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chaosincurate · 9 months

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My month in music - July 2023

Prince - 1999

New Order - Power, Corruption, and Lies

The Beatles - Revolver

Squid - Bright Green Field

Squid - O Monolith (relisten)

Nothing But Thieves - Dead Club City (new)

Slowdive - Souvlaki

The Jimi Hendrix Experience - Electric Ladyland

Madvillain - Madvillainy

Kendrick Lamar - good kid, m.A.A.d city

Janelle Monáe - The ArchAndroid

King Crimson - In the Court of the Crimson King

King Crimson - Discipline

Bob Dylan - Blood on the Tracks

black midi - Hellfire (relisten)

Regina Spektor - Soviet Kitsch (relisten)

Gabriels - Angels & Queens (new)

JPEGMAFIA & Danny Brown - SCARING THE HOES (new)

Alvvays - Alvvays (relisten)

Injury Reserve - By the Time I Get to Phoenix

Regina Spektor - Begin to Hope

Regina Spektor - Far

Japanese Breakfast - Jubilee (relisten)

Alvvays - Blue Rev (relisten)

Regina Spektor - 11:11

JPEGMAFIA - LP! (Offline)

Write-ups below

Prince - 1999

In a continuation of my "I was wrong about Prince" arc, I gotta say, this album is incredible. One of the most admirable traits Prince's music has, is the ability to lock into a groove and just keep it going for insane runtimes without it overstaying it's welcome, and that is very much a trait that is on display on this album, with only two songs being under 5 minutes, and only a couple of the others are noticeably long.

I imagine it's safe to assume anyone reading this has already heard the title track and Little Red Corvette, so realistically you've already had a taste of this album, but if you're looking for another song to try, D.M.S.R. stood out to me as an exceptional example of that previously mentioned ability to lock into a groove for ages without it becoming noticeable.

New Order - Power, Corruption, and Lies

A brighter, more hopeful version of Joy Division, as they are often labelled, New Order creates a distinction between itself and it's predecessor by simply being a less challenging listen, emotionally and intellectually. That isn't to say that it's any less deep, though. There is still plenty to dig into here, but I would argue that it is more optional here than with what I've heard from Joy Division.

I think if I were to recommend an individual song, I'd put forward the opener, Age of Consent. It's an excellent establishment of the band's personality, whether or not you're familiar with Joy Division, and therefore the majority of New Order.

The Beatles - Revolver

I think it's time to admit that I'm never gonna get The Beatles. I understand that they were incredibly influential and that some of my favourite bands wouldn't exist without their work, and many of them would be drastically different, but I just don't understand how people can listen to it with the developments we've made since and not find them incredibly lackluster. After listening to Abbey Road, Help, Sgt. Pepper's Lonely Hearts Club Band (not a concept album btw), and now Revolver, I have only enjoyed the first of those as a whole project. Granted, I hear picking a version of Sgt. Pepper's to listen to is like playing Russian Roulette with a half full revolver, so maybe I just chose wrong there, but the other two don't have that excuse. I just don't get the hype when it comes to modern listening.

Squid - Bright Green Field

I remember seeing this album a lot when it was first released, and my tastes must not have been ready for that yet, because I do remember, quite distinctly, listening to something off of this album. Clearly though, I was right to hold off, because my tastes have since broadened enough for me to absolutely love this. Bright Green Field is an energetic art-punk album with a compelling breadth of themes and executes all of them with a very engaging subtlety that balances having a clear meaning with allowing the listener to have their own interpretations. The way this manifests, is that you will have a general idea of what the song is pointing towards, but will have to fill the nuances in for yourself, which I find gives you a better connection to the music.

A great example of that in action, and possibly my favourite song off the album, is Narrator. It is pretty clear that, no matter what your interpretation is, whatever the woman in the song represents is being victimized and forced to beg for scraps from a more powerful being. For me, the interpretation that makes most sense is that the song is about patriarchy, and how both men and women are pushed to act a certain way, but how men often get the better deal, even if there are many ways in which they are equally trapped, playing their respective parts. However you look at it though, it is a great demonstration of how power dynamics like that are entirely damaging.

Squid - O Monolith

For the most part this album is pretty stylistically similar to Bright Green Field, but I'd say this one is more consistently experimental than their last effort. Overall though, if you liked BGF, you'll probably like O Monolith. There's not a lot that you can say about the former that doesn't apply to the latter.

My favourite song off the album is The Blades, another great song by Squid about power, in this case the abuse of it and the loss of it, seemingly through the perspective of a police officer or soldier who inflicts pain and torment under the guise of protection, and then feels inadequate when they lose their position. The line "Another man's hand on the joystick instead of mine" feels full of the kind of jealousy one would feel when they are being cheated on. A righteous spite and tinge of self-hatred, like an all encompassing emotional poison.

Nothing But Thieves - Dead Club City

Nothing But Thieves are a band I talked about before, in my Top 100 One Song Per Artist post (at 52 to save you some time if you're interested), and I made sure to mention that they were crucial to developing my music taste, but I do feel like I've largely grown to have a disdain for their music. I look at their older stuff with a similar love to the one I had in my younger days, albeit with a slight undercurrent of acknowledgement that if it weren't for nostalgia I may not like it so much; but their new music always feels strange to listen to because of that. There are only a few songs I can actually get into without it feeling like a hollow nostalgia. This isn't their fault, of course, it's me who's changed, but it does result in a strange experience.

Also, for a more objective criticism, what is it with bands just having, like, 3 songs that contribute to a theme or story and calling it a concept album? This could have been a cool concept album, but there's just an opener which introduces you to a concept (a thinly veiled metaphor for the internet, most specifically social media and the other dopamine pumping addiction machines across the web), then maybe slightly touches on it a couple times, then has this epic, riotous closer that has no payoff because there was basically no buildup. I understand most people just don't care, but I really like concept albums, and the amount out there that claim to be one while offering no greater cohesion than the average album is infuriating to me.

Anyway, I did really enjoy Do You Love Me Yet? It felt like it was contributing kinda well to the concept, and the way they mix orchestra and crunchy, headbanging alternative rock is novel and works surprisingly well. The lyrics are painfully mediocre, but the concept of the song and the instrumental carries it well enough for it to not be that big a deal for me.

Slowdive - Souvlaki

I feel like I've kind of been unintentionally circling and prodding at the genre of shoegaze, especially since listening to, and subsequently adoring, Blue Rev by Alvvays. This month I decided to take an intentional dive into this music that seems like such a good fit for me by listening to one of the subgenre's most beloved albums. Unsurprisingly, I liked it. I was a little hesitant to listen to something shoegaze, because my first experience was with my bloody valentine a little while back and I didn't like how the lyrics were seen as so secondary to the music. I've since become a little more open to that, so maybe it's worth a revisit, but that experience with the shoegaze album kind of left a bad taste in my mouth. Fortunately, between Blue Rev and this, my palette has thoroughly cleansed and sweetened.

I love how the genre, when done well, entirely envelops you similarly to metal, but with a sweetness, like the difference between a hug and a sleeper hold.

That being said, my favourite song off of the album is probably the one that probably adheres to it the least, that being Souvlaki Space Station. The guitars here have this kind of alarm-like sound that gives you a deep sense of something going very wrong, and that enveloping that I mentioned earlier feels less like a hug now and more like a crowd of panicked people rushing past you for the nearest exit. It's an incredibly anxious atmosphere, and the album would be harmed by more than the sum of the songs parts were it not on the track list.

The Jimi Hendrix Experience - Electric Ladyland

Not much needs to be said about this one. It's a classic for a reason. If you're after a captivating experience that melds charismatic vocals and one-of-a-kind guitar playing, then look no further than The Jimi Hendrix Experience. You've almost certainly already heard and fell in love with the incredible cover of All Along the Watchtower, so you have no excuse to not bless your ears with more of the same as far as I'm concerned.

If you must dip your toes a little more though, I'd recommend Rainy Day, Dream Away personally, with the 15 minute Voodoo Chile also being a highlight.

Madvillain - Madvillainy

This is a very deceptively rapid fire album. The beats aren't super invigorating and DOOM is so laid back as he makes history with his dense flow and wordplay. It makes for a very hard album to keep up with for someone with as little melanin as me, but what I kept up with was exceptional and hinted at a deserved legacy.

It's not just MF DOOM that makes this album great though. Madlib's beats are complex enough to be captivating, but not enough to feel like they're trying to take the spotlight off the awe-inspiring lyricism and flow that DOOM brings.

If I were to recommend a song, I'd struggle first and foremost because it's a very consistently amazing album, but the one that has really stuck with me is Fancy Clown. You really can't go too wrong though.

Kendrick Lamar - good kid, m.A.A.d city

I'm not remotely likely to reach anyone who hasn't heard this album before (or at least knows if they ever will) with this, but I really loved this album. It is one of the best examples of an album that I have ever heard. The sequencing is damn near perfect, making the album feel noticeably effortless in a way that is hard to explain. It's so rare that an album is sequenced in such an excellent way and it feels so primally easy, like the very core of your being was made to listen to this album, like it has some ancient understanding of this project that predates both you and the album. It's immaculate. It's glorious. It's beautiful.

Kendrick is also clearly great at making albums that feel significantly more cohesive than albums that are supposed to be concept album. I've spoken about how irritated I get about albums just being called concept albums when that label doesn't apply, but for reference, this is how concept albums are done. Not having one or two songs connected to the concept, but only having one or two that don't. It's focused and it makes it so much more affecting.

With that in mind, I'd first and foremost recommend just listening to the album if you haven't already, but if you need to hear a song to be convinced, Money Trees is my suggestion. It is, as you'd expect from the title, a well executed depiction of the hustle culture and money obsession that comes with growing up in an economically deprived area, where the safety it can provide is invaluable.

Janelle Monáe - The ArchAndroid

I feel like the entirety of this album would be ruined if there were a single point where the performances slipped. On a conceptual level, it seems like there is a sense that it is better than it is. Like it doesn't recognize its simplicity, but because Janelle Monaé is an incredible performer, and the band is on point constantly, it elevates it and makes that conceptual simplicity a positive somehow. The incredible execution legitimizes the concept, at least it does for me.

To demonstrate Janelle Monaé's awesome skill as a performer, take Tightrope and imagine some random X Factor or American Idol finalist making it. For me, it turns into childish, top 40 slop in my imagination. But because it's Janelle Monaé, it feels sincere and meaningful, if a little self-aware in it's lack of conceptual complexity.

King Crimson - In the Court of the Crimson King

Probably the album at the top of the must-listen list for prog-rock. I enjoyed the album enough to agree with that too. The songs are all really long but the experimental nature of the album really makes the album consistently attention-grabbing and entertaining.

It's a basic choice, but I really enjoyed 21st Century Schizoid Man. It's huge, it's anthemic, it's got bombast and aggression, along with that previously mentioned experimental nature.

King Crimson - Discipline

Discipline didn't impress me quite as much as In the Court of the Crimson King, but it was still a pretty great experience. It's very much more of the same great sound that made Crimson King such a standout record, but just to a slightly lesser quality in my humble opinion and with more of a focus on settling into a repetitive groove than on their earlier record. I'd definitely recommend that you listen to that before Discipline if you're interested and haven't already.

The standout track for me, and the song I'd recommend is Thela Hun Ginjeet. I feel it embodies the unique elements of this record in particular pretty well.

Bob Dylan - Blood on the Tracks

I don't really think I'm a Bob Dylan sort of guy because I just couldn't get into this on anything other than an intellectual level. Because of that, and the fact that as I write this I'm a few days past the day I wanted this to be posted by, I'll just say that I'd recommend listening to Tangled Up In Blue if you're unsure and move swiftly on.

black midi - Hellfire

I've spoken at length about this album multiple times before, so I'll keep this pretty brief, but this is quite possibly my favourite album of all time. It was my first exposure to black midi because, based on the album art and the name, I assumed it was heavy metal or something equally heavy. I was very wrong about that. They are absolutely a band that will overwhelm on first listen, but not in a heavy metal sort of way. There is a complex intensity to the album that, at least for me, inspired an almost religious experience where I couldn't even begin to grasp what I just experienced, but it just felt right to me.

I could very easily recommend any song off the album, but today I'll go with Sugar/Tzu. It's a very theatrical song, using a boxing match as a metaphor for... Something. It's pretty abstract and open to interpretation. I'll leave you to come up with your own.

Regina Spektor - Soviet Kitsch

Another one I've written about a lot already, I should really just write about these albums so I can link somewhere when they pop up in future.

Anyway, I've been on a bit of a Regina Spektor kick lately and been listening to some of her other albums, and I gotta say, as much as I love and appreciate those albums too, they all just make me appreciate how special this one is even more. None of her other albums that I've listened to have the same quirky, artistic charm that this does. It's all a little different. Here, the songs feel of-the-earth, dug up in this incredibly affecting, raw, primitive state that spoke directly to emotions in the language of emotions. It's incredible and I don't expect I'll hear anything quite like it for a very long time, if ever.

Recently, I've really enjoyed Chemo Limo, and I see no reason not to suggest that as a single song for those who want to dip their toes.

Gabriels - Angels & Queens

I'm going to be honest, I was distracted when I first listened to this album and never revisited it fully. That being said, the title track popped up on shuffle a lot and I got really into it in that less focused context, so I imagine that's a good recommendation for an individual song.

JPEGMAFIA & Danny Brown - SCARING THE HOES

This whole album is so chaotic, anthemic, exciting, and weird enough to earn it's title. JPEGMAFIA and Danny Brown's energies click so perfectly too, which really gives this album an infectious, propulsive flow. It's definitely my favourite hip-hop album of the year so far and I'm disappointed that it took me so long to listen.

I think this album is at it's best when it's chaotic energy is at it's highest, so if you're looking for a song to try it out first, I'd go with the opener, Lean Beef Patty. It's an explosive start, and prepares you perfectly for the experience you're about to have.

Alvvays - Alvvays

I've made no effort to keep the fact that I absolutely love Alvvays under wraps. In fact, I've made a whole ass post about it. That being said, this is clearly a version of the band that wasn't quite as keen to explore new sonic palettes as they have since become. It's pretty one note, but they chose a great note to linger on, like an F#. Solid note for sure, but if I were to nitpick, I'd like a few more.

As I implied in that first paragraph, the album is incredibly consistent, so it's another one of those albums where you could close your eyes and point to a song to try if you were unsure, but here I'd like to recommend fan favourite Archie, Marry Me. Much like the rest of the album, it's dreamy, twee, and euphoric, with some sardonic lyricism courtesy of Molly Rankin, where, depending on how sarcastic you think she's being, she's either targeting the pressure to marry, or the person who is unwilling despite their shared commitment to one another. It's really good and fun and full of indie charm, you should give it a listen.

Injury Reserve - By the Time I Get to Phoenix

Much like the Bob Dylan album I talked briefly about earlier in this post, I enjoyed this way more on an intellectual level moreso than on any other, although I was able to get into this one a little bit more. It's a very intense experimental hip-hop album generally centered around grief, which makes it more intense and, at the same time, more harmonious for the way it intensifies that innate intensity.

The best songs off the album are towards the end in my opinion, and to suggest you listen to one of those before the album as a whole would probably lead to a worse experience with the album, so I'll suggest Superman That as an introduction instead. It's glitchy and stuttered which grants a heightened level of desperation to the sound of the song as the hook "ain't no saving me or you" punctuates it.

Regina Spektor - Begin to Hope

As I said earlier, I feel like Regina Spektor, if she was trying to, struggled to recapture the very specific charm of Soviet Kitsch, but as they say, shoot for the stars, and if you fall short you'll make it to the moon. There is still plenty to love here if you aren't comparing it to a once-in-a-lifetime record. The lyricism is still fantastic, albeit in a different way now, with Samson in particular being a song from this album that felt incredibly poetic. Après Moi on the other hand shows off her ability to make lyrically focused music instrumentally interesting. It's still a great album, just not as unique as I was hoping after hearing Soviet Kitsch. I'd still highly recommend giving it a listen if you like lyrically focused art pop ballads.

Regina Spektor - Far

A lot of what I said about Begin to Hope applies here too. I saw a few people pointing out Eet as their favourite Regina Spektor album, but I'm going to have to disagree there. Personally, my favourite ended up being One More Time With Feeling. It's just one of those songs that make you feel backed up and supported in whatever challenges you may be feeling. It somehow reminds me of Road to Nowhere by Talking Heads in that respect.

All in all, this was by quite a way my least favourite Regina Spektor album so far, but it is still very much worth a listen for me. She's just a very special artist, the likes of which don't come around very often, and that has been clear in every single album I've heard so far.

Japanese Breakfast - Jubilee

I imagine I've written about Jubilee before, but not often enough. It's such a great example of an album being fun without sacrificing depth. Admittedly, not every song here is positive, but the majority are, as the title would suggest, and I can't describe in words alone how happy I am that there is an album out there proving to the depression snobs that you don't have to be sad to be interesting, and proving to the lazy that you don't have to give up meaning to make music that expresses the positive sides of life.

The example I adore most is the opener, Paprika. Its an absolutely gorgeous song that has dug it's way deeper and deeper into my mind since I listened to it to the point that I'm convinced one day my whole personality will be Paprika by Japanese Breakfast. The song, and by extension, the album, opens to slow, ascending synths that are instantly positive and comforting. Then you hear the beautiful lyrics, "Lucidity came slowly, I awoke from dreams of untying a great knot". the words that have not left my head for more than a day in months. Gorgeous. Then you get a triumphant drum line to give the song a soft drive, and eventually the chorus

"How's it feel to be at the center of magic to linger in tones and words?

I opened the floodgates and found no water, no current, no river, no rush

How's it feel to stand at the height of your powers to captivate every heart?

Projecting your visions to strangers who feel it, who listen, who linger on every word?

Oh, it's a rush"

I had to share it in full. It's such a beautiful ode to music, it brought a tear to even my dry eye.

This has grown to be my favourite song off the album for it's summation of everything within the project, but aspects of this beauty are reflected in other moments on it. If left-field pop is even in the vague vicinity of "your thing", this is a must listen. If not the album, Paprika at least.

Alvvays - Blue Rev

I've talked enough about Blue Rev by now. It's a fantastic noisy, shoegaze album. Listen to After The Earthquake if that sounds up your alley. Even if you've heard it before, treat yourself. You deserve it.

Regina Spektor - 11:11

I really loved the sparse production on this album. It allowed the lyrics to take center stage alongside Regina Spektor's amazing, expressive vocals, that prevent the music from feeling empty. It's some great artistry on display to almost make the sparsity go unnoticed.

I think there are two great songs that serve as microcosms of the album as a whole. First, Rejazz. Here, there's only a bass and Regina Spektor's immaculate vocals which cover ground from deep growls, to delicate highs within the space of seconds in a way that feels natural, as if it's just an attempt to squeeze out every single bit of emotion she can as she sings of losing someone and recognizing the catastrophizing she is doing, convincing herself that she will cry forever and realizing how untrue that is.

Next, I wanted to bring up I Want to Sing because it is a great example of the intimacy that the sparseness of the album creates. Here, there are no instruments at all, taking that acoustic idea to the absolute max without literally having a silent track, and therefore making it feel almost as if you're in the room with her in some cheesy romance film moment. That's not to say that this is a simple love song though, because she recognizes the absurdity of her situation with glimpses of that aggressive anti-cliché writing that initially drew me to Spektor's music with Soviet Kitsch.

JPEGMAFIA - LP! (Offline)

After listening to and being blown away by SCARING THE HOES, I developed an itch for that sort of sound, and considering JPEGMAFIA was responsible for my favourite parts of that album, I decided to start here, and I was impressed. I didn't enjoy it as much as STH, but it was an abrasive and chaotic enough experience that the itch is very much scratched for now.

As much as it seemed out of place as the fourth track on the album, I'd recommend listening to the song END CREDITS as a first taste of the album.

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blue-weekends · 2 years

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People I want to know better

I was tagged by @all-mirrors to do this. Thanks! BTW, I also want to know you better! Here we go...

Last songs: Just listened to Julia Jacklin's new album PRE PLEASURE in full, then went to Angel Olsen's Big Time and now Warpaint's Radiate Like This. Also I've been listening to a lot of Black Sabbath, The Doors, Metallica, AC/DC & Ramones these past few days;

Last shows: Well, I went to Primavera Sound Barcelona this year and got to see a lot of bands I love, like Dry Cleaning, The National, Nick Cave & the Bad Seeds, Fontaines D.C., shame, black midi...;

Currently watching: The Osbournes with my bestie @ginnythegoat LOL;

Currently reading: A compilation of short stories by F. Scott Fitzgerald - it's taking me a long time do finish it; fanfiction involving eddie munson sort of got in the way....................................................

I’m tagging @ginnythegoat (i already know you pretty well KKKKKKKKKKKKKKK but let's give other people on Tumblr the honors), @shamansbluezz, @discotec, @fallingwater and @dalliscar. No pressure though. Just saying HI! X

#text #personal #me

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jsdgfsdf · 5 months

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Cainpesh mode tierlist official...as of like 10 seconds ago

Pesh mode rambling under tge readmore its long. If it werent long it would just be visible in the post itself but myeh i actually care about post length rn also take this w like 5 teaspoons of salt im not a longtime depeche mode veteran fan or anything i just like their music a lot

Ummmmmoh these are all in order btw not like randomized in the groups. I was real purposeful w this one. for starters im a little biased towards ultra cus it was the first album i listened thru all the way cus i found the cd at goodwill in like. ? August ? September maybe and i was like well why not ive been meaning to listen to pesh mode. That and its just a really good album. It took me a couple listens to really get Into it but its definitely my #1 fave now..call that my..ultra fave..lawl..

Funnily enough i didkt really like playing the angel much when i was first getting into dapeachmode (its funny bc that was my first lile formal introduction to them outside of just cant get enoof by joel vinesauce. Everyone say thank you syd and his oc shangri-la) cus i thiught it was too harsh..? Or something? And i really only like 7 (lol) or so of the songs but the ones i do like are Really Fucking Good imo and its admittedly a very powerful album and i like that.

Music for the masses has a lot of aongs i like too though like a LOT camera pans over to my 100+ scrobvles of never let me down again atp..and my 3 hoarded usernames..and that ine bunny piece..etceteta. Well actually 2 bunny oieces but the other one is strangelove. Its basically just an album full of my favorite songs who am i to argue w that.. though its also sorta the same case w black celebration cus theyre both Albums With My Favorite Songs but idk. Thats why its the last album in best evar

I dont really have much explanation for awsome thru oretty good except for what i just said abt black celebration.. i was sorta torn between putting violator before delta machine or not cus in my mind theyre tied. I also really liked construction time again when i listened to the whole thing Oh My god tje original mix of love in itself. Hhoouuuuh

Memento mori i remember liking a lot when i listened to it the whole way thru id need to give it a relisten.. but i remember exciter was sortof a slog so its after..i really like tge sweetest condition though as evident to friends who have my contact info. A broken frame is good too and some of the first songs i listened to are on there But that said i wouldnt change my mind on the placement. It kinda suffered a little cus i listened to like 2 songs too much on loop and got tired of them (i think satellite and monument And sortof my secret garden cus it was? Is? In my bunny playlist so you can imagine how many times ive listened to That) its just kindof a meh album to me to be mote specific.

Sorry to all the songs of faith and devotion fans out there i dont like it all that much except for in your room (should be obvious that its one of my most favorite depeche mode songs ever..and the only one ive seen the music video for so far) and walking in my shoes but thats stretching it now. And rush but i cant listen to it w/o thinking of this one specific thing and it makes me cringe so hard every time i wanna curl up into a ditch and dissolve into the groundddddffd it sucks cus rush is such a good song

Speak&spell is okay i feel like i was a little harsh w the tier title there especially cus that was their first album and its really not all that bad.. i think i mightve listened to it before anything else too but i might be mixing that up w the one cure album w the fridge picture or whatever it was. It was like. Teal fridge. I think my favorites are probably whats your name & i sometimes wish i was dead but thats pretty basic oooops.. its ok. Also speak&spell has just cant get enough on it which is just a classic even if itsnnot one of my favorites i still like it. And the midi version too.

Finally i dont even know if i listened to spirit fully i know i have scum in my liked songs cus it came on shuffle once probably..and its an alex song to me i usually put character songs i cant fit in playlists in my liked songs..id have to give it a/another listen I thibk i just skipped it cus i was worn out from listening to every other album in a row by that point. I think i listened to wheres the revolution too and didnt really like it but idk.

Also heres my pesh mode faves playlist for reading all of this yes its bunny themed dont Dont even talk me

#Spotify

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simpforsexyassmf · 3 years

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drunken truth pt1/mgk x reader/colson baker x reader

me and kells haven’t spoken since our break up last year, he was my first love, my rock, my world. I logged out of my social medias after that, and told my fans im taking a break. i still love him, i should hate him but i could never hate him. My thoughts were interrupted by my best friend skyler “bitch you listening to me?” “huh?” i said cluelessly “god pls tell me your not think bout him again” i look down “sky i can’t help it” she sat down beside me “i know but he lost the baddest bitch out there ok, come to this party with me. you haven’t gone out in a yr for goodness sake. its not good for you” i sign knowing i can’t get out of this “fineee” she smiles “thank youuu,btw im picking your outfit and were going to get your nails and hair done”

i get my hair done like this then i got long black midi length acrylics and did a black smoky eye with nude lip gloss

“i loveee your hair,its not that horrible washed out silver anymore” we both laugh

i wore a black tight dress with chunky boots and chains. i walk down the stair where my best friend was waiting for me.”oh my god, you look fucking amazing girl” i smile and spin for her “give me your phone” i gave her my phone a few minutes later “ there, come here for a selfie”

liked by @machinegunkelley,@yungblud,@travisbarker,@5sos and 1.1 million others

@itsy/nlol : im back bitches, with bestie @luvskyler 😍🤩🥰😫✨💋

#baddies

comments :

@y/nfanlol : omgg you guys look drop dead gorgg btw love the hair

@travisbarker : long time no see y/n🙄🤣

reply : lol missed you too Travis😐🙄🤣

@luvskyler : your sexy😏😘😈👅👀

reply : you thooo 😏🤤👅🧠

@yungblud : missed you so much come london pls🥺🤕

reply : missed you too dom, I’ll try visit soon.

@mgkxy/n : are u and kells friends again ?🤔🤨

@themgkfan : are you and kells ok now??btw your hair looks great

i saw kells liked my post,my heart kinda stopped. it hurt, he doesn’t get to do that and act like everythings fine. i clicked on his @ then unfollowed him on all his socials. i still love him, a lot but hes moved on. i closed my phone and smiled went to the mirror to check my makeup then, grabbed my keys grabbed skylers hand and walk out to the car. in the car colsons voice came on the radio ‘nothing inside’ i smiled slighty. “we can change it if you want” skyler said reaching to turn it off. i grabbed her hand “no its fine i like this song” i smiled as i slowly sang remembering all the good times i had with colson.

i did this all for you look what i turned into

“hey we’re here” she smiled, we got out and got greeted by skylers friend isaac “hey y/n, you look great” he says as he hugs me, i smiled “thanks isaac, you look good too” i turned to Skyler “hey sky, imma get some drinks.do you want anything” “I’ll get a drink later, imma go dance” i nod heading to the kitchen poring myself 6 shots of Hennessey and chugging them down. i wanna get shitfaced. i saw a guy with weed “hey, how much for the weed” i smile taking cash out my bra “y/n?” “yuh” i said confused “its Brandon, we used to go to school togther” i smiled “Brandon, oh my god. i didn’t recognise you im so sorry” “its cool, i mean i didn’t recognise you either, look at you god what happened. don’t get me wrong you were cute in high school as well.” “well i took out my braces and puberty happpened” we both laugh “so how much for the weed” i smiled counting how much money i had “oh don’t worry just have how much you want, no need to pay me” he gave me a reassuring smile “you sure?i mean i do-”

“y/n its fine don’t worry” he gave me the bag “thank you so much brandon” he nods and smiles as i go out side to smoke, i roll it up and lit it. i put it between my lips and inhaled the smoke, i felt so much more relaxed. i finished my spliff then i put the rest in my bra. went in for more shots. i had 4 more shots then headed to the dance floor. i made eye contact with those big blue eye yet again, a shiver went down my spine. colson baker was standing just in front of me. he clearly saw me....

to be continued

#colson-baker-x-reader #mgk imagine #mgk x reader #mgk aesthetic #i luv him

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ruffolive · 2 years

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top 5 bands (love your new haircut btw!!)

thank u >:3 uhmmmm god. ok these are the wrong answers but im saying them anyway. in no particular order.

1. Queens of the Stone Age

45 Grave???

Audioslave or. like. Soundgarden. ok well not really but like i like them.

black midi is pretty . cool. run the. jewels. bowery....electric....buena vista social club.....the cure...the clash.....death grips.....the muslims....nova twins???? [email protected]

this is too hard

#i cant make a decision or ill die.#also my music taste has been changing a lot lately and expanding i have no idea anymore.#but songs for the deaf is my favorite album for sure.

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fieldsofplay · 2 years

Text

Gorwitz’s Top Albums of 2021

25. Black Midi – Cavalcade

I LOVE Black Midi. I do not, however, love Cavalcade. Steering hard into their proggiest leanings, the most name-checked band in reviews of Cavalcade is Primus, which is about all you need to know. What’s funny is, I love prog (you’re looking at the head of the Prog Club subsection our local Record Club, which meets exclusively at a booth at the CC Club). But with prog, you have to take the good with the bad. If you’re going to define your sound as “experimental” there are going to be a few that fizzle, and the middle section of Cavalcade is full of meandering segments that don’t really go anywhere (think more The Lamb Lies Down on Broadway than Shine on You Crazy Diamond). However, the highs—“John L” “Dethroned”—are so visceral and thrilling that Cavalcade still makes the cut, even if it’s the most “difficult” album on this list to hit play on track 1 and stay with all the way through the conclusion of “Ascending Forth.”

24. Painted Shrines – Heaven and Holy

If Black Midi has diametrical opposite on this list, it’s probably the homespun grandeur of Painted Shrines’ Heaven and Holy. If you think it reminds you of Woods’ heyday, well pardner you’re in luck, because Painted Shrines is the moniker of Woods’ frontman Jeremy Earl, along with Glenn Donaldson. I’ll be the first to admit I’ve found Woods’ recent experiments in pop-perfection to be some of the best work they’ve ever done, but for those longing for the shaggier Americana of Songs of Shame era Woods, Heaven and Holy delivers. Gentle harmonies float over jangly guitars, as your mind is transported to a country lane while fall leaves slowly circle down to the ground. If The Byrds and The Feelies had a feral baby, it’d be Painted Shrines.

23. Special Friend – Ennemi Commun

You know when you have that band that you try to get your friends into and for whatever reason no one else will bite? Well, for me that band this year was Special Friend. The duo’s songs are not the most complex, often repeating basic patterns, so I get how it can be not the most engaging / challenging listen, but for anyone who loves the guitar-heroics portion of Yo La Tengo records, Ennemi Commun is worth a listen. Marrying simple but propulsive drums with squalling guitars (and hushed vocals), Ennemi Commun is basically if someone made an entire record out of “Cherry Chapstick.” If only anyone else saw it that way.

22. The Weather Station – Ignorance

Ignorance is easily the most polished album on this list, which is normally something I avoid, but for The Weather Station the overall professional sheen works decidedly in their favor. I believe the album is a cautionary tale about the apocalyptic onset of climate change, but as someone who pays almost no attention to lyrics, I'll admit that thematic cohesion largely escapes me. What does come through, however, is how each song’s elements are perfectly produced and fit together in a.m. radio gold. Tamara Lindeman’s contralto is crisply balanced by strings straight out of Abbey Road and jazzy drumming that succinctly keeps things moving without drawing attention to itself. I’m sure if I actually paid attention to the words I’d have deep things to say about the roll of this album in the ongoing disaster of world existence, but since I haven’t I’ll continue to luxuriate in its silky ‘70s sounds.

21. L’Rain – Fatigue

I read a review of Fatigue that called it R&B musique concrete, and while that might be a turn off for some people, I was like, “where do I sign up?” (Answer: apple music/spotify). But that really is the most apt description of this at times familiar at times confounding record. Essentially it sounds like an old R&B album run through a blender. Some tracks feel like background / samples stretched out to song length, while others are perfectly conventional. The whole thing has a dreamy quality, like listening to the idea of a song rather than the song itself (that’s not a knock btw).

20. Goat Girl – On All Fours

On All Fours is the quintessential grower on this list. While on first blush everything is perfectly competent and well produced, with its emphasis on moody atmospherics and chill grooves, Goat Girl aim not to impress on the first listen, but rather on the 7th. Though it sounds nothing like Portishead, there is something spiritually connecting these groups (besides both being from England of course). Whereas Portishead is all staccato, stuttering hip-hop beats, Goat Girl melts their sound down into a liquid languor, what Stereolab would sound like if they weren’t into jazz. “Sad Cowboy” would perfectly soundtrack one of Spike Spiegel’s adventures.

19. Nite Jewel – No Sun

As I age, Nite Jewel is emblematic of those bands I still consider “new” even though they’ve been around for over a decade. I guess that’s just what happens with music that comes around while you’re in your mid 20s. Because you first heard it when you were young, it forever retains a tinge of youth. No Sun is a fitting record to discuss this phenomena, because it is decidedly a “mature” album. Miles away from the lo-fi experiments of Good Evening (a record I absolutely loved in 2009), No Sun is a melancholy, mannered reflection on a failed marriage. The coldness of the beats meets the coldness of the subject matter, to create a haunting dissection both of pop music and a lost relationship.

18. Dry Cleaning – New Long Leg

While Dry Cleaning first grabbed my attention with the Boundary Road Snacks and Drinks E.P., they take a major leap forward with their proper full-length debut, New Long Leg. While Boundary Road employed the same flat intoned spoken lyrics from Florence Shaw to more or less the same effect, on New Long Leg they employ her non sequitur observations to entirely different effect by pairing them with instrumentation straight off a Buzzcocks or Television record. The guitar playing here is some of the best of the year, and the rhythm section is equally up to the task, transforming Shaw’s flat delivery into starkly vivid, thrilling music. Consumed as a whole, New Long Leg can get a bit repetitive, but the highs here are equal to anything else released this year.

17. Ovlov – Buds

With Buds Ovlov continue their recent winning streak following 2018’s excellent Tru. Ovlov are one of those bands that I don’t get why they aren’t more popular / receive more critical praise, but then I’m reminded that that’s kinda the whole point of this “indie rock” thing, whatever that terms means at the end of 2021. While they’re clearly indebted to the Dinosaur Jr. “heavy” guitar take on power pop, Ovlov are no mere revivalists. Through their combination ear-worm surprisingly light melodies, crunchy guitars, and punchy drums, Ovlov have consistently turned out gem after gem. Not for the faint of heart, but neither for the heartless, if you like your guitars loud, even here in 2021, then Ovlov is the band for you.

16. Floating Points, Pharoah Sanders, & the London Symphony Orchestra – Promises

I know in past versions of this list I’ve enjoyed declaring jazz “back,” and I’ve done it so many times that I think its just a given we no longer have to have to champion. Now that we can just assume jazz’s critical relevance in the 21st century, we can start to analyze the trends within jazz rather than the entire genre’s return from the dead. 2021 was the year of ambient jazz, and honestly I couldn’t be happier. Nothing better encapsulates jazz’s current status than Promises. Sanders, a hold over from jazz’s last moment of critical relevance, partners with a maven of the current electronic music scene, Floating Points, and the London Symphony Orchestra (sure, why not) to thrilling results. Through its constant repetitions of small passages and themes, Promises captures the key to both Sander’s cosmic jazz of the late ‘60s early ‘70s and ambient electronic music of the late 2010s. With each cycle, the music subtly varies, all the while striving ever higher towards the heavens.

15. Nation of Language – A Way Forward

If you don’t love ‘80s synth rock in the vein of Depeche Mode and Human League, I don’t know if you’ll love Nation of Language, but if you do love that stuff, then A Way Forward will scratch you right were you itch. Perfectly melding Ian Devaney’s somber baritone—which would fit right in on a Tears for Fears record—with luscious synths, this is the new romantic music for people who still walk around thinking they’re a character in a John Hughes movie. No one is reinventing the wheel here, but on a A Way Forward Nation of Language build on an excellent debut to create a truly impressive young body of work.

14. King Gizzard & the Lizard Wizard – Butterfly 3000

King Gizzard have no business being this good after putting out so many damn albums (according to my unofficial tally on Allmusic it’s their 18th, but I feel like that’s an undercount), but here we are. I’ve always enjoyed King Gizzard, especially in the incidental moments where I’ve caught them live (standing next to Lady Gaga at Le Poison Rouge was definitely a trip), but they’ve never been a key act for me. That all changed with Butterfly 3000. Out are the psychedelic jams, in are tightly wound krautrock and motoric (which, lets admit, is still a bit jammy, albeit in much smaller packages). If Neu! just wanted to have fun and had more arpeggiaters, it would probably sound something like Butterfly 3000. Things get off to a hard charging, bouncy, delightful start with “Yours,” and the album sustains that hard driving energy all the way till the conclusion of the title track. “Shanghai” was one of my favorite songs of the year, its electro funk is simply irresistible.

13. Squid – Bright Green Field

Have you ever wondered what Dismemberment Plan would sound like if they were trying to be The Fall instead of the Pixies? Well, the answer is Squid’s Bright Green Field, and it is excellent. Of the trio of Black Midi, Squid, and Black Country, New Road, Squid are the most discernibly “british” of the three. All nervy energy and razor-sharp guitars, with bratty speak-sing lyrics, Bright Green Field feels like a lost relic from the moment when the Manchester scene of Joy Division evolved into the Madchester of Stone Roses and Primal Scream. Squid posses the dancy energy of those Madchester bands while still hewing closer to the punk music of their Manchester forbears. With multiple songs stretching past the 8:00 mark, often times a Squid song will morph back and forth from arty experimentation to raw punk attack within the same song. I initially had Bright Green Field as my favorite of the trio of arty British punks on this list, but Ollie Judge’s vocal delivery can become a bit grating across the entirety of album, so I ended up slotting Black, Country New Road just ahead. However, when taken in smaller portions, Squid are making some of the most arresting, challenging music of the year.

12. Hand Habits – Fun House

Fun House is the album Meg Duffy has been building to, both across a series of interesting one-off experiments this year (see, Yes/And), and over their young career. I like placeholder, but Fun House is a major leap forward, both in terms of production and songcraft. Having played with both Kevin Morby and War on Drugs, Fun House feels like they’ve learned a few tricks from the Drugs when it comes to incorporating electronic elements into heartland guitar rock. Case in point, “Aquamarine” is almost pure pop, but it nevertheless feels perfectly at home amongst Fun House’s more guitar-centric cuts, such as “Gold/Rust” or the excellent opener “More than Love.” Having perhaps been previously best known for their backing roles in bigger bands, with Fun House Meg Duffy has fully become a star in their own right.

11. Black Country, New Road – For the First Time

2021 was another banner year for young post punk experimental brits. Like Black Midi (“Track X” even name checks them) and Squid, Britain is rich with bands like Black Country, New Road combining the energy of (post) punk, the free-form experimentation of prog, and the chug of rock to create truly compelling, vital music full of the brashness of youth. For the First Time is composed of six songs, most of which stretch beyond six minutes and two of which are over 8. Via an off-kilter combination of jazzy drumming, jittery vocals, sax & violin (?!) and buzzsaw guitars, Black Country, New Road are slightly above their peers on this list, leading us boldly into the new. While it starts off a bit conventionally (you know, minus the klezmer influenced opener “Instrumental”), around the midpoint of “Science Fair,” as the guitar and sax enter a manic squalling duet, a synthesizer suddenly cuts in, and the album achieves lift off and never looks back. Too visceral for prog, too avant garde for punk, For the First Time fully lives up to its name.

10. Avalanches – We Will Always Love You

Alright, this is cheating a little bit, but you know what, it’s my list so aint nobody going to take me off to critics jail for including an album technically released in 2020 on my 2021 list. We Will Always Love You came out on December 11, 2020, after most outlets, including this humble one, had already compiled their year-end lists. So why not take the opportunity to give it its flowers (a phrase I only use to ask, where did it come from? If 2021 had a most over-used phrase, it was “to give __ their flowers.”) Loosely inspired by the love affair of Carl Sagan and Ann Druyan (that’s her on the cover), and the Golden Record launched into deep space on the Voyager probe, We Will Always Love You is an album of interstellar love pop perfection worthy of late period Daft Punk. Featuring contributions from Dev Hynes, Leon Bridges, Tricky (?!), and Kurt Vile, among many others, you’ll be hard pressed to find better pop music from any year.

9. Spirit of the Beehive – ENTERTAINMENT, DEATH

Ah yes, welcome to the strangest release on this list, by a decent margin. If you want to know what ENTERTAINMENT, DEATH is all about (I hate when bands use all caps, come on guys, we get it) you need look no farther than the two and half minutes of opener “ENTERTAINMENT” to know what Spirit of the Beehive are all about. What starts out as blaring, borderline unlistenable bursts of noise, resolves after about 50 seconds in a gently strummed (albeit, modulated) acoustic guitar, which then resolves into clean acoustic strums with gently pretty baritone singing and even some strings thrown in for good measure. I’ve been chasing an album that sounds anything like Broken Social Scene’s perfect You Forgot it in People since 2002, and ENTERTAINMENT, DEATH is the closest I’ve ever come. While Spirit of the Beehive are no Broken Social Scene in terms of both scope and ambition, they share the Canadian collective’s interest in bending pop conventions to create off-kilter beauty throughout ever changing song structures.

8. Armand Hammer & the Alchemist – Haram

While 2021 was an excellent year for hip hop in general, it was an exceedingly good year for the Alchemist. Coming off 2020’s excellent Alfredo with Freddie Gibbs, in 2021 the Alchemist put out the excellent Bo Jackson with Boldy James (just on the outside looking in on this list) and my personal favorite, Armand Hammer’s Haram. Billy Woods and Elucid continue their own hot streak, and by pairing with the Alchemist’s production, they’ve hit their creative peak with Haram. Though neither is the most technically gifted rapper, when Woods and Elucid come together as Armand Hammer there is an alchemy (pun!) that turns their street tales into hypnotic flows that envelope you in their imagery. Without ever breaking a sweat, Armand Hammer’s verses will carry you away into a sonic world entirely of their own creation.

7. Water From Your Eyes – Structure

All year, I kept yelling at anyone that would listen “Water From Your Eyes’ Structure is the most interesting album I’ve heard in some time!” However, no one would listen. (*Insert Abe Simpson “Old Man Yells at Cloud” newsclipping here*). First of all, its called “Structure” so they’re telling you in advance they’re dealing with the forms (in the platonic sense) of music itself. Then, there’s that crazy cover art. A white field, an abstract geometric pattern, and a figure (but one that is only barely recognizable as such). All are in black white and gray. So again, they’re telling you they’re dealing with the relationship of the figural and the abstract, which is quickly born out in the music itself. The first track, “When You’re Around” is pure pop; hell it sounds like Camera Obscura. Then, things take a sudden right turn with second track “My Love’s” (even the tile is left in abstract incompletion, my love’s what? The possessive is left unresolved) which sounds more like the Knife than most anything else I can think of, with its stark industrial beats and sudden blasts of white noise. All of this is before we even get to the fact that there’s two songs called “Quotations,” one whose title is enclosed within actual quotation marks (the second one, which closes the album) and one which isn’t. Oh, and they’re too versions of the same song, the first abstract, the second pop. What does all this mean? I’m not exactly sure, but it’s damn fun to think long and hard about. Barthes 4 eva!!!

6. Low – Hey What

The only reason that Low’s Hey What doesn’t get the “strange” crown from Spirit of the Beehive is because, coming on the heels of 2018’s absolutely insane(ly gorgeous) Double Negative, Hey What seems relatively staid by comparison (emphasis on the “relatively”). While Double Negative took everything that Low had ever done and run it through a time and tone altering blender until it became almost unrecognizable (like a copy of a copy of a copy, or Basinski’s Disintegration Loops), Hey What works in the opposite direction, taking the shreds of molten industrial sounds from Double Negative and building absolutely beautiful pop songs out of the molten shards of music. The semi title track “Hey” perfectly encapsulates what the album is all about. Built upon a woozy loop of sound that sounds like a doppler-shifting window air conditioner, Mimi Parker’s crystal clear vocals suddenly come in over the top like a ray of sun glinting off a glacier, as that single word “Hey” echoes to infinity, breaking up the verses exactly like a chorus, and then for the last four minutes the song beautifully cycles out through its own echoes, like the sound of the ocean as imagined by electric sheep.

5. Cory Hanson – Pale Horse Rider

Better known as the frontman of the Ty-Segall-featuring Wand, Cory Hanson steps out on his own for the exquisite Pale Horse Rider. For the first few bars of “Paper Fog” Pale Horse Rider sounds a bit like Cut Worms’ George-Harrison revivalism, but then around the 2:20 mark it does what Cut Worms and so many likeminded bands have failed to do, it transcends its ‘70s folk rock influences with some truly genuine oddity. Giant buzzing synths (electric guitars? I genuinely struggle to tell the two apart sometimes) fill the stereo spectrum, and the album achieves eerie lift off, and doesn’t look back from there. The whole thing sounds like an off-kilter trip through late night Los Angeles, like a lost soundtrack for Mullholland Drive, but one that was recorded in Laurel Canyon. This is one of the most inventive folk-rock records I’ve heard in some time, and one I wish garnered more attention than it has so far attracted.

4. Helado Negro – Far In

Roberto Carlos Lange continues his recent excellent run of form with Far In. If you liked Helado Negro’s last record (2019’s excellent This is How You Smile) then Far In is a winning continuation of that album’s form. Gentle, bouncy electronics pair perfectly with Lange’s soft-spoken vocals. Just as electronic dance music had its Balearic phase like 10 years ago, Helado Negro brings a sense of “chill” to electro pop. This is music for dusk strolls and porch sits, for introspection that is still capable of arresting your wayward attention. You’re never going to dance to these tracks, but they port in dance music’s focus on the texture of rhythm to create pop music crafted around a few simple elements that nevertheless completely fill the audio spectrum; the music is sparse but inviting, like a well appointed living room in an old home. Instead of saying “far out” this music asks you to gaze “far in,” trippy, but introspective and connective.

3. Nala Sinephro – Space 1.8

I mentioned above that 2021 was the year of ambient jazz, and as much as Pharaoh Sanders and Floating Points are respective icons, this years best ambient jazz record was from newcomer Nala Sinephro, and it wasn’t even close. Sinephro plays modular synth and harp, so the Alice Coltrane comps are inevitable (not a bad thing!), but Sinephro crafts a sound all her own by giving equal weight to the “ambient” as she does to the “jazz.” It helps the album also features multiple horn players, including current stalwart of the London scene Nubya Garcia, which helps keep Space 1.8 grounded in the red-hot present of London jazz. In the late ‘50s jazz entered its “cool” phase with Miles’ Birth of the Cool, and it seems like ambient can be to 2020s jazz what cool was to the ‘50s. Instead of emphasizing speed and virtuosity, this is music that reveals in tone and mood. Instruments float into and out of the mix, as the whole thing just seems to levitate. Sinephro is an impressive new talent, and I can’t wait to see where she goes from here. Ladies and gentlemen, we are floating in Space 1.8.

2. Tyler, the Creator – Call Me if You Get Lost

I used to champion Kanye on these pages because he was out there swinging for the fences on each successive release, wildly changing up his style from album to album but still putting out pop masterpieces despite all the various styles he was experimenting with. Now that Kanye has receded into gospel mediocrity (I actually enjoyed moments on Donda, but not the entirety of the experience) that mantle of “King of Pop” has passed to Tyler, the Creator. I LOVED Igor when it came out, and now that more time has passed I think its arguably the best album of the last 5 years, if not the last 10. Just as Igor was a radical stylistic shift for Tyler, Call Me if you Get Lost is an equally big swerve, even if it brings him squarely back into the lane of quote-unquote “rap.” The opening run of “SIR BOUDELAIRE” through “LUMBERJACK” is peerless hip-hop perfection (my favorite being “CORSO”). Then, the album takes a sharp turn into flute-featuring Cali chill with “HOT WIND BLOWS” (featuring an amazing verse from Wayne, himself continuing a recent return to form). I could do with a little less DJ Drama across the album, but his silly non sequiturs are a fun throw back to Wayne’s mixtape days, so I can’t really complain. Finally, things come to a fascinating (penultimate) conclusion on “WILSHIRE,” with its nearly nine minute narration of the speaker’s fascination with a non-single lady. The autobiographical has always played a key role in Tyler’s public image and music, so I understand the internet’s fascination with who the subject of “WILSHIRE” is supposed to be, but in a key showing of Tyler’s growth, the music stands all on its own without having to take recourse to his personal backstory to explain its import. “We got our toes out!”

1. W.H. Lung – Vanities

I haven’t seen Vanities get a lot of love on year end lists, so let me give you the 411. W.H. Lung are a bunch of kids from Manchester who make dance music with live instrumentation. LCD Soundsytem is a clear influence, so you can understand my interest. Their 2019 debut, Incidental Music, was perfectly aight, showed some promise, but it’s on Vanities that they take their big leap. According to a profile I read on Stereogum, the members of W.H. Lung spent the run up to Vanities clubbing at a place called the White Hotel on the outskirts of Manchester, and it shows. Every track on Vanities is bursting with the energy of the club, while still being grounded in the structures and run times of “pop/rock” music. Things get off to a roaring start with opener “Calm Down” and never look back. The siren chant of “Calm Down” is ironic, as it serves to get you hyped for everything that is to come. The whole album is driven by hard charging synths and pulsing bass, which really get cooking on second track “Gd Tym.” It’s not that Vanities doesn’t have its slower moments. Just as Hot Chip perfectly melded bangers and ballads on all of their (excellent) records, W.H. Lung do the same, with the bleary-eyed “Ways of Seeing” probably my favorite song of the year. If you love New Order / having a good time, pop in Vanities and let it sweep you away to a night at the club, even if you’re just dancing alone in your own living room.

#top albums of 2021 #best records of 2021 #Top Albums #best records #w. h. lung #nala sinephro #Tyler The Creator #helado negro #cory hanson #low #water from your eyes #spirit of the beehive #armand hammer #avalanches

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mayakern · 4 years

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Have you thought about making more "practical" skirt designs? I love your skirts and i wish i had one i could wear when some choral event says i need a floor length black skirt. Which is most of them.

i don’t think we’ll ever do something like that for a number of reasons:

i feel like a floor length solid color skirt is something you could find at a larger retailer for considerably cheaper than we would be able to sell it for and i’m not interested in competing with larger retailers; it’s just not something that will go well for me.

with things as they are currently, with our current manufacturer, all our fabric is white fabric that is then sublimation printed, so whether we make a solid color fabric or a patterned fabric, it will cost the same for us to produce. to achieve a solid colored skirt, working with pre-dyed fabric would be much cheaper and is not a thing we can do in our current set up.

while i have been focusing on offering skirts that have a more work friendly vibe to them (i.e. the midi length and less busy designs like the bee and the rainbow, etc.), i am still creating skirt designs that are unique to me and it’s still important to me to offer something you couldn’t buy at, say, a target or wherever.

also, with our current manufacturer, floor length skirts just aren’t possible. due to the size range we offer (starting with preorders in february we’re adding a third size that will go up to 6x), with the midi length skirts we are already maxing out the workable space on our manufacturer’s garment printer. to make a longer skirt, we would have to find a new manufacturer with a larger format garment printer -- which is pretty rare; part of why larger plus size clothing is so hard to find is because it frequently requires larger machinery, which most factories don’t have. (btw not saying i like or agree with charging plus size customers more -- we purposefully charge the same price regardless of size, even tho our larger sizes cost more to make, for moral reasons we have decided to take that hit ourselves -- but i understand why it happens.)

#ask #faq #long post #lemonclock

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littlemix-styleblog · 5 years

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Little Mix Inspired Maternity Dresses

Perrie

ASOS DESIGN Maternity denim smock dress with frill in white: £30. First of all I would like to apologise massively..I could`ve done so much better with this inspired but unfortunately maternity wear is still very limiting these days despite it growing in trend. Not every brand or shop sells Maternity wear so it was hard to find a reliable, safe place where you can pick up a good bargain that is inspired by the girls, so once again please accept my apologies. So the first dress I picked up was this one was from ASOS, inspired by Perrie. When you`re pregnant you don`t want to feel frumpy or a mess you would want to feel comfortable, secure and trendy. I would assume it would be a hot day for you so you would want to feel easy and have no stresses in life. This is a simple, modern and classic dress with sleeves to cover your arms in case it is a bit chilly or windy. You can pair this with some brown sandals, a pair of sunglasses and a nice shoulder bag.

ASOS DESIGN Maternity button through twist front maxi tea dress in seersucker: £40. This dress is inspired by a dress Perrie wore in Dubai last year, I dunno if you saw it but her dress was piratically the same colour with buttons going down the dress with short sleeves. Her dress was very classic, simple and trendy and It became a big hit with everyone within this fandom. And why not recreate this look with this dress? Piratically the same, Except her one is now out of stock now. This dress covers all of the body, So will hide the insecurities you have with your body at the moment, It may cover up everything but shows a little skin at the top and the bottom keeping the dress demure and mature.

ASOS Queen Bee skater dress with fluted sleeve in pastel yellow: £50. I absolutely love this dress, Think this is my favourite. The simple reason I chose this dress is because of the colour. Pastels are bang on trend at the moment and a pastel lemon is perfect for the summer months. To make this dress even cuter is the sleeves, They are not to long or to short. You can definitely enjoy a lemonade and some strawberries with this dress. You can also team this dress up with sandals and a straw shoulder bag. This dress is also available in pink

Zara TEXTURED WEAVE DRESS: £39.99. Hands up, Who knew Zara did maternity wear? I certainly didn`t and this was a surprise to me. Luckily Zara came up trumps and we got a few fabulous pieces from them including this one. As we all know Perrie`s style these days is very much boho/Chic and this ticks all of those boxes. It comes down to just below your knees and again will hide all of those features you don`t like about your body, In case theirs a chill in the air you have some sleeves to keep you warm. Not only would this be ideal for a special occasion but you can also wear this casually either on holiday or for a coffee. When you become a mum your style and body changes and most people would want to mature and tone down their image..This dress would be perfect for before baby and after baby as you are staying on trend but not looking like you just came out of a 12hr labour.

Zara STRIPED DRESS: £12.99. Perrie was recently seen wearing a dress very similar to this one, Unfortunately we are unable to find that one...yet. But this is much like the previous one, except this one is in the design of a shirt dress so has structure and definition to it. Again this can be worn before baby and after baby and can be worn casually as well. I`d also like to note how cheap these dresses from Zara are...What a bargain!.

Topshop MATERNITY Button Through Midi Dress: £29. This dress is a spin off from the previous green button down dress I showed you, Except this one is more structured to your body rather than flowing. Nothing wrong with that..You do you. You`re having a baby, be proud to show off your baby bump with a gorgeous smile and beautiful body and show people this is reality. I also have another alternative to this dress without buttons here.

Jesy

ASOS DESIGN Maternity ultimate smock dress in snake print: £20. Jesy`s style was the hardest for this post, Sure there was many black dresses in the shops but none of them seemed Jesy`s style which is why we didn`t go with them. Not everyone wants to wear black during the summer months and seem like a debbie downer. But we have plenty of prints on offer including this grey snake print dress from ASOS. I know snake print is not everyones cup of tea but it is on trend at the moment and popular with everyone including pregnant ladies. This dress is the smaller version we have, But we also have it in a longer version here

ASOS DESIGN Maternity Nursing midi dress in leopard print: £38 Again, I didn`t have much to choose from for Jesy`s style but this is the closet I could find. Again this print wouldn`t be to everyone`s taste but the dress has a lot of trends going on at the moment with the puff quarter length sleeves (Which BTW will make your arms look longer) and it`s also down to your knees so will cover any insecurities you may have.

ASOS DESIGN Maternity button through rib tea dress with puff sleeve in animal print : £28. When you`re pregnant you would want everything to be easy and stress free, That would include putting clothes on, Lifting things or going up the stairs. What you would want to be easy is feeding your little one, Which is why it`s normal for maternity dresses these days to have nursing elements to it, Such as a easy way to feed your baby when you`re out and busy, It`s simple, quick and easy without no trouble. This dress is very versatile so you can wear this before baby and after.

Leigh

ASOS DESIGN Maternity cape back dipped hem midi dress: £38. Another one of my favourites purely because of the colour. But Leigh was seen at a fashion show this year wearing a gorgeous Burberry yellow ruffle dress, So beautiful that it wasn`t even available :(. Now I`m not saying you don`t have to bend over backwards to get that dress, But what I am saying is that a lot of places do very similar identical dupes to that dress...Hand on heart i`ve seen it everywhere it`s very a very popular style this year. This dress ooozes maturity and class, the colour is pleasing to the eye and you would most certainly look like a yummy mummy.

ASOS Mamalicious maternity shirt dress with pocket detail: £38. Leigh`s was also difficult which made my life a lot more difficult too but we eventually got their. So as of late Leigh was seen on holiday wearing a lot of citrus colours, Girl did good as it complimented her skin tone. Citrus/bold colours arent to everyone's taste and we all can`t pull it off like Leigh let`s admit that, But it`s good to experiment and change up your style every so often. I chose this dress because of that reason and because it`s another dress you can wear before and after for a casual day out.

Topshop MATERNITY Belted Midi Dress: £25. Again, Another one of the body fitting dresses in case you did want to go down this route. Not really sure what the belt is doing as it kind of ruins the look but will go with it.

Dorothy Perkins Maternity Yellow Shirt Dress: £17. Basically a alternative to the green one but in yellow and because we had to fill the space in the photo. But it does everything the green dress does as well.

Zara EMBROIDERED TUNIC WITH POCKET: £29.99 Another beautiful Zara dress on offer, This dress is the best out of the Zara lot imo. It`s very classy, demure and elegant. Another you can use before and after. If there was a dress I would say go for, it would be this one.

Jade

New Look Maternity button front dress in red ditsy floral: £15.99. Not as of late, But recently like last year Jade has been seen wearing florals. She has a red floral playsuit and a collection of red floral dresses now. So we pushed the boat out and got this for you. This is a fun little dress with buttons coming down making it easy for you to feed. You can wear this with sandals or white trainers with a shoulder bag.

ASOS DESIGN Maternity mini v neck button through smock dress in stripe: £22. Now the reason why I chose this dress is because Jade can sometimes be a tomboy in her style and this shouts tomboy to me and this is probably what I would wear if I was pregnant. Stripes are big at the moment so nothing wrong with being on trend. This is also a fun little dress which you can team with white trainers.

Séraphine Bonnie Spot Maternity Dress, Black/White: £59. Now have you guessed why I chose this dress yet? Well I`ll tell you in a moment but I chose this dress because believe it or not Jade has worn white white polka dots before so it was inspired from that. This dress is a little on the pricey side but don`t forget how versatile this dress can be. The reason why I did choose this dress is because the Duchess Of Cambridge Kate Middleton wore a white polka dot maternity dress from Topshop when she was pregnant with George and everyone and I mean EVERYONE went crazy for it because it was cheap, easy to get and it fitted her so well. So if that was one reason to get the dress you got it. We also found this dress available in navy

Seraphine Monochrome Floral Maternity & Nursing Dress: £32. I chose this dress in case you didn`t want to go for the red floral option, nothing wrong with a black floral dress. This one is a bit smaller, but that doesn`t mean you can`t have fun with it before and after baby. Pair it with sandals or white trainers and a shoulder bag.

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#Little Mix #Perrie Edwards #Jade Thirlwall #Jesy Nelson #Leigh Anne Pinnock #Seraphine #ASOS #John Lewis #Dorothy Perkins #Zara #New Look #Topshop #Inspired

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thefoodwiththedood · 6 years

Photo

So I’ve hinted at these guys a couple times in asks and stories, but I’m happy to say I finally got to drawing them! Meet Naj Kar and Anva Evis—powerful warriors, rebel sympathizers, star-crossed lovers, and the parents Cerate hardly got to know.

Pictured here is them when they lived as a pair of smugglers post-Order 66, in an effort to make some cash and distance themselves from their old Jedi identities—more on that in their backstory, though. I of course have to give props to @empress-only-in-name for helping me flesh out their designs a bit with this commission from forever ago—for the longest time I had no idea how these two would look but, with their help and a whole lot of experimenting, I think I finally have a concrete design for them with this one!

All told, I’m super happy with how these guys turned out, but what do you guys think? Do these designs look cool? Do you wanna see more from them? Should I have them come back as Force ghosts and teach Cer the ways of the Jedi order? Send whatever feedback you have my way! :D

Just as with all my OCs, their backstories are under the cut. Btw, Master Sko’dal, who’s mentioned briefly down there, belongs to @deer-head-xiris.

Naj Kar and Anva Evis were both born before the invasion of Naboo—Naj in 36 BBY, Anva in 37—to a Dathomiri witch and an Iridonian couple, respectively. Yet as would become the norm for the rest of their lives, any hope of normalcy was quickly ripped from them. Anva was discovered to be Force-sensitive as an infant, which in turn prompted the Jedi to come and take her away from her parents to their temple on Coruscant. There she was raised under the Jedi’s firm yet unloving hand, learning the ways of the Force and the Jedi code. When she turned thirteen, it was decided that she would enter the next stage of her training, and thus she was placed under the tutelage of the Kaleesh Jedi Master Vortys Banne. as his Padawan.

Naj, however, found himself in a far less hospitable home. He was also discovered to be Force-sensitive at a young age, but before either the Jedi or the Sith could get to him, he was taken by a far more malicious clan—the Hutts. One day, a convoy of Hutt clan slaver ships stopped on Dathomir to refuel, and while they were stopped they took the liberty of ransacking Naj’s village and enslaving many of its inhabitants. In the ensuing years, Naj would be separated from the others, and eventually he would find himself a slave to Marlo the Hutt on Nal Hutta. There, when he was still only a child, Naj was made to fight in gladiatorial combat, due to his species’ reputation as incredible warriors. Miraculously, Naj would survive these fights for years, on account of his natural strength and, of course, with a little subtle help from the Force.

And even more miraculously, it would be this use of the Force that would bring Naj and Anva together. It was 23 BBY—only a year before the start of the Clone Wars. Word had eventually got out that Marlo possessed a Force-sensitive gladiator, and eventually that word reached the Jedi order, who sent Master Banne and Padawan Evis to Nal Hutta to investigate the claims. Sure enough, Naj was fighting when they got there. It was the most surreal thing—a twelve year old boy, barely big enough to fill the armor he wore, putting down men twice his size like it was nothing. Not only that, but he was clearly using the Force, both to enhance his strength and physically move his opponents. Master Banne looked on the boy and saw a potential asset to the Order, but Anva saw past the boy’s strength and saw something else—he was scared. He didn’t want to fight.

After the fight, Banne got straight to negotiating with Marlo about buying the boy his freedom. While he did, Anva went and found Naj in his room—which was less of a room and more of a cell, really. He was a ghastly sight up close: malnourished, bruised and scarred, with striking black tattoos covering every inch of his carnelian-colored skin. When Anva tried to speak to him, he jumped out of fright and averted his gaze from hers. Just as Anva had suspected—the poor kid had learned to fear everyone new person he met. He’d never had a friend—only masters with whips and opponents with blades. Anva kept trying to talk, but it wasn’t until Naj got a good look at her that he started to break down his wall just a little bit. Evidently, meeting another Zabrak—and one as kind as Anva, at that—was just what he needed to feel comfortable. Soon enough, Naj was happy as a clam, and as he and Anva talked more they became fast friends. Why, Anva just couldn’t wait to be there with him as they both grew into powerful Jedi knights.

But, that vision didn’t exactly pan out. After freeing Naj and taking him back to Coruscant, Banne and Anva brought Naj before the council. There, they judged him, tested his midi-chlorian count and everything, but the conclusion they came to was more grim than anyone had hoped. Due to Naj being a member of a species heavily connected to the dark side, as well as being immersed in violence for his whole life, it was decided that Naj couldn’t and wouldn’t be trained as a Jedi. Banne and Anva protested, but they were ignored. Instead, it was decided that Naj would be kept at the temple for his own safety, but he could never be a Jedi. Anva was at first upset at this news, but with time she accepted what she’d been given, and over the next year she and Naj hung out in the temple whenever they could, with her training progressing all the while.

Then, the Clone Wars broke out. Padawan Anva became Commander Evis of the G.A.R., and she began to see her friend Naj less and less in favor of long military campaigns. Yet instead of growing apart, the two began to treat their little time together as sacred, with Anva spending nearly all of her time at the temple with Naj. They’d just spend hours talking—sometimes Anva would read to Naj, as he himself was illiterate, and sometimes the two would share Force tricks they’d picked up, but mostly they’d just talk. Naj would recount the events of his mundane Temple life, and Anva would vent about the stresses of war. In both cases, they talked of how alone they felt. How everyone saw them only as objects or weapons of war. How they felt stuck—isolated, even surrounded by masses of people. When they were together, though...they felt happy. They felt understood. Dare I say it, they felt loved.

Love is exactly what blossomed between them, too. It started out purely platonic, but soon enough things did get physical from time to time—they were teenagers, though, who could blame ‘em? Their few and far between meetings at the temple became secret trysts, known of only by them and a few close friends. They knew what they were doing was dangerous, but for better or worse, their love pushed them to risk it. Eventually, however, the risk came back to bite them. Somehow their secret got out, and word eventually made its way back to Master Banne, who promptly told the council of what had happened. In the ensuing debate about what was to be done next, it was concluded that Naj must have been the instigator of these heinous acts, as surely a padawan on the brink of becoming a knight couldn’t be so vulgar. It was decided, then—Naj Kar no longer had a place in the Jedi’s sanctum.

The next morning, Naj was confronted. Four temple guards came to his door, expecting him to lash out, but Naj already knew what was to come, and so he went quietly with them to the chamber of judgement. There, he was judged by a panel of masters, with Master Banne and a few others also being present. It wasn’t much of a deliberation, though—everyone had already come to an agreement. Before they could deliver their final verdict, however, Anva burst into the chamber, visibly frantic and clearly out-for-blood. Thinking she’d arrived to deliver further evidence against Naj, the council permitted her to speak.

That was their second mistake—their first mistake was ever wronging Anva Evis. With her soapbox conveniently set, Anva proceeded to tear into the Jedi, letting loose all her frustration into one impassioned speech. She berated the Jedi for their hypocrisy; they had become an order of mercenaries serving the dark side, killers in a pointless war, enemies of peace and allies of violence—and they had the audacity to punish an innocent man just for feeling love? She was far less articulated than I put it, though—at one point, when Master Yoda tried to refute her claims, she silenced him by saying, and I quote, “suck my dick, you crusty little goblin”. Vulgar as her speech was, though, its meaning reigned true—the Jedi had no right to punish neither she nor Naj, and she would tolerate their rules no longer. She closed her speech by ripping out her padawan braid, mashing it into the ground with her boot, taking Naj’s hands, and telling the council that, “if loving Naj isn’t the Jedi way, then the Jedi way isn’t my way”. She then pulled him in for a impassioned kiss, and after it was broken she said, “now that is my way”.

The room went silent for a moment—save for Master Sko’dal uttering a half impressed/half shocked “holy shit” under their breath, no one said a word. Finally, after snapping back to reality, Yoda simply furrowed his brow and pointed towards the exit, without another word. Anva responded by flipping him the bird, and as she did, Naj swept her off her feet and bridal-carried her out of the chamber. The two couldn’t help but smile, then laugh at the whole ordeal. Sure, they’d burnt every bridge they’d ever built in one fell swoop, but now they were free to go and do as they pleased—and they’d never felt happier. It was the most surreal thing, them walking out of the temple; they marched out like a bride and groom walking down the aisle, but no one dared cheer for them, lest they face similar banishment. The two were alone, for real this time—but they were alone together.

In the coming days the Republic and the Jedi order would fall, but Anva and Naj were far too long gone to even pay any mind to it. For the next few years, the two would travel the galaxy together, making end’s meet as smugglers with a worn-out old quadjumper and a whole lot of luck. They’d spend most of their days working as smugglers, but they did take days off every once in a while to visit old Jedi friends (ones who weren’t dead yet, anyway) or, when they had some extra credits, go on modest little date nights. It wasn’t a glorious life, sure, but for all the things they didn’t have, they at least had each other.

Soon enough, though, they had someone else along for the ride. Three years after leaving the Order, Anva found that she was pregnant. Though she and Naj both agreed their lifestyle wasn’t ideal for a kid to grow up in, they decided that, like they had in the past, they’d just jump in head-first and hope for the best. Thus, in 16 BBY, Anva had the baby in the back of the quadjumper, with the help of a borrowed medical droid and Naj—they couldn’t exactly go to a hospital, what with them being fugitives and all. They’d decided earlier that, if it was a boy, Anva would get to name him Cerate, and if it was a girl, Naj would get to name her Stella, with the baby taking the last name of whomever won as well. Sure enough, he was a boy, so they decided on the name Cerate Aster Evis—funny enough, though, it wasn’t until he said the name out loud that Naj got the “eviscerate” pun. Anva figured that, if he was going to take her last name, he might as well have some kind of callback to his Nightbrother side.

So for the next four years, Anva and Naj would try their best to raise Cer while also juggling their job as smugglers, going so far as to keep him in the cockpit with them while they worked. Despite the less-than-ideal circumstances, Anva and Naj actually made great parents—they always made sure he had time with both of them, they never let work get in the way of raising him, and they protected him from anything and anyone that would try to harm him. They realized, though, that the last point would only get harder as he grew up; as early as a year old, Cer started showing signs of Force sensitivity. Anva and Naj both knew from their own lives how Force-sensitive children tend to get kidnapped, but nevertheless, they did everything they possibly could have to keep their son safe and hidden.

But it would only work for so long—soon enough, the Sith would find out about Cer. One day, Anva and Naj were contacted about what they thought was a lucrative job opportunity, and seeing as they were low on cash, they naturally took it. When they went to the meeting place their client had specified, though, they were met with something far worse: a hulking figure clad in black armor, wielding a lightsaber. It was an Inquisitor; Anva and Naj had heard about them from their still-living Jedi friends, but they’d never seen one in person. Anva’s first instinct was to reach for her own saber-pike—she’d still kept it retracted on her belt, after all these years—but she decided it would be better to wait before exposing her and Naj. The two silently agreed to play dumb, then, but when the Inquisitor spoke, their hearts sank. She wasn’t after them, she said—she wanted Cer.

When Anva and Naj protested, the Inquisitor ignited her saber and, rather than use it right away, demanded once more that they hand him over. She stepped toward the ship, but before she could get closer, Anva quickly pulled out her saber and sliced off the inquisitor’s outstretched hand in one fell swoop. With a stern voice masking blazing fury, Anva stated, “Stay the hell away from my family”. Yet what the Inquisitor did next replaced all of Anva’s fury with fear—from the stump on her arm, blue and purple tendrils shot out and grabbed the severed hand, pulling it back into place. The Inquisitor inspected the hand briefly, and as she did, Anva realized what she was. She was a Gen’Dai—an alien that, as far as she knew, could never be killed. She wouldn’t be able to win this fight. The best she could do is slow her down but, in the end, there was no way out of this.

Instantly, Anva pulled Naj back into the ship and shut the door. She knew it wouldn’t hold, but it was the best she could think of. All the commotion had woken up a then-sleeping Cer, and he and Naj both stared up at Anva with looks of confusion. Anva didn’t want to say what she had to but, with a heavy heart, she began. She told Naj he needed to run—he needed to take Cer, and find a safe place for him to stay. While he did, Anva would hold the Inquisitor off—fight her as long as she could, just to give Naj and Cer as much time as possible. Naj, of course, protested—he said they could escape together, that he could help Anva fight, but they both knew there was no other way. Finally, after a brief shouting-match-turned-fit-of-tears, Naj agreed. The two tried to maintain their composure for a second, but when Cer asked if everything was okay, they instantly lost it. Not knowing what else to do, Anva and Naj pulled Cer into one last big embrace, telling him that everything would be okay.

Finally, after working up her courage for a moment, Anva stepped out of the ship. She smiled back at Naj and Cer one last time before the door shut again, tears still staining her face. That was the last time Naj or Cer ever saw her alive. Quickly, Naj started the quadjumper’s engines, and he and Cer left the planet for...somewhere. Naj didn’t know where at first, but after some thought, he came up with an idea. He knew he couldn’t stay with Cer either, so he needed a secure place for him to stay—somewhere he could be protected, hidden, and hopefully, never told about the Force. He decided that the best possible place would be on Devaron, with his and Anva’s old Jedi friend, Hes Chaddic.

It was nighttime when Naj got to Devaron, and heavy rain was blanketing the Angel’s jungle hideout. With his son in hand, he knocked on the massive factory door and asked for Hes, who came to greet him only half-dressed and half-awake. As Naj explained his situation, though, Hes perked right up. He told her about the Inquisitor, about Anva’s sacrifice, everything—and he begged Hes to look after Cer. He made it out like it would only be for a few days while he waited to get out of the Inquisitor’s sight, but Hes wasn’t fooled. “Naj,” she said, “we both know you won’t be back”

“I know, Hes,” he replied, his heart in his throat, “That’s why I need you to take care of him.” At this, Hes realized the gravity of the situation. She knew she had no idea how to raise a kid but...she had to help her friend, too. Finally, she agreed. Naj thanked her, and with a final embrace and some reassuring words to his son, he said goodbye. It took him a full five minutes to get onto the ship again—for the longest time he just stood in the doorway, not moving as far as Hes or Cer could see. He was crying still. Finally, with some effort, he boarded the ship, closed the door, and flew off into the night. Cer’s little hand waved up to him, and with a deep sigh, Hes took him inside. Naj would never return.

#star wars #star wars oc #zabrak #Character Design #my art #my ocs #Anva Evis #Naj Kar #okay WOW that turned out long #but I think it turned out good #sad as fuck maybe #but I like it!#honestly?? I love these two so much #they're great #I wanna do more with them BUT they're super dead soooo #whoops #WHATEVS angst is fun stillll #maybe not for you guys but Definitely for me

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