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call-me-aesthetic · 3 years

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If Twisted Wonderland was an American Public School

WARNING: There are some slight sensitive topics that are featured in here! Reader discretion is advised!

Part 2 can be found here

Heartslabyul

Riddle Rosehearts:

- That one preppy girl who takes all honors and AP classes 😑

- Wants everyone to know that he’s becoming a doctor one day for his strict parents or he’ll dishonor the family

- Reminds the teacher about homework, knowing well that he’ll get slander for it

- Complains about how he got a 90 on his test or a B on his report card, a try hard much?

- Wears a cardigan with thicc but cute glasses since he’s one of those people with can’t see shit on the board so he has to move to the front of the class

Ace Trappola:

- The SoundCloud rapper, that’s it

- “Wanna listen to my mixtape? It’s pretty fire, my guy.” 😩🔥

- You will not miss him BLASTING out some song on his Bluetooth speaker, that shit be echoing through the hallways

- Tells you to stop what you’re doing only for him to either sing horribly or do a backflip, thinking that he’s so cool

- Wears a Supreme jacket with AirPods and waves on his head

Deuce Spade:

- Assuming that he’s still a delinquent, he’s that kid with the most fucked up school record

- Not much of a bully but will still talk shit to your face without caring, might even throw stuff at you during a lesson and you would be the one getting in trouble instead of him 🗿

- If he ever gets mad, it would be overdramatic like kicking the desks, punching the lockers, or walking out of the classroom unannounced and everyone would look at each other wondering wtf happened

- Covers the entire desks with drawings of skulls and those “s” if you know what I mean

- Wears Champion hoodies, wants you to know that he’s broke and rich at the same time

Trey Clover:

- The guy that’s not really popular but everyone knows him since he’s in all their classes

- Most people might have a crush on him because he’s REALLY nice 😳👉👈

- Gives off “older brother” vibes based on the way he looks and acts, like offering you a ride home if you beg ask nicely

- Secretly bakes creme brulee but doesn’t want to mess with the flow so he sticks to the status quo

- Wears the school’s hoodie just because he thinks it looks good on him, and the fact that he doesn’t know what else to wear

Cater Diamond:

- Hot Cheetos girl 🥵

- Has a whole buffet of food in his backpack and will not hesitate to eat them during a lesson, no sharing either sorry

- Excuses himself to the bathroom or full on skips class just to film a Tiktok

- Has about 100 followers on Instagram Magicam and brags about how he’s famous

- Wears a Thrasher hoodie with large hoop earrings and his hair in a bun

Savanaclaw

Leona Kingscholar:

- The kid who flunked their freshman year that also sort of vibes with new classmates

- Always gets mistaken as a teacher by people since he looks and sounds old

- Knows the lessons but still fails them anyways, didn’t really give a damn either 🙄

- Captain of every sports club you can think of, never actually plays but has a lot of knowledge on them

- Wears the school’s letterman from years ago since it used to be his brother’s and that he’s too lazy to buy a new one

Ruggie Bucchi:

- That one kid who NEVER has money for the book fair or any other school event

- Always has to ask his classmates for some cash

- If he somehow does, then he’s one of those kids who buys Diary of the Wimpy Kid or the World Record books

- If he’s feeling cheap, he’ll buy the “cool stuff” like the chocolate scented calculator or fruit snacks 😭

- Wears oversized hoodies and basketball shorts that are clearly hand-me-downs

Jack Howl:

- That one athletic kid who’s both scary good and competitive when it comes to school games like football or soccer

- Literally the best player on his team and without him, they’re trash as hell 💀

- Tries his absolute best to support his teammates without yelling at them for how dumb they are

- “KICK THE FUCKING BALL! DO YOUR LEGS EVEN WORK?!”

- Wears the school’s jersey just to show off his “school spirit”

Octavinelle

Azul Ashengrotto:

- The kid who sell snacks for “charity” but everyone knows he’s keeping the money to himself

- If you don’t have cash or try to negotiate with him, the only thing he’ll do is raise the price up

- “What do you mean you don’t have ten bucks? I can see it in your pocket.”

- Just bring nothing with you, he’ll doing anything to steal your stuff 🤭

- Wears a collar shirt with a tie and khakis that have pockets to keep his glasses and money in

Jade Leech:

- The kid who puts on a goody two shoes facade but is actually a stoner

- Only does “safe” drugs like vape but occasionally smokes weed, mostly in the bathroom or behind the school 🌬

- Can play it off and hide the scent when he’s high, teachers never suspect anything from him

- No one really cares to stop him unless he gets caught or something idk

- Wears clothing that either makes him look like a businessman or a junky, there’s nothing in between

Floyd Leech:

- The kid that’s plays basketball or volleyball just because he’s hella tall, and is actually good at the sports but doesn’t put much effort into them

- Always stays behind after gym, even though the teacher tries to make him leave for his next class 😬

- “I swear after this one shot, I’ll go to class.” *He never made that shot*

- Will jump you no matter who or where you are, and will get angry if you step on his new shoes

- Wears the jersey of any famous team with the latest pair of Jordan sneakers

Scarabia

Kalim Al Asim:

- VSCO girl at best, don’t lie to me now 🤡

- The only words he knows are “And I oop– sksksk.” and “Save the turtles.”

- Walks during a track meet while everyone else is running and sweating hard, the teacher doesn’t care either

- Doesn’t really do anything in gym but talks to his classmates and stands near the water fountain to refill his Hydro flask

- Wears tie dye shirts with cute scrunchies

Jamil Viper:

- That one quiet kid who everybody thinks is a serial killer but he’s actually not, I swear

- He just wants school to be over and spend the rest of his summer relaxing 😔

- Although he shouldn’t abuse his “power,” he‘ll move his hands in his pockets or backpack to make it look like he’s about to pull a weapon out.

- “Chill, I’m just grabbing a pencil.” *Everyone in the class started crying*

- Wears dark colored hoodies that intimidates people but are actually comfy

Pomefiore

Vil Schoenheit:

- The baddie popular girl 😌💅✨

- Arrives to school late with a Starbucks in hand from his local Target

- Fixes himself every 5 seconds like reapplying his lipgloss or spraying Bath and Body Works cherry blossom perfume

- Uses acrylic nails and long hair extensions as weapons during a cat fight

- Wears a crop top with ripped jeans and those clout sunglasses

Rook Hunt:

- That creepy guy in the hallways who tries to get your attention, even if you don’t know him

- Scares people when he says, “Ayo, where my hug at?” 🥶💯

- Uses at least 10 cans of Axe body spray a week after gym class, which stinks up the locker rooms

- Waves at you if he passes your class, even walking into the room just to say hi

- Wears literally anything but always include a hat

Epel Felmier:

- The artist girl who just wants to be alone 🧑‍🎨

- Purposely draws in front of you but pretends like you’re not looking

- If you complement him, he’ll just brush it off and proceeds to diss himself

- “Thanks but I’m not THAT good at drawing, teehee.” *Insert Radio Rebel face*

- Wears a hoodie or a cardigan with big pockets to put his art supplies in

Ignihyde

Idia Shroud:

- I don’t even need to tell you who he is, y’all already know ahaha 🥴

- Sneaks a whole PlayStation in his backpack so he can play with it during lunch

- Is on his phone 24/7 even in class to the point where teachers don’t care anymore

- Tries to get people into anime but only to little success

- Wears a shirt of any anime character or that damn ahegao hoodie, girl bye

Ortho Shroud:

- The nerdy kid who’s known for destroying others at many games

- Plays classics like D&D, Yugioh, Pokémon, the whole shabang

- Daily Beyblade battles during recess with everyone surrounding him, the menacing aura radiates off of him

- Will steal your things if you lose to him but gives it back a week later cuz he’s sweet 🥰

- Wears light up Sketchers shoes and those Minecraft shirts you find at Old Navy

Diasomnia

Malleus Draconia:

- The theatre kid who also goes to band practice, change my mind 👁👄👁

- Takes his role seriously when it comes to school plays and concerts, even if he gets casted as a damn tree or doesn’t go solo

- Remembers the songs and their lyrics to any musical you name, a really good singer at that too

- Plays almost every instrument, you definitely know this since you can hear him down the hallways during a test

- Wears a white button up shirt, black pants with fancy dress shoes, and top it all off with a fricking Rolex watch

Lilia Vanrouge:

- The weird guy who pranks people and vandalizes school property in every way possible

- If you ever get a textbook with a message that tells you to go to a certain page only for you to found a picture of a dick, yeah that was him 😒

- When using a Chromebook, he’ll leave a tab open on YouTube so when the next person uses it, pray that your ears will still work by tomorrow

- During lunch, he is a literal DEMON that mixes milk with chicken nuggets together and having the audacity to eat it too

- Wears an oversized raincoat or a windbreaker but idk wtf kind of things he has hiding underneath

Silver:

- That guy in class who consumes Monster energy drinks and falls asleep 99% of the time but somehow manages to pass the class 🤷

- Whenever he’s awake, he’ll talk to the teachers since he’s basically friends with them for some reason

- Writes his name out of boredom on any desk you sit on but in different places, sometimes around the corners or the sides

- Has a sixth sense because he’ll wake up if you try to draw on his face and if you did get something on him, it’s on sight

- Wears those colorful hoodies that zips all the way up to cover his face with a matching backpack, it’s pretty cool ngl

Sebek Zigvolt:

- That kid who literally knows everything about historical wars and will show it off during class

- Also has knowledge on weaponry, which has people questioning him but he’s just very dedicated on serving his country and people

- Knows how to fight and defend himself from a bitch since he spent his summer at a military boot camp, put respect on my man’s name 😤

- Honestly a great partner for a group project, actually does the given work but not the whole thing for you

- Wears anything that has camo pattern and chunky combat boots

I only made this because me and my friends were talking about our school memories so yeah. This is based from my experience so they might not be exactly accurate. Might even be a part two if you want.

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1ddiscourseoftheday · 3 years

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Wed 7 Apr ‘21

Louis left Tulum and went to Mexico City, and we got airport pics from both ends: the gathered fans were told by his bodyguard that they should keep their distance but that yes, pictures would be allowed. Thank you Louis! We got to see him a little for the first time in so long, in videos of him walking by (and getting ready to walk by) and blurry pics of him with his guitar, and Oli and Charlie- I’m excited to someday see the footage of whatever they’re working on. But for now, finally some proper pictures of the long long hair, or at least the below the hat part, all flippy and like...LONG! It’s on his SHOULDERS! Early pics had some interesting shadows around an elbow, prompting a flurry of NeW TaTtoO?? excitement, but when more pics were posted we could see that no, his elbow remains the same, false alarm. Once that tattoo kerfuffle died down the interest refocused on his shirt, which featured- a whole damn pile of skulls!

Louis went through a long phase of wearing skull shirts a while back, and the fact that it was during a period of a lot of very pointed t-shirt messages (and that he kept doing it more than ever despite knowing what we were reading into it) seemed to reinforce the theory that he did in fact mean things by it, and seeing him say yes to fan photos while wearing this shirt for the occasion… well! WELCOME BACK public Louis, we MISSED YOU! Yesterday’s shirt was for the band Obituary- is the band name a nod at the fact that Syco, generally considered to be the main target of previous skull shirts, is now dead and gone (rest in pieces assholes:))? Is Louis drawing attention to the livestream that band did a few days ago for their album ‘The End Complete’, and if so, is that also about Syco or about… something else? Inconclusive, but if we were meant to find their song “End It Now”, that can truly only be about one thing!! Am I to believe that SBB himself, Mr “I like to draw the fans’ attention to the lyrics of things” just, whoopsy, missed that! I mean, you would think every band on earth has lyrics about “ending it“ with the number of times he’s made that mistake, damn… he just never learns. Poor Louis, gosh how embarrassing! Lol. Anyway, I’ve seen people wondering lately what will happen when all the fans that have joined us in this time of lockdown and of no real contact with Louis will react when their version of Louis has to compete with the real one- and him barely being back at all but immediately reminding people that he is not a dad FFS feels like an excellent beginning, this should be good! BUCKLE IN friends! The real Louis is sooo much more fun than the boring made up one, just get ready to enjoy the chaotic energy and trying to keep up with him….

Oh also Louis liked a Snuts tweet about being underdogs as they fight to get the release week UK #1 for their new album, and a charity says they reached out to Louis AND LOTTIE to play in their celeb footie match PLEASE, HOW CUTE WOULD THAT BE? Come on Tomlinsons, say yes!

Liam has a big interview in Glamour to promote his BAFTAS performance! If *I* were doing the piece I would have really gone hard on the Two Liams angle of the performance (in which Liam will be accompanied by a hologram of himself) but alas they are boring and only interviewed one of him- maybe the part where he says “you're on stage, you're a certain type of person, and at home you're a certain type of person” sort of counts? The “that's always something I've really struggled with” makes it not so fun though, but that’s a Liam interview for ya; worrisome and makes you want to hug him a lot. “I didn't actually realize this for a long time, but I often give a little bit too much away,“ he says, and today is no exception. We catch up on the time since last we heard from him, when he told us he was going to take some well-earned time off and try to focus on writing new music; he continues to have difficulty with downtime unfortunately. Oh Liam, I do wish it were easier for you to take a break! He says, “I stopped working and I had a full, proper month off [and that was] really hard. And it was all a bit dark for me for a little bit... not being able to go anywhere, not being able to do anything. It really, really hit home. And I just found myself sat in the same place day in, day out. And I was like, okay, I really do not know what to do with myself” and “for me, learning to relax has always been quite a hard thing to do because I feel like if I'm not moving forward, then I must be going backwards.” He goes on to say “so, in a way it's kind of a blessing in disguise, as this has all kind of taught me to relax a little bit more. And to not be so worried about that, like the world is not going to fall over if I don't do something today,” and I wish I believed him, but that’s Liam’s way, to be like oh I need to add something upbeat and end on a cheerful note! So IDK. He also talks about drinking too much, at the beginning of lockdown especially, and how he’s dealt with it by getting back to working out and dieting. There’s nothing there that he hasn’t talked about before (he’s publicly addressed both his struggles with alcohol dependency and has talked a lot about his disordered eating though he hasn’t himself named it that) but after publication Glamour edited the piece to omit the part about his drinking-- I’m guessing the augmented reality app people didn’t feel it fit their ideal image (sigh). What that leaves is him saying how nice it was to be able to eat what he wanted during lockdown but that having the boundaries and rules in place of restricting his food again has made him feel better about himself, which if you ask me is still plenty distressing. Oh Liam :( <I’ve never wanted to hug someone so bad/ Spongebob meme> On a slightly more cheerful note, he tells us he feels supported and heard by a manager that he’s close to, and by Louis, and that those relationships are good for him (the interviewer does ask about Bear, but financee Maya is not mentioned even once in this article). The piece ends with a startling response to a comment about his upcoming performance: “I'll see you wherever you want me in your house, I guess.”

Niall posted about his Masters (golf) fantasy league and he was seen out and about! He was photographed in London driving a car the size of a house and on the street carrying one of his dozens of different reusable water bottles, with his hair floppy and down- is it a new haircut or just unstyled??- and shorts and little roundish shades. Hello Neil! There was a rumored sighting of Harry in London as well but no pics and like we know he’s there anyway so… shrug. And iHeart award nominations are up, and they’re pitting louies against harries, ouch. Will it be nasty (well when isn’t it even without this voted category, sigh), or will the louies simply steamroller everyone as per usual? Only time will tell, but if so harries can console themselves with their likely wins in the Male Artist of the Year, Best Lyrics (Adore You), and Song of the Year (WS) categories.

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migilini · 3 years

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Not So Secret Anymore - Charlie Gillespie

summary: It’s hard to hide a relationship from the public, particually when both work on the same show.

words: 2.5k

warnings: fluff

a/n: not my fave but i still somehow like it.

Requests are open :)

MASTERLIST

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

September

"When do we have our first interview?" you asked the boy whose head was in your lap. He looked up from his phone and your eyes locked with his green ones "Hmm, my calendar says in about 30 minutes."

You groaned at that and stopped playing with Charlie's hair which earned you a grunt and whine from him. "Sorry babe but I think I have to go, so I still have time to get ready and set up." You muttered and gave him a small kiss on his brown hair.

"Uhh fine." The weight lifted from your legs, you stood up and before you knew it you were thrown over his shoulder. Laughing, you slapped his butt and back repeatedly. "Babe! I mean it" you tried to press out between giggles, "we both decided to keep us a secret." He sat you down on the kitchen isle and cornered your body in between his arms, standing right in front of you, you're back hitting the kitchen cabinet.

"I know... come back later?" he asked and tilted his head, looking at you with big puppy eyes. "You know it." After a swift kiss, or rather a little make out session, you were on your way back to your own appartement. Just in time to change your top and put on a lip-gloss before opening your laptop and joining the interview.

"Hello everybody! I'm here with the cast of Netflix' Julie and the Phantoms that came out on Thursday. How are you guys?" the interviewer asked and smiled into the camera of his laptop. The whole cast chirped in with a good, great, or amazing.

"That's fantastic!" he clapped his hands "Now, Jeremy, how would you describe your Character and the show in general?"

"It's a show about ghosts from 1995 who come back 25 years later and join a band with Julie who didn't sing a note after her mother died. Reggie, the character that I play, is one of those ghosts and he is a loveable himbo. Did I use that word correctly Maddie?"

Maddie smiled and the interviewer changed the topic "Madison and y/n, birds have told me that this was your first ever acting job is that right?"

You nodded and signaled Maddie to speak first "Yes, and it was both amazing and traumatizing! I was so nervous, but the crew really helped to calm me down, especially y/n who just was in the same position as me, so we freaked out together most of the time." She smiled and the interviewer waited for you to answer. "Except, Maddie had a least some acting training at school, that's why she is the best. I more or less walked into the whole situation." You said laughing.

"I love this story." Jeremy exclaimed, making you slightly blush at his words.

"Would you be so kind and tell us?" the interviewer questioned and smiled at your little nod.

"Yes, yes of course. Well, I was on vacation with one of my good friends from back home..."

"She means Germany." Owen interrupted with a smile on his lips. "Yes, Owen. Thank you for adding important details. Anyways, we saw that there was an Open Audition nearby and though why not? We don't have anything to lose or to do on that particular day. And here I am, my friend sadly didn't get in."

"That really is an amazing story, I can see why Jeremy likes it so much. So, Charlie how would you describe y/n's and Luke's characters, she wasn't supposed to be in the script and was later added in right?" Charlie quirked up at the mention of your name and stated proudly. "Indeed, she impressed Kenny so much that he wrote a character just for her. He thought that Sunset Curve, the band name before we died, needed a female to handle their chaos or well... at least tries to. Y/N plays Allie, who against common speculation isn't any of the boys' love interest which is a very nice turn of events. She and Luke bud head a lot because Luke only thinks about music and the band and she tries hard to make him take breaks every now and then."

A lovesick smile sat on your face while you listened to your boyfriend of nearly a year, once you realized your expression you quickly shook it off. Hiding this relationship was definitely going to be harder than expected.

The Interviewer asked some more questions before the last and dreaded question was thrown your way. "So, most of your fans are wondering if any of you guys are in a relationship." You and Charlie had discussed a million times before what you guys would say in such a moment, the two of you shared a look.

Jeremy's eyes switched from Charlie's box on his screen to y/n's before answering "I have a lovely wife! The rest of us are happily single, right guys?"

"100%" Maddie added, while Owen only shrugged, his dog conveniently jumping into his lap.

"How about the other two?" he eyed up the last remaining.

"Very single" Charlie laughed, and you agreed "Totally."

As time went on it was harder and harder for the two of you to hide the relationship, as you two spent nearly every day together and therefore did the same activities. Particularly after your social media accounts have gained over a million followers and people started to ship actors and tv show characters. But you two loved the little secret bubble you've created, there was no pressure to take good pictures together, or to post stories, to be asked a thousand questions about your relationship and no hate towards any of you.

December

It has been 4 months since the show released and the hype it got definitely was way more than you ever expected. It blew your mind. Currently, you are on Charlie and yours one-year anniversary / Christmas / good deeds vacation. Charlie and you found a good mix, that made you both happy, between chilling and doing adventurous things.

It was Christmas eve and Maddie wanted to do a 'guess the song Christmas Edition' with the main cast. Eagerly you agreed and hurried from the beach, where Charlie currently took the quiz at the bar you both sat on just minutes before, to your shared bedroom. You shot Maddie a quick text that you were 'out of the relationship zone' and ready when she was ready.

"Helloooo. How did the others do?"

"Not the worst but I still have faith in you to win this. ARE YOU READY?" she screamed the last part.

“I’m going to read you the lyrics of a christmas song and you have to guess the next line. There are certain cards that give one point and others give two. Whoever has the most points at the end…”

“Hopefully get your earrings” you asked with a sly smile and your shoulders raised.

Maddie laughed but shook her head “Sadly, no. I haven't figured out the price yet, but I for sure will! I like your backdrop by the way.” she added and you quickly looked behind you. You sat crisscrossed on the hotel room floor, you used the coffee table and a water bottle as a phonestand and used a white checkered wall as a background to try and hide the fact that you didn't sit in your living room.

January

“This should be the last box.” you cheered into the empty hall and shut the front door with a light push from your hip. Charlie popped his head out of the bedroom and walked over to, dropping his head on your shoulder in exhaustion. Nothing was set up, boxes stood randomly all over the apartment, the fridge stood there still empty and a lonely mattress covered the bedroom floor.

“The walls look a bit bare don't you think?” you said about a week later, standing in the middle of the now a bit furnished living room. Strong arms sneaked their way around your waist and a head dropped on your shoulder.

“Hmm… you're right. What do you have in mind?” Charlie said and turned you around so you were facing him. He smiled at the spark in your eyes “I was thinking, a yellow akzent wall with random secondhand pictures and some pictures of us, all in frames of course. So it's gonna have this homey and creative atmosphere.” You rambled on for a while longer, telling him where you think his instruments could go, the pillows you saw online and thought they worked perfect with the colour of the couch. Charlie just stared at you, a dumb smile on his lips with his arms around you.

“Do you not like it?” you noticed that he hasn't talked for a while and got worried. “I love it. We could live in a dumpster for all I care, as long as I have you by my side.” You fake gaged at his romantic words and gave him a kiss.

The first time people got really suspicious was the time you accidentally walked in on a live he had on Instagram. He sat in front of his instruments, phone propped up before him. You thought that he was already finished but you were wrong.

“Do you think this…” you walked into the room, a shirt in your hand that you just took out of the dryer and lost your words the moment you saw him sitting in front of his phone. He looked at you with wide eyes, his brain clearly searching for a good excuse.

“Is that y/n?” he read outloud from the chat, gesturing you do sit next to him. “Yes it's her! We’re hanging out and she helped me with my washing because I somehow still don't know how to do it.” he laughed nervously, his hand grabbing yours out of the frame.

“He promised me food and I live really close by, so I thought I'll help this poor man out.”

May

Looking back at this moment now, you and Charlie weren't sure why you just didn't come clean. You didn't mean to hide the relationship this long, it just kinda happened and at one point it just got too awkward to tell. It was fairly easy to hide most of the time, you didn't most that much on instagram and Charlie only showed parts of his daily life.

The easiest was the time you filmed JATP Season 2. You were expected to hang out and live together. Back in 2019 you already lived with Owen and Charlie. This time poor Owen had to live with a couple instead of just two friends. (You were already dating for a while back then but didn't tell the cast, to not make a fuss.)

It wasn't like the fans didn't suspect a thing, especially after Owen posted a video of you two fooling around.

Everybody sat outside, enjoying the everwarming sun on their skin. Half of the cast was already in costume just waiting for the break to end. In typical Allie (your character) fashion you wore an overall with a tight tank top underneath, your makeup stood out from the others with the heavy blush, freckles and black eyeliner.

Charlie, in his Luke wardrobe, thought that it was funny to stand in front of you to shield you from the sun.

"Stop that" you whined and tried to shove him away, which was harder than you thought considering he stood before you and you sat on a bench.

"Make me." He flirted and stood even wider before you, puffing out his chest. Raising an unimpressed eyebrow, you stole his beany with a swift motion. His expresion quickly changed from cocky to shocked, snickering was heard from Maddie who was used to this type of behaviour.

"Ups… heavy wind blows in the shadows." You explained nonchalantly and pulled the beany on your head, sticking your tongue out at your boyfriend.

"Oh it's on my lady" he growled "I'm giving you a three second advantage. One…" your eyes widened and your heart rate picked up. "Two…" you got up and scanned the place internally making a good running line. "Th-.." you began sprinting across the lot. You heard the laughing from your castmates behind you as you and Charlie ran in circles.

Unfortunately, he was still fitter and faster than you and about a minute into the running he had you thrown over his shoulder.

"Surrender!" he screamed as you tried to wiggle out of his grip.

"Never!" You screamed back and wiggled even harder.

"Surrender or i'll have to tickle you" he warned and those were the last words Owen was able to film before a producer yelled that the break was finished.

February

“Baby, if I would believe this News Article, you have a secret girlfriend, but it's not me.” you showed him your phone screen.

“I’m not cheating on you. I would never, i'd die rather than…” his frantic expression made you snort. “I know. Oh my god! People saw you with Lia.” you held his hands comfortably.

“Lia as in your best friend Lia?”

“The one and only. People noticed the hickeys... At least they’re getting closer now. So are we still on for the masterplan? You by instruments and I'm gonna sit in the bedroom?" He nodded and smiled at the sight of your equally plastered neck.

Eventually, before you even were able to execute the as you'd like to say 'masterplan' your relationship got outed. I mean it was time, the two of you getting lazier with the hiding as time went by.

Fans noticed that you wore a lot of Charlie's things and that you and him always seemed to be at the same place at the same time. It was actually one of your lives that spilled the secret.

"That's a really nice akzent wall" you read outloud from the chat "oh thank you! It was a long process to get all the pictures but it was actually Charlie's idea to not only have pictures but also plane tickets, date memories and so on hung up on that wall. It really makes it homey. I think to get that wall this crowded it took us...what? About well since we moved in…" you didn't even realise what you said you just babbled and then it was out.

"Charlie actually is home! I could call him. Babe! Come here for a sec- oh my god!" Your hands flew up to your mouth in realizion.

From that moment on you were public and your social media exploded once again. However the two of you were happy to finally show each other off.

#charlie gillespie #charlie gillespie x reader #charlie gillespie imagine #charlie gillespie fanfic #charlie gillespie fic #charlie gillespie fanfiction #charlie gillespie x oc #charlie gillespie x y/n #jatp fanfic

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thepriceofbeingaroseisloneliness · 3 years

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Kaoru Ongaku to Hito Interview May 2021

DIR EN GREY Endless originality. Don't shake, don't move, don't give up. As the leader and main composer of DIR EN GREY, he made me realize in this interview that even if the band is in a situation in which they can't move forward, they are still striving toward their own determination without losing sight of their desire to create music. The new single "Oboro" is a ballad with a simple sound envision that insists on the melody and lyrics. In this single, which was made with the intention of being widely listened, you can feel a different stance on the sounds and the arrangements. I think his obsession with music and the pursuit of originality are changing because of his age and career. On the other hand, the latest promotional photos are still grotesque and chaotic. The future this band is heading for it’s held by his unchanging desire for music. Here there is a dialogue with him which makes you believe so.

Notes before reading: This is Kaoru’s interview featured in Ongaku to hito music magazine May 2021.

You can get this magazine at cdJapan (totally worth it!) Feel free to correct me if you spot any mistake or any confusing parts. Links or credits to this post when the content is reposted or captured in other SNS is appreciated :) -----------

Text by Higuchi Yasuyuki Photographs by Amita Mari Hair & make-up by Yamaguchi Atsushi_ EKYQ

“I’m not in the mood to say ‘let’s do this now’ but recently, making astounding/ crazy songs might be difficult”

(While turning over the latest issue ...) Kaoru: Did M-AGE make a come back?

*M-AGE is a Japanese electronic pop/rock band active during the early 90s. They were feature in the previous issue of Ongaku to hito, April 2021* -Are you affected by that band? (laughs). Kaoru: I was surprised (laughs). -A band that disbanded more than 20 years ago did a comeback, there are another band that the drummer who has been a member for 20 years has left, there have been various things happening (in the music industry) in the past year, but DIR EN GREY has not lost to Corona. K: When it comes to losing, there is nothing you can do about it. - What do you think is the reason why these five people are continuing, without stopping, as a band? K: Isn't it because every one of us think we can’t go beyond this band? If someone gives up, we are not confident we can do something better than what we are doing now. It’s like, we can't get away from each other. It's easier to express your opinion if you keep a certain distance in that sense, and you don't have to accumulate stress about it. -By the way, throughout this year you noticed things and had some thoughts about the band. K: That’s right….well, since the creation process was originally done remotely, I rarely had the opportunity to meet with the members other than the tour, but in reality it was important to have casual conversations with the members during the tour. There was a moment when the ideas changed depending on the words I exchanged with the members on the spot like “we should try to make this kind of song”… But it was a year when I was making songs without this input, so it’s like there was a part of me that felt gloomy. -You felt the importance of talking with the members. K: Even if we communicate remotely, we can just communicate by voice or text but, the mood/situation, the temperature, facial expressions etc…that can only be perceived directly so I thought those things are important after all. -In that situation, did the band make a song that only can be made now or tried to aim for something in your work?

K: That’s not case. It was as usual. We are not in the mood to do something like that now. However, it has nothing to do with this situation but we talked about how recently it’s becoming harder to make crazy songs. -A crazy song? K: When the band tries to create a song, naturally it turns out quite relaxed/calm. It feels like it’s what our bodies want. -Why do you want that kind of thing? K: I think that kind of songs makes you feel good, isn’t it? If we want to make a song like “Gya!” (fierce), we can make it but if we do it naturally, there will be more calm/relaxed songs. In other words, our previous single (digital single ‘Ochita koto no aru Sora) was a song we made with the intention of creating something fierce. -Intentionally, you made a fierce song. K: So, there was a talk about what kind adjustments should be done. We did it this time as well, but for now we are not thinking too much about it. Originally, ‘ARCHE’ (album released in 2014) was an album that was closer to that feeling. I just tried to do things I liked. There were a lot of slow and calm songs, but maybe it's easier to come up with such songs these days. -That’s why you can’t let yourself go with your natural flow… K: That’s right. So, the next album ('The Insulated World') was shaken off in the opposite direction. Of course, there are still intense/fierce songs coming out from the members. However, the songs everyone selects and remains in the top ranks are generally calm/relaxed. - 'Oboro' is a song that was born in such a situation. K: There was a talk about this single like ‘let’s make it easy for people who listen to DIR EN GREY for the first time, having an easy-to-understand melody”, so this song became a single. -Why did you decide to go in that direction? K: Somehow, we thought there are quite a lot of people who only know the name DIR EN GREY these days, but don't know what kind of music we are playing. Then, we feel like trying to make it easy for such people to get into us. So, I think it's quite challenging for us. -You are not really a band that “goes outside”. But also this song, it’s a song that can be classified as a ballad in DIR EN GREY. K: It’s the kind of song we usually would keep for the album. It’s also interesting to dare to release it as a single. -It’s certainly a relaxing song and the variety of sounds is small, so it seems easy to approach but the latest promotional photos….(laughs) I was like “what’s your intention?”. K: Fufufufu (laughs) -But it looks like because of those photos the door is going to be closed before they listened to your music (laughs). K: That's why it's not that simple, like the sound or the tone of the song is intense or not. The song is like this, but this band is actually called ‘fierce’. -You mentioned earlier it may be a matter of age, but the taste of music changes just as the taste of food changes when you get older. K: That's right. -So, recently, I feel this band doesn't try to resist such changes so much, or like you have started to project a realistic/true-to-life self into music. K: By all means, it looks like we became adults, right? -That’s why I’m familiar with it because we are from the same generation, it just fits. You can listen to it and enjoy a song with faint sounds instead of roaring ones. K: That's right. Simply, this kind of song is the one that roots in me. For example, the synthesizer-like sound that comes out first. -The intro with a synthesizer-like sound? K: That's right. That's my roots, originally I liked the New Wave and listened to it, so I tried to create what I was waiting for. *New wave is a broad music genre that included numerous pop and rock styles from the late 1970s and the 1980s* -But I think DIR EN GREY was the kind of band in which the roots of each member weren't projected in that way. K: After all, if five people do it, chemical changes will occur and the result will be completely different. But lately, the things I created haven't changed much, and sometimes they reach the end point. Of course, it's arranged in detail, but for this song, it's pretty much the same shape than at the beginning. -So, I got the impression it was a song that was unlikely to be done by DIR EN GREY until now. K: Maybe if we tried to keep it for the album, the arrangement would have been different. Because it’s a single, maybe I tried to listen to the melody. -In other words, it doesn’t feel like DIR EN GREY. K: Yes, if you listen to it with your existing values/sense of values, you might think it's not like DIR EN GREY. But this time we wanted to do that. That’s why when the president of our label listened to the demo first, said something like ‘This, isn’t it a bit insufficient/unsatisfactory?’ the reply was ‘No, that’s not the case’ (laughs) -Ahahahaha K: So, I think it's a new type of song. But just because this song seems to happen once in a while, the other songs are going to change steadily due to chemical changes going on. "This new song isn't fierce or shocking. Certainly, you can listen to it smoothly but actually….” -Then, I have a question for you Kaoru, not for the band, but do you think your personality has changed a lot from 10 years ago? K: How is that in reality? - Specifically, "DUM SPIRO SPERO" that came out 10 years ago is your commitment and obsession/attachment. In other words, I think it's an album that is full of personality. So, this time 'Oboro' comes from your roots,In other words, it's a song that is full of personality. However, if you compare these two works, the contrast is so huge that you can't think they were made by the same person. K: That's not true. -Oh really? (laughs). K: That's not true (laughs). For me, both are the same me. -But as a listener, I get the impression that the music is exactly the opposite, or that it's completely different. K: Certainly it’s the exact opposite when you are referring to a band called DIR EN GREY, but it’s not that different for me, rather, it’s connected. -What kind of connection do you have? K: The sound may be different, but the points we are focused are the same. Especially this time, it feels like we've created each sound in detail, so it's more like I'm playing with the precision of a machine inside rather than the outward appearance of the music. -I see. K: Anyway, the most particular thing about this song is the sound of the synthesizer at the intro I mentioned earlier. I thought the sound at the beginning would determine everything in this song. - Since that kind of determination/passion has disappeared, I was wondering if it would be a song that would allow me to listen to the melody simply. K: That's not true. Is it natural to stick to that? For example, I bought a synthesizer, and it makes interesting sounds so I tried to create something. But the preset sounds you got when you bought the synthesizer (Note: it's set in advance) don’t work for me. -Why not? K: You have to create your own original ones. Even if I think the preset sounds are are catchy the way they are, I dare to stick to my original ones. Otherwise I can't be satisfied. - I wondered if you had finally abandoned that kind of troublesome pickiness(laughs). K: I’m really picky about that (laughs). But I think that’s normal when you make music. Even commercial pop music can be really picky about it. -You're right. You're right. K: Because it was created with that detail,I think people who listen to it will say "Oh!".If it wasn’t created in that way, it won't convey anything, and if it's as simple as this song, it won't be interesting unless you are committed to it. That is why it is the same as "DUM ". -Surely, but what if you could make it smoothly without being so committed/picky about it? K: Sometimes it’s easy to create, still, it would be nice if it makes you feel something. -I agree. K: This new song isn’t intense or shocking when it comes to the music, so you can listen to it smoothly, that’s why there is something for sure that makes you go like “this song!”. But in reality, there are several sounds, I’m just not trying to hear them properly. It sounds like something that makes you feel it, you can’t hear it clearly, but it’s there. It’s not something new, to stick to that kind that sound, but in that sense it might feel like different or new. -At first, I had the impression that it was new or something different from what I heard before , but that may be the result of your commitment, to the point that you couldn't hear it. K: I don't know if the word "new" is correct, but now I want to create in a way that makes easy to project ourselves, while blending it with something that makes our guts/intestines stick out. If we can do that, I think it will be something different and interesting, like "DIR EN GREY is doing something interesting again". I feel like I'm exploring that aspect now. -We talked about age before but, Isn't this age the time to imagine something like the time remaining? Like taking it easy at this point…..that kind of idea. K: Rather the opposite. I don't know how long I'll be able to create something I'm compromised with, and whether if I will keep having this energy or physical strength. I want to keep doing it as long as I can. I can only make music with what I have, so I'm not overdoing it in that sense, but I'm overdoing it in a different sense (laughs). You can't create it without straining yourself. -I see, you are not lying to yourself. K: Of course. However, if you rely only on yourself, it won’t beat your expectations. I don’t think that this will change, no matter how many things happen. Still, at last I started to think that our music has some power of persuasion. Do you think we can keep competing with just our music? -It's been like that for a long time. But this band is like asking for something impossible, it’s a band that won’t disappear. K: But isn’t it about creating things? -I agree. Is it still fun to create things? K: It's fun (laughs) -Immediate answer (laughs) K: If we can do it forever, I want to do it forever. There are a lot of difficult moments, but I really like it. -As long as these five people are able to share that feeling, this band will continue. K: I think so. It's okay as long as I believe in myself and the members. -I see……your speech was much worse than reading a bad self-help book (laughs). K: hahahaha

#dir en grey #kaoru #ongaku to hito #translation

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ghostdrew22 · 3 years

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Déjà vu? || Draco Malfoy

Requested: No Pairing: Draco Malfoy x ex!fem!reader Warnings: Idk if this is angsty or not because I initially thought it was but it feels a bit like soft sadness to me? Summary: Y/N getting deja vu as you watch Draco with his new girlfriend (H/N - her name)

WORDS : 1950

Lyrics from “Deja Vu” by Olivia Rodrigo (but I got lazy and only used certain parts)

~~~

Car rides to Malibu Strawberry ice cream, one spoon for two And tradin' jackets Laughin’ 'bout how small it looks on you (Ha-ha-ha-ha, ha-ha-ha-ha-ha, ha-ha-ha-ha)

“Draco stop!” A voice exclaims before being followed by laughter. You know that you shouldn’t turn around, that it’ll hurt too much, but it’s been said many times that curiosity killed the cat.

He’s holding the very same ice cream order, strawberry and pistachio, and sporting that familiar warm smile that used to comfort you when you got a brain freeze from the ice cream. It had been your idea, ice cream in November, and he’d hated it at first but grew to love it just because it made you happy. That very same order that you’d made him try, strawberry and pistachio, but not for the two of you this time.

It’s difficult to know what you were expecting, something new? Different? A part of you had always known, even while you were the one in H/N’s position, that your moments with Draco would soon be documented and used for a modern remake. If your relationship had been a book, theirs is the movie adaption. If your relationship had been a song, theirs is a cover band’s rendition. Maybe, deep down, you were expecting just this- to see him treating her the same way that he’d treated you.

Those pale hands, that used to fit so comfortably in the expanse of your own, are now tucked safely in-between hers. Oceans of blue that used to run over your shivering figure every November when you made this exact Hogsmeade trip, are now tracing the lines of her face and committing them to memory. Lips, cold and slightly chapped, that were once coaxing laughter from your lungs with horrible puns and crude observations, are now completely and utterly consumed with the sole objective of entertaining her the very same way that they entertained you.

It’s a bitter sight, one would think, but you can’t bring yourself to be jealous. It’s an odd sort of feeling, deja vu, to know that once this moment belonged to you, and now you have to watch it play out in front of you. You know what’s going to happen, down to the footprints that’ll stain the path back to Hogwarts, but this time it’s not you. This time, even though you know what’s going to happen next, it’s not your laughter that’ll be filling the silence as he walks back to school.

Watching reruns of Glee Bein’ annoying, singin’ in harmony I bet she’s bragging to all her friends, saying you’re so unique, hmm

“Draco’s obsessed with this muggle show called Glee. He makes me sing along with him every time we watch it.” She says with a small laugh and a shy smile.

Why, in God’s name, did you decide to study in the library today? Sitting on the other side of the bookshelf behind you, with Millicent Bulstrode, is H/N.

“That’s horrendous.” Millicent replies with a laugh. Maybe if you’d tried harder to be friends with her then she would’ve told H/N that Draco used to do that with you too, that you’re the one who introduced him to muggle tv shows in the first place.

“It’s cute, he’s so… different.”

You swallow hard and try to pour your focus back into your books. That tone, sweet and infatuated, was the tone you used only months before when you spoke about him too. Once again you’re on the other side of the looking glass, staring back at a distorted reflection of yourself. It had been you bragging, drowning quite innocently in your adoration for him and feeling the need to sing your praises out to the world.

Way back when, you were the one forcing him to learn the lyrics to all of your favourite songs. The two of you would lose track of time singing along with the actors and complaining about the unnecessary drama, it was this little world that the two of you created. But now that world, that you built on love and trust, can no longer afford to accommodate you both. Now it’s his world with her.

Without even realising it you start to wonder how it must be when he’s with her. Does she sing off-key too? Does he pepper her with kisses after and make fun of her singing? Do they binge watch episodes or only do one at a time? Does his laugh still drown out the talking whenever something ridiculous happens? Is his favourite character still Sue?

How many pieces of your time together did he take from the puzzle, to form a new one with her?

So when you gonna tell her that we did that, too? She thinks it's special, but it's all reused That was our place, I found it first I made the jokes you tell to her when she's with you

“This alcove is where I come when I want to be alone, no one really comes here.”

No one but me, you think to yourself as you stop in the hallway and overhear Draco whispering to her. Of course he took her to your alcove, why wouldn’t he?

A part of you wishes that he’d tell her that it was you who found this spot, that it was you who’d trudged along the castle one night in a desperate search for some peace and quiet. You want her to know that this was your safe space, that you were the one who invited him there and allowed him to relish in the safety that it provided. It was you who laced your fingers together with his own and dragged him behind you until you’d landed in the spot, you who had to listen to his complaints about how small and cramped it was until he finally got comfortable and fell in love with it. You were the one he used to wrap his arms around and make promises to in the silence of the night, when nothing beside the two of you existed in that alcove.

It’s all blurring together, then and now are nothing but two sides of the same rusted coin. How can you possibly distinguish between your memories and reality when the boundaries keep crossing?

You almost want to laugh at how identical your relationship was to the one they have now. Jokes that you came up with in the sludge of sleepiness, when the two of you used to hide out here on nights when you both felt sad, are now being repeated into the very same air that you breathed only months ago. Promises that you’d both agreed to back then, are being remade in the safety of the night that now belongs to them.

“I love you.”

And

“Forever.”

Are being whispered between the two of them, assurances and pacts to be together till the end of time.

But now you wonder, how long is forever?

Do you get déjà vu when she’s with you? Do you get déjà vu? (Ah), hmm Do you get déjà vu, huh?

The smell of toast and freshly scrambled eggs wafts through the Great Hall and you struggle to resist the urge to moan out in excitement. Breakfast is your favourite meal and, really, the only meal that’s worth anything. As you plop down in your seat and start to pack your plate in your food you fail to notice, in your sheer joy, that Draco’s sitting across from you with H/N by his side.

It’s not until you’re done piling up your favourites, like an Olympic gold medalist in training, that you notice the couple sat across from you. You observe discreetly as Draco outstretches his hand all over the table to get whatever she wants to eat, and you have to struggle to focus as a wave of déjà vu washes over you.

When had you stopped being the one he arranged plates for? When had he started saving a spot beside him for her, and not you? Literally you know that the answer is roughly around 3 or 4 months ago when the two of you had broken up, but he’d stopped being yours a long time before then and you’d both known it. Little moments of love, that had been the basis of your relationship, had fizzled out into distant memories way before you’d both decided to call it quits.

“Butter or jam, Y/N?”

You’re about to answer, on instinct really, when you realise that he’s not even speaking to you.

But he said your name. Didn’t he?

Do you call her, almost say my name? ‘Cause let’s be honest, we kinda do sound the same Another actress I hate to think that I was just your type

“It was mortifying!” You exclaim as you recount the events of earlier to your best friend.

“How bad could it have possibly been?” She asks with a laugh as she settles into your bed comfortably.

“He looked her dead in the eyes, and called her ‘Y/N’, and to make it one hundred times worse, I was sitting across from them when he did it so they both immediately turned to look at me!” You cry out in embarrassment as you drop your face in a pillow. “I’ve never prayed so hard for the ground to open up and swallow me whole.” You mumble against the fabric and you hear her laugh again.

“Why are you so embarrassed? It wasn’t your mistake.”

“It’s not about that, it’s about how easy it would’ve been for us to return to our roles as boyfriend and girlfriend. I almost answered him!” You sigh. “It’s been what? 3? 4 months? And my mouth still acts on muscle memory. We’re so familiar to each other that we still act on instinct.”

“Are you sure it’s not just because your names sound so similar?” She raises her eyebrows at you and you scoff. “Really? Y/N and H/N sound nothing alike?”

“Nope, not at all.”

“Okay, if you say so.” She shrugs, “But deep down I think all three of you know that there’s more similarities present than you’d like to account for.”

You huff in response and cross your arms. Is she right? Does Draco have a type?

Even worse, are you just Draco’s type? Nothing more and nothing less than just another girl who ticks all of his favourite boxes?

I know you get déjà vu I know you get déjà vu I know you get déjà vu

It’s on one morning, on one of your good mornings, that it happens.

Months of watching the two of them recreate the love that you’d had with him, suffering in silence and scolding yourself for thinking such awful things about them, finally come to a halt when you receive the acknowledgment that you’ve been so desperately craving.

She walks onto platform 9 and 3/4 in a dress, a purple dress that looks eerily similar to the one you’d worn two years before on this exact platform. She’s smiling brightly, excited for the new school year, and Draco’s waiting for her by the door with a smile that’s just as bright. When his eyes catch her own and she slips her hand into his, he stumbles backward in shock slightly. He immediately looks away from her and searches the crowd, scanning over people climbing into the train and saying goodbye to their families, in a desperate attempt to find you.

It’s too much for him, to see her standing before him and looking like a replica of you, and he needs some sort confirmation to know that he’s not imagining this similarity. The dress wraps around her waist the same way that yours had wrapped around your own waist, and it compliments her skin in a way that’s hauntingly memorable. He knows that he’s seen all of this before, and he knows that it wasn’t with her.

You’re standing a few paces away from the door, watching the scene unfold, and when his ocean blues finally meet yours, you know.

He smiles at you, the first time he’s done so since you broke up, and mouthes exactly what the two of you need to hear.

“Déjà vu.”

And then it’s over- the moment, the agony, the months of confusion- it’s all packed up into a neat box and stored away. He turns with her and they walk into the train together, happily.

You remember this, being the one in her position and walking by his side. You remember the feeling of utter joy that had consumed you, it’s all the same really.

But maybe this time when he promises forever, he’ll mean it.

~~~

This was meant to be way angstier but I got lazy and ended up just wanting to write it out before I ran out of love for the idea.

Anyway, I kind of like it...

love you all,

jean <3

#draco #draco malfoy #draco x y/n #draco imagine #draco fanfiction #draco malfoy x y/n #draco malfoy imagine #draco malfoy fanfiction #draco x oc #draco x reader #draco angst #draco malfoy angst #draco malfoy x reader #draco malfoy fluff #draco fluff

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amygdalagustd · 3 years

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Kim Namjoon on Identity

Namjoon explores the concept of identity time and time again in his life and in his music. He tends to focus on how different parts of himself might be in conflict with each other, and the tensions and confusion that goes with that experience. People are filled with duality, sometimes to the point that it tears us apart. The question of “who am I?” seems a simple one, but underneath it lies a lot of complexity. Who do I want to be? Who do other people want me to be? How much of my identity is formed by my past? Can I change who I am? Can I be multiple things at the same time? Who is the real me? What does it even mean to be the real me?

The question of “who am I?” seems to both fascinate and terrify Namjoon. In this essay we will tackle the question together as I explore all the different ways that Namjoon contemplates identity in lyrics and interviews.

From his decision to become a rapper in the first place to the struggle of taking care of himself as a world famous idol to the questioning of what having an identity actually means, we will travel through Namjoon’s career and highlight all the moments that he asks himself:

“Who the hell am I?”

It’s no secret that Namjoon was a very intelligent and driven student who got good grades in school. In his earlier lyrics he often writes about the pressure that was put on him to succeed and follow a certain path in life. As someone who was good at studying it was expected of him to prioritize his education above all else. Namjoon fit into that role well, but behind the scenes his heart was longing for music. He discovered rap and decided that he wanted a different path for his life. BTS’s early work is filled with messages of following your dreams and not letting other people decide what type of life you want to live. Namjoon often talked about the struggles of living in between the expectations of those around him and his own desires for his future. Some of those conflicting feelings are expressed in Voice, the intro song to his 2015 mixtape RM:

Straight A student and underground rapper

I occupied myself all day with being graded with meaningless numbers like beef gets graded

I just wanted to succeed

because that’s the only thing I was told by others so much that I almost got sick of it

The mirage called happiness- I thought it would be held there

But, sitting at my desk, I was never happy, not for a single moment

I secretly hid a blank sheet of paper between the pages of my study book without my mom’s knowing

My identity that I wrote down along the sound of drums and bass

The feeling of breathing that is different from that of receiving grade reports

Even when I was the top of my class, my mind was never at ease

Is it absolutely necessary to want something that others want?

I secretly raise the volume of my voice

so that you can know, so that it can reach you

I again raise the volume of my voice

so that you can know, so that it can reach you

He also touches on the subject in Born Singer, which was released in 2013:

To be honest, I was scared that I was to prove myself after talking big

that I, who used to know only pen and book, was then to surprise the world

I dunno, that I and the world’s expectations are too asymmetric,

I was scared that I might betray everyone who trusted me

I stretch my burdened shoulders and step onto the very first stage

BTS and Namjoon will continue to talk about the pressure of society's expectations and the difficulty of following your own path in songs like No More Dream, N.O and School of Tears. Fighting back against the oppressive school system is a huge part of their message and mission in their early career. They ask their fans and themselves to look at the person that they are expected to become and question if that image is in line with their own dreams and desires. Namjoon wrestled with this question himself, and therefore has the experience and passion to guide others who might be struggling with their identity and the identity that is put on them.

Idol and artist

The concept of being an idol vs being an artist is one that comes back often in BTS lyrics. Namjoon is an underground rapper who ended up in a boyband, and the identity of being an idol is one that he has wrestled with quite a bit. Can you be both an idol and an artist? Does becoming an idol mean that you have to give up on being an artist? Does it matter if you call yourself an idol or an artist? Does it matter what other people say about it?

Namjoon mentions this conflicting identity in Awakening on his 2015 mixtape RM:

Every night I fight myself inside me

My heart pounds, and my colleagues stab me in the back

saying I became a cripple after going into a company

Yeah fuck you I’m an idol, yeah yeah i’m an idol

I hated it at one time but now I love to get that title

Unlike some keep denying [their identity] to the end on television,

I now fully accept myself, and I just do me

Whether I’m an idol or an artist- it actually never mattered

The way you guys look at me was what defined me

I was obsessed over titles and hung up on how people described me

Listen to the rap of the guy who became a bit smarter as time passed

Namjoon gets shit for being an idol from the underground rap scene and gets shit for being an artist from the idol scene. He is hovering in between, writing his rap lyrics with the power and authenticity of a hip hop artist while simultaneously dancing and looking like a full fledged boyband member. He responds to this dilemma with unwavering pride, the drive to prove himself and a fuck you attitude. This energy dominates a lot of early BTS music. They are still trying to find their place in the industry while not really knowing where exactly they belong. Songs like the Cyphers and Mic Drop highlight the anger they feel about the mistreatment they face from both sides of the industry while boasting about their accomplishments and pride in who they are. Just like Namjoon in Awakening, Yoongi also often mentions his struggles with the identity of being an idol in his solo work. In Idol, the title track of the 2018 album Love Yourself: Answer, BTS face the subject head on:

You can call me artist

You can call me idol

Or you can call me anything else

I don’t care

I’m proud of it

I’m free

No more irony

Because I’ve been me all the time

You can point your fingers at me, I don’t care at all

Whatever reason you have to denigrate me,

I know what I am

I know what I want

I never gon’ change

I never gon’ trade

Why do you talk loud “blah blah”

I do what I do, so mind your own business

You can’t stop me loving’ myself

Idol is a proud, joyful, wonderfully weird and confident self love anthem. It’s a celebration of who BTS are at their core. In the song, they have accepted all the different aspects of their identity and they don’t feel the need to fit in with just one label. In the future, they will go on to say that BTS’s genre is just BTS, and they see no point in categorizing themselves.

RM and Namjoon

In 2018, BTS released a documentary series called Burn The Stage. The series followed them throughout the Wings tour and was supposed to show a more raw version of them.

In episode 6, Namjoon said:

Being an idol star, you don’t have a choice but to have two identities. I invested a lot in my identity as BTS and RM, and this is really a dilemma. We need to find ways to overcome this, and I’m trying different things. I study, I read books. I need time to be wholly me, the original me that I know.

Everyone in BTS has a stage name, a person they become when they present themselves in front of their fans. On stage Namjoon is RM, a fierce and confident rapper, a powerful and charming performer, a dependable leader and someone who lives a fiery and intense life.

Behind the scenes, Namjoon is Namjoon, a man in his twenties who is trying to figure out how to be an adult just like everyone else. He likes to go on bike rides, take care of plants, go to museums, read books and spend time in nature. He gets lazy and reads webtunes for 5 hours straight and sometimes argues with the people around him because they annoy him.

Namjoon spends the years of his youth as part of BTS, in the public eye, and sometimes that causes tension between these different parts of himself; the stage persona and the private person. In Break The Silence: The Movie which came out in 2020, there was a lot of talk about identity. During one of Namjoon’s segments he said:

There is also the fear of how well I’m taking care of myself, the Kim Namjoon as a person. Aside from money, fame, and a sense of calling, what do I really have? When you have those things all other things start to feel really valuable. Those who don’t have them would find them really special. I think it’s a repetition of that, so for me, there is a fear about whether I’m faithfully living the story of my life to the fullest.

He also mentions this dilemma in Airplane pt.2 on the 2018 album Love Yourself: Tear where the lyrics go:

Who should I live as today, Kim Namjoon or RM?

25, I still don’t know how to live well

For Namjoon and anyone in BTS, there is no simple answer to this question, as the nature of their job puts them in a position that makes it hard for them to develop a sense of self outside of the work they are doing. Even though Namjoon is part of an incredibly successful band, that doesn't mean he got it all figured out. As he has poured his youth and his energy into becoming the best performer he can be, he now feels like the Kim Namjoon behind the scenes deserves some energy and space to exist too.

Rap Monster and RM

Before Namjoon was RM, Namjoon was Rap Monster, a stage name that he used until November of 2017. The name Rap Monster fits the fierce and somewhat angst-ridden style of music that Namjoon was making in the beginning of his career. He decided to move on from the name in 2017 because it was no longer representative of him and the music that he was making.

In an interview with Entertainment Tonight Namjoon said that RM could stand for many things. He mentioned Real Me as one of the possibilities, but seems to prefer not to pin one specific meaning to the name.

In another interview with J-14 Magazine when asked what kind of advice he would give to himself in 2013, he said:

Hey Namjoon, Don’t name yourself Rap Monster. You’re a human. You’re not a monster. You’re a beautiful human.

Namjoon has often said that one of his missions in life is to love himself. This struggle to love himself often reflects in his lyrics, and now also in his decision to change his stage name, as the old one had some negative connotations to it. Perhaps Namjoons struggle with self acceptance, self worth and self love is one of the reasons that identity is such a big theme for him, as he is trying to figure out how to be a Namjoon that he can love. RM is a stage name that is more aligned with that goal as it leaves more room for flexibility and change.

Map of the Soul

The subject of identity is explored to the fullest in the Map of the Soul era that started with Map of the Soul: Persona in 2019, followed up by Map of the Soul: 7 in 2020.

Map of the Soul is inspired by the ideas of psychiatrist and psychoanalyst Carl Gustav Jung. The words persona, shadow and ego that are used in Map of the Soul come directly from his theory. BTS uses these concepts to examine different parts of themselves and their career over time. A lot of this era feels like a final examination of the question that Namjoon has been asking himself in different ways throughout his entire career: Who am I?

In Intro: Persona, the opener to both albums, Namjoon writes about his journey with identity in the first few lines of the song:

“Who am I,” a question that I’ve been asking myself for my whole life

A question that I will probably never be able to find the right answer for

If I were answerable with only a few words,

God wouldn’t have created all those many beauties

Namjoon realizes that he will probably never have a clear answer to the question of “who am I?” and he accepts that. He recognizes that his identity can’t be summed up by a few words or traits and that this isn’t a bad thing. Sometimes it can feel more secure to build our entire sense of identity around one aspect of ourselves (I am a straight A student, I am an underground rapper) but that puts us in a position without flexibility and without space for growth. As different parts of ourselves clash with each other we end up feeling scattered, unsure of who we are, and angry at ourselves. It’s only when those different parts of ourselves are allowed to co-exist that we can find peace and a true sense of self.

BTS will talk about this idea in other songs too, like in Idol, where Taehyung sings:

There are tens and hundreds of myself within me

Today, I greet my another self

They are all me after all,

so I just run rather than worrying

The notion also comes back in the speech that BTS held for the United Nations in 2018. The final message of that speech was to find your name and find your voice by speaking yourself. There was a lot of talk about losing your identity as a young child in favor of fitting in, and Namjoon encouraged everyone to be their own person and to find their own voice back. Throughout the speech he mentions how he is both an idol and artist, Kim Namjoon and RM, and also just an ordinary 24 year old guy. He is saying that he can be many things at once and strives to love all those different parts of himself at the same time.

In the final verses of Intro: Persona, Namjoon boldly and confidently claims that he is no longer ashamed of the different parts inside of him, writing:

Yeah my name is R

The ‘me’ who I remember and who people know

The ‘me’ who I created by myself to speak my mind

Yeah, I might have been deceiving myself, I might have been lying

But, I’m not ashamed of it, this is the map of my soul

The lyrics continue, focusing on duality, complexity and balance within his identity, accepting the different parts of himself that coexist together even if they clash:

Dear myself

You must never lose your temperature

because you don’t need to be warm or cold

Though I might sometimes pretend I’m good and sometimes pretend I’m evil,

this is the barometer of my direction that I want to set

The ‘me’ who I want to be

The ‘me’ who people want

The ‘me’ who you love

And the ‘me’ who I craft

The ‘me’ who’s smiling

The ‘me’ who’s crying sometimes

Living and breathing every second, every moment, even now

Within these lyrics there is a tone of direction and intent rather than one of being lost and questioning. This tone is very strong throughout the entire Map of the Soul concept, especially in ON, suggesting that maybe “finding” your identity isn’t about anxiously defining every single part of your personality, it’s more about choosing who you want to be and boldly pursuing the world as an incomplete human being. In the end, there is no simple answer to the question of “who am I?” and that’s okay.

All lyrics translations come from Doolset. Visit the website for additional notes and interpretations of BTS lyrics.

#bts #namjoon #rm #my writing #bts essay #long post #identity

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yournameyn · 3 years

Text

Feeling Deeply: Chapter 3

Genre: Fluff so much fluff. Arranged Marriage Fic.

Pairing: Namjoon x OC

Summary: The story of two deeply feeling nerds who find themselves in an arranged marriage. Something neither of them really wanted but are now discovering just how much each needed. Away from their childhoods, their families & their homes, Namjoon & Brishti (the OC) are privileged immigrants who slowly build a home, a family & a true sense of self, together in 1960s London. Please note this is not the typical immigrant experience of that timespace and I’ve taken many-a-leap to write the fluuuufffiness I wanted to write.

A/N: It’s unabashed fluff. And eventual smut but I hope you’re okay with a really slow burn. Like, reaaaally slow. Both our characters are introverts & met as strangers so it’s going to take them a while to get the *ahem* fire going.

Big big big love to @sahmfanficbts, @mintjoonlep, @holdinbacksecrets, @sunshyngal, @xjoonchildx - who give me so much love and encouragement & whose straight up genius writing makes me swooooon!

Characters: Brishti is our OC. She’s a feminist, obviously. She’s Indian, wheatish in colour, curvy & slightly short. Brishti is bengali & her name means ‘Rain’. Her pet name is RimJhim which means the sound of rain. (Namjoon calls her Rim & she calls him Joon) This whole story is a tribute to Forever Rain.

The Namjoon in this fic is what I imagine he would have been had he not followed his dreams at the age of 13. Hopefully, I’m able to do justice to the idea as I write ahead.

Current Chapter: London, late 1963. Brishti & Namjoon meet her colleagues. They listen to the then-rising band The Beatles & take a strong liking to one particular track, if you know what I mean. Again, sorry to spoil but there’s no smut yet. I was not kidding when I said it’s a slooooow burn. Next chapter, it’s happening. There's not much conversation in this chapter, either. Is this almost 3k words of just CONTEXT to the actual smut or just a tease - you tell me!

Also, someone else we love is also introduced in this chapter!

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Previously in Feeling Deeply: Preface Chapter 1 Chapter 2

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Namjoon loved his weekends now. They were like a real couple, Brishti and him… setting the never ending “final touches” in their home, together. They went out to pubs and gardens, libraries and cafes together. And yet, to both their secret dismay, they hadn't moved ahead from that one hug they had shared. They'd played, instead, with words and been more and more intimate in their conversations.

Brishti introduced him to her colleagues - her group among the staff at the British Library. Working there was her pride & these folk were her joy. This was nerve-wracking for Namjoon because he knew how much she loved them. These were her people. Her true tribe. It was almost like he was meeting her parents. Instead of two indian elders (whom he had spoken to on the only international call she had made since their wedding), he found himself faced with a weird band of strangers. An English couple Harry & Kate who had adopted the library instead of a child, an elder woman from Japan, Sayuri-san - whose stories Brishti narrated to Namjoon all the time, a Korean guy (his age!) & Yana, a girl, Brishti’s age who was half English, half Iranian & completely in love with Sam, the black historian from America, as Brishti had reported. As they settled in for their picnic in Hyde Park, Namjoon tried his best to hide his shock when he found Sam was - one, a girl & two, as tall as him. He wondered which attribute threw him off more. Still, he was completely enjoying himself with Brishti’s Unlikely Gang of Weirdos that Will Save The World. That’s what she called them. Sayuri-san agreed - They were all groovy outcasts who had somehow clawed their way into the (apparently) cutthroat world mainstream librarians.

Brishti was glad to see Namjoon really hit it off with the only other Korean she knew, the guy who’d told her about the only place in London that sold black bean noodles, made the right way. Namjoon had almost cried when she had brought them over from work. The two of them spoke as if they had been thick as thieves for years. They talked about Korean poetry and the folk music they had to participate in their childhoods. They spoke about the music archive section of the library, which was heaven for Min Yoongi. The passion in Yoongi’s eyes when he spoke about maybe someday taking a class about world music appreciation was something Namjoon wished to have too, but wasn’t yet ready to admit.

As they were packing up their picnic, the conversation flowed to a new band in the country. Brishti spoke about how every young girl she had met recently just could not stop talking about how groovy The Beatles are. The elders in charge of the music archive brushed them off as a fad but she was insistent to bring it up every meeting - after all, it was teenage girls that had popularised & helped usher in the lyrical music of Vivaldi. Or of Lisztomania - that popularised the soft romantic tones of Liszt which formed the base of the modern love song. Namjoon loved to see her almost up in arms, struggling to find a better word for the admiration that girls had for music and musicians.

“It’s not hysteria… or fanaticism… it- it’s just love.” She had said. No one disagreed. In fact, everyone in her group was persuaded to (at least) give The Beatles a listen over the weekend.

And so, This evening, A Hard Day’s Night played as they arranged books & records at home. Brishti was arranging the books, apparently not having had enough of the task despite working as a full time librarian. Namjoon’s heart ached when he thought about how Brishti loved her job. Thankfully his mind never stayed on that thought for long. Namjoon wished he could pay attention to the song. These days, paying attention to anything but Brishti was almost impossible. The smallest movement in her, the smallest stir intrigued him.

Meanwhile, Brishti had been trying to figure out a way of getting him to touch her &… as silly as that sounded to her rational mind she couldn’t really come out and say it. Night after night when they’d stayed up talking about things or listening to music or just simply reading their respective books, on the floor or by the window with their legs sprawled out in front of each other, she wished he’d touch her… that somehow maybe he’d notice her feet. Strange as it was, she kept thinking about his hands, his fingers tracing the contour of her ankle while she didn’t turn one page of her book for almost an hour.

She understood the problem - both of them were so hyper-aware of each other while pretending not to be that an accident couldn’t really occur. Things had to be done & Brishti thought about how she shouldn’t let tradition dictate who makes the first move. She also kicked herself for not following tradition and stopping him from taking his pillow & blanket away to the couch on their wedding night they were supposed to sleep on the same bed. It made her heart race that she could sleep next to this Korean Greek God-like feminist man. Ufff. She was covered in tense knots everywhere and anytime she even thought of making a move, the fear in her would make her do something else - like unpack all the books into a makeshift bookcase.

They were facing in opposite directions in the same room and Brishti couldn’t help glancing back at Namjoon again and again. The broad expanse of his back made her long to hug him again. They hadn’t touched each other since she let go of the hug. It made her ache, the memory of him moving away from her. Next time they touch, she wouldn’t let go first - of this she was certain.

Brishti looked at him again & smiled, wondering how someone so tall could look so tiny & cute. Namjoon did look surprisingly tiny, poring over the vinyls & neatly arranging them. She smiled thinking about how he had spent some time wondering if the records should be kept chronologically or alphabetically.

Finally, he had announced, “Ofcourse! I have it! The category has to be mood! The...” Brishti loved the small pauses Namjoon took to find the perfect word. “The story of each album and the feeling it brings out!” The way he smiled, pleased with his decision created a flutter in her heart.

Looking at him poring over each song in each album trying to discern what the overall feeling of it was, she felt an unbearable urge to tease him, to disturb his cataloguing. She would go over and irritate him… probably tickle his waist or blow in his ears. Or maybe just nuzzle his neck. Brishti wondered if these things would actually irritate Namjoon or perhaps lead to something else... The thought made her blush so fiercely, she turned to face her pile of books. Brishti wished she could walk over, silently demand a space in Namjoon’s lap, he would throw out anything that crowded his lap & she would sit there, being cuddled, enveloped in him & talk about songs… if she could talk, at such a moment that is.

She needed to stop staring at him and yet, she couldn’t help but look... She was a warm-blooded woman after all. And Kim Namjoon was a particularly delicious man. It wasn’t so much that he was tall… plenty of men were tall. (She rolled her eyes thinking how most everyone was taller than her.) Unlike other men, though, Namjoon was not awkward or gangly. He had wide shoulders and a gorgeous neck. She had to actively keep her eyes focussed on something else when she could see the contours of his chest.

In that first week of them living together she wanted him. She felt the heat of being seen by those sharp beautiful eyes that held a deep fire in them. Brishti found herself thinking more and more about how his back looked, how it would feel to be cuddled up against that broad beautiful chest, how it would feel to touch him and to be touched by him. She blushed & laughed to herself when her spontaneous thought was that she’d like to “climb that tree” - whenever Namjoon stood up after being scrunched over his table, writing. That yearning awakened a much fiercer part of Brishti -

Why couldn’t she?! He was her husband. They have to come closer at some point, so what was she waiting for? Without a second thought, her body moved to get up & walk over to him. But as it had happened every time, her mind caught up to her at the very last minute. As Brishti walked over, bent, stretched out... for a pile of books close to him. She was close enough to touch him. And still, she just picked up the books & walked back. Thankfully for Brishti, she had a natural sort of nonchalance. Something Namjoon envied. Brishti did not know what this little stunt of hers did to him. Namjoon, with his fists balled, had to hold himself back in that moment. He had to stop himself from grabbing her; from pulling her into his lap and having his way with her.

The gentle thread-like tug he had felt when he’d first seen Brishti’s photos... it had become a magnetic pull now. Shocking and also somehow inevitable.

It had been more than a month of them living together and Namjoon was wrestling with something. An idea, apparently. It was as though an idea was caught in a vast net that he had laid out across the ocean of his mind. But he was having trouble fishing it out. He understood there was no point forcing it, that the idea, the thought would emerge when it, or when he was ready.

Taking his time, slowly, Namjoon was understanding how he had done the perfect thing for her, accidentally. He was confused too, when his instinct told him to let his bride sleep alone on their marital bed the first night they had moved in this flat. He had reasoned that it was the decent thing to do. Unknowingly, he gave her the time to explore, to own that space; Not crowding her with his body. Not invading her with expectations that, no matter how silent, would be blaringly evident. That was the right thing to do. Then.

Now things felt different. Now, it felt like she had made that space, this whole home hers. But then that’s where his thought-net felt stuck. The thought he wanted to fish out kept pulling at him, telling him she needed something else now. Like Brishti craved something else now. He wondered if she, like him, craved touch. Was that why her body instinctively moved, stretched, inched closer towards him these days. Was this why he’d found his shirt among the blanket instead of the laundry basket the other day?

Namjoon tried to shake off these thoughts again - they felt dangerous, explosive. What was happening? He looked back at his beautiful wife and saw her stretch her arms, then her abdomen, all the way till her hips and then bend forward to touch her toes. She mewled, very softly when she did that. Namjoon felt the familiar flip in his stomach again. This time, thankfully, the thought leapt up within reach too.

Namjoon suddenly understood just how feline Brishti is. Somehow, it was a key he needed. The idea surged through him & made him stand up. Because it wasn’t just an idea, it was an epiphany. Brishti looked at him, her eyes asking, saying, expecting something he didn’t understand fully.

The tingle that ran down his spine told him he was about to.

“You okay?” Brishti asked, concerned & embarrassed because the move she expected hadn’t come. But then again, it was probably too much to think Namjoon had stood up to carry her & throw her on their bed. Wasn’t it?

He was standing awkwardly in the middle of the room looking confused. Namjoon recovered & asked, “Coffee?”

Brishti smiled & nodded. Namjoon rushed to the kitchen. The catching of this thought excited him. Because after living with her for almost a month, he had just now realised it is this attribute - of being feline-ly feminine or femininely feline - that is what makes his body almost overpower any semblance of restraint his mind had imposed.

At first it seemed silly but soon Namjoon realised it isn’t. Not at all. It really clicked in place like the right key, the precise note does - he understood how to BE with her. Be there for the feline creature-like woman that Brishti was revealing herself to be: The way she walked, slowly almost moodily… letting her feet touch and caress each surface her feet felt. She would be walking across the room but would stop just to walk back and forth, softly, in a way that one can’t really call pacing at all. And everytime she touched something she liked, or saw or tasted something she loved, she made these small sounds that would make Namjoon’s heart melt. They were always half-way between a purr and a moan and they made him wonder what pleasure would make her sound like. Namjoon thought about how Brishti is graceful but her grace, like the curves of her beautiful body, aren’t timid; How, it’s a grace that announces itself... sometimes even before she walks in.

It isn’t the only thing that attracted him to her, not by a far cry. Namjoon thought about how he loves her mind, her words. But this felt, somehow, more… more visceral or... wanting to be. Could something formless long to be touched?; To become tangible, touchable? This feeling, in his chest and his gut. This feeling within him, it jumps, flips every time she walks by. These days it seems like Brishti walks by closer and closer each time she passes him. Like she needs to feel the texture of his skin the same way she needs to feel the slight drag of the rug on the soles of her feet. And it just adds more depth to this deep cavernous feeling within him. Instinctual whispers echoing within-

Why does it feel like he needs to touch a fragrance?

Like all he needs to do is reach out?

Like the moment he will reach out, an essence, an aroma will become an experience?

It felt like Brishti was calling out to him silently. That magnetic pull was stronger than ever and it was pulling him, drawing him to her, telling him to reach out, so she can find her way to him. That feeling, the way he was being pulled… that was feline. Like she needed him to reach out so she could make him hers too. And then, then it happened. The first four notes of ‘And I love her’ played and pulled him to her.

In that moment, in their 7th week together, as Brishti was tracing the lines of Namjoon’s back, gawking at him, thinking about this man - this gorgeous, curious, wonderful man - as her husband… a thought so fantastical it would make her squirm in her seat. Just as she was recovering from the thought, releasing the tension in her shoulders. The knots he didn’t know he caused, Namjoon kept the cups of coffee aside and extended his hand.

‘I give her all my love, that’s all I do…” To him, the instant she did it again, - the stretching her arms all the way up. The little moan she made every time she did that, the way her back arched and highlighted all her curves… it drove him, his body, his instinct to reach out.

“And if you saw my love, you’d love her too.”

The stomach flipped, again. This time, though, his instinct acted before his mind knew what he was supposed to do. Thankfully, his mind caught up -

He had just reached out. Reached out for her to claim him. But to one who didn’t know everything that had been going on inside both their hearts, it would look like he was inviting her to dance. Brishti looked at his hand and then at his eyes and suddenly Namjoon understood the reason for this magnetic pull... these lyrics is what she was saying all along -

“A love like ours could never die, as long as I have you near me...”

She took his hand & left no distance between them. Brishti realised there was music playing in the room only after she took Namjoon’s hand. Before this, she could only hear her own heartbeat, sharpened to an intensity never before experienced. Sharpened to a glint in a way that only love can. Love… and unmistakable, undeniable lust. Her heart had been beating with so much longing it had clouded everything else.

Now, in this moment, with his heart so close to hers, she could finally hear the music. This is what she had needed. This is what her heart had been pining for. And she knew. Without the shadow of a doubt she knew... he had heard her.

Brishti moved to the simple guitar strings that were tugging them both. The melody deepened each time the same four notes played. And each time they rooted deeper in the soil of her heart, she moved him too. His hands on her waist, caressing her curves everytime the four notes played. And they played over and over again… Namjoon followed the lyrics and sang along with his beautiful deep dark chocolate voice in her ears, saying -

“And I love her...”,

And his strong arms around her. How could she… Brishti, even if her name didn’t mean the rain, how could she have resisted pouring?

“Bright are the stars that shine, dark is the sky, I know this love of mine will never die...”

This evening was the first time they’d really touched each other. Stood so close to each other. Moved together.

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Oooooh god you read it?! Thank you so much! Please let me know what you think! Get into my messages about it! I would love to hear what you felt about this!

This is the song that's mentioned here in case anyone is curious.

#bts kim namjoon #fanfic #namjoon fluff #namjoon arranged marriage #namjoon x oc #arranged marriage #slow burn #slow burn fic #fluff fic #bts fanfic #bts #indian oc #red thread fics #forever rain

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trentsleatherboots · 3 years

Photo

Carach Angren, interview translation Dutch > English

Published in the magazine Rock Tribune, edition June 2020, nr. 192.

Text by Morbid Geert. Fotos: Stefan Heileman.

WILL THE REAL FRANKENSTEIN STAND UP NOW?

At the end of last year you could already read about how we kept close watch on Carach Angren. Back when they were still heavy in the production process, on Halloween Day we went over to Ardeks homebase and studio to see the first glimpse of their new work and later Rock Tribune got invited to listen to the album in Germany. Now it's almost time for 'Franckensteina Strataemontanus' to be shown to the world and that's why we wanted to take an even deeper look. Weaponed with an oil lamp and shovel we went onwards towards the graveyard to uncover the soul stirrings of Ardek. (Text: Morbid Geert)

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Ardek, the last time I talked to you the songs were still in a very early stage and what we heard was more of a pre production. Did you tinker more afterwards to come to an end result or did you purposely keep your hands off to avoid overproduction?

"In terms of song structures and lyrics not much changed on the premature songs that you heard. What followed however was another production-finish, where especially the mix and mastering made a big change. That last stadia really lifted it all to another plane and you can really hear that."

A FRESH LOOK.

As far as I knew, Patrick Damiani was still fully onboard working on the songs at Tidal Wave Studio in Germany. How important was it for you to pull an extra producer into the process? After all, you are very much at home with that as well? Or maybe not as much as you'd like?

"Back then he worked on drumediting and played the basslines, but his role is way bigger than that. We've worked together a lot and now we're doing something for L'Âme Immortelle, where we vibe together perfectly and know exactly how to handle such a project. When he takes on production for Carach Angren however, I notice how much better he controls it. He has so much knowledge about drum sounds, mixing,... and he's really specialised in it. It is nice to add that knowledge, it brings a lot of added value. These days a lot of bands record at home and that all makes it a lot cheaper, but a good producer brings a lot of experience and equipment, it ends up with a whole different result. Besides, we left the mix and mastering to Robert Carranza."

That last one is a pretty big name, who among others worked with Marilyn Manson. I can imagine that has a big impact on your budget, but was it worth it?

"I think so. When I listened to 'Killing Strangers' by Marilyn Manson on headphones and heard the bassline, it went so deep that it turned me upside down. Apparently Robert Carranza mixed that album. Furthermore he does a lot of different things such as make latin music and win grammy's, but in the extreme metal scene he is totally unknown. However, he wanted to help himself to our record and yes, the price was steep, but I managed to convince both the band and the label… even though that wasn't without some doubts, since all eyes were on me for a bit. I had a good feeling about it and shared it, with the result being having a record now that doesn't sound like the others. He had a fresh look on our work and thus we could avoid the recognisability of the average metal producer. There are too many records that when you hear them you know exactly who had their hands on them and in which studio they were recorded. Contrary to what you might think, there was constant contact with him (Robert) and a lot of talking about how we wanted it to sound. In particular the clarity of the sound is massive and gives it a bit more of a cinematic effect. There was no compression applied where everything sounds constantly loud and where as a listener you'd get easily tired, but the dynamics were preserved."

DIDN'T FEEL LIKE IT ANYMORE.

To refer back to Patrick Damiani: if he does so much and even plays the basslines, do you see him as sort of a 4th band member or is that just a bit too much credit?

"That's not how we see him. He's an amazing producer and musician, who gives us his opinion and helps us out. On the other hand he is not part of the creative process and he isn't on stage with us… but it is a relationship that's been going on for 12 years and something we get a lot out of."

Now I'm saying '4th band member', but after the recordings of your new record ended, your brother and drummer Namtar left the band. Can I ask what happened and if you saw this coming, or whether it was a bolt from the blue?

“In November he recorded his drum tracks and back then everything went fine, but then there came an offer to play at '70000TONS OF METAL'. Since we always looked at the financial side of the band together, we talked about the offer and he was immediately against it. I thought that was strange and to me it seemed better to sit around the table with three to talk about it. Then it became apparent that he'd been wrestling with it for sometime and in brief didn't feel like it anymore. We offered him to take a break of a few months instead of just throwing away what we've worked for the last 20 years, but that wasn't a solution. It wasn't an easy decision, but afterwards we saw it had been an issue for a long time and at that point you rather put a stop to it. That hit us hard, but you can never force somebody to stay in a band. To keep our motivation high we played '70000TONS OF METAL' after all with Michiel van der Plicht of God Dethroned as replacement. That pleased us all and he's willing to help us out in the future."

Michiel van der Plicht in indeed an amazing drummer. Are there any plans to keep him in the band permanently or is this an emergency solution and is there an offer still standing?

"I discussed that extensively with Seregor, but together the two of us stay the core of the band. We already have an extra guitarist live and in the studio we will definitely have those people join again, but all decisions will be made by us two in the end. We want to avoid that other people leave a mark on the band, causing us to lose our individuality (personality). It's about so much more than just making music: the stage decor, our own stage outfits,... for us it is very clear and it's going well, so we only need help to fill in with the music in the studio and during lives."

MILKED OUT?

Let's get to the core of business. At the end of this month is the release of your 6th album, 'Franckensteina Strataemontanus'. Now lends the Frankenstein story itself perfectly for a horror metal band, but I wondered if the story isn't too milked out by other bands… unless you do it with a completely new vision. After all, that's what you did with 'This Is No Fairytale', where Hans and Gretel were transported to the now and the horror became bigger than ever.

"When we started, I had the same feelings about the Frankenstein story, but there's a twist to it. Everything started for me as a dream, where I flew through an old house. There, I heard dissonant piano tunes and I got sucked into a room where a portrait of an old man hung on the wall. Later I made a drawing of that portrait and it got stuck in my head. When I began doing research for the album months later and even read Mary Shelley's amazing book 'Frankenstein', I found out that there is a theory that when she wrote her book she was influenced by Johann Konrad Dippel, an 18th century alchemist. Then when I looked him up, he turned out to look like what I had seen in my dream, which personally motivated me to dig deeper. Dippel is an unknown figure for the masses and that's why it seemed fascinating to us to do something with it. There is fiction and truth mixed in our story. By the way, Dippel lived in Frankenstein Castle near Darmstadt, where he was looking for the elixir to eternal life. He was also a theologist, but he clashed with the church and was therefore cast away. Because he also did experiments on cadavers and sought life extending resources, he would've inspired Mary Shelley for her story. What we did was make a concept around the source of her story instead of following the clichés. That monster with screws in his head, we've seen it already before…"

Yet it doesn't seem like a concept album, because I notice that you address very diverse subjects.

"It is definitely a concept, since all stories are connected to one another, even if it's not noticeable. 'Operation Compass' is about the North-African desert war between the Brits and Italians. In official documents the Brits were ordered that if there were to be a fallback, to make all sources unusable for the enemy with 'Dippel's oil' (a nasty substance that made water undrinkable but did not poison it, so it was in battle with the Geneva protocols). In our story it leads to a demonic outburst that went towards the soldiers. So you see, Dippel comes back throughout different moments in history. 'Der Vampir von Nürnberg' is about a real figure that is still alive. He committed necrophilia, killed people and drank their blood, … but is now at large. In our story he lost his ways after reading Dippel's books, which once again links it with the core story. 'Here In German Woodland.', the opening song, is about a boy that gets lost and dies in the forest surrounding Darmstadt, but later comes back and eats his parents. In the closing song 'Like A Conscious Parasite I Roam' it all comes full circle: Dippels life elixir only works for his soul, and his body rots away, so he searches for a guest body and his spirit creeps into that little boy."

In a few songs, some German lyrics show up. Is that besides the concept also because of the grim sound of the language or is it simply because you live so close to Germany and it has a certain impact?

"The subject lends itself to it of course and Seregor speaks German very well, which made things easier. And yes, the sound does play a certain role. 'Der Vampir von Nürnberg' sounds way better than the English translation, it immediately sets the right tone."

Some of these stories are the result of reality, but are often at least as gruesome as many fantasy stories: such is the bonus song 'Frederick's Experiments' about the sick science experiments of emperor Frederick II, a man who apparently was not inferior to the Nazi doctors?

"Yes, you can say that he set a good example! Seregor came with the idea and somewhere the story did fit within the total picture, even though we couldn't fit it into the big story. Our label Season Of Mist however asked for a bonus track and that's how we managed to include the song after all."

CROSS-POLLINATION.

What I noticed with the first sneak preview, but what has become clear now, is that Carach Angren this time worked very innovative musically. Watch out, it is immediately clear that it is from Carach Angren, since you already have your own sound, but at the same time there are noticable things we haven't heard from you before. The title track has a considerable industrial touch and we also hear something from Laibach in it, just like 'Monster'. Is that something you've only recently been getting into or have you maybe secretly been an industrial fan for years?

"It is more recent, even though I've always been appreciative of it. By also collaborating with Till Lindemann for his project Lindemann, I also came into contact with it more and started taking it up unconsciously. Afterwards I got to experiment with it for my solo project and that's how I came up with the song 'Monster'. Seregor tested some things out for singing for that song and it just made sense. It was very cool to experiment like that, which you should when you're making a record based on Frankenstein…"

It became a musical experiment instead of scientific experiment, but you do create a parallel, yes.

"Inside Carach Angren we like to put a lot of variety in the songs and if you can also give that a different look, then that is something you should try. We ourselves are absolutely crazy about it! Some fans will have to swallow when they hear those songs, but for them there are plenty of old school songs on it."

To come back to Lindemann: he and Peter Tägtgren got you involved since you are so good with classical orchestras and arrangements, but in the end it seems to have become two-way traffic, doesn't it? Have you learned a lot from it and developed other visions?

"We worked together in a very awesome way and you do learn a lot from that. You grow as a componist, as musician and as producer. It made me compose more compactly and I sometimes pursue slightly less complex songs, like the two more industrial based songs. Always great to be able to take a different approach."

Both those songs have an easier buildup, but in the other songs you go back to the complexity that you left out purposefully 'Dance And Laugh Amongst The Rotten'. Is it a way to generate more contrast?

"In some ways yes, but it depends on how it works out in a song. We tried to make the title track a bit longer, but then the effect fell away and it didn't feel right anymore. But strangely enough I write a complex song like 'Der Vampir von Nürnberg' easier than a less complex piece like 'Monster'. With less arrangements it quickly becomes hard to keep it exciting(engaging), but seeing as you want to keep the concept to level, you need to have enough variation. The industrial songs sound a bit less complex, but there is a lot happening in the background and they are full of tiny details that make the difference."

MIXING COLOURS.

With the new approach you have opened some doors to maybe do more experimenting in the future. Is that actually your goal or is there nothing reasoned behind it and do such new influences pop up sooner when they seem to be able to improve the song?

"It all almost comes down to what the concept of the album requires. Back when we wrote 'Death Came Through A Phantom Ship' we added swirling waves and custom/adapted sounds to it. With the new record the 'marching' of the pulsing industrial beat seemed to work the best with our Frankenstein theme. You have to see it like a painter who is mixing colours to make a new colour to fit his vision. We don't do any different and we would love to experiment more in the future. If we see what we've already tried with singing now … in the long run we were completely out of control trying to do crazy things."

The singing is indeed a very remarkable part of 'Franckensteina Strataemontanus'. We always thought Seregor had a good black metal voice, but we were very impressed by the way he twisted his voice this time around and helped set the mood.

"We are very happy about that ourselves. He delivered an excellent job and we really pushed everything to get to that point. We actually took several weeks to make sure my home studio was in perfect condition and sometimes Seregor had to redo a certain part up to 10 times to get the result we wanted, but he did it without struggling. A lot of singers that ask so much from their vocal chords are dead on their feet after an hour, but then there is Seregor who gets through the day without complaining, even while screaming his lungs out. While recording 'Operation Compass' we did however find out it is better to record a deep grunt in the early morning, since your voice is still a bit slow and heavier from sleep.”

MUSIC AS A BOOST.

The whole corona crisis made it so that as a band it is way more difficult to promote an album now, since all concerts got cancelled. Did that have a big impact on Carach Angren or can you make it?

"I myself am very concerned with the people who are really affected by the disease and that is why I can partially ignore the inconveniences for ourselves. Nevertheless, it has a serious effect on the music industry, although that is secondary to me. We are dealing with a pandemic, people are dying and we all have to work to keep everything under control. In addition, it is strange to release an album in a full crisis, but we decided to go for it anyway. It's a cool record and we already started the promotion, so we just keep going. For now, tours are not planned, but that does not mean that we will now stream all kinds of performances to attract attention. We are not that type of band… what is a shame is that our plans for a very cool video clip are now also being abandoned. We had to go to Germany and there are also the social distancing rules, which make such a recording impossible. But should we really want that and turn it into drama? Of course it sucks to have to promote the release like this, but the whole world is just not what it was a few months ago."

Do you have any alternative ideas to bridge that gap? I know that you guys always have enough visual ideas and there already is a lyric video for 'Monster', but I can imagine that there is more to come.

"We are working on that yes, because last month we made one for 'Der Vampir von Nürnberg' and next month we might take another song in hand. We will keep doing those sorts of things together with some 'making of-' videos that we recorded in the studio, that way we can give the album some extra promotion. Nothing for us to worry about so… by the way, there is something about releasing a record in times like these. The people have been stuck at home for months and have nothing to do, so if we can give them a new piece of music to listen to to get through the day, then that is awesome too. It would be disappointing for the fans if we just put our new work on the shelf because of this pandemic. Every band should do what they think is best, but we had already started our press campaign anyway and we would also be a lot less driven if we only had to arrive 'with old stuff' within six months or later."

Carach Angren already has a few beautiful video clips which are build up with a real story and don't only have something musical to offer. In addition, there are also the lyric videos, where certainly those for the complete album 'This Is No Fairytale' with comic images by Costin Chioreanu stand out from the crowd. Have you never thought of bundling everything on a DVD?

"We've honestly never thought about that, but that's actually a really great idea! I think it would be nice to bundle everything together and that way we immediately remove some (away) from youtube. That can always be a good idea for the future."

LEARNING SCHOOL.

As songwriter of Carach Angren you may have previously absorbed a lot of influences that shaped you into the musician and songwriter you are today. Can you list the five most essential records or artists that shaped you personally and what exactly were their interests?

"That is a good question that doesn't let itself be answered very easily. In the classical field and orchestras I think Tchaikovsky and Stravinski are very important. They both had a lot of influence on me as a componist. Another important inspiration to me in that respect is John Williams (modern componist famous for his film scores for Star Wars, Jaws, Jurassic Park..) They helped shape me even more when it comes to layered composing, although I don't come close to what they do. As a child I followed keyboard lessons for 8 years, I did a year of conservatory and studied a year of music and media, as well as cinematic orchestration. Those last two were online, but on a serious level and you really had to write pieces for an orchestra. I learned a lot there, but ever since then I kept learning by actually doing it myself, looking through books and analyzing musical pieces. But if I hadn't gotten the theoretical basis I had as a child, I would've never been able to do this today. On production level I have to mention Nine Inch Nails and, something you'd might find strange, Michael Jackson! If you see how well their albums are produced, and how many layers are incorporated, it's amazingly well done! You can say about Michael Jackson's music what you want, but the way the songs are built up and how much dynamics are in there thanks to the arrangements by Quincy Jones, it is absolutely astounding. There is no lack of bells and whistles and sometimes, for example, the snare drum comes in in four layers, something you don't hear so loudly even in extreme metal. I mainly listen to those albums as an audiophile to analyze them and see what I can get out of it as a producer. Last week I checked the solo record of Roger Waters, in which I heard effects that seemed to be situated outside the loudspeaker field. Then I want to know how that is done and whether I can integrate it with Carach Angren. That kind of thing is the reverse of the compression they use too often today and you wonder why we don't all go in that direction anymore."

---

Translated by Jeordie/Trentsfishnets.

(For the record, if this interview already exists in English, I will just see this as translating practice C:)

#carach angren #metal #death metal #black metal #european metal #carach angren interview #carach angren 2020 #corpse paint #new black metal #Dennis Droomers #Dennis Seregor Droomers #Clemens Ardek Wijers #Clemens Wijers #Seregor #Ardek #Ivo Namtar Wijers #Ivo Wijers

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ineffable-snowman · 3 years

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(apologies in advance to the people who followed me for Good Omens. I’m diving headfirst into a new fandom, so I’m afraid there’s going to be a lot of Sambucky in the next three weeks at least...)

I wrote a fic inspired by episode 3 of FATWS. Read it here or on AO3.

Trouble Man

“It is a masterpiece, James. Complete, comprehensive. It captures the African-American experience.”

What kind of passive-aggressive bullshit was that? It was annoying enough that Zemo insisted on calling him ‘James’ in that patronising way of his but now he tried to lecture him or rather tried to make him look stupid, uncultured and ignorant. Bucky wanted to laugh at Zemo’s comment that sounded more like he was quoting a Wikipedia article to appear sophisticated, but then Sam spoke up.

“He is out of line – but he is right.”

Fuck Zemo. Seriously, Bucky had enough reason to hate Zemo but this was on another level. This was personal. He made Bucky look stupid, uncultured and ignorant in front of Sam. And the thing was, he was mostly ignorant about Marvin Gaye. He had listened to some of the tracks from Trouble Man just because they were on Steve’s list, and had quickly decided that it was not his kind of music. Now he wished he had at least listened to the whole album so he could contribute more than a weak “I like Marvin Gaye”, which fooled absolutely no one. He had no idea how a simple conversation about music had escalated like this. It had seemed like perfectly normal banter, Sam making fun of him for being old-fashioned, and then Zemo had interfered with that comment and it was downhill from there.

For some reason Sam was very passionate about Marvin Gaye and Bucky was intent on finding out why. Also, he needed to find out how music could be “complete, comprehensive” and “capture the African-American experience.” In his experience, music was used for dancing and for fun and that’s all there was to it. He stared at the notebook. There was some really good advice in it, like Thai food or Star Wars. So far, Bucky had not seen the appeal of Marvin Gaye. But apparently Steve had. If Steve had adored the music so much, why had he just simply crossed it out in a neat line and not, for example, put an exclamation mark behind it? Bucky added two exclamation marks.

Right, how to do this? Not for the first time he regretted just getting a simple flip phone instead of one of those fancy smartphones. When the shop assistant had told him that he needed a phone for taking photos and listening to music, Bucky had almost laughed at him. Talking about stupid… He could really use Youtube or Google now.

“Do you have a computer with internet?” he asked Sharon.

She looked at him like he was stupid (it was becoming a theme) but showed him to a computer and even gave him earphones. Then he started to listen to Trouble Man and this time did not skip any tracks but listened to the whole songs. He also googled the lyrics but that did not leave him any the wiser. Doctor Raynor would probably tell him to use his goddamn mouth and just ask someone, for heaven’s sake. He would rather get frozen again than ask Zemo. But it also felt extremely wrong that Zemo, who was supposed to be one of the bad guys, seemed to know and understand Sam better than Bucky, who was supposed to be Sam’s…whatever. Were they friends? Bucky certainly considered Sam a friend (although he never would say it out oud), probably the only friend he had left. Someone who texted you and asked you how you were and invited you to lunch was a friend, right? Someone who even saved your ass and (repeatedly) broke the law for you was a very good friend. But did Sam consider someone his friend who did not text back, who repeatedly got him into trouble, kept things from him and had even tried to kill him? Bucky stared at the screen. It was a miracle Sam had not tried to kill him yet. It was even more of a miracle that he was still being nice (sometimes). He googled “Trouble Man” and “African-American experience”. To his disappointment, it was not a quote from a Wikipedia article. So Zemo knew what was going on and Bucky did not. He turned up the volume and tried to make sense of the lyrics (“Got me singin' – yeah, yeah – Hoo“).

“Finally doing some catching up on the good stuff?”

Bucky turned around so quickly that the earphones were ripped out of his ears. Sam had put up his hands in defence and was babbling something about attacking or not attacking or whatever.

“Jesus.” Bucky consciously unclenched his left fist. “Couldn’t you just knock?”

“I did. You didn’t answer.” Sam pointed at the screen where the Youtube video of Trouble Man was still running. “I knew it,” he said gleefully. “You have no idea who Marvin Gaye is.”

“I do!” Bucky protested but then trailed off because he may have heard some of Gaye’s songs but he still did not know who Marvin Gaye was.

“So.” Sam crossed his arms over his chest. “What do you think? Honestly.”

Bucky looked from Sam to the screen to the dangling earphones. I like it was not an appropriate answer. Not an honest one. “I don’t get it,” he finally said.

“No appreciation for good music.” Sam sighed dramatically. “Hopeless. Stuck in the 40s forever.”

Bucky could have left it at that. They were on common ground again, bickering but not hurting each other, it felt familiar, safe. “No,” he said nevertheless. “I – how? How is this music – how does it…capture the African-American experience? Most of the songs don’t even have lyrics.”

“You don’t need lyrics for music to be meaningful.”

“How? Is it because people listen to it in certain situations or…?”

“Alright. Ready for a lesson on 20th century music? You better take notes.”

Bucky opened the notebook and took a pen. Then he noticed Sam’s grin. Right, he hadn’t meant it literally. But now Bucky had already opened the notebook and he was determined to go through with it. So he wrote down all the names Sam dropped, the musical genres and important songs. It was a lot and, as a lot of things, it confused Bucky but he just rolled with it. So some bands destroyed instruments on stage and certain music apparently had a soul? Great. Speaking of souls, this was probably the right time for some soul-gazing to show Sam that he was actively listening. (Doctor Raynor would be so proud of him.) Sam kept bringing up the soul thing several more times until finally Bucky could not keep quiet any longer.

“What’s with this soul music? Is it, like…music for funerals?”

Sam stared at him. Bucky stared back.

“Okay, scoot over.” Sam squeezed on the chair next to Bucky so Bucky almost fell over on the other side. Then he reached over Bucky to grab the mouse, opened another tab and chose a Youtube video for Bucky to listen to. “This is soul music.”

It was highly uncomfortable because the chair was not made for two people and they both weren’t exactly small but Bucky was resolved to stay on the chair, at least with one thigh. Sam chose video after video, pointed out characteristic musical features, quoted parts of the lyrics and talked about the history or the significance the songs. It was still a lot and Bucky still did not get everything but he dutifully took notes to look up some things in detail later. When he had filled the sixth page in his notebook, Sam stopped the music lesson.

“So, 40s music. Any recommendations?”

Bucky turned to face him. They were awfully close. Sam’s eyes were somehow very soft, there was the hint of a smile on his lips and he looked very huggable in that thin turtleneck – and he looked genuinely interested in Bucky’s answer. Bucky felt hot shame flooding him. Sam could be aggravating and an outright asshole but he was too kind for this world. Too kind to Bucky.

“Nah,” he mumbled. “Music in the 40s was just for dancing, for fun. Not…not important like your music.”

“Oh, you can dance just fine to my music,” Sam said in mock outrage. “Come on.” He elbowed Bucky out of the chair and chose another Youtube video, then stood up, too.

“Soul music?” Bucky guessed when the first chords of an electric guitar could be heard.

“Funk. Close enough.”

Sam started to move to the music. It should be ridiculous, the weird moves he was doing, because that certainly wasn’t proper dancing, not the dancing Bucky knew anyway – no rehearsed dancing steps, more like a spontaneous swaying to the music and some of the moves were definitely ridiculous but Sam made them look, well, smooth.

“See, that’s dance music, too,” Sam said and came to stand in front of Bucky.

Bucky had no idea why it was even called dancing but he wasn’t going to say that because he did not want to offend Sam again.

But of course Sam had to nag him. “Spit it out.”

“What?”

“I can see the cyborg gears turning. What’s wrong with dancing?”

“Nothing. Just not what I’m used to.”

“You can choose the next song. For now – get those hips moving.” He nudged Bucky, and how could Bucky say no? After Sam had spent all that time educating him and only mildly making fun of him for his ignorance, he owed it to him.

“This is ridiculous, I feel ridiculous,” Bucky complained when he tried to copy some of Sam’s moves.

“You’re doing great,” Sam said but he was grinning, clearly enjoying how Bucky was making a fool of himself. “Maybe tone down the staring a bit.”

Well, if it made Sam happy… Bucky decided to give it his all and moved wildly to the rhythm, not caring if it could be called “dancing” or not. Nonetheless, he was a little relieved when the song was over.

“Your turn.” Sam indicated the computer.

Bucky had no idea which song to pick. He tentatively typed “Billie Holiday” into the search bar.

“Seriously?” Sam came up behind him. “You know Billie Holiday and say you don’t understand how music can capture the African-American experience?”

It was like a punch in the face. A well-deserved punch probably. “I mostly saw her as the singer of love songs, for slow dancing,” he admitted. “Never really…thought much about it.”

“So what, you’re going to slow dance with me, Barnes?” It wasn’t the usual good-natured banter but sounded more like an accusation.

“Look, Sam, I…” Bucky rubbed his temples. “Let’s head downstairs to that party to…” hopefully not dance. Whatever. Get out of this situation where, he feared, he was breaking rule #2 again.

“No, let’s do this.” Sam clicked on the first link and a swing tune started to play, Me, Myself and I. “Let’s slow dance if that’s what you do.”

“Really?”

“Absolutely.”

It was certainly the most aggressive ask for a dance he had ever received. And he had never been this stiff during a dance before. He used to be a good dancer back in the days but now he felt clumsy when he placed his hand on Sam’s back while trying to keep as much distance between them as possible.

They had not even made eight uncoordinated steps when Sam started to speak. “Would it hurt you to use that brain of yours once in a while? It’s supposed to be working properly again, isn’t it? That’s what I heard at least.”

Doctor Raynor’s words came back to him, that he was free. To do what? Certainly to do better than hurt the man who had always had his back without Bucky ever having done anything to deserve that kind of loyalty.

“I’m sorry,” he said, unconsciously tightening his grip on Sam’s back.

“What for?”

Everything. “For being…kind of… thoughtless, I guess.”

Being so close, he could actually feel Sam exhale. “That’s the understatement of the century.”

“For being a huge dick,” Bucky offered.

“Better,” Sam grumbled. “Now, was that so hard?”

Bucky took a step back to gauge Sam’s reaction. He was relieved to find no traces of hurt or betrayal in Sam’s eyes, just the usual exasperation he put on when looking at Bucky. “Yes. Physically painful,” he tentatively tested the water. It was like a dance, back and forth, seeing how far you could get.

Sam rolled his eyes. “I hate you. And please stop staring.”

Bucky shrugged and pulled Sam close again, in fact, so close that he did not have to look into Sam’s eyes anymore but was now staring at his left shoulder. Sam was visibly relaxing in Bucky’s arms and wasn’t that a miracle, that he was still in Bucky’s arms, still allowed Bucky to hold him?

“Thank you,” Bucky mumbled into Sam’s shoulder.

“What for?”

Everything. Bucky tightened his hold on Sam (and silently thanked the autoplay function that started the next song because he was in no way ready to let go of Sam yet). “I’m a mess and you don’t deserve all that shit I throw at you.”

“Mm. You’re welcome.” Sam squeezed his shoulder, like a reassurance that he would continue to put up with all of Bucky’s bullshit. Too damn kind for this world. Good thing he had Bucky on his side who was going to beat up everyone who so much as tried to exploit Sam’s kindness. (Yes, he knew he was being hypocritical and should technically start with beating up himself.)

“Sharon was wrong,” Bucky said. “I’m not obsessed with the whole stars and stripes stuff. I didn’t follow Steve because he had that shield. And I’m – well, you might’ve noticed I’m here and not following that – that asshole. Sam, I think you should take the shield but, with or without the shield, I’ll follow you. Just so you know.”

Sam was silent for quite some time, they were just swaying gently to the music, until Bucky heard close to his ear, “That a threat, Buck?” He could almost sense the smile against his cheek.

“Just a fact. And I hate you too, by the way.”

#non good omens #sambucky #my writing #fanfic

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knives-out20 · 3 years

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The Impact Of The Intergalactic - David Bowie Opinion Essay - by Beck S.

This is an essay I wrote about the span of David Bowie's career. I wrote it for a summer school course I took last year (August 2021) for a course called History of Rock & Roll.

My teacher gave nice feedback after he marked it, talking about how it was an "Excellent paper. It charts Bowie's progress throughout his career well, and includes significant detail. I could really feel the passion you have about him throughout. In fact, there is *too much* detail! The paper was supposed to be 3 pages max, double-spaced. Still, this is a good problem to have; better too much than too little."

So...enjoy!!

From his early works like Hunky Dory, to Black Tie White Noise in the 1990’s and stretching over to Blackstar as his final album, David Bowie has rarely had a bad album or song- in my opinion. His career has had ups and downs, his musical creations ranging in the way he would pitch his voice and what instruments he would use, the people he would produce with, and the wild things he would say. Charting David Bowie’s development over time is in fact an interesting journey.

Early on in his dreamy career, Bowie would have done nearly anything- or in fact, anyone- to grow in the music world. Hopping from band to band (like The Velvet Underground), producer to producer, doing whatever he could do to get ‘in’ in the industry. His early albums weren’t taken very highly in their times- especially with the ‘man-dress’ he wore on the British release of his The Man Who Sold The World album. Although, this dress was only the start of the androgynous appearance he would soon be known for, over the course of his 5-decade-spanning career.

The 1970’s were strange, to say the least. He married Angela Bowie at the start of the decade, then welcomed their son Duncan Zowie Haywood Jones a year later. Bowie went on to be hopped up on cocaine. David donned the look of one of his famous personas, The Thin White Duke. The same persona with slicked-back ginger hair, a white button-up under a black waistcoat and paired with black dress pants. The same Duke who called Adolf Hitler one of the first ‘rock stars’ and gave off a lot of faschist energy. He said many statements he’d later apologize for and grow as a better man from, which is good- it’s better than standing by then, or even backing himself up and supporting them. David Bowie called that period the darkest days of his life, and blamed the crazy statements on his horrid addiction and deteriorating mental state. The late 1970’s were more favorable, seeing as it gave the world what was dubbed the Berlin Trilogy alongside Brian Eno and David’s personal friend, Iggy Pop. Made up of three of his albums: Low and Heroes (both in 1977) and Lodger (1978). He moved from Los Angeles to Switzerland, then to Berlin as a further decision to escape his addiction (the reason he moved away from LA in the first place). It was in Berlin, of course, where he wrote his famous song Heroes, about two lovers, one from East Berlin and one from West.

Speaking of Berlin, David Bowie performed near the west of the Berlin Wall in 1987; he played so loud that crowds gathered on the east to listen. At this time, Bowie had no idea he would be the beginning of the city’s soon-coming unifying. After his death in 2016, the German government thanked him for bringing the wall down and unifying a divided Germany.

Music isn’t all he is known for, though it is a majority. He also starred in movies from time to time. Being the titular man in The Man Who Fell To Earth in 1976, Jareth the moody goblin king in Jim Henson’s 1986 Labyrinth film (what is most likely his most famous role), Monte the barman in the 1991 movie The Linguini Incident, cameoing as himself in Zoolander (2001), Nikola Tesla in the 2006 movie The Prestige, and even Lord Royal Highness in Spongebob Squarepants’ Atlantis Squarepantis in 2007, among a few others. David Bowie dabbled in the art of acting, and was not that bad at it. He was good enough to gain a star on the Hollywood Walk of Fame, too. Sometimes it bends my mind that my first introduction to my all-time favourite musician was in a Spongebob Squarepants movie, back before I knew who he was, but David Bowie was never one to shy away from foreshadowing. At least one song from many of his albums would hint at the direction he’d go in for his next release. For example, his track Queen Bitch on Hunky Dory foreshadowed his soon-coming Ziggy Stardust. And the Diamond Dogs track 1984 actually hinted at the Philadelphian soul of Young Americans, which is a more famous song of his, which he went on to perform on The Cher Show with its host.

The 1990’s were certainly an experimental time for David Bowie. But to my knowledge, I think the 1990’s was a time for everyone. He married supermodel Iman some days after performing at the Freddie Mercury Tribute Concert, and released the album I named earlier, Black Tie White Noise. It is known to have had a prominent use of electronic instruments, as was his other 1990’s album, Earthling. The early 1990’s greeted David’s first real band since the Spiders From Mars, dubbed Tin Machine. They recorded three guitar-driven albums which received mixed reviews from the masses, but Bowie looks back at this period- as do I- with a certain fondness; “a glorious disaster” he called it, when talking to journalist Mick Brown. Tin Machine is a period I don’t listen to often, compared to his solo stuff, but I don’t press the skip button when it comes on.

Alas, the starman’s career drew to a close as the 2000s rolled in. David Bowie greeted the 2000’s with the birth of his and Iman’s daughter, the beautiful Alexandria Zahra Jones. After suffering a- strange, as it were- heart attack symptoms mid-song during a concert in 2004, he took a hiatus from his career. I say strange because given what I know, he was trying his best to stay healthy at the time. According to my special Rolling Stone edition magazine about David Bowie (released at the start of this year), he was on tour and performing in a really hot arena. But Bowie was sober, and had quit smoking. He was taking medication to lower his cholesterol, and worked out with a trainer. Bowie looked great, and yet he felt a pain in his shoulder and chest, along with a shortness for breath. A bodyguard rushed onstage to usher Bowie off of it, cutting the concert short. He only performed live once or twice after that point, but was set on never going live ever again. And he kept his word on that, unfortunately but also fortunately. Unfortunately, because David Bowie live would have been quite the experience- I wouldn’t know, personally. But fortunately, because I do not believe anyone needs a repeat of the 2004 Reality scare.

I am actually not too fond of speaking of his final years. Nobody really likes to speak of the last years of their idols’ life before their death, so it’s no surprise. Blackstar was David Bowie’s 25th and final album, recorded entirely in secret in New York alongside his long-time producer, Tony Visconti. The album's central theme lyrically is mortality, and seeing as Bowie was undergoing chemotherapy for his cancer at the time, I see it as his way of coping with his incoming death. His producer Tony Visconti called him a ‘canny bastard’, when he realized Bowie was essentially writing a farewell album. Every song on the album is what is considered a swan song, a swan song in question being a phrase for a final gesture of some sort before retirement or death. In this case, death. Over the course of recording the album, David Bowie’s chemotherapy had actually been working and he had an eerie optimism while recording. But by the time they shot the two music videos Blackstar and Lazarus, where he showed off the definite passage of time and cruelty of chemotherapy through sparse and gray hair with sagging skin, he knew his condition was terminal and that this would be a battle he would lose. Blackstar wasn’t the first album to have been made by a musician succumbing to a fatal illness, but in my opinion it is in fact the most beautiful. It’s jazzy, and elegant, showing how at peace he had become with dying.

Blackstar the album was released on January 8th, 2016. Also known as David Bowie’s 69th birthday. Two days later, David Bowie died at his Lafayette Street home on January 10th after living with liver cancer for up to 18 months. Beforehand, he had let it be known he did not want a funeral nor a burial, but rather that his body be cremated and the ashes to be scattered in Bali by his loved ones. His wish was received, and planet Earth was very much bluer and quieter without his colour and wonderful noise.

As I said earlier on, David Bowie’s career came with ups and downs. His mysteriously close relationship with Mick Jagger, his cross with famous underage groupie Lori Maddox, the births of his two talented children, his faschist bender in the 70’s, and final bang of Blackstar in his final year on earth. Through the highs and lows, his career and his music meant a lot to the quote-unquote misfits and freaks of the world, myself included. David Bowie turned and faced the strange, shouted “you’re not alone!” To those who felt the loneliest, he surely spent his career helping those who needed to be themselves, feel more freer and braver in doing so, no matter what they may be when they are themselves. He never went boring, he never went stale, he sang what he wanted and dressed how he pleased, and kept to his word on how much more to life there is when you’re just that; yourself. A year after David Bowie’s untimely passing, his son Duncan Jones accepted an award for British album of the year that was won by Blackstar at the 37th annual Brit Awards. When he accepted it, he made a speech about his father that I will leave here, and never forget. Seeing as it perfectly encapsulates David Bowie’ legacy, and the true meaning of his extraordinary career.

“I lost my dad last year, but I also became a dad. And, uhm, I was spending a lot of time- after getting over the shock- of trying to work out what would I want my son to know about his granddad? And I think it would be the same thing that most of my dad's fans have taken over the last 50 years. That he’s always been there supporting people who think they’re a little bit weird or a little bit strange, a little bit different, and he’s always been there for them. So...this award is for all the kooks, and all the people who make the kooks. Thanks, Brits, and thanks to his fans.” - Duncan Z. H. Jones (February 22 2017, at The O2 Arena in London.)

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lovejustforaday · 3 years

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Sonic Youth Albums Ranked (Part 1)

There are few indie/alternative bands that I’d argue are as challenging and engaging, or as formative as Sonic Youth.

From their early days as a radical no wave project, to their mid-career as a hard-hitting noise rock band, to their later years as a mellow indie band with prickly guitar tones, Sonic Youth has reinvented the concept of both the guitar and rock music in general again and again. They’ve probably made at least fifty or so never-before-heard noises with their instruments. Combining these sounds with lyrics that regularly explore disillusionment, nihilism, social transgression, pop culture, feminism, abstract thought, underground scenes, and outsider art — it’s safe to say that Sonic Youth have always gone against the grain.

The members of Sonic Youth are obviously all musicians, but they have also been iconoclasts, satirists, and poets throughout their careers, creating music that demolishes both the conventions of rock as well as the social pretensions of the conservative American lifestyle.

Each member of the main lineup contributes something fundamental to the band:

-Guitarist/vocalist/de-facto leader Thurston Moore, the no-fucks-given anti-rock star icon and visionary (albeit he’s kind of a smug twerp these days)

-Bassist/guitarist/vocalist Kim Gordon, the reserved but sharp-witted feminist and multi-disciplinary artist

-Guitarist/sometimes vocalist Lee Ranaldo, the revolutionary master of bizarre guitar tunings

-Drummer Steve Shelley, whose soft and shy demeanor masks a deliverer of precise, high-speed rhythmic anarchy

I could go on and gush about this band forever, but I’ve decided to settle for writing a big nerdy list all about how I feel each Sonic Youth album holds up when ranked. With 15 proper records in total, there is a lot to digest. Likewise, I highly encourage you if you haven’t already to go listen to some of these LPs for yourself and formulate your own opinions about one of the most fascinating bands to have ever existed. This list is really just my two cents.

Note: we will be focusing on the 15 full-length studio albums recorded under the name “Sonic Youth”. This list does not include the s/t debut EP, nor does it include the “Whitey Album” or the SYR series since those are best understood as separate side projects. This list is going to be long enough as it is anyway.

15. Rather Ripped (2006)

Main Genres: Indie Rock, Alternative Rock

A decent sampling of: Noise Rock

From any other band, this is a perfectly decent album with a few nice, gratifying guitar tones here and there. But as a Sonic Youth album, Rather Ripped sounds like the band is on auto-pilot. This is the band’s only album that to my ears sounds like it could’ve been written by any number of other alternative rock bands at the time. It just lacks a certain essential edge that their music usually has.

It really doesn’t help the case for this record that Thurston Moore began having an affair at this point in the career, and it is disgustingly present in the lyrics in hindsight, with the offensively titled “Sleeping Around” and possibly even “Incinerate” both probably taking inspiration from his dirty little secret.

I usually separate art from the artist to a certain degree, but in this case it really does kill part of the experience, because I can’t help but feel that Thurston is having a stupid little giggle to himself by hiding his affair in plain sight and it’s really just kind of pathetic. Kim Gordon is my favourite member of the band, and to me she’s the epitome of an extremely cool person, which only makes the whole thing worse. Seriously, quit bragging old man.

Speaking of “Incinerate”, I can confidently say that I think this is the band’s most overrated song. Certainly not their worst, but I really can’t fathom how so many people consistently put this up there with “Schizophrenia” or “The Diamond Sea” as one of Sonic Youth’s top five songs when it’s honestly just so...by the numbers.

That being said, Rather Ripped is not ‘bad’ per se, it’s mostly just that it really lacks something the band usually has, which makes the project feel a little soulless. Still, the record has its better moments. “Pink Stream” is rather ethereal sounding, which is pretty rare in the band’s discography given their usual penchant for the bombastic and ear-shattering, or the ominous and unsettling. “Turquoise Boy” is also a nice mellow track that probably could’ve fit in quite well as one of many solid tracks on A Thousand Leaves, albeit most of those tracks would still trounce this one.

Rather Ripped is all-around competent; it’s a pretty consistent listen and a decent enough beginner-level Sonic Youth album in terms of accessibility. But there’s just nothing about this album that really grabs me like literally any of their other LPs. There’s almost none of the band’s personality on this record (save perhaps Thurston’s inflated ego). Perhaps it is best to call it their “least interesting” album instead of their “worst”. Honestly, you could just skip this one and you probably wouldn’t miss much.

6/10

highlights: “Pink Stream”, “Turquoise Boy”

14. The Eternal (2009)

Main Genres: Indie Rock, Alternative Rock

A decent sampling of: Noise Rock

The Eternal is the last LP Sonic Youth put out as a band. With context, the record has somewhat of a somber feeling. Even its name ‘The Eternal’ seems to suggest that the band might’ve known that it would be their last record, as if the album could be at least partially a reflection on the band’s legacy that will eventually go on to outlive each member.

The band really does sound a little burnt out at multiple points on this record, particularly in terms of Thurston’s vocals which can be best described as sounding ‘exhausted’. Again, like Rather Ripped, the music is certainly competent and enjoyable, but it’s also noticeably less adventurous than on earlier LPs. The album is also a bit more sluggish than most of the band’s past work, feeling just about as long as Daydream Nation or Washing Machine despite being well over 10 minutes shorter than either of those LPs.

I’ll be perfectly honest: if it weren’t for “Massage The History”, this record probably wouldn’t be all that much better than Rather Ripped. Kim Gordon gets to have the very last words on the record with this grim and cryptic requiem about hers and Thurston’s relationship, indicating that she was at least partially aware at the time that the two of them were growing apart.

This would be the last album Sonic Youth put out before Kim became fully aware of Thurston’s affair with a younger woman, leading to her divorce and the band’s inevitable breakup. The song is honestly kind of painful to listen to for that reason, but it is also tragically and morbidly beautiful. “Massage The History” is chronologically the last track in the entire Sonic Youth discography which stretches across 15 LPs over the course of three decades, and it’s a very worthy swan song for the band, if also a bitter reminder that most things cannot last.

“Malibu Gas Station” is another standout, a nocturnal alternative rock jam that sounds very much like a track from the Sister-Daydream Nation-Goo era, and yet another example of Kim Gordon’s capabilities as a member of the band. Really, Kim basically carries this entire LP on her shoulders in terms of the lyrics and vocals.

Nevertheless, I like this record for what it represents if nothing else, and I would still say that it is a level above Rather Ripped thanks to the album closer, and more on par with the next couple of albums on this list. However, I would never recommend that anyone start their Sonic Youth journey with this LP. You can listen to their discography in just about any order you want to, but I’d highly recommend that you save this one for last. The Eternal is a mostly bittersweet experience that is best appreciated after hearing the rest of the band’s output.

7/10

highlights: “Massage The History”, “Malibu Gas Station”

13. Experimental Jet Set, Trash, And No Star (1994)

Main Genres: Noise Rock, Alternative Rock

A decent sampling of: Experimental Rock, Post-Punk

Experimental Jet Set, Trash, And No Star came right after the modest commercial success of Goo and Dirty, and I think you can hear on this LP that the band is reacting to that success by trying to resharpen some of the edges that were smoothed out by Butch Vig’s production on Dirty. Basically, this sounds rather like Dirty but less put-together, less consistent, and a lot more raw.

I appreciate that they wanted to do their own thing and challenge expectations again, and you can really tell that the band is mostly playing around on this record, but in this case I gotta say that the songwriting seems to suffer a little because of that.

The album starts off promising enough with two major highlights. First, there’s a rare acoustic offering with the lo-fi opener “Winner’s Blues”, the first of many tracks that would appear on later Sonic Youth LPs proving that Thurston’s vocals can actually be quite soothing. Then there’s the winding, topsy-turvy patterns of “Bull In The Heather” where lyrically Kim mocks the infantilization of women in her usual snarky, sing-talking fashion. Later on the record, there’s also “Bone” which has a very sinister, bluesy swagger to it that I really enjoy.

But everything else from here on out is kind of a mixed bag. The main setback really seems to be the track lengths; it’s actually pretty weird for a Sonic Youth album at this point in the band’s career to be full of songs that are mostly only two or three minutes long like they are on Experimental Jet Set, Trash, and No Star. That’s not inherently bad of course, but a lot of these tracks really only sound like ‘parts’ of a Sonic Youth song; some really good ideas, but largely underdeveloped.

Take “Starfield Road” for example, which takes a whole minute to build up this really cool and bizarre turbulent sound storm, and then Thurston starts singing over it for a couple of bars until it all sorta just stops abruptly. This track could work in theory if it was structured differently. “Mildred Pierce” off of Goo does something similar, but with that track there’s pay off at the end with the sudden wicked, destructive breakdown which catches you off guard, but here there’s simply no pay off for the listener.

Combine the lack of complete songwriting with the fact that this is actually one of the longest tracklistings on any Sonic Youth album at 14 tracks, and you get an album that feels like it’s bloated with lots of filler. Mind you, there’s still a lot of great little moments on this LP, but very few of them come together to make great songs. It’s an excellent sampler of just how many different ways Sonic Youth can play with a riff or make weird new static noises, but with regards to songwriting, Experimental Jet Set, Trash, and No Star feels more like a collection of demo tapes than a proper album. Still, there’s some cool energy on this record and I’d say it’s a worthwhile listen for any diehard fan.

7/10

highlights: “Bull In The Heather”, “Bone”, “Winner’s Blues”

12. NYC Ghosts & Flowers (2000)

Main Genres: Experimental Rock, Noise Rock, Art Rock

A decent sampling of: Post-Rock, Art Punk, Beat Poetry, No Wave

This is a good example of why we can’t have nice things. Somewhere between A Thousand Leaves and this record, Sonic Youth had most of their gear stolen by some jackass, which effectively meant pressing a hard reset button on the band’s sound for at least one album.

Likewise, a lot of people say that this is their worst record, and yeah I get why those people feel that way, but I actually like NYC Ghosts & Flowers for the fact that it forced the band to undergo yet another major sonic transformation. It‘s certainly more consistently interesting than Rather Ripped or The Eternal, just a very strange album in general, and for that it gets some extra points. I should also mention that this is the first of a couple of albums where the band collaborated with the acclaimed avant-garde artist Jim O’Rourke.

With lyrics influenced by the legendary mid-20th century ‘beat poetry’ scene born out of the band’s own New York City, this is the most 'abstract' Sonic Youth ever sounded. You can hear hints of the band’s no wave origins on this record, but with all of the crude chaos of those early LPs replaced with cerebral tension.

It’s also more sparse than any of their other studio albums, even more so than the dark and intangible Bad Moon Rising. Unfortunately, in this case that also leads to some tracks like “Nevermind (What Was It Anyway)” feeling somewhat empty, or perhaps sometimes too monotonous or repetitive without enough sonically gratifying moments.

But there are exceptions, and the middle portion of this album is where the new formula mostly thrives. “Small Flowers Crack Concrete” is vivid post-rock art poetry, not unlike a more noisy, sporadic version of some of the songs off of Slint’s beloved post-rock classic Spiderland. “Side2Side” is very aurally pleasing, with plinkety guitar staccatos and Kim’s voice hopping from one ear to the other like some kind of noise rock ASMR.

“StreamXSonik Subway” is a freaky little track that sounds calmly menacing, and I really like the high-pitch computer-y bloops. But then right after that there’s the seven and a half minute title track “NYC Ghosts & Flowers” which could probably give me a headache if I didn’t distract myself with something else while I was listening to it; truly maybe the worst track of the band’s entire discography if I was asked to pick one.

Overall, I’d say that NYC Ghosts & Flowers is a very artistic and fascinating experience in the moment, but I don’t really end up remembering much of it an hour or two after listening to the record. It just doesn’t really stay with me like some of their other records, and I don’t often feel the need to revisit this LP. I think Sonic Youth does the whole ‘sparseness' thing better when they’re aiming to sound vast, haunting, or nihilistic, as opposed to this kind of small, cerebral, sit-down-in-an-empty-room-and-listen experience which I personally find a bit more suited to other bands.

That being said, I applaud them for taking a lot of risks on this one, and I genuinely like NYC Ghosts & Flowers for the moments where it really does seem to be on the cusp of something groundbreaking. It's also a pretty polarizing record for most listeners, so maybe you’ll love it.

7/10

highlights: “Small Flowers Crack Concrete”, “Side2Side“, “StreamXSonik Subway”

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passionate-reply · 3 years

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What would Great Albums be, if not for defenses of albums lots of people hate? SPK’s Machine Age Voodoo is, of course, one of those albums, being the attempt of a noisy, drony early industrial group to make synthy disco magic. Did they succeed? Well, maybe not--but at least it’s interesting. Find out more by watching the video, or checking out the transcript under the break!

Welcome to Passionate Reply, and welcome to Great Albums! This time, I will be once again be coming to the defence of an album that’s been very divisive: Machine Age Voodoo by SPK, first released in 1984. Earlier in the 1980s, SPK had distinguished themselves as one of the most prominent figures of the nascent “noise music” movement, alongside acts like NON and Throbbing Gristle. Just two years before Machine Age Voodoo, they released their arguable magnum opus: Leichenschrei, an album that eschewed a traditional tracklisting, featured the mutilated visage of a victim of napalm burns on its cover, and sounded something like this:

Music: “Seite ((Klono))” / “Napalm (Terminal Patient)”

With their follow-up to Leichenschrei, SPK would take their sound in a very different direction. They abandoned the harsh, buzzing textures and nauseous, whirring drones of their earlier work, and set out in a remarkably more pop direction. While Machine Age Voodoo features verses and choruses, brighter synth textures, and winsome slap basslines, it still maintains a certain “industrial” identity, tying it into the same overarching web of related styles that SPK’s earlier work fell under. This album reminds me a bit of Depeche Mode’s mid-80s output, such as Some Great Reward, in its incorporation of both synth-pop structures as well as some accents of mechanistic clangs and bangs. Depeche Mode and SPK were, of course, passing by one another after coming from opposite directions on this spectrum, but the end results remain comparable.

Music: “Junk Funk” / “Machine Age Voodoo”

Listening to the album’s stomping opener, titled “Junk Funk” on most releases but made into the title track for the US market, I’m struck by just how upbeat of a track it is. Where many industrial acts are keen to portray modern labour as a punishing, soul-sucking, miserable endeavour, “Junk Funk” seems to make it into something of a party. Given that even Depeche Mode were penning tracks like “Everything Counts” with a dour outlook on capitalism, the seemingly playful aura surrounding this single really sets it apart--though not necessarily in a good way. As I mentioned earlier, *Machine Age Voodoo* has consistently been panned by fans of the group’s more aggressive earlier work, and I think the album’s affinities with light-hearted, and perhaps even silly, post-disco pop make it all the more easy to write off as ridiculous and asinine. But much like simply being in a style you don’t care for isn’t a reason to lambaste a work of art, simply being lighter in tone is no reason to reject something. Not all great art needs to be stone-serious, after all! While Machine Age Voodoo may not be a continuation of the classic SPK sound, I think it’s an album that has plenty of appeal for fans of lighter synth-pop, and one that I wish had managed to achieve a bit more renown among those who might be a bit more receptive to its style.

Naturally, the title of the album and the themes of its sometime title track invite us to consider the role that appropriation of “primitive” themes has to play. Ever since industrialization and colonialism began to create large separations between the lifestyles of “the West and the rest,” Western artists from Picasso to Gauguin have found themselves fascinated by so-called “primitive” ways of life, found among communities of colour whom they believed to live closer to the natural or archaic state of humankind, uncorrupted by capitalism. But followers of the religion sometimes known as “Voodoo” are living in the modern world as much as anyone else is, and the use of their faith as a symbol of barbarism or the unrestrained id here is presumptuous at best, and bigoted at worst--particularly given the reference to “funk,” a music style that, like Voodoo, is strongly associated with Black culture. The love for things “primitive” has served an important cultural role in the West, offering an apparent alternative to the crushing death spiral of capitalism, and serving as an outlet for questioning the assumed status quo and the truth of human nature--but at the same time, I think we can fairly criticize it for offering a stereotyped and tokenized view of cultures outside of the West. Machine Age Voodoo offers another, very different, perspective on the Other on its second track, “With Love From China.”

Music: “With Love From China”

Compared to “Junk Funk,” “With Love From China” is distinguished as one of the album’s more plaintive and less dancefloor-oriented tracks, and, in contrast to “Junk Funk”’s joyful embrace of “high technology hoodoo,” “With Love From China” portrays the titular Communist power as something quite sinister. While a simple read of the lyrics suggests that it may be a triumphant hymn to the state, the track’s plodding, dirgelike melody makes it hang like an ominous cloud instead. Arguably the most successful state to be built upon Marxist ideals, China is a prominent feature of lots of early 80s synth-pop, where it and other Communist states saw varying portrayals as anywhere from dystopian to utopian. Like the appropriation of “voodoo” earlier, the dread romanticism applied to China by SPK on this track says more about them than it does about China itself. I think both tracks, taken together, paint a picture of a sort of “anywhere but here” ideology, defined less by any strong feelings for these particular cultures, and more by a desire for an escape to the exotic, and an abandonment of all that is sick about the West. Overall, though, “With Love From China” isn’t necessarily a fair representation of the average track on Machine Age Voodoo, as the album consists mostly of higher-energy tracks, like “Metal Dance.”

Music: “Metal Dance”

Perhaps the track most clearly aimed at nightclub rotation, “Metal Dance” feels like a logical choice for the album’s first single. Less of a pop tune and more of a floorfiller, “Metal Dance” still hums with industrial touches, propelled by clunking metallic percussion and chant-like shouts that prefigure the synthesis of machine music and club fare that EBM acts like Nitzer Ebb would achieve later in the 1980s. With its succinct title and a compelling hook that implores us to “synthesize our dreams away,” “Metal Dance” almost feels like a love letter to the sheer concept of electronic music for dancing to--a consummate paean to the discotheque, even if it comes from what may seem like an unlikely, and perhaps dishonest, source. A similar embrace of dance music qua dance music is found on “High Tension.”

Music: “High Tension”

If “Metal Dance” sounds like a preview of later industrial dance genres like EBM, then “High Tension” feels like a throwback to the first attempts to “synthesize” an electronic disco, with its dense, complex production style, prominent bass, and lyrics that promote “danc[ing] ‘til you drop” as a response to “bad times.” Despite its compelling use of a well-textured vocoder, “High Tension” veers away from the worship of the machine that was central to “Metal Dance,” and its straightforward celebration of dancing itself makes it feel like the most likely genuine crossover hit on the album--not that it really had any. It’s also worth noting that the track’s bridge contains an early reference to “hip-hop,” back when artists like Man Parrish were freely using the term to describe club-friendly electro that didn’t necessarily include rapping. Times have changed, of course, but I think “High Tension” fits right in with other works in that style--even if, again, it comes from a group that nobody would have expected to make music like this!

On the cover of Machine Age Voodoo, we see a fantasy cityscape, defined by a massive tower crowned with the band’s name accompanied by a Communist-inspired red star. It’s as firmly removed from the vile and shocking imagery of Leichenschrei as the music contained within. But, just as the music has retained some degree of industrial sentiments, the cover is not without its own sense of subversion--it is, after all, apparently enshrining the ostensibly dangerous, foreign ideology of Communism!

It’s tempting to compare this image to the futuristic imagery of Fritz Lang’s classic silent film, Metropolis, particularly given that there’s also a track on the album that shares that title. But I think that the visual style employed here, with its blocky, cubistic rendering of form and lively use of diagonals to enrich its composition, is perhaps more reminiscent of the work of the Russian avant-garde of the 1910s. Even before the Russian Revolution, pioneering abstract artists, like the “Rayonist” Natalia Goncharova, were looking towards the exciting potential of the future, and making art that celebrated the beauty of machines in motion. The early abstraction of painters like Goncharova would go on to influence the abstract art associated with the early days of the Soviet Union, which makes it a particularly fitting affinity given the themes of Machine Age Voodoo.

After Machine Age Voodoo, SPK never returned to making more melodic music--perhaps unsurprisingly, given the album’s simultaneous failure to achieve crossover success, or retain the interest of their existing fanbase. They returned in 1986 with Zamia Lehmanni: Songs of Byzantine Flowers, an album of dark ambient music that avoided slavishly copying earlier works like Leichenschrei, while still feeling like a worthy continuation of the spirit in which they had begun their career.

Music: “Invocation to Secular Heresies”

My favourite track on Machine Age Voodoo is “Seduction,” which is easy to overlook as it actually only appeared on the US release of the album. “Seduction” is striking for its blatant, wantonly sexual lyricism, which, when combined with SPK vocalist Sinan Leong’s competently sultry vocal style, recalls the best work of the experimental disco outfit Gina X Performance. And much like Gina X Performance, there’s a bit of subversively queer gender-bending to be had here, as a male backing vocalist repeats Leong’s line, “you call yourself a man?” I think that may be unintentional, a sort of happy accident, but I love it nonetheless. That’s all I have for today--thanks for listening!

Music: “Seduction”

#music #spk #industrial #industrial music #great albums #album review #album reviews

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mulletpeters · 3 years

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toothache of the mind

ship: peterpatter

rating: g

word count: 1938

tags: canon compliant, pre-canon, high school, 1990s, best friends, feelings realization, pining

Reggie gets braces for his sweet sixteen.

He doesn’t tell anyone―not even his best friends in the whole wide world. So when he walks into homeroom the Tuesday after his birthday, Luke nearly topples out of his chair at the sight of the metal wrapped around Reggie’s adorable little snaggletooth. Alex may or may not be hyperventilating, but Luke wouldn’t know. He’s distracted.

Reggie, for his part, is acting like Luke’s world hasn’t just been tilted on its axis in a dangerous way. “Hey, guys,” he says nonchalantly. “Sup?”

Alex recovers much quicker than Luke, though there’s still a glint of concern in his eyes. They both know how self-conscious Reggie can be, especially about his smile, so he treads carefully. “Hey, Reginald. Do anything fun for your birthday?”

They had their own party on Friday after school―Luke gave Reggie a new studded strap for his bass because the one he’d found in Bobby’s garage had started to look pretty sad―but Reggie’s parents are the type to force family time onto him any chance they get. Luke has a sneaking suspicion they only do it so they can use Reggie against each other in whatever asinine argument comes up that day, but it’s not like he can really do anything about it. None of them can, so Reggie is unfortunately left to his own devices when it comes to compulsory dysfunctional family celebrations. “Not really,” he says in lieu of giving any actual details; he’ll tell them eventually, but a crowded classroom is not ideal for dishing out his personal drama. “Got braces.” He shrugs, like his mom hasn’t made him feel like shit about his less than perfect teeth for most of his childhood. Definitely since Luke’s known him, anyway, and they’ve been friends since they were ten.

“Oh, did you?” Alex asks, and it sounds borderline sarcastic but he holds back most of his usual bite. “Let’s see ‘em, then.” He holds an arm out in a grand gesture like he’s giving Reggie the floor, and Reggie flashes the most hesitant smile Luke’s ever seen on him.

Luke swears his heart stops, but Alex is once again carrying the conversation so he does his best to tune in. “Oh, nice,” Alex says, approving of the red brackets stuck to the front of Reggie’s teeth with a slight nod.

Reggie returns the gesture, and he looks considerably more relaxed now that he knows his friends won’t shun him for something this mundane. “Thanks,” he tells Alex before turning to face Luke, and he looks a little apprehensive, like maybe Luke should get his brain to reboot so he can offer some reassuring words instead of just staring like a total weirdo.

Luke wants to say something about how red looks good on him, or how it’s cool that it’ll match his favourite flannel, or maybe he’d settle for even just a supportive thumbs up. What actually comes out of his mouth is, “How long do you have to wear them?”

Reggie gives him a funny look, head tilted and brow furrowed. “Only like, a year,” he answers anyway, and Luke wants to scream.

Thankfully, the teacher chooses that moment to draw their attention to the front of the room, and Reggie turns around in his seat so Luke can only see the back of his head. Luke sighs in relief, sinking further into his chair till his limbs are sprawled out into the aisle, accepting his defeat. It’s gonna be a long year.

Luke decidedly does not address the issue after that day. The issue being that weird fluttery feeling he gets in his chest every time Reggie smiles at him, or laughs, or talks, or breathes. Basically any time he sees the glint of metal in Reggie’s mouth, really.

It’s not like this is a new development, exactly; Luke has always had a bit of a soft spot for Reggie, a little bit of weakness. In the six years they’ve known each other, he can’t recall a time that Reggie just existing didn’t make his brain static out. The braces just made him recognize what’s always been true, even if he still doesn’t know how to make sense of it.

Normally he’d talk to his best friends about whatever’s on his mind, but he can’t very well articulate a dilemma he can’t comprehend to begin with. Plus, he doubts Alex would be any help, considering he’s got his own set of issues to work through, and he’d rather die than bring it up with Reggie himself. And as for Bobby, well. Bobby’s got the emotional depth of a puddle. So, naturally, he does the only logical thing there is to do: he writes.

He figures if Reggie’s smile is stuck in his head like a song, he might as well make it one. It’s what he’s good at, and it gives him a false sense of separation from the issue that grants a certain clarity he can’t get any other way. He jots down pages and pages of lyrics, curled up in his bed late one night, fingers itching for his guitar even though he knows his mom would kill him if she caught him playing at 1am again. So he just sits cross-legged on his comforter, hunched over his ratty old notebook, scrawling cliche lines about green eyes and freckles and an endearingly crooked canine.

It’s the sappiest thing he’s ever written. When he reads over it before school the next morning, he knows he’s well and truly fucked.

Reggie plops down into the dip in the center of the studio couch, inadvertently leaning onto Luke’s shoulder. “You working on a new song?” he asks, tilting his chin at the notebook on Luke’s lap like the question needs clarification.

Luke nods even as he scrambles to shut the book, shuffling loose papers to stuff them between the creased cover. “Uh,” he stammers, biting his lip. “Yeah, I am.”

Reggie just nods back, averting his eyes to look up at the loft when he realizes that Luke doesn’t want him to see the song. “Rad. What's it called?” He glances at Luke, offering a comforting smile that says Luke can tell him as much or as little as he wants.

And well, that's the thing. Luke hasn't given it a name yet―the song, or the bewildering cocktail of feelings that inspired it to begin with. So he looks up from his scratchy handwriting to Reggie’s lopsided grin and says the first thing his useless brain can come up with. “Crooked Teeth.”

“Oh.” Reggie’s smile slides right off his face and Luke realizes what he's done half a second too late. Reggie bites his lip self-consciously, fidgeting with the sleeves of the flannel tied around his waist as Luke scrambles to backtrack into less sensitive territory.

“It's about Bobby,” he blurts unwittingly. And technically speaking, it is a little bit about Bobby, mostly because it's a little bit about the whole band, seeing as they’re mentioned in one line of the second chorus. But Bobby’s not the point of the song, not by a long shot. Luke decides Reggie doesn't need to know that, though. Especially not when his face lights up at the revelation, conspiratorial eyebrow raised like Luke’s letting him in on some great secret.

“Oh, snap! Well, I won't tell him, but don't let him find those lyrics.” Reggie winks, and it's not like it’s an unfamiliar sight, but Luke’s heart stutters out of time all the same. He's just glad Reggie isn’t the type to ask to see a song before Luke’s ready to share it; Luke doubts he'll ever be ready to share this particular piece, but if he does show it to Reggie, it'll be his choice.

He laughs halfheartedly, more a forceful exhale than anything else, and lands a playful punch to Reggie’s bicep. “Sure, man.”

Reggie just smiles wider. It feels like a kick straight to Luke’s solar plexus.

“You told him it’s about Bobby?” Alex asks, but what Luke hears is, you’re an idiot. Luke looks down at his best friend―he used to consider Reggie his best friend too, but he thinks maybe Reggie is in a category all his own at this point―and frowns. “He got his braces off before we even met him.” Alex stands up, walking around his drum kit to pace the floor. “And you told Reggie it’s called Crooked Teeth before you said that? Dude, you know how insecure he is about―”

“Yeah, Al, I know,” Luke huffs, cutting him off. It’s not the title Luke would've consciously chosen, but it's weirdly fitting, in a sort of convoluted way. Like, maybe Reggie’s teeth weren’t the sole catalyst for this whole...whatever this is, but they definitely played a major part. Luke’s really gonna miss Reggie’s snaggletooth, okay? He resents Reggie’s parents for a lot of reasons, but forcing him to get braces instead of a real birthday present is pretty damn high on the list.

Alex, with all his anxiety-induced powers of perception, notices Luke’s internal struggle and momentarily stops wearing a hole in the floor. “You’re kinda wiggin’ out, man. Chill.” He holds his hands out in what’s meant to be a placating gesture, but the drumsticks in his fists sort of ruin the effect.

“You’re one to talk,” Luke mumbles, but he doesn’t mean it, and Alex knows that. He’s just confused, and stressed, and generally unsure what to do with his recent epiphany. “What should I do?” he asks louder, eyes pleading.

Alex goes back to nervously lapping the room, and Luke picks at a loose string on his guitar strap just to have something to do. “I dunno,” Alex says after what could very well be an eternity. “But I think you’d feel better if you told him.”

Luke’s eyes shoot up to meet Alex’s gaze, brow furrowing involuntarily. “You what?”

Alex walks over, planting his feet in front of Luke, clapping a hand on Luke’s shoulder that isn’t holding his guitar strap up. “You’re clearly upset about this, Lucas. Tell him.”

Luke is shaking his head before Alex has even finished his sentence. “Not happening.” He folds his arms like a petulant child, but it loses its effectiveness when his guitar gets in the way, a sad thump echoing through the room. “I wouldn’t know what to say, anyway.”

Alex cocks an eyebrow with a pointed look at the notebook sitting on top of Luke’s amp. “I think you already said it.”

Luke follows his line of sight, eyes landing on the folded corner of a piece of paper sticking out from all the others. He already knows what’s written on it―has the words memorized by now. They were written on his heart long before he put them to the page, anyway.

Bobby bursts into the studio then, Reggie in tow, and the moment is broken. They’re laughing about something Bobby said, and Reggie is as beautiful as ever as he throws his head back, and Luke thinks that maybe one day he’ll get the courage to tell him how he feels. He’ll ask Alex to work with him on the music to go with his lyrics, maybe even get Bobby to help with the melody. He’ll throw rocks at Reggie’s window and serenade him from his front lawn like they do in the movies, and his friends will back him up, and it’ll be perfect.

For now, he needs to focus on perfecting the songs they already have. They’ve got a show at the Orpheum next summer to prepare for.

#posted this a week ago but i finally got around to putting it here too lmao #i still don't know if i like the formatting but whatever #anyway! i'm writing willex next <3 #jatp #julie and the phantoms #peterpatter #luke #reggie #alex #mine #fic

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gayenerd · 3 years

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An interview with music journalist Paul Zollo. I believe this is from 2000. I’m a sucker for Billie Joe talking about his songwriting process.

By PAUL ZOLLO

SEVEN STORIES ABOVE THE SUNSET STRIP in Hollywood is the Chateau Marmont, an old hotel rife with the ghosts and scandals of Hollywood’s recent and not-so-recent past. Famous for the elegant, old-world discretion it affords all its guests, for decades it’s been a safe harbor for stars seeking to circumvent the squall of media surveillance. It’s where John Belushi died, sadly, back in bungalow three, and where Jim Morrison wrecked his back by swinging Tarzan-like from the roof, using a drain pipe as a vine. Every star, it seems, from Chaplin and Bogart to Dylan and Lennon have hidden out here while in Hollywood. “If you must get in trouble, do it at the Chateau Marmont,” Harry Cohn, the first boss of Columbia Studios, once told William Holden.

So it’s an appropriate setting for Billie Joe Armstrong, the lead singer, songwriter and guitarist of Green Day, to be holding court. Armstrong and the band are no strangers to scandal – they’re the ones who started a mudfight that bordered on insurrection at Woodstock II; they’ve been outspoken about their fondness for drugs and alcohol; they’ve been especially harsh in their expressions of scorn for many other bands; and they’ve frequently “redecorated” hotel suites, bars and Tower Records stores alike with a flair for creative demolition that brings to mind the heady decadence of the Doors and others.

In fact, parallels between Armstrong and Jim Morrison abound. Like the leader of the Doors, Billie Joe is the creative catalyst of his group, but only writes within the fold of his fellow musicians. Like Morrison, Armstrong has been known to walk on the razor’s edge of life, bringing an authentic, expansive passion to every song he sings. He’s also been known to match his inclination to strip his soul bare in song by taking off his clothes in concert. The difference is that when Jim Morrison did it, all hell broke loose, the country was shocked and the singer was arrested. But when Billie Joe does it, he gets acknowledged on the MTV news, Kurt Loder smirks, and that’s about that. Being shocking these days is just not like it used to be.

‘It’s something unpredictable,

But in the end is right

I hope you had the time of your life.”

From “Good Riddance (Time Of Your Life)”

By GREEN DAY

Few things seemed more unpredictable than the thought that Green Day would have a Number One hit with a pretty ballad of all things. Even more unlikely would be that the song, officially entitled “Good Riddance” but better known as “Time Of Your Life,” would become as ubiquitous in the American consciousness as the Star Wars theme. Used on “Seinfeld,” two episodes of “E.R.,” and extraneous sporting events (as when Mark MacGuire became the king of baseball’s home-run derby), Green Day’s ballad quickly became more famous than Green Day itself.

“Good Riddance” now stands alongside Springsteen’s “Born In The USA”, Randy Newman’s “I Love L.A.” and Sting’s “Every Breath You Take,” as one of the nation’s most misappropriated hit singles. Like all of those songs, which are much darker if you examine their core than the mainstream ever seemed to recognize, “Good Riddance” actually comes closer to condemnation than the kind of nostalgic celebration for which it’s been used:

“Tattoos of memories and dead skin on trial

For what it’s worth, it was worth all the while

I hope you had the time of your life. “

From “Good Riddance (Time Of Your Life)”

By GREEN DAY

Though Green Day’s presence on the world stage shifted from popular to astronomical because of this song, many of their old fans felt alienated by their secret heroes’ injection into the mainstream. “[`Time of Your Life’] was a drastic change for us to record,” Billie Joe said. “We knew that there were going to be some people that weren’t going to like it because it’s not a 1-2-3-4-Let’s-go-punk-rock tune. Mike [Dirnt] said, `This is a real beautiful song, who cares what people think?’ So we just went for it. Long term thinking, you know. Punk is not just the sound, the music. Punk is a life-style. We’re just as much punk as we used to be.”

Of course, definitions flow fast and fluid, as purveyors of punk, such as Armstrong, play along the borders of pop. “A lot of punk rock bands are always trying to be so hard all of the time,” he said. “Macho brutality doesn’t necessarily mean you’re a good songwriter. I think that some of the Beatles’ songs are way more punk rock than most punk songs written today. Like the song `Yesterday.’ It’s such a bittersweet song. “

Billie Joe was born in 1972 and grew up in Rodeo, a little Californian town just outside of Berkeley. His father and uncle were both jazz drummers. “I was a guitarist in a house of drummers,” he said. His father died when he was ten, the same year he met a neighbor named Mike Pritchard who shared his passion for making music. Together they decided to drop out of high school to start a band, which they called Sweet Children. It was a decision Billie’s mother encouraged. “My mom sort of let me do whatever I wanted,” he said. “When I quit school, she thought that was a good idea because I was really ambitious to play. So I started touring when I was seventeen.”

Pritchard changed his name to Mike Dirnt, Tre Cool replaced Al Sobrante as official drummer, and they called themselves Green Day, a Bay-area euphemism for a day spent smoking pot. Their first release was an indie EP called 1000 Hours, after which they signed with Lookout Records to make 39/Smooth and Kerplunk. In 1994 they ascended to the major leagues, signing with Reprise, and released Dookie. They soon became an MTV mainstay, and their mudstorm performance that year at Woodstock cemented their reputation as a band on the edge. Three more singles followed, as did sales of more than eight million albums worldwide, and a Grammy Award for Best Alternative Music Performance.

Insomniac was released in the fall of ’95, but instead of going on a European tour as planned to launch it, they elected instead to stay home and write and record more songs. The result was the most popular, and most critically acclaimed album of their career, Nimrod, which included “Time Of Your Life.”

Warning was the new album at the time of this interview, and the impetus for Billie to talk. Inspired by the rich lyricism of Springsteen’s The River and Dylan’s Bringing It All Back Home, Green Day went away for a while to write and play the songs before recording them. It’s their first self-produced and most sonically adventurous album to date, blending layers of acoustic guitars in with the electrics, and with some unexpected detours, such as the German beer-hall stomp of “Misery,” and the Clash-meets-Kinks pop-punk of the title song.

“Caution police sign you’d better not cross

Is the cop or am I the one that’s really dangerous?

Sanitation expiration date question everything

Or shut up and be a victim of authority

Warning, live without warning…”

From “Warning”

By GREEN DAY

Today Billie Joe is ensconced within an overstuffed burgundy couch in his hotel suite. Although he’s drinking coffee from china cups, and eating fresh fruit and croissants from a silver tray, he’s remained loyal to the punk lifestyle, and is wearing a black t-shirt and baggy jeans. Prior to our talk, rather than linger in the luxury of his suite, he ducked down into the hotel’s bleak back stairway for a cigarette. Though he’s undeniably a star of the first degree, he’s uncomfortable with such designations, and shuns all the trappings of stardom. As opposed to the Ferraris and Lamborghinis driven by his peers, an old Ford Fairlane remains his vehicle of choice. He did admit to one extravagance, however, which he revealed somewhat sheepishly. “As soon as I could afford it,” he confessed, “I went out and had it primered.”

BLUERAILROAD: You write all the songs together in the band. Do you start songs on your own and bring them in?

BILLIE JOE ARMSTRONG: Yeah, sometimes. I’ll come up with the song with the chord changes and the lyrics, and then I bring them into practice, and then we sort of restructure them together. I like to come in with a tune. I’ll just play guitar and sing it for them, and then we start to learn it. And as soon as we start to learn it, we can make changes and come up with a different structure. Move the chorus around, make the verse a little longer. That kind of thing. I definitely like to think of it as a collaboration between the three of us.

Do you always change the songs?

Well, we have a lot of songs. There have been some that I have brought in and nothing really needs to be done. Sometimes I’ll suggest a part that needs to be worked with, and we’ll try some different things. And then they’ll write their bass-lines and drum parts around it.

Do you ever have a problem sharing credit on songs you wrote alone?

Well, we’re a band. We’ve been able to stick through a lot of years because the three of us support each other. The songs come from Green Day, and I like to stick by that. We like to just keep things equal in the band, and I think it’s what has made our band healthy over the years. We give each other respect. There is no one who stands out more than the other one in this group. Especially since we’ve known each other for so long.

These days do you write on electric guitar?

No, on acoustic. I have a Silverine Harmony. But it sounds good. I just have it around the house, so I’ve written most of the songs on it.

Do those songs then shift a lot when you bring them to the band, and play them on electric?

No, because I always have it in the back of my head about the dynamics of electric guitar and drums and bass. Between me and Mike and Tre, I always have that dynamic in my head – what am I going to bring to the table that they’re going to be able to play, and which will have our certain energy. I always keep our energy and our music in mind, sort of subconsciously. But I think that’s the beauty of this. That not only can I play these songs with a band at full volume, but also that I can play them on a cheap, acoustic guitar. And it can have the same kind of impact.

“Warning” would work that way.

Yeah, it does. That kind of came all together at the same time. I think lyrics on this record were really important to me, and to have a well-rounded record as far as what kind of topics I wanted to write about, and sing about. That was one of those songs that seemed to just write itself. It just came really naturally.

Is that unusual for you, the feeling that a song writes itself?

Well, I try to go for inspired moments. But if I want to write a song that sounds like it has a pop kind of edge to it, I really want to be able to say something. I have to say something – it’s vital for me. I can’t just write something that would be sugar-coated, and have a pop song with nice lyrics that go along with what everyone is doing on the radio these days. It’s very important for me to have a message that goes along with the writing. So, you know, what comes to mind for me is a song like “The Ballad of John & Yoko,” where [Lennon] had this really nice sounding song. But the lyrics penetrate like a knife. “They’re gonna crucify me…” That’s kind of nice way — nice, I mean, in an oxymoronic sense – to put forward something you want to attack.

You’ve done that in many songs.

Yeah, I think it adds a sort of demented side a little bit, sort of like a clown in a circus. But it also makes the lyrics a lot stronger. If you take a band like Rage Against The Machine, the music is aggressive, and the lyrics are aggressive at the same time. And I love Rage Against The Machine, but sometimes it feels like you getting bombarded by someone’s else’s point of view. The person is not telling you to think, but what to think. And that’s one thing that I really wanted to come across in the music and the lyrics. To think about the world around you, and not what to think, so to speak. And at the same time, to have my opinions coming through at the same time.

Are you always clear about the meaning of a song while writing?

No. That’s hard. I mean, sometimes I’ll have things in the back of my head that I want to write about. But I never want to come across as pretentious or preachy. So I just wait for my thoughts to settle. To a certain extent, you have to be a little self-righteous and I think it’s healthy. Especially when, nowadays, there’s so much stuff that is about decadence. And when it comes to rebellion, a guy who has a Rolex watch and is driving around in a Porsche, talking about that he really wants something to break, I don’t really think of that as rebellion, I think of that just as a decadent rock star.

Do you have any kind of routine for songwriting?

Last record I was just sort of pounding songs. Anytime I had any inkling of an idea of anything at all, I would just grab my guitar and play it and work on it no matter what the song was like. Whether it was inspired or I just got drunk and started playing. But this time I waited for inspired moments. And I think it took me a long time just because of that. I wanted everything to sound refreshing, and something that would make you want to turn it up a little more.

Did you have times when you tried to work and nothing would come?

Oh yeah. You get frustrated. You feel, “Man, I just want to write a fucking song.” And sometimes it’s just not there. And you can’t dwell on that when that happens. You have to just let it go.

I don’t ever want to try to outdo myself. I feel like if you try to outdo yourself from the last thing, instead of just working on your inspiration, I think the music kind of suffers a little bit, sometimes. Sometimes I’ll just get a very general idea about the kind of song I want to write. And I’ll just sort of store it in the back of my mind and see what comes out. It can come out in five minutes, it can come out in five days, five years, five decades.

Are there songs you worked on for years?

Yeah. “Longview” was one that we worked on for years. We knew what we wanted to write about. I told Mike to write a bass line and one day I came home. This is when we lived in the same house. He had just dropped some acid (laughs) and he said, “Listen to this.” And I said, “Okay, I guess it sounds good.” He came up with this bass line that really worked well, so we ended up practicing and came up with the song.

Are there many songs you start that you don’t finish?

Yes. And I’ll just wait for the right time and the right place for it. There are some songs I finish but then I think it’s not right for the record we’re working on. There’s a couple of songs like that off of Nimrod. “Time of My Life” had been written a couple of years before.

That song resounded in enormously with the public. Was it just a fluke, or did you sit down with the intention of writing that kind of song?

Both. I think that anyone can sit down and write a song. Whether or not it’s any good is another thing altogether. You know, there’s no school you can go to that will help you learn how to become a songwriter. But you can sit down and do it. Especially with rock & roll. But to put something down that is actually really great, it does go beyond you a little bit, and sometimes it takes patience.

Do you write all the time?

Yeah. Whether it’s good or bad, I don’t know. Or if it’s appropriate for what kind of idea or sound that we want to get across on the record.

Where do you think the great songs come from?

I don’t know. I really don’t. It comes from somewhere deep down inside of you that you didn’t even know existed. It’s kind of like seeing a shrink or something. (Laughs) There can be a lot of anger, or sadness, or joy, that you had but you didn’t even know you really had – but it can all come out. You feel a connection with it, and so other people can, too. You strike a nerve.

Does songwriting get easier the more you do it?

I think so. I think you definitely learn more as you go. I think you find new ways to motivate yourself. You test yourself a little bit more and see what comes about. And you challenge yourself in new ways to see what comes out. You learn new ways to get the engines going. But whether or not it does get easier, it’s what I do. And I love doing it.

#'I don’t ever want to try to outdo myself'#HE'S SUCH A FUCKING LIAR #at least he knows the music suffers from it #BUT HE'S A GODDAMN LIAR #article #articles #interview #billie joe armstrong

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trevor-wilson-covington · 3 years

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The Possibilities...Part 2

// After the last post of the CD covers I did went over so well with y’all, I decided to do the other 13 songs in the show and added in some character themed ones as well. Hope y’all like these ones as much as you did the last batch. I have 20, so they’ll be in 2 separate posts! 😊😄

** I also gave little descriptions for each cover to explain why I chose a certain pic, how I came up with the character or band specific logo in the top corner, and/or any other needed explanations (like college age looking characters or what’s up with Caleb).**

PART 1

~ For this one, I was deciding between a neon sign of a rainbow or going for a more generic picture of someone on a cliff side for lyrics like “That we're standing on the edge of...Something big, something crazy...Our best days are yet unknown...That this moment is ours to own...'Cause we're standing on the edge of great”. In the end, I liked the rainbow neon heart the most because it felt like it connected with lyrics “Shout, shout...C'mon and let it out, out...Don't gotta hide it...Let your colors blind their eyes...Be who you are, no compromise” really well.

Logo: The band logo inside a Dahlia, which, depending on the CD cover, changes color to fit its background better

~ This cover I looked forward to as I worked on all the other ones, as I had found this art back when I was doing aesthetic/mood boards of the songs late last year. It is an amazing fit for the song and the control Caleb and his curse have over the boys as they perform it, a puppet master controlling his puppets for his own gain.

Logo: Took the logo I had done my best to recreate for OSOH and used it here

~ Finally, for this one I had between stuck between doing this flower (or weed, idek) picture or one of 3 options of ones with trees that were miraculously still standing in the middle of a lake or in a foggy field. All encapsulated the feeling of standing strong and lyrics like “Even if I'm the last standing...I'ma stand tall...I'ma stand tall” very well, but a mutual and I decided the flower best represented Julie and the incredible strength/bravery she showcased going up on that stage and performing without the boys. Like the flower, Julie was persevering and deciding even without her band, her family, by her side she would “keep on going when it's all falling apart” because she’s “gotta keep on dreaming...’gotta catch that feeling" like the strong, amazing performer she is and always has been.

Logo: The band logo inside a Dahlia, matching the color of the flower, Julie, because they’re a family now

~ For Julie and the rest of the teens, I decided that it would be alright to age up because trying to find an exact match to their ages and looks using the resources I had was going to be practically impossible. This pic I had used for a Julie/Rose, mother-daughter mood board last year and thought it would work great here. (If i did do something wrong with this representation of Julie in regards to skin tone, let me know)

Logo: The same thing, Julie’s initials inside a Dahlia, that I used in Part 1 of this post set for songs she performed alone

~ I had a few options for a Luke pic, including 2 that ended up being too Charlie for this post, but when I found this pic I thought this would work best. Trying to find a pic that captures his hair, the beanie, and his style while also somewhat resembling Luke is stressful and impossible without likely losing my mind in the process. So, I decided a vague resemblance would work and decided to use my artistic license to say this is how I am choosing to represent our ghost himbo leading singer. The beanie felt right and not having the person’s whole face visible allowed for use of the imagination and for that air of mystery Luke aims to give off.

Logo: I made a special logo for Luke of his initials in the same font as I used for them in the PH cover logo, but for this logo decided to put them atop a journal to represent the one he writes all his songs in and holds as sacred and many times off-limits to others

~ For Alex, I also had a hard time finding a close enough match that worked to represent him through hair, clothing, or even stature. I ended up finding this pic, of an actor from Outer Banks I believe, that seemed to fit the Alex vibe well enough to me, despite not have any of those matching clothing items or a perfect match for hairstyle.

Logo: For this one I went with the expected, default fanny pack with his initials on it because there wasn’t quite any other sticker options on the site I use for these that screamed Alex and the fanny pack is intrinsic to his character (and we love it)

~ Now for Reggie, I was able to find a pic that had both his look and allowed for him to have an instrument, even if I couldn’t for the other 2 himbos. It’s a pic of a member of The Neighbourhood performing and the leather jacket/white shirt, hair, and what I believe is a bass guitar fit with Reggie so well. I had 2 options of pics of this band member from 2 angles, but ended up deciding this one looked best.

Logo: A cowboy on a horse to represent Reggie and his country music career dreams, plus ‘Home Is Where My Horse Is’, with his initials in a fitting font over it

~ While I was hesitant to use a pic of 2 girls on the ‘Flying Solo’ cover in an attempt to not unintentionally represent Madi and Jadah’s skin tones wrong, for this one just aiming to represent Flynn by herself I did my best to find a pic of a girl that not only got Flynn’s hair as we see it in the show represented but also had a close match to her/Jadah’s skin tone. Here’s to hoping I did her justice (but if I still did do something wrong with this representation of Flynn in those regards, let me know)! I thought the outfit, while not as eclectic as Flynn’s on the show, worked well for a casual look for Flynn in like Senior year of high school or even college, since the pics age all these characters up a bit.

Logo: For the logo I went with a turntable sticker and Flynn’s initials, including letters for ‘no last name’ as people have used for her in post tags, until we learn of a last name for her hopefully in the future

~ While looking for neon sign pics for other CD covers in this post set I came across many with people in them, a handful that also would have worked for Carrie, before finding this one among them. I loved the neon glow off the girl and the close match, as far as I can tell in the lighting, to Carrie/Savannah’s strawberry blonde hair. The outfit, similar to Flynn’s, works for end of high school or during college, where Carrie might dress in toned down versions of her usual style, we see her in during the show. The piercing and more carefree demeanor being effects of her letting go of the image she hid behind in HS and becoming a more authentic Carrie.

Logo: I chose to put her initials over a diamond both because I wanted to use a diamond like I almost did for the pic in the ‘WOW’ cover and because of the diamond’s symbolism of things like strength/power, creativity, and balance/clarity

~ Finally, for Caleb I had originally had a sepia colored picture of a magician looking guy in a top hat looking out onto the ocean or some body of water with his back to the camera...then I found this one. My mutual, who has been helping me with this post set, and I nicknamed him ‘Sexy Caleb’! He just gives off that suave, over-the-top magician vibe that is kinda Caleb’s thing. Since the rest of the characters were merely resemblance pics of the characters, I thought why not just go that route with Caleb’s and have fun with it. This was the result and I hope y’all enjoy it as much as I do!

Logo: Went with the default sticker of a top hat for Caleb’s logo because it just works so well to represent him and the added initials on it almost look like goggles, like he wears in the very last scene of the season

#jatp cd covers #jatp edits #jatp fanart #jatp #julie and the phantoms #julie molina #luke patterson #alex mercer #reggie peters #flynn jatp #carrie wilson #caleb covington

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