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#I had to use the album covers from my music selection

omegalomania · 4 months

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so im sure everyones fully well aware of the magic 8 ball site fob is using to promote a contest to win some tickets to see them in nashville. the little 8ball widget theyve got in browser is also modeled on the physical 8ball that they had in the vip merch packages for tourdust's first leg, which is cool! but of particular note is the way that, to fill out the contest form, you have to pick your favorite fall out boy songs. and the sheer breadth of what is allowed is...interesting? it's not cohesive by any means, but it is really wild the selection of songs they have here because not all of them are fob songs. in fact, quite a few of them aren't.

i went directly to the source code and got a full list of all possible songs that you could input (which you can check for yourself by right-clicking and selecting "view source"). i'm going to list them here for archival purposes, with a few notes/explanations cause some of these are WILD.

there are 187 songs total listed.

bolded songs indicate songs that are demos or never received an official release

italicized songs are songs by other bands

underlined songs indicate songs that are covers

songs with an asterisk beside them (*) indicate they are from patrick's solo catalogue. two asterisks (**) are for pete's.

additional commentary by me will be [in brackets]

20 Dollar Nose Bleed 27 7 Minutes in Heaven (Atavan Halen) 7-9 Legendary A Little Less Sixteen Candles, a Little More "Touch Me" A Nice Myth [one of the earliest fall out boy demos, found on their first ep, and only the casette version at that] Allie* Alone Together Alpha Dog America's Suitehearts American Beauty/American Psycho (song) American Made Art of Keeping Up Disappearances As Long as I Know I'm Getting Paid* Austin, We Have a Problem Baby Annihilation Bad Side of 25* Bang the Doldrums Beat It Big Hype* Bishops Knife Trick Bob Dylan Bounce [this is a song that came out on then-Decaydance labelmates The Cab's debut record, Whisper War, which patrick produced. he has writing credit and also is credited with background vocals (and also shows up in the music video)] Caffeine Cold Calm Before the Storm Centuries Champagne for My Real Friends, Real Pain for My Sham Friends Champion Check Your Phone** Chicago is So Two Years Ago Church City in a Garden Coast (It's Gonna Get Better)* Coffee's for Closers Cryptozoology* Cute Girls* Cyanide** [this is a nothing,nowhere song that pete did some spoken word parts and backing vocals on] Dance Miserable* Dance, Dance Dead on Arrival Dear Future Self (Hands Up) Death Valley Deep Blue Love* [song patrick did for the indie short film "spell"] Demigods Disloyal Order of Water Buffaloes Don't You Know Who I Think I Am? Electric Touch [the (in?)famous taylor swift song patrick featured on] Eternal Summer Everybody Wants Somebody* Explode* Fake Out Fame Less than Infamy Favorite Record Fellowship of the Nerd [this is an alternate title for world's not waiting, as far as i can tell] Flu Game Flu Game [yes flu game is listed twice for some reason] Footprints in the Snow [demo from the Llamania ep] Fourth of July From Now on We Are Enemies G.I.N.A.S.F.S. Get Busy Living or Get Busy Dying (Do Your Part to Save the Scene and Stop Going to Shows) Ghostbusters (I'm Not Afraid) Golden Grand Theft Autumn/Where Is Your Boy Greed* Grenade Jumper Grow Up and Be Kids [this song is on The Cab's sophomore album Symphony Soldier, which release after they left decaydance. nonetheless, pete does have some writing credits on it. give it a listen and you'll hear for yourself in the first 10 seconds or so] Growing Up Hand Crushed by a Mallet [this is a remix of the 100gecs song of the same name; patrick did some vocals for it] Hand of God Have I Got a Gift for You* [song patrick did for the horror movie black friday] Headfirst Slide into Cooperstown on a Bad Bet Heartbreak Feels So Good Heaven's Gate Heaven, Iowa Hold Me Like a Grudge Hold Me Tight or Don't Homesick at Space Camp Honorable Mention Hot to the Touch, Cold on the Inside Hum Hallelujah I Am My Own Muse I Don't Care

I Got Nothing, But You Got Something [this is the one that really perplexes me. there's no evidence of this song actually existing, other than an unverified genius post and an article on a single fandom wiki. it is inexplicably listed here despite its very existence being questionable at best.]

I Slept with Someone in Fall Out Boy and All I Got Was This Stupid Song Written About Me I Wanna Dance with Somebody (Who Loves Me) I'm Like a Lawyer with the Way I'm Always Trying to Get You Off (Me & You) I've Been Waiting [this is technically a lil peep song with fall out boy as a feature] I've Got a Dark Alley and a Bad Idea That Says You Should Shut Your Mouth (Summer Song) I've Got All This Ringing in My Ears and None on My Fingers Immortals Irresistible It's Hard to Say 'I Do', When I Don't It's Not a Side Effect of the Cocaine, I Am Thinking It Must Be Love Jet Pack Blues Just One Yesterday Lake Effect Kid (song) Lake Shore Drive [this is a song patrick covered on the piano at wrigley, first night of tourdust] Love from the Other Side Love Will Tear Us Apart Love, Selfish Love* Love, Sex, Death Lullabye Mad at Nothing* Miss Missing You Moving Pictures My Heart Is the Worst Kind of Weapon My Songs Know What You Did in the Dark (Light Em Up) New Dreams [this is a bonus track on pax am days, a naked rayguns cover] Nobody Puts Baby in the Corner Novocaine Of All the Gin Joints in All the World One of Those Nights [another song from the cab's whisper war. this one has patrick doing vocals very prominently] Open Happiness [this was a huge collaborative piece done for a coca cola commercial. patrick was on it along with big names like cee lo green, janelle monae, and labelmates travie mccoy and brendon urie] Our Lawyer Made Us Change the Name of This Song So We Wouldn't Get Sued Parker Lewis Can't Lose (But I'm Gonna Give It My Best Shot) Past Life [llamania ep] Pavlove People Never Done a Good Thing* Porcelain* Pretty in Punk Rat a Tat Reinventing the Wheel to Run Myself Over Roxanne Run Dry (X Heart X Fingers)* San Diego [this is a blink-182 song that patrick did some writing for] Saturday Saturday Night Again* Save Rock and Roll (song) Sending Postcards from a Plane Crash (Wish You Were Here) She's My Winona Short, Fast, and Loud Snitches and Talkers Get Stitches and Walkers So Good Right Now So Much (For) Stardust (song) So Sick [this is a song patrick has exclusively covered live, so it's a fascinating inclusion] Sober [another blink-182 song patrick did some writing for] Sophomore Slump or Comeback of the Year Star 67 Stay Frosty Royal Milk Tea Sugar, We're Goin Down Summer Days (song) [this is a martin garrix song patrick lent some vocals to] Sunshine Riptide Super Fade Switchblades and Infidelity Tell That Mick He Just Made My List of Things to Do Today The "I" In Lie* The (After) Life of the Party The (Shipped) Gold Standard The Carpal Tunnel of Love The Kids Aren't Alright The Kintsugi Kid (Ten Years) The Last of the Real Ones The Mighty Fall The Music or the Misery The Patron Saint of Liars and Fakes The Phoenix The Pink Seashell The Pros and Cons of Breathing The Take Over, the Breaks Over The World's Not Waiting (For Five Tired Boys in a Broken Down Van) This Ain't a Scene, It's an Arms Race This City* Thnks fr th Mmrs (song) [for some reason the site specifies song here, despite that not being necessary. the only other times this distinction is relevant is when songs share a title with their albums, i.e. save rock and roll] Thriller Tiffany Blews Twin Skeleton's (Hotel in NYC) Uma Thurman Untitled 1 (Colorado Song) Untitled 2 (Jakus Song) [both of these are recently released tttyg era demos] W.A.M.S. We Didn't Start the Fire We Don’t Take Hits, We Write Them [this is a song that famously was only ever performed live. we don't have a studio recording or even a demo, as only live versions exist] We Were Doomed from the Start (The King is Dead) West Coast Smoker What a Catch, Donnie What a Time To Be Alive What's This? When I Made You Cry* Where Did the Party Go Wilson (Expensive Mistakes) Wrong Side of Paradise [llamania ep] XO You're Crashing, But You're No Wave Young and Menace Young Volcanoes Yule Shoot Your Eye Out

in conclusion i have no idea who compiled this list. it doesn't include every song patrick and pete have ever touched (notice the lack of gym class heroes, cobra starship, and hush sound discography) but it has a really weird selection of songs. i mean, blink songs patrick wrote on?? its bizarre.

anyway do you think if we mass request swing me by the rafters they'll have to do it

#fall out boy #tourdust #*making poasts #trying to format this conventionally BROKE THE POST so i did my best #i burned my grilt cheese typing all this up pls appreciate it #the weird break in the middle is cause otherwise it wouldnt post. mea culpa.

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terrainofheartfelt · 1 year

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Gossip Girl Appreciation Week | Day 6: AU

The Grossly Indulgent Pop Music AU I will never write:

Inspired by one of the only Jonerys fics I like.

Not quite a fic, but not not a fic, here’s an unhinged idea that grabbed hold and wouldn’t let me go. The music is a loose jumping off point of inspiration, in that all the characters have one or two artist equivalents. I use their music as the characters’ work in this universe. So it’s like an AU of pop musicians’ lives, but not really, since I don’t know their biographies, just their music. It’s fanfic, you know how it is.

Enclosed beneath the cut you shall find: dairfair, negatively painted jenny/damien & chair, some positive jenate, and a inkling at my newest ot3 vanessa/aaron/serena. And lots of opaque music references.

image sources: (x)(x)(x)(x)(x)(x)(x)(x)(x)

Blair and Serena come up in a lab-grown pop girl group in their teens (sample track here), but break off for their own solo acts after a few years. They have a friend breakup after that. Diss tracks are written. (Inspo: Honey & Bad Blood) the final (supposedly) proverbial nail in the coffin of their friendship is when Blair marries record label exec Chuck Bass.

(Needless to say, Chuck is a piece of shit. Living off family money and power, using his title to back young women artists into a corner. Blair thinks she conquered the beast by putting a ring on it but, well, you know.) (While Jenny Humphrey is coming up she’s one of the artists Chuck harasses. She refuses to sign with his label and tells him to fuck off.)

The rumors as to why their girl group break up run wild, and they mutate with each tabloid run, growing more and more ridiculous, but, like many rumors, they did spring from a small seed of truth.

Blair was ambitious, and always used the act as an opportunity to set herself up for a solo career. Serena was her best friend, but whereas Blair had to work hard at everything that came with this job, it was like Serena didn’t have to try at all. She was the darling of the interviews, of the fans. The favorite on the covers of magazines and music videos. Serena was getting solo offers since their debut, but turned them down, until she didn’t.

Their group toured with a team of dancers, also all carefully selected by the label. Nate Archibald was one of the fan favorites, and the label quickly paired him and Blair together for publicity. Blair was always just a little more invested than Nate was. He wasn’t even sure if this career, this lifestyle was what he wanted, but Blair was more than sure, was constantly working to get ahead. But the label kept them together, until they figured they could pair Nate with Serena instead. (And Nate didn’t fight it, because he’d always carried a torch for Serena anyway).

It wasn’t the first fight between the friends, nor the last, but it was the big frisson that they couldn’t come back from. The group held on for another album, but it was clear that they couldn’t go on. Blair and Serena signed solo contracts, and Blair got close with Chuck Bass, and that was the final straw for Serena.

Nate tried to stay friends with both of them through it, but he was also coming to the conclusion that he didn’t want to keep up this lifestyle. He quit performing to go to school, and he found his niche teaching dance to kids—not at a university level, not with the intention to make future professionals, but just to young people looking for something to love. It suits him, and he becomes a reality check for his two high profile best friends. Or he tries to be, but their lives keep pulling them away from New York, so he sees them less and less.

(The other two members of the group move on to other adjacent things. Kati founds her own fashion label—available in Targets everywhere!—and Iz becomes a judge on one of those America’s Got It Factor Talent Shows).

Post girlgroup, Serena runs a Kesha-like life, pop hits made for club dancing. Her character is much more glittering and reckless than Serena might prefer to be, but she’s in the game so long that it sort of – becomes her from time to time.

Serena works tirelessly, keeps trying to break out of her brand of the out of control party girl, but her label, the one she was brought up on, founded by her maternal grandfather, wants her to keep making what sells. Her brother Eric tries to fight her corner, but he’s only a junior employee. After a handful of solo albums and years of endless touring, she burns out. Eric gives her a place to be and rest, and she tries to figure out what the hell she’s going to do. She wants to make more music, but of what?

Blair is taylor-esque, clinging to her brand of The Good Girl from her teen career into adulthood. The reputation and her general effervescence add sparkle to the Bass brand, clean it up a little. It’s a symbiotic business relationship, until it isn’t.

Chuck progressively tries to exercise more control over the music she puts out, to the point that Blair just…doesn’t. Her last album under the Bass label is the one she released with tracks that allude to their relationship, her victory lap for landing the billionaire bachelor whale, as it were (Style, Wildest Dreams, Wonderland, I Know Places). She’s more clever than some give her credit. For example, the tongue-in-cheek “Blank Space” belies an artistic self-awareness. Which is why, even though they aren’t in the same genres, Jenny Humphrey respects her.

Speaking of Jenny: the Humphreys!

Rufus Humphrey, frontrunner of the early 90s outfit Lincoln Hawk, enjoyed a good run when his kids were little, then a less lucrative run as a solo artist, before he finally settled into producing. He runs a small, proud independent label with his old bandmate, and they pride themselves on supporting talent that the bigger corporate labels pass over. Both his kids, Dan and Jenny, make music with him.

They grew up playing piano, then graduated to guitar, then spiraled on from there. Dan joins his first band when he’s sixteen, playing keys for his best friend’s big sister’s band. Ruby Abrams and her bandmates affectionately call him an honorary lesbian, and after gigging with them for about a year, Dan comes out as bi. (his three sisters: Jenny, Vanessa, and Ruby, are already out)

His best friend Vanessa is also a musician. She tries to go the classical route, wanting to usurp her parents’ and her sister’s expectations, but ultimately finds her happy in the indie folk niche that Rufus curates. (Think Lucy Daucus & Maya Hawke) Vanessa’s favorite instrument is bass, but she can find her way around a keyboard or guitar.

Jenny is the real prodigy, though. She has her guitars and piano and even a mandolin, but she’s restless at sticking to just one sound, so she experiments with them all. Fulfilling, absolutely, but it’s a long time before she puts out a full length record.

Dan and Jenny’s parents break up while the kids are in college. With Rufus touring as much as he was when they were young, Alison did the heavy lifting raising them, and now that they’re grown she kind of – has a Mom Drop. She moves back home to the Bay Area, and Dan ends up following her to California, needing to get out of New York and get some distance from his dad.

Jenny stays in New York, taking classes, making music. She starts dating a much older artist—he’s not on her dad’s label (which is part of the appeal) —but he has a complimentary sound. After the mess that was her model gf Agnes, Jenny is hoping for something steadier, but that’s not what it becomes. Being with Damien Dalgaard, darling of the Guy with Guitar genre, ends up being more of a mindfuck. (John Mayer. Damien’s basically John Mayer.)

Rufus tries to put his foot down (even though Jenny’s an adult) and Vanessa tries to help, but it’s one of those things where the toxic relationship just has to run its course, even if it puts Jenny into major spotlight for the first time. It’s rough on her, but she makes it through and out of the relationship. And, at least she comes out of it with enough material to graduate from EPs and make for her first full length album: Badlands.

Jenny starts out this au Halsey-like, but evolves her sound back to her rock folk indie origins, a sound like Julien Baker.

Meanwhile, Dan tries his luck as a musician on the West Coast, immersing himself in the scene there. He joins the roster of another band, and has enough skill to make income as a session musician to cover the difference, which leads him to another band. He still tries writing, but he’s so busy making other people’s music come alive that he doesn’t get far.

At one concert or another he bumps into Serena van der Woodsen. She’s fun, and smart, and stupid hot, and more miraculously, she is into him. They date for a while, but her life in the spotlight as a partying popstar gets more and more chaotic, and Dan can’t keep up, and he’s not really sure he wants to. The break up amicably, but it still stings enough to generate some songs, ones he doesn’t have time to record.

He keeps dating around. Serena sets him up with one of her friends, an actor, Carter Baizen, but he works so much too that it doesn’t go anywhere at the time. And then, there’s Georgina,

At the beginning, Georgina the heiress from Bel-Air just seems like another in a line of innocuous bad decisions Dan’s made since moving to LA. She’s crazy, but she’s hot, and fun, and it’s a good time until it fizzles out.

Then, months later, when Dan’s offered a spot in a backup band for someone, Georgina shows up at his door, pregnant.

The Milo plot unfolds, Dan steps away from his music, works only on what will pay bills and keep life stable for the baby. Georgina flakes, and flakes, until she doesn’t, until she decides to tell Dan the truth about Milo’s paternity and take him with her, all the way back to her parent’s mansion in Connecticut.

After everything, his parents, Serena, Georgina, everything going on with Jenny, Dan just kind of…breaks. He deflates, struggles, holes up in his crummy apartment on the eastside of Los Angeles until Vanessa bullies him into coming back to New York.

Being around each other again helps the Humphrey siblings reset. Jenny is already promoting Badlands, and Dan becomes her roadie, proudly cheering her on from the sidelines, even while the contents of her lyrics are absolutely gutting.

He keeps trying and failing to write, until both V and Jen tell him that he’s trying too hard to “make it into something.” Jenny just tells him to write and see what comes out, and however it sounds, it sounds.

So he does. It’s not quite the folk his mother raised them on, or the 90s rock of their dad, or the punk that Dan’s been a support player in all these years. It’s softer than that, but more jagged too. But he plays a demo for Jenny and Vanessa and keeps on going.

Jenny is a big believer in using songwriting as some sort of “exorcist.” Spit out all the bad shit, pour it into a song, put it into a vessel that doesn’t hurt you anymore. Dan’s style is a little bit different from his sister’s. She’s braver than he is – is okay to take her emotion and throw it out into her singing, but Dan thinks he might not be that tough.

For example, the stuff about Milo, Dan can’t even say it directly. He writes about it sure, but it comes out a mess, until he’s not sure if he’s talking about himself, or Milo, or even Georgina. He can’t even bring himself to mention either of them by name, just names a song after an approximation. Georgia. He also writes his first of many storytelling songs: You Missed My Heart.

He gets enough positivity from the demo for a record deal, and the leading single, Motion Sickness, does better than Dan thought it would. He says it has to be because there’s more residual interest in one of Serena van der Woodsen’s exes than he thought. Jenny and Vanessa share a look, because he really is that good though.

And after years of work behind the curtain, Dan Humphrey is getting vested interest in his own songs, and what’s more, he’s written something worth singing. Stranger in the Alps launches an entirely new phase of his career, and, as it turns out, his personal life.

Blair doesn’t travel in the circles of the mid-level artist, but at a festival, purely by chance, she ends up in Dan Humphrey’s car.

It’s not Dan’s first festival gig, but this is definitely the biggest, and the best spot he’s ever gotten in a lineup. The true sign that he’s on the up and up, though, is that he’s provided transportation.

After sound check before his gig, he’s herded back to his car, to go back to his hotel before he goes on later tonight.

But then this girl gets in with him.

Blair had had it with her handler (her husband’s goon), and paparazzi were starting to catch the scent—as far as the public knew, she still had the perfect fairytale dream marriage—so she co-opted this nobody indie guy’s ride as her getaway car.

Dan’s bewildered, and irritated, but also kind of charmed. It’s a nice break in the routine, accidentally kidnapping a princess of pop.

He invites her to see his set, which she scoffs at, but she googles him as soon as she’s back in her hotel room. And then, she pulls strings so she can watch his set from backstage. (He covers “I’m on Fire,” and she absolutely does not think that it’s hot).

They have a drink in the green room after, and don’t stop talking until a festival staff person kicks them out because the venue’s shutting down for the night.

AND SO IT BEGINS.

She arranges for him to see her headlining set, and then after, she asks him what he thought, and he tells her. Like, actually tells her. She’s a good artist, with talent, but she keeps dumbing it down, and why?

He essentially says she’s better than this, and she tells him to fuck off, and tells him that just because not every single one of my songs is about angsting alone on the bedroom floor doesn’t make me shallow, Humphrey. (and that’s his Moment.)

She’d been after compliments, some vague idea that he’d be blown away by how good she is, and she’d get a positive review for once. Which is so stupid, why should she even care what a nobody like Dan Humphrey thinks?

But he is not a nobody, not anymore.

She looks him up after the festival. His star is definitely rising. A child of nepotism, his father was in a popular band in the late 80s and early 90s, and so Dan and his little sister grew up close to the business. Humphrey’s been in a couple bands since he was sixteen (started young like her), but after those broke up, and a couple lost years that google can’t account for, he released a solo album and just like that, people are paying attention, beyond just the indie bubble.

Blair recognizes his sister, Jenny Humphrey, and even has one of her albums saved in her library. Not something Blair would make, but it’s decent.

She digs a little more, trying to figure out those lost years, but comes up empty. She does find, however, that Humphrey famously dated Serena a few years back, Google is rife with paparazzi photos of them in LA. And he accused her of making shallow music? Serena’s solo work is nothing but her belting about parties and drugs and sex to heavy beats. Club music. Music to have parties, drugs, and sex, too.

Finding out his history with Serena is enough for Blair to write off Dan Humphrey as a hack, an aberration. A way to pass the time at a festival gig and distract herself from her own life.

But, Blair finds Dan Humphrey is becoming increasingly unavoidable. He’s doing one talk show appearance while she’s at another studio a few floors up. He’s moved back to New York, he tells her, just until he goes on tour again. He invites her to a show, at some dive in Brooklyn she’s never heard of. For that, she nearly doesn’t even go.

But then, she does.

For security reasons, she sneaks in the back, aided by her assistant Epperly, and watches from the closet that counts as a backstage. It’s an acoustic set, and Dan plays arrangements of his solo album (that she absolutely did NOT listen to), plus some covers. In fact, he covers one of her songs. “Blank Space,” mashed up with “Stand by Me.” He introduces it by saying, “I really love the melodies in this song, I think it’s just really good melody writing.” And it feels like…an apology.

They keep meeting up, but now, it’s on purpose, not accidental. They’re both in New York for the time being anyways, Dan is getting some rest before the European leg of his album tour, and Blair is supposed to be working on a new album before her own, but she’s got…nothing. Less than nothing. And Chuck knows that, which means it’s harder and harder to have him around.

Besides, there’s no rule that she can’t have friends. Honestly, with how her career is, she doesn’t really have any. There’s Epperly, and Dorota, maybe Nate. She’s married, but she’s not sure she would call Chuck her friend.

She and Dan though, they have a real connection. And they can be just friends.

Since she has absolutely no new songs to record, she leaves for Europe a couple weeks early, she tells Chuck it’s to visit her parents in Paris and get inspired, but then, at the last minute, she changes her itinerary, and goes to Dublin instead, where Dan’s first gig is.

Blair’s been letting herself and this friendship live in plausible deniability, but as she’s learned more about Dan, about the kind of person and artist that he is, she knows that isn’t really his thing, and when she appears at his show in Dublin, he refuses to let it go, and Blair, worn thin by…literally everything else, can’t keep up the denial anymore, and tells him to bring her back to his hotel.

It’s a mistake, it’s such a mistake. Blair’s life is already precarious enough as it is. Chuck’s label owns her contracts, her catalog, and basically her. She’s been over and over it, and can’t see a way out. She wanted to be on top, and that was the price.

But, Dan.

Being with him feels like waking up after spending her entire adult life asleep. She’s excited about music again, about making something. She writes, then hides it all away, because she can’t record songs about being in love with someone else on her husband’s dime.

She has her tour, and Dan has his, but they meet on every overlapping date. Sometimes she’s so tired after a concert all she has energy to do is sleep in his arms, but even that stolen time feels sacred.

When their tour legs end, Dan tentatively asks if it’s the end, but she really doesn’t want it to be.

He’s back in New York City at first, so that’s easier, and harder, because Chuck is there too. Thankfully, Blair’s sales were high enough that she’s in his good graces, and when she slips away it’s easy enough to say she’s working on something new. She practically sees cartoon dollar signs flash in Chuck’s eyes when she does. How she ever thought that this could be her happily ever after, she’ll never know.

She and Dan talk about that, about living in stories and wanting fairytales but being smacked down by real life. She tells him that she doesn’t feel like she belongs to herself anymore, how she doesn’t want to write anymore if it means that Chuck will profit off it, but if she walks away, all those things she believed, promised, sung, was all of it for nothing?

She wrote love songs about Chuck, for Chuck. Her life’s work is tangled up in him, and she’s not sure she wants to pull away from all of that, much less if she even could.

Dan tells her about Milo, about loss, about the shadow his father cast and how hiding in it was safe so he didn’t try to break out of it, but now he’s out. He talks about loving his parents but resenting them for not staying in love, and resents himself for falling out of love in the past.

“What did you do about it?” she asks him.

He waggles his eyebrows at her, and reaches behind him to grab his guitar.

It’s unfair, she knows it’s unfair. Blair comes to rely on Dan too much, to center her, to hold her, to love her even when it’s not his place. But she keeps going to him, and he’s always there, arms open.

He’s writing about her. She knows before he even tells her. She can sense it sometimes, when he’s looking at her, and she just knows he has lyrics running in his head.

But it’s unfair. He’s bicoastal, going to and from LA for gigs and appearances. When he’s gone, Blair does her own, always beginning and ending with paparazzi shots of her on Chuck’s arm, smiling like she’s still in love with him. Her heart belongs to someone else now, but she’s afraid she’s in too deep to break away.

In the meantime, Dan, Jenny, and Vanessa come back to their roots: each other, and decide to do a project together, write an EP (boygenius. It’s boygenius). They have a fair mix of songs, and all of Dan’s lyrics are fed by his relationship to BLair, that he’s told no one about, but it bleeds out of everything he writes. They’re approaching an impasse, he can feel it, but selfishly, he wants to avoid it as long as possible, to keep her as long as possible.

In addition to his EP with Jenny and Vanessa, Dan has a deal for a next record, and a handful of songs to put on it already. When he’s in LA, he’s working on his own music, and when he’s in New York, he’s either working with Jen and Vanessa, or he’s with Blair.

But it can’t last. Blair is feeling the pressure from Bass Records, and if she were to get caught in an affair, or separate from Chuck, Chuck would hold her catalog hostage. Her entire life’s work wouldn’t be hers anymore. And maybe Dan’s right when he says that she can’t stay with her husband, but she’s right when she says she can’t leave him either.

She can’t even record new music for the label either, because everything new she’s written is covered in Dan. She even wrote a song about that. She is covered in him.

But Dan has his own wounds, and they make him push, and push, and self sabotage, and after one gruesome, draining fight, Blair calls it off.

In the meantime, Jenny and Vanessa are doing work of their own, on their music and on themselves.

Vanessa plays her solos up and down the east coast, through the Midwest, and back in New York. Through Rufus, she meets Aaron Rose, a jack-of-all-trades of sorts. Like Rufus, he was a musician first, but mostly works now as a producer. They hit it off, and after working on a thing or two, they start dating, but only casually. After several years and multiple musical acts, Aaron’s star as a producer is rising, and he’s working with bigger and bigger names.

Jenny is still healing from all her garbage (Agnes, Damien, etc.), and the music helps, and the project with Dan and Vanessa does too—it’s an excuse to reconnect with each other, and she becomes close to two of her favorite people again. It helps. As does the therapy, and all the other things she does.

One such thing, recommended by her therapist and her parents, is to do creative things that are outside of her purview as a musician. She’s always sort of been into fashion, so she gets into sewing, into designing her own looks. And when that’s not active enough, she puts in time at the dance studio in Brooklyn where her mom used to teach, where she took classes once upon a time.

She isn’t interested in lessons, or classes with other people, but the owners still know her, and love Alison, so they’ll give her solo studio time when she asks for it, and one afternoon, one of their new staff walks into the wrong studio.

Jenny kind of bites his head off, but he kind of likes that. He says his name is Nate, he’s the new hire to take over the beginner classes. And — he’s hot, obviously, but Jenny is on permanent hiatus in that department. Not that that stops her from looking.

But after that first meeting, Nate is just always around, and Jenny doesn’t really want to deal with all the shit that having him around kicks up within her, but she likes hanging out with him, so she tells him – firmly – that she only wants to be friends, and he respects that. What a thing, to have a guy respect her boundaries.

She keeps putting it all in her music, Turn Out the Lights doesn’t make the same splash as Badlands, apparently people care less the more distance she puts between herself and Damien, but Jen decides she’s okay with that.

Reeling from another heartbreak that Dan can’t really talk about, he puts it into his music, in the EP with Jen and V and in his new album. His sophomore solo album, Punisher, comes out to a great reception. Well, great within the small circle of people who actually know who he is.

The gigs that began with his debut keep rolling in, late night shows, radio appearances, festivals, and now mixed in with those are engagements for his act with Jen and Vanessa. To his surprise, people are interested in that music because of him. He doesn’t know how to feel about that. If you ask him, Jenny and Vanessa are way better at what they do than he is.

Dan’s public profile grows bigger and bigger, but Blair can’t be happy for him, because it makes him increasingly unavoidable. She refuses to listen to the new music he releases, she’s afraid it’s too cruel towards her, or worse, it’s too kind.

But, just like their accidental first meeting, she stumbles across a single he put out after the new album. Typical Humphrey. A goddamn overachiever, kept on writing even after the album was done. She didn’t mean to see it, but she was scrolling through All Songs Considered, and there he was, talking about Audrey Hepburn, of all things.

There’s this line in the movie Sabrina, where she says “I have learned to be in the world and of the world, and not just stand aside and watch.” And that’s really what this song’s about, about falling in love with a person because they’ve taught you how to live, how to appreciate everything the world has to offer. And there’s – there’s a tremendous amount of joy in that, but there’s also fear, because gaining that now means that it’s possible to lose it too. So – I guess this is sort of trying to reconcile those ideas within a song.

Blair listens to “Sidelines,” and it makes her so angry that she scribbles off a song idea of her own, because he still doesn’t get it. He meant her while she was in the middle of running away, so why won’t he just let her run?

She worries fleetingly about getting caught, because Audrey is her thing, and Dan knows that, but Audrey is a ubiquitous enough icon that no one but she would ever make the connection. He’s good at that, Dan is, of coding a message to her that only she could understand. It’s the same skill that makes him such a good writer.

Blair writes songs because she can’t help it, but she won’t record them. A new album would mean adding to Chuck’s empire, and the thought of Chuck owning these songs too, the only things of Dan she’s allowed herself to keep…she can’t stomach the thought of it.

She’s stayed with him to protect her work, but now her work is dead on arrival because of him, and that’s really what drives her decision to divorce Chuck.

She has to do it carefully, of course. She sets up a place of her own to go to in New York, moves in all the things that mean the most to her. Puts her notebooks in a safety deposit box—just to be sure. And, finally, she reaches out to her mother, to get a recommendation for a divorce attorney familiar with entertainment law.

On a first impression, Cyrus Rose doesn’t look like much beyond a short, ebullient, overly cheery middle-aged man, but Blair quickly learns that when he’s practicing law, he turns into a bulldog. He fights for her and for her work so fiercely that for a little while, Blair lets herself believe that it will all come out her way.

But there’s all the media coverage, and it paints her out as a bitter, gold-digging, ungrateful woman, villainizing a man who doesn’t deserve it. It pisses her off to no end, but Cyrus tells her to hold her silence, and she trusts him, so she does.

In the end, Cyrus is able to get her out of her marriage and most of her contract with Bass Records. She’s not destitute, she still has her family money, and a comfortable settlement, but Cyrus is ultimately unable to save her music. Bass will still own her masters, and the residuals from those masters. It’s that that breaks her heart the most—more than how quickly Chuck turned the media cycle against her, more than how many people followed his lead, more than the evidence Cyrus discovered of his multiple affairs, of his mismanagement of the company—but that her work cannot belong to her, that hurts the most.

But, bulldog that he is, Cyrus digs out a loophole. Since going solo, Blair has been the prime writer of all her songs, which gives her the legal right to rerecord her masters. So while she can’t stop Chuck from doing whatever he wants with her old work, anything she makes now can be entirely within her control.

She just has to find someone willing to work with her. And who she trusts enough to work with.

Worn out, Blair retreats from the public eye, it’s lonely, but thankfully, not too lonely.

The divorce process set Blair to looking back at lots of her life, at things and people she wishes she had handled differently. After she privately filed her petition, she reached out to Serena, and, miraculously, Serena answered.

Before anything else is fixed, Blair and Serena’s friendship is fixed. They reconnect, because everything they’ve been through, together and apart, has made them want to focus on what matters, and what matters is each other.

They talk all the shit through, Blair’s marriage, Serena’s struggles, their respective creative blocks. They start appearing in public together, and the tabloids gobble that shit UP.

Serena is working on a comeback record of her own, her first since burning out with her grandfather’s label. It’s zany, and bright, but doesn’t shy away from the heartache she’s been through. It’s so incredibly her, that Blair can’t help but love it. She loves it, no matter that the liner notes give credit to a Dan Humphrey on a few tracks

Free from Bass Records, Blair wants to work on a new album, but she’s unsure of where to begin. Serena offers to introduce her to this producer she’s been dating (out of the public eye for a change), Aaron Rose.

Blair doesn’t quite know what to make of Aaron, of his music, of his open relationship with her newly restored best friend, but she looks up his previous acts and thinks…maybe working with him could be the change her sound needs.

Dan is moving in—if not the same—adjacent circles to her. Enough so that she can’t get him out of her head, can’t get over wanting him. She spills the whole thing to Serena, who she knew was also Dan’s ex, but didn’t know that they were still friends. Serena tells her to stay optimistic, Blair says Serena just thinks that because she’s okay sharing a boyfriend.

Her engagements have been sparse, she’s not wanted many, and not many have wanted her, but Austin City Limits is still on her calendar. In the promotional materials, they highlight her on one stage, and Dan’s band with Jenny and Vanessa on another.

She doesn’t intend to seek him out, but fate conspires against her, and they end up thrown into the same green room. Again.

Dan doesn’t want to want her anymore. His career has forward movement and even if the music he makes is about her, the people who like it don’t know that, nor do they care. They care that it’s good. His career is good, he’s been dating Netflix Original darling Carter Baizen for months now, happily and uncomplicatedly. (Serena put them in touch, then one dm led to another, and it’s nice). Not that Carter doesn’t have his own damage—no one in LA is without damage, but they can forget about their damage with each other. It’s not love, but it’s not not love.

Dan doesn’t want to want her anymore, But, oh, he does.

They nearly miss their calls—his set, her soundcheck—while talking (well, talking, fighting, kissing, then talking some more). But they fulfill their contracts, and just like it started three years ago, they end up backstage after their shows, drinking, and talking, and talking until a harrowed stage manager is begging them to leave.

Dan sets a limit, makes himself go back to Jen and Vanessa, instead of going home with her, but he says he’s going straight to New York after this, and asks if she’ll be around.

Blair says yes.

After the divorce, Blair sold off the real estate she’d kept from her marriage. It was all too haunted, too high up, too far from reality. While looking for a new place, Epperly showed her a listing for a remodeled carriage house in the West Village; Blair would have bought it sight unseen if anyone but Epperly had been there.

Back in New York, Dan invites her to a secret acoustic show he’s playing near NYU. She goes, of course, and this time, when she asks him to come home with her, he says yes.

It takes time. For them to trust each other, and reconnect. But they do, and Blair feels like her life is finally making sense.

She and Dan take one day, one step at a time, in secret, for both their sakes, and meanwhile, she, Epperly, Cyrus, and Aaron negotiate a new contract with Rose Records.

Her best-friendship, record deal, and love life all fall into place, and then Blair is writing like never before.

Aaron is….unconventional, and doesn’t let her push him around, which she finds infuriating, not for least of which is the direction he wants to take this album. She fights it at first, but if she really does want to make a departure from the pop princess songs she was generating, maybe following down his path is not the worst idea. And if she hates it, then she can just walk.

It’s still pop, but it’s bigger, less bubbly and more….glittering. It’s….darker isn’t exactly the right word, but like she’s not trying to be the Good Girl anymore. It’s just crafting a record that’s hers, one song at a time.

She offers Dan the option to co-write, more than once, but he turns her down. Not because he doesn’t care, but because this is the first time the music she’s making entirely belongs to her, and he doesn’t want to get in the way of that.

“Church and state,” he says one late night in her cozy house on Cornelia Street.

“And which one’s this?”

“Church,” he answers immediately before kissing her. “Obviously.”

Speaking of church and state, and despite their expectations, they’re able to keep them out of the public eye. Blair’s friends know, and Dan’s family knows, but no one else does. By some miracle, they keep out of the tabloids. Blair keeps working on her album, Dan keeps working with his sister and best friend. They go out into the world and make music and go home to each other at the end of the night.

Blair and Aaron Rose make a surprisingly good time. They finish the album fast, and nine months after Blair’s divorce from Chuck and Bass Records, reputation drops.

She has a whole slew of promotions to do for the release, but that midnight, she and Dan open a bottle of wine and listen to the whole thing start to finish. (“Church and State, honey, I’ll listen when it’s done,” he’d said). He’s a fan.

She and Aaron were both intent on it not being a “divorce record,” but it is about her, exploring who she is as a person and an artist after her carefully constructed life fell apart, and about the love and truth she found in the wreckage. It's not a divorce record; she never point blank references Chuck, or their marriage, but the argument could be made that there’s a rebuke against him in every track. Even in the love songs she wrote about Dan, her writing of him is an antithesis of who Chuck was as a partner. The most pointed tracks are even able to claim plausible deniability. There are some people on the internet, though, who criticize the single “Look What You Made Me Do,” as a phrase habitually used by abusers, to which Blair says (in private, of course): “Yeah, that was the whole fucking point.”

The album doesn’t out perform her Bass releases immediately, but no one denies that the Queen B is back, she charms on late night shows, radio spots, and a months-long tour kicks off with high sales. There’s another legal fight about her having to pay for the right to perform her own songs on the tour, and as infuriating as that is, Blair is restored at having herself as an artist back.

Of course, to the public, the addressee in many of the songs is a mystery. Who is “Gorgeous” about? Or “Dress”? Or “Call It What You Want”? Many a pop culture think-piece is written on the topic, but no one guesses right. The most popular theory though, since they appear in public so often nowadays, is that Blair is dating Serena. It turns out to be a pretty good cover for keeping their real relationships private, so they play it up.

(sidebar: in the effort to hold of the Divorce Record allegations, Aaron had her tweak the bridge in Gorgeous, the original lines she demo’ed for him were: you make me so happy it turns back to sad / there’s nothing I hate more than what I can’t have / guess I’ll just stumble on back to my man / unless you want to take me home)

(It’s actually a testament to the loyalty and restraint of the people around them, because Blair and Dan are shit at being subtle while they’re together. )

Speaking of the people around them, it’s a bit hilarious how their lives all intertwine and overlap. There’s Dan’s sister, who’s hated Blair’s ex-husband for years, and who’s now decidedly not dating Blair’s ex-boyfriend. (“Just friends,” she and Nate insist to anyone who even comes close to asking, but Blair thinks they doth protest too much). And there’s Blair's best friend who was her former nemesis and Dan’s ex but is now dating Blair’s colleague and producer. Speaking of her colleague and producer, Aaron—who just so happens to be her lawyer’s son—he’s also in a poly-relationship with Dan’s best friend and bandmate, Vanessa Abrams. Vanessa who, on more than one occasion, Blair has caught giving Serena the eye, and vice versa.

They are all kind of a mess, but Blair finds she loves it that way. Her supposedly pristine life had been fake anyway. She much prefers this.

She and Dan keep their relationship a secret through her stadium tour and into awards season, when they decide to finally come out of the shadows.

“I’ve never really come out before,” Dan jokes, “everybody just already kinda knew.”

They pick the American Music Awards as the event. Blair gives him one last out in the limo ride over, but he doesn’t want to take it. He’s not ignorant of the public attention and pressure she lives with, but he loves her more than he’s afraid of that.

He gets out of the car first on his side, then comes around to open her door and help her out onto the red carpet. She kisses him as soon as she’s on her feet, limo door still open, cameras flashing in front of them.

The internet loses its collective mind. Intrigue suddenly sprouts up around this unassuming sad boi indie artist. Streams of Punisher and Strangers in the Alps hit all time highs. Dan’s been represented by his dad this whole time, but now Rufus jokes, “I think I can’t afford you.”

To ask him if his life has changed is stupid, of course it has, but his focus doesn’t. Dan’s attention is always only on the music. On the music, and on Blair.

Every year, Vanessa orchestrates a benefit show at one of their old favorite clubs in Brooklyn. It’s usually just Vanessa, Jenny, and Dan, but once she’s earned the trust of Dan’s sisters, Blair appears too. People go feral for a bootleg when they hear through the grapevine that she covered “A Case of You,” with Dan on the dulcimer.

For two people who love playing music, and love playing music together, they don’t do it in public very often. It becomes something that they save for just each other, and only occasionally will they perform together in public. Dan plays on Blair’s NPR TIny Desk once, and once for WFUV, they do a cover of “Dust to Dust.” it’s OBSCENE. sex in the studio amirite

The dark corners of the internet (fangirls) start looking a little too closely at their lyrics, and it’s only a matter of time before a fan tweet theorizes that Blair Waldorf had an affair with sad boi indie guy while she was married.

Chuck jumps on the rumor, plays it up in an attempt to smack Blair down after the success of her latest record. He calls her a cheater, a gold-digger, all the accusations he floated during the divorce and more.

In response, Blair releases a single. She wrote it while she and Dan were first together all those years ago, and kept it for her. At the time, she never planned on letting it see the light of day, she wasn’t even sure she would share it with Dan. But where she is now, she feels happy and safe in sharing this piece of her soul.

When she drops “ivy,” it's a confirmation of the rumors, but unapologetic. Comedians applaud her gall on late night shows. She was accused of having an affair, and she said, yeah I fucked him, and I wrote this ballad about it.

It isn’t pristine, or the most graceful thing to admit, but Blair is happy, and she won’t pretend to be sorry for being happy. She releases another album (Loneliest Time), then another (Lover), as does Dan (the more rockabilly Sleepwalkers). And three years after her divorce, they marry in a private ceremony with only their nearest and dearest in attendance. They keep the marriage quiet for six months after the fact. And, in the meantime, Blair sits down with Aaron to strategize re-recording her masters.

She starts with a single from her last record under the Bass umbrella. She’d written “This Love” about her and Chuck’s on-again, off-again relationship before he finally gave in and married her. On touring, she’d grown increasingly tired of it, she’d hated it for a while there. But her life and heart have come full circle, and now she can sing it with a new perspective.

When “This Love (B’s Version)” drops, she posts a set of photos on instagram:

The cover of the new single, which is a close up of her face, eyes closed, lips red, another set of lips kissing her cheek

The original photo used for the cover, zoomed out to see Dan kissing Blair’s cheek.

Another photo of Blair and Dan in their home at the West Village, forehead to forehead, facing each other.

A candid shot of Blair in the studio, wiping her eyes after tearing up while recording vocals.

Another candid of Blair and Aaron hugging once they wrapped.

Blair writes the caption of the post herself, which reads:

It’s funny how the meanings of songs can change as you change. When I first recorded “This Love,” I hadn’t even met the love of my life yet. I thought my big, magical, cyclical love story was done. Then, when I learned it wasn’t that magical at all, I couldn’t bring myself to sing the song anymore, its meaning had become tainted, hurtful. But then, after enough time, and with the right person, something amazing happened. I found a new meaning in it, deeper, happier, and it was like my life had finally caught up to what I had written all those years ago. These hands had to let it go free, but “This Love” has finally come back to me, and now I share it with you. xoxo, B

And CURTAIN

PS: this is how they announce Blair’s pregnancy when it happens

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sitp-recs · 9 months

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Hidden Gems: Special Edition

5 7 underrated works by @skeptiquewrites

It’s been ages since I did a Hidden Gems post so I’m probably a bit rusty but I thought this was the perfect way to celebrate our dear Tee. I’ve loved her work ever since the first fic I came across, and I am over the moon that she was the first fandom friend I was lucky to meet in person earlier this month! We immediately hit it off and had the BEST time around - dinner at a cute Vietnamese place, a walk along the canal, ice cream treats while talking fandom & life. A perfect date night that could have been pulled out from one of her fabulous summery fics if you ask me 😌

It was even harder to choose how to celebrate her birthday having met such a lovely person - after many single recs and lists I was like “what else is there???” But after some thinking with the help of my partner in crime @sweet-s0rr0w I came up with the idea of boosting some of my favourite hidden gems by Tee, fics that I don’t see recced often but deserve all the attention and buzz. They will tug at your heartstrings and make you fall even more in love - not only with Drarry but with summer aesthetics, its endless possibilities, and with Tee’s quiet, charming, elegant, wistful and seductive writing.

These are all shorts but each perfectly placed word and well executed plot contain new and unique universes. Each clever line and lush dose of mutual want - either followed by delicious smut or equally sexy doses of quiet intimacy - fill me with different but wonderful emotions. I think the banner pic translates very well one of the best feelings I experience reading her fics: how special it is to celebrate the little things, how powerful yet vulnerable we are when facing the inevitability of falling in love, how one magical second spent on summer nights, as fleeting and removed from our traditional sense of time and space as they might be, can last forever. I hope the fics and quotes I selected below give you a tiny taste of the magic contained in each one of her short, brilliant love stories. Happiest of birthdays, my dear friend! ♥️

⌛️ light that covers us (T, 117 words)

Lovers in dangerous line of work.

"Always on borrowed time," a singer croons in the background. Draco turns up the Wireless. “God, I hate that song."

🗓️ Four Seasons (M, 2k)

A romance in four seasons.

There was something lovely about being out of excuses, Harry thought. Everything was possible. "What are you in it for, then?" Harry asked as they crossed the threshold.

🌊 On The Shore (T, 3k)

Draco takes up wild swimming. Harry joins him.

Harry turns his face towards the sun and he doesn’t quite smile, but there is something content in his expression that makes Draco a little more willing to share this place.

🎸 Lights Down Low (T, 4k)

“Will we ever learn? We’ve been here before.” Recording the Hallows' fifth album with Draco brings up the past in a way Harry’s never expected.

The music’s a little wistful, haunting even with no words, recorded in the middle of the night. Harry has done this dozens of times before and for other people. There is no way he has forgotten how to write a song.

🎇 No Distance (E, 5k)

Harry doesn’t believe in resolutions, because a new year doesn’t mean feeling any different. But something feels possible, meeting Draco again in Zurich. The past is the past, but the future can be different. Sequel to Nothing Left to Burn.

“Poor thing,” Draco responds and presses his lips to the back of Harry’s hand. It's a little mocking, but Harry's heart hasn’t taken the memo.

Bonus 1: fresh out of Bodice Ripper!

🎤 The Real Thing (M, 5k)

Harry only means to cheer Draco up after a terrible breakup. He doesn't mean to fall in love.

“I don’t know that he cared what I wanted. I don’t know if he knew what I wanted.” Harry wanted to ask Draco what he wanted, the exact contours of what might please him and how.

Bonus 2: Femslash!

🧣She Was Pretty (E, 4k) - Lavender/Parvati

In the aftermath of the war, Lavender Brown rediscovers herself in a tiny flat above her Diagon Alley tea shop. Parvati helps.

Her mother offers her pity mostly, raw and cloying. But there is love there too. She clucks at her the second day Lavender is home after a month spent in hospital. “They didn’t braid your hair tight enough, Lavvy. Come here.”

#happy birthday Tee! 🎉🎉🎉#hidden gems #skeptiquewrites

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7grandmel · 6 months

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Todays rip: 30/11/2023

Sunday Morning

Season 4 Episode 1 Featured on: SECOND WIND ~ SiIvaGunner: King for Another Day Tournament Original Soundtrack VOL. 2

Ripped by wolfman1405, cazsu Performed by cazsu (Piano, Vocals), wolfman1405 (Guitar, Bass, Backing Vocals), Andrew Garrison (Tenor Saxophone), Tav Bartlett (Piano Solo)

youtube

And so, November comes to an end, with autumn officially over, and the holiday season just a day away. My 22nd birthday passed, the blog has been going without break in schedule for about half a year, and 2023 is almost coming to an end. I get a bit sentimental thinking about it, and felt it only fair to close the month out with a rip that sits close to me. Sunday Morning as featured in the King for Another Day tournament.

Y'know, for the first few years of my SiIva watching, it was really easily for me to filter things out based on my interests - I'm sure a lot of current SiIva viewers still operate this way. I adressed this back with Beautiful! ~ Curveball of Sean Kingston and waterwraith pokos, but there are simply so many moving pieces of the channel operating at once, that its easy to miss a lot of things along the way. And during Season 1, 2 and 3, SiIva's reverence for Kara's Flowers/Maroon 5 was part of that - I brushed it off as Chaze's silly gimmick and didn't really pay the rips themselves much mind. Yet part of what made the King for Another Day Tournament in Season 4 Episode 1 so special, was that this sort of self-selecting felt far harder to do - the tournament was a community event that asked ALL of us to participate, and part of that participation was to collectively listen to and appreciate all of the various demo tracks released by each participant. Despite their prevalence on SiIva, I had very little knowledge of Adam Levine and Maroon 5 - until suddenly, rips like Sunday Morning made me gutted that he was eliminated from the tournament so early.

And like, I get it - He never truly had a fighting chance specifically due to viewers like me. SiIvaGunner is a celebration of pop culture with a particular fascination and fixation on video game music, and the overlap between that nerdy audience and fans of 2002 Pop Rock album "Songs about Jane" by Maroon 5 realistically didn't have all too much overlap. But this arrangement was my first time ever hearing Sunday Morning, and it absolutely enamored me.

The jazzy feel of cazsu's piano playing and wolfman1405's bass are immediately gripping whilst also clearly establishing the song's tone as different from the original, punctuated to cazsu's vocal performance. I vividly remember just how much the performance spoke to me, specifically for how truly earnest it felt: it reminded me of Season 1 and the performances by Nick Oleksiak in rips like Everyday Goodbyes (SiIvaGunner Band Cover), and further reminded me of how much of a fan initiative SiIvaGunner truly is. The vocals are fantastic, but not in the sort of overproduced, perfectly-pitched studio mixed way that studio albums like Songs about Jane typically are - the vocals, when push comes to shove, feel like that of a human being, one who loves the song they're covering. That much appears to be evident, if nothing else: a commenter on the YouTube upload noted that the arrangement even takes elements from the song's original demo tapes.

Its hard for a rip made by wolfman1405 to ever disappoint, and his additions to the arrangement are unmistakeable. Yet its cazsu's performance that sells it all for me, paired with the context the arrangement slotted into - as part of the biggest SiIvaGunner event in its entire history, and as a celebration of everything the channel had accomplished in that time. It did really get me emotionally, and it was effectively the first in a set of dominoes that led to me becoming far more interested in music culture as a whole, outside of the comfortable little bubble I'd set up for myself within SiIvaGunner and VGM. Today, I'm running a blog entirely about all of the little nooks and crannies of the SiIvaGunner channel - ones I'm familiar with, ones I only discovered recently, and ones from submissions that I'd never even heard of.

Put simply, it was thanks in large part to King for Another Day tournament that I truly opened up in terms of my music tastes. And I owe so much of it to Sunday Morning, to Adam Levine, to Maroon 5 - and to caszu, wolfman1405, Andrew Garrison and Tav Bartlett.

Thank you.

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iuteamstarcandy · 6 months

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[TRANS] IU 꽃갈피 (Flower Bookmark) Album Introduction and Song Introductions

ALBUM INTRODUCTION

The trail of memories that does not fade over time

IU’s Special Remake Album [Flower Bookmark]

A book that I took and dusted off from an old library. As I turn the pages one by one, there are times when I find old four-leaf clovers or flower petals that are inserted like bookmarks. It’s a pristine and beautiful trace of a gift that contains someone's sincerity long ago. Along with it comes the memorable pieces of writing that are underlined on each page. This 'Flower Bookmark' may be one of the symbols of youth culture that show the romance and sentiments of the past analog generation which are slowly being forgotten these days.

A trail of memories transcending generations that does not fade over time and makes you want to take them out (Note: to reminisce about them) again. IU's special mini-album contains the meaning of discovering ‘flower bookmarks’ in the music of the previous generation, reinterpreting them with her own emotions and voice and presenting them as a gift to listeners of the current generation. The seven songs were selected by IU, who enjoys listening to old songs in her own time, and reflect her unexpected feelings as if receiving an exciting gift when she first discovered these songs. She worked on the remake album by preserving the original songs’ emotions to the best she could, while weaving in her own style. ‘Flower Bookmark’ will be a gift for the many fans who like IU's analog emotions, which has been a hot topic through her acoustic guitar covers on broadcasts, as well as an album that provides an opportunity to once again reflect on the meaning of these classics and appreciate them for a long time, through the stimulating music.

SONG INTRODUCTIONS

01. 나의 옛날이야기 (My old story)

Originally sung by Cho Deok-bae

Lyrics by Cho Deok-bae

Composed by Cho Deok-bae

Arranged by Kim Je-hwi

The house across the alley from the window, the heart of a boy who had a crush on a girl

Cho Deok-bae, a singer-songwriter who composes sophisticated melodies that do not become outdated and has a voice that rings in our ears. The song “My Old Story” by singer-songwriter Cho Deok-bae, well-known as a singing minstrel (Note: medieval singer who sang or recited lyrics or poetry to musical accompaniment for the nobility), originated from a love letter that he wrote in his college notebook in 1973 when he was in middle school, but eventually failed to give to someone. The song which he had kept for a long time without a title, was eventually released as “My Old Story” in 1985 and received a lot of love.

IU's “My Old Story” is not a remake that reinterprets the song through its musical form and modern techniques, but rather an emotional remake that depicts the original song's anxious sentiments back in those days from a girl's point of view, like a response to the crush. Guitar and piano melodies played by the arranger and singer-songwriter Kim Je-hwi harmonize with the performance of the string quartet and accordion artist Jin-sun, opening the door to the emotions and romance of the analog generation.

02. 꽃 (Flower)

Originally sung by Kim Kwang-seok

Composed by Moon Dae-hyun

Lyrics by Moon Dae-hyun

Arranged by G.Gorilla

The late Kim Kwang-seok, who was like a pillar of Korea's modern folk music, released ‘Flower’ as the 2nd track on his 2nd album in 1991.

Sung by IU, ‘Flower’, began with a longing for ‘him’, whom the narrator raised alone. The selection was a difficult enough choice in itself, as it was difficult to deny the perspective that the remake was riding on the original song's inherent value. The lyrics are close to ‘poetry’ and neatly arranged to match ‘him’, but it is a very tricky song to give emotions to and IU's vocals, Hwang Min-woong's classical guitar and the quartet cross each other's boundaries and bring out a constant tense atmosphere.

03. 삐에로는 우릴 보고 웃지 (Pierrot laughs at us)

Originally sung by Kim Wan-sun

Composed by Son Moo-hyun

Lyrics by Lee Seung-ho

Arranged by Lee Jong-hoon

The million-selling track by Kim Wan-sun, who solidified her position as the best female solo artist in the 1990s with her unique concepts and unconventional performances that had never been seen before in the music industry previously.

IU's ‘Pierrot Laughs at Us’ attempts a drastic change as an extension of the original song concept, with composer Lee Jong-hoon's colorful arrangement using mechanical vocal effects and the emotional part of the song being sung calmly without emotional fluctuations, which stands out from existing IU songs. On top of the solid rhythm led by jazz drummer Lee Sang-min's powerful groove, Hong Joon-ho's guitar, Choi In-sung's bass and Hong So-jin's keyboard accompaniment were combined to complete a monotone analog sound.

04. 사랑이 지나가면 (When love passes by)

Originally sung by Lee Moon-sae

Composed by Lee Young-hoon

Lyrics by Lee Young-hoon

Arranged by G.Gorilla

The biggest hit of 1987 which officially sold more than 2 million copies for the first time in Korean music history.

‘When love passes by’ was written by the late composer Lee Young-hoon, who was Lee Moon-sae’s best musical partner, and was praised for having a perfect harmony of popular appeal and musicality. The collaboration between the two artists is full of memories and IU shows a different charm from Lee Moon-sae's feelings of affection in the original song, which brings back memories of a breakup. This new version of ‘When love passes by’ also talks about a sad breakup, but IU maintains a restrained singing voice that does not lean towards intense sadness, through her uniquely transparent singing tone contained in the song by arranger G. Gorilla, and stays faithful to the original song's emotions like a trace of memories that remain the same even as generations change.

05. 너의 의미 (Meaning of you) (Feat. Kim Chang-wan)

Originally sung by Sanwoolim

Composed by Kim Chang-wan

Lyrics by Kim Han-young

Arranged by Ko Tae-young

The band ‘Sanwoolim’, a pioneer of Korean groups that was evaluated as the most unconventional along with their themes from novel to simple music and could not be limited to the specific genre of rock music.

Sanwoolim's 1984 song ‘Meaning of you’, sung by IU, contains Kim Chang-wan's style throughout the whole song, from designing the emotions of the vocals to featuring in the song itself. The ingenious Kim Chang-wan collaborated with IU and took the lead naturally in the recording studio, in a manner very much similar to Sanwoolim's music, with unembellished emotions from the original song that resonate with listeners from all generations.

Guitarist Ko Tae-young's arrangement ended with a warm sound combining Go Shin-jae's Bass, Chung Dong-yoon's Drum, and Song Sung-kyung's Hammond Organ accompaniment.

06. 여름밤의 꿈 (Dreams in summer night)

Originally sung by Kim Hyunsik

Composed by Yoon Sang

Lyrics by Yoon Sang

‘Dreams in summer night’ is a song released in 1988 by the late Kim Hyun-sik, an indispensable name in the history of Korean pop music.

‘Dreams in summer night’ is also known as the debut song of singer-songwriter Yoon Sang. Twenty-six years ago, the demo tape, which contained the original emotions of young songwriter Yoon Sang, intertwined with the coarse voice of the late Kim Hyun-sik, became very popular in those days. Yoon Sang, who already understands IU well through the songs ‘Only I didn’t know’ and ‘Sleeping Prince’, personally shared his feelings as follows:

“‘Dreams in summer night’ is the first song I completed when I started composing in high school. I’m grateful towards Kim Hyun-sik, who sang this song for the first time and this song has created opportunities for me to connect with others (Note: other musicians and singers). I'm thankful to IU for choosing this song. Personally, I think it was a good choice to only have piano accompaniment this time. The reason being that I was able to capture IU's voice as it is. IU, who was born many years after this song was released, finished recording the song with only four takes, comfortably singing it as if it was her own song that she had been singing for a long time. I've recorded a lot of songs with IU so far, but this was a moment that took me by surprise. I hope all of you can feel the pureness that I felt, like the pleasant and slow wind of a summer night.” (From a Yoon Sang interview)

07. 꿍따리 샤바라 (Boom Ladi Dadi) (Feat. Clon)

Originally sung by Clon

Composed by Kim Chang-hwan

Lyrics by Kim Chang-hwan

Arranged by Kim Jong-min

The title song of Clon’s debut, ‘Boom Ladi Dadi’, swept the nation in 1996 with its intense jungle sound and performance.

The reason it becomes a hot topic every year when the weather gets hot, such that it is called the summer vacation song, is the unique coolness of the song and the consolation message that people of all ages can easily relate to. IU's ‘Boom Ladi Dadi’, with its ukulele tune and calm Hawaiian Hula rhythm, conveys a comfortable feeling like a break from the frustrations and annoyances of daily life, with a tune like the sound of waves in the night breeze and the rap part, in which Clon himself featured in, adds fun for the listener, in a very different tone from the intensity of the original song.

Translated by IUteamstarcandy

Source: Melon

#iu #album introduction #flower bookmark

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ueberdemnebelmeer · 5 months

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it's been a fruitful year of discoveries, rediscoveries and deeper dives into discographies i wasn't as familiar with so coming up with a trimmed-down selection was challenging but here's my own 2023 "wrapped"!

2023 RELEASES

💿 "genshin impact: millelith's watch" soundtrack disc 1 [and it has to be disc 1], hoyo-mix — i know nothing about it other than it being a video game, loove the music tho

💿 "ok. respira" + "red light (EP)", elodie — are they good? it's radio-friendly pop and EDM but do i like them? absolutely

🎵 i wanted to include paranoïa, angels, true love by christine and the queens but despite having listened to it in its entirety a bunch of times i definitely picked favourites and slightly ignored the rest? so: "tears can be so soft" + "angels crying in my bed" + "marvin descending" + "to be honest"

🎵 same hat for so!yoon!'s episode 1: love -> "in (void)" [one of thee most intros] + "smoke sprite" [give me a solo version i beg u] + "till the sun goes up" + "exit"

🎵 "de selby (part 1)", hozier

🎵 "nothing lasts forever", sevdaliza feat. grimes

🎵 "tik tak tok", silica gel feat. so!yoon!

🎵 "床 (lie)", no party for cao dong

🎵 "ghosts again", depeche mode

K-POP (and related) CORNER: "psycho", jun 🌸 "god of music" + "super" + "fire", seventeen 🌸 "the rizzness" + "guilty", taemin 🌸 "rover" + "sinner", kai 🌸 "coolAs", key 🌸 "o (circle)", onew 🌸 "10x", shinee 🌸 "nevertheless", billlie 🌸 "golden hour", mark lee 🌸 "screen time", epik high feat. hoshi 🌸 "attitude", fromis_9 🌸 "fighting", BSS feat. lee youngji 🌸 "better things" + "drama", aespa

(RE)DISCOVERED IN 2023

💿 listened to kino for the first time, fell in love! i've had the black album (кончится лето/konchitsya leto, муравейник/muraveynik & кукушка/kukushka 😘👌) on rotation lately but i have a bunch of faves you can send an ask about if you like <3

💿 delved deeper into cocteau twins' discography but i basically played "heaven or las vegas" [been waiting for a copy to drop at the local used cd stores to no avail] and this faye wong x cocteau twins playlist *a lot*

💿 also had a massive depeche mode phase in the spring; tended to stick to their 80s/90s releases and "violator" is probably their most popular album but for good reason!! do check "waiting for the night" from it + this is my tag for further track recs

💿 "bié records meets shika shika" — it's a project from two labels, one beijing-based the other argentinian, whose artists marry electronica with ambient and folk music; they matched their artists together to remix each other and this compilation is the result

💿 "raven", kelela

💿 "trececerotres (EP)", daniela lalita

🎵 "a pure person (單純的人)", lim giong — one of the best opening scenes in cinema ever! millennium mambo's soundtrack has been temporarily taken down from spotify so you have to look for it in chinese characters

🎵 "dancing elephants", rochelle jordan — specifically this performance

🎵 "yo-soul", lim kim

🎵 "spring breeze", hiperson — love love the production here

🎵 teresa teng's cover of "長崎は今日も雨だった" (a rainy day in nagasaki)

#i swear all the alliteration at the beginning wasn't on purpose #year in review

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dilettantereviews · 2 months

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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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happyinjection · 1 year

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♠️♥️High Card Short Story 5 “Poison Phenomenon” (2/3)♦️♣️

Enter Finn and Leo, who surprisingly gained mutual understanding through a favorite band. Work forgotten, thus the listening session began...

Original: https://twitter.com/highcard_pj/status/1539805709390344193

Author: https://twitter.com/poipheno

On Leo’s orders, the office had not the usual bland BGM, but Poipheno’s coolest FK rock playing.

I immersed myself in the sound, listening intently.

With his arms folded Leo closed his eyes, while Wendy, as she furrowed her brows, was listening with a difficult look on her face. Vijay, with an unwavering serene expression which I couldn’t really figure out, was keeping his eyes fixed on his houseplant.

The song that I picked from their second album, “Love Imitation”, was finally over.

“How was that!”

I quickly turned back to Wendy.

“Hm. Well, it’s cool, I guess...”

“I know right?? Let’s get to the next song, Leo!”

“Hit it.”

“Damn, I can’t hold back any longer!”

I took off my suit jacket and shirt. An orange t-shirt appeared.

“Oi, Finn. Pinochle employees shouldn’t wear t-shirts underneath their suits. It’s improper.”

Leo chided me.

“So what, this is my lucky item. Look!”

I turned my back. A Poison Phenomenon logo was conspicuously put there as a backprint.

Wendy could only stare at me with a questioning look on her face. “Is that what you call a band tee?”

“Exactly! Isn’t it cool!”

“Uh, yeah. Cool, it’s cool alright.”

Suddenly Vijay butted in.

“The rippling-like part of the P serves to show that the titular ‘poisonous effect’ as the band was named after is still going on.”

“Why are you even elaborating?”

After that, our Poipheno listening session continued for a while. At first we only played my top songs from their early days, but eventually we also began to play Leo’s Selections of the works from their middle and current era. While listening, my body naturally moved along.

“Enjoying yourself, aren’t you, Finn.”

“You bet I am. They became a hit ‘cause they shifted to a more danceable music since the middle era. Rock that you can dance to, isn’t it the best.”

“The fact that even a lowlife such as you can also enjoy it is the greatest thing about Poipheno.”

Only when Poipheno was the subject of matter I would overlook Leo’s needlessly snide remarks. All of a sudden, Vijay spoke up.

“Finn is quite talented, huh. It’s an honor, so please show me more.”

“Ah? What about?”

“Your dance, you can dance, can’t you? Please show me, Justin seems to be excited about it as well.”

Vijay nudged the pot of his houseplant toward me.

“Plants don’t dance.”

“Oi, don’t push your beliefs into the stuff Vijay says.”

There was a rare hint of confusion on Leo’s expression.

“The cells are moving due to sound waves. Come, Finn, take a look too.”

“Vijay, don’t be ridiculous. Do you think Finn can dance?”

Wendy might have meant to follow it up with something, but before she can say anything else, it passed my mind.

I immediately got to my feet.

Just like that, I rolled my way right to the center of the showroom, and then used the momentum to do a forward somersault. I heard Wendy let out a quiet scream. And then, with a few shakes of my body to the music, I dove shoulder-first into the floor. Spreading my thighs open to maintain the momentum I kept spinning round and round, before finally leaped back upright.

“Heh. I can at least do this much.”

It was break dance. Using my thumb, I brushed the tip of my nose.

Wendy cheered in a shrill voice.

“Amazing, Finn! That was cool!”

“Eh, for real? Hehehe. I learned it from a friend who did street dance. I can also do the head spinning thing, y’know.”

“If you tear your suit I’m going to cut it from your paycheck.”

Leo reminded me. Getting my salary deducted is a big problem. If I ruin my suit while on a mission the expenses would get covered, but if I ruin my suit over a stupid matter like this, Leo would really make me pay.

Right as I decided to stop doing acrobatic moves---

“Even so, you’re a well-trained monkey. Shall I give you a banana as a reward?”

There he went again.

“A~ah? Bastard, ain’t ya just chickening out ‘cause you can’t dance--?”

“Hold on, Finn, don’t easily take the bait. Leo, you should give an honest praise too, shouldn’t you.”

“Leo~ Ain’t ya the type to cry uncontrollably in school plays ‘cause you can’t dance, ya little shit?”

As though on cue Leo walked up and stood in front of me.

From below, he shot me a glare. The glint in his eyes was not of a 14 years old.

“Oh, got something on your mind? Do you want a crash course in boxing?”

♠️♥️♦️♣️

TL notes: I’m in no way a professional translator so if you find any mistakes, please do not hesitate to inform me right away. I love the High Card gang and I found it very unfortunate that while it is meant to be a multimedia project, I can’t seem to find the translated versions of any materials (beside the anime) anywhere (if this is against copyright, I will take it down). Hopefully this small TL would help international viewers gain better understanding of HC universe and characters. The author of these SS himself said that he hoped fans would have their “so that’s what it is!” moments when they watch the anime after reading his short stories. So with that in mind, let’s enjoy High Card together~

#highcard #high card #short story #hcss #translation #finn oldman #leo constantine pinochle #wendy sato #vijay kumar singh

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fayewonglibrary · 4 months

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Idol Crush: I Love Faye Wong (2022)

by Gong Xinyi

While writing this article, I turned on a playlist of Faye Wong's songs to immerse myself in the music and draw inspiration. After two songs played, this strategy failed. Because within two seconds of the intro playing, I knew what song it was. If this was a variety show, I would've rung a bell to answer the question and say the correct song title. And then I sang along to the entire song and was completely unable to concentrate. I am knowledgeable with my idol's Mandarin, Cantonese, English and Japanese songs, and at best just doing my duty as a fan.

What makes her precious is that she doesn’t deliberately please the masses.

When I was in junior high school, I was warned by the dean of students about cutting my hair too short. I had discovered a female singer with a crew cut. In contrast with her appearance, when she sang, her voice was very soft. The title song of her first Mandarin album, "I'm Willing", was a big lyrical mainstream hit. But I was more attracted to "Cold War", which had a song structure that was rare at the time and the chorus was stacked with harmonies. I especially liked the Cantonese version. "Cold War" was pronounced like "Blue Whale". It was the first Cantonese song I memorized. I later found out that it was a cover song.

In the era when the Internet still required dial-up and waiting, I saved pocket money just to buy authentic cassette tapes. I mainly relied on newspapers, television and radio broadcasts as a source of information. I was introduced to foreign artists Tori Amos, The Cranberries, Cocteau Twins, and Miyuki Nakajima because of Faye Wong’s early covers. She took me to new worlds beyond Mandarin pop songs.

"I hate being a star but wish to attract attention." ("Exit" 1994)

Some people are so talented that they can perfect their skills through training. But it's hard to learn the qualities of a star. Faye Wong has attracted attention since she was a child. People who are adored have experienced this for a long time. However, she is precious because she does not deliberately please the masses. She is considered difficult to interview and her performance in variety shows is poor. She never had intention of improving. Her concerts never have encores. Yet, Faye fans love her authenticity.

Life is like dust coming and going

Her career as an artist has not been smooth. Faye Wong reached the top by leaving and returning, by destroying and building up her career. After breaking away from emotional love songs and gaining control over her style, she used an open mind to absorb professional opinions from all sides, and created innovations in everything from song selection, production team, to styling. Every time she released an album, it became a topic of discussion.

From "Sing and Play" to the epic "Fable" which included self-composed music, Faye Wong and Lin Xi's collaborations created countless classics. In an interview, they were once asked how they made the lyrics and music fit together so well. Lin Xi said that Faye Wong believed the songs she composed were all quite fashionable, and he thought: "Since you are so confident, then I will write freely." So, the two of them without any baggage used words and music to sing about Buddhism, philosophy, and literature, subverting the inertia of the Chinese music industry.

In several songs that Faye Wong wrote her own lyrics, she sometimes reveals her persistence and transparency, which paradoxically and mysteriously predicted her later life situations. Every September, I think about what she sang in "Fuzao": "In September, it's dull and boring. Everything is fine, only lacking worries." What does "everything is fine, only lacking worries" feel like? Was it just because she was passionately in love at the time? As a middle-aged person, she recounted and sang: "There was a time when I only looked in the darkness and I once shined brightly on a diamond. This is how a speck of dust lives in the world." ("Dust" 2016) Life in this world is like dust coming and going. Just borrowing a body to be reincarnated. She who studies Buddhism will not fail to understand.

I remember how beautiful Faye was when she was young. In "Chungking Express", she just swayed to the music and won the Best Actress Award at the Stockholm Film Festival. There are reports that she had rejuvenation injections in middle age. Judging from her current condition, the effect is quite good. When her voice was at its peak, she could sing the span of thirteen notes at will. Her voice could stretch and contract freely as if she had eaten the devil's fruit. Even if she sang a wrong note at the Nippon Budokan, the audience would still cheer for her. But when she held an online concert a few years ago, fans were almost sweating [nervously] in front of their computers for the entire time. When someone else wins the Golden Melody Award, they are moved to tears. Whereas she walked up to the stage to accept the award and the first thing she did was affirm the judges: "I can sing, this I know. And I give full recognition to the Golden Melody Award judges for the recognition they have given to me…"

From golden hits that dominated the music industry and a self-composed album, to only singing movie theme songs, Buddhist songs, and commercial songs in recent years, there has been a change in her voice and it seems that she relies on technology to sound close to perfect. "These years and youth are passing but there is still a different world." ("To Youth" 2013) Regardless, she is still the same heavenly queen who dares to love persistently with no regrets.

——————————————————————

SOURCE: UDN // TRANSLATED BY: FAYE WONG FUZAO

#2022

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disworl · 2 years

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Homestuck Music You Might Not Have Heard

[NOTE: Tumblr's formatting is really finicky so doing dual updates to this thing is not worth my time. If you want the most recent list, find it on Ao3.]

Yes, “MeGaLoVania” and “Time On My Side” are damn good songs, but a music catalogue this large is certain to have several diamonds in the rough. Here’s a selection of likewise lovely Homestuck music that you might not have heard.

V 1.0, updated 2022.10.10

I wrote this as an appreciation for all the wonderful music this comic has, and to give spotlight to the works that aren’t as well-known as “Black” and the like. Homestuck is a truly unique piece of media, and the soundtrack is one of the reasons why.

Great thanks to the HSMusic Wiki, which is what I used to check a track’s artist and contributor credits, whether it had been used in a flash, and what, if any other tracks it referenced. In my write-ups, I try to be as accurate as possible, but I’ve no music education aside from half-remembered childhood violin lessons. Apologies if I make a mistake.

I’m slowly working through the catalogue, so when I listen to more albums I’ll update this.

Full Playlist

Some Vague Guidelines

Official music only on Disc I Side A, with good semi-official unreleased tracks from the Homestuck Sound Test and some fan music on Disc I Side B. Disc II is the same, except in a bulleted list of every track covered, who it’s by, and what album it’s from, for the sake of readability.

The official music section is split into three categories: Deep Cuts From Popular Albums (popular being somewhat arbitrarily defined as Vol. 5, Strife!, Alterniabound, and both coloUrs and mayhem), Lesser-Known Takes on Something Else (for tracks that are well, primarily an interpretation of a pre-existing track, usually something more popular like “Doctor”), and Cool and New Music is for original compositions (though they may have minor references to other music).

Tracks are organized by chronological album release date pre-merger and the Vol. 1-4 re-release, and then by track order within the same album.

Nothing readily available from a Flash (so phonograph tracks and something like “Pony Chorale” are fine) is allowed.

Neither is anything with 1 million views or more (based on the most popular video at time of writing) on Youtube for Deep Cuts, and then for Lesser-Known Takes that threshold is halved, and again for Cool and New Music.

Themes from Alterniabound and the two ColoUrs and Mayhem albums ("Vriska’s Theme", "Green Ghost", "Rust Servant", et cetera) will not be included regardless of popularity because their obvious theming gives them an obvious profile for any fan of what character they’re for.

I will not be covering any albums released after Homestuck Vol. 10.

I want to keep featuring Toby Fox to a minimum – he’s a wonderful musician, but he is also by far the most well known member of the music and tends to overshadow everyone else by a wide margin.

Disc I - Side A

Side A Playlist.

Deep Cuts From Popular Albums

Deep Cuts Playlist.

“Light” by Erik “Jit” Scheele off of Homestuck Vol. 5 is a sort of comfortably adventurous composition that uses 413 as a chord progression. The piano melody that that leads off the track combined with the wind instrumentation gives the feeling of just a wonderful day, helped by the fan art for it in the Vol. 5 track art anthology fan project.

Also off of Vol. 5 , “Softly” by Robert J! Lake is a sweet toned electronic tune driven by a fuzzy, bouncing melody – though the beat gives it just a bit of an edge.

“Atomic Bonsai”, from hard-going solo album Strife! By Joren “Tensei” de Bruin, is the only kid strife track to not get used in some sort of official Homestuck-related thing (“Time on My Side” is a flash track, “Heir of Conditioning” was rearranged into flash track “Heir of Grief” in addition to being a phonograph tune in [S] Kanaya: Return to the Core, and “Dance of Thorns” was used in the Kickstarter video), and that’s a shame. It brings as much energy as the other three, and the combination of bass guitar and East Asian musical influence gives an equally unique sound with hook after hook.

Compared to the effervescence of Nepeta’s preceding music, “Catapult Capuchin” by Toby “Radiation” Fox off of AlterniaBound is nothing but the fierce hunter’s prowess on display in Video Game music fashion, as it was constructed from Mega Man X samples. It’s a high powerful ride throughout, but my favourite part is the bit at 00:33.

“Clockstopper” by viaSatellite and infiniteKnife off of coloUrs and mayhem: Universe B arguably counts for the first category, too, but I’m putting here because it’s specifically a symphonic rock mix of Beatdown, Atomyk Ebonpyre, and Upward Movement. The tension-building intro launching into the full force action of the flying strings always gets my blood pumping. My favourite take on Beatdown so far.

Lesser-Known Takes on Something Else

Lesser-Known Takes Playlist.

Humorous and infectious, “Pony Chorale” by Michael Guy Bowman with Tavia Morra off of Homestuck Vol. 4 is – well, it’s certainly a song! A mournful Western whistle on “Chorale for Jaspers” set to the beat of cartoonish hoof noises, punctuated by cymbals, all wrapped up with one simple word: neigh. And if you want some visuals for your viewing pleasure, there are two (probably not so) secret Flash pages for this song.

“Squidissension” by Mark Hadley, off of Homestuck Vol. 6 does an admirable and unique spin on the difficult job of combining the hyper-pop sugar-overdosed “Squiddles!” theme and the slightly ominous guardianstrife theme for Jade, “Dissension”. Serving as the main running melody, when shifted into minor key and given “Dissension” as a complement, “Squiddles!” becomes frantic instead of desperate, while “Dissension” is given that extra jump in momentum to keep pace, making for a track that’s something different, more adventurous, and more dire than either of its progenitors.

While it’s close to blowing the 500k Youtube requirement, “Anbroids 2.0” by Malcom Brown off of Homestuck Vol. 9 is still in the clear, so I’m putting it here as an early favourite of mine. With a very synthetic Strider sound, the track’s got a nice bouncy melody that serves as a fuller-realized version of the original “Anbroids” in the flash. Perfect for a rap-off.

“I’m a Member of the Midnight Crew (Post-Punk Version)”, by Michael Guy Bowman with Erik “Jit” Scheele and Marcy Nabors, from Homestuck Vol. 9, is a seedier, sharper, and stabbier take on the Victorian original and the acapella cover featured in the comic proper. The vocals just kill.

“II – Sarabande” by Clark “Plazmataz” Powell for her solo album Symphony Impossible to Play , is, unsurprisingly, a symphonic cover of “Sarabande” by Erik “Jit” Scheele. What might be surprising, however, is how much restraint is employed in it – the difference from the original is subtle, bearing a slowly rising string backing before the cello solo of the main melody kicks in around the minute mark.

Where “Homestuck Anthem” has a weird, portentous and artificial atmosphere, “Homestuck” a more present and traditional rendition, “Elevatorstuck” a dedicated – and listenable! – parody of muzak, and “Homosuck Anthem” a… copious amount of animal sound effects, “IV – Anthem”, also off of Symphony Impossible to Play brings a triumphant fanfare to the thematic melody for the comic. It is powerful and keeps the tension in the original throughout, driven by the backing – my favourite part is when the brass first cuts and you’re just left to bask only in the beat and the strings. “I – Overture” might have been the track to finish the comic, but I can’t think of a better track to end the album.

While the popularity of “Penumbra Phantasm” is debatable given that it’s never been released in full, “FantasyP”, by Erik “Jit” Scheele off of his solo album One Year Older, is a wonderfully hopeful and free take on “Penumbra Phantasm”, instead of referencing it as part of a larger composition. If you don’t know what “Penumbra Phantasm” is, prepare for roughly four minutes of “hey, that sounds familiar” while listening to just a really nice song – though, notably, it omits that one haunting piano riff from the original that serves as a code for a great many of the flashes. (One Year Older is available for free on Scheele’s bandcamp.)

“Another Chance”, a bonus track from One Year Older but done by Eston “silence” Schweickart”, is a synth remix of “Walk-Stab-Walk (R&E)” that gives the already good track some serious extra juice.

Starting off as a far-off sounding piano rendition of “Ruins” before crackling into a mechanized-backing of “Flare”, then bringing in clear, present electric guitar at 2:00 and finally adding in “Explore”, “Solar Voyage” by Marcy Nabors (with several others, check Disc II for full credits) off of Homestuck Vol. 10 definitely feels like a journey. The twists and progression on these recognizable musical staples are a sound to behold.

“Conclude” by Seth “Beatfox” Peelle, also off the same album, is the closer to the final volume of Homestuck music, and it lives up to the challenge. Beginning with a flying rendition of Sburban Jungle that turns the frenetic rush of the original into a hopeful retrospective, before switching to a bittersweet refrain of “Showtime”, the song then dives into original territory with a fanfare at 4:13, backed by “Skies of Skaia”, before closing with a soaring rendition of “Homestuck”, free and full of light in comparison to the pounding might of “IV – Anthem”. It’s a wonderful encapsulation of the complicated feelings flowing into one another that come with the end of a comic that means so much. My favourite bit is the far-off echoed “Showtime” at 1:19 – looking at the early morning of that April 13th, 2009. It did turn out to be a very long day, after all.

Cool And New Music

Cool and New Music Playlist.

“Squiddle Samba” by Michael Guy Bowman off of the album Squiddles! (no longer for sale, do with that information what you will), a thematic concept theme giving a whole extensive soundtrack to a fictitious children’s television show, is an energetic and bubbly jam that does not take the concept so far that an excess of irony is needed to enjoy it (though, the sugarily crystalline Squiddle voices appear for a scant fifteen seconds near the end, if that’s what you’re for).

Also off the same album, “Ocean Stars” by Mark Hadley is a calming, sweet and savoury treat to top off the excess of sugar cubes (and occasion tentacles) put on your musical plate. The layered build-up of the various elements is simple, befitting a children’s show, but done oh-so-well in a way that gives it meat.

“The Lemonsnout Turnabout” by Toby Fox for his solo album Alternia is a narrative piece wherein a young Trollian girl has an intrumental motif established (Neo-baroque harpsichord), and sets to take in a certain neon yellow draconian senator (represented by an oboe) for adjustments. In contrast to “Terezi’s Theme” and its more faster action, there’s a certain cerebral, well-plotted atmosphere to “The Lemonsnout Turnabout”. You can see the wind-up of the machinery fueling Terezi’s long noose in nailing Lemonsnout, echoed by the fearful groan of that oboe and the sharp jabs of the harpsichord in turn.

Also from Alternia, “dESPERADO ROCKET CHAIRS,” establishes Tavros with a Latin theme the way “The Lemonsnout Turnabout” establishes Terezi with the harpischord. It begins a short intro, before the horns really come in blaring – a far shot from the dying string reference of “Rex Duodecim Angelus”. Tavros is a dork, but he’s got fire behind him, and “dSPERADO ROCKET CHAIRS,” does a good job of showing that.

“Shade” by Clark “Plazmataz” Powell off of her solo album Medium, themed around the kid’s lands. A mixture of synthetic and often industrial noise combined with more organic instrumentation helps express the strangeness of these game worlds. In “Shade”, the shimmering melody that drives the track forward expresses the quiet and curious nature of the bioluminescence of LOWAS, before transitioning into a piano tune made for Typheus.

“Heat”, off the same album, takes a more hard-pressed approach, utilizing scissoring violin backdropped against industrial swirl to conjure up the swelter of churning lava in LOHAC. When the violin breaks free of that rhythm to climb, it only adds to the drama, and the song ends by sonically pulling away from the ebb and flow to leave the planet behind.

Starting off with thunder, “Exodus” by Tyler Dever for his solo album Sburb and performed by Erik “jit” Scheele, Exodus balances the apocalyptic severity of the meteors sent during the beginning hours of SBURB with skittering notes of the various players attempting to enter the medium. It closes out with a stark, last-second rendition of “Sburban Jungle” before quietly fading. (Sburb is available for free on Dever’s bandcamp.)

“Carapacian Dominion” by Seth “Beatfox” Peelle, opening the exile-themed album The Wanderers (also unavailable for purchase), sets the stage for the rest of the music by combining more unexplored, ethnic sound with a more Homestuck-typical industrial beat that’s perfect for the long trek along the desert of earth, years in the future (but not many).

In contrast to the forward-hiking rhythm of “Carapacian Dominion”, “Aimless Morning Gold” by Michael Guy Bowman off the same album is a track for staying in one place. Glittering synth (?) notes linger and warp in the heat, contrasted by the lazy ramble of the bass, all punctuated by a slight turn to Westerns with rattling machine gun shots.

And taking a strong turn from both of them, “Years in the Future” by Robert J! Lake, still off of the same album, is track following in Lake’s style of slightly eclectic, slightly choppy, but nevertheless catching and catchy electronic noise tunes. It takes a bit for the track to get going, but the combination of blips and bleeps that all call up the idea of electronic communication in the Can Town of the future makes for a wonderful swirl in the end.

“Derse Dreamers” might be one of the most famous songs in Homestuck, but that isn’t to say Prospit is lacking in terms of good music. “Center of Brilliance” by Solatrus for his solo album Prospit & Derse, themed around, well, you guess, begins with a shimmering chiming intro before bass and piano step in to bring a more full view of the center of the golden moon. The regal fanfare and drum setup ties things to Prospit’s formal atmosphere as a contrast to John and Jade’s instruments of choice. Something I like for all of the Prospit songs in the album is the bass guitar – it stands out as a driving instrument rather than just backing, and it’s true here, too. (Prospit & Derse is available for free on Solatrus’ bandcamp.)

“Song of Skaia” by Mark Hadley with Tarien Ainuvë, off of the same-titled album, is probably most recognizable as the bursting upswell chorus three minutes into “Creata”. Compared to that triumphant recital, however, “Song of Skaia” takes a more singular approach. It’s more minimalistic, and generally has the feeling of looking down from a thousand miles out in space.

“Cancerous Core” by Erik “Jit” Scheele gives a very short moment in the comic – the descent into Skaia – a full musical backing. The subtle brush of the air in combination with the restless roll of the piano in Locrian mode, accompanied by the ancient call of the wind instrumentation. It’s a track that definitely calls a strange and perhaps unsettling journey into some unseen world.

Alien and enchanting, “Voidlight” by Thomas Ferkol off of Homestuck Vol. 10 bears a flowing atmosphere that still contains a sense of drama. From commentary, it’s based on Calliope hiding in the Furthest Ring, which makes sense for the quiet not yet calm nature. The strings in the intro help convey the quiet, secluded landscape, and all around it’s a wonderfully ethereal piece.

“Feel (Alive)” by Luke Benjamins and Robert J! Lake from the same album, on the other hand, is a straight up chiptune rocker. It’s got raucous energy that absolutely earns its title.

Disc I - Side B

Side B Playlist (incomplete, not every track is on Youtube).

Homestuck Sound Test Gems

Sound Test Playlist (incomplete, not every Sound Test track is on Youtube).

“Cuttlefish Rag” by Alexander “Albatross Soup” Rosetti is a jaunty little ragtime tune originally written for Squiddles! , though you could also easily interpret it as a track for Feferi.

All memery aside, “Karkalicious (Guitarkind)” is a rockin’ guitar addition to a short excerpt of the Broadwaystuck classic. Yes, it’s hilarious. It also has some genuinely sick riffs. I daresay “Karkalicious” has never sounded so good.

“Mother (Davekind)” by Erik “Jit” Scheele is a take on “Mother” from One Year Older (can you tell I really like this album?) but in the style of Dave instead of John, trading out the slow, matured piano and strings for synths and turntables with a more energetic beat.

“Sea of Derse” got more instrumentation for the jazzy and relaxed “Breeze” in Homestuck Vol. 10, but in some ways I like the slightly more melancholic, stripped-down piano original.

“today i butchered a homestuck song (three in the A M)” by James “soselfimportant” Roach is a slightly weird, catching arrangement on “Three in the Morning”. In some way, it’s a precursor to what Roach did with “Karkat’s Theme”, “Terezi’s Theme”, and “Davesprite” for the Pesterquest soundtrack.

“Aggrieve (Piano) v2” by Toby Fox is… well, it’s a piano arrangement of “Aggrieve”, the second of three, and the best of them. I might be biased in terms of instrumentation, but what makes this track so good personally (and in fact, my favourite version of “Aggrieve”) is that it brings a level of energy that tends to be sublimated for a more measured and cerebral Lalondian pace – even in “Aggrievocation”. There’s a lot of great moments in this track, but my favourite bit’s around 1:42.

Fan Music Gems

Fan Music Playlist (incomplete, not every fan music track is on Youtube).

Found in the ~2011 Fan Music compilation of the Homestuck Archives, “Sunrise” by Yan “Nucleose” Rodriguez is a cheery guitar cover of the previously mentioned “Light”. It brings a sharper edge to the main melody, definitely befitting those first cracks of light over the horizon. I might like this more than the original. (Ironically, a later track by Scheele for One Year Older used the same title, and also referenced “Light”.)

“Sunshaker” by D. Crystal off of Land of Fans and Music is a very faithful jazz arrangement of “Sunsetter”. It’s mellower than both “Sunsetter” and “Sunslammer”, but still upbeat, all pinned together by that rolling piano.

Done by “Tarranon” for the concept album Sburb OST, “Amongst Smiling Faces [Prospitian Dignitaries]” is a theme for the agents of the Prospit. As its title might suggest, it takes a much more relaxed tone than Prospit & Derse’s regality, going downright pastoral with a sound not out of place for a first town in a JRPG.

“Waste of Space” by therosielord off of Songs for Monsters , is a lamentful fansong for Jade H arley on the occasion of her death in the Game Over timeline. The lyric s have some really clever moments underscoring Jade’s rise in agency, only to see that same agency fall by the wayside through death and grimbarkification. The ambling, almost slee py guitar backing only underscores the tragedy. (“Waste of Space” is the first of a quartet of songs for the Beta kids – the girls’ featured on Songs for Monsters , and the boys’ featured on Songs for Gods .)

The third in the Beta Kids quartet by therosielord and off of Songs for Gods, “Out of Time” is a fansong for, of course, Dave Strider. It’s a rambling, wordplay-laden tune that’s set to the relentless pace of Sburb on a single day in April, before scratching and resetting to a layered repetition of information and elements. The verse at 2:12 is my favourite of all of the Beta kid songs.

The twelve fansongs for the trolls might be PhemieC’s most famous contribution to Homestuck fandom, but the songs off of their other album, Songs for a Doomed Timeline aren’t slacking, either. “The Path” is one of their less well-known works – a fansong for Alpha Dave and Rose. Prognostic and methodical, it’s sung with the unclouded and heavy knowledge of the events to come, and the lyricism is sharp at every corner.

Yeah, I’m waiving the no character themes rule for Fan Music, because Fan Music is already niche enough. “♐Broken Strings♐” by psithurist off of Ancestral , an album dedicated to the ancestors, is an off-beat math rock styled string track for E%ecutor Darkleer. The odd rhythm and combination of strings and percussion is perfect for the loyal agent of the empire turnt exile.

“Of Rust and Royalty” by Grace Medley and off of the same album is a thudding nu disco take on the fight between the Handmaid and the Condesce, splicing up various elements of Rust Servant/Rust Apocalypse, Fuchsia Ruler, and Eternity Served Cold in a way that sells the power of the two (three?) individuals involved.

“The End of Something Really Excellent” by Rhyselinn off of Lands of Fans and Music 4 is, itself, a r eally e xcellent medley of “ The Beginning of Something Really Excellent” and a lot of narrative Homestuck hits. The tone is mostly relieved and a little nostalgic, like finally being able to catch a real breath after two very long days and three years of a suspense-building in-between – a nice contrast to the more triumphant and energetic musical recaps in Homestuck. The commentary has both and outline of how the song follows the plot of Homestuck and timestamps for each song referenced.

“Calming Quartz” by PoisonedElite is the opener for Xenoplanetarium, an album in a similar vein as Medium, only for the trolls’ planets instead. Whereas Medium touches on the at least tangential familiarity that comes with the kids’ planets by utilizing industrial sounds with organic instruments, Xenoplanetarium at its best gives an odd and isolated soundtrack to its subjects, and “Calming Quartz” is exemplary in that. The bounding piano reflects the glacial nature of the quartz in LOQAM, backdropped by music box melody fitting with the cardinal movement. That melody’s isolation and eventual fade into mechanized hum at the end might be my favourite part of the song.

Continuing in the steed of “Calming Quartz”, “Sandy Skyline” by Aris Martinian from the same album brings the ever-stretching dunes of LOSAZ with some notes in the breeze and strong low stringwork, set to a clicking rhythm. The echo processing effect is noticeable but not too excessive, all making for a track perfect for that orange expanse.

Disc II - Side A

Side A Playlist.

Deep Cuts From Popular Albums

Deep Cuts Playlist.

“Light” – Erik “Jit” Scheele (Homestuck Vol. 5)

“Softly” – Robert J! Lake (Homestuck Vol. 5)

“Atomic Bonsai” – Joren “Tensei” de Bruin (Strife!)

“Catapult Capuchin” – Toby “Radiation” Fox (Alterniabound)

“Clockstopper” – viaSatellite, infiniteKnife (coloUrs and mayhem: Universe B)

Lesser-Known Takes on Something Else

Lesser-Known Takes Playlist.

“Pony Chorale” – Michael Guy Bowman with Tavia Morra (Homestuck Vol. 4)

“Squidissension” – Mark Hadley (Homestuck Vol. 6)

“Anbroids 2.0” – Malcom Brown (Homestuck Vol. 9)

“I’m a Member of the Midnight Crew (Post-Punk Version)” – Michael Guy Bowman with Erik “Jit” Scheele” and Marcy Nabors (Homestuck Vol. 9)

“II – Sarabande” – Clark “Plazmataz” Powell (Symphony Impossible to Play)

“IV – Anthem” – Clark “Plazmataz” Powell (Symphony Impossible to Play)

“FantasyP” – Erik “Jit” Scheele” (One Year Older)

“Another Chance” – Eston “silence” Schweickart (One Year Older)

“Solar Voyage” – Marcy Nabors with Michael Guy Bowman, Clark “Plazmataz” Powell, Erik “Jit” Scheele”, Joren “Tensei” de Bruin”, Paul Henderson, and Jamie Page Stanley (Homestuck Vol. 10)

“Conclude” Seth “Beatfox” Peele (Homestuck Vol. 10)

Cool and New Music

Cool and New Music Playlist.

“Squiddle Samba” – Michael Guy Bowman (Squiddles!)

“Ocean Stars” – Mark Hadley (Squiddles!)

“The Lemonsnout Turnabout” – Toby Fox (Alternia)

“Desperado Rocket Chairs” – Toby Fox (Alternia)

“Shade” – Clark “Plazmataz” Powell (Medium)

“Heat” – Clark “Plazmataz” Powell (Medium)

“Exodus” – Tyler Dever and Erik “Jit” Scheele” (Sburb)

“Carapacian Dominion” – Seth “Beatfox” Peele (The Wanderers)

“Aimless Morning Gold” – Michael Guy Bowman (The Wanderers)

“Years In The Future” – Robert J! Lake (The Wanderers)

“Center of Brilliance” – Solatrus (Prospit & Derse)

“Song of Skaia” – Mark Hadley with Tarien Ainuvë (Song of Skaia)

“Cancerous Core” – Erik “Jit” Scheele (One Year Older)

“Voidlight” – Thomas Ferkol (Homestuck Vol. 10)

“Feel (Alive)” – Luke Benjamins and Robert J! Lake (Homestuck Vol. 10)

Disc II - Side B

Side B Playlist (incomplete, not every track is on Youtube).

Homestuck Sound Test Gems

Sound Test Playlist (incomplete, not every Sound Test track is on Youtube).

Cuttlefish Rag – Alexander “Albatross Soup” Rosetti

“Karkalicious (Guitarkind)” – Joren “Tensei” de Bruin

“Mother (Davekind)” – Erik “Jit” Scheele

“Sea of Derse” – Erik “Jit” Scheele

“today I butchered a song (3 in the A M)” – James “soselfimportant” Roach

“Aggrieve (Piano) v2” – Toby “Radiation” Fox

Fan Music Gems

Fan Music Playlist (incomplete, not every fan music track is on Youtube).

“Sunrise” – Yan “Nucleose” Rodriguez

“Sunshaker” – D.Crystal (Land of Fans and Music)

“Amongst Smiling Faces [Prospitian Dignitaries]” – Tarranon (Sburb OST)

“Waste of Space” – the rosielord (Songs for Monsters)

“Out of Time” – therosielord (Songs for Gods)

“The Path” – PhemieC (Songs for a Doomed Timeline)

“♐Broken Strings♐” – psithurist (Ancestral)

“Of Rust and Royalty” – Grace Medley (Ancestral)

“The End of Something Really Excellent” – Rhyselinn (Land of Fans and Music 4)

“Calming Quartz” – PoisonedElite (Xenoplanetarium)

“Sandy Skyline” – Aris Martinian (Xenoplanetarium)

#Homestuck #Homestuck Music #Playlist #Writing #Homestuck Music Recs #Music Recs #Andrew Hussie's Earthbound Fanfiction

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mywifeleftme · 7 months

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179: Elvis Presley // The Sun Collection

The Sun Collection Elvis Presley 1975, RCA Victor

Is there anything left worth writing about Elvis? Well, people still find smart things to say about Jesus. Getting through all the muck around him took some doing for me, and it was probably the mythic intensity of Nick Tosches and Greil Marcus’s writing on his career (and particularly the Sun Sessions) that gave me a framework for understanding what made him so electric, something more than the pancake-foundationed Engelbert Humperdinck- or Wayne Newton-type Vegas tchotchke he seemed to be. I don’t have a ton to add to the conversation around Presley, but I was curious about how people think about him these days, whether they still have any strong opinions at all. I asked a bunch of friends (and my grandma) to give me their impressions of the King, and their thoughts follow.

youtube

18 Takes on the King

“I guess he's like a sexy (not as in attractive, but more like assuming the affectation of sex) Gumby who was the perfect conduit for music producers looking to extract culture from Black communities, can it, and sell it to white America like tinned fish. It's like if Hank Hill had a verbal aphasia and could only stutter vowel sounds, but it somehow still slaps despite the odds.”

“The quintessential model for a pop star who is overtly sexualized but also somehow innocent or naïve. This presentation can range from cool to creepy. Elvis didn’t do it first, but he did it the best to that point and his version came off on the cooler end of that spectrum.”

“Elvis isn’t my thing, but without him I don’t know what ‘90s independent cinema would even be.”

“I have conflicted feelings about Elvis—while I think there's something truly timeless and unique about the timbre of his voice and the way he sings (my family plays his Christmas record on Christmas Day without fail every year), I also recognize that he is overrated in that his material is neither original nor is it particularly revolutionary in any way, and if anything is just a glossed, whitewashed version of music that already existed previously that white audiences couldn’t handle. But ultimately, I do legitimately like listening to his music.”

“I’m not a major Elvis person, but early rock dude who combined gospel/blues with the developing genre of rock. Don’t think he ever claimed to be THE GUY who created the genre and from the little I know, he acknowledged the importance of Black artists in inspiring what he did. Particularly known for his cover of ‘Hound Dog.’ There we go.”

“Elvis Presley, the hip-shaking maestro of rock 'n' roll, could make even a hound dog blush with envy. His voice was smoother than peanut butter on a hot skillet, and his hair was so iconic, it had its own fan club. If music be the food of love, then Elvis was the chef who cooked up a whole lotta heart-throbbing tunes! (ChatGPT lol, sorry, busy day at work!)”

“A bejewelled sex wizard.”

“Elvis Presley allegedly came in his all-leather flight suit during his iconic ‘comeback’ special. He is one of a select few celebrities with a fervently believed rumour of being not-dead. People dress as him and marry other people together. Also, he invented a sandwich. — King Status”

“Mediocre singer who abused women and whose signature sandwich is overrated.”

“His career ate him up, then he ate everything else.”

“The King of Ripping Off Other Artists. My earliest memories of Elvis are my family listening to the Christmas album ad nauseum, but they’re good memories nonetheless. Regardless of how you feel about Elvis, you must admit ‘Jailhouse Rock’ fucking RIPS.”

“White as winter snow pills jam and peanut butter A king on his throne”

“A lot of people dismiss Elvis because of an opinion they've been told to have and have never really critically assessed, and I imagine a lot of people you ask about this will give you the standard take; I'm not going to fault them that, I think a lot of us have opinions like that, it's not really efficient to assess the validity of every single one of our received assumptions.

There's an absolutely dogshit short story by Alice Walker about an Elvis stand-in character and a Mama Lou Thornton stand-in character, which seems to imply that Thornton wrote ‘Hound Dog’ herself and was effectively exploited and that Elvis isn't a real artist because he can't write his own songs, which is a crock of shit because: two Jewish white guys wrote the song for Thornton; she made it a #1 record; and performance IS real artistry and Thornton, like Elvis, was a real artist and interpreted the song in a very powerful way.

The fact is, you listen to that Ed Sullivan ‘Hound Dog’ performance, and it doesn't take much to see how different it is from the original—not ‘better’ or ‘worse’ but very obviously distinct, and if you tell me otherwise you are absolutely approaching it in bad faith and there's no reason for me to even waste my time explaining that to you.

Elvis absolutely kicks the doors down in the opening bar of his version of ‘Hound Dog,’ it sounds extremely dangerous and you can immediately see why he scared parents—he was wild and in-your-face, an extremely prescient innovator who sounded totally unlike anything that came before him no matter what the haters mindlessly repeat, and he WAS a true contender for the title of King of Rock & Roll.”

“My ability to produce an opinion here was contaminated by the Baz Luhrmann movie.”

“apparently influential in bringing some sort of music (maybe it’s dance hall music) to white America but I dunno really

also he died on the toilet

or maybe aliens got him

not sure”

“A man with a good heart, in a physique of timeless beauty that comes along once in a civilization. True to his roots, and the foundation of his time, he kept his focus on God. However, his body and mind went wayward to a decadence not uncharacteristic of the chapter unto which he was born. His Spirit shone through regardless, right to the end.”

“Elvis is America in the sense that his impact was so seismic and society changed so rapidly while he was active that he basically had to become a nostalgia peddler for like, his own vibe in his own time. He went from Little Richard to Michael Bublé in like a year and a half.

He’s a perfect representation of suspended youth in that I think a lot of what makes him so iconic is that all his excesses (Graceland, the Outfits, the Karate, the Sandwiches) are basically a broke 12-year-old boy’s version of what being rich and famous looks like, which objectively rocks.

His best record is a Christmas album which I think is an appropriate celebration and condemnation of his legacy.”

“He was my youth. 😊 He was my exam study music! I loved him and his music and his movies. I still love him!”

youtube

179/365

#elvis #elvis presley #'50s music #sun sessions #crowdsourcing #'50s rock #rock n roll #american mythology #music review #vinyl record

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romulus · 1 year

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comrade monte @personalmephistopheles tagged me so i have no choice but to do this.

the meme is to pick your favourite song off every album by an artist of your choice so of course i am choosing my good friend miss sufjan.

for selection criteria i excluded based on lack of familiarity with the album (enjoy your rabbit, run rabbit run, aporia) and general inability to recall songs distinctly from one another (convocations). otherwise all album releases are covered here.

let us begin

A Sun Came (1999): A Sun Came

this one came down between "a sun came" and "kill", and though i love murder, the title track came out in front. the album as a whole misses more than it hits, but i think it's impressive how his first album demonstrates so many of his musical sensibilities and many of his production and instrumentation choices can be traced back to here. i'm a big fan of the stripped back, double tracked with falsetto sound, as you can see here. i find "a sun came" just that much more interesting than "kill" in terms of melody and lyricism.

(Greetings from) Michigan (2003): Romulus

its me!

Seven Swans (2004): Sister

im choosing this largely in part due to my fondness for sufjan bootlegs and several live performances of this where the crowd participation really elevates the song. check out the archive @/sufjanlive if you would like to find these live versions! though i enjoy the studio track here immensely as well

(Come On Feel The) Illinoise (2005): The Predatory Wasp of the Palisades Is Out to Get Us!

im a simple man. for a very long time i had planned for my first tattoo to be a wasp on my arm because of this song and im happy to say that wish has been fulfilled

The Avalanche (2006): Pittsfield

the vulnerability of the lyrics of this song, how it combines resignation with courage, does a phenomenal job telling this story of the innocence of youth being lost as a result of the shortcomings of a parent, but also of how that loss can be liberating. the hopeful, almost triumphant outro always gets to me. i also feel this is a song where sufjan's falsetto truly shines. i understand the reasoning behind why it wasn't included on Illinois, but i do wish it got more recognition outside of sufjan fans.

Songs for Christmas (2006): Sister Winter

acknowledging that i would exclude all songs that were not sufjan originals from this selection, even if i were not, sister winter would be my choice. it's not just one of my favourite of his christmas songs, but one of my favourite songs from his whole discography! what can i say i love a sufjan song that builds into an anthem

The BQE (2009): Postlude—Critical Mass

this is revenge for the all delighted people piano pieces being unavailable online

The Age of Adz (2010): I Want To Be Well

one of the most songs to lose your voice screaming along to. yeah sufjan!!! i am NOT fucking around!!

All Delighted People (2010): All Delighted People (Original Version) / The Owl And The Tanager

technically this is an ep, not an album, but there's no way i wasn't going to cover it. "all delighted people (original version)" plays my brain and my emotions in a most phenomenal way. the orchestration! the choir! i had so much to give in spite of all the terror and abuse!! i love the structure between the verses and the chorus and how the song changes as it progresses. "the owl and the tanager" evokes such brilliant imagery along with these heart-rending lyrics, and the way sufjan's vocal delivery goes between a whisper and a wail. i couldn't exclude it from this list; it's one of my favourite songs of his, and another one to seek out live performances of.

Silver & Gold (2012): Carol of St. Benjamin The Bearded One

this is another wonderful vocal performance from sufjan. i'm not a trained vocalist, but i can hold my own while singing most things. this is a real challenge for me! and the delivery and lyrics complement one another so well. an honourable mention to "barcarola (you must be a christmas tree)" because it makes me insane

Carrie & Lowell (2015): John My Beloved / Eugene

the summer of 2015 i think this was just about the only thing i listened to. i included two selections from this album for several reasons. the first is that it's my favourite sufjan album, and probably album of all time. the second is that "john my beloved" is my favourite sufjan song and definitely my favourite song of all time, so it wouldnt be fair to other songs on the album. the third is that if i were to list all sufjan songs from most to least favourite, all of this album ranks in the top 25. my most physical and visceral reaction to music was the first time i heard "eugene", a sensation which i can recall with perfect clarity. so it must be included

Carrie & Lowell Live (2017): Blue Bucket of Gold / Blue Bucket Outro - Live

i would kill a man if it would allow me to time travel and see this performed live and im serious

Planetarium (2017): Mercury

i was so excited when they announced they were releasing a studio version of planetarium! those who are not sufjanistas will never again have to suffer like a pre-2017 sufjan fan navigating all the performances of the project. i saw this video while they were doing press for the album and its just wonderful. another beautiful vocal performance from sufjan!! man i love him so much

The Greatest Gift (2017): Wallowa Lake Monster

i love a 7 minute narrative song where the last 3 minutes are an instrumental outro. im going to say it again but the vocals on this song!!! fucking!!! again, another b-sides album exemption i can understand, but the lyrics and imagery and instrumentation are so heady and lush that i wish it hadn't been delegated to a secondary release.

The Decalogue (2019): IV / V

i would get into ballet for sufjan. not the dance itself but watching it. i feel this is a good place to ask anyone if they know where to find everywhere we go because for the life of me i cannot track it down

The Ascension (2020): The Ascension

i first listened to this song while watching the youtube premiere with a bunch of other sufjan fans! this was my favourite off the album then and it still is now. on an album that structurally diverges in many places from his other work, it combines a familiar sufjan format (a longer song that builds over the song) with the pop sensibilities he's expressing on this album in a way that i find to be very successful.

A Beginner's Mind (2021): Lacrimae

perhaps its improper to choose a song off this album that is more of an angelo de augustine vessel than a sufjan track but i really love this one. because the songs are loosely inspired by movies, i find a lot of them to be fixated on the source material, sometimes to their detriment. this one is considerably stripped back compared to other songs and i think it's a fantastic way to end the album. i was tempted to choose "olympus" but i enjoy the vocals of "lacrimae" too much to choose anything else.

if you read all of this thank you! i'm not going to tag anyone at this time, but if we are mutuals and you enjoy doing these kind of things on tumblr let me know and i'll keep you in mind for the future! go and enjoy the abundance of the world around you

#jest makes a post #friends!!!#sufjan stevens #music #tag games #i put more effort into this than i do most of my homework

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afpwestcoast · 1 year

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Meow Wolf, Santa Fe, NM, 5/26/23

Amanda Palmer returned to Meow Wolf seven years after playing an epic show with Jason Webley for the Grand Opening. This time she had Brian Viglione in tow as the Dresden Dolls opened a 3-night stand at this amazing venue. To get just the merest hint of how unusual this venue is pay attention to the backgrounds in the photos below.

I bumped into Amanda cruising the gathering crowd in her pre-show kimono and when asked what she was doing she replied, “I’m looking for a victim.” “For what?” I asked.

“My affection.”

Alrighty then. I generally just go with stuff like this and it (usually) becomes clear (eventually).

The Meow Wolf exhibit The House of Eternal Return was open until 10:00, and the performance venue is part of the exhibit, so doors for the show were at 10:00 and the show didn’t start until 11:00. This meant that Amanda, who had been wrangling Ash all day, was very tired by the end, but it didn’t seem to impact her performance much, although there was less intra-song banter than usual.

As has become customary of late the band ripped through the first five songs of the set with hardly a pause, and overall the set was tight in spite of some technical difficulties. Brian sang backing harmonies more often than typical and Amanda experimented with some echo reverb on her mic during select sections of several songs with mixed results: in some places it enhanced the ambiance of the song, but in others it was a bit distracting. Overall it was a solid kick-off to this short residency.

Annotated Set List:

Good Day Brian started on guitar before switching to drums, but Amanda crashed and burned on this one almost immediately, forcing them to start over. They finished flawlessly and continued to torch through the set without looking back.

Sex Changes

Gravity

Bad Habit

My Alcoholic Friends This was the first song I noticed Brian singing harmony in places.

Some piano tinkling seemed to tease Missed Me, but just as it seemed to maybe start to morph into something else Brian announced that one of his tom-toms was dying and had maybe 2 more songs in it. Amanda responded that the low G on her keyboard (or her “low G string,” as she called it) was also giving out. They basically shrugged and soldiered on.

Welcome to the Internet (Bo Burnham cover) This song was dedicated and sung to Sam, the 22yo (dubbed Sam the Zygote) who was the victim Amanda had chosen during her pre-show prowl.

Missed Me F’real this time. At one point a stray drumstick flew over Amanda’s head and Brian tried to blame the sound guy, but Amanda wasn’t buying it.

Mrs. O

Delilah (featuring Veronica Swift)

Whakenewha (pronounced Fuckin-A-Fa) Right at the start of the song Amanda noticed someone in the audience filming and asked them to stop, but rather than stop the song and speak to them she sang her admonition to the tune of the song, and then started the song over from the top without missing a beat.

War Pigs (Black Sabbath cover)

Amsterdam (Jacques Brel cover) Amanda continued her tradition of singing this one from the balcony, but it was a little odd in this case because the balcony had windows. Because everything about this venue is a little odd.

Mandy Goes to Med School with just a soupçon of “Careless Whisper” by Wham! as has become tradition.

(commercial to buy merch and, most importantly, join the Dresden Dolls eMail list for info on upcoming shows - a full tour was promised once the new album is done)

Coin-Operated Boy Through some musical alchemy this song transformed into “Never Tear Us Apart” by INXS - complete with kazoo solo! - before morphing back.

Half Jack

——

Girl Anachronism This song turned into a bit of a hot mess as Amanda first mangled the chord progression, and then later the lyrics, resulting in two stops and restarts. My advice would be to just power through. Girl A is not some delicate shrinking violet of a song that needs precision. It is a powerful enough song to cross the finish line with a flat tire, some blown pistons, and flames shooting out the engine. Just go for it!

Sing

Photo Gallery:

The Dresden Dolls take the stage!

Amanda!

Brian!

Delilah!

Amsterdam!

#dresden dolls #meow wolf

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7grandmel · 1 month

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Todays rip: 14/04/2024

Thwâmpröck Desert

Season 8 No Album Release (Read More)

Ripped by Madinstance

youtube

So you know how yesterday's post was about a ripper with a very clearly defined niche of work, with Jamangar and Locked In The Underground? And earlier in the week I was covering the sheer prowess of ripper Madinstance, the raw power he exudes with I will Never be a Redneck? And just a few more days before that, where I talked about how much Mario Kart Wii's music means to me with Sweatpants Select? Well amidst my lineup of possible future posts, I slowly realized how perfectly Thwâmpröck Desert fit all three categories - a great way to end the week, and another Season 8 rip to boot.

Madinstance is an exceptionally skilled ripper, that much I hope I've made clear over my past posts on him. But with a few exceptions from time to time aside, he's also a ripper with a rather particular focus - a lot of his greatest rips, such as Every Mob Wants to Rule My World, Fell From a High Place (Reprise) and M-O-O-G City, are all focused on paying respects to Minecraft and its legendary original composer C418, wheras recently Initial Deluxe (I've Just Raced on this Course Before) appears to reveal a newfound love for the Mario Kart series. You may think at first thumbnail glance that Thwâmpröck Desert is an extension of that, a rip of a Mario Kart game, but there's one more field of his expertise that I'm yet to cover on here. C418 is beloved by many, yes, but within those privy to video game music history, particularly in the chiptune community, few composers are as revered and celebrated as the Follin brothers, Tim Follin and Geoff Follin.

To VGM aficionados, they need no introduction - but then, its those same aficionados who would know such things as that Robocop on Game Boy of all games has amazing music, as I discussed in Viva La Robocop. Most others, those who are primarily video game fans, will simply choose their favorite composer based on their own favorite games. That's completely valid too, of course, many long-running franchises like Kingdom Hearts, Sonic the Hedgehog, Dark Souls and so forth have key people composing for them that are incredibly distinct, to where you KNOW what a Kingdom Hearts game will sound like, what a Dark Souls game will sound like, and so on. Yet what makes the Follin brothers so fascinating in contrast, is that their soundtracks were attached to all kinds of games from all sorts of places: Ecco the Dolphin on Dreamcast, Silver Surfer on NES, Pictionary on NES, Plok! on Super Nintendo - practically the entire spectrum of games of the 80s and 90s, from shovelware to all-time classics, the Follins contributed to. Yet to them, the individual game quality hardly mattered! Be it Pictionary or Plok, Tim and Geoff Follin composed every soundtrack like it was their life's greatest achievement, creating full-on chiptune prog-rock in games that had NO business going that hard (I know that's a bit of an overdone and reductive turn of phrase, but really - PICTIONARY???) The brothers knew how to make any platform they were working on positively sing, and their obscure weirdo games have become titans amidst VGM enthusiasts as a result. An underdiscussed side of video game history, still cherished by a specific subset of nerds yet today.

Which, then, brings us back to Thwâmpröck Desert - an arrangement of one of Tim Follin's most insane pieces, the title screen music for NES game Solstice. It deserves a listen all of its own - the way it fakes you out with the most barebones little ditty of all time before switching into a rock masterpiece is an absolute work of art, and the piece just keeps growing from there, at once impossibly layered yet incredibly cohesive. Madinstance LOVES ripping the Follins' work, he's made a name for himself in part for ripping the SNES game Plok! in particular during Season 6 and Season 7, yet even still I was unsure how well Thwâmpröck Desert could really work. Its not a rip of a Follin composed game like the aforementioned Plok! rips - its arranging this impossibly dense piece of music into a song that already sounds like the violin version of pure, yet elegant, panic. Yet I suppose that also makes it the perfect fit for the Solstice title theme's sheer density - and when actually listening to Thwâmpröck Desert, its hard to imagine that Thwomp Desert ever sounded any different.

It's just - GAAHH!!! Its fucking mind-boggling how good it sounds, how this odd song I'd barely thought about from Mario Kart Wii wound up being the perfect template to arrange Follin's music into. The melody's string instruments are perfect for the Solstice title theme's pure distilled chaos whilst still capturing that sense of elegance and flow, and the most quirky instruments still present in Thwomp Desert add a delightful texture to the arrangement. I have to pause it every 10 or so seconds I listen to just process all that I've heard - the percussion, lead, backing, the progression of the song, its all handled absolutely masterfully, I cannot BELIEVE this was just dropped on us on a normal tuesday! I will Never be a Redneck was at least a season premiere!!

Whew...well, alright, I hope you get the picture - The Follin brothers' music fucking rocks, and I am SO glad that a ripper as amazing as Madinstance has taken it upon himself to pay regular tribute to their work. Games like Mario Kart Wii are leagues more mainstream than the games that the Follins typically worked on, and the idea of SiIvaGunner getting less VGM-savvy viewers to find out about these legendary composers - it just makes me really happy! Madinstance's rips are bangers to be sure, but much like Beautiful! ~ Curveball of Sean Kingston, like Beyond the Floating Isles, like Gate Happy: they're bangers that can also open up a whole new world of musical interests to viewers like you and I. And isn't that just the coolest way for SiIvaGunner's art of subversion to live on in?

(oh, also, its called Thwâmpröck Desert because the Solstice NES game takes place in "Kâstleröck" and I just found that very funny)

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savage-kult-of-gorthaur · 9 months

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ONE OF THOSE ALBUM COVERS THAT IMMEDIATELY CAUGHT MY EYE -- I WAS A BUTTON/BADGE FREAK IN HIGH SCHOOL.

PIC(S) INFO: Spotlight on "Supergrass Is 10: The Best of 1994-2004," a compilation album celebrating the first 10 years of the English indie/Britpop/alternative rock band SUPERGRASS. The compilation was released on CD, DVD and double 10" clear vinyl record in June (UK) and September (US), 2004.

COMPILATION OVERVIEW: "Since they had a lower profile than their peers and came across as a bunch of mates instead of serious musicians, SUPERGRASS tended to be the most overlooked of all the major Britpop bands. They never defined the culture like OASIS or BLUR, never had a following of serious-minded, clever misfits like PULP, they weren't as sexy as ELASTICA, and they surely lacked the grandiose, doomed romanticism of SUEDE. What they were, though, was a bloody brilliant pop band.

Their 1995 debut, "I Should Coco," kicked harder than any record that year, and it had a bigger stylistic sprawl than any album this side of "The Great Escape," which it trumped with a deliriously infectious enthusiasm -- and it was all the more impressive when the fact that Gaz Coombes and Danny Goffey were still in their teens when they cut the album.

They matured at a rapid rate, refining their musicality with each of their next three records, but they never had center stage again like they did with "I Should Coco." As they worked outside of the spotlight, they developed into a remarkably consistent singles band, as the generous 24-track 2004 collection "Supergrass Is 10: The Best of 94-04" proves. Even their muddled eponymous third album sounds brilliant when distilled to the sweetly gorgeous "Moving" and the ridiculously intoxicating "Pumping on Your Stereo."

These tunes are thrown together in a nonchronological order that contains all the A-sides apart from the U.S. radio single "Cheapskate" and the movie soundtrack selection "We Still Need More (Than Anyone Can Give)."

Instead of being infuriating, this nonchronological sequencing reveals just how consistent SUPERGRASS had been over the decade, since it forces the listener to concentrate on each individual song. Like Green Day's hits compilation "International Superhits!," "Supergrass Is 10" is a revelation for anybody who hasn't been paying attention, since it showcases a band that is one of best, most satisfying guitar pop groups of the last 15 years. If you haven't checked them out before, you need to get this immediately."

-- STEPHEN THOMAS ERLEWINE (for Allmusic), "Supergrass Is 10: The Best of 1994-2004" review

Sources: www.allmusic.com/album/supergrass-is-10-the-best-of-1994-2004-mw0000367663, Wikipedia, & Discogs.

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