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slavghoul · 1 year

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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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lizardonatoadstool · 2 months

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Oakie the Acorn is the Best Mascot Ever

I don’t even go to this school I just love them. Here’s an interview they did for SUNY Mascot Madness.

Oakie - SUNY ESF

Who are you, where are you originally from, and where do you do your mascot thing? I'm Oakie Acorn (they/them), proud representative of ESF and its Mighty Oaks athletic teams! I was “born” when I fell out of ESF's Robin Hood Oak which means my roots go back to the Major Oak in England's Sherwood Forest. Maybe that's why I'm so merry! While most of my mascot duties have me in Syracuse, I also pop in at our Ranger School in Wanakena and our satellite campuses in the Adirondacks and Thousand Islands.

What's a unique new thing (building, club, activity, employee, etc.) on your campus that you treasure? The newly renovated Marshall Hall is wonderful! Open since 1933, Marshall underwent a major two-year reno re-opening in 2023. We kept the classic features, such as the spiral staircase and auditorium, while updating the building to a state-of-the-art learning center with spaces tailored to the needs of today's students. The building is home to our Landscape Architecture, Environmental Studies, and mathematics programs. Along with great classroom and studio space, there are plenty of study nooks for students to tuck in and do work between classes or meet with friends.

If you could start your own club or major on campus, what would it be? Wow! Difficult question because ESF has so many unique clubs, activities, and majors already! That said, I'd love to start an a capella group – Oak-apella! I don't speak, but I have a song in my heart and would love to hear ESF students sing. Maybe I could do some interpretive dance while they sing.

What's your hidden talent that you haven't told anyone about yet? Anyone on campus at night might have seen me skateboarding. The other day I landed a kickflip over the gap and was pretty stoked. Sadly, no one was around to see it. Flicks or it didn't happen, right? We do have some talented campus artists who have drawn me and my board though.

What campus cheer gets you pumped up and why? (with great enthusiasm) O-A-K-I-E! They're our acorn can't you see? Sprouting strong through day and night We've got bark and we've got bite! ESF Orientation Leaders chant this while they lead our newest acorns to convocation. I love hearing it echo off the campus buildings!

What sport would you play if you were a student-athlete? I would join the Bass Fishing team in a heartbeat! I know when you think “acorn,” you think “land-based,” but I'd love to get out on the water and drop a line or two. There's so much more to me than most people know. I would look awesome in one of the Bass Fishing team jerseys – provided they could get me an XXXXXL.

Read any good books lately? The Climate Optimists Handbook by environmental activist Anne Therese Gennari is a great read. Her book is about empowering people to get excited about changing the narrative on climate change so we act from courage and excitement to co-create a better world. She totally gets the ESF vibe! She was our commencement speaker last May and inspired our graduates and their guests to Improve Our World! And of course, Braiding Sweetgrass by our own Dr. Robin Wall Kimmerer is always close at hand to read again and again!

Favorite pizza topping? Mushrooms. I love to top my pie with things I've foraged in the woods. Remember, you have to be very careful with mushrooms. I always take along a friend who has taken Dr. Alex Weir's mycology course to ensure I don't eat anything that could make me sick or worse!

If you were SUNY Chancellor for a day, what would you do? I would declare every day Earth Day in SUNY and plant pollinator gardens on every campus. I would also help other campuses set and reach their own Zero-Waste goals. Sustainability is a key component to helping the environment. I would then ask to be Chancellor for a couple more days to visit as many campuses as possible and see all the great things SUNY students are doing. I don't know how Chancellor King does it all! Does he ever sleep?

How would you celebrate being named SUNY Mascot Madness Champion in 2024? The same way I celebrated in 2017 when I won the title – surrounded by the best students, faculty, and staff ever! We had a party that the whole campus attended. My friend, Victor E. Knight from SUNY Geneseo, was gracious enough to come and present me with the trophy and join the festivities. I think it would be great to host Wolfie on campus this year.

#oakie the acorn #SUNYESF #mascot #mascotmadness #queer #nonbinary #acorn #theySKATEBOARD #voteforOakie #environment #climate change #poll bracket

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upheavalofmemory · 1 year

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pick a card | comfort

Hello lovelies. Need some comfort before you rest your head? I am here to assist.

Pick a pile before you drift off to sleep, or whenever you feel called to read a message. Some shufflemancy will also be done, featuring Sleeping at Last's Atlas I album (one of my favorite albums and one I find lots of comfort in <3).

All piles are written while I listen to the songs. Piles are inspired by impressionist artwork provided by the National Gallery of Art.

Pile 1

You're on a journey, and it's almost over my love. the uphill battle will soon be calm waters, you just need to take one final leap of faith. the world is in your hands, the universe loves you, and you are loved. Your luck is changing and you'll soon be able to swim in the riches of your hard labor. Don't give up now, you're almost there <3 You don't see it now, but you are like a tree, all of your roots are below you and you are so grounded, nothing can push you down now.

Pile 5 may also resonate with this group.

Cards: Page of Bows (stoat), Nine of Stones (tradition), The Wheel, Queen of Vessels (salmon), The World

Pile 2

There is some generational trauma here, and I want you to know that you're going in the right direction to overcome it. Remember not to fall back into the cycle, but if you do, the universe has it's hand out for you to be lifted right back up. You are protected and little bird, it's okay if your wings are tired, you will rise again.

Page of Arrows (wren), The Green woman, the guardian, the seer, three of bows (fulfillment)

Pile 3

This is an instrumental song. Please breathe. Why do you feel so hurt? Your emotions ebb and flow with the tide, you may feel overpowered or overburdened by your emotions, but I want you to know that it is your strength. Like the mighty ocean, she doesn't change herself, she is powerful, all-mighty. You can look at her negatively, see her anger and how she kills, or you can look at her for how much life she holds, how beautiful she is, and the secrets she has yet to unveil. You have the ability to make any decision you desire, do not let the thoughts of others sway you so easily, like the tide. Remember your roots. Remember that you are life.

page of arrows (wren), two of bows (decision), the world tree, the mirror, eight of arrows (struggle), king of vessels (heron)

Pile 4

You may be carrying lots of responsilibites at this time, but you are at peace. Know that the weight you carry is appreciated by those you love, you aren't doing this for nothing. Remember that you are worth more than just the services you provide and remember that your loved ones don't only love you for that reason, they love you for you. They want you to rest, please rest well and easy, they will help with the load if you simply ask. You are a provider but don't forget to provide for yourself too.

King of arrows (kingfisher), eight of bows (hearthfire), the world tree, ten of bows (responsibility).

Pile 5

Ah yes, you are the embodiment of love. You are loved, so loved. I feel like you forget this sometimes, but please, let yourself be swallowed in the sea of love and care and admiration.

Okay, this is so weird and completely changes the mood but...it says that this song has lyrics when it's instrumental and funny enough... it's the lyrics to Faith by George Micheal. When I think of this song, I immediately think of the movie Sing as well so... these things might be significant to you or they may be a sign??

Also pile 1 might resonate with you as well, it's the same exact cards almost.

Six of Bows (abundance), the wheel, page o bows (stoat), tradition, queen of vessels (salmon)

Pile 6

Oh this is heavy, who hurt you pile 6 :(? ooo! I got a card I've never seen before.

You may feel like you need to continue to keep your walls up pile 6, but I want you to know that someone is going to come and sweep you off your feet pile 6. They will love you so much and they'll be so angry for you against whoever hurt you pile 6. They won't be afraid of you and who you are, they'll welcome all of your pain and love and everything you have to offer, this love is unconditional. They'll do anything to protect you and help you heal if you allow them. They'll go right into the storm of your emotions until you both can get away safely. You'll be overflowing with feelings of being loved and healed, I am happy for you pile 6.

the clock was also at 12:22 when I ended the reading, and I feel called to include a second song as well (Mercury by Sleeping at last)

two of vessels (attraction), knight of arrows (the hawk, this may be this person), nine of vessels (generosity), queen of stones (bear, this is you <;3)

#tarot #tarot reading #pick a card tarot #pac tarot #love tarot #pick a pile #pick a pile tarot #comforting messages tarot #upheavalofmemory #uomTAROT

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venuscnjunctpluto · 5 months

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💫Beyonce has Venus conjunct Pluto (also Pluto conjunct her Asc) and I’m understanding this placement better as I have it myself in the 8th house. We need to love ourselves and the world. We don’t live in care bear world where this is possible so a lot of us grow up thinking power dynamics and having control over someone is the only way we can love without getting hurt. No the REAL answer is creating a better world where people feel free to love no matter their background, sex, gender identity, sexual orientation, etc… is the only way for us to love freely. I plan on volunteering a lot in the new year because I really want to embrace love which is limitless and unconfined. Dirty Computer by Janelle Monae and Anna Wintour by Azealia Banks embodied this concept greatly as well. I try to avoid certain songs that are rooted in trauma and looking for someone us to be everything for us. This sucked bc some of my favorite artists had to take a back seat including of Lana, Brent Faiyaz, Mariah the Scientist, Ariana Grande, Summer Walker, and Taylor Swift too.

💫I’m so proud of her as an artist that she’s gone from love song about a significant other to music that is meant to embrace a deeper love plutonian venuses are capable of. A love that can heal the world around us not just that trash man that cheats on us lol. We try to heal specific people with love which is why I think we gravitate towards people w darker backgrounds and trauma. When we should understand love isn’t what we need to search for because it’s already in us. We need FREEDOM. We become way more beautiful, more connected, more empathetic because we can deeply understand what we all what and need is: freedom. We need to reach that higher vibration of love (that extends beyond trauma bonding, romantic connections, capitalism, greed, hatred, jealousy) in our lifetime. Saturn was in Aquarius which is Beyonce’s 5th house so during that time she learned and developed a deep understanding of her creativity. (I think also relates to another libra rising Doja Cat and her new music addressing the issues that comes with being and artist in this age) This is why she came back with futuristic, space inspired, innovative, and pro-lgbt, women, and black centered music. She truly learned how to use her art to make positive change which is what Aquarius is all about. She’s been so successful with this tour because her power has always been in her heart.

💫Various Lyrics that stuck out to me from this era:

💫“We go up and down; lost and found searching for love. Looking for something that lives inside me” - Break My Soul

💫“Lend your soul to intuitions (this is the real love)”- My House

💫“I just talk my sh*t Casanova; Superstar supernova power pull em in closer” - Alien Superstar

💫“Renaissance the revolution. Pick me up even if I fall; let love heal us all” - My House

💫“It’s not the diamonds; it’s not the pearls I’m that girl. It’s not my man; it’s not my stance” - I’m That Girl

#astrology observations #astro notes #beyonce #venus conjunct pluto

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incomingalbatross · 6 months

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Commute Radio Recap: Week Ten!

Since I'd finished all my music recs, I decided to branch out to some artists I either hadn't heard at all, or wanted to listen to more of - some from Tumblr, some inspired by the things I'd already been listening to lately.

Presidential's James Monroe episode. I...am not sure how much I retained (I gotta make better notes right after listening, not a week or two later), but it was interesting.

Artifexian: So the thing about this podcast is, episodes are on hour and a half long and there's no way to predict how much of it will have anything to do with the episode description. Sometimes the hosts spend a while talking about their lives, or other projects, or something. On the other hand, they're very pleasant to listen to, and when they do talk about stories and worldbuilding I'm always drawn in. So I like this one! I just have to be ready to keep my expectations a little in abeyance when starting an ep.

Art of Manliness: I still go back and forth on this one - not sure if they have a clear distinction between accidents and essence when it comes to their topic :P - but this ep was fine, and I'll listen to more.

Being Human: Continues to be interesting! I am along for the ride on anything concerning Catholic psychiatry, it's a genuinely important topic.

Close Reading: I love this one. Continues to be three highly intelligent people discussing Little Britches in chunks. Will be listening to their thoughts on other books whenever I reach the end of this one.

Maisie Peter's The Good Witch: Apologies to the mutuals and followers who love her, but my verdict on this one was that she is just not my vibe. I think I like her in small doses, but more as an element in a playlist than as a primary source of music, you know?

OTGW soundtrack: Re-listen, but 'tis the season! (This was literally on Halloween actually.) Love this one, always. I have Thoughts on some songs but not concise enough to put here.

Scythian's Roots and Stones, Old Tin Can, and Dance All Night: So Scythian is a "Celtic rock/Americana" band founded twenty years ago by a bunch of Christendom College graduates (I believe), and they're FUN if you want high-energy 19th-century folk and things derived from that sound. Lots of immigrant songs mixed with more modern ones. I'd listened to Dance All Night (a best-of album) before, but not the others. Hoping to get through their discography sooner or later.

And then I also relaxed my rules and did some relistens to old standby music, which doesn't get a spot here because I wasn't doing it for my Education or Cultural Enrichment. :P But I think continuing to line up albums to listen to for exploratory purposes is fun, and the best kind of listening for my commutes!

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sapphicneige · 11 months

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sometimes i fuck you in my head - Chapter 1: I can't be wrong to be craving you

Summary:

Years they've known each other, been by each other's sides. But suddenly that's changed. A single kiss, admitting an affection that had long since rooted itself into their very bones. It had changed everything between them. But now, as Blake and Yang settle down for a picnic by a Loch in the Scottish Highlands, they finally allow themselves to be true to each other, to let their feelings spill out into the open.

What they don't expect is just how in sync their souls actually are…

Words: 6,969 Main Relationships: Blake/Yang Rating: E

Notes:

So first off, a massive shout out to a few people. First off… Phinn for like inspiring this whole work. I was just talking with a few friends in the discord server for the Bumblebee Big Bang and like… 90% of the inspiration for this idea came from them. Please go check them out, their art is incredible. Also thank you to Erys for helping to read through and work through a few things that I'd been struggling with.

I also, as always, really recommend listening to the Fic Playlist as you read. The fic title is from the song FU In My Head by Cloudy June, and this chapter title is from Kitchen Light by Xana. Those and more can be found on it!

Okay, I'll let you get on with reading this now~

Fic:

Yang quickly runs down the gentle slope, reaching the patch of faded green grass that fringes the water's edge. The loch stretches out before her, its waters shimmering under the warm summer sun. Large hills border the horizon. A soft breeze dances through the air, caressing her skin and causing tiny ripples to form on the water's surface. It carries with it the delicate fragrance of wildflowers, infusing the atmosphere with a subtle sweetness.

"Yang, wait!" Blake's voice echoes urgently from behind, causing Yang to abruptly spin around, her heart racing. The basket she clutches threatens to slip from her grasp as her eyes find themselves looking at Blake descending the grassy incline.

Suddenly, Yang realises that she doesn’t care for the view of the loch anymore, because, as she’s standing here, looking at the girl in front of her, she realises the world around her pales in comparison.

Blake's dark locks sway gracefully in the breeze, defying the chaos that should accompany such movement. Each strand dances with perfect harmony as if choreographed exclusively for her. The ears atop her head flatten against her scalp as she tentatively navigates the terrain, her expression betraying both caution and purpose. The skirt of her dress billows around her legs, sunflowers adorning the white fabric.

“Are you just going to stand there?” Blake says as she reaches the bottom of the incline. “We did come here for a picnic, after all.”

“Right, yes.” Yang laughs awkwardly. She sets the basket down on the grass next to her feet and goes over to Blake, reaching out to take one end of the blanket.

As Yang reaches out to take it, her fingers brush Blake’s and she immediately pulls her hand back instinctively. “S-Sorry…” She mutters before reaching out to take a different section of the rolled-up blanket.

“Yang… we’re here on a date… you can hold my hand if you want.” Despite the smile in Blake’s voice, she’s unable to hide the way her cheeks begin to flood with a pinkish colour.

“I… I know…” Yang’s eyes meet the glistening golden gems of Blake’s and it feels like her heart is about to stop. Butterflies begin to flutter inside her stomach. “It’s… going to take some getting used to.”

“I know.” Blake smiles as she begins to unfurl the blanket, setting it down on the grass. There’s a simplicity to her words, the kind of simplicity that just lets Yang know that Blake understands exactly what Yang’s feeling. The uncertainty of actually getting together after so long, it’s enticing, it’s addictive… it’s terrifying.

Continued on Ao3...

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noodle-artist · 1 month

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Ooo a tag game!!! Thanks @ikari-cat 💙💚 (ive had this in my drafts since the day you tagged me haha 😂)

1) Are you named after anyone?

My first name, Emily, is from my mother’s great aunt. Who I actually know nothing about haha 😂 apparently my dad thought it was a sissy name 💀

2) When was the last time you cried?

Two nights ago. I was listening to “Sacrifice” by the kiner siblings. It’s from the second season of the bad batch and yeah… there was a death. The song really embodies the helplessness someone feels when watching someone else die. That “yeah there’s nothing anyone could have done to stop this from happening and now all I can do is watch”.

3) Do you have kids?

Proud mother of a 1 year old

4) What sports do you play/have you played?

Played soccer for one summer and then volleyball for a few years. It wasn’t anywhere close to real volleyball but I cherish the friends I made along the way and all 6 participation medals 🏅😂

5) Sarcasm? Rarely

6) What is the first thing you notice about people?

Their looks: what they’re wearing, their hairstyle, just the overall vibe. I’m kind of going through a wardrobe change so I’m looking for outfit inspirations. I also love how we live in a world with such diverse people, it’s crazy how we all can look so different from one another.

7) What’s your eye color?

Hazel 🤎💚💙

8) Scary movies or happy endings?

Damn. This is hard… but i prefer happy endings ✨ (shoutout to Alien/s and Poltergeist ❤️ I love you but I’m picking that dreamworks happy ending any day)

9) Any talents? I. Make. Art. 👁️ 👁️ Also I think I’m pretty good at math and problem solving.

10) Where were you born?

Siri, play “Sweet Home Alabama” by Lynyrd Skynyrd. I love my southern roots and there are so many amazing places to explore here (but god do I hate the politics 😫)

11) What are your hobbies?

I make art, play video games (fav is hades), I like playing logic puzzles, I also like to read but I haven’t been able to do that recently ( with ADHD it’s hard to get into any book) I also recently got into watching horror game play throughs.

12) Do you have any pets?

My son. Dimitri

13) How tall are you?

5’3

14) Fav subject in school?

Haha going to be oddly specific here but it’s the truth: intro to circuits and digital electronics 😂 (I can prob throw in coding too but I really really love solving circuits. Doesn’t mean I like building them tho 💀 that’s why I code now.)

15) Dream job?

Would love to be a concept artist or have an art related job. May even go back to school and get a graphic design degree.

I’m probably just going to end the tagging here haha 😂 I want to tag my dimileth moots but I’m afraid I’ll tag someone that was already tagged

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flowerpetalprincess · 1 year

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Whump Of May || Day 18 - Nightmares

Whumper had long ago set eyes on Whumpee. Even more so now that they had spited him. Whumpee in turn, had done their best to fight against his influence. Not very successfully, but she tried all the same.

Unfortunately, as much as Whumpee tried to resist... she had to sleep eventually.

And when she did, the nightmares would start. The song of the Archdemon ringing in her ears as she felt the corruption taking over. Her skin rotting away, her fingers becoming claws... Her body shifting and changing... her humanity falling away.

It wasn't the end of Whumper's plans, of course not. But it was one of many steps to break Whumpee down into a willing slave.

Figured I'd go back to my roots with this one and do a redraw! (2015/2023)

Wolve originated as my canon Grey Warden, and during a crossover roleplay with Rise of the Guardians (ROTG).

Due to her relationship with Jack Frost, and her place as a Hero of Ferelden, Pitch took a special interest in her. He planned to torment her, break her down, until she gave in and became a willing victim to his plans.

Despite past failures within the book series (Guardians of Childhood), Pitch's ideal goal with Wolve was to make Wolve his Darkling Princess.

His own loyal servant.

On top of being a loyal servant, she would also serve as a trophy. A being the Guardians couldn't save. The ultimate victory in Pitch's eyes.

List I'm using.

Wolve belongs to me, inspired by Dragon Age Origins, Bioware

Pitch Black and Jack Frost belong to Rise of the Guardians, Dreamworks.

Do not steal, repost, or alter my art in any way.

#rotg #rise of the guardians #pitch black rotg #jack frost rotg #pitch rotg #my art #queue

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flowerbloom-arts · 11 months

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Well howdy! I hope you know without you my mind wouldn't be this plagued with visions about the whole Muddler familia and every moomin character in general. Like none of my fixations lasted longer than my moomin one, and you're the one to blame

(and I mean this in the most affectionate way possible, if I have to tell you how inspiring and incredibly talented you are at art and giving me The Thoughts a hundred more times to make this very earth explode, you bet Muddler's ass I will, it's a promise)

My question is: Who is your favorite fictional antagonist of all time and why? Or Who is your favorite moomin OC of all time and why?

First of all: Good. (And thank you)

>:]

Second: Ooooo good questions!

There are ALOT of antagonists over the years, and so many of them fit so many different niches I enjoy that I can't simply pick one. Heck, I'm kinda blanking on a few just trying to come up with an answer. So I'm going to divide them into categories (sorry if most of these are Disney I'm sadly a big Disney fan at heart, I also may be forgetting a few things):

Evil family: Lady Tremaine (Cinderella), Mother Gothel (Tangled)

Both of these are evil non-bio mothers, I know, bug they're so realistically evil in their evil motherliness but in different ways.

Tremaine had a big case of cruel favoritism that upheld her 2 biological daughters over her step-daughter who she turned into their servant. She's a very terrifying and cunning force to be reckoned with and Cinderella 2 and 3 added alot to her character without taking away her fear factor which is difficult to find in other Disney sequels but they really nailed it with her.

Gothel needed a tight grip on her adopted daughter only for her personal gain and did everything in her power to keep it that way. She was such a charismatic character that you could see why Rapunzel saw her as a mother and how well she was able to trap her, not by fenced windows but by making her believe the world is no place for her (it's honestly terrifying to hear real mothers trying to say she really loved Rapunzel and she shouldn't have been villainized and killed but I digress). And Tangled: the Series added another layer of screwed up to her character with giving her Cassandra for a biological daughter and adding even more to how obsessed and self-centered she was.

Antagonist to friend: Teru (Mob Psycho 100), Clarabelle Cow (Mickey, Donald, Goofy and the Three Musketeers), Discord (My Little Pony: Friendship is Magic)

Teru really added to the series' theme of Powers Not Making You Special by having Main Character syndrome and then getting sense knocked into him after getting beaten up and seeing the whole world from space. He's a silly guy with a very serious side and I loved watching him throughout.

Clarabelle was uhm. Haha. I liked her alot while watching the movie. The writers adding an antagonistic side to her you don't see elsewhere was such a fun choice and she was a joy to watch. I also was a HUGE Goofy x Clarabelle shipper (don't @ me they are my one Disney OTP) and lemme tell you when that love song came on it became my favorite part of the movie. So glad they ended up together.

My Little Pony had alot of good reformed antagonists throughout the series but I had to pick Discord just because he's the most fun guy out of any of them, his friendship with Fluttershy was so sweet (and I was a very low-key Fluttercord shipper) and so was their friendship arc, but also watching him still be a pain in the rump for the other characters was a treat everytime. Honorable MLP mentions I wanna include are: Sunset Shimmer, Starlight Glimmer, Trixie Lulamoon and Cheese Sandwich (although Cheese is a very minor one).

Friend to antagonist: Cassandra (Tangled: the Series)

Oh the fall she went through was so heartbreaking and her moon powers were so so sick. Her will-they-won't-they friendship with Rapunzel was very captivating and her whole Ball of Issues was great to watch. I rooted for her to come back to the light side so much and gaaahhhhh I loved her.

Flamboyant Villain: Hades (Disney's Hercules), Queen Chrysalis (My Little Pony: Friendship is Magic)

Disney has sooooo many great flamboyant villains that are so unapologetically evil but I had to pick Hades because I had a Greek Mythology phase as a kid (despite Disney's Hades being an obvious misrepresentation of the guy) and his interactions with Megara and his henchmen were the most hilarious I've seen. I would also like to honorably mention Jafar and Ursula for this.

Queen Chrysalis was one of my blorbos back in my MLP phase I think, I even made a daughter OC for her and had this whole backstory formed that connected her and Cadence - she was just so fascinating to me and I loved her from start to end. My Day Aria was a banger I had on repeat and her voice effects were cool and her design was awesome and just aaaaaaa everything about her!!!! I don't CARE if you don't think some stuff about her doesn't make sense or was poorly written, she's masterfully written TO ME!!!!

Ok finally, second question:

I think my favorite Moomin OC has to be the Confounder just by virtue of having the most content out of all of mine? I think about Moominpappa's parents ALOT still and plan to make a comic about them in the near(er) future but as of now I have Connie in the top spot for alot of reasons.

#fb asnwers #long post

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inner--islands · 5 months

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Interview with Sawyer G. (December 2023)

Back in September we shared Sawyer Gebauer's first release as Sawyer G., It'll Be Gone For A Little While, which is also his first foray into instrumental music. Here we get to dive deeper into his evolving practice.

1. What are some recent inspirations?

Lately, there's been a lot of experimental, ambient, techno, house, breakbeat, and glitch. The Berlin-based projects Nthng and S.W. stand out for their grasp of techno/house historical roots while weaving their uniqueness into the fabric of the genre. Nosaj Thing's album Continua (2022) has been my companion for the past month.

In literature, I recently completed the knighted historian Keith Thomas's work, Religion and the Decline of Magic (1971). This 800-page tome explores 16th/17th century England, offering a detailed account of the ebb and flow, as well as the reciprocal relationship between Christianity and the occult, much of which happened during the Interregnum period. My next instrumental album will play off of these themes, each song titled inspired by superstitious methods used during these periods to keep evil spirits away.

Visually, Paleochristian and Middle Age art and architecture have been fun to dive into further this year. The implementation of abstract form in exchange for naturalistic representation to pursue the divine is fascinating. Not to mention the symbolism in the storytelling that creates a mysterious aura. I’ve noticed there's been increased references to, and acceptance of, this period of art in contemporary culture. I wonder if it has anything to do with our own self-abstraction in search of a new space, a virtual space. A quest for transcendence to reach a higher plane through technology and our drive to escape the earthly realm for a brighter, more powerful, and convenient world.

2. As someone who has worked so much in the realm of song-based music (lyrics, melodies, etc.), do you feel that instrumental music allows you to express things that you can’t in the song format?

Yes. It was freeing to break from word and structure. I made my most impactful and genuine work because of this freedom. My whole creative life led up to those moments making this album, and I found a piece of myself that was present, yet dormant. Now, I feel the experimental and the song-based format have been merging in really exciting and interesting ways.

3. Do you prefer to refine a composition over a period of time or capture something quickly and move on?

It’s circumstantial. If there's flow between me and the song, and the space is right, I can work on a song for two weeks straight, 40 hours a week. However, if I step away from it too long, I find it difficult to return to the same creative realm that space once provided. At that point, I chalk it up as another step closer to the song that needs to be created later. Not everything I put time into needs to be a released product, or even a finished one. To be discerning and letting things go can make the future work better.

4. How do you like to get perspective on your work?

I have those whom I trust that will give constructive words to make the work better. I’ve been releasing music since I was 18, almost 15 years. Something I’ve realized is that as you get older and more invested in your passion, the need for praise to build confidence is no longer sought after. Instead, you want to know how the work can get better, and how much deeper you can go. Trusted external sources can help get you where you want to be, rather than getting lost in the false direction of expectation. If you're doing it right, you are making it for yourself and the ones around you.

5. When did you first start releasing music? And how has your relationship to the releasing process changed since then?

I was in high school when I released my first album O Lost!, inspired by Thomas Wolfe’s novel Look Homeward, Angel. When I graduated, I moved to Stockholm and signed to a now dissolved label run by an ex-pat from Canada. This was 2010, before Spotify was the gate keeper of music consumption that resulted in listeners becoming further passive in how they discover music, relying on playlist automation. Indie fans still found their music through blogs and Soundcloud. That’s not so much the case anymore. Through the convenience of technology that brings with it affordability, a lot of our art consumption is severed from connection or relationship. Like fast fashion, fast design, fast food, there is fast art. Easy come, easy go. Little is left with a lasting impact or impression. That seems to me like one of the biggest changes releasing music in the past 10 years or so.

6. How much of a role does improvisation play in the tracks that make up It’ll Be Gone For A Little While?

There's a good balance between composition and improvisation in It’ll Be Gone for A Little While. I try not to force things. I rarely have an idea of what I want to do with a song when beginning. Instead, I listen and feel where the song wants to go. This flow has worked well for me. I find that if I have too much of an intention or idea of what I want to do, there is friction, and it comes out feeling stiff and soulless. I've found that those initially intended ideas come out naturally when they need to.

7. Are there any particular pieces of visual art that inspired the tracks on the album?

Love that question. At the time, Lee Ufan, Pat Steir, Barnett Newman, Isamu Noguchi, Joan Miro. You can hear this in the album - Moments of minimalism and maximalism. At times it can be disturbing, peaceful, or contradictory, like tranquil chaos.

8. You’ve mentioned fragmentation being an important aspect of this new work. How does it factor in for you?

To come full circle from the second question. I was in the realm of creating in structured form most of my life. It's important to have a firm grasp on structure and tradition to break it down in interesting, provocative, and productive ways while acknowledging the importance of the past. Studying jazz, which then took me into realms of experimentalism and ambient, was imperative toward intentionally breaking down these forms.

9. Do you feel like working on this instrumental project has influenced your approach to Catch Prichard and your song-oriented music?

Absolutely. I have incorporated elements from both fields. Sampling, granular synthesis, ambient and experimental sonic space. It has come to a degree that, when beginning a piece, I don’t know whether it will be a Catch Prichard track or a Sawyer G. song. The expression to be able to weave in and out, but also fuse together these themes, has been incredibly enlightening. I'm excited to see where it goes.

10. Words of wisdom you like to recall in times of need?

Creatively, do you. Trust your intuition. Let your work guide you where it needs to go, it only needs your help to bring it to its full potential.

#dialogue

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