#THE CHOIR OF THE MOD IS THE GHOST FACE

[small-spark-of-light]

so have you guys heard of the new incredibox mod The Masks? cause Oh Boy i sure have/pos

[hmshermitcraft]

For the weekly theme: first dates!!!

Hi Mod 🎀! This time I got inspired by your response to my previous ask, so I wrote a lil blurb that's set in the Hermittown Fae!AU as well! It's also poly!teamZIT, just because I feel like their chaotic energy fits this prompt a lot

Tango is still a fiery Blaze with a love for tinkering with weird inventions, Zedaph is some sort of satyr/goat creature who knows wayyyy too much about the human body for someone who never went to med school, and Impulse is a demon with a calm demeanor, and a love for gold (but he loves his partners even more!!!)

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Zedaph, Impulse, and Tango have always been a team. They just seemed to understand one another without words. They hung out a lot together, sometimes working on Redstone creations, or sometimes just enjoying one another's company on lazy afternoons

So it wasn't really a surprise when their love for one another started to turn romantic. No one really remembered who started the topic, who proposed a date, or who mentioned that a meadow near Tango's mansion was full of flowers this time of the year, but all those things led to the current moment - the trio enjoying a delightful picnic, watching as the sun slowly set behind tall trees surrounding all of Hermittown

But the peaceful atmosphere didn't last too long, unfortunately. Soon enough Zed's ears twitched, catching the softest, quiet rustle of clothing ripping on tree branches. He alerted his partners, and all three of them looked towards the path leading from the town itself to Tango's mansion

Sure enough, a group of people stumbled from inbetween the trees. They paused, shocked at the sight of "fellow humans" peacefully picknicking in the middle of "very haunted" area

Impulse wanted to laugh at how much "ghost-hunting" equipment they had on them. Between all of them, they enough knick-knacks to put even Mumbo's curiosity shop to shame

The wannabe ghost hunters definitely lacked good manners, as instead of backing away from what very clearly was a date, they started to set up their weird machines. A choir of beeps and clicks soon filled the clearing, all of the machines going haywire from being so close to Zed, Impulse, and Tango. The dials and buttons soon flashed brightly, all pointing to the direction of the picnic blanket

Oh hell no. The humans will soon realise that the throuple was not sitting on a particularly active spot, but in fact they WERE the very reason why the equipment was going crazy in the first place

Tango didn't think twice, he grabbed his partners' hands and made a beeline for his mansion, abandoning their food. Maybe those stupid humans could follow them into the building, but they sure as hell were NOT prepared for what awaited them there. Tango's current priority was to get all three of them to safety, consequences be damned

The trio quickly rushed through the door into the mansion's main hall, up the stairs, and onto a narrow balcony overlooking all of the ground floor of the building. A few quick spells cast by Impulse made sure he and his partners remained hidden from the humans, unseen and unheard. The trio held their breath, waiting for the mansion's self-defence mechanisms to kick in

But none of those traps (or fun inventions, as Tango and Zed called them) managed to showcase how they worked. Before the humans even got close to them, one of Tango's pet Ravagers (magicked invisible by Impulse, to protect them from humans) chose that exact moment to stuff her face into one of the flower pots at the bottom of the mansion's staircase. Poor thing got a faceful of pollen, and then proceeded into a sneezing fit

Who would have thought that the roar-like seezes would be so effective in spooking the annoying humans! Tango almost fell down from the balcony with how hard he was laughing. Impulse kept on snickering as well, while Zedaph watched in wonder as the humans tripped over their own feet and equipment in their haste to leave the mansion's main hall

Ever since that day, the town, and especially the mansion, started gaining a reputation. People stopped seeing that area as a supernatural hotspot where they could take a selfie with a fully lit up EMF reader next to them. Instead, a veil of mystery wrapped the whole town, as the outsiders accepted that nothing bad will happen to them, as long as they keep their distance from the town's odd inhabitants

As thanks, the Ravager herself got plently of head scritches and treats from all the Hermits, but especially from Zed, Impulse, and Tango

And later on, during their wedding, she was the one carrying the box with matching netherite rings down the isle, towards the beaming throuple. It was a lovely throwback to their eventful first date

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~🌠

The three are unapologetic about the reputation they gave the village because of their date. Impulse still wonders what the humans must've thought of than, but he's not found any posts about it. Clearly, they scared those humans perfectly.

Thankfully, their wedding has no interruptions by annoying, curious humans. Not any that aren't invited, anyway. The other occupants of the town were very happy to scare people away from the wedding day.

[skimaskkass]

Pre - Jeri (album review) (breakbit music/ROFLTRAX classics #1) (re-formated)

https://jeri.bandcamp.com/album/pre A long time ago (2014ish) I slightly helped or maybe tried to help a label called Breakbit Music. I am no Breakbit Music master but maybe I will be one day. In the meantime I can reminisce about albums that are dear (or not) to my life as a music fan and other things. One of these albums is Pre by Jeri. I had heard someone I’m in contact with make a track similar to one of the tracks on this album, though not exactly. I wondered if she knew this album and she didn’t. I mention this because I am very proud of her because this album is not just dear to my heart but makes me realize more than 99% of music I listen to how special life and musical ability is.

The opening “Seq1″  is musical chaos to me. But it is not nonsense. It sounds like nothing else I’ve ever heard. I’ve heard some orangy (an alias Jeri had used earlier) tracks before and maybe this is a distillation of that. Jeri was a king of sampling and using them at the right moments. Every time that “woo!” plays you don’t know what to do and when it jumps out of the middle of a spaced out bar. It gets sandwiched by FM sounding percussion arpeggios with even more staccato drums and snares that without intentionally listening for a pattern doesn’t seem like there is one. It’s such a free track that somehow has order sonically is face melting. Musicians should take note how to create textures with the same sounds by placing them at different spaces like they are in this track. But remember this is just the intro. The next track “Toxic People” has this Nintendo 64 sounding echoing guitar over this seasick portable game system synth. It draws you in and the drums come in. The hi-hats sound like they could be on a high quality Amon Tobin track in their modulating pitches. The drums once again phase through different pitches, sounding irregular, FM sounding. Then this really low fidelity, reamped industrial drumming runs into the mix and the song’s baseline comes in (but it’s the kind of overwhelming thing that you hear in dubstep or grime tracks that just bubbles and soaks the mix (which is also somehow trombone that seems to have the suggestion of higher frequencies which maybe is why it coats the ears in ear candy)). The drums have sped up and become isolated. It sounds like industrial influenced ‘post-techno’ or something along those lines. Before you can make that thought the drums are run through a flanger. There’s a proper bassline that comes in that would fit a Nintendo 64 game (I will bring it up a lot). It’s wild. There’s reverb slowly being filled in the mix from the seasick synth. There’s some ring-mod sounding vocal cries and the track ends. “*SHOT*”: is playing and brace yourself for a lot of notes on this track. There is this percussive kind of 8-bit/bit crushed melody that sounds has the effect of dramatic fast horror movie-like piano playing. This track also has a sea sick synth. It sounds like howling ghosts now. The bass drums come in and are replaced with a bassline and then there is a ghost acid bassline and these ghost drums that are going at a fast tempo (ghost in this instance meaning low volume). It is at this point of the album where I say if you’ve ever been a fan of madness combat’s music. Listen to this album. It’s just bassline and the drums with some cuts of high pitched spooky sounds. There are these portamento woodblock sounds in the fast drums that might have echoing delay and/or vocoder on them but regardless they are an excellent detail. The 8-bit/bit crushed sound gets panned around and sounds ring modulated now. Every loop there are two slight notes that adds to the techno spinning inferno music, yeah it is quite tribal at this point. At 1:25 a great transition sound and more vocode-y drums and then this melody that I can’t describe the sound of. It’s like a synth lunatic singing as this synth squeal keeps pitching down. The piano stuff I was suggesting now completely reveals itself at a nickelodeon-fast speed...The track just keeps changing and changing and changing a bunch of distorted sounds come in over it and the after the bass kicks up and the sounds are being swiss-cheesed by distortion. The song falls into a loop where the drums change into that fm squeak and a formant camera-shutter with light melodies taken from sounds from before and it goes back to the consistent sound it started with. Except I notice a high pitched sound in the background now. The bassline bumps back and the percussion ghosts play in the background over a synth hi hat. The track ends. “Computer”: IDM crackling drums and deep town ball bounces over quiet strings. Insane synth 1 and 2 start descending both. Then gabber kicks and noise snare that are quiet play a hell-decent march over fm pads and synths that make creature-screams. Crackle and ball bounces come back and the synths. And back to the gabber hell-on-display.“Synop”: starts with a synthesized brass sound. A quiet high pitched pinging over absolutely beautiful resonant filter sweeping snares and expected character rich kicks. Then a really long melody starts playing that sounds like it’s for a Nintendo 64 game for robots. Then this high pitched club music melody comes in that I absolutely love. And a wandering synth robot starts to sing. It sounds like abstract vocoded vocals and high pitched hotel service bell sounds. There’s a high pitched sine wave sound that tells the robot to stop. Sometimes there’s some distortion in the robot’s singing. The music stops to focus on this part. It’s tremolo and then has a finish. There’s a lot relistening this track deserves. “Kesanspor”: starts with a formant synth for alien salsa over two notes of synth strings and a winding sound that’s revving up. Then a distorted roar. This complicated pad sound that sounds like 50 laser sounds suggesting a choir and an electronic church refrain synth ‘yeah’ are added.  A strange orchestral hit is added to the dead space between string sounds. This arcade sound that is loud but distant plays. There’s some hi-hats that come by to say hello. “Opalei”: Drums start: Kick drums that don’t sound like any kick drums I’ve ever heard personally. Noise snare and a synth-y but somehow metallic sound that’s almost a ‘hyuck’. At 0:05-00:6 there is a stutter in the drums that you gotta love the glitchiness of which is in the loop. Reverb-spaced out (a processed square-wave?) synth that suggests a string section come out. There’s harmonies of this sound and a pianoish, watery synth melody dripping nice through the mix. The melody loops and the drums switch up and then the melody goes to church organ mode and also formant squeals I’ve never heard before except maybe in a Rustie track. You now notice the side-chaining bass drum that is humble but starts rocking out to the magic. This is what bedroom producer synth-rock heaven sounds like. The synths go all filtery and flittery between high and mid tones. They start to take on a liquid quality as time slips. The string section comes back with a variation on the original melody, listen to that detail at the end of the sequence. It is a beautiful gated sound. Then a strange sound sneaks in that sounds like sitar and there are strumming sounds. “M0d”: A murderous string sound and a mid-range fm synth that’s like an electric guitar riff from DOOM over a kind of timpani drum beat. You’re getting ready to murder people to this song as wood block and congas add a playful touch to the track. There’s a slight high pitched triangle (the percussion instrument) sound there. Bursts of echo-y wavy synths start to add the melody to the track. The drums are now rock drums. There’s a turntablism sound at the end of the sequence. There is a slight variation to the sequence then a major one where it scales back and adds beautiful conga sounds and blatant triangle sounding noises with dynamic sound effect rustling noises. There is a cute synth doing a little boat toy whistle (it has an almost old video game / emulating-that-sound quality) after the echo-y wavy synths get more animated, excited and dramatic. I start to notice the bottle whistle sound. This sound starts to pan through the mix when more dramatic sounds are stripped back. Then the song switches up. The synth bludgeons that were echo-y and wavy go transform into searing hot jabs. N64-sounding acid bassline comes in. The bottle whistle transforms into an ore of noise. “Smoke Gogol”: Drums pan left and right. Acid like you’ve never heard it. Melodramatic portamento synths like cartoon character swoons. A sound like someone tapping on a stage mic to test it. Phone/Ringtone sounding synths and snares pan. It gets replaced with a resampled crossfaded type sound bobbing up and down from a low tone. The drums stand out more and variations abound including the phone sound pitched down. I noticed a synth pad that was behind the portamento synths when they came back. The structure is like poetry. First it goes A B A B then C D C D and loops back again. “Thez”: It sounds like a re-amped chop of When The Levee Breaks. Re-amped to make it sound just so beautiful. There’s that odd resampled sounding synth sound that seems to be speaking and singing to us. But that’s because there is a vocal sample in the background that’s grunting in an alien language. The synth goes up and now it really is singing. There is that constant note hammering way in the background that I love to hear in things in popular music. It gets isolated and moves up and down the scale with the drums. And then a N64 guitar comes in and acid nudges panned past you like you were driving past them. The guitar goes full wonky then the resampled sounding synth comes back. It is so unique. The resampled sound isolates and I notice the string sound that has been in the background maybe awhile. And in that isolating the sound shows you how wild it is. The track regains some layers and fades out like a dying candle. “Porta”: It sounds like a fm synth became a sad siren coming to retrieve a body. The snares are like snipps. The base drum sounds like a heavy object dropping on a metal plate. There’s another guitar-y sound. The track sounds like 5th gen video game music for a bad dream. There’s formant synths that harmonize with the siren. There’s a descending sound at the end you can hear at 1:30. It sounds like percussion of some kind. “Holtz IV”: Acid bassline that has an emulated sound quality to it which makes me think of it in a 5th gen gaming console. It’s on it’s own. Then this reggae melody string instrument comes in. More re-amped drums. More video-gamey sounds, this time an organ replaces the reggae melody. The organ comes back sounding more epic, perhaps it’s been layered multiple times. You gotta love it when it stutters. This is building up to the best part of the album for me. It’s not the medieval video game melody that comes in or the marching band beat that comes after it. Or the sick bass drum that comes in the second medieval melody starts. The drums flit around shortly as tastefully as any track of druqks. The glassy synth comes in (triangle wave I believe). And it’s one final surprise. There’s a bouncy club bass drum, I suppose it’s an 808. The squelching organ comes in to dance with the glassy arpeggio. Reverb at the end of the track. I didn’t know Jeri. We never talked. I knew a fair amount of the people on Breakbit Music though. He did a live set during the record label’s virtual music festival, ‘Bit Mania’. A pioneering thing for the early 2010s for sure. I remember the label’s founder mrSimon saying when the song Toxic People played something along the lines: “This is [jeri]? This sounds too good to be him”. Just a joke and Jeri said something in response. I know that being in that chatroom together was a privilege even though I never reached out to him like a fair amount of the people on the label. I didn’t really listen to the other albums under the name Jeri or too much of the Orangy stuff (which was too good to listen to imo). When I saw the cover for Pre I was entranced. It is beautiful and the album is... I view the outstanding musical genius of this album as a distant goal of what I want or imagine others to achieve as an artist. Anyone who can approach this kind of music should feel wonderful at their ability. People who know Jeri or are fans of him know that he passed away in 2014. I know his music will live on because of its power. But only if the effort is made to share it with the world.