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novoaa1writes · 3 years

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candles

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pairing(s): dark!wanda maximoff x reader

summary:

you’ve been feeling strange for the past month, particularly when it comes to dating.

you do your best to ignore it, thinking it’ll resolve itself on its own—given time, that is.

it doesn’t.

(and it’s got everything to do with wanda.)

[also available on ao3]

word count: ~5,300

rating: mature

warnings: dark!wanda, NON-CON spanking (with a belt), NON-CON BDSM play, mental manipulation, partial mind control, emotional manipulation, mental coercion, trauma bonding, toxic dynamics, drinking, possessive!wanda, non-con mind-reading, vandalism, adultery (not in reference to you or wanda), brief instances of slut-shaming

notes: [requested by anon] reader’s sexuality isn’t explicitly stated, but ex-partners of different genders are referenced/mentioned

— —

wanda uses a couple bulgarian terms of endearment for reader here, so below is a lil’ list in the order of which they appear.

*note: all of these are exactly one letter away from being precise matches to synonymous terms in russian. HOWEVER, the bulgarian alphabet and the russian alphabet are different—granted, in fairly minor ways. for one, while both are comprised of cyrillic lettering, russian has 33 while bulgarian only has 30.

— —

You have no fucking clue what’d gotten into you.

One moment, things were fine—good, even. And the next… well.

You’ll explain.

It was something like 11:30 on a Saturday night, and you were drunk.

Well, not drunk. More like buzzed.

But whatever, right? Considering the week you’d had, you deserved to let loose, even if only for a night.

Monday night saw a very angry and decidedly unhinged soccer mom banging on your door, screeching vehemently about the ‘two-faced slut’ who ruined her marriage and demanding to be let in so that she could ‘make her sorry.’ Turns out, the older guy your roommate had been sleeping with as of late was married—not that he’d bothered to share that particular bit of information with her, obviously.

The two of you spent the better part of the evening barricaded inside, passing a bottle of cheap wine back and forth while trying to explain to the 911 operator that you weren’t messing around, that there really was an angry soccer mom on your doorstep and you were actively fearing for your safety.

She eventually left around 10:00pm—no thanks to the police, since the 911 operator hadn’t even bothered to give them a call. It wasn’t until the next morning when you left for work that you saw the woman’s parting gift to the pair of you: the word ‘HOMEWRECKER’ spray-painted across the front door in obnoxious red lettering.

Bye-bye, security deposit.

That same night, you made your roommate promise to start dating people in a similar age range—because really, the both of you were stressed enough as it was without worrying about coming in between yet another middle-aged couple’s dying marriage.

The rest of the week wasn’t much better.

On Thursday, your balding creep of a boss had made yet another blatant pass at you in the workplace, making you seriously consider (and not for the first time) the prospect of just quitting and being done with it.

Then, at shit o’clock on a Friday morning, you awoke to an urgent phone call informing you that an ex of yours (one you were actually on semi-decent terms with) had gotten into a fairly serious car accident, and still had you marked down as her emergency contact.

30 minutes later found you showing up at the hospital just moments after your ex’s current girlfriend had arrived, which then prompted the whole ‘you still being your ex’s emergency contact’ revelation when the current girlfriend demanded to know what you were doing there, which ended up being… well, you’ll just say it wasn’t pretty, and leave it at that.

And your ex was going to be completely fine, anyways. She just had some minor cuts and abrasions, and would need to undergo a fairly minor (read: minimally invasive) surgery over the next couple days.

Before leaving, you instigated a quick check-in with the doctors to ensure they had everything they needed—which then turned into you providing a list of allergies, as your ex wouldn’t likely be conscious for another couple of hours, and apparently the current girlfriend didn’t know of her sensitivities to penicillin and phenobarbital… which the current girlfriend was less than happy about, if the daggers she glared at you were any indication.

Whatever. You were just trying to help.

You thanked the doctors, told them to feel free to call you if anything went awry, then asked if they might tell your ex to call you when she awoke. You thought about offering some words of comfort to the current girlfriend as she sat vigil at your ex’s bedside, but the murderous glower she shot you the moment you got within ten feet of her was more than enough to make you think better of it.

With that, you left.

So… yeah. It’d been a shitty week.

And now, here you were: a girls’ night out at the lively nightclub you and your roommate had scoped out just last weekend, tossing back $12 cocktails and letting the trashy EDM beat blaring over the speakers drown out the rest of your thoughts.

You’d been feeling a little weird all week—all month, really.

As far as you were concerned, this was exactly what the doctor had ordered.

So, when a cute guy wearing black jeans and a white T-shirt that was at least a couple sizes too big yet did well to compliment his well-muscled torso came up to you and started chatting you up at the bar, you didn’t blow him off.

The exact opposite, in fact.

He was nice, and funny, and had a gorgeous smile that made your chest feel warm for reasons that had nothing to do with the alcohol. When he flirted with you, you flirted right back.

You felt a little guilty for doing so, though you couldn’t exactly put a finger on why that was. Either way, you didn’t allow yourself to dwell on it for very long.

After all, you’d been feeling hints of that for the past month, if not longer. It seemed to happen whenever you flirted with a cute guy, or went out on another Tinder date with a pretty girl, or even hugged one of your close friends.

You’d get this painful tightening sensation in your gut, nausea roiling in your abdomen… a distant, lofty voice in your head telling you that this was wrong, that you already belonged to someone else.

Which was pointless, really. Stupid.

You were single.

Your last serious relationship (barring the one with your now-hospitalized ex-girlfriend) had been over seven months ago with an eccentric guy named Lukas. He was kind, well-meaning… a bit of a dork at his very core, but you always found that more endearing than anything else. You’d dated him for four and a half months before deciding to break it off; because as much as you cared for him and enjoyed being around him, you didn’t love him, and you knew by then that you never would.

You thought about him, from time to time—even missed him now and again.

And yet, the strangest thing about the shameful feeling you’d get whenever your roommate so much as brushed a friendly kiss up against your cheek—it had absolutely nothing to do with Lukas.

You didn’t know how you knew that, but you did.

Whatever.

This guy was not Lukas.

His name was Des—short for Desmond, you learned over your fourth sugary-sweet cocktail of the night. He was charming and slightly foul-mouthed, but conscientious and passably polite where it mattered. He didn’t grope your ass or stare at your tits, nor did he make any lewd commentary about your body in any capacity.

He also smelled… really good, like Old Spice and spearmint gum and the barest hint of cigarette smoke.

That was more than enough for you.

(Whatever, alright? Decent guys were in short supply these days.)

You smiled and let him buy you another drink, even after you’d insisted that he really, really didn’t have to. And when an obnoxious pop song with a beat that was far more catchy than you’d have liked to admit came over the speakers, you let him coax you out to the dance floor with minimal resistance.

It was… fun. You liked the way his hands rested on either of your hips—gentle, almost careful; holding you like he understood he didn’t have a right to your body, like he was more than content that you allowed him this to even think of demanding any more.

Despite the twinges of guilt flaring in your gut, you let yourself get a little more comfortable… dancing closer and closer to him amidst a packed crowd of writhing bodies, letting your breasts graze up against his chest.

It was teasing—provocative, even. A test, of sorts—one that Des passed with flying colors.

He didn’t do a thing to rush you, just kept dancing across from you with his hands on your hips and his darkened gaze on yours—seeming fully content to let you set the pace for the moment. And God, but the way he was looking at you… patient but eager, like he wanted nothing more than to crush your body against his own and grind himself into you like an animal—and yet, still, he held himself back.

You couldn’t help but find that attractive as hell.

Looping your arms around his neck, you let your body to press flush against his as you swayed to the beat of the song, not shying away from the slight stiffness you could feel growing against your hip.

That guilty, nauseous feeling in your gut pulled tighter.

You ignored it, and, when he leaned a little closer to shout over the deafening music, “Would it be alright if I kissed you?”... well.

You wasted absolutely no time in lunging up on the tips of your toes to capture his lips in a messy open-mouthed kiss, the strobe lights of the club fading into obscurity around you. His lips were warm and gentle against yours—tentative, at first, until you pressed a little harder and traced the seam of his lips with your tongue… and, yeah; that did the trick.

A moment later, his lips parted to let out a quiet groan directly into your mouth as he began to reciprocate in earnest, setting every nerve ending on your body alight with electrifying want.

And that’s when it happened.

Seemingly out of nowhere, a twisted sort of clarity hit you square in the chest—slowly, and then all at once.

The next bits were something of a blur.

You tore yourself away from Des, turned to forcibly elbow your way through a floor of grinding bodies. You thought you heard him call out your name, and more than a couple people on the dancefloor turned to glare at you as you rudely brushed past them without care—but, whatever.

You texted… someone, telling them you were headed back to the apartment, so they shouldn’t bother waiting up. The group chat, maybe?

And now… Now.

Before you can blink, the past crashes into the present, and you find yourself back outside in the pitch-black night.

It’s dark… chilly. A brisk wind catches you the moment you stumble out onto the sidewalk, assaulting every inch of your exposed skin like scores of needles piercing your flesh. You whimper, shudder, and hug your arms around your body—trying to warm yourself back up like a scared little kid who forgot their jacket.

For the first time that night, you regret the tiny black babydoll dress you’d chosen to wear for the evening—and that’s not even to mention the four-inch heels.

It’s miserable, to be sure, but you can hardly focus on it for very long.

No, you have to go somewhere. You feel sick, and cold, and wrong in a way you’re loath to even begin explaining to anyone else.

And your head… you’re positively aching for something—someone to make this better.

You need… Wanda.

Yes, Wanda is the person you’re looking for. She can make all of this better.

You don’t know why, but you’re sure of it. You just need to find her. Hopefully she’s spending the night in her apartment on that super cozy sofa of hers, drinking hot chocolate and binge-watching something on Netflix like the two of you did a couple weeks back.

A fond grin curves your lips at the recollection as you stumble off down the sidewalk, headed for the nearest subway station.

Another wintry gust of wind hits you square in the chest, and you pinch your forearm hard, silently willing yourself to focus.

The station should be less than a block down, if you’re remembering correctly.

At the next street corner, you manage to brandish your pepper spray in one hand while you rummage around in your purse for your MetroCard with the other.

It’s cold as hell, and you’re probably a little too drunk to be walking through the City streets alone right now, but you don’t much care.

All you gotta do is find Wanda. That’s all.

She’ll make everything better again.

— —

Where everything else is confusing, there’s one part that seems to make sense—Wanda.

You nearly pick a fight with the card reader at the subway entrance when it makes you swipe your card three times to let you through, and even the stairs leading down to the lower tracks are more of a challenge than they probably should be… and yet, somehow, the rest of it is blessedly simple. A no-brainer, really.

You know which train you need to take… the blue one that arrives in four minutes. You know you need to stay on it for five stops before getting off.

Once you’re up at ground level, you’ll have a short walk ahead of you—one that you know like the back of your hand despite only ever having been to Wanda’s a couple of times.

You’ll enter Wanda’s apartment building, take the elevator right up to floor four, and boom! Home free.

You do exactly that.

It takes a short time (thankfully) and there’s not an ounce of uncertainty within you all the while, like you’ve done this 100 times before.

In seemingly no time at all, you’re there—standing on Wanda’s doorstep, knocking a couple times just beneath the burnished bronze ‘4A’ nailed into her door.

Your head feels all light and dizzy; you’re still shuddering from the time you spent out in the cold; but—

“One sec!” Wanda’s muffled voice comes from inside, the mere sound of it washing over you like a soothing balm—promising relief.

You’re safe now.

You made it.

— —

The moment the door swings open to reveal a bleary-eyed Wanda Maximoff dressed in tiny grey pajama shorts, an oversized Star Trek T-shirt, and nothing else, it’s like everything falls back into place.

It’s like… like you can breathe again.

You’re still drunk, and shivering, and more than a bit confused; but now that Wanda’s awake and here and smirking like she knows exactly what’s happening even if you don’t, you feel… better, somehow. Not nearly so lost as you were before.

“Y/N,” Wanda greets, stepping aside and offering out a hand to help you inside. You’re quick to take it. “I was not expecting you,” she drawls, though everything about her demeanor is saying the opposite as she shuts and locks the door behind you.

You pay it little mind. “Yeah, I... ” you trail off, turning to face her even as an embarrassed flush warms your cheeks. All of a sudden, you can’t help but feel rather ridiculous for knocking on her door and barging in so late—especially without calling first. “I’m so sorry, I... I don’t know why I’m here.”

Wanda just tilts her head, appraising you curiously even as the ghost of a knowing smile curves her lips. “Are you sure about that?”

The heat in your cheeks seems to intensify tenfold at that. “I… I need to tell you something,” you hear yourself say, and the moment it’s registered, you realize that it’s true.

You feel… guilty, all of a sudden. Nauseous, too. Scared.

You danced with that guy—Des. You flirted with him. You let him touch you… You kissed him. Why would you do that?

In the present moment, Wanda nods, like that makes perfect sense. Like all of this makes perfect sense.

“Okay,” she acquiesces lightly, flares of crimson flitting through her measured gaze. “Is it something I’ll have to punish you for?”

‘Punish’ me? What—?

You feel Wanda’s presence in your head… inconspicuous tendrils sifting through your thoughts, worming their way through your scattered memories.

No point in lying.

“Y-Yes,” you hear yourself say. Much like earlier, it isn’t until the moment you’ve confirmed it aloud that you know it to be true. You danced with someone else. You flirted with him. You let him touch you… kiss you. “I… I’m so sorry, Wanda; I-I don’t know what I was thinking.”

You see the moment Wanda finds it—your memories of the nightclub. Meeting Des at the bar. Flirting with him… Kissing him.

The look on her pretty features goes from bemused to disbelieving to absolutely murderous in zero seconds flat, and the realization hits like a freight train that you’re really in for it now.

Fuck.

“Go to the bedroom,” she snarls, her typically blue-green eyes burning with scarlet light. “Then take off that slutty dress. I want you on the bed, face down, naked. Do you understand?”

Your head is spinning; confusion rears its ugly head in your gut even as every ounce of your being screams at you to just obey—‘cause if you can just do that, the rest of it will start to make sense. (Maybe.) “O-Okay.”

— —

You don’t know how you know the way to Wanda’s bedroom, but you do.

You slip inside a room shrouded in darkness, and no matter how it strains your eyes to look around, you don’t dare turn on the light.

It’s a modestly-sized bedroom with hardwood flooring, fairy lights along one wall, and an adjoining bathroom just opposite the entrance. There’s a tall, wooden dresser pressed up against the wall directly across from a large, king-sized bed. That’s pretty much all the detail you can manage to make out in the darkness.

Well, either way, you suppose it isn’t really your business.

Wanda gave you specific instructions, and you intend to follow them.

Not for the first time tonight, you’re quite happy about the babydoll dress you’re wearing—particularly for how easy it is to pull it up over your head and off, leaving you in panties and a strapless bra in a matter of moments.

You fold the dress neatly in your hands, then leave it atop the dresser. Your panties and bra come next. In seconds, you’ve formed a small, tidy pile.

As you step out of your heels and approach the neatly-made bed, you’re struck with the strangest sense of déjà vu… like you’ve done this before.

It lingers in the forefront of your mind as you crawl up onto the bed, biting back a groan at how easily the plush mattress gives way under your hands and knees.

God, you’d kill to have a nice nap in this absolute cloud of a bed.

You shake the thought off, simultaneously willing the haze of intoxication fogging up your brain to abate.

You’re not here to nap.

You settle face-down onto the bed, just like Wanda said. You’re careful not to rest your face on the pillows, though, since you have the distinct feeling that’s not something Wanda would want you doing without permission.

Instead, you fold your arms and rest your head atop your forearm, staring straight down into nothing. You scrunch up your features and let out a quiet huff as the black duvet tickles the tip of your nose.

It smells like her—all of it does. Cinnamon, vanilla, and something indefinable; something that belongs to Wanda, and Wanda alone.

You feel your body stiffen as a familiar set of footsteps draw near, approaching the room where you lie—naked and vulnerable atop Wanda’s bed.

The patter of Wanda’s gait becomes almost soundless as she enters, circling around the bed over towards the nightstand. You don’t dare to turn your head and watch as she pulls out one of the drawers, rummaging through it until she finds… well, whatever it is she’s looking for, you suppose.

A moment later, there’s the telltale chk! of a match being struck, and a hiss as the phosphorous tip lights itself aflame.

It’s quiet for a minute... then two. The only sounds you can hear are your breathing and the strike of a match every time Wanda lights another.

Gradually, gentle flares of light grow in your periphery, bathing the room in a dim, yellow-y glow. She’s lighting candles—a lot of them.

You’ve always loved candles.

A couple minutes later, she’s finished, and she returns to tuck the matchbox safely back in the drawer.

You lose track of her as she retreats once more, and your mounting curiosity is more than piqued when you hear her rummaging through the dresser near the foot of the bed; still, you don’t dare turn and look.

Instead, you wait, fetid nausea churning low in your gut, pinpricks of apprehension dancing across every inch of exposed skin. Your heart thuds painfully against your ribcage as she takes something out from the dresser drawer, then shuts it with an audible thud!

You swallow the lump in your throat and urge yourself to focus on your breathing.

In, out.

In… out.

“I’m disappointed in you, Y/N,” Wanda’s voice comes from somewhere behind you, genuine hurt coloring her hushed tone.

You have to fight the urge to shudder as a chill runs down your spine. “I… I’m sorry, Wanda,” you say meekly, pathetically, cheeks hot with shame.

And the worst part? You’re not lying.

You listen carefully for the sounds of her bare feet padding across the floor as she circles the bed once more, crouching down right beside you in the very corner of your periphery.

“Look at me,” she orders, gentle yet firm.

You do.

The moment you meet her gaze, you can’t help the errant thought entering your mind that she looks so pretty like this—face bare of makeup; long brown hair piled into a messy bun atop her head; dainty features cast into darkened shadows by the low, yellow light of burning candles clustered together atop the nightstand.

The muted light seems to soften her anger, her pain… allowing her to really look her age for the very first time since you’ve known her.

“You think too loudly, Y/N.” Wanda’s words are dry, almost teasing as they jolt you back into reality. “Focus on me, please.”

You do.

“You belong to me,” she asserts after a beat of silence, an uncharacteristically intent and almost solemn look splayed across her dimly-lit features. “I thought you understood that.”

The words confuse you even as they seem to resonate poignantly with some fundamental part of you… a part of you that categorically refuses to be ignored.

“Wanda…” you trail off, bewilderment and contrition warring violently within your chest until it aches to draw breath. “I’m confused, Wanda,” you whimper out finally, overwhelmed tears burning in your eyes. “I-I-I don’t understand what’s happening—”

Wanda cuts you off with a derisive snort. “Yes, clearly,” she agrees, her tone ripe with sardonic ire. “You’ve forgotten yourself. You’ve forgotten who owns you.”

You worry your lower lip between your teeth, desperately trying to make sense of it all. “Is that why…” You search Wanda’s eyes intently. “... I-I felt sick, an-and… guilty about dancing with Des.”

Something like anger flares in her gaze, hot and bitter, and you have to resist the urge to shrivel beneath it. “That boy had no right to touch what’s rightfully mine.”

“B-But then… why didn’t I remember?” you ask, utterly forlorn. “I-I felt it last weekend, too, but I… I didn’t—”

“Last weekend?” Wanda repeats, features hardening.

Oh, shit. You feel your cheeks get hot again. “I… I shouldn’t have brought it up, Wan’, I’m sorry—”

“What happened last weekend?” she interjects, her tone cold and hard like a double-edged blade. “You can tell me yourself, or I can start looking.”

You shiver. “I… I went on a-a… a date with a girl that I met online,” you admit, tears welling in your eyes even as Wanda’s jaw visibly tightens. “I-It was just the one time! A-And nothing happened; we didn’t even k-kiss! I just… I didn’t… I didn’t know—”

“Yes. You’re right; you didn’t know.” Wanda stands abruptly, then, and it’s at that moment that you see the folded belt in her hands—thick, worn leather with a sterling silver buckle.

An icy sense of dread blossoms in your chest, chilling you from the inside out.

Is she going to—?

“I was indulgent before… I let you get away with far too much. I will not make the same mistake again.”

With that, she turns to circle back around the bed, the belt buckle audibly jangling in her hands with every step.

“I have to punish you, принцеса,” she continues, her voice scarcely more than a whisper as she comes to stand near the foot of the bed—and somehow, you know beyond a shadow of a doubt that there’s no convincing her otherwise.

She’s going to punish you, and it’s going to hurt. Bad.

All at once, panic seizes you. You squirm, writhing in an effort to get up and off the bed—

Only to be stopped by tendrils of lurid crimson curling around either wrist, forcing them together just over your head like magic—glowing crimson cuffs holding both arms fast to the headboard. On a whim, you test your legs—tensing and pulling, only to be met with iron-clad resistance encircling either ankle in a tight, unrelenting grip.

Well, fuck.

“W-Wanda,” you plead, hardly paying any mind to the way your voice trembles. “Please, I—I don’t want—”

“I do not enjoy punishing you, мила,” she laments, almost sounding genuinely apologetic. It tugs at your heartstrings in a curious way—something you really don’t have time to examine right now. “But you did something bad. And when you do bad things, there are consequences. You understand that, don’t you?”

A tear trickles down your cheek, warm and wet as you steel yourself for the first hit. “Y-Yes.”

“Good girl,” Wanda lauds, and you can’t help the surge of warmth that washes over you at the simple praise—the pride that blooms in your chest at knowing you’ve finally done something right. “Now—try and relax, принцеса, okay?”

It’s all the warning you get before the first blow comes down upon your bare arse with a resounding Crack!

White-hot pain flares across your bottom, racing up your spine like wildfire and tearing a strangled whimper from your throat.

Jesus fucking Christ, that hurt—

Crack!

Holy fuck.

The impact of the leather against your naked cheeks leaves strips of fire burning in its wake, expelling all the air from your lungs in a choked-out rush.

“P-Please, no, Wan’,” you beg breathlessly, struggling in vain even as coils of vibrant scarlet hold you fast, “it hurts, please—”

Crack!

“This is for your own good, baby,” Wanda coos, sounding for all the world as though she truly believes every word of it.

Crack! This one lands directly across your sit spot, ripping a shriek from your lips as molten agony rocks you to your core.

“Wan’—Fuck, please, no—”

Crack!

“G—God, fuck, pleasestop, please—”

Crack!

“P—Please, hurtssobad, I’m—”

Crack!

“FUCK !”

Tears stream down your cheeks, wetting the black duvet beneath your face. You’re absolutely beside yourself with torment, your bare ass aflame with a pain unlike any you’ve ever known.

Crack!

… And the hits just keep coming—raining down stripes of blistering heat across your sore, bruised buttocks; pummeling your throbbing, exposed rear until it feels as though the entire area has just become one puffy, pulsating bruise.

Crack!

All the fight has completely gone out of you; now, your body completely slack—devoid of any resistance even as every hit seems to sear itself into your impossibly tender bottom like a third-degree burn… The pain is absolutely incredible, unlike any else you’ve ever known.

You’ll do anything—and you really do mean anything—to make it stop.

“P-P-Please, stop it, Wanda, PLEASE—”

Crack! Another hit directly across your burning sit spot rips a watery sob from your throat, followed by—

Crack!

It’s all you can do to keep yourself from hyperventilating until you pass out.

Crack!

Agony blackens the edge of your vision, fresh tears streaking down your cheeks as you await another strike…

But it doesn’t come.

Wh—?

“Have you learned your lesson, мила?” Wanda asks, and this time, her voice comes from closer… like she’s right beside you.

You don’t have it in you to be startled when a feather-light kiss lands itself between your shoulder blades, nor when one hand begins stroking up and down your heaving torso in soothing motions.

“Y-Yes! I—please, God, yes,” you babble, overwhelmed by the sensation of unadulterated pain branding every inch of your battered arse. “I promise I’ll never, ever, ever do it again, Wan’—Won’t ever be with anyone else—jus-just please stop hurting me—I’ll be so good, please—”

“Shh,” Wanda shushes you tenderly. You feel yourself twitch as the mattress suddenly dips beside you. “It’s okay, любима,” she soothes, coming to rest beside you. “Just breathe, okay? Breathe.”

‘Breathe’...

Your pulse thunders in your ears; your ass is on fire with an anguish far beyond your years; and yet, there’s something undoubtedly soothing about her words as they wash over you in gentle waves… something that tells you you’re safe.

Were you a little more lucid, you might’ve found that quite the nonsensical paradox—this feeling of safety and security with the woman who’d just beaten your arse raw without mercy no matter how you wailed and sobbed and begged for her to stop.

But as it is, you’re not.

Instead, you’re just broken and teary-eyed and in pain, and Wanda’s tenderness is a most welcome respite to alleviate that excruciating ache.

You take a deep, shuddering breath, even if it burns your lungs something awful, and force yourself to let it out slowly.

In, out.

In… out.

“That’s it, мила,” Wanda praises gently, tucking a stray lock of hair behind your ear. “You’re doing so well… Just like that.” Her fingers come to rest beneath your chin, urging you to turn and face her…

And you do, far too exhausted to even think of doing anything other than what she tells you to. Your lungs burn; your nose runs; and the pain in your bottom hasn’t abated any—if anything, it’s intensified.

You’re more than happy to be given something else to focus on.

When you look at her, her blue-green eyes are wet—glossy with tears.

“Wanda?” you manage weakly, feeling your brow crease with worry. “You ‘kay?”

Wanda sniffles, huffs out a watery-sounding laugh. “Yes, Y/N, I’m alright,” she whispers, then leans forth to plant a gentle kiss upon the tip of your nose. “I’m just so very, very proud of you.”

Despite yourself, you feel a pleased flush spread throughout your body at that. “Really?” you mumble, exhaustion drooping your eyelids until it’s a challenge just to keep them open.

Wanda nods, a tear sliding out of her eye that you yearn to reach forth and catch with your thumb—but alas, you’re far too weak. “Really.”

You hum, burrowing your face further into the duvet beneath your cheek—even if it is still damp with your tears. “‘M sorry I was bad, Wan’,” you murmur, feeling darkness near on every side. “Didn’t mean’ta make you upset.”

“I don’t like punishing you, принцеса,” she says once more, and this time, you have no reason to doubt that she means it. Honestly, you don’t know how you ever could. “It hurts me just as much as it hurts you.”

You hum again. Your eyelids feel too heavy to open. “‘M sorry,” you say. “Gonna do better… make you proud… I promise.”

Wanda chuckles. The sound of it makes your chest feel loose and warm and happy. “You already do, darling girl,” she murmurs. You don’t know if it’s because she’s whispering, or you’re fading into sleep, but you can barely hear her when she repeats it once more: “You already do.”

Sleep descends upon you, then, and you succumb to it willingly, feeling safer and more at peace than you have in a very long time.

— —

tagging:

[marvel]: @normanijauregui

— —

end notes: yeah i don’t know what this is either. i was only aiming for maybe 1,000 words or something, but things happened and...

look. i haven’t been to therapy in a hot minute, ok?

link to masterlist

#stuff i wrote #wanda maximoff x reader #wanda maximoff x f!reader #f!reader #dark!wanda maximoff #dark!wanda maximoff x reader #dark!wanda maximoff x f!reader #dark fic #mcu fic #marvel fic #scarlet witch x reader #dark!scarlet witch x reader #dark!scarlet witch #reader-insert #requested

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dont-know-where · 2 years

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Ingo is definitely from our time period, and since I believe that the cha-cha slide probably exists in all dimensions, he would absolutely know the Cha-Cha Slide pre-Hisui, even though he would forget it after arriving.

Guybrush technically existed a few centuries before PLA (Curse takes place sometime around 1687, and the Meiji Period [the time period PLA takes place in] started in 1868), but considering the fact that there are so many pop culture references in the Monkey Island franchise, he may as well be from the same time period as Ingo, or at the very least treated as such, despite losing his memories as well. HOWEVER, Tales, the last Monkey Island game, was released in 2000, just when the song was just released, so it's unlikely he heard about it.

So, hear me out here:

Guybrush steals a phone from a space-time distortion ("Well, it fell out of the sky, so technically...finders keepers!") that still had a charge, so of course, he messed with it.

And he quickly found out he had no clue what anything said.

Remember how I said that Guybrush and Ingo can understand each other? Yeah, apparently that only applies verbally. Textwise, Unovan looks like this-

And whenever the phone came from, it was from Ingo's dimension and was set to Unovan.

So you can guess Guybrush's initial confusion upon seeing it.

Because of not knowing what the hell it says, he just kept it as a sort of flashlight if he needs it (note that it takes him quite some time to figure out that there's a flashlight feature and he's been relying on its natural brightness)

Until he lends it to Ingo for a little bit.

I don't know the exact scenario, but Ingo eventually gets his hands on Guybrush's new phone and can read what the text says. So the duo played around a bit with it.

And then they figured out how to play music.

And for some, goddamn reason, the cha-cha slide was the first thing selected.

Now here's the thing about the Cha-Cha Slide and Ingo, for some unexplainable reason (that pre-Hisui would warrant quick glances to the side with a horrified gaze by the funni trainman himself when asked about it), anytime he hears the cha-cha slide played anywhere, he will do anything in his power to stop it. This has resulted in multiple instances when, for a brief moment, Ingo got to play the scary twin, all because someone put on a catchy song.

So, back to the original story, as soon as Guybrush hit play, Ingo just kinda...blanked out? And just as DJ Casper or whoever takes his place in this AU says "Everybody clap your hands", Ingo just steals the phone immediately from Guybrush's hand and hit the pause button like 21 times in 0.1 seconds. To Ingo, one second he was advising Guybrush that the bar on the bottom next to the strange cone with lines coming out of it possibly shouldn't be moved to the right so far...

And the next, Guybrush had flinched back and Ingo was tightly grasping the lightbox to the point that he was concerned about breaking it.

So yeah they both vowed to never mess with the music on that thing again. Guybrush breaks that rule later on though.

#guybrush threepwood #warden ingo #pokemon legends arceus #monkey island #cha cha slide #aipom island au

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lovejustforaday · 3 years

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Sonic Youth Albums Ranked (Part 3)

6. Sister (1987)

Main Genres: Noise Rock, Alternative Rock, Post-Punk

A decent sampling of: Experimental Rock

This is the first LP in the Sonic Youth discography accessible enough to be labelled a true ‘Alternative Rock’ record. It’s still rough around the edges, but Sister is full of catchy hooks and thrilling guitar sounds. I feel like this record and Daydream Nation probably went on to spawn at least 200 new alternative rock bands by the time the 90s came around (not that I was there to see it or anything, just speculation).

Sister deserves a lot of credit for solidifying on tracks like “Catholic Block” and “Stereo Sanctity” what would become the dominant formula for the band’s sound throughout most of the rest of their discography. I think that's part of the reason why this is Sonic Youth’s second most acclaimed and beloved record. Perhaps some fans would even be downright offended that I only put this at #6 on the list, but trust me when I say that this is only because the band has made so many fantastic records. In fact, for most bands, this would easily be their greatest record.

I can still remember the first time I heard the opening to “Schizophrenia”, I had never heard anything quite like it. The guitars sound upbeat yet worn out and dejected, making me feel isolated and almost spiritually weak when I listen to this track, yet somehow also comforted. The song is partially inspired by Kim’s older brother who has schizophrenia, though the roles are reversed in this song with a brother whose sister is schizophrenic. It’s a deeply fascinating and memorable piece, and I can see why many fans consider this to be a top five Sonic Youth track.

Most of the rest of Sister is very scratchy and punkish with some very tight guitar work, like “Catholic Block” which boasts one of my favourite melodic riffs in the Sonic Youth canon. There’s also “Hot Wire My Heart”, another major highlight and a cover of the obscure British punk band Crime, where Sonic Youth takes their song and upgrades the guitars and drums while also adding a bold wall of feedback at the end.

Then there’s “Pacific Coast Highway”, a completely sickening song and one of Kim’s very finest moments as a lyricist and vocalist. This haunting noise rock jumble tells the story of either a unhinged stranger, or perhaps a resentful ex-lover, who is obsessively catcalling the listener from their car, with the not-so-subtle implication that you’re all by yourself somewhere and that this person intends to harm you. I have no idea if this was written about a personal experience, but I do know from listening to their voices that this is something many women have either gone through or live in perpetual fear of. Seriously fucked up stuff, but also one of Sonic Youth’s very best tracks.

"Cotton Crown” is an odd one out in the Sonic Youth discography; an uncharacteristically sincere but still off-kilter love song that Kim and Thurston sing as a duet. Their voices are a bit out of tune with each other, but i think that honestly fits the Sonic Youth aesthetic and it’s sweet in its own quirky way, although very bittersweet decades later with hindsight about the fate of their relationship. Sort of a noise rock lullaby almost, maybe even with hints of early shoegaze.

Sister does a really good job of taking the seemingly juxtaposing ideas of the ‘fun’ and the ‘grotesque’ and fuses them together. This album is both largely exciting and still somehow alienating and depressive. It’s textbook Sonic Youth, really. I will say that the best tracks are clustered together with a noticeably weaker middle portion, but really this is still a consistently great record throughout. Altogether, Sister is one of the many entries in the band’s discography from 1986 through 1990 where Sonic Youth could basically do no wrong. A classic record.

9/10

highlights: “Pacific Coast Highway”, “Schizophrenia”, ‘Catholic Block”, “Cotton Crown”, “Hot Wire My Heart”, “Beauty Lies in the Eye”

5. A Thousand Leaves (1998)

Main Genres: Noise Rock, Experimental Rock

A decent sampling of: Alternative Rock, Post-Rock, Neo-Psychedelia

I’m just gonna say this now: A Thousand Leaves is by far Sonic Youth’s most underrated record. It’s also the last truly amazing record that the band ever put out. Maybe it’s just the bizarre choice of an album cover that turns people off of this LP. Really, what the hell were they going for here with the minimalist hamster vibes? The beautiful title really suggests something a lot more visually stunning.

In all seriousness though, I feel like nobody talks about this one because it’s overshadowed by its predecessor Washing Machine, but if there’s one area that this record exceeds above all other Sonic Youth LPs, it’s that it perfectly captures that mellow feeling that the later Sonic Youth albums were inclined towards. Not a lot of Sonic Youth records put me at ease like this one does.

Likewise, this is maybe the most ‘feel-good’ record in their discography along with Murray Street. But where Muray Street is something you could put on in the background and enjoy pretty modestly, A Thousand Leaves is a largely experimental, out-of-body experience that pulls you into its surreal, flowery, evergreen world.

“Contre Le Sexism” is a perfect opener for this kind of record; this quiet daze of a waking dream is both dainty and delirious, alluding to Alice in Wonderland with Kim’s vocals never before sounding so gentle and bright. I swear I start to hear a door creak at the end. Maybe that’s the sound of stepping out into the rest of A Thousand Leaves.

What follows immediately after is “Sunday” which is actually one of the band’s poppiest moments, making it somewhat of an outlier on this highly avant-garde and immersive record. But the warm spring vibes of the melody fits right in. The wall of sound introduced during the bridge is a soft mesmerizing bliss more akin to a band like My Bloody Valentine, if not for the tiny distant screeches of atonality whirling around here and there. As a big fan of both bands, I’m all for this kind of sound.

“Wildflower Soul” is easily one of the best things Sonic Youth has ever written. Endless amounts of creativity are poured into this nine minute noise rock acrobatics performance along with a lyrical ode to love, nature, and childhood. The vibes of this one are really quite jaw-dropping given the fact that these are the same guys who wrote “Schizophrenia” and “Death Valley ‘69″. There’s such unison and harmony in the band’s performance here as they switch between different bpm and even time signatures, and the usage of the heavy phaser effect towards the end sounds nothing short of godlike. "Wildflower Soul” almost feels like an entire album experience in one song, and I’m beyond impressed every time I listen to it.

This makes for a hard act to follow, but A Thousand Leaves still has plenty of other highlights. “French Tickler” is a strange and satisfying track that switches back and forth between a playful melody and churning, stretchy distortion. “Karen Koltrane” is a murky but textured portrait of Lee Renaldo’s ex-girlfriend, who got addicted to hallucinogens and became heavily withdrawn from the rest of the world. “Snare, Girl” is a soothing spell where Thurston sounds like he’s trying to coax the listener into a never-ending slumber.

My only real complaint here is “Hits of Sunshine (For Allen Ginsberg)”, a lackadaisical jam session that sounds cool enough, but really overstays its welcome given the lack of development it achieves over its eleven minute run time. It’s a nice piece to vibe to, but it very noticeably disrupts the album’s flow. Take this one track away entirely, or even just edit it down severely, and this would probably be a 10/10 record for me.

Still, wow what a cool album. A Thousand Leaves is a great example of why I respect this band so much. Even this late into their career, Sonic Youth were willing to try so many new bizarre things while also building judiciously upon the foundations of their past work with great attention to detail. I wouldn’t recommend most people start with this one, it’s definitely a bit more challenging especially if you haven’t listened to some other really weird experimental rock records. But once you’re in the right headspace for it, it’s easy to get almost completely lost in A Thousand Leaves.

9/10

highlights: “Wildflower Soul”, “Sunday”, “French Tickler”, “Karen Koltrane”, “Snare, Girl”, “Contre Le Sexism”, “Heather Angel”

4. Goo (1990)

Main Genres: Noise Rock, Alternative Rock

A decent sampling of: Experimental Rock, Post-Punk

Goo was my very first Sonic Youth album, and I can definitely still feel some of the old teenage angst that I had at the time whenever I listen to this one. What probably adds to that feeling is the fact that this along with Daydream Nation is one of the two albums in the band’s discography that I’d say possesses a great deal of immediacy. Albums like Sister and A Thousand Leaves are a bit more subtle and they take a while to be fully digested. But this one, this one hit me like a brick wall.

Between “Tunic (Song For Karen)”, “Kool Thing”, and “Cinderella’s Big Score”, Goo is above all others the Sonic Youth record where Kim Gordon is really the star of the band, featuring not one but three of her most captivating songs. Likewise, I would also say that this is Sonic Youth’s most overtly feminist and socially conscious record.

I don’t know if anybody else feels this way, but to me the opener “Dirty Boots” really does sound like “Teen Age Riot” part 2. That’s not a bad thing of course, Sonic Youth making more songs like “Teen Age Riot” could never be a bad thing, and “Dirty Boots” is definitely one of the highlights of Goo with its massive build up of kinetic energy. That being said, I do have to say that I don’t think any song could do this particular kind of album opener better than “Teen Age Riot” already does it, but I still really do enjoy “Dirty Boots”.

“Tunic (Song For Karen)” is one of Sonic Youth’s most poetic and poignant songs. Kim’s sing-talking voice is even more solemn than usual as she takes on a surreal retelling of the final days of drummer/pop star pioneer Karen Carpenter from her perspective, highlighting the severity of her loneliness and the criminal negligence of many of the people around her who let her succumb to her eating disorder. Set to a backdrop of stark and droning alternative rock, I would say that this is possibly the band’s most depressing moment and certainly one of the biggest statements that they ever made.

A lot of the rest of Goo is actually pretty fun though. “Kool Thing” features Chuck D on guest vocals, and its a funny sarcastic take down of the subjugation of women’s voices in supposedly liberated spaces like the world of rock and hip hop, inspired by the time Kim interviewed L.L. Cool J and attempted to have a political conversation. The song mocks L.L.’s attitude towards women while also poking fun at Kim’s own self-perceived elitism. There’s also “Mote”, a sensational head rush that dissolves into noise rock weird-isms, sorta recreating the feeling of going from buzzed to totally black out.

“Mildred Pierce” is almost a practical joke but I kind of love the hell out of it anyway. A short track with lyrics consisting only of the song’s title, it starts with the band getting into a nice little riff before (without warning) bursting into a hardcore punk cacophony as Thurston screams the name over and over into the listener’s ears. Made me jump the first time I heard it.

And then there’s “Cinderella’s Big Score”. If “Schizophrenia” vaguely hinted at Kim’s estranged relationship with her older brother, then “Cinderella’s Big Score” confronts it dead on. Featuring some of the band’s most totally insane and disfigured guitar work ever, this song sounds harsh and militant, like the dawn of a nuclear cataclysm. It’s very hard to believe that Kim is 37 years old here; she reverts to sounding exactly like a hurt teenage little sister, rebelling against her childhood trauma and lashing out at her brother’s past bullying and now his cold indifference towards her.

The song grapples with some very painful emotions, but the experience is raw and cathartic. “Cinderella’s Big Score” is definitely somewhere in Sonic Youth’s top 10 tracks for me; it just doesn’t get any realer than this. Honestly, the record could’ve ended here. I like “Titanium Expose” enough as a closer, but this would’ve made a really powerful and lasting impression to end the album.

Despite that, Goo is an excellent Sonic Youth record that demonstrates just how much the band had mastered their craft after a decade of making all sorts of noises. Obviously I’m biased since it was my own first Sonic Youth record, but I really do feel like this is the very best place to start with the band. Goo is one of their more melodic and accessible offerings, but it’s also one of their most provocative records and it really captures the essence of Sonic Youth’s identity.

9/10

highlights: “Cinderella’s Big Score”, “Tunic (Song For Karen)”, “Mote”, “Kool Thing”, “Dirty Boots”, ‘Mildred Pierce”

3. EVOL (1986)

Main Genres: Noise Rock, Experimental Rock, Post-Punk

A decent sampling of: No Wave, Alternative Rock

If Bad Moon Rising was bleak and desolate, than EVOL is disturbed, uncanny, and deeply paranoid. Sonic Youth’s third record evokes the feeling of being all alone at midnight on a sketchy highway, complete with mental images of flickering street lights and looming shadowy figures. I mentioned earlier that I have to be in the right mood to enjoy Bad Moon Rising, but this record puts me in the right mood almost instantly whenever I put it on.

EVOL isn’t exactly a no wave album like their first two records. The highly experimental influence is still there, but the arrangements are starting to sound fuller and more intentional.

You could say that this LP marks somewhat of a transitional phase between Sonic Youth the no wave band and Sonic Youth the alternative rock band, and in many respects it has the best of both worlds. There’s a few catchy darker alternative rock songs here and there, sandwiched between tracks that could best be described as ‘mad scientist’ music, which altogether creates a varied and unique album experience.

“Tom Violence“ immediately establishes the tone of EVOL with crooked, scraping flashes of post-punk guitars. This track reminds me of heads hung low, bodies slouched uncomfortably, and the feeling of being completely wide awake at 2:00 am. There’s something very unfriendly that lurks beneath the dissonance of these sounds.

If “Tom Violence” is uneasy, then “Shadow of A Doubt” is an auditory nightmare, managing to capture something akin to the fear of being watched by an unknown stranger hiding in the shadows. Notes are gently plucked like icy cold fingers slowly crawling up the listener’s back while Kim whispers about murder plots and oneirophrenia. The “just a dream” lyrical motif is first uttered reassuringly, but eventually turns into a desperate plea as Kim begins to shout frantically and the music intensifies.

The album dials down the spook factor a few notches with “Starpower” and “In The Kingdom #19″. The former is an early example of Sonic Youth’s ability to combine melodic hooks with meandering chaos that would become refined on the next few LPs, while the latter features Lee’s first solo vocals (and one of his best performances) reciting a lucid, jet black vision of a car accident. Thurston threw firecrackers into the recording studio when they did Lee’s vocals on this track and you can hear it in the recording, and just like “Mildred Pierce” it really caught me off guard the first time I heard it.

“Secret Girl” is the scariest fucking thing in the whole Sonic Youth discography, and also just one of the scariest songs I’ve ever heard. It starts with a deep shuddering thud that sounds like it’s getting closer and closer. Then out of nowhere, a cassette-recording of an old detuned piano starts to play a simple, unnerving refrain while Kim offers a cryptic and uncomfortably suggestive spoken word piece. It feels like a scene that might play out in a horror film, where a television screen comes on by itself and the person on the screen begins to talk directly to the viewer.

Finally, there’s “Expressway To Yr Skull” (alternatively titled “Madonna, Sean, and Me”), which would be my #1 Sonic Youth album closer if not for the #1 album on this list. That being said, this song is still one of the biggest highlights of the band’s career. "Expressway To Yr Skull” starts off restless and spectacular, leading up to an utterly earth-shaking climax, and then it’s as if the song promptly dies, only to become a lingering undead entity that pulls you down with it. I still can’t get over how the ending really manages to sound like it’s dragging you down further and further into its barren depths.

To add to that, there’s actually a locked groove on the original vinyl release of this LP that plays the last little bit of “Expressway To Yr Skull”, meaning that if you let the needle sit there, it will forever loop that last little bit of droning at the end of the track. I really appreciate this little detail; it’s as if the pervasive darkness of EVOL is so encompassing that it could turn into a deep midnight that never ends.

EVOL is honestly so close to being a 10 for me, but just like Sister I find that it is decently weaker towards the middle. Still, I’m absolutely enamored with the atmosphere on this album. No gothic rock record has ever managed to sound so deeply unsettling to my ears like this little experimental record does. You really just have to experience this one for yourself. Honestly, don’t be surprised if in a year or two I’ve changed my mind and bumped this one to a 10.

9/10

highlights: “Expressway To Yr Skull”, “Shadow Of A Doubt”, “Tom Violence”, “Secret Girl”, “In The Kingdom #19″, “Starpower”

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endcant · 3 years

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aimless musings on subgenre, citypop, and internet subcultures

theres something very interesting about watching citypop become very mainstream in korea and watching that feed back into both western listeners’ opinions and also into the sometimes-cynical efforts of a variety of kpop producers

a lot of people in the youtube/kpop sphere talk about the growth of citypop as if it were a spontaneous wave that appeared out of nowhere with mariya takeuchi’s plastic love getting picked up by the youtube algorithm in like 2018 or whatever, but thats a very like online-ignorant view of the interaction between vintage japanese music and worldwide online EDM production. citypop has been used in future funk and vaporwave for almost a decade by now, and, as a result, a number of citypop songs took off on social media here and there before plastic love’s acceleration— dress down by kaworu akimoto is one of the big examples off the top of my head, but there’s likely many many more.

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“Plastic Love” by Mariya Takeuchi (1984). if you haven’t heard this yet, you’d better listen to it now. The video that first went viral was uploaded in 2017

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“Selfish High Heels” by Yung Bae, Macross 82-99, and Harrison (2014) is a popular Future Funk remixes of Dress Down by Kaoru Akimoto (1986)

people who haven’t been very aesthetically literate online over the years— musically or visually, since those things are tied in subcultures— treat things like they come from nowhere. there are ongoing subcultural conversations that lead to certain aesthetic choices, and when someone tries to cash in on a trend without understanding what the trend is, that leads people to call bullshit. calling bullshit is not meanspirited, in my opinion, because it very much is like somebody who can’t speak a language getting up in front of everybody and saying “hey, i’m fluent!” and then speaking some vaguely that-language-sounding nonsense. of course people who genuinely speak that language will be outraged instinctively. it feels like being mocked.

that’s why the difference between music producers picking up on a trend cynically and music producers picking up on a trend with earnest interest in that trend’s origins feels different, even if the producers are similarly distant from the original subculture that produced that trend.

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“Lady” by Yubin (2018) committed hard to the 80s JP citypop aesthetic, musically and visually, down to the sets, all fairly early in the major resurgence.

i’m sure that anyone with a passing familiarity with citypop and kpop can ascertain that not all kpop producers know what citypop is and what makes it citypop. all they know is that it is on-trend and they have to make it. not all kpop listeners know what citypop is and what makes it citypop. all they know is their idol said citypop as a buzzword in their little prepared statement. all this results in some interesting moments for me as a Music Fan, Online.

here is where i get to the thing that spurred this post: loona “did a citypop” for their japanese comeback. it doesnt sound like citypop.

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“Hula Hoop (Citypop Version)” by Loona (2021). It has very odd percussion rhythms and mixing for citypop, no real attempt at a citypop verse, and strangely sparse gestures towards citypop in the form of a few seconds of bass and some synthesized orchestral embellishments that were taken from the original mix …all in spite of a very disco-inspired melody that should have worked perfectly for citypop

this is not a very big deal, and im not mad about it or anything. when a kpop act i like gets saddled with an unfortunate B-Side track i dont tend to take it very hard. however, it did raise a little bit of musical discourse in the loona fandom— in the form of remixes.

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“hula hoop if it was actually a citypop song” by loonahatetwinks and Olivia Soul on youtube. this one has an original instrumental that is spot-on for contemporary k-citypop

My most favorite one of these remixes is a futurefunk remix by ZSunder, one of the very best LOONA fan producers. The fact that ZSunder thought to make a future funk remix at all speaks more to an understanding of the mutually supportive relationship between citypop and EDM genres than most kpop citypop producers or fanmixers seem to care to know about.

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“Hula Hoop (Future Funk Mix)” by ZSunder is futurefunk made and mixed with such love that it has the infectious summery energy of a polished, big-name future funk hit

in the comments of this video, some people seemed to get the citypop-future funk connection and some didnt. many did get it, don’t get me wrong! but also, its not all that surprising for some kpop-focused listeners to not know much about EDM subcultures and the reasons behind various trends among producers, since kpop as an institution tends to take influences from any genre and culture it likes and then decontextualize those influences by just having their names used as buzzwords in the blurbs the idols have to recite when variety show hosts ask them about their latest single. this isn’t a criticism of the genre or the fans really, it’s just a part of the kpop industry that is used to add shine to an endless firehose-like stream of polished pop tracks. there are some issues with using whole genres and subcultures with complex histories as buzzwords, but god help us if we ever want a pop industry to give its influences their dues.

anyway, the intention behind ZSunder’s future funk Hula Hoop remix happened to remind me me of why i love Yukika’s discography so much, especially the Soul Lady album. I’ve seen some reviews online baffled by parts of Soul Lady, because the album in general is an exploration of that relationship between citypop and modern/internet EDM. i’ve seen plenty of Soul Lady reviews especially baffled by pit-a-pet, saying something along the lines of “what’s with the modern-sounding dance track in the middle of a retro album?”, but i think that pit-a-pet is a futurefunk-inspired track, at least in the chorus. considering both that and the Chill Lo-Fi Interludes, it seems like estimate’s team put together Soul Lady for Yukika in a way that shows that they love citypop and understand the online-specific electronic music subcultures that led to citypop’s resurgence.

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“pit-a-pet” by Yukika (2020). the stacatto, bass heavy chorus is futurefunk enough, but the soaring orchestral part in the final chorus seals the deal for my interpretation.

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“All Flights Are Delayed (1 hour version)” by Yukika (2020). Estimate literally released an hour-long youtube mix of one of the Lo-Fi interludes on Soul Lady as part of their promotion, clearly inspired by “Lo-Fi anime beats to chill out to,” which is another example of online producers from around the world using Japanese samples as a focal point of their music

Estimate, in the end, is still a Kpop production company, just the same as BBC, so they have no inherent claim over citypop, but the way that their exploration of subgenres clearly comes from passion and interest on the part of their production staff makes it so that their work with Yukika rings true. on the other hand, i really appreciate Ryan S. Jhun’s work on LOONA’s JP comeback, as well as on Not Friends, but the citypop mix thing was so clearly an afterthought to the point where fans of Loona who like citypop seem mostly just irritated by the cynical-seeming attempt.

heres one last good modern kpop citypop MV that has nods to the internet culture that led to its revival in the form of the videography— vaporwave, future funk, lofi, and other internet genres along those lines tend to have videos consisting of looping anime and vhs clips. future funk in particular is known for this, especially since a lot of future funk music, esp early future funk, is just loops of very short, catchy segments of citypop and disco songs. it’s all about the loops

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“My Type” by Yoon JongShin ft. Miyu Takeuchi (2019). This song is so dedicated to the retro JP citypop sound that it’s almost beyond my personal taste. The singer, Miyu, was a headlining act at a seoul citypop festival and sang this song as part of her act (:

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this video of “Only One” by Conscious Thoughts (2015) has a looped clip as an example for comparison with My Type. it also has a pulsing sidechain compressor working in time with its drum beat in a way that is common for future funk and that i think is a good example for my pit-a-pet yukika comparison to future funk

i guess the takeaway here is that media is more and more online, and the creation and propagation of digital audio and video content has been in the hands of literally almost anybody who wants to do it for the past two decades thanks to garage band and fruityloops and audacity and tiktok and youtube and bandcamp and soundcloud and myspace and newgrounds and p2p file sharing and so on and so forth. and therefore like… as with all things, the consumer class more and more is also the creator class, and therefore every member of an audio-visual subculture will have the ability to discern what is and isnt made with knowledge of the audio-visual language of that subculture

#me using elder millennial phrasing for Loona Did A City Pop to imply how out-of -touch it is kfhajfhs #mine #music #long post #Youtube

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passionate-reply · 3 years

Video

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This week on Great Albums: a fresh look at quite possibly the 80s’ most hated band, A Flock of Seagulls! Spoiler: their music is good, people in the 90s and 00s were just mean. If you want to find out more about how having the absolute best hair in the business ended up backfiring on these poor sods, look no further than my latest video. Or the transcript of it, which follows below the break!

Welcome to Passionate Reply, and welcome to Great Albums! Today, I’m going to be diving into a discussion of quite possibly the most derided and lambasted music group of the 1980s: A Flock of Seagulls. With a strange name, a perhaps painfully stylish aesthetic, and equally trendy and of-the-moment music, that was, for a time, inescapable in popular culture, their legacy forms a perfect target for the ridicule all popular things must face in due time. But even moreso than that, I think A Flock of Seagulls have become not only a punchline in and of themselves, but also a summation of everything that was dreadful and excessive about the early 1980s, with its “Second British Invasion” of synthesiser-driven New Wave. I can think of no better example of this kind of abuse than a famous line from the 1999 comedy film, Austin Powers: The Spy Who Shagged Me. The film is largely a love letter to the 1960s and its Mod aesthetics, and the protagonist, a super-spy unfrozen from this era in time, dismisses the history and culture of the 1970s and 80s as nothing more than “a gas shortage, and A Flock of Seagulls.” But at the time of this writing, we’re about as far away from Austin Powers as the film was from the release of this album, the band’s 1982 debut LP, so I think it’s been long enough that we can start to re-evaluate A Flock of Seagulls’ rightful place in music history.

While this self-titled album was the group’s first long-player, their first release was the 1981 single “It’s Not Me Talking.” Notably, this track was actually produced by the legendary Bill Nelson, who also released it on their behalf via his personal label, Cocteau Records. Ever since discovering this for myself, I’ve found the connection between Nelson and A Flock of Seagulls fascinating, and also satisfying. Despite the gulf between their respective reputations, I do think their work has a lot in common, at the end of the day: swirling washes of synth disrupted by screaming guitars, not to mention that shared interest in Midcentury rock and roll aesthetics.

Music: “It’s Not Me Talking”

These two acts would, of course, go their separate ways shortly after, and they ended up in completely opposite camps, with Nelson becoming a cult favourite with little crossover success, and A Flock of Seagulls going on to create what is, undoubtedly, one of the most iconic songs of the entire decade.

Music: “I Ran”

What does one even say about a song like “I Ran”? Over the years, it’s certainly gotten somewhat overplayed, but I can’t really hold that against it. It’s just a damn good song. Both ethereally menacing as well as catchy and rather accessible, “I Ran” takes the atmosphere suggested by “It’s Not Me Talking” and kicks it into another gear, with a harder-hitting hook and the introduction of that highly distinctive and of-the-moment echoing guitar effect. Some will hear it as little more than evidence that the song is hopelessly dated, but I’ve never thought of it as anything other than satisfying to listen to. If you ask me, I figure all art that exists is essentially “a product of its time”--nobody ever said Michelangelo Buonarroti’s David was a lousy sculpture, just because you can easily tell it was made during the Italian Renaissance. At any rate, I’d encourage everyone reading to go back and listen to it again, trying to maintain a little neutrality. I’d recommend the album cut of it, which is significantly longer than the single version, and features a rich intro that sets the scene before that famous guitar ever makes an appearance, which I think really adds to the experience. By some reckonings, A Flock of Seagulls are sometimes considered a “one-hit wonder,” but while they certainly are remembered chiefly for “I Ran,” this album’s other singles were moderately successful as well.

Music: “Space Age Love Song”

“Space Age Love Song” is perhaps the band’s second best-remembered single, and takes their sound in a markedly different direction than that of “I Ran.” “I Ran” won popular acclaim by finding a new home for the guitar, in the midst of a sea of synth, and pushed A Flock of Seagulls into a similar space as acts like the Cars and Duran Duran, who had enough mainstream rock sensibilities to sneak a lot of synthesiser usage onto American rock radio...much as one might sneak spinach into tomato sauce when feeding picky children. But I think “Space Age Love Song” is much more palatable to listeners of pop, synth- or otherwise. It’s softer in texture, and really almost dreamy, capturing the hazy, buoyant feeling of limerence as well as any pop song ever has. I’m tempted to compare it to another synth-driven classic, whose influence towers over this period in electronic music: the great Giorgio Moroder’s “I Feel Love.” Much like “I Feel Love,” “Space Age Love Song” combines simple, almost banal love lyrics with an evocative electronic soundscape, painting a picture of an enchanting, high-tech future where human feelings like love have remained comfortably recognizable across centuries or millennia. A similar theme of futuristic love pervades the album’s second single, “Modern Love Is Automatic.”

Music: “Modern Love Is Automatic”

While “Space Age Love Song” uses simplistic lyricism to portray the relatable universality of falling in love, “Modern Love Is Automatic” gives us the album’s most complex narrative. In a world where “young love’s forbidden,” we meet a pair of star-crossed lovers prevented from being together by some sort of dystopian authority. The male member of this union, introduced as the “cosmic man,” is apparently imprisoned for the crime of loving, but the text suggests that he may escape from this prison--or, perhaps, even be freed from it. The title, repeated quite frequently throughout the track, is perhaps the mantra of this anti-love society, a piece of propaganda being drilled into us as thoroughly as it is into these subjects: Modern love is automatic, with no need for messy, unpredictable human input.

It’s also worth noting that the song is consciously set in “old Japan,” deliberately locating it in the “exotic” East. While East Asia was strongly associated with refined, perhaps futuristic culture, I can’t help but think there’s a more pejorative sentiment operating here, rooted in stereotypes of Asian cultures unduly policing sexual freedom, and other forms of personal expression and self-determination. Ultimately, despite its futuristic trappings, “Modern Love Is Automatic” isn’t really a song about technology at all, but rather authoritarianism. “Telecommunication,” on the other hand, engages more directly with that theme.

Music: “Telecommunication”

“Telecommunication” was also released prior to the self-titled album proper, and was also produced by Bill Nelson. While structurally similar to “Modern Love Is Automatic,” with an oft-repeated title, brief verses, and a generally repetitive musical structure full of meandering guitar, its text quite plainly discusses the titular field of technology, in a seemingly non-judgmental fashion--though it could be argued that the fairly upbeat music suggests a positive outlook on things like radio and TV. The one hitch in all of it is the very end of the last verse, which sets the song in the “nuclear age”--a nod, perhaps, to the darker applications of 20th Century technology. “Telecommunication” is perhaps indebted less to figures like Moroder, and moreso to Kraftwerk, who first solidified the rich tradition of stoic synth thumpers about everyday machines like cars, trains, and, of course, nuclear energy. I’m also tempted to compare it to an earlier work of Bill Nelson’s group Be-Bop Deluxe, “Electrical Language,” another bubbly number that playfully bats this concept back and forth.

The theme of “quotidian technology” is also present on the cover of this album, which features an interior shot of a living room, centered around a television set. The TV displays a figure playing guitar--perhaps one of those heroic rock pioneers of the Midcentury like Buddy Holly, whom Nelson was so keen to imitate. But what’s most immediately striking about this cover is its beautiful colour palette, full of deep, saturated jewel tones, treated softly with an “airbrush” style effect. Despite being a somewhat mundane scene, the image also features fanciful, imaginative touches: the floor of this room is actually a miniature beach landscape, with the “floor” beneath the TV actually being the surface of the ocean, and the TV appears to be surrounded by a colourful, glowing group of birds. Given the beachy surroundings, we could perhaps interpret them as the titular seagulls. It’s tempting to think of this scene as a representation of how technology can sweep us away, out of our everyday existence and into something richer and more exciting.

But perhaps it’s not so simple--note also the open window in the top left, whose curtain appears to be agitated by some sort of motion in the air. Perhaps these birds are not the products of television fantasy, but rather have flown in from the window, and hence hail from the “real world?” Given how tracks like “Space Age Love Song” and “Modern Love Is Automatic” tackle the theme of the mundane meeting the fantastical, I think this complex and arresting image is a great fit for the album.

While their self-titled debut spawned multiple recognizable hits, A Flock of Seagulls never came anywhere close to recapturing its success. For the most part, they struggled to remain relevant as time wore on, largely abandoning the sonic footprint of their first album, and chasing after new trends in music technology such as digital synthesisers. They would eventually break up during the mid-1980s, and though they’ve reunited in order to perform live several times, the book is probably closed on A Flock of Seagulls. Personally, I can’t help but wonder what might have been if they had stuck to their musical roots a bit more. You get a bit of that on their third LP, 1984’s The Story of a Young Heart, which thankfully brings back that iconic echoing guitar, and does so without sounding too much like a simple retread of “I Ran.” Out of all their other work, it’s the album I would most recommend to admirers of this debut LP.

Music: “Remember David”

My favourite track on A Flock of Seagulls’ debut LP is “Messages”--not to be confused with the track of the same name by Orchestral Manoeuvres in the Dark! Moreso than anything else on the album, “Messages” has this aggressive, insistent, driving quality, and feels less like yacht rock, and more like punk rock. Despite not being released as a single, I think it’s a very strong track that’s quite easy to get into. That’s everything for today--thanks for listening!

Music: “Messages”

#music #album review #album reviews #great albums #a flock of seagulls #flock of seagulls

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doomednarrative · 3 years

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I’m doing this for fun simply because I'm rewatching them all so,

Here's my personal ranking for Every Gorillaz Music video, based both on song and the video itself:

(This is going to be a long post)

PHASE ONE:

Tomorrow Comes Today: 7/10. I love this song and the video fits its vibe, but its still pretty simplistic and not a whole lot of actual animation and no story, so it gets points off for that.

Clint Eastwood: 10/10. I love this one honestly. Its still so charming after all this time and showcases the band well for their early days. Love the more moody tone of it, and I always love seeing the band actually play instruments in their videos too. Bonus points for Murdoc's laugh opening this one because I love that.

Rock The House: 9/10. Pure fun. I don't have a lot of commentary for it, I just think its fun and I love the song itself too. One point off for Murdoc thrusting his hips too many times for my eyes tho.

19-2000: 10/10. This one was the first Gorillaz video that I saw and it really is just a nice non plot connected video. The 3D animation still manages to hold up because of its mix with 2D animation in my opinion and I enjoy it.

Rockit: 5/10. I like the song but the video is kinda meh.

PHASE ONE MV'S OVERALL: Overall I like phase one and I miss Del. Bring him back.

PHASE TWO:

Dirty Harry: 8/10. 2D is just vibing so hard in this video and I'm living for it. That’s all that matters. (Side note but I love the version of this video they did for the BRIT's as well.)

DARE: 10/10. Noodles time to shine, a perfect song, what more could you ask for?? (Also love the bit with Murdoc at the end of course.)

Feel Good Inc: 10/10. This one is obvious if you know me at all. Murdoc playing his bass is what sells this one for me cause I enjoy the animation. The songs amazing and one I find comforting to listen to, and the mood of the video fits it perfectly. Theres some really fun shots with lighting while 2D is standing at the window too in the tower in here that I've always liked.

El Mañana: 6/10. I love this song but it makes me sad and so does the video.

PHASE TWO MV'S OVERALL: Phase One is iconic for its art style and for being The Beginning, but Phase Two is my favorite of the two for its art. I love how these videos are animated, and even if Demon Dayz is my least favorite album, the songs in these videos are all very good. Pretty solid as a whole all things considered.

PHASE THREE:

Stylo: 10/10 LISTEN, I KNOW SOME PEOPLE HATE THE CGI, BUT I LOVE IT. It’s so expressive, this song is one of my absolute faves, I’m sorry to be such a Murdoc liker but hes so much fun in this video and so expressive and it starts the story off for Plastic Beach. I love it so much.

On Melancholy Hill: 7/10. It’s not a bad video, and I love the song a lot, but...not a lot actually happens in the video aside from the bits with Noodle. Bonus points however go to just how seamlessly it puts 2D and 3D animation together, and for how cute 2D looks this whole video.

Rhinestone Eyes: 9/10. WOULD BE A 10/10 IF WE’D GOTTEN OFFICIAL ANIMATION FOR IT ;-; (The fan animated video for it tho is Very very good and i applaud that whole team.) Amazing song, this video has the most story packed into it so far from all the other videos and it’s memorable from its storyboards for that alone.

Doncamatic: 10/10 Listen...Listen I know its a one off and it doesn't really have anything in it but I’m obsessed because its one of my favorite Gorillaz songs tbh and I love Daley’s outfit in it so it gets a full pass from it.

PHASE THREE MV’S OVERALL: I love every video this phase tbh, none of them are bad. All of them are fun,and even if Melancholy Hill is a little slow, it’s still enjoyable. I love this phase because they all connect and I know I’m not the only one who feels that way either.

PHASE FOUR:

Hallelujah Money: 7/10. It’s not at all bad, but I’m as not fond of this song, and the video itself is much too trippy for me. Still has its own merits tho that I won’t knock it for even if it’s not my personal taste.

Saturn Barz: 10/10. Everything about this video is amazing. Character designs and as a comeback for the bands animated counterparts, it was perfect. I loved hearing them actually speak again too it made the whole thing so fun. The song is fuckin awesome and it fits the vibe of the whole video. Bonus points for the more lineless animation style they gave everyone in this video, it was a really neat change from past phases. My one complaint is again stop making me see so much naked Murdoc, I may like him but not like that.

Sleeping Powder: 6/10. I am so split when it comes to the mo cap models. This songs good but the video is again too trippy for me.

Strobalite: 9/10. Would have been 10/10 if Russel got to dance with 2D and Noodle, but other than that its pretty damn good. The mo cap looks way less awkward in here, particularly Murdoc and Russel. Also hilarious that Murdoc made a deal with the devil, and the guy who played him is actually his voice actor irl. This songs too much fun to vibe to as well.

PHASE FOUR MV’S OVERALL: Not much for story, but makes up for it in updated art and great music again. Solid overall yet again. I like it.

PHASE FIVE:

Humility: 20/10. Literally every single person I know who’s seen this video loved it. The animation is Beautiful, the song is so fuckin catchy, Jack Black is in it! What more do you want!! (The only thing I could have asked for was to see more of Ace but that’s its only flaw.)

Tranz: 9/10. I love this song so much but this video is Again just a little too trippy for me. However, we get to see Ace just jamming out in this video and I’ll take the trippiness just for that.

PHASE FIVE MV’S OVERALL: I was surprised there wasn't at least one more video for this phase honestly? I feel like Kansas or Souk Eye would have made for great videos for this phase. That aside tho, both the videos it does have are a lot of fun. My literal only complaint is that I wanted to see more of Ace. Bring him back in the future.

PHASE SIX:

Momentary Bliss: 8/10. This songs fine, but what sells it for me is the video is more slice of life/a day in the life of the studio. I’m always a fan of those moments. Bonus points goes to Murdoc trying to fuckin poison Jamie and it backfiring on him.

Désolé: 10/10: ooooh this song is so beautiful...I love it so much. 2D Noodle and Russel got to have such a fun time in this video and they deserve it. And poor Murdoc, having his little sad times by his asshole self. I love him but I think he deserved it. The others needed a good break from the bullshit and I’m glad they got it.

Aries: 6/10. Video itself is kinda boring, but the song is nice. Murdoc deserved to be left behind in Désolé after what he tried to pull here.

Friday the 13th: 3/10. I don’t care for this video and I really don’t care for the song. Not much else to say.

PAC-MAN: 6/10. Video’s fine, I like some of the little details in it, but it’s nothing special. The song itself is nice tho, super calming, I like it.

Strange Timez: 20/20 MY GOD I LOVE THIS ONE SO MUCH...VISUALS ARE SO FUN, I LOVE ROBERT SMITH SO I LOVE HIM IN HERE, ITS JUST A GOOD TIME ALL AROUND!

The Pink Phantom: 5/10 I just don’t really care for this song?? I like Elton John but I couldn’t get myself to like this one no matter how many times I’ve listened. 2D got to be happy in this video tho so I’ll give it a pass.

The Valley of the Pagans: 6/10. This song fuckin slaps but the video feels like a boring redo of 19-2000 except for it’s ending. It gets points for giving everyone Plastic Beach feelings at the end and hyping up the video after it.

The Lost Chord: 20/20. Y’all knew this was coming. This was something I’d BEEN hoping for story wise and I finally got it. Was it maybe a little rushed? Yes. But GOD it was such a nice thing to see them say “hey we’ve wrapped up this part of the story for good and want everyone to move on from it, so we’ve given it a properly acknowledged final send off.” And tangibly seeing everyone's emotions laid out about the island and their times there was very nice. And I know Jamie and Damon have stated Murdoc is irredeemable, blah blah yes I know hes an asshole still, but I WILL think about Murdoc in this video and how he seemed actually regretful and what that means to me and the fact that it was no one else but 2D himself being the one to reach out to Murdoc in the end to save him until my dying breath, thank you very much. And this song?? Fuckin beautiful, it had those Plastic Beach vibes again and felt good for it’s send off song, I love it.

PHASE SIX MV’S OVERALL: I may be a little split on some of them and on Song Machine as a whole, but tbh I love the phase six art style so much and most times the videos were pretty good. Bringing back PB in the end was something I always wanted too so it really does get bonus points from me for that. I’m 50/50 on them overall. The great ones are great, and the meh ones are just kinda boring, so it evens out in the end.

STAND ALONE VIDEOS MENTION:

Do Ya Thing: 10/10. I’ve said before I love the 3D animation and the slice of life stuff, so this one’s obviously a favorite, and you really cant go wrong with an Andre 3000 feature either.

Superfast Jellyfish: 3/10. This song is kinda fun but I don’t give a single shit about the music video.

Garage Palace: 8/10. Very fun pixel visuals for a change along with a killer song, super enjoyable.

So what’s my final verdict on Gorillaz and their long music video history?

Honestly for a group thats been going as long as they have, I dont think they have too many misses in their catalog. The ones that aren’t as fun are just kinda there, but the videos that really stand out stand out far above the ones that don’t hit the mark as well and in the end it all feels like a good balance. No band has a perfect video every time, but the ones that Gorillaz did well they did amazing on and I enjoy it immensely when that happens.

Sidenotes after watching all of those:

For the love of god please put Russel in the videos more, please, he deserves it and I would love to see him more.

On that note, BRING DEL BACK WITH HIM TOO!!

And speaking of characters to bring back, I want Ace to come back and join Murdoc sometimes, even if its only once or twice more, I need to see them interact PLEASE.

Last note but Jamie, please, I’m begging, show less of mostly naked or fully naked of Murdoc in future videos, we’ve had our fill by now.

#can you tell im hyperfixating again??? anyways #kief rambles about gorillaz #gorillaz #this was fun but good lord

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rhinotheamazing · 3 years

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One Side, Two lives

Chapter Four

I don’t mean to be rude, but please get out of my room.

First Previos Next

Warning: a few strange and dark facts about sea creatures, mention of slight gore, swearing, this is Remus so what do you expect

Today had been a lot for Logan. Remus was, well Remus, what did the others expect when he showed up? Still, being hit in the head with throwing stars hadn’t been very fun. They didn’t hurt much, but he had still felt the impact of them so he was a bit perturbed.

He had checked up on Roman after the video since he was the only one that could be effected by the Dukes antics when they were outside of the mindscape. Oddly enough he had been completely fine, he acted as if he just had woken up from a nap. He was a tiny bit off, but who wouldn’t be after getting hit in the head with a large blunt object. Logan shook his head, now was not the time to focus think about the smaller details of today’s events, he had work to do, being logic was an exhausting job, but one he took great pride in.

He sat down at his desk, it was an odd mixture between chaos and organization that worked for Logan, the papers where in messy piles everywhere and multiple pens where trown across the table, yet the Logical side knew exactly where everything was and if anyone moved just one thing, he became furious. Just as he grabbed a paper from one of the many stakes, he heard a small pop some from behind him.

He sighed, guess I’m not getting any work done today he thought to himself. He was not at all surprised to see the Duke standing in his rooms, his signature evil grin plastered on his face.

“Hello Remus. I don’t mean to be rude, but please get out of my room. I have work to do.” He said to the creative side. He could handle the others pretty well, but the duke was a wild card, impossible to predict, and that just didn’t sit well with Logan.

“No can do teach, I wasn’t able to get to you in the video so now I have to stay until I annoy you a proper amount.” He said while summoning a mace to lean on like it was a cane. Logan frowned that he was not using the object for its intended purposes.

“I have to file up all that Thomas learned today so that he doesn’t forget it, so I don’t exactly have time to let you annoy me.” Logan stated, turning back to his work. He started writing but the ink continuously changed color and he knew exactly who was to blame. When he turned around, oddly enough, he didn’t see Remus, his face turning into one of confusing.

“Up he nerdy wolverine!” Shouted a voice, startling Logan greatly. He looked up and saw Remus just laying on the ceiling.

“…. How in the world are you doing that ?” Logan asked, truly baffled by this point. Remus just looked at him confused.

“You guys can’t so this?” Logan shook his head and Remus looked a little surprised by this,. He and Roman used to run around on the ceiling a lot when they where little because there was more room up there.

Logan thought about that for a minute, since he was grounded in fact he has to obey the laws of physics even in the mindscape but he supposed the opposite must be true for the sides that were in charge of fantasy and imagination.

Remus just shrugged at the odd fact that the other couldn’t do this and just let himself fall onto the ground, jumping up right after as if he didn’t just reverse gravity on himself. Logan pointed at his pen and asked him to turn it back to normal. Remus snapped his fingers and said it was ok now, and it was indeed one color, but when Logan started writing about what they had learned, the ink was a bright sparkly pink. He sighed heavily, but decided it was better than nothing.

Remus devised that this was the perfect moment to lean on Logan and make him mess up his writing.

“So what did you think of my song nerd? Did it get stuck in your head like I planned?” He asked, and if Logan was being honest, it had. The song was annoyingly catchy and was unfortunately on loop in his head.

“Perhaps” he said. Logan really did try to work, but it was extremely difficult when someone was talking about a continues train of morbid fact in his ear. What made it worse was that the facts were interesting! And part of him did want to listen, gaining knowledge was always beneficial. However, if he didn’t do this project no one would. Eventually Remus went quiet and git off him, Logan sighed in relief, thinking that the duke had finally grown bored with trying to annoy him and went back to his room.

He was proven wrong when he heard something very loudly fall near his closet. That thing turned out to be his door, Remus standing next to it was a smile painted on his face. Logan turned to him fully, his face now in a deep frown. Great, now I’m going to have to ask roman to help me make a new door, he’s probably going to want to go all out and make it look like something from the dark ages.

“Was there a purpose to destroying my closet door?” He asked Remus.

“There is no rhyme or reason for what I do, I just do.” He responded making Logan roll his eyes, he should have expected that kind of answer.

“Though honestly you weren’t responding and being boring so I thought that I might look around your room a bit!” The green clad side said. Logan tried to ignore it, I don’t have anything really interesting to anyone else in my room anyways so it should be fine, he thought.

Once more, he was proven wrong, to outstanding measures. Remus let out a large gasp and what Logan could only assume was a squeal. The logical side turned to his closest, his patients nearly gone at this point. But, figuratively speaking, Logan threw all logic to the wind when he saw Remus come out with the biggest grin holding his unicorn onesie! He leapt to his feat immediately, his face a bit pink from embarrassment.

“Give that back!” He said as he lunged for the onesie, only to have Remus smoothly dodge his attack smirking at him,

“I didn’t know you were into unicorns nerd! Guess you have more in common with Roman than I thought!” He said, still dodging Logan who was acting as if he was a cat trying to catch it’s favorite toy. “Shut up and give me back my belonging!”lLogan said, his face growing more pink as Remus kept talking.

Remus finally stopped but continued to hold the onesie in a small bundle over his head, he and Roman were both ever so slightly taller than Logan, who was second tallest with the twins tide for first, and Remus was taking full advantage of this fact in this moment.

“Alright nerd, I’ll give you back your pjs on one condition.”

Not thinking about how badly this could go, Logan responded “yes fine, just stop being so childish!” He shouted. At this Remus grinned and gave the item back to the smaller side. Logan clutched it too his chest and backed up so that Remus couldn’t just steal it right back, it seemed like the kind of loophole that he would find.

Remus stepped back as well, putting up his hands in a sign of surrender.

“You still have to fulfill your side of the deal poindexter, otherwise I’ll come back and dump a bucket of guts on you when your sleeping and ruin you sircurdium rhythm shit or whatever it is.”

“First of all it’s circadian rhythm, and I am a man of my words, so what are your ridiculous demands?” Logan questioned. Remus smiled meschizioucsly, Logan was starting to think that he had hundreds of different kinds of smiles for whatever situation he was in.

“Simple. You have to wear your onesie and we have a movie marathon.” Remus said with a small shrug.

For a second the logical side’s mind completely short circuited and all he could do was stair at Remus.

“What?” He finally said.

“You heard me glasses, I gave you back you item so now you have to fulfill the favor!” The creative side said as if had won a battle against an army and didn’t break a sweat. Logan took a minute to consider this. Yes, the entire idea was rather embarrassing, but it could be a lot worse, there had to be something more to this that he just couldn’t quiet see.

“What’s the catch?” He asked, he was pretty sure he was close to being on Sherlock’s level of intelligence, so he figured that only a fool would except such an offer without asking a few questions.

“No catch, well, except for the fact that you have to let me pick a few of the things that we watch, so there will be some blood and guts somewhere.” The taller said. “I’ll be back in five minutes, by then you better have a show picked out or I’m going to stab your eyes out. See yah!” He waved and popped away. Logan was still nervous, but he still put on his onesie and opened up his laptop, heading over to YouTube so that he could look up something to watch.

Seconds later, Remus reappeared, but Logan was a bit surprised at what he was wearing. Remus, while away, had dawned a green onesie that had tentacles patterns on the arms and legs with four extra small tentacles coming out of the back.

“Like what you see calculated watch?” Remus said in a flirty tone. Logan shook his head out of his confusion and shrugged, saying that he was just surprised that Remus even owned a onesie.

“Of course I own one, me and…Dee have our own movie marathons just like the rest of you.” Logan noted the hesitance in Remus’s tone when he was explaining himself, but he decided not to comment about it at the moment.

“Wait, Deceit owns a onesie?” He asked instead. Remus shrugged and jumped onto Logan’s bed, much to the owners displeasure.

“More or less, he kinda just has this huge yellow snake sleeping bag that he lays in, he takes up so much room on the couch.” Remus said as he stretched and quiet purposefully laid practically on top of Logan.”

“Yes, clearly he is the one that has no consideration for someone else’s space.” Logan said back.

“Oooo~ was that a bit of sass I just heard? Your not as boring as I though you were teach” remus said, smiling a bit that he was able to not just once, but twice was able to get Logan to show some emotion other than anger and his, what Remus liked to call ‘his dumb-dumb monotone face’.

Logan pushed Remus off of him, “Guess theres a lot you don’t know about me” he said. Remus seemed to think about that for a minute, wondering how well he did know the other light sides besides his brother, he eventually just shrugged it off. Those thoughts could wait for another day.

“So what are we watching? Let me guess, some kind of light and fluffy movie, you light sides are rather predictable you know that?” Remus said. He raised an eyebrow as Logan shook his head and press play on the YouTube video.

“The others might prefer that stuff, but I like things that have a bit of educational information in what I’m watching, so I found a video that described the creatures that live at the bottom of the ocean.” Logan started the video and the narrator started talking about how the depths of the oceans are so dark that the creatures themselves glow to both attract prey and avoid being a meal for predators. Remus had starry eyes as he listened closely to all the weird and creepy facts about the undersea animals, especially liking the fact that angler fish will bite their mate and feed off of their nutrients. After the video Remus turned to Logan.

“That was so cool! Like the fact that some animals sacrifice a piece of their body and so that they can run away! Oh! And those glowing stare fish! Did you know they can be cut in half and still regrow perfectly! So cool! Hey Lo what’s your favorite animal from the video ? Mine was to be blah blah blah” The logical side had stoped listening at this point, not because he was uninterested, but because he was, surprised. Logan was rather taken aback by Remus’s reaction to the video if he was being honest, people often found these kinds of facts to be far too creepy to be enjoyable so it was kinda amazing to find someone as fascinated by what lurks at the depths of the sea as he was.

“Well I’m glad you likes the video Remus, not many like exploring the idea of the unknown. If I remember right, per our agreement its your turn to pick what we watch.” Logan said while sliding the computer over to Remus.

“Oki doky! Hmmm, what about a video on space? There is some creepy stuff out there and I’m just waiting for the government to admit that aliens are real.” Remus said, Logan having conflicting emotions about the fact that Remus wanted to watch an informational video about space but he didn’t want Remus to look up one that was factually incorrect for the sake of someone saying that there was a an alien in the frame or something.

“Although I have no problem with a space video, do you honestly think someone would have caught an alien or their ufo and posted it on YouTube?” Logan said, raising an eyebrow for emphasis.

“Course not teach, but its still fun to think of the what ifs,” Remus pointed out, “like if their was a species that lived in this area what the hell would they look like and what weird evolutions happened that they can now survive there.” The taller side said.

“That is, rather true I suppose. It would be fun to think about what creatures could exist in these places and what would aloud them to do so.” Logan said, placing a hand under his chins in consideration. “I didn’t think you would be so interested in outer space Remus.”

“Guess there’s a lot you don’t know about me” Remus said, quoting Logan form earlier making the other roll his eyes again.

The next video started playing and Logan hardly payed attention to the narrator in this one talking about how “there could very well be aliens on mars and we just don’t know it yet” and all that nonsense, instead focusing on the informational subtitles and the picture of the planet it self. The screen then changed to a picture of the galaxy and Logan took time to admire every detail. He often found it sad that people oh so rarely payed attention to the night sky and the stars. People always immersed themselves in fantasy but never just took a bit of time to look out their window and admire what the real world had to offer.

“Pretty cool video huh nerd.” That startled ed Logan out of his thoughts.

“What?”

“The video, it ended a minute ago.”

“Oh, sorry, I guess I got lost in thought.” Logan said. He had a tendency to do that. It wasn’t uncommon for him to just lay in bed and think, not doing anything else but let his mind wander.

“Hmm, ok. But please tell me you payed attention to at least some of the video, otherwise I can’t compare any of my alien theories with you.” Remus pouted.

“In all truthfulness I didn’t pay a lot of attention to the alien ideas in the video, but I should have enough prior knowledge to look over your theories.” The logical side said, needlessly adjusting his glasses.

“Great!” Remus said, poofing a sketch book and pen into his hand. “Well I was thinking of what an alien would look like if they lived on Venus and what they would need to withstand the heat.” Remus said as he vigorously started sketching. “So I figured that they could look a bit like roly poly bugs so that their thick shells could take the radiation from the sun. They would also burrow underground to escape the heat and find minerals that are edible to them.” Remus explained.

“That is, fascinating Remus, though their technically called pill bugs for your information. How long have you been thinking about these species?” Logan said, looking over Remus’s incredibly realistic drawing. He was truly in aw at Remus’s explanation as to why these creatures look how they do and explaining what they are capable of and the purpose of it. Remus just shrugged at his question.

“For a while I guess, I don’t really have anyone to share them with. Dee doesn’t really find outer space interesting and when I try to, uh, freak out Roman with them he doesn’t understand the science behind them that makes them truly terrifying.” Remus said. He had tried to show them to Roman once or twice, but Roman didn’t understand Remus’s interest in space and aliens when they create magical creatures that could do literally anything every day.

“Yah, I could see Roman getting confused with the fascination of aliens, he prefers to mythology to science fiction.” Logan said nodding along.

“Yah, how do you think he would react if he ever met and alien that traveled to earth? I bet he would be like,” he cleared his throat a bit and sat up a little straighter, when he spoke he sounded just like his brother. “You claim to be advance being but you don’t even know what Disney is?!” He put a hand to his chest as if thoroughly offended, he then let his act drop and slumped back down on the bed.

Then remus heard a sound he never thought he would hear, Logan started laughing. Not his quick or stuck up laughter, but a real laugh. He snorted a bit and started laughing so much he put his hand over his mouth to try to quiet the noise.

“Wow, you sure can do a good impression of your brother. Hahaha!” Remus just stared at Logan in aw, well shit, guess I’m gayer than I thought. Remus started to rethinking everything he thought about the tie wearing side before him while Logan seemed to calm down from his laughing fit.

“My apologies , I usually don’t laugh that much, do you want to watch something else?” Remus, still in a bit of a daze, just absentmindedly nodded. Logan looked up something else to watch and the two spent the rest of the day watching videos and comparing theories they’ve had for so long but didn’t have anyone to share them with. Eventually Logan fell asleep, his head slightly leaning on Remus, and the creative side was of course having a bit of a gay crises on the inside. On the outside however, he just smiled and decided to head to his own room and let Logan get some sleep, he probably needed it because of the nightmares Remus had caused Thomas to have the night before. He put a pillow under Logan’s head and made his way to the door, turning out the lights as he went. Logan wouldn’t notice till later, but his closet door stood fixed and in its place, now painted a dark blue with bubbles and stars scattering it.

Yay! Another chapter done! I was so stressed out to finish this because all my classes are dumping projects on my head that I had to complete this week. Anyways. I hope you enjoyed a bit of fluff, you’ll need it. Well, that’s all for now humans! If you want to be added to the tag list just ask! Have a good day, bye!

Tag list

@lovelivingmydreams

#remus sanders #logan sanders #pride!roman #roman sanders #intrological #mention of gore #sander sides #my writting

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iristhemessenger · 4 years

Text

Just for a moment, dance with me?

My very first Wayhaven fic, in the spirit of sharing more F content! <3

Pairing: Felix Hauville/f.Detective (Eris Evergreen)

Summary: Eris' life has been anything but simple these days, her thoughts heavy with the safety of her town and the bloodthirsty monster who threatens them all. She just needs a moment, one blissful moment to take her mind off of it all and Felix may be just the person to help her out. After all, how can she say 'no' to that charming smile?

The song "Cheerleader" of course belongs to Omi, and is a personal favorite for those days when you just feel like dancing to something with a little bop. ^-^

~ * ~

“When I need motivation

My one solution is my queen

'Cause she stay strong (yeah yeah)

She is always in my corner

Right there when I want her

All these other girls are tempting

But I'm empty when you're gone

And they say

Do you need me?

Do you think I'm pretty?

Do I make you feel like cheating?

And I'm like no, not really 'cause

Oh I think that I found myself a cheerleader

She is always right there when I need her”

For such a small town where barely anything happens, Eris will never understand how she still manages to find a towering stack of paperwork and reports on her desk nearly every morning, demanding her attention as she eyes the pile wearily. It has been a quiet day, all things considered, giving her more than ample time to make a good dent in said paperwork.

Most of them are small things, little complaints lodged by bickering neighbors or elder members of the community expressing their displeasure with the local youth who wander the streets, playing their music too loud or generally just standing around and being a nuisance.

She is not sure how many times she’s had to explain to Mrs. Henderson, one of Wayhaven’s regular complainants, that young Micky Roads and his small group of friends were not part of some drug-peddling gang, merely enthusiastic beat-boxers who preferred to share their music with the rest of the town than in the confines of his mother's basement.

Still, she should be thankful that such petty grievances are her only worries these days. What with Murphy running around still free, a part of her had been anxiously waiting for the phone at the station to ring yet again, signalling another death at the crazed vampire’s hands. Yet another life she had failed to protect, just like Garret Hayes.

She knows there's nothing she could have done in the grand scheme of things, but that only alleviated her guilt by a small margin. She was supposed to protect the innocent, supposed to be someone they could turn to in their time of fear and need but this...with Murphy, her blood, her mother, Unit Bravo and the Agency. It was all too much, and so out of her realm of control and understanding.

How was she supposed to prepare her town, her people, for such chaos without causing wide-spread panic among the residents of Wayhaven. If they even believed her at all, that was.

She wouldn’t blame them if they called her batty, no pun intended, this wasn’t exactly the kind of thing she expected to be dealing with when she took on the title of detective for the town. The police academy didn’t exactly train one for handling bloodthirsty, serial killing supernaturals.

She was tempted to write them a letter, to correct that particular oversight.

Not that it would do much good, she knew her mother would only destroy any such evidence against the Agency through her, she was guessing at this point, numerous contacts in order to maintain the secrecy of their shadow agency and dealings with the supernatural.

“Good morning, detective!” A familiar, jovial voice calls out, breaking the silence and her own morose thoughts.

Looking up from her desk, Eris can't help the smile that almost involuntary spreads across her face upon seeing her guest. It’s nothing compared to the dazzling smile that greets her in return as Felix saunters into her office. Eyes so intent on her she fidgets in her chair a little, unused to such undivided attention.

“It’s my turn to escort you home this fine evening.” He explains, giving her a once over that has goosebumps prickling over her skin under his appreciative gaze. “Though, admittedly, you are much finer.”

“Oh?” She raises an eyebrow, confused. “Not that I am complaining, but I thought it was Mason’s turn to take me home tonight?”

It had become the new norm at this point, the members of Unit Bravo taking turns escorting or babysitting her throughout the day while the others patrolled the town and surrounding area for Murphy.

She had already spent a delightful morning with Adam.

Sarcasm heavy on the 'delightful' as the leader of the vampiric agents had made no attempt to hide his annoyance when she'd insisted on a small outing from the station to Haley's bakery, for her regular morning caramel macchiato and blueberry scone. Citing the venture as 'inadvisable' and 'ridiculously foolhardy' when the station already had a (semi) working coffee machine in the break room.

The fact that it made coffee that looked and tasted like tar was, of course, of no concern to him.

Seeing Felix after an entire morning of that, and a few more mysteriously dented filing cabinets and a now unusable soap dispenser in the men's room, was honestly a breath of fresh air.

Nothing against Mason, who she suspected was finally beginning to warm up to her (he’d even begun to put out his cigarettes during their car rides back to her home, knowing how much she disliked the smell) but she found that she enjoyed spending time with Felix.

The younger vampire’s mere presence seemed to set her at ease, in a way she couldn’t quite explain. Whether it was his constant string of jokes, as strange as they could be sometimes, or his boundless optimism, whatever it was she sorely needed that right now.

“Ah, well…” He rubs the back of his neck sheepishly, unwilling to admit that Mason had only agreed to switch their shifts because he had all but begged the older vampire until he’d grown fed up with his nagging. “Adam decided to take him out to patrol the warehouse district again for signs of Murphy or a potential hideout. So, you get me for the afternoon instead, if that's ok by you?”

There's a slight hint of uncertainty at the end of his usually confident southern drawl, one he hopes she doesn't catch into.

"Of course it is!" She nods, and he is happy to see her smile, genuine and honest, still in place. Not to mention he'd noted the slight jump in her pulse and heartbeat when he’d announced himself earlier, making his own grin widen. "I always enjoy your company."

"Careful detective, keep buttering me up with sweet words and I'll never want to leave you alone." He teases, with a wink for good measure.

"Oh, heavens forbid." She teases back without missing a beat, shuffling some papers on her desk. "How would I ever manage?"

Felix is practically beaming now down at her, basking in their easy banter. He enjoys these stolen moments with the detective, who was infinitely more fun than patrol duty. Even if at some point he knew they would eventually have to part ways, he would take what he could get. He wanted to savor the time with Eris while he could, and if she were amenable to his flirting and interest, even after discovering their true nature, then he sure as hell wasn’t going to turn her away.

“I’m almost done with these reports” She sighs, “just waiting on some paperwork from Tina and we’ll be good to go if that sounds ok?”

He watches her as she stretches her arms high above her head, in an attempt to ease the stiffness that has made its way through her body. Her back arches in the chair, chest lifting forward, revealing every soft, and ample curve beneath her light blue t-shirt. The young vampire licks his top lip.

“More than ok, excellent even.”

His voice is smoother than silk when he answers, and she swears something breaks within her at the sound of it, leaving her flustered as she catches his eye. She clears her throat, sinking back into her chair.

"Alright then, good...that's...good."

Without another word, but his usual, cocky grin now firmly plastered on his face at a job well done, the agent makes himself comfortable. Draping his body across what has now become his usual chair in her office, feet in the air he crosses his arms across his chest and settles in.

As uncomfortable as the chair itself was, as he often complained, for some reason he continued to stake his claim, flopping into that particular chair every chance he got.

The fact that it was close to her desk, giving them both a clear view of the other, was a nice side benefit to be sure.

It's not long before the quiet she'd found herself in before returns, as Felix does his best not to disturb her. She appreciates his effort, though she can tell it is a trying endeavor as she catches his feet twitching.

In an attempt to alleviate his boredom, she turns on her radio. It's already tuned in to her favorite station, and soon the office is filled with music and she can't help but smile softly as a pleased grin spreads across the vampire's shapely mouth.

Felix, for his part, is grateful to find the station plays modern, up to date songs. Not that he didn’t like the music Nate often played, per say, but it did lack a certain energy to it that Felix craved.

Keeping a not-so-subtle eye on the detective, he is happy to see she seems to be of the same mindset. While looking over a few documents, she unconsciously begins to bob her head to the catchy, upbeat rhythm of a song Felix knows well.

To his extreme delight, he even sees her begin to follow the words, perfectly lip-syncing every lyric as she continues to follow the beat.

He watches her lips as they move, soft, pink, a little chapped and bare of any lipstick or gloss. Aside from the barest hint of eyeliner and complimentary eye shadow, he notes she doesn’t wear much make-up. Preferring a more natural look, which suits her well he thinks.

Felix soaks it all in, this moment with her. Unguarded, relaxed, being here with Eris. It felt, so natural and right. He’d never felt like this before with another person, aside from his teammates. He wants to keep it, keep her, but he does his best from getting too excited, just in case.

She’s been very receptive to his flirting, albeit a tad shy which he found adorable, allowing him to savour the growing attraction between them. But, he couldn't help but wonder. What about something…more?

He’s brought out of his own thoughts when her eyes, dark blue like sapphires, catch his. She instantly straightens, brushing a strand of long, black hair behind her ear and clears her throat.

“I, uh, I really like this song...” She admits biting her bottom lip, embarrassed at having been caught.

Felix only smiles, loving the soft blush that blossoms over her fair skin as her pulse quickens.

“You have excellent taste,” His eyes sparkle impishly. “This is one of my favorites too! I wonder what else we have in common, we should definitely take the time to find out...”

He practically purrs the last part, and she can’t help but laugh nervously at how easily he manages to fluster her.

“Back in college I used to be a member of this dance team, and this song was a part of one of our regular routines...” She confesses, voice trailing off as she realizes what she's just said.

Gods, why was she telling him this?! It wasn’t something she advertised, exactly. Though, there had been the occasional incident where Verda or Tina had walked in on her jamming out in her office in an attempt to blow off steam after a particularly nasty meeting with the mayor or a run-in with Bobby.

To her surprise, instead of laughing at her like she expected, Felix jumps out of his chair so suddenly she barely sees him before he is leaning excitedly over her desk. His face is so close to her own, she nearly falls backwards, chair and all at the sudden proximity.

“Show me?!” His excitement is hard to deny, and she finds herself smiling at his enthusiasm.

“S-show you? Like, now, here in the office?” She repeats, receiving a vigorous nod in return.

“Yeah, it’ll be much more fun than just waiting around for those reports. Besides, you can’t not show me after letting that juicy bit of information slip just now.”

He can’t be serious, she thinks, but looking into those earnest eyes, so open and honest, she knows there’s no way he isn’t. They’ve spent enough time together at this point for her to get a sense of the young vampire’s exuberant nature, and, lacking anything else of immense interest to distract him, she knows there’s no getting out of this without refusing him flat out.

The very notion of telling him ‘no’ and potentially losing that bright smile of his doesn’t exactly sit well with her either, for reasons she doesn’t care to dwell on. So, sighing dramatically, she reluctantly gets out of her chair.

“Ok, ok…it’s been awhile so bear with me.” She says, moving to the middle of the room.

Shaking her arms and legs a bit, Eris takes a few steadying breathes in an attempt to quell her nerves. A difficult task considering she is now the focus of Felix’s attention, those amber eyes of his trained solely on her.

She has to think on it a bit, moving her feet and arms in various motions and poses before the movements become familiar again and, smiling like a fool, she is able to recall the entire routine from muscle memory until she is gliding and bopping across the floor of her office like she used to during her college days.

For a single, blissful moment, she forgets where she is. Caught in the nostalgia of her memories and the music.

Simpler, happier times when the world made sense. Before everything turned upside down, before poor Janet and Garret's deaths. Before her mother and Unit Bravo came crashing into her town, and life. Before she found herself being hunted down by a psychopathic vampire for a mutation within her blood she never knew she had before a few days ago.

Just dancing, in the quad with her former classmates and friends. Laughing, letting all their worries melt away as they practiced their routines. Improvising along the way, goofing off and having a good time despite the pressures of upcoming exams and troublesome boyfriends or girlfriends.

Felix watches her the entire time, absorbing the routine with such an immersed focus she can’t help but feel the heat creeping up along her neck to the tips of her ears. Especially when his eyes seem to stray to her swaying hips, his interest blatant and intense.

Swallowing hard, she comes to an abrupt stop and laughs awkwardly. Staring at the floor, with it’s uninteresting color palette. “Welp, yeah…that’s it!"

I’ll just go die of embarrassment now , she groans internally as she turns back to her desk.

“No, wait!” He stops her, reaching out to catch her by her arm. She shivers. The touch of his hand on her bare skin sends a pleasant warmth throughout her body, traveling all the way down to her toes. It's not dissimilar to the same feeling she'd experienced the day they'd gone to Kate's, when he'd ventured to touch her before getting back into her poor, beat up hatchback.

He feels it too, staring down at where his hand grasps her forearm. His smile softens, and he takes the moment to brush his thumb along her skin. As if relishing the touch and the sensations it gives them both, and she relaxes into the touch. “I really liked it, your dance. I think I got the moves down, let me try it with you, please?”

She only hesitates a moment as she considers, before nodding. He releases her, though he appears reluctant to do so. To her own surprise, she also feels a pang of regret at the loss of contact.

Grabbing her phone from her desk, she opens up her playlists on her music app. It doesn't take her long to find the song she's looking for, despite the numerous playlists she has collected over the years.

Music had always been therapeutic for her, a means of escaping or dealing with the world in the absence of her mother. Dancing was an extension of that, a fun hobby that had helped her work off stress and gain a few friends along the way.

And now, here in her office, during what had to be the most chaotic time of her life, she was able to share it with Felix. Grinning at the thought, she positions her phone upright before pressing play. The same song from the radio begins anew, and she returns to her position in the center of the room.

This time, Felix happily sidles up next to her, so eager she can practically feel him vibrating with barely contained excitement. She’s never met anyone with so much raw energy before, and she’s sure not even Tina could match him in sheer vivacity.

As they begin the routine, Eris can't help but think he would have made an excellent addition to her former dance team. In more ways than one, she decides after they run through the steps a few times. He's a quick learner, following her lead, and perfectly imitating every movement..

Surprisingly, it’s not long before they fall into an easy groove. Their timing, uncertain and new at first, quickly becomes almost second nature by the time they all but perfect the routine and soon they find themselves laughing and smiling as they lose themselves to the rhythm. Felix is a natural performer, his movements graceful yet laced with his usual cheer and vibrance, as they dance to the hip-hop tempo of the song.

“She walks like a model

She grants my wishes like a genie in a bottle (yeah yeah)

'Cause I'm the wizard of love

And I got the magic wand

All these other girls are tempting

But I'm empty when you're gone

And they say

Do you need me?

Do you think I'm pretty?

Do I make you feel like cheating?

And I'm like no, not really 'cause

Oh I think that I found myself a cheerleader

She is always right there when I need her”

Eris can only imagine how they would look to the rest of the station, if Tina or Verda, or god-forbid Douglas, walked in on them at that moment. There would be no end to the heckling she’d endure, that was for sure but for now it didn’t matter. They were carefree and safe behind these four walls, away from the troubles that haunted her outside of the sanctuary of her office.

The song eventually ends, but her playlist goes on, queuing up the next song in her library. It's another dance hit, one she recalls often being played in the local bars and dance halls that she and her friends would frequent. Dancing long into the night, until they were a merry band of sweaty limbs and clothes, high off the adrenaline and fruity cocktails plied by the bartenders and eager would-be paramours.

“Ah, hell yeah!” Felix laughs, “this is another good one! Your playlist is fire, detective.”

Without pause, they throw themselves into the new song, adding their own unique bit of flair here and there as they dance.

“Any cool routines go with this one?”

She shakes her head as she shimmies and rolls her hips playfully around the vampire, who watches her closely. “Nope! Completely freestyle, think you can handle that?”

“Oh, I can more than handle…” He promises, rolling his lips suggestively. He beckons her, wagging his finger in a come-hither gesture. “Show me what you got, detective?”

She laughs, mirth bubbling over.

For the first time since all of this mess started she feels light, her natural endorphins kicking in and setting her at ease.

When the moment presents itself, Felix takes the opportunity to take her by the hand. Twirling her here and there, bringing her closer as her back falls against his chest before whipping her away once again. He's quick on his feet, and thanks to her years of experience, dancing with numerous partners Eris finds herself able to match and meet his pace with little trouble as the two moved in tandem.

Soon enough, they find themselves swaying together. It’s the closest she’s ever been, physically, to the younger agent by themselves. A fact that Felix seems to pick up on as well, though he feels very little inclination to resume any distance between them. If anything, he takes advantage of the moment, eyes eagerly seeking her’s as he dares to rest his hand on her waist.

The touch sends an instant jolt up her spine, but she doesn't push him away. Instead, she melts into him, meeting his gaze and welcoming the heat that has been building between them.

She’ll never get over how beautiful his eyes are. Like gemstones, sparkling gold and striking. She could lose herself in them forever. It’s amazing how easily they fall into each other, as if they’d been dancing together for years.

“This kind of music and dancing is definitely more my speed, not like the fancy ballroom dancing Nate likes. Though, he is really good at it.” Felix breaks the tension, laughing lightly. “He did teach me a few fun moves too.”

She barely hears him, but smiles and nods anyways. The blood pumps loudly in her ears, heart racing as she feels the sweat begin to drip down her temple. It’s been awhile since she went this hard. Usually, even her most energetic dance sessions were within the safe confines of her apartment. Felix, frustratingly, looks unperturbed by all their physical exertion. Yet another vampire perk, she guessed.

"Here comes the dip!" He announces suddenly, leaving her only a fraction of a second to react as he suddenly drops her downward.

Her arms reach out, instinctively wrapping around his neck to keep from falling. He may not have the sheer muscle mass or height of his companions, but Eris can feel the strength in Felix's arms and neck as he holds her tightly. He’s slender, but solid.

"Don't worry, I got you!" He laughs, lilting voice taking on a huskier tone as he speaks. "I won't let you go, unless you want me to…though, that may be a bit difficult. I kind of like holding you like this.”

Eris feels her heart skip a few beats as she processes his words. Chest rising and falling as she attempts to catch her breath, the heat that had momentarily been abandoned returning full force, crackling in the sparse space left between them.

Charged and tempting, like a favorite candy left unsupervised on the table. All one had to do was give in, indulge in that first, sweet taste...

“Well, you two seem to be having fun.”

Startled, Eris looks up to see Verda standing in the doorway of her office. There is no mistaking the twinkle in his eye, or the amused twitch to the corner of his mouth and suddenly Eris feels the need to bury herself in a deep, deep hole. Beside him, or more like towering behind him, is an all too familiar, and exceptionally handsome face.

“Felix, this is hardly what I’d call escorting Eris home.” Nate sighs. Despite his soft rebuke, she can still see a small, indulgent smile on the man’s face.

“Oops, sorry Natey!” Felix laughs, quickly helping her back to her feet. “We were just having a bit of fun. Right?"

He shifts his gaze back to her, eyes bright, still filled with the vigor of their dancing and the sizzling remnants of their lost moment.

"Sorry, Nate it's my fault." Eris tries to apologize, smoothing the wrinkles from her shirt. It was more a joint effort, if she was being honest, but she was also the one who gave into Felix's request in the first place. So, she felt somewhat responsible for their delay.

It felt silly, like being caught by a parent with a cookie from the cookie jar before dinner. Not that she would know what that was like.

"I'd be inclined to believe that, Eris. However, Felix has a much longer track record than you when it comes to belying his duties." He says, casting a knowing look at said agent.

Felix only smiles with a shrug, looking perfectly unapologetic.

She chuckles, patting him on the shoulder. "Welp, I tried. Never let it be said I didn’t try to defend your good name.”

“Detective!” Placing a hand to his chest, Felix sighs dreamily. “My personal knight in shining armor. You sure know how to make a guy feel special.”

"I just came to deliver these for you, from Tina." Verda chimes in, passing the manilla envelopes to the still-grinning Eris.

"And where did Tina get off too?''

Now, his smile vanishes, "she left work a little early so she could try and catch Kate at the dental office, drive her home...poor woman has been on autopilot since her son's passing…"

A somber silence falls over the room, the reality of death reclaiming the once vibrant and merry atmosphere. It's almost suffocating.

Nate clears his throat, thankfully breaking the sudden quiet that blankets them all.

"Well, let's be off then before Adam comes looking for us both." Eris cringes, she can only imagine the stiff lecture that would follow if that ended up happening.

"Let me file these away, then I'll grab my coat and meet you two out front?"

"Sounds good." Nate agrees with a soft smile, warm brown eyes alight in good cheer.

After Felix, Nate is another member of Unit Bravo who sets Eris at ease. The man exuded a natural warmth and openness that was hard to resist, not to mention rare, for which she was grateful for. A stark contrast to the other two members of their team who were currently not present.

"A good night to you then, Eris." Verda nods, "I am going to call it a day, Eric and the kids have dinner waiting for me. Mustn't let it get cold, I’d never hear the end of it."

She smiles, nodding. "Have a good night, Verda. I’ll see you bright and early tomorrow, say ‘hi’ to the family for me."

The vampires move to follow the pathologist out of her office, Felix gracing her with another wink as he trails after Nate to wait outside.

"Hey, Felix." She calls out, before he disappears.

He stops in the doorway, turning back to smile at her. "What's up, detective? Itching for another dance already, because I wouldn’t say no to that."

"No, I mean - I would, it's just…" she runs a hand through her hair, letting out a breath. How did he always manage to get her so worked up? "Thank you."

"For what?" He asks, smile dropping a little in confusion.

"For...taking my mind off things. I was kind of in a funk before you came to get me, and the dancing just now...well, it really helped. So, thank you for that."

Eris thinks she's seen most of Felix's expressions by this point, the agent has varying degrees of excitement and cheer, whether genuine or cheeky. Occasionally somber, like he had been with Kate. But the look on his face now could only be described as, well, almost bashful.

"I, heh, well...your welcome, then." Eris blinks, surprised at his response. She's never quite heard him at a loss for words before. He turns away, rubbing the side of his neck. Was he, was he blushing? "Always here to help…"

He laughs, the sound not at all like his usual loud, boisterous laugh. More like a self-conscious chuckle, as he shifts awkwardly on his feet. “I, uh...I better get to Nate, before he thinks I am holding you up again. Don’t keep me-us waiting too long, alright?”

“Of course, I wouldn’t dream of depriving you of my presence, even for a few seconds.” She jests, enjoying the leverage she seems to have gained over the normally unflappable flirt.

He stares at her, as if he’s never seen anything quite like her before bursting into another nervous laugh. “Your something else, you know that?”

With that, Felix tears himself away and she smiles at his retreating back. It was nice to know she could throw the usually charming and cheeky agent off of his game, giving him a taste of his own medicine every once in a while was very cathartic for all the times he managed to leave her a stammering mess.

Still, biting her bottom lip in thought as she recalls the heated moment they'd shared, she wonders what would have happened had Nate and Verda not shown up. How much of this, all the flirting and back and forth, was simply a fun distraction for the vampire who seemed to draw her in so effortlessly with his easy smile and otherworldly eyes.

He seemed the type to love them and leave them, moving on to the next new and interesting thing that caught his fancy. Though, it felt wrong to think of him like that, as if there was still so much more to him she had yet to see and understand. Maybe there was more to him, hidden beneath the charming smiles and quick quips, waiting for the right person to take an interest and a closer look.

Watching her from a short distance, lingering at the station's entrance, she can't see the soft amber eyes that mirror her own musings. Wondering if maybe she might take him up on that second dance, just the two of them, and where it might lead.

Would it be so bad, he thinks. After this whole mess with Murphy was settled, he knew they'd be called away again to god-knows wherever they were needed next. But, watching the detective as she finished her day's work, catching the way she smiled softly as she mouthed a few familiar words from the song they'd danced to just moments ago, he feels a sudden, anxious kind of excitement pull at his chest at the possibilities.

Until then, Felix forces himself to turn away. With a spring in his step, he replays the feeling of her skin against his own, the beating of her heart, her enticing aroma surrounding him, overwhelming his senses. Snuggling into his thick, cotton scarf he savors the memory. Bracing himself for the cold, and Nate, both waiting for him outside the warmth of the station.

He would definitely need to see about that second dance, he decides with some conviction. Hopefully, before they were forced to return to their lives before all of this killing and madness.

With a wide grin, he hums happily, the same tune that he would now forever associate as their song to their first dance.

~ * ~

“Oh I think that I found myself a cheerleader

She is always right there when I need her

She gives me love and affection

Baby did I mention, you're the only girl for me

No I don't need a next one

Mama loves you too, she thinks I made the right selection

Now all that's left to do

Is just for me to pop the question

Oh I think that I found myself a cheerleader

She is always right there when I need her

Oh I think that I found myself a cheerleader

She is always right there when I need her.”

~ * ~

Below is a link to the routine I had in mind when picturing Felix and Eris’ dancing, if you're curious, choreo by Blacka Di Danca ft. Fraules <3

Thank you for reading! I have a few more stories in mind for Flirty Hotville, so he may be making an appearance again here soon…

https://www.youtube.com/watch?v=4E46VmGLc88

#twc #f hauville #eris x felix hauville #the wayhaven chronicles #these two dancing fools #i love them so much #felix hauville #<33333 #yes they make their own playlist after this

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dustedmagazine · 3 years

Text

Dust, Volume 7, Number 7

What are Grandbrothers doing to that piano?

Greetings from under the heat dome, where shipments of vinyl are melting mid-journey and even the coolest of cool jazz sounds a little wilted by the time it reaches your ear. We are sitting in the shade. We are drinking lemonade and iced tea. We are looking for the window fans and lugging old air condition units up from the basement. We are, perhaps, headed to the community pool for the first time since our kids were young, though also, perhaps not. In any case, we are still getting through piles of recorded music, even in this heat, and finding some gems. Here are dispatches from the furthest reaches of Japanese psych, European free jazz, self-released indie folk, Irish lockdown angst, Moroccan raging punk and lots of other stuff. Contributors included Mason Jones, Jennifer Kelly, Bill Meyer, Tim Clarke, Bryon Hayes, Jonathan Shaw, Arthur Krumins and Chris Liberato. Stay cool.

Yuko Araki — End of Trilogy (Room40)

End Of Trilogy by Yuko Araki

These 16 tracks whoosh past in just 35 minutes, with most of them clocking in around two minutes in length. Many don't reach a conclusion: they simply end abruptly, and the next one starts. Araki manipulates electronics to create whirling, sizzling atmospheres of confusion, sometimes fast-moving burbles of percussion and synths, at other moments pushing distorted hissing and confrontational tones to the front. The aptly-named "Dazed" begins with a cinematic feel, then its galactic drones give way to static and metallic scrapes. "Positron in Bloom" is like a chorus of machine voices shouting angry curses into space, and "Dreaming Insects" sounds as if the titular creatures are being pulled downstream in fast-moving rapids. Oscillating between menacing and humorous, End of Trilogy's bite-sized pieces of surrealist electronics are never boring.

Mason Jones

Alexander Biggs — Hit or Miss (Native Tongue Music Publishing)

Hit or Miss by Alexander Biggs

Alexander Biggs blunts sharp, stinging lyrics in the sweetest sort of strummy indie-pop, working very much in the Elliott Smith style of sincerity edged with lacerating irony. “All I Can Do Is Hate You” finds a queasy intersection between soft pop and tamped down rage, Biggs murmuring phrases like “I want you to fuck me til I can’t say your name,” but melodically, over cascades of acoustic guitar. “Madeline” is the pick of the litter here, a dawdling jangle of guitar framing knife-sharp lyrics about romantic disillusionment. “Miserable,” sports a bit of lap steel for emotional resonance, demonstrating once more, if you had any doubt, that very sad songs can make you feel better somehow. Biggs is good at both the softness and the sting, and for guy-with-a-guitar albums, that’s what you need.

Jennifer Kelly

Christer Bothén 3 — Omen (Bocian)

Omen by Christer Bothén 3

Dusted’s collective consciousness has spent a lot of time considering Blank Forms’ recent publication, Organic Music Societies, which considers Don and Moki Cherry’s convergence of artistic and familial efforts during the 1960s and 1970s, as well as the two archival recordings by Don and associates, which shed light upon his Scandinavian musical activities. All three are worth your attention, but their liveliness is shaded by the awareness that almost every hopeful soul involved is no longer with us. But Christer Bothén, who introduced Don to the donso ngoni and subsequently played in his bands for many years, is not only among the living, he’s got breath to spare. This trio recording doesn’t delve into the African sounds that bonded Bothén and Don. Rather, the Swede’s bass clarinet draws bold and emphatically punctuated melodic lines, driven by a steaming rhythm section that takes its cues from Ornette Coleman’s mid-1960s trio recordings. This music may not sound new, but it’s full of lived-in knowledge and vigor.

Bill Meyer

Briars of North America — Supermoon (Brassland)

Supermoon by Briars of North America

New York-based trio Briars of North America take patient, painterly, occasionally cosmic approach to folk music. With “Sala,” Supermoon sounds like a backwoods Sigur Ros. A falsetto voice intoning a made-up language arcs elegantly over sustained waves of electric piano. Soon after, the album touches down into more grounded guitar-and-cello territory on pieces such as “Island” and “Chirping Birds,” which bring to mind Nick Drake, albeit less contrary or withdrawn. At the album’s midway point, the listener is carried into the aether with the eerie sustained brass and wordless vocals of the eight-minute “The Albatross of Infinite Regress.” A similar space is explored at the album’s end with the 12-minute “Sleepy Not Sleepy,” as strings and warbling synthesizer tones intermingle with the return of the made-up language. Though the band’s more conventional vocal-led songs, such as “Spring Moon,” are decent enough, Briars of North America touch upon something expansive and ineffable when they explore their more experimental side.

Tim Clarke

Bryan Away — Canyons to Sawdust (self-released)

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Chicago-based actor, composer and multi-instrumentalist Elliot Korte releases music under the moniker Bryan Away. His new album, Canyons to Sawdust, begins with what feels like two introductions. “Well Alright Then” is a Grizzly Bear-style scene-setter for wordless voices, strings and woodwinds, while “Within Reach” sounds like a tentative cover of Radiohead’s “Pyramid Song” that runs out of steam before it had the chance to build momentum. The first full song, single “The Lake,” gets the album up and running in earnest with its melancholy piano and string arrangement spiked with pizzicato plucks and bright acoustic guitar figures. Half Waif lends her vocal talents to “Dreams and Circumstance,” another highlight featuring some lovely interplay between guitar arpeggios and drum machine. One pitfall of exploring romantic musical territory is the risk of sounding a tad saccharine, and the weakest links in the album, companion tracks “Scenes From a Marriage” and “Scenes From a Wedding,” have the kind of performative tone you’d expect to find on the soundtrack of a mainstream romantic comedy. Elsewhere, though, Korte’s judgment is sound, and there’s plenty of elegant music to be found. Fans of Sufjan Stevens will no doubt find a lot to like, and it’ll be interesting to see where Bryan Away ventures next.

Tim Clarke

Jonas Cambien Trio — Nature Hath Painted Painted The Body (Clean Feed)

Nature Hath Painted the Body by Jonas Cambien Trio

On its third album, the Jonas Cambien Trio has attained such confidence that it’s willing to mess with its signature sound. The Oslo-based combo’s fundamental approach is to stuff the expressive energy and textural adventure of free jazz into compositions that are by turns intricate and rhythmically insistent but always pithy. This time, the Belgian-born pianist Cambien also plays soprano sax and organ. The former, stirred into André Roligheten’s bundle of reed instruments, brings airy respite from the music’s tight structures; the latter, dubbed into locked formation with the piano and jostled by Andreas Wildhagen’s restlessly perambulating percussion, expands the music’s tonal colors. The tunes themselves have grown more catchy, so much so that their twists and turns only become apparent with time and repeat listening.

Bill Meyer

Ferran Fages / Lluïsa Espigolé — From Grey To Blue (Inexhaustible Editions)

From Grey To Blue by Ferran Fages

When discussion turns to a pianist’s touch, it’s tempting to think mainly of what they do with their fingers. But it must be said that Lluïsa Espigolé exhibits some next-level footwork on this realization of Ferran Fages’ From Grey To Blue. Fages is a multi-instrumentalist who functions equally persuasively within the realms of electroacoustic improvisation and heavy jazz-rock, but for this piece, which was devised specifically for Espigolé, he uses written music and an instrument he doesn’t play, the piano, to engage with resonance and melody. The three-part composition advances with extreme deliberation, often one note at a time, turning the tune into a ghostly presence and foregrounding the details of the decay of each sound. This music is so sparse that the shift to chords in the third section feels dramatically dense after a half hour of single sounds and corresponding silences. The elements of this music have been sculpted with such exquisite control that one wonders if Catalonia has looked into insuring Espigolé’s feet; her way with the piano’s pedals is a cultural resource.

Bill Meyer

Grandbrothers — All the Unknown (City Slang)

All the Unknown by Grandbrothers

The duo known as Grandbrothers hooks a grand piano up to an array of electronic interfaces, deriving not just the clear, gorgeous notes you expect, but also a variety of percussive and sustained sounds from the classic keyboard. In this third album from the two—that’s pianist Erol Sarp and electronic engineer Lukas Vogel—construct intricate, joyful collages, working clarion melodies into sharp, pointillist backgrounds. The obvious reference is Hauscka, who also works with prepared piano and electronics, but rather than his moody beauties, these compositions pulse with rave-y, trance-y exhilaration. If you ever wondered what it would sound like if the Fuck Buttons decided to cover Steve Reich, well, maybe like this, precise and complex and shimmering, but also huge and triumphant. Good stuff.

Jennifer Kelly

id m theft able — Well I Fell in Love with the Eye at the Bottom of the Well (Pogus Productions)

Well I Fell in Love With the Eye at the Bottom of the Well by id m theft able

Al Margolis’ Pogus Productions imprint has cast its gaze toward the strange happenings in Maine, netting a mutant form of electroacoustic wizardry in the process. Scott Spear is the one-man maelstrom known as id m theft able, an incredibly prolific and confounding presence in the American northeast. He draws influence from musique concrète and sound poetry, but adds a whimsical spirit, a tinker’s ingenuity and the comedic timing of a master prankster to his compositions. Sometimes this leads to the bemusement of his audience, but he tempers any surface madness with an endless curiosity and a playful sense of the meaning of the word music. Well I Fell in Love with the Eye at the Bottom of the Well ostensibly came to be via Spear’s desire to create a doo-wop tune. Only Spear himself knows whether this is fact or fiction, because it is clear from the opening moments of “Shun, Unshun and Shun” that this disc is full of sonic non-sequiturs, amplified clatter and delightful mouth happenings that are as far removed from doo-wop as possible. The madness is frequently tempered with beautiful moments: a broken music box serenades a flock of chirping birds in the middle of a mall, Spear hypnotically chants at a landscape of crickets, flutes pipe along to the patter of rain on a window. As one gets deeper into the record, the sound poetry aspects become more and more pronounced, such as on “The Curve of the Earth” and the closing piece, “Purple Rain.” Those seeking a humor-filled gateway drug into that somewhat perilous corner of the sonic spectrum would be wise to pop an ear in the direction of this frenetic assemblage of sound.

Bryon Hayes

Mia Joy — Spirit Tamer (Fire Talk)

Spirit Tamer by Mia Joy

Mia Joy turns the temperature way down on gauzy Spirit Tamer, constructing translucent castles in the air out of musical elements that you can see and hear right through. The artist, known in real life as Mia Rocha, opens with a brief statement of intent in a one-minute title track that wraps wisps of vocal melody with indistinct but lovely sustained tones. The whole track feels like looking at clouds. Other cuts are more substantial, with muted rock band instruments like acoustic and electric guitars and drum machines, but even indie-leaning “Freak” and "Ye Old Man,” are quiet epiphanies. Rocha sounds like she is singing to herself softly, inwardly, without any thought of an audience, but also so close that it tickles the hair in your ears. Rocha closes with a cover of Arthur Russell’s “Our Last Night Together,” letting rich swells of piano stand in for cello, but tracing the subtle, undulating lines of his melody in an airy register, an octave or two higher. Like Russell, Rocha sets up an interesting interplay between deep introversion and presentation for the public eye; she’s not doing it for us, but we’re listening anyway.

Jennifer Kelly

Know//Suffer — The Great Dying (Silent Pendulum Records)

The Great Dying by KNOW//SUFFER

It’s not inaccurate to describe The Great Dying as a hardcore record. You’ll hear all the burly breakdowns; buzzing, overdriven guitars; and grimly declaimed vocals that characterize the genre, which since the mid-1990s has moved ever closer to metal. But Know//Suffer have consistently infused their music with sonic elements associated with other genres of heavy music. Most of the El Paso band’s 2019 EP bashed and crashed along with grindcore’s psychotic, sprinting energy. The Great Dying is a longer record, and it slows down the proceedings considerably. There are flirtations with sludge, and even with noise rock’s ambivalent gestures toward melody: imagine Tad throwing down with a mostly-sober version of Eyehategod, and you’re more than halfway there. As ever, Toast Williams emotes forcefully, giving word to a very contemporary version existential dread. But there’s frequently a political edge to the lyrics on this new record. On “Thumbnail,” he sings, “I swallow what must be hidden / Hoping assimilation makes me whole / The whole that everyone thinks I am / Smiling under this mask knowing / I’m not hiding my face in public.” “Assimilation” is a loaded word, especially on the Southern Border, and it’s no joke walking around in public as a proud black man anywhere in Texas. Wearing a mask as you walk into Target? P.O.C. stand a chance of getting shot. Know//Suffer still sound really pissed off, but the objects of their anger seem increasing outside of their tortured psyches, located in the lifeworld’s social planes of struggle. That gives their grim music an even harder charge, and makes Williams’s performances of rage even more powerful.

Jonathan Shaw

Heimito Künst — Heimito Künst (Dissipatio)

HEIMITO KÜNST by Heimito Künst

The debut album from Italian experimental instrumentalist Heimito Künst, recorded over several years in his home studio, uses an array of electronic and primitive instrumentation to create an overall woozy, dark atmosphere. From groaning, atonal slabs of organ, like a detuned church service, to murmuring field recordings and scrapings, these seven tracks are less like songs and more like unsettling journeys through sound. Pieces like "Talking to Ulises" blend quiet Farfisa tones and a wordlessly singing voice in the distance. Ironically, although the final track is titled "Smoldering Life", it's unexpectedly brighter, with major-key synth notes over the cloudy sound of a drum being bashed to pieces before ending with an almost gentle, summertime feel.

Mason Jones

Jeanne Lee — Conspiracy (moved-by-sound)

Conspiracy by JEANNE LEE

Lots of 1960s and 1970s jazz reissues offer beautiful music, but few redefine how liberating improvised music can be. Conspiracy, originally recorded in 1974 by Lee on vocals with an ensemble that includes Sam Rivers and Gunter Hampel, falls into the latter category without feeling forced. It combines sound poetry, the conversation of spontaneity, and grooves that don’t stay on repetition but still get ingrained into your brain somehow. Best digested in a contemplative sitting, the album demands you give your whole attention to the direction of the music and words mixed with extended vocal techniques. The sound shifts from a full-on medley of flutes, drums, bass and horns with voice, to more minimal experiments. The recording is clean and uncluttered, even at its busiest. A lushly enjoyable listen.

Arthur Krumins

Sarah Neufeld — Detritus (Paper Bag)

Detritus by Sarah Neufeld

Sarah Neufeld’s third solo album grew out of a collaboration with the Toronto choreographer Peggy Baker, begun before the pandemic but dealing anyway with loss, intimacy and grief. The violinist and composer works, as a consequence with a strong sense of movement, underlining rhythms with repeated, slashing motifs in her own instrument and pounding drums (that’s Jeremy Gara, who, like Neufeld, plays in Arcade Fire). You can imagine movement to nearly all these songs. “With Love and Blindness” rushes forward in a wild swirl of strings, given weight by the buzz of low-toned synthesizer and airiness in the layer of denatured vocals; you see whirling, bending, graceful gestures. “The Top” proceeds in quicker, more playful patterns; agile kicks and jumps and shimmies are implied in its contours. “Tumble Down the Undecided” has a raw, passionate undertow, its play of octave-separated notes frantic and agitated and the drumming, when it comes, fairly gallops. This latter track is perhaps the most enveloping, the notes caroming wildly in all directions, in the thick of the struggle but full of joy.

Jennifer Kelly

Aaron Novik — Grounded (Astral Editions)

Grounded by Aaron Novik

Aaron Novik is a clarinetist with an extensive background in jazz, klezmer, rock and in-between stuff, but you wouldn’t know any of that from listening to this tape. Its ten numbered instrumentals sound more derived from the sound worlds of 1970s PBS documentaries, Residents records of similar vintage, and Pop Corn’s fluke hit, “Pop Corn.” Recorded during the spring of 2020, when Novik’s new neighborhood, Queens, became NYC’s COVID central, it manifests coping strategy that many people learned well last year; when the outside world is fucked and scary, retreat to a room and then head down a rabbit hole. In this case, that meant sampling Novik’s clarinets and arranging them into perky, bobbing instrumentals. The sounds themselves aren’t processed, but it turns out that when recontextualized, long, blown tones and keypad clatter sound a lot like synths and mechanized beats. There’s a hint of subconscious longing in this music. While it was made in a time and place when many people didn’t leave the house, it sounds like just the thing for outdoor constitutionals with a Walkman.

Bill Meyer

Off Peak Arson — S-T (Self-released)

Self Titled by Off Peak Arson

Presumably named after the Truman's Water song — a fairly obscure name check, indeed — Off Peak Arson hail from Memphis, TN. Their debut EP's five songs are less reminiscent of their namesakes than of heavier, noisier bands like Zedek-era Live Skull, Dustdevils and Sonic Youth. Which is not a bad thing at all. The four-piece leverage the dual guitars to nicely intense effect, and with all four members contributing vocals there's a lot going on, at times blending an interesting sing-song pop feel with the twisty-noisy guitar. The band have a way of finding memorable hooks amidst sufficient cacophony to keep things challenging while also somehow catchy. Keep your ears open for more from this quartet.

Mason Jones

Barre Phillips / John Butcher / Ståle Liavik Solberg — We Met – And Then (Relative Pitch)

We met - and then by Phillips, Butcher, Solberg

In 2018, ECM Records issued End To End, a CD by double bassist Barre Phillips which capped a half-century of solo recording. You might expect this act to signal the winding down of the California-born, France-based improviser’s career; after all, he was born in 1934. And yet, in 2018 he played the first, but not the last, concert by this remarkable trio, which is completed by British soprano/tenor saxophonist John Butcher and Norwegian percussionist Ståle Liavik Solberg. Recorded in Germany and Norway during 2018 and 2019, this CD presents an ensemble whose members are strong in their individual concepts, but are also committed to making music that is completed by acts of collective imagination. The music is in constant flux, but purposeful. This intentionality is expressed not only through action, but through the conscious yielding of space, as though each player knows what openings will be best occupied by one of their comrades.

Bill Meyer

Round Eye — Culture Shock Treatment (Paper +Plastick)

“Culture Shock Treatment,” the lead-off track from this unhinged and ecletic album, swings like 1950s rock and roll, a sax frolicking in the spaces between sing-along choruses. And yet, the gleeful skronk goes a little past freewheeling, spinning off into chaos and wheeling back in again. Picture Mark Sultan trying to ride out the existential disorder of early Pere Ubu, add a horn line and step way back, because this is extremely unruly stuff. Round Eye, a band of expatriates now living in Shanghai, slings American heartlands oddball post-punk into unlikely corners. Frantic jackhammer hardcore beats (think Black Flag) assault free-from experimental calls and responses (maybe Curlew?) in “5000 Miles, “ and as a kicker, it’s a commentary on ethno-nationalist repression (“Thank…the country. Thank…the culture”). “I Am the Foreigner” hums and buzzes with exuberance, like a hard-edged B-52s, but it’s about the alienation that these Westerners most likely experience, every day in the Middle Kingdom. This is one busy album, exhausting really, a whac-a-mole entertainment where things keep popping out of holes and getting hammered back, but it is never, ever dull.

Jennifer Kelly

So Cow — Bisignis (Dandy Boy)

Bisignis by So Cow

This new So Cow record is a mood. Specifically, that mood during the third and “least fun” of Ireland’s lockdowns, when you head to your shed and bash out an album about everything that’s been lodged in your craw during a year of isolation — including, of all things, the crowd at a Martha Wainwright show (on “Requests”). And while sole Cow member Brian Kelly might have dubbed the record Bisignis, the Old English word for anxiety, it’s his discontent that takes center stage. “Talking politics with friends/Jesus Christ it never ends” Kelly sings on early highlight “Leave Group” before employing a guitar solo that could pass for some seriously fried bagpipes to help clear the room. This album takes the opposite approach of The Long Con, the project’s 2014 Goner Records one-off where So Cow made more complex moves towards XTC and Futureheads territory but obscured its greatest weapon: Kelly’s deadpan wit. And while a couple of these songs overstay their welcome with their sheer garage punk simplicity, others like “Somewhere Fast” work in the opposite way and win your ears over with repeat listens. “You are the reason I’m getting out of my own way,” Kelly sings, and in doing so has produced the project’s best full-length in a decade. So what? So Cow!

Chris Liberato

Taqbir — Victory Belongs to Those Who Fight for a Right Cause (La Vida Es Un Mus)

Victory Belongs To Those Who Fight For A Right Cause by Taqbir

In our super-saturated musical environment, another eight-minute, 7” record of scorching punk burners isn’t much of an event. But the appearance of Taqbir’s Victory Belongs to Those Who Fight for a Right Cause (the title is almost longer than the record itself) is at the very least a significant occurrence. The band comes from Morocco and features a woman out front, declaiming any number of contemporary socio-political ills. So there’s little wonder that the Internet isn’t bursting with info about Taqbir; you can find a Maximumrocknroll interview, some chatter about the record here and there, and not much else. It must take enormous courage to make music like this in Morocco, and even more to be a woman making music like this. The long reign of King Mohammed IV has edged the country toward marginal increments of cultural openness — if not thoroughgoing political reform — but conservative Islam and economic struggle are still dominant forces, combining to keep women relegated to submissive social roles. And the band is not fucking around: their name is a Moroccan battle cry, synonymous with “Alu Akbar!” Their repurposing of that slogan in support of their anti-traditionalist, anti-religious, anti-capitalist positions likely makes life in a place like Tangier or Casablanca pretty hard. The songs? They’re really good. Check out “Aisha Qandisha” (named for a folkloric phantasm that ambiguously mobilizes the feminine as murderous and rapacious monster): the music slashes and burns with just the right dash of melody, the vocals go from a simmer to a full-on rolling boil. Taqbir! y’all. Stay safe, stay strong and make some more records.

Jonathan Shaw

TOMÁ — Atom (Self-Release)

Atom by TOMÁ

Tomá Ivanov operates in interstices between smooth jazz and soul-infused electronics, splicing bits of torchy world traditions in through the addition of singers. You could certainly draw connections to the funk-leaning IDM of artists like Flying Lotus and Dam-Funk, where pristine instrumental sounds—strings, piano, percussion—meet the pop and glitch of cyber-soul. Guest artists flavor about half the tracks, pushing the music slightly off its center towards rap (“A Different You featuring I Am Tim”), quiet storm soul (“Outsight featuring Vivian Toebich”), falsetto’d art pop (“Catharsis featuring Lou Asril”) or dreaming soul-jazz experiments (“Blind War featuring Ben LaMar Gay”). Thoughout, the Bulgarian composer and guitarist paces expansive ambiences with shuffling, staggering beats, roughing up slick surfaces with just enough friction to keep things interesting.

Jennifer Kelly

The Tubs — Names EP (Trouble In Mind)

Names EP by The Tubs

“I don’t know how it works” declared The Tubs on their debut single, but they’re diving right in anyways on its follow-up, Names, with four songs that explore the self and self-other relationship. Their cover of Felt’s “Crystal Ball” tightens the musical tension of the original in places but still allows enough slack for singer Owen Williams to stretch the lyrical refrain — about the ability of another to see us better than we see ourselves — into a more melancholy shape than Lawrence. Of the EP’s three originals, Felt’s influence is most obvious in George Nicholls’ guitar work on “Illusion,” especially when the change comes and his lead spirals off Deebank-style behind Williams while he questions his connection to his own reflection. “Is it just an illusion staring back at me?” “The Name Song” is the longest one here at over three minutes, and in a similar way to The Feelies, it feels like it could go on forever, which might prove useful if Williams adds more names to his don’t-care-about list. “Two Person Love” is the best track of the bunch, though, with its classic sounding riff that swoops in and out allowing room for the chiming and chugging rhythm section to do the hard work. The relationship in the song might have been “pissed up the wall,” as Williams in his Richard Thompson-esque drawl puts it, but The Tubs certainly seem to have figured out how this music thing works.

Chris Liberato

Venus Furs — S-T (Silk Screaming)

Venus Furs by Venus Furs

Venus Furs sounds like band, but in fact, it’s one guy, Paul Krasner, somehow amassing the squalling roar of psychedelic guitar rock a la Brian Jonestown Massacre or Royal Baths all by himself. These songs have a large-scale swagger and layers and layers of effected guitars, as on the careening “Friendly Fire,” or hailstorm assault of “Paranoia.” A ponderous, swaying bass riff girds “Living in Constant.” Its nodding repetition grounds radiating sprays of surf guitar. You have to wonder how all this would play out in concert, with Krasner running from front mic to bass amp to drum kit as the songs unfold, but on record it sounds pretty good. Long live self-sufficiency.

Jennifer Kelly

Witch Vomit — Abhorrent Rapture (20 Buck Spin)

Abhorrent Rapture by Witch Vomit

Witch Vomit has one of the best names in contemporary death metal (along with Casket Huffer, Wharflurch and Snorlax — perversely inspired handles, all), and the Portland-based band has been earning increasing accolades for its records, as well. They are deserved. Witch Vomit plays fast, dense and dissonant songs, bearing the impress of Incantation’s groundbreaking (gravedigging?) records. Does that mean it’s “old school”? Song titles from the band’s previous LP Buried Deep in a Bottomless Grave (2019) certainly played to traditionalists’ tastes: “From Rotten Guts,” “Dripping Tombs,” “Fumes of Dying Bodies.” And so on. This new EP doesn’t indicate any significant changes in trajectory or tone, but the songwriting makes the occasional move toward melody. See especially the second half of “Necrometamorphosis,” which has a riff or two that one could almost call “pleasant.” If that seems paradoxical, check out the EP’s title. Is that an event, a gruesome skewing of Christianity’s big prize for the faithful? Or is it an affective state, in which abject disgust somehow builds to ecstatic transport? Who knows. For the band’s part, Witch Vomit keeps chugging, thumping and squelching along, doling out doleful songs like “Purulent Burial Mound.” Yuck. Sounds about right, dudes.

Jonathan Shaw

yes/and — s-t (Driftless Recordings)

yes/and by yes/and

This collaboration between guitarist Meg Duffy (Hand Habits) and producer Joel Ford (Oneohtrix Point Never) is an elusive collection of shape-shifting instrumentals. Each piece is built around Duffy’s guitar, yet the timbre and mood tends to switch dramatically between tracks. The album’s run-time is fairly evenly split between dark, atmospheric pieces, such as “More Than Love” and “Making A Monument,” and hopeful, glimmering miniatures, such as “Centered Shell” and the wonderfully titled “In My Heaven All Faucets Are Fountains.” “Learning About Who You Are” looms large at the album’s heart, as nearly eight minutes of hazy, wind-tunnel drone pulses and reverberates across the stereo space. Despite the variation in tone, each track stakes out its own territory in the tracklist, and it’s only “Tumble” that comes across as an unrealized idea. While it’s only half an hour, yes/and feels longer, its circuitous routes opening up all kinds of possibilities.

Tim Clarke

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homosexualadventure · 4 years

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every single lmam song, ranked.

i just finished listening to let’s make a music for the first time, and Oh My God it rocks. it’s a great podcast and if you’re reading this without having listened to it...i don’t know what to tell you. i don’t know what you think lmam means. but, that aside, if you haven’t listened to it yet: go listen to it! it’s not a crazy long podcast, overall or episode length-wise, so it’s manageable even for people who usually can’t handle podcasts (like me!) anyways, now that it’s over, what’s left for me to do with my time and energy that i used to spend thinking about lmam?

listen to the episodes again so that i can rank all fourty-one songs from worst to best, of course. so that’s exactly what i did.

i mostly ranked these on my gut feeling, because i didn’t come up with the idea of ranking it on a set of points before like...five minutes ago. there’s a bit of personal bias in here, so if you disagree with me on rankings, hey! send me an ask, or a dm. we can talk about it.

so, now that that’s out of the way, let’s get into it! let’s...make a ranking. haha. that’s just a fun little lmam joke for you.

41. the roquefort stank

this song only gets points for laura’s stanky noises in the background. i love laura.

40. shan’t he shanty

weirdly catchy. for a sea shanty, that is. that’s all i have to say.

39. well, i’m on child...

i do love a good gay song about polyamory but it just wasn’t enough in this case. truly heartbreaking.

38. dog trash

i’m not a big fan of polka in general. that’s all i have to say. i don’t have to explain all my decisions. this is my journey. and it’s your journey that you’re taking with me.

37. echoes of wednesday

it’s not my favorite but i do think it’s sweet and i like all the laura vocals. also the zuko vocals.

36. brothers in legs

not their best character song but it’s still a song you could quietly headbang to. i just don’t love full story ballads (there is an exception to this, you’ll see) most of the time.

35. ol’ tim’s tricks

i’m not saying it’s a bad song, i’m just saying it sounds like it was once in a made for tv disney channel-esque movie about a girl who finds her calling in sports and friendship.

34. don’t give me that altitude

very queen-esque with general 80s vibes and i like that.

33. dreamless

if it was longer i think it would be a lot higher on the list, because it’s Good. but i don’t feel right putting a 45 second song above, like, tobie’s razor. still! i love the mellow, kind of sad and eerie tones of it.

32. holiday crime!

look i know this one’s fairly low on the list, hear me out: it’s a good song and it’s pretty memorable as well! but as far as holiday songs go, i don’t think it’s their best or most iconic one. laura’s laughing and beat in the back is absolutely wonderful and heartwarming, though.

31. mr. dad

this one gets a higher rating than the previous holiday song for its good good harmonica and because when i heard the lyrics “but you love to watch him go” used to describe mr. dad i almost toppled my chair backwards with me still in it.

30. mourning ritual

the biggest load of 1980s bullshit i’ve ever heard in this decade. somehow it’s also got a big panic! at the disco vibe and i’m not sure how i feel about it but it’s definitely Strongly There and i can’t deny it.

29. outback sadhouse

it’s RIDICULOUS how well they nailed the sufjan stevens vibe with this one. plus the restaurant dialogue bit in the back of the song really adds a lot.

28. let down my better dynamite

it’s really easy to bop to and the instrumental in the background is FANTASTIC! jonah really killed it with this one. plus they talk a lot about rats in the episode which is nice for me because i love rats. also it’s the first episode with an instance of “brian does a bit”.

27. the tale of the greazzy creek

i just think it absolutely nails the vibe of a rural campfire grizzled old cowboy song while also being a really catchy theme song. like, i think you could’ve snuck it into holes (2003) and i would’ve been like, yeah, that sounds right.

26. turn around and come down slowly

not one of their more iconic songs but brian’s voice is so pretty in this and it’s really soothing.

25. ratless randy’s

i don’t know why it’s this high on the list either, but it is. ratless randy’s really IS the place to be, guys.

24. tobie’s razor

i will be honest. when i saw the title for this episode for the first time i just thought “occam’s razor” and as i type this i can’t even think of what that actually is, so..... anyways, i’d say this song absolutely NAILS the vibe but i have no idea what vibe it’s even remotely related to. certainly does nail the internal childhood monologue though. i think this song is the first one where they really started hitting their stride, also. not that it’s better than some of the earlier ones, but this one forward their songs were pretty consistently high quality. plus, and no one will be surprised by this by now, it gets extra points for laura.

23. armoire of royals

it’s weird, it’s synthy, has a vaguely billie eilish-esque part near the end which is not necessarily a point in favor depending on your taste but it Definitely is surprising and cool, and it’s got fake british accents. what more do you need out of a song?

22. sybil’s night scare

the piano in this is perfect and fantastic and the comedic timing in the song is just right. jonah’s delivery of “they’re actually real human eyes” is so goddamn good and his singing is Also great and frankly i think we can all agree we’re fucking tired of him saying he can’t sing. i mean, i assume (i fucking hope) he’s stopped saying that by now considering he had the majority of vocals on silo by a bit but Still. it’s a good peppy halloween-y song.

21. chalice for your thoughts

two spooky songs in a row! honestly, i’m not sure what reasons i have for ranking this song as high as i did. i just like it a lot. they were able to include a lot of weird twitter suggestions fairly seamlessly, and it’s just soft and pretty. spooky, but still pretty.

20. 21st blitheday

i admit it: i fucking hate the voice brian uses in this. but i really, really like the song. the beat’s very good and somehow brian still manages to sing the chorus well and make it sound nice even though his affectation is Stupid as hell <3 the background whistling is nice and his robot voice, which he’s used for several of his videos but i think most notoriously for scrundler in his week in revue series (here), is also featured. it’s a real bop, i think.

19. monday night boomball

i genuinely think this is their weirdest song, ever. it’s incomprehensible and it’s so fucking theatre kid of them, and it’s dumb as shit but it’s really funny and enjoyable and strange and i love it.

18. gentle light

this is a really good song. it’s not weird or funny, it’s genuinely just a really soft, calming, normal song. i can’t in good conscience rank it above the others for this reason, because it’s easier to make a regular song good than it is for a song about fucking a tree, but i want to be clear: i really love this song. it’s a song that you could fall asleep to, cry to, cuddle up in a blanket to, whatever the hell you want to do to it.

17. proud egg mouth

extra points for fitting the word “maw” in any kind of song, a feat i’m not sure anyone else has ever accomplished. also for brian actually singing with an egg in his mouth.

16. you can take that to the bank

brian does an incredible randy newman impression and i love him for it. also it’s just a good song! it’s not my favorite but it’s very pleasing to my ears and it’s well made.

15. rainbow trout eggs

i listened to a shit ton of colbie caillat in middle school and i can tell you with confidence that the lyrics “i feel so alive and i know that i’m happy na na na na na hey hey” would be in one of her songs. it’s a good song with completely ridiculous lyrics and it’s a better character/full story ballad than their previous ones, in my opinion. which is what you’re specifically here for!

14. car mitzvah

i think this is a song my dad would listen to if it came on the radio. i also think it deserves to be in an early 90s or maybe coming of age movie. brian’s vocals are fantastic in this, also.

13. dr. brims

“it’s a new year, Ha Hah!” this song is sooooo fucking funny and exemplary of a lot of their other songs that came afterwards. i’ve been saying that a lot i think. writing reviews is hard.

12. let’s make a music (theme song)

maybe it’s the emotional value of this song being the song i associate most with the podcast, since it’s the theme song, or maybe it’s just really good. (spoiler: it’s both but mostly the second one) the episode is also really funny in general and if you’re new to the podcast and don’t care about order, i highly recommend this one first!

11. heartbreak in michael’s

a very very very good sad gay love song and i recommend it to the ends of the earth! because this is the internet, and i can!

10. arbor day!

you try making a horny song about deforestation.

9. why don’t you like our song title?

such a fucking bop and showcases their skill for just doing whatever the hell they want and STILL making a fantastic song or video or whatever. they just stop saying words in it and it does not take anything away from the song. could you do that? i mean...maybe! but for the sake of this review and my point i’m gonna be like fuck you no you couldn’t. moving on.

8. akimbo

the backing track in this is ABSOLUTELY what makes the song. plus that one video of brian strutting but technically that can’t affect my review of the song because Technically it’s not part of the song. anyways it’s really peppy and fun and enjoyable and Good.

7. heartbreak in michael’s (reprise)

it’s the perfect finale song. like, it genuinely sounds like the song that plays at the end of a romcom after everything’s finally worked out. i Did cry when i heard brian sing the theme song at the end but that’s just because i’m a sentimental son of a bitch. so besides that ending bit that i can(’t) guarantee will make you tear up at Least, it’s really fucking fun! it’s upbeat and happy and i think they made the right song to go out on. or to go on a hiatus on, if brian’s website is to be believed. i don’t believe it, but hypothetically, y’know? hypothetically...

6. debutaunt ball

if the met gala doesn’t make this their theme song i will personally burn next year’s event to the ground, i swear to god. also it’s a good song to show off both jonah and brian’s range. it’s not like a lot of their other songs but it’s SUCH a banger and i adore it.

5. madame zamporium’s wax emporium

fuck yeah. learning that the “ooh come on baby” from several unraveleds came from a let’s make a music is the reason i finally started listening to the podcast in the first place. but BESIDES that, since that’s not a reason for my ranking (just a fun little fact about me!), this song slaps a ridiculous amount. they went insanely hard and it’s the first song they made that really sets the tone of the podcast, which is: great comedy, great high production music.

4. alan rickman’s edible zoo

GOD! the anti-celebrity, anti-capitalist rock song i’ve been waiting all my fucking life for! also it’s anti-america but only in one lyric. but in Another sense....throughout the whole song. PLUS, and most importantly, it features jonah’s literally and i mean LITERALLY impeccable alan rickman impression. like, it’s fucking bulletproof. alan rickman was in the goddamn room.

3. horsecar!

look. when this song started playing for the first time i went...fuck no. in general i don’t tolerate country or cowboy songs very well because they just don’t sound appealing to my ears most of the time. i put up with country road only because of a funny mario edit someone made of it and now the original song has more value to me. this is relevant only because the same thing happened with horsecar! in that the chorus KICKS ASS. i may make a post on just my favorite lmam songs and also this is already a crazy long post so i won’t go into it too much but i will say this. the shock value of going from the first verse in this song to the chorus is...........Incredibly high and it Works So Fucking Well! it literally makes the song. and not even just for the short term value of Oh My God That’s A Twist, it lasts through the whole song. i’m listening to the song as i type this and i’m currently at the country/cowboy part and i don’t hate it because i know the chorus is incredible. in fact, i’d argue that the chorus on its own may be the best thing lmam ever made, even better than my two actual favorite songs of theirs. i’m definitely going to have to make a full post on this. (SIDE NOTE: BRIAN’S VOCALS ARE FUCKING CRAZY AND HORSECAR! IS ONE OF THE BEST EXAMPLES OF THIS. his goddamn RANGE!! SIR!!! his falsetto is literally ridiculous my pants are OFF)

2. dragon me to this wedding

this is what i meant when i said there’s an exception to the “i’m not generally a fan of full story ballads”, because this is one of my all time favorite lmam songs. as in, it’s in the top three. which i guess you can tell from it being number two in the top three. in fact, it’s probably one of my favorite songs in general. the first time i listened to the episode i went back and listened to the song again three times in a row, and all three times i cried real tears. it’s GAY it’s REALLY PRETTY and i LOVE IT.

1. save 2 4 tony

so we’ve finally made it to my all-time favorite lmam song. maybe it’s that i recently graduated myself and so this song hits a little harder, but it also just GOES hard. i genuinely think they peaked when they recorded this. it’s one of those bdg songs where you’re listening to it, you’re just chilling, and it’s like “yeah wow this is nice!” and all of a sudden he hits a falsetto and you go “oh FUCK that guy can SING!” literally his vocals in this are incredible and it’s very fun (and on brand) that the Oh Fuck moment here is the line “tony hawk babeyyy!” plus jonah killed it on the backing and composition and everything. it’s the best let’s make a music song and i won’t take constructive criticism.

#i fucking LOVE lmam and once i finished it i knewwww i was gonna make this.#brosephs if anybody would like to talk to me about lmam my inbox and dms are always open!#i've never said brosephs before. out loud or in written form. it's a year of trying new things i guess #this took quite a bit of time. which is like. thank god i've needed a project for so long sfdfsd #lmam #let's make a music #brian david gilbert #laura kathryn gilbert #jonah scott #f.txt #bdg

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