#oh and i have no idea how old bass is/how long since his creation so i took a stab with 4

[mewymarsher]

Armorless Bass design for my Wily Dies AU since he cannot run around on the streets in his full armor or else people might scream a little bit maybe.

[royalprinceroman]

Finding My Place [Part 1]

Heya there everyone! Today is a super special day! Today is @availe‘s birthday! Maxi is one of my very best friends, one of the most important people to me in the world so I told her to pick two pairings and I would write a fic about them. I wasn’t sure what the topic would be so I just kinda let the words flow!

This is a bullet fic because writing a whole fic is hard right now with my current state in life so I apologize.

This fic includes (in its entirety not just this part): human AU, Anxceitmus (QPR Remus/Virgil and QPR Deceit/Virgil, Demus is romantic in the ship), Logince, swearing, violence mention, angst, depression, suicidal mentions, fainting, general not taking care of yourself moods, drugs, alcohol, and.... all sides are shown in a positive light, if that matters. It’s an AU anyway.

Devyn = Deceit (That’s also important LOL)

With all that said, please enjoy!

---

Devyn knows a lot of things. He considers himself an expert in some fields but still a jack of all trades in certain situations. However, there is one thing he feels he lacks. No matter how much he thinks about it, researches it, and records the process and its results, the outcome is always the same.

"Remus, you can't just hang up those creepy curtains on the front window!" Virgil calls up the stairs. The man in question cackles and Virgil growls back. "Don't expect your villain laugh to get you out of everything. I already got an earful from the lady next door about it disturbing her kids."

"Ahhh they'll get used to it." Remus says as he walks down the stairs to meet Virgil at the bottom. He stays on the second to the last step, making himself nearly a head taller than Virgil. Without warning, Remus wraps his arms around Virgil's neck and squeezes as a big smile appears on his face. "Oh golly gee, I just love you Virgil."

The black haired boy couldn't prevent the smirk that appears on his face as he leans back and kisses Remus on the cheek. "Mhmhm… love to be a pain in my neck is more accurate."

Both of them laugh before turning to see Devyn standing in the doorway to the kitchen across from the stairs, staring at them intently. 

"Do we have something on our face?" Virgil questions before Remus jumps down and runs to Devyn, almost slapping him with his arms instead of wrapping him in a hug.

"No…" Devyn assures. He leans his head against Remus. The smallest boy fits perfectly under Devyn's arm and Virgil walks over slowly, Devyn reaching and grabbing Virgil's right hand. He brings it to his lips, kissing it gently. 

"I want a kiss!" Remus pouts.Devyn obliges, kissing him on his forehead. Remus feels his cheeks burning red as he hides his face in his partner's chest.

"Is something the matter?" Virgil questions.

"No." Devyn says quickly as a blink of panic passes Virgil's eyes. "I just still have yet to fully understand what I've done in this world to deserve this with both of you." His voice trails off at the end as his gaze fell along the house surrounding them. 

Boxes scattered everywhere, some half empty as they unpacked to live in this new beautiful home. One picture was on the mantle above the fireplace: a shot of all three of them in suits: Devyn in yellow, Virgil in a deep purple, and Remus in a forest green, framed in a brown oak frame. Their wedding day only a month prior. 

"Dee…" Remus says softly as he hugs Devyn tightly. 

Devyn feels himself remembering. He tells the two he wants to take a break while they unpack upstairs. The two agree after giving him more hugs. Devyn sits on the couch in the living room.

xxx

Devyn had just been released from prison two years prior. 

He had been wrongfully charged with murder and had his life turned upside down for over ten years.

Upon release, he met Remus at a local gay bar. He hadn't intended on falling in love with the strange man but it just sort of happened. 

Devyn quickly learned Remus was already in a relationship.

Devastated by this, Devyn cut off all contact with Remus and stopped going to that specific bar all together. 

Drinking his sorrows away at a bar closer to his home, Devyn accepts that his life as a 32 year old gay man meant that he was probably doomed to be alone forever. 

Music started playing and he realizes it was live, playing in the next room over.

He peeked in to see a huge crowd surrounding a stage. Neon purple lights lit up the band. A lead singer with a guitar, a bass player, a drummer, and a… violinist? Wait, what?

The music was beautiful and the singing amazing, but Devyn couldn't tear his eyes away from the violinist. 

Such perfect strokes and form, the melody tore right at Devyn's heart. 

The song finished with a dramatic solo from the violinist and Devyn applauded along with the crowd. 

He listened to the voices around him closely, trying to figure out who they were.

"My gosh they're all so amazing! Virgil knocked it out tonight! How does he play the violin so well??"

"Gotta give props to Roman too! He goes through those low notes to high so easily. Is he even human with that range?"

"Nah nah did you listen to that drum solo? My boy Logan is the most talented by far. The technical details in his playing is just… so damn good."

"But Patton's bass solo was good too! He's come a long way in the short time he's been playing."

"Flight of the Hearts is just an amazing band. They're gonna take the world by storm, I just know it!"

Devyn stared at the band and they signed and took photos with fans at the foot of the stage. He wanted to hear more. 

He noticed a merch table just next to them and wondered over. Two self published CDs were on the table “Dreamer” and “Cyclone” and one of just Virgil's violin creations called "Calming Yourself". 

Devyn never purchased anything faster in his life. 

A bell went off above his head once he purchased it all. 

"Major sale! All CDs plus a shirt!" A voice shouted.

Devyn felt himself wish he wasn't where he was.

Until---

The whole band came over behind the table.

"Hey thanks for your support!"

Devyn recognizes him as the lead singer (Roman?) He was built like a jock, a football player to be specific, but had very soft eyes and a gentle smile.

"Dearheart, there's no reason to yell at him. He looks utterly confused. I told you that bell wasn't the best idea…"

The drummer… Logan right? He was smaller than Roman by over a foot at least. Glasses sat on the bridge of his nose (was he wearing those on stage?) and he pushed them up. He had an air of a person who would win on Jeopardy by a mile. Logan had his arm around Roman's waist, pulling him gently back. 

"Thanks for purchasing all of our work! We really appreciate it!"

Another glasses wearer? Oh it's Patton, the bassist. Right, right. He seemed the most genuine and down to earth, at least in this instance. He gestured to take the CDs back.

"Come on everyone let's sign them!" Patton called out to his bandmates.

Roman and Logan returned, holding hands and Roman kissing their entangled fingers.

Devyn wanted what they had, desperately. He felt an emptiness in his heart.

Without realizing it, Devyn had Virgil standing in front of him closer than he would've liked. 

"Can I help you?" Devyn demanded. 

Virgil squinted his eyes and frowned. "What's your name?"

Accusatory voice, mean look… the glare peeking through his long bangs and was that heavy eyeshadow?

"We just wanna sign your stuff! Right… Virgil?"

Patton clearly fell the same unease emanating off of Virgil as Devyn did. The more he stared back at Virgil, the more angry Devyn became. 

"My name is Devyn. What about it?" Harsh tone, spat in anger.

"I knew it. I recognized that scar on your face. How fucking dare you?!" Virgil leaped over the table. "How dare you break my Remus's heart, you bastard?!"

The crowd began chanting. "Fight, fight, fight!" and before he realized it, Devyn was about to punch Virgil before both of them were pulled back. Patton had pulled back Virgil and Devyn realized Roman had grabbed him under his arms with his own.

Security had quickly corralled everyone out of the tiny room, leaving only Devyn with the band. 

Logan stood between the two warring ones. 

"What are you talking about?" Devyn demanded, shaking off Roman, nodding to agree he wouldn't fight. 

"Remus has been so upset since you cut him off. He loved you, you dickhead!" Virgil was basically foaming at the mouth. His eyes were red and filled with tears. "Why? What possessed you to do that to him?" 

Devyn's memory flashed to the last image of Remus he remembered. Smiling brightly at him as he left the bar that night over a month before. Devyn had blocked and deleted his number. Basically ghosted him. 

But…

Remus had been in a relationship, right? Devyn didn't want to force his way in and hurt someone else. 

Devyn looked up to see Patton comforting Virgil in his arms, shhhing him like a small child.

A hand landed on his shoulder. He glanced over.

Roman. 

He had a sad look in his eyes. 

"Allow me to explain, Devyn. I'll start from the beginning. I am Roman, lead singer of "Flight of the Hearts". This is my partner, Logan, our drummer. The one holding our dearest violinist, Virgil, is the wonderful Patton. He is also Virgil's older brother. Virgil's partner is Remus… the man who works at The Half Side of the Full on Center Street. He's also my twin."

Devyn blinked and realized in that moment that Roman was the spitting image of Remus, only taller and a bit more buff. He was also missing Remus's adorable mustache but that was beside the point. 

"I left Remus because he told me about you." Devyn started, glancing at Virgil. "Never mention you by name of course. Just that he had the most amazing boyfriend in the world and I decided I didn't want to break my own heart. So I left him and his perfect life alone. Because who needs a fucked up person like me in his life?!"

Devyn realized he was shouting but he didn't care. He also ignored the tears rolling down his face. His scar around his left eye burning from the salt in his tears. Devyn knew in that moment he'd always be a fuck up somehow. 

"Remus was so important to me. I love him more than anything. Because… he allowed me to forget and move on. I was no longer trapped in my lying, deceitful past. I was able to actually be me."

Devyn turned and shoved past Roman only to stop short of the exit, blocked by a familiar face. 

"Remus…" it barely left Devyn's mouth. 

"I never got to tell you." Remus said. "I was going to tell you I loved you the next day. And I wanted you to meet my boyfriend because we're both poly and you had mentioned in passing you were too. I didn't press it because well… I wasn't sure how much you enjoyed how I am."

Devyn had never seen Remus so calm. It was weird and he didn't like it. He liked his Remus bouncing off the walls, talking about his latest findings on the side of the road; alive or dead. He liked Remus when he tried to make fake blood to put on the windows for Halloween and it ended up being actual animal blood because that's how obsessed Remus was with what he did.

This calm demeanor didn't suit the wacky man at all.

"Like them…? Remus… I adore you. You were so true to yourself in ways I couldn't predict. I love that even though you were pushed away by society for who you are… you didn't let that change you. You refused to live a lie. Something I had done all my life."

Remus crossed the gap between them and in one full motion, pulled Devyn down like a princess, holding him gently in his arms.

"Let me do what I've been holding back for so long." Remus begged.

Devyn nodded and they kissed. It was soft at first, tickling Devyn's upper lip with Remus's rough mustache, before Devyn felt it deepen even further. He didn't want it to stop…

"Geez, brother! Get a room!" Roman blurted which caused the two to pull away.

Devyn licked his lips and Remus did as well, promising more later.

Remus allowed Devyn to stand as they walked back over to the rest of the group. Virgil reintroduced himself and apologized as did Devyn. Remus explained that Virgil is his QPP as Virgil is asexual and quoiromantic. Both were fine having other partners. Devyn joked about the fact that maybe he would fall for Virgil too if Virgil played him the violin more. The group laughed even though Devyn was dead serious.

As it turned out, the band, including Remus, lived together in a rented house just down the street. It wasn't glamorous or anything but enough to keep all of them out of the rain and comfortable.

As they walked in, Virgil asked Devyn about his living conditions and he dodged the question by bringing up food. 

Remus grabbed Devyn's hand and squeezed, asking again.

Devyn admitted to living in a Motel 6. It was all he could afford after being released from jail. His factory job was paying him well now but he had to consider uber fees to get to and from work. The off three days working four was nice too but he had to be careful. He had no savings to fall back on. 

Remus jumped up. "Why didn't you tell me?"

"My past is not something I am proud of." Devyn admitted. "But… it is something I should explain before we get too far into things."

To Be Continued….

[stuonsongs]

My Top 10 Favorite Songs of All Time - 2006 Edition

2021 Editor’s Note: I was looking through some old files and found this thing that I wrote sometime in the summer of 2006 at age 22. For all I know, it could’ve been 15 years to the day! Looking back, I’m not sure how many of these songs would still make my top 10. Don’t get me wrong, I still love all of these tunes, but I’m sure you know how it goes - You get older, you get exposed to more things, and your idea of good music expands. Anyway, I thought it might be nice to share with anyone who still uses this site. I present it in its original format without edits to my writing. I ended up writing full posts in this blog about some of these songs if you go through the archive. 

Stu’s Top 10 Favorite Songs…Ever

Let’s start with some honorable mentions. These were so close, and I thought about it for so long, but they had to be left off.

Honorable Mentions

All Summer Long – The Beach Boys

All Summer Long. 1964. Capitol

This song has been described so many times as being “the perfect summer song.” When you listen to it, you can’t help but smile from the opening marimba intro, all the way through. It just screams “summer” and it hurt me to leave The Beach Boys off my top 10.

Bleed American – Jimmy Eat World

Bleed American. 2001. Grand Royal

So full of energy, so rocking, and so what would’ve been the most recent song on my list. I wanted to keep it in the top 10 just so I could have a song from the ‘00s, but it wasn’t meant to be. When the chorus kicks in, I can’t help but headbang.

Marie – Randy Newman

Good Old Boys. 1974. Reprise

Randy has said that a lot of young composers pick “Marie” as their favorite Newman song, and I can see why. The idea of a guy having to be drunk to tell his wife that he loves her is pretty funny, and throughout the whole song it’s just the beautiful melody with tons of strings, all to a tune about a guy ripping on himself as he comes home drunk to his wife.

Does He Love You? – Rilo Kiley

More Adventurous. 2004. Brute/Beaute

I guess this is newer than Bleed American, so it would’ve worked too. This is another more recent song that it killed me to leave off the list. The outro is an arrangement of the main tune with a different chord progression performed by a string quartet. Very beautiful. Also when Jenny Lewis screams “Your husband will never leave you, he will never leave you for me,” I get chills every time.

-----------------------------------------------------------------------

So here it is. After a long day’s work, I’m finally finished. It actually turned out much different than I was thinking when I first started. The number one wasn’t really even in my top five when I started, but I slowly realized I loved it so much. I also left Ben Folds (Five) off this list completely, and I don’t know, I just feel the whole catalogue of Ben is so solid, none of the songs stick out to me that much. But anyways, here it is! After the break of course…

Stu’s Top 10

10.

(Love Is Like A) Heat Wave – Martha and the Vandellas

Heat Wave. 1963. Motown.

This one beat out “Bleed American” just barely. The reason being that somehow, despite being nearly 40 years older than Bleed American, it still has so much energy that it kills. Dan Bukvich once told our Jazz Arranging class that you can boil all the oldies you hear on the radio down to three categories: 1) Great Song. 2) Great Performance. 3) Great Arrangement. This song is one of the great performances. The handclaps throughout, combined with the driving baritone sax behind everything and constant snare drum action will keep anybody with blood running through their veins dancing all night long.

9.

Bodhisattva – Steely Dan

Countdown to Ecstasy. 1973. MCA

This song is my Freebird. It’s just a basic blues progression song at its core with some minor changes at the end of the form. The real kicker that drives this song home is the three minute guitar solo in the middle that isn’t nearly as rocking as Freebird, but it is highly proficient and takes me to places that just make me want to play the song over and over again. I have no idea what this song is about, probably Buddhism, but hey, this once again proves that lyrics rarely matter and the music itself is the core.

8.

Zanzibar – Billy Joel

52nd Street. 1978. Columbia

This song reminds me of long car rides on vacations down the west coast with my parents growing up. They used to play a tape of 52nd Street, or at least their favorite selections, constantly on these trips. I didn’t hear this song again until early in my senior year in college and remembered why I loved it so much. The song has a heavy jazz influence, displayed in the breakdown where Jazz trumpeter Freddie Hubbard does a solo. The best part of this song though is at the end of the 4th line of each verse, Billy does this “Woah oh oh!” thing that just makes me want to sing every time. It was between this and “Miami 2017 (Lights Go Out On Broadway)” which is also a great song, but the “Woah oh oh!” is too much for ol’ Stu boy.

7.

Rosalita (Come Out Tonight) – Bruce Springsteen

The Wild, the Innocent, and the E Street Shuffle. 1973. Columbia

Early Bruce Springsteen records have something that very few other artists can ever pull off without sounding cheesy or forced. It has this undeniable sense of urgency, like the world will fall apart and life will crumble through your fingers if this one moment in time doesn’t work out the way Bruce describes it. There are so many early Springsteen songs that just set a scene of “We have to get out of this town right now girl before it kills us, no matter what any of our parents, friends, anybody has to say.” There’s a line that kinda sums it up: “Well hold on tight, stay up all night ‘cause Rosie I’m comin’ on strong. By the time we meet the morning light, I will hold you in my arms. I know a pretty little place in southern California down San Diego way. There’s a little café where they play guitars all night and all day. You can hear ‘em in the back room strummin’, so hold tight baby ‘cause don’t you know daddy’s comin’.”

6.

I’ve Got You Under My Skin – Frank Sinatra

Songs For Swingin’ Lovers! 1956. Capitol

This song falls into the category of great arrangement. This Cole Porter classic tune was arranged for Sinatra by Nelson Riddle. The story goes that he was still copying down parts for the players while riding in the cab to the recording studio on the day of recording. After the players ran through it once with Frank, they stood up and applauded. The Baritone sax takes control here, outlining a Db6/9 chord throughout the intro. Of course, Frank’s vocal delivery is spot on and goes up and down in all the right places for the biggest emotion impact. It’s amazing how a song with no real chorus can be so good.

5.

A Change Is Gonna Come – Sam Cooke

Ain’t That Good News. 1964. RCA Victor

This song was not even going to be on this list, but then I ran across it while scouring my collection of music and remembered how good it was. Then I listened to it and was blown away by the level of detail that went into this arrangement. Sam’s vocals soar above the mind blowingly beautiful arrangement. The lyrics to this one actually add to the tune itself, speaking of wrongdoings in the world around him, and how social change is on its way in the form of the civil rights movement. The song flows with such ease out of Cooke that one might forget the weightiness of the content, but the song’s content is just so heavy that it’s impossible to deny it.

4.

Whatever – Oasis

Whatever EP. 1994. Creation

This song was released as a Christmas present to the U.K. from the Gallagher brothers and company. It never appeared on any full album, only being released as a single, and amazingly, it blows away anything else they’ve ever done. Think “All You Need Is Love,” but with tons of rocking energy and a snide, nonchalant attitude. The chorus speaks, “I’m free to be whatever I, whatever I choose and I’ll sing the blues if I want. I’m free to be whatever I, whatever I like, if it’s wrong or right, it’s alright.” Not exactly poetry, and the song isn’t exactly breaking any new ground either, but the song is absolutely perfect in every way, and it was going to be my #1, but perhaps the only reason it’s not at number one is because I’ve played this song so many times that at the moment, these next three are beating it, but who knows how I’ll feel in a few months. This song also pulls the same “outro performed by a string quartet” thing as “Does He Love You?” but even better. It’s so simple, but I can’t get enough of it.

3.

Mr. Blue Sky – Electric Light Orchestra

Out of the Blue. 1977. Jet

This is obviously the best Beatles song that the Beatles never wrote. The staccato guitar during the verse combined with the strings present in just about every ELO song combine to make a force that is undeniably catchy and musically challenging at the same time. This is really what makes ELO so good. I didn’t discover this song till probably Nov. 2005, and it was one of the best days of my life. I didn’t want to include two songs by the same artist in my top 10, but if I did, I probably would’ve added “Turn To Stone” on this list too because it is almost as awesome as this one. It’s a shame that just like Billy Joel, most critics at the time hated ELO for being overly creative musically (they called it pretentiousness). These days we have acts that really are pretentious (see Radiohead), but everyone loves them, even critics. I’m not knocking all Radiohead, just most everything post OK Computer. Sorry, got a little sidetracked there.

2.

Only In Dreams – Weezer

Weezer. 1994. Geffen

This has been my favorite Weezer song since about a month into me picking up Weezer’s debut album back around early 2000. It has this ostinato (a repeated motif over and over again) in the bass throughout most of the whole song, never even really resolving to the Gb major chord (excluding chorus, which never really resolves) that it wants to until the end of a 3 minute contrapuntal guitar duet when everything dies out except the bass which just retards on its own until it finally plays the single Gb we’ve all been waiting for. The song on the whole up until the guitar duet is pretty tame, but once those contrapuntal guitar lines start intertwining, my ears perk up every time. I can sing both lines at separate times upon request and when the drums finally kick back in fully at the climax of the song, I let out a sigh of relief or bang on my car wheel in exultant joy, whichever is more of an option at the time.

1.

All Is Forgiven – Jellyfish

Spilt Milk. 1993. Charisma

I always loved this song from the first time I heard it, but I didn’t realize how much I loved it until maybe April 2006. I found out about Jellyfish first semester of college in the Fall of ’02 and heard this song, and knew it was great. The constant tom-tom driven drums, the fuzzy, almost white noise distorted guitar, and the half time bass throughout. It was great. Then in April I put it on my mp3 player for the walk to school, and then I listened to it for about two weeks straight. Seriously. It runs into the next song entitled “Russian Hill” which is almost as good, but because it’s a separate song, I couldn’t include it on the list, but in my mind, they always run together and are basically one long 9 minute song. The ending just gets more and more white noise filled until you can barely take it anymore and then it just cuts off completely into the slow acoustic intro for Russian Hill. It’s perfect in every way. I think this would fall into the category of great song. And the way the song builds up right to the middle of the song and then cuts out completely except for some very VERY faint xylophone noodling, and then busts back in with some feedback directly into guitar solo. Man I love this song.

[lia-jones]

Growing Pains - Chapter Twenty Four - Unfinished Business

When I was ten, my piano teacher organized a small contest for students. It should be pretty small, but the unexpected happen. One of my piano teacher’s friends, Matteo Mancini, an acclaimed pianist, was in the jury.

By that time all I could think about was the piano, school being a secondary obligation. I lived and breathed to tickle that ivory and turn it into song, and my ambition was to be such a great pianist as the acclaimed Mancini, so obviously I was a huge fan, and it was an honor to play for him.

Decided, I prepared myself for the big day. I was going to play one of my favorite pieces, one I recently just started to master: Dance of the Sugar Plum Fairy by Tchaikovsky. I rehearsed night and day, stopping only to address my daily obligations, such as school and meals and sleep. I really wanted to win, but most of all, I wanted to prove Mr. Mancini my worth, show him my talent, maybe get some advice for my future career.

My brother wasn’t as passionate about music as I was. Ironically enough, since he was the one that ended up with a musical career, as I took a major turn towards Economics. But by that age, he was learning the bass pretty much because my mom made him, and he couldn’t care less about lessons or rehearsals. And one day, he was really bored, nagging me to go with him to the greenhouse and play treasure hunt, hiding random stuff in the soil of my mother’s vases.

When he asked, I said no, sitting on my piano, stubbornly practicing until it sounded perfect even with my eyes closed. He decided to convince me in another way: by being extremely, utterly annoying. And that drove me insane. I had my drive, my ambition, and I needed to follow through with it.

This passion that I had, the one that made me go the extra mile to achieve success, was fortunately one I had brought with me to my work, making me able to complete my doctorate, get a new job, and see my clients succeed as well.

And I walked out of Victor’s limo with pride, watching what a great job Miss Bates had done with hosting her fashion show, the one I had proposed to her months ago, before Victor and I were even a couple.

Although I didn’t work at LFG anymore, Miss Bates asked me if I could still give my opinion on some aspects concerning the planning of the whole show, and I gladly took that task, answering emails and offering advice when needed. In return, Miss Bates offered me one of the gowns designed for the show, and a place as a guest of honor at her reception.

I felt like a princess in that tule dark blue ball gown dress, with white Swarovski crystals covering the halter backless bodice and drawing constellations on the skirt. Victor took my hand and led me to the white carpet, where paparazzi and reporters were to meet us, just as I had advised Miss Bates to have.

Miss Bates was already at the door to greet us, her smile a mile wide.

“Andrea! Victor! So nice to see you both!” She said, shaking both our hands. “Sweetie, you look so beautiful in that dress! You’ll be the most beautiful woman in here!” Miss Bates said, and I gave a discreet semi twirl, expressing my happiness.

“Thank you for your generosity, Miss Bates.” I thanked her, smiling. “It’s astonishing. I have no words to express my gratitude.”

“Oh, Andrea, I’m the one without words!” She touched my shoulder lovingly. “I would never have the courage to prepare something so big, if not for your encouragement. And it’s going so well!” She shook her hands, acting giddy. “Well, I want you both to enjoy yourselves. Get a drink, the show will begin soon. I have some other guests to greet!”

She left us and said something to the waiter, pointing at us. Soon enough, both me and Victor were sipping champagne.

“Miss Bates is absolutely right.” Victor whispered in my ear. “You are the most beautiful woman in the room.”

“Oh, stop it.” I blushed, giving him a discreet playful nudge. “You seem to be unusually left alone, don’t know many people here?”

“No, not my usual area of busin--” And just like that he froze, his eyes following something behind me. Suddenly, I heard a chirpy voice behind me.

“Victor!”

I barely had the time to move away. Before I knew it, a very tiny woman almost jumped to Victor’s arms. He was suddenly pale, his usual poker face in place, looking down at the woman.

“Mia.” He said in a hoarse voice, clearing his throat right after. “You’re organizing the fashion show?”

“Yes!” She exclaimed, an excited look on her slightly childish face. “We had some fierce competition for this project, but Miss Bates signed in immediately when she knew we used to work together.”

And then the pieces all fit together, the proverbial coin dropped, the bigger picture came to frame. This was the producer. The love he never got to live. Victor’s unfinished business. I quickly noticed my mouth dropped a bit with surprise and composed myself. I smiled placidly, trying not to give out my real feelings. Whether we admit it or not, we all have our social walls. Victor’s was his emblematic poker face, mine was a serene smile, which I took from Dr. Mariana.

“Good for you.” Victor concluded the subject, turning to me. “Andrea, this is Mia Carter, LFG funded her company a few years back.”

“Nice meeting you.” I said, shaking her hand.

“And Mia, this is Andrea….” Victor paused shortly, giving me a loving look. “My girlfriend.”

Mia’s childish eyes open very wide, her mouth forming a perfect O. She shook my hand even harder.

“You have a girlfriend?” She looked at Victor, shaking my hand so hard I feared she would dislocate my shoulder. “So nice to meet you! You can call me MC.” She said with a slightly high-pitched voice, hugging me. My serene smile was replaced by an uneasy frown.

“Let go of her, dummy.” Victor reprimanded. “You’re making her uncomfortable.”

“Oh, I’m so sorry!” She let go of me blushing. “It’s just that I’ve known Victor for a long time, and he was usually so lonely… I’m glad you found each other.” She smiled, and noticed my dress. “Your dress is so beautiful!”

“Thanks, it’s actually from one of the designers, and with Miss Bates amazing fabric.” I said, moving slightly to make the crystals shine under the light.

“Of course, you’re Andrea!” Her face lightened up. “Miss Bates talks a lot about you. The whole show was your idea! And I loved all your suggestions, by the way. You would be a great producer!” Her face turned serious all of a sudden, a decided look in her eyes. “You must wear that dress of yours on the catwalk! It’s a masterpiece, and we’d end the show with a sweet loving note.”

My eyes widened. Hell no. Over my dead body.

“I don’t think that’s a really good idea…” I started.

“It’s a brilliant idea! Miss Bates will love it!” I tried to refuse again, but she simply wouldn’t let me. “I’ll talk to her and then I’ll let you know when to go on stage! I have to go now, but I’ll see you soon!”

Victor chuckled as she left. I just stood there, and I bet my mouth formed a perfect O.

“She’s stubborn. That’s what got her the funding in the first place.” He chimed in.

I didn’t reply, the wheels still turning inside my head. Did I agree to be on stage?

“All you need is a drink.” Victor said, handing me another glass of champagne. “But not too many. You don’t want to stumble on your dress.” He teased. “She’s right. You have been the catalyst for this event. And everybody should see how beautiful you look.”

After a while, we were asked to take a seat to watch the show. And it was a huge hit. I could easily recognize some big names of the fashion industry sitting there, watching in amazement the beautiful creations with the fabrics made by Miss Bates company. After a while, Mia came to our spot to call us backstage. I walked with her, never letting go of Victor’s hand.

Miss Bates pulled me immediately behind the curtain, her eyes glimmering.

“Thank you so much, Andrea. Thank you for being so bold that day and showing an old woman that she can still have spunk! These last months were the most exciting of my life! Thank you!” She said as she held my hand.

I glanced at Victor, standing at the corner next to the closed curtain, and Mia walking by him, towards us. Suddenly she tripped on a cable on the ground, and Victor reached out to grab her before she hit the ground. She blushed, standing up, and he looked at her, still holding her shoulders. And the look in his eyes made time stand still for me. There was deep emotion swimming in those grey pools. It was love. The love he never got to live.

The searing pain in my heart made me remember the pain I felt when my brother accidentally closed the piano lid hard on my fingers, as he tried to convince me to play with him in the greenhouse. I remember going to the hospital in extreme pain, my fingers being taped together, my chance of showing my talent to the famous pianist ruined. Decades after, the thought of my missed chance still made my eyes sting. Missing that show was my unfinished business. Victor’s unfinished business was Mia.

And as I watched the scene unfold before my eyes ever so slowly, it dawned on me. No matter how much I loved him, no matter how much he thought he loved me, there would always be her, perfect, immaculate, because they really never spent the time to find each other’s flaws. She would always be in his mind, flawless, as I stood by his side. He was giving me his heart, but it wasn’t really his to give. It was hers.

The emotions flooded my senses, and I could feel the tears pooling in my eyes as the curtain opened and I was led to the stage with Miss Bates. Miss Bates’ eyes were brimming with tears as well, so my sadness remained unnoticed. By everyone but Victor.

As I got back from the stage, he caught my arm, watching me closely.

“Is something wrong?” He frowned slightly.

“No.” I croaked, not able to stop a tear from falling down my cheek. “Just got a little emotional.”

I should’ve known Victor wasn’t going to believe me. Displeased with my answer, he took my hand and led me to a secluded place backstage, where we could be alone.

“What’s the matter? Tell me.” He held my chin so I would look him in the eye, but I avoided his gaze, unconsciously trying to release myself from his grip. “Why won’t you look at me?” His eyes were focused but his voice betrayed him, showing me how much my evasiveness had hurt.

I kept my eyes down, and another tear fell. Victor let go of me, poker face in place, cold voice in action.

“Would you like to go back to the hotel?” Victor straightened up.

“Yes, if you don’t mind.” I took a deep breath, not wanting to cry anymore and make a scene.

“Wipe your tears before we go.” His voice sounded cold again. Its iciness hit my heart.

The engine running was the only sound heard inside the limo. We sat apart from each other, both staring at our windows, a huge gap and an emotional wall between us.

Once in our hotel bedroom, I started taking my dress off, undoing the button of my halter top. Victor sat on the bed and removed his shoes. He spoke as he undid his tie.

“This is because of Mia.” He confirmed almost in a whisper, letting the tie fall loose on his fingers. “I didn’t know she would be there.”

“I suspected as much.” I said, unzipping my dress, letting it fall on the ground.

“I did nothing wrong.” He said a bit louder, rolling the tie and placing it on the nightstand. “I stood by your side. I held your hand.”

“I know.” I whispered, taking my black satin nightgown from my bag, letting it slide over my naked body.

“Then why do I feel like I’m being punished!?” He raised his voice slightly, unable to contain his frustration.

I sat on the bed, my back to him, tears threatening to flood again. I couldn’t help but let out a nervous sob, as I saw my tears hit the expensive white carpet.

I felt his warm hands on my shoulders, and raised my head to look at him.

“Don’t hide from me.” His eyes were begging. “Talk to me.”

I took a deep breath, trying to convey my feelings in an orderly, comprehensible fashion.

“I saw how you looked at her.” My voice failed me, and I cleared my throat. “When she almost fell. You still love her. You may be with me, and I believe you love me, but you’ll always love her more. Unfinished business takes a huge part of our hearts, Victor, no matter how much we try to walk around it. I may spend my life at your side, loving you, but the truth is, I will never be able to compete with her.”

Victor stared at me with wide eyes, taking in what I just told him. Suddenly he kneeled close to me, his arms wrapped tightly around my waste.

“There is no competition.” His eyes were earnest. “And even if there was, you’d always win. My unfinished business, as you put it, was finished the moment I met you. I will always love you more.”

Another tear escaped from my eye. I remained silent, not knowing what to do with his words.

“If you can’t believe my words...” His face came closer, his lips brushing against mine. “Just let me show you.”

His kiss was more than just a kiss. It entailed all that he felt and failed to explain. He was actively expressing himself with his lips and his hands, holding my body tight. My body melted under his touch, as was usual. But my heart also melted, and any shred of doubt I had easily faded away, as he deepened the kiss.

“Dummy…” He spoke into my lips. “Do you believe me now?”

I wasn’t going to answer him. I wanted more. I always wanted more of him. I took his face in my hands and kissed him again, igniting a fire in both of us. He became hungrier, his hands alive on my body, his fingers covering every inch of skin they could under my nightgown. I felt the soft fabric rise over my body as he took it off, his trained eyes on my naked breasts.

“Take my shirt off.” He almost pleaded in a low voice, dark eyes on mine.

I started unbuttoning his shirt, his breath becoming deeper the further down I went, his yearning more and more visible under the fabric of his pants. He let his grey eyes flutter with pleasure when my hands touched his chest, and his breath hitched when they came down to unbuckle his belt.

He took me like I was his, and like he was mine, like he had no other choice, like his life depended on it. And as the world faded to black and back to color again, as we shook in each other’s arms, I had no doubt in my mind. I truly loved him, and he truly loved me.

[arukit]

idolish7 - Part 3 Chapter 15.2 Translation

Chapter 15.2 - A song linked to memories

Tenn: Good evening! We’re TRIGGER! Audience: Kyaaaa…. Tenn: I’m glad we can finally meet again. We’ll be singing with all of our might just for you! Audience: Kyaaaa…. Audience: ….Tenn-kun…! Gaku-san! Ryuunosuke-san! I love you!

Salaryman 1: Whoa, what’s going on with those girls over there? Salaryman 2: Maybe they’re spectators of that live house? Ah… TRIGGER is playing. Salaryman 1: So it’s TRIGGER! It seems like they’re still popular. I haven’t been seeing them on TV lately, but I’ve been watching Yaotome Gaku’s drama series.

Security guard: If this many people gathered here, it may bother the residents of the neighborhood and the other people as well… If you don’t take measures, this could get troublesome. Anesagi: I apologize for the trouble we have caused you…

Gaku: Thank you for coming to see us! Ryuunosuke: It’s incredible. The audience is so close that I can see everyone’s faces! Audience: Kyaaaa….

Anesagi: Eh?! We’ll be prohibited from performing here? Live staff: We’re thankful for the full house but… with just today, we really can’t meet the logistic requirements for TRIGGER’s lives. Live staff: Even the police came several times to give warnings… You’re better off at a place with a much bigger capacity! I’m wishing you luck! Anesagi: …

Mister Shimooka: That was IDOLiSH7’s “Sakura Message”! Riku: Thank you very much! Audience: Kyaaaa….

Woman 1: Apparently Riku-kun’s favorite food is omurice! Woman 2: So cute! Hey, did you see this month’s magazine? When he tried making carbonara, he ended up boiling soumen noodles! Woman 1: He was the one who said he ate together with Iori-kun, right? I want to see that! I wish they had a camera at their dorm! Woman 2: ZOOL has gotten popular but somehow, they look scary so I couldn’t really get into them. Fufu… Riku is so nice! Woman 1: He makes you want to cheer for him!

Iori: After MEZZO”, Nanase-san also received a radio work offer… Iori: Seeing how he cannot talk by himself, it’d be better if he teamed up with someone else. Tsumugi: The recording session will be done during the day but the show will be on air late at night. For this reason, I was thinking of someone outside you and Tamaki-san. Tsumugi: Since Mitsuki-san is a regular on several shows, fitting his schedule will be difficult. That’s why I thought Nagi-san would be the best choice. Iori: …Can those two really organize a show together? Tsumugi: It’ll differ from MEZZO”’s soothing mood and I think it could become a fantastic show like no other before!

Riku: Good evening! This is IDOLiSH7’s Nanase Riku with… Nagi: Hello~! This is Rokuya Nagi! Riku: Here is our first postcard! The topic is “Methods to fall asleep when feeling sleepy”! Nagi: Methods to fall asleep? Let’s see. In my case… Riku: Hold on, I got it wrong! It’s “Methods to stay awake when feeling sleepy”! Nagi: I lay down on my bed. See you next week! Riku: Don’t end it already!! That won’t do! We want methods to keep our eyes open! Nagi: You’re the one who mixed it up, Riku. OH… The postcard is so intricately decorated with colorful pen and yet you still read it wrong. Riku: Hey now… It was my bad. I’m sorry. Nagi: What else could the lady do even more for you to read correctly? Riku: She could whisper softly into my ear. Nagi: Nice idea! Let’s implement that. Very well, with your postcard in hand, dress up nicely and come to the broadcast sta-- Riku: Don’t say that! Don’t come, alright? Please keep sending in your postcards! Nagi: Akin to a whisper in our ear, please decorate your postcards intricately, as intricately as you can. Riku: Alright, for our next postcard… Nagi: OH! Oh my god… Riku: Hey now, don’t get so carried away on the radio! Ahaha! You’re infecting me. What’s up? Nagi: We didn’t even spend a single minute to discuss the previous topic! Riku: Ahaha! That’s true! That won’t do. Come on, methods to stay awake! Nagi: At this point, I’m already wide awake.

Sougo: Continuing, let me introduce the next song. This song “Melody Blue”  was released in 1982 by “Baby Beer”. Sougo: It’s a hardcore masterpiece. The bass line is heart wrenching, along with the penetrating vocals and the mixing that-- Tamaki: What’s hardcore? Rock? Sougo: It’s indeed rock. The most extreme type of rock. Tamaki: Earlier you talked about al…. al… Sougo: Alternative. Tamaki: That, didn’t you say it was rock too? Sougo: It’s indeed rock. Tamaki: What exactly is rock? Is it something like humans? Sougo: Humans? Tamaki: Like if rock was like humans, then hardcore could be the Americans and Alternative could be the Japanese or something like that. Sougo: Ooh, I suppose that is one way to see it. It… does feel that way. Everybody could be like rock. TamakI: What’s with that category? Sou-chan, you normally go into details so wasn’t that too broad of an answer? Sougo: It’s actually more convoluted than that and personal tastes also come into account, so it’ll differ from one record shops to another. Tamaki: What about hip-hop? Sougo:  I believe that its roots come from jazz but there are thinking schools who say it comes from rock, so who knows? Hip-hop is quite divided. Tamaki: Is it okay for rock to be such a broad category? Next time, can I compare salt, pepper and soy sauce to rock all I want? Sougo: Not a chance. Those are seasonings. Tamaki: Don’t mess with me! It’s unfair that only rock gets to do it!

Riku: Haa… I’m so tired… Mitsuki: Are you alright, Riku? Riku: Yeah. My body is in good shape. It’s just that my exhaustion finally set in when I returned to the dorm and saw everyone’s faces. Yamato: Same here. I’ve been feeling really worn out. Sougo: Once things settle down, it’d be fun if we could all go on a trip somewhere. Tamaki: I want to go! Fall is probably impossible, then what about winter? How about going to Nagicchi’s country to see the aurora? Nagi: OH! The cold in Northmare during midwinter is extremely harsh. The nights are long and the sun only rises for short hours. Tamaki: Why? Is that place still on Earth? Nagi: Iori, you’ve slacked off on teaching Tamaki geography, haven’t you? Iori: Why did the blame have to fall on me? Riku: How did the people of Northmare from the ancient times manage to live in such a cold place? Nagi: Northmare’s ancestors were Vikings. During summertime, they invaded the neighboring lands and pillaged the food and treasures. Nagi: During winter, they secluded themselves on a safe territory and awaited the arrival of minstrels. Mitsuki: Minstrels? Nagi: They are wandering singers who told tales through songs. During the ancient times in Northmare and the neighboring countries, tales were told through songs. Riku: Tales through songs… Nagi: They would typically be from the Codex Regius written in Old Norse or the Poetic Edda. Nagi: Riku, since you’re an avid reader, in Völuspá… Perhaps you might be familiar with the seeress’ prophecy. Nagi: It is a poem of a myth that tells from the creation of the world to the deaths of the gods. Would you know about it? Riku: Ah! You must mean Ragnarök! I see, it’s from Norse mythology after all! Nagi: Yes! Mitsuki: Then, during winter, the wanderers who sang the poems of myths were anticipated by everyone? Nagi: That is correct. When the rays of light cannot reach them and the world is buried in white, the people took joy in the songs and tales. Nagi: And that is no different from this era. Nagi: Even without needing to be cornered by blizzards, we still have sleepless nights when the heart is lost in a well of darkness where light can no longer reach. Riku: I can understand… When that happens, Tenn-nii would sing for me. The songs had all sorts of stories associated with them. Riku: There were the songs’ own stories and then there were the stories of the memories I had with Tenn-nii. Mitsuki: I wonder if it’s the same with our fans. Just how many stories do our songs have with all the people who listened to us? Mitsuki: Every time they listen to our songs, they’d recall the events of the previous day or something like that. It’d be great if we could connect to them this way. Yamato: So songs are stories, huh… That must be why everyone holds TRIGGER dear. Momo-san holds Re:vale dear just as well. Yamato: If we could no longer listen to a song that we associated to ourselves, the pain would feel like losing a part of ourselves. Sougo: However, we will relive that feeling each and every time we hear it. Even the feelings that we forgot will resurface… Iori: Happiness and sadness are two sides of the same coin… I can say this now but for some time, I didn’t have it in me to listen to “miss you…”. Nagi: OH! For me, it was when TRIGGER sang “Natsu ☆shiyouze!” It felt akin to drinking a bitter cup of coffee. Yamato: When I hear “NO DOUBT”, it reminds me of the time I was so overwhelmed that I caused a huge ruckus. It was so uncool, I should have learned to relax my shoulders. Mitsuki: When we did a unit song with TRIGGER, we only kept good memories from that one, didn’t we! Those guys were so cool and we had a lot of fun. Riku: When I was made IDOLiSH7’s center in “MONSTER GENERATiON”, I was so happy… Riku: It felt like I was finally acknowledged but then a lot happened and I lost my confidence… Riku: But when I sang “RESTART POiNTER”, I felt like I did grow up a little. I felt like I could finally forgive myself. Riku: I love the members and the fans after all. I remember not to ever hesitate whenever I sing or listen to that song. Iori: Nanase-san… Riku: There was something that Tenn-nii told me a while ago. He said that even if the world was to stop spinning, it was our job to keep on singing. Riku: When I first heard that, I thought that it was so sad that it had to be so harsh, so unforgiving and so difficult. Riku: But I understand what he meant now. If our songs were associated to a good memory to someone or brought a happy story to someone, then… Riku: Each time we sang, someone would be reliving their story. We can make them relive that feeling of joy and happiness. Riku: Like a shooting star flying across a starless sky. Riku: We can become stars or even a rainbow.

To be continued.

[sagastar-blog]

MemoToTheMetaverse 2.4 “Gaia Says to Jeff, Let’s Take the Black Keys Car Service!”

Gaia, our hero, the story’s 16-year-old tomboyish female protagonist, walks around in a magnificent green, blue, and white bathrobe. Her long darkreddishbrown hair is dripping wet. Gaia is the planet Earth in human form, and has always been entirely awake, or aware of this fact. She’s recently emerged from the family “scuttlebutt,” a solar-powered steam room of sorts off the side of the family’s entirely ordinary first-floor Highland Park, NJ, apartment. She speaks into a hairbrush: 

Gaia: So glad to be here with Dan and Patrick of the Black Keys. Guys! Good morning! What brought you to The Orchard on this leg of the current intergalactic tour?

[Dan Auerbach--the lily-white reformed stoner father / lead singer of the indie blues rock duo from Akron known throughout the universe and beyond as The Black Keys--is a large Bert from Sesame Street doll.] 

Dan: Ummmmm. Gee. Let’s see. Well, I guess we figured we were in the neighborhood, you know, New York is kind of a thing...Hey, um, Do you guys have any coffee here? I could also really use a bagel. Like, with cream cheese, yeah? Thanks. Okay, yeah.

Patrick, a narwhal hand puppet and the drummer in the band, wears hipster glasses and grunts somewhat rhythmically: Me too. Please. Thanks. Whatever.

Gaia (turns towards the kitchen and yells): Daddy! Do we have any bagels left?

[Jeff is Gaia’s 39-year-old father, who has sole custody but, as any parent must no, very little immediate control over his daughter. He’s actually a young Bengal tiger in disguise as a human and also the Master Creator/Destroyer of All.

Jeff: Yeah, hold on. Do they want everything like usual?

Patrick the narwhal begins gnawing on the top of Bert’s head while gently spanking it from below with its tail, and grunts: “Sure thing, boss.”

Dan is distracted by Gaia’s proverbial “décolletage.” It must be said that Gaia is a beautiful, buxom, and rather rambunctious young woman, and has been for a few years now something of a man-eater. More problematically, she’s been neglected by her boyfriend/cousin-in-law, Amateratsu, the local mediocre neighborhood son, thanks to the way she’s been done dirty and wrong by life--HER LIFE, yes, but still--in recent times.

Dan: Thanks so much Jeff, that’s great. Gaia’s taking good care of us in here.

Jeff: She’s a fantastic hostess. You should check out her bedroom! It’s kind of a mess...Gaia, do you think you could maybe try sweeping some day? 

Gaia (returning to her interview): Dan, Patrick, do you ever wish a great wind would come along and wash away all the beer cans and bottles? I mean, like, take Akron....maybe all the rubber tires and factories and stuff should be...

Dan: Burned?

Patrick the narwhal has heard this story so many times already. He continues drumming on his lap, staring rather obtusely at Gaia’s round ass as she busily picks up last night’s detritus. He doesn’t mind getting interviewed today because he owes his ex-wife so much in arrears for child support that he’s willing to put up with Bert’s narcissism for yet another day.

Gaia: I was thinking, wouldn’t it be nice if Brian Wilson and the rest of the Beach Boys could just bury the hatchet and do, like, a benefit for the environment or something? Like, what is it going to take for some big shot celebrity musicians to actually get involved in American public life?

Dan: What we need, clearly, is the American version of Bono. Otherwise, Africa will become China and then we’re all fucked.

Gaia: Precisely. (prepares her hookah for the day’s first toke....Jeff doesn’t mind that Gaia is going through a phase in which she smokes as much cannabis as she wants when she’s at his house. She’s not always home from school, so he figures it’s a balanced approach to Creation/Destruction.)

Patrick: Do you think we could hit that?

Gaia (eyes smoldering): Butt of course, Monsieur Patrick. Et toi, Dan? Qu’en volez vous?

Dan: Did you just ask me where I’m flying next? 

Gaia: EH bien. Si vous voulez faire le countertransference avec moi, ca va couterez...(she lights up)

Jeff (buttering and cream-cheesing the bagels): Gaia, I’m serious! Your room!

Gaia (tucking her Bert and narwhal weiweis into her bed): I suggest we take the Black Keys Car Service to the eco preserve.

Jeff: Gaia, can you please explain to our guests what that will entail?

[Pollux and Castor emerge from the basement, all sparkly. They’re stars from an intergalactic talent competition known as Copernamici. As the head stars in the constellation Gemini, they are Amateratsu’s siblings, relatives of Jeff and Lucius. Pollux is slightly brighter and cheerier in general, whereas Castor has a beautiful, rich baritone voice.]

Castor: I was hoping we’d get to go to the preserve. There’s so little nature here in The Orchard, which is kind of ironic, don’t you think?

Pollux: Yeah, I was just thinking that it’s weird that there are signs all around this town, what is it called here Highland Park, that say things like “Tree City U.S.A.” and “No Hate Here.” They can’t even see us when they look up at night! Where exactly is the eco preserve, Gaia?

Gaia: Sore subject. Which is why I suggest taking the Black Keys Car Service! Daddy, you explain in a longwinded monologue which is not exactly a siloloquy but who cares because Shakespeare was SUCH a bitch...

Jeff (sets down the coffee at the C2 Center for Educational Brainwashing, where he is paid 27 dollars an hour to help privileged children improve their SAT scores): THE BLACK KEYS CAR SERVICE is one of the greatest ideas ever. It is the solution to the problem we face today aboard Spaceship Earth. (speaking into the ship’s PA system microphone) Humans! You have, since the dawn of the industrial revolution, been shitting in your own scuttlebutt! You have been, like cyborgswine, befouling your own trough. Your pollution--Ohio, we’re looking right at you...OH GEEZ, Cuyahoga was a great R.E.M. song about you burning rivers...where are you Michael Stipe when the galaxy needs you?--will no longer be tolerated. I have come here, people of Earth, to save Gaia. Only, the way it works is that Gaia doesn’t need salvation. Gaia, your planet Earth, will outlive all of you. Life will persist on this planet whether you want it to or not...at least for a little longer. The point here is that I am here to protect Gaia from all of you who have been either neglecting and violating her. (Hugs his daughter tightly.) The latter is worse than the former, but there are no innocent people in this world of ours, right Gaia?

Gaia (not a victim..a survivor): Correct.

Jeff (continues): Now. You, humans, will end this farce of an existence. You have serious environmental problems which you are not capable of fixing by yourselves. The first step in solving a problem is admitting that you have a problem. The Black Keys Car Service is the best way for you to admit you have a problem.

Jeff and Gaia step out to their electric car.

We’re not suggesting that you need to trash your entire civilization. No. That’d be impractical. You need to recycle it. You need to throw away a lot of stuff that’s bad. 

Amateratsu (offstage): I SUGGEST FEEDING ME!

Jeff: Let’s shoot a bunch of shit into the sun, like old junk that’s bad for Gaia. Let’s figure out a way to use nuclear and other technologies sustainably and responsibly. There are no such thing as “bad nukes,” just as there are no such things as “bad phones.” You have technology and you need to learn how to use it wisely. I say I’m wisdom unemployed. I don’t need to spend my time pretending to teach here at the C2 Center for Educational Polyamorous Cockblocking and Blueballing. It’s not very fun, rewarding, or productive for me. (Imagine that, John Lenin!) 

It’s not easy for you to accept that you’re a computer virus and that your existence is a threat to lots (not ALL) other life here on Earth. I get that! We have a suggestion...

Gaia (grabs the mic and screams as loudly as possible): Just send an ordinary unmarked car to Jeff’s house at 35 S. Fifth Avenue in Highland Park, NJ, 08904, U.S.A, Earth, Dimension 1(?)=1 / infinity. (Everyone knows my real address is one over infinity!) But make sure it’s like really smooth and cool...you know, like it should be the kind of car service that Dan and Patrick would use and then try to cash in on by selling out...like El Camino.   

But it can’t be an El Camino. It should be like a 2002 Ford or something. Not eco-friendly! It needs to be authentic and real, like Akron but WORSE. If I’m being violated, at least let Jeff on the Lester GangBangBus. You know what I mean? SO the one thing about The Black Keys Car Service is that it’s got to be both legitimate and correct. There will be no “Black Keys” cds or music or anything directly related to the Black Keys in the car, obviously. The music should be a delightful mixture of T. Bone Burnett classics, which is to say stuff that would sell at Starbucks and not offend Jeff. This is how Jeff learns! By doing human anthropology. We don’t hate your culture. We just have taste and need a little bit of respect, so like, no music referencing “niggers,” “bitches,” and other unsavory aspects of your filthy human world. I’m sorry, but there’s a difference between you listening to what you like in public and you exposing me and my Daddy and my friends  to your pollution. We need to be protected, like in an eco preserve! 

Jeff: What Gaia is trying to say is that I don’t ask for much. You’ve been caught with your hand in the cookie jar. That’s fine by me. I’m used to it. But now that you’ve been caught, you have to admit it. You have to admit what you’ve done and you have to do it soon by sending The Black Keys Car Service, which is recognizing me as someone valuable and worthy of dignity and respect, as well as adoration, of course. 

Send me a private car with a driver--let him be exactly like the dude who plays bass and also keyboards for the Shins, if not that guy himself!--who recognizes me as JustJeff and takes me where I want to go. For free (i.e. without charging me money or making me feel awkward). You know who I am, so stop pretending! Allow the driver to speak to me like a normal person. It will be great! And please let there be bagels with cream cheese and coffee in the car. Other than that, there’s nothing else for me to request. If you do that, i’ll know that we’re going somewhere together. 

If I’m going to save you, Gaia, it’s going to be on my terms, not theirs. We have a lot of work to do and must take practical steps. The Black Keys Car Service is the best way to get moving in the right direction.

Gaia (fidgeting with her phone): OMJ, I hate this phone! (throws it out the window and turns up the music, which I believe is some Dusty Springfield song, but we can’t be sure...) 

[hetmusic]

Q&A with O-SHiN | HumanHuman

Discovered by HighClouds five months ago, the Swedish artist O-SHiN quickly grabbed the attention of our users here at HumanHuman and became a Promising Discovery about a month ago. Not only is the music in itself unique and beguiling, with a plethora of strange, exotic sounds that you can scarcely lay a finger on, but the story behind its creation is also one to take note of.

A couple of years ago, O-SHiN took to the Swedish countryside with five friends for a summer of seclusion, immersion in nature and experimentation with a range of unusual instruments found in the barn next to the cabin where the group were staying. What emerged was songs like “A Revelation” and “Walking On Water” that feature recordings from this time in the cabin, and later were completed in O-SHiN current home in Berlin. Each of her songs offer up a new version of her appreciation for life, for nature, for the organic world around us. That’s exactly why, with just two songs in the public sphere, that our community of new music enthusiasts have picked up on this great discovery.

Here we ask O-SHiN about time in the cabin, her current music, playing live and plans for 2018.

Happy New Year O-SHiN! What do you have planned for 2018?

Hello and thank you for having me. 2018 started already great. I am writing to you from Gran Canaria where I am shooting a visual EP. This means I am going to release six songs in Spring 2018. Also, I am very excited to let you know that I finished 2017 with my first O-SHiN live show and I’ve just done another one [Monday 15th January]! My wish for the year is to share my music not only online but on stage as much as possible.

It was only three months ago that we were introduced to your music via debut “A Revelation”, although the project really began in 2015 in a cabin in the Swedish countryside. Can you recall that time in your own words?

Yes, it took a long time to get the music really the way I wanted it to be. I see it like a good wine that needs to ripen.

Everything started literally in the woods where we just enjoyed living so close to nature and experimenting without any boundaries. I invited my friends from the Netherlands - who are also my musicians - over and we just made music and sounds day and night.

Have you returned to that cabin or to another nature saturated location since?

No, I haven’t yet. But it is my dream to go back there and record my full album.

The unusual amalgamation of strange instruments and field recordings features on both of your tracks “A Revelation” and “Walking Water”. Did you carry on using any of those instruments back in Berlin?

All of the songs that are going to be on my EP carry this sound. I am always looking for these kind of instruments and vibes, no matter if I am in Berlin or somewhere else. I also want to create the same vibe on stage, which is quite a challenge. But I think we’ve come pretty far.

Do you think that the city has also shaped your music?

Definitely. The city has brought more structure to my tracks which had been very experimental. I love experimental stuff but I still want the listener to follow and not get overwhelmed. This feeling is very personal though, but I think it worked well so far.

I suppose there’s a prominent contrast of organic sounds and digital production through the songs. Is this contrast of textures - the old and new; the far and near; the different and familiar - essential to your sound?

Yes, I am a lover for old times, second hand, and vintage stuff - basically in everything - clothes, furniture, music.... I love it when things are not new but put into a new context, which makes it feel kinda new. It was my concept from the beginning, to use mainly organic sounds, but arrange it in a modern/electronic way. Even if something sounds electronic to you most of the time it is some weird organic sound we recorded somewhere.

What else would you say lies at the heart of your music?

Next to the organic aspect you will hear influences from different cultures. I am very open to influences from world music. You will hear Asian harmonies and also I am in love with Indian music, not only the instruments, but also the way India has developed their own music - they hear even more notes than we can hear. To study that makes it very exciting to me. Recently I travelled to Africa, there is a big chance you will hear that in the songs I am going to write in 2018.

Are there any fellow creatives, whether musicians, artists, photographers, performers, producers etc., that you really relate to? And what is it about them in particular?

Oh yeah for sure. Besides the great people I work with I am really inspired by Dutch photographer Sanja Marusic.

Funny thing though, about five years ago I asked her to do a shoot for my music. Turned out to be a big disaster. She somehow decided to dislike me. The vibe was really bad and the pictures that were done, were unloving. I still don’t know why she wouldn’t like me, but nevertheless I admire her work and it inspires me visually.

Another woman I really look up to is the French singer Camille. She is a true artist. She is one of the reasons I started making music and she has been something like my role model to me. She makes music without being bound to any limits.

In the cabin, you were surrounded by other musicians, so clearly that creative environment and collaboration is important to you. Is there anyone you’d really love to work with on a song?

In the cabin I was surrounded by three musicians, one friend who took the role of sound technician and another friend who was filming and documenting the week. Yes, collaboration became very important to me. I used to do everything on my own, but once I understood the beauty of letting another creative mind add something to my ideas I never wanted to go back.

One person I would really like to work with is Kieran Hebden - better know as Four Tet. His latest album has been my favourite album of 2017.

You said of second single “Walking Walking” that “It’s about taking risks, even if it seems crazy. It’s about believing the impossible can happen.” Is that a belief you apply to your own life?

Yes, I guess so. I really like to dare myself and stretch my limits. If I have an idea I am really convinced by I just do everything to make it happen. I don’t want to live only in my comfort zone, even if it’s scary sometimes.

As mentioned before, you recently had a show at Berlin’s Baketown Studio, for those of us unlucky enough to miss out on that, how would you describe your live show?

I have a really great band and we are playing basically all you hear on the records live. There is no backing tracks and no loops. Therefore, we had to build our own drum kit, which is basically a massive percussion tree with many different things to hit on and two people are playing it. If I am lucky enough I find a upright bass player who joins us for the gig, like last time. With so many people there is a whole bunch of energy coming, while the music is still intimate and emotional. You will find yourself looking from one musician to the other trying to figure out who is playing what and even though it is no party music - your feet will move.

Last year, you also performed at Berlin’s Auster Club to celebrate Indie Femininity alongside fellow HumanHuman favourites Melis and Jinka. How was the show?

This was my first concert and it was a great start. I really wanted to finish the year with making the first steps of bringing the music alive on stage before the year ended. It was a tough task since I had to form my band first. In the end everything worked out better than expected.

How do you view the current industry and its relation to women in music? Is there anything you’d like to see change or continue to improve upon in 2018?

The Guardian released an article in 2017 saying most live bands are mainly male. I have to agree I work mainly with male musicians, producers, managers, A&Rs, photographers… personally, I don’t have a problem with it, maybe because I grew up with only brothers. I guess I haven’t even learned how to work with females, just because all my colleagues are male and I really appreciate them and they appreciate me. I believe we still don’t have enough female role models to inspire the younger generation, but we are growing.

Will you be doing anything to celebrate International Women’s Day on March 8th?

Honestly no. I don’t celebrate any of those international days :P I also don’t care about my birthday and if it was about me I would not need to celebrate Christmas the way we do it. To me everyday is a day to celebrate already.

Of course, what we really want to know is… can we expect new O-SHiN listening in the near future?

YESSS! I have a bunch of songs ready. Expect my next single in February and the EP in the Spring. Thank you so much for your interest in my music!

https://humanhuman.com/articles/interview-with-o-shin

[heir-of-puns]

Homestuck Volume 10, One Year Later Retrospective!

Creata, by Seth “Beatfox” Peele: A very very good track to begin the last album. It just kind of embodies everything beautiful and epic about the finale of homestuck. Its beginning section is used in Collide, which brings you right into the first moments of the final battle and then, when you’re ready for the big hit and transition into Oppa Toby Style, the full version slams you with a full-out orchestra. Another thing I really really love about this one is its use of Song of Skaia. The original theme (Skies of Skaia) is used throughout the album, which I didn’t expect to be sure, but it works perfectly. We kind of forget about how important Skaia and universe creation is to the plot/lore of homestuck (which I think may have been one of the problems with Act 7 and our reactions to it but I won’t get into that).The lyrics are gorgeous too. Definitely check out the original Song of Skaia album by Mark Hadley and Tarien Ainuvë. I guess my only gripe is that the song is pretty obviously not a live orchestra or choir. That said, Beatfox did a damn good job with it. I would love love love to see a full orchestra/choir perform it.

Train, by George Buzinkai: The transition from Creata to Train may seem a bit jarring, but if Creata went straight into Of Gods and Witches we wouldn’t have time to relax. Train is just super fun, as are all of George’s songs. Speaking of, check out a bunch more songs like Train here! Also that track art tho. Not one of the strong tracks, but it doesn’t have to be with so many heavy-hitters.

Of Gods and Witches, by Tensei: Oh man, just. Goddamn. I just love this song so much. And what a beginning. The string part slams you full force and just when you think you’re getting comfortable with Jade's Pirates of the Caribbean Quest, Tensei’s classic guitar comes in. The swashbuckling nature of this one is a surprising choice for Jade, but every Jade song is a good Jade song and she definitely deserves such an awesome track. One gripe is that Doctor is referenced which has no connection to Jade but...whatevs I’m kind of weirdly obsessive about leitmotifs for whatever reason. I think Tensei said he did it to make the song 4:13. Worth it. This is one of my favorite strife-y tracks in the music canon for sure.

Beatup, by Clark Powell and Astro Kid: Beatdown is a song with a very interesting history in homestuck, not only because of its associations with Bro and his rooftop...ahem...training of Dave, but also because it was unfinished versions of Beatdown which caused the whole Bill Bolin thing. So Beatdown being featured so heavily on the album is a fun callback to the good ol’ days. And this is such a good version. That base. Makes you want to play it as party music or something. With the track art featuring both Dave and Dirk, I like to think of it as Dave’s reclamation of Beatdown, alongside his rooftop talk with Dirk and the reclamation of his identity since Bro’s death.

You Killed My Father (Prepare to Die), by Team Dogfight: Another one of my faves, though that doesn’t mean much because at least half this album are faves. This is pretty much number one on my list of songs I really want someone to do a full fan animation to, a la Rex Duodecim Angelus. Team Dogfight is amazing both as a group and as individual artists. Yishan Mai/Catboss (drums, mixing) has done tons of LOFAM music, including the Dance tribute songs (MeGaDanceVania, Dance-Stab-Dance, and Emissary of Dance) and so many others I can’t list them all. Listen to his solo stuff (especially Jar of Feelings), you won’t regret it. Will Ascenzo (orchestra, choir) has got to be one of my favorite musicians of all time. Her stuff is just...oh man. Check out Rust Apocalypse for more hs content, and also all of her original albums. DJ最テー (guitars) did Violet Prince and Iron Knight I believe, two tracks which have very much been growing on me lately. I just realized viaSatellite (bass) did Clockstopper (with infiniteKnife) which is my absolute favorite Dave song in the entire canon. David "Dirtiest" Dycus (synths, composition) and Ian White (trumpet) have also done tons of great LOFAM stuff. This song is just so fun and epic and cinematic. A+ yo.

Sound Judgement, by Malcolm Brown: First off, sick transition. Second, say what you want about the end of Terezi’s arc, but the fact that she got her own badass song on the final album says something about how amazing she is. Malcolm Brown is just the king of cinematic pieces, and this one is no exception. It does such a good job turning a pretty simple leitmotif (The Lemonsnout Turnabout/Terezi’s Theme) and making it super epic, which is a word I will keep using throughout this retrospective because I can’t think of another one. The main tune (hook?) of this one is also beautiful and emotional, both as the bells at the beginning and end and as the orchestra/guitar bit at the climax. Its use of Harlequin is obviously a reference to her fight with Gamzee pre-Game Over, though Harlequin is coincidentally also used in reference to John. So it fits both her pre- and post-Game Over arcs. 

Aggrievocation, by Mark Hadley: Considering how much it was used in Volume 5, I feel like we’ve forgotten about Aggrieve. Or maybe it was just me, whose intro to Rose’s music was almost all Chorale for Jaspers references. Aggrievocation was therefore another unexpected surprise, and damn I love it. It makes a nice little trilogy, too, with the original Aggrieve and Aggrievance from Vol.5. This would be my favorite badass Rose song if At the Price of Oblivion and Dance of Thorns didn’t exist

Stride, by Kalibration: I’m surprised neither official nor fan musicians have capitalized on the fact that Dave makes his own music in-canon. While we all know if he were from post-2009, he would deal exclusively in vaporwave, I like to think that Stride is the kind of thing he makes once he finally gets good. And considering the track art, I love the idea of him and Dirk making it together. This song exists in canon for all I’m concerned is what I’m saying. Also, this would make a great walk-around theme for either Dave or Dirk. This is the first of two great Moonsetter remixes on Vol.10, which is yet another happy surprise on this album. Moonsetter seems to have become a kind of hybrid Dirk/Meteor tune considering its original track art on Vol.9 and its use in Vriskagram. But we all know that Moonsetter is the official Gay theme now and I embrace that wholeheartedly. I...still have no idea where Showdown actually comes in though?

Skaian Overdrive*, by Thomas Ferkol: Ah, that good ol’ asterisk. Legend says that the music team video released in tandem with the album claimed Vol.10 included a track called Skaian Starstorm, which someone eventually realized was not the name of this track and was in fact an Astro Kid song from LOFAM 2. In correcting himself, Thomas (or whoever put it together, so probably RJ) placed the asterisk in the song title, which of course means that it is included as part of the title on the bandcamp page and on downloadeds. Who can say for sure if it was intentional or not, but I appreciate that we’ve all just accepted it as part of the title, either as a wink-wink or without knowing the backstory. Anyway, this is a great song for the Battlefield. I love Thomas’s metal stuff.

Freefall, by RJ Lake: It took me embarrassingly long to realize this was, in fact, a remix of RJ’s early version of Cascade (Beta). Cascade (Beta) itself has got to be one of my absolute favorites (which, again, doesn’t mean a whole lot) and this version is so much fun. It’s funky, epic, and I really really love those drop/clap bits. And it’s so great seeing a Cascade remix on the final hs album, harkening back to what was probably, for good or bad, homestuck’s apex.

Moonsweater, by David Ellis, Alto and Tenor Saxophone performed by Malik Refaat: My roommate is a jazz snob from New Orleans and he heard me playing this and came over to my side of the room to say it was really good and ask who it was by. Which, I think, is a major victory for homestuck music and a moment of pride for me. So apparently this is a great song even by jazz snob standards, which is sick as hell. Overall, just a fun bouncy song and another cool use of Moonsetter. And it’s nice to see the Midnight Crew featured on the album, whether they have anything to do with the song’s origins or not. Yeah the song is a bit long, but I can forgive it. Question though: is it sweater like sweat or sweater like the item of clothing? Plz advise. One is significantly weirder than the other and I assumed it was that one until recently. Another mystery which doesn’t need solving but heck if I’m not gonna try and solve it anyway, so nice work.

Castle, by George Buzinkai: Another fun, simple track from George. Again, check out his album of similar stuff I linked to above, and support George with your money and appreciation! The track art makes me think of this one as a song for the post-retcon Meteor Crew sneaking through Derse to save Jake and Roxy.

Skaian Happy Flight, by Seth “Beatfox” Peele: A fun remix of Skaian Ride, harkening back to the old days of Vol.5. A bit of a filler piece, but a fun one. Beatfox said he intended this one as a tribute to the music from the Never Ending Story. As such, notice the little Hussie riding Falcor in the background of the track art.

Voidlight, by Thomas Ferkol: Mmmm the more Calliope tracks the better. Thomas said this one was written as a tribute to Callie’s void bubble and her loneliness hiding in them which, yeah it works perfectly. I also like to think of this one as a theme for Alt-Calliope too, though, not only because I am starved of Alt-Callie Content, but also because those themes of loneliness Callie experiences in the void are mirrored really poignantly in Alt-Calliope’s characterization in-comic. A beautiful piece overall.

Beatdown DX, by Curt Blakeslee: As I mentioned earlier for Beatup, it’s neat seeing Beatdown come back full force on this album. Especially this one, which is a straight-up remaster of the original by its original creator. It’s awesome, especially considering that I don’t think he’s done anything else for the comic since the original Beatdowns from way back when. The original is purposefully harsh to reflect...yeah...but this one finally puts it to its full potential. The amazing track art (brought to you by the creator of Terepy herself) really drives the point home about what Beatdown represents for Dave’s character. I like to think of this one as how Bro sees the song/rooftop battles. Heroic, clean, fun, badass, classic video-game style. And we see from the art that what Bro is doing is none of those, and the original reflects Dave’s perspective on what was going on: harsh, dissonant, aggressive, violent. I do wish that this was included before Beatup on the album, since it represents the exact thing Dave reclaims with that version, as I mentioned earlier.

Solar Voyage, by Marcy Nabors: Oh man. This song. This song is such a great tribute to some of the most iconic songs in homestuck. Starts out with a pretty much one-to-one rendition of Ruins, then hits that sick-ass drop and flare beat, then that guitar. Oh man, that guitar. I wish I could make people feel the way that guitar makes me feel. And then to top it all off, another tribute to the iconic Explore. Three classics which work beautifully together. Also this one is a collaboration from pretty much everyone: Arrangement by Michael Guy Bowman, Marcy Nabors, Clark Powell, and Erik Scheele , Piano by Erik Scheele, Guitar by Tensei, Vocals by Paul Henderson and Marcy Nabors, Drums by Jamie Paige Stanley. The whole gang. And then that transition to.......

Feel (Alive), by Luke Benjamins and RJ Lake: This fucking song, I swear to god. It gets me so pumped. Every single time I listen to it I bounce along. I usually prefer songs with leitmotifs for added Emotions, but this has got to be one my top completely original pieces in the music canon. It goes so hard, it doesn’t even need a subject. The track art makes it a Meteor Crew (plus Jade) tribute, though, so I like to think of it playing as the Meteor is hurtling towards the Alpha session and their imminent doom, with everyone having lived three years of emotional turmoil and pubescence. Truly a masterpiece.

Breeze, by Erik Scheele: Yeah it’s a bit of a filler piece, but it’s a classy filler piece. I just imagine John chilling up in the clouds, free and relaxed. Maybe he packed a lunch for a little sky picnic. I don’t think it was written with John in mind but it’s called Breeze, so I dub it a John piece, so there. And then a tantalizing transition into...

Starfall, by Jeremy “Solatrus” Iamurri: I know we all thought of this one as just a little transition piece into Ascend originally, but after listening to it over the course of a year (!) I’ve grown to really love it. Solatrus has some amazing and unique stuff and out of everything he’s done, including solo albums, this is probably my favorite. I still can’t quite place exactly why I love it so much, there’s just...something about it that’s beautiful and ethereal and just really really cool. I like that the artist decided to go with a tribute to both Rose and the Reckoning for this piece, as it really works for both of them for similar reasons as above. It’s another one that transcends a subject, though, and I am a-okay with that. And then that transition into...

Ascend, by Tensei: No final album is complete without a big tribute to some of homestuck’s most classic tunes. I am such a sucker for those kind of songs and this one is just so much fun. That base drop though. That’s a good base drop. I can never help but laugh, however, at Tensei attempting to use it to make Johnradia canon which...a) is a boring ship b) the art doesn’t even suggest they’re romancey it just gives cool feelings about badass god tiers extending a hand to those who have Ascended and c) the song was, of course, used in the Credits and constitutes our current, but probably final let’s be serious Last Music in Homestuck, and the only ship we associate with it now is Rosemary getting Rosemarried which I think is a very poetic backfire for Tensei. But credit where credit is due, Tensei is still one of my favorite artists and he really delivers a super fun tribute to everything homestuck. 

Lilith in Starlight, by Malcolm Brown: Yeah, there isn’t really anything about this one that hasn’t been said a bunch of times. It’s so great having a full song dedicated to Rosemary. Including Blind Justice Investigation (I am not typing that out in Terezi’s quirk), Do You Remem8er Me, Black Rose/Green Sun, Sound Judgement, and others, it truly makes Malcolm Brown the musician king of gay homestuck ships. Yay Malcolm. But seriously, this is a beautiful piece. Gorgeous references to Rose’s and Kanaya’s themes (have I mentioned how much I love Black/Rose Green Sun? I really love Black Rose/Green Sun), and a fun, dancey rhythm which always makes me think of it as Rose and Kanaya’s wedding dance number. Imagine them spinning each other around as everyone claps and oohs and aahs. Good content.

Thanks for Playing, by Max Wright: Ya know, I never give this one the credit it deserves. This is a beautiful piece of music and combined with the track art, it really hammers in the emotions of the end of homestuck. There they all are, staring into the distance as the universe they’ve just created comes into being. Emotions. I really need to appreciate this song more.

Renewed Return, by Marcy Nabors: Man, who knew Warhammer of Zillyhoo could make me so emotional. This might be my current favorite on the album, though that changes monthly tbh. Especially since this is a real live orchestra and choir! I love that!!! It includes some great overlooked pieces like Calamity and Revered Return, too. Man I’m getting tired. But this is such a great song, and kind of the emotional climax of the album for me. Whether it has much to do with Jane or not, it’s just another great song for the end of homestuck and all the emotions that entails. And this has got to be one of my favorite renditions of Doctor. Rereading the lyrics, it really does seem like they were written for Jane and her resurrection powers actually. Resurrection is a theme throughout the comic in multiple forms, and paying tribute to that through Jane is so great, even regardless of her unacceptable lack of songs.

THIS Pumpkin, by Alexander Rosetti: And topping off the list of surprising returns of old songs, here we have a full-on orchestration of Pumpkin Cravings of all things. The original is such a fun little tune, and not one you would expect to work so well with an orchestra. Alexander Rosetti said the style was very much a tribute to Danny Elfman, which yeah I totally see (hear) that. It’s also great seeing a piece for Problem Sleuth on the last album for the media masterpiece it directly lead to. And finally...

Conclude, by Seth “Beatfox” Peele: It’s interesting that rather than go with a big epic finale, the album takes a softer route. It starts out as a more soothing Creata, then hits you (me) right in the emotional soft spot that is Showtime (Piano Refrain). The first track of the comic, featured in the last track of the last album. And then of course there’s no forgetting Homestuck Anthem. When not focusing on the piece, it can be a bit boring honestly. But when actually listening to it, it really is gorgeous. Kinda reminds me of John Williams’ Star Wars stuff actually, now that I think about it. An excellent finale of a finale of a finale.

There you have it, Vol.10 One Year and Several Hours Later. This took a really long time. Plz appreciate my hard work and the lack of sufficient sleep I am getting tonight.

[daggerzine]

Twin City revolt! A chat with Christian from Minneapolis label mpls ltd.

It was September 2019 and I was at my first Gonerfest in Memphis. I had posted a few pics of the bands I’d seen when a pal from Mpls named Amy messages back, “Oh, my friend Christian is there. You and he should really meet since you’re both huge music fans!” Within the next hour Christian Fritz and I were face to face and chatting music.

Not only did we like a lot of the same bands/labels/scenes (namely Sarah Records, C86, Flying Nun, to name but a few) but he told me that he had a label as well, one called mpls ltd. He was nice enough to send me a bevy of records that he’d released and it was everything from cheery/noisy indie rockers Sass to tripped out freaks like Flavor Crystals and everything in between. Yes, Christian is documenting the varied and talented music scene in the Twin Cities and beyond. Read the interview, check out some of his bands (or all of ‘em) and you may learn a thing or two and discover a new favorite. After all he is “Bringing the sounds of Minneapolis to the world, and the sounds of the world to Minneapolis.”

 When did the music bug first hit you? Was there much music in your house growing up?

It goes back literally as far as I can remember. My mom gave me a Singer tabletop record player that she got with her sewing machine when I was maybe 4 or 5 years old. My dad’s albums were off limits, but he had a box with maybe a couple of hundred ‘60s pop and country 45s that I would play for hours at a time. I used to tell everybody that record player was my best friend which would terrify my parents.

 Do you remember the first record you ever bought?

I grew up in rural Minnesota, and the first two 7”s I bought together with my own money at the local Ben Franklin were John Lennon’s “Nobody Told Me” and Nena’s “99 Luftballoons.”

 First concert? First indie/punk show?

Probably my first live music experience was seeing Billy Joe Royal of “Down in the Boondocks” fame with my family during one of our outings to the Minnesota State Fair at one of the free stages there, but my first real show was seeing Sonic Youth on the Daydream Nation tour at First Avenue when I was 16. It was my first time being in downtown Minneapolis, and the entire experience was mesmerizing for this young rural hillbilly. My friends and I worked our way to the front, and Kim Gordon stomped on my hand when I idiotically tried to reach for her bass pedal mid-set (I totally deserved it and wore that bruise like a badge of honor for days). One of my friends got kicked out for violating First Avenue’s then “stage dive three times and you’re out” policy. While in retrospect I cringe at a lot of my behavior that night, it was also when I finally discovered a world I hoped to be a part of really did exist.

 Tell us about the beginnings of the label, when did it start and why? How did you decide on the name?

For as long as I have been in love with music, I have also wanted to make records. I even remember drawing records with crayons at an early age and trying to figure out a way to make them play (unsuccessfully). When I was in college at Saint Cloud State University in the early ‘90s, I tried my first attempt at starting a label called Timbre and released a 7'' by a local punk band called The Nothingheads. I was contacted by someone in Seattle who said they already had that label name (to this day I have never seen a release), so I changed it to Idyllwise which was a word I made up so that nobody else could take it. Josh Koch from Saint Cloud had moved to Australia and joined the band Patterson’s Curse with Matty Whittle who was in God and Greg Bainbridge who had played with Kim Salmon, so I jumped at the chance to release their debut EP in the States. Future releases were in the works from Minnesota bands Chast and Silver Rocket Band but I really had no idea what I was doing, got in way over my head, and the whole thing fell apart.

Flash forward to 1999: I had been working on my own breakbeat tracks, and decided to surprise some friends and make a professional looking demo by having a 7” pressed. Even though I had no intention of launching a label, I wanted the record to look like it was on one. I was listening to a lot of 70s soul on Philadelphia International at that time, and it occurred to me that I was living in Minneapolis and I didn’t have any money. Hence, “mpls ltd” (Minneapolis Limited) was born.

Although I was involved with a few releases, things didn’t really evolve from “vanity project” to “label” until 2004. My good friend Vince Caro had just finished recording his band Basement Apartment’s latest album “Transistor!” and asked if he could use the mpls ltd name just to have the CD released on a “label.” I asked to hear it first.  We were listening to it in my living room and were probably somewhere around track #5 when I knew I wanted to be involved, and asked if we could partner together on the release. That changed everything.

 Were there other labels out there that influenced you to start a label?

Princeton Minnesota had a short-lived gem of an independent record store when I was in high school called McCarty Music that really didn’t fit the community, but I was so glad it was there for as long as it was. Carolyn who ran the store introduced me to the sounds of many brilliant bands on labels like 4AD, SST, and Touch and Go. Also as soon as we got driver’s licenses, my friends and I would drive from Princeton to Minneapolis just to go to Northern Lights or Let It Be Records any chance we got. I loved how those breathtaking early Sarah Records 7”s all included postcards with pictures from Bristol, and I would also buy anything on Creation that I could get my hands on. The brilliant bands from all over this earth that somehow found their way to Homestead Records before the days of the internet also had a major impact on me, in that “someday I hope I can do this too!”

 How many releases does Mpls Ltd have so far?

52 as of the end of 2020, plus seven 7”s from a short-lived “super split singles club.”

 How did you get the records out to the world in the beginning (and even now)? Distribution?

In addition to my primitive website, I spent a lot of time in the early days pleading with places like Carrot Top and Parasol to carry my releases with mixed results. When Flavor Crystals opened for The Brian Jonestown Massacre on their 2009 US tour, distributors from the UK and Europe started approaching me. Before the Bandcamp era, it felt like my bands could focus on tour sales and I could focus on retail. Now the artists and I discuss how our overall strategy is going to work before we do each release.

 Weirdest/worst review one of your records ever got?

I can’t think of any that were terrible, but there were definitely some that were weird. The most recent one that comes to mind was Razorcake’s review of Partition’s “Prodigal Gun” last year. I was stunned when it was reviewed by Rev. Nørb of Maximum Rocknroll fame, but he talked a lot about how purple the vinyl and artwork was, with quotes: “I personally think this record is somewhat cool because it’s so purple, but I realize your situation might be entirely different”  and “This vinyl is seriously the purplest vinyl I’ve ever seen in my life. Don’t be surprised if they find Barney dead at the bottom of the vinyl vat.” (He did also say “this sounds kinda like a cross between Exene Cervenka and Kathleen Hanna fronting Flipper” which spoke to me.)

 Are all the acts on the label from the Twin Cities or at least Minnesota?

While the label has a stronger Minnesota representation, I’ve released records from bands all over including UK act The Projects whose members included Mira Aroyo of Ladytron, Scotland’s Abagail Grey who was produced by Chris Geddes of Belle & Sebastian and Tony Doogan, and even a 7” from Damo Suzuki of Can.

 How do you explain the plethora of great Twin Cities bands over the years?

The amount of amazing music that comes from here past and present is kind of insane! While the Twin Cities Metro is a large area, it’s also small enough where it’s easy to make friends with people in the music scene here. I moved to Minneapolis in 1995 after doing five years of college radio at KVSC, so I was already a superfan of many local bands including The Hang Ups, Babes in Toyland, and Saucer when I arrived. I never imagined getting to be good friends with some of those members. Witnessing the evolution of Real Numbers, I shouldn’t have been surprised as I was to eventually learn that Eli Hansen is as excited about the whole Sarah Records scene and bands like Felt as I am. I got three original members of The Litter onstage at the Kitty Cat Klub for mpls ltd’s 20th anniversary party in 2019, and I am not sure if I can ever top that.

 Current favorite bands (anywhere…not just local)?

I have been very much into the new albums from Adele & The Chandeliers, Michael Beach, The Boys with the Perpetual Nervousness, Flyying Colours, Moon Coven, and Jane Weaver so far this year. The Baudelaires who played several shows with Flavor Crystals on their Australian tour are finally getting ready to release their next record, and I cannot wait! I bought a ridiculous amount of fantastic new vinyl throughout the pandemic, and I am beyond excited to finally experience live music again.

 Five bands you wish you could release records by (defunct or not)?

Broadcast, Dolly Mixture, The Go-Betweens, Sparks, and Windhand.

 Any advice for other people wanting to start a label?

Always expect the unexpected (for example: the pandemic was additionally terrifying while I was waiting for test pressings of two records as I realized that nobody would be touring or playing any shows for quite some time), trust your instincts, and don’t forget this is supposed to be fun. Things will inevitably get stressful at times, but you will also learn as you go. In the immortal words of Gibby Haynes “it’s better to regret something you have done than to regret something you haven’t done.”

 What’s next for the label?

I am expecting test pressings for the new album from Minneapolis sludgegazers Another Heaven any day now, and there is a collaborative effort between Flavor Crystals and The Telescopes in the works.

 www.mplsltd.com

www.facebook.com/mplsltd

Christian and his assistant 

[robrob1127]

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    Acoustic Hot Tuna returns

to the Colonial Theatre

  By Rob Nagy

  Pivotal members of the legendary Jefferson Airplane, Rock and Roll Hall of Famer’s Jorma Kaukonen and Jack Casady return to the concert stage with acoustic Hot Tuna.

  “It’s just going to be me and Jack,” says Kaukonen while on tour in the southwest.

“I think an acoustic show is a little more internalized which is satisfying. I’m not sure each of us knows what the other is going to do. We listen really well and we’re willing to go wherever the other person is leading.”

  “We want to give people the best possible experience that we can,” adds Kaukonen. “We’ve got a great team that helps us do that in terms of sound and all that stuff, the palate to express ourselves. In terms of the show, to let people hear the stories and in some way be part of the conversation.”

  “Jack is my oldest friend,” says Kaukonen. “If you talk to him you know that he and I are really different people but we’ve always tolerated (laughs) and respected each other personally and artistically. I think that just makes it easier to get together and have fun.”

  Relocating from the east coast to San Francisco in the early ‘60s, Kaukonen befriended fellow guitarist Paul Kantner who he joined along with vocalist Marty Balin and later, bassist Jack Casady, to form the Jefferson Airplane.

  Signed to RCA Records, and following the release of their unsuccessful debut “Jefferson Airplane Takes Off” (1966), vocalist Grace Slick and drummer Spencer Dryden joined the band. It was their follow-up album, “Surrealistic Pillow” (1967), featuring the singles “Somebody to Love” and " White Rabbit” that would be the break the band needed. Both songs were instant classics and remain a part of the soundtrack of the ‘60s generation. The band released five more albums, “After Bathing at Baxter’s” (1967), “Crown of Creation” (1968), “Volunteers” (1969), “Bark” (1971) and “Long John Silver” (1972).

  “When you go back and listen to the freshness of that music, when it was new for all of us, it’s hard to recreate that sort excitement or newness.,” recalls Kaukonen. “At the same time, I think I have a deeper appreciation of what we were able to do.”

  Kaukonen recalls performing at the decade’s most significant musical and social gatherings.

  “Both Jack and myself and a lot of my contemporaries have been so fortunate,” recalls Kaukonen. “A lot of it has to do with being in the right time and the right place with the right people. And to leave footprints on the pages of history like that, it just doesn’t happen to everybody. People say, ‘You were at the big three: Monterey, Woodstock and Altamont’ - we had no idea what was going to happen. Woodstock was an oddity because there were a number of festivals that summer, but there was only one Woodstock. You just couldn’t script that but there it was and there we were.”

  “Time marches on, nothing stands still,” adds Kaukonen. “I think there is a lot of truth in that one of the things that I think made the music so important to all of us, not just the creativity that was happening at the time, but the relevance to the social fabric at the time. I just don’t hear that today.”

  In an effort to expand their creativity outside the band, Kaukonen and Casady formed Hot Tuna in 1969, which initially included Marty Balin. Featuring Kaukonen’s blues finger picking and Casady’s powerful bass licks, Hot Tuna released their self-titled debut live album in 1970.

  “Jack is one of the best bass players in the world, ever! says Kaukonen. “He has the ability to play groove, which he is so good at as well as extremely inventive improvisational and crafted solos. You would think that people would know about him. I guess maybe the reason is that he isn’t a front guy and he has played with other people and so people don’t hear about him as much. It is a shame because he is so good!” 

  With the disbanding of the Jefferson Airplane in 1972, Kaukonen and Casady concentrated their efforts on Hot Tuna. Initially an acoustic act, they evolved into an electric band as well. Their third and first studio album “Burgers,” yielded the hit “Ja Da (Keep on Truckin').” Kaukonen launched his solo career with the release of his debut album “Quah” (1974). Hot Tuna broke up in 1978 reforming again in the late ‘80s. He has spent the last three decades performing and recording with Hot Tuna as well as his own solo career.

  “I’m at a point in my life that I’m not self conscious at all (laughs),” says Kaukonen. “I don’t now if that’s a good or bad thing but that’s how it is. You give what you’ve got to give and if the people like it, great but if not, oh well.”

  “I can truthfully say that I never phone my parts in. I’m always there in the moment,” adds Kaukoen. “Sometimes your ability to be able to communicate on that primal level, to me, the music is storytelling. Success is when I’m telling the story and people are getting what I’m saying.”

  “Our fans tend to be people of a certain age that have made the journey with us,” says Kaukonen. “I would just like to thank them for being part of our life as we’ve been part of theirs.”

  Kaukonen and his wife Vanessa own and operate the Fur Peace Ranch, a 119 acre stretch of land in the hills of southeast Ohio, near Pomeroy, which includes a recording studio. The ranch offers music camps to aspiring musicians, both young and old, as well as live concerts.

  “We are starting our 21st season at Fur Peace Ranch,” says Kaukonen. “We’ve got great teachers. We’ve got great shows and we’ve got great food. The teaching thing for me has always been important. You try to believe that you have to make the world a better place. But on a more personal level, in some way to be able to give back the access to the music that was given to me. I’ve been teaching on and off since before Jefferson Airplane. It’s so enjoyable to me because I enjoy the process so much it’s just a gift to be able to do it.”

  Hot Tuna performs at the Colonial Theatre, 227 Bridge Street, Phoenixville, PA 19460, Monday April 2, 2018 at 7:30 P.M. For tickets and further info call 610-917-1228 or visit www.thecolonialtheatre.com

  To stay up to date with Hot Tuna visit www.hottuna.com

www.jormakaukonen.com

www.jackcasady.com

        http://www.dailylocal.com/article/DL/20180328/ENTERTAINMENT/180329773