#prehiatus patrick is my everything | Explore Tumblr Posts and Blogs

omegalomania · 2 years

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https://www.tumblr.com/blog/view/omegalomania/188644148638?source=share ;loved this post of yours, it really made me pay attention to stuff i would've missed, thank you so much for making it!!! dyou maybe have more things that stood out to you like this (basically i'm saying compilation but again UwU)? thank you again and have a nice day good sir(gn) <3

here's a nicer link for people to click on, though the post is a couple years old by now. still i'm sure i can think of few more. so here’s a non-exhaustive list of little fob things that Get Me (tm).......2!

whenever they do “hum hallelujah” live, the original lyric is "me and my plus one in the afterlife," but patrick always always always sings it as "me and my plus ones in the afterlife." it's small and sweet and i have no idea how intentional it is but its almost like he cant imagine only having one person he loves that much.

back when they’d do “the kids aren't alright” live, there was one particular show where during the whole last chorus, pete would scream alongside patrick belting and it honestly does a lot of things to me

“death valley” live. thats all. the sheer pitch and power patrick has to dedicate to belting this seriously vocally ABSURD song. and JOE. GOD JOE SHREDDING? JOE DOING BACKING VOCALS. fuck me UP.

i could give less of a shit about what “bang the doldrums” is ~actually about~ i just care about the fucking drums in that song. the ride cymbal is so FUCKING delectable on the bridge and it actually kills me how no one talks about that

anytime patrick giggles in his studio vocals and they choose to leave it in, like in “young volcanoes” or “HOLD ME TIGHT OR DON’T” acoustic. it’s so sweet to me that they just leave that in.

the way rhythm of the claps in “explode” on soul punk matches the rhythm of the drums in “(coffee’s for closers)” EXACTLY haunts me. it haunts me. i dont know if it means anything specific because i can absolutely believe that that’s just indicative of how patrick writes (he writes like such a drummer oh my god) but the fact that they have such similar messages (feeling constrained by societal expectations, fighting helplessness that swarms into rage) and that they have that exact same beat...like i said. it Haunts Me.

i think a lot of people miss how fucking infectious and powerful the guitar riffs on “novocaine” are. fortunately, they come through VERY strongly live.

also shoutout to “uma thurman” live when the sampling of the munster’s theme is replaced by joe doing the licks live. that genuinely makes the whole song pop and makes it absolutely BANGING live.

whenever they play “disloyal order of water buffaloes” live patrick and pete stand next to each other when patrick sings “what a match, i’m half-doomed and you’re semi-sweet” and sometimes pete mouths the words alongside him and it undoes me a little bit every single time.

in general it’s just really really sweet to see all the guys still doing the same rituals the way they used to. patrick and pete still turn toward each other during “where is your boy” live but they don’t have to prop each other up for support anymore. they can stand on their own, but that doesnt mean they wont still pay tribute to all the times when they couldnt.

and on the flip side, the little choreography that only started coming to bear posthiatus, like the little guitar-off joe and patrick do during sugar. like that wasnt really there prehiatus, and now they do it every time and joe makes faces at patrick every time and patrick grins every time and it is honestly everything to me.

if you’ve never sat down and really listened to the drums in “20 dollar nosebleed” do that. please do that. like i said patrick writes like such a fucking drummer so he and andy have a lot of synchronicity and it really really shows when you pay attention to the percussion in any fob song.

the matching guitar lines in “champion” and “the last of the real ones” is like an inter-album call-and-response. if you’ve never listened to those songs back to back DO THAT cause it makes them feel like they sort of complete each other.

the way you can hear patrick whispering “spin for you” on “favorite record” after each verse. the mixing on abap is SO good just in general there is a lot of little subtleties that it takes several listens to really get

the “american beauty / american psycho” title track is criminally underrated ESPECIALLY live. the instrumentation alone is fucking hypnotic.

obviously the riffs on “a little less sixteen candles a little more touch me” are catchy as hell but the little sprinkling on top...like you can hear it on the instrumental during the chorus but its just a liiiiiittle extra riffage on top of what we already got and its delectable.

the studio chatter on pax am days deserves its own bullet point. i’ve talked about how pax am days is so so so good in general but the way you can hear the guys all laughing and cheering between every song. joe swearing OHHH SHITTY CRAP SHIT at the end of “hot to the touch, cold on the inside” like it just adds this warmth and intimacy without any of the polish you usually get. it softens me up every time.

“caffeine cold” is legitimately one of my favorite fob songs ever. the build. the pacing. the urgency. the whole way segue into the ending. the goddamn LYRICISM. don’t breathe life into a monster then complain when he destroys it all again. i’m not a monster. just really fucked up. i’ll see you in hell.

you know what i literally never hear people talking about?? the boys of zummer remixes that fob and wiz khalifa did of each other’s songs. special mention goes out to the live rendition of “stayin out all night” wiz and fob did together, because i have a special love for the combination of wiz’s verse on top of joe’s riffage. they did the wiz remix of uma live with him too!!

THE TRANSITIONS FOR THE LOVE OF GOD THE TRANSITIONS. LIKE JUST ALL OF THEM. thriller to take over. golden to mmrs. favorite record to immortals. get busy living to xo. THE ENTIRETY OF FOLIE A GODDAMN DEUX

“alone together” live is a treat but i want to give special mention to the riffing joe does that brings it all together. all the guys have at some point referred to joe as the connective tissue of their songs, and the guy who works on the actual sonics of fall out boy the most. i think that really really comes through live especially. he’s not a flashy guitarist by nature but that is most certainly not a bad thing and his instrumentation is basically the texture we’re always hearing behind every song.

people give “immortals” a hard time as though it does not contain the line “sometimes the only payoff for having any faith / is when it gets tested again and again every day” and that’s criminal.

ive mentioned this before but “church” has a fantastic bassline and while im sad pete didnt play it live, its genuinely so fucking good how joe picked up the bassline and integrated it into his riffing when they played that song live on mania tour. probably im reading too deep into it, but i find it sweet, that level of trust and support theyll dedicate to each other in a live setting.

there’s a misconception i’ve seen floating around that the symphonic strings we hear at the beginning of “the phoenix” are samples but they are not! they were recorded by the london philharmonic orchestra specifically for the song, inspired by the fourth movement of dmitri shostakovich’s “leningrad” symphony.

it’s a goddamn shame they never released a studio acoustic version of “wilson (expensive mistakes)” because i genuinely really love the performances of it we got during mania era. all two of them sob.

in general i think people undersell the presence of guitars on fob songs a lot. the guitars are there - they just have effects all over them! just because something doesn’t contain an 80s riff doesnt make it not a guitar song. i’ve seen buzz around the possibility that fob’s next project will be guitar based because joe called it a “guitar album.” you know what he also called a guitar album? save rock and roll. don’t underestimate what these guys can do with just their instruments; young and menace was all done with guitars, bass, and drums, pitch-shifted to sound electronic.

one thing that really stays with me is the guy who did a breakdown for the raw multitracks of the 2019 “lake effect kid” release. like not only does it REALLY showcase how much instrumentation and layering goes into every song (THEY RECORDED ALL THIS SHIT IN ONE DAY), but the one thing that sticks with me the most is the moment about 10 minutes in where the guy just stops and goes “this is why these guys are so unexpected and cool.” and it’s because he notes in the mixing that andy is playing the tambourine in sync with the crash cymbals. this is something that’s found in metal, that you’d expect to find in metal, and here it is fitting snug in a pop rock song. i just. find it so indicative of who they are and where they come from, that andy still plays like a metal drummer and is still essential to a band that writes pop hits. it’s like no matter how far they’ve gone, their roots are still there for people willing to look. there’s some part of them that hasn’t forgotten where they came from. they play songs that end up on radio, but you can tell they came from hardcore if you know what to listen for.

all right thats all i can think of rn. THANKS FOR ASKING. always love to talk about these guys

#askin hours #anon #i think this favors posth a little too much but also its my blog i do what i want etc.#im extremely tired this is by no means exhaustive its just what i could think of atm #have a good night/day yourself anon sorry this took so long to get to lol

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shark-myths · 6 years

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my songs know what you did in the dark

i’m ruined and i know it

good morning, loyal scholars of the Peterick Institute. at the request of @glitterandrocketfuel, this morning let’s discuss the incredible gem, the demo version of My Songs Know What You Did In The Dark from 2003.

first things first: it’s the gayest thing, it’s a treasure to our people, it’s like a coming out letter from peter pan to the rest of the lost boys. so just… brace up.

we sold our souls in dark hotel rooms

we slip tongues and lie like “I will see you soon”s

two explorers in the dark

making maps and drawings shots

twin skeletons vibes, anyone? the idea of two drunk boys, huddled in a hotel room with the lights off, secretly making maps of each other while their bandmates breathe heavy, sound asleep in a bed beside them, is. the most. incredible. thing.

as for we sold our souls, I think there are queer overtones in pete’s invocation of religious themes, always. he was always, always outspoken against homophobia in the hardcore scene and society in general, and he writes often about the idea of sin and being cast out for who you are, and this is fundamentally a narrative of queerness to me.

I will see you soon is a lie on a few levels: most explicitly, that they’re touring and away from home for long periods of time. pete writes a lot about homesickness and being on the road and how it’s lonely and isolating but he’d still never trade it during the Van Days era. it’s also something you’d tell a lover you don’t intend to see again, as you slip out of their bed, a social lie that means goodbye. so as they’re kissing in the dark, what’s the lie? the part where they say it doesn’t matter? or is it lying together, horizontal and tangled as any one night stand?

put the world on notice, I’m ruined and I know it

we threw the game from the start

I’m desperate and devoted, the secret no one told us

my songs know what you did in the dark

so instead of an ominous, I-know-what-you-did-last-summer vibe, here my songs know is almost a cipher. it’s tender, not threatening, and tells us there are secrets here in these songs, just as there are fumbled secrets in the dark. ruined and I know it / desperate and devoted is fucking exactly how we would describe prehiatus pete about patrick, isn’t it? they are the secret no one told them, these two matched hearts: each loving the other and not saying it, just exploring in the dark. *break for sobbing*

now fast-forward to post-hiatus. the boys return overnight dramatically with this single. it’s the first song they choose to announce their return with, a choice that seems s i g n i f i c a n t. their first single. in this interview, Patrick says of the 2013 version of My Songs,

“It said to me, that kind of theory you have when you’re an adult, which is a different one than you have when you’re a teenager. Because when you’re a teenager you can say these permanent things like, “I hope you choke,” and “I hope you die,” and all these other things. When you’re an adult, the people that you said that to when you were a teenager are still around, and you still have to interact with, and you have to figure out how to deal with that. And that’s permanent, and the rest of your life is going to be like “Hey I’m seething with anger and I just—Hi”.”

and Pete said,

“When you do take account of your life, sometimes it’s all right to just burn it, raze it, and start fresh. For me, it’s happened a couple of times, and it’s been a healthy thing.”

so they’re taking old words and repurposing them deliberately, they’re reflecting on how they’ve changed since they were teenagers, recognizing the way they’d reeled it in from permanent extremes and found a way to live together and be around each other, even if it isn’t the way that it was, even if feelings are still jagged. they’ve learned to start fresh and risen from the tensions that led to the hiatus in a different, stronger, more adult form. they’re talking about their relationship, their working musical and professional relationship and the romantic frisson that was visible from space, whether you think anything ever happened between them or not.

and then—if we take the songs as companions—how devastating is be careful making wishes in the dark / can’t be sure when they’ve hit their mark. Like so much of modern era FOB, this speaks of me of missed chances: of not realizing what they had in each other when they had it, cuz they weren’t grown-up enough to be honest, were too afraid to say what either of them meant to each other out loud, were too stubborn-stupid to acknowledge what was right in front of them, were too public and blown up famous when they were still just kids to figure themselves out.

they release promo photos of them burning their discography and sing, take everything you love and burn the ashes. Pete writes from a complicated time-traveling tense, putting words on his teenage tongue as an adult, saying, I’ve got the scars from tomorrow and I wish you could see that you’re the antidote to everything except for me, meaning that there are things he wants to tell the past versions of them, that he knows now Patrick isn’t his cure and he should never have put him on a pedestal and treated him like medicine, that Patrick was always the best thing in his life and love never could have saved him, but that doesn’t mean it wasn’t worth holding onto…

okay I’ve worked myself into a #state now. what do you guys think about these two versions side by side?

#tryst theory #lyrics meta #peterick #fob #fob meta #fob lyrics #meta #my songs #my songs meta #prehiatus fob #my songs know what you did in the dark #fall out boy

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