#on theme with how much dancing was in that musical ep so i figure now’s a good time to post dancing

[rystiel]

in honor of 15’s first season finally starting (featuring jack because i’ll miss him forever)

[jules-has-notes]

The Sing-Off, s.4 ep.5 — Movie Night

Even before movies had spoken dialogue, they had musical accompaniment. Music can convey or enhance the emotions of a scene, and make a film more impactful. (And when one of your show's production partners is under the same umbrella as several film studios, you can license some of their music pretty easily.)

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Group opener

What's not to love about a catchy song full of big, dramatic moments from a movie about dancing? It's a fabulous way to kick off the "movie night" episode. The arrangers and choreographers clearly had fun with this number, and the singers turned it into a giant party.

Details:

title: (I've Had) The Time of My Life

original performers: Bill Medley & Jennifer Warnes (featured in Dirty Dancing)

written by: John DeNicola, Donald Markowitz, & Franke Previte

arranged by: The Sing-Off arrangers

air date: 18 December 2013

My favorite bits:

the ballroom-inspired choreography

pairing up members of different groups whose voices blend well

the delightful incongruity of goth-punk Tony doing perfect pas de bourrées

Sarah Vela's gorgeous tone on ♫ "Never felt this waaay" ♫

the choreographers sparing some of the vocal percussionists by letting them enter in the last group so they don't have to dance as much (Keeping two different beats with your mouth and your body is hard.)

I figured out how to make a cropped gif for that cute moment between Geoff and Jules.

Trivia:

In order to achieve the cool silhouette effect at the beginning, Tim Foust had to stand (and sing) in a very uncomfortable position.

Once again, one of the Vocal Rush chaperones recorded a rehearsal for the kids from the audience. It's a little fuzzy, but Earl's bright orange shirt, Eli's red pants, Tony's studded black cap, and Honey's red hair make them all pretty easy to spot. Layne is in all gray at the far left. Geoff's one of the blurry dudes near the front on the right, but I'm not sure which one because it seems like the blocking changed a bit before filming.

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Theme reveal

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Order of performances

Home Free — "Oh, Pretty Woman" by Roy Orbison (featured in Pretty Woman)

Vocal Rush — "Against All Odds (Take a Look at Me Now)" by Phil Collins (from Against All Odds)

AcoUstiKats — "Old Time Rock and Roll" by Bob Seger (featured in Risky Business)

The Filharmonic — "I Don't Wanna Miss a Thing" by Aerosmith (featured in Armageddon)

VoicePlay — "Don't You (Forget About Me)" by Simple Minds (featured in The Breakfast Club)

Ten — "Skyfall" by Adele (from Skyfall)

Ultimate sing-offs

AcoUstiKats vs. VoicePlay — "Eye of the Tiger" by Survivor (from Rocky III)

Vocal Rush vs. Ten — "Fame" by Irene Cara (from Fame)

Home Free vs. The Filharmonic — "I'm Alright" by Kenny Loggins (from Caddyshack)

.

VoicePlay performance

[Here is a longer version that includes the intro package and judges' comments.]

A theme like "movie night" is tailor-made for the theater kids of a cappella. Give them characters and a story, and they'll give you fantastic entertainment. The only stumbling block for this song was that the reality show format hindered them from following their own instincts. Jewel pushed them to be even more "emotional" than the previous episode, which steered them away from giving a performance more true to themselves.

Details:

title: Don't You (Forget About Me)

original performers: Simple Minds (featured in The Breakfast Club)

written by: Keith Forsey & Steve Schiff

arranged by: VoicePlay

air date: 18 December 2013

My favorite bits:

the costumes — a great balance between representing the characters from the movie and their own personalities

Layne subtly snapping them in rather than counting out loud

the gradual layering to fill out the sound

the downward harmony run on the first ♫ "Rain" ♫

everything dropping out when Eli kicks off the polyphony, then building back up one by one

the insistence in their voices during the final section

Trivia:

The judges' biggest critque was that VoicePlay didn't include enough of the song's iconic ♫ "La-la-la-la" ♫ hook. Geoff revealed on Twitter that their first draft of the arrangement did include more of that part, but the producers made them change it.

Shawn Stockman also touched on the fact that they'd been pushed from the beginning into arrangements that framed them more as Honey and her backup singers rather than a group of equals with diverse talents. (Not the only group with that issue.)

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Ultimate sing-off vs. AcoUstiKats

[Here is a longer version that includes the intro package and judges' comments.]

Since all six groups were paired off for battles this episode, they at least got to avoid the fraught selection process. Being able to rehearse against the same groups all week also allowed everyone to really hone their arrangements and interactions, resulting in performances that were more collaborative and fun to watch.

Details:

title: Ultimate Sing-Off – Eye of the Tiger

original performers: Survivor (featured in Rocky III)

written by: Frankie Sullivan & Jim Peterik

arranged by: VoicePlay & The AcoUstiKats

air date: 18 December 2013

My favorite bits:

Honey and Ron playing rock-paper-scissors for who gets to go first

Earl knocking Eli and Geoff's "teeth" out, and Tony's shocked reaction 😲

the ridiculously disproportionate tug of war 💪

Earl's dancing pecs leading straight into a Latin dance beat

the AcoUstiKats making their 12-man "wall of sound" into a physical barrier

Eli fending off the encroaching threats with a Matrix-style dragon kick (and some help from Earl)

the melodramatic tableaux when the final "brawl" breaks out

ending it all on a glorious major chord

Trivia:

It didn't end up in the final episode (for reasons that will become obvious), but this performance got a standing ovation from the audience and the judges.

The groups apparently gave themselves the portmanteau of "CatsPlay", which is just adorable. 😺

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Judges' choice

Eliminated: VoicePlay & AcoUstiKats

Despite the show framing the "ulitmate sing-off" segments as battles with a winner and a loser, the judges bafflingly chose to cut both halves of the showdown between VoicePlay and the AcoUstiKats. It seems that the groups working together to create a more cohesive performance resulted in the judges pitting the three supergroups against each other instead.

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This episode was filmed on Geoff's birthday… which means they got kicked off on his birthday. 😒 At least that meant they got to go home and rest for a few days before coming back for the finale?

[celtfather]

When She Held Me In Her Arms, Running Tips

Happy Valentine’s Day! I have a love song story to share with you from my newest CD, Selcouth. Find how my next album, Come Adventure With Me, is progressing. I added another February gig to my calendar. I share things no one ever told me about running. And is Arbor Day in February?

This is Sci Fi Pub Songs & Stories #265

0:24 - “Galway Shawl (live)” by Marc Gunn from Camping Trip 2022

6:13 - WELCOME TO SCI FI PUB SONGS & STORIES

I am Marc Gunn. This is the audio edition of my newsletter as well as the liner notes for the songs I record. You can follow this show at PubSong.net or send an email to pubsong@celtfather to sign up and get the MP3s for my songs featured in this episode.

7:19 - UPCOMING SHOWS

FEB 17: Ironshield Brewing, Lawrenceville, GA @ 7-10 PM

MAR 10: Tucker Brewing Company, Tucker, Ga @ 6:30-9:30 PM

MAR 15: St Patrick’s Day Concert on Bandcamp @ 7 PM EST

MAR 18: Pontoon Brewing, Sandy Springs, GA @ 1-4 PM

MAR 18: Ironshield Brewing, Lawrenceville, GA @ 7-10 PM

JUN 3-10: Celtic Invasion Vacations, County Mayo, Ireland

WHAT’S NEW?

Thanks to everyone on Patreon who voted for the next Internet Concert theme. Next month’s theme is Irish music for St Patrick’s Day. In April, we’ll sing Irish Drinking Songs for Cat Lovers.

Read the Daily Journal from my Celtic Invasion of Loch Lomond.

Oh! Make sure you subscribe to Sci Fi Pub Songs & Stories. I’m sharing songs I recorded on a camping trip last fall. They’re kinda romantic too!

8:47 - COME ADVENTURE WITH ME…

Is the title of my next album. I did a Kickstarter for it about this time last year. It was a huge success, fully funded a few days into the campaign. I gave myself until July to actually release the album to supporters. But that’s not good enough. I’m gonna try to release the digital music to supporters by my birthday, March 17.

Will that happen? We shall see.

Right now, I have 8 songs fully completed. I have four more that are being edited. So I’m well on the way to completing it by that date. There are several other tracks. I still haven’t come up with a good album pin idea. But I’m hopeful I can figure that out in the next few weeks.

But I am super excited that the project is almost done. Because I have three other albums to work on: Dancing With Hobbits, Another Faire to Remember by Brobdingnagian Bards, and whatever the next album will be… I have an idea or two…

12:07 - “Wherever I May Roam (live)” by Marc Gunn from Selcouth

14:55 - DOWNLOAD MY FREE EP

You can download all of my songs in this show. Just send me an email.  pubsong@ celtfather You will get an auto responder with a link to download this month’s album. You can also subscribe to the podcast if you’re not already subscribed. It’s quick and easy.

While you’re emailing me to get your free EP, let me know what you’re doing while listening to this episode.

15:06 - WHEN SHE HELD ME IN HER ARMS

In 2001, the Brobdingnagian Bards were performing at a lot of faires. Kansas City Renaissance Festival was one of the biggest and the coolest gig we had booked to that date. They paid us to fly to KC from Austin, Texas for several weekends. They put us up in a hotel. We hung out with 3 Pints Gone. We made a lot of new fans. We were even hired to perform at a wedding.

I don’t remember all of the details surrounding the writing of “When She Held Me In Her Arms”. But that festival stands out in my mind. I remember writing the song in the hotel after a long day at faire. It flowed out of me, filled with so much hope, love, and romance about finding true love and never turning back.

Andrew and I recorded it shortly after that. We went into the studio. The Bards recording was decent enough, but the performance was way too fast. So it did not end up on A Faire to Remember or Songs of Ireland. But when I was trying to put together a compilation of music so we could book some wedding gigs, I added that song to A Celtic Renaissance Wedding. But I was never really happy with it as a recording.

Nevertheless, I continued to sing the song over the years. When I met Gwen in 2009, I sang it to her at MileHiCon in Denver. She was living in Virginia at the time. But she flew to Colorado to be with me for that con.

It took another five years before I recorded it again, and some years after that before I dug up the recording and the guitar additions by Daniel I Briggs before I finally sent it to Sam Gillogly to add fiddle. That was when I knew the song was finally done. I love the result.

Best part about it for me is when I come to that line about “twenty years later I’ve not regretted a day.” Then I realize that Gwen and I are now on 13 years of marriage. Wow! Mind blown! And yup, no regrets!

Here’s the lyrics: When She Held Me In Her Arms

Lyrics and music Marc Gunn

Through a market, I wandered and prayed That I'd find me a woman I might marry some day. Well, I never dreamed when I prayed that prayer That the woman I longed for was standing there.

When she held me in her arms that night, I held her close, and I held her tight. And I swore that day forth, I'd love her all of me life. When she held me in her arms that night.

She smelled of the sweetest lilac skin. And I admit it now it drew me in Oh, her voice cast a spell I could not disobey. Every word was a river that swept me away.

Oh, the market became a more beautiful place: The flowers more fragrant, and the clothing all lace. And her eyes, oh, her eyes! They begged me to stay And twenty years later, I've not regretted a day.

20:15 - “When She Held Me In Her Arms” by Marc Gunn from Selcouth

23:01 - JOIN THE CLUB

The show is brought to you by my Gunn Runners on Patreon. If you enjoy this podcast or my music, please join the Club. Every week, you get bonus podcasts, downloadable songs, printed sheet music, blogs, or stories from the road. Plus, you get weekly access to my Coffee with The Celtfather video concerts. Sign up for as little as $5 per month and save 15% with an annual membership. Thanks to my newest Gunn Runners on Patreon: Alice M, Karla A

23:55 - THINGS NO ONE TOLD ME ABOUT RUNNING

I started running right before the pandemic closed everything down in 2000. It made a huge impact on my life. But I also realized that most everything I knew about running was wrong!

You don’t have to warm up before running. I know. This sounds like sacrilege. But I don’t like flexing and stretching before I run. Instead, I just start walking. That’s all the warm up I need.

You don’t have to run constantly. Just because you say you’re going for a run doesn’t mean you are running non-stop. It’s tiring. So I walk. Some days I walk a LOT. Other days a rarely stop. But almost always walk on my “run”.

Run up hills for an extra workout. One of my running mates set this idea in my head. You can’t walk up a hill. You have to run up it. Hills are now my favorite part of my run.

Shoes don’t need to be tight. I spent the first year trying to get my shoes to fit “right”. I tightened them, cut off the circulation. It was miserable. Now, they are fairly snug. But not tight.

Get good running shoes. That really helps a lot, especially if you’re running on pavement, which is the easiest, most-accessible way to run. You’ll also need to replace them at least once a year depending on how much you run.

Listen to podcasts to stay entertained while running. My biggest challenge with running before I got AirPods was staying entertained. Podcasts make a huge difference. Most days, I enjoy the Irish & Celtic Music Podcast. But many days, I use it as a time to catch up on whatever my podcast of the moment is.

Some days it’s okay just to walk. Going back to not running constantly. If you’re tired or just uninspired. It’s okay to walk. Take it easy. Stroll. You’ll get back to it soon enough.

Running is the best way to lose weight. I’ve never been overweight. But when I finally started running, the aerobic activity is what finally got me in control of how much I weighed.

Wireless Headphones are the best. One of my excuses for not exercising years ago was those dang dangly headphone wires. When I finally got wireless headphones, my world was changed.

Humidity matters for temperature. This morning the temperature was 39 degrees. But with 78% humidity, it felt like 31 degrees. What a big difference whether you’re hot or cold.

How should you dress? Again humidity matters. But here’s a rough guide for cold weather. Wear short sleeves and shorts when the temperature is in the 60s. Long sleeve and shorts in the 50s. Long sleeve and long pants in the 40s. And of course, make sure your head is covered and maybe an extra shirt in the 30s.

You can read more of my thoughts on it in my blog.

35:35 - “Naked” by Marc Gunn from Camping Trip 2022

38:27 - ARBOR DAY IN FEBRUARY?

National Arbor Day is celebrated in April.  What you may not know is that each state celebrates Arbor Day from January to May depending on the regional season for planting trees.

The State of Georgia celebrates its Arbor Day on the third Friday in February.

It is a day to reflect on the importance of trees in our state and across our nation. Scientific research is increasingly adding to the evidence that trees are essential to global environmental health. So go plant a tree, play outside, enjoy the beauty of trees, create art inspired by trees, or honor trees in any way that pleases you!

That's all according to Trees Atlanta. When is your state's Arbor Day?

Oh! Mark your calendar for April 29. I’m going back to The Lost Druid. But I’m not doing it the regular way. I’m biking there. If you’re able to bike there or carpool or reduce your own environmental impact that day, as well, that’d be brilliant. Come join us!

If you love this episode, then share it with a friend. You can send one of the MP3s from your EP of the Month or just ask them to listen to the show. Maybe tell them one thing that really inspired you. Just spread the word.

42:00 - “When She Held Me In Her Arms” by Brobdingnagian Bards from A Celtic Renaissance Wedding

44:27 - CREDITS

Thanks for listening to Sci Fi Pub Songs & Stories. The show is brought to you by my Gunn Runners on Patreon. Every week, you get a new podcast or song or video or concert. You’ll also save 25% off all my merch in my store. The show was edited by Mitchell Petersen with graphics by Miranda Nelson Designs.

You can subscribe and listen to the show wherever you find podcasts. Sign up to my mailing list to read the show notes for this episode and find out where I’m performing.

And of course, please tell one friend about this podcast. Word of mouth is the absolute best way to support any creative endeavor.

Have fun and sing along at www.pubsong.com!

#pubstories #runningtips #valentinesday

Check out this episode!

[independentartistbuzz]

7 From the Women with Jessica Cotten

Jessica Cotten has always been involved with music. Her father is a music professor and a professionally gigging musician, and she studied piano as a child. The melancholy angst of 1990s grunge is where Jessica found her musical purpose. She was swept away by the emotional onslaught of bands like Pearl Jam, Nirvana, Stone Temple Pilots, and the passionately political band The Cranberries. 

She became more serious about music while in college and she purchased a guitar to accompany herself singing. Eventually, Jessica began touring on and off as a singer in an acoustic jazz rock band, as well as with a youth outreach non-profit program. Jessica continued writing and honing her craft beyond college and her active touring years. She expanded her technique through studying voice with an opera singer; and she became an early adopter of GarageBand—Jessica wrote, recorded, and produced two now-unavailable electronic rock albums. 

We got to speak with Jessica about her music, career, and more in this edition of 7 From the Women:

What Have You Been Working To Promote Lately?

I’ve been working on promoting my new EP, Edge of the Wilderness! It’s pop-rock-electronic-ambient, and the songs explore the complexities of being human. It’s little bit protest, a little bit lullaby, a little bit dance party. I sing about the fate of corrupt leaders, quantum entanglement, friendship, and love — all to tasty beats and layered synths.

I’m still trying to figure out what “edge of the wilderness” means. It’s a phrase from one of my songs “City on Fire”, and I think what I’m trying to express is when you leave a place (or a time, or a way of being, or a person) that used to be safe but no longer is. The road out of there and into whatever’s next feels like wandering around in desolate wasteland. But it’s actually a refuge compared to what you left. I think that’s close to what I mean, and the EP deals with that sense of lostness and resoluteness, that need to rant and the search for healing. Listen here >> https://linktr.ee/jessicathecotten

Please tell us about your favorite song written, recorded, or produced by another woman and why it’s meaningful to you. 

One song I often go back to, one I can always count on, is “Chosen”, by Rose Cousins. It’s amazing how much this song carries with just 2 chords. It’s lyrically rich and deep and moving. Each verse gives these poetic depictions of being accepted and being rejected, experiencing achievements and setbacks, and I identify with what she’s talking about, “I don’t know if I have what it takes to be chosen”. It’s very emotive. Very human. The song builds so beautifully, and I get caught up in it each time.

What does it mean to you to be a woman making music/in the music business today and do you feel a responsibility to other women to create messages and themes in your music? 

I’m careful with that word “responsibility”. Sometimes it’s closely associated with obligations or expectations that turn into a weight that’s not sustainable for any human to carry. And obligations and expectations sometimes just suck the life out of me as an artist. I think I feel a responsibility to be true to myself. To be kind. To not neglect my voice and expression. And those things can become tainted if I add this weight of trying to influence others to do the same. I hope I can inspire women to do the same, but I think the best way to do that is by not trying too hard to do it! Being a woman making music today is...actually pretty great, I think. It seems we have more platforms and support than ever, more awareness of how systemic discrimination has held us back, and more empowerment to rise above it. 

What is the most personal thing you have shared in your music or in your artist brand as it relates to being female? 

The most personal thing I’ve shared musically as it relates to being female is found in my song “My Heroes”. It’s specifically about the gender discrimination I’ve experienced as a female in different circles. It details the messaging I’ve heard over the years, how it has affected me, and the steps I’ve had to take to rise above it. Really it’s my way of telling gender discrimination to shove it. So many of the ways we measure success and heroism are harmful, and I wanted to denounce them. Some of my biggest heroes are people the world doesn’t pay attention to. Those who defy toxic definitions of success, leadership, and power.

What female artists have inspired you and influenced you? 

Gloria Estefan has always been someone I’ve looked up to – I love Latin music and there’s this maternal thing she carries, and her album Mi Tierra was a huge influence in me learning Spanish. Imogen Heap is one of my biggest inspirations, the way she experiments and the layers she creates in her music, plus the way she just does her own thing, often going against mainstream expectations. And Dolores O’Riordan was one of my biggest inspirations in my teens. I identified with her sound so much; her gutsiness and uniqueness inspired me to find my own.

Who was the first female artist that made want to create music / be in the business? 

Dolores O’Riordan made me want to get in front of a mic, sing everything, and not hold back!

Who's Your Favorite Female Icon(dead or alive) and why?

I might have to say Emma Thompson currently, because lately I’ve found myself being really drawn to her. I admire how she seems to know herself so well, and how absolutely uninhibited she seems both in her art and in interviews. I tend to look up to people who don’t give a flip what others think, and she is that way plus she just seems wise and well-spoken. And she’s hilarious, which is one of my favorite qualities in a person.

Finally – Where can we find you online?

You can find me at jessicacotten.com. Sign up for my journal there, where I send special stuff only to my email list. Instagram: @jessicathecotten Twitter: @jessicacotten

[d-criss-news]

Actor And Producer Darren Criss Reveals His Creative Process

The producer, singer and actor talks his approach to songwriting, discovering his sound and how he’s ready for the next chapter.

We don’t know about you, but we’re currently experiencing the Bank Holiday blues. With the realisation that our days of summer maybe coming to an end were in need of uplifting sounds and singer-songwriter Darren Criss is keeping the energy going with his fun-filled EP “Masquerade”. Between the slick alt-pop productions and high-octane energy, the artist puts his theatrical abilities and prowess at the forefront of the EP. Laced with serene dance floor-ready melodies, the actor and musician instantly gets the party going on the project, kicking it off with “f*kn around”.

“The dirty secret is that every song is character-driven,” the artist revealed when discussing the project. “I just chose wording that could perhaps aid people into understanding this exploration of genre, this self-aware exploration of genre a little more. For those people that only know me as an actor, I’m trying to guide them into this notion of music and songs being a form of acting.”

No newcomer to the scene, the artist has spent the past decade gracing our screens in the cult favourite Glee and the thrilling Assassination of Versace: American Crime Story. Wanting to continue his musical journey in the form of producing and writing, we caught up with the multi-faceted artist talking his growth over the years, staying creative in a pandemic and how he’s ready for the next chapter.

Check out the interview below now…

Hey Darren, how are you? How has this past year been for you? It’s a strange question to answer because everybody’s answer is so much more complicated than what you can say in a quick easy tight polite answer. You know, I’m well, as well as one could be given the situation. I feel, you know, luckier than most. Even with the music that I just put out there’s still more that I’d like to do, but I got to do even more than I thought I’d be able to. So that tends to be kind of the theme of the past year and a half. I feel like I’ve been so consumed by working on so many things for so long, that not a lot of people outside of my inner circle know about that. You know, it’s been a lot of high output but seemingly low visibility. So now finally getting to put out some of these things and talk about them… tipped scale of visibility versus output is hopefully having a chance to even out for a bit, to where the amount of work I’ve put in can somehow match that people you know may or may not know about what I’m doing. You know, I’ve been really busy. I’m the kind of guy where if you give me a white canvas it’s a more…I wouldn’t say stressful, but I’m more likely to fill up a blank canvas immediately with as much shit as possible – I guess that is more stressful than having only a few places to fit things in, and I usually keep pretty busy. Ironically when I’m really busy, that’s when I can get stuff done. Like you know that phrase ‘if you want something done ask the busiest person in the room’, and I think there’s a degree of truth to that because you know, the chaos kind of begets chaos, and productivity begets productivity, and in a lack of anything else to do it was like ‘I wanna do all these things!’ and then it gets really crammed, so it’s nice to be kind of simmering down from this overwhelming call to arms to get as many things done as I could with this new unprecedented free time that I had. So, in short, I guess, am well if you wanna use that! I feel, I’m just relieved that a lot of this stuff can exist somewhere outside of my head but it’s a complicated answer, I’ve been able to do a lot more than I thought I’d be able to.

With everything that happened last year, was your creativity affected? The time that it yielded is the kind of time that a lot of creative people fantasise about. Of course, we would have all preferred it in a very different way when you say ‘if only I had time to sit down and work on this’. I think we all have; I say creative people but we all say, ‘if only I had time to paint the kitchen, learn a language, get in shape’, you know do something different that requires a bit of time and focus. We were all given that golden ticket, of course take that with a massive grain of salt, I’m fully aware of the price with which that came, of course if we had the choice, I don’t think any of us would have wanted it to happen the way it did. But none the less, for those of us who did take the time to focus, to hopefully be productive and proactive with the situation we were thrown into, it was creatively beneficial to finally get to address things that had been sitting kind of on deck and dormant in my mind, and it was just a matter of having the time to give them any attention. One of the joys of jumping between acting and music is there is a battle of time commitment, because neither one is a thing you can do casually. If you’re acting in something, there’s a great degree of scheduling that really eats up a large chunk of your day. While I’m in an acting project, I’m writing stuff and playing music but the actual logistics of producing music is as time consuming as the acting. I am envious of people that can kind of just show up, sing a song and leave. I, unfortunately, am not that kind of person. Writing a song is only a small piece of putting music out. Production really does take a large part of my emotional and intellectual efforts, and I really dive in head on. And that’s not even mentioning the promotional side of it. So, it really does take a lot of time to dive into those things, and I was finally given that. If anything, it was hard to decide what part of my musical menu that I wanted to serve up. It just came to a matter of what felt right at the time, what seemed fun. I kind of wanted to put out something that was positive and fun, and unapologetically so. And something that really showed up for a side of me that I felt like hadn’t been represented in the past. The musician side, and unfortunately, we haven’t been able to perform these very much. We’ve done little videos here and there. Stuff that really showed my roots as a musician, a garage rock guy, a guy that really likes getting in the weeds of production. In the past I’ve put up things that are a little more analogue, singer-songwritey, and this is more me as a producer and a musician.

How did you first get into music, what sparked the interest? Well, I’ve been playing music my whole life, and not casually either. It’s such a massive part of my identity, and that’s one of the main driving forces of me wanting to put out as much music as I possibly can. These five songs on this EP are a small part of a much larger body of work that I’m dying to get out whenever I can. When you’re a songwriter, or just in general a creative person, you have more ideas back logged than your body can execute. This is only a small part of a much larger puzzle, and a lot of these songs, the ones that I’ve put out and the ones I’m still trying to put out, are ghosts that have been haunting me however many years., some more than a decade, some more than two decades. The reason I mention this is because I’m trying to illustrate how pivotal music and making music has been throughout my life. I started playing violin when I was 5, and that was a big part of my cultural education, learning how to play an instrument that is so dynamic and requires a pretty specific ear and technical ability. Now I’m not saying I was fantastic at the violin, but I think the training that I had on it from 5 until my late teens really shaped the way that I would create music and think about music, certainly as a writer and a producer, but with just how I would jump between other instruments as well, because the violin was such a great touchstone for me to end up taking up the piano or guitar, or drums, or other instruments that would really formulate how I create music. Between being the orchestra nerd kid that played a lot of music throughout my young life, and also being the guy that would play in bands, its just been such a huge part of my life. As I’ve gotten older and gotten to understand this other version of myself that exists in more of a public view, that has little to do with that I know, I have started to notice that person, that avatar of myself, isn’t necessarily associated with music. And that was troubling to me, so I wanted to rectify that.”

And now you’ve just dropped your EP, talk us through your mindset going into the project? If I was just a recording artist, and that’s all I did, I’d like to think that I’d have a much larger body of work to show for. I feel like a lot of songwriters feel this way. There is just simply too much music…now I’m not gonna say it’s all fantastic, there’s a reason you have to triage the ones that you think are the best at the time, and there are many songs that I feel would be outdated, they feel very of the time 10 years ago. But you’re always trying to put your best foot forward with the pile you have lurking behind you. So, it is a hard thing to decide which thing you want to put out. Killing your darlings is always a hard thing, figuring out which ones to really focus on is difficult and it usually comes down to who you decide to collaborate with – right before the pandemic was one of the most tumultuous times of my career where I was producing and acting in a show for Netflix, and I was also kind of show running, acting, writing music for, editing, doing everything for this other show I created called ‘Royalties’ on another platform. I was doing both at the same time, and one of the things that made this possible was the people that I would collaborate with. A young man by the name of CJ Baron who I produced and wrote this EP with, he’s sort of the midwife that I chose out of working on Royalties because we had a lot of great songs together. I keep referring to myself as a producer, but I do it from a much more cerebral space, whereas he is a much better technical producer than I am. We really shared a lot in common, so by the time I realised that I wanted to make a piece of music you have to decide ‘who do I want to go down this yellow brick road with?’ And when I decide with CJ, that kind of already hinted at the kind of music that I would put out because he has his own fingerprint, and so I thought there’s something that I have that might mesh well with that fingerprint, so that kind of helps the decision process along of what songs am I gonna put out. But in another world CJ wasn’t interested, so then I think ‘Okay let me try and produce an album with this person’, and that person would reveal a different selection of songs. I’m very open to seeing what the universe is allowing and pushing towards, and I kind of follow that northern star to figure out what songs I’m gonna put out. But the mindset was always ‘put something out’, on a completely pragmatic level. What did I want to have to show for if whenever we got out of this crazy, new age of ‘what does this pandemic mean? We have time to do stuff, when it’s over what do I want to sit there and say that I accomplished?’ And at the very least I needed to put out a few songs, so that was really my mindset – no excuses, this is the time that you used to hope for, and so what are you gonna do if you’ve got the golden ticket, you’ve won the time lottery – so don’t fuck it up Darren! That was my mindset.

You describe them as character-driven singles, why is this? The dirty secret is that every song is character-driven, I just chose wording that could perhaps aid people into understanding this exploration of genre, this self-aware exploration of genre a little more. For those people that only know me as an actor, I’m trying to guide them into this notion of music and songs being a form of acting. The number one question I always get it ‘which one do you prefer?’ and I always say they are the same to me. When I’m an actor I treat characters, characterisation of my voice and body, characterisation of how I deliver words like a piece of music. You’re scoring it the same way, there’s cadence, dynamics, volume, nuance, all kind of things that can make ‘a piece of music’ unique to a person. And that’s how I treat dialogue and characterisation. The other side of that coin is I treat music like I’m acting, like each song has its own character when you’re playing live or recording in a booth. You are donning the proverbial mask of that character and what it requires. I really wanted to keep people into this idea that at the end of the day, it’s all performative and all part of a narrative that don’t necessarily have to do with each other and the way that if you ask Alexa to play a ‘Jack Nicholson playlist’ it would be very disjointed. It would be like okay The Shining, that’s a vibe, and then it would go to As Good As It Gets, and that’s a completely different vibe. They wouldn’t necessarily be on the same playlist, but they are distinctly and undeniably Jack Nicholson. So I always thought that it was a bit of a double standard that actors can do this but in music, you know, I’m proud of this but it’s also very annoying – a lot of my songs would probably not playlist together on the same genres because you have more jazz songs, like a trip hop chill tune that might end up in the back of a Starbucks, but that wouldn’t necessarily go on the same playlist as a tune like ‘I Can’t Dance’, which is a crazy song because it doesn’t even sound like me, I’m literally putting on a different voice, I’m singing like two different people putting on an affectation. There’s a lot of things that are very different but uniquely and distinctly me. The word masquerade is a celebration of a lot of different masks, and in theatre we talk about ‘The Masque’, and how each Masque has it’s own style, history and culture, and I really love the genre, and I love Masques, and I love things that make them interesting, and celebrating things that make them unique, and really trying to maximise their effectiveness as a genre with whatever tools I have as an artist, so that’s really what I’m trying to go for, this whole character driven idea is – it’s all a masquerade.

It very much has a fun-filled vibe to it, was this your intention and why? I’m not gonna sit here and pretend I sat in a studio saying ‘Hey lets not have fun!’, especially during a time that was as fraught with a lot of troubled times. This EP was recorded during very troubling times, so I think I’d be delusional to think that whatever joy is in this EP was not some kind of reaction to that, trying to offer something positive is definitely my MO in life in general, so that’s always gonna bleed its way onto my records. Like it or not. The intention is to record things that can be effective. If the vibe you feel is fun, great. If you feel any vibe at all, whatever the fuck that means, that’s a win for me. If that happens to be the word ‘fun’ then awesome, there’s a lot shittier adjectives that can be derived from this body of work so I will absolutely take it. My intentions are again to try and honour the songs. When you write something it has its own magnetic pull, it has it’s own gravitational pull that you have to kind of follow. If a song sounds a certain way, you want the lyrics to feel the same way that it sounds, and you want the production to feel the way that it vibes for lack of a better word. All songs have different body types and dressing it up and knowing how to tailor it to accentuate the things that make it fun or sexy is really sort of a strange alchemy. It’s not up to me how people experience it, but that’s what makes it fun. Once you put something out into the world it’s up to other people to use their own adjectives of the suit you tailor. I’m always excited when it leaves my head and becomes somebody else’s experience. So hey, if it’s fun – great!

What do you want people to take away from the project? Obviously, I hope people enjoy themselves. Any musician or artist would hope that there’s some kind of memorable experience to be had from it. If I was talking about what I hope people take away from it, that doesn’t have to do with the music itself, I hope that every time I put out music it’s me broadcasting this notion that this is something that I do, and that this is a big part of my identity. I think the songs themselves and what they’re about and how they feel are less of an insight into my identity as the notion of me putting out music is, because I feel like for any artist your journey is a constant negotiation between how you see yourself and how you would like to be seen, and how audiences are willing to see you. And you know, sometimes that balance is not always even. Sometimes the way they see you isn’t the way you see yourself, and sometimes the way you see yourself isn’t the same as the way they see you, so you want to be somewhere in the middle. And ‘Masquerade’ is a huge step forward for me to try and represent who I am and what I’m about to folks who might not see that. So that’s the biggest goal I think with any release but particularly this one.

Who would you cite as your inspirations? I’m one of those people that, when I say that everything inspires me, I��m not trying to be cute. It’s a problem. It’s an actual scourge on my life, where I find everything interesting. I find everything inspirational. It’s such a core belief that I have that there is inspiration to be derived from every walk of life. Stuff like from a lawn chair to a Bach cantata, there are so many things that can be interesting and incorporated into some creative output. It’s just all about how you look at it and how you can perceive and understand where it comes from. There are so many things that are inspiring to me. Of course, this is the massive macro answer that you weren’t looking for, you’re probably looking for ‘what artist are you inspired by?’ I think I’m just inspired by people who are really genuine to themselves, and this is an ironic answer considering that I actually try to be as many different people as possible. It’s a strange thing that actors are celebrated for not being anything like themselves professionally. And musical artists are separated for being as close to themselves and putting their souls as close to the chopping block as possible. I think I’ve really found my niche as a storyteller. I’m envious of some of the great troubadours of history, that can put their souls out on the record for us and put their own personal experience into things. Leonard Cohen and Joanie Mitchell, and Carole King, more modern people like Taylor Swift who really can just bare their souls for us. I really admire them because that’s not a muscle I have. And when you’re an artist I think ‘Okay so what muscle do I have?’, and I think ‘Okay I’m like a playwright, I can make each story for these songs and try and bring them to life with as much accessible ability and reality, and as much truth as I can convey, that’s not to say they’re disingenuine, they’re born from a genuine idea but they’re supported by my background as an actor. Baring myself isn’t something that comes as naturally for me, I really admire those people and I try and perhaps emulate a lot of their song writing in whatever limited way that I can. Genres are inspiring to me, lets talk about song writing, and then there’s producing which are two different things to me, because when I hear music I hear chords, I hear melody, I don’t listen to the snare sample, but I always hear the bare bones and then I think about production. So as far as producing is concerned I think it’s really important to know all genres and to listen to what makes each one interesting and respecting those genres, and then when you are producing something yourself, and then taking from each thing by knowing why and how they work within that genre, so again to use a song like ‘I Can’t Dance’ which is a nod to late 70s/early 80s, somewhere between disco and new wave, I’m employing the things that make those genres fun, to me at least, and trying to smoosh them together in a way that sounds cohesive. So…everything is inspiring to me, it’s hard. But each song has a different source of inspiration, but they don’t transfer between all songs.

You’ve also wrote for animated series and for Glee, is the process different for producing? “This is actually a very good question. I think this ties into what I was saying before about writing for narrative is something of a calling that I think I’ve realised more recently is kind of where I can plant my feet more easily than any other type of song writing. I was mentioning the people that can bare their souls, some people have a really good ability of putting themselves out there but also writing as a satirist of character that he creates. The person that is a master of this is Randy Newman, he’s one of the greatest American songwriters of the 20th century. He has an amazing ability to create these scenarios or create first person accounts of people that aren’t actually him, but he can contextualise with his literal voice, his song writing voice, and make those their own sort of satirical version of himself. There’s a lot of layers going on there, but I’ve always thought of him as really excellent. He’s like a playwright with music, he’s writing musicals, I mean he’s won Oscars for writing music for narrative! That’s something that I’d really like to do – from a technical standpoint it’s actually very liberating because when you’re writing music with your name on it, you’re the artist, then there’s this sort of weird expectation that you’re trying to service which is why I like this idea of putting the mask on and separating the songs from my own personal experience, because I need to separate myself from my own experience of the music you’re hearing, at least on the surface. My big break was A Very Potter Musical, that I feel to this day are my biggest hits because I don’t really have hits, but as far as the songs that people know that strangers know of songs that I’ve written, they were songs that were written for characters. It’s a bit like painting by numbers. If you just write a song from scratch about anything, it’s like the canvas I’m talking about again. You can do anything, or go anywhere, and that’s overwhelming. Having parameters, knowing where the gates are, is extremely helpful, knowing when the deadline is, knowing how long your party can go for. It means you can maximise the space you know you have. When you write for narrative you go ‘this is the character’, ‘this is how they speak’ – so you already have your lyrical information there – ‘this is how they talk’, ‘this is the singer, the singer has a great range that goes from this note to this note’, ‘in this scene we need the character to go from point A to point B, and we want it to be a song that sounds like X’, so you create all these amazing little ingredients, and I look at artists like a service industry, I really enjoy servicing what the person or the experience requires. When I have a menu of ‘we want this, this, this’, it’s like okay great I’ve got you! A three-and-a-half-minute song that sounds like this song, but has to be in this key and has to be a duet, I really thrive on that. And it’s probably one of my more favourite versions of song writing. And usually there’s a deadline, so I can get it done! Because I need to get it done for production. I really enjoy coming back to writing for narrative, because I did that for Royalties with CJ, and when I realised how much I enjoyed doing that and how productive I was when I was writing for a narrative, that’s when I got into the idea of ‘I need to stop trying to bare my own soul in music’. I think if I treat it like I’m writing for a character, not only can I get it done faster but I feel like I can make things stronger. So that’s when I decided that’s what I’m gonna do for this next EP. Writing for other shows and characters is what helped me realise my strengths as a songwriter.”

What is next for you? What are you most excited for? “As I mentioned I think productivity begets productivity, and that’s exactly what happened with this EP. Even if the pandemic hadn’t happened and I didn’t have the time, I think I would have been just as emboldened from working on Royalties with CJ and it got me very excited about working on music and how much joy that gives me. Any artist will say the same answer, but I think by the time stuff comes out artists are already over it because they’ve been living with it for a year and a half, and in my case over a decade with these songs, so I’m always ready to move on and go to the next thing. Everything is a stepping stone, so I’m very happy that this EP is out, I think it’s a great representation of a lot of stuff that’s been unaddressed for far too long. I just wanna get going, it gets me excited about keeping the ball rolling as a songwriter or as a producer, I just don’t want this to be like ‘This is the thing I did during the pandemic’, I want to keep it going and be more proactive about keeping time aside for it, because that’s the name of the game. When you’re acting or doing music, you have to balance it with time, and this pandemic has shown me how much I enjoy spending time on music, so I’m gonna carry that on. But of course, as soon as I say that, that’s when something unexpected and something too juicy that I can’t keep my hands off it happens on the acting side. One learns to be pretty flexible, because as soon as I say one thing something else will happen, and that’s been the narrative for the past decade of my life. I hope to just keep going. I’ve been this lucky for this long so I’m not gonna pretend like I’m going to keep being this lucky. If I get to act great, if I get to do music great. I can’t believe I’m in a position where its like ‘oh if the acting thing doesn’t work out, I’ll just do music!’ or the other way around, it’s a highly privileged list of options, and I’m fully aware of that. So as long as I can have one or the other to fall back on, I will always be excited about option. It’s not always up to me, so we’ll see. Everything that I’ve put out is just a way for me to renew my lease with my ability to show up for myself as well as people that I don’t knows ability to be interested in what I have to do next. But I won’t flatter myself, I’m not gonna say that lease is forever, so I’m just trying to put in the time and work to keep it at the very least somewhat interesting.”

Photography - Amanda Demme

[earlgreymon]

fly me to the moon, in style; a mimato playlist for lovers who dance the night away. (youtube / spotify)

01. emotion - carly rae jepsen in your fantasy, dream about me 02. over the moon - leah nobel so let's drift in the atmosphere and live in this frequency with me 03. if we never met - john k ft kelsea ballerini i love it when the city lights bring out all the blue like when i'm lookin' in your eyes 04. tonight (i wish i was your boy) - the 1975 she told me, "some things just take time; how can you be sure if you won't try?" 05. dancing in the kitchen - lany i don't mind if this whole town goes up in flames as long as i got you with me 06. like someone in love - bruno major lately, I find myself out gazing at stars, hearing guitars like someone in love 07. style - taylor swift you've got that long hair slick back, white t-shirt; and i got that good girl faith and a tight little skirt 08. heart out - the 1975 it's just you and i tonight, why don't you figure my heart out? 09. neutron star collision (love is forever) - muse now i've got nothing left to lose, you take your time to choose bonus tracks: no song without you - honne when i worry about some stupid shit, you always reassure me. you save me

part 2 of lovers in japan series track-by-track commentaries;

i always have a rather simple formula for mimato: i have to consider the song if it contains either music-related theme (such as music instruments), a rather push-and-pull relationship (a.k.a. yamato as push and mimi as pull), or mentioning "moon" or "blue". it will also be nice if the playlist is a mix of dance-pop and rock. that's why i end up with these songs!

got some nice recommendations from @tangledupblue but i cannot add more songs since i'm stuck with 9 songs and 1 bonus track format. maybe you want to do another mimato playlist, sam? :>

01. emotion - carly rae jepsen

i love this song so much, and i thought this is a perfect illustration where mimi makes sure that the image of her will always linger in yamato's mind. (yes, we like our girl getting aggressive :p)

02. over the moon - leah nobel

this song has been constantly on my repeat ever since the ep was released. when i read moon, of course i would automatically consider as i said above. i got more determined after hearing the lyric, "there's a space in the deep blue." this is basically just a simple love song about loving someone that makes you over the moon.

03. if we never met - john k feat kelsea ballerini

adding more of a pop vibe to the playlist. this song gives a good view from both sides about how they will live their life without each other.

this is more of my headcanon, but yamato's part for me is definitely, "if we never met, i'd be lost in a crowded room of fake friends, i wouldn't even know what love is." due to his parents' divorce, i think the concept of love for yamato is a bit strange. in addition, being in a band will make him surrounded by people who want to get close to him just because of his fame.

when ballerini sang, "i love it when the city lights, bring out all the blue like when i'm lookin' in your eyes," i believe this is words that mimi will say to yamato! as its counterpart, yamato will also think of this line sung by john k: "i love it when the only light is me, you, and the moon."

and don't forget this song also emphasise that even though their relationship seems "weird" (from the point of view of third parties) and maybe confusing, they will always come back to each other.

04. tonight (i wish i was your boy) - the 1975

this is just a song to describe yamato's desire to become mimi's lover also a song that may represent our desperation because they are not canon.

05. dancing in the kitchen - lany

the first time i heard this song, i told myself "this is a mimato song, period." dancing is something i can associate closely with mimi, and kitchen is just a place where these two lovely cooks belong ;) in other words, it's another simple romantic song that has a suitable theme for them.

06. like someone in love - bruno major

a slower tune which i thought suitable to describe the time when yamato started to realise about his feeling to mimi.

07. style - taylor swift

if you follow me long enough, of course you know about my digidestined fm. truth be told, when i made that post, i was only thinking about mimato for their songs respectively. i’ve mentioned that mimi is crazy about taylor swift, so it’s only proper to give one of her song in this playlist. i mean, we know mimato will be the most dashing couple ever, so style it is! also, the influence of @askmimiandyamato​’s blog title is super strong :p

08. heart out - the 1975

i don’t really like the fact i’m repeating a song from one artist in a mixtape, but i. just. have. to. put. heart out. because, again, look at that digidestined fm! i think this is the best song to describe yamato’s tsundere-ness lol.

09. neutron star collision (love is forever) - muse

i looked at this playlist and realised i didn’t put enough rock songs, so i was determined to search for a rock song as a tribute to yamato. the song should also be a bit slow because it would be a closure for the playlist. i looked at my soundtrack playlist and found this to be a perfect song, although it might be a little cheesy because it’s a twilight song. but hey, the song adheres the rule since there’s an astronomical metaphor inside.

bonus track: no song without you - honne

for mr bassist, there is no song without mimi. that’s it. that’s the post.

[jupitermelichios]

So I’ve been thinking about Britnatural

Full credit to @dreamprophet​ for the original idea

And I have thoughts. So many thoughts.

Sam and Dean are obviously from Essex now, and speak with a mild to medium Estuary accent. I haven’t fancast them but I need you to know that in my head they’re played by the two guys from Two Pints of Lager. Dean dresses exclusively in tracksuits. He probably has a burberry cap that is either put on or taken off to indicate that this time he means business. When not hunting demons, he makes his living hustling darts. In the first episode, he will defeat a ghost by throwing a holy-water soaked dart through the ghost’s head and then yelling “One Hundred and Eighty!” This will establish his character.

[artists rendition of Sam and Dean questioning witnesses]

Rather than salad and burgers, the class difference between Sam and Dean is now demonstrated by the fact that Sam drinks Aspels cider and Dean drinks Frosty Jacks (or White Lightning, depends who’ll sponsor us). Dean also has at least three embarrasing stories about Sam getting pissed on Lambrinis. Sam likes Irn Bru, because he went to Edinburgh for university, and Dean mocks him for this, whereas Sam mock dean for having inheritted all of John’s Cliff Richard tapes

John is played by Robson Green, aka McNair from Being Human

When he leaves to go looking for the demon which killed his wife (played by Jane Horrocks) he leaves Dean the keys to the family car

a morris traveller affectionately called Bastard. The fandom immediately fancasts Bastard’s human-sona as David Tennant despite the writers best efforts to the contrary. The traveller’s top speed of 50 mph explains how they’re able to spend so much time on the road in such a tiny country.

They investigate mysteries by posing as either DEFRA agents or Community Support Officers. There’s one episode where they’re supposed to pose as men of God but instead of sexy young priests they’re anglican vicars, Dean nearly blows their cover by refusing to wear a cardigan or eat slightly stale squashed fly biscuits.

Cas is played by Kris Marshall, best known for leaving My Family to become a film star and then never being in any films

He wears an anorak and his host body was very involved in running coffee mornings for the local CofE church

On their travels they will meet beloved recurring characters such as Ruby (Lauren Socha)

Charlie (Richard Aoyade)

Meg (Ruth Jones)

and yorkshire Bobby played by Steve Halliwell off of Emerdale

They’ll also face daunting villains like Crowley (still played by Mark Sheppard but we’ll dub in a voice so he’s now from Merthyr), Chuck (played by Rob Brydon, obviously) and Lucifer himself (played by Martin Kemp).

Episode concepts include

- A thinly veilled Midsommer Murders parody where they investigate a sleepy village with 900 x the national murder rate, in which John Nettles will cameo as the local police officer (the culprit will turn out to be his wife, who is placing curses on people)

- Three sepperate Jack the Ripper episodes (not a recurring villain, they just keep finding new culprits each time and never acknoledge they’ve done this before), and one where it looks like the Ripper but turns out to be the Trunk Killer

- Sam and Dean fight the Beast of Bodmin

- Nessie, obviously

- You know how everyone knows someone who found a dead body during Duke of Edinburgh? yeah, that.

- The ghost of that monkey that was hanged in the forrest of dean because the locals thought it was a french spy

- a wicker-man inspired folk horror episode full of actors from the Archers and including lots of creepy music being played over footage of southern white hanky morris dance

- they have exactly one actually scary episode, inspired by Who Put Bella in the Wych Elm and it gets so many complaints Broadcasting standards pull it

- the highgate cemetary vampire (played by Noel Fielding)

- that one pond in epping forrest that’s supposed to eat people

- they share locations with Dr Who a lot and extras from the wrong show end up in shot so often they have to do an aliens episode to explain it

- Tolkein epsiode where they fight Ents but this is Britnatural so instead of tree-men the Ents look like normal men, but can also turn into normal looking trees

- so many reformation era monks. so many. you know how SPN feels about civil-war era widows? that’s how Britnatural feels about monks

- a sponsored episode where they fight the witch of wooky hole and then go to the theme park and talk loudly about how great it is

- Dean’s dramatic death on the ranch when the hellhounds get him (they’re now Staffies, obviously) takes place on a farm in Herefordshire

- instead of LARPing Richard Ayoade’s Charlie is just a member of the Sealed Knot so Sam and Dean have to dress up as Cavaliers and Roundheads

- any ghosts of well known historical figures are played by whoever played them most often on Horrible Histories

- the ghost of someone heavily implied to be Bruce Forsythe is haunting the ballroom at Blackpool tower (there’s definitely at least one instance of a hammond organ playing itself) and when they go undercover Dean is forced to dance in a competition thus revealing his secret love of ballroom dancing

- the Changing Channels episode has a weirdly meta bit where they’re on goggle box watching themselves be on the basil brush show

[passionate-reply]

This week on Passionate Reply: We all know “Don’t You Want Me,” but the early Human League is a totally different beast, featuring a different line-up, and songs about killer clowns and wanting to be a skyscraper, on their debut LP, 1979′s Reproduction. Transcript below the break!

Welcome to Passionate Reply, and welcome to Great Albums. In this installment, we’ll be investigating one of the most surprising debut LPs around: The Human League’s Reproduction, first released in 1979.

Pretty much anyone with a general understanding of Western pop will already know the name of the Human League, and associate them, rightfully, with their early 80s hits like “Don’t You Want Me.” For many, the Human League were the first genuine synth-pop that they had ever heard, and their work in the 1980s has been immeasurably influential in bringing the notion of electronic pop into the mainstream. But before they were hitmakers and game-changers, the Human League were a very different band.

Music: “Being Boiled”

“Being Boiled” was the first thing the Human League would ever press to wax, way back in 1978. In most respects, this track is everything that “Don’t You Want Me” is not: its pace is languid, its structure is shapeless and meandering, and rather than a simple and relatable love story, its lyrics offer us a strange and opaque condemnation of the tortures endured by silkworms during textile production. While fascinating, and endearing in its own morbid way, “Being Boiled” does not exactly scream “hit record.” The Human League were not only a different band in a stylistic sense, but also with respect to their personnel, driven by a creative core comprised of budding synthesists Martyn Ware and Ian Craig Marsh. Prior to the release of the breakthrough album Dare, Marsh and Ware would abandon the group over creative differences, and go on to form Heaven 17 instead. It was vocalist Phil Oakey, and producer Martin Rushent, who would create the sound that their name is now so strongly associated with, and this early incarnation of the group is probably best thought of as an entirely different entity. This album, Reproduction, was their first full-length release, and is perhaps the best introduction to their pioneering sound.

Music: “Circus of Death”

“Circus of Death” had appeared as the B-side to “Being Boiled,” and was included once more as the second track on *Reproduction.* It has a lot in common with the other track it accompanied: a plodding pace, a dark and obtuse lyrical theme, and a sparse, fully electronic instrumentation. The Human League were among the first British groups to utilize a totally electronic sound, devoid of any traditional instruments besides the voice, though in this underground and more experimental context, it doesn’t present a threat to the status quo of pop the way that Dare would a few years later. Alongside fellow proto-industrial acts associated with "the Sound of Sheffield," like Clock DVA and Cabaret Voltaire, they dwelt on the fringes of good taste, crafting subversive music for subversive people. “Circus of Death” introduces us to a demonic figure called “the Clown,” who controls, and torments, human beings by use of a drug called “Dominion,” in a scenario that sounds a bit like Huxley’s Brave New World. It’s worth remembering that while younger generations are quick to think of clowns as icons of evil and terror, clowns were unironically beloved as bringers of joy for most of the 20th Century, and these early portrayals of clowns as killers were indeed shocking at the time. Preceding “Circus of Death,” and opening the album, is “Almost Medieval,” a track with some similar themes, but a rather different composition.

Music: “Almost Medieval”

While “Circus of Death” is slow and dirgelike, “Almost Medieval” showcases the more aggressive side of *Reproduction.* It opens the album with a starkly simplistic tick-tocking beat, reminiscent of an unaccompanied metronome, before bursting into its punk-like sonic assault--a musical representation of how seemingly predictable and deterministic machines can also create something outrageous and unexpected. The lyrics of this track seem pointed towards the past, with the narrator exclaiming that they “feel so old,” and as if they’ve died many times before. Juxtaposed against the thoroughly modern setting of an airport with tarmacs and jet engines, it might be taken as an expression of the horror a person from the past might feel if they were shown the world of the future, created by capitalism and high technology. While it isn’t very accurate, we have a tendency to think of the “Medieval” world as a barbaric, unclean, and uncivilized era, full of witch hunts, chastity belts, and the deliberate erasure of “ancient wisdom.” “Almost Medieval” turns that idea on its head, suggesting that perhaps our world is the one that’s truly barbaric. The image of its narrator, “falling through a rotting ladder,” can be taken as a rejection of the notion of a “ladder” of progress. Similar themes of open-ended symbolism, and the sorrow of modernity, can be found on “Empire State Human.”

Music: “Empire State Human”

Like “Almost Medieval,” “Empire State Human” is lively and faster-paced, with driving percussion. With its straightforward rhymes and repetitive structure, it readily encourages the listener to sing along, almost as if joining in some sort of ritual chant. It’s an idea that Marsh and Ware would return to in their Heaven 17 days, with tracks like “We Don’t Need This Fascist Groove Thang.” “Empire State Human” was the album’s only single, and thanks to this exposure, and its (relative) palatability compared to the rest of their catalogue, it remains one of the best known tracks from the early Human League. “Empire State Human” makes its concept pretty clear, with less ambiguous lyrics and an easy to follow mix that brings Oakey’s voice to the fore: the narrator wishes to become a building, and a mighty skyscraper no less, which might rival the achievements of the Pyramids of the ancient Egyptians. While it is clear that that’s what the song’s about, what we do with this once again high-concept subject matter is up to us. I like to think that this is some kind of perverse commentary on the unnatural and alienating experience of urban living, which may come with the feeling that the concrete and rebar structures that surround us are more significant to our lives than the people who may live or work in them. City life is addressed more directly by the track “Blind Youth.”

Music: “Blind Youth”

“Blind Youth” is probably the most “grounded” track on the album, in terms of its theme, making pointed remarks about “dehumanization” and “high-rise living.” It’s tempting to think of it as a sort of parallel to “Empire State Human,” with a broadly similar musical backdrop, and a more literal expression of the theme hinted at more obliquely by “Empire State Human.” With its focus on the experiences of the titular “youth,” “Blind Youth” can also be contrasted with “Almost Medieval,” whose narrator keens about feeling old. Where “Almost Medieval” deals with the disgust an older person feels at the decrepit state of the human race, “Blind Youth” shows the demented, unthinking joy of the youth, who have grown up in an industrialized and urbanized world, and don’t know different--or better.

While there have been many classic underground albums whose covers aimed to shock and displease polite society, the cover of Reproduction is one of the few that I feel would still be seen as offensive, over 40 years later. It was allegedly the product of a miscommunication between the group and the illustrator commissioned to create it; the band requested a scene in which people are dancing above a ward of babies in glass-topped incubators, and the striking angle, which seems to show people crushing infants underfoot, is an unintentional aspect of the design. Unintentional or not, this crudely violent aspect dominates the final composition, and lends it vileness and immediacy. Like the lyrics of many of the songs, the combination of the cover and title can be interpreted a number of ways. Perhaps it’s a glib commentary on human reproduction as fun and games: we partake in the “dance” of courtship and sexuality, and babies drop beneath our feet. Or perhaps it suggests a contrast between life’s enjoyments, like dancing, and its stressors, like the responsibilities of parenthood. It’s hard not to see so many crying, seemingly distressed infants without becoming upset oneself, and I think the deep instinctual revulsion that this piece inspires is part of why it’s remained so resonant in its subversiveness.

As I mentioned in my introduction, the Human League have gone down in history chiefly for the music they made later, which has largely buried this early period as part of their legacy--at least in the public eye and outside of the dedicated diggings of motivated enthusiasts. If you’re a fan of what you’ve heard from this album, you’ll probably enjoy their 1980 follow-up Travelogue, as well as their EP, Holiday ‘80. Given the emphasis on long-form albums among music aficionados, EPs and their exclusive tracks are quite frequently missed, but Holiday ‘80 is a gem from this short-lived line-up, featuring the fragile “Marianne” as well as a cover of the stadium favourite “Rock ‘N’ Roll,” made famous by Gary Glitter. Thumbing its nose at everything the culture of “rock and roll” stands for, and transposing this hymn to its greatness into an abrasive and sterile lunar landscape of synths, this is one of my favourite covers of all time, and seems to prefigure how a very different Human League would later become the archnemesis of all that rock fans held holy. It was also one of very few tracks to be performed on Top of the Pops, and subsequently see not a rise, but a drop in the singles charts!  

Music: “Rock ‘N’ Roll”

My favourite track on Reproduction is one that appears on its second side, unlike the other tracks I’ve talked about so far: “Austerity / Girl One.” Side Two of Reproduction is mainly focused on longer and more narrative-driven tracks, and this is no exception. Like the opener of the second side, “Austerity / Girl One” is a medley, albeit one of two pieces that are original compositions and not covers, as medleys usually are. This track’s story is both timeless and modern, a bit like a contemporary King Lear: the “Austerity” half deals with an aging father, incapable of understanding his children, dying alone and ignored, while the “Girl One” half puts us in the mindset of his daughter, a New Woman whose life is hectic, but also bleak. It’s a story that many of us will relate to, about people who try their best with what they’ve got, but still feel as though they’ve failed in life. Its simple, but effective musical backdrop of wan synth pulses allows the narrative, and Oakey’s evocative portrayal of it, to take center stage. That’s everything for today, thanks for listening.

Music: “Austerity / Girl One”

[straighttohellbuddy]

World building is the best tbh. I’m forever world building and now I have several worlds to play in and my neurodivergent brain cannot stay still enough to focus on one lmao. SLOWBURN ROMANCES ARE MY LITERAL JAM LIKE PLS!!! I LOVE THEM!! Also!!!! Concepts!!!! Pls share!!!! I love learning about the worlds of my fave fics and I can hands down say right now that this fic will literally shoot to the top of my list of favourites which means you’ll occupy the top three spots. Sorry to hear that ur feeling rough, so am sending u the biggest hug. I’m not okay but I’m taking care of myself today so that I will be 🧡-🐈‍⬛

alsjfsldkjf i have too many worlds TBH, literally one of the best parts of my 2020 was writing for the classic rock fandom and writing one of my good friend’s ocs alongside mine, like there’s so many different worlds that our two characters have now, i’m like 26k deep into a high school au that i need to get back to at some point, and then i wrote a oneshot abt the high school au but they’re adults, and then there’s also the original timeline, and then there’s the present day in the original timeline where they have kids and i probably care too much about people who aren’t real...... hahaha

OKAY OKAY OKAY HERE WE GO I’LL GIVE KIND OF AN OVERVIEW OF THE ALBUMS AND A FEW SONGS BUT IF U WANT ME TO GO IN DEPTH ON ANY OTHER SONG JUST ASK!!!

yes i have a playlist for each, if you wanna hear how i interpret the vibes of the songs. if you interpret them differently, thats awesome!! i’d love to hear y’all’s opinions on them!!

testing one two - the first ep they release, the song titles are mostly themed (fast forward, press play, pause, rewind), but are mostly things y/n has been working on for a while but never got around to finishing, things they are rather proud of. i see you shiver with... is the first song they wrote specifically for the album, and it’s the last song on the EP because it’s a Rocky Horror reference; i see you shiver with...

a n t i c i p a t i o n - first full album!! the vibe is Hopeful But Hesitant it has all the songs from the ep, plus some new ones!! collabs with youtube musicians troye and dodie, and y/n’s label sets up a collab that turns into a genuine friendship. the breakout dance hit is what else is there to say ft. Troye Sivan, which is about not knowing what to make content about when it feels like you’ve already told the world everything. it featured the prechorus and hook

You, know, ev-ery-thing about me / gave it all for free / my life in HD / So, let’s dance, let me see your hips sway / we’re gonna be okay / what else is there to say?

So say that you love me, say that you love me, say that you love me / let’s die hand in hand. / I’ll tell you I love you, tell you I love you, tell you I love you / supply and demand. 

personally, i also conceptually enjoy srs bsns which is a really upbeat song about how they don’t care if people don’t take them seriously because they know in their heart that what they’re doing is good

hyperfocus - 2nd EP, a pretty substantial departure from their usual style, but also happens to quietly be Corpse’s favourite, and is actually y/n’s most polarising, because it has both the Grammy award winning HEARTBURN and the o brother where art thou which was written partially as a joke to capture a fond moment of them and 5SOS dicking around together in a hotel. written while on tour wit 5SOS, im writing the reader as having ADHD (because I have ADHD and i can do what i want), and the backstory is that they’d changed the medication/dosage they were taking, and as it’s their first full tour, they were under a lot of stress and were in a weird place mentally and emotionally, and hyperfocus is the result of that. i’m going through some stuff has HUGE agoraphobic vibes. 

HEARTBURN has the same vibes as Florence + The Machines’ Howl. It’s about being a demon without saying that or directly implying that unless you know demons real well. This is when the pressure for them to confirm their identity got real bad, and it was their way of working through those emotions.

tear in existence in the shape of a person / when i’m seeing clearly i can’t see myself / world can’t swallow what it can’t get it’s teeth into / got everything i wanted but i ain’t got my health

Got heart-burn--- / I’ll tear me apart / I’ll tear you apart / I’ll tear me apart. 

SCREAM gets rereleased as a remixed single featuring Fall Out Boy the following year. It won the MTV music award for best collaboration in 2018. 

In the time between hyperfocus and working on it, Y/N releases several singles, including a cover of Tell Him by The Exciters to be featured in To All The Boys I’ve Loved Before. They also take time to sort out their health, do a little bit more YT stuff, and travel internationally to do festivals. 

working on it - is kind of a middle ground between their original stuff, and hyperfocus, like pop-punk meets horror-pop meets whatever you’d classify halsey as. the first three songs were mostly written before the fic starts, so before they’re getting back to YT, but the last three, nightmare scenario, designed to hurt (touch me), and not scared were all written after they’d started hanging out with sykkuno and corpse. 

in-universe, imposter syndrome was originally something else, along the same lines of tired that they’re hiding that they’re a demon, but after meeting corpse nd sykkuno and having people who know, and lowkey being influenced by corpse’s music, the song changes directions, and YO OKAY YO::

I literally am so fucking flattered, my darling friend @bingusmode​ wrote lyrics for imposter syndrome and I’ve been yELLING about them ever since i’ve read them!! (also bunnie is fantastic and lovely in general 10/10)

if you thought you saw me 

i’d think about it twice

cuz while i know i’m naughty

everybody thinks i’m nice

cutest giggles get me

places that i long to be

but it’s not long before

everybody hates me

when you figure out i’m fucked up

you’ll probably think that can’t be right

but babe my image runs to save me

cuz i’m ugly day and night

nothing good about me

not the angel that i seem

cuz i’m a piece of shit

and i’ll ruin your fuckin dreams

i’m an impostor babe

you better run for your life

cuz there’s a bloodlust runnin through me

and you’re dripping off my knife

there’s no one here to save you

cuz you ate up all my lies

so beg me while you can

and draft up all your goodbyes 

if any of y’all are inspired by anything i put out, feel free to take it and run!! you have my blessing!! i am so overwhelmingly flattered by people who like my stuff enough to create because of it, directly or indirectly! lyrics, art, songs, anything!! legit! I love you!!

okay so designed to hurt (touch me) has big House of Memories by Panic! At The Disco vibes, and YES it’s about Corpse. YES it sends mixed messages. YES it has greek myth imagery and YES that imagery is confusing. not sure if any of these sets of lyrics actually go after each other but also idk??

will my fall from grace be graceful / as each move i see you make? / propped up on pedestals side by side / beneath our feet they shake / i’m the only one to hear you ask  / “What have they done to me?” / My boy, your wax throne is sun-drenched / you’ll fall in the name of your legacy.

eyes like yours watched rome burn / while hands like mine lit the pyre / we both heard me say we’d go down in flames / now you’re turning me into a liar / since you smile like that, like you can’t feel the sting / and we both know i can’t feel the fire

been telling myself i’m designed to hurt / but, baby, aren’t we a sight? /

check your reflection, your angles, apollo / you’re icarus in the right light /

we’re on the edge, i’m not scared to fall / we’ll take refuge in the night /

been telling yourself you’re designed to hurt / but, baby, doesn’t this feel right?

also, albumtouralbumtour is a reference to Bohemian Rhapsody.

OKAY AND FINALLY

n o s t a l g i a - the album the reader’s working on during the fic.

literally as i was writing this, bunnie sent through some FIRE lyrics for how the light gets in, (@bingusmode) i am going to be thinking about these on REPEAT for the next MONTH BRUV

little bit of darkness, treat me like a toy 

i got my hopes up and got them destroyed

bitter taste of regret sitting heavy on my tongue

can’t believe i let you convince me that you were the one

sitting here in silence, fabric running thin

petals burning in my lungs and stealing oxygen

embers from a cigarette falling to the floor

god i can’t take anymore

so i stumble to the window and pull the shades

and the moon pours in like you threw a grenade

i can’t understand why

i keep trying

cuz i never seem to win

but having any hope is how the light gets in 

from there, moment before impact ft. Billie Eilish is a club anthem along the lines of bad guy or COPYCAT, bass heavy with a drop that’s out of this world.

powdered pain, i’m in your veins / i’m the sting, the drip, the thing / you’re craving, but you hate to see me misbehaving / i heard my breakdown got you high / it’s true, but baby i can’t lie / i never got that rush, that burn / that makes you feel alive, i had to learn / to pick the slippery slope down which i fell / plan my pitstops on the way to hell / to pick my padding before i spiral / so if i break it’ll be in style

watch my misdirect, now freeze, / notice you can’t see the forest for the trees / you’re so desperate for my demise / but baby, i’ll make you watch me rise.

this is the moment before impact

controlled chaos, crash land / take a breath, trust the plan / i know you hope i’m not okay / you get off on my audio misery

controlled chaos, crash land / take a breath, trust the plan / i need you to know i want it this way / my breakdown won me a grammy

and this is the moment before impact

ur my favourite - interlude ft. sykkuno is probably one of my favourites, it’s just really soft, just a snippet of a conversation between the reader and sykkuno, maybe one of them told a joke and they both just sound real happy and sweet. its nice. it’s a nice moment.

means something is also for sykkuno!! it’s about how good-strange it is to be open and honest with friends, and how they usually aren’t but they’re glad they can be open and honest with him!!

meanwhile, i don’t think about u - interlude ft. CORPSE is a phonecall between corpse & the reader right after they announce they’re going to feature on acting like that, where corpse asks if they do this sort of thing to spite him, to which the reader responds ‘do i consider you when i’m making decisions about my career? no, corpse, actually i don’t think about you at all’ which then directly contrasts the song that ends the album, which is (how it feels to be) beautiful fireworks, which is essentially ‘i know how hard it is to exist like this, to be the centre of attention, to give off light and bring people joy, even when you’re in pain. i’m here for you. i love you.’

okay, i swear im done now, i’ll get back to writing the fic! (also i cannot BELIVE i managed to figure out how to embed those playlists but im so happy) edit: it didn’t actually work when i posted the ask, so anyways im sorry but y’all are abt to be spammed with playlists because i care too much abt this fic

[on-the-shelves]

on my shelf: soundtrack to MA year 1 - summer

That was the most stressful semester of my life, which is saying something since it was my 10th uni semester. It was all still online which has its benefits, sure (no commute! sleeping in! not having to get dressed properly!), but even an introvert like me likes to be around people sometimes. It really feels like everyone, including the lecturers, has kind of lost it at this point. That's the only explanation I can find for the unusual amount of work thrown at us. Okay now that that's out of the way, let's get to the ~music~

BTS: "Butter" and "Permission to Dance" (2021)

Summery goodness from BTS following last year's Dynamite that's just fun to listen to, to figure out the pop culture references to, and to cheer on as they make the Hot 100 their playing ground (thanks in big part to very dedicated US/PR Armys). "Butter" features very cool, more minimal verses with an explosive, big chorus. It's filled with calm confidence. Learning the previous English song "Dynamite's" lyrics was pretty difficult, but "Butter" was even harder, even for native speakers, which just makes BTS' efforts all the more impressive. I immediately loved "Permission To Dance" and its very musical-theater, feel-good vibe. It just makes you feel happy! Here I found the rap line's vocal chops especially impressive - I love how BTS is constantly trying out new things in all their music, including the English singles.

ITZY: GUESS WHO (2021)

This EP is a lot like ITZY's usual output in its bold confidence and electronic sound, but it feels more refined and even a bit more experimental this time around. Listening from top to bottom, there's a good flow where the songs don't blend into each other and can stand alone, but don't rub against each other either. My favourite is closer "Tennis (0:0)", their calmest song yet. The instrumentation is more traditional (featuring some acoustic guitars) and very minimal, so the focus is on the group's vocals. The melodies would work in a louder song too, which just makes this stripped back sound stand out even more.

TOMORROW X TOGETHER: The Chaos Chapter: Freeze (2021)

Following on from the album series The Dream Chapter and the summer album minisode 1: Blue Hour, TXT introduced a new chapter, that focuses on the confusing and conflicting feelings of growing up and showcases yet more diversity in their sound. This album features a lot more input musically and lyrically from the members, like Huening Kai produced rock juggernaut "Dear Sputnik", and feels all the more richer for it. In general, the album moves between clear rock ("Dear Sputnik", "0x1=Lovesong"), pop ("No Rules", "Magic"), hip-hop and electronic influences, sometimes also mixing them to create interesting fusions, like on "Freeze". The one thing that stays consistent throughout is the angst, in all its various forms. It doesn't ever go full on overboard emo with it though, making it more palatable. My top 3 songs are "No Rules", "0x1=Lovesong" and "Ice Cream". They recently released a repackaged album including two new songs: "LO$ER=LO♥ER" (emo rock that made me very happy to hear since it's executed so well) and "MOA Diary (Dubaddu Wari Wari)", a super cute fan song.

WENDY: Like Water (2021)

Red Velvet member and vocal powerhouse Wendy released her first solo EP, after having recovered from a serious injury she suffered at the end of 2019. The songs suit her voice perfectly. There's a lot of ballads, but she makes them sound effortless, even in the highest notes, where her voice stays rich and full. She's able to convey the emotions needed sincerely, without being overbearing, a lot of it owed to the lyrical topics centering around themes like being there for each other, instead of very heavy, sad ones. In the musically lighter songs, like "Why Can't You Love Me", she's skilled in her playfulness, with an audible smile. Wendy's love for music and singing is tangible and makes the EP feel very comforting to listen to.

IU: A Flower Bookmark, Pt. 2 (2017)

I'd been wanting to go through IU's older music since her new album Lilac was released this year, and doing so, I got stuck on this EP of reworked covers. I don't know any of the original songs, but if I hadn't known they were covers I would've never guessed it just by listening. IU has a knack for making things distinctly her own - no matter what style or genre she's trying out, she'll fit into it perfectly while still being recognisable. This EP features a range of different styles, from different decades and artists, but it all flows together, like they were always meant to be here. My favourites are "Autumn Morning" (featuring an acapella intro), "Last Night Story" (reminds me a lot of late 80s German rock, like the song "Westerland" by Die Ärzte, but more fun), and the pretty and calming "Everyday With You".

LOONA: [&] (2021)

Loona have become one of my favourite groups, even more so as I've been getting to know their pre-debut solo and sub-unit songs. So I was very happy when they returned this year with all 12 members for the first time since 2019. Lead single "PTT (Paint The Town)" is similar in sentiment (and somewhat in sound too) to their 2020 lead singles with its fierceness. It gives space to welcome Haseul back too, even presenting her as a risen phoenix in the music video. At first I felt like the song "WOW" would've been better as lead single but then I couldn't get "PTT" out of my head for days every time I listened to it, so I had to admit it was the right choice. [&] feels like a mixture between what a lot of fans call "typical Loona" and the direction they went in on previous EP 12:00, especially on city-pop leaning closer "U R". My favourites are the bouncier "WOW" and "Be Honest", as well as "U R".

Some singles I loved:

Ji Jin Seok: "Come With Me" (2021)

-> a chill, K-R&B summer track featuring Ji Jin Seok's beautiful, calm voice

Epik High: "Rain Song" (2021)

-> perfect for rainy days. walks the line between sad and okay perfectly.

JOY: "Hello" (2021)

-> fun, upbeat song (actually a reworked cover!) that showcases Red Velvet member Joy's vocal colour perfectly. the album (also reworked covers) is lovely too, but I didn't listen to the full thing that much.

[secondhandnewsradio]

SHN INTERVIEW: Sleep Walking Animals

by Claire Silverman

photo: Ryan Hall

Sleep Walking Animals, the indie-folk alternative rock band from Manchester, England, have just released their self-titled debut EP. Since SHN first interviewed the band at the start of the year, they have released two more singles, started playing live shows again as restrictions opened up, and have announced a co-headlining tour around the UK in October. At their EP launch gig at the Fiddler’s Elbow in Camden on the 20th of September, they performed their new music to a sold out crowd.

CS: Congrats on the EP coming out. When we spoke back in February, you mentioned your plans for the EP, so it’s very exciting that it’s here now. How are you all feeling?

Tom: Like it's about time.

Jack: “Angus’ Fool.” “Wild Folk,” and “Dance Laura Dance” are on the EP, so we started recording this EP in October 2019. So it's been a big process, and the EP is kind of about that process.

Tom: We didn't want to release things until we were happy with everything, because we did record enough songs back in 2019 to go on an EP. But in post [production], we were a little bit concerned that they weren't all up to the standard that we wanted. It was our first time in a studio together as well when we recorded those songs, so we needed to practice, we needed to get together more and get more experienced in the studio. Then we ended up going up to Stockport and using a studio called Green Velvet Studios and we laid down five tracks, three of which are on the EP.

Jack: So, yes, excited.

photo: Ryan Hall

CS: Is there an overarching theme across the EP?

Tom: It feels like it's very much about things that have happened to us in the time it took to put the EP together, and things that have inspired us enough to write about, you know, various introductions to people, to new experiences, illnesses, life events that sparked something within us to try to make a good song out of.

Jack: The whole EP spans across when we started the band in 2018 right up to now, so a lot of the songs are about growth and change. But the songs are about our growth musically as well, which is a nice kind of coincidence.

Tom: “Angus’ Fool” was the first song we ever wrote together, so the EP spans from our first song together to things we were writing in lockdown. So like Jack said it’s a span of two and a half years.

Alex: “Native” was written after we played Farm Fest [this summer].

CS: So now that you have more music out and have started to establish your sound, how did you figure out what genre of music you wanted to make?

Alex: It's funny, you just mentioned “Native” and I think that was the point that pushed us to fatten up the sound a little bit. I mean, the style of the song made us realize that we can push it a little bit more. And we have a few like one recorded songs, which are definitely a lot more rock-y.

Tom: We're inspired by all sorts of different bands as well. And, you hear it said a lot but a lot of great artists steal from other great artists and that's how they become great, so we're taking influences from people that we all listen to. So this is why it's hard whenever anybody asks “so what kind of genre of music do you play?” I can never really answer that because it’s changing all the time.

Jack: But I was saying to Bill the other day, (he's not officially in the band yet but he kind of is. He's the drummer who played with us on Monday) we've never really spoken about what genre we want to write. We didn't speak about influences, particularly.

Tom: We're just going with ideas. We all have our own little pockets of interest that we bring to the table and I think that’s what makes out sound quite unique

Alex: When someone brings something and then all of a sudden there's so many layers on top of it, which are coming from all kinds of different directions. And it's just hard to put your finger on what it actually is. But it's cool and we like it.

photo: Ryan Hall

CS: It seems as though COVID restrictions are kind of mostly lifted here in England. At least, concerts are happening again. What's that been like, through the pandemic till now, and being able to play live shows again?

Tom: It’s been a massive relief, really, it means that we can get out there and get some gigging experience, start playing our stuff live. It's a completely different beast to be in the studio, it’s a completely different skill to have. And the more we do it, the more we’ll improve, and the more people will respond well to our gigs. There is such a massive impact from a live gig that you don't get from sitting down and putting your headphones in and listening to the Spotify track. You get the performance, you get the live engagement with music, and with the people on stage. That's just palpable.

CS: Since you're all performers, you're all actors, how do you think your other stage experience impacts your music?

Jack: That's an interesting one. Because I think the three of us are definitely coming out of acting and want to follow music, solely. Obviously, Tom, you both really well. [Laughter] And Nuwan’s also still following both. It's just something that when we are playing live, and it's going well, and there aren’t any technical issues, that we can just give ourselves completely to that moment. And I think that's easier for someone who has trained to do that, which is kind of what we did at drama school, I guess, to give yourself to the moment,

Tom: Yeah, there are great artists and performers, actors, musicians who haven't haven't gone through a formal training process. I think it's actually more important than training. Personally, I find the two things very different, being onstage as a member of Sleep Walking Animals and being on stage or on screen and being an actor in a role. I think the only similarity for me really, is the fact that when we go on stage as Sleep Walking Animals, I feel myself put on a character. I'm not Tom, I’m whatever else that is.

Jack: John. [Laughter]

Tom: I think we all do that whether we realize it or not. Because we'd be crippled with anxiety and insecurity and all the other horrid things that sort of flood into you when you're onstage performing in any way, you know, those don't happen or they sort of diminish if you put on that guise. So I guess that helps in that sort of transition.

photo: Claire Silverman

CS: You mentioned Farm Fest a bit earlier. What was it and how did it come about? And how was it?

Tom: So Farm Fest is a new, upstart festival that myself and my girlfriend Lottie host and organized. It's on her childhood farm and it's something that Lottie had wanted to do for a long time, to use that land to provide a space for a festival, entertainment, camping. We started it a couple years ago. There was that little bit of time between lockdowns where we got a weird freedom in the summer of 2020 and people felt like it had kind of gone away. Luckily, we all collectively know a bunch of musicians and comedians. It started small and then this year, we did it again. We charged a bit more money for tickets, and we are getting bigger and better. It feels like it's sort of gaining a bit of momentum. And it was the highlight of our year, we got to perform on a mainstage with a great sound set up. For us it was a big crowd to play to who all knew the songs and were singing along. It felt like a real festival, right.

CS: You guys are pretty active on social media, at least on the Sleep Walking Animals account. You guys don't always take things super seriously, which I like. What’s your approach to using social media? What do you think of it?

Jack: I wish we didn't have to. I think we probably all do realize the importance of it because Instagram is pretty much the only way of promoting anything, which is so fucking sad. Yeah. And I thought today, because Joe and I are reading a book about Joy Division and the start of the punk scene stuff, and they didn't even have t-shirts, because they wanted to stick it to the man and that kind of thing. But you just can't do that now. It's just like times have changed and there’s so many bands and so many artists that you have to be on it. Like, it will only be a matter of time before we go on to TikTok.

Tom: As an unsigned band without management or label yet, you know, we're left to do it on our own. Like Jack said, it's our only way of letting people know about our music. We might as well try and enjoy it if we've got to do it.

photo: Ryan Hall

CS: Now that the EP is out, what are your future plans for the band?

Tom: World domination?

Joe: Recording.

Tom: Yeah, more tunes. We've got quite a few unrecorded ones. Keep doing what we're doing, really, following the footsteps of the people and bands and artists who have inspired us. Just keep going with it and see what happens. We're not putting immense amounts of pressure on ourselves. We do it because we love it. We do it because we think our music is worth pursuing. Yeah. Just see where the wind takes us.

CS: And you've got a tour coming up in October.

Jack: Yeah, a UK tour. It’s a co-headlining tour with Polary and My Pet Fauxes. So we're playing in different cities and we're all sharing the headlines slot and supporting each other at the different venues.

Tom: The 17th of October we're playing Leeds at Oporto, then on the 18th at Dublin Castle in London, the 19th we’re in Bristol at Crofters Rights and then the 20th at Night & Day in Manchester.

CS: Good luck for those shows and again, congratulations on releasing your debut EP.

This interview has been lightly edited for clarity and length.

Listen to Sleep Walking Animals’ debut EP here

Follow the band on Instagram Twitter Spotify YouTube 

sleepwalkinganimals.com

[hedgefairy]

Okay, I know, I know, it's already old news, everybody and their uncle in the costuming community has already talked it over, but anyhoo, I made notes when I crawled my way through effing Bridgerton and I will be damned if I don't vomit them onto this site. I have 32 pages of this shit, I'm not gonna throw that away.

I'm also typing this on my phone because I'm stuck on a trainride that's just doubled in length because this is the 2021 Northern German snow storm. What, there's snowflakes on the rails? We cannot possibly keep up our schedule, say goodbye to 90% of the connections.

Okay, on to Bridgerton, Episode 1

We're in Britain (oh, London, okay), allegedly 1813. I see people who are clearly meant to be asympatico, but is this size incusivity I spot there? Daring! Gasp! Me li...

Oh wait, no. The character is promptly shamed for her figure (which is mostly caused by the horrible cut of her dress. Every size can look great in Regency garb, but never mind, we need to make the "fat one" look bad!).

Also, no shifts under the stays. Why. There was obviously enough budget, don't tell me you couldn't afford a few strappy tops - it's not like the rest is historically accurate, so it would have sufficed to send some poor underpaid intern to H&M and get some. Nvm, that wouldn't be sexay.

Wait, is the garishly dressed (always a sign of a character of bad character in a costume drama) woman Delphine from Selfridge? Does she always have to play bitches? That's not nice, and just because she has a recognisable face, which by modern (read: americanised) standards is not favourable enough. Ugh. But I like the actress, so I'll let it slide (for now).

Lol, buttocks.

Not sure about the girls' dresses. Also, the Queen is a WOC, cool!

Oh no, one of the Featherington sisters faints! But that's okay because the Featheringtons are just comic relief and foil anyway.

I get weird incest vibes from the Bridgertons.

So the court is clearly 18th century and the show is set in the 1810s. I've by now seen several explanations for this decision, I still think it robs the Queen of reproductions of her actual historical gowns which were heavily inspired by the 18th century but so. Magnificently. Weird. It would have been so neat, and more of a "hey, I'm kinda out of touch with things" vibe, but hey, I'm not the one getting paid for making those taffeta gowns here (her hair is glorious, tho).

I'm very into the intro.

That Regency gossip girl is a real b, not unlike the Dowager Countess of Downton (unpopular opinion, I think she's pretty overrated, yes, I like Maggie Smith).

Again, no shifts.

Where do I know the "pragmatic" Bridgerton sister from? Ah, it's The Paradise. And Jonathan Strange. (Wait, she's my age. And she's supposed to be a teenager. Man, do I love a good Dawson casting. I like the actress, though, she has a face ™!).

Aaaah. We get it. She's the spirited one. She also doesn't care about dresses because she's not like other girls™. I really like her voice (but she still doesn't sound like a teenager).

The heck is up with Lady F's dress and that of her friend? Oh, yeah. Antagonist fashion.

Of course the Featheringtons are Horrid Hags™ aside from Penny who's nice, but the pudgy one (at least we don't get a case of "she's not conventionally attractive so she's bad").

Oooh, the cousin! Supposed to suck, but ofc she's a stunner, and only Penny (who's the nice one, remember!) is delighted to have her around. She's also a POC, which is nice but apparently that means she does not follow fashion, hair-wise. I would have loved to see some Regency hair on her, it would have been so pretty *cries in Greek updo*

Ugh, we're still in Ep. 1, typing this on my phone was a bad idea.

Lady Danbury and the Duke guy are delightful with each other (more POC! So neat!).

The girl the oldest Bridgerbro screws is apparently a singer, which isn't up to status for his doucheship, and she doesn't wear a shift.

The music at the ball sounds like something from the Top 40s, but I'm woefully ignorant of contemporary music charts so I can't tell what it is. I like it when they do that in historical-ish works, making well-known pop or rock stuff work for the ambience (ugh, that dance scene to Golden Years in Knight's Tale. My heart. In a good way.)

I dig the Ducktail hair of Penny's crush. Oh, wait, that's a Bridgerbro. I don't quite get why the hair trends of the time don't apply to the POC characters or extras, but seeing how most white characters also show a shameful disregard for the weirdnes and gloriosity (that's not a word) that is early 1800s hair (the 1830s take the cake, tho) despite those hairdos being basically designed for white people hair, I don't think I care much (well, I do, but about all of them). Overall the hair is horrid and not very 1810s. Let's just leave it at that.

Like a good old romance novel (I've since been told that Bridgerton is supposed to be a pastiche of such novels, but I really couldn't tell from the series, not at all, and I'm not inclined to read the books) we have

a pretty, kind, superpure daughter of the main family

the mean matriarch (could have been an aunt, too, but here she's the mum) of the rivalling or antagonist family

a spirited daughter of the main family (in most romance novels this would be our heroine but so far she refreshingly lacks a love interest and pretty daughter seems to get the most screen time)

a Horrid Suitor™

a Hot Suitor™ who doesn't want attention

a really good and doting good parent

Lol, misheard Greece for Grease with Ducktail Bridgerbro, whose name is Colin, apparently. This is funny because of his Danny Zuko memorial hair.

Overall a bit too much bling for my taste, and too few pearls. It looks like an episode of My Super Sweet Sixteen with a Regency theme.

Of course the romance is going to be the Pretty One aka. Daphne and the Duke and he's even bros with her eldest bro. Wait, are they exes? I can haz bi? No? Aww, shucks. Maybe in another episode (spoiler: no).

Okay, WHAT is it with Lady F's dresses and hair. Like, she reminds me of Mars Attacks. Which, as you might remember, was not set in the Regency period.

Lord B (Bridgerbro the Eldest) sucks, he's screwing Opera Girl without any intention of marrying her but he's bitchy about his sister being ogled by his Eton (or wherever) bestie?

Oh, I'm in Hamburg now. And my train back home got canceled, so back to Berlin it is because there's not a single option to get to Hanover tonight, at least that's what the lady from the train station is saying, "oh well, you'll have to go back and try again tomorrow", so that's awesome...

Honestly, if it weren't so late and I didn't have things to do at home I'd find this terribly exciting.

Back to Bridgerton!

Where were we? Ah.

I can't even read my own annotation. Something about George III. I think I was upset about how they totally ignored that it's called Regency because George IV acted as the regent king, and he doesn't even feature in the series, I guess because they wanted to play up the Queen? Not a fan, because thanks to Horrible Histories I'm quite fond of that guy.

Again, no shifts.

Oh, look, it's Horrid Suitor™, destined for leftovers.

The Featherington cousin gets all the attention but no fleshed-out character.

Penny Featherington's dog is named Lord Byron, which ❤️

I like the Duke! He's there, drinking in his club (even though they're a patriarchal remnant of the past I have a weird appreciation for stuffy Gentlemen's Clubs, I blame Bertie Wooster and the Drones), calling Lord B out for his general fuckery.

Oh no, Ducktail Colin is more into the Cousin than Penny, who obviously pines for him!

Thank you, Lord B, for enabling Horrid Suitor™. Nobody asked you to be such a fucktwit.

The Queen is, of course, a bit of a bitch, but patronage from cool Lady *scrolls up for name* Danbury ensues for Protagonist Girl™ Daphne.

"I wish they had found a better trend language", what the heck did I even mean by that? That's what you get for just scribbling down notes while watching and simultaneously sewing. 18th century pants, in case you wanted to know.

Cousin is angry, probably because Lady F behaves like Cinderella's evil stepmother, because Cousin is prettier than her daughters and gets, like, all the suitors because Lord B bitched away everyone who wanted to get into Daphne's dowry ifyouknowwhatImeanwinkwinknudgenudge, right across the street into Cousins parlour.

The Bridgertons are annoyingly perfect. Ugh.

Oh look, it's "banter" between Daphne and Dukey! It's so Pride & Prejudice! It's almost a tiny bit Shakespeare! I put banter in parentheses because wow, nope, I'm not getting any chemistry here.

Uh, Lady B calls out Lord B (aka. her son aka. Bridgerbro the Eldest) for his screwery with Opera Girl and his outpimpery of his sister to Horrid Suitor™, buuuurrrrrnnn. He promptly calls of his affair with Opera Girl.

No shifts!

Penny gets to dance with Ducktail Colin at the thing! Good for her, but it's a country dance with jumping and fun, because she's a) the pudgy character and b) a Featherington, so it can't be something romantic and pretty (I personally like country dances, but they aren't protagonist dances).

Oooh, Cousin had her period, oh no, oh snap, oh she didn't, because she's PREGNANT! Shit, that's problematic, and not because she's an unmarried woman in the 1810s, but because she gets close to no lines at all so far, and suddenly she's pregnant and telling Lady F that she sucks for being privileged, violence ensues, this is ugly. Man, I get what some critics mean by "the POC actors*actresses get all the problems" and that not exactly being great.

Horrid Suitor™ makes property claims about Daphne, eeewwwww, thanks to Lord B's general suckiness, ewww, r@pe attempt ensues, was that really necessary? It doesn't really fit in with the rest of the series and generally nope, yay, broken nose! (which was indeed totally necessary). Nice one, and probably the only scene so far (spoiler: overall) in which I actually like Daphne. Dukey thinks a mean left hook is attractive, and, generally speaking, he's not wrong.

Daphne and Dukey come up with a pseudo-shakespearean plot to pretend to be totally into each other so she can attract suitors by being not available and he gets not to have fangirls by being not available, and as someone who has read a few too many historical-ish bodice rippers I know exactly where this is going. I mean, come on.

I can't see enough of the following choreography to complain about it. Man, I miss historical dance classes.

And that concludes Ep. 1! Finally! Thank you for getting this far, sorry for all of it (especially typos, it's the bane of unwanted autocorrect), I guess?

Update on the train situation: I've been told by the ticket control person that I shouldn't get my hopes up until noon tomorrow.

To be continued,

because I didn't take these 32 pages of notes for nothing.

[0ceanoflight]

My thoughts on Gaya Sa Pelikula now that I've watched all 8 eps.

Cause I need to write down my thoughts and Twitter's character limit just isn't enough so thank you tumblr. This is gonna be a rant

Also, just wanna say this is from the point of view of a gay trans masc enby, aka me.

First impression

Gaya Sa Pelikula is just.... Wow. It's hard to describe. I originally watched it cause some moots on Twitter kept talking about it and they recommended it to me. It doesn't take much for me to watch a gay show, so of course I checked it out. At the time I think maybe 2-3 eps were out.

I knew nothing about the plot. I had no expectations for it. Just hoping it didn't have any problematic stuff in it, hopefully some cute stuff, same as any other gay show. It was just some show to watch to pass the time. I was wrong. It's so much more than just a good show. It's rare for me to get THIS emotionally invested into a show.

From the first ep I thought "Oh, this is pretty realistic lol. I've said stuff like this", referring to Vlad's lines. That continued as I watched the remaining available eps. Later my moots mentioned that it was written by a gay man and I understood right away. GSP is a gay show with the intention of being very realistic. It wasn't just gay for entertainment's sake. It was gay for the sake for real gay people.

Characters

The characters are so well written. They are flawed. They're not perfect. They all have their own struggles that you wouldn't know until you sat down and talked to them. Their lines and personalities are real. They feel real. I've met people like that. I have friends like that. I see myself in them. Also the acting is incredible. Really brought it to the next level.

The Music

A golden sound track. Every song just fit. It felt like the songs were made for that scene. The lyrics, the vibe. There were so many times when I thought that lyrics perfectly fit the scene in a way that would make me connect even more to what was happening. Really couldn't have been better. 10/10.

The visuals and plot devices

The way everything seems to have a purpose. Everything seems to be interconnected. There were so many things that were mentioned earlier in the episode, or I'm previous episodes that you originally didn't fully understand, then they would come back and suddenly *mindblown*.

The lines in the first prom dancing scene in the first ep. The ghost stories (still blows my mind). Vlad not liking his hair being touch which wasn't explained till later. The keychain. The theme song test. The movie they were watching about the imaginary beach (I forgot the name). The reason behind Judit's seemingly fake/weird ally speeches. The reason why Karl always seemed so stiff and awkward. The closet. The orca. The remote. Ect.

All of that came back later in the show and added so much depth. The metaphors used seemed to almost add extra explainations. Like... they didn't just give more layers of complexity, but it gave us a stronger understanding of what was going on. Or at least it made it more emotional. Idk. I was just one of he people who read posts of others dissecting the show cause I'm not as good. Lol.

Also there were beautiful scenes visually. Karl's dance scene. Beautiful. The film scenes outside, looked gorgeous. The use of mirrors and the TV. Great. Awesome

Connections

There were a lot of things I connected to.

Vlad's lines like I mentioned above were among the first. I've personally said or thought very similar things. Or even those exact things. I was actually shocked at first. By how real that felt for me.

Vlad being lonely, but faking it. Aha. I'm an introvert, and people know it. As much as I need space, I get lonely very easily as well. And friends online sometimes aren't enough. It's not the same as having someone there. With covid, and the fact that all of my friends live far away or are normally too busy to meet up, I very rarely am actually with friends. It almost hurts tbh. Especially since I'm a very affectionate person. Also the gay yearning hours are real and powerful.

Karl's dance scene, letting out the inner femininity. So I'm a bit different. I never came out as gay. I'm a gay trans guy. People already knew, or assumed, I liked men. However I did have the struggle of inner femininity. I hated fem things up until I was maybe 15-16, maybe almost 17. I didn't know why I hated it, I just did. Clearly now I know why. However my evolution to being a fem guy from hating fem things happened around the same time as discovering I'm not actually a girl. It was confusing 3 years (yes it took me about 3 years to piece everything together, a bit longer to settle). My point is, once I opened up to fem things, it was beautiful. It really really was. I felt more comfortable. I felt freer. I went from "ew makeup, skirts, leggings, pink. I hate it". To wearing makeup, wearing leggings, liking pink, often painting my nails. I've worn pretty short shorts with a loose t-shirt and a cardigan. Peak fem. Felt great. I want to wear a skirt, but I'm too afraid to do that. I may feel better with being fem, but society is still society and I might get looks cause "wtf, a man wearing a skirt?". Maybe one day. Uhhh anyways. The times I've grown to become more fem felt like how watching Karl dance felt like. Just like that.

Karl's struggle with his sexuality. Ok again I can't relate on the gay part, cause my coming out was coming out at trans. However yea. That was an adventure. I remember being so confused in 8th grade & 9th grade. God that was.... something. At first I thought I just wanted to be more tomboyish, more androgynous. So I found androgynous girls with short hair and said "I want this". Everyone was confused. My friends said "is there a reason you cut your hair so short?". I was afraid of that question. At the time I didn't know why I was so afraid. I don't remember exactly what I said, but tbh I was pretty defensive. Of course I later realized why I felt that way. I remember finally figuring things out after I settled into knowing I was trans, I didn't know how to come out. I couldn't say it directly. In fact, I never did. To my friends I just said "he/him, they/them pronouns" when asked at events, and of course they knew, but didn't ask more. In fact one friend found out cause I wrote "agender" on a form cause he looked over my shoulder. For my family... I just dropped a big hint, and they understood something was up. I wasn't able to explain it well then either. It took another 2-3 months till I couldn't take it anymore and did my best to explain it better so they would take it seriously. I was afraid. I couldn't say it directly. I actually didn't come out to my my high school. I was too afraid. I had friends who were out and I was jealous. I was jealous of their bravery. Same as Karl to Vlad. I was out to friends, but couldn't be open in the real world, much like Karl. I was only out within the space of the GSA, and of the local lgbt center. That was my "apartment". It was only until after i graduated where I promised myself I would live my real self.

The prom dance scene. I missed my high school's prom too. I wasn't brave enough to wear a suit. That would be like coming out and I wasn't ready. So I missed that. I wouldn't have been able to be open of course. I went to the senior dinner. I guess that was the start of me trying to be open. I went in a suit. Tailored men's dress pants too. I went with friends.

Wanting to write my own stories. That's a big one isn't it? I never really do see myself in films or tv. An autistic mentally ill gay trans masc enby? Yea, not a thing. Not a popular role in hollywood, will never be. I'm not a writer, I wanted to be as a kid, I was going to go to uni for writing, but I'm not really good enough for that. I really really do want to see more of myself in media. I wish I could be able to create such things for other people as well. Cause things like Gaya Sa Pelikula are truly magical. It literally made me cry whenever something I related to happened.

[onestowatch]

Summer Salt Aims to Find the Silver Lining on ‘Sequoia Moon’ [Q&A]

Photo: Andrew Reiner

After two canceled tours, a year-and-a-half of waiting for the world to open back up, and months of releasing a series of summery and strong singles, Summer Salt has finally released their second full-length album, Sequoia Moon. Fans old and new have been waiting patiently for the twelve-track record to inject some tropic vibes into their daily listening diets, and Austin-based duo, comprised of vocalist and guitarist Matthew Terry and drummer Eugene Chung, have certainly delivered the goods just in time.

Ones To Watch had the opportunity to chat with Terry and Chung about the album and to discuss its themes of finding your people and your way back home and what's next for the band.

Ones To Watch: So far, y'all have released a series of really amazing singles leading up to the release of your sophomore album Sequoia Moon. Which one have y'all been most proud of?

Eugene: I think for me, and this might be different from Matt's answer, but I think "Monday's Facil" is my personal favorite just because it was the first one of the bunch. It was the first one we recorded as well when we started working on the record. Also, we did the video ourselves, and, I don't know, there's something kind of nostalgic about that.

It feels like all of Summer Salt's music videos have a solid identity tied together by the band's easy-going and authentic energy. What is your creative process like when it comes to coming up with visuals for your songs?

Matt: We try to make a little bit of a mood board and exchange ideas with each other. Eugene and I will text a lot of our random thoughts that we have that we think will be cool for certain videos and try to recreate what we feel like we see when we think about our videos. "Monday's Facil" is the only one we've directed ourselves.

Eugene: Yeah, sometimes we'll always bring up ideas, and we love everything we have, but sometimes our original ideas don't get shown or don't come across the way that we intended, which is totally fine because I think there's magic in that.

Matt: Yeah, sometimes things take a different direction. I feel like for "Fire Flower," we wanted it to be very story-oriented. We always try to start with a story, but then it just ends up becoming more vibey because the story just gets kinda lost in translation. So in the video for "Fire Flower," we wanted to be like, okay, we're getting ready to go to like a New Year's dance, and we're going to be the band that plays the show at the New Year's dance. And so that's what we wanted to do, and then afterward, we were gonna go shoot off fireworks, but then it kind of became, you know, it took on a life of its own, and we were kind of just having fun. We found that with the videos, because Eugene and I are both a bit camera shy, having a story opens us up more, and we can have more fun with it.

That makes sense! The opportunity to play a character puts less pressure on you in a way.

Matt: Exactly! When you have to do something that's so you, you end up overanalyzing the parts you may be self-conscious about and worry about how you come off on camera. I think that's how a lot of actors are.

A personal favorite music video for the singles y’all have released so far has to be "Hocus Pocus." Where did y'all shoot it and tell me about that day?

Eugene: Yeah, that one has to be my favorites so far too.

Matt: Same here!

Eugene: Yeah, fun location, fun story. We shot most of it around Crescent City, California, in the Redwoods and Jedediah National Forest. It's the same place they shot Star Wars: Return of the Jedi.

It did look extremely familiar now that you mention it!

Matt: Haha yeah, we've been getting that a lot from people. I really loved that video because we got to play these big characters, which is something we hadn't done before in past videos, which is really cool.

From the songs that haven't been released yet on the album, which one are you most excited for people to hear?

Matt: I think people will really like "Neptune," but I'm especially excited for people to hear "Trouble In Paradise."

Eugene: For me, I'd have to say "Lewa Lani."

Sequoia Moon takes the listener on a beautifully vulnerable sonic journey, and it feels like although there's evident influence from your previous work on it, yet the record also feels like it's a chapter full of growth for Summer Salt. How would you describe this "era" for you guys? What does this album mean to you?

Matt: I would say that this era of the band, I think is just more of us being able to be more honest. I think the more and more we've kind of gone from our first releases to just writing, to releasing EPs and then Happy Camper, and then now it's like, it just kind of coincides with just growing and then like being true to ourselves. I feel like when we were writing Happy Camper and Driving To Hawaii, I don't know why, but I've always felt like it was just us wanting to write about fantasy and real-life things were never mentioned, and we kept things kind of playful and light. I think it's just been so much more of an emotional and genuine relief to write very real and honest things. I think that definitely has been where we've been recently in our writing, and I feel like that has progressed in this album.

So it's safe to say that you've learned more about what kind of artists y'all want to evolve into while working on this album?

Matt: Absolutely.

Like many pieces of work that are coming out right now, this album was recorded during the pandemic. What was that experience like for you guys? Did you have to tweak your creative process, or did things end up staying relatively the same?

Eugene: I mean, I think for me, and maybe for Matt too... I mean, we've always worked well together, so that's never been a problem, but just being more open to more ideas or different sounds. Communication goes a long way.

Matt: Yeah, to kind of go back to the last question and to answer this question too, one thing I try to remind myself is, like, when I write a song, and perhaps Eugene, you've had the same experience, and you're inspired by another artist, that you're like, "Well, I want to write a song like that thing. How did they do that? How do they come up with such like a cool transitional hook?" I ask myself all the time how did they come up with something that's so lucid and kind of dreamy, but then also keep it very pop sounding. I wonder about these kinds of aspects of songwriting that are really neat and seem very crafty. However, I learned that when I overthink how to do those things the way they did it, it's almost like I'm trying too much to be perfect, then the song kind of loses the essence and coolness. When you take that thought process away, it just naturally becomes you being you and the song becomes more naturally beautiful that way. It's so hard at times to take yourself out of that when you're stuck on a song because you just want it to be perfect.

Eugene: Yeah. It's hard to replicate stuff, and I think things kind of coming naturally is always the best way for us. I think better songs just happen when you sort of step out of that place. Also, working from a distance virtually was super easy for us because both of us are such homebodies. So it was easy for us to share ideas and come together over the pandemic.

What does the name Sequoia Moon mean to you? 

Matt: I went to the Bay Area for a while, like a long time ago, and then went to the Redwood Forest for the first time, and I just came back and wanted to write some songs about it. Like three of those songs, "Two Of A Kind," "Sequoia Moon," and then "Lewa Lani," other than those three, they're all kind of relatively new, but those three were I wrote from back then. So like I said, one of those songs was called "Sequoia Moon," and I thought that that was a beautiful name. So Eugene and I went on this name quest to try to figure out what to call the record, so we searched through all of our lyrics several times because we just wanted to, for the first time to pick something that wasn't like a track name. So we were trying to find something we did like and finally just accepted defeat and went back to our original idea and just do Sequoia Moon and accept that. We just ended up really liking it and thinking that it was a really pretty name.

Eugene: Personally, the name fit for me not just because of the few songs that Matt wrote before writing the rest of them and being inspired by that area, but I think, for all the songs, there's kind of a deeper meaning between Matt and me and that time in our lives.

Matt: You know, I feel like all of the songs are about finding this kind of duality of sadness and beauty. Life is a rollercoaster of happiness and sadness, and you're just trying to find this silver lining and beauty in all of it. And so I feel like that name just kind of sounds a little lonely. Sounds a little bad or bittersweet, but it also sounds beautiful.

Outside of the natural beauty of the Pacific Northwest, what else inspires you as creators and inspired this body of work?

Eugene: I think relationships both new and old. Growing. 

Matt: Yeah, like thinking about your interpersonal relationship with people and what they mean to you in your life. I think that that's a very inspirational thing. When I was writing some of these lyrics, I was just becoming very close friends with Eugene, and my girlfriend and I just began dating. I started writing these songs three years ago, and so just finding those people that are just the kind of people who can pull you out of any funk that you have or be there for you through your best and worst time, that's an inspiration. I think lots of songs we have, like "Patch Your Jacket," "Clover," "Hocus Pocus," "Two Of A Kind," "Colors Of Your Love," they're all just about people being there for you and saying, "It's cool, dude. I got you."

Now that touring is back up and running, are there some cities that y'all are excited to revisit or visit for the first time this summer when y'all hit the road?

Eugene: Yeah, we're super excited to tour. We have a mini-tour this summer, and then we actually have a longer one starting in September.

Matt: Yeah, I'm excited to play in San Francisco. We've also never been to Miami, so that'll be cool.

Eugene: Yeah, it's weird we've never been there, but it'll be cool.

Matt: Oh, and Santa Fe! It's gorgeous there, and we've never been there. So those three cities for sure!

Sequoia Moon is available everywhere you can stream it. 

[myheartissetinmotion]

hello, internet

I’m really about to expose myself here huh

anyway, this post is the brainchild of my quarantine. Beginning somewhere around April (what even is time) and ongoing to this day, I’ve written screenplays and fics, made pinterest boards and spotify playlists, dreamed up choreography, and plotted storylines, all as a product of both escapism from this insane world and yearning to be part of my favorite tv show in any capacity.

guys, gals, and nonbinary pals, buckle your seatbelts and allow me to introduce you to “Zoey’s Extraordinary Cousin”, Victoria Evelyn Clarke.

(most of this was written before s2 premiered, and I won’t always be changing her whole story as it would be required on this post, but I’ll continue to add fics which modify stuff to fit s2 canon)

general stuff

name: Victoria Evelyn Clarke (named after a song-first-and a friend-middle)

nickname: Tori

age: 23

height: 5′9″ (plenty of opportunity for the brogrammers to joke about how short Zoey is when compared to her younger cousin)

hair: auburn, medium length, wavy

eyes: hazel, she wears glasses

family: her father is Mitch’s brother, so Maggie and Mitch are her aunt and uncle, making Zoey and David her cousins

occupation: just graduated from a BFA musical theatre program; hired to play piano in the SPRQpoint lobby, stays there for most of the time that her story is shown and eventually books a role in the LA area, which causes her departure from the show (if she’s just a recurring character)

a few of her functions as a character

disclaimer: I’m fully aware that a lot of concepts I’ve come up with for her couldn’t actually happen on the show (especially if I played her, which of course is the ultimate dream), but I just wanted to put all of my ideas into one place

because she ends up working at SPRQpoint, Victoria serves as a bridge between Zoey’s work life and family life, making the story more cohesive

due to the blood relation and her empathetic nature, she can tell when people are singing to her. Zoey tells her about the power right away, and she provides insight, taking on a similar role to Mo but with the added bonus of already knowing her family and getting to know her coworkers better. A complication in the powers is always interesting, and it opens the door for many more possibilities

she’ll bring more musical theatre songs to the table and diversify the music genres discussed on the show; it would also be really interesting to have a character that plays an instrument and see how that might factor into heartsongs

she’d strengthen the theme of music bringing empathy through storytelling; through her insight and empathetic nature, she sees qualities in some characters that Zoey and the audience haven’t seen yet

she’s been the “therapist friend” all her life, and a big part of her arc is learning how to take care of herself and realizing that her own emotions are just as valid as those of the people she helps; this gives a contrast to Zoey’s initial awkwardness when it comes to emotions and helping people, and they help each other through everything

the fact that she quickly falls for Leif sends Zoey into a bit of a tailspin; she feels that she has to tell her what else he’s sung, which results in a question about the ethics of the power and privacy. This’ll give more depth to Leif (who we’ve barely heard from emotionally since mid-ep-11; there’s a lot behind “things change, people change” that I’m curious about) along with bringing out a protective side to Zoey and deepening the Clarke family dynamic

personality and characterization tidbits

hufflepuff through and through

sees the best in people

loves music and is really knowledgeable about it (see Zoey and Mo in the relationship section down below for the impact of this) and has escaped into it her whole life; this makes her almost a foil to Zoey as they balance each other out

just as awkward as Zoey; one can absolutely tell that they’re related if only by their speech patterns and appearance

has a playlist for every imaginable human emotion

bi and hopeless romantic, but has never really felt wanted

unashamed theatre kid

quick-thinking and witty, intelligent but idealistic, and sometimes comes across as naïve

passionate about activism and working for change

feels and cares very deeply

see pinterest board and spotify playlist below in the references section for more

relationships with other characters

Zoey Clarke: her cousin. After graduation, Victoria visits her family to be there for them after the funeral, and this begins her storyline. The extended Clarke family is tight-knit, and she and Zoey have been really close friends throughout their entire lives. They can read each other well, and the established relationship is really clear in their dialogue and the way that each is one of the few people that the other feels genuinely comfortable around. Partly because Zoey never had a younger sibling, she was always very protective of her younger cousin. This comes into play in a huge way during Victoria’s storyline, beginning with her second heartsong. One of Zoey’s internal conflicts throughout this situation is the decision of how much to share with Tori of what she knows due to earlier heartsongs; she feels it would be an invasion of privacy to tell too much, but she also feels at the start that Tori is being naïve and a bit too trusting and doesn’t want her to get hurt. This struggle deals with both Zoey’s personal relationships and the ethics of the power.

Leif Donnelly: the reason for the aforementioned internal conflict. Victoria falls hard and fast for him during her first tour of the fourth floor, leading to her second heartsong. When confronted by a dumbfounded Zoey about it, she denies it as nothing more than infatuation at first sight, but this gets harder to believe as time goes on and Zoey has to watch her cousin and sworn rival genuinely becoming friends. After a few weeks, she learns and has to accept that Victoria’s feelings are genuine. Reciprocation, though, is a whole different matter; they find this out by way of another heartsong, which is also how Victoria learns of her own addition to the power. Witnessing that song pushes Zoey over the edge, and similarly to s1e5, she eventually blurts out the truth about Leif’s previous heartsongs and relationship with Joan, which leads to Victoria’s very conflicted heartsong rendition of “Toxic” (because if no one sings it to him at some point in the series, that’s a seriously missed opportunity). We see their later conversation: Victoria isn’t sure how to bring it up, but she doesn’t have to, because the events of the end of s1 obviously did take a big toll on Leif and he wants to be honest with her about it (see chapter 7 of singin’ from a streetlight). It would be interesting if she had something to do with the way he eventually found out about the power; Victoria lives very much by her moral compass, and she would feel awful about knowing things that he doesn’t know that she knows. If I had to sum up the relationship in terms of how it serves the show, Victoria sees the parts of Leif that Zoey and the audience (for most of the season) don’t, and he’s one of the first people who’s ever made her feel wanted.

Mo Montgomery: these two get along splendidly. So splendidly, in fact, that Zoey sometimes even regrets introducing them, especially when she can’t sleep due to their late-night, belt-to-the-rafters karaoke sessions that can be heard through the apartment walls. Mo finally has someone in the building (Victoria is staying with Zoey through the duration of her arc on the show) who properly appreciates music, and the three of them (plus Max and whoever else learns about the power-Simon absolutely has to in season 2, come on) become a sort of ragtag let’s-figure-out-this-crazy-power group of friends.

David Clarke: I’ve always thought that the backstory revealed in ep 5 of David being a former theatre kid was really interesting. He and Victoria have bonded over this for a long time, and she feels betrayed when he leaves it behind due to the toxic masculinity explored in ep 5. I’d love an ep called “Zoey’s Extraordinary Brother” or something that goes deeper into that; Victoria definitely has a hand in helping David embrace that part of himself, and she’s almost as close with him as she is with Zoey.

Max Richman: she’s actually known him for quite a while, having done a bit of community theatre with him before he even met Zoey (because you cannot tell me that this man, who can canonically sing and dance and genuinely enjoys it, wasn’t one of the only boys in his high school theatre program and didn’t ever play Georg Novak at some point). He seemed to have gone through some Good Old Fashioned Character Development in ep 12, what with the “focus on yourself right now” and everything, but there’s still quite a lot to unpack that was revealed between 7 and 11. Honestly, I just want to see someone Talk Some Freakin Sense Into Him, and an old friend who’s been removed from the situation but knows both him and Zoey very well is a pretty good bet.

Simon Haynes: Victoria, along with Mo, acts as Zoey’s confidant for the central love triangle. She’s a bit put off by the idea of Simon’s cheating, but sympathizes with both him and Jessica after learning the whole story; upon meeting him, she thinks he’s wonderful. (he honestly gets some of my favorite dialogue on the show...who else can pull off all of those deep conversations along with “this is a classy affair, of course there’ll be pigs in a blanket”? in this house we appreciate JCS)

Tobin Batra: the first person she meets on her first tour of SPRQpoint, much to Zoey’s dismay. As the audience learns more about him (which I’m so freakin excited for, by the way), he and Victoria share quite a bit of banter while the season goes on. Tobin also thoroughly enjoys trying to push Leif and Victoria together, and there are a lot of fun scenes in which he has a blast acting as a wingman for his oldest and newest friends.

Mitch and Maggie Clarke: they mean absolutely everything to her. Victoria’s parents are usually supportive, but they often consider her career as an entity separate from her as a person and discuss it as if the decisions are up to them; she was always able to come to her aunt and uncle when she needed to, and she’ll always be grateful to them for it. As  previously mentioned, the extended Clarkes are really close, and Victoria deeply regrets not being able to make it to Mitch’s funeral. At the start of her arc, she believes that she doesn’t have as much right to grieve and that she has to “stay strong” for her family. Over the course of her storyline, she realizes that there are people that are there for her just as much as she’s there for them. This includes Leif, Zoey, and Mo; Maggie is one of the most important of these for her. Family is at the core of this show, and at the core of Victoria’s being.

Emily Kang: first of all, I’m still hoping she gets “Everything Changes” from Waitress in season 2. Victoria admires her wit and they enjoy each other’s company; when needed, she loves babysitting her second cousin.

Abigail: give her a last name gosh darnit. I hope she comes back as an intern in season 2; she and Tori would be SUCH good friends, and it might be neat if they had a duet of sorts, so that she’d be signing with the strings carrying on her part as Tori sang.

Aiden:  okay, I knew from the beginning they’d be best friends oh my god. She’s closer in age to him than she is to Zoey; she was often babysat by her cousins when she was little, and that’s how she got to know the kid next door, the kid who air-guitared along to the radio and made plans with her to travel the world when they got older. Naturally, she had the biggest crush on him, which Zoey thought was hilarious. They still support each other’s music and keep in touch to this day.

I’m not sure what’s going to happen in season 2 with new characters, etc, and whether characters such as Joan, Autumn, Howie, Eddie, Deb, Ava, Jessica, etc are coming back. My ideas for this character and her relationships will obviously change as the show progresses (I say as if anything will happen-it’s one of the only things I have left to hope for, okay, voice in my head, shut up) and I’m looking forward to seeing how the story continues to unfold.

some potential heartsongs

“Wishing You Were Somehow Here Again” from The Phantom of the Opera: the first that the audience sees of her. After an episode of Zoey Going Through Some Stuff, she needs to talk to her dad, and realizes once she reaches the cemetery that she’s not the only one. It’s raining, much as it was when they tried to choose his plot. It’s just the beginning of the song; on “all that you dreamed I could”, Victoria’s voice cracks-she’s crying as she’s singing-and she trails off, then the instrumental continues while they talk. I mean, we’ve already had a song from an ALW musical...IT COULD WORK.

“Absolutely Smitten” by Dodie: after her first tour of the fourth floor, to an oblivious Leif. I’ve always wondered why they haven’t used the swings in the choreography yet, so I just decided to do it because Why Not. The vibes of this song would be perfect for the vibes of SPRQpoint, and it works for the scene as well; it’s vulnerable enough to be the beginning of real feelings, but cutesy enough for her to deny it to Zoey as nothing more than infatuation. If we can put the railing on the staircase back in from the pilot, it fits pretty well as a sliding-down-the-railing song, if that makes sense.

“Human” by Christina Perri: a visit to her parents. enough said. It serves as a major release for Victoria as well as the reveal that she’s far from the put-together person that she tries to be; I also feel like this kind of song would fit well into the show, and it’s more recognizable to the mainstream than most of the other songs on this list. This is also a wake-up call to Zoey that her cousin really is hurting, and the “help” that prevents the song from haunting her comes from the fact that she’s the first person to really understand Victoria’s relationship with her parents and be there for her.

“Strawberry Blond” by Mitski: the epitome of Yearning™. A few weeks have passed since “Absolutely Smitten”, and as much as Zoey would like to stay in denial about her cousin’s feelings, the universe isn’t going to let her; “I love everybody because I love you” is pretty difficult to twist out of context. This one is short and sweet, starting at the second verse and skipping to the repeated chorus. The choreo epitomizes the paradox of combined awkwardness and grace that lies at the heart of Tori’s character. She floats and spins, propelling herself around the office as if lifted from within by the music, never taking her eyes away from Leif. This is when Zoey realizes that she actually has to deal with it, prompting the swear guitar title card; this song and the next two are all part of the same episode.

“Victoria” by Jukebox the Ghost: this song is Leif’s; she accompanies it. Zoey comes downstairs to the lobby a few hours after the workday ends and hears the piano, but there’s no one playing it. It would be really interesting to see the way that instrumentals happen in heartsongs if there are actually instruments in the room; just something fun to play with in regards to the power. (yes, I named her after this song specifically for the purpose of this song, and I’m aware that if the full song is taken into its own context it doesn’t portray a particularly healthy relationship but the piano part is cool and the song just has this electric energy okay?!?!?!) The choreography is very La-La-Land-esque; it’s sweeping and explosive as they make their way across the lobby. At the second verse, she starts actually playing the piano; this cut of the song goes to the last chorus after the second verse. This is also another example of Tori’s being able to tell when she’s being sung to (the way that she finds this out is explained in jumpstarted (see below), but that wouldn’t work in this universe, so this song is how she finds out if she were actually a character). She’s in utterly joyful disbelief, going in between trading incredulous glances with Zoey and allowing herself to fall into the choreography. This song is the turning point for Zoey when it comes to the relationship she’s witnessing; while they’re on the piano bench, Leif smiles at Victoria in a similar way to the end of episode 7, and this sends Zoey’s protective-older-cousin-mode into overdrive. Feelings are one thing, but reciprocation is quite another, and this is when Zoey realizes that she has no choice but to tell Victoria the truth.

“In Case You Don’t Live Forever” by Ben Platt: let’s say that at the beginning of this episode, there was a dream that Zoey had about an old memory with Mitch in which she watches her younger self heartsing this to him, and she’s attempted for all of that time in between to remember the melody. A few days after “Victoria” takes place, Zoey is struggling to figure out how to bring up the needed conversation, and she tries to preface it by explaining how much Victoria means to her. She doesn’t get very far in her speech before she hears the music she heard in her dream; this song is Tori revealing how much she’s always looked up to Zoey, which brings her to tears and causes her to blurt out the last line of the episode: “I need to tell you something.”

“Toxic” by Britney Spears: tbh, this song once came on the radio and I thought “...wait a minute”. It’ll also be more recognizable compared to this list of showtunes and indie pop. This song takes place on the fourth floor during the next episode; Mo has come to pick up the cousins for their weekly lunch, and he and Tori are once again trying to give Zoey a crash course on musical pop culture. Today’s lesson is pop of the early 2000s, and Tori tries to give a demonstration by singing the first verse, almost unable to due to how hard the three of them are laughing. They walk past the conference room where a meeting is taking place, Leif sitting at the head of the table, and Zoey barely notices the instrumentals that have been building in the background until Tori stops short and the all-too-familiar riff (yknow, the daaaaada dadada) comes operatically from her throat rather than the invisible synth. Mo can tell by Zoey’s expression that the demonstration, which has stopped in the real world, has turned into a heartsong. As she sings, she makes her way into and around the conference room, spinning chairs and overdramatically throwing herself against walls, as if magnetically drawn to the subject of the song but trying to pull herself away. It’ll show how conflicted she is, but it’ll also be freakin’ hilarious.

“Unusual Way” from Nine: After the aforementioned much-needed conversation in the episode which “Toxic” appears in, Leiftoria (is that an unintentionally awesome ship name or what) is official. I’m not sure how long her story on the show would last, but this song marks the end of it; she books a role at a fantastic dinner theater in the Los Angeles area. In the scene of her last heartsong, Tori, Zoey, and Leif are sitting in an airport lobby. The ticket machines are down, and dozens of impatient passengers are waiting with them, listening to the drone of announcements and tinny pop music played over the loudspeakers that slowly morph into a melancholy arpeggio. If anyone reading this hasn’t listened to this piece, I highly recommend it, by the way-it’s utterly haunting and you’re definitely gonna cry. The cut starts at the second verse and skips the solo third verse to go right into the duet. There’s nothing extravagant about it; as in the musical itself, this song is carried by the sweeping, raw emotion behind it.

references or something-what do I call this one

spotify playlist: a living document (chronologically) of potential heartsongs, songs that fit her situations, and songs that just have her Vibes.

pinterest board: an ever-growing, ever-changing representation of her character. I’ve pinned everything twice so that there can be sections without disturbing the full aesthetic; each section is named after a lyric from a musical that represents that aspect of her character.

tiktoks: there are a few I’ve made about her, some actually in one or both of the universes I’ve written about (see below) and some just for The Vibes or other potential story ideas. @can.you.hear.it.echoing

jumpstarted: the first fic for anything that I’d written in years; it started out in my mind as three scenes and came out to 29 pages. This is an au in which she works at the karaoke bar; she couldn’t actually be on the show this way, but I just think it would be neat-it would only be canon compliant through the middle of s1e11 (there are a few time shifts), so here we are. (seriously though please read this one I’m very proud of it.) This story does share aspects with what she’d actually be able to become as a character, and these are further explored in my second fic.

singin’ from a streetlight: a collection of oneshots that goes through most of the potential heartsongs listed above, from Zoey’s pov. chapter 7 is an interlude, back in Tori’s pov, because Zoey doesn’t see her and Leif’s much-needed conversation on the evening of “Toxic”.

but i’ve never been quite alright: I thought of “Human” as a potential song for her after the entirety of “singin’ from a streetlight” had been published, so this is a seperate fic to explain that scene; it fits in both of the above universes.

scaffolding and christmas lights: cheesy fluffy office party holiday fic because why not. It’s fun to consider how other glitches in the power might manifest; in this one, anyone that Zoey makes eye contact with sings their heartsong to the world. this doesn’t really go with the timeline of either universe, but it’s an interesting idea that might be worked into either

with a little motivation, i’ll go far: she experiences her first heartsong, “California” by Ricky Montgomery, at the airport as she comes into San Francisco. I just this song fits her well at the beginning of her story-this was a really fun one.

it’s the terror of knowing what this world is about: taking the little bit of David’s canon backstory and RUNNING with it. he and Tori would have bonded so much over musical theatre when they were younger, and she must have felt so betrayed when he tried to abandon that part of himself; this fic explores that

‘cause i see every part of you, and i can tell you see me too: Leif shows Tori his sketchbook and Feelings Ensue. (I want to see more of him as an artist, it’s such a fascinating aspect of his character, please Austin please)

don't look too deep: I watched mamma mia 2 and this is the result. #laurengrahamfortanya2k21

have you been too much on your own: this came out of thinking about les mis too much for the thousandth time; it’s an au of chapter 2 of “singin’ from a streetlight” just because I thought it would be kind of hilarious

suddenly we all got young: the brolympics strike again. this came out a bit angstier than expected but it was so much fun to write; I’m really loving what I get to do with her in s2

just keep losing my beat: written during the midseason hiatus; finally found a way to fit her properly into s2 canon. quite proud of this one

perfection is so quick to bore: I fell so in love with the song “I Hear a Symphony” that I had to write something around it, so here this is. it’s very projection-y and rather cheesy but I tried to capture the emotion

screenplays: there are a few that I’m working on and this post will be updated as I finish and revise them

if you’ve read this far, thank you. I just wanted to get her out in the world before season 2 started so I could be as canon compliant as possible (and it happens to be Dec 21, both my birthday and the day that Planets Are Being Cool on the solstice so it’s a great day for manifesting). I would give anything to be part of this show in literally any capacity; from the beginning I loved the concept and by now, as cheesy as it sounds, it feels as if it’s almost knit to my soul. the entire cast, crew, and creative team are such wonderful people (at least from my limited view, but they seem to be very genuine) that I’d love to work with, and this idea has been a sort of a coping mechanism through everything going on in the world and in my life. This post will probably be updated as I come up with more content and the show develops during s2 and beyond. even if nothing comes of this, I love my Tori dearly, and I hope anyone reading this enjoyed learning about her as much as I’m enjoying creating her story.

[thatsystemerror]

the best things about Outer Banks

*spoilers ahead*

Holy hell, this turned out so long. I decided to make a second post solely dedicated to quotes because I just could not fit that in here anymore. I guess it speaks for this show that I had enough material to make two... Anyways, enjoy!

pt.2 - The Best Quotes From OUTER BANKS

NOT the pace at which John B and Sarah’s relationship develops

noT AT ALL

sorry, done with the venting now

anyhow, the group being TIGHT ™ 

JJ making you feel one of three ways:

“oh heLLO, JJ” (mostly without a shirt scenes)

“ugh, JJ” (he brought the gun and/or is being a dick scenes)

“awww, JJ...” (you know which scenes)

Kie’s outfits

the golden hour lighting

the sets being actual houses

the beach/sea/surfer aesthetic

the van

The Chateau™

JJ’s rings

Pope’s contributions being overlooked, always

everyone’s motivation on this show: “How much?” “400 mill”

conclusion: that’s worth fucking shit up

Kie actually being really skilled in politely but determinedly shutting her guy friends down when “macking” on her

ya know, until the Pope pity party at the end...

cuz that’s what it felt like, for real

I actually thought JJ and Pope might have a thing going...

the soundtrack full of surf guitar music

the intro font always making it feel like some 90s Miami-set crime show is about to start

John B’s hair, I think?

I mean, I don’t know what you’re into...

I just feel like it’s a breath of fresh air on the boy’s-hairstyles-tv-landscape

getting major “Don’t Breathe” vibes from the blind old lady shooting up her house

I appreciate them trying to make her actually kinda creepy, because they usually fail miserably with "scary” elements on non horror stuff

I don’t know if you catch my drift, just thought it was well done...

Sarah getting stung by a jellyfish and everyone just like not really caring??

all of them thinking for even oNE SECOND that they weren’t gonna get screwed over with the gold

JJ looking like the lead of any 90s teen production at all times

JJ just effortlessly blending in with the waiters at the party

or that time when he fake cried on command to save his ass

but like every character has good acting skills (or simply is a good liar, I guess it’s a matter of philosophy)

JJ and Pope betting money on Kie and Sarah

Kie starting a fire to save everyone’s ass

the Vlad and Val thing (cheesy for sure, but adorbs nonetheless)

highkey though the guy playing the drug dealer is a really good actor, cuz I’m sure he’s nice and cool and all irl but as Barry all he makes me think of is this:

Topper’s Frosted Tips™ (gosh that sounds so unbelieveabley sexual I can’t believe it’s not sexual)

JJ constantly trolling every authority figure

Sarah not being the perfect-snobby-rich-chick-daughter despite being expected to be by everyone

JJ robbing the coast guard of a pen? because he ignored him

“bring it on Aggie, you bitch” sign (I don’t think stroms can read but nice touch)

especially the first few episodes finally being an accurate depiction of how teenage boys always wear their hat floating like 5″ above their head and hoW FUCKING DUMB IT LOOKS!!! thank you! please stop...

Pope loosing his pants at the cemetary (like imagine him having to explain that to his mama)

the “friends” awkwardly waving at Kie’s dad

that one silouette shot ✨cinematography, bitches✨

never actually seeing John B give the BMX bike back to that poor kid...

going back to save the Big John photograph from the street (tears, man... tEArS)

John B being a major wuss while Sarah is cleaning his wound

NEVER having the gun when actually needed

ALWAYS having the gun when it could get you in major trouble

JJ taking the blame to save Pope

JB’s finger guns after his first kiss with Sarah (John B you smooth mf...)

that opening shot in ep.4 zooming in on the boat through the storm clouds

everybody being collectively surprised to see JB in a school building

the blood splattering against the window of the car with JJ and his dad in it (terrible scene, A+ effect!)

JJ sneaking through the swamp with a backpack on his head

the actor of Sarah’s dad managing to give you the creeps with some subtle crazy eyes even before it turns out he’s actually crazy

Kie fooling Pope with her British accent

Rose thinking she’s some kind of High Priestess at the midsummers party

John B putting a bow tie on JJ

BROMANCE™ (alternative title)

JJ delivering the note dancing flirtatiously

Sarah thinking pushing John B down would magically have made him invisible to Topper watching them for thE LAST 5 MINUTES??!

JJ twirling Kie around when leaving the Kook party

Topper accidently confessing his creepy-stalker-love to a 13 year old

Kie slapping John B

John B slapping Kie

violence is not the answer, kids! but I guess these were friendly slaps, so it’s okay

JB telling Sarah how “everything’s fine” with the Pogues and then cutting to it being definitely not

John B saying: “I don’t give a shit if she’s an axe murderer” and Pope making this face: 😲

a brilliant plan being ruined by a porch light

everybody constantly shitting on 1... 2... 3!

is that a The Shining reference I’m seeing????

how tf did it take them so long to realize she’s blind I-

and then once they did, Sarah states: “that bitch can’t aim” ???

like yeah, obviously, you just said it yourself sHE’S BLIND!!!????

anywho, John B not even bothering to fake excitement over the fishing trip

JJ finding “that’s what she said” disproportionately funny

the group wordlessly agreeing that somebody should probably look after JJ at the drug dealer’s

Sarah confidently telling JB she’s a virgin without it being all awkward (rare sight in teen shows back in my day)

Pope’s “Thrasher” shirt (like damn that’s off brand, but funny!)

JJ getting floaties for drinks in the whirlpool

the Whirlpool Group Hug™

JB telling Sarah goodbye before the fishing trip and me deadass thinking for a sec that he set an alarm to creep into his gf’s room in the middle of the night

Ward having sOmE NErVE to interrogate JB after killing his father (and later basically calling Rafe a psycho?!! like bitch get a mirror and baptized, thank you)

John B driving through the fence at the airport

Sarah yelling at her dad “you’re gonna kill him” like that’s gonna stop him lol

the cop at the airport giving us real talk about what police first aid training probably looks like

JB wanting to tell the cops what happened out of the goodness of his heart

Wheezie sticking up for her sister

Rafe calling John B a maniac (the apple doesn’t fall far from the tree, I see)

JB locking himself in, in a house with Topper (like god damn, Karma’s a bitch huh)

Sarah, a teenage girl mind you, getting away from a trained-special-force-FBI-whatever-cop-dude in full armor by KNEEING him

Rafe talking to his Emotional Support Dealer™

the Pogues standing up to their parents for frIEnDsHIp!!!

JJ about to play “Operation” on his dad to get the keys

the missed opportunity to use “I Shot The Sheriff” on the soundtrack

I’m still a bit salty....

JB getting out of the cop car like that’s just normal

Pope going to shake Kie’s hand to make up

Sarah making it just in time

Ward being the “final card” lmao

Pope’s fam taking JJ into their group hug

the chill fisherman dude (with a wild romantic past?) taking in JB and Sarah

I demand a spin-off for that guy’s story btw

I’m so sorry for how long this must’ve taken to read. Seems like a good time to remind you that there’s more though: 

pt.2 - The Best Quotes From OUTER BANKS

It’s a great show (even though in parts I would’ve preferred them to step off the cheese grater a little bit). Overall (aside from the obviously heavy themes), it reminds me of all the Australian teen shows I used to watch growing up (mixed with “the Outsiders” maybe?) and it makes me actually a bit excited for summer. 

And I hate summer, so that’s saying something!

@thatsystemerror

the best things about - masterpost