#minecraft faller

[roleplayingorchids]

As she listened she took note of what the woman was saying. 'multiple universes '... That did make sense, but being compared to other Illagers only hurt slightly. She knew she was different, but that didn't matter at the moment... She saved her thoughts for later as the woman explained that she was now considered a... Pokémon... Well considering that she wasn't human, she figured that those in this world considered anything that isn't human a pokémon. She listened more intently as the woman told her of the things that have happened...

It sounded horrible that this was happening. What shocked the Illager more was the explanation of how the beasts of this world were being changed into machine-like creature copies... She watched the robot turn on and move oddly. It seemed so alive like...

Then she heard them ask her name...

'Oh, it's Orchid.'

After she spoke she realized that they couldn't understand her.

' Well this is inconvenient... ' she thought. She then made a motion of writing on paper... She hoped they would understand that she wanted to write her name for them.

@n0xieee

[phantom-lost-n-found]

...Since I'm stuck here for a while, I might as well check out more stuff.

Hi. I am Midya. I... got lost here a while back. I've tried to find my way home, but so far... failure. I have a small adoption center for these... Pokémon creatures. Might as well bring it here.

I do not have any of my own, as I am unsure if I could give that level of emotional care.

...I wish I could go home.

[why-did-i-fall]

About the machine: yeag

//ps its a mc mod

Okay, but it can't be that big inside right?

Wow, it is really big actually.

//I know, I searched it but SIF me would assume it's from some science fiction movie or something (because I initially thought that too), so she wouldn't know.

[jackhasfallenx2]

Idk, the two fallers there call it cobblemon, like the mod.

Yeah but like. That is just because. Regardless of the name of the world theyre in, that mod does basically make our world minecraft this world’s minecraft. (But yknow, somewhat unfinished)

[dawnpixels]

Hello. I suppose i should introduce myself.

Name, name… I don’t know my name. I haven’t really needed one, I’ve been on my own for so long.

Edit: I have decided to call myself Dawn.

This place seems new to me. I had a particularly bad encounter with a Creeper and then I woke up here.

At least the wolf I tamed is here with me. I call him Lake, after the pool of water next to where my shelter was.

I don’t know how I came across this object —I think it’s a phone— but I will be using it like I used my journal. To document all the wonderful (and less-than-wonderful) things about this new place.

//ooc below the cut

//here’s this, to satisfy my urge for Minecraft without playing the game.

//this character was a faller in Minecraft, from the world of irl. They only have vague memories of their original world. They remember everything from their Minecraft journey, however.

//hope you enjoy :D

[nameless-in-a-new-world]

Where the FUCK am I and how the FUCK did I get here

Call me Nameless.

Hello I’m back with a new Faller blog let’s go. Muse is a minor. Be normal.

This is Nameless, my Minecraft oc who I’ve had so many thoughts about. Warning!! He is violent and rude, though this blog won’t participate in any high stakes blogging unless stated otherwise

Muse uses he/him

Mod is she/her

I don’t have a reference for Nameless at his current age, just future him. He doesn’t have the hat, or goggles (his eyes are a very dark brown), but he has the jacket. His hair is blond instead of blue and he’s currently barefoot and extremely skinny.

Edit: Nameless now has a reference but I am keeping the above regardless.

[askkanjohtrio]

GUYS COME MANIFEST STEVE AND ALEX MINECRAFT FALLERS ON ROTOMBLR WITH ME - Galena

[adrien-vomit]

FALLERS

huh... seems like many are falling to the world(s) of pokemon, wonder why tho...

as i scrolled i just saw frye... (she's not aware of my big man themed pipebomb, that's a plus) and then i realized it's not just effecting humans...

mr arceus, are you THAT bored? why not tell everyone to "vote" for the next generation of pokemon... kinda like that minecraft mob vote thing

[lute-the-faller]

do any of the mod fallers wanna head to paldea to have a party

i can teleport yall, dw i memorized coordinates its like minecraft. but i keep using it to mess with trainers.

[deadcactuswalking]

REVIEWING THE CHARTS: 13/02/2021 (Digga D, AJ Tracey, Cardi B)

It’s not as big of a week as it is just a confusing one, so there’s no pre-amble. Olivia Rodrigo spends a fifth week at #1 with “drivers license” and let’s start REVIEWING THE CHARTS.

Rundown

I started writing this a bit later than usual so I just want to rush through most of what’s here. The songs dropping out of the UK Top 75 are either debuts from not long ago like “Notorious” by Bugzy Malone featuring Chip and “Lo Vas A Olvidar” by Billie Eilish and ROSALÍA, or songs that have been here for a while, like “Monster”  by Shawn Mendes and Justin Bieber, “Holy” by Justin Bieber featuring Chance the Rapper and “Dynamite” by BTS. We even have some #1 hits dropping out of the Top 75 this week, like “Dreams” by Fleetwood Mac, “WAP” by Cardi B featuring Megan Thee Stallion and “Shallow” by Lady Gaga and Bradley Cooper. In terms of fallers, we have, seemingly, some of the older Winter cuts being replaced, as we see “Sweet Melody” by Little Mix getting a harsh streaming cut down to #30,  “Whoopty” by CJ down to #33, “Levitating” by Dua Lipa and remixed by DaBaby down to #34 (although this could rebound given the album release), “you broke me first” by Tate McRae at #37, “SO DONE” by The Kid YAOI at #57, “All I Want” by Olivia Rodrigo at #61, “Looking for Me” by Diplo, Paul Woodford and Kareen Lomax at #62, “Train Wreck” by James Arthur at #63, “See Nobody” by Wes Nelson and Hardy Caprio at #64, “Take You Dancing” by Jason Derulo at #65, “Therefore I Am” by Billie Eilish at #68, “Before You Go” by Lewis Capaldi at #72 and “Golden” by Harry Styles at #73, as well as some more recent debuts, including the entirety of Fredo’s album impact from last week, as “Money Talks” with Dave is at #11, “Ready” with Summer Walker at #31 and “Burner on Deck” with Young Adz and the late Pop Smoke at #32. “Skin” by Sabrina Carpenter and “Apricots”  by Bicep aren’t faring that well either, at #51 and #56 respectively. When I said these songs are being replaced, I wasn’t overestimating anything as we have our new crop of hits seemingly all surging, as “Martin & Gina” by Polo G is at #54, “Be the One” by Rudimental, MORGAN, TIKE and Digga D is at #49, “Best Friend” by Saweetie featuring Doja Cat is at #42, “My Head & My Heart” by Ava Max is at #35, “Love Not War (The Tampa Beat)” by Jason Derulo and Nuka is at #27, “Heat Waves” by Glass Animals is at #24, “Your Love (9PM)” by ATB, Topic and A7S is at #23 (it’s honestly starting to grow on me), and “Blinding Lights” by the Weeknd is somehow back up to #20. Speaking of the top 20, we also have “Friday” by Riton, Nightcrawlers and Musafa & Hypeman dopamine re-editing itself up to #16, “Save Your Tears” also by the Weeknd at #15, and two new top 10 hits, both songs with basically the same chart run and genre. “Goosebumps” by Travis Scott, remixed by HVME, remixed by Travis Scott is at #10, becoming HVME’s first and Travis’ fourth top 10 hit here in Britain. We also have “The Business” by Tiesto grooving up to #7, becoming Tiesto’s fourth top 10 hit. I honestly feel bad for the still completely uncredited vocalist. We also have a third new top 10 entry but that’s a debut that we can discuss later. I should also note that “Roses” by SAINt JHN and remixed by Imanbek is back at #74, and a winning Eurovision song, “Arcade”, by Dutch singer Duncan Lawrence is also back at #39 off of the back of some TikTok traction. I think this is the most streamed Eurovision now – I’d watch out for this being a big hit. Welp, time to get into our really, and I mean REALLY, varied and weird crop of new arrivals, starting with...

NEW ARRIVALS

#75 – “Roadtrip” – Dream and PmBata

Produced by Banrisk and Perish Beats

Okay, so this is a song by Minecraft YouTuber Dream, or at least that’s who I think he is. I think there was some kind of scandal related to him, and a couple people got involved and someone got doxed... listen, I don’t care. Not only is this song really not worthy of reviewing on the principle that unlike Wilbur Soot a couple weeks ago, Dream has never been a musician, which is clear from how involved no-name singer PmBata was in this, but I care for my private information not being made public so... What ridiculous excuse do I have to not review this? Okay, 1997 reggae-rock classic “Doin’ Time” by Sublime returns to #75 after Boris Johnson made a TikTok in the Houses of Parliament where he says “Pogchamp, Brexiteers, I just got tested for COVID-19” with the song in the background, and Joe Biden is on a Zoom call with him a few seconds later visibly annoyed because he prefers the New Radicals. Sure, let’s go with that. What was this entry about again?

#71 – “Goodbye” – Imanbek and Goodboys

Produced by Joris Mur, Imanbek and Goodboys

Everyone’s favourite Kazakh house producer Imanbek is finally back on the charts with his collaboration with British pop trio Goodboys, who you may know from their carbon-copy hits made with MEDUZA. After listening to that EP he made with Rita Ora, I’m slightly less impressed with Imanbek’s production, but that EP’s impact, if any, will be seen when the lead single featuring David Guetta and Gunna debuts low next week. Yes, seriously, all four on the same track. Anyway, this song, “Goodbye”, is actually pretty okay, with a generic deep house groove and fake hand-clap effectively saved by the Goodboys’ really intriguing vocal delivery and processing, which ends up in a Travis Scott-like Auto-Tune harmony that’s honestly pretty endearing right before the anti-climactic slap-house drop. The song’s lyrical content probably isn’t worth talking about, but it’s about a generic struggle with a break-up, and how hard it is for one of these good boys to say good bye. The build-up with the pre-chorus before the blue-balls second drop is kind of genius, and that’s probably my favourite part of the song outside of the abrupt vocaloid drop at the end. For what it’s worth, it takes more risks than most of these house-pop songs, most notably by having only a single verse in the middle of the song, and being really short, clocking in at less than two and a half minutes. It’s not as infectious as “Piece of Your Heart”, but this is fine. I’m glad it’s here if it’s going to give Imanbek another non-Rita Ora-assisted hit.

#60 – “Little Bit of Love” – Tom Grennan

Produced by Jamie Scott, LOSTBOY and Daniel Bryer

Tom Grennan is an English singer-songwriter who released their debut record in 2016 and was crowned by the BBC as the “Sound of 2017”, before dropping off the face of the Earth. He was brought to fame by a guest feature on a Chase & Status song that didn’t even do that well and now he’s back with the lead single from his upcoming sophomore effort, and his highest ever charting song. Well, is it any good? I mean, I like OneRepublic too. The rising strings here in the intro and chorus are pretty cool, and I’ll give it to Grennan for having an interesting voice but the odd level of grit in it does not fit well for this plastic production, which quickly devolves into vaguely danceable synth-mess that’s just not interesting. The content is mostly about unconditional love, particularly one that feels not particularly reciprocated, although some of the detail in the second verse feels like it’s going somewhere. I’ll admit, the chorus is catchy, but this mix puts way too much emphasis on a flawed vocal take from Grennan, which really detracts from the pathetic excuse for a bridge. I do enjoy how this feels like a flash-back to the mid-2010s, where happier, synth-based pop was this prominent, and I do love how the strings come back in the outro, but good production can’t do much to save a song that just feels under-cooked and definitely under-written. The OneRepublic comparison feels particularly fitting here too because their stuff tends to be just as stagnant, not to mention the lyrical riffs off of “Counting Stars”. I mean, when you start your first verse – in the first 10 or so seconds of the track – with the most recognisable part of a very recognisable song, I think Ryan Tedder deserves at least some royalties.

#58 – “Astronaut in the Ocean” – Masked Wolf

Produced by Tyron Hapi

Masked Wolf is an Australian singer and this song is actually from June 2019, just gaining enough traction, presumably off of TikTok, to debut on the charts this week. The song got a 2021 reissue and I assume a remix and, well... for God’s sake. The Kid LAROI should not have been an entry point for Australian trap, because outside of a second or two of distortion in the intro, this is far from unique. It has a guitar-based trap instrumental with dark 808s that even Gunna would pass up on, and an Auto-Tuned delivery from Masked Wolf, clearly trying too hard to replicate Drake in the intro and bridge, Kid Cudi in the chorus, G-Eazy in the first verse, Eminem AND Kendrick on the second verse, to the point where he even directly references Kendrick Lamar’s much better music. He suffers from the same problems as all of these artists combined, with lyrics that seem like they’re building up off of something interesting about depression before going into aimless flexing like a mid-tier Kid Cudi track, flows that sound as meandering and checked-out as Drake’s, the failed attempt at some kind of white-boy swagger that G-Eazy hasn’t pulled off successfully since 2016, the substance-less content hidden behind fast flows from Eminem and... oh, my God, this guy’s just like Australian Logic. I don’t like American Logic, why do we need this guy too? Yeah, this is bad, and there’s not much worth nitpicking in this mix or even the lyrics to even point out. I guess the worst bar is when he says he believes in G-O-D but not a T-H-O-T. So he’s a slut-shaming NF now? Jesus Christ, I’d take a full album from The Kid LAROI over this.

So the next two songs are ones I’ll actually need to somewhat lump together, as they are consecutive on the chart and both from the same album, and the same washed-up band.

#53 – “Waiting on a War” – Foo Fighters

Produced by Greg Kurstin

We have two songs from Dave Grohl and friends here from their latest album, Medicine at Midnight, technically three if we count the entire top 100, which means, yes, the UK just had a Foo Fighters album bomb. I’ll focus on the album as a whole with the next song because this is easily the worse track here and the worst track on the album purely out of how misguided it is. Dave Grohl wrote this song because he felt inspired by the current hell-scape of the political climate, reminding him of his own youth when he was surrounded by rising Cold War tensions. His young daughter asked him if there was going to be a war and naturally this song came out of it, reflecting on the fears he and his daughter have and that everyone deserves a future and a lifetime not taken away from them by conflict and fear. This is a good song idea but it absolutely does not work, and that’s partially down to the production. When I first heard this track on the album, I genuinely grimaced at the vocoder-mumble that Grohl takes on against the scratchy acoustic guitars. The whole point of the instrumentation is that it builds tension with rising strings, multi-tracked acoustics and eventually some electric guitars and powerful drums, yet because of how slow-paced the song is, it fails to mirror the rising tension of the prospect of there being a war. Instead, it’s a slog and its pay-off by the end feels unwarranted in the most boring way. Sure, the squeals of the guitars in the back of the mix sound good, but surely a song like this should not end like any of the Foo Fighters’ other pop-rock anthems, especially not as abruptly as it does. Wouldn’t you want a more subdued outro to comfort your daughter’s fears that at least right now, everything’s okay? That would make the most sense to me, but that’s thrown out of the window, with pathetic songwriting, with verses that play word association with the blandest of rhymes, seemingly irrelevant pop-song-generator filer and a chorus that is mind-numbingly repetitive but ultimately fails to build tension because of the content asking us to wait, constantly, even when it gets into its heavier rock tone. We’re supposed to wait for something that is only implied to never come, because there isn’t finality. Sure, that could work as a way of saying that Grohl is just as uncertain and scared as his daughter is about political conflict, but that would imply this song gives off any further emotion than the fact the Foo Fighters felt the need to cut a vaguely political track out of necessity. As a song, and as an album, Dave Grohl is utterly confused, and “Waiting on a War” is way too slow and non-specific to act as a protest song, as well as being way too on-the-nose for it to work as a ballad. Let’s talk about this next single.

#52 – “Making a Fire” – Foo Fighters

Produced by Greg Kurstin

What the hell is Greg Kurstin doing here? This is the first track on the album and is supposed to make some kind of gripping impact but is instead just a snoozefest. The choral female vocals sound bored, but at least it’s not as strained as the struggling Dave Grohl trying and failing to yelp over a stiff groove which has its momentum killed by drumming too slow and mixed too oddly to make this pre-chorus even coherent, not helped by Grohl’s butt-rock delivery and non-descript lyrics. There could be a guitar solo here, to make this track feel memorable, but no, it’s hidden under a pre-chorus with an extended gospel bridge that doesn’t build up effectively to a chorus that just comes crashing in and hence has no effect. Maybe I just can’t listen to arena  rock in a quarantine context, but I can’t even imagine this making much of a fuss in a packed stadium without desperately needing tweaks in the songwriting and especially the production, because this just sounds stunted. It’s telling that Grohl made his best tracks as the Foo Fighters on his own and those first two records, alongside a pretty decent 2014 comeback in the form of Sonic Highways, are still great. I’m not denying that Grohl can write a good song, or that the Food Figures can’t play, because they’re all talented guys. This is just one album in many that leaves me with the feeling that these guys just can’t do much more outside of their comfort zone than fail miserably. These songs won’t stick around, and thank God for that.

#50 – “Believe Me” – Navos

Produced by Tom Demac and Navos

Another week, another... okay, but we already had a generic pop-infused deep house track from a couple EDM randos, do we really need another? Okay, well, this one is even less interesting than Imanbek’s effort as it doesn’t even try for a verse, instead going for a deep house groove I’ve heard countless times before, drowned out by some square synths and, yes, you guessed it, 90s piano loops and an uncredited female vocalist repeating basically the same couple lines over and over. This is made for the clubs, but I feel like even regular club-goers would tire of this vocaloid drop and cloudy production two minutes in. There’s nothing worth discussing here, because this probably took as many minutes to make as it did to listen to. I have no idea why Navos debuts a song so high, but I’ve got to assume TikTok’s to blame. Apparently this guy makes tech house, where’d any of that skill or intrigue go here?

#21 – “Up” – Cardi B

Produced by Sean Island, DJ SwanQo and Yung Dza

Anyone else surprised at how such a big name gets production from people I’ve never heard of before? Not that it matters, it’s just odd. Anyways, this is Cardi’s new single, presumably from that ever-elusive second album, debuting around 20 spots lower than it will in the US, and it’s going for a more gangsta-rap content than the hyper-sexual “WAP”, but does she keep the same energy? Well, yes... in fact, after all the mediocrity, I’m glad to have a genuinely great song debut this week. This is a great, bass-heavy beat that gives a Memphis phonk feel in the dark keys as well as the hard-hitting 808s and spacey percs and sound effects that add some needed distortion, even if there’s going to be some brief clipping along the way. Cardi brings some necessary energy from the brilliant opening lyrics and continues with a fast-paced, chanting flow that accentuates some of her funnier lyrics with her charisma that she always brings to a trap track like this. I’d say that this is maybe too repetitive – with very little of the verses to speak of – or even somewhat derivative of her previous song, “Money”, but there’s a lot better lyrical content in this one, not to mention how well she complements a more straight-forward but still killer beat. Oh, yeah, and Cardi’s stacks are Shaq-height as she dismisses haters with an impressive level of swagger and confidence, that carries the refrain, but that’s not to say the lyrics aren’t really great in the verses. There’s genuinely funny and sexy wordplay here, especially in the second verse, and also some great liners: “hoes speakin’ cap-anese”, accusing her haters of having pink-eye and their breath smelling like “horse sex”. This is a short, probably underdeveloped song, but it’s the type of surreal, high-energy trap I kind of really love and I hope this sticks around further in the UK.

#19 – “Latest Trends” – A1 x J1

Produced by ShoBeatz

A1 x J1 are a British rap duo with no other songs. Yeah, something’s fishy here: this is their only song on Spotify that blew up from a 15-second clip on TikTok, and their Spotify bio is trying to decide whether they’re the next D-Block Europe or the Beatles, as well as really emphasising how the song grew “all organically”, even though they’re already signed to Universal... yeah, there’s nothing subtle here, so I won’t buy this TikTok fame schtick, but does it matter when the song is good? Well, not really, and honestly, I’m kind of into this guitar-based drill-R&B fusion in the beat, but it doesn’t really help the fact that J1’s Stormzy impression is janky and unconvincing, especially if he’s going to try for some shallow wordplay, and that A1’s Auto-Tuned croon is just boring, reminding me a lot of A Boogie wit da Hoodie, but with a less recognisable voice and delivery, even if the first verse contains a funny line about a woman making that ass clap “for the NHS”, although he totally took that from Swarmz anyway. Yeah, I’m not a fan of this fake attempt at an organic pop-drill crossover, but unfortunately, I can very much see this working, though I’d be happy if the British public will see through this dishonesty as soon as possible.

#5 – “Bringing it Back” – Digga D and AJ Tracey

Produced by TheElements and AoD

Now for a rap duo that makes more sense to debut this high and are actually, you know, separately successful rappers, therefore they debut in the top five, which is impressive. The whole concept of this song is that Digga D and AJ Tracey are using old flows, those that would be nostalgic to their deeper fan base, to spit bars on a new track called, fittingly “Bringing it Back”. The flow AJ Tracey brings back is from his overlong “Packages” freestyle, a five-minute track from 2016, that works more as a freestyle than it does as a song, where he uses a familiar UK drill flow to go off for a really long time, and, yes, it is pretty impressive but the flow becomes stale too quickly. Digga D uses his flow from his “Next Up?” freestyle from 2017, a similarly badly-mixed UK drill freestyle but with a much more palatable length. Digga D’s flow he uses in that track is arguably slicker but honestly one that I see used a lot in UK drill and by Digga D, so I’m not sure it’s not worth “bringing it back” when you could come up with a new, catchier flow. I’ll admit that “Bringing it Back”, however, is a pretty damn good song, with Digga D’s more technical and fluid flow allowing for a lot more intricate internal rhymes that sound really great over the triumphant, string-heavy drill beat, as he trades bars with AJ Tracey’s slower but more confident, laid-back flow, which allows him to spit some more specific, interesting bars, some of which really hit, like when he says he “locked up the food for the kids like Boris and then I let it go like Rashford”. Hey, I respect it, I haven’t heard a more clever way of intertwining political commentary with cocaine smuggling since Pusha T last released a record. The way AJ Tracey and Digga D play off of each other’s lines is really smooth, and especially how Digga D plays with the beat, as while his lyrics may be less interesting, they mash perfectly with the beat’s frantic fades in and out, especially in his last lines before the first chorus, where he asks for the track to literally be turned off... and it is. So, yeah, I’m pretty damn happy with this debuting so high off the energy alone, even if Digga D is going to pronounce “LOL” like a one-syllable word. I’d say this is actually a really good starting point for people who want to get into more UK drill because it has a lot of the grit and menace of the genre in a more accessible, catchy form, even if it may run a bit too long for my taste.

Conclusion

Wow, what a weird, weird week... and a lot of it was straight garbage. I’m giving Best of the Week to “Up” by Cardi B, with an Honourable Mention to Digga D and AJ Tracey for “Bringing it Back”, though Worst of the Week is pretty much a toss-up. I’ll give it to the Foo Fighters for “Waiting on a War”, with a Dishonourable Mention tied between “Astronaut in the Ocean” by Masked Wolf and “Believe Me” by Navos for just both being worthless. Anyways, here’s our top 10:

The UK Singles Chart is honestly kind of chaotic right now – even more so than usual – and I don’t see that changing. Even if I don’t like all of the songs, it’s at least compelling. Anyways, thank you for reading and you can follow me @cactusinthebank on Twitter if you want. I can’t really make any predictions for next week other than Taylor Swift re-recording her own music and I guess some impact from Rita Ora and Imanbek, or hopefully, slowthai. Regardless of what happens, I’ll see you next week!