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The Resistance Interview [STYLE Series #004 - Muse (August 2010)]

Rock is supposed to be uplifting. It's the kind of thing that makes you feel okay about taking on the world, and I wanted to get that part of me back.

The three members of Muse have never hesitated to take their music to a level of expression that would normally be considered “a little too far,” and have always delivered music that is supremely dramatic, hilariously moving, and never betrays us. What is Matthew's intention for “The Resistance,” a masterpiece that combines the experimental and the popular, the highbrow and the vulgar? Before the album's release, Matthew carefully answered our questions about the background of the lyrics and sound-making of the album.

Muse - Matthew Bellamy - The Resistance / Author: Craig Mclean/ Lucy McGregor / Norbert Pek / ©IFA-Amsterdam, 2010 Translation by Aki Tamura

With their 2006 album “Black Holes and Revelations,” the three members of Muse took a step or two forward from the influences of 90's alternative guitar bands and the dramatic, symphonic production of Queen, and created a unique world where progressive rock experimentation and pop sensibilities coexist beautifully. The three members have created a world that only Muse can create. With their success in the U.S., they became more and more confident and finally started to work on a self-produced album. The fifth album they completed, titled “The Resistance,” is both challenging and dramatic. The lyrics evoke images even more than the previous album, and the sound is larger in scale. The result is a work that combines the richness and dynamism of a stadium live performance with the subtlety and literacy of a literary element.

Here is an interview with Matthew Bellamy about “The Resistance” conducted prior to “A Seaside Rendezvous,” Muse's triumphant outdoor show held on September 4th and 5th, 2009, in their hometown of Teignmouth. The following are Matthew's remarks by theme from the same interview about “The Resistance”.

Matthew Bellamy laughs, “Whenever the electrician here comes over, he always brings a T-shirt and a CD.” 31-year old Matthew James Bellamy has just finished dinner at his mother's house in Plymouth, Devon. The mailbox at his parents' house is full of letters from local fans and school alumni in anticipation of Marilyn (Matthew's mother) telling her celebrity son to give it to him to read. Matthew is back in England for band rehearsals and currently resides in Lake Como, Italy (perhaps Nick Chester is a neighbor?) — he was very happy to be there. Chris Wolstenholme (bassist for Muse) had called about two hours earlier to inform him that after some political wrangling, permission had finally been granted for a two-day triumphant return to the Teignmouth Den, an outdoor venue in this small country town where the band used to frequent. The news was good.

“We had a meeting with the town council today,” Matthew explains. “This is the first time we've ever done a proper show in town. We're very happy to finally get permission to do this. We've never played there before. It's a tiny little town in the middle of nowhere, with not a single venue for a live show. But there was a really cool square by the beach, and as kids we always thought it would be great to play there someday. And that someday is finally here,” he said, his voice rising with emotion.

In order to get permission for the gig, Chris had to go directly to the town council to make the case for the band's position on the occasion of the first public performance of songs from their fifth album, "The Resistance."

"He thought he was the right person for the job, because he's lived here all his life, and neither I nor Dom (Dominic Howard, drummer) live here anymore," Matthew explains. "He did a great job of getting a lot of his local friends and fans together, and he did a really good job of making the case." Does that mean that every single one of Matthew's nostalgic old school friends will be there on the day of the gig?

"No doubt about it," he chuckled. "Shortly after that, three letters arrived at my mum's house, all saying, “Please, can you get us tickets?” I think the venue there can accommodate about 7,000 people, but I guess half of them will be treated as guests." (In fact, one Internet post about the gig even pleaded, “My husband taught at Teignmouth Community College for 34 years and just recently retired…. I would love to get us tickets so that he can see his former students in their finest hour of glory. Could someone please help me?")

Twelve years after leaving town, and fifteen years after forming the band in high school (although the original band name, “Rocket Baby Dolls,” has been abandoned out of embarrassment in the meantime), Muse is finally making a triumphant return to their old hometown. "The Resistance" is arguably the band's most ambitious work to date, and that's saying a lot for a band whose sound is a blend of arena-style rock anthems, epic space rock, and grand futuristic sensibilities.

Some have mocked the band's emphasis on showmanship over songwriting, and have criticized Muse as stuck in a time warp. But fans and most critics agree that they are currently the best live act in the world.

“We've always been interested in the polarity of things. We like to go back and forth between the two extremes. It's a roller coaster journey full of peaks and valleys.”

The mix of classical and progressive hit patterns and uplifting riffs is simply irresistible fun. Recorded for the first time in the band's own studio in Italy without any help from a producer, The Resistance opens with its first single, “Uprising”. Matthew sings of his love of conspiracy theories — "They'll try to, push drugs that keep us all dumbed down/And hope that we will never see the truth around" as his voice chants "Hey!" like a football field chant on every snare. It's the same kind of love that drives the album's title track (“Love is our resistance/They'll keep us apart and they won't stop breaking us down”) and the 80s pop-tinged of “Undisclosed Desires” (“I want to reconcile the violence in your heart”), is a familiar theme in Muse's songs. The glam guitar solo of “MK Ultra” is followed by the smooth piano pop of “I Belong to You (+Mon cœur s'ouvre à ta voix)” (the latter part of the title is a reference from the opera “Samson and Delilah”). With a romantic piano accompaniment, Matt sings sweetly, “I can't find the words to say/When I'm confused/I've traveled half the world to say /"You are my muse"”…… The song then builds to an epic, choir-driven musical climax. Even more surprisingly, “United States of Eurasia,” reminiscent of Queen's rock opera, rivals “Knights of Cydonia” in terms of sheer scale.

—In “The Resistance,” there is a frequent contrast between “us” and “them.” For example, in “Uprising,” you sing, “They will not force us/They will stop degrading us/They will not control us/We will be victorious.” As a rather wealthy and socially successful young man, who is “us” and who is “them”? Matthew: (laughs) The first one especially, that's a real “us” and “them” song.

—I know you like well-made conspiracy suspense stuff……. Matthew: Yeah, I love all that stuff. But the funny thing is, there are much more gruesome things going on in the real world these days than that stuff. Like the whole damn banks and MPs thing (supposedly alluding to the big scandal that has recently come to light in the UK (2009) where several MPs have been charged for obscure expenses). There is a level of depravity and corruption going on in our government and in our banks that the average citizen would find hard to believe. These two institutions are supposed to be serving us, but it turns out that they have been ripping us off with impunity. This is not a fantasy, this is a very real event, it is not a conspiracy or anything like that. Oh, in a way, I'm expressing my vague disappointment here. The moment I realized that corruption still exists. Maybe that's “them” and “us” is everyone else who has to pay for it.

—Now, are you satisfied with the quality of “The Resistance”? Matthew: Pretty good, yeah. I think we hit the nail on the head with this album. We took a bit of a gamble. We did some things we've never done before. We weren't sure how it would be received, but it seems that most people like it. The order of the songs on this album is pretty much in the same order as we recorded them.

—I was just about to check that out. I mean, the progression of the album is like the unfolding of a movie. There's a lot of action, and then it converges into a big circle. I don't think it's strictly a concept album, but did you have a concept behind the whole thing? Matthew: Yeah, I had some ideas. I had the opportunity to re-read "1984" (George Orwell's novel), and I think everyone knows the content of that book, but this time I wanted to take a look at the background behind the so-called political unrest and problematic elements in that book. I was really drawn to the romantic tragedy part of it. I wanted to give the same kind of feeling to "The Resistance," but with a modern political context. "Uprising" incorporates many events that are currently happening around the world. We recorded the song as we were writing it. As you can hear when you listen to it, we're picking up right where we left off musically with the rhythmic chants of "we're all working together against them" kind of thing. The first two songs on the album are probably what people expect from us. But from there, the album starts to get weirder and weirder.

Picture: The three members at the 35th annual O2 Silver Clef Award presented by Nordoff Robbins, a British charity that provides music therapy to people with illnesses and disabilities, on July 2, 2010. Presenters were Brian May & Roger Taylor of Queen. The charity auction included signed guitars. pic: Dave Hogan/Getty Images

—Perhaps new listeners will respond more directly to the second half of the album. Did you intend to be clear about how you wanted to start and end the album? Matthew: We have always been a band interested in the polarities of things. For example, one person might be singing, and then all of a sudden everyone is singing. It's like a raw solo voice and then all of a sudden it switches to a loud choir……. Something very subtle to very loud, or something loud and flashy to very restrained and subtle all at once. We always like to move back and forth between these extremes, and we are attracted to that kind of thing. Why we are attracted to such things is still a mystery to me. It's like a roller coaster ride of peaks and valleys, where you get your hopes up and then you get dropped with a thud, and so on and so forth. But I think the ending of the album is quite interesting. It's a quiet, understated ending.

—It's different from your usual approach, isn't it? Matthew: No, it's not.

—You will be making your triumphant return to your hometown in a short time, and you already have tour dates lined up for the rest of the year? Matthew: Yeah, it's a tight schedule through the summer. It starts with a gig in Plymouth, then a gig in my hometown, and it goes on and on from there. Most of them are short TV stuff, like the one we just did in the US for MTV. Then we'll do a few in Berlin and Paris as a meet and greet. But the real tour will be with U2. We're going to tour the U.S. with them for a couple of weeks. It's going to be interesting (laughs). Our main tour will start after that. The U2 tour will be a warm-up for us to get back in gear and also to see their shows up close and see how they do it…….

—Do you mean "The Claw" (as U2's ‘360° Tour’ set is nicknamed is a huge steel structure that looks like a claw. It's a four-legged set of steel claw-like frames, 40-60 meters high)? Matthew: “The Claw”, yes, I'm looking forward to seeing that. Our tour will start after that and last until December. We are hoping to play the Big Day Out (an outdoor festival in Australia) if possible.

—Tell us about “United States of Eurasia”. It has a cool Queen-style break and strings that remind me of Led Zeppelin's “Kashmir,” with Muse's signature subtle touch. What criteria do you use to decide if you want to go too far or not? What is “too much” for Muse? Matthew: We are very self conscious as to whether or not we have gone too far. The song “The only one!” (the part of the multi-track with the “Bohemian Rhapsody”-style vocals) can be found at …… I think anyone can't help but pump their fist in the air in a Freddie Mercury pose when they sing that one (laughs). But when we were working in the studio, we were totally aware of that. We thought, "Let's look back at what we've done with the past albums." Not that this is the case with all of our albums, but we've tried a few times in the past to keep the flow from going too melodramatic or extreme. It happened once.

—Really? Because I think Muse has always been melodramatic enough (laughs). Matthew: For this album, we produced it ourselves, so there was no one telling us what to do. So we thought, “Why not? We should have fun and laugh our hearts out!"And that's what we did, and that's how it turned out.

—I'm wondering if your theatrical side is well received in the U.S.A.? To be honest, I have the impression that Muse's popularity there has so far not reached the same level as in the UK, etc……. Is that situation changing already? Are big mouths working to your advantage, or is it the other way around? Matthew: Well, I would say that the tables have turned now. Apparently, people in the U.S. like that stuff more than people in the U.K. In the U.K., there is a kind of saturation of rock music with those elements. Queen, Led Zeppelin, The Beatles, etc., have a history of that kind of thing. But I don't think people are sick of it. They're much more interested in what's going on right now. Whereas in the U.S., and maybe even in Australia, that aspect of music exists more as something to be genuinely enjoyed. It's an element that has been missing from rock music in the past 5 or 10 years. The music of the 90's took itself too seriously and became very serious, and sometimes lost all interest. I don't think there's anything wrong with that, but I don't want to forget that rock music is supposed to be fun. Rock music is supposed to be uplifting. It makes you feel like you can take on the world. I wanted to bring that back.

—Another unprecedented change in “The Resistance” is the very frankness of your feelings, especially in the latter half of the album. Is the song “Undisclosed Desires” a direct reflection of your relationship with your girlfriend? You've never written a song that was so public about your private life, have you? Matthew: Yeah, that's something that I've been wondering about for a long time. Personally, I don't like songwriters who bring their “domestic life” into their songs. I get bored listening to them. That song is certainly …… Well, it's not totally domestic, but there's a lot of personal stuff in it. I think that's one of the things I'm testing myself on. I don't know if I'm really ready to bring that kind of element to Muse... But on the other hand, publicly revealing what's going on with my family, my best friend, or my girlfriend in a way that is clearly recognizable is not what I want to do. Of course, I'm sure those things are in the songs, but I try to put them in a different cloak so that they're not obvious at first glance. Sometimes I make them more graphic than they really are, and sometimes I put a melodramatic spin on them, depending on how I use pronouns. Conversely, depending on the context in which it is placed, it is possible to tell a more open story about oneself. Sometimes I really let it all hang out in the lyrics. In the end, you have to cut out your true feelings. It's a strange contradiction, a strange paradox. If I say, “This is a story about me and my girlfriend,” then of course I'm limited in what I can say. But if I put myself in a different scenario, for example, on this album, I can use the dramatic political backdrop to create a romance…… With that kind of setting, I can explore a lot of ideas without having to be so honest.

"Up until now, we had been holding back the flow to prevent it from going too melodramatic."

—To be honest, how well do you think your fans know you? Do you feel any familiarity with them? Matthew: Well, when I think back to when I used to listen to records and go to concerts of various bands, I feel a certain closeness to the bands I follow because I feel like I'm in direct contact with their thoughts and feelings. It's an extraordinary experience for the fans. We throw a lot of stuff at them on stage. Our fans probably know a little bit about me, and maybe that makes them feel like they know me better than someone in my family, and maybe they feel closer to me. But having said that, my family knows a completely different side of me than they do. There are many sides to people, aren't there? I think that when you put that kind of multifaceted humanity into music, you feel an undeniable connection between the sender and the receiver. I feel that when I play. I feel very close to the people who are watching me. I feel great that they are there to see me, and I feel great that they are seeing what we are expressing, which can only be experienced in that moment, in that place. It's really great.

—You performed with an orchestra in the three-part symphony “Exogenesis.” What was it like to hear a song you wrote played in that way? Matthew: I was surprised and extremely nervous (laughs). I thought, "They're going to laugh, they're going to think it's so cheesy and rudimentary." Because they usually spend their time playing masterpieces by really great composers. But it turned out very well, and I really enjoyed the recording process from start to finish. I had the opportunity to work with the entire orchestra, and finally made some last-minute changes to the score to get a better idea of what they were capable of. It was a great experience. It was amazing to hear my own compositions played by so many people. It was an experience like nothing else.

“I re-read 1984 shortly before we started work on the album. I wanted to do something that was more relevant to our time, not something based on a dream.”

—Now, I'm very interested in how you will reproduce the songs from this album live. Maybe with an orchestra in the background? Matthew: I was seriously thinking about doing a live show. But just last week we started rehearsing and realized that Dom, Chris, and I could do our parts surprisingly easily. We have a fourth member who plays with us, Morgan (Nicholls), who plays synthesizer, keyboards, and piano parts as needed. We basically just leave it to him and say, “Take care of this!" So he is in a panic even as I speak, because he has to play all those symphony parts on the keyboards, hahaha. Well, I will probably have to use more samples and electronics than before, but I'd rather play a live version than just reproduce the studio version as is. However, I still don't know if I will play “Exogenesis” live or not, or if I will include it in my regular set. Maybe only at festivals. We want to add a little fun to the show.

[About the lyrics.] —What kind of work did you have in mind for “The Resistance”? Matthew: I had read “1984” once when I was a teenager (Editor's note: A novel by British author George Orwell published in 1949. In Japan, a new translation of “1984” by Kazuhisa Takahashi was published by Hayakawa epi Bunko in 2009 and attracted a great deal of attention.), but at the time it didn't leave me with any particular impression. I happened to have a chance to read it again shortly before I started working on this album. I was watching all the news that was going on in the world right now, such as the economic crisis, the banking crisis, and the embezzlement scandal of a member of the House of Commons (in the U.K.)……. I wanted to make an album that was more closely related to the reality of the times we are living in, and not something based on a dream.

—In the lyrics of “Uprising”, you use the word “they” frequently. For example, there is a line “they want to control us,” but who are these “they”? Matthew: People who listen to the album can interpret the meaning however they like. I know who “they” are in “Uprising,” but the interesting thing is that it can be very different depending on the situation. For example, if you are in the resistance, you may feel that the police are trying to forcefully suppress you. Then “they” would be the police. Or perhaps the protagonist lives in China, where freedom is being taken away by a communist regime. Well, that could be any government. But what strikes me as particularly strong is what is called “corporate fundamentalism.” In other words, the industrial system that rules the world. Power is concentrated in the hands of a handful of large corporations, maybe even the magazine you are writing about is owned by one of them. They own TV stations, and sometimes they control all the natural resources of an entire country. They are so powerful, sometimes more powerful than the government. When I say "they", I mean those people. They are the ones who create economic crises.

—In “The Resistance,” you sound as if you're scared of something. You say you are concerned about whether your secret is safe and that you can't trust anyone. Matthew: I definitely have paranoid schizophrenic tendencies. But anyway, I saw on the news that there is a big scandal in the UK about government spending, and there is a movement against government policy. People have decided not to support the current government anymore. There are wars going on all over the place, and most English people want nothing to do with them. I began to think that this whole situation could be the subject of an album, so I started doing some research. First, I went back to 1984. I was very impressed with the love story in that book. It's a very tragic story. The lyrics of "The Resistance" were very much inspired by the love story in "1984".

—The album closes with the three-part symphony “Exogenesis. It seems that the title was taken from a new theory about the creation of mankind……………… Matthew: The original idea for “Exogenesis” has been around since our third album. The dazzling piano part in part 2 was something I kept messing around with while we were working on “Absolution”. But at the time, it just didn't seem like it would work for a rock band, so I ended up throwing it away, but the song itself was inspired by that theory. The lyrics are minimal. The song is based on a fictional sci-fi movie that I imagined in my head, part one of which follows an end-of-the-world scenario, a nightmarish hellscape where everything comes to an end. In Part 1, a few astronauts are selected and given the mission to take humanity somewhere beyond the cosmos in order to save the species. In part 2, we see them leave Earth with hopes and fears for the future. In Part 3, they arrive on an unknown planet and begin a new evolutionary process. But in the process of evolution, it is revealed that human DNA is moving through the universe in a certain cycle, and this time is no exception. The evolutionary bag is passed down through the generations, transported to various types of stars, and then dropped off. So that's what Part 3 is about.

"Up until now, there have always been some parts where we weren't sure if we were right, but now we have a firm sense of confidence."

[About the sound aspect] —Your previous album “Black Holes and Revelations” had quite a few heavy songs, such as “Take a Bow” and “Knights of Cydonia”. Did you feel like going a little lighter with “The Resistance” in light of that? Matthew: Well, there were songs that were kind of the cornerstone of the album's safety standards, and they became the first and second songs on the album. Those were the first two songs we recorded when we started the recording process, and the first songs we were happy with. They were what you would call standard Muse rock songs. We thought that because we had that song, we could explore other areas. Starting with a rock song, we felt we had to do something different and unusual. As work on the album progressed, we started doing weirder and weirder things. For example, “Undisclosed Desires” is an electronic song where I don't play anything but Chris plays slap (chopper) bass. Then there's “Exogenesis,” which has a classical influence and sounds like a 70's prog song. And we decided to make it a three-part symphony. So, I started out just trying to make a good song, but as I went along, I decided to try something a little more risqué. And each time I tried something new, I got more and more excited, and finally I decided to make a symphony.

—When and at what stage did you first decide to create a classical symphony format? Matthew: I had been playing some of the piano parts on that song for years, but it was never my intention to make it a Muse song. But when I played it to Dom and Chris, they liked it so much that we decided to give it a try. The best thing about this song was that we were able to work on it in our studio. We didn't have any time constraints, we didn't have any restrictions, so we were able to try out all the ideas we had and figure them out.

—Do you have to keep changing things up musically so that you don't get bored? Matthew: I think we are always looking for something exciting, something that will always stimulate us and make us feel like we have discovered something new. There's nothing better in life. Artists are always looking for something. Especially at milestones in one's life and at times of change in the world. When you are faced with these two things, you always want to try something different.

—But didn't you want to play that classical tune part earlier? Matthew: No, I wasn't planning on making it into a song. To me, it was just like a phrase to practice on the piano. I was just playing around with it. I didn't know how to incorporate bass and drums into it, much less guitars and orchestration. It was purely piano solo material. But for this album, I decided to make the piano part into something that could be played with the band.

―It sounds like it's more difficult than a "normal" song, but was it actually difficult to make? Matthew: It wasn't hard for me. Basically, whatever I'm comfortable with is relatively easy to understand. It just takes me a long time to get used to it. When you listen to Middle Eastern or Indian music, it seems very difficult to understand, but for the people who are actually making it, it's very simple. But when you try to explain it in words, it sounds very complicated. They use completely different sounds and scales than we normally use. But for them, it's not difficult at all. The strange thing about this album is that it is the easiest album we have ever made. And by easy, I mean that there was no doubt in our minds. With our previous albums, there was always a part of us that wasn't sure if we were doing the right thing. But now we have solid confidence. I think this is because we are comfortable with the style we have now. It's a pure Muse album, no outsiders, no record company, no management, no producers to impose their opinions. It is purely the work of me, Dom, and Chris.

—Was it difficult for you to record the album on your own? Matthew: People react in many different ways when they are thrown out on their own and told to do as they please. Some people are at a complete loss because they don't know what to do, while others, on the other hand, are motivated by a competitive spirit and work hard. We were pleasantly surprised to find that we were the latter.

—Your band members must have been surprised at times, too. This album contains not only classical music, but also French lyrics and electro-pop. It's quite a variety. Matthew: I don't know, maybe it's just a coincidence that we met in the same town, but we are musically compatible. Chris has always been open to different sounds. Dom is the same way. I think this kind of thing probably has an influence on what kind of town you were born and raised in, or what kind of childhood you had. I don't know. But I think our band has an openness to all kinds of things, and I think that creates an atmosphere that allows us to break away from the norm, even in terms of our feelings.

“When you've been working with an outsider's opinion for so long, it makes you want to re-evaluate what your pure, unadulterated form was like.”

—You have always been open about your influences. For example, on your last album you said you wanted to do something with Prince. Was the opening track “Uprising” on this album inspired by Goldfrapp? Matthew: No, no, no. Glam rock originated back in the 70's, with Gary Glitter and the like. There are definitely elements of glam rock from many different eras in this song. The most recent being the well-known Goldfrapp, who did an electronic version of glam rock. But have you heard of KLF? They have a song called “Doctor Who,” and “Uprising” was inspired by the synthesizer featured in that song (Note: KLF is the house unit of Bill Drummond and Jimmy Cauty. Matthew's reference to “Doctor Who” is actually “Doctorin' The Tardis,” which was released under the name The Timelords before they called themselves KLF, and is an unauthorized sampling of the theme song from the popular long-running BBC science fiction drama "Doctor Who." (The original song was created in 1963 and has been rearranged several times since then.)). The melody is very similar to “Doctor Who”. It's a combination of influences from Gary Glitter and “Doctor Who” and, yes, maybe a little bit of Goldfrapp. There are a lot of pop artists doing glam rock these days. Britney Spears did it on "Womanizer". However, we wanted to put a guitar in there, so in that sense it was a risky genre.

—Is this the first time you have recorded in Lake Como, Italy? Matthew: We had done the B-side of the single “Man of Mystery,” which was on the cover of NME many years ago. But this is the first time I've done a full album (“The Resistance”). It was also the first time I recorded an entire album from start to finish in the same studio. The only string part was done in a studio in Milan, but that only took two days. All the performances by me, Dom, and Chris were done in the same studio. With our previous albums, we had always moved from one live-in studio to another, so it was great to be able to settle down in one place and work with the acoustics of the room thoroughly.

—You (three) produced the album all by yourselves. This is also a first for Muse. Matthew: We really wanted to try it once, without any outside input, and let ourselves be free to do what we wanted to do. Of course, an objective point of view can be valuable, but after working with outside opinions for so long, we wanted to see what our pure, unadulterated form was like. That was my approach going into this album. I wanted to take a no-holds-barred approach to the music, both in terms of production and songwriting.

—The single “Uprising,” the album's title track, and “United States of Eurasia” are bold, large-scale, highly detailed rock songs, reminiscent of Queen at their peak. Were there any challenges in writing and recording these songs? Matthew: Most of the songs were a challenge in their own way. The first songs we recorded were “Uprising,” “Resistance,” and “MK Ultra,” which we felt were following a style we were familiar with. They all sounded like typical Muse songs. We decided to start there and finish them all at once. Of the three songs, I think “Uprising” was the one I burned through the most. Playing shuffle beats all day long was quite a struggle. It took us a long time to get it right because we weren't used to this style. But once we finished recording those three songs, we felt we had a solid foothold for the backbone of the album, which is the relatively traditional Muse songs. With that feeling, we decided to go out on a limb with the rest of the songs on the album.

—"I Belong to You" is very un-Muse-like, isn't it? Matthew: Yeah, it's much more pop and upbeat. I've never been a big fan of the Beatles, but I definitely see Paul McCartney's influence on that song, from the “Sgt. Pepper's Lonely Hearts Club Band” era. Or “Pet Sounds” (by the Beach Boys), the sound of the so-called “60s,” when anything was possible when it came to music. I added a bass clarinet solo and it sounded like the theme music for a BBC children's cartoon. We all had a lot of fun. Every time we listened to that song again, it made us all feel good……. On our recent albums, we've tried not to be too heavy in a lot of places, because the older albums tended to be a bit darker overall.

Picture: The two other members of the band, except for Chris, who is now a father of five children, seem to be enjoying the rock 'n' roll life. They have become celebrities in the U.S., but there is no sense of flirtation.

—I also think that for most rock bands, creating a three-part symphony (like “Exogenesis”) would be considered an arrogant and irreverent act of folly. But, if there is a band that can pull it off, Muse is the only band on the scene today that can do it. Matthew: I think there has always been a slight classical element in our music. Over the years, this has become more and more prevalent, especially in concerts, where there are many people who respond favorably to the so-called “epic” songs. I think that gradually we began to think that it would be acceptable to do something a little more elaborate along those lines. However, even in that symphony, we were careful to let the emotion of the music be the star and the driving force. We didn't want to show off our technique or ability. That's why there are no solos for each part or anything like masturbation. I just wanted it to be a soundtrack to a very contemporary movie.

—Speaking of soundtracks, did you have a good experience working on the soundtrack for the Hollywood suspense film “The International”? (Ed. note: The 2009 action suspense film starring Clive Owen and Naomi Watts. Matthew is credited for the song titled “The Bank of the Fallen Colossus: End Title.) Matthew: Yes, definitely. I did it more as a chance to get used to orchestral software than anything else. All film composers these days are writing songs using computer software for scores. Instead of writing by hand the old-fashioned way, you just have to type it out like you would type. I learned a lot about the software, and I was able to contribute ideas to the Berlin Symphony Orchestra, which was playing the soundtrack to the film at the time. That gave me a little bit of confidence, because I got to hear a live orchestra play and reproduce the melody, the parts, and the arrangement that I had created. And I started to think, if I can do this, then of course I can do it in Muse. It gave me a lot of confidence.

[About personal life and band] —There was another new scandal recently. It is about a British tabloid newspaper that has been tapping the phones of celebrities. Have you ever been afraid that your phone might be tapped? Matthew: I don't know, I never really thought about that. They are only interested in people whose private lives are intriguing to the general public. They're insanely famous people.. We as a band and as individuals don't expose our personal lives to the public that much. I don't think there is anyone out there who is interested in my personal life. I have no complaints about that.

"We're probably the type of band that's allowed to incorporate more theatrical elements into our gigs than other rock bands."

—What was the reaction of the other members of the band when you first told them you had decided to move to Italy? Matthew: Well, I don't know. But the great thing is that no one really cares when I'm over there. We're so busy touring and recording all the time that when we're on our own, we all disappear like spiders scattering. Some go to Australia, some go to New York, some go to London. In my case, I'm going to Italy. It's not a big deal.

—However, the recording for the last album was done in Italy, close to your home, wasn't it? Matthew: I had to do a lot of extra work on the album, so I asked the other members to come to Italy. It took some convincing, though. But maybe for the next album the studio will be in England.

—The latest R.E.M. album, “Accelerate,” is a very good album. They said they felt like they could be a band again with that album. On the earlier albums, they had been living in different places in the US and rarely played together anymore. Do you feel there is any danger of that? Matthew: We still spend more time with our members than we do with our families. Groups like R.E.M. are much older than us. I think when you get to that age, you don't tour as much for a long time anymore. We tour a lot more now than R.E.M. did. If we stopped touring and slowed down, say, to tour for 6 weeks and then take a few months off, I think it would be difficult. In our case, we spend most of our time together. That's more time than I spend with my girlfriend. We spend most of our time in hotels, on tour buses, in concert halls, or in studios. If that is going to decrease, it will be more important to live in the same place.

[About the live performance] —How is Muse going to get any bigger? Matthew: Well, I don't know if we can get any bigger, but we can get better. That's a fascinating thought. But the scale of our concerts will definitely get bigger. It's not your average rock concert. We're going to take a cue from “1984” and build on that by playing to an audience that surrounds us. It's something more theatrical. It's not opera, but it's as close as you can get.

—Is it like U2's “360° Tour”? Matthew: No, it's different. We have the audience behind us and in front of us. In a way, it's more like a Pink Floyd setting, like being trapped inside a building. It's a message of breaking out of the utilitarian system.

—So you want people to feel the atmosphere of “1984”? Matthew: Exactly. It's going to be exciting.

—Are you looking forward to the three-week U.S. tour with U2? Matthew: I think it's going to be a very simple, no-frills set. We'll be on stage in the daytime, so we won't need any lights. The tour is a great opportunity for us to get back into full-fledged live mode, and it's kind of like a rehabilitation program for us. And we get to see U2 up close and personal at night. I'll get to see how they do it. They are one of the biggest and best live acts in history. Also, it's a lot less pressure to be in the front of the lineup. You don't have to worry about video shoots, performers, and all the other stuff that goes along with being the main act, you just focus on your music. It's the perfect warm-up to get your body acclimated to the live mode.

—Muse is also known as one of the best live bands in the world, isn't it? How do you expect to top your last show in the U.K., where you played to 150,000 people at the renovated Wembley Stadium? Matthew: I try not to think too much about going over. We look at things differently every time. But I'm sure we'll have more of those balloon-dangling-performer gimmicks. We are probably the type of band that is allowed to incorporate more theatrical elements into our gigs than other rock bands. Of course, we'll be playing a selection of new songs from the new album. What we're looking forward to is trying to recreate that symphony live. I don't know if it will work, but it will probably be a Hans Zimmer-style synth version (Ed. note: German composer and synthesizer player famous for his film scores for “The Lion King,” “Gladiator,” “Pirates of the Caribbean,” etc.).

#Matt Bellamy #Dom Howard #Chris Wolstenholme #Muse #The Resistance era #my scan #translation #interview #FINALLY done with this!#I've put lots of links to stuff that is worth listening to #seriously just listen to them all #especially Elīna Garanča's rendition of Camille Saint-Saëns' 'Mon coeur s'ouvre à ta voix'#it's tearfully beautiful

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angels-and-glitters · 4 months

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I need to COMPLAIN.

This is gonna sound edgy nerdy not so girblogger coded but let me getto out of my silly girlie pop character for a minute i am RAGING.

For context two days ago i suddenly remembered that WEBTOON exists after trowhing it in a black hole in my mind, so i re download it and i start reading one. Apart from the endorphines i forgot a good webtoon gave me,

(whole other talk about redescovering old intrests !!!even if they look silly!!! when you feel a dry mind)

I finished it in a couple of days, and as i usually did when concluding a webtoon, a comic or any possible thing i liked, i start looking for the edits so i can imagine myself being in that universe while playing them.

(its a physical need i swear)

(No judgment let me being a cringy kid at the sound age of eighteen thanks)

(Its a guilty pleasure.)

Getting to the point. I am in DISAPPOINT.

What the fuck are these dry stupid no personality rage triggering edits.

They are MID.

Feel free to be' offended i stand where i stand

What the hell are these kids doing!?!

I had to scroll through YEARS to find the good ones.

So i started my reaserches.

First of all, i got to the sad conclusion that instagram edits are going through extinction.

Back in the days (☝🏻) when tik tok (musically for the ancient) wasn't that big of a thing for edits, you went on instagram (at least i did!!) And they were TOP TIER.

Masterpieces.

I would've hanged them on my walls if they were physical.

They were energetic, fresh, powerful, you could tell who's edits were by they're style because the editor's styles were so different one another.

They fitted the medias perfectly and don't let me start on the transitions.

They were immaculate.

Perfect to the millimeter.

These type of edits made me immerge in the media even more, i had my favourite edits saved, (a LOT), and i watched them every night before going to sleep multiple times, they were a lullaby to the mind.

But on my trip to these new (and few) Instagram edits... I was horrified.

First of all, no character whatsoever is put in these digital scums, the personal style is gone.

Probably due to these ages generations who wants to look the same be one another fit into something precise (I dont have the strength to start another fuss I'll just keep going with my silly polemic) but the transitions.

They are MID MID MID even terrible.

Actually I hate them.

There is not an ounce of effort in those disturbing sliding of images.

There isn't flow, variations,good blends. They all look like they were made by 10 year olds (wich is prob the case) and don't tell me oh it's just the age they'll learn as they grow.

No.

I want the twelve year old freaks that edited like it was they're last day on earth.

Like theyre life depended on it.

Where did they go?!?

What's wrong with this generation? why didn't they pick up the heredity theyre ancestors gave them?

Why did they throw it all away?

Why are they descending into this madness abyss?

And the music choices.

Disgusting

They never match the mood of the fiction, or worse the mood of the edit itself.

And honestly they're just boring ass songs.

Now, what I said about these Instagram edits applies also for the tik tok ones, but with some differences.

First of all, because there's much more editors on tik tok now, luckily there are some exceptions.

Some good stuff that's going on, but for me it's still not enough. From the parameter of the golden age of edits, those edits are just.. average.

The average good stuff you save and lightly watch. Its hard to find an edit that makes you obsessed. It wasn't really back than.

And most of them still lack the personal style, that again, I think its crucial for the ideal enjoyment.

I also noticed that the capability of the editors changes based on wich media the edits are of.

Like for example the editors of jujutsu kaisen (dont ask me anything i didn't see it) aren't doing a so bad job.

Maybe because the target audience is older so are the editors, idk

But it still lacks something.

That sparkle that was there before

The one that made you crave to watch it again and again

Maybe it's just me who's lacking something I had before , and nothing else changed

In conclusion, I think the editing culture ended at the start of 2022.

Idk tell me you opinion so I don't feel crazy thanks!

(Sorry in advance for the bad english i'm not a native speaker or anything)

(Edit not sorry this is a masterpiece I should be employed somewhere my English is near perfection)

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rebuke-me · 9 months

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broadway bmc critiques

this is a list of all my critiques of broadway bmc, in no particular order. this is not a post meant to hate those who are fans of Broadway bmc, because preference is subjective. I did my best to keep personal bias out of it, but some aspects are inextricable. please keep discussions civil. if you think critique will make you upset, I encourage you to skip this post.

- the writing is significantly watered down for the audience. while the original show was not a masterpiece of writing by any means, it only occasionally talks down to the audience. part of my interest in the original show was the open-ended characters. however, in the Broadway version, subtext is made into text, and that really hurts the show. most of the characters in tr had presumed depth, whereas bw wrote sync up: a song telling everyone exactly what was wrong with every character, rather than having the viewers observe it for themselves through dialogue and actions. tr already laid that foundation, it already had the character development. fans had already been analyzing the characters for years, and everyone pretty much got what they meant. bw felt, to me, like it was holding my hand through it and explaining to me every aspect of the characters.

- the writing of the new songs especially is. incredibly contrived. I've listened to the songs as I can bear (I do not like some of the voices in the songs, so I will admit to not listening to all of the songs, but I did make an attempt.) and the writing is significantly worse. while the tr songs weren't masterpieces, by any means, they were at least catchy and fun. the appeal of the bmc music is the earworm of it all, the way that it's fun and memorable. the bw versions new songs have not stuck in my head whatsoever, unlike the previous songs. loser geek whatever is another case of telling the audience rather than showing it: fans of tr already knew Jeremy was upset about being an outcast. we understood that. his decision at the end of upgrade was understandable to audiences, although usually not agreed with. an entire song with the writers literally physically telling the audience how he is feeling, in simple rhyme and a melody that doesn't stick out, wasn't necessary. a new song was intriguing, and could have fleshed out plot holes of the original show, but instead just tried shoving another square peg into a hole we had already been made aware of.

- fan pandering. this is an aspect of every media that has a large internet fan base, especially in the past ten years. while some aspects of the show may have been in the plans all along, the Broadway version feels like they were too engrossed in the fan culture. im a big proponent for creators being divorced from their fans, and the Broadway version is why. the addition of more moments implying a romantic connection between rich and michael at the end, with no discussion of character development, felt shoehorned in for the fans. Michael as a whole shifted closer to the fanon interpretation of him, rather than remaining the character from the original show, becoming more soft spoken and awkward.

- failure to add in diversity in a respectful way. (to preface this, I am a white person. if I say anything out of line in this section, I am more than willing to admit that, and would love to hear from the perspective of poc bmc fans, especially black fans.) a main critique of tr bmc in my opinion is the way it handled a lot of heavy topics, including diversity and the like. bw bmc made strides towards giving roles to non-white actors, which is always a good thing. however, the characters chosen for the diversity were made more stereotypical for being made into poc. jenna rolan became more of a stereotype of a talkative, phone obsessed black woman. Jenna is the less egregious example of this, as she has more depth. however, jake being black makes his character traits of being the child of money launderers, being violent towards others, being unhoused and physically harmed in the fire, not knowing how to "speak properly" at times and being a "player" seem more racially motivated. of course, none of these aspects of a character are bad, per se, but all combined into a character that is now black feels stereotypical.

- failure to fix some issues with tr. I am always willing to critique my own interests. while I have a preference towards tr, and a fixation on it, I will admit it has issues. notably, these include telling rather than showing (an issue that only got worse in bw), the treatment of female characters, and a variety of other issues. female characters in bw still have the same issues, as a whole. brooke is still the stereotypical blonde ditz. she does get a bit of development, but an opportunity for her to stand up for herself could have been needed in bw. christine is still little more than the love interest, and still ends up with the main character at the end, despite being meant to be a feminist, complete with patch on her jacket. the female characters rarely talk to each other about anything other than a man, or gossip, usually about men. none of them form solid friendships with no romantic ties with almost any of the male characters, either. the show costumes the characters in apparel that preaches feminism and writes a message about equality and being yourself, yet bars most character development from the female characters. this could have been rectified in bw, considering an entire song was added and scenes were rewritten, but was not.

I have other issues with the show, but those are more personal critiques with preferences, rather than in depth analysis of why I think the show is not as beloved by the fan base as a whole. those aren't going to be added here, because a lot of them don't lend any credence to my arguments, they're just personal opinions on character choices and actors.

if anything I've said in this post is incorrect, please let me know. I admit I'm not very well versed in the Broadway show, since I very much dislike it, so if any details are incorrect, I'd love to hear your thoughts.

also like. don't be a dick in the replies and tags please, that'd be nice. civil conversation and debate is okay, but attacking people for their interests is not.

#bmc #be more chill #Broadway bmc critique #bmc discourse #< kind of #be more chill musical

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worstlovesong · 6 months

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asks for distractions: what are your favourite lucy lyrics? (solo + boygenius inclusive!)

Thank youuu <3 I apologize in advance for anyone who thought I could be normal about this because I am simply Insane about Lucy’s writing <3

“We had a lot to measure / We had more past than pleasure / And time grows deep like weeds” - Dream state…

This song hits me hard post-bad-friendship but this lyric sticks with me. Realizing that even if there was a lot of memories built with someone, they may not be Good Ones. Realizing after the fact that perhaps the time spent together wasn’t as good as it once seemed. Time is always moving forward and now that you’re away from them, you’re left with a mind full of invasive weeds to pluck through in search of new growth.

“If beauty is the only way / To make the nightmares go away / I'll plant a garden in your brain / And let the roots absorb the pain” - Trust

This chorus makes me so !!!!! Like oh my god. It’s just beautiful, it’s a promise of a loved one wanting to ease your pain and soothe your fears in the gentlest way. It’s a promise to yourself, to find beauty in the world and hold onto it because then there’s a reason to keep going.

“Don't hold your breath, forget you ever saw me at my best / You don't deserve what you don't respect / Don't deserve what you say you love and then neglect” - Night Shift

This song in its entirety is just a fucking masterpiece. I love it so much and I struggle to express why. This part specifically gets across exactly what I want to say to someone who hurt me and it honestly helps me reframe my thoughts because No this person does not deserve me at my best or at all because they did not respect or love me like they said they did ‼️

“Believe me, I'm speaking plainly and painfully/Trying to stay elegant, eloquent and delicate to you” - Body to Flame

This one just scratches my brain tbh. This whole song is beautiful and just the very human concept of knowing someone so well and yet somehow not fully understanding them because we are all so unpredictable

“The future isn't worth its weight in gold / The future is a benevolent black hole” - Cartwheel

Not being ready to face the future, especially when it takes things and people away from you. Change is hard, change is scary, change is autism’s worst nightmare (and therefore mine). Yet she also implies that the future, while vast and unknown and forcing change, is not inherently evil. The future can bring good things, even if you’re not ready for it.

“I wanna run my fingers through you / You say nobody understands you like I do” - Partner in Crime

Once again this just makes my brain go ‼️

“You called me cerebral / I didn't know what you meant / But now I do, would it have killed you / To call me pretty instead?” -Brando

This line and I Don’t Wanna Be Funny Anymore hit me for the same reasons. Growing up being forced into the role of the funny one or the smart one but I was never pretty. It’s just that frustration with people who can’t even bother to give straightforward praise/compliments, calling you an old soul or wise for your age or cerebral. What does that even mean, when you’re 10 years old and just like to read books but they paint you as a scholar or you’re 15 and you’ve never had someone other than your grandmother tell you you’re beautiful. Like goddamn just let me be pretty for once.

“I'm staring at my hands / Red, ruddy skin, I don't understand / How did they betray me? What did I do?” - Triple Dog Dare

After I came out to my family at 15 years old I wasn’t allowed to see my friends outside of school for months. I internalized it, I mean I was still dealing with severe internalized homophobia from the church and I thought it must be My Fault. I remember apologizing to my friends, crying, because I wasn’t allowed to come over or hang out with them. As if it was my fault. I would spend hours regretting coming out, wondering what I did that was so wrong. This line just sits in my brain and wow Lucy Dacus is just like me fr

“I want you to tell me that you miss me / Want you to hold and hurt and kiss me / I wanna run away and live on your family's boat” - Triple Dog Dare

As you can tell by my pinned post I have Feelings about this verse. I’ve posted about this before but this song is the perfect example of young queer love and how adults interfere and see it as impure. This line specifically just highlights that need to be with that person, for them to hold you and kiss you and even if they’re hurting you at least it’s proof they’re there. The need to to run away with them because even if you’re missing at least you’re together in the end. God this song makes me fucking feral.

“But it feels good to be known so well / I can't hide from you like I hide from myself / I remember who I am when I'm with you / Your love is tough, your love is tried and true-blue” -True Blue

I’m really gay and I love my girlfriend <3

But also like this song just fucking hits oh my god. Being known and loved by someone in a way that is so genuine, so honest, so raw. The parts of yourself you are ashamed of they embrace openly. A dependable and honest love that makes you remember yourself, truly see yourself.

“I wanna live a vibrant life / But I wanna die a boring death”

AND

“Oh, it hurts to hope for more / Oh, it hurts to hope the future / Will be better than before” - Afraid of Heights

I remember after my first listen of this song I just sat there stunned, crying. This song is so dear to me and Lucy has my entire heart. I relate to the concept of a toxic friendship in which the person pushes your boundaries and shames you for them. Every word of this song resonates and I’m so tired so I don’t think I can do it justice but I truly have many thoughts on it.

The wish to just live a bright and exciting life but not die in a risky, stressful, painful way. The pain of the unknown, of the future, once again going back to the benevolent black hole. Just hoping that one day things will be better because it’s all you can hold on to but it hurts so much some days

This got so long 🫠 I recognize I have a problem and I just want y’all to know I love Lucy Dacus she’s everything to me <33

#also the entirety of we’re in love but I didn’t think y’all wanted me to add that agsjdjd #Lucy Dacus songwriter of all time #I can’t help that I’m a lyric guy and I hyperanalyze everything I listen to #cj.txt #asks #anon !!#lucy dacus

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joshriku · 1 year

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tag games dump yippee!

i fucking love talking let me just dump thoughts. tagged by @ray-gurl thank you thank you :3 i'll be tagging some people but feel free to snooze this off hehe @lucky-lesbian @rivertigo @cuddlingsun @highstrionics

top 5 no skip albums!

i actually don't know what my favorite albums off the top of my head so i'll consult with the spotify stats they never lie.

bad love by key: oh my god. literally no skips. the best album ever made. the day this dropped it made me a worse person and i still am. i have almost 1k streams on this. it's bad for me. i can't even tell a favorite song i love all them so much.

sam's town by the killers: i have 800+ plays on this. it's SO bad for me. i hope bling, why do i keep counting, and this river is wild all beat me up together i love them so bad throws up brandonf lowers was so fucking insane i love you the killers

black holes and revelations by muse: this is unfair bc muse is my favorite band in the entire fucking world but oh my god. even though i love absolution and origin of symmetry i do skip some songs but this one? i skip NOTHING. i sit through it. i feel EVERY SONG!

delight by baekhyun: um..actual masterpiece of a mini album AGAIN..thanks baekhyun for my life maybe? ghost-love again the songs that you are.

that being said the war by exo you mean THE album of all time no skips no skips for real even the songs i used to think were a skip aren't actually one i was just young and naive.

shinee's don't call me which is unfair bc all the shinee albums are entirely solid but don't call me has i really want you and body rhythm and kind sooooOOO..

next game yippeee thank you sm @shawoluvs :DD

☆ three ships ㅡ 3 ships i keep rotating in my brain would be um charles/erik (movies) charles/erik (comic) charles/erik (turtle/eagle). JK but it is cherik. also raven/irene :3 and lately it's my fucking little rarepair that not even the freaks on tumblr care for (lorna/monet). it's hell out here

☆ last song ㅡ eat your young by hozier :3

☆ last movie ㅡ i think it was spider-verse again LOL i love that fucking movie!!!!!!

☆ currently reading ㅡ i'm re-reading the book thief! it's been like 10 years since i read it and now i'm doing it in english lol

☆ currently watching ㅡ currently i'm watching the adventures of sherlock holmes 1984 but here and then i just watch arrested development over and over again.

☆ currently consuming ㅡ well right now i'm watching my friend play resident evil 4 so that's my current consumption. in general i'm just consuming comics and viddy games lol magneto.....

☆ craving ㅡ coke im ngl i just had dinner so LOL

yay! thanks again! :3

#tag games #woo woo wooo

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some-complete-idiot · 1 year

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Tag 9 people you want to know better!

Guess I’m playing now :)

I was tagged by @drsteggy and will gladly participate!

Last song: The last song I listened to was Black Hole Sun by Soundgarden. A very ethereal song that strangely reminds me of Kiss From A Rose by Seal.

Last show: I’m guessing this means the last TV show I watched, which was Marvel’s: The Punisher. And let me say, it kicks so much ass!

Currently watching: My Hero Academia. I write about it in my free time and have never watched it before, so I feel like it would make me a better writer if I were to actually watch the source material.

Currently reading: Hatchet by Gary Paulsen. It’s my comfort book that I read when I’m having some hard times.

Current obsession: Wanna hear about how Saints Row 2 is a masterpiece that deserved a better sequel that whatever the FUCK the third game was. Look I don’t have time to yell why it’s bad just watch this video

Okay uhhhh how about…

@whatanightmaregrinch @averysweet @dekacchannn @bkdkspoon @neuronygma @denkisauce @djsadbean @farmhandler @averysweet

And you know what cause someone new came around here and I want to know them more

@a-chaotic-gremlin

#tag game #sorry for the @#very sorry

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fonkeloog · 2 years

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Britt's music things (deluxe edition)

Sounds Good Feels Good

○ Artist: 5 Seconds of Summer (5SOS)

○ Release date: October 23rd, 2015

○ Duration: 1 hour and 4 minutes

○ Overall rating: 7,6/10

Money: 6.4/10

I swear to god the first time I heard this song I got a near heart attack. The first 20 seconds is just background noise of them getting into the studio and settled behind their instruments. I had my sound all the way up. Once the music starts, it’s loud!

So, there aren’t any lyrics that are important to me. It’s a great song to dance too and an absolute banger to start the album with.

Take my money is a very accurate lyric. I am broke, but please take my money in exchange for this album on vinyl.

She’s Kinda Hot: 4.8/10

Very much a song made for the radio. It’s a bop, but it’s overplayed and I kinda hate it.

They say we’re losers and we’re alright with that / We are the leaders of the not coming backs. / We are the kings and the queens of the new broken scene / Yeah we’re alright tho.

Teenage me took these lyrics and made them her life anthem. And I can’t blame her for doing so.

Hey Everybody!: 6.1/10

Again. A radio song. I don’t hate it, but it definitely is a skip most of the time.

It is a great song for dancing, but that’s it really.

I don’t hate it, but it’s very pop sounding. (I listen to a lot of pop. So me saying this should tell you enough regarding the general sound.)

Permanent Vacation: 7/10

Congratulations, your imitations / Are taking over the radio stations / Corporations, calculations / We’re the voice of the new generation

This bridge is a masterpiece and I love it. Other than that, it’s another happy song without a lot of meaning.

Since this is the 4th song, the listener will start to think they have an idea as to what the sound of the album will be like.

Jet Black Heart: 10/10

And then you get hit with this.

Tears. Pain. Ouchies.

Cause I’ve got a jet black heart / And there’s a hurricane underneath it / Trying to keep us apart / I write with a poison pen / But these chemicals moving between us / Are the reason to start again.

The blood in my veins / is made up of mistakes / Let’s forget who we are / and dive into the dark / as we burst into colour / returning to life

I cannot with this song. It hurts in a good way, but it also hits way too close.

This song is kind of like a divider in the album. Before this it was all very happy and fun, but now you get this and it just makes you realise that this might not be your new ‘Happy album’.

Catch Fire: 8.3/10

I know that I can’t change the world / But maybe I’ll change your mind.

Really this song is just another one of those where you start listening to the lyrics and suddenly they hit you like a fucking wrecking ball.

It’s really hard to rate this song. Because I skip it almost all the time but I actually really like it? I just have to be in the mood to listen to it I guess.

The lyrics make up for most of the rating tho. The sound is not doing much to me personally.

Safety Pin: 7.1/10

The 2015 sound really comes out here.

Two wrongs make it right / We’ll safety pin, the pieces of our broken hearts back together / patching up all the holes until we both feel much better / Deleted things are really dead, so now I’ll say the things I never said / We’ll safety pin, the pieces of our broken hearts back together / No more waiting, we can save us from falling

Waste The Night: 7/10

Now that I critically listen to this album I realise that the main reason I like it, is because of the sentimental weight it has to me?

I don’t hate it, but they have definitely made much better albums after this one.

The last minute of this always catches me off guard. I think the song is finished and then the instrumental part starts.

Said instrumental is also the sole reason this gets a 7. I couldn’t care less about this song otherwise.

Vapor: 6.9/10

Okay. Call me a hypocrite, cause I will absolutely lose my mind to any of these songs live, but I don’t really care for this album as much as I used to do?

Vapor is still a bop, don’t get me wrong. I can totally see why teenage me went absolutely crazy when this dropped, but I am very indifferent to it?

Make it sound so sweet / when you lie to me

Still a solid 6/10 tho.

Castaway: 9/10

Now this I still love.

Cause you walked out and left me stranded / Nothing left but picture frames / And I just keep on asking myself / How'd we drift so far away from where we left off yesterday? / I'm lonely like a castaway / Heartbreak that I can't escape, a sinking ship I'll never save / I'm lonely like a castaway

I love the guitars, the way the fall back and the return full force.

This is what I remember most of the album being like, so it’s nice to know I wasn’t completely making things up

The Girl Who Cried Wolf: 7/10

This is so fucking sad. I love to listen to this when I need a good cry.

So look at me in the eye / is anyone there at all? / Cause I’m not dreaming / So look at me in the eye / Is anyone there at all? / Cause I’m not leaving

This song still means a lot to me, and it still makes me cry when I listen to it.

The way they end it just hits. Michael’s voice is so raw and full of emotions. It kind of feels like a hug from a friend

Broken Home: 7.5/10

I used to refer to this as ‘the divorce song’

It’s sad, and I like how vulnerable it is, but I can’t really relate to the lyrics so that makes it just another sad song to me.

I love how much it has done for a lot of other people tho.

It’s heartbreaking, but in a nice way?

Fly Away: 5.7/10

This song after Broken Home is the biggest emotional whiplash you’ll ever feel.

I like the song, I do not like the sudden change of pace.

It is once again a ‘I can see why teenage me loved this’ kind of song.

I like the parts where the music is kind of stripped away, but that’s about it.

Invisible: 9.8/10

I was already missing before the night I left / Just me and my shadow and all of my regrets / Who am I? Who am I when I don’t know myself?

Those lines still hit a little too close to home.

Another day, the walls are built to keep me safe / I can’t escape, it’s too late.

What a line to end with. And the violins?! Fucking beautiful

Airplanes: 8/10

I like the sound of this a lot more than I did when I was younger.

Like angels can fly, we’ll never die

That line is all that matters in that song. That, and the way the beat keeps coming back.

Solid 8/10. I had kind of forgotten how good of a song this was.

San Francisco: 9/10

This is giving such big ‘long lost childhood friends’ vibes. I love it.

It’s like a safe haven after the heartbreak.

I wanna get back to where we started / To the summer night / You know, you know, you know, you know we got it right

The song ends at 3 minutes, and then has a full minutes with violins and guitars to close it. I’m absolutely obsessed with that part. Especially when the violin joins. It just all works so well and ugh. I need that part to be longer

Outer Space / Carry On: 10/10

Can I quote this whole song?

6 minutes and 38 seconds of absolute heaven.

The darkest night never felt so bright with you by my side / Nothing like the rain, nothing like the rain / When you’re in outer space, when you’re in outer space

I love that part so much

Carry on, outlast the ignorance / Moving on, survive the innocence / And it won’t be long, won’t be long, won’t be long / You know it’s gonna get better / You know it’s gonna get better

God, what a way to end an album. Hearing this live was a dream come true and way too many tears. If you want to listen to only one song by 5sos, please let it be this one.

I always forget about this song and I’m so glad this reminded me of it again.

-------------------------------------------------------

Summary: teenage angst and every song on the radio in 2015 had a baby

This album will always hold a special place in my heart. It made me a fan of 5sos. Whoever, during the review I realised that I've grown up. A lot of the songs I used to feel passionate about don't really do anything for me now. I still like them, but it's definitely not my favourite album of theirs anymore. The first songs sound like they just wanted to get a hit, and then they close with such a wonderful one? It's kind of all over the place, but I love it anyways.

#britt's music things (deluxe edition)#album review #sgfg #sounds good feels good #5sos #i grew up with this so this is kind of bittersweet

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dbeatappreciator · 5 months

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“(supposedly) a much shorter amount of time later”

October 19th-December 26th: Thotcrime - D1G1T4L_DR1FT

CyberneticGrindcore. This album is the shit. This album is everything and I love it, I love it more than being alive yet I’d also say it has helped me stay alive. After a year of this masterpiece I'm really excited to further explore this masterwork expression of trans joy, love, pain, and triumph. I don’t remember how I first heard thotcrime, probably had something to do with Jisei or The Hirs Collective but I can’t say for sure but they really unlocked a love for an honestly really weird sub genre of grindcore so this is quite a taste defining band for me, the musicianship and lyricism displayed on this album are insane, and the incredible technical display of music production on this thing are something that makes this a good listen for any “serious” metal enjoyer. Thank you thotcrime.

I’m gonna piss on your grave Joanne! wait what? wrong thotcrime release? oh shit. *flips through a comically large folder full of percy jackson fanart* ah yes here we go, This isn’t foundation, Now please give me your skin is possibly one of the most quotable song titles in existence, this song is brutal and aggressively feminine, if i had to describe the sound of this visually it would be a birthday cake oreo (double stuff) half dipped in glossy, gooey, dark pink chocolate. As someone who failed to fall in love with ønyøurcømputer for the most part this song had me hooked on a more realized and more defined thotcrime sound, the mathy grind/deathcore style guitars get me fucking hyped every single time, and the production is so good that every cool thing is heard. While I don't have the time (or energy) to dive into every song and will be for the most part giving a highlight reel, I would like to compliment the very clean vocal style on Rejection Sensitivity Dysphoria and how well they blend in with the panic chords and blast beats. trust://fall is a very important song to me, after I picked up my first bottle of estradiol i listened to this song and cried in my car, i think that music like this that validates the feelings of people who are thinking about transitioning or are very early on in their journey is incredibly valuable, stuff like this keeps us alive and improves our quality of life so greatly, plus it’s a fucking banger.

The ebb and flow of the stylistic texture of this album is possibly my favourite part of the whole thing, the whiplash you get going from You’re Like A Black Hole, The Way You Expect My Life To Revolve Around You to Tweet This! is one of my favourite transitions on the whole album, the insanely scathing and brutally heavy YLABHTWYEMLTRAY is perfect to scream along to in your car, thotcrime is leaving a red mark on the cheek of all the entitled and comfort obsessed boys that may find this album through the metal world, and Tweet This! is perfectly catchy and musically brilliant, the pulsing beats and incredible vocal delivery are exactly the kinda of unexpected thing you should come to expect from this record, this song is the crunchy chocolate bit inside the Dairy Queen cake, it’s falling asleep on facetime with your best friend, and it’s the song on this album that will make your friends leave you on aux until the album is done.

The features on this album from mathcore’s heaviest hitters like The Callous Daoboys, Dreamwell, and Pupil Slicer bring their best performances on this album and deliver some of the heaviest hitting songs, Carson Pace is harkening back to the frantic, noisy, die on mars screaming style for one of my favourite songs hes ever been on, Aki McCollough’s scream is so evil and such a welcome sound contribution to this noisy landscape, and Totcrime vs Pupil Slicer (in the studio!! for real!?!?) is such a fucking jam that will 100% get stuck in your head if none of the other songs beat it out. For the sake of time and the fact that i’ve been trying to do this write up justice for like a month we’re gonna jump right to I Couldn’t End Me, So I’d Like To See You Try, this song has pulled me out of some dark shit, it is possibly one of the best closing tracks i have ever heard, so heavy and cathartic, a song that will have you screaming and crying, and after a couple listens you won’t be able to stop yourself from singing along, some amazing screams, production, and heavy guitars, is it hyperpop? is it false grind? it’s neither, it’s thotcrime.

There’s nothing quite like this album for me, this post has been such a mountain for me to get over, i can’t do one of my favourite albums of all time justice, all i can do is hope that people agree with my love for this, so i sat on this post, poking away and editing it, the record not leaving my turntable for hours at a time, and then something happened. for those who don’t know, Dot, the drummer for thotcrime passed away recently, hir contributions to heavy music and metal drumming will never be forgotten, hir legacy lives on through the lives ze touched, and the noise ze made, there’s no point here, there’s no punchline, hug your friends, like what you like, and be kind, thotcrime is eternal, take yr estrogen and rage.

#thotcrime #trans grindcore #transgender #cybergrind #white belt #grindcore

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qu-film-history-to-1968 · 7 months

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How "Cat People" Walked so "I Walked with a Zombie" Could Run

Dante Calabrese

Before he became a horror master, Russian immigrant Val Lewton worked as a reporter, pulp author, and MGM PR writer. Selznick respected Lewton for his professionalism, and as a result of their cooperation, Selznick offered Lewton a producing position at RKO in 1942. Films by Lewton exceeded both financial and creative limitations. He framed horror in realistic scenarios, with the brutality implied rather than explicitly depicted and the monsters growing out of those situations' human problems. "Take a sweet love story, or a story of sexual tension, about people like the rest of us," Lewton said of his method. you cut in your fear by suggestion here and there, and you have something. "Cat People" (1942) meets all of these standards needed. The set pieces in Cat People are what everyone remembers. Irena terrorizes a pet store in an early scene, which was eventually lifted for The Birds and The Omen. Alice is being pursued by an apparition as she strolls across Central Park at night. Tourneur portrays her sharply spotlighted against a spooky sidewalk covered in whirling leaves. It's a terrifying dream that is broken up by a well-known jump scare when a bus startles Alice back to reality. Afterwards, Alice hears cat meows and watery shadows by a pool, where she discovers Irena mocking her. Before Alice discovers her robe torn to pieces, the revelation looks to be a consolation. Regarding the outstanding differences of "I Walked with a Zombie". Voodoo is shockingly used in Zombie, which grounds its terror in a racial-colonialist setting. For black people who are angry about white exploitation, voodoo is a cultural touchstone. Torneur creates believable rituals that serve as a terrifying focus. Also contributing to this is Sir Lancelot's sarcastic troubadour, who sings a song mocking the Hollands and foretells "shame and sorrow for the family," as well as the fetishized figurehead of St. Sebastian with arrow holes. Lewton uses superstition as a sign of defiance even though he believes it to be humanity's fatal fault. Remember that a voodoo-inspired slave uprising was the origin of Haiti's violent revolution against France. In addition to having a more subversive edge than Cat People, Zombie also has a stronger cast. Francis Dee is significantly more interesting than Tom Conway's Cat People role because he is logical and endearingly nice. Edith Barrett, James Maxwell as the haughty doctor, and Theresa Harris as the amiable maidservant all make strong supporting appearances. Later, in Lewton's The Ghost Ship (1943) and Curse of the Cat People (1944), Sir Lancelot, who composed his own calypso ballad, made an appearance. I Walked With a Zombie turned out to be another hit for Val Lewton and is yet another illustration of how this unusual director can transform drab materials into cinematic gold. These masterpieces brought an end to a decade of noteworthy movies, some excellent, some forgettable.

#submission

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worldrankmusic · 1 year

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As humans, we have always been fascinated by the mysteries of outer space. The vastness and sheer beauty of the universe often leave us awe-struck. Music has always been a way to convey emotions and feelings that are hard to put into words. When these two come together, the result is a truly magical experience. Music inspired by space can take listeners on a journey through the cosmos, evoking images of stars, galaxies, and black holes. Here is a guide to some of the best space music tracks. 1. Also Sprach Zarathustra by Richard Strauss - The iconic opening theme from Stanley Kubrick's movie 2001: A Space Odyssey is a powerful and haunting piece that sets the scene for the entire film. Its use of brass instruments creates a strong sense of awe and majesty, as if we are witnessing something truly extraordinary. 2. Starman by David Bowie - A classic from the Thin White Duke himself, Starman is a beautiful and uplifting song about space travel and the wonder of the universe. With its soaring chorus and Bowie's distinctive vocals, it's impossible not to feel a sense of joy and optimism. 3. Space Oddity by David Bowie - Another Bowie classic, Space Oddity tells the story of Major Tom, a fictional astronaut who embarks on a space mission that goes horribly wrong. With its dreamy, melancholic melody and haunting lyrics, it's a perfect anthem for anyone who's ever gazed up at the stars and wondered what lies beyond. 4. Interstellar Theme by Hans Zimmer - The soundtrack to Christopher Nolan's epic sci-fi movie Interstellar is a masterpiece of orchestral music. The main theme, composed by Hans Zimmer, is a haunting and powerful piece that captures the sense of wonder and awe that the movie conveys. 5. Adagio for Strings by Samuel Barber - Originally written for a string quartet, Adagio for Strings is a poignant and emotional piece that has been used in various space-related media, such as the documentary movie The Farthest. Its sweeping, mournful melody is perfect for capturing the majesty and loneliness of space. 6. Mars, the Bringer of War by Gustav Holst - Part of Holst's famous orchestral suite The Planets, Mars, the Bringer of War is a dramatic and intense piece that portrays the violence and aggression of the planet Mars. Its repetitive, pounding rhythm and dramatic crescendos make it a thrilling listening experience. 7. Contact by Daft Punk - The French electronic duo's soundtrack for the movie Tron: Legacy is a futuristic and atmospheric work that perfectly captures the sense of being in a computerized world. Contact, the album's closing track, is a soaring and epic piece that sounds like it was created in a distant galaxy. Listening to space music can be a transformative experience. It can help us appreciate the beauty of the universe and remind us of our own place in it. Whether you're looking for something haunting and melancholic or uplifting and joyous, there's a space music track out there that's right for you. So put on some headphones, close your eyes, and blast off to the stars. Out of this World: A Guide to the Best Space Music Tracks

#Ambientmusic #Spacemusic

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mochikeiji · 4 years

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Kinktober Day 1: Explicit Lyrics

↠ Pairing: Semi Eita x Reader

↠ Warning: SMUT! Fingering, squirting, slight samnophilia if you squint, virgin reader, Semi cumming in his pants.

↬ Word Count: 2.9k

⇢ Day 1: Fingering

You'd never expect anything greater from Semi than he already was. He was both blessed with musical talents and athletic abilities. He was built, he perfect body of someone you'd want to be held against with close and to hold during the nights. Although he was a hot-headed person, he was the most smitten person when he'd come face to face with you, his doll.

Everyday deep acoustic sounds of his bass guitar can be heard spiraling throughout your shared room as he strums each string with his slender fingers, body relaxed against the bed board and lost on his own lyrics about his lover he has written in his mind. A song only for you and no one else's. Every song he has written and played since high school had been private. His band members would beg him to release some of his amazing hits for whenever they would have a music block, but Semi didn't obliged.

He had made it clear that every note and lyrics from his songs were only meant for your ears to hear. He didn't care of the screaming fans and gifts he'd received, he only wanted his song to be on repeat in your heart as it embodies everything he's wanted to tell you.

So when he heard you secretly singing his recent song whilst laying on your bed skimming through your book one night, he his behind the door way and listened. You were a reserved person, in this relationship you were the anchor that held the steaming ship which was him. It took him off guard to see you freely express yourself while he was out for a short while and coming back to see you out of your shell.

But as he continued to listen, he was only human to know that he needed to breathe. Because he happens to be holding back a breath as he listens intently to how perfectly fitting your voice was and the lyrics.

His explicit lyrics.

God, that was his masterpiece. The one he had to put to public since the song was originated by one of his band mates, he only helped at the explicit parts which was a funny reason, they thought he'd be the best at writing it thinking he might have gone through sex already with you. But what they didn't know is that he and you haven't done any of those in the years and he's kept it lowkey that the lyrics he actually wrote were the things he wishes he'd do you.

"Slide it down on me.

Let it all in me."

Breathing out the pent up, hot air in his chest, the tingling of his blood came rushing down to the small forming tent from his pants. It wasn't the first time you've managed to turn him on so damn easily, he had to hold his ground or hide his arousal a lot of times when he was around you. It just hits different with the person he loves so much and wanted nothing more than to feel them closer, but all he can do was put his wishes through songs about you in hopes you would get the message.

And now it was testing his patience.

"I want to hear you scream,

want my fingers to be creamed."

His most erotic fantasy of yours was when he would hear you "sing" while he takes control of your carnal needs and have your body at his command. He'd want that sweet, smooth voice of yours broken and throaty after he was done with you. He wants to record that in his phone so he doesn't have to spend his aching head filled nights fantasizing whilst fisting his cock with frustration those days.

The thick bed sheets can be heard ruffling a bit as you moved into another comfortable position. One that was "too" open for any eyes to see. They say a lady shouldn't be spreading their legs even if they were alone. No excuses, but you weren't one to listen to such crap. Plus, this was your own home with your lover, what was the harm?

His raging bulge.

He groans at sight of your undergarments peaking out from the hoodie he owns to which, was now worn by you. He can make out how his favorite pair of skimpy panties were barely covering your ever so slightly pulsating cunt that made his boner twitch at the sight with need.

You weren't any better. Right as you spread your legs, as cool air shot straight to your core, you sighed quietly at the shivering arousal. To Semi, it seemed as if you were just scrolling through your timeline like you always did, but what he didn't see was the content held on your phone. Shots of him up close during the night's he'd be out of performance flooded your Instagram. Most of them were so up close, and by God bless the eyes of both you and his fans when all photo's were taken with the same goddamn black, tight pants he wore.

The only thing distracting you right now was his song, but now it was getting into your system as you scrolled to one specific photo where his little buddy was proudly prominent. That made you whine with want and need as your toes wiggled themselves beneath the cold, thick sheets.

Semi did not miss a single beat of your actions. That small whine meant for just you and your little world was enough for him to palm his aching erection and feel a small patch of wetness at the side of his pants. He moans a little louder behind the door, eyeing only your needy state until he knows he's already had enough.

He thanks his inner conscience that you used the lamp shade light and not the bright one. The atmosphere of the room being dimly lit brought out even more tension than it did. When he saw you sigh once more and dropped your phone to your side, you raised your arm up to your eye level to cover up your already flustered state, that's when he makes his way in quietly.

Laying down on a cold, lonely bed and being horny was both good and bad. Good because you get to fantasize freely on all the things you want him to do to you— Bad because of the thought of getting caught. But the dirty, lingering thought in your head was if you were caught touching yourself, would Semi do something about it?

Whimpering softly at the thought of his fingers doing their wonders like they do to the strings of his bass guitar, you can feel your cunt pulse, squeezing to absolute emptiness and in desperate need of attention. You concentrated on more of the fantasies racing inside your head, unaware of the wet patch not forming at the center of your panties, and a man knelt quietly on your bed as you entered a realm in a short nap.

Semi groans quietly at the sight, he didn't take you as someone innocent to be so needy at this time. Usually, when you try to concentrate into your own mind you would often doze off into the oblivion. It was a bad habit of yours, it always led to procrastination. But now, he takes it as an advantage.

Deep in your own little world, he thanks the heavens above silently when he slid your panties off with ease, the garter not being too tight, barely even holding on your hips and slid off like cotton on your skin. He hears you moan in your nap with the cool air blasting from the air condition hitting your naked flower.

Semi licks his lips in temptation and raises his index finger, laying on his chest at the sheets as he was still knelt down on the floor. He experimentally traced his finger down to your slit, then upwards slowly. Knowing you've never experienced such thing, he wouldn't want to take advantage of that. Sliding his finger up and down, he eventually settles to lightly poking your hole teasingly, gulping at the juices seeping out slowly, wondering what it would feel like to be inside of you.

"E-eita?"

Your spine shivered at his hungry gaze between your legs. In this situation, Semi would've been stuttering apologies. He does that a lot whenever he'd accidentally grope you and or touch something inappropriate, but now all he did was stare and smirk at your shocked expression and slid one finger inside you.

"Fuck, you're sucking in so hard and this is just one finger, doll. What's got you worked up?"

Toes curling at the slight sting yet relieving feeling, you almost laid your head back down to let your body be taken care of. But being embarrassed and still unsure of the situation, you propped yourself with your elbow and watched in half lidded eyes for his next moves.

"I-I didn't— when did you come home?"

Breathing heavily and trying to hard to ignore that his finger was inside you, not moving, Semi's smirk disappears and was replaced by an adoring smile on how adorable you were being right now when he was about to finger fuck you.

"I came home and heard you singing. I couldn't help myself," he gestures his eyes down to his pants, letting you know what was going on down there as your face erupted in a deep blush along with your cunt clenching at his finger, "Plus you were wearing such panties, babe. You don't think a man wouldn't go crazy if you wore his clothing in combo, hm?"

Excitement bubbled inside of your chest thinking you managed to turn on the hot-headed male in front of you, but that all stops when he wiggles his finger inside you. Surprised, you bit on the sleeve of his hoodie that you were wearing to muffle out a loud moan. Much to your dismay, he pulls his finger out immediately. A string of your arousal connecting and his hand pressing on your stomach to push you back down on the mattress.

"Relax for me doll, I want you to experience a live music video about what you were singing."

Turning your head to the side in embarrassment, you shut your eyes and breathed heavily when his palms went from your calf to your thighs, giving them a quick squeeze and pushing them apart for you to be spread out for him.

He would've cum at the sight. The hoodie bunched up exposing a small portion of your stomach, you panting when he hasn't even done anything to you, and your cunt visibly twitching and oozing with your own cum just begging for more. As he sighs, the warmth of breath directly at your pussy making you sigh as well but jolting a bit when he inserts his index finger back and began pushing in deep and out in a slow pace.

You never realized how much longer his fingers were until they were moving inside you. It felt much different from the times you'd see them strum his guitar. It felt like he was already deep into you when he wasn't even trying hard yet.

"Hah— eita.."

Humming in response, the slick juice now covering his finger as it massages the spongy insides, he takes this as a natural lube and pulls out once more, only to insert again, but with his middle finger joining in. He speeds up a little, still just thrusting his fingers in to stretch you and let you experience your first ever assault in your precious cunny.

You'd suck in your stomach each time he'd thrust back in hard, every movement for a first timer like you felt so good, it heightened your sensitivity level down there. It was a dirty little secret to you that you had tried this before when Semi wasn't around. The nights you would frustratingly try to deepen your fingers but pathetically can't because your fingers were too damn short.

His touch was far from different. Euphoric, if you put it that way.

Squelching can now be subtly heard. The more you succumbed to the thought of feeling heaven thanks to Semi, the more your arousal began to make a mess between your legs.

Semi's eyes doesn't leave your cunt. He wanted to try something daring to see what kind of reaction you'd make if he—

"EITA— AH!"

Puffing out the oxygen he held in, his own wrist flicking on its own as he curls his two fingers inside of you, followed by the accelerating speed of his thrust. He kept beckoning the tips of his fingers in hoped of finding that precious little spot he knows you are bound to experience.

On the other hand, you were already trashing your head from side to side at the change of movements of his fingers. Biting on the sleeve of his hoodie to muffle away the sinful sounds of your voice as your thighs quivered to close and protect yout cunt from his fingers. But he wanted to make you ascend.

Using his free hand, Semi slides it inside the bunched up hoodie and palms your breast. Massaging it in circular motions before pulling the nub, in synch with his pinching to push you off the ledge.

"Eita! Slow down!"

There won't be any slowing down anytime soon. Not when your body does the polar opposite— which was was to grind against his every thrust with his fingers, unaware for some kind of release.

"Shh, I'm almost there, doll."

Almost there? Was he cumming as well even though he wasn't being touched? The very thought of his dick hard and already oozing with pre cum made your mouth water as it released a moan. You didn't know if you wanted him to keep on fingering you until you were done or have him just dick you down already.

Oh, but you were going to have both.

"AH!"

Back arching from the bed as your eyes popped out and your mouth unable to let a single sound out, Semi smirks at your form for a second, stopping his fingers at the place where he's made you freeze and kept beckoning the tip on that spongy spot.

"Found it."

Cooing, he pistons his fingers directly at your sweet spot, not even tired after what he's done to you a while ago and just abuses your squelching cunny.

You couldn't moan nor scream while your bit harder on the fabric and panted through your nose. Cocking a brow up, Semi removes his hand away from your breast and up to the sleeve you were biting on and pins it above your head as he was now seated between your legs and leans forward.

"Come on doll, sing for me."

Everything was spinning at this point, your head throbbing, but it felt so good you wanted more. So good you didn't realize you were at the verge of tears when your lovers dominance began to seep from his body and engulf you.

Semi takes a picture of you with his eyes, all messy and already so fucked out with just his fingers. He was going to have so much fun with you.

"Let me hear you, baby."

Thumbing your clit, he gives it harsh circles along with the ramming of his fingers inside of you and your spot. You cried and looked into his eyes with mouth hung open, finally releasing a song that will forever be in his mind and will make his dreams hotter than ever.

"EITA! GAH— AH, I'M GOING TO CUM!"

He groans at your claim and nuzzles his face on your cheek, feeling his own dick twitch rapidly inside his pants, drinking in each whine and mewls from your mouth as if he was memorizing it.

"Go on, doll. Cream on my fingers."

"E-EITA N-NO! I'LL MAKE A MESS! SLOW DOWN!"

The coil in your stomach was inflating, burning. It was going to pop anytime soon if he doesn't stop his cruel speed. Semi Eita may be hot-headed, but he's also quite the sucker for a mess if it was you.

"Cum, baby. I got you. Show me what a good little singer you are when you scream."

He gives you one last, quick and harsh curl right at your spot. Your eyes popping from their sockets as you screamed his name with Semi giving you a sloppy kiss on your cheek and moans against the skin along with his pants getting soaked. His fingers never stopping while your juice continues to squirt messily beneath you.

Once he knows you were done, he pulls out his now soaked fingers. He grins devilishly and teasingly gives your cunt a few slaps, letting more of the excess juices come out and you whimpering and moving away from his hand.

"N-no, stop."

Reviewing your quivering body, your hand went down on your cunny and cupped it. As if you were protecting yourself from the immense pleasure he has yet in store for you. He chuckles a little before standing up a little, unbuckling his belt to let his pants fall of and kicking them away.

"You made me cum in my pants baby, look."

Grabbing you other hand, he lets you palms the wet patch of his still growing erection. You feel it twitch against your skin as you clenched your thighs with your hand still between them, sneakily rubbing a finger on the slit to which didn't go unnoticed by Semi.

"Why don't you cream on my cock this time, doll?"

#haikyuu!!#haikyuu imagine #haikyuu scenarios #haikyuu imagines #haikyuu scenario #haikyuu oneshot #haikyuu oneshots #haikyuu fluff #haikyuu smut #semi smut #semi eita headcanons #semi eita x reader #semi eita smut #haikyuu semi #haikyuu kinktober 2020 #haikyuu kinktober #semi eita x you #semi scenarios #semi eita

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moldygreenblue · 3 years

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things from the asoue movie

(i personally think did better than netflix asoue, with “honorary mentions” that i can tolerate in ways.)

1. the movie soundtrack. thomas newman composes a lot of good scores, and everything in the asoue movie soundtrack is no exception (drive away is a real head banger). the fact it’s all on youtube, means one can jam to it whenever they go on youtube (i’m guilty of this). i love the netflix soundtrack a lot as well because shoot that is jim dooley’s music (i love his music ever since pushing daisies came out!). but netflix...where’s the official soundtrack? the fact jim dooley’s youtube channel has him uploading songs via request means he’s the only one to listen to the fans who want the show’s soundtrack is why the movie did better because of netflix’s poor treatment by not releasing it. it has to be jim dooley himself having to do it (and i appreciate him doing so because omg i can finally hear the tpp version ‘that’s not how the story goes’ without lemony talking over *tears up*)

2. the vfd group photo. everyone in the photo feels all organic and real. you got members sitting on the floor and steps. some members are standing. some members smiling happy to be there, or with neutral expressions because they don’t want to be there. some are in gestures of sorts (ike is flexing his arm like a goofball; that’s a nice touch to flesh out a dead minor character). it almost feels like the movie team decided ‘since we have the budget, we should get billy connolly, meryl streep, and others to take a photo and we’re telling them they can do whatever they want’. netflix’s vfd feels artificial and very, fake in ways. i don’t want to say it’s a bad photoshop, because group photos can have everyone stand in neat little row all smiles, but some heads feel...off. like, something feels really off with larry, ike, and uh, the guy i think is lemony who is clearly got the worst of it. is that a bad photoshop?

3. the littlest elf. the movie made that elf have a (minor) presence from beginning to end. there’s the fake out opening. the theme song from the fake out opening is heard three more times (twice in-verse, and it’s the final song in the credits) and it’s annoyingly catchy. olaf having a bobble head doll so shoot that means it’s popular franchise in the movie world. the movie made the littlest elf a thing, and netflix only makes it a word-of-mouth reference. what’s weirder for netflix is gustav despite having more of a character and kept his director status (unlike movie!gustav), never bring up this horrific masterpiece and the connection between the two (that i can recall). like, this is not cool, netflix!

4. movie!monty being able to carry snakes and having a personal snake. the movie probably had the budget to do so unlike netflix, but monty in any continuity would carry a snake with him if possible, even for a short amount of time. movie!monty goes up a level by being a giddy herpetologist with his own personal pet snake he loves and adore (sidenote: movie!monty, that’s why petunia thinks you’re a tree you always carry her around. you spoil her rotten). netflix!monty with the winged lizard is not the same vibe, because it’s cgi. i think netflix!monty should have hold a real snake for at least a minute, as a treat.

5. two-thirds of the wide window section. it’s not that i think the netflix version is bad, for i do enjoy it. but there’s so many details in the movie version i enjoy: josephine and her poofy black mourning dress. klaus dissociating in the kitchen and josephine losing it. josephine casually telling the children ‘oh no he [ike] got eaten by leeches’ and the baudelaires are all (O_o) and sunny speaks for them all. the fact josephine is strong enough to pull the chain to show off the wide window all by herself and violet and klaus are still (O_o). josephine screaming at the jane lynch cameo + “we got to get her out of the house.”. sunny accidentally dropping the apple basket. klaus tackling captain sham shamelessly. the baudelaires getting accuse of shoplifting. everything about hurricane herman, especially with josephine’s fears coming true. klaus assuming violet may kill them all with her plan to get off the platform.

the fact that the deleted/extended version of josephine’s death is so messed up (josephine realizing she can’t jump, josephine allowing herself to sit back on the boat, crying as she apologizes, the fog covering her and the boat), i truly think the wide window was the book the movie team attempted to do the series right in their own way, but meddling got involve.

and now, honorary mentions.

honorary mention 1: movie!powder face women ages. i don’t know what is up with their personalities (i’m including deleted scenes), but you know what? the movie team did cast two actresses who fit the age range of the sbg. had the movie continued in hypothetical sequels, i would have 100% believe their recruitment into vfd is connected to the loss of their sibling in a fire. netflix!powder face women are older than their movie counterparts (and maybe book counterparts, taking brett helquist’s illustrations of them as them being on the younger side), so when netflix decided to make ishmael the creator of vfd, they pretty much made a giant hole of a contradiction over their statement of losing a sibling to a fire (unless they aged very badly). netflix due to their major changes of vfd, made the movie look good in a weird way. honorary mention because movie series is dead in the water, and their characterization.

honorary mention 2: the baudelaire’s mansion. the exterior only shows up for one second in its glory before fernald stabs his hook into the photo, but given how the ruins are shown a lot, it’s easy to tell the mansion isn’t super huge, but still huge and noticeable. its location being in middle of the street holding a corner spot of sorts means looking from high above does give the illusion it’s in the ‘heart of a dirty and busy city’. the netflix mansion...it’s something. the netflix mansion looks like it’s borderline on a suburb neighborhood, and the mansion takes up six lots like this not what i thought in mind. it’s honorary mention because the exterior shows up for one second (and i’m not sure how to feel about the interior).

honorary mention 3: movie!lemony hiding his face 24/7. netflix!lemony showing his face is because he’s narrating the series from the future. whenever (past) netflix!lemony shows up, there’s is a sense (future) netflix!lemony is trying to avoid narrating himself because it screams, “oh hey that’s me! oh wait that’s me. i’m just...going to go.” and he leaves and only comes back after he’s certain past!lemony is gone. as much i as actually enjoy what netflix did, i do like the ‘i’m not going to show my face, suckers’ angle lemony has in the books.

the movie carries this over. lemony’s face is always not in the shot because the movie is showing his body head down, obscure by shadows, or do show his face but partly. the whole ‘my ribbon just jam’ bit still has lemony still refusing to not show his face. in fact, it’s hard to find a shot where his face is ‘visible’ without editing the lighting and shadows and what not until the ending, when lemony gets his transcript out of the typewriter due to the lighting of the lamp:

it’s a honorary mention because excluding lemony having no shame on interrupting the fake out opening, no shame on telling the audience to jump out the airplane if they’re watching the movie there, the ‘ribbon just jammed’ moment (if only because movie!lemony blank out afterwards), and technically lemony being melancholic after looking out the spyglass (lemony would totally do that, but in a different context), movie!lemony doesn’t do a lot of things that make him be, well, lemony. that, and movie!lemony’s aesthetics still confuses me to this day.

#asoue #a series of unfortunate events #asoue movie #moldy watching movies #this is actually old tbh #like a few months old #but it's still relevant #i don't think netflix still released an official soundtrack

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runningfreetoday · 2 years

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I noticed something Interesting and was planning on making a short post about it but because I spent hours falling down this rabbit hole, I have elected to write an essay instead.

On The Black Parade album by My Chemical Romance, there is a song (a masterpiece) called “House of Wolves”. In that song, there are lyrics in the chorus that go “I’m a bad man” and the outro repeats “I'm a bad, bad, bad, bad man”. In the musical Annie Get Your Gun, there is a song called “I’m A Bad, Bad Man” featuring the lyrics (you guessed it!) “I'm a bad, bad man”.

Now, you may think that this is just a funny little coincidence (and that may very well be true). HOWEVER! It is a well known fact that Gerard did musical theater as a child and has said in interviews that he LOVES famous theater actress Liza Minnelli and she sang on the song Mama. The actress Judy Garland (Liza Minelli’s mom) was actually supposed to star as Annie Oakley in the 1950 film adaptation of Annie Get Your Gun but was fired! Anyway, I don’t think it’s far-fetched to assume that Gerard might perhaps have some level of familiarity with a musical as famous as Annie Get Your Gun.

House of Wolves features a pre-chorus that goes “Well, I think I'm gonna burn in Hell / Everybody burn the house right down”. “I’m A Bad, Bad Man” features lyrics that go “You're playing with fire and you're apt to get burned”. Also compare “You better run like the devil / Cause they're never gonna leave you alone / You better hide up in the alley / Cause they're never gonna find you a home” to lyrics like “There's a girl in Omaha / But I ran faster than her pa / Can't go back to Omaha / I'm a bad, bad man / There's a girl in Wyoming / And they're combing Wyoming / To find the man in white / Who was out with her that night / There's a girl in Arkansas / The sheriff is her brother-in-law / Can't go back to Arkansas / I'm a bad, bad man” and “For years I have yearned to / Play towns I could return to”. These lyrics show similarities in the narratives (characters having to run away from place to place while people come after them, never being able to settle down) but the imagery associated with the speaker and who is being spoken to get flipped.

I think it’s pretty cool how Bullets and Three Cheers for Sweet Revenge figure into this too. All three albums feature protagonists who die (so does Danger Days, which keeps up the kind of gunslinging imagery from songs on previous albums like Prison). Danger Days is not nearly as concerned with a cohesive romantic storyline as Bullets or Three Cheers. On The Black Parade there isn’t really a romantic arc but we do get hints of relationship drama. Three Cheers is like an emo Orpheus and Eurydice. Bullets is like emo Bonnie and Clyde. Another famous gunslinging couple? Annie Oakley and Francis Butler.

I don’t know how to end this post. There’s probably a lot of connections I missed but I just think it’s neat to see what Gerard’s creative influences might’ve been for MCR and to track how art can inspire more art (or even just to examine unintentional parallels between art).

#my chemical romance #gerard way #annie get your gun #three cheers for sweet revenge #the black parade #i brought you my bullets you brought me your love

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tsukkisbean · 4 years

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how they cheer your up | headcanons

genre: fluff

characters: iwaizumi hajime, miya osamu, terushima yūji, kunimi akira x gn!reader

warnings: none!

a/n: hello if you’re seeing this, that means my scheduled post worked, yay!! hopefully this shows up in the tags otherwise i’ll have to reupload it at a later time (sorry in advance if that’s the case hehe). i’m also trying my hand at writing for other characters so hopefully this does their characters justice??

anyways, i hope everyone is doing well and staying healthy and happy! if you requested something from me, sorry i haven’t gotten to it even though i said i would. i’ll try my best to complete them when i get the chance, thank you for being patient with me 💖 all boys after iwaizumi are under the cut!

iwaizumi hajime

best boy iwaizumi would without a doubt use exercise as a way to cheer you up

but don’t get me wrong, he’s not going to force you to run a marathon or anything like that

i imagine him taking you to one of those entertainment/game parks (not really sure what they’re called ahh) where you guys just hang out all day

when you get there, he’ll immediately take you to the batting cage so you can just channel out all your anger into your swings

once your blood is pumping from the adrenaline he’ll take you to the trampoline area where you guys just bounce around and do flips into the foam pit to burn off all your extra energy

you’ll just be chilling, jumping up and down on one of the trampolines, your back turned to iwaizumi when he straight up scoops you up and tosses you in

he’s cackling and dying of laughter and when he finally offers to help you out you grab his hand and pull him in

when he doesn’t resurface you get nervous, where could he be?

from the corner of your eye you see the foam rumbling slightly but you react too slowly and iwaizumi pops out and tackles you in the biggest hug, peppering kisses all over your face and people are staring as you scream your head off trying to pry him off of you

for dinner, you guys indulge in all the greasy food the park has to offer, and by the end you’re stuffed

to help with digestion you suggest a game of mini golf which iwaizumi gladly agrees to

for someone who played volleyball his aim is absolutely horrifying

he argues that the windmill is IMPOSSIBLE to get a good score on and no one can ever get a hole in one

luck must have been on your side because you get a hole in one right after (and so does the small child behind you guys, but you choose not to tell him that)

you end up destroying him (he lowkey hints that he let you win but we know that’s not the case)

when the park closes, instead of taking you straight home, he’ll take you to a nearby park and the two of you just stroll around enjoying the chill of the night and the stars in the sky

miya osamu

he pulls you onto the couch next to him and the two of you look through baking videos on youtube and osamu being osamu cannot decide because he wants to make them all

eventually you guys settle on a cake recipe by cooking tree (a/n: 10/10 would recommend watching them, their videos are super soothing and aesthetic esp if you enjoy cooking asmr!!)

so at 9pm you guys set off to the grocery store to buy the ingredients you guys are missing

the trip takes much longer than expected because osamu keeps putting in more and more snacks that you guys definitely don’t need

so instead of shopping osamu is trying to grab as many snacks as you can while you trail behind, trying to put them away because your pantry is already way too full

by the time you get home it’s close to 12 and you’re tired but osamu insists that you guys start now

for the most part all goes well, you guys manage to get the batter to look smooth in the cake pan (definitely some playful flour throwing here and there)

the real problem is assembling the cake. at this point you’re wondering why you guys decided on a 3-layered cake that required cutting

teases you for cutting the first layer slanted and so you pass over the cutting to him but his slicing work is just as bad and you just have to bring up the fact that he owns a restaurant but apparently his knife skills suck

you thought cutting the cake would be a problem?? now you guys have to fill the layers and it’s a complete disaster; there’s whipped cream just everywhere and at this point you guys are half filling the cake half throwing it at each other

cake ends up being iced unevenly but that’s the least of your problems

you guys pour the decorative icing on top and instead of running over the sides only slightly, it drips messily down the cake and onto the counter and now you guys have a blob of a cake

you guys spend the rest of the night cleaning up and pass out on the couch and in the morning you guys enjoy a sweet breakfast together <3

terushima yūji

terushima is a free soul and so he believes expressing yourself through art is one of the best ways to feel better

when he sees that you’re down, he’ll immediately whip out all of his salon products and pull you into the bathroom

he takes you by surprise saying that he wants you to whatever you want to his hair - today his hair is your canvas

at first you’re reluctant, but he insists - as a hair stylist it’s all about experimentation with styles and colours and plus he can easily fix whatever you do considering that it is his job after all

so you guys scroll through pinterest together, trying to find some fun hair ideas that you’d be able to pull off on your own (with some instruction from teru of course)

you finally decide on a style and so together start on getting all the hair dye ready

he explains to you the different types of develops and how important they are in the hair colouring process - there are different volumes and will essentially affect how much your hair colour changes

after all the colours are mixed and ready to go, you gingerly grab a piece of hair, constantly checking your phone to make sure you’re doing it exactly like the photo

meanwhile terushima has the softest smile on his face, watching you through the mirror - he thinks you look absolutely adorable with the way your brows are furrowed and your tongue sticks on slightly as you focus

as you run the colour brush along his hair, he’s constantly encouraging you, telling you what a good job you’re doing and how he’s so excited to the end product

while the dye sits in his hair, you sit in his lap

once it’s time to wash out the hair dye, you bring him to the sink and carefully run your hands through his hair, trying your best to give him the best head massage he’s ever had!!!

after toning and a hair treatment, your masterpiece if finally done!! ofc being the boyfriend he is, he takes a million photos and posts them on social media to show how talented his significant other is - like not only is it your first time dying someone’s hair but you managed to pull off RAINBOW hair!! (a/n: think sehun from exo as a reference hehe) he literally will not shut up about you to his clients tomorrow

kunimi akira

kunimi has a rep for being lazy and just overall a really nonchalant kind of person but he’s sharp, so when you’re feeling down he immediately picks up on it even if he doesn’t confront you about it

however i don’t think he’d be as aggressive as the other three and do something huge rather he tries to make you feel better only in smaller ways and it definitely adds up

like in the morning he’ll make you coffee or tea or whatever you want - orange juice, a bakery bun? he’ll make an excuse saying he wanted something from the convenience store anyways and head down. when he comes back with three bags of food and drinks he’ll insist that he just grabbed whatever he saw because he was “too lazy to decide” n b d

throughout the day he’ll be a lot more affectionate than usual, hugging you whenever he gets the chance, maybe even a kiss on your forehead

when you tell him you want to go out on your own for a bit he doesn’t argue - whatever you need to do but when your back is turned he’ll slip you a handwritten note telling you to enjoy your alone time and that he l-word you and it’s even signed off with a teensy teensy heart that you almost don’t notice

when you get back, you’re greeted with the smell of your delicious food mixed with a burning smell and on the kitchen table you see takeout from your favourite restaurants and in the garbage is a black burnt mess - kunimi insists he doesn’t know how it got there even though its quite obvious

you bring the food to the living room and to your surprise there’s a blanket fort set up with pillows spread out all across the floor

when you try to question him, he just shrugs saying that it’s not that hard to throw a blanket over a couple of chairs, even a baby could do it

today he lets you choose the movie even though it’s technically his turn and when you choose a comedy he doesn’t complain about the obnoxiously loud and hot headed lead character

when the movie is over, he quickly cleans up all the trash, making sure you don’t have time to move from your spot

when he comes back, he flops on top of you, holding you close

then he plays the spotify playlist that he made for you; it’s a whole mix of songs - slow, upbeat, instrumentals - anything he thought might help you feel even the tiniest bit better

and so you guys just lay there not speaking, enjoying each other’s presence until you fall asleep

#haikyuu imagine #haikyuu scenario #haikyuu headcanons #haikyuu x reader #haikyuu x you #miya osamu #iwaizumi hajime #terushima yuji #kunimi akira #osamu x reader #iwaizumi x reader #terushima x reader #kunimi x reader #clara click clacks

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