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the-knight-of-the-stars · 8 months ago

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Soon the world will be ours

Fictober Trope: Uma/Jay — I Have Nothing by Whitney Houston —Urban Fantasy AU

Part I: What me, a traitor?

School nights were always strange. No matter how mundane, there was always a strange, volatile feeling floating between the traffic noises, the barking of the dogs and the chirping of cicadas. As if such a moment had magical properties of its own. A particularly crude kind of magic, with the smell of car oil and old paint peeling from the humidity.

Uma was sure that in a small, remote town like this, the feeling was due to abandonment. It slowly took over the houses and the people, and left a vague premonitory feeling that one day no one would remember this place, it would remain as nothing more than a ghost in their memory.

On a Friday like this, six thirty in the afternoon, trying to understand the complicated words in her textbook, the orange sun of the sunset beating down on her face, Uma feeling the proximity of the night tickling the back of her neck. A Friday like all the Fridays in the world, all coexisting at that very moment.

“Due to the multi-diverse nature of a supercomposite spell, all original components must be taken into account both individually and collectively, and how each set interacts with its components to create a new product.”

Instead of concentrating on the assignment, Uma often found herself wandering about the complicated nature of these texts, wondering how the people who wrote them had learned all that and then decided that redundant words and confusing phrasing were the correct way to convey the information.

Uma threw her book into her backpack and peered through the cracks in the blinds. The sun had set, and Uma felt a surge of voltage zip through her chest. In the dim light of her room, the posters of horror movies and pop band albums were distorted by the dim light, shifting watercolor shadows. Uma threw her jacket over her shoulders and bounded down the stairs.

“Uma! You better not run out like that tomorrow, I told you I need you to take the night shift,” the voice of her mother, Ursula, came from the cracked pool in the backyard where she spent her afternoons in her octopus form, trying to reach the sensation of the waves in that lime-smelling water.

Uma opened the front door with more force than necessary, making noise so her mother would know she had heard her.

“And those dishes ain’t gonna wash themselves!”

Share my life Take me for what I am 'Cause I'll never change All my colors for you

The entire galaxy spilled out into the sky. Uma tried to mentally name every color in the night sky as she sped along on her bike, dodging potholes as the wind whispered the neighborhood gossip into her ear.

Turquoise, purple, royal blue. Flush! The clouds seemed to melt between the stars like colorful cotton candy. Tina still hasn't picked up the laundry from the dry cleaner. Ahead were the downtown stores with their buzzing signs and the apartment buildings lighting up window by window. Pastel pink, mint green, scarlet red. Johnny wants to quit his job.

The familiarity of the city squeezed her heart like one of her mother’s hugs. Invasive, uncomfortable, deeply comforting. She wanted to pull away immediately and reject the warmth, but it was too comfortable, too sweet in all its suffocating nature.

A Friday like every other Friday. The buildings were grey, their windows emanating the warm amber of the interior. The shops were colorful and children with sticky hands escaped from their mothers to peer into the shop windows. New televisions were displayed next to outdated models of never-sold vacuum cleaners.

On the avenue, middle-class kids passed by, crowding around Anthony Tremaine's yellow convertible. The extra-large horns blared and made everything jump. The old man from the butcher shop came out in a huff, shouted a spell in Latin at them, and the yellow car swayed as if a giant hand had shaken it.

Uma turned into an alley between buildings and braked. The metal door, hidden between the trash cans, was closed, so she knocked into it hard. Desirée opened it, a scarf in her hair and a tray under her arm.

"It’s rush hour. You’ll have to take the service stairs, boss,” she said.

Inside, steam from the stove made the waiters sweat and grease from the fryer stuck to the walls. Uma crossed the kitchen and ran upstairs, where the noise from the cafeteria grew old and distant.

Harry had his head buried in wires, a pen behind each ear. He reached for the screwdriver and scratched his head, trying to remember which wires to save first if the circuits had been compromised. The constant beeping of the power center was starting to drive him mad.

“Shut. Up! ”

“Harry!”

He jumped up, inadvertently dropping pens, paper notes, wires, and tools onto the floor. A screw rolled to Uma's feet. She closed the door and picked it up. She had already put her gloves on, Harry noticed.

Take my love I'll never ask for too much Just all that you are And everything that you do

“Missing me?”

“Uma,” he said, his crooked grin reaching down to his pointed, dented ears. “What are you, an evil elf?” Uma had said to him the first time they’d met. “No, sadly,” Harry had replied. “I’m only human.”

Still, Uma was sure there was some spooky mysticism to him. She liked that.

“Are we all set?”

“I don't do tools work, and they left me alone,” Harry replied, emerging from the nest of cables he had found himself in, grumbling.

“ Chill. Gil is on his way.”

“It’s been unbearable,” Harry continued, shaking his head.

Uma dropped into the swivel chair in front of the main panel and looked at the screens that filled the wall and illuminated that room of sad objects and forgotten dreams. Shadows of boxes looming between the computers. One, two, three screens out of service. That left them with two channels unreachable.

But at least four monitors were transmitting the desired images. Live television projecting its greenish light dots across the thick screen. Romance movies, animal life documentaries, a report on the governor of Camelot. The usual for Auradon's open television.

She smiled as she identified the target for the evening. Auradon TV, the only channel that all televisions on the Island tuned into. The only one the Isle's population could access without hacking and piracy. They were now broadcasting their usual afternoon gossip show, recounting all the drama between Princess Melody and the outdated dress she had worn to the most recent ball.

Adam kept saying the reason no other channels reached the Isle was an inescapable peculiarity of the air around that zone. They would fix it, eventually, even if they haven’t been able in more than ten years. Now Uma knows for sure it is a lie.

How perfectly convenient. The population he wants more eagerly to keep isolated stays in the dark, unable to learn anything about the outside world. The only window to the rest of Auradon being the mindless, carefully constructed view they want them to have of them. Another gear on his propaganda machine.

But if Adam won't give them more windows, Uma will poke as many wholes as necessary.

“How long until the transmission loads?”

“I'm not sure, love. If Gil were here…”

“Relax, Harry,” she said, and was surprised by her own optimistic tone. “We can wait for him.”

She sat back on the chair, caressing the surface of the keyboard. Any of the channels Gil had gained access to would do. They were all knowledge, and it was their mission to give it back to the villain children, piece by piece.

I don't really need to look Very much further I don't wanna have to go Where you don't follow

Harry scooted his chair over to Uma’s and dropped his head into her lap. “We make a mess tonight, darling.”

Uma pressed her forehead to Harry's. His skin was dry and cold, contrary to her, cheeks flushed and hair warm from the last sunset rays. His hair still smelled like the damp, dense air of the lagoon. Through it, Uma could picture his father's boat; heavy, worn out fiberglass, rocking in the clogged murky waters, the bitter smell of alcohol and resentment of its walls.

“You bet we do.”

She pulled away, and with her finger traced a sigil over his face, his chin, his nose, his forehead. For a second it sparkled, like miniature fireworks between them.

“What was that for?”

“Protection,” Uma said. “There's been more vandalizing lately, I don't want you to get cursed.”

It was almost true—Hook's ship was already covered in sigil graffiti everywhere—but if she's being honest, Uma hoped the sigil would also scare away the deadly melancholy that plagues his father.

Harry stayed still, staring at her.

“What?”

Harry smiled. “Your face… it shimmers.”

“You pick today's program,” Uma answered, rolling her eyes.

Harry’s eyes glowed and widened like a cat’s. The greenish lights of the monitor loomed over him, accentuating the shadows of his smile. “A horror movie!”

“Perfect,” Uma said, letting out the shadow of a laugh. “Just in time for Halloween.”

The door busted open. Gil walked in with an electrifying grin and pounced on the available chair, sliding over to where they were. His hands and face were covered in car grease, his faded Sherwood Forest Falcons shirt permeated with the smell of gasoline.

“You guys are not gonna believe who I just saw outside!”

“You were supposed to be here hours ago!” Harry exclaimed, getting up and gesticulating toward the screen.

Gil's smile seemed nailed to his skin with how stretched and immovable it was. Harry's words flew over him.

“Carlos de Vil!”

Harry's eyes went white in an expression that was half nervous twitch, half sneer. Uma just stared, very still.

“Really?” she said.

“He was just walking with Professor Yen Sid on the street! I told Jonas to follow him, we should kidnap him!”

That caught Harry's attention more. He smiled and shook Gils' shoulders, excitement growing on his chest.

“Aye, that's a great idea! We could broadcast him to Auradon and scare the whole bloody kingdom off their skin…”

The tinge of anger in his voice lit a spark in his eyes, and he stood up straight, triumphant in a sort of superhero pose. Uma could feel all his illusions, flying around in a whirlwind inside his head.

“We could…” Uma whispered, tapping on the arm of the chair.

But something worried her. Her eyes narrowed in thought. Carlos de Vil. Yen Sid. They hadn't heard anything about it, neither on the news channels nor on the gossip channels. Why would he come back?

Carlos had his precious passport, a scholarship at Auradon Prep, and a life that had been as far removed from the Island as humanly possible. The mother he left behind has long since sunk under the weight of her own bitterness. The town had forgotten her, along with the ramshackle house with rusty hinges and rotten wood that the blizzards tear apart little by little, and where Cruella remained as if the house had become part of her.

There's nothing left for Carlos here. Nor for any of them.

“He didn't come alone, did he?” Uma said, unable to stop the anger seeping into her voice. “They must have come with him.”

As if responding to that omen, the small transmitter hanging around Harry's neck began to make noise.

“… oss I… th …” a voice started to come through the wall of static, and Harry ripped it off to move the antenna.

“First Mate here, over.”

The static answered her, ominous in the deathly silence their nervousness had created. Uma held her breath until they heard the click on the other end.

“… nas here… er you, over.”

Jonas's voice was much clearer now, and Uma immediately noticed that he was whispering. Like he was hidden.

“Captain…” Jonas said, breathing slowly over the radio. “Just spotted Jay in a bar…”

I won't hold it back again This passion inside Can't run from myself There's nowhere to hide

Her heart dried up and tightened like a raisin. It felt stupid, to care so much. Gil and Harry's faces told her everything, trying to hide the disappointment they still felt like a sore that never fully healed.

The veil of years and forgotten dreams passed before her eyes like the halo of a ghost. A sentimentality that she felt ashamed of still treasuring, in the memory of eyes and a laugh and a voice that were no longer there. He might as well be dead, with how much his absence had penetrated.

And it was strange, how far away it felt. Uma remembered the greenish light of the store filtering in distorted halos through the fish tanks. The shadows of Christmas lights that were never taken down, gathering dust between the old cat cages. The glitter-covered plastic floor and the ghostly sight of the life-size cardboard cutout of King Adam by the cash register.

She remembered arriving with nervous aggression, squeezing his house keys in her hand until they made indentations on the palm. He saw her first, through a space between the fish tanks. He was smiling when Uma looked at him.

“You have my mother’s eels,” she had said coldly, without any pretense of formality.

It had taken Jay a few seconds to react, staring into her eyes.

“Hey, the name's Jay.”

He was leaning against a shelf of fish food, a half-smile slightly crooked by a fresh cut in the middle of his lip. He was all ragged baggy jeans and frizzy strands of hair over small, mischievous eyes.

“Don't worry, I'm a great eel dad,” he said, raising an eyebrow with that ridiculous, charming smile.

He spent the afternoon in the back room of the pet shop convincing her that the eels were safe with him and was not intimidated by her stoicism. He was energetic, daring and shameless.

“You could say we have an electric bond; do you feel me?”

The first thing Uma thought of him was that he had a stupid laugh, muffled by a teenage cough and infinitely confident. The second thing was that Jay gave off the same chaotic air as Harry. A strange aggression barely contained in the tension of his muscular arms. Jay handed her a handful of powdered eel food for the two of them to throw into the fish tank. Lagan and Derelict put their snouts to the glass as soon as Jay approached them.

“Check it out, they love me already,” he said, genuinely excited. “You see, I happen to be a professional heartbreaker.”

He gave Uma a wink, and she allowed the shadow of a smile to pull from her lips.

Uma is still not sure why she came back many times after and sat on the plastic box next to the empty cages that smelled of wet dog, feeding the eels while Jay flirted tirelessly until the heat of the evening steamed the puddles on the floor and the place became stifling.

Harry's initial jealousy only exacerbated Jay's brazenness. He waited for her outside school, biting his lip, anxiously awaiting the moment when he could jump into a spot next to them on the sidewalk and steal some attention.

“What a coincidence to see you here, must be fate.”

“Hey, gorgeous, I thought I could come by and bring you this super cool ring I found, you know, it just reminded me of you.”

“If I ever find that damn lamp, I'm going to wish to be the earth you step on, sweetheart.”

They never knew when the distrust faded. Harry began to let go of the initial bitterness through the fake fights he had with him, in which Jay was unable to take anything seriously and Harry took everything with great personal seriousness. Punches turned into laughter and accidental enthusiasm for the same things.

In no time Harry was all over Jay. Hugs that from the outside looked a little too restraining, hands casually resting around his neck. Always with his hands on him. Invasive affection still tinted in aggression, but unmistakably friendly.

Gil was charmed from the start. He would laugh at Jay's bad jokes and give him a pat on the back that took all the air out of him, until they were both pushing each other.

“Bro, you should do parkour with me!”

It was a terrible idea. But Uma had never seen Gil so excited, even when he fell off roofs and slipped off walls a hundred times. Afterwards, they sat in the park with its rickety swings and yellow grass, their faces covered in bruises, sharing a comically large bag of cheap snacks that tasted like cardboard Jay had stolen from Facilier's store.

Don't make me close one more door I don't wanna hurt anymore

Jay fit in with them like a piece they didn't know was missing, slipping slowly through the cracks until he penetrated their barriers. Suddenly, he was there. Another body to hug, another loud voice, another name ever present in the back of their minds. His aggressive energy matched their own, growing and boiling until they were drunk in it.

Professional thieves wrecking everything on their path. Jay, enthusiastic show off and seasoned kleptomaniac, would get them in trouble constantly, getting too comfortable in his craft and stopping mid-chase to collect anything shiny he thought Uma would like. But he would always come through; he was good at it, terribly, stupidly good. It seemed there was nothing he couldn't get away with.

It's probably one of the first things that caught Mal's eye (another ghost from Uma's past, another rip in her heart), and made her want him in her gang again, like when they were little kids. Uma never thought he would take up her offer.

That's how secure their wrap felt. Living in a haze of blood and party and recklessness that for some inexplainable reason was the safest place they knew.

An irrational, resentful part of her thought she should have known. After all, Jay was raised to be a snake.

But it is hard to reconcile it. For a second, their lives had felt tethered forever, and maybe they still were. With how much his ghost still lingered, despite their best efforts to ignore it.

Stay in my arms if you dare Or must I imagine you there

There is something unforgettable in the way Jay looked at her. Like all misery was worth looking into her eyes. Uma was made of rough edges, a bellicosity deep in her bones that made her hungry for power. Back then, Uma couldn't understand the depts of that anger that threatened to break her apart.

But Jay had. He pushed back her, dug right into her spikes and revealed in her darkness, seeing through her and wanting her with every fiber of his being.

“I know you love me, babe,” he would say, getting his face too close to her and laughing ecstatically when she grabbed his chin in an iron grip.

Uma didn't want to think about how much she had liked it. That pull and back that turned into attachment that turned into yearning. Uma doesn't know when it is she let Jay invade her every breath. Her mother's indifference, the phantom of the family's greatness, the wound of having been born helpless; it all disappeared under his touch. And for Jay, she made the devastating anger and the parasitic loyalty to Jafar and the helpless prospect of the future all turned little.

This youthful, blurring love affair was all that existed. Uma still has his adoration burned into her mind. Carnal, careful touches over the stiff sheets of her bed, her lava lamp barely breaking through the hazy darkness of that night, starts and ashes of magic floating all around them. Reverence glimmering in Jay's eyes, amid this suffocating intimacy, kissing her neck and stroking down her legs and whispering, “Uma… Uma… Uma.”

Like he needed to summon her at every second. Like her presence was as fleeting as a sea wave, and Jay would cling to her, desperate to inhale her for as long as she would have him.

Harry could never forgive him for hurting her. For not answering Gil's calls. For leaving them. Like her, Harry still has Jay's kiss tattooed on his skin.

This hatred and hurt that now blinded them, as the static on the radio kept buzzing, a blur of past present and future liquefying on the blinding blue glow of the screens, it could only come from something just as strong. And maybe that was the worst part of it all:

It had been real.

And he still had left.

“Jonas,” Uma said, voice firm as iron. “Size the little birdy; he has a show to perform.”

Don't walk away from me I have nothing, nothing, nothing If I don't have you, you, you, you, you, you

***

This is strange, right? I'm still trying to strech my abilities after a long health issue that prevented me from writting, but I liked this.

Okey, hi, thanks for reading. This was one several drafts I left abandoned last year when I was trying once again to do fictober (that is clearly not for me) but I thought this October I would try to come back to them. Basically I put spotify to reproduce songs from my playlist on a random order and the first four would be paired with whatever character/ship I thought of first.

Some really unique ideas came from that, such as this one. The flavor of the song inspired me to make an urban fantasy amd I tried to give it a kind of an 80s coming of age romance feel.

This has two other parts planned, exploring more of Mal and Jay's perspective. Tell me if you would like to see those and the other songfics I had, and what you think of this weird little thing I made.

#disney descendants #descendants #descendants disney #uma descendants #uma daughter of ursula #jay son of jafar #harry hook #uma/jay #jay/uma #juma #huma #fictober

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dustedmagazine · 10 months ago

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Oneida — Expensive Air (Joyful Noise)

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Two years after their album Success, on which they blended extended out improvisations and taut garage rock songs, Oneida returns with their 17th full length recording, Expensive Air. Once again, the band demonstrates mastery both of crafting hooks and building compelling long form pieces. Success was a favorite among a number of Dusted staff members, myself included. There’s little doubt that the positive vibes will be similar for Expensive Air.

The album is bookended by two extended jams, both loose, raucous, and ebullient. In between are shorter songs, chock-full of distorted guitars, a powerful rhythm section, and yawping vocals. Singer-multi-instrumentalist Bobby Matador (Robertson Thatcher) initially wrote all of the material as two to three minute starting points, developing them with the band into eight tracks clocking in at thirty-three minutes, abundant in variety.

Unlike Success, where a number of songs were muscular and lean, Expensive Air’s often include nearly as much experimentation as the extended material. Take the title track, where a bleeping note is juxtaposed with squalling downward slides, the guitars exploring dissonant intervals and unconventionally voiced barre chords. The rhythm section, guitarist/bassist Hanoi Jane (Francis McDermott) and drummer Kid Millions (John Colpitts) thunder in alt-rock fashion. “Stranger” finds Matador singing in No-Wave style over minimal guitars. “Salt’s” oscillating riff creates a ubiquitous underpinning, as does the intense playing once again of the rhythm section. Layers of electronics alternate with a doomy tune from Showtime (Shahin Motia) on “La Plage.” “Here it Comes” is an uptempo post punk anthem with an organ solo redolent of Manzarek and a great hook. The singing here isn’t by any means tuneful, hollering together into the void is more like it. Its energy may make you want to yell along.

Opening track “Reason to Hide,” clocking in at nearly seven-and-a-half minutes long, has a bass ostinato and ghostly synths that could be outtakes from Amnesiac. Kid Millions keeps up a forceful groove throughout, and clangorous guitars complete the intense atmosphere. A rough half-spoken vocal from Matador arrives a little more than halfway through, imitating the melody of the bassline but slower and with greater flexibility. Kid Millions joins in the singing, which tightens up and takes center stage. A coda brings out elements from the piece’s inception, ending energetically.

The final track, “Gunboats,” is another extended essay, this time eight minutes long. A minimally constructed guitar riff, dovetailing with the bass-line, is accompanied by fill-laden drumming from Millions. Gradually, a second guitar part enhances the texture, and Goth-hued singing begins in octaves. The guitars build screeching solos, accompanied with fervor by the rhythm section, and the proceedings end in collapse. “Gunboats” is a master class in indie rock intensity.

Christian Carey

#oneida #expensive air #joyful noise #christian carey #albumreview #dusted magazine #rock #experimental #punk #art rock

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metsn · 7 months ago

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ANAPHYLAXIS FILTER - WASPsynth multi-mode filter with double LFO and distortion

The ANAPHYLAXIS FILTER is a multi-mode filter with double LFO modulator for the CUTOFF frequency based the filter section of the notorious WASP synthesizer that was created by Electric Dream Plant in 1978. This standalone pedal version of the filter allows you to use it for the input signals of your choice. The FILTER MODE selector is a 4 position rotary switch (up to down: LOW PASS, BAND PASS, HIGH PASS and NOTCH) with the position indicated by small purple UV LEDs. The input signal is controlled with the GAIN control, that can boost even weaker input signal to overdrive the filter. A dedicated RESONANCE control determines the amount of RESONANCE at the CUTOFF point, that of course has a control knob as well. Furthermore the RESONANCE has two settings: EXTREME (up) and NORMAL(down), selected with a toggle switch. In HIGH PASS mode the filter can self-oscillate without any input, in case you need a high frequency SINE WAVE oscillator. In that case the FREQUENCY can be dialed in with the CUTOFF control. A 3.5mm mono input socket for EXTERNAL CV (Beware only use max. +5VDC, everything else destroys the circuit!). This input is used to modulate the filter’s CUTOFF with external gear (as i demonstrate in a demo video of a previous build). But the ANAPHYLAXIS FILTER can do more, as it has 2 build in LFOs that are modulating the CUTOFF frequency, with independent SPEED and DEPTH controls, which allows to generate a more complex modulation waveform. Each LFO has a RANGE toggle that selects: SLOW (down) or FAST (up) as well a 3 position toggle switch that selects the SHAPE: SQUARE (down), OFF (middle) and triangle (up). The fast LFO range goes well into audio range and enables you to create some very interesting frequency modulation filter effects. With slower rates, especially with the triangle shape and the 2 LFOs running at non-synced rates, even the most static sounding input get ‘alive’. The SPEED of each LFO is indicated by either red or green color in the big LED in the middle of the LFO section. The 1st stomp switch is TRUE BYPASS and if that is not enough, the 2nd stomp switch engages the DISTORTION, both with UV indicator LEDs. The level of the DISTORTION is controlled by the DISTORTION knob and the toggle switch next to it adds a TREBLE BOOST (up) or a HIGH CUT (down) setting to the DISTORTION. In the end of the signal path is a signal booster based on the EHX LBP1 with a global VOLUME control. The ANAPHYLAXIS FILTER runs on 9V DC and has a ‘boss style’ 2.1mm DC barrel plug socket with the negative pin inside. The enclosure is a heavy duty scavenged industrial engine power connector housing made from die-cast aluminum with a bottom plate made from found material and is painted in the industrial burnout camo pattern in matte black and bright yellow. Handmade by GRM for METSÄÄN. Sold.

#anaphylaxis filter #distortion #multi mode filter #waspsynth #waspfilter #metsään #thismachinekillsfascists

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ekssperimental · 6 months ago

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𝗧𝗿𝗮𝗻𝘀𝗙𝗹𝘂𝘅𝗲𝗿 is a versatile multi-effect packed with powerful modules designed to inspire creativity and exploration:

𝙏𝙖𝙥𝙚 𝙈𝙤𝙙𝙪𝙡𝙚: Add authentic analog warmth with hiss and character controls.

𝘿𝙪𝙖𝙡 𝙈𝙪𝙡𝙩𝙞𝙢𝙤𝙙𝙚 𝙁𝙞𝙡𝙩𝙚𝙧𝙨: Includes a “bipolar” filter with COMB mode for unique resonances.

𝙏𝙬𝙤 𝙍𝙚𝙫𝙚𝙧𝙗 𝙈𝙤𝙙𝙪𝙡𝙚𝙨: Each offers 3 distinct modes for lush spatial effects.

𝙈𝙤𝙙𝙪𝙡𝙖𝙩𝙤𝙧: Features traditional shapes (Ramp up/down, Triangle, Square, Random) and a configurable custom shape with 1–5 steps.

𝙁𝙡𝙖𝙣𝙜𝙚𝙧: Choose from 4 versatile modes for modulation.

𝙂𝙡𝙞𝙩𝙘𝙝 𝙈𝙤𝙙𝙪𝙡𝙚: Granular-based effects with rhythmic gating, pitch shifting, and reversing.

𝘿𝙚𝙡𝙖𝙮 𝙈𝙤𝙙𝙪𝙡𝙚: Granular delays capable of pitch-shifting and reversing audio.

𝙒𝙖𝙫𝙚𝙨𝙝𝙖𝙥𝙚𝙧: 11 modes for dynamic distortion and tonal shaping.

𝙇𝙤-𝙁𝙞 𝙈𝙤𝙙𝙪𝙡𝙚: Add texture with bit and sample rate reduction.

𝘾𝙤𝙢𝙥𝙧𝙚𝙨𝙨𝙤𝙧: A simple yet effective auto-compressor for dynamic control.

𝙇𝙞𝙢𝙞𝙩𝙚𝙧: Offers soft, hard, and clip modes for flexible limiting.

𝙋𝙖𝙧𝙖𝙢𝙚𝙩𝙧𝙞𝙘 𝙀𝙌: Includes high/low shelves and a mid-band with frequency and Q controls.

𝙋𝙖𝙣 𝙖𝙣𝙙 𝙊𝙪𝙩𝙥𝙪𝙩 𝙇𝙚𝙫𝙚𝙡: Fine-tune your mix with precise control.

Additionally, independent audio jacks on the 𝙂𝙡𝙞𝙩𝙘𝙝, 𝘿𝙚𝙡𝙖𝙮, and 𝙒𝙖𝙫𝙚𝙨𝙝𝙖𝙥𝙚𝙧 modules provide routing flexibility for advanced setups.

𝟭𝟯𝟬+ 𝗽𝗮𝘁𝗰𝗵𝗲𝘀 are included to get you started, showcasing the wide range of sonic possibilities that 𝗧𝗿𝗮𝗻𝘀𝗙𝗹𝘂𝘅𝗲𝗿 offers.

#reasonrackplugin #reasondaw #reasonrack #reasongang #reasonstudios #reason #TransFluxer #electronic music #music #experimental #ambient #plugin

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just-your-average-tangerine · 1 year ago

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Song of the day: June 24 2024

Killer Queen by Queen

About Queen:

Queen are a British rock band formed in London in 1970 by Freddie Mercury (lead vocals, piano), Brian May (guitar, vocals), and Roger Taylor (drums, vocals), later joined by John Deacon (bass). Their earliest works were influenced by progressive rock, hard rock, and heavy metal, but the band gradually ventured into more conventional and radio-friendly works by incorporating further styles, such as arena rock and pop rock.

About Killer Queen:

“Killer Queen” was the breakthrough song that turned Queen into worldwide rock stars. Peaking at #2 in the UK, the song became a hit in seven other European countries as well. “Killer Queen” was the first Queen single to successfully ‘cross the pond’, becoming a top 20 hit in the U.S. and Canada, as well as a top 30 hit in Australia.

In the New Musical Express of November 2, 1974, the song’s writer and Queen’s frontman Freddie Mercury elucidates on this song: “It’s about a high class call girl. I’m trying to say that classy people can be whores as well. That’s what the song is about, though I’d prefer people to put their interpretation upon it – to read into it what they like.”

While it may seem like a typical popular song, the structure utilised in the song is quite unusual. There are 4 bar phrases immediately followed by 5 bar phrases and then 2 bar phrases, with tempo changing from 12/8 to 6/8 and vice versa.

The main key being Eb major is very unorthodox for Rock music, as guitars don’t usually play flats. Brian May, who pioneered a heavier hard rock sound, had been struck with hepatitis during the majority of the recording. Upon initially hearing the song, Brian was shocked over the more progressive, lighter sound. Nevertheless, the rest of the band left space for Brian to record his own iconic guitar melodies.

The song includes prominent uses of multi-tracking, not just on the vocals, but also in the guitar solo. Other effects used include the flanger (pitch bends), panning (sound moving from the left ear to the right), portamento/glissando (sliding from one note to another), distortion (giving a creamy feel), wah-wah on the guitar, string bending and sliding.

The band had decided not to use the ubiquitous synthesiser, as they thought it was superfluous. Instead, instrumentation utilised includes a jangle piano (detuned), drum kit, bass guitar, electric guitar and vocals.

#song of the day #killer queen #queen band #queen #Spotify

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sinceileftyoublog · 2 years ago

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Black Belt Eagle Scout Interview: Expanding My Vulnerability

BY JORDAN MAINZER

Katherine Paul began the Black Belt Eagle Scout set at Pitchfork with whispered singing. As “My Blood Runs Through This Land” progressed, the song a standout from their third album The Land, The Water, The Sky (Saddle Creek), Paul’s singing transformed into a wail, albeit muted by her own guitar distortion and Camas Logue’s mighty drums. Fittingly, Paul’s voice never seemed like it was at the center. It was there, telling her stories, but always equal in sonic and emotional importance to her surroundings. Sometimes, the neighboring elements were symbolic, like the guitar solo of “My Blood Runs Through This Land”, “emulating [her] ancestors running,” as she told me at Pitchfork. (Paul is Coast Salish/Swinomish, raised in the Swinomish Indian Tribal Community in LaConner, Washington.) Other times, they were perhaps coincidental, as when she sang about being “engulfed by beauty” on “Don’t Give Up”, right as her singing was overwhelmed by the swirling of Logue’s drums, Nay Wilkins’ bass, and Claire Puckett’s guitars. No matter what, the set was a masterclass in tension and ultimate expressiveness, the songs exponentially louder than their studio versions. With every repetition of “Need you, want you” on Mother of My Children’s “Soft Stud”, the guitars bellowed with mammoth force, the crowd whooping in approval. It was breathtaking.

The Land, The Water, The Sky is inspired by Paul moving back to the Swinomish Reservation on which she was raised, as well as her metaphoric personal journeys. The record contains love songs of varying recipients: her surroundings (“Nobody”), her immediate family (“Spaces”), her local queer community (“Sčičudz (a narrow place)”). This time around, she worked with some notable collaborators on the record, like multi-instrumentalist Takiaya Reed of excellent Melbourne doom duo Divide and Dissolve, who co-produced the album, and Mount Eerie’s Phil Elverum, who sings on “Salmon Stinta”. Though Paul played many of the instruments on the record and certainly led its expanded instrumental palate, its instrumentation and production was not a one-person affair like her previous two albums. Many artists find working by themselves intimidating; in contrast, for Paul, opening herself up to other musicians in this way was a key part of her growth in confidence. Ditto for playing live. “I have a really amazing band,” Paul said. “We’ve grown so much...for most of the year, we’ve been on the road non-stop, so we’ve learned how to work through certain sounds and passages together.”

Paul and I sat outside the festival press tent (as JPEGMAFIA boomed in the distance) to discuss The Land, The Water, The Sky, playing live, her writing process, and Divide and Dissolve. Read our conversation below, edited for length and clarity.

Since I Left You: You have three albums already and a somewhat limited set time. How do you decide what songs to play at a festival?

Katherine Paul: I really wanted to play a lot of the new album, but also bring in some of what I felt are the heavy hitters from my previous album. [Songs] that make the set flow. I tried to put some of the new singles in the set, and some that are the favorites in the previous albums. Since you’re playing to a lot of new people, too, something that keeps the energy up.

SILY: I definitely felt that with what you chose to play. I had never seen you live and wanted to come in green, so I didn’t watch any videos, and your set was definitely louder than I expected, in a great way. There was a lot of play with dynamics and catharsis and release. Are you feeling those emotions on stage?

KP: Yeah, I mean I feel like we kick it up a notch, and I like to rock out. For this show, I played on an amp I don’t normally play out of, and I loved it. I kind of want to get one. I love playing loud guitars. [laughs]

SILY: When you play live, do you find yourself in a similar headspace to when you wrote the songs? Are you trying to channel on stage what inspired you to write them in the first place?

KP: I think about what they mean to me, which is maybe a similar thing. I think about why I play certain parts. When I play “My Blood Runs Through This Land”, the guitar solo is supposed to emulate my ancestors running. It’s raw and beautiful. I think about that and put my feeling and playing into those thoughts. I like to make a connection to what the song means to me when I play it.

SILY: On the record, you did a lot of the instrumentation yourself. Do you find adapting the songs to the stage, with a full band, just as rewarding as writing and recording them in the first place?

KP: I’m still learning. That’s what I’m realizing. Sometimes, my natural instinct is to play them how they sound on the recording, but lately, I feel like I want to put a jam in there. [laughs]

SILY: You played “Don’t Give Up” right before playing “Indians Never Die”. In interviews around the release of Mother of My Children, you were talking about “Indians Never Die” and the idea of always taking care of the land. When you sing on "Don’t Give Up”, “I was only seventeen, I was only seventy,” is that a similar sentiment?

KP: “Don’t Give Up” has a lot of writing about my mental health and taking care of myself, having that knowledge that we’re still growing as people and trying to figure things out, whether we’re seventeen or seventy. That’s what those specific lyrics mean, but I think that could tie into, by taking care of myself, I’m taking care of the connection to where I’m from.

SILY: I also like the phrase on the song, “engulfed by beauty.” It suggests being almost overwhelmed by nature, and it works with the heavy reverb of the music.

KP: Yeah. Being swallowed by it.

SILY: Have you gotten to see anyone else at the festival?

KP: I got to see snippets here and there: Vagabon’s one and a half songs, Weyes Blood, Big Thief, yaya bey. I wanted to see Julia [Jacklin], but I couldn’t. Her set was so short. There was a lot of running around, getting food, getting situated.

SILY: Do you like the new Divide and Dissolve record?

KP: I haven’t heard it yet. I’m waiting for the right time to listen to it. I know it’s out, and I want to listen to it when I’m at home on a walk. When I heard the previous record, I was just gutted. So I want to listen to this one walking around in the woods or something.

SILY: Apart from the specific stories and changes in your life that inspired The Land, The Water, The Sky, is there anything else unique about it as compared to your first two records? And how is it a continuation of them?

KP: There are still those glittery sounds within the pop genre that pop up. The uniqueness comes with expanding my vulnerability as a songwriter, having different people play on it. It shifted my perspective of what my songwriting can be. Before, I was more afraid to take risks and do different things, but now, I feel better about it--almost encouraged.

SILY: Are you the type of songwriter always writing, or do you have to set periods of time for you to sit down and do it?

KP: I definitely have to set time aside to do it. I have so much going on in my life. [laughs] It’s hard to always be writing.

SILY: Is there anything else upcoming for you?

KP: I’m working on a mini tour documentary with Evan Atwood, who did the photo [on the front cover of] the album. We’ll have some live recorded versions and filmed versions on the songs. This coming winter, I’m just going to write music and figure out what’s next.

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imaginarydaydreams · 2 years ago

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Picking Flowers on Devils Point: Prologue

Fandom: Persona 2 Eternal Punishment (ft. Innocent Sin) Concept: “A bouquet for the boy who loved too much. That way, you never forget the sin you committed.” A retelling of Persona 2 Eternal Punishment, but Tatsuya Suou has hanahaki disease. A retelling of Persona 2 Eternal Punishment, but Tatsuya Suou has Hanahaki disease. Heavily implied Tatsujun but this ain't about them. Date Written: 7/22/2023 Thoughts: Welcome…to the Sky Museum—Thunderdome. Welcome to the Thunderdome. This is the first part in what I hope to be a multi chapter fic that I will actually finish. Thank you to my collaborator, @thatrandomlittlegirl, for being my enabler and most importantly, helping me fact check everything because god knows my memory in terms of events that happened in Persona 2 IS and EP is shaky at best, despite us playing the games together. AO3 Link | Tagging: @pieuteu

"You know what? I'm glad we met again. Next time, you're gonna join my band, got that? It's a promise; don't forget." "Chinyan, darling...remember me, no matter what. I love you..." "I won't forget; not my sin, not you, not anyone. We'll meet again, and together, we'll save Maya. So I won't say goodbye, only...thank you." "I shall always watch over you from within, and pray that you break through the unwritten laws of destiny and remember each other...Farewell." Farewell. That was such a finite word, Tatsuya thought as he watched his friends leave one by one through the portal connecting the new world to the old, into the new timeline they had created. With each tearful goodbye, each back turned on him, he could only stare silently while they disappeared into the void, the memories reclaimed after years apart melting away in exchange for a hopeful future where their big sister figured lived once more. But was that not such a steep price to pay? They had only just found each other again. Saving Jun from the clutches of a demented god; clearing up the misconceptions from ten years ago; fighting for humanity’s future with the power of the friendships once forged at an unassuming shrine so long ago… A mere few days wasn’t enough when the world sought to fall apart around them before they could even play catch-up. Especially when a majority of that time was spent ignorant to the truth and each other’s identities. Tatsuya clenched his fists at the unfairness of it all. He didn’t want to do this—to forget his time with his beloved friends. He had only just gotten them back. It wasn’t fair that they were so cruelly taken away because of a stupid bet between gods and a cheating prophecy that they couldn’t ever hope of beating. And yet, he didn’t really have a choice in the matter anymore. Eikichi, Lisa, Jun, and he had all made their decisions immediately. Their memories as payment for Maya’s life. To go back on his promise now was to trample the hopes and dreams they carried for this new world. One where humanity’s dark wish didn’t follow them and bring to fruition a future of ruin. He didn’t have a right to step back on that decision. But that didn’t mean that he wasn’t upset about everything. Heaving a sigh, Tatsuya took a step towards the portal, readying himself to pass through and lose everything, when he was stopped by a hand roughly grabbing the sleeve of his blazer. “And just where do you think you’re going?” The voice was as distorted as ever, but he recognized it all the same. He turned around and came face to face with his shadow, its bright red eyes gazing back at him with scorn, just like back in the Leo Temple. Tatsuya unconsciously moved to flick his lighter, but the comforting feeling of metal clasped between his fingers was nowhere to be found. Ah, that’s right. This was the passage between dimensions; if he was going to move on, then in this new world, he and Jun technically would never have met—never would have exchanged their personal treasures with each other in front of that shop once upon a time. It made sense if he was already being stripped of everything that connected him to this side. The loss of yet another precious memory burned in his chest. Instead, Tatsuya shoved at the hand still holding him in a vice grip as irritation began prickling at his skin. His other hand, still seeking out the cool metal of his once prized possession, clenched and unclenched at his side. This only made his shadow laugh, the harsh sound carried through the vastness of the void around them.

“What? You think I’m stepping out of line?” His facial features twisted into a cruel grin, eyes practically gleaming with derision. “I’m only telling the truth, Tatsuya; after all, that’s why I’m here in the first place. “I’ve told you before, you self-righteous hypocrite, your weakness is a sin. What makes you think that you can take on the necessary burden to save the world? “You couldn’t even save the life of your beloved older sister figure.” At those words, Tatsuya grabbed his shadow by the collar, arm poised at the ready to strike. However, his shadow didn’t even bother gracing him with a flinch, as if expecting this of his other self. Rather, he only looked unamused, eyes watching Tatsuya like a hawk, waiting. "If you really want to go to the Other Side, go ahead. Strike me down. Forget about your friends, your memories—all of the things you did, here and now. Your other half isn’t here to shelter you like before. So let's see your resolve.” Tatsuya’s fist shook with barely restrained anger. How dare he. Was he not already proving his resolve by choosing to give up everything for this slim chance at a better future? Was he not already showing how strong he was—giving up the sliver of happiness he was denied after ten long, long years of loneliness and isolation? He didn’t have his friends by his side for so long yet, through a chance meeting, met them again… only to have them ripped away oh-so suddenly because some god decided he wanted to win a stupid bet that damn badly? And now his shadow of all things was saying that he didn’t have the strength to move on? He could kill his shadow right here and now with his bare hands. Prove his resolve and leave this doomed world behind. All he had to do was let go of everything holding him back. But as his mind filled with the last words spoken to him in the Sea of Souls, he hesitated. He thought back on everything that happened—the impromptu Joker game at Sumaru Prison leading a ragtag group on a wild goose chase throughout the entire city; finally getting closure for the Alaya Shrine incident; and reuniting with people he thought he would never see again. Could he really give all of that up? It was such a short amount of time they had together… “I don’t…I don’t want to forget what happened. How could I forget…?” Tatsuya’s fist dropped, his grip on his shadow’s collar loosening ever so slightly. His shadow sneered. "Oh you can't? Figures. You’ve never been able to make decisions for yourself, always relying on the strengths of others. Pathetic, aren’t you? You can't do anything, the way you are now.

“And this is why you don’t deserve this second chance.” The split second hesitation was all that was needed as hands shot out and wrapped themselves around Tatsuya’s neck, squeezing and constricting his air flow immediately. The crushing weight of the memories that clung to him like a vice felt suffocating in the grip his shadow had around his neck. Tatsuya tried to scramble to break the hold on him—to shove his shadow away, kick him, bite even, anything to just breathe—but his shadow was relentless. The fluttering of his heart pounding incessantly against his rib cage spoke to the very real part of him that didn’t want to die yet, fear crawling down his spine. Was he really going to die here? Was he really not going to be able to fulfill his promise? After a few moments, the grip loosened and Tatsuya fell to the floor, lungs burning and coughs racking his body as he tried to take in the oxygen he was deprived of. His shadow looked at him, disgusted. “Whatever. In the end, you’re free to continue to cling to those damnable memories of yours. But—“ Hands immediately pulled Tatsuya back up to his feet and every nerve in his being seized up on instinct, moving his arms sluggishly to protect his throat. His body was pulled forward with such force that he stumbled, face to face with red eyes that glowed with an ethereal anger. “—just know you can never outrun the guilt of your sins.” With that, a rough shove propelled Tatsuya backwards and he fell through the portal. A darkness unlike any other began to overtake his vision. Right as he was carried to the new world, Tatsuya could have sworn he heard muttered words in the distance. “For your sake, I can only hope the consequences of your actions come back to bite you.”

——————

When the world came back into focus, Tatsuya was lying on a dark checkered tile floor, marble pillars positioned in a semi-circle reaching into a starry sky. Glowing runes floated around him, undulating with magic that seemed to keep the entire place together. He slowly sat up, taking in his surroundings. He was back in the Sea of Souls. But why? Didn't he just come from there, or some extension thereof? And where was Philemon? However, before Tatsuya could stand and start to look around, the sound of loud clapping and thunderous laughter reverberated through the space, bouncing off the shadows that enveloped him. "Let's give it up for Tatsuya Suou, Philemon's beloved champion! The boy who doomed the whole world with his selfishness!” From the darkness, a sharp click was heard before a tall figure stepped out, the edges of a Sevens uniform coming into view and fluffy brown hair illuminated by the runes that surrounded them. A gleam caught Tatsuya’s eye, a familiar sight of a metal lighter held between the figure’s hands. For a moment, he thought that his shadow had followed him across universes to perhaps finish him off—his muscles tensed in the case of a fight breaking out—but the golden eyes that stared down at him with contemptuous condescension spoke to who it was that greeted him. The creature wearing his face gave him a mouth-splitting smile, the corners of its lips curling impossibly far as it delighted in Tatsuya’s shock. “Don’t you think this visage suits me? Or, perhaps—“ A blinding flash of light forced Tatsuya to close his eyes and, when it was once again safe to open them, he found a mockery of his best friend, eyes closed and a sweet smile on his face, standing in its place. A silver watch adorned his wrist, catching the light as if to further taunt Tatsuya on what he couldn’t have. “—you’re more inclined towards his face, hmm? After all, this is your beloved, the one you yearn to see most.” Even the voice was the same. Yet the distortion underlying the words served as a reminder to who was truly in front of him. Tatsuya immediately lunged at the cruel god, the burning embers of rage licking at his veins as hands readied to rip him to shreds. He already played his asinine game; no way in hell was he going to let this farce continue for even a second. Not on his nor Jun’s honor. However, inky black hands sprouted from the floor below, grabbing onto his limbs and pinning him down with an inhuman strength. The pressure was enough to force Tatsuya in a kneeling position no matter how much he struggled. A smile began to slowly spread across Nyarlathotep’s lips at the sight of the proud lion reduced to a mere docile kitten. “Ah, ah, ah, watch that temper of yours, Sun Arcana. You wouldn’t want to hurt the face of the one you hold dearest, no?” Another haughty and malicious laugh echoed through the void as Tatsuya snarled but didn’t make any further movement. The nails digging into his skin served as a well-needed distraction because, loathe as he was to admit it, Tatsuya couldn’t bear to attack any version of Jun.

Even if that version was currently a monster wearing his face. Swallowing his pride, Tatsuya just bowed his head, hiding his eyes behind his bangs. At least this way, he didn’t have to witness this disgusting display before him. Nyarlathotep resumed his closed-eyed fox smile, head tilted in contented glee as he circled Tatsuya like a predator to prey. “In the end, you chose to forgo the parameters you yourself decided and kept your memories in an act of pure selfishness. You pushed all the pain upon your friends, yet retained your memories…you claim that I’m evil, but I would say you’re just as heartless as you say I am." The footsteps stopped directly in front of Tatsuya but he refused to look up. Nyarlathotep instead bent down at the waist and hooked a finger under Tatsuya’s chin, forcing his head up so their faces were leveled with one another. “So tell me, how does it feel to sit upon your throne of lies and broken promises, knowing that everything is and was futile in the end?” Tatsuya flinched at the words. The Crawling Chaos cackled. “What will you do now, hmm? Doom this world like you did the other, on account of your selfish wish? Start over again anew? You had your one chance and yet you squandered it, all in the name of the tepid things you humans call bonds.” From his spot, Tatsuya began to curl into himself, fists clenching tighter. He hated this. He hated the fact that he had done the one thing he swore he wouldn’t while he was still battling with uncertainty towards the decision to start the world anew. And in doing so, he had betrayed his friends’ feelings. And for what? Because he himself didn’t want to let them go so soon? Maybe his shadow was right about him being a hypocrite… “No need to feel bad—this is what you humans wanted after all. But perhaps you wish for some comfort? A shoulder to cry on? You’re looking for the wrong person if you think I can provide that. But maybe…” The monster knelt down in front of Tatsuya and slowly reached a hand out to touch his hair, fingers tracing down—past his bangs, the curve of his cheekbone, under his chin—before settling back against his cheek in a tender caress. It felt cold. Tatsuya closed his eyes. “Tatsuya…”

No… “Tatsuya, it’s alright…”

Anything but this… The hand cupping his cheek was so achingly gentle. The telltale distortion marking the cruel, faceless god had disappeared, the voice calling out to him light and soft, so much like the voice he was so familiar with. Flashes of memories exploded behind his mind’s eye—small touches here and there, a dazzling smile, bright laughter, and the scent of floral notes mixed with a mild perfume… He should know better. He should know better, but a part of him wanted to give in, to chase after the siren’s song that lured him in. Even though Tatsuya knew—knew that behind those closed eyelids awaited, not the beautiful brown irises he loved, but a cold, unfeeling golden glare—it was the closest he could ever be to his beloved in a world that pegged them as strangers. But still, Tatsuya remained quiet. Silence passed for a beat or two and, ever the hopeful one, Tatsuya thought that perhaps Nyarlathotep had given up on this charade and gotten bored. However, the sound of feet shuffling closer and a body shifting positions gave the answer. “It’s okay. You don’t have to say anything, Tatsuya. I’m never leaving your side…” Something soft pressed against his forehead. The tender dissonance of the action caused Tatsuya to jerk his head to the side, away from the offending figure, biting down on his tongue as his body shook with unbridled rage. He thrashed against the hands holding him down but they didn’t let up. This only caused the figure—brash, cold, and threatening; nothing like the soft and sweet memories of his Jun—to cackle. "Now, now, don't turn away. You and I both know that this is the one face you could never deny," ‘Jun' opened his eyes and instead of the warm browns that Tatsuya knew and loved, they shone gold, glimmering with malice. “Brilliant. Look at that expression, teeming with desolation." “As much as I would like to keep you here to torment for eternity, that’s not what I’m here for.” Having said that, the fake doppelgänger stood up. With a snap of his fingers, a crown of red flowers materialized into his hands. It seemed to pulsate, swaying in an invisible wind as a few petals dropped to the floor like droplets of fresh blood. Between each bloom, the same inky hands that held Tatsuya down linked together in a mass of writhing limbs, forming a monstrous Mobius strip of sorts. “A gift for you, Paradox Boy. The first of two. I think you’ll find it quite thoughtful.” Nyarlathotep chuckled as if proud of himself. “A crown for the king of fools May it serve as a testament to your greatest sin, the reminder of the point at which this world was doomed by your own hands.” Another silence rang out in the Sea of Souls and Tatsuya peered up cautiously, bracing himself for whatever that monster had in store. He could still see the image of Jun—‘not Jun,’ he reminded himself; the unnatural gold staring coldly down at him shattered all illusion he could have deluded himself into—looking at him with an expression he never thought his Jun could have. “I won’t give you an explanation for what this does. That would ruin the fun. But considering all the time you’ve spent with my previous pawn, you’ll know what these mean.” Bending down slightly, the Crawling Chaos placed the flower crown upon Tatsuya’s head.

As soon as the crown touched his brow, a sharp pain coursing through his body caused his sight to become blurry, body quaking and writhing from the shock. Tatsuya wanted to scream, cry, curl up onto the floor–anything to get away from the pain assaulting his body—but the hands still gripping onto him kept him upright. At least there was the comfort that they loosened enough to give him back mobility in his arms, even if it was slight. An involuntary cough left him, shaky as the breaths he tried to take in through the hands that covered his mouth. When he pulled one hand away, Tatsuya could barely make out the blobs of red that coated his fingers. They smelled slightly floral with a hint of iron. He could only stare bleary-eyed at the god in question. Said god only huffed in response. “Oh don’t worry. This won’t be enough to kill you. After all, this is meant to be a punishment. There would be no fun if I just allowed you to simply die. “No, no. I want you to remember your sins with every breath you take and have carved into your heart the reminder that no one can escape Fate so easily. “That is my final mercy to you, Paradox Boy,” Nyarlathotep said, his voice still distinctly Jun’s but now carrying the power of the monstrous god behind it. “And one that is far more kind than anything Philemon could ever give you.” As the Crawling Chaos dissipated into the shadows, the echoes of maniacal laughter leaving Tatsuya alone in the Sea of Souls, he swore he could see the faint, weak fluttering of golden butterfly wings in the corner of his eye.

——————

At the front of an unassuming train station, six strangers met for the first time.

#persona 2 #persona 2 innocent sin #persona 2 eternal punishment #persona 2 spoilers #tatsuya suou #implied tatsujun #stories weaved from the stars

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doomedandstoned · 2 years ago

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BURN RITUAL Brings Gloomy Autumn Vibes to ‘Grave Watcher’

~By Billy Goate~

Gritty low end vibes and warm, burly guitar tone greets our senses as "Becoming The Beast" begins. It's the first track off of 'Grave Watcher' (2023) by San Antonio's BURN RITUAL. The guitar tone is fuzzy, but not too dirty or distorted, just smooth, hazy sailing along the river Styx. Subtly reverberating overhead are the clean, haunting vocals.

Multi-instrumentalist and producer Jake W. Lewis is the mastermind behind this record, which includes a synthesizer in this stoner-doom vision. We featured sounds from Burn Ritual before the pandemic with 'Blood of the Raven' (2018, Cursed Monk Records) -- review here. This is their third full-length, released November 10th, 2023 on vinyl, compact disc, and digital formats.

"Waiting For The Sun" is another effective number, and would appeal to fans of Electric Wizard, Moon Coven, and Alastor. "Embrace The Flames" conjures Saint Vitus vibes, but feels much darker (maybe it's the surreal sounds of the synth backed against some spooky stair-stepping from the bass). The insects buzzing and chirping was a good atmospheric touch to end the track on.

"Grave Watcher" continues the record's dismal ambience and the guitar tone here (and the way it's captured) felt just right to these ears. The song's main riff was going through my head long after listening. Plus it's got one of those singable choruses straight out of '70s and '80s doom.

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"Black Veil" may be my favorite of the album and has something in common with Windhand in its wailing sadness and ghostly vocals echoing into the void sky. The central guitar riff and solo opt for a less bombastic tone than, say Cough, but it has a similar headbanging sway.

"Demons" is a truly nightmarish song that confronts our senses with ultra-low bellowing bass notes and voices, voices all around. There are some weird but effective vocal harmonies and the guitar tone is lusty and dank. Add in the cymbals and this one feels like trying to drive on the freeway during an evening downpour.

"When The Darkness Comes" eases us into the album's closing moments with a slow fade-in, organ tone, and a killer riff that has a certain narcotic eeriness about it. If this song doesn't accompany the dead, waking and walking, I'll be disappointed. Jake's vocal approach has a sinister character, similar to Green Lung's Tom Templar. The guitar solo was an unexpected bonus, and I was hoping it would go on a bit longer. All-in-all, a bad-ass listen for fans of the stoner-doom genre.

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#D&S Reviews #Burn Ritual #San Antonio #Texas #doom metal #stoner doom #Doomed and Stoned

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sheetmusiclibrarypdf · 12 days ago

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King Crimson - 21st Century Schizoid Man sheet music (Play Along)

King Crimson - 21st Century Schizoid Man sheet music, Noten, partitura, spartiti, partition, 楽譜乐谱 (Play Along).Best Sheet Music download from our Library.Please, subscribe to our Library.Browse in the Library:King Crimson: The Ever-Evolving Architect of Progressive RockBrowse in the Library:King Crimson - In The Court Of The Crimson King (Album Visualiser) King Crimson - 21st Century Schizoid Man sheet music, Noten, partitura, spartiti, partition, 楽譜乐谱 (Play Along). https://youtu.be/7AgptuAXklg?si=6i82FY0MtGZ4isP2 King Crimson: The Ever-Evolving Architect of Progressive Rock King Crimson is not merely a band; it's an ongoing experiment, a relentless pursuit of musical exploration, and arguably the most influential and consistently challenging force within the progressive rock genre. Founded in 1968 by guitarist Robert Fripp and drummer Michael Giles, Crimson defied categorization from the outset, crafting a sound that was simultaneously grandiose, complex, dissonant, and profoundly beautiful. Their legacy is one of constant reinvention, uncompromising artistic vision, and a profound impact that resonates far beyond the boundaries of prog. Genesis and the Earth-Shaking Debut (1968-1969): - Formation: Fripp, Giles, lyricist Peter Sinfield, bassist/vocalist Greg Lake, and multi-instrumentalist Ian McDonald. - In the Court of the Crimson King (1969): This debut album wasn't just successful; it was seismic. It defined the nascent progressive rock movement. Tracks like the apocalyptic "21st Century Schizoid Man" (with its ferocious jazz-metal fusion, distorted vocals, and complex structure) and the majestic, melancholic "Epitaph" showcased an unprecedented blend of symphonic ambition, jazz improvisation, classical influences, hard rock power, and avant-garde textures. Sinfield's evocative, often dark lyrics and his innovative use of the Mellotron (creating orchestral swathes) became signature elements. This album remains a cornerstone of rock history. Constant Flux: The First Era (1969-1974)King Crimson became notorious for its revolving door of members, with Fripp as the sole constant. Each lineup shift brought a radical sonic change: - Islands Band (1970-1971): After Lake left for ELP and McDonald departed, the band moved towards a more jazz-inflected, atmospheric, and sometimes pastoral sound on In the Wake of Poseidon (1970), Lizard (1970 - featuring Jon Anderson of Yes on vocals), and Islands (1971). Bassist/vocalist Boz Burrell and saxophonist/flutist Mel Collins were key figures. - The Wetton-Bruford Powerhouse (1972-1974): This is often considered the definitive "classic" lineup. Fripp, bassist/vocalist John Wetton (powerful, aggressive), drummer Bill Bruford (ex-Yes, jazz-inflected precision and power), violinist David Cross, and returning lyricist Sinfield (briefly). They forged a heavier, denser, more dissonant, and intensely powerful sound. - Larks' Tongues in Aspic (1973): A landmark. Introduced intricate interlocking guitar/violin patterns, complex rhythmic structures, heavy rock riffs ("Larks' Tongues in Aspic Part I"), delicate ballads ("Book of Saturday"), and avant-garde improvisation. Bruford's percussion arsenal expanded dramatically. - Starless and Bible Black (1974): Further refinement, featuring both live improvisations and complex composed pieces. Darker and more intense. - Red (1974): A monolithic masterpiece. Arguably their heaviest album, defined by the crushing title track, the intricate "Fallen Angel," and the epic, melancholic "Starless." It distilled their power and complexity into a concentrated, brutal, yet beautiful form. Fripp disbanded Crimson shortly after its release, feeling it was the peak of that particular approach. The Discipline Era: New Wave, Minimalism, and the "Double Trio" (1981-1984, 1994-1997)After a seven-year hiatus, Fripp resurrected Crimson with a completely new sound and concept: - The "Discipline" Quartet (1981-1984): Fripp, guitarist/vocalist Adrian Belew (ex-Zappa, Talking Heads - bringing abstract lyrics, vocal versatility, and a new guitar texture), bassist Tony Levin (inventing the "Stick" and Funk Fingers), and returning drummer Bill Bruford. - Musical Style: Radically different. Influenced by New Wave, African polyrhythms (via Talking Heads), minimalism (Steve Reich, Philip Glass), and gamelan music. Characterized by: - Interlocking Guitars: Fripp and Belew wove intricate, cyclical patterns ("mathematical" but groovy). - Complex Polyrhythms: Bruford and Levin created driving, interlocking grooves. - Minimalist Aesthetics: Repetition, texture, and precise ensemble playing became paramount. - Accessible Yet Complex: Tracks like "Elephant Talk," "Frame by Frame," and "Thela Hun Ginjeet" were angular, funky, and surprisingly catchy while remaining intellectually rigorous. - Albums: Discipline (1981), Beat (1982), Three of a Perfect Pair (1984). Each explored facets of this new approach before Fripp dissolved the band again. - The Double Trio (1994-1997): Fripp reconvened the 80s quartet and added bassist/stick player Trey Gunn and drummer/percussionist Pat Mastelotto, creating a massive sextet ("Double Trio"). This expanded the sonic palette further, incorporating industrial textures, heavier electronics, and even greater rhythmic complexity. Key works: THRAK (1995) and the expansive THRaKaTTaK (live improv, 1996). The ProjeKcts and Fractured Continuity (1997-Present): - ProjeKcts (1997-1999): Fripp split the Double Trio into four improvising sub-groups (ProjeKct One, Two, Three, Four) to explore specific sonic territories – free improvisation, electronic soundscapes, industrial beats. This became a crucial laboratory for future Crimson work. - The "Double Duo" & Later Formations (2000-2008): Crimson returned as a quartet (Fripp, Belew, Gunn, Mastelotto), then later as a quintet adding saxophonist/flutist Mel Collins. This era produced The ConstruKction of Light (2000) and The Power to Believe (2003), blending Discipline-era intricacy with ProjeKcts' experimentalism and heavier elements. - The Seven-Headed Beast (2013-Present): The most radical reinvention yet. Fripp assembled a septet featuring three drummers (Gavin Harrison, Pat Mastelotto, Jeremy Stacey/Bill Rieflin), Mel Collins, Tony Levin, Jakko Jakszyk (guitar/vocals), and himself. - Musical Style: This lineup emphasizes massive polyrhythmic power generated by the drum frontline, often reinterpreting classic material with astonishing power and precision while introducing new, complex compositions. Jakszyk handles lead vocals with reverence and skill. - Focus: Primarily a live powerhouse, documented extensively in releases like Live in Toronto (2016), Radical Action… (2016), and Music is Our Friend (2021). Studio output has been limited but potent (Meltdown: Live in Mexico City features significant new material alongside classics). - Status: While touring paused in 2021, Fripp maintains Crimson remains a "active, working band," suggesting future activity is possible. Their final (to date) concert was in Tokyo in December 2021. Core Musical Style & Innovations:Defining Crimson's style is impossible due to constant change, but key threads include: - Complexity & Structure: Intricate compositions, shifting time signatures, polyrhythms, and unconventional forms. - Dissonance & Texture: Embracing atonality, angular riffs, and harsh textures alongside moments of sublime beauty. - Improvisation: A vital component throughout their history, from free-form jams to structured improvisational frameworks. - Rhythmic Innovation: From Bruford's jazz-inflected precision to the polyrhythmic interlock of the Discipline era to the earth-shaking power of the three-drummer frontline. - Instrumental Mastery: Demanding a consistently high level of technical skill and ensemble cohesion from all members. - Embracing Technology: Pioneers in using the Mellotron, Frippertronics (tape delay system), guitar synthesizers, electronic drums, and digital production tools. - Genre Fluidity: Seamlessly incorporating elements from classical, jazz, folk, avant-garde, electronic, world music, New Wave, and heavy metal. Legacy & Influence:King Crimson's influence is vast and deep: - Prog Rock Architects: Defined the genre's ambition, complexity, and seriousness alongside contemporaries like Yes and Genesis. Bands from Rush, Tool, Porcupine Tree, Opeth, and Mars Volta owe immense debts. - Math Rock & Post-Rock: Crimson's rhythmic complexity and interlocking guitars directly inspired the math rock movement (Battles, Don Caballero) and influenced the textural explorations of post-rock (Godspeed You! Black Emperor). - Art Rock & Alternative: Their adventurous spirit and blending of styles influenced art rock icons (Talking Heads, David Bowie) and countless alternative/experimental bands (Radiohead has frequently cited them as an influence). - Heavy Music: The crushing power of the Wetton-era and the rhythmic intensity of later lineups profoundly impacted progressive metal, djent, and avant-metal. - Cult of Fripp: Robert Fripp's unique guitar style ("Frippertronics," searing leads, precise rhythms), his philosophical approach to music and band management ("the first freely improvising rock group"), and his unwavering artistic integrity have made him a revered and influential figure. - Live Performance: Known for intense, powerful, and technically flawless concerts, constantly pushing their own material and improvising. The three-drummer setup is a modern marvel of rhythmic coordination. - Independent Ethos: Fripp's management of the band through Discipline Global Mobile (DGM) since 1992 set a precedent for artist independence and high-quality archival releases (live recordings, box sets like the extensive The Complete 1969 Recordings). Key Members (Illustrating the Flux): - Robert Fripp: Guitar, Soundscapes, Frippertronics. The constant. Architect, leader, and driving force. - Greg Lake: Bass, Vocals (1969-1970). Iconic voice on the debut. Left to form ELP. - Ian McDonald: Saxophone, Flute, Mellotron, Keyboards (1969-1970). Key sound architect of the debut. - Michael Giles: Drums (1969-1970). Foundational jazz-influenced drummer. - Peter Sinfield: Lyrics, Lighting, Visions (1969-1972). Lyrical and visual mastermind of the early years. - Mel Collins: Saxophones, Flute (1970-1972, 2013-Present). Provided crucial melodic and textural elements. - Boz Burrell: Bass, Vocals (1971-1972). - John Wetton: Bass, Vocals (1972-1974). Powerful voice and bass foundation for the classic trilogy. - Bill Bruford: Drums, Percussion (1972-1974, 1981-1997). Arguably the defining Crimson drummer, known for precision, power, and melodic sensibility. - David Cross: Violin, Viola, Keyboards (1972-1974). Added unique textures and melodic counterpoint. - Adrian Belew: Guitar, Vocals, Words (1981-2008). Brought a new wave sensibility, vocal character, and incredible guitar versatility. - Tony Levin: Bass, Chapman Stick, Backing Vocals (1981-1999, 2003-2008, 2013-Present). Master of groove and texture, crucial to the Discipline and later eras. Inventor of "Funk Fingers." - Trey Gunn: Warr Guitar, Chapman Stick (1994-2003). Expanded the bass/midrange textures in the Double Trio and Double Duo eras. - Pat Mastelotto: Drums, Electronics (1994-2008, 2013-Present). Brought electronic percussion and industrial textures, core member of the three-drummer frontline. - Gavin Harrison: Drums (2007-2008, 2013-Present). Technical virtuoso, core member of the three-drummer frontline. - Jakko Jakszyk: Guitar, Flute, Vocals (2013-Present). Handles lead vocals and guitar duties adeptly in the current era. - Jeremy Stacey: Drums, Keyboards (2016-Present). Multi-instrumentalist in the three-drummer frontline. Essential Works: - Studio: In the Court of the Crimson King (1969), Larks' Tongues in Aspic (1973), Starless and Bible Black (1974), Red (1974), Discipline (1981), THRAK (1995). - Live (Capturing Vital Eras): Earthbound (1972 - raw Wetton/Bruford), USA (1975 - peak Wetton/Bruford power), The Great Deceiver (1992 box set - comprehensive Wetton/Bruford era), Absent Lovers: Live in Montreal 1984 (1984 Discipline quartet), Heavy ConstruKction (2000 Double Duo), Radical Action to Unseat the Hold of Monkey Mind (2016 - three-drummer power), Music is Our Friend: Live in Washington and Albany (2021 - final tour document). - Compilations/Introductions: The 21st Century Guide to King Crimson (2004), The Elements (series). King Crimson stands as a unique phenomenon in rock music. They are the restless pioneers who never rested on past glories, constantly dismantling and rebuilding their sound. From the symphonic apocalypse of their debut to the intricate minimalism of the 80s, the industrial thunder of the 90s, and the polyrhythmic juggernaut of the present, their journey has been one of uncompromising exploration. Robert Fripp's unwavering vision, coupled with the contributions of immensely talented musicians across generations, has forged a body of work that remains challenging, rewarding, and utterly vital. Their influence permeates countless genres, and their music continues to inspire awe and demand deep listening. King Crimson is less a band with a history and more an ongoing principle: the principle that rock music can be a vehicle for profound artistic expression, limitless complexity, and unceasing evolution. They are, truly, the architects of a crimson cathedral built on sound. King Crimson - In The Court Of The Crimson King (Album Visualiser) https://www.youtube.com/watch?v=0ju5LRTMFLw 00:00:00 21st Century Schizoid Man (Including 'Mirrors') 00:07:23 I Talk To The Wind 00:13:29 Epitaph (Including 'March For No Reason' and 'Tomorrow And Tomorrow') 00:22:15 Moonchild (Including 'The Dream' and 'The Illusion') 00:34:27 The Court Of The Crimson King (Including 'The Return Of The Fire Witch' and 'The Dance Of The Puppets') 00:43:52 21st Century Schizoid Man (Radio Version) Bonus Track 00:51:12 I Talk To The Wind (Duo Version) Bonus Track 00:55:55 A Man A City (Live At The Fillmore West) Bonus Track Read the full article

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ao3feed-jonmartin · 1 year ago

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miss muffet can eat my worms

read it on AO3 at https://ift.tt/s7fz4lN by Vi0letta_lma0 magnus archives group chat fic but me edition or: problems are solved through open communication and braincells rescued from the lost-and-found or: season 1 au where jane prentiss decides instead of terrorising martin, she wants to ruin elias' scheming. this leads to Problems. Words: 2820, Chapters: 1/?, Language: English Fandoms: The Magnus Archives (Podcast), The Mechanisms (Band) Rating: Teen And Up Audiences Warnings: No Archive Warnings Apply Categories: Multi, Other Characters: Jonathan "Jon" Sims | The Archivist, Elias Bouchard | Jonah Magnus, Martin Blackwood, Tim Stoker (The Magnus Archives), Danny Stoker, Jane Prentiss, Jude Perry, Michael "Mike" Crew, Michael | The Distortion (The Magnus Archives), Gerard Keay, Peter Lukas, Sasha James, Basira Hussain, Jordan Kennedy, Alice "Daisy" Tonner, The Mechanisms Ensemble, Lyfrassir Edda, Oliver Banks, Graham Folger, Not-Them (The Magnus Archives), Nikola Orsinov, why are there so many people here Relationships: Sasha James/Jane Prentiss, Lyfrassir Edda/Marius von Raum, Raphaella la Cognizi/Lyfrassir Edda, Raphaella la Cognizi/Marius von Raum, Martin Blackwood/Jonathan "Jon" Sims | The Archivist, Elias Bouchard | Jonah Magnus/Peter Lukas Additional Tags: Alternate Universe - Canon Divergence, Fix-It, canon divergent braincell usage, The Mechanisms Were Jonathan "Jon" Sims | The Archivist's College | University Band, Nikola Orsinov is the Toy Soldier (The Mechanisms), Eldritch Lyfrassir Edda, Lyfrassir Edda Joins the Mechanisms, Basira Hussain is Ashes O'Reilly, Jordan Kennedy is Gunpowder Tim, Jonathan "Jon" Sims | The Archivist is Jonny d'Ville, Serial Divorcees Elias Bouchard | Jonah Magnus/Peter Lukas, Manipulative Elias Bouchard | Jonah Magnus, The Magnus Archives Season 1, Danny Stoker Lives, Stranger Avatar Danny Stoker, Everyone is a Fear Entity Avatar (The Magnus Archives), Chatting & Messaging, Texting, this is a chat fic, the mechanisms actors are my ocs hush, I'm Bad At Tagging, End Avatar Gerard Keay, He/Him Pronouns For Ivy Alexandria (The Mechanisms), i prommy the mechanisms are actually involved it just takes a bit read it on AO3 at https://ift.tt/s7fz4lN

#IFTTT #ao3feed #fanfic #tma #jonmartin #jmart #jonathan sims #martin blackwood #jonmartin fanfic

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intrasonictechnology1 · 13 days ago

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5 Ways a Digital Stereo System Can Upgrade Your Home Entertainment

Have you ever watched a movie at home and felt like something was missing—even though the screen looked amazing?

Maybe the explosions didn’t rumble, the dialogue was hard to hear, or the music didn’t move you. That’s because when it comes to home entertainment, sound is half the experience. A good picture might catch your eyes, but great sound captures your attention—and your emotions.

That’s where a digital stereo system makes all the difference.

We’re living in a digital age where our entertainment is smarter, sharper, and more connected than ever before. But surprisingly, many people still rely on their TV’s built-in speakers, missing out on the immersive sound that makes movies, music, games, and even podcasts truly come alive.

So if you’re wondering whether it’s worth upgrading your sound system—or what a digital stereo system can really do for you—this article is for you.

Let’s explore 5 powerful ways a digital stereo system can upgrade your home entertainment and change the way you enjoy media at home.

1. Hear Every Detail with Crystal-Clear Sound

Ask yourself, when was the last time you were truly blown away by the sound coming from your TV?

Chances are, it’s been a while. That’s because most built-in TV speakers are tiny and underpowered. They’re not made to deliver deep bass, rich mid-tones, or crisp highs.

A digital stereo system gives you a full, rich sound that fills the room—just like what you’d hear in a movie theater or concert hall.

Whether it’s the roar of a dragon in a fantasy film, the beat drop in your favorite track, or the quiet footsteps in a suspenseful scene, digital systems make sure you hear it all, clearly and with depth.

These systems use digital signal processing (DSP) to clean up the sound, reduce distortion, and bring out the fine details. So instead of “just hearing” the audio, you’ll feel it—like you’re right there in the scene or on stage with the band.

2. Works Seamlessly with Smart Devices

Let’s be honest: no one likes dealing with wires, complicated remotes, or endless button pushing. In today’s world, we expect our devices to be simple, fast, and smart.

A digital stereo system fits perfectly into this lifestyle.

Most systems today come with Bluetooth, Wi-Fi, HDMI ARC, and smart assistant compatibility (like Alexa, Google Assistant, or Siri). That means you can:

Stream music from your phone with one tap.

Ask your voice assistant to play your favorite playlist.

Sync your smart TV for perfect movie sound—automatically.

Have you ever wanted to play music in the kitchen while cooking or control your speakers without getting up from the couch? With wireless control and multi-room audio options, you can do all of that with ease.

It’s convenience, comfort, and control—without the hassle.

3. More Enjoyment for All Kinds of Entertainment

Think a Digital Stereo System is just for movie night? Think again.

Sure, it’s amazing for watching blockbusters with surround sound. But it also enhances everything else you listen to during your day:

Streaming your favorite playlist while you clean the house.

Listening to podcasts or audiobooks with crystal-clear voices.

Playing video games with immersive sound effects that make you feel like you’re inside the game.

Hosting friends with background music that actually sounds good, not tinny or weak.

Let’s not forget casual moments, either. Imagine brewing coffee on a Sunday morning while jazz softly plays in the background. Or working from home with calming sounds that help you focus.

Many systems come with sound modes—like Music, Movie, Game, or Voice—which automatically adjust settings for the best experience. No need to tinker with controls every time.

So ask yourself: wouldn’t it be nice if all your everyday moments sounded just a little better?

4. Sleek Design and Space-Saving Options

Gone are the days of giant, boxy speakers taking up half your living room. Today’s digital stereo systems are designed to be as stylish as they are powerful.

Whether you prefer something modern and minimal or something that blends in with your furniture, there’s a design for every taste. You can choose from

Compact soundbars that sit neatly under your TV.

Slim tower speakers that look like part of your decor.

Wall-mounted or bookshelf speakers that save space.

Most systems now offer wireless or low-profile options, so you don’t have to deal with cluttered cables. That means your space stays clean and organized, and your equipment doesn’t get in the way.

Want music in multiple rooms? Some digital stereo systems offer multi-room audio that lets you connect speakers around the house—and control them all from your phone.

So whether you’re decorating a small apartment or setting up a home theater, you can enjoy big sound without giving up space or style.

5. Built for the Future—and Built to Last

Have you ever bought a gadget only to have it become outdated in a year?

With a digital stereo system, that’s far less likely to happen. These systems are built to keep up with modern tech and often come with firmware updates to support new formats, apps, or features.

Many also support modular upgrades. Want to add more speakers later? No problem. Need better bass? Add a subwoofer.

They’re also more energy-efficient and durable than older analog systems, so you can count on years of reliable performance. In fact, a well-maintained digital system can easily last 10 years or more.

So instead of constantly replacing your gear, you’ll be building a long-term entertainment setup that grows with your needs.

Common Questions People Ask Before Buying

Still on the fence? Here are some quick answers to common questions people ask about getting a digital stereo system:

Q: Do I need to be tech-savvy to use one?A: Not at all. Most systems are designed to be plug-and-play or come with easy apps for setup. If you can use a smartphone, you can use a digital stereo.

Q: Is it really better than a soundbar?A: Soundbars are convenient, but a full digital stereo system usually offers better sound quality, richer bass, and more room-filling power.

Q: What if I have a small space?A: No worries! There are compact systems perfect for apartments or bedrooms that still deliver great sound.

Q: Can I use it with my current devices?A: Yes. Most modern systems work with TVs, smartphones, laptops, and even voice assistants.

Q: Is it worth the money?A: If you value great sound and use your home entertainment regularly, absolutely. Think of it as an investment in daily joy—not just a gadget.

Conclusion: It’s Time to Upgrade the Way You Hear

We live in a time when entertainment is more available than ever. We stream, binge, game, and listen all day long. But if you’re still relying on basic TV speakers or outdated gear, you’re missing out on half the experience.

A digital stereo system brings your home to life. It delivers sound that’s clearer, deeper, and more emotional. It makes everyday moments—like relaxing, cleaning, working, or entertaining—feel richer and more enjoyable.

And best of all, it fits into your life effortlessly. No tangled wires. No complicated remotes. Just beautiful, powerful sound whenever you want it.

So if you’ve been wondering whether it’s time to upgrade, consider this your sign. Because once you hear the difference a digital stereo system makes, you’ll never want to go back.

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