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kidkubrick · 1 year

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breaking bad/better call saul musical solo genres/sounds

this is a joke im taking seriously, i cant explain it any better than that. im vehemently against breakingbadmusical but HYPOTHETICALLY, this is what i would do if i was writing it. i would give each character a different genre for their motif. each character in the shows is doing their own thing, and ends up clashing with another character, hence literally every bit of conflict ever. it would make sense if you had different genres for different characters, the conflict would also reflect in the music itself.

ANYWAYS

walter: i keep coming back to classical music. at first its humble, but it can become pretentious and annoying SO quickly.

jesse: he's walter's foil, so it would make sense to make it early 2000's hip hop/rap but it has no knowledge whatsoever of the roots of the genre. it would be cool if it transitioned from hip hop/rap to something a like classical, like walter, except it actually sounds good and its very euphonous and stuff. yknow what im getting at?

skyler: hannah montana type beat. that's all i gotta say i think it says enough. also like Groove is in the Heart by Deee-Lite.

hank: heavy metal, but with the depth of a crime show that's been running for 17 seasons and does not give two shits about the realism of how the police and/or forensics world works.

marie: Getting Married Today from Company. All of her music is at LEAST 150bpm and would perfectly echo the mind of a high-strung, concerned nurse who's working in a very rich medical facility.

saul: new york in the 50s jazz style. really big and really loud. he's the bitch who gets the tap number and its at least ten minutes long. the clarinet is at the heart of it all though, because there has to be something to represent jimmy, but its buried under layers and layers of flashy meaningless noise

kim: leaning more towards the musical theatre genre than anyone else. very instrumental, i think the saxophone might really fit her, i think it would be cool if the music reflected her emotions more than she did herself, because kim doesnt really wear her heart on her sleeve, so you have to consult the music to gain more insight.

howard: jazz too, but its MUCH more refined and smoother than saul. like the really complicated music theory-y jazz that you hear in bars and restaurants at like 11pm on a saturday night.

mike: ok ok ok. hear me out. but i think if you had like. a lone flute, it would work. like i know it doesnt initially fit, but i feel like it does, because at the center, mike is just upset about everything, he longs for the past, i think, and i think if you wrote something in like the mid-range of the flute, or if you used a bass flute, it would sound really good.

lalo: ok so like saul and mike, lalo puts up a front. i think that front sounds like really loud miriachi music (think al compas de mi caballo). but the center is something brassy, and personally i'd lean towards trombone. trombone can go very low, sound very intimidating, but they can also go pretty high, and sound noble and kind of adventurous.

gus: ahh ok so gus is kind of this god who has a LOT of power. his center is max. so if max isnt there, there wouldn't be a center. i think gus would have like a full ass orchestra. heavy on the bass to reinforce that he's powerful. i think he'd have almost a movie soundtrack genre. if that makes sense. here's the catch. there's very little flute, no piccolo. max is the piccolo.

nacho: guitar. lot of fingerpicking. nacho doesnt get any of the band instruments because he's not really on either side? he kind of just got wrapped up in the mess and now he can't really get out. probably a lot of high notes because he's continuously yearning for a world he can't really get. also its kind of got that humbleness his family background has.

kaylee: just tap. no instruments. just a 5 year old tap dancing SO loudly for SO long.

tuco: nightcore.

#i missed a bunch but oh well #out of character #breaking bad #better call saul

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yourtipsygrandma · 3 years

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Give me a moment I’m getting super emotional over Lord of the Rings and the Shire theme again

#every time #when I die #bury me to the flute solo #LotR #lord of the rings #lotr fandom #lotr humor #about to cry #so good #music #the shire #hobbits

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ask-the-germanic-family · 2 years

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Hey Prussia, it’s time for your solo on the flute and broomstick, MAKE US PROUD!

Prussia- Ok who's ready to ROCK!?

Liechtenstein- Umm not you? Where is your flute and broom?

Prussia- Huh? They were here a minute ago...

Kugelmugel- What if a ghost took them?

Prussia- A ghost!? We'll have to bust it!...............I said we'll have to bust it!.........Hey where is West anyway? He normally tells me not to do this stuff by now.

Liechtenstein- Austria and Switzerland are missing too!

Prussia- Kidnapped by the ghost!?

Meanwhile

Austria- Keep digging we have to bury this broom and flute deep enough that he'll never find them!

Germany- It would be a lot easier if you actually helped...

Switzerland- It doesn't matter, I'll do anything for some peace and quiet.

#hetalia #aph prussia #aph switzerland #aph austria #aph germany #aph liechtenstein #aph kugelmugel

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raise-me-up-take-me-up · 2 years

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it seems that i am back on my lemon demon bullshit in general somehow SO here’s why i love lifetime achievement award:

- the flute. at the start. i hear that flute and my head perks up and my ears prick like i am a beast on the prowl who has just scented prey. i am Ready.

- the fact that the song jumps from 6/4 to 4/4 to 6/4 seamlessly in general is so Good

- idk why but synths are so important to me they are so edible to me theyre my life force so obv im living for the synth solos throughout

- and the lyrics themselves! im crouched over this song and im fitting stories together in my brain

- to me this song is about a pop star who’s dead, and his management team for whatever reasons (yknow. money reasons) have hired some necromancers off of craigslist. and together they’re trying to soothe poor pop star.

- first verse is manager explaining to a confused pop star what’s happening, the chorus is a back and forth between Death/the grim reaper (”you are dead and buried, you are dead”) and the necromancers (”that’s being revised”), as they both fight for the pop star’s soul. second verse are the necromancers (”bro you look amazing! really put-together”) and manager (”you’ve been gone for way too long”) and the third verse is the manager hyping up pop star, right before they go on stage for their big comeback concert (”don’t be nervous, baby, we put a billion eyes back on you”)

- i also saw a comment somewhere that said the final “oh no”s were the necromancers/manager as the zombified pop star goes crazy and attacks people, possibly the necros themselves, and i like that

- i have to say everything from “you are dead and buried, you are dead” “oh but you never died!” to the end of the keytar solo is fucking GOD-TIER. I LOVE IT. I LOVE IT.

- the casual almost chipper “oh but you never died!”

- when the necromancers growl “ain’t nowhere you can hide!” almost triumphantly, like it’s not a terrifying thing to hear.

- when everything goes deadly still and silent with “you’re gonna love us, just remember, this is your last ride. ever. for. ever.” just the abrupt change from chaos to calm like the necros stopped their loud ass machine to comfort pop star

- “fill up your lungs. feel. better.” it’s not advice, it’s a command. + i still quote this to myself to calm down sometimes LMFAO

- notice the connection between “die hard fans adore your hands, they love your throat, and quote-unquote you” and later on “look, it’s you, good as new, new hands, new throat”

- “you’ve earned this, new purpose, lifetime achievement awardddd” *SICKEST KEYTAR SOLO YOU HAVE EVER HEARD OR WILL EVER HEAR!!!!!!!!!*

- i want to live in this solo

- third verse is so short but we’re back to the cool chorus so i have no complaints

- also it’s hard to explain in just text. but one of the synth instruments in the chorus does this cool thing where. my musician friends tell me it’s called pedal. do you notice how the upper notes keep climbing higher while the lower notes sit on the same notes. i do. and i love it. (this image was taken from this transcription’s 120th measure)

- the final “you’ll be number one!!!” chillsssss

- and the way the synth slowly de-escalates, and we finally break.

- unless. oh? what’s this?

- due to my strong personal convictions, i wish to stress that this record in no way endorses a believe in the occult.

- the robot voices are so Good in this. the little ‘follower’ voices have their own inflections and personalities which i love to pick out. and with each repetition they get more out of time with each other.

#lifetime achievement award #laa #lemon demon #spirit phone

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gabrielkahane · 3 years

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Heirloom

Short form:

Heirloom (concerto for piano & chamber orchestra) premieres with Jeffrey Kahane & the Kansas City Symphony under the baton of Michael Stern, September 24-26. Tickets are here.

I’ll play a solo show at Rockwood Music Hall on Tuesday, September 28th. My dear friend and colleague, Johnny Gandelsman, will open with a solo violin set. Johnny’s on at 7pm, I’ll go on around 8pm. Tickets are $20 and are here. This will be my only NYC appearance this year!

Applications for Luna Lab with Oregon Symphony are now open! If you are a female-identifying, non-binary, or gender-nonconforming composer between the ages of 12 and 18, and live in Portland or Southeast Washington, please apply for your chance to study for a year with the incredible Nathalie Joachim!

Long form:

Several years ago, my friend Eric Jacobsen started pestering me about writing a piano concerto for my father, Jeffrey Kahane. It was an intriguing (and natural!) idea, but I kept putting it off in large part because I’ve never felt comfortable with large-scale instrumental composition. I think of myself first and foremost as a songwriter, and while I love to write for instruments in the context of vocal music, I feel almost entirely unmoored when voice & text are taken away. But Eric was persistent, and, well, here we are. Next month, the Kansas City Symphony will open its season with Heirloom, after which the piece will be heard in the coming years in performances presented by the co-commissioners who’ve rounded out the consortium: the Oregon Symphony, the Aspen Music Festival, the Los Angeles Chamber Orchestra, the St. Paul Chamber Orchestra, and Eric’s Brooklyn-based group, The Knights.

Heirloom is an aural family scrapbook, exploring, in its three movements, a series of inheritances. I’m incredibly excited to witness its birth September 24-26 in Kansas City. You can find the program note I’ve written to accompany its premiere at the end of this email.

The following Tuesday, September 28th, I will play my first concert in New York City since our lives were individually and collectively turned upside down by the pandemic. Most of the evening will be devoted to a new slate of songs drawn from thirty-one composed in October of 2020, the final month of a year-long, complete internet hiatus. Johnny Gandelsman, violinist of Brooklyn Rider, opens with what promises to be a ravishing solo set. Tickets are here.

Lastly, in 2019, I took on the position of Creative Chair with the Oregon Symphony. I’m very pleased to announce that this season, we’ve begun a partnership with Luna Lab, the brainchild of composers Missy Mazzoli and Ellen Reid. Luna Composition Lab offers mentorship and professional training to female-identifying, non-binary, and gender-nonconforming composers between the ages of 12 and 18. We at the Oregon Symphony are incredibly grateful to partner with Luna Lab to offer one student a year-long period of mentorship with Grammy-nominated flutist, composer, and songwriter, Nathalie Joachim, who happens to be one of my all-time favorite humans, and who will be giving the world premiere of Suite from Fanm D’ayiti with the Oregon Symphony in the spring of 2022. What makes this even more amazing is that another all-time favorite human, the violinist Pekka Kuusisto, will be playing Nico Muhly’s concerto Shrink, on the same program. Oh, but we were talking about Luna Lab. If you or someone you know wants to apply, you can find more info & the application form here; you just have to submit one score & a recording (MIDI is acceptable). I will be reviewing submissions along with Nathalie. Applications are due on September 7th.

Obligatory capitalism appeal: I know it’s been a while since I’ve put out new music. It’s coming. I promise. In the meantime, may I remind you about this gorgeous limited edition vinyl record?

That’s it for now, folks. Stay safe. Try to lead with love, even when it’s hard.

All my best,

Gabriel

Heirloom program note:

Tucked away in the northernmost reaches of California sits the Bar 717 Ranch, which, each summer, is transformed into a sleep-away camp on 450 acres of wilderness, where, in 1967, two ten-year-old kids named Martha and Jeffrey met. Within a couple of years, they were playing gigs back in L.A. in folk rock bands with names like “Wilderness” and “The American Revelation.” They fell in love, broke up, fell in love again. By the time I was a child, my mom and dad had traded the guitars, flutes, and beaded jackets for careers in clinical psychology and classical music respectively. But they remained devoted listeners of folk music. Growing up, it was routine for dad to put on a Joni Mitchell record when he took a break from practicing a concerto by Mozart or Brahms. That collision of musical worlds might help to explain the creative path I’ve followed, in which songs and storytelling share the road with the Austro-German musical tradition.

That tradition comes to me through the music I heard as a child, but also through ancestry. My paternal grandmother, Hannelore, escaped Germany at the tail end of 1938, arriving in Los Angeles in early 1939 after lengthy stops in Havana and New Orleans. For her, there was an unspeakable tension between, on the one hand, her love of German music and literature, and, on the other, the horror of the Holocaust. In this piece, I ask, how does that complex set of emotions get transmitted across generations? What do we inherit, more broadly, from our forebears? And as a musician caught between two traditions, how do I bring my craft as a songwriter into the more formal setting of the concert hall?

The first movement, “Guitars in the Attic,” wrestles specifically with that last question, the challenge of bringing vernacular song into formal concert music. The two main themes begin on opposite shores: the first theme, poppy, effervescent, and direct, undergoes a series of transformations that render it increasingly unrecognizable as the movement progresses. Meanwhile, a lugubrious second tune, first introduced in disguise by the French horn and accompanied by a wayward English horn, reveals itself only in the coda to be a paraphrase of a song of mine called “Where are the Arms.” That song, in turn, with its hymn-like chord progression, owes a debt to German sacred music. A feedback loop emerges: German art music informs pop song, which then gets fed back into the piano concerto.

“My Grandmother Knew Alban Berg” picks up the thread of intergenerational memory. Grandma didn’t actually know Alban Berg, but she did babysit the children of Arnold Schoenberg, another German-Jewish émigré, who, in addition to having codified the twelve-tone system of composition, was Berg’s teacher. Why make something up when the truth is equally tantalizing? I suppose it has something to do with wanting to evoke the slipperiness of memory while getting at the ways in which cultural inheritance can occur indirectly. When, shortly after college, I began to study Berg’s Piano Sonata, his music— its marriage of lyricism and austerity; its supple, pungent harmonies; the elegiac quality that suffuses nearly every bar—felt eerily familiar to me, even though I was encountering it for the first time. Had a key to this musical language been buried deep in the recesses of my mind through some kind of ancestral magic, only to be unearthed when I sat at the piano and played those prophetic chords, which, to my mind, pointed toward the tragedy that would befall Europe half a dozen years after Berg’s death?

In this central movement, the main theme is introduced by a wounded-sounding trumpet, accompanied by a bed of chromatic harmony that wouldn’t be out of place in Berg’s musical universe. By movement’s end, time has run counterclockwise, and the same tune is heard in a nocturnal, Brahmsian mode, discomfited by interjections from the woodwinds, which inhabit a different, and perhaps less guileless, temporal plane.

To close, we have a kind of fiddle-tune rondo, an unabashed celebration of childhood innocence. In March of 2020, my family and I were marooned in Portland, Oregon, as the world was brought to its knees by the coronavirus pandemic. Separated from our belongings—and thus all of our daughter’s toys, which were back in our apartment in Brooklyn—my ever resourceful partner, Emma, fashioned a “vehicle” out of an empty diaper box, on which she majusculed the words vera’s chicken-powered transit machine. (Vera had by that point developed a strong affinity for chicken and preferred to eat it in some form thrice daily.) We would push her around the floor in her transit machine, resulting in peals of laughter and squeals of delight. In this brief finale, laughter and joy are the prevailing modes, but not without a bit of mystery. I have some idea of what I have inherited from my ancestors. What I will hand down to my daughter remains, for the time being, a wondrous unknown.

Heirloom is dedicated with love, admiration, gratitude, and awe, to my father, Jeffrey Kahane.

#jeffrey kahane #kansas city symphony #piano concerto #pekka kuusisto #nathalie joachim #oregon symphony #st. paul chamber orchestra #los angeles chamber orchestra #aspen music festival #missy mazzoli #ellen reid #rockwood music hall #johnny gandelsman #folk music #classical music #the knights #eric jacobsen

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mikauzoran · 3 years

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Lukadrien: Your Hands Hold Home: Chapter Twenty-One

@lukadrien-june

Read it on AO3: Your Hands Hold Home: Chapter Twenty-One: Heartbreak

Adrien hadn’t intended to eavesdrop.

His only aim in coming above deck was to ask Luka what he wanted to make for dinner, since it was their turn to cook for the family.

In the upstairs living room, he found Luka and Xavier-Yves, curled up conspiratorially on the couch and looking like they were having a serious discussion.

Not wanting to interrupt, Adrien turned to go, but, just then, he caught XY saying, “I wrote a song about you”. Adrien froze, interest piqued.

“Er…actually, about us. Our relationship,” XY revised sheepishly. “Would you wanna hear it?”

Adrien certainly did.

He mentally kicked himself for never thinking to serenade Luka before as he began to fret over what his love rival had come up with.

“You wrote a song about us?” Luka chuckled, wide-eyed with delight and looking thoroughly touched at XY’s romantic gesture. “That’s so awesome, Xavier-Yves. Of course I want to hear it.”

XY perked up, a goofy grin spreading across his face. “Yeah?”

Luka nodded. “Yeah.”

That was all the encouragement Xavier-Yves needed. He whipped out his laptop and cued up the song.

Adrien hadn’t listened to XY’s music much over the years. Chloé had a fondness for it, so he’d heard some when he was in his early teens, but after XY and Bob Roth’s stunt of stealing Kitty Section’s song, Adrien had made a point to avoid XY’s music when at all possible.

The song Xavier-Yves played for Luka now didn’t really resemble what Adrien remembered. It was still electronic, synthesized music, but it was nothing like the brain-rotting drivel Adrien had listened to with Chloé five years previously.

It was still repetitive, but instead of being relentless and grating, it put Adrien more in mind of the work of Philip Glass. There was a point to the repetition. It grew and changed subtly, building on what had come before and evolving with each layer XY added.

It was amazing to witness how transformed XY’s music was from what Adrien had heard previously, and the debt Xavier-Yves owed to Luka’s influence was obvious. With Luka’s guidance, XY’s music had become complex and sophisticated even.

The song started with a tense passage in the strings with percussion striking like thunder and flutes playing slippery, serpentine melodies reminiscent of lightning fliting across the sky.

“This is when we first met,” XY narrated, nervously watching Luka’s face, tracking his reactions.

The storm in the music quickly abated and took on a bouncing quality as a new theme was introduced.

“And this is us becoming friends,” Xavier-Yves informed, chewing on the inside of his cheek.

The passage kind of reminded Adrien of the chorus of Sweet’s Fox on the Run. It was an odd shift, but XY’s song was filled with weird juxtapositions of genres and styles like that that somehow managed to blend together and work to tell the story XY wanted.

Adrien tensed as an electric violin played a leitmotif that sounded exactly like Luka’s laugh.

Luka recognized it too and, caught off guard, started to laugh, only highlighting how exactly XY had captured the sound in his song.

“That’s brilliant, Prune. You got it just right,” Luka praised, clapping XY on the back.

Adrien tried to quell the spike of jealousy that shot through him, but it was so hard to fight the negative feelings when it felt like XY’s success was at Adrien’s expense.

The melody gradually morphed again, slowing down and taking on an achingly vulnerable pining quality.

A light crease developed between Luka’s brows as he struggled to place the emotion in the music and then tie it to something in his relationship with XY.

Adrien recognized the emotion right away, though. It was soul-baring longing so raw and honest that Adrien couldn’t help but be moved by it.

He wished he could be so honest with Luka about his own feelings.

Before Luka could puzzle out what that part of the song meant, the music changed again.

A shimmering, breathtaking piano solo emerged from the pining theme and took off at a run, its heart so full of hope that it brought tears to Adrien’s eyes.

The melody broke free and soared triumphantly until it disappeared over the horizon, sparkling out of existence with a graceful flourish.

Luka was left speechless as a single tear trickled down his cheek.

XY smiled tentatively. “…So…what did you think?”

“Xavier-Yves…” Luka breathed, “…that was truly beautiful.”

XY’s hesitant smile bloomed into a wide grin of pride and delight. “Yeah? You thought so?”

Luka nodded emphatically. “I loved it. I just… What was…what was that last part? What came after the part about us becoming friends? I’m not sure if I…”

He bit his lip, trailing off as he searched XY’s face.

Xavier-Yves’s grin softened, and a warm look came into his eyes. “That was me falling in love with you.”

Luka’s breath caught in his throat.

“I really like you, you know?” XY explained, reaching up to cup Luka’s cheek.

Adrien willed his feet to move and his voice to come unglued from where it was stuck in his throat, but he found himself mute and fixed in place like a decorative sculpture.

“People don’t really treat me so good,” XY elaborated earnestly. “I mean, I know I’m kind of dumb and obnoxious, but…but you’ve always been kind and patient.”

“Xavier-Yves…” Luka whispered, still dazed at this revelation and trying to sort out everything he was feeling.

“You believed in me and told me I could amount to something when my dad said I was useless and stupid and talentless,” XY stressed passionately. “You made me think there was something good about me after all…so I don’t think it’s weird, me falling in love with you.”

Luka’s eyes zeroed in on Xavier-Yves’s lips as their faces slowly drew nearer and nearer.

Adrien watched as Luka’s eyes slipped shut and he closed the distance between them.

Adrien felt something crack inside of his chest. It was a lot like being impaled.

Silently, he backed away and slipped back below deck. He made a beeline for his cabin, deaf to Plagg’s attempts at comfort as he buried his face in his pillow and sobbed.

It had been hard enough to accept that there was no future for him and Marinette. Being star-crossed a second time felt too cruel. He didn’t think he had it in him to put himself back together and fall in love a third time.

His shattered heart couldn’t take it.

Luka was just about to deepen the kiss when his brain caught up with his body.

He pulled back with a gasp.

“Sorry. Did I do something wrong? I’ve never done this before,” Xavier-Yves hastily rushed to explain.

Luka shook his head, mentally cursing himself for screwing everything up. “No. No, you’re a great kisser. That was awesome. I just…”

He winced. “I’m sorry. I can’t do this. There’s a part of me that wants to. I mean, I really do like you, but… It’s complicated,” Luka finished with a groan, looking up, ashamed, at XY, his eyes pleading for forgiveness. “I think we should just stay friends. I’m sorry.”

A wry smile curled up the corners of XY’s mouth. “Because of Adrien?”

Luka’s whole face went red, but he forced himself to look Xavier-Yves in the eyes as he nodded. “Not for the reason you think, though.”

XY quirked an eyebrow, settling back against the couch cushions. “Oh, yeah? Are you going to try to tell me that you’re not in love with him? Because, if you’re gonna turn me down, Six Strings, I’d like you to be honest about it.”

Luka’s face scrunched up in a grimace. “No. I wasn’t going to lie. I do have feelings for Adrien. I have for a long time, and, I mean…I do get the sense that he might be starting to reciprocate at least a little, but that’s not the reason I’m saying no to you. I’m not picking him over you. It’s not like that.”

XY nodded, seeing that Luka truly believed what he was saying. “Okay. So? What is it like?”

“Adrien’s been kind of rough lately with everything that’s happened. He’s in no shape to be in a relationship anyway, even if I did tell him how I feel and he felt the same,” Luka explained. “Adrien doesn’t have a whole lot of people he feels like he can count on in his life, so I really need to focus on being there for him. I can’t date right now, Prune. Not anyone.”

XY hummed thoughtfully. “Well, I mean…it’s kind of messed up to put your whole life on hold for someone like that, but…I get it.”

Luka blinked, surprised that this conversation was going so well. “Wait. What? You do?”

XY nodded. “I know how you are. You always put yourself last when someone you care about needs you. You’d do the same if it was me having the meltdown or one of your sisters or your ex, Jacob, or whoever, you know? You’re just like that.”

A sheepish smile gradually made itself at home on Luka’s lips. “I do have a bit of a martyr complex, don’t I?”

XY held up his thumb and pointer finger, bringing them so that they were only a few centimeters apart. “Just a teeny, weenie bit…but I’d put my life on hold for you too, so…I get how you feel about Adrien, even if I don’t like it.”

Luka winced again as guilt weighed down on him. “Prune, I’m so sorry. I—”

XY held up a hand. “Just answer me this: could you love me, do you think?”

Luka bit his lip, not wanting to lead his friend on but not wanting to lie either. “Xavier-Yves, I don’t want you waiting around for me.”

XY shrugged. “Tough. Sometimes you don’t get what you want. Isn’t that what you taught me? Just answer the question.”

Luka sighed. “Oh, all right. Yes, but please don’t wait around for me.”

“I do what I want,” XY snickered. “I know you’re picking Adrien, but there’s no telling when he could screw it up and give me a chance to sweep you off your feet.”

“Xavier-Yves,” Luka groaned.

XY tussled Luka’s hair with an affectionate smile. “All joking aside, I hope you change your mind about me, but I just want you to be happy, Six Strings. Okay?”

Luka’s eyes narrowed as he tried to discern any hint of deceit.

He found none.

“For real?” he asked in amazement.

Xavier-Yves nodded. “For real. So…can we still be friends? How does this work?”

“Absolutely,” Luka assured vehemently. “I never want to lose what we have, Prune. If we could just go on like we have been…?”

XY nodded in agreement. “I’d be down with that. Besides, who knows? Maybe one day I’ll get lucky and you and Adrien and me can be a threesome. The kid’s kind of cute when he’s not being a brat.”

Luka burst out laughing.

He shook his head and clicked his tongue. “Adrien’s cute especially when he’s being a brat.”

“You can have him when he’s in brat mode, then,” XY snorted, starting to pack up his things. “But I should skedaddle. I’ve got to meet up with my dad to talk about my next album. Want me to text you when I’m done?”

“Please,” Luka responded, leaning in to press a whisper of a kiss to XY’s cheek. “Thanks, Prune.”

Xavier-Yves grinned, winking as he got to his feet. “Sure thing, Six Strings. Check ya later.”

“Later,” Luka echoed, waving after XY as he went.

As XY disappeared from view, Luka took a deep breath and closed his eyes, trying to process everything that had just happened.

He sat for a few minutes, waiting until he felt more grounded to get up and head for his room. He needed an instrument to help him sort through everything. Maybe his guitar or violin. He always processed best through those.

He stopped in the narrow hallway just outside his door when he thought he heard something.

Frowning, he listened hard, and it wasn’t long before he heard the muffled, choked sound again.

He took a few steps and stopped outside of Adrien’s cabin door to listen again.

It was now more apparent that the strangled sobs were coming from within.

“Adrien?” He knocked perfunctorily before opening the door and finding Adrien curled up in a ball around his pillow, bawling his eyes out.

“Adrien,” he breathed, rushing to his beloved’s side. “Hey, what’s the matter? What happened?”

Adrien gasped, sitting up and gawking at Luka in horror.

“N-Nothing. I—Nothing,” he insisted even as he gritted his teeth in his effort to stop the tears.

His lip trembled, unable to help itself in Adrien’s distress.

“Oh, P5,” Luka muttered, kicking his shoes off and climbing up onto the bed with Adrien. “Come here.”

He pulled Adrien onto his lap and squeezed him tightly, cooing, “It’s okay. Whatever it is, it’s okay. Just let it out.”

To both of their surprise, Adrien did.

He clung to Luka as a fresh wave of grief washed over him.

Dutifully, Luka held him, rocking him from side to side and making reassuring noises. He didn’t let go until Adrien had worn himself out.

Adrien didn’t have the strength to fight as Luka gently cleaned up his face for him afterwards. He also found himself unable to protest when Luka tugged him into the main cabin and snuggled up on the couch with him.

It barely registered when Luka started Castle in the Sky, and Adrien remained nearly catatonic through dinner.

The fog of misery only cleared at bedtime when Luka tried to herd Adrien into his own cabin, saying, “Why don’t you come sleep in my room tonight?”

“I want to be alone,” Adrien insisted petulantly, trying to pull away.

Luka’s grip on him tightened. “I don’t think that’s the best idea right now.”

“I said I want to be alone,” Adrien growled, finding the strength within him to break away.

He turned on his heel and fled to his cabin, taking refuge under his covers from the world.

His solitude only lasted a matter of minutes.

Luka entered and silently made up a sleeping bag on the floor as Adrien glared him down.

“…I’m sorry,” Luka finally sighed, taking a seat on top of his blankets and meeting Adrien’s hostile gaze. “I won’t talk to you or anything, so just pretend I’m not here.”

“What do you want from me?” Adrien demanded half testily, half sulkily.

Luka shook his head. “Nothing. I just want to make sure you’re all right. I’m really worried about you, Adrien.” He hesitated before adding, “Whatever’s going on, I’m here, okay? I love you. I hope you know that.”

It was too much.

Tears spilled freely down Adrien’s cheeks, and he quickly absconded back under the covers.

Half an hour passed in relative silence as Adrien struggled to get his emotions under control and Luka stared up at the ceiling, feeling helpless.

“…Orpheus?” Adrien called, voice raw and plaintive as he peeked out from under the covers.

Luka sat up. “Yeah? What is it? Are you okay?”

Adrien swallowed audibly. “…Could you come up here and just…just hold me, please?”

Luka breathed out a sigh of relief, smiling indulgently as he climbed over Adrien to take his place by the wall.

“Happy to help,” he assured, slipping under the covers and pulling Adrien close.

Adrien wrapped himself around Luka like a vine, burying his face in Luka’s neck. “Sorry. And sorry about the way I’m acting. I’m not being fair. It’s not your fault, and I shouldn’t be taking it out on you.”

“It’s okay,” Luka replied reassuringly. “Thank you for the apology, though. I appreciate it…. Do you maybe want to talk about it?”

Adrien shook his head definitively. “No. Thank you.”

“Okay,” Luka agreed, backing off the issue.

In the morning, if Adrien still didn’t want to talk, Luka would encourage him to go see Nino or Marinette or check with Doctor Katsuragi to see if she had an opening for them to discuss Adrien’s sudden turn for the worse.

“…I…I love you too,” Adrien hiccupped.

Luka squeezed him tighter, giving his hair a nuzzle. “I know. Don’t worry, Angel. I’m not going anywhere. We’re going to get through this together, all right?”

Adrien nodded, but his tears started to fall faster.

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nicknellie · 4 years

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Main/Personal/Follows: @yonderlands

AO3: alexmercer

Keep reading for masterlist - requests are currently closed

And You’re A Part Of Me - Soulmate AU

Light A Fire In My Eyes

Whatever Happens

Silent Days

Prompts/Requests/Other

Requests are currently closed. I will write Willex, Juke, Flarrie, and anything platonic. I will not write smut/NSFW, anything about the cast, or “x reader” fics. Any other questions just ask me. Send requests via ask or DM.

Code Red

Ping Pong Panic

We Will Fight to Shine Together

Can You Really Say No To This Face?

Happy Mistakes

Rhythm in my Heart

Snap

Batman and the Barista

And It’s Not My Fault

Zap

To Keep the Dark at Bay

Books on Boards

Underneath the Moon

Here’s to Buried Secrets

Delicately Deliberate

Celebrations (up to 400)

Do You Have Any Idea What You’ve Done?

Don’t Ghost Me

I Wish I Could Help Him

I Think It Said Everything

Headcanons

How Sunset Curve met

Unsaid Emily

Mitch Patterson

Willie knows fun facts

Alex and Dirty Candi

Why Julie and Carrie fell out and anon’s lovely addition

Julie and Caleb’s powers

Reggie and his Grandad

Wake Up

Bop It contests

Reggie’s tortoise

Mini Masterlist: Sunset Curve

Music

Some videos are taken from my TikTok. This list also includes music I’ve posted on my other blog.

Wake Up intro

Finally Free/Stand Tall

All Eyes On Me piano cover

All Eyes On Me sheet music

All Eyes On Me TikTok version

Bright piano cover (part 1)

Bright piano cover (part 2)

Finally Free piano cover

Wake Up piano cover

Stand Tall flute cover

Perfect Harmony flute cover

Flying Solo piano cover

Wow but it sounds like James Bond

Finally Free piano cover but the harmonies give me life

Ghosts theme tune piano cover

Stand Tall piano cover

Stand Tall sheet music

Now or Never piano cover

#julie and the phantoms #jatp #new sideblog #to pin #masterlist

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allaboardtheussharringrove · 3 years

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The ever lovely @herminah tagged me and I haven’t done a get to know me so here goes! 🤗💕

rules: answer 30 questions and tag however many blogs you want!

name: you can call me B 😁

gender: a lady, she/her

star sign: geminiiiii (and aries moon/leo rising for any other astrology freaks out there🔥)

height: 5’ 6 3/4” but my roommate says that’s bs and im 5’ 7”

time: 5:10pm

birthday: May 25th

favorite bands: oh boy, Mötley Crüe, Scorpions, Metallica, Black Sabbath, Heart, The Cars, Oingo Boingo, Blue Öyster Cult, Rae Sremmurd *oNe Of ThEsE iS nOt LiKe ThE oThErS*

favorite solo artists: Ozzy Osbourne, Stevie Nicks, Miley Cyrus, Cardi B, Billie Eilish, Lana Del Rey

last movie: Erin Brockovich (love that movie, makes me cry one minute and then yell “oh shit! get wrekt!” the next)

last show: Chilling Adventures of Sabrina (im just there for the clay boy at this point, give me a hunky austrailian villian with his tiddies out and I’ll watch the show.)

when did i create this blog: sept 2019, for the sole purpose of making a presentation to show my roomies brother why harringrove is a thing- but that post is buried so far now lol

what I post: hair.ring.grove. the boys. pretty boy and the trash rat. billy & bambi. keg kings of hawkins high. I can’t quit them someone help

last thing i googled: mercury retrograde 2021 cause i got ~*concerned*~

other blogs: @misssomegotdamnbody my og where it’s mostly funny stuff I guess & @somegotdamnbody which I made for artsy things I come across but I barely use it, maybe I’ll work on it sometime🤷‍♀️

do i get asks: not really but I’m okay with that

why i chose my url: uss butterscotch had me cackling in s3, so uss harringrove just makes me happy and like it’s a fantastic ship so all a-fuckin-board!🚢✨

following: 98 (I should probably follow more people to be honest, but i have some pretty intense social media anxiety and I’m working on it but it’s hard🙂)

followers: 260 across the board

instruments: flute, piano, oboe for a lil bit, and guitar (I just got a gorgeous new strat for christmas! 🎸😱)

what i am wearing: a scorpions love at first sting shirt, flowy black & white vertical striped pants, silver & turquoise rings, and a thick knit duster sweater

dream job(s): anything creative and in the arts

dream trip: 2020 stole my big London trip I was supposed to take last spring, so !!!

favorite foods: the 3 c’s - chips, cheese, and chocolate

nationality: US citizen? Californian?

favorite song: at the moment, ‘Breaking the Chains’ by Dokken, the lyrics are IT right now and I love singing along to it

last book i read: A Memory of Light by Robert Jordan & Brandon Sanderson, it’s the last book in the Wheel of Time series- my favorite book series ever of all time it’s so good I feel like melting and bursting and crying at once

top 3 fictional universes i’d like to live in: Wheel of Time (I have too many words😭💘) weirdly uhhh Twilight (however cheesy that is, but I was reading those in like 8th grade and they kinda helped me embrace being super pale/allergic to the sun by owning the whole vampire thing [also I think they’re the coolest type of vampires😬]) and a further throwback to Chronicles of Narnia (ahhh just pure fantasy land😌👌)

tagging: some of the people I see frequently/recently and think are just the bees knees😅@livedsomanylives @draculcid @writerwhowritesao3 @memes-saved-me @opaldraws @im-not-so-sin @jujubug444 @kingsandsaints @mourntheantagonist @verified-villain-fxcker

#get to know me #😁#tagging game #tumblr tags #uh sorry for swearing?

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rvspberry · 3 years

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Tag game ;) - thanks for tagging me Jaz 💛 @passivenovember

Name/Nickname: Everyone calls me Jones!

Gender: I’m a he/they transguy.

Star Sign: Aquarius sun, Aries moon, Cancer rising. Apparently that all makes me very emotional and it is very accurate.

Height: just a hair past 5’6” 🙃

Time: 11:51 am

Birthday: January 21st

Favorite Bands: Bring Me The Horizon, The Maine, La Dispute, Years & Years, The Cure, The Smiths, Erasure, The Police, The Ramones, The Clash.

Favorite Solo Artists: Bat For Lashes, Sting, Lady Gaga, Lil Nas X.

Song stuck in my head: Red Rain by Peter Gabriel. For now.

Last Movie: I watched Soul with my family last night. Super cute!

Last Show: What is it called - His Dark Materials? I think. I watched that with my family too. I couldn’t make it through the first episode though hahaha.

When did I create this blog: Ummm back in October I think.

What do I post: Anything I want, mostly Harringrove and Bill and Ted fandom stuff, but other stuff too.

Last thing googled: “why is it called ham steak”

Other blogs: Nope! I don’t have time for that.

Do I get asks: Rarely. But they are cherished when I do.

Why I chose my url: I... like raspberry jam? Idk it was available.

Following: no clue Followers: no clue

Average hours of sleep: anywhere from 5-7, usually. Sometimes on the weekends or my days off I’ll squeeze in a 2-3 hour nap.

Instruments: I used to play the flute!

What am I wearing: Uh, a bra, light blue jeans, socks, and a pair of black boxer briefs. I was wearing a sweater but I got overheated and never put a shirt back on.

Dream job: I would love to study big cats in Africa, but my education as a biologist/zoologist has sailed. I would love to be a screenwriter/scriptwriter or director. Or teach at a university.

Dream trip: I really want to see Venice before it’s completely under water!! But also a tour of Japan would be excellent.

Favorite food: Potatoes! I’m very boring.

Nationality: I’m American - which is really weird to say since everyone in the Americas is American??? But it sounds better than “I’m a citizen of the United States of America.” Ethnically I’m whiter than white bread.

Favorite song: Oh right now it’s definitely “In Bloom” by Neck Deep.

Last book I read: Like Jaz, my last was the Christmas novella by @heck-in-a-handbasket, Burying the Hatchet. It’s available as an e-book on many platforms including Amazon and Barnes & Noble.

Top three fictional universes I’d like to live in: Narnia, The Verge universe, or The Labyrinth. Scary but cool.

Tagging: @heck-in-a-handbasket, @opaldraws, @magniloquent-raven, @marmiscient, @masteranakinskywalker, @baconspice, @dragoonthegreat, @darkmystdrake, @rascheln, @fredsythe, @ghostofjellyfishforgotten, @heartcatchfire, @ihni, @katesierra, @livedsomanylives, @mauraejones, @ohmybgosh, @psychicwarfarebaby, @pondermoniums, @big--yikes — just for fun, no pressure to anyone to partake!

#tag game

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musicollage · 3 years

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Arve Henriksen. Towards Language, 2017. Rune Grammofon. ( Guitars, Electronics – Eivind Aarset ) ~ [ Album Review | 1) Pitchfork + 2) All About Jazz + 3) Headphone Commute ]

1) Arve Henriksen makes jazz for people who like ambient music. This might sound like an unintentional insult—the Norwegian trumpeter is well trained and celebrated in jazz circles, and he often performs among Scandinavia’s most prominent younger players, such as Christian Wallumrød—but it’s also hard to deny. Towards Language, Henriksen’s ninth album under his own name, begins with a slumbrous murmur of bass and an unfurling trumpet theme, and this mesmeric register never wavers throughout the album. The melancholy saunter of Henriksen’s lines is isolated and sculpted by glimmering, whirring atmospheres full of emptiness and portent. Testing different ways to contrast eloquent material and enigmatic medium, the record plays like some lost collaboration between Wynton Marsalis and Brian Eno circa Ambient 4: On Land.

Henriksen’s long association with free-improv supergroup Supersilent and its influential label, Rune Grammofon, were his gateways to esteem in circles beyond jazz. But he has earned his wider attention with a trumpet tone so communicative it’s almost psychic, which he has described as being modeled on the breathy, insinuating timbre of a wooden flute. *Towards Language *would be the perfect album title imaginable for Henriksen if he hadn’t already made one called Chiaroscuro. Sometimes augmented by his ethereal vocalizations, his instrument always seems on the verge of speaking, writing a smoky legato calligraphy on the air. If the language is obscure, the emotions are instantly legible—romantic seclusion, piercing beauty, and a steadfast determination.

Henriksen is joined by Jan Bang and Erik Honoré, two old friends who’ve appeared on some of his greatest albums (Chiaroscuro, Cartography, Places of Worship), as well as the ECM-affiliated jazz guitarist Eivind Aarset. Together they gin up brooding, minimalist chamber music in which the simplest melodies whisper of unfathomable depths of feeling. The outstanding “Groundswell” is a dusky jungle seething with hidden birds and snakes, slow trap claps, and lapping waves of mysterious tonality, before Henriksen fills it up with his leafy curlicues and looping vines. “Demarcation Line” is a showpiece for his signature physics, how he swoons from interval to interval and bends pitches so sweetly it almost cuts.

*Towards Language *is also infused with a deep sense of history, like an excavation standing open in layers. It’s both personal—the atmosphere of “Hibernal” is tuned by a rusty harbor-bell clank, a device heard as far back as 2007’s Strjon, which suits Henriksen’s noir-ish style so well—and cultural. Album closer “Paridae,” turns a traditional song in the Kven language of Henriksen’s ancestral northern Norway (sung by Anna Maria Friman of Trio Mediaeval) into a waterfall leading to another world. Henriksen creates the feeling of an opaque jazz album you can walk right into, all timbre and feel instead of time and modality, the edges and angles sublimated into aching curves. You don’t need to be able to identify a head melody or count off arcane rhythms, but only to know the way you feel when you see fog slowly seeping through a valley, or smoke curling off a cigarette in the lonesome glow of a streetlight.

2) Following hot on the heels of Rimur (ECM, 2017), Towards Language is Arve Henriksen's second album of 2017 and brings his tally of releases to ten in the past five years. One of the more remarkable things about Henriksen is that even though the quantity of releases increases, their quality remains as high as ever. All of the hallmarks that make his music distinctive are still in place, as good as ever—the haunting melodies, soaring falsetto vocals and exquisitely beautiful trumpet. His sound is as individual as a fingerprint, the true mark of a great player.

Studio-recorded over two days in August 2016, Towards Language consists of nine tracks, of which the longest runs for just seven-and-a-half minutes. Such concentrated, economical music has typified Henriksen's output on such classic albums as Places of Worship (Rune Grammofon, 2013) and Chiaroscuro (Rune Grammofon, 2004). Henriksen has always stressed the importance of his collaborators in the creative process and, as on those two albums, here he is again joined by the team of Jan Bang and Erik Honoré of Punkt, the presence of whom is practically a guarantee of success. As before, the pair display their knack of constructing uncluttered environments that perfectly frame Henriksen and allow him to be heard to best advantage. Guitarist and electronicist Eivind Aarset is also present on every track and was involved in writing each one; he adds subtle shading without in any way deflecting the limelight from Henriksen.

Anna Maria Friman of Trio Mediaeval (with whom Henriksen recorded Rimur) sings on the album's closing track, "Paridae," a traditional "kven" or ancient Nordic song, her voice and Henriksen's trumpet combining in a perfect blend. On other tracks, it is left to his own voice and trumpet to conjure up an ambiguous mix of emotions that include melancholy and wistfulness. The end result is yet another stunningly beautiful set from Henriksen.

3) So here is how it goes… In terms of extended control of a single solo instrument, we’ve got Nils Frahm on the piano, Hildur Guðnadóttir on the cello, Mario Batkovic on the accordion, Andrea Belfi on the drums, and Arve Henriksen on the trumpet. [Please don’t all at once jump on me and point out other artists that I’ve missed or misplaced – this was more of a compliment and recognition of the above, versus an offensive statement to the ones I have omitted. Deal?] If you’ve been following these pages, and listening to the music contributing towards the evolution of this Norwegian trumpet player, then, at least you should agree, that, when it comes to breathy brass works, where the instrument completely merges with the voice, Henrikson is unlike any other.

I last visited with Henrikson’s music, released once again by Rune Grammofon, back in 2014, with Places Of Worship which derived its inspiration from the literal places of worship, sharing ten tone poems set around holy places. On his ninth album, Towards Language, we find this “major representative of a golden generation of Norwegian jazz musicians” supported by his longtime collaborators, Jan Bang and Erik Erik Honoré, as well as the “ECM-associated guitarist extraordinaire“, Eivind Aarset, exploring the language of music through the partnership with others. Improvised music, and in particular jazz music, has always established its own set of musical words, phrases, and sentences, exchanging ideas between each performer through predefined queues. A great example of that, of course, is none other than Miles Davis, who often recorded his sessions (like the Bitches Brew in 1969) without much advance notice or direction to the musicians.

“To express something on your own can be quite challenging at times.” says Henrikson, “I have for years been in creative collaborations with musicians and producers that have encouraged and inspired me. With this help and inspiration to discover new sounds and music, I have struggled and made my way to gradually be able to create some sort of language and a way of telling stories with my trumpet and singing. They have all coloured and gradually transformed me through different artistic timezones that I have passed through. All the information, concerts, discussions and impressions have had a significant impact on the process of gradually coming closer towards the core of communication through music.”

It’s fair to admit that I fail to recognize whether or not some of the music on Towards Language is improvisational or not, but what I can clearly hear is a conversation between the instruments sharing the same story. This conversation, of course, can not happen without a predefined lingo, without question and answer, without the space set to say something and, in turn, the space left to listen. It’s probable, that as an active listener, conveyed through this musical account, I, too, become part of the language, interpreting tales, narration, and chronicles, as they fit into my own sound-colored world, where certain notes trigger a feeling, a memory, or a response deeply buried inside my own psyche. For this to succeed, the artist’s ability to properly communicate must be splendid. And as a listener, I’m part of the music, of course, because, without language, the message is lost.

#jazz #experimental music #electronic music #arve henriksen #eivind aarset #rune grammofon #jazz trumpet #2017 #2010s #2010s jazz #pitchfork #all about jazz #headphone commute #review

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strawberrysolitude · 4 years

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Jackson Wang – 100 Ways

Okay. So. Unlike other talented content creators, the only thing I’m somewhat good at is putting my feelings into words. So that’s what you’re getting!

I love Jackson’s new solo, and I wanna talk about the different aspects, namely the music, the lyrics, and the visuals in the MV. So let’s go!

1. the music

I. Love. The baseline. The running guitar line in “Bullet to the Heart” was already super ragged and rhythmical, but here, it’s a lot smoother while running under the melody like a little stream of water. No big ups and downs, just little tiny waves, but still enough to convey constant movements and to make you wanna dance along.

The melody in the verses is really beautiful, a little melancholic, and fits right into Jackson’s higher range. He sounds emotional without putting too much strain onto his voice. The melody in the chorus??? That right there is pure Jackson! Smack-dab in the middle of his voice range, which makes it possible for him to put a lot more power behind his singing. The chorus sounds a lot more like a song to dance to, and I love how that contradicts the actual theme of the lyrics (but more on that later).

The gonging bass that sets in during the chorus helps to hit home the underlying heaviness of it all. It tapers out during the “I’m the only one that you need line” and underlines how there’s still a bit of lightness in that part.

The flute? I love it? It has such a haunting and tragic melody and fits with the sort of medieval theme of the video perfectly.

The beat keeps pounding more steadily during the second chorus, but even though it might be fitting for it to be more like a war drum, it’s still subdued - war is over for a dead soldier, after all, the steady call of the marching drum nothing but an echo in the afterlife.

Right before the “dance break”, the accompaniement tapers off and even comes to a complete halt as the soldiers in the video fall backwards and disappear. They and the music both give Jackson and his lover time alone, so to speak.

The last part leaves us with a gonging, intense bass, pounding drums, a hauntingly beautiful flute melody and Jackson crooning his highest parts of the chorus melody before stating, almost in his speaking voice and very matter-of-factly, “I’m the only one that you need.” What an impression to go out on!

2. the lyrics

There were two parts of the lyrics in the verses that really stuck out to me: the hourglass and the curtain call.

An hourglass is not only associated with time passing, but with mortality itself. The grim reaper is often portrayed holding an hourglass, every grain of sand a day of a person’ lifespan, and once all of them have rained down, he comes to collect their soul. The image projected here is that there is an expiration date to the relationship Jackson’s talking about. Yet at the same time, to start any relationship, the hourglass has to be turned, which is why it’s the first line of the song. Nothing lasts forever, but it might be that this relationship is coming to and end “too fast” for the other partner.

A curtain call, as well, indicates the end of something. Interesting to me is how Jackson says in this verse that he doesn’t care about the opinion of others, yet relates his relationship to a play in a theater, indicating that it’s a performance put on to impress others. Haven’t we all had the feeling of performing a relationship, trying our best to express love in patterns that we’ve learned and to please somebody by putting on a show?

Despite these sort of negative images, the song still manages to put a somewhat positive spin on the fears of a relationship ending too soon and maybe even being just for show.

Don’t waste your love, just let it last 'Cause once it's gone it's never coming back

But if you’re ready I will give my all

These lines convey that it’s okay to love with all you’ve got. Even if it might not be forever, the time you had together still counts. Love is not something finite, a relationship is not a transaction where you can get your love back if you still have a warranty. It might hurt in the end, but you’re guaranteed to have a good time if you give it your all now.

As for the chorus, this is actually a bit puzzling to me. Is it cynical? Hopeful? Boasting? Melancholic?

Could you love me the same? Tell me what makes you stay? There’s a hundred ways to leave a lover I won’t wait a minute longer Hundred ways to leave But I’m the only one that you need

Could you love me the same ... after what happened? After the lover has left? After they have been hurt? After the relationship is over? What makes you stay ... even though what? It might be that their relationship is strained and that they’re not sure about each other’s feelings and whether they’re loving each other right.

“There’s a hundred ways to leave a lover” – now there’s an iconic line for you! In my opinion, it sounds a little bit sassy and sarcastic, its lightheartedness contradicting the heavy decision of ending a relationship. The melody on this line, however, sounds tragic and serious, which makes me rethink again.

I won’t wait a minute longer ... to do what? Or is he waiting for his partner to do something, to act, to decide? I think the latter fits a bit more, seeing as he confidently states “I’m the only one that you need”.

Bottom line: What I read out of these lyrics is this: “I’m the only one that you need, so why do you keep making me wait? Why are you treating me like there’s an expiration date on our relationship? If you commit fully, I’m ready to give you my all. If you really wanted to leave, there’s lots of ways for you to end this, but you haven’t yet. You obviously want to stay, so why don’t you say yes to this relationship?”

3. the visuals

In this part, I might focus a little more on the story told in the MV, which in my opinion is a bit removed from the lyrics. Although dying on your lover is definitely one way to leave them ... ahem.

In the beginning, the gravestones are arranged in a circle, and there’s concentric lines drawn in the ground as well. You know about the circle of life? This circle is closed, so this life has come full circle, has come to its end. However, a circle can also be interpreted as the wheel of lives turning and bringing reincarnation.

The soldiers are wearing black and red. In this combination, these colors seem sort of dark and almost demonic, which helps underline the fact that these people are basically necromancers right now.

The ever-present fog throughout the whole video serves multiple purposes. Firstly, it helps establish a sort of battlefield atmosphere: right before dawn, where you can’t see much and the enemy could be attacking any time. Secondly, it makes things seem unreal and ethereal, like all of this is already taking place in the afterlife. Lastly, it helps make Jackson look like a ghost. There’s a tiny moment around 0:55 where it even looks like he’s breathing out fog!

Jackson rises from the grave wearing his underclothes, not his armor, which are disshevelled and dirty. There’s dirt on his face also. This could be because he was literally under the ground, but we later see his lover rise from the grave looking pristine. My take on this is that, as a soldier, Jackson was buried in haste after a battle, and his comrades didn’t have time to wash his body or do any of the rites to prepare him for the burying.

However, now that they’re resurrecting him, they are putting on his armor for him, gearing him up, making him look like himself again, less vulnerable and quite literally ready for battle. What’s he fighting for? True love, of course!

In the next scene, they’re walking together through a dark forest, trees without leaves, towards a light. I don’t think there’s much to be interpreted her: The afterlife is bleak, but you walk towards a warm light in the hopes that it comforts you. An interesting bit is when one of the dancers knocks one of the tress over and it falls down. That could have been a coincidence, but the leaves rustling as the tree hits the ground are literally part of the audio! Any thoughts on that?

The single tree with a gravestone beneath it looks very different from the graveyard where Jackson was resurrected. There’s a beautiful, warm light, and red leaves falling all over like flower petals. They’re only like flower petals, though, the falling leaves clearly indicating autumn, the end of the year, days getting shorter and darker, cold and unmoving winter on its way, life sucked away.

The group dances together one last time – I think soldier Jackson has some of the best friends in the world. They resurrected him from his grave, dressed him back up in his armor and gave him a little cheering dance before he saw his lover again. And then they fall back into the mist and disappear! The way they hold their bodies really stiff and unnatural makes me think of death again. Where they ghosts, too, all along?

Then, Jackson’s lover appears. She is dressed in beautiful clothes, even wearing jewelery, her face is clean and her hair is done. Clearly she’s from a wealthy background, not like foot soldier Jackson who’s been buried in a haste. Her family or a priest has done all the rites for her burying. Curiously, she is buried wearing lots of red, a color traditionally used for weddings (and which has popped up in the video a lot, as well). Under the red, a little white is shining through, showing us that she’s dead. Maybe she hasn’t moved on from her wish to marry yet? The red cloak is stripped away, revealing more of the white. Is she ready to move on now that she’s met her lover again?

The lovers share a dance, a clear reminiscence of a wedding dance. She ends up in Jackson’s arms, holding on tight while he decides it’s time for them to return to the afterlife, together. They sink back into the grave, closely holding onto each other, and the last thing we see is Jackson’s face, singing “I’m the only one that you need” while being swallowed by the mist.

Gosh dang it, I’ve got goosebumps all over! And not because of the scary ghosts. Your love may end, just like any life will end, but it was there, and its remnants will stay relevant for you even in the afterlife. Beautiful.

#jackson wang #100 ways #team wang #long text #i really put a lot of effort into this #so it would mean a lot to me if you let me know you read my ramblings ♥#all the love for jacks #rambling #i'm a literature grad can you tell

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tatzelwyrm · 4 years

Note

Never apologize for Untamed spam, we love it! :D I am really glad you enjoyed the show. Who is your favourite character? What moment did you enjoy the most?

Thank you! I doubt I could stop myself from posting about this wonderful show even if I tried, but now I don’t feel as bad about it. I have quite a few reblogs queued up for the coming weeks. :D

Also, thank you for being an enabler and asking me to talk about this more.

Favourite moments? You mean like when Wen Chao makes Wei Wuxian recite the Wen sect rules, but Wei Wuxian quotes the Lan sect rules instead, expressing his not so subtle support for Lan Wangji whose home has just been destroyed while at the same time giving the middle finger to the Wens (this is, incidentally, the moment I fell in love with him, I think)?

Or when Wangji tells him not to flirt with people unless he means it (a line which goes completely over Wei Wuxian’s head, of course)?

Or the very first sword fight they have on the rooftops?

Or when Wei Wuxian makes his oath to live without regrets as they let the lanterns go and you can see from Lan Wangji’s expression that he’s hopelessly in love?

Or Mianman ripping off her uniform and leaving Jin sect?

Or any time Wen Ning and Lan Sizhui interact?

Or the supremely silly sequence of the paper talisman sneaking into Jin Guangyao’s treasure chamber as a heist movie soundtrack starts playing (this show is very camp and it KNOWS it and that’s what makes the camp bits so good instead of embarassing)?

Or any time Xichen is supportive of his brother and Wei Wuxian and he smirks like that?

Or any reference to the single-plank bridge?

Or the bit when Wei Wuxian pretended to bury A-Yuan in the raddish field?

Or that bit very early in the show when Xichen plays his (first) flute solo and takes the kids’ swords away when Wen Chao makes trouble and he’s implicitly like “(◕ᴗ◕✿) I could spank y’all’s asses, but I won’t (◡‿◡✿)”.

Or when Lan Wangji walks up the steps of that Wen outpost, overhearing the soldiers gossiping about what the Wens did to Wei Wuxian and the (very, very short) fight that follows?

Or when A-Yuan met Lan Wangji for the first time and random strangers started giving Wangji tips how to raise this child right?

Or every time Wei Wuxian pulls out his flute and you know the creepy-good stuff is about to start?

Or every time the Jiang siblings are cute in the 30-episode flashback?

Or any time Lan Wangji is a badass protecting Wei Wuxian?

Or any time the chaos squad of youngsters do anything at all post time skip (good to know that every generation in this universe produces such a chaos troop)?

Or any time Wei Wuxian interacts with a member of said chaos squad of youngsters or – even better – all of them (also WHEN will somebody give Jin Ling a hug???)?

As you may be able to glean from this I love Wei Wuxian a lot (and the kids and their meddlesome dog … where’s my scooby-doo!AU?) – which is a new experience for me, because I’m the kind of person who obsesses over secondary characters and often has trouble caring all that much about the main character. But Wei Wuxian is just so likable? With any other character some of his more outgoing, quirky traits would be obnoxious to me, but he’s just genuinely a nice, compassionate person – unless he’s confronted with a genuine asshat, in which case, god rest that asshat’s soul. He also has a spirit summoning flute which is hella stylish, 10/10, will continue to stan. Not to mention, all of his more tender scenes with Wangji just make me so soft. When I first read that they couldn’t show the romance because of censorship laws I was disappointed. But now that I’ve finished watching the show I don’t think I could have been more satisfied with how their relationship was developed. I love the slow build up. I love how the show relies on glances and metaphors and very brief touches to convey that which remains unsaid. It’s incredibly satisfying to watch.

I also adore Lan Wangji for being a stone-cold, deadly badass who has a lot of emotions when nobody’s looking. His character development – starting to question the rules and beliefs he was raised on and taking an interest in the world at large and how to improve it – is beautiful. He also has the best sword fighting scenes on the show, which endears him to me greatly since the pretty sword fights are a large part of what originally attracted me to the show.

That said, my heart belongs to Lan Xichen, even though he makes me sad with how ineffective he is. He’s just so … *waves arms helplessly and sighs heavily*

#the untamed #tatzelwyrm watches the untamed #no spoilers here i think #slecnaztemnot

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randomvarious · 4 years

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Dave Mason - “Crying, Waiting, Hoping” Reggae Feelings Song released in 1975. Compilation released in 1994. Reggae-Pop / Soft Rock / Pop-Rock

Dave Mason’s got stories, man. Although he’s faced his fair share of ups and downs throughout his lengthy career, the guy’s managed to be in the thick of rock and roll history since the 60s, having played and hung out with a long list of legends. But let’s start with his biggest achievements before diving into the super interesting minutiae: he’s a founding member of Traffic, and although he was constantly in and out of the band, he’s a member of the Rock and Roll Hall of Fame because of his early contributions (he wrote one of the group’s biggest hits, “Feelin’ Alright?”). And while he’s enjoyed a pretty sweet solo career as well, you can also hear his work on a number of landmark recordings credited to other artists and bands. He’s the acoustic guitarist on the Jimi Hendrix Experience’s version of “All Along the Watchtower”; he’s on The Stones’ Beggars Banquet; he’s recorded with The Beatles on “Across the Universe,” George Harrison on All Things Must Pass, and Paul McCartney & Wings on Venus and Mars; he’s played with Crosby, Stills, and Nash; he cut an album with Cass Elliot; he’s toured with Clapton; he played with Delaney & Bonnie and Friends; he was in Fleetwood Mac for a brief stint in the mid-90s; he had Stevie Wonder play harmonica on one of his albums; he had Michael Jackson sing on one of his singles; and perhaps most importantly, there’s a photo of him on his website with not only Keith Richards, but with Kid Rock, too. KID ROCK! I shit you not. Some would call that burying the lede, but I prefer to think of it more as saving the best for last.

Mason’s journey as a soloist started in 1970 on Blue Thumb Records with a contract that he would come to hate. In the middle of recording his third album for the label, Headkeeper, he decided that in order to renegotiate his contract, he would steal the album’s master tapes and hold them hostage as leverage. But Blue Thumb was unmoved. They took the few copies of studio-side masters that they had lying around, which comprised half of an album, and then filled out the other half with some live recordings, all clearly against Mason’s wishes and without a single ounce of his input.

But the legendary record executive at CBS, Clive Davis, would soon come to Mason’s rescue. Davis was well aware of what a talent and draw Mason was, and got him inked to a multi-album deal that saw him enjoy a good bit of success throughout his tenure. Most of Mason’s singles would fail to chart, but a majority of his albums went gold (1977′s Let It Flow would go platinum), peaking mostly between the mid-20s and low 40s on the Billboard 200, and he played lots and lots of sold out shows, too.

Now, it should also be pointed out that Mason’s not just a straighforward rock and roller. He definitely does his fair share of rocking, but he’s also a blues guy, somewhat of a country guy, and he’s made some reggae-styled stuff, too. His second album at CBS and fifth as a soloist, Split Coconut, was an album that really saw him take a stab at reggae. Inspired by the ambiance of a Jamaican restaurant by the same name in England, the album would see Mason really going for a relaxed, tropical island kind of vibe. And in order to achieve that chilled-out feeling, he would enlist as some of the album’s session musicians tropical music’s most famed practitioners, namely Graham Nash, David Crosby, and The Manhattan Transfer (unlike my Kid Rock bit up top, this is pure sarcasm). The attempt at reggae would prove successful, too, with the album achieving gold status.

Featured on Split Coconut is a song called “Crying, Waiting, Hoping,” which, in order to fully appreciate, you need to familiarize yourself with two other songs first: “Crying, Waiting, Hoping” and “Peggy Sue Got Married,” both by Buddy Holly. These songs comprised the A and B-sides of a Holly single that was posthumously released in 1959. Mason’s version of “Crying, Waiting, Hoping” is not just a cover of Holly’s version, but actually a pretty sweet medley of both songs from the Holly single. But instead of being superb rock and roll, Mason and co. were able to fuse the two songs together into a reggae-calypso style, outfitted with skanking guitar rhythms, high-pitched whistling flute, and cheery marimba flutters.

On this song, Mason pulls musical pieces from both “Peggy Sue Got Married” and Holly’s version of “Crying, Waiting, Hoping,” smushing them together in an impressive manner (if you don’t believe me, play chunks of all three songs in succession and you’ll see what a good job he really did putting this thing together). Lyrically, he lifts the song’s sole verse from “Peggy Sue Got Married” and the choruses from Holly’s “Crying, Waiting, Hoping”. The result is a slowed down, expert conjoining of both Holly numbers, transformed into lighthearted reggae-pop, and made for some blissfully innocent weekend afternoon lounging. In 1994, CBS/Columbia would dig into their own archives to put together a German and Austrian-released compilation called Reggae Feelings, which would close with this nifty reggae medley cover.

A nice, little Dave Mason deep cut from the mid-70s that sees him turning a pair of Buddy Holly songs into reggae-pop.

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thesunlounge · 5 years

Text

Reviews 290: Wilson Tanner

Back in 2016, Andrew Wilson and John Tanner joined together for 69 on Growing Bin, which for me is a something of a masterpiece. Across the album, the duo married bucolic guitars, meditative woodwinds, and sunset electronics to gorgeous effect, resulting in a sonic experience of deep serenity and new age mastery. So when Efficient Space released the newest Wilson Tanner experience II, it was a sincere surprise discovering how abstract, strange, and challenging everything was this time around. Mostly gone are the lush and organic textures of that last album, with the focus now on modular electronics and experimental ecosystems of aquatic looping, alien minimalism, and vaporous prog ambiance. Everything here swims through layers of shadowy delirium and the entire experience is informed by the album’s unconventional recording process, which saw Wilson and Tanner loading a 1950’s riverboat called “These Days” with an array of weather proof electronics. Leaving behind terrestrial foundations and resting above the mysterious underwater universe, the duo perhaps lost sight of who or where they were, lapsing into some forgotten ancestral remembrance of a time lost at sea…of the primal experience of surrendering to the totalities of the ocean world. And to combat the onset madness and intense feelings of isolation, Wilson and Tanner turned to these mystifying electroacoustic sea shanties...these strange expanses of subaquatic drone that sound as if they were constructed by beings who’ve only ever known only the motions of the waves, the smell of a salt breeze, the sun’s blaze, and a sparkling canopy of stars.

Wilson Tanner - II (Efficient Space, 2019) We open on “My Gull” and it’s pianos washing back and forth amidst oceanic clouds of ambiance, with subtle psychosonic fx kissing the mix. The keys lock into a simple chord refrain, though the patterns are sparsely embellished with dancing melodic filigree. Seagulls circle overhead, filtering synths glow in the background, and sometimes the piano melodies recede, leaving behind vacuous stretches of swelling ambiance. And towards the end, after one of these immerse stretches of synthesis cuts away, we are left with nothing but the calming sounds of a life by the sea, with boats bumping gently against wooden docks beneath grey clouds and patchwork sunlight. There are further synthetic piano meditations in “Loch & Key,” as a simplistic riff bounces on echowaves. Airy synthesizers trace colorful curlicues over the flowing piano spells and deep in the background, cloudform melodies are smothered yet beautiful, evoking ghost choirs and mermaid reveries. The mix is awash in seaside field recordings, all soft clatters and watery drips, and there are these guttural sounds that flow in at times, which are indistinguishable as electronic or organic. My best guess is that John Tanner’s clarinet is flowing through some modular chain, but whatever the source, the evocation is of some strange sea creature croaking towards the sky. By the end of the track, muted melodies dance in counterpoint to the pianos, creating a pop-tinged passage of minimalist magic, one that is eventually overlaid by strange sliding melodies and soft currents of feedback that progressively evolve into robotic fusion weirdness, resulting in a strange moment of sci-fi solo flamboyance at odds with the otherwise bucolic ambiance.

Mellotron flutes add touches of Aegean melancholy to “Perishable” while an acoustic guitar wanders through funereal desert atmospheres…like a spaghetti western deconstructed into wandering dreamfolk. Vibrato electronics arc overhead and haunted melodies are shrouded in spectral haze until we arrive at an ambient prog interlude, wherein sampled woodwinds sing mournfully over strange pulsations, resulting in a gaseous dance through layers of springtide sadness. The guitar returns, still shambolic and worn out, but now leaning towards Flamenco exoticisms while the flute continually ascends, at some point working itself into a radiant church hymn. The centerpiece of II is the epic “Killcord pts I-III,” which is centered on this mind-melting sequence…like a cyborg tuba caught in maniacal loop while constantly transforming into a mutant gurgle. Synths scream across the void and pull the soul into darkness before giving way to strange percussive bubble formations, with atonal musique concrète sonics working against the sequential hypnotics. The mix is alight with movement and sees liquids oscillating and muted trumpets blaring while crystalline idiophones play triumphant themes beneath layers of electronic dust. Imagine some strange approximation of Berlin school music submerged within an aquatic dreamworld, with hyperspeed pulsations causing time itself to skip and synthesizers weaving themes of alien majesty. The ecstatic energy surrounding Wilson and Tanner is palpable and it’s easy to imagine the pair locked into some sort shamanic ritual playing out on primitive electronics, with spells cast in the form of mutant marimba lines, acidic slides, mechanical loops, and sub-bass rumbles.

The B-side opens with “Idle” and its bells smearing into metallic distortion. Cyborg chirps flutter and gong-like swells of bass ambiance hover like stormclouds until abstracted rave electronics start firing through the mix, with big bubbles of acid and subsonic synth motions locking into drunken repetitions. Black hole vapors flow all around and horror film feedback floats across the spectrum while sizzling snare hits transform into radiophonic weirdness. Squelching synths establish a sort of daydream groove alongside futuristic tom tom experimentations and ethereal melodies swim over heard…sometimes evoking a beautiful prog elegy while at other times devolving into sheets of dissonance. And as the track progresses, oscillations flutter on a sea breeze, mechanized chirps are joined by birdsong, and the massive clouds of bass ambiance recede momentarily, only to fade back in like some viscous body of shadow. Next is “All Hands Bury the Dead,” which features lullaby melodies and new age sonics mutating through an LSD haze, with notes curling in on themselves and spontaneously vaporizing. Water laps gently beneath the ambient waveforms and as we drift along in a state of meditative clam, it all begins evoking for me the music of Hiroshi Yoshimura and Satoshi Ashikawa…like a visage from a window of an unremarkable yet still beautiful afternoon where clouds drift lazily overhead and blue waves crash to shore. Eventually, choppy tremolo electronics move into the stereo field and disturb this pictaresque serenity and once the environmental keyboard melodies finally drift away, blurry synthesizers merge with the sounds of flowing water.

A mutant funk bassline anchors “Safe. Bird.”…as if a clavinet is jamming through an ambient seascape. Percolating woodwinds and bleeping satellites execute some enigmatic Morse code conversation and soft focus melodies are surrounded by ring modulating psychedelia, all while the bassline continues its sludgy groove. It’s like some mid 70’s Miles fusion experiment a or Magma zeuhl ceremonial, only reduced to just stoner bass riffing and space age oceans of shimmering detritus. And by the end of the track, the basslines are replaced by alien chirps, extra-terrestrial gurgles, and vibraphones dazzling the mind with cinematic leads and downer descents. The album closes on “Crossing the Bar” and its wavering oscillations breaking apart over the motions of water. Resonant vocalisms swell on one side of the mix while bleary-eyed layers swirl on the other…as if two different stretches of ambient music have been overlaid then panned hard. Clicking percussive textures crackle in the air and bass synths pitch-shift continuously, evoking the engine sounds of the riverboat “These Days” as it makes its way across the deep dark waters. Synthesizers blend seamlessly with aquatic field records and the mind loses all sense of where the natural end and the electronic begins, with the track mostly just letting throbbing machines hum beneath bodies of atonal new age mesmerism. At some point, a slow motion synth solo erupts over the mix…calling out to the stars, desperate and pleading…as the rest of the stereo field mutates into a fractal soundbath. And by the end, we are left with looping chimes, feedback sirens, flying birds, haunted drones, and the increasingly distant sounds of Wilson’s and Tanner’s boat as it sales further and further towards some unknowable horizon.

(images from my personal copy)

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mokkri-valandiel · 5 years

Audio

“I can do the impossible.”

[[Post a violent, gory healing of Eru’s many wounds]]

When Mokkri came to she found herself on the couch, with a soft blanket thrown over her. A steaming cup of tea smelling of lemons sat on the table next to her. By the hearth setting something to boil was Eru, wrapped impressively almost collar to foot in bandages. He sipped at something, dark dark circles under his eye.

G'mokkri pushed herself up, entire body screaming and sore. "Ah!" she yelped, coming to in an unexpected space. She flailed, getting tangled in the blanket, further announcing her recovery and re-entrance into the land of the living. Fighting the blanket, she finally looked over at Eru. "You didn't sleep." She said flatly.

Eruantien looked Mokkri's way when she flailed awake, an eyebrow raising. "It's been a day and a half," he said, sipping at the cup of whatever it was and making a face. "I slept enough. How do you feel?"

"I feel awful." Mokkri groaned, stretching carefully. She ceases fighting the blanket, putting it up to her chin instead, then reached out for the cup of hot lemon healing. "I think I probably need to eat something," she says sheepishly from behind the delicate, expensive cup. Only the best and most refined in Eru's home. "Have I really been out for a day and a half?" she demanded. "How do you know if -you- slept. How long did you sleep? How're you feeling? Did we die? Is this the afterlife?”

Best and most refined was right. Eru smiled slightly, gesturing at the burbling pot on the hearth. "The stew you made should be almost done heating up," he said. His voice was quiet and hoarse, much different from the usually melodic and appealing quality it held. After a beat Eru lifted the pot from its hook, placing it on the table to cool a little. "I slept maybe half a day," he said, moving stiffly to sit down next to Mokkri. "And I assure you, we did not pass through Thal's gates."

"A statement I am very glad to hear affirmed," Mokkri mumbled into her tea. "I was so scared, Eruantien. I didn't know if that would work. I--I don't want you to go."

Eruantien leaned carefully over to frame Mokkri's cheek with a callused hand. Now that they were bare she could see the black vine-like scars that twined up his forearms to the elbows. "I know. And I don't plan on going," he said gently. "Thank you for the surgery."

Mokkri put her hand against his, leaning into the touch. "What happened. How finished is 'finished'? When did these scars get here? And--you're welcome. I don't really want to do it again, though."

"I'll try not to get almost killed next time then, but no promises," Eru said with a weak laugh that turned into a rough cough. He withdrew his hand to pick up his cup, taking another grimacing sip. "Well...hopefully Scarlet Feather isn't dead, and I banished the Flower. So for this round, truly finished. Oh and these?" He set down his cup and held up his arms, so Mokkri could have a better look at them. "I got these when my wife burnt the flesh off my arms."

Mokkri gasps in surprise, "She WHAT? And-but--you still want me to bury your jewelry together? After that?"

"It's a long story and it would take too long to explain," Eru said, shrugging. "But yes. I do." He leaned forward gingerly, opening the lid so the smell of the stew could start wafting through the room even as he ladled Mokkri a bowl and held it out to her along with a spoon.

G'mokkri accepted the bowl, looking dumbly at her father. "But hypothetically---if -I- did that, I don't see me surviving that encounter with you. I don't get it," she muttered, shaking her head before shoving stew in her face. It was just a simple meal with simple flavors, but it didn't taste -bad- and she had tried her best. Gesturing at Eru with her spoon she said, "Uh...does someone need to heal Scarlet Feather since she isn't dead, too?"

"Mokkri, manners," Eru said automatically as she gestured with the spoon. He ladled himself some stew, taking a bite with an approving nod before answering. "Hypothetically if you flayed my arms I would still forgive you, because you're my daughter and I'm sure there would have been a good reason," Eru said in a strangely reasonable tone. "And...well, I'm not so sure if she needs healing, but I think someone needs to look at her and her aether. As I said before, there is something incredibly strange about it. I think something must have happened to her, in the past."

G'mokkri says cautiously, "What do you -think- happened? And how far in the past? How little did you know about your void hunting companion," she chided Eru, putting her spoon back in her face.

Eruantien shrugged. "I'm not sure. Whatever is going on with her is not exactly within my realm of expertise. I left the finer matters of aetherial disturbances to Reinette. She was far more knowledgeable about them." Eru made a face at Mokkri. "Oh stop. I knew enough about her in the present, and I didn't want to pry.”

#flute #music #kugane theme #rp log #eru #i can do the impossible

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