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anotherhumaninthisworld · 8 months

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Give me the last words of every figure that had a role in the French revolution

(Maybe it will be to many so you can give a little of if you want)

Louis XVI — on January 22 1793, Suite du Journal de Perlet reported the folllwing about the execution that had taken place the day before:

[Louis] climbs the scaffold, the executioner cuts his hair, this operation makes him flinch a little. He turns towards the people, or rather towards the armed forces which filled the whole place, and with a very loud voice, pronounces these words: “Frenchmen, I die innocent, it is from the top of the scaffold, and ready to appear before God, that I tell this truth; I forgive my enemies, I desire that France…” Here he was interrupted by the noise of the drums, which covered some voices crying for mercy, he himself took off his collar and presented himself to death, his head fell, it was a quarter past ten.

Jean-Paul Marat — several people who came to witness during the trial of Charlotte Corday reported Marat’s last words to have been a cry for help to his fiancée Simonne Évrard:

Laurent Basse, courier, testifies that being on Saturday, July 15 (sic), at Citizen Marat's house, between seven and eight o'clock in the evening, busy folding newspapers, he saw the accused come, whom citoyenne Évrard and the portress refused entrance. Nevertheless, citizen Marat, who had received a letter from this woman, heard her insist and ordered her to enter, which she did. A few minutes later, on leaving, he heard a cry: ”Help me, my dear friend, help me!” (À moi, ma chere amie, à moi !). Hearing this, having entered the room where citizen Marat was, he saw blood come out of his bosom in great volumes; at this sight, himself terrified, he cried out for help, and nevertheless, for fear that the woman should make an effort to escape, he barred the door with chairs and struck her in the head with a blow; the owner came and took it out of his hands.

The president challenges the accused to state what she has to answer. I have nothing to answer, the accused says, the fact is true.

Another witness, Jeanne Maréchal, cook, submits the same facts; she adds that Marat, immediately taken from his bathtub and put in his bed, did not stir.

The accused says the fact is true.

Another witness, Marie-Barbe Aubin, portress of the house where citizen Marat lived, testifies that on the morning of July 13, she saw the accused come to the house and ask to speak to citizen Marat, who answered her that it was impossible to speak to him at the moment, attenuated the state where he had been for some time, so she gave a letter to deliver to him. In the evening she came back again, and insisted on speaking to him. Aubin and citoyenne Évrard refused to let her in; she insisted, and Marat, who had just asked who it was, having learned that it was a woman, ordered her to be let in; which happened immediately. A few moments later, she heard a cry: "Help me, my dear friend!” (À moi, ma chere amie !);she entered, and saw Marat, blood streaming from his bosom; frightened, she fell to the floor and shouted with all her might: À la garde! Au secours !

The accused says that everything the witness says is the most exact truth.

Girondins — Number 64 of Bulletin du Tribunal Criminel, written shortly after the execution, reports that, once arrived at Place de la Révolution, the Girondins sang Veillons au Salut de l’Empire together while waiting for their turn to mount the scaffold. Lehardy’s last words are reported to have been Vive la République, ”which was generally heard, thanks to the vigorous lungs nature had provided him with.”

Hébertists — On March 31, a week after the execution, Suite de Journal de Perlet reported the following anecdote, though I’ll let it be unsaid whether it should be taken seriously or not:

Here is an anecdote which can serve to make better known the eighteen conspirators whom the sword of the law has struck. On the day of their execution, several heads had already fallen when General Laumur's turn arrived. Ronsin and Vincent looked at him at the scaffold and said to Hébert: ”Without the clumsiness of this j... f... we would have succeeded.” They were alluding to the indiscretion of Laumur, who would tell anyone who would listen that the Convention had to be destroyed.

In Mémoires sur Carnot par son fils (1861), Carnot’s son also claims that, on the day of the execution, his father got stuck in the crowd witnessing the tumbrils pass on their way to the scaffold, close enough to hear Cloots say: “My friends, please do not confuse me with these rascals.”

Dantonists — the famous idea that Danton’s last words were: ”show my head to the people, it’s worth seeing” is, according to Michel Biard, at best backed by a dubious source — Souvernirs d’un sexagénaire (1833) by Antoine Vincent Arnault:

I found there all the expression of the sentiment which inspired Danton with his last words; terrible words which I could not hear, but which people repeated to each other, quivering with horror and admiration. ”Above all, don't forget,” he said to the executioner with the accent of a Gracque, ”don't forget to show my head to the people; it’s worth seeing.” At the foot of the scaffold he had said another word worthy of being recorded, because it characterizes both the circumstance which inspired it, and the man who uttered it. With his hands tied behind his back, Danton was waiting his turn at the foot of the stairs, when his friend Lacroix, whose turn had come, was brought there. As they rushed towards each other to give each other the farewell kiss, a guard, envying them this painful consolation, threw himself between them and brutally separated them. "At least you won't prevent our heads from kissing each other in the basket," Danton told him with a hideous smile.

Biard does however question how reliant Arnault really is, considering his account partly contradicts what earlier, more reliable ones, had to say about the execution. None of the authentic to somewhat autentic descriptions of the dantonist execution I’ve been able to find mention any recorded last words from Danton or his fellow convicts. That has not hindered authors and historians throughout the centuries to let their imagination run wild with the execution — look for example at how many have had Danton say something menacing about Robespierre on his way to the scaffold. Early Desmoulins biographers often have him be a sobbing mess, saying things like "Citizens! it is your preservers who are being sacrificed. It was I — I, who on July 12th called you first to arms! I first proclaimed liberty… My sole crime has been pity...” (Methley, 1915) or ”Thus, then, the first apostle of Liberty ends!” (Claretie,1876) and for Fabre there exists the claim that he hummed his song Il pleut bergère on his way to the scaffold, or muttered his biggest regret was not being able to finish his vers (verses), to which Danton replied that, within a week, he’ll have more vers (worms) than he can dream of. None of these statements do however appear to be backed by any primary sources. Finally, John Gideon Millingen, twelve years old at the time of the execution, reported in his Recollections of Republican France 1791-1801 (1848) that ”[Danton’s] execution witnessed one of those scenes of levity that seemed to render death to a jocose matter. Lacroix, who was beheaded with him, was a man of colossal stature, and, as he descended from the cart, leaning upon Danton, he observed, ”Do you see that axe, Danton? Well, even when my head is struck off I shall be taller than you!” It does however strike me as unlikely for Milligen to actually have been able to hear anything of what the condemned had to say.

Robespierrists — like with the dantonists, we have several alleged last words from more or less unreliable sources. The apocryphal memoirs of the Sansons does for example report Saint-Just’s last words to have an emotionless ”Adieu” to Robespierre, and for the latter we have a story that his last recorded words were ”Merci Monsieur,” which he said to a man for giving him a handkerchief to wipe away the blood coming out of his shattered jaw with (can you even talk under such conditions?). However, here I have again collected trustworthy descriptions, and none of them record any last words. In this instance it’s not exactly strange either, given the fact many of the condemned had been injured so badly they were more or less unconscious by the time of the execution.

Other alleged final words can be found in this post, among others Madame Roland’s ”Oh Liberty, what crimes are committed in your name” and Bailly’s ”I’m cold.” I will however doubt the authenticity of all of them until someone shows me a serious source for them (the author of the post doesn’t cite any at all). Like I wrote above, I doubt anyone actually stood near enough to hear any eventual last words.

#french revolution #frev #robespierre #danton #brissot #hébert #louis xvi #desmoulins #fabre d’eglantine #ronsin #vincent #ask #the extent actual historians have fictionalized the death of actual people is pretty f:ed up if you ask me #read biard’s la liberté ou la mort: mourir en depute and you’ll see…

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randomvarious · 7 months

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Today's compilation:

DJ-Kicks by Kruder & Dorfmeister 1996 Downtempo / Trip Hop / Drum n Bass

Although they'd been primarily regarded as a talented remix and production duo, in 1996, Austrians Peter Kruder and Richard Dorfmeister revealed to the world that what they may have actually been even better at doing, all along, was making DJ mixes. That year, they put out a pair of terrific ones: a drum n bass journey called Conversions, and their super chilly magnum opus for German electronic label !K7's popular DJ-Kicks series. And that DJ-Kicks one, in particular, happens to hold a mythical status of its own, as it's been rated by many as the single-greatest DJ mix that's ever been made. Plus, like Conversions, DJ-Kicks had drum n bass on it too, but K&D also blended that dnb with blissful bouts of dub-infused downtempo and trip hop as well 😌.

But what I ended up listening to today wasn't actually that mix, exactly; instead, it was the *double-12-inch edition* of K&D's DJ-Kicks, which collected full-length, unmixed versions of seven of the songs that appeared on the mixed CD edition.

So, if you love loungey chillout music and/or spacious and atmospheric dnb tunes, not only is the DJ mix essential listening for you, but so are all of these uninterrupted versions of some of that mix's own tracks too. Glasgow's Paul Hunter kicks things off with a terrific head-nodder in "Living Free," which is then followed by UK artist Omni Trio's "Trippin' on Broken Beats," a sweet, shuffling dnb-type of groove that incorporates one of my favorite synthesizer sounds of all time: the Korg M1 Organ preset 02, which was famously featured in a bunch of club classics, like Crystal Waters' "Gypsy Woman." And after that, Germany's Hardfloor, the master manipulators of the Roland TB-303—the bass synthesizer responsible for producing the famous acid squelch sound that kickstarted the whole acid house revolution—grace us with a trip-hoppy collage of different electronic sounds called "Dubdope," which sees them far removed from the hard trance and techno that had made them such dance legends in the first place 😊.

Plus, the kings of the globally-quilted chillout sound, Washington, DC's Thievery Corporation, swing by at the end to deliver the ultra-satisfying "Shaolin Satellite" too.

So, since there isn't a single skip-worthy track on K&D's DJ-Kicks mix, it only makes sense that there wouldn't be one on its corresponding double-12-inch version either. As expected, a terrific, little collection of very well-crafted relaxational vibes here.

Highlights:

Small World - "Living Free (Soundtrack mix)" Omni Trio - "Trippin' on Broken Beats" Hardfloor - "Dubdope" JMJ & Flytronix - "In Too Deep" Shantel - "Bass and Several Cars" Tango - "Spellbound" Thievery Corporation - "Shaolin Satellite"

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pinnakoladda · 2 months

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kiyos music related funfacts

starting with visual kei, their favourite visual kei subgenres are tanbi kei, angura kei, menhera kei and neo visual shock. although they like oshare kei a lot!

their fav vkei artists are ErecSia, Közi, Malice Mizer, the GazettE, Kaya, DADAROMA, gulu gulu, D'espairsRay, Femme Fatale, KAMIJO, LAREINE, Plastic Tree, Versailles, Ali Project, VAMPIRE ROSE, David, Unlucky Morpheus, Scarlet Valse, An Cafe

WHICH IS WHY THEY LOVE MUSICAL THEATRE AND OPERA SO MUCH. because tanbi kei is very theatrical and reminds them of it!

fav music genres that are not vkei are obviously gothic rock, darkwave, deathrock, corrosion, coldwave, new wave, post punk, but also melodic metalcore, psychodelic rock, psychedelic metal, kpop and kawaii metal :3

LEAST FAV ON THE OTHER HAND ARE BLACK METAL!!! AND DSBM!!!! they hate it. trap as well. not the biggest fan of rap either. same goes for rockabilly, rock & roll, psychedelic pop, country, blues. its just not their vibe and mostly seems boring

yes, they are very active on last.fm, rateyourmusic and other music forums. reviewed probably more than 500 albums there

first drum kit was premier revolution 20” - great drum set for the beginners, good for performing a variety of musical styles. 10yo kiyoshi didnt need anything better as they still were not sure if theyll like it + only played songs covers

on the other hand they got their first bass after 1,5 year of playing drums and they were committed to the bit. so they started with sterling by music man stingray ray4. obviously they saved money for better drum set later

DREAM BASS IS DAISY ROCK STAR SHAPED BASS!!!!

they have yt channel and post covers there, but its not connected to anything else they post. so its like if you didnt know how their room looks, you wouldnt know its their account, cause they never show face on videos, dont say a word (so recognizing them by voice is also impossible) and have different username on every single social media

first song learned on drums was gardenia by malice mizer, while first song on bass was risley circus by dadaroma

#pjsk oc

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enlightenedrobot · 6 months

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Some more mashup goodness from Grill Talk! This time featuring Radiohead, Ludacris, and some Vocaloid music (courtesy of Ghost n Pals) for good measure.

Samples Below the Cut

Samples:

Bass Down Low - Dev (Vocals)

Touch it Harder - Radium (Hardcore Bass Stabs)

No Surprises - Radiohead (Riff)

Opportunities - Pet Shop Boys (Drums)

Minya's The Mooch - Jack DeJonett's Directions (Bass)

Float On - Modest Mouse (Drums)

Hit Different (Acoustic Version) - SZA (Various Elements)

Prowlin - The Whitefield Brothers (Drums)

Buy U A Drank (Shawty Snappin') - T-pain (Snap)

What it Is - Busta Rhymes (Drums)

How Low - Ludacris (Vocals)

Crumb - Locket (Piano)

Honey I'm Home - Ghost n Pals (Various Elements)

She's Mine - Basic Black (Drums)

Union Square - Devil Doll (Bass, Vocals)

Ain't No Mountain High Enough - Marvin Gaye, Tammi Terrell (Bass)

If You Can Afford Me - Katy Perry (Drums)

New Magic Wand - Tyler the Creator (Synth)

Revolution 909 - Daft Punk (Various Elements)

Funky President - James Brown (Drums)

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dilettantereviews · 1 month

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Here's my 2022 Best Of! Yup, that's right, 2022. Better late than never, huh?

Rico Nasty- Intrusive

I heard good things about Rico Nasty for years but her other projects were a little too repetitive for me to fully commit or enjoy her work. This mixtape sees her replacing her industrial rap sound with a more varied approach. She sings over drum and bass and acoustic music. If you enjoyed Princess Nokia’s Metallic Butterfly or Azealia Banks’ Broke with Expensive Taste, then I recommend this album for you. My favorite songs are Messy, Easy, and Focus on Me.

Sasami- Squeeze

After her work in Cherry Glazer and her 2019 solo debut, Sasami finally (somewhat) broke through with this album and it’s no wonder why. Mixing influences as varied as Sheryl Crow and industrial, Sasami showed us about opening up your heart or wanting to destroy someone else’s. My favorites are The Greatest and Skin a Rat.

Charli XCX- Crash

As her first proper album since 2019’s Charli, this album had a lot of expectations placed upon it since True Romance is her best received official album. Fortunately, it all worked out for her and for us. This album sounds like you are scrolling through the Dance Dance Revolution song selecting screen around 2005 with songs you don’t realize you know until you hear it again years later. My favorites are Constant Repeat, Used to Know Me, Selfish Girl, Good Ones, Baby, and of course, Beg for You.

Beyonce- Renaissance

This album was a victory lap for Beyonce. Not that she slacked off this era, but after creating two innovative video albums, Beyonce wanted to have a more upbeat album after the pandemic. As someone who prefers her uptempos (in a fun club kid way, like Haunted, 7/11, Formation, Six Inch, and Partition instead of the stan wars “go back to Dr. Luke!!111” way), I’m here for it. My favorites include All Up in Your Mind and Pure Honey.

SZA- SOS

I have a general policy where if someone takes over 4 years to release their next project, I develop some kind of object impermanence about them. Not even maliciously, but for every Sky Ferreira (side note: This was written when we still thought Don’t Forget was a part of an era) or My Bloody Valentine, there’s a synthpop band from 2016 that stubbornly sits on the second page of my Last.FM with 189 plays. And I like SZA! CTRL got me though 2017 and 2018 but I completely forgot her rerelease and in between singles until I was preparing this review. So when I heard she was releasing a 20+ track album I was skeptical. It turned out to be great. I enjoy the developed and detailed instruments and her personal lyrics. My favorite songs are Kill Bill, Blind, Shirt and Gone Girl.

Fontaines DC- Skinty Fia

Fontaines DC had a well deserved bigger break out in 2022. I don’t really have a thing to say about this album but I like the way they mix post punk music with a mix of their own Irish culture and gothic and industrial sounds. What could’ve just been a couple of lads at the pub is a unique and informative look at the band and their culture. U2 and Inhaler are shaking. My favorite songs are Jackie Down the Line, Skinty Fia, and How Cold Love Is.

Vero- Unsoothing Interior

I learned about Vero on Popjustice… at least 5 years ago? For a while, it seemed like they would drop a single heavily influenced by Poe and disappear without a follow up or any momentum. I understand it’s hard for new artists to make things work logistically, but they even had repetitive cover art so we couldn’t just joke that there was a wait between the EP and debut. That’s why I was so confused when the album was dropped in 2022. Hailing all the way from Sweden, Vero has vocals that remind me of Shirley Manson and Kim Gordon with post punk music I heard NPR describe (someone else) with the term “fleabag-core”. My favorite songs are Sex and Me and TV shows and Exit 2.

Coco and Clair Clair- Sexy

People always say nostalgia does too much heavy lifting in music now, but the right references can truly justify the most Tweet Deck derivative works. Coco and Clair Clair, who I was very surprised to learn are from Atlanta instead of the UK, have a very retro inspired album that could’ve just been lost in the hyperpop Y2K space with everyone else but they have a different reference pool that elevates them. Hypnotic girl group whispery vocals over whispery chillwave and drum n bass beats truly take me back to the person I was in 2011-2012. If you have a Tumblr photoblog with a convoluted layout that only showed pictures and no captions, this album is for you. If you keep up with McBling depop, this album is for you. If you ever described LAMB by Gwen Stefani as a hip hop album, then this album is for you. I would recommend this album for fans of Kitty and Niki and the Dove. My favorite songs from it are Bad Lil Vibe, Pop Star, and Be With U.

Alvvays- Blue Rev

I didn’t really listen to them before this and I only knew them for the …unique spelling of their band name and a Tumblr post that heavily implied that they should be kept in 2014. Well, this album should put all of their critics to shame. This album was recorded after the band lost their old demos and instruments in a robbery and they were still able to record this album. Pairing dreamy landscapes over fuzzy guitars, Molly Rankin’s confessional lyrics deal with the unexpected nostalgia of running into your ex’s family members in public (a sort of Dan Fogelberg moment for our generation) or justifying a creative career. Besides Pharmacist and Easy on your Own, I recommend Very Online Guy, a leftfield song about male internet behaviors (a self drag, but I want to see how many men wrote about that song and the album). If you only know them from Marry Me, Archie (a song I would personally not leave in a time capsule or box set for indie pop music from 2010-2014), I strongly suggest that you give this album a chance. Fun fact: In addition to being a great meeting spot for coanchors to meet each other, Good Morning America also has a year end best of list and put this as their #1 album. A few years ago, they put the solo project of Soul Coughing’s frontman’s project. So maybe GMA is our new Pitchfork, NME, and Spin Magazine combined (side note: I wrote this before the Pitchfork reshuffle happened, oops).

Shygirl- Nymph

Shygirl has finally released her long awaited debut after releasing her stellar debut. This time, she ditches the electronic and abrasive sound of her 2018 EP and enters her Manny Santos sensual R&B era while still sounding futuristic. Firefly is a song that sounds like it was a Britney 2001 deep cut dusted off and released in 2172. Nike is my other personal stand out.

Hatchie- Giving the World Away

On her sophomore album, Hatchie continues her dream pop and shoegaze sound and expands into some darker palettes that wouldn’t be out of place on the altronica playlist. If that album transported you into a daydream, this album is a moody walk in the rain. My favorites are This Enchanted, Till We Run Out of Air, and Giving the World Away.

Soccer Mommy- Sometimes, Forever

This was sort of a new sound album for Soccer Mommy, with a little more focus on the production. Working with OPN, she had a darker, hazier, more detail oriented production. My favorites include Unholy Affliction, Don’t Ask Me, Feel it All the Time, and Darkness Forever (which gave me Portishead’s second album vibes). This album is more Madder Rose than Massive Attack but you should still give it a shot.

Momma- Household Name

Nostalgic guitar based indie rock that sounds right out of 1994. Reverb guitars, harmonics, and shoegaze pedals. Recommended if you like Siamese Dream by Smashing Pumpkins or Bully’s debut. Speeding 72, Lucky, Brave and No Stage are my favorites.

Luna Li- Duality

Psychedelic alternative R&B with a chamber/art/baroque pop edge. I love how she mixes her vulnerability on songs like Flower with strong guitar moments like Alone but not Lonely and What You’re Thinking. This album feels like if you mixed Kali Uchis with Kadjha Bonet. Recommended if you have only used emojis as captions.

Kilo Kish- American Gurl

Kilo Kish’s last official album was released back in 2016, but her pair of consecutive EP’s that came out in 2018 and 2019 were a more focused and cohesive electronic sound. On this album, she went back to her unique existential pop with irreverent Adult Swim vibes. With her kitchen sink production, detached vocals, and quirky irreverent sound, this album has a lot of reasons to not work but somehow puts everything together and keeps you overstimulated like a TikTok video. Recommendations include Choice Cowboy, New Tricks, and American Gurl. Recommended if you like Santigold or Imani Coppola.

Vitesse X- Us Ephemeral

Growing up, I hated electronic music. Did I listen to it or seek it out specifically? No, not in the slightest. But it was just annoying as I saw my beloved Radio Disney pop rock acts just be seen as cringe as what I call ‘unts unts’ music went on the rise. Also, I just thought the fans were annoying. Maybe it was just in my community, but there were a lot of teen DJs who just got jobs hosting or playing cultural events and sweet 16s and posting pretentious memes that made me roll my eyes. I’ve never seen a MLM girl in real life, but I’ve seen DJs talk about how school is just there to mold you and as a DJ, they can be their own boss. Also, just growing up in the teen club/4 loko/Ed Hardy era just made me think it was all try hard “OH, you’ve never been to a festival?’ stuff. But eventually, Charli XCX helped open my mind to new electronic acts while trip hop and deep house helped open me up to older electronic genres. Then I had an “if it’s retro/ironic it’s okay” mentality but now I can regularly like electronic music. That leads us to Vitesse X. Her art deco style of electronics invokes the sleek future, through her stage name and hi tech titles. Is she making a concept album about how technology was supposed to bring us together but is bringing us apart? Is it a scifi story? Did she promise us a video for each song that made a movie but she stopped and hoped we would forget about it? No! She’s making music you could hear at Zara’s, in your car, or even at a party or club. In this age of hot takes, think pieces, and more, a concept like nepobaby can go from a fun internet only in joke to a “reclaimed” term that loses all meaning. Vitesse X helps prove that sometimes, saying less really is more. My favorites are Potential Energy, Centrifuge Me, and Us Ephemeral.

Piri and Tommy- Froge.mp3

The drum n bass duo that came out of the blue and right back into it. Words is the best positive motivational affirmation dance song since Show Me Love by Robin S. I also like Silver Lining and On & on. It looks like we’re not getting a new project from them, they split up and now they’re going to ruin all of our Last.fm charts because they each get credited separately.

They Hate Change- Finally, New

I feel like Drum n Bass has been on the rise since Princess Nokia’s Metallic Butterfly went on streaming for the last few years, but it had been kind of mixed with other electronic sounds like hyperpop or UK garage so it was an afterthought. They Hate Change overcame that. Rapping over Drum n bass, the Tampa duo helps showcase something cool and forward thinking from Florida on their label debut. I recommend them if you like Outkast or Big Fish Theory from Vince Staples. My favorite songs are Who’s Next, Little Brother, and Perm.

Foushee- Softcore

I hate to make a Mean Girls reference in 2024 (this was another review I had written in winter 2023, before I knew there was a movie adaptation of the Mean Girls musical coming out), but this album reminds me of the Halloween party scene where Cady shows up in an “ugly” costume while everyone is wearing cute costumes and she is confused. That is how this album feels for alternative R&B. While now everyone with a slowed down drum beat gets an alternative R&B genre tag, but this is truly “alternative”, mixing slinky R&B vocals over guitars and yelling. Even if it doesn’t always work (several songs are under 2 minutes), you can definitely admire the attempts. Behind SZA, Foushee is the second best R&B album from a New Jerseyan in 2022 (sorry, 070 Shake). My favorite songs are I’m Fine and Simmer Down. Listen if you want an internet poisoned pop star but Doja has gone too far for you.

Ravyn Lenae- Hypnos

After her stellar 2018 EP, Ravyn finally followed up with her debut album and it was worth the wait. Her airy, hypnotic vocals still sound fresh and the collaborations don’t take away from the sound at all. My favorites are 3D and Venom.

Sudan Archives- Natural Brown Prom Queen

Sudan Archives made it very far on my 2019 Best of List. I would not be able to tell you a song from that album, or if she even made it on (because as of this writing it is still unpublished) but I knew she was talented and I thought her violin gave her a unique sound. This time around, she did a sonic 180 and went for a more left field mixture of sounds and had an even better album. Listen to stand out Homemaker.

Glacier Veins- Lunar Reflection

Normally, I consider my best of list a failure if I don’t find at least one new, completely random small Bandcamp band that didn’t get reviewed from Allmusic or Pitchfork or any other major website. If they don’t have a Wikipedia page, even better! This year, Glacier Veins is one of those bands for me. If you like female fronted pop punk with a side of experimental noise pop added to it, I would definitely recommend them. 2018’s KID, 2009 Paramore, Halsey, Poppy, and Willow fans should be happy. My favorite songs are Cover Me, Here & There, Lunation, Autonomy, and Flower Moon.

Amanda Shires- Take It Like a Man

Alt country queen. Recommended if you waited for Jenny Lewis’ album for Puppy in a Truck or you enjoy feeling like you are a Sons of Anarchy character or perhaps Yellowstone. Mature alt country with great, clear production. My favorite song is Hawk for the Dove. (Side note: I wrote this way before they filed for divorce).

Lola Kirke- Lady for Sale

Picks up where Pearl Charles left off for countrypolitian. If you thought this would be a low effort vanity project you are mistaken. Unclear if this is a pastiche or not but very unexpected country album from this British actress. Pink Sky is my favorite song. Recommended if you like Pearl Charles or Margo Price.

Honey Dijon- Black Girl Magic

A great house music DJ. Recommended if you want to keep the party going after Renaissance.

Montell Fish- Her Love Still Haunts Me Like a Ghost

I listen to an adult alternative college radio station regularly and to paint a picture of what that’s like, I can now say “wow, that Paul Simon song slaps”. Sometimes they do play younger, internet only bedroom produced artists like Claud, Kafune, Joe P, and now, Montell Fish. When I first heard the distorted bass and reverbs I was confused at how different and all out he went but this is a true EP of heartbreak and desperation. Listen if you like PM Dawn, Miguel and Steve Lacy. Pretend Lovers is my favorite song.

Carly Cosgrove- See you in Chemistry

Nostalgia really can sell anything these days. In the DJ world, we got DJ Sabrina the Teenage DJ, DJ Ross from Friends, and DJ Seinfeld. There’s even the genre of Dariacore! Emo has a 2000’s pastiche in Carly Cosgrove, a reference I embarrassingly didn’t get for a long time. The nostalgia stops there and the rest is a solid pop punk record. I don’t really listen to a lot of pop punk/emo so I can’t compare to others in the genre but I think the vocals give the instruments room to breathe. My favorites were Rue the Day, Cloudblock, and Munck. Listen if you miss the channel 2000’s The N but at this point would settle for the era of Teennick that only replayed iCarly, Zoey 101, Drake and Josh, Ned’s Declassified, and Victorious.

#best of #best of 2022 #rico nasty #fontaines dc #sasami

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daggerzine · 21 days

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Descendents, Circle Jerks, and Adolescents on 3/30/24 at Revolution Live in Ft Lauderdale, FL.

The big punk rock legacy tour came through Fort Lauderdale, and I couldn’t miss it (and thank you very much to the man who shall not be named for putting me on the guest list, I really appreciate it).

I hadn’t been to Revolution Live before, but it’s a big, sprawling venue that has an indoor stage and a bigger outdoor stage where the show was tonight. It is sort of half indoors and half outdoors, and it's tiered as well. And yes, the place was packed to the gills!

These days the Adolescents are vocalist Tony and four other guys… Kidding......The four other guys have been in the band for quite some time (guitarist Dan Root has been in the band since 2010, drummer Mike Cambra since 2013, rhythm guitarist Ian Taylor since 2014, and bassist Brad Logan since 2018), and they sounded great. They played a nice mix of old and new cuts. They also played plenty of songs from the blue album and a few other scattered hits here and there. Again they sounded excellent (and the set ending "Kids of the Black Hole" was icing on the cake)!

I had seen the Circle Jerks a couple of years ago when they came through Denver along with 7 Seconds and Negative Approach. It’s basically the same lineup with Keith Morris, Greg Hetson, and Xander Schloss along with Joey Castillo on drums. Like the Adolescents, they played most of their classic first record, Group Sex, and several other must-hear tunes ("Stars and Stripes," "Trapped," "Junk Mail," etc). Keith is always cracking jokes in between songs, but also telling stories about old LA bands that really deserve respect (ie: The Last, The Weirdos, The Crowd, etc). At 28 songs in their set, they really gave the audience their money's worth.

Finally, as the clock struck 10 PM, the Descendents came out. I can’t remember the last time I saw them, but it was sometime within the last decade They were really on fire on this particular evening. The whole band sounded great! Milo‘s vocals sounded as great n' gravelly as always while the rest of the band: Stephen on guitar, Karl on bass, and the man himself, Bill Stevenson, on drums, all hammered it home from start to finish. They played a righteous mix from all of their records ("Hope," "Silly Girl," "Coolidge," "Rotting Out," "Clean Sheets," etc). For the 4-song encore, they even brought out "Good Good Things," "Jean Is Dead," "Grudge," and "Get the Time." Again, a superb set! I made it home in one piece and this old man was in bed by midnight! Huzzah!

PS- sorry for the crap photos

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thislovintime · 1 year

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At rehearsals for, and the taping of, 33 ⅓ Revolutions Per Monkee, November 1968.

"I just basically think that I wasn’t feeling a part of it anymore already by that point, I’d already felt like I was odd man out, and of course I quit almost immediately thereafter." - Peter Tork, Headquarters radio, 1989

“I’d always had deep doubts, ever since the session for ‘Last Train To Clarksville.’ I walked in there with my guitar and Tommy Boyce and Bobby Hart looked at me with derision and scorn, like, ‘Guitar in your hand, you fool!’ That was the end of it for me. Right there I was done with The Monkees in large measure. I struggled against it with some success at one point. But after Headquarters nobody wanted to be a recording group anymore. I did what I could, but I didn’t feel like there was any reason for me to be there anymore. I wanted to be in a rock group.” - Peter Tork, Head 1994 liner notes

"This last tour of Australia and Japan wasn’t fun because I felt hideously under-rehearsed. I was constantly pushing for rehearsals, and they were constantly saying well, like later. We couldn’t get together. Also, we didn’t play any new music this last concert tour. It was all old tunes, nothing from our newer albums, and it was a bore. But I think they suspected I was leaving anyway. For me, a lot of the pressure was off. When I felt a part of the group every time someone said something that jarred my sensibilities, I’d raise a huge ruckus and everybody thought I was out of my mind. While we were making the TV Special, knowing I was not going to be there any longer, I just thought to myself — I don’t have to worry about this thing — and I just let everything slide off my back. They must have thought something was screwy. Then I finally told them, ‘Gentlemen I’m in negotiations to resign from the group.’ And they said, ‘Okay, well, there’s not much time, we’d better get to work on this Special.’ So we taped the thing and that’s the last I saw of them. The last day of the taping they gave me this little testimonial memorial watch.’ From his pocket Peter drew out a silver, antique-looking timepiece with the back side engraved, ‘To Peter Tork, from the guys down at work.’ ‘I’m free, I don’t know what I’ll be going. I’m actually a little apprehensive, because there’s no doing that there are three other incredibly talented fellows out there. They’re very talented guys.  Mike is one of the funniest people I’ve ever known. Micky is even funnier and Davy is just cute as a button. Who could ask for anything more? Davy dances so great, did you see him dance in the film? I’ve not seen dancing like that on the screen except from Fred Astaire. The only other thing is that I’m both really relieved and really, really apprehensive. I’m terribly glad and also terribly sad.’” - NME, January 25, 1969 (x)

"When I broke up with The Monkees, I left because I couldn’t get those guys back into the studio to do the same kind of thing that we’d done on our third album, which was Micky on drums, Michael on guitar, me on piano, our producer on bass, Davy Jones playing rhythm sections, and then hiring the occasional string player or something like that. [...] I wanted the guys to be a real, live group. I had this Pinocchio/Geppetto complex, you know. And when they wouldn’t go for it, I really — it burned me out. And there I was being burnt out because things wouldn’t happen my way, and it was a case of His Majesty The Baby, trying to, you know, have his own way. If I had had the good sense God gave me, I might have noticed that I was having my own personal way, that is, in the sense that I wanted for myself was happening. I could be in the studio playing bass or guitar or piano on every single cut The Monkees did from then on if I wanted to, but that wasn’t enough for me, I wanted things for other people to do, otherwise I wanted to produce and direct and write the script for the whole shebang. [...] [After Headquarters] everybody said, ‘Well, that’s enough of that, thanks very much.’ And I went, ‘No, no, no, you’ve got to do it the way we planned, the way I had in mind for us to do,’ you know. The fact that everybody went along with what looked like my plan obscured my vision of the fact that everybody was doing what it was they thought they had to do for reasons of their own. And when their reasons changed, and their behavior changed, and my plan didn’t change, I went after them screaming to try to mend my shattered illusions. What a jerk.” - Peter Tork, NPR, 1983 (x)

"The last official get-together I had with The Monkees was when they gave me a $6 watch upon my retirement from the group. They all chipped in and even had it engraved: ‘To Peter from the guys at work.’“ - Peter Tork, The Monkees: The Day-By-Day Story (2005)

“We gave him a watch and our blessing when he left. We never thought of replacing him — there’s only one Peter Tork in the world. Who knows, maybe in two or three years’ time he’ll come back?” - Michael Nesmith, Melody Maker, March 1, 1969

Q: “So, when you left, did you want to be known as the former Monkee or did you want to erase that part of your past —” Peter Tork: “I tried to erase it.” Q: “— and start anew.” PT: “I tried to erase it completely.” Q: “How do you do that?” PT: “Well, you just don’t do anything connected with it, just absolutely refuse to have anything to do with it, and… basically what I did was I retreated into — I wound up retreating into Marin County, California, which is just north of San Francisco. And there I worked, I belonged to a worker-owned restaurant, waited tables and was part of the cooperative that owned and operated the restaurant. Nominally owned the restaurant; it was actually owned by this guy whose parents had left him some GM stock, and he bought this thing and the co-op was supposed to pay him to buy him out over the long haul. I think they have done finally, I think it’s now a real workers’ co-op. And I worked there, and I retreated, and nobody said anything to me about my Monkees past except one or two guys said, you know, ‘I’m glad to see you just on the street schlepping around,’ that kind of thing, which made me feel good. I belonged to a few groups; I belonged to a thing called the Fairfax Street Choir, which had 35 voices in the rock section and was very hard to stage. (laughs) Those little coffee house stages, 35 guys and women. And I also belonged to a kind of second on the bill act in San Francisco called Osceola for a year or so. And that kind of thing. And nobody said anything about The Monkees to me.” - NPR, June 1983 (x)

“I needed to go off and do other things.” - Peter Tork, Countdown, April 1987

“This thing sort of came together and came apart, you know. And as soon as it began to come apart, all that I wanted was, you know, slipping through my fingers.” - Peter Tork, The Monkees E! True Hollywood Story (1999)

“If the truth be known, the day Peter quit was probably the happiest day of Mike’s life. They’d never really gotten along, right from day one. Mike had always perceived of Peter as untenable, and they’d always been adversarial, if not outright combative. Finally he was out of the way. Now Mike could get on with doing what he had always wanted to do, make the Monkees his group. And I was happy to go along. I respected Mike and his music and was quite prepared to go along for the ride. I was flouring as a writer/producer myself, and I saw Peter’s abdication as a minor setback at most. Basically, I think the three of us really thought that would be able to go on, just as we had before, and nobody would even notice there were only three people on stage instead of four — after all Peter didn’t sing on many of the songs anyway. How naive. […] I supposed it depends on whom you talk to, but as far as I’m concerned, the day Peter quit was the day the music died (apologies to Don McLean).” - Micky Dolenz, I’m A Believer: My Life of Monkees, Music, And Madness (1993)

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lv-creator · 10 months

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"Rage Against the Machine" - A Sonic Revolution that Transcends Time

It's been over three decades since "Rage Against the Machine" unleashed their self-titled debut album upon the world, yet its impact and relevance continue to reverberate through the annals of music history. From the moment the opening riff of "Bombtrack" hits, it's evident that this album is not simply a collection of songs, but a sonic revolution that transcends time.

At its core, "Rage Against the Machine" is a testament to the band's unmatched ability to seamlessly fuse rap, metal, and funk into a cohesive and explosive sound. The blistering guitar work of Tom Morello, with his signature effects and innovative playing techniques, creates a sonic landscape that is both aggressive and melodic. The rhythm section, comprised of Tim Commerford's thunderous bass lines and Brad Wilk's powerful drumming, provides the foundation for the band's groove-laden sound.

Lyrically, the album serves as a scathing critique of social and political injustices. Zack de la Rocha's incendiary vocals deliver powerful messages of resistance, urging listeners to question authority and fight against systemic oppression. Tracks like "Killing in the Name" and "Wake Up" serve as anthems for the marginalized and disenchanted, rallying cries for change and justice.

What sets "Rage Against the Machine" apart is not only its musical prowess, but also its unwavering commitment to activism and social change. The band's ethos of using their platform to shed light on issues of inequality and injustice is as relevant today as it was upon the album's release. From the corporate greed criticized in "Bullet in the Head" to the call for self-empowerment in "Know Your Enemy," the album's themes continue to resonate with a new generation of listeners.

As we revisit this iconic album, I invite you, dear readers, to share your memories and experiences. What does "Rage Against the Machine" mean to you? Did its music and message ignite a fire within you? Let us come together and celebrate the enduring power of this album, as we continue to fight for a more just and equitable world.

youtube

#rage against the machine #tom morello #zach de la rocha #social injustice #rebellion #killing in the name #activism #systemic oppression #music review #90s music #Youtube

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bulletinboard-writings · 3 months

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4 F's of February

Fight: Playlist

A list of songs I tend to listen to when writing fight scenes. Nice, high octane, heavy bass, and drums to leave an impact. The entire playlist is linked HERE. Enjoy and write responsibly.

This Ain't a Scene by Fall Out Boy

Death Valley by Fall Out Boy

Black Widow by Iggy Azalea (feat. Rita Ora)

Victorious by Panic! At The Disco

I'm So Sorry by Imagine Dragons

The Devil in I by Slipknot

Believer by Imagine Dragons

Breath of Life by Florence + The Machine

You're Gonna Go Far Kid by The Offspring

Rockstar by N.E.R.D (feat. Jason Nelvins)

Monster by Skillet

Jekyll and Hyde by Five Finger Death Punch

Bubblegum B^tch by Marina

Feel Invincible by Skillet

Sarcasm by Get Scared

Blow Me Away by Breaking Benjamin (feat. Valora)

Solo by Prismo

Across the Line by Linkin Park

Had Enough by Breaking Benjamin

Natural by Imagine Dragons

Light Em Up by Fall Out Boy

Courtesy Call by Thousand Foot Krutch

Salute by Little Mix

Battle Scars by Guy Sebastian (feat. Lupe Fiasco)

The War Inside by Switchfoot

Headstrong by Trapt

Monster by Imagine Dragons

Until It Breaks by Linking Park (Datsik Remix)

Here are some extra songs for more inspiration, or to swap out for another day.

The Pheonix by Fall Out Boy

Hit and Run by LOLO

Revolution by Diplo (feat. Faustix, Imanos, and kai)

One Woman Army by Porcelain Black

Animal I Have Become by Three Days Grace

Buy me a Kofi?

#writeblr #writers on tumblr #writing #writing prompt #fic prompt #fanfic prompt #spotify playlist #music playlist #playlist prompt #music prompts #4 f's of february

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thesinglesjukebox · 5 months

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REMI WOLF - "PRESCRIPTION"

youtube

Ask your doctor if Remi Wolf is right for you. Aaron, who brought "Prescription" to our attention, did...

[6.40]

Aaron Bergstrom: Boots Riley starts big. His new show I'm A Virgo comes with the contradictions pre-heightened, a masterful Afro-surrealist fun house with every absurdity stretched to its breaking point, amplifying a message that has never been more timely: real change doesn't come from painstakingly crafted anti-capitalist rhetoric or even aspiring revolutionaries with questionable superpowers, as convenient as that might be. It comes from community. It comes from solidarity. It comes from other people. Remi Wolf starts small. "Prescription," written at Riley's request for a very specific plot point in I'm A Virgo (I won't spoil it, but the episode is called "Balance Beam"), opens on spare drums and descending synths, Gen Z Prince working through some social anxiety issues. Wolf said that the song is about "being in love and being really, really scared about it," and it's that underlying fear that underpins the subsequent ascent into ecstasy, the horns and the key change and the climax that probably only works if you're just a little bit nostalgic for Macy Gray. It all hinges on giving up control. This isn't the kind of joy you can find on your own. It comes from connection. It comes from other people. Riley and Wolf arrive at the same place: whether your revolution is personal or political, you're going to have to let yourself be vulnerable. You're going to have to reach out. [9]

David Moore: Remi Wolf, the little pop engine that couldn't -- thanks to the peculiar vagaries of Spotify's algorithms and curated playlists, I think I've heard almost everything Remi Wolf has ever released, and every time I hear a song, I'm really into it for about 15 seconds before the pleasure slowly ebbs. (My favorite Remi Wolf song is this Little Dragon remix of "Disco Man," which must employ some kind of Energy Star plugin to keep things humming along consistently.) At the same time, I don't know that there's a single bad Remi Wolf song either -- there's something sort of captivating about Remi Wolf's oeuvre, all these little candles emitting a few dazzling flickers before inevitably snuffing themselves out. [6]

Peter Ryan: A smidge more narratively straight-ahead than the gnarly, motormouthed Juno or its predecessor EPs; here Wolf's sonic freak-out puts a point on the exhilaration of the lyric -- you couldn't really call it mellowed, but it's less wickedly hedonistic in sound than a lot of her work, more a snowballing sugar overload. In three-minute form it's a bit of a band showcase, a rich thicket of soul-pop horns punctuated by Wolf's increasingly enraptured vocal breaks and ad-libbing. I'll take the seven-minute version, of course, indulgent and luxuriating in the thrall of yearning while affording the arrangement more time to unfold and Wolf more space to settle into it, goofy jam-interlude and all. At any length it might sound like a stopover for one of pop's most chaotic, inventive voices, but that restless energy at the core of her work would enliven even the most dependable of tropes. [8]

John S. Quinn-Puerta: A sex jam with more than cursory shout outs to depression, "Prescription" pulls off one of my favorite tricks, layering instruments progressively with each chorus. Wolf's squeaky half shouts play nicely off a rich round bass guitar, which in turn plays off the bouncy, just buzzy enough acoustic. The layered vocals in the bridge feel earned, breaking through into a lush horn and piano-scape. [9]

Nortey Dowuona: The way this song opens up with flat demo synths and drums, with Remi's high voice catapulting over thin guitar, made me feel like we were not going to go anywhere. Then the bass slid in, the horns started stabbing and punctuating certain lyrics and sidewinding during the chorus and the piano riff appears at the tail end of the second verse, and I was hooked. The lush and muscular bass rumbles below the mix and girds an otherwise very thin song with a strength it needs. But the extended version, which has an extra verse and refrain and chorus, feels both less abrupt and more vivid, allowing the song space to become bigger and bigger and delightful, while Remi -- even in all the lushness -- is still visible at the roots, her thin keening voice which was allowed no space on the standard version spreading far and wide, at ease, excited, delighted to refill. [8]

Ian Mathers: "Effortful" is not necessarily a synonym for "bad." [7]

Leah Isobel: Surprised to not hate a Tones & I-style vocal affection in 2023, but I think it's because the production's vaporwave synth textures and aggressively contained snare hits aim at an equally unreal emotional tone. It's not soulful, but "soulful": aware of its own absurdity and desperation. [7]

Katherine St Asaph: An absolute vocal ordeal. [1]

Joshua Minsoo Kim: She's singing her damn heart out, maybe even literally. [3]

Alfred Soto: No way I'd listen to this indie playroom "Purple Rain" meets "Brownsville Girl" again, but the soupy mix in which a brass section and pattern bob and turn complements the deliberately unhinged vocal performance. If I'd watched it on a busy street corner I'd look over my shoulder once. [6]

Brad Shoup: On the one hand, isn't pumping your devotional funk ballad with enough vocal fuckery to induce hypoxia a perfect Prince tribute? Some of those hoots in the post-chorus made me rip my headphones off, not because they were bad (they were), but because I thought one of my kids woke up. In places it sounds like she's trying to triangulate the Troutman talkbox through sheer vocal layering. Still, as insistent as she is, the arrangement of oozy synth/banjo pluck/brass hits is easy as hell, even if it's hard to pick out. Like she says, it makes my skin crawl in the best way (Adderall). [7]

Will Adams: All those vocal pyrotechnics only for them to be shoved way down in the mix. Why? It's not like the instrumental's ~chill vibes~ are particularly attention-grabbing. [5]

Hannah Jocelyn: I love that Remi Wolf stretches her voice as far as it can go and she's never actively grating for most of the song. Maybe it's because Nathan Phillips places Wolf (and the choir of Remi Wolves) far back in the mix; I can't explain why, but the effect is less someone screaming in your face and more witnessing Ken barely step out of frame to yell "SUBLIME!" The outro goes too over-the-top and bright -- the situation calls for Brittany Howard, someone who Remi Wolf is decidedly not -- but until then, there's a lot to love.. [7]

Vikram Joseph: Turns out the difference between "classic-sounding" and "derivative" is largely just charm, which Remi Wolf has in buckets and which turns a song that could have been a rote gospel-pop exercise into a full-hearted, grin-inducing joy of a song. It has shades of "I Try", and while it's not quite as beautifully constructed it more than matches it in endearing vocal acrobatics and in exuberant dorkiness -- "Prescription" is a love song that's totally sincere but which doesn't take itself remotely seriously. It feels like walking through your city in the sun and being weightless; it feels like "climbing over the walls I made"; it feels like giving yourself completely to someone and it not hurting at all. [8]

Jacob Sujin Kuppermann: I do not believe that one's background inherently determines one's future but as a Californian I must call it as I see it: this is exactly the kind of song you make when you go to Palo Alto High School and then USC Thornton. [5]

[Read, comment and vote on The Singles Jukebox ]

#remi wolf #music #music writing #pop music #music criticism #music reviews #the singles jukebox #Youtube

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erigold13261 · 1 year

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If B2J or ExJay do end up starting a re-revolution in the FRAU, how does it happen? An unlikely scenario but interesting to think about

Once again I went overboard with the writing so under a read more it goes! Also to note, I accidentally wrote this kinda backwards in how the fights go. It's all over the place but that's what happens when you have a stream-of-conscious style of writing like me.

Also, this goes under the version where a Re-Revolution is successful and not one that ends up failing.

It's not actually all that unlikely! (Also for the most part I am using "Ex-Jay" to talk about the 4 guys, Asa Noa Cyril and Rei, and not the band itself because the band is no longer together at this point).

Ex-Jay (all 4) and West were friends before shit went down between them and NSR. Now Ex-Jay (Asa, Rei, and Cyril) and West hate NSR. Since West's brother was hurt because of NSR, Ex-Jay has even more hatred for NSR now more than ever.

Cyril and West are definitely shit-talking NSR a lot of the time, especially online. That would probably get the notice of Kliff, who comes out of hiding with some bullshit excuse to B2J for why he disappeared. Something like he was too afraid of dying because he knew Neon J and was afraid if he came out to help them the two would have been killed by the maniac cyborg (something all of them would agree could have been a possibility considering how his robots acted).

Well B2J would not be willing, or even really able to, start a re-revolution. However, that wouldn't stop West and Ex-Jay, they would absolutely be willing to follow Kliff's advice to try and stop NSR again (and this time they'd have even more knowledge of the charters as B2J had fought most of them already).

The only thing I am debating on is if Noa joins the other three Ex-Jay members as he is in another band at the time. He doesn't want to abandon either group, but he also fears he will either get hurt if he helps or his friends will get hurt if he doesn't. In the end, I see him being convinced to help join the cause by the band he is in now as they also want to help bring back rock and take down NSR (they'd also honestly want to help liberate robots in Vinyl City who are being oppressed a lot).

As they all head back to Vinyl City I see things going down like this:

Kliff, May, and Zuke stay in the back lines gathering and giving info to the team. There is a new charter in DJ's place and all the other charter's style has changed a bit more, not to mention security is still tight even if it's been a few years since the revolution. So this process of gathering information is absolutely necessary to stop any kind of huge failure like May and Zuke had.

Noa's band would be fighting without Noa as he sticks with West and the rest of Ex-Jay. This group (which I feel is like 5 without Noa, so usually 6) would be the ones keeping back security and other things from Ex-Jay and West as they fight the boss. They will also offer small assistance in the fight against the boss (think of like those upgrades where Ellie gives food/supplies to B2J, except it would probably be more like offensive assists instead of defensive).

Ex-Jay themselves would be in their main roles except for Cyril who can't project his voice anymore or scream at all. Asa would be on bass, Rei on guitar, Noa on drums, and instead of being on vocals Cyril would be on piano (like a holographic one similar to Zuke's drums). West would take the spot of vocals in this scenario along with using his shadow for more defensive measures while Ex-Jay handles the offense.

I don't have any real ideas of how all the fights would go right now, at least the new charter's, Sayu, and Yinu's fights. But I do think by the time the Re-Revolution gets to 1010/Neon J, instead of fighting them before Eve, Eve would force herself into their path to try and stop this stupid revolution herself.

In her head she thinks that if she can stop it then she will be praised by Tatiana while also putting West in his place. She might even get to see Zuke and talk to him. But what ends up happening instead is she gets beat, even after spitting up everyone.

I can see West know the gist of how to deal with Eve from Zuke talking about it, the others struggle to get a grip on reality and even start losing themselves in Eve's mental maze that she creates. Once West is able to get to Eve the two have a fight between her illusionary light and his shadowed darkness.

It is basically a stalemate for a while until Zuke comes and shatters the reality. He had ignored May and Kliff telling him to stay, and had the other band help him get to Eve. There he and West talk to Eve. West taking on more of Mayday's role from the original game, except with a lot more hate in his heart for her, while Zuke tries to reach out to Eve like he did before (maybe with not as much kindness, maybe with more kindness, I don't know yet).

Instead of going into that silent white area that Zuke reached her in, it would be more like a platformer trying to reach Eve on top of a mountain of broken glass and dripping paint, having to climb arms and legs while avoiding the stares and shots from eyes watching. It would be difficult for Zuke to reach her, but with the help of Ex-Jay, West, and the other band, he would finally be able to get her down from her broken throne and make her see that this is not who she is. This is not the Eve that Zuke remembers, or the Eve that she wants to be.

Or something like that. It would be the end of Eve's fight, with her realizing she doesn't need other people to complete her, but also that she has done some shitty things since the last revolution. She is able to look into a mirror and see what she has become, and how she is not happy with it. This would be the moment where she tries to actively make things better for not just herself, but also for people around her. Zuke would tell her that people change, sometimes for better, and sometimes for worse. It's up to you to choose for yourself how you want to change, and to not rely on other people to tell you who you are.

I was going to say I think West would have some kind of thing going on in this part, but I like the idea that Eve is Zuke's final boss. So gonna backtrack a tiny bit to Yinu's boss fight where I think West would have some revelations.

I like the idea that West and Zuke make up before this Re-Revolution takes place, however I still think they have problems. Problems mainly stemming from West trying to be too controlling of Zuke's life for fear of losing him. The same problem that Mama and Yinu have going on right now.

I'm not sure how the fight would play out all that much, but I can see West seeing the pain Yinu is going through because of Mama and somehow seeing Zuke and his relationship reflected between them. Maybe one of Ex-Jay makes a comment to West about it in passing while fighting. As he realizes this, his vocals would change to try and encourage Yinu to speak up while trying to snap Mama out of her blind rage.

What ends up happening is that Yinu and Mama grow stronger separately. Mama becomes even more angry while Yinu grows in confidence at trying to speak up about her situation. She is getting lost in her own thoughts and playing faster to try and keep up with them. This starts to make the fight harder for the rockers, making Ex-Jay try to shut West up and try to make him realize he is boosting their power and making it harder to fight. It seems like Mama and Yinu are about to start over powering the rockers.

Only for the music to stop. Yinu stops playing as Mama hits the ground or something knocking West and Ex-Jay on their asses. Mama tries to tell her to keep playing, but instead of starting back up she says no. She won't. Mama probably starts yelling at Yinu to stop disobeying and asking her if she wants to lose!? Does she want to have these idiots ruin her performance like this!? Does Yinu even care about what her stopping to play means!?

And Yinu tells her yes. She does know what it means. Yes, she does want them to win. Yes. She wants to lose. Yinu doesn't want to do this anymore. She doesn't want to fight. She just wants all of this to stop and for Mama to go back to being her mother, to care for her like she used to, to stop trying to control every second of her life because she is afraid something bad might happen. Mama IS the bad thing in Yinu's life right now, and she can't breathe of live like this anymore. If she has to play one more song, one more note, for a cause she doesn't care for anymore, she is going to break down.

He explains that his mother cares about her, and this is how she shows it. It sucks, sure, and it is love, but it's not right trying to control someone. Yinu is her own person, and she should be able to make her own decisions. And he explains how he had to relearn that with his own brother, who he was treating like Mama was treating Yinu, and how their relationship will never be the same, but that with work it can get better.

Mama listens to all of this. To West and Yinu talk. And she calms down enough to realize she is the reason Yinu looks like she is about to wither away. It wasn't the revolution, it's not puberty, it isn't the music. It's her. She is the one who has made Yinu stress so much that almost all her flowers are gone and her hair is rooted all the time.

And Mama breaks down. She cries for the first time since Papa died and she hugs Yinu and apologizes for everything. The two leave the level/hall, not even caring to stay and make sure things get cleaned up or to answer Tatiana's calls about what is going on. They just leave and go home to try and talk through all their problems. West and Ex-Jay continue onward.

Okay I was gonna jump back to 1010, but I am actually gonna go back further to Sayu's fight. I like to think that the fight with Sayu is supposed to fix the kind dysfunctional aspect of 3 bands working together on a whim while also fixing the Crew's tendency to not work as a team.

However the fight with the new Charter went fine (won't be going into that fight since I have no charter ideas right now) but it was still a bit sloppy and had some problems. Ex-Jay were a bit too aggressive and headstrong, trying to quickly take out the bosses without caring for their own safety. West is trying to match Ex-Jay but the rhythm keeps fucking up and their attacks end up colliding and doing less damage. Not to mention West is more of an offensive attacker while being forced to play defense because of Ex-Jay's fighting style. Then Noe's band don't have a drummer so all of their attacks/assists are also out of rhythm and sometimes they accidentally help the boss (at least all of this is true for the first charter and a majority of Sayu's fight).

Sayu is a lot more defensive in her fight, making it so the surrounding and mods do most of the fighting for her. This is so she isn't seen as a threat by the public, but it also kinda makes her (the Crew) controlling of the environment. At times you can hear Sayu between lyrics say stuff like "No! That was the wrong attack!" or "Stay consistent! You're off beat!"

But it's not always the same "voice" coming out of Sayu, showing that sometimes Remi Sofa or Dodo will yell over Tila to give a command. Or sometimes Sayu (Dodo) will move a piece of the environment to better fit his movement or Tila will give a line like "Now watch this!" and nothing will happen because she wanted Remi to change the design or Dodo to strike a pose and neither knew what she was expecting so neither did something.

It really just becomes a mess of two groups failing to communicate with each other as they fight. Once Sayu starts arguing with "herself" (the Crew's arguments and frustrations are being heard like at the end of the original fight, except it happens earlier) that is when the rockers realize they need to communicate better in order to win.

While Sayu is still fighting with herself and the rockers have a moment to talk, they quickly make a plan with roles on who is doing what and are finally able to work as an actual team. They use this to go back to fighting and start pressuring Sayu again.

Only for Sayu to start fighting back herself. It starts with a fist into the ground as Dodo finally gets sick of arguing and tries to end the fight. Which just causes more in-fighting between the Crew as they are afraid of what the public would think only for Dodo to say something like "we will lose a lot more if we don't win this fight! Now start fighting!"

Tila's singing creates music notes, Remi changes Sayu's model more often to give more advantages to Dodo (even going into special holiday themes that have extra accessories for Dodo to use), and Sofa is moving the environment, cutting of access points, and just making it difficult to do anything.

The two groups are finally working together but the rockers end up coming out on top because they are able to push Sayu back more and more, taking advantage the cracks of dysfunction that appears every so often during the fight and breaking through Sayu's defenses.

In the end I think Sayu wouldn't break like she does at the end of the original fight, but she would break down and start crying as Tila can no longer sing and sobs into the microphone. That stops all the fighting as Tila says out to the public she is so afraid of losing everything, her friends, her job, her life. She is terrified of going back home and she can't do this anymore.

We can hear the other voices come out of Sayu trying to comfort Tila and Sayu's body looks like it is side hugging nothing (Dodo is holding Tila). The stress these teens have gone through finally comes out into the public, along with some implications that their families are not great.

And so the rockers offer to stop fighting and just talk in private, which the Crew allow and they go into Sayu's eye thingy and end up in Sayu's studio. The show is cut so people aren't just looking at a still, unmoving Sayu. And the rockers and Crew talk for a while. Ex-Jay and Noa's band telling them their options and explaining how things in life work. Rei and Remi talking about being trans comes up. Cyril talking about abusive parents and how to get out of situations. West trying to offer a safe place for them to hang out at so they don't have to go back to their parents after all of this.

The fight between the rockers and Sayu is ended, but the Crew's fight for their lives have really just begun.

Okay, finally jumping back to after Eve's fight, it is now time to talk about 1010's fight. They are now the last fight before Tatiana and are NSR's last hope to defend itself from Rock.

1010 don't want and can't fight back. At least not like they were able to last time with finger guns, Bio Tactical Shields, and rocket flight. I don't even think Neon J has a flying factory anymore, I doubt they would allow him to have access/the ability to create a giant robot army considering the public's perception of robots.

So instead of fighting 1010 first, you are fighting Neon first. Neon and DJSS who surprises everyone by showing up to help Neon. This whole fight takes place on an elevated stage so that you can't directly hit any of these enemies (think like DJ and Sayu's fight where you need projectiles and parries to fight properly).

DJSS acts more as a shield for 1010 and Neon, kinda like how Mama protected Yinu, while Neon is shooting charged up energy beams from a gun/blaster he has and commanding machinery to attack, confuse, and separate the rockers. Things like fog machines, confetti canons, beams of blinding light, those actual canons that shoot the parriable beam in the parry only fight. Not to mention the high security that is keeping Noa's band away from the fight.

It is just Ex-Jay and West against 1010, Neon and DJSS. 1010 aren't really fighting back, sometimes they will sing out and notes go flying at the rockers, but for the most part this is an actual battle, not some kind of show (there is still music playing, but it is a weird remix of DJ and 1010's music which add in rock as the battle continues).

Anyway, I see it as a fight to try and break the stage that 1010 are on. You have to get past Neon and DJ. Neon commanding certain attacks which are hard to dodge but easy to see coming, and DJ slamming the ground or shooting a sun beam which is hard to see coming but fairly easy enough to dodge.

Depending on who goes down first changes the dynamic of the fight. At first it is mainly just Neon and DJ taking turns attacking while 1010 will occasionally sing.

If DJ is taken out first (cracking his helmet more) then Neon's attack become faster and more sporadic, but 1010 are easier to hit without DJ. However, Neon will stand in the way of most of the shots to body block for 1010. Some shots do still get through and damage 1010. You need to get Neon out of the way before finally getting to 1010.

Once you defeat Neon he will send out one last attack before collapsing which only Cyril and West dodges. The other rockers are knocked away.

If Neon goes down first then DJ will catch Neon and fully protect him and 1010 with one arm. There is no way to damage 1010 or Neon during this phase, but DJ's attacks are slower though more powerful as their anger grows. They leave their head open to attacks though.

Once you crack open DJ's head again, he does one last sweeping motion that Cyril and West dodge while the other rockers get knocked away. Then DJ leaves as he doesn't want his black hole to harm 1010 or Neon.

There has not been a lot of talking that went on between the two sides by this point, maybe some quick banter or insults thrown out from each side, but nothing major. Now that it is only 1010, Cyril, and West though, they start to talk.

White asks why they are doing this, what their problem is with them and EDM. He tells them to just suck it up and deal with life, that this kind of tantrum they are showing is stupid and won't change anything. Life sucks and they should get over themselves.

Each time an attack is thrown at 1010, White hits it away, usually to another 1010 but sometimes just away where it will hit the ropes/wires holding the stage up. Each hit does do damage to White, but it's just the arms that are losing their casing and exposing the internal workings.

Well as West and Cyril continue to attack and listen to White, they end up explaining all the pain that NSR has done. All the suffering people have gone through. How specifically these two were hurt by 1010's actions and their lives were ruined.

And that is when White recognizes them as the people Blue attacked long before the revolution started. White tells the rockers that they are stupid for thinking that they have a problem with them, when in reality they have a problem with Blue. And so White grabs Blue by the collar, drags him to the edge of the stage as Blue begs him to stop and the rest of 1010 tell White to knock it off, and throws him off the stage onto the ground in front of West and Cyril.

White tells them to go ahead and kill him if they wanted revenge so badly, all while the rest of 1010 were shocked and afraid, and Blue is already pretty badly damaged by the fall and White redirecting attacks.

Blue just quietly apologizes over and over for everything he did and how sorry he is that things ended up this way. Apologizing to White, to Neon, to West and Cyril. He was just so afraid to lose his family that he did what he thought was right and obviously he was wrong.

West and Cyril are too shocked to do anything at first. Cyril breaks the silence by asking White what the fuck was wrong with him and how he could just throw Blue down like that. Only for White to grab Red and throw him down saying "Easy, like this." He goes on to explain how they don't matter. They are just robots, tools for NSR to use. 1010 is already dead as far as he is concerned.

White continues to throw down Yellow and Green, breaking them a lot too. West calls him sadistic and messed up for betraying 1010. White explains he isn't sadistic, only that he has accepted that no matter who wins this fight, Tatiana is going to scrap them as 1010 is no longer useful to NSR.

He explains some things that have happened behind the scenes that no one knows about. How Tatiana killed Purple, how the other artists became abusive or messed up, how 1010 are basically trapped working for NSR and will never be let go to live normally.

"NSR is dying and 1010 is going to die with it! Why can't you idiot rockers just let us die in piece!?" He screams as he slams his foot onto the stage only for it to finally shatter/break and he falls down in front of West and Cyril, just as broken as the rest of 1010.

Cyril is the one to reach out to 1010 and try to help them up. He no longer feels the rage inside of him to hurt 1010 because now he sees how much they have been fucked up in their situation. He feels sorry for them. He tells them to keep fighting and don't give up. If they beat Tatiana then he'll make sure they are able to get away from NSR.

He then tells them that if this works, then to move to his country where robots are accepted and that maybe 1010 and Ex-Jay can start over, without musical politics getting in the way. Keep fighting for a brighter tomorrow, not for the world but for yourself.

After the 1010 fight, and a small recuperation, the rockers head to Tatiana.

Tatiana is not playing around or trying to reason with the rockers. This can be seen right as West and Ex-Jay pass through her office door just as she uses her time powers to shut and lock the door, cutting off Noa's band from the rest of them. She then knocks Ex-Jay and West onto the ground with a sweeping fist and walks to the center of the stage.

Here she starts to tell them how pathetic their sacrifice will seem once they are defeated. She summons her first clock hand and turns to them, where she explains that if they think Bunk Bed Junction were hurt, just wait until she is done with them.

She teleports quickly and the only reason she didn't immediately kill one of them is because Rei was able to use his guitar to block her sword. This give enough time for the rest of the group to get up and spread out. They start attacking Tatiana as best as they can.

Rei and Asa are the physical hitters with their guitars while Cyril and Noa send music notes at her with their piano and drums. West is trying to use his shadows to stop or slow her down long enough to actually be hit but her flames keep destroying his shadow so all he can do is try to use it to block her physical attacks, everyone has try try and dodge the fireballs.

Considering it is 5v1, Tatiana does surprisingly well. She doesn't play games or mess around. Quickly breaking some strings and keys off of instruments as she attacks causing the rockers' attacks to weaken as they lose essential parts of their music.

Tatiana is able to knock out a few of the rockers, only not killing them because of West's shadow taking the sharpness of the blade but the blunt force trauma still hits Noa and Asa. Rei is on the ropes while West is getting tired and weak. The only one who seems to be faring okay in the fight is Cyril, and that is not saying much because Tatiana's has kinda been ignoring him.

To Tatiana, he isn't special. His piano skills are subpar compared to the rest of the bands' musical talents. He is small and can barely talk half the time. She is just getting rid of the more dangerous threats before she moves onto attacking him.

Cyril is doing all he can to keep playing and keep fighting Tatiana even as he sees his friends get knocked out and hurt by her. He realizes she is ignoring him and so he tries to quickly run to the door to unlock it and get the rest of the rockers into the level only for Tatiana to teleport behind him and hit him full force back into the center of the stage.

It is just Cyril and Tatiana now as she knocked out Rei and West when Cyril ran. He is on the ground below her as she is about to throw the last hit against him.

And he teleports himself out of the way. Something he has not been able to do since Blue destroyed his pocket watch years ago. Both of them are shocked by this. Cyril realizes the clock below the floor is allowing him to tap back into his time powers, and so he sets up his holo keyboard again and starts attacking Tatiana while also dodging her own attacks.

As Cyril and Tatiana fight, B2J and the rest of the band are able to break through the doors. The other band is able to get the knocked out rockers into the hallway while Zuke and Mayday take Rei and Asa's guitars and get ready to fight with Cyril. Only for them to see the glowing crown and decided to attack that.

Tatiana finally realizes the others are here and tries her best to attack them instead of Cyril, but he is making it difficult for her to hit them, literally grabbing at her and teleporting her away from them when he can, exhausting his powers.

The three fight together, mainly Cyril damaging Tatiana and protecting B2J while B2J dodge and attack the crown. Mayday and Tatiana have their banter similar to the original end game. Cyril adds on how rock may not save the city from blackouts, but it's going to save the city from NSR.

As they overpower Tatiana thanks to Cyril's powers and playing, they end up defeating her and blowing up the Crown where Kul Fyra's guitar is.

Similar end scene where Mayday says Kul Fyra was her idol, with Cyril also saying that is why he started rock in the first place. Tatiana telling them to basically shut up and having idols was for fools.

I don't know if the power is much of a thought in the re-revolution, probably not to Cyril, but May still does the whole "rock is better than EDM power-wise" only to find out it is the same energy output as EDM (like 45% since the music they played was more fueled by revenge than passion, and the EDM being played recently has faltered in passion).

For the actual end I don't know if Kliff still does the satellite hack. It's been years so the satellite would not be on his mind. He would definitely say that Cyril and B2J are now the royalty of Vinyl City, the new NSR baby!

B2J would reject that title because they don't feel like they could actually run NSR. Cyril knows he would be able to with Ex-Jay by his side, but he is silent for a moment. Only to say that Kliff used them, about how this was never about power or helping the rest of them get closure! It was about Kliff trying to get to Tatiana!

Cyril would end up feeling stupid and yelling at Kliff. That this whole situation is his fault. Leading May and Zuke to also realize that if Kliff never pushed them so much, they might not have gotten injured so badly.

At this point in the story I don't actually have any ideas. Kliff would do something that would cause the Rockers to help NSR, probably the satellite but maybe something else. Really it would just be the Rockers wanting to help the Megastars more than help Tatiana, because people like 1010, Yinu, and Sayu didn't deserve what they went through. Neon, Eve, DJ, and Mama all deserve second chances to become the better people that they showed they could be.

So the rockers help save NSR, restoring the power to NSR but also bringing the outside change needed to finally break down the toxic environment that has been leaching out of NSR for years.

New Megastars are brought on while old ones retire or take temporary leaves of absences. Tatiana shares her power more openly with Mystery Man and possibly another CEO brought on so that there is a checks-and-balance system now in NSR. Musical freedom is finally allowed to flourish along with blackouts being only a very rare thing that happens.

NSR will never be the same again, but that's for the better.

#nsr #no straight roads #nsr au #failed revolution #eritalks #eriau #noart #asks #i am so sorry this is so long!#i got really into the writing of this piece!#it became so self indulgent!#especially the 1/010 part!#i love this au so much!#wish i knew how to properly write #this would have been so much better #oh well!#i had a LOT of fun!

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