#capsule studio

[badnewswhatsleft]

2023 september - rock sound #300 (fall out boy cover) scans

transcript below 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.

WORDS: James Wilson-Taylor PHOTOS: Elliot Ingham

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 favourite 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. This 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’ve 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 realised 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 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 had very disparate music 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 than I remember. I listened to ‘MANIA’ the other day, and I have a lot of misgivings about that record, a lot of things 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 the weird aspect where the last time we 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 then that 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 has 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 but 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. Everyone 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 From 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 From 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 that 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 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 chose 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 bands 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 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 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 that 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 realise it’s a trading of energy. That made the last couple of festivals we played so fucking awesome. When you really realise 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 flavour… 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 flavour 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.

[pixelhotsauce]

I think I'm finna gon head and start a little "Ladies of Dragonball" pinup series to honor Toriyama-sensei

[tanuki-kimono]

LOEWE x Howl's Moving Castle capsule collection (Castle / Markl / Howl / Heen). Some items like those bags are pretty cleverly designed - just don’t look at some of the prices which are outrageous.

I find the clothes especially overpriced considering the cuts and materials. I mean this coat mimicing Howl’s wizard room is just a classic tweed wool coat with sewn trinkets (serioulsy super easy to DIY with thrifted or news items!):

The printed silk lining would be trickier to get be not impossible too:

[peteneems]

[vocalsynthbdays]

happy birthday Mai(synthv studio) and XIA YU YAO(utau) !!!!!!!! [nov 10]

mai

yu yao (original)

Mai is a japanese synth developed by dreamtonics, and released in 2022. she is voiced by Honoka Kitta, but her illustrator has not been revealed. mai was created with jpop, dance, and idol-like music in mind.

XIA YU YAO is a chinese japanese synth developed by E-CAPSULE. shes originally introduced in 2014 and is the first of the VOICEMITH(ecapsule's virtual singer production brand) synth. xia yu yao is voiced by Mi Yang. yu yao's original, "OUTSIDE" utau append, and synthv illustrator is izumi, and the illustrator for her "INSIDE" utau vb is Nyaroro. yu yao has other illustrators for different things, but im only showing (what i believe to be) izumi's and nyaroro's art. i am uncertain of how drew yu yao's 3.0/ v3 utau art; i think it might just be izumi again, however Shénzi is credited as the "2018 illustrator" on the utau fandom wikia, and im not sure what they drew. the 3.0 bank was released before 2018 though, so who knows. on 4 aug 2015 yu yao's 2.0/ v2 utau bank was relased, on 10 nov 2015 her OUTSIDE and INSIDE utau appends, on 26 feb 2016 her 3.0/ v3 utau vb, and on 30 jan 2023 yu yao's synthv studio ai vb. ecapsule originally wanted to release yu yao for vocaloid 3, but that didnt happen due to differeing opinions between them and yamaha. yu yao was originally 17yo, but this was changed to 18yo on 22 jun 2016. she is 158cm tall and taiwanese. she enjoys taking care of others, and has a wind attribute which gives her wind powers that let her blow away peoples bad emotions and cleanses their hearts with her magical wind. xia yu yao is the most popular vocal synth in taiwan ? or like is the most popular taiwanese one ? or is just very very popular in taiwan ?? something like that sorry im not sure

2.0

outside

inside

3.0

[ystk-archive]

[Translation] L.D.K. Lounge Designers Killer interview (BARFOUT! magazine vol. 122, Oct. 2005)

(Yes, there's really a long-running arts and culture magazine in Japan called Barfout. Click here to view full-page scans of the feature, and feel free to contact me with any questions/comments.)

What surprising developments took place on capsule's new album!?

I'm crazy about capsule's newest album, L.D.K. Lounge Designers Killer. It includes "Flying City Plan" [Soratobu Toshikeikaku] — featured in a collaborative music video created by Ghibli subsidiary Studio Kajino and directed by Momose Yoshiyuki — for a total of ten songs (perhaps I should mention that video is on the same level as many sci-fi films!). capsule is a creative unit made up of Nakata Yasutaka (producer) and Koshijima Toshiko (vocalist). The two have been entertaining listeners with their extremely poppy releases that'll take you on a virtual joyride through a world of music inspired by interior design and mass-produced goods. That said, I was taken aback by the song "Glider"! Even with their cool, plastic charm, capsule launched a dramatic pop track with a melody that tugs at the heartstrings the minute it begins. If I had to compare it to works by other artists, it's got a similar feeling to Quruli's "Wandervogel" and Supercar's "YUMEGIWA LAST BOY." Geez, I've really been wearing this song out! (At this point, "Glider" is going at #1 on my top ten favorites of 2005!) Including a club-oriented track with an enjoyable guitar sound, capsule's new album is filled to the brim with groundbreaking songs that overflow with human emotion. It'll definitely add a certain je ne sais quoi to your own space!!!

Original interview text by Fukushima Ryutaro, translation by ystk-archive

"From outerspace to the ocean, I wanted it to have a sense of vastness" (Nakata)

barf: How in the world did you arrive at something like L.D.K. Lounge Designers Killer? Nakata: All the tracks on this album definitely make me go "hey, I can make good songs too!" (laughs). barf: The jacket photo is a picture of grass. Nakata: It's fake. The clothes we wear in the "Glider" video are also made out of that. I'm not much of a nature enthusiast, but in Japan we sure do have a lot of state-manufactured parks, don't we? The album cover's aura is sort of like that, how it's natural but somehow artificial at the same time. barf: The first track, "Flying City Plan," was used as the basis of a short film, following the examples set by "Portable Airport" [Portable Kuukou] and "space station No.9." They're even screening it before the movie Touch. Nakata: The first short "Portable Airport" showcases a fantasy town in capsule's type of aesthetic. After that was the resort concept for "space station No.9." So for this third one, we aimed for it to be more visually spacious and panoramic. From outerspace to the ocean, I wanted it to have a sense of vastness, so that's why I went with "Flying City Plan" for the music. barf: It has a majestic feel. Nakata: I tried to give it an easygoing sort of speed. When you're flying in an airplane, you can't feel the wind, but you know it's going by extremely fast outside. So the music follows along those lines, with a relaxed pace, kind of giving off an executive's suite type of vibe. And they retired the Concorde planes, so... (laughs) barf: Did you have any thoughts on the video, Koshijima-san? Koshijima: It's dramatic. She's a damsel in distress (laughs). barf: The second track "Teleportation" sounds so much like capsule's usual while simultaneously feeling quite new. Nakata: That's because, in a rare move, I played the guitar. I've used it before but only for riffs and whatnot, this time I played it more messily. barf: Speaking of guitars, the third track "Lounge Designers Killer" is rather rock-influenced. Nakata: To be totally honest, I was given a guitar. So I was just thinking like, "What if I use guitar sounds for this album?" There wasn't a deep reason behind it (laughs). barf: What kind of guitar did you get? Nakata: The one I used in the music video.¹ After we finished the shoot for "Glider," I added guitars to the song (laughs). Originally I thought it'd be interesting that the video was going to show a guitar being played with no guitars in the music, but since we went through the trouble of getting it, I threw some in the song after the fact. barf: That would've been a bizarre visual element (laughs). I get the sense that capsule is strongly influenced by cool instruments. Nakata: I really like changes of scenery and instruments. With bands, new ideas are sparked by the members interacting with each other, right? I pull my inspirations from instruments and checking out stores I haven't been to before.

"capsule does things without focusing on whether or not it's 'too late' to do them." (Nakata)

barf: "Glider" really comes to life as the seventh track following the science fiction-esque "Antenna." Nakata: I tried to make the transition sound unnatural. There used to be a sense of flow even though songs weren't actually connected to each other, but nowadays there's a high possibility that people will import albums into a computer and listen to everything out of order anyway. I wanted to put something there that would make the listener go "huh?" when the song changed over. "Antenna" starts and ends abruptly: the intro begins and cuts off halfway through, giving the impression that it's broken; it's the same type of weird feeling you get when the TV channel suddenly changes. So I put that in there to make the connection between the songs worse, not better (laughs). barf: "Glider" stands out strongly. Koshijima-san, how was it singing this song? Koshijima: Honestly, my voice was in really bad shape during recording and it was at its worst when we got around to "Glider" — it wouldn't come out at all. But when I got to listen to the song in the studio, I was struck by how long it's been since I heard something so good, and because of that my voice somehow managed to power through (laughs). barf: The title of "Progress and Harmony for Mankind" [Jinrui no Shinpo to Chouwa] feels a bit out of place, doesn't it (laughs). Nakata: It's from the 1970 Osaka Expo. barf: Really!! I didn't make the connection. Nakata: It's so like us to not use the theme from this year's Expo (laughs).² The Osaka Expo happened during a time when people really valued science. They thought like "with science, anything is possible!" Along with the ecological issues, I think the idea of creating another earth is fascinating (laughs). barf: With the kind of rhythm it has, the song's got a cool spacy feel to it. Nakata: That track is close to the type of music that pushed me into doing music. I felt like how I did in junior high, making songs like this when I started recording at home. Koshijima: You definitely did material like this when we first met. It was pretty heavy (laughs). Nakata: That's why when I listen to recent releases, I feel like I've gone back in time. These days, a lot of the songs I hear that people say are "good" are nostalgic. Bands have started making house and electro-ish music with '80s sounds and I wind up thinking, "Can they really do that?" barf: It has gotten like that. Nakata: capsule does things without focusing on whether or not it's "too late" to do them. It's not that I'm bitter about it though; that's just what happens when you do what you enjoy. barf: But if that's how you naturally go about about things, then it's okay. Nakata: It's not a recent phenomenon, but I do think people who create things feel confined. If they do this genre, then they have to use certain sounds — they have so-called rules like that. I make music thinking it'd be nice to ignore those rules.

¹ Nakata owns a Yamaha RGX A2 which he "played" in the Glider music video. I think. I was told that it was actually a different guitar but I guess not! ² 2005 was the Aichi Expo with the theme of "Nature's Wisdom." He's saying this in reference to his disinterest in nature.

[intertexts]

yayyyy :]]

[iliketoseeeverythinginneon]

Part 3/3…

Instagram: iliketoseeeverythinginneon

[raspberry-beret]

Art Weekend - Swirl Plate by Tim Alexander

Working out of a remote studio on an island on the Canadian side of Lake Superior, Tim Alexander often echoes the natural landscape around him in his pottery. His high-firing kiln methods often make it difficult to use many colors but celadon greens, coppery reds, and iron-rich blacks are prominent and used for forest and water motifs. One of the important elements of Alexander's works, and that of pottery, is the practically and functionality and he has said that a piece cannot be fully understood until you are able to handle it yourself.

[sheltiechicago]

These Futuristic Floating Hotel Suites Are Completely Solar-Powered

Enter Pearlsuites, the futuristic floating hotel suites designed by Pierpaolo Lazzarini of Lazzarini Design Studio. The conceptual designs are circular pods that are reminiscent of UFOs, but, instead of hovering in the air, they float on the surface of the water. Each unit includes all the same amenities as a hotel room and is 100% solar-powered, creating enough energy for air conditioning, lighting, refrigeration, and other appliances.

Pearlsuites are designed for Jet Capsule, an Italian water mobility brand whose vision is to bring the heights of road and air travel luxury to the water, sustainably.

[dynamos-games]

just loaded up Minecraft on my Xbox 360 for the first time in 7 years and almost immediately started sobbing

the last update I played was TU 31. I spent 3 hours just wandering around the tutorial world, and I looked through all of my old worlds,too. I found the first ever tutorial I played, my first mountain base, my super flat where I built pixel art, and even a few worlds I made with friends. also I guess younger me really sucked at this game because I have like 40 worlds titled "New World" and all I bothered to do was build a house, then I started a new one

and this was on just one profile. I have a super old Xbox Live profile I can't get into anymore that was way more worlds, I can see them in my console storage but obviously I wasn't able to play them.

[nedgis]

Jeu concours Carpyen : tentez de gagner la délicate lampe à poser Capsule de Carpyen !

En collaboration avec la marque espagnole Carpyen, nous vous proposons de remporter l’élégante lampe à poser Capsule ! Tout d’abord, découvrons la maison Carpyen ! La maison Carpyen incarne l’excellence de l’artisanat espagnol depuis des décennies, se distinguant par son engagement inébranlable sur la qualité, la créativité et l’innovation.  Basée à Barcelone, cette marque emblématique a fait…

[glitterhoof]

i know there’s a lawt of reasons 2 live in this wacky world for longer than 30 years but the nick Time Capsule opening is one of them. I want to see it opened SO bad I am going insane

[terpenes-and-thc]

How hemp Can Help us Live Healthier Lives!

How hemp Can Help us Live Healthier Lives!

How Hemp Can Help us Live Happier Healthier Lives! Did you know that hemp is an extremely powerful plant with a long history of medicinal and commercial uses? From helping reduce inflammation to providing a sustainable alternative to certain plastics, hemp is quickly becoming one of the most popular plants on the planet. In this article, explore the many benefits of hemp, and how hemp can help…

[sashasspace]

Love Language mod v1- the intro ♡

I can’t believe my first ever mod is finally out! I wrote it out in July 2021 hoping the day it could be a mod and the fact it is out now feels so surreal. The five love language mod in the sims! Yes, our sims can now have a love language as a trait. You can buy the trait from the rewards store and it costs 12 points. Once your sim has the trait, you can see it in the simology panel and then your sims will have wants surrounding their trait. I used ALL the packs to create this mod.

What are the wants we will see in game?

Most of the instructions are already in the game on how to complete the wants

Words of affirmation

For words of affirmation, your sim’s charisma skill is an important factor when it comes to their social interactions

Compliment outfit *skill 2 charisma*

Compliment appearance

Brighten day *skill 2 charisma*

Flatter *skill 3 charisma*

Ask about day

Express admiration 

Whisper (any whisper social)

Profess undying love

Pickup line *for couples with high relationship, just have your couple flirt*

Sweet talk *skill 6 charsima*

Flirt

Declare love publicly 

Get to know

Discuss interest

Deep conversation

Tell story (any story social)

Tell dirty joke *skill 4 comedy and also flirty*

Ask a risqué question

Write love email *skill 4 writing/ flirty mood*

Flirty text *could be regular text too*

Heartfelt compliment *happy mood*

Say affirmations

Write affirmations

Quality time

 Ask about day

Watch movie alone or with someone

Play Console / PC alone or with someone *skill 4 video gaming*

Call someone

Chat on computer

Cook meal alone or with someone (any meals from all packs)

Picnic *spring/summer season*

Prepare drinks (any drinks from all packs)

Travel

Join in cooking

Workout *skill 6 fitness*

Dance together *skill 3 dance*

Pillow fight

Teach to knit *skill 10 knitting*

Play with sparkler *must be summer/fireworks must be on property for the want to appear*

Video call

Watch TV show

Take a bath *any bath*

Play board games *all table games included* 

Gifts  

Give gift *friendly, mean, funny or romantic*

Give simoleons 

Treat yourself or any animal

Receive gift *open presents from seasons*

Buy something *retail, phone, computer purchase...etc.*

Offer rose *gift rose or flower arrangement in inventory/ buy from the flower stall*

Donate to charity *skill 3 charisma*

Give jewelry gift *gemology table*

Give a collectable as a gift *dig to find something or buy simmi capsule*

Acts of service 

Call to meal

Be called to a meal

Make drinks for *use bar*

Prepare drinks (any drink from any pack)

Order drinks together / solo

Cheers *toast from seasons/ my wedding stories*

Order food from stall

Clean up

Repair

Give or receive massage *romantic base game social or spa day*

Cook (any meal)

Donate to charity *skill 3 charisma*

Order delivery 

Serve tea/ be served tea *object from my wedding stories*

Hire a service  (any service)

Volunteer *parenthood pack*

Physical touch

These wants need sims to have a first kiss to appear. For sims created in CAS as married or premades, they have to woohoo first for the want to appear.

Kiss

Kiss lover's cheek / family kiss *all sims are included in this interaction*

Hug / Embrace *all sims are included in this interaction*

Caress cheek

Snuggle your lover

Give / receive Massage 

Look deeply into eyes

Feed a bite

Slow dance / sweetheart dance *My wedding stories/ High school years*

Cozy up by the fire

Woohoo (any location)

Cuddle while watching movie

Make out 

Tickle

Credits 💕

Thank you Tee (danitysimmer) for helping me and teaching me all about modding. You are so patient with me and so understanding.. I’ll never forget your kindness. I pray you receive so many blessings in life

Jordy, thank you for motivating me to go back and cheering me on when I sent updates

My family and friends who cheered me on when I sent updates

Zerbu’s mod constructor v5 / Lot51 tuning builder

Sims 4 studio / Scumbumbo’s xml injector

Cinnasims for the pose I used / pose player mod

"The Five Love Languages" by Gary Chapman

Twistedmexi better exceptions

My amazing friends who tested this mod out thank you so much!

XML INJECTOR IS REQUIRED!!!!

Optional downloads ♥

UI Cheats Extension v1.41 | Patreon

MiniMod: Re-Roll Wants | Patreon

Video tutorial

CLICK HERE TO DOWNLOAD THE MOD Alternate Download

Brazilian Portuguese love language mod

French love language mod

Polish love language mod

Ukrainian love language mod

Spanish love language mod

FAQs ღ

Why is the mod not appearing for me? You don't have XML injector mod 💜

There will be future updates such as moodlets/buffs and love languages for children. If you have any issues, please contact me. I will try my best to figure it out. Tag me if you use the mod, I would love to see it in your game. Thanks for downloading and being patient with me. I wish you a lovely day!

Take care 🌙

🚨 For any modder who wants to translate any of my mods, I don't mind if you upload it on your patreon, or even any other website that monetizes, BUT I do not want you to post it on CurseForge. I would also like if you keep the mods publicly for download no early access.