#fuck you fob (with love)

[ohplasticheart]

I'm not sure

[nothingbutvultures]

also.... some p2 for the soul <3

[the-tombstones-were-waiting]

so heard the new fall out boy song…

and i am very sane and normal about it

[bpdohwhatajoy]

[vampylily]

Notes from the new Rolling Stones Japan article with Pete and Patrick Pt.1 :

[WARNING: The article is in Japanese, I'm not a Japanese speaker. I'm machine translating the article from Japanese to Korean & English, and then doing paraphrasing in English. Thus, the wording is not entirely accurate, and may contain errors. Please don't consider this as a proper translation. This is so I can have a reference more than anything. ]

When the interviewer noted Patrick's Los Crudos t-shirt, he responded enthusiastically that it was a Chicago band! Pete was in a Napalm Death t-shirt.

Interviewer asked about how Summer Sonic was, especially since it was their first since 2019. Patrick said the show went like they hoped, which rarely happens (lol). Said Japanese audiences are special. He gets asked about how concerts in Japan are, but it's hard to explain unless you experience it. Said can't explain it well, but there's a lot of give and take of energy.

Interviewer asked about Pete saying there was a song inspired by Japan on the SMFS album. Pete said "The Kintsugi Kid" was the song about how he felt when he was in Japan, it's obvious by the title. "The Kintsugi Kid'' bridges "I Am My Own Muse" and "So Much (For) Stardust." Said Patrick wrote the songs but in his interpretation, the sonic landscape of the song reminds him of Japan.

Patrick said he's always been quite influenced by Japan, especially on this album. Said people might not register it from the sound, but he's been influenced by the Yellow Magic Orchestra & their synthesizer sounds. He didn't use much synthesizer on the album but a lot of the songs started with synthesizers. He got the same synthesizer Yellow Magic Orchestra used and started writing songs from there. He's a big fan of Studio Ghibli movies and loves Joe Hisaishi's music. Said when doing string/orchestra horn arrangements, he wanted to create a sound that was as appealing to the heart/poignant as his. Even though their music/sound was completely different, he wanted to try it. Said he especially tried to evoke the feeling he got on "The Pink Seashell."

Interviewer asked about TTTYG's 20th anniversary and how they could have done an anniversary tour but they didn't and instead released SMFS with gusto.

Pete said the most important thing is that you stick to what you think is right. Said there was a punk band he liked when he was younger, and they didn't change at all. Talked about how artists like David Bowie or the Clash changed their styles to almost unrecognizable lengths and how some fans left because of it. But when he listens to the albums after getting older, he can reflect on his own changes and find new appreciation for songs he might not have liked at the time.

Pete said celebrating the past too much feels patronizing and not very fall out boy-like. They continue making new music, sometimes they succeed, sometimes they don't. Even if something doesn't work out as well, he's like [it is what it is/that happens], and that some people might say they liked it. He's got albums he likes and albums he dislikes from his own favourite artists. Said they always make new albums that challenge their past works. Of course they hope people like it, but getting good reviews/being appreciated isn't the only reason they continue making music.

Patrick said he doesn't like making an album to celebrate the 20th anniversary, or having an anniversary to showcase past songs. Reasons was that first, the past songs are always in rotation in their sets so they don't stop playing them. Second, like Pete said, they prefer to keep pursuing new music and that stance hasn't changed from 20 years ago. Said deviating from that feels dishonest like they're lying to themselves.

Pete was like [it's how Steven Spielberg didn't make E.T. Part 2.] Patrick was like [exactly!] and said that being honest with themselves was their pure form.

also there's a page 2 to the article but i'm tired :[. they talk about "emo" changing from a specific music genre to the word entering the mainstream vernacular, patrick talked about how when they started out they didin't consider themselves "emo," they were a hardcore band. said he liked playing hardcore though when he sang people used to tell him his voice was too cute. they focused on making the music they wanted to, and before they knew it, they were being called "emo." Pete talked about the word, how it encompasses too much, feeling restricted by that in the past, etc. Talked about wanting to become like Metallica in that the word Metallica has becomes its own thing, Metallica doesn't need a description, etc. Patrick talked about perfoming in Japan, from small venues way earlier to now, etc

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I love long FOB articles and I quite liked this one.

Love that Patrick talked about musical inspirations and SMFS. It’s so cool to hear because I love how beautiful and grand the sounds are in SMFS, even with spoken tracks like The Pink Seashell or Baby Annihilation. 

Also him buying the same synthesizers is so real. He’s a music nerd <3 

They’ve been consistently talking about always wanting to make new music and looking to the future instead of the past. And getting questions about their sound changing since forever haha.

It's really cool that they're very self aware and how convinced they are about making new music. Love that Pete can look back at older albums and find new appreciation for them. I’d be down for another half dozen FOB albums if they are, so (๑•̀ㅂ•́)و✧

The new Pete and Patrick photos!!! They've got such pretty eyes <333

[ssogoodinblue]

"I was at the Grammies sitting behind Chuck D and across from Elvis Costello when I began writing Infinity on High. As I sat there in my Sunday best (I splurged on an Italian maroon ascot) watching Stevie Wonder and Alicia Keys duet a capella, I decided in a room full of innovators that on our two previous albums, I had contributed nothing to pop music.

My saying so is in no way meant as a slight to our indie debut Take This To Your Grave, a strong if derivative pop-punk album from a young band yet uninterested in finding itself. I have slightly less positive things to say of its successor, the exponentially more successful but creatively inconsistent From Under the Cork Tree, for which we were nominated that night.

It dawned on me that, were we to win, we wouldn’t have deserved it. We rightfully lost. I rode back to my hotel, ripped the ascot out of my collar, walked across the street, ate dinner alone, and wondered to myself what would have to change in order for me to feel more comfortable with accolades.

Fear. I was afraid of being who I was musically. Pete was always honest and brave lyrically. Joe and Andy were in their playing as well. But I was timid and hid behind convention as well as re-imaginings of other people’s innovations.

I went back to my hotel and began simply writing without fear of how our audience or critics would react. When we ultimately recorded, I sang how I did at home for myself, not in the way I had learned to sing “punk rock.”

While I won’t say Infinity on High was our best Album, I will say it was a watershed for me creatively. Zero Grammy nominations though."

-Patrick Stump on writing Infinity on High (printed in the lyric book to believers never die)

[unluckyhorseshoecrab]

there's so much in miss missing you, like any fall out boy song, so here's the piece that's hitting me hardest tonight, the night they debuted it on the Healing Tour after not playing it live for 8 years:

this is the song that patrick couldn't finish the music for, because it needed fall out boy. and while pete wentz never allows himself to be collapsed into one reading, there is a reading of the lyrics that are about his divorce. and, just-- the way the band heals has always been through music. (the way they've wounded each other has also been through music, but i digress.)

patrick reached out to pete when pete was fucked up from his divorce. they wrote music.

pete reached out to patrick when patrick felt like a wash-up in his 20's who should disappear and quit music. they wrote music. this song was part of the music they wrote--a song that was incomplete without andy's drums, joe's guitar, pete's lyrics.

patrick reached out to pete when pete went pandemic baby and was afraid to get back into his life. they wrote music.

[blueautumngrave]

WHAT THE FUCK DID AUSTEN DO TO FUCKING GET HOMESICK AT SPACE CAMP AND ITS NO A SIDE EFFECT OF THE COCAINE LIKE IM HAPPY FOR YALL BUT WHAT THE FUCK MAN

[fobnsfwdoodles]

If they didn't want me to make them into yaoi they could stop being yaoi for five seconds

[and-make-it-double]

supernatural hs au with jock dean, punk cas, emo sam, and theatre kid gabriel

that's it. that's the post.

[andoutofharm]

you were too good to be true, gold plated // our love has never had a leg to stand on

last of the real ones - fall out boy // old college try - the mountain goats

[geneticallyengineeredloser]

sometimes I still wake up in a cold sweat after having nightmares about Carpal Tunnel music video

[nothidd3n]

you and i were fireworks??? that went off too soon? i said id never miss you but i guess you never know???? may the bridges i have burned light my way back home???? you are my favorite what if you are my best I'll never know?? im sorry I didn't mean any of it I just got too lonely????? in between being young and being right you were my versailles at night???? my 9 to 5 is cutting open old scars??you are the drought?? and im the holy water you have been without?? i wish id known how much you loved? me i wish i cared enough to know?? im sorry every songs about you???????? the torture of small talk with someone you used to love???????????????????

[unethicalexperiments]

is it me or is everyone on this website so fucking miserable about everything these days. about every show every movie every book every musician/band every post regarding social issues every art piece. actually not even just on this website on all social media type platforms. the sheer amount of posts/youtube videos i see titled “x is bad and here’s why”. y’all talk about people/problems that have never even remotely crossed my mind as a possibility of existing like it’s plaguing the earth as we speak. things that people act like are major problems in [x fandom] or whatever that i’ve straight up just never seen before. in circles i’m active in. not even in a “let people enjoy things!!!” type of way. just why are you so hung up on something minor clearly making you so upset. i’m a guy who loves to fight but like why are we fighting when it’s not even fun for either of us. and you know what i’m probably guilty of this too at this point but jesus christ. whatever. can we all just sit outside in the park and smoke a blunt and chill out like we used to.

[blueautumngrave]

I don’t care if it’s been six years, I will NEVER get over the bridge in Bishop’s Knife Trick. No matter how much you beg and plead, I will ALWAYS stop and listen every time it comes on. Always, ALWAYS, I’ll feel an emotional swirl in my chest when I hear it. No one will ever be able to take away the feeling that bridge gives me, no one will ever be able to take away the confusing mix of love, longing, and loss that grows inside of me because of that bridge.

I will never get over the bridge in Bishop’s Knife Trick.

[thekidsarentalright]

the theme in abap that gets me the most is remembering. remember me for centuries, remember when we used to split a drink? it never mattered what it was, do you remember when we drove through the night? when we danced to rancid? when i confessed to you riding shotgun, underneath purple skies?, i can't remember just how to forget the way that we danced. there's a room in a hotel in new york city that shares our fate and deserves our pity, i don't want to remember it all. i'm sorry every song is about you, i'm sorry i can't stop remembering you and i can't stop writing about you. Remembering is all i can do because i don't have you, we weren't immortal, we got what we wanted and it wasn't enough. i'm sorry i can't remember how to forget you.