#and the entirety of So Much (For) Stardust

[fogwitchoftheevermore]

everyday i become more tempted to assign every single fob song to the life series. i could do it. it would be very easy, even.

[twunkmac]

a little tipsy and wanted to say that fall out boy is so mac coded

[ianmckellen]

Hey 👋

Favourite fall out boy songs??

Hi! Admittedly this list got a bit out of hand because i'm not good at short lists but here you go 😂

disloyal order of water buffaloes the (shipped) gold standard headfirst slide into cooperstown on a bad bet the (after) life of the party you're crashing, but you're no wave pavlove saturday it's not a side effect of the cocaine, i am thinking it must be love miss missing you young volcanoes jet pack blues twin skeleton's (hotel in nyc) stay frosty royal milk tea wilson (expensive mistakes) church hold me like a grudge heaven, iowa the kintsugi kid (ten years) "from now on we are enemies" bob dylan

[pendraegon]

announcement. i fucking love fall out boy. that's all.

[iohera]

according to the prerecorded thing at the listening event, "hold me like a grudge" was the last song written for the album, not "love from the other side"

[tiberius-kirks]

15, 32, 64, 88 !

15. capable -- the wild reeds

32. tiger striped sky -- roo panes

64. saint bernard -- lincoln

88. the pink seashell -- fall out boy ft. ethan hawke

[no-brain-just-akutagawa]

Thanks @artemiida for tagging me in 2 games!! I'll do them both in one post haha

The first one is: 10 songs I’ve been listening to lately

Peppers by Lana Del Rey ft Tommy Genesis

Miss Americana & The Heartbreak Prince by Taylor Swift

Cheshire by Itzy

When You Die by MGMT

Stuck with Me by The Neighbourhood

Flower by Jisoo

Tablet by Tooboe

Mary On A Cross by Ghost

Los Ageless by St. Vincent

Ornaments of Gold by Siouxsie and the Banshees

The second is: 8 shows to get to know me

Bungou Stray Dogs (duh)

Jojo's Bizzare Adventure

Vanitas no carte

Stranger Things

The Owl House

Spy x Family

Chainsaw Man

Jujutsu Kaisen

Open tags for both!

[coolcarabiner]

listening to certain lines off So Much (for) Stardust like

[unknownarmageddon]

[sadly it's mostly popular songs LOL] i'm listening to dance, dance on loop rn [it might be my favorite lol]

the other eight are hold me like a grudge, we didn't start the fire, love from the other side, uma thurman, irresistable, last of the real ones, novocaine, and this ain't a scene, it's an arms race

i should listen to more lol

OHHH dude. Dude SO real actually

Amazing selection genuinely absolute bangers all around (I am definitely not biased /hj /silly)

[20cm]

rbed my . fave songs off the album i think :)

[somuchforsundust]

trying to pick your favorite lyric/bit from every smfs song is something that will make you so insane

[shippyo]

@kirbyoctournament

Introducing to you all,the only one and unique....

Personality

She is extremely calm, she never seems to be bothered by anything, she is kind as much as she can be capable of saying something cruel, like life itself is, she always seems patient, because for her anything is ephemeral, even herself, but she will always be open to a conversation, she will advise you and will try to give her point of view about herself, always in a respectful manner.

Powers

Life is ironically capable of taking life from other beings, to reincarnate them into a new being with her mere hands, usually looking like butterflies like her first daughter Morpho Knight.

She is capable to cast divine-looking lights,usually looks like a swarm of butterflies, although she won't attack in 99,9% of the times but the hundreds of her children will defend her.

Its mere presence is calming but its true form is unknown to common sense and if someone dared to see the beauty of life in its entirety, the impact it would have on your consciousness would be devastating, but with it, who knows, maybe it would be able to restore the unimaginable at the cost of resting for eons.

Life is capable of teleporting to any place in any universe, she never chooses a specific place, it enjoys walking and you can see her in the most beautiful fields of flowers or in the cruelest wars, you can consider yourself lucky to witness her, because it is practically a miracle.

And never mess with something beyond your comprehension cause only death can end all what she is.

Canon characters she knows or knows that exist

Morpho

Her first daughter, before it was a different being who arrived by unknown means to the dimension of Life, she begged her not to send her to the afterlife, she didn't want that, the pain was so inmense due to her cruel Life that she just begged to stop existing, life, on the other hand, did something different and used its power for the first time in what became a being, completely new and at peace,Morpho has an unbreakable loyalty towards the being she now calls "mother"

Necrodeus

"Someone I loved? Or do i still love?"

The void

A being from the void reemerges from the heart, all always in a different way like Kirby or Zero himself, as if they were children yet to determine their destiny inside their mother or heart in this case, Life does not know them directly, it only knows that they exist and for some reason, she loves them, she feels a maternal sensation as if all those beings had been part of her at some point, although she can't explain why.

Lore

[this part might not be that extense but cropping to not cluster everything,enjoy💖]

Once life was reborn, but before that, there was a life before, yes, a time when everything was different.

Once there was a woman in whom a new life was generated inside her, all on her wedding day on an now unknown place, butterflies fluttering, next to her pure white bone dress, walking towards who would be her husband, everything was complete happiness everything seemed to never end but...

At one point, when the husband was about to put the ring on the lady that would seal their love, something trembled and out of nowhere, everything broke into stardust, in the last seconds of pain and confusion, the lovers did not know that it was the end of everything known and unknown.

Life had died.

Or was it really like that?

Life woke up once again from...a dream? A nightmare? What was that even? Where was she now?

Is life really itself? She felt a pain that would gradually fade away along with the memory of what happened, at the same time another figure,the death itself also woke up where they were, they both looked at each other, they had never seen each other... like this?

But still they both felt a sense of nostalgia, something empty in them throbbed strongly, while memories of... themselves? or something that seemed like the they that they are now joined in their confused memories

" know you."

"But who were you?"

"Were we them? But who were we supposed to be?"

"Now, what are we?"

They both said, but neither could give an accurate answer.

And it didn't matter anymore.

A new everything emerged from nothing and they were part of that everything.

Life and death separated each one on their own for a long time searching, trying to know what they had to do, what it all meant, who those beings were.

until, one day after eons they met again to conclude that everything was nothing.

Nothing had meaning other than existing.

Nothing they could have experienced was eternal, they both came to the conclusion that everything would die to become a new whole again.

From their past memories they concluded that this was just a new phase in an eternal cycle without explanation, in which life would return only for death itself in its last seconds to kill her so that all of life would re-emerge as a new one when it was about to end and NEVER be the same as before.

And that couple, it may or may not have been them, it didn't matter, because they are no longer those entities and this will happen again and again, they are merely a new version of themselves of those they were and will be in the future.

It didn't make sense, nor did they both want that cruel fate, it's confusing, it's unfair,death even cried out of mere frustration.

But there was no escape, no being could escape it.

After this, now both beings try to find a filling for the void in their hearts, death wandering throught any universe and cursing "the all" for this meaninglessness, while life, still almost always remaining in her own dimension, a blank world that is in everywhere and nowhere, sometimes descends to any world that reaches the imagination wandering through them to perhaps find her own the meaning of life.

[neil-gaiman]

Hey Neil. I wanted to thank you.

I was an avid reader as a kid. When I was a teenager I got into comic books and manga and read a lot of those. Classics like FMA, Deathnote, some Dragon Ball, Naruto and One Piece. Then I gradually worked my way into western comics with The Boys and Transmetropolitan and others in that vein. But I shied away from the Sandman despite the insistence of a good friend back then. (The covers put me off, bad reason) My enthusiasm for reading then sharply declines as I "become an adult".

Then this year, as I inch closer to 30 years I pick up the first Sandman issue from my public library and in a matter of months I blaze through all the Sandman I can find there, completing the main storyline along with the prologue book, collection of short stories and the one you did in the japanese folktale style. I loved it all. And I catch that bug full force. Stardust is next, which I devour, amazing in its entirety. Then comes Norse Mythology, a book whose subject matter I am intimately familiar with, being Icelandic. I love it, by the way. I've started reading again. The Turn of The Screw, done. Currently reading Frankenstein and Douglas Adams' lovely Hitchhiker's Guide series.

But none of this would have happened had I not shied away from The Sandman as a teenager and rediscovered it as an adult. It sparked the flame inside me again. The flame that tirelessly devours books.

So thank you Neil. Thank you for reigniting my passion for reading. And know that I've made it my mission to read as much of your amazing, beautiful prose as I can. Thank you for writing it. Sending you love.

-Guðjón Jósef Baldursson

TL:DR: Your work helped me get back into reading. Thank you.

P.s. I'm sorry for the long post. It kind of got away from me. I appreciate it even if you only take the time to read, let alone reply to it. I just wanted you to know this.

And it makes me happy. People often find the books and stories they need when they are ready for them.

[sleepingdeath-light]

stardust cookie smut hcs ; 18+

requested by ; anonymous

fandom(s) ; cookie run

fandom masterlist(s) ; hub | specific

character(s) ; stardust cookie

outline ; “Can you do some Stardust Cookie smut Headcanons if you're not busy”

warning(s) ; inexperience, corruption kink, sensation play, descriptions of genitals, references to public sex acts

minors and ageless blogs will be blocked

has no experience when you first meet, so you’d be the one introducing him to sex as a whole (corruption kink opportunity if you’re especially dirty minded)

despite his inexperience he’s a shockingly quick learner and will figure out what feels good to you and how to do it in no time at all

has an exceptional talent for dirty talk but does it in an observational way and it’s more so talking to himself than to you, but it’s good nonetheless

he’s startlingly big as far as his dick is concerned, being far longer and thicker than average

so unless you’re very experienced you’re going to struggle to take him in his entirety

he has a minor size kink in regards to seeing himself inside of you and taking advantage of how much larger he can get between his forms

praises you a lot but it isn’t necessarily a kink of his, just a habit in your relationship

is able to delay his own climax for as long as he needs to when he’s pleasuring you and can even go several rounds without cumming when he’s focused on you

is neutral to giving/receiving oral but he is extremely precise and talented at it

like he can have you seeing stars in no time at all

he’s also extremely strong so if he wants you to stay in a position, good luck moving

he’s very cold to the touch so any sex acts with him will involve some sort of temperature play out of necessity — so i hope you don’t mind a chill

loves seeing you wear intricate lingerie or other such suggestive nightwear and will take his time to make sure the clothing items remain intact

can get extremely jealous at times, which often leads to lengthy sessions of rough, mind blowing sex and so many orgasms that you can’t tell up from down

enjoys overstimulating you to the point of tears because that tells him he’s done something right by you

is neutral to pain play but will tend to you if you’re a masochist

overall isn’t especially kinky in his own right but he’s up for anything that gets you off and has pretty much no limits as to what he’d do for you

except for sharing you — that’s a line he won’t cross

his neck and jawline are extremely sensitive and kissing them will cause him to whimper

will do stuff in public if you ask (he has basically no shame regarding that sort of thing) but won’t necessarily initiate anything himself

also a fan of mirror sex because it allows him to explore more positions with you whilst keeping an eye on your expressions to make sure that you’re okay

[softnsquishable]

Thanks to this lovely post, I have been able to transcribe the entirety of the new Rock Sound magazine interview with Pete and Patrick. Find the entire transcript below the cut!

WHAT A TIME TO BE ALIVE

WITH THE TRIUMPHANT ‘SO MUCH (FOR) STARDUST’ CAPTURING A WHOLE NEW GENERATION OF FANS, FALL OUT BOY ARE RIDING HIGH. CELEBRATING THEIR PAST WHILE LOOKING TOWARDS A BRIGHT FUTURE. PETE WENTZ AND PATRICK STUMP REFLECT ON RECENT SUCCESSES AND THE LESSONS LEARNED FROM TWO DECADES OF WRITING AND PERFORMING TOGETHER. 

You have just completed a US summer tour that included stadium shows and some of your most ambitious production to date. What were your aims going into this particular show?

Pete: Playing stadiums is a funny thing. I pushed pretty hard to do a couple this time because I think that the record Patrick came up with musically lends itself to that feeling of being part of something larger than yourself. When we were designing the cover to the album, it was meant to be all tangible, which was a reaction to tokens and skins that you can buy and avatars. The title is made out of clay, and the painting is an actual painting. We wanted to approach the show in that way as well. We’ve been playing in front of a gigantic video wall for the past eight years. Now, we wanted a stage show where you could actually walk inside it.

Did adding the new songs from ‘So Much (For) Stardust’ into the setlist change the way you felt about them?

Patrick: One of the things that was interesting about the record was that we took a lot of time figuring out what it was going to be, what it was going to sound like. We experimented with so many different things. I was instantly really proud. I felt really good about this record but it wasn’t until we got on stage and you’re playing the songs in between our catalogue that I really felt that.It was really noticeable from the first day on this tour - we felt like a different band. There’s a new energy to it. There was something that I could hear live that I couldn’t hear before.

You also revisited a lot of older tracks and b-sides on this tour, including many from the ‘Folie à Deux’-era. What prompted those choices?

Pete: There were some lean years where there weren’t a lot of rock bands being played on pop radio or playing award shows so we tried to play the biggest songs, the biggest versions of them. We tried to make our thing really airtight, bulletproof so that when we played next to whoever the top artist was, people were like, ‘oh yeah, they should be here.’ The culture shift in the world is so interesting because now, maybe rather than going wider, it makes more sense to go deeper with people. We thought about that in the way that we listen to music and the way we watch films. Playing a song that is a b-side or barely made a record but is someone's favorite song makes a lot of sense in this era.

Patrick: I think there also was a period there where, to Pete’s point, it was a weird time to be a rock band. We had this very strange thing that happened to us, and not a lot of our friends for some reason, where we had a bunch of hits, right? And it didn’t make any sense to me. It still doesn’t make sense to me. But there was a kind of novelty, where we could play a whole set of songs that a lot of people know. It was fun and rewarding for us to do that. But then you run the risk of playing the same set forever. I want to love the songs that we play. I want to care about it and put passion into what we do.  And there’s no sustainable way to just do the same thing every night and not get jaded. We weren’t getting there but I really wanted to make sure that we don’t ever get there.

Pete: In the origin of Fall Out Boy, what happened at our concerts was we knew how to play five songs really fast and jumped off walls and the fire marshal would shut it down. It was what made the show memorable, but we wanted to be able to last and so we tried to perfect our show and the songs and the stage show and make it flawless. Then you don’t really know how much spontaneity you want to include, because something could go wrong. When we started this tour, and we did a couple of spontaneous things, it opened us up to more. Because things did go wrong and that’s what made the show special. We’re doing what is the most punk rock version of what we could be doing right now. 

You seem generally a lot more comfortable celebrating your past success at this point in your career.

Pete: I think it’s actually not a change from our past. I love those records, but I never want to treat them in a cynical way. I never want there to be a wink and a smile where we’re just doing this because it’s the anniversary. Thai was us celebrating these random songs and we hope people celebrate them with us. There was a purity to it that felt in line with how we always felt about it. I love ‘Folie à Deux’ - out of any Fall Out Boy record that’s probably the one I would listen to. But I just never want it to be done in a cynical way, where we feel like we have to. But celebrating it in a way where there’s the purity of how we felt when we wrote the song originally, I think that’s fucking awesome.

Patrick: Music is a weird art form. Because when you’re an actor and you play a character, that is a specific thing. James Bond always wears a suit and has a gun and is a secret agent. If you change one thing, that’s fine, but you can’t really change all of it. But bands are just people. You are yourself. People get attached to it like it’s a story but it’s not. That was always something that I found difficult. For the story, it’s always good to say, ‘it’s the 20th anniversary, let’s go do the 20th anniversary tour,’ that’s a good story thing. But it’s not always honest. We never stopped playing a lot of the songs from ‘Take This To Your Grave’, right? So why would I need to do a 20-year anniversary and perform all the songs back to back? The only reason would be because it would probably sell a lot of tickets and I don’t really ever want to be motivated by that, frankly. 

One of the things that’s been amazing is that now as the band has been around for a while, we have different layers of audience. I love ‘Folie à Deux’, I do, I love that record. But I had a really personally negative experience of touring on it. So that’s what I think of when I think of that record initially. It had to be brought back to me for me to appreciate it, for me to go, ‘oh, this record is really great. I should be happy with this. I should want to play this.’ So that’s why we got into a lot of the b-sides because we realized that our perspectives on a lot of these songs were based in our feelings and experiences from when we were making them. But you can find new experiences if you play those songs. You can make new memories with them. 

You alluded there to the 20th anniversary of ‘Take This To Your Grave’. Obviously you have changed and developed as a band hugely since then. But is there anything you can point to about making that debut record that has remained as a part of your process since then?

Pete: We have a language, the band, and it’s definitely a language of cinema and film. That’s maintained through time. We have very disparate musical tastes and influences but I think film was a place we really aligned. You could have a deep discussion, because none of us were filmmakers. You could say which part was good and which part sucked and not hurt anybody’s feelings, because you weren’t going out to make a film the next day. Whereas with music, I think if we’d only had that to talk about, we would have turned out a different band. 

Patrick: ‘Take This To Your Grave’, even though it’s absolutely our first record, there’s an element of it that’s still a work in progress. It is still a band figuring itself out. Andy wasn’t even officially in the band for half of the recording, right? I wasn’t even officially the guitar player for half of the recording. We were still bumbling through it. There was something that popped up a couple times throughout that record where you got these little inklings of who the band really was. We really explored that on ‘From Under The Cork Tree’. 

So when we talk about what has remained the same…I didn’t want to be a singer, I didn’t know anything about singing. I wasn’t planning on that. I didn’t even plan to really be in this band for that long because Pete had a real band that really toured so I thought this was gonna be a side project. So there’s always been this element within the band where I don’t put too many expectations on things and then Pete has this really big ambition, creatively. There’s this great interplay between the two of us where I’m kind of oblivious, and I don’t know when I’m putting out a big idea and Pete has this amazing vision to find what goes where. There’s something really magical about that because I never could have done a band like this without it. We needed everybody, we needed all four of us. And I think that’s the thing that hasn’t changed. - the four of us just being ourselves and trying to figure things out. Listening back to ‘Folie’ or ‘Infinity On High’ or ‘American Beauty’, I’m always amazed at how much better they are then I remember. I listened to ‘MANIA’ the other day. I have a lot of misgivings about that record, a lot of things that I’m frustrated about. But then I’m listening to it and I’m like, ‘this is pretty good.’ There’s a lot of good things in there. I don’t know why, it’s kind of like you can’t see those things. It’s kind of amazing to have Pete be able to see those things. And likewise, sometimes Pete has no idea when he writes something brilliant, as a lyricist, and I have to go, ‘No, I’m gonna keep that one, I’m gonna use that.’ 

On ‘So Much (For) Stardust’ you teamed up with producer Neal Avron again for the first time since 2008. Given how much time has passed, did it take a minute to reestablish that connection or did you pick up where you left off?

Patrick: It really didn’t feel like any time had passed between us and Neal. It was pretty seamless in terms of working with him. But then there was also that weird aspect where the last time we had worked with him was kind of contentious. Interpersonally, the four of us were kind of fighting with each other…as much as we do anyway. We say that and the myth gets built bigger than it was. We were always pretty cool with each other. It’s just that the least cool was making ‘Folie’. So then getting into it again for this record, it was like no time had passed as people but the four of us got on better so we had more to bring to Neal.

Pete: It’s a little bit like when you return to your parents’ house for a holiday break when you’re in college. It’s the same house but now I can drink with my parents. We’d grown up and the first times we worked with Neal, he had to do so much more boy scout leadership, ‘you guys are all gonna be okay, we’re gonna do this activity to earn this badge so you guys don’t fucking murder each other.’ This time, we probably got a different version of Neal that was even more creative, because he had to do less psychotherapy. 

He went deep too. Sometimes when you’re in a session with somebody, and they’re like, ‘what are we singing about?’, I’ll just be like, ‘stuff’. He was not cool with ‘stuff’. I would get up and go into the bathroom outside the studio and look in the mirror, and think ‘what is it about? How deep are we gonna go?’ That’s a little bit scarier to ask yourself. If last time Neal was like a boy scout leader, this time, it was more like a Sherpa. He was helping us get to the summit. 

The title track of the album also finds you in a very reflective mood, even bringing back lyrics from ‘Love From The Other Side’. How would you describe the meaning behind that title and the song itself?

Pete: The record title has a couple of different meanings, I guess. The biggest one to me is that we basically all are former stars. That’s what we’re made of, those pieces of carbon. It still feels like the world’s gonna blow and it’s all moving too fast and the wrong things are moving too slow. That track in particular looks back at where you sometimes wish things had gone differently. But this is more from the perspective of when you’re watching a space movie, and they’re too far away and they can’t quite make it back. It doesn’t matter what they do and at some point, the astronaut accepts that. But they’re close enough that you can see the look on their face. I feel like there’s moments like that in the title track. I wish some things were different. But, as an adult going through this, you are too far away from the tether, and you’re just floating into space. It is sad and lonely but in some ways, it’s kind of freeing, because there’s other aspects of our world and my life that I love and that I want to keep shaping and changing.

Patrick: I’ll open up Pete’s lyrics and I just start hearing things. It almost feels effortless in a lot of ways. I just read his lyrics and something starts happening in my head. The first line, ‘I’m in a winter mood, dreaming of spring now’, instantly the piano started to form to me. That was a song that I came close to not sending to the band. When I make demos, I’ll usually wait until I have five or six to send to everybody. I didn’t know if anyone was gonna like this. It’s too moody or it’s not very us. But it was pretty unanimous. Everybody liked that one. I knew this had to end the record. It took on a different life in the context of the whole album. Then on the bridge section, I knew it was going to be the lyrics from ‘Love For The Other Side’. It’s got to come back here. It’s the bookends, but I also love lyrically what it does, you know, ‘in another life, you were my babe’, going back to that kind of regret, which feels different in ‘Love For The Other Side’ than it does here. When the whole song came together, it was the statement of the record. 

Aside from the album, you have released a few more recent tracks that have opened you up to a whole new audience, most notably the collaboration with Taylor Swift on ‘Electric Touch’. 

Pete: Taylor is the only artist that I’ve met or interacted with in recent times who creates exactly the art of who she is, but does it on such a mass level. So that’s breathtaking to watch from the sidelines. The way fans traded friendship bracelets, I don’t know what the beginning of it was, but you felt that everywhere. We felt that, I saw that in the crowd on our tour. I don’t know Taylor well, but I think she’s doing exactly what she wants and creating exactly the art she wants to create. And doing that, on such a level, is really awe-inspiring to watch. It makes you want to make the biggest, weirdest version of our thing and put that out there. 

Then there was the cover of Billy Joel’s ‘We Didn’t Start The Fire’, which has had some big chart success for you. That must have taken you slightly by surprise.

Patrick: It’s pretty unexpected. Pete and I were going back and forth about songs we should cover and that was an idea that I had. This is so silly but there was a song a bunch of years ago I had kind of written called ‘Dark Horse' and then there was a Katy Perry song called ‘Dark Horse’ and I was like, ‘damn it’, you know, I missed the boat on that one. So I thought if we don’t do this cover, somebody else is gonna do it. Let’s just get in the studio and just do it. We spent way more time on those lyrics than you would think because we really wanted to get a specific feel. It was really fun and kind of loose, we just came together in Neal’s house and recorded it in a day.

Pete: There’s irreverence to it. I thought the coolest thing was when Billy Joel got asked about it, and he was like, ‘I’m not updating it, that’s fine, go for it.’ I hope if somebody ever chooses to update one of ours, we’d be like that. Let them do their thing, they'll have that version. I thought that was so fucking cool. 

It’s also no secret that the sound you became most known for in the mid-2000s is having something of a commercial revival right now. But what is interesting is seeing how bands are building on that sound and changing it. 

Patrick: I love when anybody does anything that feels honest to them. Touring with Bring Me The Horizon, it was really cool seeing what’s natural to them. It makes sense. We changed our sound over time but we were always going to do that. It wasn’t a premeditated thing but for the four of us, it would have been impossible to maintain making the same kind of music forever. Whereas you’ll play with some other hands and they live that one sound. You meet up with them for dinner or something and they’re wearing the shirt of the band that sounds just like their band. You go to their house and they’re playing other bands that sound like them because they live in that thing. Whereas with the four of us and bands like Bring Me The Horizon, we change our sounds over time. And there’s nothing wrong with that either. The only thing that’s wrong is if it’s unnatural to you. If you’re AC/DC and all of a sudden power ballads are in and you’re like, ‘Okay, we’ve got to do a power ballad’, that’s when it sucks. But if you’re a thrash metal guy who also likes Celine Dion then yeah, do a power ballad. Emo as a word doesn’t mean anything anymore. But if people want to call it that, if the emo thing is back or having another life again, if that’s what’s natural to an artist, I think the world needs more earnest art. If that’s who you are, then do it.

Pete: It would be super egotistical to think that the wave started with us and My Chemical Romance and Panic! At The Disco has just been circling and cycling back. I remember seeing Nikki Sixx at the airport and he was like, ‘Oh, you’re doing a flaming bass? Mine came from a backpack.’ It keeps coming back but it looks different. Talking to Lil Uzi Vert and Juice WRLD when he was around, it’s so interesting, because it’s so much bigger than just emo or whatever. It’s this whole big pop music thing that’s spinning and churning, and then it moves on., and then it comes back with different aspects and some of the other stuff combined. When you’re a fan of music and art and film, you take different stuff, you add different ingredients, because that’s your taste. Seeing the bands that are up and coming to me, it’s so exciting, because the rules are just different, right? It’s really cool to see artists that lean into the weirdness and lean into a left turn when everyone’s telling you to make a right. That’s so refreshing. 

Patrick: It’s really important as an artist gets older to not put too much stock in your own influence. The moment right now that we’re in is bigger than emo and bigger than whatever was happening in 2005. There’s a great line in ‘Downton Abbey’ where someone was asking the Lord about owning this manor and he’s like, ‘well, you don’t really own it, there have been hundreds of owners and you are the custodian of it for a brief time.’ That’s what pop music is like. You just have the ball for a minute and you’re gonna pass it on to somebody else.

We will soon see you in the UK for your arena tour. How do you reflect on your relationship with the fans over here?

Pete: I remember the first time we went to the UK, I wasn’t prepared for how culturally different it was. When we played Reading & Leeds and the summer festivals, it was so different, and so much deeper within the culture. It was a little bit of a shock. The first couple of times we played, I was like, ‘Oh my God, are we gonna die?” because the crowd was so crazy, and there was bottles. Then when we came back, we thought maybe this is a beast to be tamed. Finally, you realize it’s a trading of energy. That made the last couple of festivals we played so fucking awesome. When you really realize that the fans over there are real fans of music. It’s really awesome and pretty beautiful. 

Patrick: We’ve played the UK now more than a lot of regions of the states. Pretty early on, I just clicked with it. There were differences, cultural things and things that you didn’t expect. But it never felt that different or foreign to me, just a different flavor…

Pete: This is why me and Patrick work so well together (laughs).

Patrick: Well, listen; I’m a rainy weather guy. There is just things that I get there. I don’t really drink anymore all that much. But I totally will have a beer in the UK, there’s something different about every aspect of it, about the ordering of it, about the flavor of it, everything, it’s like a different vibe. The UK Audience seemed to click with us too. There have been plenty of times where we felt almost more like a UK band than an American one. There have been years where you go there and almost get a more familial reaction than you would at home. 

Rock Sound has always been a part of that for us. It was one of the first magazines to care about us and the first magazine to do real interviews. That’s the thing, you would do all these interviews and a lot of them would be like ‘so where did the band’s name come from?” But Rock Sound took us seriously as artists, maybe before some of us did. That actually made us think about who we are and that was a really cool experience. I think in a lot of ways, we wouldn’t be the band we are without the UK, because I think it taught us a lot about what it is to be yourself.

Fall Out Boy’s ‘So Much (For) Stardust’ is out now via Fueled By Ramen. 

[looselipssinkships-x]

Fall Out Boy studio albums shortest to longest (because it's interesting to me and if i can run a 5k to all but the last two and a half songs of mania, how far would i run if i ran for the entirety of folie/ioh and do i want to make that a personal goal? maybe)

- M A N I A (35:50)

- American Beauty/American Psycho (39:01)

- Take This To Your Grave (39:28)

- Save Rock And Roll (41:37)

- From Under The Cork Tree (42:59) ((+ Snitches and Talkers and The Music or the Misery 49:18))

- So Much (For) Stardust (44:14) ((- The Pink Seashell 43:25 im sorry this is my skip song))

- Infinity On High (47:57) ((+ ginasfs and it's hard to say i do 54:36))

- Folie à Deux (50:43)