#daily lovejoy lyrics

[daily-lovejoy-lyrics]

[dearestlyrics]

and you think that it gets better

just you wait until next week

[pastadrawstma]

Doing the spotify wrapped art challenge with the TMA friends. This is 3 with Oliver and Graham. Lyrics are from Scum by Lovejoy

Btw if any of you wanna send me a number in my ask box thats between 1-100 and a character from TMA that would be really fun to continue doing this

(requested by @podxol and @char-lie-spirals hai guys :3)

Day 8 of posting magpod art daily

[joviepog]

this might be a little cliche but, can you do a Wilbur x reader where they are both musicians and it’s like they are communicating through song lyrics?? totally understand if you don’t :))

AWE I HAVENT EVEN THOUGHT OF THIS!!!

—♫—♫—♫-♫-♫—♫—♫—♫—

Love at first sound.

Who: Wilbur x reader

Warnings: None!

Pronouns: They / them

Requests: From Anonymous

Anything else: I hope you dont mind but i made it that they confess their love over their songs. And then one time they preform together like Lovejoy and GoodKid and then the crowd realizes that they are looking at each other :)

—♫—♫—♫—♫—♫—♫—♫—♫—♫—♫

Ah love at first sight. A thing we all dream of on the daily. But little did you know, this would happen to you soon.

It wasn’t much of a secret that you were very much in love with Wilbur since the first time you streamed with him. Shelby, Jack, and Scott could see it, chat could see it, damn even wilbur could see it. You were head over heals! And from that’s moment on, you wrote almost cry song while thinking about him.

Dont worry its not like you only streamed with him once. You guys were close now! You guys talked every day for almost the whole day. You guys met up and hung out all the time. You guys would even go to each others houses on the daily. So being in love with him wasn’t much of a surprise.

And when he found himself liking you, well he wasn’t all that surprised either. Nor was he surprised when eh started writing loves songs about you. At first it started with his own music but then it went on to his band as well. But that’s alright, because you wrote every song you’ve ever made about him too. And every time you would listen to a song of his, you would reply with your own love song.

Soon enough, wilbur asked you to play with him at one of his concerts.

“So… Y/n… i was wondering if you wanted to play at a concert with me?” He rushed the last part and he closed his eyes. You gasped and put your hands over your mouth, “OH of course of course!” You giggled. “I would love to play with you wilbur!”

And only three days later you found yourself being a backup singer for wilbur. He was staring at you the whole time he was singing. And when it was your turn to sing your songs, you were staring right at him. The crowd obviously noticed this and were awing and cheering any time you guys would inch closer to each other.

The next day though, twitter was buzzing with clips of you and wilbur looking at each other with cheeky smiles on your faces. You were both blushing and a sweating mess from all the movement.

You sighed, “oh how i want this to be true.” You looked at your screen sadly. “What do you want to be true?”

You quickly turned off your phone. “AH n-nothing! Nothing at all.” You hid your phone. “Right… So, i wanted to tell you something.” “Mmm?” You tilted your head like a curious dog. wilbur rubbed the back of his neck and blushed, “A-about my little secret.”

[so--much--stardust]

𝙡𝙖𝙨𝙩 𝙧𝙚𝙨𝙤𝙧𝙩, 𝙗𝙧𝙞𝙣𝙜 𝙢𝙚 𝙗𝙖𝙘𝙠 𝙩𝙤 𝙡𝙞𝙛𝙚.

a list of my favorite song lyrics.

“try to smirk, but you’re smiling.” (acolyte - slaughter beach, dog)

“don’t you know that i am right here?” (satellite - harry styles)

“a drama in the futile; a means to an end.” (perfume - lovejoy)

“i’m the face of god, i’m my father’s son.” (brazil - declan mckenna)

“self sabotage is a sweet romance.” (choker - twenty one pilots)

“to see the bigger picture takes intelligence and wisdom.” (privately owned spiral galaxy - crywank)

“cause it reminds you of innocence and it smells like me.” (all too well (TV) - taylor swift)

“the average kind of daily teen regret.” (nothing has changed - the polar boys)

“feeling inadequate’s always what’s driving me.” (agoraphobic - corpse)

“an eye for an eye, a leg for a leg. a shot in the heart doesn't make it un-break.” (hayloft ii - mother mother)

“see how the most dangerous thing is to love, how you will heal and you’ll rise above.” (achilles come down - gang of youths)

“but if all you got is your own two legs, just be glad you got 'em.” (wait for me - hadestown)

“we’ve the revolution that’s been singing in the rain.” (now or never - sunset curve)

“i will be saved for one whole day, until the sun makes the hills its grave.” (semi-automatic - twenty one pilots)

“we got a mission of hope, we got a message of love. soon everybody, everywhere will be the envy of the gods above.” (cult of Dionysus - the orion express)

“you’re pretty when you do not speak.” (too close - sir chloe)

“our country, guess it was a lawless land.” (death by a thousand cuts - taylor swift)

“but this year, though I'm far from home, in Trench, I'm not alone.” (leave the city - twenty one pilots)

“we dream of a brand new start, but we dream in the dark for the most part.” (the room where it happens - hamilton)

“lay us down, we’re in love.” (the end of all things - panic! at the disco)

“for the hope of it all.” (august - taylor swift)

“it’s good to be young, but let’s not kid ourselves, it’s better to pass on through those years and come out the other side, with our hearts still beating, having stared down demons, and come back breathing.” (you were cool - the mountain goats)

[blocky-tides]

9 10 18! (almost didn’t see your ask button lol)

9. what comes up as your fourth recently played?

東亰カニバリズム (tokyo cannibalism) by biz and ado (i manually drew out the characters in google translate to figure out the title)

10. shuffle your daily mix 2 and tell us what song comes up and your favorite lyric!

shut eye by stealing sheep

18. what artist do you anticipate at the top of your spotify wrapped this year?

lana del rey and lovejoy most definitely

[ao3feed-crimeboys]

Isn't Life So Fucking Inconsistent

by XylstGlitch

A collection of what happened and happens in the ‘Wild Birds Cannot be Tamed’ universe; the past, the present, and the future. AKA a further expansion of sequels and prequels I have yet the chance to write or insert in the main storyline in time, just a jumble of drabbles and me rambling :]

I. The aftermath 3 years after the ‘Factory Incident’, and how two brothers cope with the past.

II. How the Syndicate came to be, starting with a particular blond and a teen with flowy hibiscus hair.

III. Two strangers imprisoned in the same cage opened each other's hearts slowly but steadily.

IV. The daily life of two professionally trained doctors, cleaning up after their family who all have no self-perseverance.

V. “How the fuck did you adopt so many children (and adults)?” -Wilbur

VI. A little bonding between a former mafia member and a mafia boss.

VII. “No, I’m not Phil’s secret biological son so shut the fuck up.” -Tommy

VIII. The daily shenanigans of Benchtrio with an occasional Fundy visiting.

IX. “Necromancy is poggers.” -Tommy again, probably

IX.2. The SBI chapter that should have existed but doesn’t until now.

 (To be updated if I have more ideas!)

Words: 4332, Chapters: 1/?, Language: English

Series: Part 3 of Wild Birds Cannot be Tamed, Part 3 of Xylias’s TWB MCC 2023 Fics

Fandoms: Minecraft (Video Game), Video Blogging RPF

Rating: Teen And Up Audiences

Warnings: Creator Chose Not To Use Archive Warnings, Graphic Depictions Of Violence

Categories: Gen

Characters: Wilbur Soot, TommyInnit (Video Blogging RPF), Phil Watson | Philza, Technoblade (Video Blogging RPF), Fundy (Video Blogging RPF), Niki | Nihachu

Relationships: Wilbur Soot & TommyInnit, Fundy & Wilbur Soot, Wilbur Soot & Technoblade & TommyInnit & Phil Watson, Niki | Nihachu & Technoblade, Wilbur Soot & Phil Watson | Philza

Additional Tags: He/Him and They/Them Pronouns for Wilbur Soot, The Writer's Block MCC Lime Llamas, The Writer's Block Minecraft Championships 2023 (Video Blogging RPF), TWB MCC Event, TWB MCC Event Lime Llamas, TWB MCC Event Bingo But Fic, Alternate universe - Mafia, Identity Issues, Identity Reveal, Wilbur Soot is Not Okay, Wilbur Soot is Bad at Feelings, Wilbur Soot is a Mess, Wilbur Soot-centric, Wilbur Soot Gets a Hug, yippeeeeee, Dreams, Dreams and Nightmares, Dreams vs. Reality, Inspired by Dreams, Implied/Referenced Character Death, Blood and Gore, Murder, Character Death In Dream, Not Really Character Death, Swearing, Gore, Flashbacks, Hurt/Comfort, Emotional Hurt/Comfort, Angst and Hurt/Comfort, Fluff and Hurt/Comfort, Fluff and Crack, Fluff and Humor, Song Lyrics, Title from a Lovejoy Song, Reunited and It Feels So Good

[deadcactuswalking]

REVIEWING THE CHARTS: 18/02/2023 (Linkin Park, Central Cee, Lovejoy)

For a fifth consecutive week, “Flowers” by Miley Cyrus is #1 on the UK Singles Chart. Welcome back to REVIEWING THE CHARTS!

Rundown

As always, we start with the notable dropouts – songs exiting the UK Top 75, which is what I cover, after five weeks in the region or a peak in the top 40. This week, the list includes both some more recent tracks like “Nonsense” by Sabrina Carpenter, “Shakira: Bzrp Music Sessions, Vol. 53” by Bizarrap and Shakira, “About You” by The 1975 and “snowfall” by Oneheart and reidenshi as well as some more long-term hits like “Moving All Around (Jumpin’)” by Schak featuring Kim English, “Rocket Science” by Clavish featuring D-Block Europe, “How Do I Say Goodbye” by Dean Lewis, “Mockingbird” by Eminem and finally, “All for You” by Cian Ducrot.

What’s filling up the blanks? Well, there are some returning entries, all of which are older songs just popping back up like “Someone You Loved” by Lewis Capaldi at #75, “Shivers” by Ed Sheeran at #69, “go” by Cat Burns at #64 (potentially the BRITs helped with these) as well as “When I Was Your Man” by Bruno Mars getting viral traction back to #50. The song originally peaked at #2 here in 2013, so I doubt its second run will reach those heights. This also brings us to our notable gains, which have some relation to the ever-disappointing BRIT Awards but also more general streaming gains. The gains this week include “Until I Found You” by Stephen Sanchez at #67, “Oh Baby” by Nathan Dawe and Bru-C featuring bshp and Issey Cross at #54, “Rush” by Ayra Starr at #44, “Just Wanna Rock” by Lil Uzi Vert at #41, “Never Not Gonna Dance Again” by P!nk at #40, “Forget Me” by Lewis Capaldi at #37, “Us Against the World” by Strandz at #27 – that’s a surprising amount of traction for that song since its debut, and it is likely to increase with the Digga D remix – “ceilings” by Lizzy McAlpine at #21, “Green Green Grass” by George Ezra at #14 and finally, Harry Styles reaped the benefits of his BRITs winnings with “Music for a Sushi Restaurant” at #57 and “As it Was” all the way back up to #7, because that song having a resurgence is definitely just what we needed.

Elsewhere in the top 10, we have our top five and it’s pretty predictable: “Sure Thing” by Miguel is at #5, “Kill Bill” by SZA is at #4, PinkPantheress gains up to #3 with “Boy’s a liar”, and we have the duo of “Escapism.” by RAYE featuring 070 Shake at #2 and of course, “Flowers” at #1. We have an interesting batch of new arrivals to look at next, most of which shouldn’t be unfamiliar names or faces, so I suppose let’s just get right into them.

NEW ARRIVALS

#74 – “Running out of Time” – Paramore

Produced by Carlos de la Garza

I’ve yet to hear the new Paramore record, This is Why, which of course debuted at #1 on the albums chart, and I’m not sure when I will because whilst I’ve heard decent reviews, I’m not that big of a fan when it comes to the singles they’ve released thus far. Will this be the one to convince me? Well, the song is one I can relate to when it comes to struggling to make time for anything other than the best intentions: “running out of time” is more running out of energy to focus on certain things at once, so a lot flies by the wayside. The lyrics detail a pretty disastrous daily routine over a jerky post-punk groove and pretty detailed guitar work that still ends up sounding quite of flat once we get to the chorus. Sure, there’s a drive to the riff, however staccato, but not enough when you have a refrain that is purely that one desperate excuse. It feels a bit too steady for a song which has content so outside of the lead vocalist’s control. Hayley Williams is as always an incredibly expressive vocalist with slightly on-the-nose lyrics, but outside of the almost universal feeling I get from this, I can’t say I dig it as much as I want to. This is the best single from the album I’ve heard so far, probably because it feels the most complete, but I still feel like there’s just a little something missing is all, and when Hayley’s putting in all the effort in the world with her vocals and songwriting, it seems especially disappointing that the band behind her is not exactly contributing in a way that feels like it fits the vision of her lyrics and performance.

#66 – “Special” – Lizzo

Produced by Ian Kirkpatrick, Max Martin, Pop Wansel and Daoud

To my surprise, Lizzo is still promoting this album, with the title track now getting a single release particularly due to a remix which for some reason is not credited on the Official Charts Company website when it is the only version getting a single push. I suppose I’ll have to cover the original version here, then. Like with most of LIzzo’s music, it’s definitely well-intended, basing the motivation in her own story, even if the narrative seems a bit clunky, but to be completely honest, this sounds terrible. The horns are as farty and plastic as they’ve ever sounded, and Lizzo is pushed so forward into the mix sometimes that her presence feels particularly overwhelming, especially when it follows the same spiteful self-motivation arc that a lot of these recent singles have had, which has never seemed particularly likeable to me, especially because it’s sugar-coated in an annoying empowering chorus wherein Lizzo seems unsure of her own lead melody, dressed in “luxurious” strings if your definition of luxurious was written by DJ Khaled. The drums are really weak in the chorus too, with the stiff R&B groove that barely registers as “alive” in the first place being completely drowned out. Then there’s the anger against cancel culture in the second verse which seems completely misplaced, especially because – I’ll say it again and again – it doesn’t exist, and if it does, it’s on the right wing. It’s a completely unnecessary and odd verse to place in there, and I feel like it both says nothing and doesn’t go far enough, making it occupy this awkward spot between being too abrasive for the song and sliding in there more subtly. The remix with SZA gets rid of the FIRST verse – you know, the only good part of the song – leaves the random bitterness in the second verse, and keeps pretty much everything else that made this insufferable, with SZA’s contributions mostly being backing vocals, and whilst she’s a more convincing presence than Lizzo – which is saying something – I’m still absolutely not on board with this. It’s just frustrating in a particularly annoying way because all intentions seem to be good with this one, but the song just sucks ass. I’m sorry.

#62 – “Love You Anyway” – Luke Combs

Produced by Luke Combs

It seems that if the UK is deciding on a token country star to prop up this side of the Atlantic, it’s going to be Luke Combs, and I’m not exactly complaining about that choice but it is strange to see a new country single find itself in the UK Top 75 this quickly. This particular song is entirely self-written and self-produced by Combs himself, and sadly, it kind of falls flat for me. I like the more organic sounds backing the typical country pedal-steel but the drums sound a bit too canned and as a result the song ends up being a bit of a slog despite the fact that it’s supposed to be a lovely ballad about how that nothing Combs’ partner could do would make him stop loving her. It’s a cute, well-written song, but I feel like its real place may not be on the charts but in a karaoke bar in Nashville. Thinking about that setting actually made me like the song a bit more: it has a “wham line” but it doesn’t emphasise it as much as it emphasises the entire chorus, so I feel like drinks are in hand and said hands are swaying in the air. With some better production, this could feel really transcendent, but as is, it offers a nostalgic enough vibe and the typical Luke Combs honesty and for that, it works well enough. I still like it.

#60 – “Here” – Tom Grennan

Produced by Jordan Riley, Lewis Thompson, LOSTBOY and Tom Grennan

I am still waiting for the moment that Tom Grennan releases a song that I actually like. That seems mean-spirited but the guy is so close to making music that is well up my alley... and he just doesn’t. “All These Nights” got really close – and honestly, I return to it more than I’d like to admit – but maybe with this new track, which he could have had more involvement with since it’s partly self-produced, he’s going to finally get there because I desperately want to like this guy. You know, it’s not the ideal sound I want to hear Tom Grennan over – 80s pop rock is still the play – but I... kind of love this? Sure, it’s faceless, with the odd vocal mix that is way too compressed and starts off with a really awkward intro, and the piano sounds like Downtown Abbey stock music, but Grennan brings his typical passion in a way that particularly hits this time around. Whatever he’s singing, it will always sound sincere coming from such a gruff yet waivering voice as Grennan’s, and given that this song is about pure love and devotion, him standing confidently amidst misty strings and a droning bass in that first chorus really caught me off guard. Then once the drums come in, they sound typical and digital, sure, but the echoing mix, alongside those backing vocal harmonies, make the song feel absolutely mountainous. Naturally, I’d prefer some real instruments rather than a rattling trap hi-hat in the chorus and bridge for some reason, as this really is a song that needs an organic grit to work as well as it can... but even with the trap drums and processed vocals, that final chorus hits hard and the droning confidence of the song feels like a mantra, with a gorgeous piano outro that kind of convinced me that this is also very, very close to actually being great. Come on, Tom, man, you’re nearly there! You’re getting closer and closer!

#45 – “If We Ever Broke Up” – Mae Stephens

Produced by Morgan Avenue

Another week, another young singer-songwriter with a semi-viral breakout single... yet this one is different because yes, ladies and gentlemen, Mae Stephens is from Kettering. North Northamptonshire stand up as we finally have some representation on the pop charts. On another note, the song is ass: its main motif is clunky and hard to follow, simultaneously not allowing for a nuanced perspective whilst also not allowing for an emotive performance, Stephens sounds half-dead for most of the song, leading to an even number performance on a disco beat that drags its feet through gross synth leads and a bassline that deserves more, with an attitude to composition that would be fun and impromptu if the song didn’t end abruptly without climax or if you know, anyone involved was actually alive because this sounds like it was made by a board room of corpses who have been reconfigured by AI to discern what the youths want to hear and produce some kind of posthumous-sounding pop hit for TikTok. With all that said, Mae, hey, I am just someone with a blog so if you see me in the street in the next couple months, which is actually a decent probability for once on this show, please understand that I do not mean any harm. Listen, at least you don’t get the treatment I give... certain acts on this blog. For example:

#32 – “Call Me What You Like” – Lovejoy

Produced by Dan Priddy and Mark Crew

It’s official: Minecraft YouTuber indie rock is here to stay. To be fair to Mr. Soot and his group of strapping young heartthrobs, I think they’re defined more by this band now than they are Creepers and Endermen, but if you start as a Minecraft YouTuber, as far as I’m concerned, you die a Minecraft YouTuber. When you start the song with “I never was a fan of the Internet”, I’m not sure if you’re even trying to hide it. As for the song’s quality, I actually think the lead despondent riff is pretty catchy and the drum production is genuinely excellent as it has enough aggression and violence when it comes in for the chorus but it never gets muddy, and you can hear every lift, every hit: it hits particularly hard against the fuzz of guitars that also sounds excellent: the lone squeal of one of the guitars parallels Soot’s falsetto in the chorus and oh, my God, I think I like this song. As for the content, it’s more barely witty self-deprecation, this time regarding his insecurity about what value he holds in a relationship, to the point where he’s basically accusing her of cheating, but it never really comes off as repulsive because he’s very aware of how slimey he’s being. The chorus is never anything other than awkward and the bridge is literally a goofy spoken word monologue about how much of a dumbass he is that is wonderfully 1980s and somehow 1920s at the same time. By the end of the song, it’s hard to believe he’s directing any of this towards his partner anyway, as his irrationality has clouded way too much of his judgement for it to be any more than self-contained frustration, which hits particularly hard with the tried-and-true half time drums on the final chorus. If Lovejoy are going to take more risks as well as having consistently excellent production and mixing for this specific niche, I’m excited to hear what they come up with next. Genuinely, I never thought I’d say that.

#31 – “Me & You” – Central Cee

Produced by E.Y. and RazorOnTheTrack

Alright, I’ll bite: what nostalgic track does this one sample? Well, this time, it’s not even original: not only have Lil Wayne and Young Thug flipped it, but fellow UK rapper Not3s took the Donell Jones sample of “Shorty (Got Her Eyes on Me)” less than two years ago. “Shorty” peaked at #19 here in the UK and was the 1999 follow-up to his only major hit, “U Know What’s Up”, one of the catchiest R&B songs of the 1990s. Sadly, MIST already took “U Know What’s Up” so Cench settled for seconds and this is genuinely awful. I know that’s what Central Cee does now: sample something recognisable under a drill beat and it doesn’t need to be good because it’s a joke song, and as long as he does some kind of playful flip of the sample and adds enough of his ad-libs, it’ll chart. That doesn’t mean it’s any less lazy even if it is his schtick. The sample is so badly mastered that the guitar sounds like came from an AI stem-splitter and Cench tries to play with a vocal loop of Donell Jones by allowing it to complete his sentence but the chipmunk distortion makes it basically indecipherable so he just sounds awkward as all Hell. The percussion is oddly gross and cheap-sounding this time around too, and Cench’s vocal mix is terrible, and that’s before even considering the lyrical content... and honestly, I don’t want to. It’s a gross two verses of desperate guilt-tripping, misguided and clunky analogies and then apologia for his own terrible actions, even cutting in a reference to his “Doja” song by saying he didn’t mean the infamous line in a “degrading way”. Hell, the vocal mix sounds particularly bad on that line so my guess is that he saw this wasn’t going to do as well because it was utter garbage and threw that line in there as a last resort to ensure it got into the top 40. Whatever goodwill I had for Central Cee on the back of a few good songs has been sucked dry with his recent string of singles because not only is the consent absolutely rife with manipulation alongside the flexes, the beats just get lazier and lazier, and no one around him is telling him no. So whilst I know he absolutely isn’t reading this, I’m going to tell him no: think about it in a business way. Sample drill isn’t sustainable – Cench made a song about manipulating his girlfriend, calling her an “endangered species” and then tripling down on the stupidest rap line of 2022... just for Donell Jones to reap all the profits. At least he knows what’s up.

#18 – “Lost” – Linkin Park

Produced by Don Gilmore, Chester Bennington, Dave Farrell, Mike Shinoda, Brad Delson, Mr. Hahn and Rob Bourdon

I like Linkin Park. I know that’s the coldest take of all time but Chester Bennington was really something special when it came to dynamic vocalists, and the band around him kept on changing their sound to mixed results but always with the same degree of passion, of which I’m glad is living on through these anniversary releases. Last time they celebrated the anniversary of Hybrid Theory, they released what may be one of my favourite Linkin Park songs ever, “She Couldn’t”, as a previously unreleased single, which sadly didn’t chart despite being one of their most resonant and heartbreaking songs ever. As I get older, I tend to prefer their more lowkey, reflective moments like that song but the crushing nu-metal they’re known for is what’ll get them to chart, and naturally, to celebrate the 20th anniversary of Meteora, we have the previously unreleased “Lost”. Since 2003, when a five-second clip of Chester singing became a staple of Linkin Park fans’ wishlists, and the song had been constantly teased until finally, 20 years later, the holy grail is officially out. Was it worth the wait? Well, for devoted fans, I imagine that this is a relief of great proportions. For me, I love the dated industrial bleeping that was typical of this era of LP, and I almost wish all of the song functioned in this electropop model, because the turntablism, Shinoda’s echoing paranoia and incredible synths sound a lot better to me when not crushed under grovelling nu-metal, especially for a song about feeling lost and uncertain, wherein a looming paranoia seems more fitting than aggressive cathartic release. I can tell why this was never officially released – Chester’s vocal doesn’t sound final, the lyrics are a bit vaguer and incomplete, especially the really repetitious bridge, but it’s close. He’s as expressive as ever, especially on that chorus, and hearing Chester in any context posthumously hits in a specific way... but for someone who’s not a super-fan, it just can’t hit the same as someone who’s been following the song’s release for as long as it’s been known about. For some fans, this’ll mean the world, and I can’t take anything away from that.

Conclusion

This was a... mixed bag at least. Thankfully, there’s enough that’s decent here to balance out some of the outright garbage. Best of the Week goes to Lovejoy of all people for “Call Me What You Like”, which is a surprise for me, with Honourable Mention being kind of a toss-up but I think I’m particularly fond of Luke Combs’ “Love You Anyway”. As for the Worst of the Week, Central Cee takes it expeditiously for the disgraceful “Me & You”, with a Dishonourable Mention for “Special” by Lizzo which is again well-intentioned but sounds horrible in most aspects that aren’t SZA, and she’s not even on the original version. As for what’s next on the horizon, I have no idea, but thank you for reading and I’ll see you next week!

[markets]

hullo king could i have some music recommendations for being rejected in public... for a friend. also happy almost morbius monday the grind does not stop ig

anon oh my god im sorry😭 that is sooo awful ok so i feel like theres a lot of opttions so im going to give you as many as possible but they probably wont all fit u exactly SORRY i wish i could reach into your braiin and then match it with the perfect song from my playlist i would do that for you anon. anyway my most insane one is creep by radiohead but it isnt for everyone And if u choose to incorporate that one into ur daily life it is an irreverssible thing like imliterally not even the same anymore i have to walk the streets of the city knowing i willingly listen to creep by radiohead. now im going to do a mitski secttion i feel like nobody is a classic drunk walk home is good if youre MAD i bet on losing dogs could also work why didnt you stop me is good but you might have to rotate the lyrics in your mind a bit to fit a burning hill might be good but give it a few weeks. sleep to dream by fiona apple is good if youre mad i want you to love me by fiona apple is good if youre insane. umm what else ok honorable mentions are liability and writer in the dark by lorde knee deep at atp by los campesinos (or lovejoy depends on the mood) motion sickness by phoebe bridgers cellophane by fka twigs all i think about now by pixies SRSLY GOOD LUCK WITH THIS ANON if u need more mussic ever lmk sending u love and luck and a horde of the bats from morbius☹️❤️

[time-is-standing]

top 10 tracks of january, 2022

new year, old me. this month was a strange one. also a bit newer format, expect me going rouge

1. Miserable Man by David Kushner

"all we wanted, was a place to feel like home. that's why we parted from our ways to heal our souls"

I'm not there yet but I want this song to be my reality so bad. rn i'm just a miserable man, who haven't found the home and built something up. I am working on it though and can't wait to get through my misery.

2. The Fall by Lovejoy

writing my wilbur soot fanfic did cost a little bit of my sanity.

I thought I was finished with it by the end of december but I am still fiddling with it, as I continued to write a second part and will do a third bit from other's viewpoints as well. and as I'm barinstorming & writing, I love listening to this song out of habit.

3. Enslaved by Barren Gates, M.I.M.E

aaaaand now this is where we enter our realBenex era. (I still love to call him this)

I am in desperate need of help. I am working on getting to teraphy but until we reach this goal, I am using shit like music to keep me going for a little longer. Benex's EDM playlist is the one that works wonders for now. this song is such a banger, I think it's more than fitting for my current situation; being enslaved.

4. Koloběh lásky by Lafi

when it comes to GeorgeNotFound, it is a well known fact: I am a simp.

& as soon as this video crossed my fyp, I watched it almost every day. I stare at this man straight for minutes and I found so much peace in this song that words can not really describe it. (I have no clue about the meaning of the lyrics though!)

5. Still Something by Suriel Hess

the second contender of the list of the songs that came out on jan 7th (a bit of help with that in a form of a playlist). it's a relatable little song about wanting to leave, being in a relationship, where the love is gone and... the whole chaos that comes in this situation. percfect, lovely song.

6. soda by awfultune

this is the second time that my insanity arc is feeling too real. actually this song is not making me feel toxic in any way, it really helped me to learn to love myself (mostly my past self, we're still working on current shit) and these lines...

"People look up to me and that shit freaks me out, got me in a box and I'm finally breaking out. If you got nothing nice to say; shut your fucking mouth."

7. Afraid by The Neighbourhood

me and my sister used to have a pact: neither of us was allowed to listen to songs/read books/get into fandoms the others loved. it was silly, it ruined so many great opportunities for the both of us.

now we are alright with exploring stuff and my most recent obsession is the nbhd. afraid, daddy issues and softcore are so much more than simple songs to me because I have a past with them but present me can also find so much more meaning behind the words and the songs themselves.

8. East of Eden by Zella Day

Benex strikes again! I love this song. I spent 3 days hunting for it, trying to get the lyrics from listening to it when someone subbed & waiting for it to start playing randomly. I haven't been happier than when I actually found this song and could start listening to it. it's so so so cool.

9. Destiny by NEFFEX

we meet again, old friend. you won last month (sorry, I checked, it was 2nd place) and there is a reason for that. this song is so much more meaningful to me because of Benex's livestreams. I follow the guy daily and drop a welcome message at the start of every stream I can catch. I hope it makes him a bit happy, as he is the whole point of my existence rn.

10. Antarctica by $uicideboy$

oh man. let me tell you about tiktok. this is the place I get my music from. the algorythm is great at showing me special songs I will love from the bottom of my heart. the line "get the fuck away from me" got me and it is so good I can not stop listening.

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[awesomehoggirl]

honestly i wasnt thaaat big on the lovejoy ep either. its definitely really good and its growing on me the more i listen to it but its honestly just too polished for my taste. i like wilburs old music better personally, because its a bit messier sounding. i think sex sells was a bit slow for me but it probably had my favourite vocals because they sounded somewhat rougher than in the other 3 songs

i personally way prefer lovejoy to wilburs older solo stuff but i def agree sex sells has the best vocals . i liked the chorus the best and did think the rest of the song was a little slow but yea the chorus sold the entire thing for me . i did like the lyricism tho which i also liked on ycgma (dont know if wilbur wrote the lyrics for lovejoys stuff but it seems a somewhat similar style so ill assume) . i thought it was good and well made but not something id listen to daily but thats honestly down to taste

[pastadrawstma]

MELANIE THE HER

Lyrics are from Concrete by Lovejoy, requested by @soupthatwasreheated because Noah is just. The Melanie King guy at this point

Day 10 of posting magpod art daily

(again *whispers* drop a number in the ask box thats between 1-100 and a character from tma itll be fun)

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