(Mon/before holiday)Happy Monday feat.Prins Thomas at CIRCUS

So yes, many parties to come this week! I would love for you all to go out and listen to the music at the sites and have fun!

Next week OSAKAWISE on Wednesday 9/18, we will be inviting DJ AKIHIRO as our guest.

Taichi-kun, thank you very much for today. Even offering up NOON as the streaming station for our program today.

No problem, I also had fun!

To those who came on site to listen to his LIVE, and those listening over the radio, thank you all very much for your patience.

I hope you look forward to the next LIVE on 9/18! And for now, good night!

【日本語版】

-8:40 Kota(K): こんばんは、OSAKAWISE第2回、本日はゲストを迎えて大阪のNOON+CAFEからお送りします。私がクラブで遊び始めた15年ほど前に出会い、ここNOONで共に働き、パーティーを共にオーガナイズしてきた、尊敬するアーティスト、RHy-sこと太一君をお呼びしています。 Taichi(T): こんばんは K: 今日は太一君のライブパフォーマンスは勿論、音楽制作や活動内容について聞いていきたいと思っています。あと、太一君は今NOONの店長なんやっけ？ T: NOONは現在、夜のCLUB以外にCAFEの営業にも力を入れていて、僕は夜のCLUBやライブイベントのブッキングやーバー周りを管理したりして、まー夜の店長という立場です。 K: なるほど。たくさんのローカルアーティストに出会ったり、幅広いジャンルのパーティーに関わっていると思うので、大阪のシーンについても後ほど話てもらえればと思います。じゃあとりあえず、今日のLIVEで使う機材のセッティングについて簡単に説明してもらえればと思いますが、今日はラップトップないね？ T: 一時期は使ってた時もあるけど、ラップトップはトラブルで音が止まっちゃう可能性があってLiveメインで活動する身としてはリスクが高い、PCが止まっちゃうと終わってしまうので。。他はメインにKORGのElectribe2台、SXとMXを使っています。これは真空管の入ってる最新のから三世代くらい前のやつ。 SXでメインのビートを作ってドラムにフィルターをかけたりして、 MXではビートをほとんど打たず、代わりにシンセが５本出せる特徴を使って上音やベースを出してます。 SXのサンプラーも少しだけ使ってる。映画のセリフとか入れたりして。あとはROLAND SP-404のサンプラー。打ち込みには使わず、これは家で録ったビートの無い展開のある上音なんかをここに入れてたくさん入れてます。 K: 環境音とか録ったりしない？ T: あーそうそう、去年大阪にすごい大きな台風がきた時に自宅マンションの下で録ったこの世の終わりみたいな音があるんやけど、これはマジで頻繁にライブで使ってるね。聞いてみましょうか。 -00:15:00 T: やばくない？笑この近所のクレーンが揺れてるとこからなってるメロディーみたいなんが。。。 i-phone持って外出て録ったね。。まーSP-404はそんな使い方で、あとは最近買ったROLAND SPACE ECHO RE-20、これも結構使ってて音の減衰の仕方がいい感じ。あとこれを使うと音がまとまったように感じる。 K: なるほど。 TAICH名義でDJとしても活動を始めた太一君、今日はRHy-sとして今からやっていただこうと思います。後ほど活動内容や、大阪のパーティー情報なんかも共有していきたいと思います。聞いていただいてる皆さん、Mixlrのアプリをインストールしてアカウント登録していただければ、チャットに参加できます。RHy-sへの質問でもなんでもいいんで、コメント入れていただければ後ほどのトークのネタにさせていただきたいと思います。なんかライブ前にリスナーに伝えたいことありますか？ T: 今日は普段のライブセットに近い感じでやります。家やクラブ以外の環境で聞くとどんな風に聞こえるのかわかりませんが、各々楽しんでいただければと思います。 K: じゃあいきましょーか！よろしくお願いします！ -1:00:17 K: OSAKAWISE第2回、RHy-sを迎えてNOONからお送りしています。いやー素晴らしい！ T: ちょっと飛ばしすぎたかな？笑 K: 40分くらいやったけど、いつもこれくらい？ T: 集��力いるんで大体いつもは30分でお願いしてます。最長で90分ってのがあったけど、途中で考える間を作る時間があったり笑 K: そーなんや！目の前で見てるとほんとずっと手動かしてるから実際は大変やと思うけど、曲調とかで言えば前半の感じでゆっくりはめたりしたら2時間とかいけそうやけど？ T: まーそういう感じのコンセプトでやりませんかって話があれば出来なくも無いけど。長時間やるとなるとある程度組んでやる必要があるので、インプロ感はちょっとなくなるかな。 K: リアルタイムで打ってるからね。 T: まー基本的なのは作ってるのもあってそれの抜き差し、打ち替えとかもあるけどね。弾き直したりとか。 K: このライブスタイルに対するこだわりやっぱり強い？ T: あるね！最初期は自分が100%納得のいく完成された曲を作りたいと思ってて、いつ聞いてもいい曲だと自分で思える、自分のための。そっからNOONでオーガナイズしてたDEPTHってパーティーの影響やライブで人前でやるってのもあって変わっていった。当時はヘッズやIDM界隈でラップトップで完成された超かっこいい曲を披露するライブパフォーマンスが多くて、 NOONで働いてたこともあって海外のアーティストのライブもたくさん見たけど、好きなアーティストでもラップトップで最高の曲を披露して終わりっていう、、どーも上がり切らないというか。ライブ見るんじゃなかった、、って残念な気持ちになって笑ライブはやっぱり体感型でないといけないと思ったね。いい音楽を聴かせることも大切だけど、ライブにはもっと刺激的な要素が必要だと。配信してる今も現場で聞くのと、家で聞くのとでは環境が違うだけで変わってくるし。因みに印象に残ってるライブはCeephax Acid Crewのライブ。曲のどこがかっこいいということじゃなくて、ハードコアバンドのライブ聞いてるみたいやった。彼のライブは毎回見たいと思う。 K: 僕は太一君のライブは緊張感がある好き。ミスる可能性も常もあるけどその場でしか出せない展開や感覚があるとこ。 T: うーん、まーその場の思いつきやから記録とかに残っては欲しくはないけど笑　ライブとしては聞いてる人は面白いかなって思う。現場の空気感を出せてるかなっと。あとダンストラックを作るきっかけになったのは風営法によって"踊ってはいけない"ってことになったことが大きい。じゃあ踊れる曲しか作りませんっという方向になった笑　それまではぶっ飛べる音楽しか意識していなかったけど。。そーそれで当時はその影響でクラブのフロアじゃなくてバーとか、今まで踊る場所じゃなかったとこで踊って遊ぶカウンター的な動きや環境も制作面での刺激になったね。 K: 楽曲制作には周りの環境なんかもインスピレーションになってるというわけですね。感情が制作活動を掻き立てるという、、個人的な印象だけど、太一君は普段すごく社交的だけど音楽はそんな感じには聞こえにくい。暗黒の闇と怒り、悲しみって感じ。 T: NOONで働いてる時なんかは対外的には立場上ちゃんとしないといけないという気持ちもあるし、そんな感じだけど、音楽に関しては何をやっても許されるし解放される、自分の好きなことや思いを音楽を通して伝えることもできるんじゃないかと。 K: 最近の音楽制作はどうですか？ T: サンプルというか1小節のパターンはめちゃくちゃ作ってる。それを曲に組み立てることはあまりやってない。これまで出来た曲は、リリースの話や締め切りなんかがあって、そーゆーのがあるとなんとしてでもという気持ちになってなんとか作り上げるって感じ。ブッキングが決まった時なんかは新しいことやりたくなるので、曲作りのきっかけになったり。他はやっぱり自分の怒りや悲しみなんかの感情の起伏が大きい時、楽しい時はあんまりそういう気にならない。音楽制作を通して現実逃避になってることはあると思う。アートやスポーツも似たようなとこあるかもしれないけど、そういう感情を行動で吐き出してスッキリするっていう。 K: レコードも結構買ってるみたいだけど、他のアーティストから影響を受けたり、触発されるみたいなことはあんまりない？太一君はいろんなとこ行って、他のクラブでも踊ってるとこよく見るけど笑 T: 仕事上いろんなとこで遊ぶ機会があって、ジャンル関係なくいろんな音楽に触れるけど、曲を作りたいって気持ちになる時はめちゃダサい音楽聴いてる時だけ笑 K: それも怒りからなんじゃ笑 T: 怒りが制作の原動力となってることは間違いない。だからこんな怖い曲になる笑楽しさきっかけでは、SP-404にネタ的なのを日記みたいにバンバン保存していってて、そこにビート乗っけたり。ダークなだけではないのよ。 K: なるほど。昔遭難届け出されてニュースに出たって聞いたけど笑、趣味の山登りも制作に関わってくることもある？ T: あっ！ある！カナダに山登りいった時の。ちょっと後半のライブの前に一回これ聴いてみよ！これは知る人ぞ知るReturnTripというDJと昔カナダで登山して帰って来た時に作った曲です。 -01:18:35 -01:20:30 T: こんな感じです。これははっきり覚えてないけど、TakaaakiっていうDEPTH伝説のメンバーがいて、多分彼にNODE LEADを借りて、それを使って弾いたと思う。登山途中の足音とか、雷とか雨降ってたのでその音とかも入ってます。その時も相変わらず無計画で登っていて、スニーカーで雪山に挑んだりして大変な目に遭って、自然の偉大さ人間の小ささを体感しましたね。その時の自然にぶちのめされた感覚を曲にした感じですね笑　ReturnTripにも大絶賛していただいて。元気にしてるかな笑 K: ReturnTrip氏懐かしいね。んでTaich君は今DJもしてて新しいパーティーもやってるよね？ T: 今ここNOONで月一平日の木曜日に、"moltal”というパーティーをやってて。 NOONはしっかりしたサウンドシステムのあるホールがあるけど、あえてバー周りで簡易ブースを置いてやってます。これは音にハマったり、DJを聴かせるというかは気軽に遊ぶ感じをテーマにやってます。音楽的にもジャンルとかあまり硬いことは考えずやってます。 K: DJとの距離も近いしね。 Taich君とゲストって感じの組み合わせだけど、どんなアーティスト呼んでるの？ T: 基本的にクラブでよく見かける人や気が合う人。あとはやらしてほしいっていってくる人も喜んで受け入れてる。技術やジャンルというより姿勢やマインドが合って、一緒に遊べる人だったら誰でも。 K: 大阪は狭いシーンで顔や名前知っててもあまり接点ないってのもあるからそーいうオープンなパーティーもいいですね。 T: 僕がパーティーなんかで遊び始めた十数年前は結構ジャンル関係なく混ってる印象があって、ジャンルが異なるアーティストがブッキングされていながらもまとまっていたり。あれはいつからなくなっていったんやろか？ K: 今の大阪のクラブシーンについて思うことある？ T: 自分も好きなものとそうじゃないものとがあるけど、それでもいろんなところで繋がりを作っていけたらなっと。音楽ジャンルで遊ぶ幅を制限せずに。 K: もう一個不定期のパーティーやってましたよね。 T: “ECMN”、ECM Nightってい言うのをやってて、ECMってのはドイツのManfred Eicherって言う人のJAZZレーベルで、個人的にツボに入ってめちゃくちゃ好きになったんですが、周りにいる人に話したら意外とECMの名前を知ってる人は多かった。アートワークが独特で、音楽もECMサウンドと呼べる雰囲気もあって最高。んで当時ダンスミュージックに飽きていたこともあって、俺、MITSUKI,COTA,TSUTOMUでECMを聞くイベントを始めた。同じタイミングで、家で映画なんかの映像を流しながら音はDJの音みたいにして遊んでて、これをクラブでやろうと言うことになった、多分笑家遊びやね笑ステージに幕はってプロジェクターで映像を映して、幕の裏でDJがサントラをリアルタイムで作り、映画の音声もコントロールできるって言う形式。フロアにはソファ笑今年はECM創設50周年なんで絶対やろ！ K: やろやろ！じゃあーそろそろ後半のライブをやってもらおうと思いますが、実は今日チャットが使えなくなってて、今UKのmixlrオフィスに問い合わせたんで、明日には返事が来て次回からは復旧するかと。このあと20分くらいライブやってもらって、いつも通り今週のパーティーの告知をされていただきたいと思います。それでは太一君よろしく！ -01:31:05 -01:54:35 K: いいねー！久しぶりにじっくり聴かせてもらいました。今年2月のmole music以来かな。太一君はサウンドの空気感はブレないけどいろんなセットできるね。オーガナイザー、プロモーターはチェックしてみて下さい。 T: ありがとうございます。そうやね、もっといろんなシチュエーションでやってみたいね。 K: それではここで今週のパーティー情報をお知らせします。えっと、まだ始まったばっかりってこともあるけど、パーティーやイベントの主催者には是非、各々のパーティー情報をOSAKAWISEのインスタからメッセージもしくは直接メールで送っていただければと思っています。ここで紹介するパーティー以外にも僕が知らないだけで面白いことやってる人たちはたくさんいると思うんで。よろしくお願いします！ 9/6(金)TUFF DISCO feat.LUCRETIO from The Analogue Cops at daphnia 9/7(土)2×4 at CLUB STOMP 9/8(日)HIGH TIDE at 和歌山Bagus 9/12(木)moltal feat. YAMADA the GIANT&MITSUKI at NOON 9/16(月)Happy Monday feat.Prins Thomas at CIRCUS と言う感じで今週もパーティーは盛り沢山！できる限りみんなには遊びに出て、現場で音楽を楽しんでもらいたいと思います！そして次回のOSAKAWISEは9/18水曜日、DJ AKIHIRO氏を招いてお送りいたします。今日は太一君ありがとうございました。NOONという場所まで提供していただいて。 T: こちらこそ！楽しかったです！ K: 配信現場まで聞きに来ていただいた方、長くお付き合いくれたリスナーの皆さん、ありがとうございました。次回は9/18！お楽しみに〜　おやすみー！

#osakawise #rhy-s

1 note · View note

papersynth · 6 years

Text

Klance theory - Music

This really isn’t one of my better theories because its really hard to analyse music :’)

I always see people make half-hearted theories on the music, always bordering on the "it kinda sounds like that!" and selectively picking a title, but I guess I have too much time on my hands and a new set of headphones I need to test.

I don't really have a proper format for this theory so this might seem like just rambling I hope its coherent. Useful links: S1 OST - https://open.spotify.com/album/6gJcepRhZZjaRWTIxOAvrl?si=4EwqNWa6Tjm9edF8gTfJRQ S2,4,5, 7 VLD OST - https://soundcloud.com/brianparkhurst/sets S6 OST - https://soundcloud.com/spiralbill/sets/voltron-legendary-defender

FOR SOME REASON I CANNOT FIND THE OST OF SEASON 3, I FIND THAT SUSPICIOUS BUT LETS NOT READ TOO MUCH INTO IT.

So lets start with what defines a romantic piece of music and I've broken it down to the music having 1. High Strings (often used to influence the current tempo or mood) 2. Legato Piano (or in the case of Voltron - Synth) in a 3. Adagio (slow tempo) Not trying to use these words to sound smart, its just that I need specifics

The reason why this formula is used is because love is a very funny and whimsical feeling. Its strange, its light, but its also sweet and kind. Romantic music always makes the effort to sound pleasant and continuous. The mix of slow piano and high strings is in relevance to how the strings insinuate the ups and downs. Moments of fantasy/whimsy that are often associated with love.

Bonding Moment - Tears of the Balmera I had listened to the piece on repeat (and thought it wasn't) the same piece, but yes, the track playing is "To Go Home". The entire fight with Sendak (despite being super epic) DOESN'T use this track. "To Go Home" makes use of synth beats and a rapid tempo with HIGH notes. The music during the fight with sendak is much faster in tempo with LOW notes, accentuated with warning alarm music to evoke danger and urgency. Notice how varying notes are used with the visuals following the tide of the battle.

"To Go Home" uses the same notes slowly rising in octaves. Repetition and intensity are often used for "chase" scenes or those with rising tension. ANYWAY the point here is that the piece of music insinuates a tense moment -> battle -> resolution. Listen to the last 30 seconds.

It starts slow, then there's a rising note, then slowly dropping down, giving the audience a feeling of rest (it doesn't slowly fade out, it ends). The reason why the bonding moment feels romantic is not only because of the visuals, but the music imply the blooming of emotion.

High strings, slow synth piano, adagio. None of the fucking trumpet shit in the 30 seconds. Cut, clean, and precise ONLY to be interrupted (by the segue) into battle music. The recipe for a romantic soundtrack is used DELIBERATELY, it cuts STRAIGHT to the end.

I'm a filmmaker, I know that I can use virtually any music to segue into an intense scene, imagine that scene with JUST the first note (the synth) the whole time instead. It feels much more friendly (and teamwork oriented) than working it into rising harmony. Also the visuals just enhance this feeling even further.

Lance gives Blue to Allura - The Red Paladin

The reason why I’m bringing up this scene is because it is romantic but not exactly. This scene between Lance and Allura is BORDERLINE romantic instead of a friendly or honorary gesture. Visually and thematically, all Lance is really doing is giving blue on over to Allura.

This scene is specifically special because the music conveys how the emotions are currently flowing.

Allura enters, the steady music is accompanied by higher notes almost peaking. Alongside the visuals, it gives a feeling of “discovery”, like a eureka moment. This is because she walks in with a pink paladin suit, and remember Lance STILL has a crush on her. He sees a new side to Allura, re-iterating once again his interest in her as a princess (at first). THEN we slip into romantic music territory as he gives the bayard to Allura, talking about how he admires her as a person who he would entrust blue to. The higher notes slowly shift the focus of the conversation into a flowing melody, indicating they’re on the same wavelength.

The music here suggests discovery but just barely teetering on romantic feelings. The mood is similar to when Zarkon first interacts with Honnerva.

Zarkon meets Honnerva - The Legend Begins

AGAIN - Slow Synth with a flowing melody of higher notes that are introduced when Honnerva picks up Kova. The visuals also compliment the music being played, Zarkon’s sense of interest, and slight attraction to Honnerva. Listen to the music of both these scenes. They’re melodically similar, and both romantically coded.

Bedroom Scene “Leave the Math to Pidge” - Tailing a comet

I can’t get over how this scene is romantically coded so fucking subtly because its done with contrasting visuals. Lance approaches Keith with a super serious topic and the plot of this scene contrasts the music that’s being played. To insinuate a conversation between the both of them, that’s very serious the whole time, no music should have been used. You don’t HAVE to have a soundtrack for everything. The scene would have done fine without music but YET it STILL uses music.

1. Legato Synth

That’s the continuous and slow beat throughout this entire scene slowly rising before going back down the MOMENT Lance says that he should step aside. It then continues to shift veeery slowly between high and low notes (but notice how it doesn’t have an accompaniment ) UNTIL Keith says “Leave the math to Pidge” intro

2. High String > Adagio

Lighthearted, and resolute. No wonder people think this scene is romantic. We have to be aware that the feelings between Lance and Keith are slow and gradual. They didn’t develop over a night, they took time to come to fruition. The more serious moments between Lance and Keith are slow but always coupled with romantic music. The music in this scene along with the visuals make it seem like Lance finds a lighthearted joy in Keith’s WORDS (because the strings come in AFTER Keith speaks). Their relationship improves over time.

Allura saves Lance - Omega Shield

Adagio? Check. Rising Synth? Check. ACCOMPANIED BY HIGH STRINGS TO INDICATE THE OTHER’S EMOTIONS? MC FUCKIN CHECK. This scene is 100% romantic, between Lance and Allura. I know this is a Klance theory but you guys seem to also forget that Lance is supposedly Bi coded, and last I checked, Bi means tWO.

Lotura and Krolia + Keith’s Dad - Razor’s Edge

The scene where Allura and Lotor are talking about what they’ve discovered in Oriande is a blooming romance between them. You can hear it in the staccato high note accent and as they go more into how they both find comfort in each other, intro comes these higher piano notes. This is the scene where we really hear love blooming between Lotor and Allura. Remember that feeling of whimsy and fantasy? That’s the feeling of love between the both of them. Its ethereal, exciting and light.

You want a point of comparison? Listen to the final korrasami scene, where they’re talking to each other outside. There’s the high string, legato piano, and where the love REALLY blooms, you hear bits and pieces of (what I think is) a kalimba. Maybe a xylophone. Slow but light beats. Blooming love is always depicted as light prickles. If you’ve ever read romance manga you’ll always see the main character surrounded by bubbles and white light. The music speaks the underlying emotions that we cannot see or understand in words.

Lance coming to terms with his feelings about Allura

This, this scene. This is as about as obvious as you can get in regards to the recipe for a romantic soundtrack. Slow, adagio synth + high strings, also it helps that Lance is literally talking about his unrequited love for Allura. I wish there was an official soundtrack for everything, but all I can say is you have to go and listen to the music in these specific scenes because they’re all romantically coded.

The Mice tell Allura Lance’s feelings

I think this scene is what threw off the possibility of Allurance for me, its because of the music and her facial expression. The music STARTS hopeful, the way a romantic piece should be, but it slowly goes downwards instead, and ends on a slightly awkward lower note. Its not hopeful, its more of.....pitiful. Like for Allura she doesn’t think she can reciprocate Lance’s feelings which is what I think this scene was trying to insinuate. This scene contrasts with when Allura saved Lance in LITERALLY the previous episode. I don’t doubt for a second that Allura feels as though she may have feelings towards Lance, but I don’t think she wants to go through with them, that’s why when the mice told her about Lance’s crush on her, she felt bad about it.

Allura and Lotor Kiss

Ohohohoh the music here was romantic up until a literal beat before their kiss. The music in VLD is amazing when it comes to picking out emotion also its just so well fucking put together. Listen closely to the music of that scene, did you catch it? the ONE note, that was slightly off, right before they kissed. Its awkward, and disjointed. It felt ominous, and jarring. Like it was a step into bad territory, which I would suppose Allura took when she devoted her feelings towards Lotor.

Allura talks about her feelings for Lotor

This scene parallels the scene in season 3 where Keith comes up to Lance and talks about how he put the team in jeopardy in “The Hunted”. The funny thing about these two scenes is that the scene with Keith introduces a higher accent to the music but ENDS the music, working itself into a different piece instead of leaving it on plateau. The scene with Allura doesn’t have a musical ending, it remains on the higher notes and gets interrupted instead of being a segue into a different emotion. Make what you think of it, but it seems as though his unrequited love for allura is let go of. It just stops as its ongoing, it has no conclusion (at least, till s8 lol).

Allura Thanks Lance + Wishes he stays safe

OH BOY So remember how we’ve established that romantic music has an adagio base with high strings/synth to evoke romantic feelings? Allura thanks lance for covering her, and we BEGIN on that musical note, intro comes the base music, only to be distorted (albeit) comically by Veronica.

Allura (later in that episode) tells Lance that she wishes he was safe and we’re on that same path again, the music’s slowly rising, the strings are here this time aaaaaaaand no conclusion? It fades abruptly into a comical ping from veronica, how come we can’t get a conclusive note for these two?

The music in the romantic scenes found in the show are really, REALLY, indicative of what’s emotively happening. Most of the scenes with Allura and Lotor are cut short or fade into sad music for lance, while the other canonical romances like Hunk/Shay and Krolia/Keith’s Dad, rhythmically conclude. Maybe I’m going insane from listening to these tracks all day, but I think they’re a decent indicator of what’s emotionally happening behind the scenes.

That’s all there really is for now! Season 8 Klance prediction is gonna be a goofy scene with those lighthearted bubbly notes I was talking about earlier. Bet.

#vld #klance theory #I've spent 5 hours listening to the same fucking tracks I'm going insane

89 notes · View notes

theinquisitivej · 5 years

Text

‘The Kid Who Would Be King’ - A Movie Review

A new film from Joe Cornish, the director who gave us Attack the Block, The Kid Who Would be King is another entertaining British film about kids fighting unearthly forces while the story emphasises the values of people who view each other with hostility and distrust coming together and breaking down their divisions. The difference this time is, rather than teenagers fighting off an alien invasion on a council estate, we're watching pre-teen schoolkids get wrapped up in a modern-day Arthuian Legend. If you remember my Late to the Party review of Attack the Block, you'll know there are parts of it I admire, but the total experience wasn't for me. This time, I came away rather fond of this film.

The music is one of the film's aspects that I most appreciated. While there are several action sequences where the music doesn't quite reach the memorable heights of the movie’s parts, in-between the action there is a compelling use of synth which creates atmospheric and warm music that gives this film its heart. It's the kind of sound you'd expect to hear in an old childhood favourite real-world meets fantasy film that you watched all the time as a kid (think Flight of the Navigator), or in more recent nostalgic media like Stranger Things, or even the director’s other film Attack the Block. It gives the film a sense of earnestness and an enjoyable aesthetic which is occasionally missing from the visuals. The way magic is presented is also distinctive and done very well. Part of why it's enjoyable to experience is that the playful music creates a theme for Merlin which is always filled with a peculiar bounciness that mirrors how the other characters would see him, which makes the things we see him do whimsically delightful. Another factor to why it works as well as it does is the rapid hand movements used to create magic - it’s mesmerising, and always done with a sense of purposefulness and urgency which makes the hand movements required to produce magic seem calculated rather than just a series of random flailing movements. And when you do see magic happen, it feels electric and dangerous, like it will pass in an instant but leave a permanent impression on the people and world around the person who conjured it.

On the whole, the actors do a fine enough job. An emphasis on child performances often invites scrutinization, but I'd say I liked everyone and felt I was watching real kids respond to these situations. Having said that, sometimes the script is a little too specific and rigid in its attempts to have characters say what needs to be said or get across some key exposition. As such, the performances of the young cast feel less free-flowing and instantly charming than what you'd see in something like IT: Chapter One. Whether the performances feel natural or not, there’s nevertheless an earnest effort being put into making the key scenes work, which means you do get some dramatic scenes which have an emotional punch to them. That goes a long way, and it provides ample content for audiences to connect with these characters throughout the film. But if I had to pick, Angus Imrie, who plays the young Merlin, is probably the highlight due to his distinct energy and enthusiasm.

The Kid Who Would Be King works as a decent introduction to the hero’s journey, so if you or someone you know are really into stories with that kind of framework, you'll definitely get something out of this film. It's particularly poignant because the return home, a meaningful and important step in the traditional hero's journey, is, in this case, a return home to the domestic and everyday world of contemporary Britain. The film closes with an acknowledgement that things are still looking bleak in a lot of ways throughout the country, and while it never explicitly states the anxiety-inducing and all too familiar phrase 'Brexit', it might as well. There's so much uncertainty surrounding what the future holds for us right now, and those frightening feelings are absolutely picked up on and shared by the younger generation. Children are always susceptible to feeling powerless, but I'd imagine the rapid changes the world is seeing these last few years is making that alienating experience even more pronounced. The Kid Who Would be King tells a story squarely aimed at kids (though it is absolutely capable of being enjoyed and meaningful to older viewers) that hands the power back to them. The course of the journey emphasises core values that Alex and his friends take to heart, and they take them home to heal old pains, reconnect with loved ones, come together with others, and walk forward to the future to do their best to make things better. If the return home is an opportunity to make the home better using what you've learned along your journey, then this is a great set of values that British kids, and all kids really, should take to heart from experiencing the journey of this story.

As for my last few quibbles with the film, I'd say that certain characters, specifically the two bullies who join the group, kind of stop developing after their key scene a little over halfway through the movie. After that, you just see them continue as they are, and there’s not much more to them after their key development has been realised. I would have liked to have seen more about what they want to do next or where they go from here after having made this progress, because as is, they seem to be stuck two thirds of the way through an unfinished character journey. Also, this is a very little thing, but I didn’t like the way Merlin would use his magic towards the end of the film. Minor spoilers, but right after Alex explains to his headmistress that all of Britain will be put under slavery if the evil forces they're up against triumph, Merlin casts a mind control spell over her to facilitate the main group's goals. After that, they do the same to all the other teachers and herd them into a classroom where they sit, like cattle. It just feels a little misplaced, poorly conceived, and antithetical to what the heroes are trying to achieve, because they're more or less forcing the teachers to do things for them that they wouldn't ordinarily have done, which is not too far away from making them, even if only temporarily, slaves to help them achieve their own means.

But The Kid Who Would Be King is, overall, a well-executed adventure movie that will hit its mark with kids of a similar age to the main characters. It’s for kids who enjoy fantasy but are also smart enough to be concerned about the things in the world that aren’t looking too great right now. The Brexit parallels are immediately apparent, but it also touches on pervading concerns such as climate change, homelessness, and generally the huge problems of the world which hit you in the face every day on your walk to work, or, indeed, to school. It’s got a purposefulness to it, and it’s very direct with what it wants to talk about, and that’s a positive thing to see in media today. It has a message in one hand and has its other hand stretched out to lead you on an enjoyable adventure, if you want to come along. It’s not a film that set the world on fire for me personally, but it will be inspiring to a lot of people who are at just the point in their lives when they need to hear what this movie has to say. One line in particular that I will carry with me is “if your legends say otherwise, maybe it’s time to rewrite them”. The stories that have shaped us and generations before us do not have to be the final word on who we are and who we can be, because it’s entirely up to us to write our own stories.

Final Ranking: Bronze.

It has a few uneven areas, but The Kid Who Would Be King is exactly the sort of thing I would’ve loved as a kid, and I think it will go down especially well for children today. Earnest and encouraging.

#The Inquisitive J #film #movies #film review #movie review #review #critic #criticism #film critic #movie critic #independent film journalism #the kid who would be king #the kid who would be king review #the inquisitive j reviews

2 notes · View notes

doublerumnukacola · 6 years

Text

Dead Men Walking (part 1)

Sole zapped back to the Institute in the usual place, her quarters. She took a couple steps and collapsed on her bed. The sedative was having some pretty nasty side effects.

Her body was wracked with shuddering tremors, her muscles burned white hot with pain. It felt like when she’d nearly electrocuted herself at age eight, trying to fish some burnt toast out of the toaster.

She tried calling for help, but she could feel the spasms paralyse her. Her jaw was clenched tight, teeth practically grinding together, muffling her scream. She wanted to close her eyes, but they were forced open, the air burning them until they watered up and tears spilled over her face.

This was how it would end. Alone in her room, writhing on her bed. She’d die in a pool of her own drool and assorted body fluid.

She couldn't turn her face when she heard the door slide open, but soon she was scooped up in arms and hurtling down the halls at a breakneck speed. Everything was a nauseating blur of grey walls and black coat.

Finally she was lain on a table where bright lights blinded her, unfamiliar faces prodded her, strapped her down, examined her trembling body. Voices were shouting, drowned out by a static buzz. Her pupils contracted painfully under the glare, but her eyelids wouldn't close. Everything was going white, as if she was passing out, but she could feel everything. Then suddenly a cool darkness washed over her vision. Sunglasses placed over her eyes to protect her from the lights. Somewhere near her was X6. It helped make the experience more bearable.

Things started to come into focus, the light fixtures above her, The doctors stabbing needles and taking blood, the beeping machines and instruments… And she could feel, just out of her field of vision, X6 standing protectively nearby. Probably watching her with those ice blue eyes. The thought helped distract her from the chaos around her, and the burning sensation coming from every fiber of her body. Then slowly the burning faded, the pain in her body softened to an ache, and the lights began to dim. Her tired eyes closed with relief, and she was gone.

●~~~~~~~~~~●

“Mother…?” Was the first thing Sole heard as she awoke. Everything felt wrong. Opening her eyes took a few tries, moving herself took a herculean effort. Something had happened to her.

“Shhnn..” She tried, her tongue lazily slurring his name. She swallowed. “Shehn…?” She felt as though she had to remap every connection in her body. Like a newborn learning how to move for the first time. “Shaun..” She finally managed. Her first word.

“Mother, rest. You’ve been through an ordeal, you need to heal.” Father insisted. Sole blinked her eyes open, adjusting to the dim light of the lamp beside her. He gave a warm smile, pleasantly surprised at the speed of her recovery.

“Arg… Are you… d’OK?” She wrestled with her words, determined to speak freely again. Despite the clumsy delivery, the sentiment behind her words seemed to throw him off.

“Me? I- Well.” Now he seemed to struggle to find his words. “I was… Concerned. You gave everyone a fright on the examination table. We thought… But I wasn't going to lose you again…” He sounded conflicted, as if trying to justify actions to himself. “You were… Put into a medically induced coma…” He explained this, as if he’d rehearsed the lie a dozen times; His guilty conscience prompting it's recital. “You may feel… out of sorts but that it is to be expected.” His voice was full of uncomfortable pauses, the way a guilty child explains a broken vase.

“I… See…” Sole said evenly, careful to enunciate her words now. Training her tongue to work with her lips. The muscle memory would take a while to come back. Her arms and back ached at the slight exertions of sitting up and moving. It was to be expected with a new body, but what was strange was the aches in her chest. An unpleasant carry over from her last body. . She gave a laboured glance around her room and found it lacking the only thing that could make the ache fade..

“Where is... X...6?” That name was more of a mouthful than she remembered.

“Just outside.” Father answered, “He was reluctant to return to the SRB until you had recovered.” Her lips twitched at the corners, the first smile. “Now, I need to rest myself. Will you be alright on your own?”

“I’m not alone.” She replied, giving a jerking nod to the door. He gave a smile and nodded in agreement.

“Yes, he is an admirable bodyguard. You made a good choice.” He agreed. “I’ll send him in if you wish, it might be pleasant to have some company.” She nodded, more gently now. He gave something close to a relieved sigh as he stood up. “You are remarkable, Mother. Not many would be able to pull through from that unscathed.” She gave him her best smile, though it only reached half her face.

“I have a remark-able examble to follow.” She replied slowly, but with genuine earnest. Once more her words seem to hit him, he reflexively put a hand over his heart, as if to shield it, before moving it away and coughing. He left without another word, proving that you are never to old to be embarrassed by your mother. Or at least the synth replicant with her memories.

Once alone, Sole rested herself back against her pillows. She recalled once when she was little, sitting just like this, sick from school for a week. Her room had been filled with get-well-soon cards. Here, her room was barren. Sure it had all the basics, a desk, a few pictures, terminal… But it may as well belong to a stranger. There was no evidence she’d lived here. No keepsakes from her travels, no mess on the floor.

It was a few minutes after Father had left when X6 entered. He came to stand near the bed, silent as ever. He wasn't looking directly at her, or as far should could tell behind his shades. She took the time to start to familiarise herself with how to move again. It wasn't nearly as simple as willing a limb to move. She had to work out what nerves connected to what, and which would send the message to the desired limb. He broke the silence just as she was working out how to tap her fingers.

“I believe it would benefit us both If I returned to Synth Retention.” He said suddenly. She continued flexing her digits, unphased by the outburst. She only briefly glanced in his direction, awaiting an explanation. He cleared his throat with an apprehensive cough. “I believe personally, my judgment has been compromised.”

“Oh?” She murmured, turning her wrist over and back, feeling how her arm had to extend to accommodate the motion.

“I shouldn't have allowed you to stay behind.” He insisted. “It was a lapse in judgement. Father agrees. I failed my assignment. I’m lucky I wasn't terminated for the error.” Sole took a deep breath, her eyes still fixed on her finger tips.

“You think so little of me?” She asked coldly. The ache in her chest was creeping back in. She hadn’t even realised it was gone until it had returned.

“I held unrealistic expectations of what you were capable of.” He replied, dodging the question. “I didn't consider the dangers-”

“No, you trusted me.” She cut in sharply, her anger sharpening her words, giving strength to her tongue. “You trusted I could take care of myself.” She looked down, voice growing softer. “And I failed you. I was… Careless.” There was a shocked silence. X6 stood by her side, arms crossed.

“May I ask… How it happened?” He asked quietly. She clenched her hands.

“I… Underestimated the threat.” She answered, annoyed at herself for her own carelessness. “I thought I was fine when I relayed back, but…” She shrugged her shoulders experimentally. There was a pause. She glanced over causally at X6, only to find him trembling, hands balled into fists. She sat up, startled by the sudden change in demeanor.

“You could have died out there.” X6 seethed. “I would have went back to those ruins only to find your corpse. Never knowing why or how…. All because of your recklessness.” He was struggling to keep his voice down, he wanted to yell at her. Scream at her. He had never felt this way. He wanted to say it was fury, but something told him it was fear. “The Institute needs you! FATHER NEEDS YOU! I- I would…” His voice choked, he turned away from her. “You are responsible for a legacy. You are not disposable. You need to remember there is more at stake than just your life.” She absorbed this, thinking on her next words carefully.

“How long have you been waiting?” She asked.

“I don't see how that is relevant.” He dismissed. “You’ve only been out for a few days-”

“Before that.” She interrupted, staring straight at him. “You were waiting outside. Waiting for me to come back.” His face reddened.

“I happened to be passing when-”

“Bullshit.”

“I…” He struggled to find the words. “I was simply waiting the two hours for your return.”

“Before that.” She repeated. “Every morning, you were outside…” The exertion was starting to take a toll on her. Father was right, she did need to rest.

“It was efficient. More so than you tracking me down in the SRB.” He explained. She lay back against her pillows, feeling her strength draining. She couldn't even move her fingers now. The ache in her chest seemed to bleed out through her body. X6 would never say the words she wanted to hear.

“Then if is the end… I need to thank you.” She managed softly. He was silent. “If you hadn't brought me to the medical wing when you did…” She closed her eyes. “I’m sorry your effort went to waste. I ended up dying anyway…”

“The medical staff were able to resuscitate you.” He pointed out, but the statement felt hollow.

“No, Advanced Systems did.” She countered, but she was almost asleep. She couldn't gauge X6’s reaction.

“Ma’am, you need to rest.” He said quietly, but firmly. She nodded, unable to respond. “We can speak more when you are well.” Soon she had drifted to sleep. He stayed for a moment, watching the rise and fall of her breath. Convincing himself that she would be more suited for another Courser.

Something stirred in him as he pried himself from her side and to the door. A sudden sadness. The only word that seemed to describe it was ‘grief’. He didn’t want to go back to the SRB. He wanted to stay by her door, watch out for her… Protect her… He took a breath and walked away. He wasn’t fit to protect her. He was a coward.

A coward who failed to put in his reassignment forms.

Story List

#x6-88 #fallout x6-88 #x6-88 x sole survivor #x6-88 x ss #fallout

13 notes · View notes

more--than--music · 5 years

Text

2018 Albums of the Year

Here’s my albums of the year. 2018 has been a brilliant year for music, and so I thought I’d lay out my favourite albums, and the reasons why they’re my favourites.

10: Unknown Mortal Orchestra – Sex and Food

Kicking the list off at ten, we have the fourth full-length project from the New Zealand lo-fi psychedelic group Unknown Mortal Orchestra. An album that calls to mind at various points dusty late 70s grooves, 80s synth work and yet very modern production sensibilities, Sex and Food bounces between deeply introspective balladry, and funky danceable beats. A sure step forward for a band that only looks to become more experimental as time goes on.

9: Ben Howard – Noonday Dream

The Devon based singer-songwriter gives a compelling vision of the future of indie-folk with this transient and supremely accomplished set of songs. Taking a further stride away from the straightforward acoustic sound of 2011’s Every Kingdom, Noonday Dream shows an artist unafraid to utilise aspects of electronic and ambient music into his soundscapes, resulting in a transcendent, elegant, and above all beautiful set of tracks. The opening duo of Nica Libres At Dusk and Towing The Line are a particular high point.

8: Thom Yorke – Suspiria (Music for the Luca Guadagnino Film)

Surprisingly his first ever venture into soundtrack work, Thom Yorke’s masterful score for the Luca Guadagnino film of the same name could be in this list simply on the strength of its lead track; Suspirium is an otherworldly waltz, a spartan piano line presided over by Thom’s instantly recognisable vocals. But it is the deeper cuts for which this album earns its place; Open Again begins with a fingerpicked guitar progression that grows into a monolithic walk to the gallows and then fades out once more. A master at the height of his powers.

7: Sports Team – Winter Nets

Undoubtedly the least well-known name on this list, the debut EP from the London-based indie-pop outfit Sports Team has been one of my most played records yet this year. A cerebral mix of Jarvis Cocker-style lyricism preoccupied with the minutiae of suburban life, and pitch perfect indie rock arrangements teetering on the edge of chaos, this shows talent beyond their years; the only EP on this list, these five tracks managed to catch my attention early on, and have stayed with me through the year. Ones to watch.

6: MGMT – Little Dark Age

A name I would not have expected to see on this list at the start of the year, the comeback from the early 2000s electro-pop group is unexpectedly brilliant. Far from the runaway chart success of singles such as Electric Feel, Little Dark Age is full of tracks that could have been pulled from the dusty archives of pretty much any 80s synth bands, but combined with so many left-field production choices, and lyrics that belie a dark sensibility beneath the bright instrumentation, this album becomes a very mature release indeed. The single, Little Dark Age, is just magic. I can’t wait to see what comes next.

5: Car Seat Headrest – Twin Fantasy

Bringing us into the second half of this list is Will Toledo’s project Car Seat Headrest, with a rerecorded, remastered version of his 2011 breakout album Twin Fantasy. Toledo’s DIY ethos calls to mind contemporary Kevin Parker, of Tame Impala, although the two go about their self-imposed individualism rather differently. Toledo’s recordings retain the lo-fi teen emotion of the original Twin Fantasy, while adding the production sensibilities of Toledo’s later Car Seat Headrest ventures, resulting in such a dizzying barrage of pitch perfect indie ballads that display mature, incisive and insightful lyricism. The peaks of the album slip off the rails in the most glorious way, and culminate in simple, honest, and resounding emotional resolutions. Few albums so perfectly capture the teenage experience... a brilliant achievement.

4: Father John Misty – God’s Favorite Customer

It will come to no surprise to those of you who know me that Josh Tillman has made his way into this list; I have been following Father John Misty since last year’s existential crisis of an album, Pure Comedy. But God’s Favorite Customer is an entirely different beast- aside from the single, Mr Tillman, the typical luscious arrangements of a usual Father John Misty album are conspicuously missing here. Gone are the chamber pop orchestras and parlour ballads; here is FJM with an acoustic guitar, a month’s stay in a hotel room, and some utterly shattering songwriting. Tillman has abandoned his lofty perch overseeing the human condition in favour of personal, painful lyrics that dissect a failing relationship in real time. Many of these songs are addressed to, or from the perspective of, Josh’s wife, Emma, and the narratives are as autobiographical as ever. But the key here is that Tillman has ceased to be just an observer of the phenomena he comments on; in God’s Favorite Customer he has no choice but to experience them from the inside, and it makes for devastating listening in places. However, Misty has not abandoned all hope; closer We're Only People (And There's Not Much Anyone Can Do About That) ends the album with a remarkably beautiful and optimistic look at humanity, and leaves you ready to emerge from the hotel room, blinking against the sunlight, into the outside world.

3: Blood Orange – Negro Swan

London born producer, multi-instrumentalist, and general prodigy Devont Hynes, has outdone himself on his fourth project under the moniker Blood Orange; Negro Swan represents exactly the kind of progressive song writing Hynes is so sought after in the pop world for, and brings together a beautiful collage of sounds and textures to produce an album that is so of the moment, it feels like a time capsule of today. Swan embraces diversity, revelling in a celebration of sexuality and identity that feels almost carnival-like in its embrace of so many aspects of modern R&B and Hip-Hop. On what other album can you find Puff Daddy monologuing about his own fear of being loved? This whole project is filled with moments such as this, with trans black activist Janet Mock providing a loose narrative thread tying the album together. But for me, the true highlight of this album is Hynes himself; a young black artist showcasing a striking talent that simply refuses to obey the laws of genre or society. The musical prowess on show is undeniable; in particular, Hynes’ guitar work is so accomplished, tracks such as Charcoal Baby are sheer joy to listen to because of it. The vocals on this record are equally impressive; comparisons will undoubtedly be drawn to Prince, although personally I see Hynes as akin to Frank Ocean, both showcasing a new vision for R&B in the 21st century, and Swan feels in many ways a sibling to Ocean’s 2016 album Blonde, in its transient nature and almost soundscape-like mixture of sounds and feelings. Negro Swan is a glorious celebration in which all expression is embraced, and no identity is off-limits. This is what all modern R&B should aspire to.

2: Arctic Monkeys – Tranquility Base Hotel & Casino

Those monkeys, eh? Four years after their last studio effort, with each member having done something entirely different (and accomplished, see Alex Turner with The Last Shadow Puppets, and Matt Helders on the latest Iggy Pop record) with their sabbatical, no one quite knew what shape their return would take. Recorded in London, Paris and Los Angeles, the sixth album from the band synonymous with early 00s indie could have taken quite a number of directions; furthering the slick arena rock of AM, delving deeper into the baroque pop offering the Last Shadow Puppets pursue, or perhaps even a return to their raucous indie rock roots. Naturally, they did none of the above. The first sign of their step in a different direction was a video they posted in mid-April, announcing a return with an eerie synth line and a fuzzy guitar lick; in hindsight it was the perfect segue into the TBH&C era, both a nod to the leather-clad rock of AM, and yet the space-age synths and fictional space resorts of Tranquility Base. And when the album did come? Oh boy. I’m not sure a release in 2018 divided fans quite like the Monkeys’ did. I’ve heard it variously described as “sheer genius”, “derivative retro nothing” and “f*cking lift music”. It really was that polarising. I’m sure that from its spot on this list you can guess which camp I fall into. From the go, the surreal lyricism of Alex Turner is front and centre, and the record is all the better for it. From surreal references to Kubrick film techniques, and obsession with sci-fi jargon, to ridiculous pastiches of Hollywood clichés, critics weren’t short of liner notes to unpick. But the key for me was the way that the album, as all great sci-fi does, comments on modern life through the lens of futurism, while also keeping you scratching your head the whole time. Furthermore, the actual songwriting is as good as ever, with Turner making a tune about a less than perfect review for a taquiera on the moon into the rhythmic centrepiece of the album. I do have to confess, I am slightly biased; I’m a lifelong AM fan, and I did see this performed live, which only deepened my admiration of it but truthfully- listen to this album. Then listen some more. And then some more again. Because when it clicks, you won’t experience anything else even remotely like it all year.

Bonus Round

These are albums that I discovered in 2018, but weren’t released this year… they deserved recognition along with the rest of these projects.

5: Frank Ocean – Endless

Frank Ocean is one of, if not the, best and most innovative artists working in modern R&B. That much is undisputed. But until 2018, despite being a huge Frank Ocean fan, I had neglected his 2016 visual album, Endless. Perhaps this was due to laziness, not having Apple Music, or perhaps it was because for me it was vastly overshadowed by the release of the seminal Blonde a few days later. Or maybe I simply thought a visual album wasn’t worth my time. Whatever the reason, I was a fool to overlook it. Endless is an ethereal journey through Ocean’s psyche, with a vast soundscape of beautiful, flowing synths and guitars. Furthermore, Endless features some of Ocean’s best rap work since Channel Orange. A truly beautiful project, and Higgs is, for me, Ocean’s most devastatingly sad track… further evidence that Frank doesn’t put a foot wrong.

4: Leonard Cohen: Songs Of Leonard Cohen

In 2016, the music world lost one of its most treasured talents, in the form of Leonard Cohen. However, although I have always been aware of Cohen’s work (Hallelujah, his inspiration of Nick Cave, The Last Shadow Puppets’ Is This What You Wanted cover), I had never taken the time to sit down and immerse myself in his work. Well, I was very much missing out. His cinematic, confessional storytelling, and his instantly recognisable voice and manner, mean that his songs are almost exactly the type of ballads I love, and Songs is his finest work. From start to end, you see the world through Cohen’s eyes. A poet.

3: King Krule: The OOZ

King Krule (real name: Archy Marshall) is a divisive artist; many see him as a visionary, however he is also, to many (including my dad) just “the one with the awful voice”. To me, Krule is a fantastic lyricist and producer, with an instantly recognisable sound. From the moment you enter The OOZ, you are in Marshall’s world, a London of grimy concrete and eerie loneliness. However, there are moments of beauty among the sluggish, smog-filled music; Slush Puppy, despite descending into madness near the end, is a really quite endearingly desperate performance. Cadet Limbo also shows off Krule’s more jazzy influences, and is all the better for it. A view into the future of singer-songwriting.

2: Father John Misty: I Love You, Honeybear

Josh Tillman has already featured on this list once, and it’s no secret I think he’s one of the best artists working today. However, until this year, I had never given his 2015 romantic opus, Honeybear, a proper listen. I was turned on to Misty by his 2017 work Pure Comedy, and after an existentialist view on all of Humanity, a romance album seemed like a step back, so I didn’t give it the time it deserved. How wrong I was. Honeybear is a beautiful, tender, and being an FJM record, deeply satirical and funny, look at love, relationships, and society. It features lush, beautiful arrangements, and gorgeous melodies, all delivered with Misty’s characteristic tongue-in-cheek smirk. Not one track on the album is dead space, and there are several high points, right from the start. Favourite for me is I Went To The Store One Day, which is a simple, yet incredibly beautiful and moving ballad to close the album. Stunning stuff indeed.

1: Everything Everything – A Fever Dream

I’ve known of Everything Everything for quite a while now, but in early 2017 I was gifted tickets to see them on their A Fever Dream tour, and it absolutely blew my mind. EE have crafted brilliant electronic indie music in the past, with catchy melodies and odd, skittering rhythms. However, A Fever Dream builds on this in the best possible way, building on their electronic sound and adding an even more fiercely of-the-moment view on songwriting. One of the highlights for me was Jonathan Higgs’ vocals, which electrified the music with a fierce intellect, and sparkling melodies. An ecstatic blend of so many musical styles, which results in a fantastic album. A masterpiece for today.

Okay, finally the main event. My album of the year 2018 is…

1: IDLES – Joy as an Act of Resistance.

Here we are then. Number one spot. And again, if you know me, you know there could never really have been any other album here. I first discovered IDLES earlier in the year, riding off the success of their breakout debut album Brutalism, an unstoppable punk locomotive of an album, with guitar and bass lines that are so, well, brutal, that they break down the door and hold you at gunpoint until you sit up and pay attention. This band is the perfect voice for austerity Britain, more mature than Slaves, more relevant than Sleaford Mods, and yet they walk an incredibly fine line. It’s almost impossible to define until you hear a band that possess it, but they simply make. So. Much. Sense. Joe Talbot talks with such a fiery intensity that it’s impossible not to listen, and an eloquence that is so often missing from punk. He’s so likeable, and oddly enough for punk, easy to listen to. However, don’t mistake that for the album lacking brutal riffs. Because it has those in spades. From the opening bass rumble of Colossus, JAAAOR picks you up by the scruff off your neck, and doesn’t put you down until the last manic notes of Rottweiler fade away. This is a rock record that defies rock, a punk record that doesn’t define itself as punk, and a political statement that bases its politics on the phrase “Love yourself.” This provides an infectious alternative to the toxic masculinity of so much mainstream rock, and a uniquely vulnerable take on an incredible variety of issues. Beginning with an immediate left-footing with Colossus, the album the catches its witty and caustic stride with Never Fight A Man With A Perm, going from strength to strength the whole time. I’ve never quite identified with a track lyrically as much as I’m Scum, a rallying call for liberals everywhere: “I'll sing at fascists 'til my head comes off, I am Dennis Skinner's Molotov / I'm lefty, I'm soft, I'm minimum wage job”and erupting into the chant of “this snowflake’s an avalanche”. It goes on to postulate about not caring about the next James Bond, as “we don’t need another murderous toff”. The next track is the joyous Danny Nedelko, an ode to Talbot’s friend, and frontman of Heavy Lungs, Danny Nedelko. It’s a quite magnificent celebration of immigration and diversity, and embodies the sentiment of the album as a whole quite simply with a roar of “Unity!”. Potent stuff. The next highlight (or rather lowlight) for me is the one-two punch of June and Samaritans. June is a singularly moving ode to Talbot’s stillborn daughter, building all the time to a non-existent crescendo, and repeating the six-word mantra “Baby shoes, for sale. Never worn.” Incredibly painful, raw and poignant; you feel as if you’re witnessing a moment that you really shouldn’t be, a would-be father grieving at the bedside. It then transitions into Samaritans, an anti-toxic masculinity manifesto, furious in its denial of male stereotypes: “Man up, sit down, chin up, pipe down”, and building relentlessly to sheer ecstasy of the decree: “I kissed a boy and I liked it”. Powerful, powerful stuff. Track eight, Television, is pinned down by a juddering riff complimented by the incredibly able drumming of Jon Beavis (a very much unsung hero of the group), and a wonderful self-love mantra. Moving on, Great is an anti-Brexit track than manages to reveal the hypocrisy of nationalism without ever moving into preachy politicism, which is Talbot’s greatest strength; he can make any point sound like the simplest and most honest declaration ever. Gram Rock and Cry To Me are witty, and the least overtly political tracks of the album; but even these apparent low points aren’t by any means stale, quite the opposite. Every moment of this record fizzes with energy. Finally, Joy rounds off with the magnificent Rottweiler, a searing discrediting of the UK media, ending in the wheels coming off as the tension built throughout the 42 minutes comes to a chaotic end, with Joe yelping “Unity!”over and over. I have one final thing to say about Joy; it’s production is pristine throughout, with clarity in even its most chaotic moments. This is my record of the year, because I feel no other record held my attention so completely, and was so representative of the sentiment of this year. Pure joy.

Well then, thanks for sticking with me. 2018’s been a belter of a year for music, and I can’t wait to see what 2019 brings.

#2018 #albums of the year #unknown mortal orchestra #ben howard #thom yorke #sports team #mgmt #car seat headrest #father john misty #blood orange #arctic monkeys #idles

2 notes · View notes