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the-90s-music-colosseum · 5 months

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Quarterfinals, Match 2

expand to see all propaganda received! (wall of text warning oh my god this is a severe cautionary message)

Lauryn Hill:

"she paved the way and was hot as fuck the whole time"

"Girl c'mon. Look at her. You're gonna try and tell me that isn't the most beautiful and attractive person alive? Okay. You're lying but okay."

"if u freaks don't give ms. lauryn hill the respect she deserves..."

"actually one of the prettiest women ever I'm such a lesbian for her. like irl I'm already a lesbian but she is helping"

Damon Albarn:

"Don’t think Damon should be here? Why don’t you get your head checked by a jumbo jet? Maybe you’ll feel heavy metal and calm down."

"If Damon is in the “some guy” category, he’s the heavenly and heartbreaking version. Damon is the sort of significant stranger I’d see on the train out of Colchester but could never speak to, just a face seen in passing yet too radiant to be real. I’d fall in love for an hour and carry the ache for a month."

"Damon sets the standard for me. I think he’s the most fascinating man alive. What I find attractive in Damon is not just his gorgeous bone structure and boyish charm, but how wholly he’s committed himself to music. Damon is an artist who walked the walk: in one of his roughest years with some of his rawest songwriting, he said he was no longer excited by anything except the creative process. He was disillusioned with the celebrity of it all, with his relationships suffering for it, and only wanted to make art: nothing more, nothing less. He would go on to compose film scores, write operas and stage musicals, produce other artists’ records, form collectives to fulfill his passion for world music, and create some of the most globally successful music of his career in a completely innovative format that placed him as the phantom behind the characters. Whenever one band takes a break, he makes a solo record or puts together a supergroup to stay busy. He’s uniquely collaborative and still writes personal letters inviting artists to record with him, and yet can function as a one-man show, acting as a multi-instrumentalist, a singer-songwriter and a producer. He’s been a constant voice of bringing British music to the world *and* bringing world music into Britain. Sure, he’s won Brit Awards and a Grammy among others, but he also has a Guinness World Record and was named an Officer of the British Empire for his services to music; his long work with Africa Express earned him respect even from peers who’d previously dismissed him, and his commitment to support his Malian collaborators in the face of violence earned him the title of Local King in Mali. There is so much talent in the world, but there is truly no one else with a career that looks like Damon Albarn’s. Damon is far more than just a prettyboy to look nice on a magazine cover, but looks are the ultimate point of this tournament, so make no mistake: he was terribly, terribly pretty. You watch him performing in the 90s, you sift through photoshoots and interviews and documentaries, and it feels *cruel* how beautiful he was. If his talent was god-given, so was his face. To put a bow on this thesis: I don’t know if Gorillaz and Damon’s musical universe would be the experimental, globe-trotting, boundary-pushing community affair it is if Blur hadn’t become such a central figure in Britpop and if Damon had not been made such a media spectacle, and I don’t know if Damon would have been that spectacle if he wasn’t so ungodly pretty. The domino effect is that Damon’s cherubic face launched a thousand multimedia art school projects for decades to come."

"I wish I was basically any bloke in the 90s so I could tongue Damon Albarn down. Damon will see a man and ask “is anyone gonna kiss that?” and not wait for a response."

"I have a pillow with his face on it. I sleep with it every night 😊"

"“I’m more homosexual than Brett Anderson, always have been. As far as bisexuality goes, I’ve had a taste of that particular fruit, or have been tasted you might say…” is just the rawest most Shakespearean statement ever"

"he is the ultimate Pretty Boy ™. his glorious golden locks, his electric blue eyes. he is if Princess Diana was a Britpop Dude. he is the Regina George of Britpop. he is if Aphrodite took male form. Zeus would come down to earth to fuck him if he knew. he is a caffeinated orange cat let loose. he is deranged. he is unhinged. you never know what will come out of his mouth. he had sexual tension with every single man who knew him. he pulled justine fucking frischmann. his aura knows no bounds. he is a siren. he is a weird guy. but being so gorgeous stunning ethereal didn't stop him from also being one of the most prolific songwriters of his generation"

"THE MAIN BLUR"

"literally where do i even begin. i could write entire essays on this man. a good place to start would be the beetlebum music video, i suppose. i'll never forget the first time i watched that music video. something in me changed, my brain chemistry was altered, my life was never the same, i view the world a lot differently now. and a lot of the viewing i'm doing is of pictures of damon albarn's face because of boy do i have a lot of those saved. every time i try to look for a photo of something on my phone i can't find it because there's so much damon. okay that's maybe an exaggeration but this man has the most unfathomable beauty ever. his eyes? HIS EYES. god dammit i love his eyes i want to stare at them until the end of time like nothing else exists. i'm so normal about this man (lying) and while i'm usually very shameless about my interests i'm actually incredibly glad this propaganda is anonymous because otherwise. yeah. but the world deserves to see damon albarn's beauty and also hear his fantastic voice because what the fuck. his voice is literally the most gorgeous sound ever produced like bro sounds like that and expects me not to fall in love? i want this man to sing his silly songs and talk absolute nonsense to me until the sun eventually blows out and the world ends. cmon damon girlies let's demolish this tournament i know there are a lot of you."

"He’s beautiful. He’s a little rat. He’s a sweetheart. He’s a dickhead. He’s a musical genius. He’s a dumb bitch. He’s a jock. He’s a weirdo. He’s real. He’s an illusion. He’s everything. He’s just Damon."

"DAMON DAMON DAMON where do I begin oh jeez I've hyperfixated on this man for a solid 4 years and still going strong. Damon makes me wish that British people are real. That says A LOT. This man created a whole ass ANIMATED BAND WITH A SHIT TON OF LORE as a SIDE HUSTLE??? Not to mention, what other man has collaborated with Stevie Nicks, MF DOOM, Del the Funky Homosapien, Snoop Dogg, AND Beck?! People, we're literally in the presence of a god. And he's STILL GOING. Anyways, TL;DR, damon is so so so neat and cool and he should definitely win this competition. Thank you."

"Okay 90s Damon is The Perfect Boy yes yes, but the people who parrot the Daily Mail and say "he's ugly now" will never understand. I would still suck every drop from him on his deathbed."

"Vote for whoever you want to. But Damon is so pretty."

"i did not spend hours admiring this beautiful man's face on pinterest just to see him lose."

"Damon Albarn just brings me joy. When I'm watching him perform, following along as the camera lingers on and adores his pretty face, I get butterflies like I'm 15 again. It's nice to still feel that totally unguarded giddiness sometimes."

"God let the intrusive thoughts win making Damon. What if he's a beautiful blond twink with eyes like saucers and dick to his knees, he reads Herman Hesse and plays footie and is insufferable about both, he'll be the most prolific musician of his generation and write operas and seminal albums in 5 different genres and also he's gonna be the dumbest bitch alive? He'll also be kinda bi, but only kinda. And send."

"when i found out about his existence, my life was changed forever. i wish i could use him like the hannah montana boot milk pillow and chuck him at the wall so he makes a loud thud"

"Think of the drama and anon fights it'll cause if Damon wins it all! And think of how quiet it'll get after Damon's out. You'll miss him when he's gone, like memories of a noisy house years after it's grown silent. Choose Damon, and keep the messy train chugging."

"Even the Gallagher brothers have the hots for him."

"Kiss kiss I love him also you can't vote for any of the Seattle men they're literally copy and paste it's not fair. We need Brit representation"

"I want to take care of him, I want to provide for him. I need to gauge his baby blue puppy dog orbs out to I can clean them with wood varnish, paint shades of Pantone 320 C in his eyes, spray eau de parfume by dior in them and sew it back into his eyes like that scene in Toy Story 2."

"Seeing as simply filling the page with ‘Damon’ written 10000000 times isn’t going to cut it 😅 may I admit/submit: I DO have him tattooed on my being (no descriptive, is this anon?); he’s inspired somewhat unhinged late night/early morning fandom conversations in which I’ve served as ‘parish’ priest hearing confessions from all manner of folk about what they’d like to do to him/receive from him; sadly I lost an essay where I detailed why the letters that make up his name suit him so well, and described him as the hot caramel sauce to Graham’s cool vanilla ice cream. He’s a faerie princess with a nose that makes people weep and a voice that feels like the warmest home and he gives amazing hugs. He loves trains and chickens and his tuxedo cat. He’s annoying and sweet and somewhat unhinged and his music saves people and all this is on top of that fantastic dick. He’s a dream yet very real and we’re fucking blessed to be on earth at the same time as him, amen"

"Damon Albarn was a beautiful, beautiful boy. The world saw that, regardless of if every individual reading this has the same taste in men; it felt like a truth of the universe at the time. They don't make celebrities that angelic in face and erratic in personality anymore."

"I need to touch his eyebrows, nose and prostate just one time JUST ONE TIME COME ON"

#most attractive 90s musician #poll #polls #lauryn hill #fugees #damon albarn #blur #90s music #tournament

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lenurrrrrrrrr · 2 years

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was writing notes for my biology class when a thought came barreling through my mind

midochlorians are the powerhouse of the force

#the mitochondria is the powerhouse of the cell #star wars #idk why this popped into my head #i was listening to a metal cover of the phantom of the opera #star wars prequels #midochlorians or whatever the fuck

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slavghoul · 11 months

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Phantomime is the band's third album of covers, after If You Have Ghosts and Popestar. Cover songs are usually the preserve of young, inexperienced bands. Is doing covers a way to maintain a link with your formative years and not forget where you come from?

Tobias Forge: Absolutely. I think it does that. It serves as a return to the roots, in the same way as for... I don't know, let's say someone who practices martial arts, who starts in a certain dojo and ends up changing it. If you want to become a good fighter, you have to move and train with different people. It's the same for a footballer: if you play with the same team all the time, your team might be very good, but you always have to play against others. I think the same logic applies with covers: it can help to go back. You don't necessarily have to release them. We chose to do a real album, but in parallel I worked on other songs - not only Impera music, but other covers. We selected the best ones, and said, "Let's put these out; this looks coherent and presentable".

How much did learning to play other artists' songs contribute to your formation as a musician? What were the most formative songs in your youth?

The answer to the first question is yes. Listening and playing at the same time is very formative. I've never really been... A lot of guitarists, especially, take the time to read tablature and learn how to play something very precisely, and in my opinion, theorise the music too much. I can't say that I'm not theoretical; I just don't follow the rules or the classic terminology. I try to categorise and understand the logic, but I do it in my own way, based on what I have learned over time. I never spent much time with tablature; I just played to the music. I would put the music on and play. I wasn't trying to learn how to play the song in the same way as the band. I would play as if I were invited to play with them. So my style is very free, because I played The Doors as well as Kiss, Slayer and DJ Bobo! It could be anything. Whatever I heard, whatever I listened to, whatever song I could get my hands on, I would play it. I think the chaos of it all made it... When you understand that, you understand the way I write, the way I do things, and why I sometimes seem to be a bit scattered.

That's what may surprise you when you listen to the EP: you can find Iron Maiden as well as Tina Turner...

Yes, I grew up with both, so it's not strange to me. But of course, in order to go from just wanting to do something to a homogeneous work that is supposed to have some commercial appeal, you have to make decisions. One of those decisions was, "If we're going to do this Tina Turner song, it really needs to be punchy." It's supposed to be a rock EP, it's got to be set to 10. I think that's what sets this cover apart from the moose. By the way, thematically, I didn't think of it as 'a Tina Turner cover', but as 'the Mad Max song'. It fits with the times we're living in.

Phantomime features a cover of Iron Maiden's "Phantom Of The Opera". Two years ago, you also recorded a version of Metallica's "Enter Sandman" for the Blacklist compilation. In rock, people like to pit the Rolling Stones against the Beatles, and I think the metal world tends to do the same thing with Metallica and Iron Maiden. Do you feel more affinity with Metallica or with Maiden?

[He thinks] Good question. I'm trying to formulate a coherent answer. I think... It's so fifty-fifty. Both. Not just in terms of inspiration, but in terms of their whole careers, especially when I was a kid. In many ways, like many fans of both bands, there's a cut-off date where my interest in new music started to wane. But I have such a love for everything they did before that it doesn't really matter. The limit is basically the Black Album and Fear Of The Dark. I mean, I like The X Factor, and Brave New World was an absolutely great comeback album. But as a kid and a teenager, settling down with Live After Death was such an inspiration - not just for what I was hearing, but for the tour dates and everything to do with that. Same with Metallica and the Black Album. That was the first time I saw them, and it was the first time I was confronted with commercial greatness in metal, when a band is on top. It's happening now, they're the biggest band of all time. They're playing in such and such an arena, but when they come back next year, they'll be doing such and such a stadium. Even back then, I had a hunch that not only were they great, but they were doing well in life. These guys are getting richer by the hour [laughs]. That's the kind of thing that matters when you're twelve. "And imagine all the girls they get!" That kind of nonsense.

And of course, these bands inspired me musically and professionally and brought me a lot of joy, but they also became mentors in my professional life. I have so much gratitude and respect for those two bands. If I were to be super picky and specific, I would say that since we are a more melodic band, we are probably closer to Maiden. Metallica is more of a "speed" band, I think. To be honest, what I've always liked most about Metallica, and especially on my favourite albums, which are a lot of people's favourites, is not the speed. The speed and the violence on those albums are just added value. The reason their music was so great in the 80s was because it was so melodic. It's the melodies. What changed in the 90s was that they stopped the melodies. They became a blues band, and all of a sudden all the movements were different. It wasn't neoclassical like in the 80s or on the Black Album. I'm very neoclassical myself, that's why I feel so close to the melodic side of Metallica. On the other hand, I spent my teenage years listening to death and black metal, so I love big riffs and speed and stuff like that, but that's not what we do with Ghost.

For a long time, fans have been asking who could be the Maiden or Metallica of tomorrow. Considering the impressive success of Ghost, do you think you have an answer to that question?

Obviously, I know that George Lucas and Steven Spielberg will die one day, but I don't think Wes Anderson or Quentin Tarantino can be considered as a replacement. These directors don't have that much in common, but you know what I mean, I hope. I don't see us as taking their place. You know, I try to be as transparent as possible. What I do is very much inspired by those two bands. I try to do it in a different way, and with respect. But of course, from a practical point of view, when the day comes when there's no more Iron Maiden and you want to see a rock concert with staging and solos, you can come and see us. It's a very curious concept, but it's obviously relevant, because we live in a time when the previous generation is disappearing one after the other. I think Lars [Ulrich] and James [Hetfield] have spoken about how the physicality of their music is not the same as the Rolling Stones. Charlie [Watts] playing the way he played when he was seventy-nine or eighty, it's nothing like what's expected of Lars. And what is expected of James is also very different from what is expected of Keith Richards, with his very open chord style. The meticulousness of James' riffs and Kirk's solos can be difficult to achieve at eighty - and they're approaching sixty. Kirk already has them, by the way. So, as much as I don't want to think about it or remind people, nothing lasts forever. Sooner or later, fans are going to have to decide which bands they want to go see, because a lot of the people they grew up with won't be around anymore.

Your cover of "Enter Sandman" was very "ghostified", while "Phantom Of The Opera" is more faithful to the original in comparison. How do you decide how to approach a cover? Are there songs that offer more latitude in terms of arrangement and appropriation, and others less?

There are several factors, which differ from song to song, and the result can therefore be different. If you go back in time and take "Waiting For The Night", for example, I always thought that song in its original form... Obviously it's cool, but I thought there was a bigger song underneath. In the original, it's diffuse, vague, underlying. The chords are just hinted at, and the vocals suggest that you can build something bigger around it. When I did the cover with Dave Grohl, he asked me, "Can we do a really slow version of it like Trouble?" I said, "Yeah, that sounds cool." And of course, working with Dave Grohl, it seemed like a good idea at the time. In the end, we thought it was too slow, too heavy and too long. It was a good idea, but the result was not very convincing.

Enter Sandman' and 'Phantom Of The Opera' were conceived in two different ways. If someone had asked me to do a Metallica tribute, I would have accepted, but I would never have chosen 'Enter Sandman', in the same way that few people would choose 'Paranoid' or 'Smoke On The Water'. You automatically try not to pick the biggest hit. But in this case, it was Swedish television that asked me to play. It was for a music award, and they said: "Since Ghost and Metallica are close, you are seen as friends, so you should open the show. And we want you to play their biggest song, 'Enter Sandman'." I asked, "Do I have a choice?" And they said, "Not really! We want you to do it, otherwise we have to rethink the whole show. Could you think about it?" OK, I'll think about it and see what I can do. So I started to play the song and see what I could get out of it. The original structure of the song is very simple, and the melody, like "Waiting For The Night", suggests chords that they don't play. All I had to do was see which chord suggested the melody and fill in the gaps. I ended up with a five-minute arrangement. If I sing the melody with a guitar, this is what chords it suggests. That's the somewhat academic version of the song. I was at the stage where I had a completely different version of the song, and I recorded it and thought, "Fuck, I hope James doesn't hate it..." Because I don't want to disappoint anyone. It's supposed to be a tribute. My version was like, "You guys have all my love, but I was forced to do this! And in the end, the result was great.

"Phantom Of The Opera' was a bit different. I knew I wanted to cover a Maiden song, but not just anything, of course. I wasn't going to do 'The Number Of The Beast'. I've had fun with 'Phantom' in the past, because it's a long song and quite complicated. As a musician, it's quite common to sit on the couch and try to figure out a riff. What are they doing there? [What's the rhythm? How are they counting? Because I couldn't hear the beat. And suddenly, once I understood how the beat works in this song [he sings the riff while snapping his fingers], I thought: "Wow, you can't hear that at all on the record. You can't hear anything, it's just a controlled mess." I managed to figure out how to play other elements of the song, and I was like, "Now I have a reason to record it. Not because I want to improve it, but to come up with a different version where you can clearly hear the different parts." First of all, it was a personal experiment in the studio. I wanted to record it to see what it sounded like, and suddenly, after working on it for a few hours, doubling the guitars, adding the drums and playing everything perfectly with metronomic precision, the track was different and a bit updated, so to speak. So I said to myself, "I'm going to take the gamble of covering this song, and see what happens. It seemed like a good reason. I'm not saying my version is better, I'm just saying it's different. There's a bit more contrast and fluidity, you can hear the different elements better. It underlines how good the song is.

Phantomime's covers also include Genesis' 'Jesus He Knows Me'. Genesis is a rather peculiar band, which started out in progressive rock and ended up with huge radio hits. Do you find yourself in this ambiguity, in this duality?

Yes, I do. The other band on that level that did something similar is Pink Floyd. In the beginning, their music was really strange, really eccentric, and then they became more and more pop as the albums went on. People still mistakenly think they're a prog band, whereas 'Wish You Were Here' is really just a series of four pop songs stretched to the max. Not only am I very inspired by that, but I also feel an affinity with that kind of thing. You try to come up with variations of the traditional, if you like. You try to change the form, to present elements that people know in a different way. It's a bit like running a fusion restaurant and offering an Asian-inspired onion soup and adding coriander to the dish. It's still recognisable, but you try to make the recipe different. Another analogy is Stanley Kubrick, who told stories that weren't very complicated, but presented them in an epic way because of their façade - literally. It was the choice of set and costume and the attention to detail that made the difference. That's why, as a composer, I always try to go back to the simplicity of the writing; the simplicity of 'Another Brick In The Wall'; the simplicity of 'Comfortably Numb'. It sounds like a huge, epic song, but it's not complicated at all. They have a lot of songs like that. For a lot of songs in the Genesis catalogue, especially in the later part of their career, the only thing that makes it a bit weird is the middle part. In "Jesus He Knows Me", that's one of the things that made me want to... Not only have I always loved that song, but there are three factors that made me want to do my own thing with it. One: it's a very upbeat rhythm. The way they play it is so quiet that it literally sounds like they're playing on the table [he beats the rhythm on the table] with an acoustic guitar. There's a real metal track in there.

Do something with those guitars! [Laughs]

Yeah, but I'm glad they didn't, because that means we can! I'm really surprised that a band like Metallica never covered this song, because it sounds like a song from Garage Days. It has the same atmosphere. So I thought, "I'm gonna make it sound like a Garage Days song by Metallica. And I fucking hate the bridge of the original, when they go into white boy raggae. I like reggae, but this is the whitest reggae in the world! And it totally destroys the song. As much as I've always loved the song as a whole, I've always hated that part. So getting rid of that section and making it very heavy was also on the to-do list. I had to go into Trouble mode on this. And of course, that goes without saying, but the lyrics were also perfect. It's meant as a tribute, even though I spit on that bridge a lot. But they've done a lot of these kind of prog bridges, like "Let's do anything here", and they'll throw in a rumba or something like that. Some people might find that really interesting, but in most of their songs, I don't think it adds anything. But yes, Genesis has a lot of... I like a lot of their older prog music, with Peter Gabriel, although I think they almost became even better after they split up. Peter Gabriel did his own music, and he did it very well - very epic music. And Phil [Collins] came in on vocals and they did their own thing. To me, it was the best of both worlds, even if it sounds sacrilegious to say that. I'd love to see Peter Gabriel come back and sing with them, that would be cool, but their separation brought so much to the music, between Peter Gabriel's career, Genesis' career and Phil's career. That amount of work, man!

It's one of the few cases where the split was a real success for everyone, and the result is as good as the original band.

Absolutely, I think so. The most amazing thing they could do now, especially now that Phil is not in good shape... What I wish they had done, or could have done, or would do one day, is a triple tour. For example, Phil and [Peter] could do a solo show each to start with, maybe just five or ten songs, and then get together with Genesis. That way we could have 'Here Come The Flood', 'Another Day In Paradise' and 'In The Air Tonight', and then a bunch of Genesis. I think everyone would love to see that. It would be the perfect concert. For me, it would be one of the best experiences possible.

You see, that's the kind of idea that made Ghost into Ghost. If you can come up with a plan like that for other bands...

[Laughs] You can always call me before it's too late, guys!

Another band that has come up with sophisticated yet super catchy music is Def Leppard, especially on their multi-platinum album Hysteria. Speaking of which, this year you released a new version of "Spillways" with Joe Elliott on vocals. When you hear him on this track, the link is obvious, especially with the very elaborate backing vocals. Would you draw a parallel between your approach to songwriting and arranging and that of Def Leppard?

On this album, yes, because I tried to emulate elements of... It's something that's been done throughout their career, but especially on their two biggest albums, Pyromania and Hysteria, the length of the songs is remarkable. It's very common these days, especially in pop, to be very fussy about the three-minute limit. In the pop world, there's this need to always get to the chorus very quickly. You have to start with the chorus, go straight to the point all the time. In the 80s, there was more courage in songwriting - a more adventurous side. Songs like 'The Riddle', for example, were very strange, very proggy. There were weird chord progressions and stuff that nobody does anymore. The pop world has been so chicken for so long. Of course, I've always had an ear for pop; I'm not exactly impressed with what I hear today, but in my life I've always listened to the radio and liked a lot of what I heard, especially the 80s super hits. That's totally my thing. And I love Eurodisco from the early 90s. There are a lot of great composers in that scene. Max Martin started in Eurodisco, at least professionally, but before that he was in metal. What makes him such a great composer is his metal ear. He was writing Eurodisco songs, and then all of a sudden he started writing huge pop songs for the Backstreet Boys and Britney Spears. This whole school of Swedish songwriters is made up of former metalheads, former rockers, former guitarists.

So I wanted to challenge myself in my own songwriting, because sometimes I keep it too short. Even though "Square Hammer" is a good example of a well-written song, it was almost frustrating, because I thought, "OK, that's one more song like that. Now I have to stop doing that, because it was almost too simple." It was a very intuitive song; I literally wrote it in ten minutes. I had the melody, I played it, and the song wrote itself very quickly. There's almost no finesse in that song, and I thought I should avoid doing the same thing again, because it would be too easy. I wanted to see if I could write in a Def Leppard way. On Hysteria, there are six, seven, eight singles, a good half of which were huge hits. In 1987 or 1988, they were on a par with Coldplay at the height of their career, that's for sure. How could they write five-minute songs, with like five distinct parts? It wasn't conventional, verse-chorus-verse-chorus writing. It was verse, another verse, pre-chorus, bridge, and then finally, after two minutes, you'd get to the chorus. And it was so rewarding, because it was such a long way to get there. I thought, "This is what I have to work towards. I want to dare to add another part, dare not to follow the path. That was a mental exercise I did on Impera, and I'll try to do better in the future. It's an interesting way to challenge yourself.

When people talk about the length of songs on the radio, I always think of the story of "Bohemian Rhapsody": "This is going to be a disaster, it's never going to be played on the radio!" That's it, yes...

For a long time they called that song "Freddie's thing". It's such an anomaly in the middle of what we've just been talking about. Of course, I don't recommend... For a young band that's just got a contract, it's best to avoid the six-minute "Rhapsody". But if you can find a compromise between 'The Passenger' and 'Bohemian Rhapsody', I think you've got something.

On that subject, how did Joe Elliott end up on "Spillways"?

The story is very simple. I talked about Def Leppard a lot before Impera came out because of the mental exercise I mentioned, and both Phil and Joe had been talking about Ghost for a few years. It got to the point where our respective managements wanted us to do something together. In the modern world, that often means collaborating, as hip-hop artists do. I explained that I was willing to explore the idea, but that for me, a collaboration is a trendy but outdated concept. We do it all the time. In hip-hop, it's almost ridiculous to see... If an artist is hot this week and you go look at the American top 40, it's just "this artist feat. this other artist". I totally understand that one plus one can sometimes be three, but it gets very cynical. I don't want to do things cynically. I sing cynical things, I'm a cynical person, but I don't want to be cynical about my fans or my career. So I said yes, I would discuss it with Joe, but we'd have to see if we could agree on something, if there was romance in the air.

Joe and I sent a lot of messages to each other to try and arrange a meeting. He lives in Ireland, but also in LA. I live in Sweden, but I also spend a lot of time in LA, so we tried to find time to see each other. He was getting ready for his tour, I was getting ready for my tour, and we were just hanging out. And then out of the blue, he wanted to experiment; he went into the studio, recorded some vocal lines and sent them to me. I thought it sounded really cool and I said, "Look, I have nothing but good things to say about what you did. It sounds great. I'm not surprised by your voice, but by the fact that we sound so good together. I like that very drawling vocal, you really added something. But I have no desire to throw this on Spotify and say to people, 'Here's another thing you can buy.'" I asked him, "You know we do little skits to communicate with our fans in a funny way? Instead of posting on Instagram saying we'll be in such and such a city, we come up with little episodes." He had seen a few and said, "Yeah, that's funny. Let's do something funny with that." The gag is the important part, and the end result is a bonus.

It's like what we did with 'Kiss The Go-Goat' and 'Mary On A Cross'. The idea for the episode came first, and then we said, "OK, but we need a song. So I came up with the idea for this 60s-style sketch that was "Kiss The Go-Goat". Then, as I was writing and recording 'Kiss The Go-Goat', 'Mary On A Cross' came up in the process, and I thought, "Great, now we have a B-side! It'll be a physical single." So I put that in the script: "Let's start showing the single, now that it's official." Things work in tandem. Looking back, we now know that the end result was different. It was meant as a joke. There was 'Kiss The Go-Goat', which was the joke itself and was very successful. And then it turned out that "Mary On A Cross" was completely different. That's also what I told Joe: we do this to mess around with the band. My job is to write records and entertain people, but apparently I also have to communicate with my fans, and do all this promotion that I'm not really interested in. I have no problem doing this interview, but I don't want a fucking Instagram account where I post pictures of myself. I don't want to be that person. So, I'm doing this so that people... They're diversions, and sometimes those diversions become cool. "What do you say, Joe?" In the end, we found this way to spend time together and do something fun. Instead of turning our creativity into songs, we turned our creativity into episodes. It became something fruitful and fun, and I think it was a great success.

The title of the EP is clever, as it mixes the terms 'ghost' and 'pantomime'. The latter term is defined as "a type of musical for the entertainment of the whole family". Is this your goal with Ghost? Do you see the band as "a musical for the whole family's entertainment"?

Broadly speaking, yes. Of course, that suggests that the more adult elements and innuendos in our show are suitable for children, which I don't claim. But I would also like to stress that I have never asked people to bring children to our shows. So if the children in question are exposed to jokes involving penises, farts and copulation, that's their problem. I grew up in a very liberal family, where there were very few barriers and no censorship. I think it's possible to have a conversation, if others are open to it. I have no problem with whole families coming to us, as long as no one suffers. So, for me, it is indeed entertainment for the whole family. But I wouldn't sell it as such to most people, because there are still elements that are not suitable for all children.

I remember a Rammstein concert where I noticed children in the audience. I thought it wasn't really a good idea... Ghost seemed a bit more appropriate, but for young children, some things can still be a bit biased.

It's hard for me to have a clear line on this, because I'm not just speaking as a musician, but also as a parent. There's a constant debate about the right age to talk about certain things. Now, with two teenagers, things are more open. But that's one of the weird things about being a semi-public figure, talking openly and publicly about your life and what you do and sharing your opinions. My kids read that, too. They are aware of it. As soon as I say something, especially nowadays, where everything becomes a meme or a clip... People may think what I say is funny, which I don't mind, but my son and daughter, now fourteen, heard it when they were eight or ten. It's hard for me to be a parent and say, 'Go to school! Don't do that", when they know perfectly well that I didn't follow any of these precepts. I'm not trying to lie to them at all. I tell them: "I did this, I don't recommend it. I did this; I totally neglected this other thing. But I was lucky and I got there. My career isn't over, so I don't know if I've really "arrived", but for now, I'm here. It was a bit silly of me to be so confident, to think I could burn all the bridges, burn all the ships and throw the oars. I was lucky enough to make it to land, but I don't recommend this technique. Don't do the same thing! [Laughs]

#the band ghost #Tobias Forge #interview

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elenavr13 · 8 months

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Darkiplier/Damien Playlist (Updated)

172 songs

Evermore- Dan Stevens

Everybody Wants To Tule the World- Lorde

Control- Halsey

Gasoline- Halsey

Dynasty- MIIA

Judas- Lady Gaga

Take Me To Church- Hozier

Castle- Halsey

Sing To Me- MISSIO

Kamikazee- MISSIO

Panic Room- Au/Ra

Isolate- Sub Urban

Elastic Heart (Rock Cover)- Written by Wolves

Crossfire- Stephen

Dead!- My Chemical Romance

Stressed Out- Twenty One Pilots

Look What You Made Me Do- Taylor Swift

Smooth Criminal- Michael Jackson

The Voice of Darkiplier- Markiplier

I’ll Be Good- Jaymes Young

I Wanna Be Yours- Arctic Monkeys

Do I Wanna Know- Arctic Monkeys

In His Eyes- Jekyll & Hyde (musical)

Can You Feel My Heart- Bring Me to the Horizon

Feeling Good- Michael Buble

Can You Feel My Heart x Favorite Dress (slowed)- Miro remix

My Demons- Starset

Achilles Come Down- Gang of Youth

Monster- Skillet

What’s the Use of Feeling Blue- Caleb Hyles

Where I Want to Be- Chess in Concert

Can’t Help Falling In Love- Ice Nine Kills

The American Nightmare- Ice Nine Kills

A Grave Mistake- Ice Nine Kills

Left Behind- DAGames

Farewell II Flesh- Ice Nine Kills

Below the Surface- Griffinilla

The Wrecked and the Worried- NateWantsToBattle

You Can’t Take Me Anywhere- NateWantsToBattle

Goner- Twenty One Pilots

You’re Gonna Go Far, Kid- The Offspring

Fake You Out- Twenty One Pilots

Miss You- Corpse

Epoch- The Living Tombstone

In the End- Linkin Park

Me, Myself & Hyde- Ice Nine Kills

The World In My Hands- Ice Nine Kills

Popular Monster- Falling In Reverse

Monster- Imagine Dragons

What I Could Have Been- Sting

Hushh- AViVA

Phantom of the Opera

Darkside- NEONI

Broken- DNMO & Sub Urban

Killer In the Mirror- Set It Off

Doubt- Twenty One Pilots

I’m Not Okay- My Chemical Romance

Friends on the Other Side- Princess and the Frog

Poison- WE ARE THE FURY

Apologize- One Republic

My Lullaby (metal cover)- Jonathan Young

I See Red (slowed)- Everybody Loves an Outlaw

Tear In My Heart- Twenty One Pilots

I Hate Everything About You- Three Days Grace

F.L.Y- Ice Nine Kills

Migraine- Twenty One Pilots

Car Radio- Twenty One Pilots

Demons- MISSIO

Snakes- PVRIS & MIYAVI

Villain- KDA

Royalty- Egzod & Maestro Chives ft. Neoni

The Red Means I Love You- Madds Buckley

Loser- Neoni

Not Ready To Die- Avenged Sevenfold

I Want You- Mitski

Poltergeist- Corpse

Life Waster- Corpse

All Of Me (slowed)- John Legend

Young And Beautiful- Lana Del Rey

Dark Paradise (slowed)- Lana Del Rey

How Villains Are Made- Madalen Duke

Love and War- Fluerie

Dark Things- Adona

Wicked Game- Ursine Vulpine

Neptune- Sleeping At Last

Enemy- Tommee Profitt

Far From Home (The Raven)- Sam Tinnesz

City Of The Dead- Eurielle

Throne- Saint Mesa

Paint it, Black- Ciara cover

Man Or A Monster- Sam Tinnesz

Dark On Me- Starset

Hell’s Comin’ With Me- Poor Mans Poison

Wires- The Neighbourhood

Liquid Smooth- Mitski

Little Dark Age- MGMT

Devil In Disguise- Elvis (LLusion)

Toxic- 2WEI

Dark Room- Foreign Figures & EJ Michels

Heathens- Twenty One Pilots

Dance With The Devil- Breaking Benjamin

Black Out Days- Phantogram

Somewhere Only We Know- Keane

Monsters- Ruelle

Whispers In The Dark- Skillet

Salvaged- NateWantsToBattle

Saint Bernard- Lincoln

F*ck You- Silent Child

I Know Those Eyes/This Man Is Dead- Thomas Borchert, Brandi Burkhardt

Broken Inside- Broken Iris

Sweet Dreams- Besomorph

EVIL- AViVA

Saints- Echos

Screaming Bloody Murder- Sum 41

Dandelions (slowed)- Ruth B

Master Mirror- Ashley Serena

Everyday A Little Death- The Count of Monte Cristo

FREAK- Jordan Friction

Broken (slowed)- lovelytheband

Michelle- Sir Chloe

Like A Villain- BAD OMENS

If It’s Vengeance You Want- Unlike Pluto

Monster- Fight The Fade

Listen Before I Go- Billie Eilish

Mary On a Cross (slowed)- Ghost

R.I.F.P.- MOTHICA

Nervous- Lola Blanc

Unravel- Johnathan Young

Lost In Paradise- Evanescence

Lies- Evanescence

Haunted- Laura Les

Dread- Unlike Pluto

Monsters- Shinedown

Black Soul- Shinedown

Sorrow- Sleeping At Last

Seeing Red- Saint Chaos

Villain- Bella Poarch

Lithium- Nirvana

Smells Like Teen Spirit- Nirvana

Down With The Sickness- Disturbed

Animal I Have Become- Three Day Grace

Greed- Godsmack

One of Us is the Killer- The Dillinger Escape Plan

All The King’s Horses- Karmina

Gilded Lily- Cults

Haunted & Unwanted- NateWantsToBattle

Symbol of My Regret- NateWantsToBattle

In My Head- NateWantsToBattle

Vendetta- Unsecret & Krigare

Nothing To Me- NateWantsToBattle

Chasing Cars- Sleeping At Last

Villain- MISSIO

Used to the Darkness- Des Rocs

Unforgiven- Ghost Nation

Monster- Starset

Eight- Sleeping At Last

Already Gone- Sleeping At Last

Devilish- The Phantoms

Motherland- Reach

Falling Away From Me- Korn

Just a Man- Jorge Rivera-Herrans & EPIC Ensemble

Something Wicked- Starset

Darkness in Me- Fight The Fade

I Would Die for You- In This Moment

Eye For An Eye- Rina Sawayama

Psycho in my Head- Skillet

Done With Everything- Line So Thin

Monster- Besomorph

Twisted Games- Night Panda, Krigarè

Killer Inside of Me- Willyecho

King For A Day- Pierce The Veil ft. Kellin Quinn

someone i’m not- Layto

#markiplier #youtuber ego #darkiplier #a heist with markiplier #ahwm #ahwm darkiplier #darkiplier x y/n #darkiplier x da #markiplier damien #damien x da #damien the mayor #who killed markiplier #wkm #wkm darkiplier #wkm damien #character playlist

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telleroftime · 8 months

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Okay so I'm just spitballing here for a sec but

I was listening to In the Dark of the Night from Anastasia and it got me thinking about a scenario where the reader is some kind of magical entity, born with powers or gifted them, either way, Bowser wants you. His initial plan being to kill you and steal your magic. And of course you're used to being chased by others but Bowser is just beyond terrifying.

Something something he can't bring himself to kill you and come to find out from Kamek later he's trapped under some kind of curse that's forcing him to crave ultimate power. And then you get to help break it.

Music truly does the best for my creativity cause now I'm imagining Bowser singing In the Dark of the Night with his soldiers as the backup singers-

Something about "In the dark of the night she'll (they'll) be mine" get my gears turning.

Oh my gosh wait because I can build on top of that!

So, not only is Reader wanted by Bowser, but there's an even larger power above them. Kinda like Hawkmoth and all the villains he makes just to get the miraculous. Just an evil power that's kind of on the same plane of existence as Reader that - where Reader spreads good - they spread evil and Bowser just gets caught in the crossfire of it all. Well, less crossfire and more like the entity sees Bowser as a good source of negative energy and kinda uses him to spread fear and stuff.

And then news of Reader reach Bowser and his craving for power kinda gets worse. He himself seeks them out and gets more desperate with every passing day.

And just imagine Bowser and Reader trapped somewhere where they need to work together, but Reader is just terrified and Bowser is still trying to capture them, but in that moment he also has this small moment of clarity. Where he knows there's something above him. Like Garmadon from Lego Ninjago being evil not because he wanted to be but because of that snake venom coursing through him. (Dragging all the fandoms into this post).

So it's kind of an uphill battle for both Reader and Bowser as they try and break Bowser from the hold of this higher evil whilst at the same time Reader needs to avoid Bowser's tyranny and thirst for power.

And for the sake of it - you mentioned "In The Dark of the Night" and my mind went to straight to Jonathan Young's cover of it. That much more metal theme to it that would fit Bowser so well. Then again, I'm also biased towards his covers since they're all rock and metal covers of songs.

Oh, and quotes like 'Come my minions fly for your Master, let your evil shine' could be both Bowser and whatever is making him evil kinda echo through.

'My curse made each of them pay'

And if you wanna overlay songs, once again I'm gonna mention Jonathan Young's covers. His rendition of "Phantom of the Opera". It'd fit perfectly. Honestly. It has that clash of vocals almost, with Young having this deep and raspy voice, and then Reese has this typical opera, smooth voice. I'm totally not biased. Totally. Okay, I'm biased. It's the typical metal style. Drums and electric guitar and stuff that fits Bowser so well.

But yes! That's my input. I love this idea so much. Time to add it to my list of maladaptive daydreams to, well, daydream later.

#toonce responses #bowser #bowser x reader #super mario #redaskeded

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black-arcana · 29 days

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Ex-NIGHTWISH Members TARJA TURUNEN And MARKO HIETALA Announce September 2024 European Tour

Following a triumphant series of performances in South America with several sold-out gigs where Marko Hietala joined Tarja Turunen as a special guest, the two former NIGHTWISH members are set to captivate European audiences with their enthralling collaboration.

The European trek, which will kick off in September in Germany, promises to be an unforgettable experience as these two familiar voices reunite on stage once again.

Tarja recently released her first greatest-hits album "Best Of Tarja - Living The Dream". Her live show will feature a selection of songs from her career, also found on "Best Of", including fan favorites and her own personal picks.

Adding to the excitement, Marko and Tarja recently collaborated on the duet single "Left On Mars", which received widespread acclaim.

Marko will perform his own songs with his band before joining Tarja on stage for a night that promises to be nothing short of memorable.

Expectations are high as the duo continues to delight fans with both old and new songs, building on the success of their South American tour.

Tarja and Marko's "Living The Dream Together Tour 2024" European dates:

Sep. 08 - DE Berlin - Huxleys Neue Welt Sep. 09 - DE Bremen - Aladin Music Hall Sep. 10 - DE Saarbrücken - Garage Sep. 12 - DE Leipzig - Hellraiser Sep. 13 - DE Hamburg - Grünspan Sep. 14 - DE Herford - Kulturwerk Sep. 16 - NL Groningen - De Oosterpoor Sep. 17 - NL Utrecht - Tivoli Vredenburg (Ronda) Sep. 18 - DE Bochum - Matrix Sep. 20 - DE Ulm - Roxy Sep. 21 - DE Obertraubling - Eventhall Airport Sep. 23 - DE Frankfurt - Batschkapp Sep. 24 - DE München - Backstage Sep. 25 - CH Pratteln - Z7

Earlier this month, Hietala was asked by El Planeta Del Rock if there is any chance of him and Turunen launching a new project together. He responded: "I won't close that option off. We haven't talked about it, putting up a group together or anything like that. But at the moment, it seems that we've got a different kind of connection than it was [in the] past. Because then the camps were really divided already when I stepped into [NIGHTWISH]. And it was hard to find the truth of things, because a lot of it was like a managerial turf war where we got told certain things by one side and told certain things by the other side and lots of confusion — blah, blah, blah — and in the end, yeah, what we already realized a few years back when we were all together there doing the Christmas shows in Finland that after all the hassle has died and the noise has died and everything, you still find out that you lost a friend. And that was the main [reason] why we are basically doing this together again."

In a recent interview with Thiago Rahal Mauro of Brazil's Metal Musikast, Tarja spoke about what it was like to team up with Marko to perform a cover of "The Phantom Of The Opera" during their special open-air concert in July 2023 at Z7 Summer Nights in Pratteln, Switzerland. Tarja and Marko both played individual sets at the event, with their rendition of the main theme from Andrew Lloyd Webber's musical coming during Turunen's portion of the show.

"I got a call from a promoter to take part in one festival in Switzerland last year in a European summertime in July," Tarja said. "And then I got to know, when I had accepted to be the artist of the evening, then I saw that they had also invited Marko and Marko's band to perform in the same festival. So I thought, 'Hmm.' And I was actually sending a message that I wished to reach Marko, because I didn't have his contact any longer, to ask him to perform with me 'The Phantom Of The Opera' in my show. And he responded 'yes.' So, after 18 years [laughs], we were about to sing the song together. And it was super exciting. It was really beautiful. The people got very emotional about this.

"We had met already before — we had been singing on a few occasions in Finland a few years before — so we kind of cleaned the table on that occasion already," she explained. "So we were in good terms, so to say, but now singing 'The Phantom Of The Opera' together after all these years was amazing."

Tarja also elaborated on her friendship with Marko, saying: "It's a new relationship with him, because he's not the same person anymore than he was in the band. He has changed a lot, and many years have passed by. I've changed myself. Life has changed us. So it is a new relationship, let's say. And it had made me very happy to get to know him better after all these years."

Last November, Tarja admitted to Chaoszine that she was "nervous" before performing "The Phantom Of The Opera" with Marko at Z7 Summer Nights. "I believe that he was nervous as well to meet up with me, but we were both very excited to go back to the stage and to sing the song," she said. "We sang 'Phantom Of The Opera' in Switzerland for the first time. Then we went over to Finland to perform it again, did a show together there — he with his band and me with my own. Wow. It was pure emotion. I think it was really beautiful, but it made me kind of… I was, like, 'I'm in peace,' sort of. The feeling was great. I think it was even more for Marko, because I saw him standing there after my concert, when I finished my set, and he came like almost in tears, saying that this was important. We reconnected, and it's great."

Turunen was fired from NIGHTWISH at the end of the band's 2005 tour by being presented with an open letter which was published on the NIGHTWISH web site at the same time. In the letter, the other members of NIGHTWISH wrote: "To you, unfortunately, business, money, and things that have nothing to do with emotions have become much more important."

NIGHTWISH keyboardist and main songwriter Tuomas Holopainen later called the decision to part ways with Turunen "the most difficult thing I ever had to do." For her part, Tarja said the way she was kicked out of the group proved that her former bandmates were not her friends. "Maybe one day I'll forgive, but I will never forget," she said.

In 2019, Turunen dismissed Internet chatter about her possible return to NIGHTWISH after her December 2017 onstage reunion with the band's then-bassist/vocalist Hietala during a "Raskasta Joulua" concert in Hämeenlinna, Finland.

"I know a lot of fans would love to see something happen, but it's a very long distance away," she told Kerrang! magazine. "Personally, I don't see anything happening with me and them, to be perfectly honest. Marko came a little later into the band; he wasn't there since the beginning. He was always a guy I was close to. Me and Tuomas Holopainen, however, haven't seen each other in a long time… but we have been in touch. It's not bad. The past is what it is; we can't change that. We can only change the future."

NIGHTWISH's authorized biography, "Once Upon a Nightwish: The Official Biography 1996-2006", was published in Finnish in 2006 and in English three years later.

Turunen's husband, Marcelo Cabuli, and his business partners later sued the parties behind the book for defamation. Named in the lawsuit were the publishing house Like Kustannus Oy and the author of the book, Marko "Mape" Ollila. Cabuli and his Brazilian business partners argued that the book includes false accusations and insinuations that have caused them suffering and financial problems.

The book blamed Cabuli for the events leading up to Turunen's dramatic expulsion from the band in late 2005.

In 2011, the Helsinki District Court dismissed Cabuli's lawsuit, ruling that the book — which criticized Cabuli on only a few of its 380 pages — did not detrimentally affect his work or reputation in South America. In addition, the court determined that Ollila did not maliciously portray Cabuli in a negative light.

Nearly two years ago, Tarja was asked in an interview with Top Link Music manager and concert promoter Paulo Baron and music critic Regis Tadeu if she would consider doing a tour with NIGHTWISH if all of her former bandmates apologized to her about how their split happened and invited her to share the stage with them again. She responded: "It is very, very hypothetical that all what you said will happen, first of all — it's very, very hypothetical.

"I'm living in a world, like we are all living in a world, that things happen without us noticing," she continued. "I mean, I can't really close any doors in that sense; I'm not that kind of person any longer. I learned so many things in this life already. I take them as they are.

"So I don't know. It would be very hypothetically possible," she added. "It would be unlikely to happen."

Hietala announced his departure from NIGHTWISH in January 2021, explaining in a statement that he hadn't "been able to feel validated by this life for a quite a few years now." He has since been replaced by session bassist Jukka Koskinen (WINTERSUN),who made his live debut with NIGHTWISH in May 2021 at the band's two interactive experiences.

In an August 2022 interview with Finland's Chaoszine, Hietala revealed that he went through a dark period in his life, which included depression, insomnia, anxiety and an eventual attention-deficit/hyperactivity disorder (ADHD) diagnosis. Speaking about how he eventually came to the realization that exiting NIGHTWISH was the right thing to do, Marko said: "It was a long process. Of course, the COVID year that was there, where I had a lot of time for soul searching, it obviously gave me the last incentive that I need something else, that if I just continue with this I'm just gonna get sicker and sicker. But, of course, it's a process.

"I've been chronic depressive since 2010 [or] 2011, so I've been on a permanent medication ever since," he revealed. "Sometimes you get used to the meds [and] you will need more. We did raise [the dosage] during the years also, but it just didn't work. And now that I started to do… I had psychotherapy for over four years now, and then I also talked to psychiatrists and some doctors and did that also in Spain. Then my psychiatrist here in Finland said that I should do these ADHD neuropsychological tests, which I then did in Spain. And, okay, I got it."

Hietala reiterated that he "had been thinking about" leaving NIGHTWISH "for a while" before making the final decision. "Because I had a lot of weight. And I tend to… With the attention disorder, it tells me that when there are lots of trouble, then the disorder makes it into a real chaos," he explained. "There's a shitload of stuff coming and going and no peace anywhere. And for a year or two, I was already waking up every night at three o'clock to bad dreams and anxiety. So I'd say that the whole process probably started already with my former divorce [in 2016]. That was a very sad time when you think about your kids and your broken homes and all that. And then, when I started to get clear from that, then there were, well, all kinds of things. I don't really wanna go any deeper to what kind of things I'd gone through, but I'd gone through enough."

Acknowledging that making NIGHTWISH's latest studio album, 2020's "Human. :II: Nature.", was a "difficult" experience for him, Marko denied that his mental state at the time resulted in a diminished role for him on the final LP. "I think the original idea was to have that… we'll do a couple of [solo vocal appearances], or one solo for me and Troy [Donockley], and the rest Floor [Jansen], and then the harmonies; that was the idea originally for that," he said. "So I don't know if it affected. I think it was sort of as planned. But at that time I already had serious trouble with concentrating and serious trouble with a constant black cloud over my head."

In July 2022, Hietala told Finland's Iltalehti that he had not kept in touch with NIGHTWISH since his departure or followed the activities of his former band.

In May 2021, Holopainen said that Hietala's decision to leave NIGHTWISH "came as a bit of a surprise." He told Finland's Kaaos TV: "Marko informed us in December [of 2020 that he was leaving the band]. And even though he has been very open about his state and problems during the past years, it still came as a bit of a surprise for us. So it was a really tough pill to swallow. And for a few days, I was actually quite confident that there's no coming back, that this is it. I remember talking to Emppu [Vuorinen], the guitar player, and we were, like, 'You think this is it?' 'Yeah, I think this is it.' I mean, enough is enough. So much has happened in the past. Something that broke the camel's back, as they say. Then, after some time had passed — a few days — we started to think that it's been such a ride of 25 years, with so many ups also, that this is not the way to end it."

Tuomas elaborated on NIGHTWISH's reasons for carrying on, saying: "I think we still have something to give, and that's the main point. The music is still there. We felt that there's still so much music that needs to come out from this band that, 'Okay, let's give it one more shot.' And then finding the new bass player was really easy."

He added: "It's not like we do this just because we need to do it and there's nothing else to do. On a personal level, I feel that there's still so many stories and melodies that I want to share with the world with one lineup or another, so that's why you want to continue and keep on going.

"I've said this a million times, that a lineup change is the ultimate energy vampire, and that's how it really felt and still feels."

In June 2021, Jansen spoke about Hietala's exit from the band in an episode of her "Storytime" YouTube video series. She said: "That was a very sudden surprise that, of course, was not fun at all. But we understand — I understand — it was a necessary thing for him to do. And from there, we had to think of how to continue without him, and that also, in preparations towards the virtual show, that was a huge challenge."

In December 2020, Hietala was crowned the winner of the fall 2020 season of "Masked Singer Suomi" — the Finnish edition of the popular masked singing contest. He was disguised as Tohtori — the Doctor.

Photo courtesy of Nuclear Blast Records

#marko hietala #tarja turunen

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batslime · 11 months

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seeing metalheads say they wont vote ghosts phantom of the opera cover for best new metal song of the week “bEcAuSe ItS nOt MeTaL” but also because its a cover.

a cover of a

a cover of a song by a uh um uhhh

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mentallyillbutokay · 1 year

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Canonically, Barbatos likes metal. Lucifer likes classical, but is beginning to develop a taste for rock. I really want to introduce Lucifer to Jonathon Young's Phantom of the Opera metal covers.

I tried so hard to ignore the fact that barb is into heavy metal because it suits him too much, and it really doesn't fit the whole 'quiet butler' stereotype 😭 I think Lucifer would be open to listening to anything really, especially metal covers, but just not pop music like at all.

Lucifer is the type to be allergic to colour, to pop music, and to anything pink and sparkly, but he tolerates Asmo.

#fyp #obey me #obey me!#obey me headcanons #obey me lucifer #obey me lucifer headcanons #obey me barbatos #obey me barbie #honestly i accept this #thank you anon

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flashhwing · 1 year

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have this fucking. somewhat randomly generated spotify playlist that's 27 hours long and mostly metal/punk adjacent. and the fucking. phantom of the opera comes on. n at first i think it's a metal cover but no the original recording is just like that

#this has been a post

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a-funeral-pyre · 7 days

Note

Those music questions are great so here's a whole bunch of them:

23. Do you and your partner/best friend share a special song? One you’d call “our song”?

49. Is there a cover you like more than the original version?

64. [Send me a color and I’ll post an album cover art of that color.] PURPLE

Hello and thank you!

23: London calling by The Clash is what my nest friend and I call "our song" because we used to play together in a band and we wanted to cover it. We never did but it's still our song.

49: I like Nightwish's version of The Phantom of the Opera more than the original musical version. It is the first version I listened to wjen I was a child and it made me fall in love with both metal and POTO.

64: how about this:

Thank you again!

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moonchild-ocblog · 6 months

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Pin the Seamstress

Name - Pin

Alias / Nicknames - Pin the Seamstress

Age - ??? ( Adult )

Gender / Pronouns - Female / She, Her

Personality - Faithful / Sedulous / Inventive / Bashful / Self-Conscious / Peculiar

Likes - Sewing, Mice, Grape juice, Acorns, Berries and The Phantom.

Dislikes - Bright lights, Cameras, Meat, Loneliness, Cold Temperatures and her appearance.

Species / Race - Rabbid / Unknown

Job / Hobbies - Seamstress / Sewing, Crocheting, Doing fun crafts and Secretly Dancing.

Abilities / Talents - Very impressive Knit-Work, Electric absorption, Electricity powers, High Agility and Quick Speed.

Weapons / Tools - Utility Belt-Bag, Pair of metal scissors, Pins, Needles, Thread, strings and Buttons.

- BIO -

Pin, an seamstress who works at Space Opera Network with the benevolent host, the Phantom! Pin is known for her unique talent of sewing and is in charge with making or mending many costumes for any actors or actresses. Pin never asks for pay and works willingly for free, For she hasn't really grasp the concept of money yet. she is willing to do just about anything the Phantom asks of her and being very loyal to him, Being Phantom's quite affectionate companion.

Sewing isn't her only talent for Pin has other things she greatly enjoys and is good at, embroidery and crocheting. She is by all means a master at any form of crafts and can make just about anything from using just a needle and thread, She doesn't just make clothing for she can make blankets, pillows, and her personal favorite to make is stuff animals. She loves them very much and would have a huge pile of them in her bed to sleep under them, And she does love making them for children.

She isn't very adept with social cues and doesn't understand basic social skills all that well, So she comes across as very introverted and a bit awkward when around with others. Pin also does not know how to express herself and isn't very articulate with her words for she doesn't talk much while talking in a very whispering tone that makes it hard to hear, Despite that she can express through her actions and body language very well for others to maybe understand her. The Seamstress has the worst case of Stage Fright and absolutely refuses to ever step foot on the stage, She hates gaining unwanted attention and much preferred to staying as inconspicuous as possible. If a spotlight shines onto her, She'll curl into a ball and deeply shaken with fear. On the other hand, She doesn't mind working behind the scenes in the stage as long as she isn't seen.

The Phantom's voice is what she loves most about him for she finds his beautiful singing very soothing to her, Whenever she hears him sing or just talk in general it puts her in a mellow mood. Whenever she becomes very upset or stressed, Phantom would use his voice to calm her and quickly quelled her emotional distress. Pin always put Phantom first and loves to help make clothing or costumes for him in one of his shows, And she always stays in the backstage to watch him perform or sing then give him great applause when he's finished. Pin truly feels almost comfortable with him and always look to him to help her, And would still stay with him through thick and thin.

She has an very bleak outlook on herself and doesn't think highly of herself, Even at times Pin feels like she doesn't deserve any love or empathy from Phantom. Ever since Pin was traumatized from the village attacking her because of her appearance and suffered being locked away by the cold hearted Warden for so long, She has viewed herself as a hideous monster hence wearing a mask and long clothing to cover her appearance. And Pin believes herself to be unworthy of the Phantom and that she thought he is far too handsome and perfect to be with her for she is nothing like him, Many reasons why she is afraid to share her true feelings with him. She has such deep admiration for the Phantom ever since he had rescued her and deeply in love with him, Sadly she may never tell him because of how shy Pin really is and she fears rejection.

The Seamstress has an ability that most don't know about except the Phantom for he had witness her hidden power, She has the power to absorb electricity to give herself energy or to power any electronics just by holding them. Pin's Heart which is an mechanical battery that keeps her alive is the reason she has this ability for she needs electricity to live or she would possibly run of power then die, So she absorbs electricity if she is low on power or power her attacks.

Pin is never an fighting type but she only fights to defend the Phantom himself for she is willing to lay down her life for him and to put herself in harm's way. She is capable of unleashing electric based attacks and can shoot electricity from her hands, Mainly she uses her sewing materials for she uses her pair of scissors to attack with from cutting their clothes up it or would wrap them up in threads to restrict them. She is surprisingly very quick and physically fit, For she is quite agile and able to move very quickly.

- BACKSTORY -

She does not remember or atleast doesn't wish to remember about her origins, They were anything but pleasant when she had took her first breath of life. All alone in a old castle on a little planet floating in the middle of space in a far off end of the galaxy, Whoever had created her is unknown even to Pin for it is all a blur to her and all she was left is confusion of her existence. As she becomes more aware and started learn gradually of her surroundings, Reading through old books she finds around the castle that taught her how to read and learn to speak english.

Soon found an set of sewing materials along with a large pair of scissors, She was very curious and very fascinated with them thus began her first passion. With the help of an how-to-sew handbook conveniently nearby, She started to learn how to sew by hand so she could make her own clothing though had little fabric she had to work with so she resorted to taking blankets, sheets, window curtains, carpets, Table cloths, Anything fabric or cloth material to make clothes with. It also proved helpful with mending herself for some of her body parts would fall off from a loose thread or when she takes them off so she is able to reattach them, Eventually becoming very good at it as an result. This newfound passion was her only comfort she had throughout her days of loneliness in the old cold dark castle, So much so she had given herself the name " Pin " as in pincushion which she had made one as her tail where she can put her pins and needles at.

Much time has passed and Pin grew curious of the outside world, And with the desire to find her creator to find out why she was created in the first place and why they had disappeared even if she had no clue where they could be. So Pin packed up her things and with an warp portal that she had found within the castle to travel another planet, Soon she would go an planet where she came across an village full of Rabbids that caught her attention. They strangely looked a lot like her and possibly one of them had made her, So Pin would approach them but only to be met with screams when they first saw her.

Her appearance had terrified them and ran away from her, Some even try attacking her by throwing rocks and hitting her with pitchforks. Pin tried to reason with them and get away but soon escalated when they had lighted their torches where they had poked her with which resulted her to get badly burned from it. Soon the warden of the planet took her down and tie her up to take her away to an tower to bound her in chains, Locked up in the highest floor of the tower to rot in for the rest of her days.

She was badly scarred from her experience and in deep sorrow from the cruelty that it had caused her to despise her own appearance because of it and would wear a mask that she had made to hide her face in fear of being badly beaten and possibly killed while not wanting to scare anyone. Fortunately she still had her sewing materials that were hidden in their small bag and found carpets and curtains inside the tower while with a pile of old torn out clothes nearby, Pin had started to mend her clothing that was burnt and torn while started to make new clothing to comfort herself from this terrible situation she was in for she would be in the tower for a long time.

Until one faithful night when she was stitching up her dress, Her tower was visited by none other than Tom Phan, but mostly referred to as Phantom who came to this planet to perform his songs as he liked traveling to planets that he hoped to gain an audience and to get out of his home once in awhile but the village was the most unwelcoming and disrespectful to him, the Warden of the planet attempted to lock him up but he would quickly leave before they could ever catch him. On his way of leaving he saw an tower and had made him curious on who is inside, He saw a sign that said " Beware, Monster inside. " He got the vengeful idea to get back at the warden and the village who dared to disrespect him is by releasing this monster to this awful town to terrorize.

But all he found was a poor woman held prisoner in this cold lonely tower, Who suffered under such unjustified humiliation in the hands of the Warden. He knows that feeling all too well and felt deep pity for her, He thought of something better so he would free Pin of her chains then offered to come with him back to his home planet. Since then Pin owed him her life and will do anything for him, She would also be given a job as an seamstress for he saw great potential in her and that her great talents will help create or mend costumes for all actors alike. This was the Phantom's way better act of revenge on getting back at that terrible Warden by taking this very talented seamstress that they had called " Monster. " and wrongfully imprisoned.

#oc #mario + rabbids #mario rabbids sparks of hope #rayman in the phantom show #my art

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night-unfurls-its-splendour · 1 year

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When the Longing Returns (Phantom of the Opera 2004 Fanfiction) || Erik x Christine

Ch. 3 Author's Notes

Read the Fic here on tumblr on AO3

◇ Prior to that, she'd only ever seen him in his cloak, or a banyan, or his bulky (but perfectly tailored, though several years outmoded) suit.

A banyan is a kind of housecoat or dressing gown. This would more accurately refer to the more Persian-influenced robe that Erik wears in the stage version, but can also apply to the style he wears in the movie

◇ All of her fear, her terror, had just been the telltale signs her of love for the Phantom. An exquisite kind of love which thrilled her, and which she could not, then, bear to admit to herself.

This is a direct homage to the novel. In Chapter 12 "Apollo's Lyre" Raoul accuses Christine: "Why, you love him! Your fear, your terror, all of that is just love and love of the most exquisite kind, the kind which people do not admit even to themselves... The kind that gives you a thrill, when you think of it..."

This was a situation where a phrase of the book lined up freakishly well with my interpretation (even if taken in a slightly different context), because this passage describes almost exactly how I chose to characterize Christine's attraction (and her denial of it) to Erik. Though this is one of Raoul's ugly, jealous moments, he's not wrong. The concept of Christine embracing this attraction that she's been denying is, after all, the whole impetus of my story.

◇ Her rich sweetheart grown fine and handsome, with the promise of a life of stability and comfort... wouldn't he make a such perfect prize?

A self-indulgent reference to "Sister of Night" by Depeche Mode, which inspired the title of this fic

Sister of Night

With the loneliest eyes

Tell yourself it's alright

He'll make such a perfect prize

◇ It had only taken a fraction of these perturbations, exposed to the cold light of dawn, and faced with the Phantom's kindred, passionate tenderness, for Christine to realize her folly in accepting Raoul's proposal.

A continuation to the previous note; this is a reference to the next line in the song:

"But the cold light of day

Will give the game away"

◇ No, Raoul, please don't, she thought as he did so. It was exactly what she'd said the night before, at the ball, when he'd leaned in to kiss her.

Fun fact: I completely forgot that this is exactly what she says at the masquerade--I added the acknowledgment of it in a very late draft after watching the scene again.

◇ He lifted her hand now, kissed it and held it, his thumb rubbing over the empty spot on her ring finger ruefully... as if he hoped, by repeating the motion with enough force and will, he could bring the ring back.

This passage could easily be a reference to Leroux. In Chapter 13, "A Master-Stroke of the Trap-Door Lover", Christine realizes that the gold ring Erik made her swear to always wear as a condition of her freedom is missing. She begins to anxiously rub her finger "as if she hoped to bring the ring back like that." It's wonderfully synchronous with what I wrote Raoul doing in lamentation of his stolen ring. However, as with Christine's oddly strong grip in Chapter 2, I wrote this passage before even reading the book.

◇ Christine didn't want to encourage this hovering and she would much rather take her lunch in the refectory than have it brought to her here.

I completely pulled this concept out of my ass. I have no idea if there's a precedent for a common staff dining hall in an opera house, though I figured it stood to reason there would be one if there are dormitories that house residents

◇ She pulled on her petticoats, corset cover and a white blouse before the dark blue skirt.

Exactly what it sounds like: a kind of camisole worn to soften the hard lines of the corset boning and protect the blouse or bodice of one's dress from catching on the metal hooks or studs on the front of the corset

◇ Christine was no longer merely a ballerina in the corps--she had, after all, been given several singing roles in the time since gala night: Stefano, the page in Roméo et Juliette; one of the 'Three Ladies' in The Magic Flute; Brangäne, the maid in Tristan und Isolde; and, most recently, Siebel in Faust which Carlotta had mockingly told her was "quite the coup". All minor roles: trainee roles.

All but one of these Operas are name-checked in Leroux's novel: Erik is once mentioned to sing the Wedding Night song from Roméo et Juliette by Gounod; a critic notes Christine's performance as the Queen of the Night in The Magic Flute by Mozart as one of her triumphs; Faust (also by Gounod) is a central motif of the whole book, and is the production in which Christine takes Carlotta's place as the tragic ingenue Margarita. Prior to Carlotta's being indisposed, Christine had been playing the role of Siebel, a minor "breeches" role.

The outlier mentioned is Tristan und Isolde by Wagner. I really just needed another opera with a minor role for Christine to have been shunted into, and this had one, but I thought to look into it because of its references in The Bloody Chamber by Angela Carter, which I was reading for inspiration at the time of writing this chapter. The short-story is an incredibly voluptuous and vivid take on Bluebeard, which is once referenced by Erik himself in Leroux's novel. Just a coincidence, and not a very shocking one, considering its one of France's best known fairy tales.

◇ Christine knew it was Carlotta's doing; she had connections who could influence the managers...despite coming up from rather tawdry roots, Carlotta was, at least, a singer and had, upon her discovery and elevation, been conventionally trained by renowned vocal coaches before making her debut.

Another reference to Leroux. I've leaned heavily on the novel for gapfiller here. Because of the Musical's fast pace, the passage of time between the Masquerade and the rehearsals (in the play) and performance (in the movie) for Don Juan Triumphant seems to be very immediate (as was the jump between Hannibal! and Il Muto), but a new production can't go on overnight, or even within a week, so I've got time to fill and I needed details. Carlotta's active campaign against Christine in the novel (as well as her influential friends and history as a brothel singer) was omitted from the Musical, but I wanted to include it here.

◇ Christine's mysterious and, apparently, sudden genius had not made her popular with the other singers who felt they had been passed over for their chance at a breakout role in Hannibal ... in favor of this sneaking 'Northern Fairy' who had snatched the lead role without ceremony.

A paraphrase of "fairy of the North": this epithet is used at least once in the novel in reference to Christine as a perceived coquette--from Raoul's perspective. It underlines themes of xenophobia and classism that were rather idealistically (though understandably) glossed over in the musical.

◇ She was on very good terms with the seamstresses, the carpenters, the sculptors, the painters, the shoemakers and so on, whose legends of the Opera House (those far pre-dating the infamous Ghost) she had always enjoyed listening to--and they delighted to have such a youthful and interested audience for their tales.

Christine’s seemingly comprehensive knowledge of the upper world of the Opera house (referred to as her 'empire' as much as its underworld is Erik's) and her popularity among its humbler denizens is an aspect of her character in the novel that I wish had found its way into the musical.

◇ "Well, it's a good thing most everyone else had gone to mass before he did, because otherwise they would all be talking about you..."

The movie's opening timestamp on the 19th century action is '1870'--probably in about October (maybe right after Christine's birthday?). We're going to ignore why, historically, that's a problem (go search "Franco Prussian War", "Seige of Paris" and "Paris Commune" for more details--but its especially egregious since all of those events actually had a huge impact on the real life inspiration for the Opera Populaire, the Palais Garnier which is specifically named as the setting for story in Leroux's novel. Leroux even mentions these events several times throughout the story).

This date, and the fact that the Ball Masque is "a prelude to a bright New Year" mean that Christine's trip to the cemetery (and thus the events of the first three chapters of this fic) take place on New Year's Day, 1871, which was a Sunday. Incidentally, if one follows the more realistic date of the play (which begins around June, 1881--the same year as the novel), this would be New Year's Day, 1882--which was also a Sunday.

◇ Meg gasped quietly, her sloe-eyes widening.

More Leroux. Meg's physical appearance in the book is a bit different to the play, where she is usually blond. She is dark-haired and sallow in the book, with "eyes as black as sloes" (as opposed to her rival "little Jammes" who is fair-haired and blue-eyed, and who is critiqued harshly alongside Carlotta in one of Erik's notes).

In case anyone doesn't know, sloes (pictured above) are a plum-like fruit and "sloe-eyed" is a common antiquated term for large, dark eyes. While she's also blond in the movie, Meg (Jennifer Ellison) has the large, dark eyes of her book counterpart, so I wanted to throw this in, since it fits.

Silent film actress Nita Naldi is a prime example of a sloe-eyed beauty (i had this pic on my phone already. I have a crush on her. its fine don't worry about it.)

◇ Afterward they had washed their sticky fingers clean by spending the afternoon gathering snow balls in the Bois

The Bois de Boulogne, a fashionable park in Paris and the nearest park to the Opera Garnier. In the novel, Erik takes Christine on moonlight carriage rides here.

◇ She had two bars in the bag for her toilette: one was the French lavender soap Raoul had regularly gifted to her (one of his few useful gifts), which was very fashionable. The other was a bar she had not touched in months, a modest honeysuckle scent which had previously been her customary favorite, as it reminded her of the home she had left so young.

Wild Honeysuckle (Vildkaprifol in Swedish) is native to rural Sweden and has been the provincial flower of Bohuslän since 1908.

I'm not sure it would yet have been an accessible scent for soap and perfume at this time, but I'm capable of taking creative liberties when I want to.

I put this in opposition to Raoul's very common and fashionable French Lavender 1) because I think Lavender is overrated, 2) because this is yet another example of Raoul showing how very little actual thought he puts into his gifts.

◇ A bunch of painted roses on a pasteboard scenery for Margarita's garden made her think of the roses she had taken to the cemetery that morning for her father, which she, overcome by passion, had left laying rather unceremoniously on the steps of the mausoleum when she had stood to approach the Phantom.

Confession time: this absentminded dummy (the author) completely forgot that Christine is carrying a bunch of roses in the cemetery, and thus forgot to mention them in Chapter 1. We like to be thorough on details here, and this was a really nice way to give Christine an excuse to visit the chapel so our thirsty asses (Christine's and mine and, I assume, all of yours) could get just a tiny little drop of Erik in this otherwise parched and Erik-less chapter--an idea I had almost decided to completely cut because I couldn't think of a good reason for her to go. Funny how one's cock-ups can turn out to work in one's favor...

#poto fanfiction #phantom of the opera #erik x christine #eristine #poto 2004 #the phantom of the opera 2004 #phantom of the opera 2004 #authors note

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