#so I can listen for it in the symphony of other instruments and elements better

[keikoayano]

Thinking about how in The Horse and the Infant there’s a secondary beat that starts to play after he brings up Penelope and Telemachus, drops off once the other soldiers pick up in the background again (or becomes covered by the rest of the score and I can’t pick up on it as easily?) but then returns and stands out even more strongly against the rest of the music after he screams in pain and Zeus explains the vision. It drops off again while Odysseus is asking what threat an infant could pose, then comes back when Zeus is explaining he has to do this or his people will die/Ithaca will be in trouble (with another focus on Penelope) and it mimics the sound of a heartbeat

Bum. Bum bum. Bum. Bum bum.

[ahenvs3000w24]

07: The Most Captivating Composer

Hi all!

We have had a short break in conversation, but I am back today to discuss the role of music in nature and where we can find it. One of my favourite aspects of spending time emersed in the natural world is pausing to hear all the elements surrounding me and my senses. When you become still, the world continues to move around you, and you can appreciate the smallest details. Music serves a social, emotional, cultural, and cognitive purpose that can connect us to each other and to nature regardless of socioeconomic status or other potential barriers (Hookyaas, 2024). The period in which music is produced provides context into the state of the world at that time and provides the listener with context (Beck et al., 2018). Often music is a vessel that indirectly informs us of the world without the need for a lecture or reading (Beck et at., 2018). The compilation of sounds can connect all our senses and encourage us to feel something that has been left unsaid.

So where is music in nature?

Some of the greatest musicians and conductors rely on a diverse set of instruments to convey emotion through their sounds. The orchestra that nature has assembled relies upon various components and species to produce a symphony. The waves that crash upon the beach and exposed rock at impressive speeds are the percussion. They provide a base line for the remaining components to layer themselves upon. The wind provides a soft but noticeable melody with powerful acoustics as it whisks amongst the brush and trees that line the beach front. At dusk, you may hear the rustling of small creatures, scurrying about to return to their burrows providing depth to the ensemble. 

I am most familiar with music in nature and have always been an observant listener, however nature in music is something I am not as familiar with. In an interview that I once watched with Finneas, Billie Ellish’s brother and co-collaborator, he explained his producing technique. He discussed his efforts to be a mindful creator and explained he often sources his beats and sounds from the world around him (Youtube, 2020). An example of this is the funky beat in the song “Bad Guy” which is part of a traffic light in Australia (Youtube, 2020). Creators such as Finneas are innovative and are exceptional interpreters of the world around them. In several Jay-Z songs such as “No Church in the Wild”, animal sounds are used for stylist purposes and make for easily identifiable songs (Jay-Z, 2011). Mainstream radio stations that play these songs are providing a platform for subtle nature interpretations. I intend to delve deeper into true nature songs and listen to how creative some songwriters are.

To wrap up my thoughts today, music makes us feel. Many of us turn to music in times of sorrow or when we need a pick me up while getting ready to play a game. Music can transform any space it enters and create an ambience that cannot be ignored. It is also the purest form of nostalgia. A personal example is the song “Home,” by Edward Sharpe and the Magnetic Zeros (Sharpe & the Magnetic Zeros, 2009). It is my camping trip anthem. Within the first few seconds, I am transported back to hikes under the hot sun, diving into the cold lake, and early morning wakeups. It is a song that represents the outdoors, family, and is ever-present in some of my fondest memories. I have included it if you are unfamiliar and in my slightly biased opinion, I think it is a must add to your summertime playlists! 

References

Beck, L., Cable, T. T., & Knudson, D. M. (2018). Interpreting cultural and natural heritage: for a better world: Chapter 10 Arts in interpretation. Sagamore Venture.

Hooykaas, A. (2024). Unit 7: Nature interpretation through music. University of Guelph. https://courselink.uoguelph.ca/d2l/le/content/858004/viewContent/3640018/View

Jay-Z & West, K. (2011). No church in the wild [Song]. On Watch the throne [Album]. Def Jam Records.

Sharpe, E., & the Magnetic Zeros. (2009). Home [Song]. On Up from below [Album]. Vagrant label.

YouTube. (2020, February 4). Finneas reveals everyday sounds hidden in “Bury a friend” and “Bad guy.” YouTube. https://www.youtube.com/watch?v=I-zeJRjP6xA 

[thisworldisablackhole]

Clairo Charm

FFO: 70s INSPIRED SOFT ROCK, POP, FOLK / LISTEN

There are a few different interpretations that come to mind when I think of the word "charm". The ability to delight or arouse another person with a smile and a pleasant demeanor is a fairly innocent and innate quality that many people possess, but on the other hand, this quality can also be harnessed for ill intent—lulling one into a false sense of security before administering a poison. In the case of Claire Cottrill's third album, both are proven to be true. Now, I don't mean to say that Charm itself is a lie sold under false pretenses, more so that it's inviting analog world (a corduroy couch in the warm glow of sunlight, if you will) harbors an undercurrent that is surprisingly challenging, and sometimes dissonant in nature. It's delightful as it is deceptive. No, this is not a continuation of Sling, as the opening track "Nomad" might suggest with it's soft keys, strings and whisper sweet vocal melodies. Nor is it exactly the groovin' summer bop that first single "Sexy to Someone" lead me to imagine. There are elements much stranger, more experimental, and borderline psychedelic at play here.

Conceptually, there is nothing insidious about Charm. It is very much an innocent attempt to capture the electric pulse between two people in various stages of romance. Meaningful glances, gradual obsession, the ever distracting potency of closeness and brushed skin. Cottrill muses on courtship and heartbreak as her band drifts down stream on a shag carpet riverboat equipped with vintage synthesizers, mellotrons, wurlitzers, vibraphones, flutes, saxophones, you name it. Cottrill pulls from the same lush arrangement of instruments that accompanied her on Sling, and then fuses them with the breezy bedroom pop ethos of Immunity in an effort to bridge the gap in her repertoire and discover something truly hers in the space between. It's within this symphony of wacky instruments where the oddly off kilter and clashing harmonies lie dormant, waiting in the reeds to turn our peaceful boat ride on it's head. Just the slightest shifting of pitch during the chorus of third track "Second Nature" was enough to shake me of my wits and send me scrambling to prepare myself for what I would later encounter in the more otherworldly tracks like "Juna", "Echo", and "Glory of the Snow".

Not all of these tracks are so far out, man, but Clairo threw enough curveballs into this record to successfully subvert my expectations. I had to meet her in the middle in order to gain some enjoyment out of this project, and I'm still not sure how much of that enjoyment is just self imposed stockholm syndrome from desperately trying to find the common thread that strings these songs together. Psychedelic folk, jazz, soft rock, soul, there's just a lot going on, and it doesn't always work perfectly. Ultimately, no amount of funky instruments and hippy dippy antics can save a boring song structure. There is a fine line between meditative and repetitive, and some of these tracks do end up falling into the latter category. Cottrill's vocal performance also leaves a lot to be desired. Largely absent are the heart wrenching and bitter sweet vocal melodies of yore, and in their place is something much more aloof and less present, as if Cottrill is trailing off in a daydream. Maybe it's on brand for the vibe of the album, but it doesn't really help the songs shine like they could, and the result is a record that feels best suited for performing menial tasks around the house.

As much as a part of me wishes this album was just Sling-but-better, I do respect Clairo for trying something new and swinging for the bleachers here. I would just caution everyone to drop your expectations at the door if you want to gain anything from the experience of Charm. It's the definition of a grower, and I don't think I'm anywhere close to discovering all of it's secrets yet.

[gaming]

Indie Game Spotlight: Mutazione

We’re ready to spill the tea in this week’s Indie Game Spotlight. Mutazione is a mutant soap opera in which neighborhood gossip meets the supernatural. The player joins Kai as she arrives in the mysterious community of Mutazione to care for her ailing grandfather. With her, you will discover scenic hangouts, magical gardens, new friends, and old secrets…the people of Mutazione can survive an apocalyptic meteor strike, but can they survive their own small-town dramas?

Hannah Nicklin is the CEO of Die Gute Fabrik and the narrative designer and writer on Mutazione. We spoke with her about animation styles, the truth in storytelling, and the nature of communities. Ready? Let's go!

How did the team come up with the animation style in Mutazione?

The creative vision for Mutazione has been developing for much longer than is usually the case for games, having been in Creative Director Nils Deneken’s imagination for over a decade. He has whole notebooks filled with his beautiful illustrations and designs, going back years!  

When looking back at early concept art, the designs seem to have arrived in Nils’ mind fully formed. It’s very much what you see in the game now. He draws influence from anime, comics, and illustration, and is interested in weaving nature and the natural world into his work. Our very talented animators (Esben Modvig and Anne Louise Laugesen) worked from Nils’ mock-ups to help bring his world to life. Esben and Anne Louise were both new to animating for games, and we think that helped us maintain a fresh feel for the animation—unburdened with ideas about how games ‘should’ look.

We’ve heard that there are musical plant gardens—tell us more!

When you travel to the community as Kai, you believe that you are going there to help care for your ailing grandfather. But it quickly becomes clear that he has other plans for you, like introducing you to several magical musical gardens.

Alessandro Coronas, who composed and designed them, was influenced by sounds from nature, as well as ambient music—in particular, Brian Eno’s Music For Airports. In the game, you can gather seeds and plant them in the gardens, adding their sounds to the symphony of all the other plants there.

Different plant families play in different harmonic keys, so you’ll experience a variety of moods, textures, and emotions—from melancholic orchestral instruments in a minor key, to tranquil acoustic guitars in a major key. In order to progress through the story, you must tune each garden in a specific way.

Sometimes you might like to move on with the story, but you can always return to adjust the tuning, and if you want some background music while you take a break from the story, you can just sit in ‘listen’ mode and enjoy your unique ambient composition.

How did the team approach the design of characters and their backstories?

When I joined the project over three years ago, the broad brushstrokes of the story were very much in place from Nils’ original vision. As the writer and narrative designer, being handed the story-world of Mutazione was a huge gift for me because it felt like it already really existed—our task has been less one of invention, and more like we are recording a history that has already been written. With an excellent and dedicated team, we’ve been able to take those first ideas, and develop and structure them to create something full of dramatic twists and turns, with rich characterisation, in a lush, hand-illustrated world.

That said, I did a lot of work on shaping the characters' emotional journeys, making sure that none of them felt like a stereotype. I wanted them to be defined by their complexities, so there are no 'goodies' or 'baddies.' only characters whose troubles and traumas are complex because everyone has darkness and light inside them. I think the key to writing an ensemble-driven story is to make sure that every character has evolved in some way by the end, even just a little.

Is there any juicy drama in the game that was inspired by real events?

Despite the supernatural elements, the stories within the community are the stories of every community, everywhere: unrequited love, meddling family members, old secrets, relationships breaking down, and lovers finally finding their way to one another. It's a story that deserves to be told, with humour and honesty.

As a writer, I try to be alive to the truth of the stories I'm working on— whether that's drawing on my own experience, exercising empathy, or speaking with someone who might know more about a particular situation than I do. For example, my brother helped us playtest the game. His training as a bereavement counsellor really helped me compose a convincing journey for a character who is revealed to be dealing with a tragic loss in the past. 

What do you hope people will take away from Mutazione?

We’re trying to create experiences in games that draw on references outside of games, and so we aim for a form of storytelling which is mature, complex, and unique when compared to the typical ‘hero’s tale' that consists of one character moving through the world, and a world that revolves around their quest. It’s a trope we inherited from film and theatre and is designed for a shorter experience and an era of kings and emperors.

In games, we often tell longer-form stories, and the problems and concerns we face today are collective, not individual. It’s vital for us to think about how we exist as a series of communities, and how we might find a better balance, both within those communities and as part of our environment.

Mutazione is about the messy, joyful, breathtaking act of living with people—not just alongside them, or through them, or in passing. It’s the kind of story I feel privileged to be a part of telling. We have used our resources to create a lively ensemble of voices, and hope this will strike a chord with audiences around the world.

Who’s ready for some drama? Mutazione will be released on September 19, 2019! Visit their website for more info on how to get an alert when it’s live.

[zarathelonewolf]

... What if we lived in a world completely made by solid drawings? Both colored ones or simple sketches, and depending on the type of drawing they are of a different kind of substance, or part of a different bioma...

What if some people were able to manipulate these drawings and colors via a series of instruments, which would be brushes, pencils, ink and crayons that are instead used as staffs? They can thus change, distort, and shape the world around them, even though they are extremely rare individuals, and the more they change their surrounding and use their altering powers, the more they take away from themselves?

What if an excess of ink or colors could be interpreted as a disease, or an epidemy that is able to warp existence as the world knows it? What if these dysfunctional waves of corrupted hues and disrupted lines of ink had been caused by a sect of color-manipulators that warped the core of the planet before finally being exiled? What if the sect evades their prison one day, and the corruption starts again? So the color-manipulators need to find the legendary individual of their kind which had disappeared after defeating the enemies, after centuries of trying to fix the damage on their own...

Believe me, this started after thinking too much about Ink! Sans, and from a fever dream in which I was riding a dragon with mosaics for skin.

Weird right?

And what about a world in which the creator divinity, situated in its center, has a rhythmic heartbeat that encompasses all beings and all places of the world it had created?

What if this heartbeat is similar to a symphony which can be followed and used to play magical music? A divinely inspired magic that can manipulate the elements and better the populace's connection with the environment and their creator, making humankind develop a whole set of cultures along the instruments and the melodies that are played...

And what if a great war starts, and the creator decides to shut themselves completely from the world, falling asleep until their melodic heartbeat isn't heard anymore, making the world fall in darkness so that their people stop hurting each other?

What if peace is slowly found again, but the war erupt newly because of new weapons being invented, like gunpowder? And bombs?

What if this war brings the world to its knees, until there is very little left and an apocalyptic setting is born?

What if legends are brought forth from long gone times, and a group of nomads that lives among a desert full of trash finds a set of ancient instruments they can play, evoking magical powers from another age?

What if they set on a journey following the hurt voice of the creator reawakening from their slumber, asking them to find the "instrument of creation" and start restoring the five cores of the planet in their stead?

...

I dunno. They are both concepts I think about whenever I realize that, since I don't want to, and can't, publish fanfiction, I may just need to use some of the ideas I have created before falling asleep and listening to music.

Cuz honestly, I can be slightly insomniac at times... and listening to music, drawing, writing, are my ways of escaping from what I feel is an exhausting school life.

I might just post some references from characters of the second concept, but don't expect it to happen any time soon. I really miss drawing, but I can't seem to catch a break as of late.

See ya!

[kth1]

Crosscurrents [Hoseok X Reader] Part 2

Crosscurrents - Part 1 | Part 2 | Part 3 | Part 4

Genre: The Little Mermaid AU | Fantasy AU | Series Pairing: Mermaid!Hoseok x Princess!Reader Featuring: BTS Princes Warnings: Angst, fluff, rated G, sorry no smut, mentions of pain, eventual character death, it’s just a fantasy story. pining, angsty? W/C: 8.8k Summary: Hoseok is a carefree middle child among seven princes, each running one of the seven seas. With a curious nature to study the world above, he makes several routine visits to the surface, once even saving an alluring princess who he grows very smitten by. With a strong determination to meet his lovely princess, Hoseok makes a risky deal with the ocean’s enchantress to become human. Author’s Note: Sorry for the wait, but I am still very happy about this story. Now finals and my semester is over - I can continue updating. Thank you all who support me. Portions of the fic is unedited. 🐚🧜‍♂️

Credits: Story includes strong elements from Hans Christian Andersen’s ‘The Little Mermaid’; Disney’s ‘The Little Mermaid’; and Michiko Yokote’s manga ‘Mermaid Melody’.

☀ CROSSCURRENT MASTERLIST ☀

The aqua prince now knew where his beloved princess lived, after revisiting the area nearly every evening after the first time. He often would approach closer to the land each time, venturing further than any of his brothers ever had to the shoreline. As Hoseok still remembered the touch of dry sand on his slimy tail, the foreign air of fresh land right under his body.

Daringly, the carefree and curious prince even swam up the narrow channel that led under the marble balcony that belonged to the princess. During bright moonlit nights he would only invite himself here so he could watch the princess stare off into the sea, where she believed she was all alone. Little did she know, she had a secret admirer in awe from below.

Human beings in general became more and more dear to Hoseok. Days of eavesdropping on humans within the green reeds of the bank who were sailing the water, listening to their stories and conversations in hiding. Stumbling upon fishermen who casted their nets near the beacon’s light, and if anyone on the dock noticed the rustling of his long aqua tail that treaded water, they excused the sounds to wallowing gulls.

Hoseok was happy when he reminisced about the time he had saved the young princess, hearing about her noble actions and performances. She was told of having a heavenly way with her ballroom dance, knowing several styles of movement. He wished he could see her act with his own eyes and to show her one of his.

In time, Hoseok wished that he were one of them; a human that is. Their large world seemed much extravagant than that of the mer-people. Humans can fly above the ocean in their ships, they can ride around in these carriages pulled by large animals called horses, even humans could climb to the top of those beautiful snow tipped mountains that poked their peaks above the clouds. The land they stand on outstretched further than Hoseok could ever imagine, and there was a whole world around him that he wishes to learn about. He had many dreams and desires, his mind craved explanations.

“Do men live forever? Do they die just as us? How long of a life do they live? What happens to them when they pass?”

Hoseok knows these answers for his species, he knows what happens among merfolk and especially what shall happen with royalty. They become foam on the sea, diminish into bubbles into the water. When one royal dies, another is birthed.

These ongoing thoughts horded the capacity of Hoseok’s naïve mind. His passion for above became a sudden obsession, that princess became more of a worship. “Maybe I’ll get some more answers tonight,” he thought as he travels with the current to the north Pacific Ocean, home of the playful salmon pink Prince Jimin.

This lovely evening, we have a court ball. A ball which held dancing mermen and mermaids to the melodies of the singers and composers. A watering hole of very thick crystal walls, so clear and pristine that the illuminating lights from mussel-shells which decorated in rows along them blared through effortlessly. Numberless fish and folk who swam through the lights would flash their glorious colored tails that amplified within these beams.

Hoseok, Jimin, and Jungkook all danced wonderfully. Linking arms together and with others, displaying their methodologies. They shared many dances with men and women, children even.

Lights gleamed like a galaxy in the subterranean sea, all sparkling like the stars in the night sky. Beautiful pinks, greens, and purples garnished the saloon, ravishing plants and twines tangled around pillars.

The sweet sensual voices of Seokjin and Taehyung filled the room in a magical duet. Back-up singers harmonizing along with their symphony as Namjoon and Yoongi remained lost in their own worlds of instruments.

Jimin twirled around the aqua prince’s tail like a feather, light and soft. Prince Jimin’s eyes were brighter than any blue tail that ever existed, a translucent aquamarine color – no – a luminous crystal blue. A mesmerizing shimmer tinted the orbs in the sunlight as how a cracked geode rock would sparkle.

His hair, much like his tail and lips, were mixes of rose, coral and peaches. Shades fading in and out of another elegantly. He was such a bubbly child – bashful even as everyone could recall times the young Prince would grow embarrassed and the rising pink of his skin would soon match his tail. Jimin danced the best contemporary dance in all of the seas, naturally wiggling his body in expert stretches.

“How have you been, brother?” He hushed his words through a wave of his arms, continuing to dance along to the music with Hoseok. “You look… different.”

Hoseok matched Jimin’s movement, picking up the pace to a slow tempo. “I’ve been doing well.”

The words fell bleakly between the two, Jimin realizing that there was no enthusiasm resonating from Hoseok – no energetic fields sparkling through the waters. Jimin’s intuition can pick up the sudden change of behavior, and he grew nervous for the reasons why his older brother insisted on lying to his face.

“It’s not polite to fib – especially about your feelings.”

Hoseok grabbed ahold of Jimin’s wrist, spinning the pink tailed merman in a quick fluid motion. Dancing around having a private conversation was difficult when they were surrounded with several fish who are also doing the same. A curious ear could overhear them, and Hoseok did not wish to share his secrets to the public.

By the spin of Jimin, Hoseok’s eye catches something – rather, something missing. The chain that snugged around Jimin’s slim waist was colorless, missing its shining pink bead.

“Where is your pearl?” the aqua prince distressed.

Jimin’s crystal eyes avoided Hoseok’s almond ones, swallowing thickly as a shade of pink started breaking through at the tips of his ears. “Come brother, I must show you something.”

Whilst the mermen, mermaids, and fish were still dancing and singing in the palace, the two troublesome brothers stole away past the walls of the pink palace. Swimming freely into the open ocean while being accompanied by their little companions.

Kiko deliberately begged Hoseok to remain back in Jimin’s home, not wanting to cause another mishap event of a storm like the one that happened times prior to when anyone has upset the Mer-King. But the merman ignored his friend, insisting that everything will be alright.

“Jimin where are you taking me?”

“Just a bit further – I promise you will be surprised.”

Soon enough Jimin led Hoseok into a lengthy cave, a narrow cavern filled with sumptuous jewels, gems, and stones. A pleasure-loving treasure of a chamber that was hollowed out, and in the cavity of the cave – past the dark spaces and cracks – they peered up into a grotto. Crystalline formations that grew down from the ceiling, limestones, calcium carbonate and other minerals lined the walls and rocks.

The scene before them was a magical starry canvas. Nothing in any of their realms nor the human world looked better or more extravagant than this place.

“I found this place when I was little, following a stubborn little marine invertebrate.” Jimin narrowed his eyes down at his sticky pet starfish, Bo, that was latching onto his shoulder. “This little guy was a feisty one, but I’m forever grateful that he led me here. Just look.”

Hoseok’s eyes widened around him, eyebrows shot high into his hairline. His thoughts were all about the mystical creations around him until Jimin cut his train of thought.

“It’s what happens when two worlds connect, the sea and the land.” Jimin admired around with a soft smile on his lips.

“Two worlds?” he wondered. “But wait – this doesn’t explain where your pearl is? You have it don’t you? You can’t lose it!”

Jimin chuckled, shaking his head. “Unfortunately, I do not have my pearl.”

Hoseok hovered around, looking at all the jewels and gems that surrounded the two mermen. Anxiety rising from his fins, “Jimin your palace –“

“Is still in great condition, is it not?”

In fact, Jimin’s kingdom was in fantastic shape. Even with the lack of his magical pearl. The ball was extravagant, faces were happy, and his realm was healthy and clear.

“It is.” Hoseok confirmed. “But how?”

Jimin smiled gleefully, satisfied and at complete ease as he hopped up his thin body onto a rock. The pink prince shrugged, “I’m not sure actually. Maybe they aren’t as powerful as we were told. Though they are one of a kind.” Jimin stared at the pearl that dangled off Hoseok’s ear.

“I like to think that they work for anyone who has a good heart. They keep the realm alive with their being.”

Curious, Hoseok pushed for further explanation. “So, if you don’t have it then… you gave it to someone else?”

“Mhm.”

“Jimin?! You can’t just do that – do you have suds in your brain!?”

Jimin’s eyes crinkled with his wide cutesy smile, unbothered at the world. Innocence exuding out from his face. “Perhaps.”

The cavern twinkled around the reflecting lights, blossoming of precious stones and glows from each crevice of the room. Hoseok’s voice echoed off the structured walls along with the silence drips of the moistened stalactites that elongated from the top.

“Who did you give it to?” Hoseok was furious, getting ready to blow up on his younger pink scaled brother until a shuffling noise distracted him, causing him to twist his head in the direction of the sound.

“Her.” Jimin drew his breath in, watching a shadowed movement draw closer. A padding of feet rushed their way into the corner of the grotto where an opening that was not seen before now was. Entered, a small child, with curly blonde and frizzy hair as light as the clouds, stepped in view. She bared her feet, stepping on the smooth flooring below her in a flowing flower sundress.

Hoseok was quick to duck for cover – trying to pull his brother along but remained puzzled how he refused to move. Jimin sat proudly atop his perch, staring at the young child who’s face lit up with merriment.

“Jiminie!” she squeals. “You came to visit me!”

Frightened, Hoseok sunk further below the water. This is going against everything, why is Jimin speaking to a human? Why did he give his pearl to her? He angrily whispered towards the ditzy prince that waved his arm towards the child, “What are you doing!?”

“I’ve brought a friend, little one! Would you care to meet him?” Jimin outstretched his hand towards his brother who hid behind a rock who returned glare at him. Seeing the disproving stare from Hoseok, he spoke down towards to him, “She’s safe, believe me.”

The curious kid stepped closer to the edge of the grotto, before the land dipped into the water as she waited with anticipation. She pondered the words her friendly pink merman spoke, eyes full of wonder as she looked over to him.

Hesitantly Hoseok poked his head out slowly, making eye contact with the blonde bundle of curls. She stood on her tiptoes with excitement, seeing another pretty face that blended well with the sparkling cave. “Hello!” she squeaked.

It felt uncanny, so unnatural for Hoseok to be approached by a creature with legs and not fins. An unreal wave of relief washed over the merman as the child’s instant presence seemed pure. “Hello.”

“Are you a prince like Jiminie? Are you pink like him too?” She questioned, now landing herself on her knees so she can creep closer to the water. Jimin gleamed with amusement, adoring the young little human who he grew acquainted with over time.

Jimin felt the passion within this little being, relating her curiosity of the sea with Hoseok’s interests with the land. In many ways these two were very much alike and he was ecstatic for them to meet.

For the first time this night, Jimin witnessed a genuine smile turnup on Hoseok’s lips. The aqua tailed man moved toward the small being who knelt by the edge. He flipped his tail up out of the water, flashing his fins with a loud splash. Trickles of water cascaded from the air onto surrounding areas of terrain causing the child to giggle.

“Precisely, I am a prince just as Jimin.”

Jimin swam up besides his brother, guiding him closer to the little girl. He smiled towards her as he raised his hand for her to meet his. Together they connected, her little hand much smaller than Jimin’s and a small glow of gold originated between their touch. “See – she’s good. I trust her.”

At closer inspection Hoseok noticed the chain around the child’s neck that had a glass trinket which encased a pink pearl – Jimin’s unique bead. That too glowed a radiating gold shimmer.

“I wish I had a pretty tail like you two!” She looked mournfully at the two clumsy props of bare legs she owned. ��Silly legs!” She shouted down with a huff.

“Oh, but with a tail – you could not get back home.” Jimin tested. “We wouldn’t want that now. You’d miss your parents, your family. Even your bed.” He smirked, teasing the little girl.

Hoseok stood witness as he watched the interaction between human and merman. It wasn’t quite like how his interaction was with his beautiful princess back home, but there was a sincere aura radiating between the two that gave him hope for something.

“What color would I have, I wonder!” Her wide eyes scanned both of the mermen’s faces, taking in their distinctive differences.

Jimin smiled wide, eyes forming crescents. “Oh darling, I think pink would suite you very well. A beautiful plush pink for the young angel.” He pokes her nose.

“We should head back before it gets too late. I will visit another time, alright? Keep my gift safe and sound!” Jimin bid the pouting child farewell before descending down back the narrow crevices they entered.

They swam leisurely back to Jimin’s palace, Jimin humming melodic tunes to himself. The clear water was waving like a light breeze, the seabed littered with various plants and scrubs of all colorations.

“Why’d you give her your pearl?” Hoseok questioned out in the blue.

Jimin spun himself around, looking up towards the plane of water way high above the floating mermen. “She is true. I grew to know her over time. I feel no threat from her, and I trust she won’t speak of me to others. I want her to always remember me.”

Hoseok’s thoughts soon returned to the world above him as he could not forget his beauteous princess. And he could not control his craving to meet her. Experiencing a merman and human interact as Jimin did with his, Hoseok was sure he could trust the lovely woman he is fascinated with. Deep down in his heart he hopes she will be accepting of him.

One thing stood out from is encounter with Jimin and the little girl. What struck him was how she wished to be a mermaid – one with a beautiful scaly tail. Why would she dream this when she had legs?

Hoseok hovered around his human-decorative study again, a place he consistently escaped to when he had the free time. He eyed the handheld mirror, the compass that lost its pointing needle giving the device worthlessness, even feathering his fingers through the chest full of useless goods. He stumbled upon a painting, a portrait of a bright and sunny day with land lovers dancing on a street. Building’s surrounding the pairs that were grouped together in a gestured dance.

It then hit him, “A pair of legs for a tail – and a tail for legs.” He grumbled to himself looking down at his slimy speckled tail, fins and all. Kiko who has been loitering around the area shifted towards her merman, “Hoseok…”

“I have an idea Kiko, though you may not like it.”

“When do I ever?”

Hoseok snickered, sighing down at his dazzling leafy sea-friend. He brushes his hands through her leaves, scratching underneath Kiko’s keel. “I’m more grateful than you may think. Please don’t be upset with me.”

Kiko rested in the hands of Hoseok, shimmying herself comfortable. The look in her eyes showed regret and worry, though she waited for her prince – her friend – to continue his thoughts.

“I must travel past the whirlpool. Where the seagrass nor flowers bloomed – grey sands expanding to heavens know where. Where waters were dark, whizzing around in strong forces. To the current that doesn’t connect to ours, the abyss down below. I need to go to the enchantress.”

“No!” Kiko jolted, frantically shaking her leaves. “You can’t! You know that. She’s a demon, a – a monster!”

“I’m going. The witch will be able to help. She’s the only one who could advise me.”

The thought of seeing his princess on two legs gave Hoseok the courage he needed to proceed with his foolish actions. He had traveled to where no merfolk dared to go. Advancing his body though the tough of the whirlpool – pass the boiling under gasses, a thick heavily bog that shrouded the turf.

The enchantress lived in a horrid place, all the trees and bushes were gloomy and of dying bowiea weeds. Serpents shooting up out of the ground with lengthy branches that tickled with disgusting fingers of worms. Polypi dressing the skirts of the seafloor and clustering up this wooded area.

Every plant was twisted and mangled in its own way, clutching onto random items. Skeletons of a number of fish and human beings who had drowned were in the grasps of these eager unseemly trees. He swiftly made his way through these bushes and herbs of horror, arriving to a small place that was occupied by large sluggish snails. In the middle of this terrain, stood a house build of broken shards of ships, bones, and shattered mussels.

Along the entrance way to this house floated a darkened figure, cloaked with a slick seaweed. It turned to face the colorful prince who peered over towards it. A loud cackle noise up roared from the witch; her shoulders shook with each breath. “Oh my – what honor do I have here? Prince of the South Atlantic. What a delicate blue tail you have.”

Hoseok stood still in his area, eyeing the being before him. Tentacles dragged beyond her, her writhing arms dangled to her sides and pieces of her hair abnormally distorted around her head in a wicked manner.

“You know me?”

“I know much. Well. I hear many. I see most,” said she to the aqua blue prince. “I know what you want, and it’s quite mindless. Yet I shall assist you, for a price.” The sorceress hovered; brushing pass her field of snails. “You wish to get rid of your tail for a set of those dainty stilts like those pathetic humans have. You fancy a princess above the water. So, I’ve heard.” The wicked woman snickered.

“What a pity, such gorgeous of blues to be snuffed out. But nonetheless, I shall help royalty with no delay.”

“You will?” Hoseok hoped, enthusiastic to the mysterious witch. “What do I owe for your time?”

The enchantress turned towards the opening of her house, floating down into the pit of it. “Come child, I shall show you.”

A large cauldron rested in the middle of the singular room; every moment new ingredients were thrown into the slump of its dome. Mixed smoke and foams sizzling throughout the water. “I will make you a potion – one you will drink as you make it up to the surface. You shall sit on the coast and swallow it whole, and then your tail of beautiful aqua and gold will shrivel and shrink from under you – to things which men call legs.”

Another puff of smoke plumed in the water, a zap of her ingredients fusing together in a rancid smell. “This transformation will be extremely painful after all; you will feel as if a sharp blade passed through your body though no blood shall spill. You’ll retain that beautiful face of yours, your undulation movements of dance. Light on your feet, throughout days on land it will grow to be more difficult to walk. Imagine thousands of blades slicing through your soles with each step you take.”

Hoseok watched the cauldron fill to the brim, gooey discolored liquids lofting around like a stew. He listened intensely to the warnings of the sea witch, but his dedication held strong within him. “You haven’t told me what the price is.”

The witch cackled once more, cutting her arm to allow thick black blood drip down into the pot. “Your voice is the price I ask.”

Hoseok trembled watching the potion being concocted in front of his own eyes. A level on uncertainty settling in the pit of his stomach. “How long do I have?”

“Until your princess falls in love – shall decide your fate. If you seek the princess’s heart, love to such degree that she leaves her family for you, that you flood her mind and wishes – you will remain human. If sorrowfully on the day she is united to another will you see your sadness. Forced back into a merman and you will surrender your kingdom to me.”

“But if you take my voice from me,” spoke the aqua tailed prince, “What do I have to charm the princess? How am I going to communicate with her?”

“Your graceful form of course,” replied the sorceress. “Your speaking eyes, that handsome face that you bestow. You can infatuate a vain meek human heart with your beauty, can you not? Your dance speaks wonders – I’ve heard many stories.” Her arm laced around the shoulder of the prince, eyeing the dangling pearl that hung from his lobe.

“Now speak into my shell,” she held a conch in his view. “Speak to the sea in return for my magic drink.”

And so, he spoke, whispers of nothings but wishes, of thanks, and hopes. His orotund voice slowly being sucked away by a magical blue hue that breathed from his mouth to the inners of the magical conch.

The witch handed a vial of the finished potion, a translucent liquid that swirled around a clear glass. “Remember to swallow all and prepare yourself for the pain.” Her witch laugh resounded loud through the room.

Hoseok trailed back the same way he came, through the heavily wooded thicket of long polypi that bent away from him the moment he drew near. The foaming streams produced from the buzzing whirlpool laid still as he entered. Scrubs and plants dissipating with his presence.

Once he returned back to his home it was late; lamps in the apartments of the palace were extinguished, families were fast asleep. His halls were dimly lit, the garden shimmered in the moonlight, and his room pitch dark. He was voiceless, the words he wishes to spill to his dear friend Kiko will never reach her. But he chose to try, to gain her attention in her own little quarters.

At her wake she was startled, it was the middle of the night though she heard no noise from Hoseok. His hand tapped on his throat multiple times, signaling a language of no speech. He held the bottle to his pet and shook it with delight. With hopeful eyes he glanced up, referencing the plane between the two worlds. All his attempts to hint his next actions.

“What have you done!?” Kiko jolted from her rest, hollering at the Prince who looked all too pleased with his decision. “Hoseok please, no!”

He smiled his wide bright smile and swam away, not asking for Kiko to follow but she was persistent. She swam alongside him all the way through the dark blue waters to the world above as she did many times before. She wanted to protect Hoseok and be there for him at all costs.

The moon still shone in the sky when they rose from the depts to Hoseok’s casual lounging rocks. The ocean was still, swiftly washing waves ashore and receding back into the sea. He made his way to the shallows, to the area where he once touched when he saved the drowning princess from the wreckage.

A sorrowful look he exchanged with his leafy creature; he was aware of leaving his realm behind on the pursuit of learning about the land and to find his lovely princess. That once he drank this clear liquid, he will turn into one of them, no longer allowed to swim down to his realm because his tail would be no more.

He felt the liquid run down his throat as he tilted his head back, the mix drink oozed its way down his body like a sharp knife cutting from the inside and he fell to the ground clutching his stomach. The excruciating pain sliced his insides overwhelming the human-to-be, a resounded tear of a sudden split of his fin filleting… was last heard before he fainted.

When the sun was reaching over the mountains of the east, Hoseok awoke; and he immediately felt the burning pain in all of his limbs and organs. He inhaled exaggeratedly, clutching his hand over his chest as he leaned up. Fresh air burning its way through his new human lungs, the dryness of his mouth making him feel even more worse. The waters washed him up further on the shore, sand now surrounding his body and his now new pair of legs.

His eyes grew wide looking down between himself and the sea. Looking at the bare of his legs, a set of limbs that do not work like how his tail once had. Naturally, he moved the limbs one by one, turning his ankles, bending his knees, and wiggling his toes. Tiny appendages that matched the ten fingers on his hands, just smaller.

Hoseok sat in complete nude, just basking in the glow of the sun and the breeze of the wind. Until a squeak drew his attention from the water, a flip and a splash. It was Kiko – who must have stayed all night with him.

He opened his mouth, yet nothing came out. Something he needs to get used to now and figure out how to sign language his way through gestures. Instead he waved and smiled excitedly, motioning his hands towards his legs which he waved in the air with joy.

“Are you crazy? Cover yourself up Hoseok!”

Kiko darted around the water, looking for something to give the poor prince for some decency. Pieces of seaweed or kelp won’t do – something bigger needs to cover his bottom half. Lucky for them, remains of the past shipwreck still lurked in the waters. A torn fabric, from a mast, nonetheless, trapped under a broken wooden plank drifted in the sunken water not too far from the shore.

Hoseok remained unphased. More intrigued and preoccupied with these unsteady legs, he almost didn’t notice the added appendage that laid between them. The one thing Kiko was most nervous about, the lack of modesty. That’s no way for Hoseok to go about on land – oh most certainly not!

“Hoseok!” Kiko arrived closer, drawing Hoseok’s attention. “There’s cloth down here, I can’t remove it myself. But you need it, quickly! Come!” She flittered her little fins around the area, “Right down here!”

He bent his knees up, pushed off the ground with enough force to lift his body stable on the flats of his feet. Instantly he started wobbling, teetering left and right as he stumbled towards the water. Not only trying to understand the concepts of walking, looking like a toddler who needed the support to stand up. The witch was right – he felt light on his feet, he swiftly moved with jagged balance. But unfortunate to him, there was a buildup of thorn-stabbing pain with each step.

Hoseok fell, not gracefully, into the water where his limbs straight away felt at ease and cooled off. The threatening pain not causing him anymore discomfort. He drifted towards Kiko, kicking his legs erratically to stay afloat. His eyebrows raised, beckoning a questioned look for Kiko to guide him.

Reaching down through the green weeds, he caught hold of a wet material, yanking it up from under the object it was crammed under. It was thin, but long enough to cover him whole.

Resting his bottom on the sands of the shore once more, he twisted the material around his tapered waistline, right above his prodding hip bones and securing it tight with a knot. A crafted loincloth decorated around him, long enough to reach the tops of his knees. Hoseok’s eyes formed happy-crescent shapes when looking back to his floating buddy, enjoying his small victory.

Kiko observed Hoseok, watched him closely. There was almost a young childlike aspect on is features, his fascination, his wide eyes of wonder taking in his new environment. A wide grin from ear to ear, eyes sparkling in the beautiful sunlight. Hoseok still looked just as handsome as he did when he was adorned his aqua tail. And Kiko prayed from that moment forward that this journey Hoseok choose to take himself – will hopefully play out in his favor.

Seagulls squawked overhead, the gentle air tickling his skin. The reassuring sounds of the waves drifting in and out causing the heart wrenching feeling of home resolve the hollow of his chest.

A sudden uproar of noise startled the prince, coming from the edging of the cliff. A familiar noise he has heard once before but couldn’t quite understand what it was – until he saw it. A black four-legged figure barking along the sands, rushing in every which way with a snout that sniffed up into the air.

Hoseok’s face grew pale when he locked eyes with the creature. He had to get out of there, he didn’t know what this creature was capable of and it sure as well wasn’t human.

The large animal bolted towards Hoseok, yapping it’s head off with excitement. Fearful, Hoseok jumped up on a nearby bolder – one high enough to prevent the beast to touch him as it came close. It didn’t look threatening upon closer inspection; black fur coated this four-legged mut, and it had a tail as well! Is this what a dog was? He’s seen artworks that had these human pets in them, but none looked like this dog that woofed at him.

Hoseok shooed the dog with a wave of his hand, making a disgruntled face. Over the commotion between man and dog, Hoseok didn’t notice a curious wondering human making its way hesitantly. “Toby! Toby where’d you go! You need to help me find these shells – oh my!” A female in a simple tight-fitted bodice and a flowing skirt that covered down to her ankles, crept forward; a netted satchel filled with seashells slinked over her shoulder that she held closer to her body.

Her eyes met with Hoseok’s, frozen. It was her, Princess Y/n. Even though she wasn’t dressed in her elegant gown, decorated in her pretty jewelry, she still looked just as beautiful. Hoseok remained star-struck, as if he was seeing the princess for the very first time. Mouth agape, eyes fixed inquiringly on the stunning girl who stood meters away from him. The continuous barks of the Toby-beast unwavering until the princess scolded it.

“Toby! Down boy! Leave that man alone!” She called her pet back, rushing over to stop him from intruding the man on the rocks space. “I’m so sorry! Toby can be a bit overwhelming. But I assure you he’s really kind!” She managed to hold back her pet, trying to calm him down and get him to sit for her.

Hoseok looked down, preserving his surprised state. He smiled at the princess’s warm features, her soft delicate skin and whisking hair that was pinned out with a bow in the back.

The princess looked up at Hoseok, having a moment of déjà vu – something about this was all too familiar to her. “You seem… are you? Have – have we met before?” The words stumbled out of her mouth, in amazement as her eyes casted up to the glowing stranger. He was gorgeously handsome, his hair long and wavy, his smile so sincere and shining in the sun. Those almond colored eyes that captured the deepest of blues within them dazed back at her.

Hoseok eagerly shook his head – yes yes, they have met before!

“We have met! I knew it!” she exclaimed. “What is your name?”

Hoseok mouthed the formation of his name, but nothing came out. Frustrating the poor man even more, his lips pulled down into a frown. It’s as if his larynx was completely removed from his throat, the voice box completely vanished from within.

“What’s wrong? Are you okay?” The curious princess spoke with worry. “Can you not speak?”

Exasperated, Hoseok held his fists up in a struggling fight with himself, scrunching his face along with it. This was his one and only time he can talk to her, yet he couldn’t form the words he wanted to say. Panic-stricken, he motions his arms and hands in spur of erratic movements. Trying to signal his distress.

“Oh, something is wrong? You’re hurt? You need help?”

Hoseok reached forward too far, losing his stability on top of the rock and falling forward. He was clumsy, landing in the sand right in front of the princess and blushing from embarrassment. Toby jumped over towards the fallen man, now licking up the side of his face and showering him with a handful of kisses.

“Oh gee – Toby! Off of him!” she hollered, now lunching herself to save Hoseok from her furry dog. “I’m so sorry!” Hoseok’s face was lifted up with a smile again, giggling at the cuteness of this Toby animal.

The princess relaxed, seeing that there was no threat at hand when the stranger started playing back with Toby. She saw how he wasn’t properly dressed, lost his clothes and his voice. Her soft heart churned with sympathy, “Don’t worry, I’ll help you. You must have gone through something terrible recently. Let me help you up.”

The princess escorted Hoseok back to her palace, offering her assistance as he limped oddly while he walked. Once exposed, no thanks to Toby’s cheerful barking, servants brought the nearly naked man a set of expensive clothes.

“Princess Y/n! Who – what do we have here?” A maid rushed over holding out a robe already set open for the guest. “I thought you were looking for shells,” the maid turned to eye Hoseok. Capturing in his natural beauty essence. “not – not a man.”

The princess laughed, hiding a tinted pink blush from her embarrassment. “Ms Gretta, I assure you I didn’t mean to stumble upon this man. Toby ended up finding him! But he needs help! I think he may be sick.”

“Oh, sweet child. Haven’t we told you not to go running off alone? It’s dangerous for a woman of your status to be out there unsupervised!” The maid slunk the robe around Hoseok’s shoulders, covering him up.

The princess smiled softly, “But, I wasn’t alone. I had Toby!”

Her maid tsk’d, rolling her aging eyes. “Dear, Toby is not an excuse. Please next time, would you be careful?” She averted her attention to the strange man who stood still in the center of their foyer. “Come here young one, let’s get you cleaned up.”

The princess’s maid who addressed the man’s hygiene, escorted Hoseok down the hall. He looked over his shoulder in confusion has he was pushed along the tiled floors, looking at the princess who waved innocently. “I’ll see you soon!” she said.

Hoseok was led into a bejeweled decorative washroom. Gold encrusted handles and trimming, a similar color to the specks that scattered throughout his tail. A large bath displayed in the center, filling up with steamy warm water and colorful bubbles. A pricy chandelier hung from the center right above the tub.

“Now now, I’ll leave you to your privacy, sir. And I’ll come back to check on you. I’ll leave your clothes and towels on the counter right here. Please feel free to use whatever toiletries you need.” The maid bowed before stepping out of the room.

Hoseok walked over to the tub, feet now aching terribly. The bubbles reminded him of the foam that he’s seen a hundred of times on the plane of the water. Dissolved organic matter from algal blooms. It surprised him, however, that these bubbles came with a fresh scent.

Stepping into the tub his feet promptly soothed over from the dull pain. His knees bucked from under him, forcing a splash of water to rise above the edge of the tub and splattering across the tile below. The element of water was natural to him, it was alleviating him. Bubbles fluttered in the air, a cascade of them landing down on top of his head. He loved it; humans had all of the elements. Water, earth, air and fire.

“Darling please, no more nonsense of this. We need to focus on your studies.”

Princess Y/n and her mother, the Queen, were enjoying teatime in the dining hall with high painted ceilings and checkered flooring. With additions of a ruby red rug, large window plates, and a fireplace structured on the western wall.

Each dressed in their civil casual wear, a baby blue dress for the princess and an elegant topaz green for the queen. They sipped together while staring off at the scenic views outside. “I understand mother. I just turned a new age, please let me enjoy my time just a bit longer,” the princess begged.

“Darling, you know your positioning. We must find you a partner to be wed. There’s many suitors from several kingdoms who are in your age group.”

The princess remained silent, savoring the last bit of tea from her cup. What the queen didn’t know was that the young princess has been waiting for the day to find that man who had saved her. She wanted to express her gratitude and appreciation to the person on the beach. The princess knew there was no way she had dreamed of the man, but unfortunate for her, she sorrowfully cannot remember his face. Only fractions and figments of her memories weave together of that morning. The sun was glaring down into her eyes during the only time she could see him, but she remembered his voice. The audible feature that made her know that he was real.

The word, the greeting, “Hello.” Was the only excuse for her brain to process that hazy morning as real. She heard the person speaking to her. She wished, all this time to see him once more. Before she had to leave her kingdom for good, united with another man from a different country, she was determined to find that person who had saved her.

Every so often, when her schedule allowed it, she would journey down onto the beach. Strolling along the shore picking up pieces of washed up shells and rocks to add to her own collection of aquatic artifacts. And with each trip, she hoped to see that person once more.

“Y/n, are you even listening to me?” The disgruntled tone in the queen’s voice drew the princess’s attention. She blinked, opening her mouth to speak when suddenly she was interrupted.

“Go on – no need to be shy!” prodded the maid, pushing Hoseok forward.

Hoseok approached through the double-wide doors into the dining hall, now dressed in his borrowed rich clothes. A comfortable tunic that fell loose around his arms, black pants that rolled up by the ankles, and a thick belt that sat snug against his waist. It was a simple outfit, casual and relaxed. The only thing that looked more tasteful to the naked eye, something that looked priceless, was the singular pearl earring that hung from his ear.

He stepped towards the princess and queen with an astonished look on his face. The room surrounding them was marvelous, designed beautifully and almost as beautiful as his back in his underwater realm. He was nervous but happy, twiddling his thumbs between another as he stopped at a safe distance. He curtseyed with regard, gaining both the women of the room’s curiosity.

The princess stood up excitedly, “You look amazing – lively! Gretta has done a great job helping you!”

Hoseok nodded bashfully, his smile still present. The princess swore that there was a sudden twinkle in his beautiful beaming eyes when he reconnected their gazes.

“This is the man you found out on the beach?” the queen addressed the two with a quirked brow. “My, he is quite the visual. Young man, what is your name?”

Both Hoseok and Y/n turned to face the queen properly, a warily grin accompanied the both of them. “Mother, I’m afraid he’s a mute.” Hoseok timidly rubbed the back of his neck with his hand, sending the queen an apologetic look.

Perturbed, the queen pursed her lips and nodded slightly. “I see. That’s very luckless my dear.” The queen’s eyes scanned the innocent male in front of her, seeing no threat in any nature. “You are welcomed to spending time here, as Y/n requested. Please make yourself feel at home and do not hesitate to ask, er – to seek out for any help.” Her lips upturned genuinely.

Hoseok bowed as a sign of respect and thanks. Feeling giddy, his body vibrated with delight.

“Come here, please sit. You must be malnourished.” The queen gestured to a seat at the elongated table. “Food will be served shortly.”

It was a bright chipper day, cool calm and collective. Noisy birds chirped from outside his guest room, a sound he never had the privilege to waking up to. Their squawks and chirps sounding as one of a melodic tune. Little animals making conversations with another, flapping their wings to soar high above the buildings and structures outside Hoseok’s window.

Hesitantly, he pulled the curtain aside to allow the view before him expand. The colors of the palaces garden were gleaming with charm, fantastic brand-new species of plants of all sorts of colors captivated his sights.

He slowly leaned over the railing of the windowsill, sticking his head out further into the air. If he was back in his realm he could simply just swim out, but here he was grounded. Out past the front gates, far into the distance of the forestry, was more building structures assembled. More colorful delight sprung from them, decorations and flags waving in the wind. It indeed was a beautiful day above the water, and Hoseok’s urge to explore was thriving within him.

An echoed knock resonated from the door, causing Hoseok to whip his head in the direction and walked his bare feet over to open the custom designed wooden door. Just before he turned the handle he glanced over at the shallow tub he grabbed from his quarter’s bathroom last night. It was still was filled with cooled water which he used the for his feet.

Another knock causing Hoseok to jump with the sound. He creaked the door open to pry his head curiously through the crack, and he was met with the maid who had assisted him throughout yesterday – Gretta.

“Good morning, sir!” She smiled warmly giving him a tiny nod. It took her a moment to remember she wasn’t going to hear a greeting back, due to Hoseok’s lack of voice. That didn’t derail her train of thoughts though, “I have fresh clothes for you!” She raises the materials in her arms higher up, catching Hoseok’s view.

He nodded, stepping back with the door, allowing Gretta to walk through. Hoseok stood there uncertain with his nightwear still snug on him, watching Gretta make her way to a side table to place the essentials down. She too noticed the tub laying besides the bed, filled with water.

“Miss Y/n was curious if you’d like to join her for the street festival in town today? There are many activities to partake in! She’s grown quite curious about you as well.” Gretta rambled, laying out the selected choice of menswear. It was similar to the previous day outfit, large relaxing soft blue tunic decorated with small detailed floral patterns and another pair of black trousers. There was also a bronzy gold belt laid out along with a set of – a set of…?

“These boots are made out of cowhide, sturdy for long walks on the roads. You don’t need to worry about getting them dirty!”

Oh, they’re called boots. Hoseok mentally noted the two neat glossy brown oddities. But the idea of long walks pulled his face into a grimace – he’ll need a break from walking frequently. He’ll need to find something to soak his feet in to cool of the agonizing stabbing pain that jolted through the pads of his feet the more he stepped.

“Shall I tell the princess you’ll be ready in twenty minutes? We’ll pull a carriage up in the meantime.” Gretta smiled over at the handsome young lad that stood motionless near the door. There was a natural aura about the boy, something ‘off’ for Gretta but she couldn’t quite put her finger on it.

Hoseok bobbed his head excitedly, smiling at the fact he’ll get to see the princess once again. With joy he hurriedly grabbed at the fabrics, with no hesitation or decency to whip off his nightshirt in one swift movement. Gretta hastily turned her eyes away, heading towards the door just as quick. She laughed slightly, “I will clean up the room when you’re out in town.” From there the click of the door was heard with Gretta’s exit, and Hoseok is stumbling over himself trying to place these so-called ‘boots’ over his damn feet.

The carriage carried Hoseok, Y/n, and two guards into town. The settlement was garnished with florals, furnished with twisted wreaths and tangled vines. Banners hung building to building, colors of pinks, greens, blues, and purples scattered universally. Sculptures of flowers made out of papers and sheer fabrics hung down from above. Bodies of men, women and kids moving about another in dance, or between food stands, shops, and miscellaneous vendors.

It was beautiful for a land festival, but for a moment it reminded Hoseok of his brother’s recent party. There were similarities between the two of course, but there was something different at the same time. Nothing could compare to each other because in Hoseok’s view, land and water were forever going to be different.

The princess walked alongside Hoseok, humming herself a soft tune from an ongoing flute player. Peering down at the lovely princess, Hoseok couldn’t help but smile at the way her eyes wondered around as if she’s searching for something in particular. She smiled when greeted by passersby’s, declining offers of home-made treats and gifts.

“You know – I still don’t know your name. Do you go by a name?” Y/n spoke directly to Hoseok, but her eyes were looking through the crowd of people. Once she glanced up to meet his beautiful brown eyes, she had a mischievous smile. Hoseok nodded, furrowing his brows. He had to think of a way to tell her his name or find something that was close enough to relate back to him.

He turned his head left and right, looking for objects or scenery to point at. But there was nothing in his sights that satisfied him or suited him. Maybe a color would be easier? So, he looked around, pointing out the first blue thing he could find.

“Flower?” she questioned, smiling to herself. But with Hoseok responding with an unenthusiastic look she tilted her head. He searched again, grabbing at items and widgets all in different shades of blue. He held them towards Y/n, motioning the importance with his hand on his chest. Me! These are me! He was referencing.

Even the guards attempt to shout out answers to Hoseok’s amusing charade. Band? Berries? Belt? Cloth? Plate? Bracelet?

Hoseok grew more and more frustrated with the wrong answers he sighed in defeat. Sitting himself down on a bench that perched besides a bridge. He was stumped, blowing a breath of air up into his falling bangs.

“It’s okay!” The princess joined him on the bench, patting Hoseok on the shoulder. “We don’t need to worry about it.”

A pang within his chest tightened over his heart when he looked back to the princess’s sincere eyes. That feeling pinched a sensitive nerve within him, he was stunned by the beautiful princess. Dare he admit that he may be smitten over her rosy cheeks, the way her smile drew a smile from him.

Her gaze flickered to the bead that hung from his lobe, the jewel that adorned his single earring. It glittered in the light, something she never has seen before. But Hoseok could see the small twinkle in the reflection of her orbs.

“It’s beautiful. That pearl you have.” Her wondering finger pointed at the ornament.

The moment she inched closer to Hoseok’s jewel he moved back in retaliation, quickly holding up his hand to catch hers. It’s natural for him to protect the one thing that holds his realm intact. The princess drew back her breath at the sudden movement. She didn’t know he was acting on defense, and they both looked shocked at another.

Hoseok held his hands up innocently, waving them as he wished to apologize. His distressed face was frantic and upset.

“Hey! Hey! Don’t worry! It’s okay!” she grabbed at Hoseok’s hands, holding them together. “I’m sorry.”

Hoseok wanted to say that it wasn’t her fault, it was his. And that he was the one who was sorry. He’s the one that was masquerading around with no voice, bending his mannerisms to the ill façade he needed to do.

A deep sigh exhaled through Hoseok, cocking his head to the side and tongue prodding the inside of his cheek. It now dawned on the poor prince that this indeed will be difficult. Between their hands Hoseok caught a glimpse of something resonating, a small glow mirroring off of another’s skin. Another frightened jump came from Hoseok, looking down at his hands.

He’s seen this before. It wasn’t as strong but that glow nonetheless was definitely similar to the one Jimin had with his human friend. It had to be. But this didn’t happen at all yesterday?

The princess looked befuddled at Hoseok’s behavior – such a strange man she thought.

Hoseok ran his hands through his wavy hair, resting his elbows on his knees and chin on his palm. He side-eyed the princess, smirking slightly as if he thought of something clever.

Y/n caught herself staring at the outline of this man’s profile. The silk of his hair shining in the sunlight, the scoop of his delicate nose, the pucker of his smooth lips. If she wasn’t such a headstrong lady she may have been blushing the first moment she came in contact with him.

Unexpectedly, Hoseok got off the bench. He waved on the princess and their two guards towards a vendor he was walking towards. As they approached, they see Hoseok surrounding himself with branches and twines of flowers, folding and weaving them together. ‘Flower Crowns’ labeled on a sign right above the shop, with a handful of premade crowns with ribbons ready to be bought.

But Hoseok took the initiative to interlace his own craft, bending the steams and twigs of these colorful tangerine colored flowers. Once he secured it safely in a round band, he turned, offering the circlet with a wide grin to Y/n.

She giggled, taking an exaggerated bow, and waited for Hoseok to bestow the new fashion atop her dome. It was like uniting his princess, unifying her to be a queen with a beautiful crown. The orange of the blossoms complimented the tint of pink on her cheeks.

“Thank you so much! Here let me give you one!”

Y/n looked around the small shop, eyeing the various cluster of garlands. Her eyes land one a particular one, perhaps it stood out because she was already primed with the color already. A blueish, greenish bundle of flowers knotted within a band; specks of little yellow daisies crisscrossed within them.

‘Interesting’, thought Hoseok. The princess picked out colors of which resembled his long-lost tail. Was it coincidence or – “Hydrangea flowers are so colorful!” She cooed. “Look at these ruffles of aquas and turquoise! And these yellow daisies!”

That’s it! Aqua! She can call him aqua, at least that’s a small portion of his real name. Hoseok pointed at the princess, then back at himself. He waved his hands for her to speak again with desperation in his eyes.

“What? The daisies?” She quirked a brow. No! shouted Hoseok’s inner conscience. He then pointed at the blue petals, running his finger around the anthers and blade of each petal. “The hydrangea? They’re blue?” She questioned. But when Hoseok shook his head severely as emphasis to the word blue, the princess caught on. “Oh! Blue? No – wait… not blue. Turquoise? Oh… not that one. Wait, aqua? You like Aqua!?”

As desperate for a man could be without his voice, Hoseok strained everything within himself from jumping up with glee when she understood the one thing she needed to know.

“Aqua? Hm, that’s a peculiar name.” She rested her finger on her lips as she pondered.

Hoseok pouted, knowing very well that his name is not short from his real title. The princess snickered to herself, thinking it’s quite cute that this ‘Aqua’ guy was pulling a sulky face.

“I like it.” She exclaimed as she raised the crown over Hoseok’s head and placed it gently on top. The flowers suited him; the coloration looked right. And if he wasn’t already a handsome fellow, he sure looked like one now.

“Here, I want to show you something, Aqua!”

The princess zig-zagged through the street full of people alongside her guards. Hoseok trailed close by, taking in more of the views and shops of the town. Y/n led the group to an opening within the city, a larger circled area with one big cast stone fountain with jets of water cascading out of a mermaid statue.  

Folk music was playing, a band off to the side with a handful of instruments Hoseok has never seen before, violins, trumpets, and guitars – but Hoseok didn’t know the names of these. As if they were just like Namjoon and Yoongi. Composers.

Innocent singers harmonizing off to the side, a sweet melodic song. Their tunes were catchy, and the upbeat tempo pulsed within him. Just how Taehyung’s and Seokjin’s voices conducted.

When Hoseok watched the people danced around their merry ways, impulsively he wanted to dance too.

Hoseok looked down at his legs, almost criticizing the way he needed to work with both legs than a tail to do what his body used to do so fluidly beneath the waves of the sea. Maybe he can, maybe he could try.

In the midst of the princess trailing on about how much she adored the fountain and surrounding shells that decorated the sturdy stone, Hoseok wondered into the crowd. Drawn to the music and he started to dance around them all.

Hoseok stretched out his delicate arms, thin but strong as he hovered gracefully between person to person. Every movement, every agonizing step he took, became more and more in symmetry. He twirled with elegance, just as he did in the ocean. His expression of enjoyment, of love and compassion spoke through his eyes and it touched the hearts of surrounding villagers.

Nobody has seen someone move like Hoseok did, and even more spectators joined in the dance solemnly because of how inviting Hoseok looked.

The princess turned her head to the commotion that riled up, noticing that Aqua was no longer next to her but in the crowd. He was performing his best with little experience on two legs.

Hoseok locked eyes with Y/n, who gawked at the way he looked. Effortless motion, stylish and tasteful swaying.

It was then when the princess decided she wanted to get to know this person more; she wanted to know more about Aqua and figure out his background.

Once the song ended, the bodies halted in place. A round of applause cheered about, circling around Hoseok who stood there with the shyest of smiles. He could only stare back at his princess though, blocking out the views and townsmen around him.

“That was wonderful!” The princess encouraged with clapping hands. “You dance?”

With a nod, Hoseok cloaked the impending pain that was stabbing his feet. He shouldn’t have danced – it worsened the torture, but he couldn’t help the way his body naturally coursed to the music. He walked up to Y/n who stood near the fountain, just as he reached her a spasm pain shot up his foot and forced his knee to buckle.

It ached, cramps gnawing away at his muscles. His stumbling landed him on the fountains edge, sitting his body down on the stone.

“Oh, are you hurt? What’s wrong?” Y/n examined over Hoseok’s scrunched up face. He glowered his sight towards his feet as he kicked off his boots. He cannot keep his feet contained any longer, he needs to relieve them before he can’t walk anymore.

“You’re feet?”

His feet were bare, but severely reddened. Blisters forming on the heels of his feet. He turned his head to look up at the mermaid fountain, eyeing the lengthy tail of stone, reminiscing to himself. Though he’s only been a day without a tail, he can only imagine having it as substitute for this pain.

Once he looks back to the Princess, his thoughts vanished. If it wasn’t for his deal, he wouldn’t have gotten these legs. And with these legs, knees, and feet, he was able to meet Princess Y/n – again.

Without thinking clearly about his next course of action, Hoseok spun himself on the edge to submerge his feet into the fountain.

The cool temperature of the water instantly relieved the throbbing ache, soaking his blistering skin.

Appalled citizens shuttered at the act; the guards were quick to lean towards Hoseok but the princess halted them with her hand. “Uhm, Aqua… you can’t do that.” She kept her voice hushed but stern. “If your feet hurt, we can help you back at the palace. But you can’t dip them in the fountain – please take them out.”

Hoseok complied, not wanting to anger anyone. He only reacted based of instinct, he knew the water was going to help him subside at least for a moment.

The princess ordered a guard to fetch the carriage, requesting for them to pick the group up right here. Soon they were traveling back up the lengthy road to the front gates of her home.

© All rights reserved under @kimtaehyunq​ - do not copy, repost, modify, edit, or translate any of my work without my direct consent. This tumblr is the ONLY place my fics are posted.

[betweenthetimeandsound]

Three Minutes to Eternity: My ESC 250 (#160-151)

(Author's note: Sorry about it being a couple of days late--I wanted to rest a bit--which I will do again because we hit the top 150--and had to download quite a bit for the gifs. Please enjoy this bunch, though!)

#160: Dihaj -- Skeletons (Azerbaijan 2017)

“When we hook up it’s fantasy We’re just like alchemy I’ve never been so ready”

I completely neglected Skeletons during the contest, as I didn't listen to it beforehand and didn't watch songs 12-17 when watching the grand final live. Along with "Grab the Moment" that year, it sandwiched a horrendous stretch of songs in #13-16.

Despite this, I listened to it a lot afterwards. It’s equal parts intriguing and mysterious, especially with the almost-nonsensical lyrics with interesting images. I always imagined a concept film in which the main character meets a potential love interest in a night club, only to go too far and almost kill him.

The atmosphere the staging created was a bit strange, in that it incorporates masks and a world inside a school chalkboard. For each of these aspects, Skeletons is my favorite Azeri entry ever—it stands out in a unique way because of its eccentricity.

Personal ranking: 5th/42 Actual ranking: 14th/26 GF in Kyiv

#159: Tommy Seebach -- Disco Tango (Denmark 1979)

“Hun er en stjerne på et dansegulv Slår John Travolta i en rock ‘n’ roll På diskoteket ta’r hun kegler, og der ka’ man se Dem stå i kø og skæve, hver gang hun gør sin entré”

“She’s a star on a dance floor Beats John Travolta in a rock ‘n’ roll At the disco she’s scoring, and there you see Them queue up with an eye on her, every time she enters”

Disco and tango are two genres you don’t expect to work together, despite them being so fun to dance to. Despite this, Tommy Seebach makes it sound natural. There’s a bit of adjustment needed when listening to it, but it’s equally flirty and groovy all at once, as one gets to know the many quirks of the song.

The live performance definitely elevates it--not only with Debbie Cameron's enthusiasm (she would come back two years later with Tommy in a bigger part), but also because of the orchestration. The mix with strings and castanets in the chorus was definitely the best part and gets me shaking.

It’s different for Denmark, but definitely a song you should put in a disco (*clap clap*) from time to time!

Personal ranking: 3rd/19 Actual ranking: 6th/19 in Jerusalem

#158: Poli Genova -- If Love (Were) a Crime (Bulgaria 2016)

“Unafraid, never fade When it’s dark we illuminate”

Bulgaria’s comeback after a two-year hiatus sees them with a hyper energetic pop song with an uplifting message. While it seems like a simple one at first, the diverse Eurovision community can embrace it for its openness and determination. The great production upholds this gem, and the lighting on stage adds to it, especially in the end.

Poli definitely makes this song come to life with her vocals and her upbeat personality, making it shine even more! (And I did like her costume--not something for everyday-wear, but definitely one fitting the song and a bit avant--garde too). Compared to her first entry, which fights against those who put her down in a pop-rock way, she delivers with fun.

And they got their first qualification in nine years and a start to a nice run of entries as a result.

Personal ranking: 5th/42 Actual ranking: 4th/42 GF in Stockholm

#157: Athena -- For Real (Turkey 2004)

“All I know is you don’t want to be part of the crowd Realise yourself You say it but don’t feel it, what you sayin’ has no meanin’ Don’t hide your soul”

For their host entry, Turkey brings upon Athena, a ska-punk (and former metalcore) band with this bouncy song. And it’s such a great one—filled with energy and fun. A bit different from what we expect from Turkey, but it shows what their music industry could bring.

It's lively and fun, with Gokhan leading the charge with his presence. At times, he shouts more than he sings and it seems like he didn't dress up for a more formal event. That said, there's still a lot of charm in "For Real's" performance, ranging from the sharks in the background to the "Hi mom!" and the peace jacket. It comes along in an eccentric package, and makes for a solid predecessor to their rock-based entries four years later.

And it definitely hints at being oneself, which celebrates individuality in a fun way.

(Plus, that's the reason why my top three in 2004 isn't the actual top three. Haha)

Personal ranking: 3rd/36 Actual ranking: 4th/24 in Istanbul

#156: Katarína Hasprová - Modlitba (Slovakia 1998)

“Láska kráčam údolím sĺz A len ty môžeš zmierniť môj žiaľ Túžim sa dotknúť tvojich pier, tvojich rúk Prosím vráť sa mi, nevzdaj sa nás”

“Love, I am walking the valley of tears Only you can get me out of misery I long to touch your hands, your lips Please, come back, do not give up”

A comment on the interwebs suggested anybody who has Horehronie as their favorite Slovak entry has never listened to this. I could understand why people would gravitate towards the former, but this stands out more for me (and not just because of the religious title).

The introduction reminds me of “Kiss From a Rose”, which here, is less meant to be about plagiarism and more about the 1990s feel of it. Musically, it takes the same medieval elements from other 1990s entries, but it tells a different story, one about trying to fix a relationship on the rocks. It builds well, going from an otherwise delicate ballad to something more explosive when one gets into the chorus. The orchestration really helps it too!

Modlitba got six points from Croatia...and then nothing else. It's still a shame it did so poorly, but as a potential nul-pointer too? Sad.

Personal ranking: 4th/25 Actual ranking: 21st/25 in Birmingham

#155: Melovin -- Under the Ladder (Ukraine 2018)

“Nothing but your will sets you on fire Fire lasts forever...”

The song that inspired a fervor from Melovin’s fans, including me! While I’m not as enthusiastic as them, I still love this song—it's pulsating and intense, with quite interesting lyrics about getting up again(with some enunciation issues). There was a point where the song got a musical revamp, and I feared it would make the song worse, but fortunately it kept the whole thing intact with a few production changes.

Melovin proves he's a talented showman, and seeing the stairs go aflame made me smile (even though I preferred the effect more on his Vidbir performance; the flaming LEDs really helped there). Good thing the televote swooped in, because last place in the jury vote feels really wrong (though it could be because of said pronunciation).

Plus he has some good post-Eurovision songs—check them out! My favorite is З тобою, зі мною, і годі.

Personal ranking: 6th/43 Actual ranking: 17th/26 GF in Lisbon

#154: Joci Papai -- Origo (Hungary 2017)

“Be kell csuknod a szemed Úgy láthatsz meg engemet Hogy meghódítsd a szívem Ismerned kell lelkemet”

“You need to close your eyes So you can see me To conquer my heart You have to know my soul”

While Az en apam (#240) touches me more than Origo, one can’t deny this is the more creative song. It combines not only Romani influences, but also a dark pop foreground which allows them to shine.

In addition, the lyrics are absolutely masterful—they are rooted in Joci’s story and packs a punch in the message. It's tells of a relationship with someone who doesn't accept him for who he is (cursing her forever as a result), along with how Joci grew up and used music as a weapon for himself and his people. He's a compelling storyteller, and you can tell he sings it from the soul.

Combined with a compelling rap and a neat violin instrumental, you get a completely unique experience.

Personal ranking: 4th/42 Actual ranking: 8th/26 GF in Kyiv

#153: Blanche -- City Lights (Belgium 2017)

“All alone in the danger zone Are you ready to take my hand?”

Blanche had quite the journey in Eurovision--first her song gets released, and immediately becomes a contender. Then she has problems performing in shows and during rehearsals, at which the odds star dropping like flies. Then her semi-final performance was notably wobbly, but she still qualifies and places fourth.

Despite the staging errors (I would've personally have made the lighting gold rather than natural-colored), it was fully deserved and I think it was better than the eventual top three.

The vibe of this song reminds me of walking down the streets of Tokyo, because of the visuals involved. Everything is in a rush, but one's not sure There’s also tension, because of the dark electronic sound that dominates it. Despite Blanche’s nervousness on stage, it worked well with the song—it amplified the sensation of walking down a wire and wondering if the relationship will work. A startling entry from Belgium and one that really strikes at modernity.

Personal ranking: 3rd/42 Actual ranking: 4th/26 GF in Kyiv

#152: Frances Ruffelle -- We Will Be Free (Lonely Symphony) (United Kingdom 1994)

“Welcome to the land Where all our dreams are planned And fighting is a thing to do...”

The first of the UK’s attempts to modernize the contest in the 1990s, it’s a cool, funky song with interestingly-written lyrics. Someone compared the chorus to a protest slogan for social justice movement, but the rest of the song discusses a complex relationship. The opening lines are a highlight in particular, and everything flows fantastically.

A few bits of the live-performance went out of hand, like with the orchestration and Frances’ vocals, explained by how she was bopping up and down and was told that she needed to keep that down. As a result, she couldn't focus on her vocals and they turned out a bit sharp at times.

That said, she had a pretty dress and charming look about her. And while it placed in the top ten, I think it should've done better.

Personal ranking: 4th/25 Actual ranking: 10th/25 in Dublin

#151: Sebalter -- Hunter of Stars (Switzerland 2014)

"I state my heart has been well trained I’m gonna be your candidate I am the hunter and you are the prey Tonight I’m gonna eat you up"

This word-salad of a song makes it quite hard to choose a good lyric, as it has a bunch of nice lines but almost no meaning to them. Reading them again, it seems like one is trying to get his affections to like him, to no avail, unfortunately.

But beyond that, we get a fun and wholesome song, which features a prominent banjo and even a violin solo! From the opening melody I can't help but smile, or even whistle along at points (everytime the latter synchronizes, I feel a bit of accomplishment). It's a bit more folksy than what the contest oriented on the time (slickly produced pop with a bit of dubstep), which makes it even more special.

Finally, we have Sebalter himself, who really carries his own song! Not only is he quite good-looking, but also very charismatic and knows how to have a good time. While Swiss entries have become better known since then, you can't replicate Hunter of Stars; it's too special!

Personal ranking: 5th/37 Actual ranking: 13th/26 GF in Copenhagen

[atcostmag]

Kllo - Maybe We Could (LP) - 2020 - Record of the Year Review

Maybe We Could (LP) Kllo Released: July 17th, 2020 / Good Manners  Words: Peter Quincy Ng

A record so grueling in its emotional labor that it nearly led the duo into dissolution, Kllo's resilient effort on "Maybe We Could"  is both a landmark and revelation in electronic music production. Composed of distant cousins, vocalist Chloe Kaul and producer Simon Lam, the Melbourne duo made a name for themselves combining coherent lyricism to upbeat dance tempos. After constant touring and hitting creative stagnation, Kllo went back to the drawing board creating what they termed, "music that doesn't exist but we want to hear". Moving away from rather their straightforward and visual storytelling from the last record, "Maybe We Could" is offers a more sophisticated evolution in sound. Eschewing the two-step garage formulations from previous full-length "Backwater", “Maybe We Could” takes a less linear route; visceral and even at times quite cryptic. Combining incongruent and even contradicting textures to stunning effect, in one feel swoop, Kllo's "Maybe We Could" edges between blissful euphoria and sudden despair. It's a sound thoughtfully carrying through its lyrics, melodies or even just the tiny inflections in Chloe's voice in that convey an ocean's depth in emotion. Resilience in the face of adversity, the fitting album is an easy first in the year 2020. An album whose emotional nuances become more substantial with each listen, "Maybe We Could” has its songs continually vying for your attention as the tracks slowly reveal their latent ethos. 

"Cursed"

"Takes a lot of love to lose the person you do Hope there's still a place for me like I have for you Silence, I'm ultraviolet, When you are out there, there's nothing like it."

Certainly understanding the concept of "first impressions", "Cursed" impacts with a heartbreaking emotion. A tearful serenade subdued by the blurring race of its muted percussion, "Cursed" echoes of its painful longing through its gentle submission and quiet surrender; a devastation that is undeniably beautiful in its undertaking.

"Still Here"

The lead single to their sophomore effort, "Still Here" gathers its momentum through the quickening gallop of its broken-beat, rave percussion. Finding clarity against the swift of its animated tempo, the track finds clarity in Chloe's guiding vocal calm. Alluding to kinship and compassion amidst abandonment, the metaphors to "Still Here" act as resilient motion of defiance through struggle and perseverance.

"Insomnia"

In what would be Kllo's second single, "Insomnia" draws from Simon's influences on his solo act "Nearly Oratorio". Combining a piano-driven production, the track refracts against its aqueous blur, as its cascading ripple of glowing melodies reflect the glimmering call of Chloe’s crystalline beckon.  

“My Gemini”

An infectious club thumper, the brilliance behind “My Gemini” lies in its masterful use of reverb. Coming off harder and more rigidly than the album’s others, the industrial potency of “My Gemini” stalks with a gauging distance, with the magnetic push and pull of its massive sound measured by its immersive soak of bassy textures. 

“Somehow”

A track that can be seen as analogous to works from Kllo’s debut album “Backwater”, “Somehow” glistens with its alliterating prose. Contrasting its anxious deliberations with a blissful presence, the track combs through its heavenly air in a quick swoop of percolating guitar and synth.  

“Maybe We Could”

“And push on, maybe we...”

Like all well-written productions whether it be film or music, direction is not just about inserting the flashiest and attention-grabbing elements. Simply put, Kllo had a series of hits namely “Potential” or “Back to You” which were likely cut  from the album due to pacing more than anything. Serving as the record’s namesake, the placement of “Maybe We Could” serves as not only interlude but reinforces the album’s topical narrative. Though slow and retiring, “Maybe We Could” is emphasized through the heart-rendering pain of Chloe Kaul’s voice. Mirrored by the quick blip of her intermittent words, the track’s sallying force though fragmented in its hazy thought, gathers strength through repetition serving as the album’s mantra. 

“Ironhand”

Slow and severe in its harsh defeatism, the gentle piano air of “Ironhand” is weighed down by Chloe’s sullen melancholy. Through its storytelling narratives, quiet moments of “sunshine on your shoulders and drinking soda and lime” seem rather ordinary at first, yet as the track transitions these banalities become ever-perninent. Noted by its distressing cry of piercing falsetto vocals, a longing for that better past is put on display in the most striking manner. 

“1 UP”

A pensive immersion measured by the gentle topography of meditative saturation, “1 UP” is quantified in the graduality of its kinetic sound. Alliterating wordplay and short anacruses, are reflected in the elastic force of the track as the dusky calm of the track is underlined by the staccato pulse of its percussion. Building on a slow, gradual crescendo, the track is most substantially noted by its ascendant prose, bridging to an apex of dream-weaving ethereality. 

"A Mirror” 

Holding itself more texturally, than lyrically “A Mirror” is carried by its gentle brush of breezy, harp-like textures and the reassuring calm Chloe’s vox. Pitched down vocal slows and techno percussion converge at a blissful precipice on this largely instrumental effort.

“Just Checking In”

Juxtaposing warm soca melodies that bind to Chloe’s cautious R&B prose, “Just Checking In” stands as Kllo’s obscurant album closer. Dark symphonies of stringed elements mesh with pitched-up vocals as the track walks through its crepuscular fade. Using vocals from Chloe’s ghostly avatar to pair up against the cold somber of Kaul’s words, “Just Checking In” is held in its paradoxical manner, distorting the reality of her lyrical certainty in this curious and most perplexing track. 

You can check out the album below on SoundCloud or through Spotify HERE:

Kllo · Maybe We Could

[doomedandstoned]

The End Is Nigh: A Conversation With OFFICIUM TRISTE Frontman Pim Blankenstein

~By Shawn Gibson~

I was first introduced to OFFICIUM TRISTE when Mors Viri came out in 2013 and I have been a fan ever since! At the time, I had a radio show and got an email from HammerHeart Records with promo and played some songs off of that album.

The Dutch band's music has also pushed me through tough times, mentally and emotionally. There is sadness in their songs, as there is great beauty. Each song has its own dynamic sound with piano, organs, violins, cellos, etc. Officium Triste's albums are heavy as mountains, but have parts within that soar like eagles!

Recently, I had the privilege of longtime singer Pim Blankenstein, who has been with the band since 1994.

Mors Viri by Officium Triste

Officium Triste has been making music since 1994! How does that feel to be with this band now and the current state of affairs?

It feels as exciting as it was when we started out. Of course, a lot has changed in 25 years, but for us as a band our values are still the same. We love slow, heavy and melodic music and we still write this kind of music. Over the years we of course have grown as a band and you keep learning. After the last couple of line-up changes I totally feel this is the best line-up we've had. We're all on the same page and actually things couldn't be better.

What does the name Officium Triste mean?

If you put it in Google translate, it says it means the baleful. Back when we started out our then guitarist Johan Kwakernaak came up with the name, which he got from a Latin dictionary. The combination of words means something like a "sad gathering," such as a funeral.

You are from the Netherlands right? What are some other bands from the Netherlands you guys love?

Yeah, we are from the Netherlands and when we started out there were quite some doom bands we dug like early The Gathering, Celestial Season, Castle or Beyond Belief. Having said that, the doom scene never was that big but we always had killer bands. Just think of Deinonychus or newer acts like Facade, Treurwilg or Beyond Our Ruins.

In other genres we have (and had) great bands, too. Death metal was especially huge. Pestilence, Pentacle, Asphyx, Sinister, Thanatos, Severe Torture, Bodyfarm, Gorefest. I could go on and on. Bottomline is that the Dutch scene always has been and still is great. We know quite a lot of bands personally and we get along real fine.

We are all Doomed! Are you Stoned?

Nope. Used to smoke a lot. Not anymore though. But that doesn't change the fact we indeed are doomed!

The Death of Gaia (Atmospheric Death/Doom Metal) by OFFICIUM TRISTE (Netherlands)

Your latest album 'The Death Of Gaia' came out December 13 2019. What has influenced the writing of this album?

As far as the music is concerned, our core values are still present, which is writing slow, heavy, melodic and melancholic music. I like to say we are still inspired by the bands that showed us the way in the '90s, like Paradise Lost, Anathema, Katatonia or Type O Negative. Along the way, also a band such as Shape Of Despair inspired a bit but also film scores, shoegaze or dream pop.

Lyrics are about subjects such as the decline of our planet, loneliness, insomnia, guilt, and stuff like that -- basically what is happening around us. So the reality of life inspired us in that department.

Throughout the years of your albums there is always great range and depth of song with varied instruments. Are there any instruments you haven't used yet, but would love to include in a song?

From a personal perspective, I'd like to include some percussive elements. I can totally imagine us using some proper timpani for that ultimate heavy sound.

Who did the artwork for 'The Death Of Gaia'?

When we figured out we wanted something different as artwork on this album and moved away from our earlier art, we got in touch with Chris Smith of Grey Aria Design from the US. We liked what he had done for Solstice from the UK and we really wanted that Art Nouveau-type art. Chris totally delivered what we were after.

Art by Chris Smith/Grey Aria Design

What makes you guys laugh?

We actually laugh a lot. We get along really well and joke around a lot making fun of each other. Other than that we are totally into dark, sarcastic humour. Or stand-up comedians like Steve Hughes of Jim Jefferies. Writers like Bukowski or Brusselmans (a Belgian writer). Ren & Stimpy, Pinky & The Brain, Invader Zim. There's plenty of stuff that makes us laugh.

What has been an awkward moment for Officium Triste?

Probably being too drunk on stage in our early years could be considered as awkward. Other than that, not much. Maybe some awkward moments on behalf of our previous bass player, but I won't get into details on that because it's better to let that rest.

You have a long history of making death doom and are in the same boat as other established bands such as My Dying Bride, Katatonia, Paradise Lost. What is in the future for Officium Triste? Will there be another 25 years?

Well, we take it as it is. Our current label Transcending Obscurity is quite happy with us it seems and has been asking if we want to do another album for them. We are gathering new song ideas as we speak, so you can expect another album in the future. Not sure if we'll last another 25 years, as we will be considered as elderly people by then. As long as we're having fun we keep doing what we like to do.

Who is in the band Officium Triste and what do they do in the band?

Right now it is the founding members Martin Kwakernaak on keyboards. He used to be our drummer, too. Gerard de Jong on lead guitars and I (Pim Blankenstein) on vocals. We have Niels Jordaan on drums, William van Dijk on rhythm guitars and Theo Plaisier on bass.

With the varied sounds in your music do you have several session players to record? Sometimes it sounds like you have a symphony accompanying your music!

Actually, this time around we used some session musicians. We decided to record some real string instruments, as opposed to using the sounds from the keyboard, so we asked Chris Davies to record violins. We knew Chris from Eye Of Solitude where he used to play bass and he played violins with Clouds, in which I am involved, too, in a way. He did a great job. On cello we asked Eliane Anemaat. She is quite known for her work with bands, such as Celestial Season, Mayan or Delain. She also did an outstanding job.

What are some bands from the beginning that have influenced Officium Triste? Who are some current bands that catch your attention?

I more or less mentioned some bands in an earlier answer, but we initially were heavily influenced by Paradise Lost, Anathema, Celestial Season, My Dying Bride, Katatonia, and Type O Negative. But also Metallica, Edge Of Sanity, Dismember or Winter influenced us to some extent. Later on, also bands such as Evoken, Mournful Congregation or Shape Of Despair impressed us. Currently, there's not a lot of bands that caught our attention and actually had an impact on us, but we do like bands that mix things up like what In Solitude, Tribulation, Alcest or Chapel Of Disease are doing, to name just a couple.

Film by Buzau Live Music

Beyond doom and death, what other music styles do you like and listen to?

We listen to quite a lot of varied stuff. Like heavy metal, classic rock, shoegaze, indie rock, new wave, movie scores, retro wave. As long as it is good music we listen to it.

Will you ever tour in the states?

Hopefully. If we ever get a proper invitation and stuff is sorted out, well we definitely would like to come. We are crossing the Atlantic in a couple of months to play a one-off in Mexico.

For me, I have felt positive things from the lyrics and the heavy music amidst the doom. I guess its nice to be able to relate to songs and feel the music with your soul. The balance of heavy and almost symphonic and atmospheric music still blows my mind! Officium Triste is one of very few with clean vocals accompanying death growls I love. Most clean vocals fuck me up.

Cheers for that!

"Burning all Boats and Bridges" is my jam! Fuck it all and starting clean! My life has to take another turn! A fresh start is what I yearn for! Please tell me a little about this song.

Actually, this song is basically the only one where we could use music provided by our previous bass player. But since he fucked things up I have a hard time listening to this particular track. I did write the lyrics, though, and I usually start with a song title. I'm not sure where I got it from, but the lyrics are about having a fresh start and cut all ties with your past. It's not something that happened to any of us personally. But I guess everyone can relate to the subject, so I wrote lyrics about this.

"The End Is Nigh." Do you think this song is relevant to current world events?

That's what inspired it. But to be honest, this world has been a shithole for centuries. So, when I wrote the lyrics I did think about the current state of affairs, as well as stuff from the past. I think everyone can decide for themselves what we talk about, whether it is politics, the environment or overpopulation. It all goes hand in hand, in a way. For the lyrics, I took the Four Horsemen of The Apocalypse as a metaphor. And the second song on the album World In Flames continues with the subject.

Pim, thank you very much for your time! It is a pleasure and an honor!

Thank you, Shawn, for the interview. Much appreciated. Hope your readers will check us out if they haven't done so yet.

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[hopoo]

Devblog #12 – Somewhere, Over the Double Fucking Rainbow

Hello there! This is Chris, hijacking the RoR2 devblog to share a few notes on music.

Tl;dr:

Yes, I am writing the music for RoR2

No, there won’t be a Coalescence 2

Chanson à nouveau..

The day I would start composing for RoR2 was a day I looked forward to with equal amounts of excitement and fear. The score to the original RoR is one I hold very dearly. It is music I loved writing, created during a very special time of my life, infused by each and every musical influence of my childhood and adulthood. It’s a perfect capture of me at that particular space and time. It also happens to be my most successful soundtrack to date, primarily because it’s part of a great game that people love to play, but also—if people’s feedback is to be believed—because it’s not too bad in its own right.

Now I find myself exploring the musical world or RoR once again and I can assure you it’s an awe-inspiring place! It’s also immense, savage and untrodden... You can witness this for yourself in the wonderful images posted on this blog and all over the internet, but let me tell you, it’s one thing looking at it and a whole different thing experiencing it first-hand.

The move to 3D was a bold one and I’m its biggest supporter. Honestly, even if it didn’t offer this amazing opportunity to expand the game’s universe into this whole new level of detail and immersion, I would still embrace it only because it gives me the perfect excuse—the obligation, even—to avoid repeating myself. The thing I feared most starting this project was writing the same music all over again. Not because I don’t like the existing music (I love it) but because the existing music already… exists. What would be the point of Coalescence 2 (some people have actually asked for it)? If anyone wants to listen to Coalescence it’s right there for the listening. The RoR OST is a product of very specific, irreplicable circumstances. Even if I wanted to write sequels to these tracks, I couldn’t. They would be mere parodies.

So, I’m writing new music for a new game. Hopefully it will be better music for a better game, but I’m going to be satisfied if turns out being good music for a good game. I know many of you will not be happy reading this but I ask you to be open minded and trust me. If you liked the music for the first game chances are, you’ll like this one too. It’s the same person doing the writing (and performing, and producing, and mixing, and mastering) after all. It will be different, but it won’t be that different.

Paying my Dews

Let’s make sure we avoid any misunderstanding here: I don’t take the RoR musical legacy lightly. Rest assured that many things will carry over, not least of which the RoR motif. The usual odd meter and various polyrhythms will be featured prominently too. There’s drumming, lots of drumming, way too much drumming…. Several cameos of familiar instruments and even entire sections that will sound very reminiscent to old players. And then, there’s the unsung (pun intended) hero: form. Even though you can’t literally hear it you can certainly feel it. Form is the glue holding the music together. Just like with the first game, I’m working my ass off to fit these new tracks into meticulously woven forms.

As such, all the above elements that are part and parcel to the RoR sound will not be let behind. As previously mentioned, this is terra incognita we’re heading into and only a fool would go into the unknown without a flashlight. I plan to use the original music to illuminate all the new one hidden in the darkness beyond.

Forecast

It’s still too early to tell what the new soundtrack will actually sound like. I guess it will sound more like the original RoR than anything else—a definition as intentionally vague as can be. A word I liked using to describe the first soundtrack was “monolithic”. I feel the RoR2 OST will be even more so. To use a classical music analogy, if RoR1 was a suite, RoR2 will be more like a symphony. Don’t worry though, I’m still delivering discreet pieces of music that you will be able to tell apart (and prefer over others). Let’s just say I’ve set up my sessions like communication vessels of sorts.

For the time being, you can sample some new music in the game’s teaser and this SoundCloud playlist (which I plan to sparsely update). There’s a lot of material already written but most of it is still being forged into shape. There are also new things we’re testing to make the in-game music more dynamic and meaningful to the player, which have directly impacted my workflow. For the moment, all I can say I’m working on it steadily but slowly—slower than usual (sorry, Duncan & Paul!). As I said, while I’m very excited I’m also quite fearful. There’s plenty of pressure to satisfy the many fans of the music from the original game (thank you all so much, btw!!!) and even more self-imposed pressure to write music that I feel proud of and enjoy listening to for years to come. You see, I’m trying to uncover music I’ve not written before and I need to make sure my excavation brings to surface more than just petrified feces…

FAQ

When? When the great Magma Worm in the sky deems us worthy.

Where? All over the place, starting with Bandcamp.

Vinyl? Probably. Hopefully in a nice boxset with an RoR1 re-print.

Engineer Edition 2? Yes, but no sheet music this time around. Too many arpeggiators and modular patches for it to make any sense.

DEADBOLT 2? I sure damn hope so!

“It Can’t Rain All the Time”

That will be all for now! If you made it this far, thank you for reading and see you next time! If you want to keep the conversation going you can find me in the social media outlets below, where I will post the occasional RoR2 update, answer all your questions and share pictures of my cats:

Twitter | Facebook | Instagram |YouTube |SoundCloud

Take care, Chris

[lostinfic]

Dissonance and Harmony | 6

Pairing: Roderick Peterson (Nativity 2) x Alison Crosby (The Canterbury Tales).

*You don’t need to have seen either film.*

Summary: Alison wants to boost her pop music career whereas Roderick needs to restore his reputation in the world of classical music. Neither of them is above using “irregular” means to get what they want, so when she joins his choir, they are in a unique position to help each other… if only they could get along.

Rating: M  |  Word count: 4k

A/N: I'm far from a music expert, researching songs for a mash-up was holding me back from writing so I had to make up one of the songs.

Ao3

♪ ♪ ♪

Alison still can’t believe Roderick not only agreed to add mashed-up songs to their repertoire— on a trial basis only— but has also invited her to his home.

She stands on the sidewalk, staring at his beautiful Georgian building in Kensington and its liveried doorman. Her phone pings with text messages from Marcus, Janet and Abel.

“How’s it going?”

“What’s his place like?”

“I bet he has one of those hairless cats”

“He’s not a Bond villain!” Alison replies.

“He looks like one”

“Ali watch out for shark tanks lol”

She mutes her phone and heads in.

Roderick greets her with a smile she can only describe as uncertain. Perhaps he’s as surprised as her by her presence in his apartment.

Inside his own home, she expected him to wear a different outfit, more casual than his typical turtleneck and jacket, but he’s not. And he still calls her “Miss Crosby”. Everything to indicate this is no different than their regular choir meetings.

Alison hangs her jacket by the door, regretting her leopard print crop top and pink dungarees.

“Where’s your music?” he asks. She holds up a USB thumb drive. “Convenient but poor quality. Would you care for a drink?”

“Sure, whatever you’re having. What’s your poison?”

“Mint tea.”

“Oh. Spiked with rum?”

She follows him into the open-plan kitchen on the left. It has the same sleek minimalism as the theater, white cupboards without knobs, bare countertops. Where’s all your stuff, she wants to ask.

Beyond the black marble island, the living room stretches to high bay windows, a baby grand piano stands in front of them. The sun is setting over Holland Park, and orange rays play across the glossy black lid of the Steinway.

It’s beautiful but empty, something out of a magazine, the bones of a home she wants to flesh out with silly cookie jars and fuzzy blankets.

Roderick prepares two cups of tea.

“Don’t you have a butler or something to do that for you?” she jokes.

“I gave him the night off.”

“Wha’, really?”

“No.”

He hands her a steaming mug. She detects a hint of alcohol in it.

In the living room, opposite the leather couch, where a TV usually stands, shelves line the wall, stacked to the ceiling with vinyls, CDs as well as pictures and awards. Everything symmetrically arranged.

Alison whistles and takes a closer look.

“You must think it’s vain,” Roderick says.

“Nah, I have a wall of my achievements too, mind you it’s not as impressive.”

The first photo to catch her eye is one of Roderick holding two babies. His twin brother’s sons, he explains with warmth in his voice, he has already started introducing them to classical music.

“Very cute,” Alison says.

“Yes, they are.”

“I was talking about you.” She winks to indicate it’s another one of her flirting jokes.

Roderick rolls his eyes. “Shall we begin our research?”

But Alison is more interested in looking at the other pictures. Many of them are of his former choirs. She picks one up: Roderick fifteen years younger, a jacket too large for his slim body, wire-framed glasses, smiling with pride.

“Do you prefer conducting children or adults?”

“It’s different. I like both… But shaping young minds, giving them the gift of music and self-discipline, it’s very rewarding.”

He wipes specks of dust off several frames, lost in souvenirs, smiling to himself. They’re obviously important to him.

Maybe one day we’ll be on that shelf too.

“You know, for what it’s worth,” she says, “you gave me that gift too. The self-discipline. And I appreciate choral music a lot more.”

“As you should. I’ll fetch my laptop for your music.”

So much for trying to make him feel better.

Roderick sets his Macbook Air down on the coffee table. Meanwhile, she pulls a list of songs from her front pocket, suggestions sent by her friends, and reviews it.

As he browses her music collection, she peruses the albums on his shelves.

Alison loves every genre, from K-pop to opera, traditional Celtic ballads to hip hop, and Bollywood movie soundtracks, of course. As far as she’s concerned, there’s no such thing as a guilty pleasure. Roderick’s collection, on the other hand, consists exclusively of classical music, some contemporary composers and a little jazz.

“No Led Zep or Beatles? That’s your generation, innit?”

“My generation?” He scoffs. “I’ve been listening to Mozart since I was in the womb.”

She picks a few CDs at random and scans the songs listed on the back. As it happens, one is an album of Mozart’s piano sonatas. On the cover, there’s a painting of the composer as a child.

“How old was Mozart when he wrote his first piece?”

“His first simple one, that was around 5 years old.”

“Wow. And you?”

“Seven.”

Alison’s jaw drops, and she takes her eyes off the CDs to stare at him.

“You’re a proper prodigy. Still, you must’ve had like a teenage rebellious phase where you listened to The Clash or something.”

She tries to picture him as a teenager with acne and spiked hair, but she can’t.

“My father forbade other genres of music,” he explains. “My brother Donald did have a phase like that, and that’s why he’s a primary school teacher and I have an O.B.E.”

“As long as he loves his job, that’s what matters.”

“I’m happy with my work,” he retorts. “For your information, I do listen to other music. Sometimes. It’s necessary in my work. I’m not a neophyte.”

“Like what? Name one popular artist you genuinely love.”

He ponders her question for some time while Alison taps her fingernails on the shelf.

“Queen,” he finally answers.

Alison agrees wholeheartedly with him. However, when she suggests they use one of Queen’s songs for a mash-up, he rejects the idea right away, calling it “sacrilegious”.

“Who is your favourite composer?” Roderick asks in return.

Is it a test? What if she picks the wrong composer? She bites her thumb nail, as she frantically searches her memory for a name. “Vivaldi?”

“Don’t lie to me.”

“I’m sure I’ve some Vivaldi on that USB drive. Look, I don’t know, okay? I really do love classical music, and I’m trying to learn more about it, but the titles are all the same: symphony No.8, No.3, No. 4., Opus 8. And all the Russian names and Italian ones sound the same.”

She expects a sneer or a lesson, but he says, “I envy you in a way. You have such wonderful music yet to discover. I wish I could listen to my favourite composers for the first time again. Erase my memory and relive that instinctive reaction to the melody.”

“So, who’s your fave?”

The look on his face isn’t unlike a kid’s who would have to choose between a kitten and a puppy. He scans the shelves and picks a record. The sleeve is worn out, the corners peeled to the brown cardboard. He lays the disc on the turntable and delicately places the needle over it. “Close your eyes.”

Alison sits down next to him, legs crossed, and closes her eyes.

The piece starts slowly with light, ethereal flutes. As more instruments join in, the tempo increases. Bouncy woodwinds, then a staccato of strings, counterbalanced by somber brass. Percussion thunders in. The melody surges into a crescendo that makes her heart beat faster, and ebbs to a wistful air, like a stream in a forgotten forest. A lump rises in her throat. When the song ends, she keeps her eyes close for a few seconds, savouring the chill the finale gave her.

“That was gorgeous.”

“Has a pop song ever done that to you?” he asks insolently.

“Many times, as a matter of fact.”

She scrolls through her music library to the letter L.

“Leonard Cohen, that’s cheating,” Roderick declares.

“Fair enough. So, do you think using his ‘Hallelujah’ would be sacrilegious too?” He hesitates, but Alison insists. “If you don’t want us to use commercial songs from pop stars because you don’t think they’re good enough, and none from artists you respect, I don’t know how we’re going to do this.” She crosses her arms on her chest. “Was that your plan all along? Agree, but then make it impossible?”

“No… but that song is in quadruple meter, it’s uncommon. Then again I suppose there are plenty of Hallelujah songs in choral music, maybe we can find one that will fit.”

“That’d be brilliant!”

He writes the title down on a notepad, and they start searching for other songs.

In order to create mash-ups, the songs must have the same meter and chords so the musical elements can be seamlessly laid on top of one another. But the songs must also carry similar emotions and themes.

They set to work, queuing songs on the computer and pulling albums off his shelves.

With each piece, Roderick shares some trivia about the composers. “Did you know Schoenberg had a phobia of the number 13? And he died on April 13th.” Or “Mozart wrote the overture to Don Giovanni on the morning of the premiere, whilst he had a massive hangover.” “Tchaikovsky, now he was a piece of work, he would hold his chin while conducting because he was afraid his head would fall off.”

Alison cracks up with each fun fact and asks for more. His limitless knowledge amazes her. Although she’s learning, Roderick is not in teacher mode; his eyes sparkle, and his whole demeanour bursts with energy. He discards his jacket and ruffles his hair, and keeps changing track before the previous one is finished because he's too excited to make her hear the next one. “You’ll love Vivaldi’s ‘Gloria’.”

Alison shares her music and trivia too: Joan Jet, Elton John, Nirvana, ABBA. “You’re tapping your foot!” Alison points out gleefully.

“I’m not!”

“Yes you are, you love it.”

“It’s repetitive.”

“It’s catchy. Number one hit. Everyone loves it... Even you.”

She bumps him with her shoulder, and he sighs.

“Why won’t you admit it?” she asks.

“I’ve fought all my life against this type of commercial music.”

She rolls her eyes. “There’s nothing wrong with enjoying something catchy. Takes a bit of pressure off our shoulders. It’s a happy song, just go with it. It’s like Schumann said.”

“Quoting Schumann now, are we?”

“I am.” She juts out her chin. “More or less. I don’t remember the exact words. But he said that artists must send light into people’s hearts. ABBA does that.”

“You want light in your heart? Surely nothing can possibly surpass ‘Ode to Joy’.”

Beethoven’s ninth symphony starts slowly, and Alison pretends to snore just to taunt Roderick. But the music escalates, and when the voices join in with a jubilant “O Freunde, nicht diese Töne!” Alison springs to her feet and pretends to conduct the recorded choir. She waves her hands as she pleases in exuberant movements.

“No more tea for you. You don’t know what you’re doing,” Roderick says, but he’s laughing.

“I do know! I’m making a fool of myself.” She grins.

Roderick steps up behind her and places his hands on her upper arms.

“Let me show you.”

Despite the space he carefully left between them, his breath brushes her ear, and her breath catches in her throat.

He guides her arms to conduct properly, up and down, along the tempo. It’s a dance of sorts. Two bodies moving to the same rhythm.

“Hold it… now drop.”

A beat of silence and the symphony slows to one instrument, and Roderick moves her arms in long, smooth strokes. Slowly, the tempo increases again into a steady pounding of brass and chords. Her hands thrust through the air as the fortissimo builds up, faster and faster, toward the finale. Roderick’s grip tightens. Her breath quickens. Her heart beats louder than the fourth movement. The symphony reaches its climax. Notes and voices erupt in an intense finish.

The symphony ends and Roderick’s hands stay on her arms. She leans back against him. For a moment, everything is still. The vinyl crackles. His chest swells with sharp breath.

Another song begins and startles them.

“I can do your job now,” Alison jokes to dispel the tension. “More tea?”

She scurries to the kitchen with heated cheeks.

What was she thinking? He’s the conductor of her choir. And the only professional contact she has who might actually help her career.

By the time boiling water is poured in the cups, she’s convinced herself nothing happened.

“You would have liked Beethoven, I think,” Roderick says when she hands him the mug.

“The man himself, you mean?”

“Yes. Even when he started losing his hearing, he made a point of going out with his friends every day. He was a bon vivant.”

She wonders what that has to do with her. Is he saying she’s like Beethoven? Is that a compliment? A very roundabout compliment.

“I think that’s the nicest thing you ever said to me.”

“I know I’m not the most… genial person, but I hope you know I do think well of you, Alison.”

“I think well of you too.”

They smile at each other.

The thing is, even if he’s not the most expansive person when it comes to compliments and encouragements, and despite how much she craves validation, at least one always knows where they stand with him. He’s honest. For someone, like Alison, who has been fooled by flattery in the past, there’s some comfort in that.

They get back to work. The list of songs grows, but they have yet to be paired in a satisfactory mash-up. Roderick outright rejects many songs he deems too commercial (”mass-produced music is the very antithesis of art, it has no soul”), but overall he proves more open-minded than she expected.

They make each other listen to various pieces. Each song invites the other to step into their inner world. It’s not just trivia they’re telling now, but meaningful anecdotes associated with Haydn, Cher, Stravinsky and Tupac.

Time flies, but Roderick never forgets their task. It helps that he enjoys the musical gymnastics of fitting the songs together. Alison looks over his shoulder as he scribbles notes on blank music sheets. After one listen of the songs, he can already identify chords that overlap. His fluency is astounding.

“Can you find me Alessandrini?” he asks, still writing with one hand, the other pointing vaguely towards the shelves.

His collection is sorted in alphabetical order, she spots the album on the highest shelf, but she's shorter than him and has to stretch as high as she can to reach it. Unsteady on her tiptoes, she retrieves the album but also knocks a picture frame off the shelf. She catches it just in time: it’s a selfie of Roderick with Angel Matthews, on holiday judging by the palm trees in the background. Angel is his ex-girlfriend, or so the Internet told her, but if he still has a picture of her in his living room…

She's not even that pretty.

Roderick takes the photo out of her hands.

“I thought you’d broken up”, she says.

“We have.” He replaces the frame on the shelf, face down. “How do you know that?”

“I googled you.”

“Uh. What else did Google have to say?”

He knows. He’s definitely the kind of person who would search for his own name.

“The usual: career, discography… and that you stole a song from another school during a competition last year.”

His features harden. “I see.”

“Did you?”

“Tell me, Miss Crosby, do you think I could do something like that?”

“No. I— I don’t know. Maybe? But I can’t understand why you would.”

He’s a competitive person, and his desire to use Marcus’s handicap and Alison’s beauty to gain an advantage says a lot about that, and yet blatantly stealing another school’s original song right before the competition seems a step too far.

Without answering, Roderick picks up their empty mugs and disappears into the kitchen. Alison waits, wringing her hands. They were having such fun and she's ruined it. He's not going to think well of her now.

Roderick comes back with refilled cups. Alison chokes on the first sip, it’s more rum than tea this time.

He walks across the room to the windows, and back. Finally, he says, “At the time, I thought I was doing the right thing for my students. I was invited to this competition to give it some credibility. I was under the impression our victory was guaranteed. But when I saw the judges and the audience, I knew they would be swayed by emotional appeals and catchy tunes, rather than our musical excellence. My kids were perfect but what if the judges didn’t see that? And there was my brother and my father there.” He rubs the back of his neck. “I made a bad decision. It was blown out of proportion by my detractors.”

“Is that why Angel broke up with you?”

“No. If anything, she encouraged me. But when it turned into a scandal, well…” He shrugs and goes to sit on the leather couch. He takes off his glasses and pinches the bridge of his nose.

Alison isn’t convinced by his explanation. After some hesitation and a few more sips of rum for courage, she sits down next to him.

His straight back progressively hunches over as he circles the rim of his mug with his finger.

“It happened at a peculiar time in my life,” he says without looking at her. “The problem with being a prodigy is that one’s career begins early and therefore… ends early.”

“Are you thinking of retiring? You’re not even 40 yet.”

“I don’t want to. I’m not ready to let music go, but what if she’s ready to let go of me?”

“Oh, Roderick. You always look so confident, I had no idea.” She tentatively strokes his arm.

“Don’t take pity on me.”

“I don’t. I sympathize. I know exactly how that feels.”

He scoffs. “You’re too young.”

“Okay, maybe not exactly, but when I had my birthday last August, I felt like I was getting too old for this, so I told myself I had to make significant progress in my career this year or I would quit. The choir is my last chance.”

“Mine too,” he says.

What a pair they make.

“No, it’s not. It can’t be. You’re a bloody genius. And, you know what, I’m not that old. We’re so daft.”

Roderick chuckles and pats her hand. A fond, but almost paternal gesture, except his hand lingers on top of hers, his thumb rubs along her knuckles. Their eyes meet, he’s not hiding behind his severe glasses anymore, he’s letting her see him, and her heart melts. She gives his hand a little squeeze.

Roderick’s ears perk up, and he looks to the computer. “What is this?”

“Uh? Oh, that’s Florence and the Machine, I think. Yeah, ‘Shake It Out’.”

“This has great potential for choral arrangement.”

Roderick puts his glasses back on and hurries to the piano. He finds the partition online, gives it a cursory glance, and, after another listen, plays the first verse on the piano. Just like that.

“You know the lyrics? Go on.”

Alison sings the intro A Capella, “Regrets collect like old friends Here to relive your darkest moments I can see no way, I can see no way And all of the ghouls come out to play”

He holds her gaze as they adjust to each other’s rhythm. He tweaks the song here and there as she keeps singing. He’s got an idea, she can tell, he slows down after the chorus and he’s looking at her, expecting a reaction, an understanding.

“Wait, play that last part again,” Alison says.

Pride curves his lips into a smile.

“It’s like…”

“Yes.”

“Opus 16!”

He replays the passage and segues into the second movement of Ralph Vaughan Williams’s “Opus 16”, a song the choir already knows.

“We have our mash-up!” Alison says, clapping her hands.

“I think we might.”

They analyse the two songs side by side, trying out different points of transition and choral arrangements.

“Does it work thematically too?” Alison asks.

“Yes, it’s about rising from dark times. Williams wrote it after a hard time in his life, when he thought he’d lost his muse. See this line here: ante lucem tenebris it means dark before light.”

“I had no idea.”

‘Opus 16’ has never been one of her favourite chorals, she liked that it was a bit more upbeat, but now that she understands its meaning, she’s excited to sing it.

She can see it so clearly in her mind’s eye: the concert begins in a very traditional way, they’re in formation, wearing those black robes, singing the classics. And then “Shake It Out” begins, she steps to the front of the stage and discards her robe. Her colleagues follow suit and maybe dance a little. The lighting changes too, curtains part behind them to reveal colourful stage props. The second part of the concert consists of upbeat songs and more mash-ups. People in the audience stand up and clap their hands.

Roderick arches a dubious eyebrow at her suggestion.

“It’d be brilliant,” Alison insists.

“I’ll think about it.”

She stands by the piano and they go through the first half of “Shake It Out”. After the chorus, he slows the tempo, they stay in sync, eyes trained on each other, nodding along the notes. The transition into “Opus 16” is a little rough, but it works.

When she hits the high note in the third verse, her voice falters. Roderick abruptly stops playing, and the disappointment in his eyes cuts her deeper than any of his harsh words ever has before.

“I can do it,” she quickly says. “I’ll work day and night.”

“Clarissa would be able to do it.”

“No! I will. I can do it.”

“You must do it,” he says. “Again, from the top.”

Alison straightens her shoulders and gets ready to sing, but after three cups of tea, she needs the toilet.

From the bathroom, she hears the music Roderick is listening to on the computer. He selects more songs by Florence + The Machine.

She smiles smugly to herself. She did it. She changed his mind.

He skips to another song: “I know that it’s over They say that time’s a healer I’m ready to rise again”

“Oh no no.” She stands up from the toilet, but she’s not done pissing. “Fuck.” She hurries as much as she can.

When she returns to the living room, the song is still playing and Roderick’s face is a haughty grimace.

“Is that you?” he asks.

“Yeah, it’s an original song I recorded a while back. In Canterbury.”

“It’s horrendous.”

Alison flinches. His words sting.

“Yeah, it’s silly. Can you stop it?”

“My pleasure. Let’s try the mash-up again, shall we?”

“Actually, it’s getting late, I should go."

“Already?"

I’ve to go if I want to catch the last bus.”

“The bus? At this hour? You must take a taxi. It’s safer.”

“It’s kind of a long ride, I can’t really afford it.”

“Let me call you one, I will put it on my tab.”

Before she can protest, he’s on the phone. She’s too tired to put up a fight.

“He will be here in ten minutes.”

Roderick holds up her coat so she might slip it on.

“I’ll wait downstairs,” she says.

“You’re welcome to wait here.”

“Nah.”

“Okay. In that case, thank you for your help.”

After shifting awkwardly on his feet, he holds up a hand for her to shake.

“Sure. See ya later, Mr. Peterson.”

[leandrolavater7-blog]

Checklist Of Music Kinds

Nation music has seen its share of loss in 2018. Rated 5.0 out of 5 by JT#Jon from succeeds in its objective Does exactly what it got down to do - explains the differences in Digital Music genres and provides you strategies & ideas. Recommended. Positive, Jake and Elwood's soul covers (most famously, of Solomon Burke's ‘Everyone Wants Anyone To Love') are karaoke-esque at occasions - but this John Landis-directed comedy caper is propelled by a real reverence for black America's musical past; hence the cameos from Cab Calloway, James Brown and Ray Charles. Battle hardened within the golf equipment of Hamburg, the fab four reworked from squeaky-clean pop sweethearts to rock monsters during the course of their profession, and produced a few of the best music ever made alongside the best way. They constantly pushed boundaries, took their sound to locations you'd by no means think attainable and along with pioneering producer George Martin used the studio as an instrument in contrast to ever earlier than. Their story and their music is famous, and you just can't look past them as the best British rock band of all time. A form of American roots music with its own roots in the English, Irish and Scottish conventional music of immigrants from the British Isles (particularly the Scots-Irish immigrants of Appalachia), www.audio-transcoder.com as well as the music of rural African-People, jazz, and blues. Like jazz, bluegrass is performed with each melody instrument switching off, taking part in the melody in turn while the others revert to backing; this is in contrast to outdated-time music, wherein all devices play the melody collectively or one instrument carried the lead throughout whereas the others present accompaniment.

With help from Elevate wrist-based heart charge technology3, vívoactive 3 Music lets you monitor key points of your fitness and stress to point out how your physique responds beneath numerous circumstances. For instance, it's capable of estimate your VO2 max and fitness age, essential indicators of your physical health that can typically improve over time with common train. It also tracks your coronary heart charge variability (HRV), which is used to calculate and monitor your stress degree. vívoactive 3 Music could make you aware when physical or emotional sources trigger your stress stage to rise so you'll find a method to relieve the strain.

Listening to your favorite music can actually reduce stress and offer you extra energy, since you're utilizing actively offering your thoughts with pleasure. I also feel that all types of musical bits similar to beat, chord development, timbre, quantity, stereoshape, sound quality and many others. play a part in how the music influences me. This 1941 essay is probably the most accessible place to begin reading Adorno on widespread music. Plex helps playback of virtually any music file format, together with lossless sorts like FLAC. Regardless of what number of tracks you've got, you'll be able to play them wherever you go. The range and diversity of Queen's music is sort of unmatched in the rock world, most popular music genre 2017 uk a fact proved to astonishing diploma by the wide selection of artists that carried out at the 1992 Freddie Mercury Tribute Concert following the singer's death. Broadway stars rubbed shoulders with rock legends, metalheads and pop heroes, and all people was capable of finding a fantastic Queen music that match their style perfectly. The night was capped by George Michael's take on this music, as 72,000 followers take part for the refrain. Soukous is dance music from the Congo Basin in Africa. It began in the 1960s earlier than changing into well-liked in France in the course of the Nineteen Eighties. The easiest way of describing it is as a better tempo model of rumba. The chart beneath plots genres over time (oldest to youngest genres), exhibiting the common age of death of popular musicians by style and gender in opposition to life expectancy (LE) for US males and females born in the identical 12 months. Uncover the laborious-hitting kinds of at this time, akin to Dubstep or Brostep. This realm of genres tend to get a little rough comparatively. No method on the earth ought to symphonic steel be so low. Have you ever ever heard Nightwish? They are my favourite band on the planet! Their lyrics are awe-inspiring, and their music is phenomenal. I refuse to consider that symphonic metallic is hated this a lot in the world. Critically, in case you are searching for a style of music that really has bands which are gifted, and never utilizing computers to modify their music, symphonic metal is perfect! This ought to be in the #1 spot. It undoubtedly is in my world. By the way, I've been a symphonic steel and Nightwish fan since I was 6 years previous. First heard Storytime, from Nightwish, and was immediately hooked. But I am unable to imagine nobody likes this amazing style of music.

The creation, efficiency, significance, and even the definition of music differ based on culture and social context. Indeed, throughout historical past, some new forms or kinds of music have been criticized as "not being music", together with Beethoven 's Grosse Fuge string quartet in 1825, 3 early jazz in the beginning of the 1900s four and hardcore punk within the 1980s. 5 There are a lot of varieties of music, including fashionable music , conventional music , art music , music written for religious ceremonies and work songs similar to chanteys Music ranges from strictly organized compositions-corresponding to Classical music symphonies from the 1700s and 1800s, by way of to spontaneously played improvisational music resembling jazz , and avant-garde styles of chance-primarily based modern music from the 20th and 21st centuries.

Indie Music: Do you like searching for out obscure bands and indie artists? Followers of the indie style are usually introverted, intellectual, and artistic. According to researchers, they also are usually less hardworking and fewer light. Passivity, anxiousness, and low vanity are different widespread persona characteristics. mento-reggae , as elements of each Jamaican music have been mixed. Some middle interval mento LPs were fairly bland, resembling " Yellow Bird " by the promisingly named Jamaica Duke and the Mento Swingers, and the aforementioned Wrigglers LP. The great majority of the recordings from the center period have been of old mento songs, with sundry other covers. Just about none of the songs on these LPs seem to have been written throughout this era.

[ber-bonfamille-lyons]

Made You A Mixtape: September 2015

@simba-lyons

Happy Three Year Anniversary to Simber!!!!! To celebrate, the following playlist is the first playlist that Berlioz made Simba. Yes, that’s right, I have tried to recreate what it would have been here, which means that these songs reflect three criteria:

1. They came out in 2015 or before 2015 and would be on Berlioz’s radar  2. They remind Berlioz of Simba, and so they are mostly cheerful and a bit funky and are Big Sounds 3. Lowkey Berlioz is in love with Simba and these songs are telling him if he would just PAY ATTENTION. This is most obvious in the fact that Ber put two of his fave songs ever on this playlist-- Eskimo Kiss and Wood. They are both on this like massive playlist that he gives people for like Songs That Sound Like Ber’s Soul so yes!

So this is not a ship soundtrack as much as it is a Simba Soundtrack or a Simba-as-he-sounds-to-Berlioz-in-September Soundtrack. <333 The following descriptions are all basically incoherent, so I apologize. 

Out of the Blue- Prides 

Hear you come, my heart's only drummer I've been holding out for your symphony The air in my lungs is like thunder And I can't fight what you've made of me.

This is a Big Sound Song and a good way to open the mixtape in Berlioz’s opinion. He’d talk to Simba about the scratchy guitar that rumbles under like thunder, those drums, and that persistent, driving synth. And when he’s talking about those sounds, what he’s really saying is basically what the lyrics are saying honestly, like-- this song “text paints” very well, as in, it uses a storm metaphor for a lot of it and builds a storm with its instrumentation by creating a very heavy sonic atmosphere, like with all those layers and booming drums-- wow i really do sound probably how Berlioz sounded when really what he was saying is “You’re like thunder to me” and that’s really romantic and super embarrassing 

Shut Up And Dance- Walk the Moon 

A backless dress and some beat up sneaks My discotheque Juliet, teenage dream I felt it in my chest since she looked at me I knew we were bound to be together Bound to be together

GOD this CHEESY 80s dance guitar powerhouse of a jam!! I feel like i don’t even need to describe how this is such a Simba song in every single way and why Berlioz would think of Simba at once. But yeah, I mean: the sheer joy of it, not to mention that honestly Simba is the discotheque juliet teenage dream in this song who is grabbing Berlioz and telling him to dance. But yeah, I mean it’s so over the top in like every single way. Like Simba.

On the Regular- Shamir

Hi, hi, howdy, howdy, hi, hi! While everyone is minus, you could call me multiply Just so you know, yes, yes, I'm that guy You could get five fingers and I'm not waving "hi" Guess I'm never-ending, you could call me pi But really, how long till the world realize?

Kay so Shamir is a HELLA Simba artist and this song has a lot of these kooky sound samples that Berlioz really loves, especially when it comes to Simba. I want to say that tapping noise is a cowbell? Super fun and funky. And of course, lyrics wise, this song is brimming with confidence and attitude which is definitely how Berlioz saw Simba at first. (He still sees that, but of course this song I think, more than others, really reflects the beginnings of their relationship because obviously Ber knew nothing about the drinking and depression etc.) So yeah, Berlioz literally thinks Simba’s “regular” is this cool, funky, ridiculous guy and including this on the song would be conveying that impression, while also being like “Hey Simba, you should check out Shamir if you don’t know him because his sound is You.”

Oh Girl You’re the Devil - Mika  

And I said follow me Whoever you want to be Don't care where you where you go As long as you stay with me

This is another song along the same lines of “On the Regular”-- very groovy, playful, with some fun quirky sounds and structures that just evoke Simba musically more so than lyrical content. But it’s definitely a song that Berlioz would think Simba would like and find fun to dance to/sing along to. And I mean honestly: this entire album is Simba. Me and Berlioz really struggled with which song to put on here. In addition, this was one of Mika’s more personal albums when it came to his sexuality and including Mika on here and probably writing “Please listen to all of No Place in Heaven” in the margins of the notes included with this playlist was Berlioz subtly talking about his own sexuality to Simba.

Bite Down- Bastille/HAIM

You’ve got your claws buried deep Bite down, bite down into me Bite down, bite down into me You better sink your teeth before I disappear Bite down, bite down into me

Ah yes, another “I’m very into you please make out with my face” subliminal message (is it subliminal?? Is it?) Here’s why this is a Simba song-- because its carnal and aggressive and Big. I do body rolls during the pre-chorus anyone else just me?? And the shifts from chorus to verse to post-chorus is so jarring, it just grabs your attention and keeps your attention, which is probably what Berlioz would point out to Simba. And that’s a very Simba thing too, at least a Simba thing according to Berlioz. Also, I personally love the irony considering this song foreshadows the back and forth that Simber will go through in the winter.

Love Me Anyway-The Mowglis

Oh, you know I love you But no, I am not a saint Oh, I make stupid mistakes But you love me anyway Oh, I forgot your birthday And yeah, I show up late Oh, I'll get it right someday 'Cause you love me anyway

So The Mowglis are a very Berlioz band and this album was probably something Berlioz was definitely listening to. The sing-a-long chorusy stuff is VERY Simba-sound as well as the lyrical content just being so very Simba. I like to think that even though Ber and Simba were very much getting to know each other, this chorus still makes a lot of sense since Simba would show up late and forget all these little things-- but obviously, he has such a big heart and always came across as so sincere to Berlioz. It’s a song Berlioz would maybe learn how to play on guitar and think to himself “Hey I bet Simba would really like this song!”

Eskimo Kiss- the Kooks

Oh lonely bones I'm coming through the sun And our lives have just begun Oh lonely bones I'm coming through the sun And our lives have just begun

As I mentioned above this is literally the biggest fucking tell that Berlioz has a big ol fat crush on Simba. This is one of his favorite songs, ever. This was not even a little bit new, it came out in 2011, and yet Berlioz listened to this song and to lyrics like “She's like a rose without a thorn/She's like the sunflower/That never looks back at the sun” and his first thought was “Simba.” He’d probably say some bullshit about how he just liked the lyrics because they were nice and it seemed like the kinda cheerful thing Simba would like. But it was bullshit and what he was really saying was lets please eskimo kiss under the bar rn because you make me feel both sunshiny like this first half of the song and achey and tender like this second part of the song, so, like, how i imagine how love feels like. That was the inner monologue there. And really, the shift in this song from the upbeat jangly acoustic to that tender part emulates Simba’s two sides, because he is very capable of being a gentle honeybun sweetie pie. 

Smile - The Royal Concept 

I've got to dress sharp, you know I will Give you what it takes cause I'm not Gonna be outdone By those beautiful fakes In your halo, there's gotta be gold I've got you waitin' on I'll step on a grenade so you Can see I'm the bomb

And here we are back at that interesting mix of Berlioz finding some funky songs for Simba but also songs that speak to Berlioz’s perception of Simba’s characters in subtle ways/songs that Ber really wants Simba to be into so they can talk about it! So musically wise, you’ve got a lot of the same elements as previous songs here, lots of powerful guitar and some layered vocals and a pretty groovy tempo. Basically this is an alt rock song that makes you want to dance, and that’s the perfect place where Songs-that-sound-like-Simba live (there aren’t a lot of straight pop songs on this mix as you might have noticed.) But then of course, it’s all about this guy trying to go out of his way to make a girl smile (he “carries sorrow” and will “step on a grenade” for her etc) and if that isn’t the most Simba thing. What i like is this is one of those lowkey sad songs that sounds super upbeat and happy too-- which is also a Simba thing, and I like to think Ber would pick up on those vibes. He’d definitely notice Simba trying to make others happy. And I mean.................. who else was making Berlioz smile............

Shine- Years and Years

I was biting my tongue I was trying to hide (Ooh oh oh oh, ooh oh oh ooh) I'll forget what I've done I'll be redefined

Okay, I admit: this song is really not about Simba at all, this one is Berlioz trying to tell Simba he likes him by putting this song on this mixtape and look I am not responsible for Simba not getting that.

Okay but more seriously: shine/sun/light etc are all motifs that reoccur for Berlioz when it comes to Simba, and have for Simber in general. Years and Years debuted the summer before Ber met Simba and was, again, this openly queer artist who Berlioz was definitely listening to a lot of, so it makes a lot of since that he’d go into their album and put a song on there, hoping Simba would get into them so they’d have this kind of shared connection. He picked Shine because of all the songs, Shine is the most optimistic and romantic, so naturally he thought: Simba. And again, there’s this lowkey thread of Berlioz using music to address his sexuality without actually talking about it.

By My Side- Great Good Fine Ok

Baby when I come to get you I'm all I find Every time I go to come back to see it's not my time Any time you think something is on my mind I'll tell you when it's all about you, I need you by my side

So Great Good Fine Ok is like the contemporary BeeGees, and their velvety falsetto and solid dance beats were Berlioz’s Jam in 2015. Seriously, go back and look, I reblogged all their stuff. ANYWAY, so this song really hits all three of the criteria as I talked about above-- this is a band that Berlioz was SUPER excited about and he wanted Simba to like. Sound-wise, totally upbeat and those trumpets in the end!!! scream Simba, which was basically what Berlioz said to him. He’s always associated brass with Simba, that’s just like, a general known fact. He said “The ending with the trumpets really reminded me of you.” And the translation for that is “Please be my boyfriend.” And of course lyrically, this is about someone pining over another… and that’s really not a Simba mood but it is a Ber one.  

Indian Summer- Jai Wolf

It would not be a Berlioz mixtape without at least one instrumental song or something. And this one! This one! If you noticed, Berlioz organized this playlist so it shifted toward more techno/dance music in the second half and part of that was to BUILD to this song right here, his musical climax if you will. Everything about this song screams Simba to him and I honestly do not have a developed enough vocabulary for music to talk about how that works. Maybe it’s just the scope of the song-- and that it has that very BIG scope and it goes from soft, chime-like sounds to exploding outward in these huuuge moments  that are Cinematic as heck. It’s beautiful and soft while also powerful and strong (and that’s simba for u, those four things). It sounds like adventure, like starlight, like camping? And he thinks Simba would like all those things and was probalby like “Oh he’ll like running to this song.” 

man anyone having serious simba feelings at this point just me or 

Wood- Rostam

Sunlight on your eyelids You were sleeping Ah ah, ah ah ah Sunlight on your back You were dreaming

And following a climax, you must have your falling action and resolution. Berlioz decided to end softly and tenderly with another one of his all time favorites, therefore revealing that he associates Simba with all of his favourite sounds-- all the plucky violin and bongo drum and flute. Plus, it describes sleeping with your lover. That’s it. That’s the whole song. And that’s what Berlioz wants: cat naps in the sun with his sunshine boy. 

He wouldn’t have said that obviously, he would have been like, this “cool percussion bro.” 

But we all know what he meant. 

[putschki1969]

Wakana in Concert with the Roma Italia Symphony Orchestra – Live Report

Okay, here’s my report. This time I didn’t want to wait too long since I was scared I would forget all about the details. Without further ado, let’s get to it.

First of all I wanna say one thing: WOW! Just WOW! This was a PERFECT live. I will be honest, I had my doubts when I first heard that this concert wasn’t just about Wakana. When they announced that Ryu Masaki would be joining I was quite bummed and felt a little cheated. Then Wakana announced in her latest blogpost that Mana Ogawa would be joining the live too and I was like “eh?? Why are you doing this to me? I thought this was a Wakana concert and not an ensemble live!!“ Turns out I needn’t have worried. While Ryu Masaki got to sing a handful of songs this was most definitely Wakana’s show (I actually feel kind abad for Ryu Masaki fans who attended the live). And Mana Ogawa was more of a backup singer to be honest (and she only appeared during two songs).

Overall thoughts on Wakana’s vocals: Flawless. For me she was honestly flawless. Yes, her breathing was still there and quite noticeable at that but that’s just part of her charm I think. Fans love her breathing and I think YK likes it too or she wouldn’t keep it in the studio recordings. But aside from that Wakana really slayed. She has never sounded better in my opinion. The arrangments were slowed down quite a bit so she never was out of breath and she got the chance to really hold her notes. Her voice was so strong and pure and perfect and she hit pretty much each and every note (even during believe which has never happened as far as I can remember!). She didn’t use her airy/flimsy/breathy voice once. At times she was a bit quiet compared to the orchestra but I only really noticed it in one song and even there it wasn't too bad (Jupiter). Not sure if the orcestra was just super loud here or if Wakana wasn’t feeling confident with a new song but at any rate, she got used to it suoe quickly and then she slayed. Wakana was BORN to sing like this, with dramatic orchestral arrangements. She didn’t strain her voice once and even though she sang quite a lot of songs in a row she didn’t seem to sweat at all. She obviously had a lot of fun and you could tell that she was well-rested. I am so glad she got to take a break. It was such a pleasure to see her this refreshed and happy. Now let’s start with the live itself

First Half

01. Nuovo Cinema Paradiso Theme This was an instrumental piece and it perfectly showcased the skills of the orchestra. I had never heard of this piece before (apparently it’s from an Italian movie by famous composer Ennio Morricone) but I immediately fell in love with it. Check out this version on youtube, it’s pretty much the same arrangement that was played during the concert with the violin in the lead). Very lovely and the orchestra already conveyed an epic feeling. I couldn’t wait to hear it in combination with Wakana’s voice. After this overture Wakana came on stage. She looked absolutely gorgeous wearing a white strapless dress with black glittery details in the waist area. The material and cut were more or less the same as the second dress which she changed into in the second half of the live (the white one had a tighter/sexier fit though). The picture below doesn’t do justice to Wakana’s actual dress. Wakana’s dress had a bigger bustier part and made her boobs look huge XD The black details didn't span such a big area on Wakana’s dress, it really was mostly concentrated on the waist area. While this looks like lace, it was definitely not lacey on Wakana’s dress, it was beaded. Sorry, I can’t explain it better.

02. Oblivious They changed the arrangement a lot for this one. They left out the ahhhhhh parts (why?? that would have sounded awesome and Wakana would have ruled!) and they slowed the song down quite a bit. Wakana had three (or was it four?) chorus singers supporting her during certain parts to make the song feel more epic (and to replace Keiko’s parts). On this note I wanna say that the back-up singers did an amazing job, they didn’t intervene too much (the focus was 100% on Wakana’s voice) but they definitely elevated the performance. I think out of all songs this might have been my least favourite performance. Simply because it didn’t feel like the new arrangement made the song any better. The oomph factor was missing and it seemed like the orchestra didn't have much to do. But still, Wakana rocked the stage! Overall, one of my least favourite performances that night.

03. Kimi ga Hikari ni Kaete Iku My dreams have come true. I have been to heaven and come back. This was perfection. UTTER PERFECTION. I have honestly no words to describe it. All I know is that I can die happy now. There were no supporting singers for this one here. Just Wakana and the orchestra. It was more or less the acoustic arrangement from the re/oblivious single but better. I never liked the first half of that song because the chorus felt anti-climactic (do I make sense?) but here she sang the first half just like the second half. The strings in this one killed me. So utterly gorgeous (comparable to the Christmas Live version but so much more epic and grande! Just check out the X-Mas version and fast forward to the “mezameta asa...” line and you will know what I am talking about) And Wakana’s voice was just so rich and beautiful, I couldn’t stop crying the entire time. THANK YOU SO MUCH WAKANA FOR SINGING THIS SONG!

04. Kizuato I have never been a huge fan of this song but the orchestral arrangement made it so much better in my opinion. Especially towards the end I had goosepumps because the song just kept building up. Here Wakana was supported by back-up singers again. It’s funny how they used a male singer to replace some of Keiko’s parts XD. Also, I don’t know how to explain it. The back-up singers didn’t sing all the Hikaru/Keiko parts, they just added a bit of flare here and there. For the most part, the arrangement was changed so that Wakana was able to sing all the parts. Oh, I forgot to mention, poor Wakana forgot her lines during the second verse, there was an awkward silence for two seconds or something but then she caught on quickly and dealt with it professionally. I think it must have been one of Keiko’s lines.

Ryu Masaki Part I will say that she really amazed me. I listened to a couple of her songs before the live so I kinda knew what to expect but still, she is an amazing singer! My Heart will Go on and I don’t Wanna Miss a Thing are two of my all time favourite movie tracks and she sang them so freaking well. And then there was Shadowland from the Lion King musical. So beautiful! I didn’t know the other songs but she pretty much gained a new fan this night. Great performer!!

Second Half

05. Jupiter After Ryu Masaki had sung six songs in total there was a 20 minute break. Then Wakana appeared on stage again wearing the blue dress we have all seen on the pictures. And along with her came Mana Ogawa in the cutest pink dress ever. Together they performed one of my most loved non-Kalafina songs. Jupiter! This is originally a classical piece by Gustav Holst but Ayaka Hirahara made a song out of it. Wakana and Mana’s version wasn’t quite as epic as Ayaka’s but it is SUPER hard to reach that level of epicness. Also, I felt like in this song the voices got a bit drowned by the orchestra but only at certain times. It wasn’t bad or anything but it wasn’t perfect either. Wakana slayed throughout the entire song though. It’s HARD to sing an Ayaka Hirahara song but she nailed it. She kinda adapted Ayaka’s singing style (in a similar fashion that Keiko adapted Ayaka’s style during their performance of Kawaii Hana). I can’t really explain what’s so special about Ayaka’s singing style, she has that way of belting her lines and making her voice vibrate (ughhh, I wish had better words for it). Anyways, Wakana did a great job at using certain elements of that style and incorporated them in her own style. The result: a pretty epic sounding Wakana.  On a side note, OMG, Mana was so good too. I had no idea she was so skilled. Her voice went together so well with Wakana’s. They complemented each other in a great way.

06. Mizu no Akashi YESSSSSSS!!!!!! This is THE Wakana song! I am so freaking glad she decided to sing it. Mana joined her for this one too but she mostly did back-up singing (so nice!!) and sang a few lines. Mana harmonises so well with Wakana, it was a lovely combination. I don’t know what else to say about it. They stayed true to the original arrangment but of course they added a little oomph here and there. More strings can never hurt, right? Once again, tears everywhere. I feel like Wakana got a bit teary-eyed too for a moment but I could be wrong. I was sitting quite far away from the stage.

07. Hokage Ahhhhhhh! You probably know that I LOVE LOVE LOVE this song. I know most people don’t care for it but it is actually my favourite song on the far on the water album. And wow, they used the chorus singers in a nice way here. In the beginning, they were chanting and creating the melody with their voices. So pretty!! This song already has a gorgeous strings arrangement but once again, the added instruments made everything SO MUCH BETTER.

08. Natsu no Asa Out of all Kalafina summer songs I didn’t expect Wakana to sing this particular song but wow, I am glad she did. The first part was sung completely acaplla. Once again the back-up singers did an amazing job creating the melody. Kinda reminiscent of FictionJunction’s silent moon. In the second half of the song, the orchestra joined in and this honestly became one of the most beautiful songs of the evening. The atmosphere was perfect and the song really fits the current season. So lovely!!

09. Ashita no Keshiki Obviously I already knew this was going to be performed so it wasn’t really a surprise like all the other songs. But hey, that didn’t diminish my enjoyment of the performance one bit. Wakana sounded solid in the 9+ONE version but here she was just flawless. The kajiurago part was sung beautifully by the chorus people and all the whle Wakana was making eye-contact with as many people in the audience as possible. Her smile was blinding. This was probably one of the more reserved performances of the night where the orchestra didn’t get so much to do but still, very lovely

10. I Have a Dream If you loved their Blue Day performance then you would have loved this version even more. The strings were just so gorgeous. The Blue Day version already has a very lovely and elaborate strings arrangement that’s different to the original version but here they added a lot more grandness to it. One of my faves from this night. Utterly perfect! In the MC before the song Wakana talked about how this song is very reminiscent of a refreshing summer wind.

11. Believe I have never understood the hate that this song gets. Quite frankly I really like it and I have always been a fan of the strings in this one. I am such a sucker for the strings in the beginning and at the end. And boy, let me tell you, they really upped the ante, the strings in this version were SOOO EPIC (especially at the end)!!! It was like listening to a majestic symphonic piece. Probably my favourite orchestral arrangement of the evening. And Wakana didn’t struggle at all even though she sang literally all the parts by herself. I feel like she always struggles during this song, she also struggled quite a bit during the 9+ONE version even though that also had an acoustic arrangment (which is the reason I couldn’t enjoy it 100%) but here she knocked it out of the park. Absolutely stunning. One of my favourite performance of the night

12. Hikari no Yukue Like Mizu no Akashi I had hoped this song would make it into the setlist and YES, here it was!! I mean, if there is one song that needs to be performed by an orchestra then it is THIS ONE! And boy, this definitely didn’t disappoint. No words for the epicness of this performance.

13. Yume no Daichi While it is not my favourite RHH song, I think it was perfect for Wakana’s concert tonight. And once again, the new arrangement added so much to the song. From now on all Kalafina songs should be performed by an orchestra :P This is probably the song where I missed Keiko the most (don’t know why).

14. Musunde Hiraku She thanked the fans for always supporting her and having her back. Without us she couldn't have made it this far. This song was meant to convey her gratitude for us. Probably the most upbeat and lighthearted performance of the night. Wakana is so obviously in love with this song (check out my translation of the fotw Special Final MCs to find out her thoughts about it). Her love was strongly conveyed in this performance. She was walking back and forth on stage, waving to everyone in the audiece, showing us her radiant smile. Perfection!!

This was the last song and everyone began clapping for an encore but instead of Wakana, Ryu Masaki came back on stage to perform her final song (another solid performance!). And THEN it was time for Wakana to return! (((o(*ﾟ▽ﾟ*)o))) She thanked everyone for coming and then she announced her very first solo tour. She was all like, “you probably all wonder when it is gonna take place. Maybe next year? Nope, next MONTH actually! XD“ Then she said that her FINAL song was written by herself. She came up with the lyrics and she admitted that it was very hard. The song is called Toki wo Koeru Yoru ni which loosely translates to On a Night that Transcends Time. By the way, this also relates to the title of her upcoming tour -Toki wo Koeru/Transcending Time-

15. Toki wo Koeru Yoru ni A GORGEOUS ballad if there ever was one. My memory is already fading but I definitely loved it. I suck at understanding lyrics so I can’t tell you what the song was actually about but believe me when I say it was beautiful. It felt like an old-school ballad, something from the 90s maybe. I wish I knew how to explain it better but I can’t. Wakana actually got a standing ovation afterwards (although there were some people who refused to stand up *grumbles*).

Okay, that’s a wrap for me tonight. I can’t think straight any longer. Too tired. All in all I will say that this concert was worth EVERY penny I spent on this trip. Along with the Hikaru Birthday Event and all my trips to different places this was the BEST holiday ever. I didn’t see any cameras so I doubt there will be a DVD/BD release for this but maybe, just maybe they recorded the audio of this live. I would buy that CD in a heartbeat. Personally I think they did a great job arranging the songs in a way they are suited for a solo performer. I wonder who actually did the orchestral arrangements because damn, they were SO GOOD!!! In some cases the back-up singers provided the necessary support and in other cases the orchestra provided the different melodies that are usually sung by Hikaru/Keiko. All songs felt wholesome, I didn’t feel like anything was missing and Wakana slayed throughout the concert. She shone brigther than a star and while she was a bit awkward during the MCs she was incredibly strong and confident during her live performances.

[heyho-simonrussellbeale]

My favourite author or book

I don’t have a single favourite, but I have read Hilary Mantel’s A Place of Greater Safety three times. She has an uncanny ability to transform rather forbidding historical figures — like Robespierre — into sympathetic and attractive characters. There is also a sensual element to her writing that is very compelling.

The book I’m reading Albert and the Whale by Philip Hoare, a quirky exploration of Albrecht Dürer’s work.

The book I wish I’d written Anything by Simon Schama or Julian Barnes — the latter’s book about Shostakovich, The Noise of Time, for example. Schama’s writing is always rich and generous and full of an enthusiasm for the complexity of the story he’s telling. Barnes writes prose that is lean, balanced and pretty well perfect.

The book I couldn’t finish I’ve tried to read Don Quixote three or four times and I can tell it’s very good, but I always run out of steam. I’ll keep trying.

The book I’m ashamed I haven’t read I know with absolute certainty that I will never read Finnegans Wake by James Joyce, although I’m not really ashamed about it.

My favourite film Fanny and Alexander by Ingmar Bergman, a very sombre film with really sensational acting. Anything Scandinavian makes me go weak at the knees — Babette’s Feast, for example.

My favourite play At the moment it’s King Lear, but this will probably change. There are just too many good plays around. King Lear is grim, of course, but I find the story of a redemptive reconciliation that is just out of reach very moving.

The box set I’m hooked on I’m not watching anything in particular just now, but I loved Call My Agent!, which I finished a couple of months ago. It seems to be a fairly accurate, if heightened, depiction of what my poor agent has to go through.

My favourite TV series Because I work in the evenings, I rarely watch TV, so I’m a bit slow catching up with the latest programmes. Am I allowed to say that Chernobyl was the best thing I’ve seen on television for a very long time? Everything about it — the acting, the writing, the direction — is impeccable, although I found the whole thing very distressing. It’s such a savage warning for all of us.

My favourite piece of music This is impossible to answer. My favourite composers are a little predictable — Beethoven, Schubert, Brahms; all the big hitters. I like to listen to a lot of composers at any one time. At the moment it’s Stravinsky.

The last TV programme that made me cry The late-night Olympic round-up (and the breakfast coverage) has made me cry nearly every day over the past few weeks.

The lyric I wish I’d written Just One of Those Things written by Cole Porter [for the 1935 musical Jubilee]. It’s astonishingly elaborate and witty at the same time: “It was just one of those things/ Just one of those crazy flings/ One of those bells that now and then rings/ Just one of those things/ It was just one of those nights/ Just one of those fabulous flights/ A trip to the moon on gossamer wings/ Just one of those things.” There’s a recording of I Remember You sung by Peggy Lee, which is a reminder of how good those lyrics are.

The poem that saved me A few moments ago I read a poem called To His Love by Ivor Gurney, which took my breath away. Every so often I bump into a poem that has an impact like that, and often they are poems that I have been familiar with for a long time but just haven’t thought carefully about.

The instrument I play I learnt the piano as a young boy and still play today.

The instrument I wish I’d learnt I had to learn the oboe at school and like it well enough, but I wish I’d learnt the cello.

The music that cheers me up Make Your Own Kind of Music by Mama Cass Elliot, For Once in My Life by Stevie Wonder, but sung by the cast of Glee, and the last movement of Beethoven’s fourth symphony.

If I could own one painting . . . It would be one of Pieter Bruegel the Elder’s. I find the details of the daily life he saw around him absolutely mesmerising.

The place I’m happiest The downs of north Wiltshire.

My guiltiest cultural pleasure Rom-coms — the more sentimental, the better. I started out, like so many people, with When Harry Met Sally, and I suppose that became a rather impressive yardstick. There are so many others that I can’t even remember their titles. And I have to confess to enjoying Sunday evenings in front of the Antiques Roadshow.

I’m having a fantasy dinner party. I’ll invite these artists and authors . . . Shakespeare (obviously), Richard Burbage, his great leading actor, Madame de Pompadour (not exactly an artist, but a patron), and a great chef from the past like Carême or Escoffier.

And I’ll put on this music . . . Something by Ravel — light and chic.

The play that I’m looking forward to Ian McKellen in Hamlet — a chance to watch a master at work. I’m not sure the dates will work out, though.

Simon Russell Beale is the narrator of Regeneration, The Eye in the Door and The Ghost Road, Pat Barker’s trilogy, which are published by Penguin Audio on August 31. He stars in Bach & Sons at the Bridge Theatre, London SE1 (bridgetheatre.co.uk)

[nicholasmeyler]

Thoughts on Superluminal Signaling

         My ignorance may have no bounds, but it still dismays me (slightly) that no one has responded to my queries about the evidence I provided of Superluminal Signaling (i.e. Superluminal Information Transmission) in Mozart Symphonies, where I provided precise textual examples of information performed via “synthrumentation” (popular term coined by composer Clarence Barlow).  Mozart, enormous intellect that he was, invented what we call “speech synthesis” at least twenty years before it was ‘officially’ invented by Wolfgang von Kempelen (also known for the famous “Turkish Chess Automaton” hoax).

         I learned about the “Turk Automaton” hoax at an early age, when I first started playing chess seriously.  Nowadays, I play International Masters of chess frequently, and win about 40% of the time.  Still von Kempelen’s “speech synthesis” machine worked relatively well, and Mozart (a contemporary) was clearly interested in the phenomenon of reproduction of human speech via purely instrumental means.

          Today, this is a well-proven fact, although still somewhat esoteric.  Peter Ablinger’s compositions clearly demonstrate that human speech can be synthesized by purely instrumental means, for example.  Here is one such example:  https://www.youtube.com/watch?v=BBsXovEWBGo

          Therein, Ablinger sets an angry letter by Arnold Schoenberg (who was a faculty member at UCLA, a school founded largely by my great-great grandfather, George Gephard).  Schoenberg, in particular, was probably chosen as the subject/model for this composition because of his steadfast adamancy about his Art, and the fact that he invented what is today known as “Sprechstimme” and “Sprechgesang” in music, anticipating “Rap” music by almost a century.  The techniques invented by Schoenberg are based in old operatic ‘Recitativo’, but are very different, in terms of rhythms, and the feature of being ‘unsung’ or ‘non-sung’.

          What I believe I have conclusively demonstrated, with help from multiple great composers over a period of multiple centuries, is that there is embedded synthetic speech in various musical compositions that refers specifically to events and persons that happen(ed) many years after the compositions were written and performed.  

          To me, this seems to be an example of a “Superluminal Signal”, which has somehow been transmitted to the Past, and then incorporated into the body of known past antique artworks.   I do not claim to “know” the mechanism or means of the transmission of this Information into the Past, but it seems inevitable, to me, that the specific and cited examples of “Information” could not occur without some form of faster-than-light mode of delivery.

           Any other effort to account for the existence of the embedded Information still seems to lead to the necessity of “Superluminal” intervention.  Other possible explanations could be “Entelechy”, “Teleology”, “Clairvoyance”, etc., but all of these seem to be illogical, based on the specificity of the Information preserved.  I do not see any specific reason why Mozart should be sending me messages encrypted into his Symphonies, unless a Superluminal element was involved in that causation.                                                    

          The “Information” is definitely there, within the ‘text’ of the music, although one might dispute the Truth value of that Information.  This then becomes an issue of Modal Logic, wherein the purported ‘Information’ could be in the form of Counterfactual statements (not necessarily conditional statements), but still consistent within the rules and facts of that particular Hilbert Space, “World”, “Possible World”, Alternate Universe, Parallel Universe, Alternate World-line, etc.

          Kurt Goedel solved Einstein’s Relativity Equations for “Time-travel”, based on the assumption of a “rotating Universe”.  Until his dying day, relegated to a hospital bed at Princeton, New Jersey in 1977, he continued to ask his visitors “Does the Universe rotate yet?”

          Today, we know that perhaps it does, although it has not yet been proven.  The contention that the entire Universe exists as embedded Information holographically preserved on the surface of a Black Hole tends to imply rotation, since it is known that Black Holes rotate due to an uneven distribution of electrostatic charge across the surface.

          If that is the case, then Goedel’s conjecture about Time-travel becomes a mathematical fact.  To this I add the evidence from the Mozart Symphonies and other compositions which appear to demonstrate Superluminal Signaling and Superluminal Information Transmission.  I can cite multiple examples of speech-synthesis (synthrumentation) in antique artworks which very clearly appear to reference me (personally, directly), despite large separations in Time.

          Some people might be inclined to refer to examples of ‘steganographic’ synthetic speech in instrumental music as being ‘hidden’, ‘unsung’, ‘subliminal’, ‘incidental’, ‘accidental’, etc.  But I, while not claiming to know precisely how or why such examples exist, believe them to be clear, audible, acoustically ‘real’ events which cannot be denied as having “Information” value.

          My contention, despite the silence of most participants in the field of Research of “Time Travel’, is that these are significant examples of Superluminal Signaling (into the Past), recorded somehow into the Artworks, for posterity.  I do not claim to know exactly how these examples happened, but I believe their existence is undeniable.  I can cite multiple examples from different composers, different pieces of music, and even into the present day.

          What does this imply about Einstein’s belief in “Causation”?  Einstein’s Theory of Special Relativity is predicated upon an assumption that the speed of light is constant and cannot be violated, within a vacuum.  Actually, it is well-known that velocities as high as 300 times the speed of light have been achieved (Lijun Wang) in a Cesium chamber.

          Guenter Nimtz demonstrated that Mozart’s 40th Symphony in G minor could be transmitted, via quantum tunnelling, at 4.7x the speed of light, over a short distance.  I like this experiment, because it involves Mozart’s music (also a great favorite of Albert Einstein’s).  Nonetheless, the point is that there can be a clear Superluminal Signal, which does NOT violate causation or Special Relativity, as Nimtz carefully explains:  https://link.springer.com/article/10.1007/s10701-004-1625-2; https://onlinelibrary.wiley.com/doi/abs/10.1002/1521-3889%28200202%2911%3A2%3C163%3A%3AAID-ANDP163%3E3.0.CO%3B2-Q; etc.

            I, however, believe that I can demonstrate “Causality Violation” with specific examples garnered from classical Music, and other venues.  My personal and favorite example is that I listened to a Symphony by Mozart, which appeared to be ‘heckling’ me, and referring to me as someone with a ‘Pedigree”. I thought this was intentional of Mozart, to send a jibe at me, and was disturbed with his intention, but it did motivate me to spend a large amount of time researching my ancestry and heritage.

          Eventually, after 15+ years of effort, I was able to validate Mozart’s claims of my having a ‘pedigree’ by assembling a Family Tree with 55,000 members.  In spite of my objections to having a ‘pedigree’, I actually do have one, including 20 or more Nobel Prizewinners, 50 or more Saints, 40 or more United States Presidents, etc.  I realize now that ‘pedigree’ is not a term only applied to dogs and cats, horses, animals, etc.; but does apply to humans, and is actually fundamentally a good thing, allowing ‘generational’ intelligence and better knowledge of History.

           People (Psychologists) have evaluated Mozart’s IQ as being from 160 to 250.  Mozart seems to indicate (via speech synthesis) that my IQ is 215.  I’ve never scored above 195 on an IQ test, for what it is worth, but with the “Mozart Effect” of added intelligence of up to 20 points for listening to Mozart while taking the ‘test’, I guess that 215 is a number that might make a little sense.  Mozart’s gift is that he makes us think about ‘immortal’ truths, and about other ‘Universes’, ‘Worlds’, and ultimately, other “Hilbert Spaces” (which are 5-dimensional)… I contend that this is why the “Mozart effect” is so real, and has been demonstrated so many times.  Listening, itself, is the key to Intelligence.  Jean-Paul Sartre wrote: “Genius is passive”.  Perhaps I agree, a bit.