#Jazzy Drum & Bass

[haveyoulistenedtothisalbum-poll]

Tracklist:

Conceptions • Time • Golden Solitude • Twothesme • Another Day • Hold It Down • Unique • Something Nothing • Ways Of Thought • Eight • Blank Cells • Twelve Tribes • 2-Bs-74638 • Les Fleur • The Day Of The Greys

Spotify ♪ YouTube (standard version)

[acidhydraart]

working through my backlog of unuploaded songs, here's an electrifying new banger for my pathfinder campaign!

[beevean]

Castlevania: Harmony of Dissonance

Luminous Caverns

[valentinobaos]

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A post shared by Valentino Baos (@valentinobaos)

Anoche estuve tocando en Provi y estuvo bkn, el local se llama BackRoom y está programando jazz toda la semana!

[wynnyfryd]

Trailer park Steve AU part 35

part 1 | part 34 | ao3

cw: Fred slander apologies to any Freds

“Okayyy,” Robin says with a shaky laugh as she points at everyone in the booth, going around the circle and introducing them in a single breath. “Amy-Tim-Vickie-Beth-Grant-Jordan-Fred, aaand Nancy. You, um, you already know— Nancy... r-right,” she stammers at Steve’s pointed glare, “so, um. Anyway!”

She grabs him by the shoulders; shoves him front and center like he’s a really cool new toy she brought to class for show-and-tell. “Everyone, this is Steve! Steve, this is—”

“You don’t have to say it again.”

“Oh, thank god.” She slides into the booth with a relieved huff, and Steve scoots in after her.

Despite the awkward tension and that bonkers introduction, everyone at the table does their best to act cool, to say hello and make him feel welcome while they wait for the band to start. Grant slides him the basket of fries, and Jordan compliments his watch, and Vickie asks if he’s coming to the last football game of the season, voice high and shy as she rambles about how ‘Robin’s solo in the halftime show is sooo good, you really should come see it!’ and wow.

Is Robin vain or something? She’s got a crush on a clone of herself.

Steve munches on fries and keeps an eye on the stage, hoping to catch Eddie before the show starts, and the whole thing’s… not so bad, actually. Kind of decent. Almost nice, until Fred fucking Benson ruins it. Steve’s saying something about the basketball team’s chances this season when the little asshole rolls his eyes and leans in to stage-whisper to Nancy loud enough for the whole table to hear, “The Hair? Seriously? What’s he even doing here?”

...Yeah, fuck this. “He’s getting a drink,” Steve says and storms off to the bar.

—

He’s not getting that drink.

Turns out a tenner isn’t a big enough bribe to get a bartender to break the law, so Steve nurses a diet Coke that he pretends is a lager and refuses to even look in the direction of the booth. Fucking Fred. What an asshole.

And what a stupid name, too, like— who looks at a baby and thinks, yep, looks like a Fred to me? Ugh.

Robin, bless her, has the good sense to leave him alone for a couple minute until he cools off, but then the music starts and she comes over to shout ‘stop moping and dance with me!’ and that’s the end of that.

—

The band is fucking awesome.

Steve doesn't know what he expected, but it wasn't this: high energy, tight rhythms, a driving beat that makes him want to dance. The bass reverberates through the floor, up his shins and through his chest, and for a second it almost feels like he has his hearing back, like his whole body is a wall of noise, filled with the wail of Eddie’s guitar, the scratchy rasp of his singing voice, and Eddie's…

Eddie’s amazing. Lightning in a bottle as he bounces around the stage, hips moving to the rhythm, fingers blurring over the frets. He looks so fucking hot. Denim vest, silver rings, jeans showing a delicious amount of skin — skin Steve has put his mouth on; tattoos he’s tasted with his tongue.

God, he can’t wait to kiss him. Is probably going to combust if it doesn’t happen tonight. Or like, come in his jeans, more realistically.

They dance and jump and shout along to the covers they recognize, and when Eddie dips backstage to let the band do an instrumental thing, Steve shakes the sweat out of his eyes and heads to the bar for a water.

—

"Mind if I join you?" Nancy asks.

Steve sighs. This is what he gets for wandering off alone. Robin's still by the stage, twirling Vickie around swing-style to a frantic, jazzy drum solo in a move that's actually pretty impressive even if it makes no sense with the music, and Steve resigns himself to his fate and nods at the empty stool beside him.

They sip their drinks in silence — awkward and charged, old hurts hanging between them like static waiting to strike. "Sorry about Fred," she says eventually. "And- and for me, too, I guess."

Steve huffs a laugh. Appreciates the sentiment, even if it doesn't change anything. "It's fine."

She glances over at him, that journalistic focus etched into her face. “How are you?” she asks softly.

Another laugh under his breath. He thinks about answering her honestly, just to entertain himself. Pictures the way her face would fall as he went on and on: "Oh, you know. My mom left me to go ‘rest' in Evanston, like I don’t know that means she went to rehab without saying a goddamn word, and when I called my aunt to yell at her about it, she said some ice cold shit about how I should be happy my mom left me, because now I can keep the money from the lot fees all to myself, and I said ‘what lot fees?’ and it turns out mom had been hiding, like, a lot of money from me while I stressed out about our budget for months. Oh! And also my dad’s dead, but you knew that already. And also I want to hump my neighbor against a brick wall so bad my dick is turning purple. How are you?"

"...Steve?" she tries after a moment.

“I’m good,” he settles on. Gives the bullshit answer because that's all they've ever been to each other, isn't it? Bullshit. "Yeah, I'm good," he tells her, "and you?"

"I'm fine." Her smile is tight, bags under her tired eyes, and then she sighs out long and slow, "Actually, I'm not. Everything's been..."

Steve tries to listen, but he just can't bring himself to care. Doesn't want to hear about whatever drama she's going through with the guy she dumped him for. And then Eddie comes back out on stage, and he's looking out into the crowd, and no fucking way is Steve letting him look over here and think he's cozied up with Nance. No fucking way. Nancy's ruined enough good things for him already.

"Sorry," he cuts her off, not feeling sorry at all as he stands up and walks off without looking back at her.

"Steve?" She calls after him. "Hey- wait!"

Steve makes his way to the front of the crowd.

“Howdy,” Eddie greets the room, stepping up to the mic with a Hollywood-worthy grin. His guitar’s strapped over his back, the neck pointing to the ground, and he looks so good up there. So comfortable and real.

And his outfit's different now. The denim vest is gone, and he's wearing a cut off tank top. The tank top; the one he wore that night, loose around the arms to expose his pretty, painted ribs. Steve looks up at him, transfixed. Like staring straight at the sun.

“How’s everybody doing?”

The group at the stage all whoop and cheer, and Eddie laughs delightedly; thanks them all for coming, thanks the tech and service crews. He introduces the band next, pointing each member out by name and letting them do a little solo, and then he swings his guitar over his shoulder and says, “We got one last song for you tonight!”

More cheering from the crowd. Eddie plants his feet and scans the room, a small, secret smile lighting up his gorgeous face when his eyes land on Steve. Just for a second before he looks away, but that smile stays firm, and Steve knows the next words are meant for him.

“Now, this isn’t our usual style, but uh… a little birdie told me someone here might need to hear this.”

Eddie strums his guitar. The opening notes of Go Your Own Way ring out, sped up and made grittier to fit the band's sound. Steve’s heart is in his throat.

“Good morning, sweetheart," Eddie beams as his bandmates join in, "this one’s for you.”

—

part 36

tag list in separate reblogs under '#trailer park steve au taglist' if you'd like to filter that content. if you want to be added tomorrow please comment and let me know (must be over 21; please either verify in the comment or have your age visible on your blog)

[thy-valhallen]

Batfam Voices as Instruments

Batfam voices as instruments bc i think of things very musically and it struck me others don't

Bruce: bass guitar. he's low and deep and when he speaks, you feel it in your eardrums, straight into your jaw. his words are like injections into your skull, feel intense and impossible to ignore-- but he has softer moments, too. quiet, gentle plucking of strings, the careful, slow strums of a man who plays only for the ears who will know what the notes will mean

Alfred: viola. slightly deeper than a violin, but mostly just warmer. a voice you hear and want to hum along to, a voice that sits in your ears before it sinks into your chest. it's gentle and sways with grace across strings and notes, it plays a harmony that supports and compliments, that is a steady through-line for everything that surrounds it

Dick: trumpet. brassy and loud and present and fuck do you KNOW when he's in the room. he's so bright and warm and MEANT to be heard. you hear him in your heart, every time he speaks, feel it deep in every vein like he's writing gospel into your DNA. and usually it's jazzy, it's excitement and riffs and improv and leaping off the page and doing cartwheels across a music staff-- but he's just as capable of whispersoft confessions of heartbreak and loss in D minor, can let loose a lament of all he's lost in an elegy of epic proportions

Barbara: harp. a challenging instrument to understand and play, and one she plays with ease. she is plucking strings with careful fingertips, strums across them all with a single hand. she's a melody that glides past your ears, a song that doesn't sink in-- if you're not paying attention to the hooks that latch into your brain. she is careful compositions and sweeping songs arranged for each audience with care. yet when she feels wrath, she shreds herself to make sure you feel it-- she takes scissors to her own strings to cut deeper than the song could alone

Jason: cello. deep and contemplative, with a sort of vibration that bites into your bones from the moment he opens his mouth. waxing poetic is his native tone, and it sounds like a bow dancing across strings and fingers traversing the frets like they were made for it, a soothing melody that could be a lullaby. when fury comes, the sound alone is so sharp where it's settled into your joints that you can't fight back; it's vicious strokes across the strings that shred the bow's hairs without care, wrath in every pull like it's a sword. he can settle into the orchestra or he can sweep them all offstage to stand alone against the conductor that dared to direct him

Cass: marimba. light and soft and so very deliberate. all those bars close together, and each hit with precision, because when Cass speaks, each sound and syllable is effort and choice and control. she is range and gentle dancing note to note and a sound that settles on your skin like a gentle rain, clinging and soft and so very present. to hear it is to hear if a storm could sing and serenaded the sky it calls home. she is echoing in an empty room until she fills it herself (i think of this specifically)

Tim: piano. it's all about the force put into it-- he can be the most careful, calculated guy in the room, playing with all the rigor and rigid professionalism of a NY Symphonic pianist. but the real Tim is the one who's fingers flutter playfully over the keys, who's voice cracks from laughter and sleep deprivation and stress, who trembles between octaves as his fingers tire but makes the leap anyway. he is clear ringing notes in a crowded room and rambling words like a glissando back and forth across the ivories, he is a song quiet enough to fall to the background but a complex and delicate tune if you care to listen

Steph: drum kit. she is all intensity and living in the moment and sharp impacts and a beat that never stops, never waits for the rest. she can get lost to the rest of the voices in a room, but you'll never shake that she's in your head, that her voice is there and present and presses against the base of your skull like it wants to worm straight in. she's rhythm and motion and changing things up just to do it; her voice hops from the snares to the bass to the snares and back to bass and never lets you think between notes, she's moving so fast, because it's all her, nothing she ever has to question, even if she makes you question with every slam on the cymbal

Damian: violin. he is careful in his every motion, ever meticulous with all he does; he lives in fear of being out of tune, of off-key notes for a long time, and so each one is practiced and known to the point of monotony. but over time, he thaws and the notes become more loose, more free-- he speaks less like his eyes are glued to the page, furiously tracking each note he'll play and more like the natural he is-- he becomes sharper in a different way than the rest of him, notes out of place that jut from the rest and it's okay that they do, a hum of songs that don't follow classic melodies and don't feel the need to. don't mistake it though-- his voice has always been as regal and pointed as the rest of him was raised to be, and his voice grabs both your ear and your eyes, dragging you to look at him, for him to be seen and noticed and given attention

Duke: saxophone. he is deep and rich and resonating. his voice is emotion and expression and honesty. his voice sits on your tongue because hearing him makes you want to speak, want to talk and chat and ramble with him, to reply to his melody with any harmony to match. he is a voice meant to be heard by many, who may not stand out in a room naturally but makes himself stand out by the passion in his voice. he is a slow, experimental hand that plays notes with hesitance until the rhythm hits him and suddenly, it's a melody of energy and power and a presence that he doesn't even know he has

[goosetheluce]

WAIT OKAY gwen stacy/fem!r smth smth seeing her band and like developing the BIGGEST crush on her from just watching her and bumping into her after the show and her asking u out 🤭🤭

Do I Know You? (Gwen Stacy x Fem!Reader)

requested by @meredarling

warnings: mentions of underage drinking and drug use, crowded show, use of y/n, pet names, non-sexual flirting, fem reader

☆ ☆ ☆ ☆ ☆

Wherever the crowd went, you went. The mass of punks and curious outsiders swayed and undulated, creating one hive-minded motion that flowed into you. Your ears were under a constant assault of missed guitar notes and strangled screaming that was probably wrecking the vocalist's throat. You didn't care, though; the point of coming to these shitty basement shows filled with late teens and early 20s was to ignore everything outside.

So you stayed there, taking in the combo of sweat, sour fermentation of beer, and the sharp scent of weed.

Not my favorite.

Truthfully, you didn't care about any of these bands except for the final act.

"The Mary Janes," you read off the poster to your friend, Amy. It had been laying on the concrete sidewalk leading up to the academy. Your brain put together the familiar name. "Wait, like, Mary Jane Watson? From school?"

Amy shrugged. "Guess so. I had no idea she had a band." She sipped her coffee, the chilled air nipping at both of your fingertips. You raised your eyebrows and folded the poster, slipping it into your backpack.

"We gotta see this! Especially you, Ames," you teased, elbowing her gently in the arm. She pulled into herself a bit more.

"I can't tonight, but I think if I saw MJ Watson live, I'd faint and die happily on the ground," she whispered dramatically, a smile creeping across her face. "I wish she'd dump that douchebag guy, I'm literally sending out radio-clear signal that I'm into her."

"Lending her a pen and staring at her when she's not looking isn't radio-clear, but whatever you say," you sighed. Amy was hopeless.

"What? I think it's a great tactic. Anyway, we should get to class. We're gonna be late."

You nodded and zipped up your bag. You were buzzing with excitement when you hopped off the bus later that afternoon. You had a show to catch.

And here you were, taking a swig of your bottled cherry Pepsi, sweat beading on your hairline. Outside, the sky had bled into a deep indigo ink. The music stopped, and the vocalist's thrashed voice cracked into the mic, reiterating the band's name and stumbled off.

The lights dimmed a bit more. The house had been modified to have more resemblance to an actual venue. Impressive, you remarked to yourself.

It was silent for a few moments, the crowd whispering excitedly. You caught MJ's name here and there. You wondered to yourself how you never knew she had a band, because she was clearly popular in the scene. You recognized another name.

"MJ's vocals are great, but I'm telling you, the drummer is fucking amazing. Gwen Stacy or something. She goes to our school, too. I think she's a senior."

"Huh," you muttered out loud.

A line of girls suddenly streamed out from the other room where the bands got ready. MJ's flaming locks of hair bounced over her shoulders and she ran up onto the stage, grabbing the mic and breathing heavily into it. The other girls ran out behind her and settled into their positions. The lights fully dimmed this time.

"Give it up for Glory Grant!" MJ yelled into the microphone, pointing to a dark-skinned girl with locs on keys. She dragged her fingers across the board to produce a bright shriek of notes. The crowd hollered.

"Give it up for Betty Brant!" This time it was a pale brunette on bass. She plucked the thick strings with her pointer and middle fingers with a jazzy melody. You nodded to the beat. The crowd celebrated.

"Give it up for my best friend, Gwen Stacy, on drums!" This time MJ trotted to the back where the drumset was, putting her arm around the blonde.

"Play something, Gwen!" someone in the crowd suggested.

Gwen laughed into her microphone. "Sure, random stranger." You noted her smooth, relaxed voice.

As quick as lightning, she began pounding on the drums, the cymbals crashing deafeningly. The sequence was immaculate, filling the house with energizing ruckus. Her arms moved impossibly fast, and your heart began to beat faster. Was it the tempo, or was it the way Gwen smiled with adoration for her instrument?

The crowd began to jump around, and MJ sprinted back to the mic. "I would give it up for myself, but the band is literally called The Mary Janes."

"So, face it, Tiger, you're not leaving this fuckin' show till we burn the fuckin' place down!" She played a riff on her guitar to match the drums and the show started with a bang.

Amy would have loved the show, and so did you, but your eyes were trained on Gwen the whole time. The way you could tell she was panting and screaming along with the lyrics despite not technically being a backup vocalist; it was powerful. Her bleach-blonde hair danced along with her vigorous movement as her body sang with passion. Your eyes were wide with awe. You pushed your way to the front to watch.

Her eyebrow was pierced and the side of her head was shaved, adding more to her bold presentation. Her nails were cut all the way short, but still painted maroon. Her leather jacket framed her thinner hourglass figure wonderfully, and her somewhat worn turquoise converse stomped on the bass drum. She was a beautiful force of nature.

Disappointment coursed through you when you realized that the long pause at the end of the song actually just the end of the show.

"The place didn't burn down, but I don't have the money to pay for rebuilding anyway. Have a good fuckin' night, Queens, New York!"

The crowd whooped and started talking loudly at each other when the lights came back on. The girls left the stage, yet you felt unfulfilled. You wished desperately that you'd recognize Gwen in school the next Monday as you bought another cherry Pepsi.

As the rest of the concertgoers filtered out of the house, you looked around to find an excuse to stay. Without looking in front of yourself, you took a few steps forward and crashed into someone.

"Oh, shit, I'm sorry-" you quickly apologized only to be cut short.

Holy shit. Gwen motherfucking Stacy is right in front of me.

The drummer smirked. "Careful there. What if I was some drunk asshole? Could've started a fight for yourself, there, babe."

Your cheeks lit on fire. "Yeah, no kidding," you laughed nervously. She's just a person, calm down. "That show was amazing, by the way. I'm (Y/N)."

Gwen tilted her head to the side, crossing her arms and smiling at you.

"Wait, do I know you? You're from school, right? I've seen you in the halls."

"Yup. I'm a senior," you confirmed. "That's actually why I came. Didn't know that Mary Jane had a band, never would have guessed." You took a second to think before making a move. "But I think I found someone even better."

She leaned forward and pressed her lips to your earlobe while whispering.

"You know, if it weren't for 97% of the population being straight or whatever, I think I'd ask you out right now," Gwen rasped into your ear. You felt her lips pull into a grin over your skin. "...(Y/N)," she finished, clearly trying to fluster you. It worked.

You let out a breath of air, pulling back to look at her. She was taller than you by a good half foot, and her fingers would probably be longer than yours by an inch. You found your words.

"Lucky for you, you don't have to worry about that. And definitely not after that performance," you assured charmingly. "So, are you gonna ask me?"

"I have to go help the band get their shit in the van, but..."

Gwen grabbed your palm and flipped it over to the top side. She pulled out a sharpie.

"Will this work, sweetheart?"

You nodded, pulse racing.

She went to work and wrote her number down on your hand. She left a message at the bottom.

call me xx -Gwen

☆ ☆ ☆ ☆ ☆

thanks for reading!

[mushroomminded]

rotating Gin like a 3D model in my mind to jazzy drum & bass music as we speak, we love the skrunkly

GIN!!! GINNAYYY

[prgnant]

1996 Drum & Bass

[Part 2 of a five part series where I’ll go chronologically thru every full-length single-artist dnb LP from 95-99 that I can find. Only including records where a majority of tracks are basically within the genre and new material. No remix albums, No VA compilations, No trip hop records with one dnb track, etc.]

The deep/jazzy/funky/soulful/atmospheric sound associated with Moving Shadow is really ubiquitous. Some producers are moving away from chopping breaks towards fully programmed drums, while Bill Laswell and Plug offer expansive takes on darker more aggressive jungle vibes. 4hero’s album as Jacob’s Optical Stairway and Icons’ Emotions With Intellect are highlights from the idm/experimental side.

personal favorite: Jacob’s Optical Stairway

underrated/lesser known pick: Future Loop Foundation - Time and Bass

one standout track: James Hardway - “String Swingthing”

full list with links under the cut

Jacob’s Optical Stairway (4hero) - self titled

Spring Heel Jack - 68 Million Shades….

EZ-Rollers - Dimensions of Sound

James Hardway - Deeper Wider Smoother, Shit

Plug - Drum n Bass For Papa

Future Loop Foundation - Time and Bass

Alex Reece - So Far

Omni Trio - The Haunted Science

Bill Laswell - Oscillations

Icons - Emotions With Intellect

Project 23 - 23

Endemic Void - Equations

Kid Loops vs Cool Breeze - Special Projects

[haveyoulistenedtothisalbum-poll]

Tracklist:

Planetaria (Hefner Remix) • We Who Are Not As Others (Jazzanova Version) • Mathematical Probability (Mustang Remix) • Escape That (New Sector Movements Selekshan 2 Sector Rub Remix) • Escape That (Off-World Remix) • Dauntless (Restless Soul South Pacific Remix) • Star Chasers (Masters At Work Main Mix) • Star Chasers (Azymuth Remix) • The Action (Shawn J Period Remix) • We Who Are Not As Others (Alpha Omega Remix) • We Who Are Not As Others (Sonar Circle Remix)

Spotify ♪ YouTube

[freaktorium]

OKAY I KNOW THE POLL ISN'T DONE YET BUT I FINISHED EARLY LET'S FUCKING GO BRO!

So like I said, the band name is Mother Nightshade. The group contains a fish demon (Piper), imp demon (Jazzy), succubus (Wendell), sinner (Lucyle {yes she has debuted on this acct before, and yes I deleted all previous posts of her bc I repurposed her}), and a hellhound (Arlo)

{Picture featured below is the crew in a Vivziepop esc style}

Now here they are in my style, plus their human versions!

I even made a fake pin for each of them, including their LGBTQIA identities and pronouns

I feel like it'd be worth it to go through each character individually, ya know? Get to know them! Let's start with Piper!

Piper Eela plays lead guitar in the band. She's often known as the "Big Sister" and musical prodigy. She comes from the Envy Ring, and she found her love for music when she was in her early teens. She listened to everything from pop to goth, and loved it all! Piper can also play acoustic guitar, and it was actually the first instrument she learned how to play. She is also one of the first members, as the band started off with herself and her close friend, Arlo. They even made matching jackets that they wear every day.

{VC - Scarlett Johansson}

Jazzy Rivers is the imp of the band. She's a pack of dynamite in quite the small package. She can play any form of bowed string (violin, viola, cello, etc) and even some woodwinds. She grew up around music, and often played instruments at different festivals for public entertainment. Arlo attended one of these festivals that Jazzy was playing at, and noticed her talent. After talking with Piper, they agreed to give Jazzy an opportunity to play with the band. Up to that point, Jazzy had only played country music, and quickly learned to expand her playable genres. She's feisty, she might bite you, but you can't deny she has talent!

{VC - Andrea Libman}

Wendell Starlight is the drummer, a succubus from the Lust Ring. He grew up listening to rock and heavy metal, and learned how to drum thanks to his dad. Wendell finds the rhythm of a song to be one of the most important aspects; without it, the song sounds empty and off-putting. Wendell would do gigs at Ozzie's and would also often fill in during performances, being the backtrack to whoever soloed that night. It was at one of these gigs that Piper went to where she noticed him. Having guitar, strings, and bass was nice, but they were missing something. A solid beat! It didn't take long before Wendell accepted being a permanent drummer for Mother Nightshade, expanding their music even more.

{VC - Jack Black}

Lucyle Thorn is the odd one out when it comes to the band. She's a sinner (and autistic). They can't go to other rings like the rest of the band can, which makes tours rather difficult. Mother Nightshade was doing really well when it came to performance, but they still felt like they needed more. In response, they hosted an audition in the Pride Ring. Many other demons and sinners came, and many left. Lucyle had been raised around piano, she loved it with her soul. In her audition, she played bluesy pieces, something slow and jazz-like, overall expressive. This caught the band's attention, and quickly offered Lucyle entrance, which they accepted. Now when it comes to yours, often Lucyle would record her parts in advance and send them with the rest of the group. They'd rather not do the tours anyways, as she finds them overstimulating.

{VC - Alecia Beth Moore / P!nk}

Arlo Hayes is the hellhound of the band, originating from the Gluttony Ring. He's a disabled ambulatory wheelchair user, so he can be seen on wheels, in crutches, or even sometimes without any mobility aids at all! Arlo and Piper grew up together after he was adopted by her family, and have been joined at the hip ever since. As to why he wears bright ass orange pants, it's, in his words, "So people won't make me a trip hazard when I don't have to be." While Piper learned guitar, Alro learned bass. He liked how he could feel it when he played, and how full a song felt with it. When Piper and Alro got older, they did online videos together, covering popular songs with their instruments. One thing led to another, and they started a band, Mother Nightshade. The goal overall was to be non-conforming. Why play only one genre when you can play them all? The band was a success, with their first few albums focusing on pop, goth, and punk music. As they gained performers, they gained genres. After Jazzy joined, they did a country album, a heavy metal one with Wendell, and a jazz album with Lucyle. Nowadays they alternate between what the consensus is; what do they want to play?

{VC - Ian Cardoni}

Aaaannnnd that's all, folks! Thank you for getting this far! Please consider interacting with this post. It took weeks to get all of these pieces out, and getting the start of a story out there. Of course, if there are any questions, my ask box is always open!

[friendliestanon]

Song descriptions

Bubble: simple and bubbly music. Pop-sound-effect.mp3.

Caine tutorial: also pretty simple. Takes from the end credit theme, it’s more jazzy and fun.

Pomni: she’s still new to the circus, so her music is kinda awkward and stutters. It draws most of its instruments from the digital circus theme itself. In an unlockable second battle she’s a little more confident. Still heavily playing into the circus theme, but a few more original instruments.

Ragatha: she’s got a cheery little tune with a more sharp and foreboding undertone. Some vague glitchy notes that are similar to the abstraction music. Kind of inspired by raggedy Ann music. Possible second battle after a Jax side quest that’s more harsh and a little angry.

Gangle: girlie pop has an anime intro/outro depending on if she’s in her comedy or tragedy mode. I don’t make the rules. That’s it. Comedy is major cords and faster, more upbeat. Tragedy is more bass toned with minor notes and is slower.

Kinger: odd rhythm that doesn’t really sound complete. It seems like some of the notes are missing. But he has some moments of “clarity” that soar upward before they crash down in little weird sounds and fizzle away.

Zooble: fairly basic background notes but different parts add different layers to the music, and new attacks. More punchy and punk with bass and drums.

Jax: chaotic, but has an electro swing twist reminiscent of old cartoons like Oswald and Felix the cat. Eventually could be coded to be binaural, literally running circles around you.

Caine: it would start with his tutorial music, slowly fading into the basic lines of “your new home” or the theme before kicking up into a chaotic whirlwind.

Secret 1: it’s corrupted and glitching. Repeating notes in weird ways. For some reason it kind of sounds like it also taking from the theme song.

Secret 2: it won’t stop laughing at you. It’s chaotic and wild and glitching. It’s creepy and weird and no one likes it.

Secret 3: it sounds vaguely familiar, but it’s missing something. It’s glitching and sad. It didn’t want to be here.

Secret X: upbeat and bubbly, with a more choir-like undertone.

[alientoastt]

hey are you a mechanisms enjoyer or perhaps a fan of the new albion tetralogy

have you ever wanted to hear R L Hughes' full vocal range as she plays two characters often in the same song as one another? Tim Ledsam as a morally repugnant but slightly sexy priest? an exploration of religious guilt around sex and where a sex worker gets a happy ending that doesn't involve no longer having sex? heavy fucking themes and jazzy instrumentals? you should listen to Lolina: Origins.

With a mish-mash of jazz, rock, classical and electronic music this concept EP tells the story of our heroine Lolina as she is taken from the brothels of dystopian Mars to the wastelands of post-apocalyptic Earth and beyond...

Vocals Lolina and Mariella: Rachel Hughes The Patriarch: Tim Ledsam OrganaTech Doctor: Jessica Law Backing Vocals: Jessica Law, Ben Below, Rachel Hughes Spoken Vocals: Tim Ledsam, Ben Below, Rachel Hughes

Instruments Piano and E-Piano: Rachel Hughes Violin and Electric Violin: Marius von Raum [sic.; released in 2017 and Kofi Young was credited as MvR until... I want to say 2020?] Fretless Bass, Electric Guitars, Banjo, Saxophone, Ewi, Electric Drums, Synths: Ben Below

content warnings under the cut this album is a lot. but its very good

religious guilt / extremism / kidnapping / forced conversion yeah quite a lot of it is about the whole uh. this congregation treats its women like shit and especially Lolina. I think it's handled well and there's an added layer of removal in the fact that it's like. on Mars. if that helps

a character kills herself because she realizes she has feelings for another woman and has been made to feel unclean for this. this is pretty much entirely contained in "Mariella's Lament", but is like. pretty integral to the story at play

hospital noises in Hospital Bed + medical malpractice. which isn't quite the right word for the deal with healthcare in this album but it's the best i can do without just Describing What Happens In The Album. general cyberpunk "you don't own parts of your body" type medical malpractice?

[the-hottest-band-tournament]

Round Two

Bad Religion

Defeated opponents: Status Quo

Formed in: 1980

Genres: Punk rock

Lineup: Greg Graffin- Vocals

Brett Gurewitz- Guitar

Jay Bentley- bass

Pete Finestone- Drums

Albums from the 80s:

How Can Hell Be Any Worse? (1982)

Into the Unknown (1983)

Suffer (1988)

No Control (1989)

Propaganda: 

Queensrÿche

Defeated opponents: DJ Jazzy Jeff & the Fresh Prince

Formed in: 1982

Genres: Metal, progressive metal

Lineup: Geoff Tate – lead vocals, keyboard

Michael Wilton – guitars

Chris DeGarmo – guitars, guitar synthesizer, backing vocals

Eddie Jackson – bass, backing vocals

Scott Rockenfield – keyboard, drums, percussion

Albums from the 80s:

Queensrÿche EP (1983)

The Warning (1984)

Rage for Order (1986)

Operation: Mindcrime (1988)

Propaganda: 

[vexx-ation]

365 Albums in 365 Days: 119/365

Date: Monday April 29th Album: Anathema Artist: Oblique Occasions Released: 2022 Genre: Drum and Bass Review: My friend introduced me to this idea called “critique fatigue” where listening to so much music gets you to the point where you can’t articulate why you like an album without repeating yourself. That’s me rn— I’m not sure what I can even say to describe drum and bass albums anymore. It’s groovy, it’s got that lounge feeling, it’s dark and cool and jazzy… but if I say that any more times I think the people on rateyourmusic are going to manifest in my house and strangle me. This is a neat album though, good nighttime VGM. Favorite Track: eastern idiosyncrasies