#TALK NORMAL

[nkogneatho]

miya atsumu is the kinda guy to fake his deep and manly early morning voice trying to rizz up girls but just comes off as a creep because he sounds like a dying rat who smoked 5 joints

[msburgundy]

"i hope this message finds you well" shut up

[sambuchito]

why do all the annoying usamericans get on here and post the stupidest takes a la “you sir have won the internet” style

[mangoes-and-mothman]

JESUS CHRIST

i responded to "i wanted to let you know [i like complimenting you] because you deserve it"

with "thats so baller bro"

[0zzysaurus]

SMALL TALK IS SO HARD IM FIGHTING THE AUTISM VOICE SOOOO BAD

[100luckywish]

i hate poets

[eosofspades]

i didn't have "i'm broken" teenage asexual angst i had "i'm literally being the only reasonable one about this concept and the rest of you are behaving like fucking freaks" perception issues

[marshmellowed]

every time.

[mrtequilasunset]

Listen man, you guys can't be like "you guys need to be normal about asexuality" and then turn around and get weirdly judgemental when you find out someone doesn't have sex by choice. Like that's weird that some of you do that.

[toss-a-coin-to-your-stan-account]

being a student during peak pandemic was so fucking surreal like. "it's not an excuse to fall behind" I cannot stress enough to you how much A Worldwide Plague Upending Life As We Know It is literally one of The Top Three Reasons to fall behind

[sharkface]

PLAY RAIN WORLD

PLAY RAIN WORLD

[gumy-shark]

made a beautiful google slides infographic in 60 seconds on why u should Fucking Vote

[femmefaggot]

idk who we are...

[oars]

[pangur-and-grim]

I updated the breeder on what's been happening, and she called Belphie out for being bald

[sinceileftyoublog]

Gold Dime Album Review: No More Blue Skies

(No-Gold)

BY JORDAN MAINZER

"You're driving in a car...The car stops!…and then heaves forward," Andrya Ambro recites on "Beneath Below", a standout from Gold Dime's third album No More Blue Skies. "How can you tell who’s moving?" she asks, rhetorically. Her music has the same wondrously confounding effect. With No More Blue Skies, the former half of No Wave-inspired Brooklyn indie rock duo Talk Normal has delivered the most distilled statement of her artistry to date. Combining her classical training and ethnomusicological studies as a drummer with the hammering intensity of her live performance, the album is a examination of contrast, an exercise in presenting ambiguous questions and smashing them to see if any answers lie within.

Take "Wasted Wanted", a song Ambro describes as desiring directness in a world of superficiality. Industrial percussion rubs elbows with handclaps, and robotic, whispered spoken word from bassist Ian Douglas-Moore with Ambro's wails and Brendan Winick's swirling guitars. Physical and tangible elements obscure soft atmospheres, and vice versa. Similarly, the few characters Ambro presents on No More Blue Skies exist in corporeal forms, but barely, or are mysteriously ominous. The titular "Denise" "can't go outside, or she might blow away," closing lurker "Ronnie Desepration" waits in a house, and Ambro herself, perhaps like Denise, wans to go outside, though "Outside haunts more than anything." The lyrics across the album--much like the instrumentalists themselves--exude vague senses of dread due to their narrators' inability to take control.

Ultimately, No More Blue Skies is a major player in a line of instantly classic albums concerned with the advances of technology, from Radiohead's OK Computer to Grandaddy's The Sophtware Slump. "We Lose Again", purportedly inspired by The Walker Brothers' "The Electrician", indeed sports that quintessentially creaky Scott Walker quality. Whooshing and uneven snares, pulsating bass, and spoken chants create a tension between naturalistic and computerized sounds. Jessica Pavone's viola enters the fray towards the end and creates a sense of drama with its flutters, building up heart rates but never resulting in an explosion of finality. In a world where we're ever worried about technology as an existential threat, let alone lambasting its encroachment in our every day lives, but unsure as to when or how such anxieties will truthfully manifest, "We Lose Again"--and No More Blue Skies in general--is an appropriate soundtrack.