#the black keys album Let’s Rock

[illyrianbitch]

What Lies Between Us

Pairing: Reader x Modern Detective! Azriel

Summary: Azriel has spent years trying to escape the ghosts of his past, retiring into a self-imposed exile despite a promising career as a talented detective. When you turn up at his door asking for help on a recent case, his world is disrupted.

Warnings: angst, outrunning memories, brief allusions to crime, details of injury, horrible yearning and longing tbh

Word Count: 3.4k

✹ ✶ 𖧷 ✶✹ 

Azriel let out a sigh as he fumbled for his keys, juggling a bag of groceries in one hand. The weight of it grew heavy, and he clenched his jaw in focus as he finally pushed his door open, blindly reaching for the lightswitch on his wall. 

A soft meow greeted him at his feet. Azriel glanced down to see Shadow, his black sleek fur gleaming under the light, weaving affectionately between his legs. Shadow's green eyes flicked up briefly before he leapt gracefully onto a bar stool and then the counter, nose twitching as he inspected the grocery bags Azriel placed down. He pulled back, seemingly unimpressed.

Azriel’s therapist was insistent that more greens would be beneficial in easing his anxiety. He said nothing about its relation to his nightmares, but Azriel didn’t have high hopes regarding whether broccoli could treat years of insomnia. Slowly, he pulled groceries from the bags, one by one. He almost snickered at the contents of his fridge— a few shelves now stocked with freshly bought produce, a carton of eggs, orange juice, butter, and a pack of beer. He shut the door. 

There were a few birthday cards on his fridge, held on by various traveling magnets he’d collected over the years. One card was from his mother, the words “sweet boy” staring back at him, written with a heavy hand and adorned with hearts she delicately drew. The others were from his friends, a stupid one from Cassian, a sweet one from Mor, even Elain had gifted him one— and an invitation to her wedding. 

He hadn’t gone. 

But you had. He knew this from the pictures Feyre had posted on Instagram.

Not that he was checking. He deleted Instagram soon after.

Azriel's gaze lingered on the cards. There was one missing, and his fingers traced the place it used to be, where he had stuck it for a week before he realized he couldn’t handle looking at it every morning as he made breakfast. That card was tucked away in his bedside drawer now. He saw it every night, instead. 

He let out a deep sigh, running his hands along his face, fingers brushing against the stubble that had begun to grow already. 

He had planned to cook a healthy meal tonight, to take his new prescription and finally attempt to get a good night's sleep. But the thought of chopping vegetables and cooking felt exhausting. He pulled out a beer.

The cap nicked his thumb as he twisted it off, but he barely registered the sensation, quickly drawing the neck of the bottle to his mouth. He greedily swallowed down the cheap contents and moved towards the living room. Shadow padded after him, tail flicking in curiosity, a step behind every move Azriel made.

His apartment was empty, save for a few decorations and his heavily decorated bookshelves. Two of the chairs in his living room were still new, and the smell of brand new leather clung to them heavily, making the entire room reek of a department store. Azriel’s apartment wasn’t a home. It was a place filled with furniture. Besides those cards on his fridge, not much hinted at any sign of a life well lived. 

Except the vinyl collection he now stood before. 

His collection was meticulously organized, spanning decades of music. Some were torn, tattered at the edges where he’d picked them up at vintage shops, others brand new from gifts he’d been given. 

Azriel selected a record. Its cover was worn and bent at the edges from drunken nights trying to carefully shove it back into its place. A classic rock album, the kind that filled the silence with powerful guitar riffs and soulful vocals— one of his favorites.He slid it from its sleeve, handling it with the care it properly deserved, and placed it on the turntable

Azriel wasn’t a flashy man, never one for fancy possessions, but this collection was his pride. The turntable itself was one of the nicest things he owned, if not the nicest. He cherished it, admired it every time he came into the living room. As the needle found its place, the familiar crackle precluded the strong, evocative notes of the electric guitar, filling the room with a warmth and soul that pulled a deep,weary sigh from his gut. 

Shadow brushed against Azriel’s legs again, and his eyes fell at the touch, gaze falling on his guitar propped against the wall.  A wave of sadness ran through him. Azriel approached it, running his fingers along its neck, along the dust that had gathered on top of it. The strings resisted against the scars on his fingertips.

He took a step back, grabbed his beer, and made his way towards the balcony. 

The rush of cold night air offered a welcoming reprieve from the stifling stillness of his apartment. The chill bit at his skin, but he didn’t mind. It reminded him that he was still alive, still capable of feeling something other than biting numbness, suffocating guilt.

The city buzzed below. Azriel was never a fan of New York. The city was loud, crowded, and full of distractions that made it hard for him to find the quiet he craved. He felt disconnected from it all, from the hums of life and sounds of cars. He’d never felt as lonely as he did recently, surrounded by hundreds of people. Taking another sip of his beer, he let the music wash over him, the rich melody pouring out into the open air. 

Azriel was only two songs in before there was a sudden knock on his door. 

He frowned and waited a minute for them to go away. Another knock followed, more insistent this time. Grumbling, he turned around and headed to the door, placing his beer on the counter.

"Damnit, Rhys,” Azriel called out, hand reaching out to pull his apartment door open, “I told you I didn't want to—" 

Azriel’s words died in his mouth as he opened the door, feeling a rush of emotions flood him all at once—relief, shock, and a hint of something else he couldn't quite name.

You were as beautiful as the last time he’d seen you, at that family dinner where he’d done his best to avoid you. Your skin was tan now, a sun-kissed glow that Azriel quickly deduced was from the recent trip you’d taken with Mor and Feyre. You’d gone to Belize, and while Feyre was gone, he and Rhysand had taken a trip upstate, stayed at a small place Rhys owned. Rhys was smart enough to not bring you up throughout the week, but Az still saw all the pictures Feyre had sent him— pictures that included you beaming at the camera, drink in hand and those pink vintage sunglasses you’d bought at a flea market three years ago.

"Y/N," he breathed out, voice barely above a whisper.

“Hi, Azriel,” you said, voice steady and soft, sweet like honey. It dripped down his skin and made him melt. His hand fell lax against the door handle. You gave him a small, almost unsure, smile. “I need your help.” 

Azriel’s brows furrowed, gaze scanning your features for a moment. There were dark circles under your eyes— and your eyes, your eyes themselves seemed sad. Troubled. His stomach twisted into itself. You held his gaze for a moment before you were clearing your throat, shaking your head as if breaking the connection. 

“Can I come in?”

Azriel blinked. “Of course,” he finally replied, pulling the words from deep out of his chest. He gave a smile as he stepped aside and gestured for you to come in. “Please.”

✹ ✶ 𖧷 ✶✹ 

It was strange to be so close to you, to watch as you gingerly took off your coat and draped it over one of his barstools. Azriel’s eyes traced your form before him— the bend of your spine as you leaned over, the jewelry on your wrist, the boots that you wore.Even with your back turned to him, Azriel knew you. Something was deeply troubling you. There was an evident tension in your body, in the way your shoulders moved, in your shallow breaths. 

His gaze lingered on your waist for a moment, on the way your body curved below your hips. He shook himself out of the daze, suddenly embarrassed and shameful. 

His eyes fell to the ground, where Shadow now mewed and rubbed against your legs. You looked down at the contact, letting out a small laugh. Shadow wasted no time before jumping onto the kitchen island, nudging against your arms affectionately.

Azriel moved quickly, scooping Shadow up and setting him back on the ground. “Sorry about that,” he murmured.

“It’s okay,” you replied, a soft smile still playing on your lips. It was unsure— wary, even. The realization made Azriel’s stomach sink. He looked down at where Shadow was pressed against you once more.

Azriel’s eyes met yours, a flicker of something tender passing between you as he quietly said, “He missed you.”

Your gaze softened. A silence followed. It was heavy, but no longer uncomfortable. “I did too.”

The words hung in the air, filling the space between you with a warmth that neither of you dared to acknowledge fully. Azriel pushed away the thoughts in his mind that began to wonder if your words were meant for him, if you had missed him. He cleared his throat.

“What brings you by?”

You blinked, breaking the stare you were holding. “Right,” you said. You quickly turned back to your bag, fumbling slightly as you pulled out some papers and folders, gently placing them on the counter. 

You flipped one of the folders open, saying nothing as you glanced at Azriel before casting your eyes down at the papers before you. You took a deep breath.  “I need your help with a case.”

Azriel took a step forward, eyes glossing over the papers before him. He tightened his jaw. “You’re not supposed to be showing me these.”

He could get in trouble for being exposed to such sensitive information— and you, you were risking your career being here. 

“I know,” you replied. 

Azriel leaned forward, setting into a stance next to you. He ignored the way his skin prickled at the close proximity, instead placing a finger on the papers, pulling them closer to him. He frowned, brows furrowing as he took in the details. He casted a side glance at you.

You were already looking at him, a crease between your brows as you pressed your lips into a thin line.  

“Y/n,” Azriel murmured, “I’m not sure how I can be of any use.”

“Just hear me out,” you pleaded, moving closer to tap a finger on the papers. “They’re following a pattern. I need to get ahead of it. I’m stumped and you used to be great at these cases.”

Azriel’s frown deepened. “Is it a copycat?”

You paused. Azriel missed the flicker of hesitation in your eyes before you nodded. “Yeah, a copycat.”

He let out a contemplative hum. “Who?”

You chewed on the inside of your cheek, taking a step back as you remained quiet. Your silence was pronounced enough for Azriel to stiffen. He turned around slowly. His eyes gave away the question that was seated on the tip of his tongue. You nodded. 

Azriel stood still, his face hardening, but there was something in his eyes that looked awfully like fear, something in his gut that felt awfully like shame— like regret. He took a deep breath.

“I can't help you.”

Your shoulders slumped. “Azriel-”

“Y/n, I can’t help you,” He repeated, the words falling from his mouth like a practiced mantra of self-denial. “Request the files you need, talk to Cassian. He knows it just as well as I do.”

Azriel curled his hands into fists. He attempted to ignore the stone that sank in his stomach at the name of his friend, of his brother. Cassian. As if sensing his distress, Shadow mewed softly, weaving between Azriel’s legs.

“That is not true and you know it,” you retorted. There was a heavy sense of frustration that seeped into your voice, one that dripped from every word you said. You could feel the tension thickening the air, suffocating the space between you and Azriel. 

He remained silent, his gaze fixed on a point somewhere beyond your shoulder. The stubborn set of his jaw made you falter further. You took a deep breath, lowering your voice to one much softer, much smoother. Azriel nearly melted at it, nearly found himself apologizing for everything he had done.

“I’ve requested access, I can talk to Cassian. But we both know you know things even I don’t. You kept meticulous records.”

“I-”

"Please," you interrupted, your voice pleading. "Az.”

Azriel’s expression softened, his eyes meeting yours with a mixture of sorrow and resolve. He let out a small sigh and then he offered you a nod. His steps were measured, deliberate, as he turned and made his way down the small hallway, the echoes of his footfalls filling the quiet space. 

His bedroom was just as empty as the rest of the apartment, and his gaze flickered to the bedside table as he passed. He stilled for a moment, feeling another heavy wave of sadness wash through him. Another second passed before he pulled his mind away, forcing himself to walk into his closet. 

It took a few moments of pushing aside boxes and clothing before he found it, running his hands along the small safe tucked away in the back wall. With a practiced hand, he dialed the combination, the soft click of the lock releasing echoing in the room. The door opened gently, revealing its contents—a sleek handgun nestled among a jumble of items, including a worn leather journal and a stack of notes. Brushing his hand over the cold metal of the gun, Azriel reached for the journal, its worn cover familiar beneath his touch. Tucking it under his arm, he closed the safe with a sense of finality.

Returning to where you stood, Azriel found it difficult to meet your gaze again, opting to keep his eyes trained on the journal in his hand and Shadow at his feet. He wasn’t sure if it was just him that suddenly felt so smothering, or if there was something in the air that made it hard for him to breathe. 

He offered you the journal with an extended hand. For a brief moment, your fingers brushed against each other. A familiar warmth ran through Azriel’s body and he resisted the urge to recoil from the intensity of it alone. 

His hand stayed in the air for a moment, suspended in the moment of your touch. You glanced down at his palm, eyes drifting to his bare ring finger. Your eyes softened and Azriel followed your gaze, immediately pulling his hand back and shoving it into his pocket.

“Thanks,” you murmured, turning around to place it on top of your bag. You kept your back to him for a moment, and Azriel traced the curve of your spine with his eyes, watched how you placed two hands to brace yourself on the counter as you sighed. You slowly turned around.

“Azriel-”

The glint in your eyes told him where the conversation was bound to lead. He cut you off as fast as he noticed. “I can’t.”

You deflated, shoulders falling slightly as your gaze danced across his face. “You didn’t even let me speak.”

“I know what you’re going to say,” he said softly. He shifted on his heels, shoving his hands further into his pockets. “I can’t get involved. This is all I can do.”

“Alright,” you finally replied, bringing your bottom lip between your teeth as you absentmindedly nodded your head. “I’m sorry.”

“No, no.” He took an instant step forward, hand naturally flying out to touch your arm. He realized his movement before he made contact, letting his hand fall awkwardly at his side. “Don’t apologize. You have nothing to apologize for.”

“I better get going.”

Please don’t.

“Yeah.”

Please stay. 

As you started to gather your belongings, slipping the journal into your bag and pulling your jacket on, Azriel's gaze remained fixed on you. His heart lurched painfully in his chest as you reached for your jacket and pulled it on, your shirt hiking up to reveal the beginning of a jagged scar along your abdomen. He deflated, casting his eyes to the ground. A wave of self-loathing washed over him and he clenched his hands at his sides, his knuckles turning white with the force of his grip.

It wasn’t until you were opening his front door that Azriel found the courage to look up, mustered the strength to meet your eyes.

“Y/n-” Azriel paused. His heart thudded loudly in his eardrums. He felt a faint tugging sensation in his chest, as if his body itself was screaming at him to get closer to you, to not let you leave. He swallowed down the selfish words he wanted to say, and instead offered you a wary, but warm, smile. “Be careful. This might just be a copycat, but they’re still as dangerous. I want you to be safe.”

“I know.” Something in your face softened, and you offered him a half smile. His eyes darted to the small dimple on your cheek. “I will be.”

You turned to leave, but no movement followed. Instead, you stilled, hand tapping on the handle before you turned around again. “It was nice to see you, Az.” 

He gave you a small, curt nod. His chest tightened. “You too, Y/n.”

“Take care of yourself.”

And then you were gone. 

✹ ✶ 𖧷 ✶✹ 

Azriel sat on the couch, the soft hum of his chosen record filling the otherwise quiet apartment. His hand absentmindedly rubbed Shadow's head as he closed his eyes, allowing his thoughts to drift.

Weeks had passed since he last saw you, but you were never far from his mind. He had toyed with the idea of reaching out to you, of asking how things were going, but the thought was quickly dismissed. It was inappropriate on multiple levels. You weren't in each other's lives anymore, and he shouldn't have known about the case in the first place. So he resigned himself to living in his mind, replaying that night over and over, wondering if he should have asked you to stay, if he should have offered more help.

There was a knock at the door. 

Azriel jumped at it, head twisting over his couch to look at his entrance. He pushed himself up, lifting Shadow from his lap as he made his way to the door. The cat emitted a discontented sound as he settled back into a lying position.

His heart fluttered with anticipation as he made his way to the door, a small glimmer of hope now flickering in his chest. Could it be that his prayers had been answered? That you were here again, unable to stop thinking about him just like he couldn't stop thinking about you?

Azriel took a deep breath as he reached for the doorknob.

He prepared to muster up a smile, running greetings through his mind, knowing himself well enough that he’d stumble at seeing your face once more. But as he swung the door open, his face fell flat.

"Rhys.”

Rhysand offered him a smile, but it lacked its usual warmth, troubled lines etched into his features. His posture was tense, his shoulders squared. There was a stiffness to his stance, a subtle rigidity that made Azriel’s stomach drop. 

"What is it?" Azriel asked.

Rhys met his gaze, eyes filled with a darkened sense of worry. There was a glint of apprehension in his eyes, as if he were hesitant to speak. He swallowed.

"It's Y/n," Rhys finally said, "She's missing."

✹ ✶ 𖧷 ✶✹

this idea appeared to me in a dream and i had to write it... will it ever come to fruition? who knows??? but i do love a good haunting of the narrative.... az finding us....az being thrown back into a world he thought he left behind...... lord its such yummy angst

so lmk if you’re interested in being tagged in a part 2 :)

permanent tag list 🫶🏻: @rhysandorian @itsswritten @milswrites @lilah-asteria @georgiadixon

@glam-targaryen @cheneyq @darkbloodsly @pit-and-the-pen

azriel tag list: @thisiskaylin @serrendiipty

[melanatedeuph0ria]

the boy is mine ⋆˙⟡♡

rick grimes x black!fem! reader

since he’d arrived in alexandria, you and rick have gone from complete strangers to close friends. you’d proven to be extremely useful to his team-after all, you were a great shot and had skin tougher than steel. but now, you’ve started seeing rick in a different, more romantic light. will your newly-developed crush on the police officer be reciprocated as you’d dreamed?

summary: you and rick go on a run for supplies. some hidden feelings get uncovered along the way.

NOTE: this fic takes place in alexandria era BEFORE negan (i’m guessing like s6 bc i forgot)

a/n: MY FIRST FIC EVER AAAAA i’m hoping its ok bc i’m literally just going w the flow lmao

also sorry ts took so fucking long i still have school n stuff guys 🙏🏽😞

genre: fluff, angst, hurt, comfort idk

warnings: blood, zombies, cursing, use of n word, near-death experience

“y/n! you ready to head out?”, rick yelled as he leaned against a silver sedan parked in front of Alexandria’s gates.

after finding yourself caught in a conversation with maggie and glenn, you quickly swooped your head around to acknowledge the gruff man, your eyes widening at the sound of his southern drawl lingering on your name.

“yeah, I’m comin’!” you croaked, creasing your lips into a nervous smile. after a moment, you made your way over to his car, backpack slung over your back.

you and rick were headed to a small, nearby grocery store that an old-time alexandrian claimed was hidden away from the frequent commotion of the town. there was a 50/50 chance that it might’ve or might’ve not been looted, but you both weren’t willing to skimp out on this rare opportunity. after all, the community was running short on food and supplies-it started getting obvious that it was once people were given smaller portion sizes than normal.

and it was you who, stupidly enough, agreed to check out the area with none other than your best friend you’ve been harboring a crush on, rick grimes.

you were intrigued with the man from the moment he stepped foot into alexandria-he lowkey terrified you, him AND his group, but that only sparked your urge to get to know them a bit more. you didn’t actively seek interaction with them- it was by really by circumstance when you had the chance to kinda intermingle with them all. you forgot how you and rick even met each other, to be honest. he knew you were a good shot and had skin tough as nails, that’s for sure. you had grown into something of a maternal figure for Carl, his teenage son, although it took a while for him to finally warm up to you. you couldn’t blame him, to be honest. you knew he’d been through some rough shit-he told you about his mom and what he was forced to do to her after she’d been bitten and just delivered judith, his month-old half-sister. nonetheless, you and rick were both each other’s rocks; he cared for you unlike anyone else in alexandria, and you adored certain things about him-his deep, southern voice when he gently called your name. the traces of vanilla and bourbon cologne left on his clothes despite sweating all day-most of the time he didn’t even bother trying to put it on, but the days he did, you subconsciously noticed. him surprising you with 90’s rnb album CDs that he’d snatched on his runs- once he’d surprised you with a whole erykah badu album, and since then, you’ve kept it under lock and key inside your nightstand. his damp, ruffled hair as he stops by your house for a towel to dry it off because he never seemed to have any of his own; you let him in without much question, of course, but for the past few weeks he’s been on your porch steps, your heart’s been pumping at speeds you’ve never experienced before-at least, not in a while-a zombie apocalypse ruins one’s concept of love when the one you’re in love with can slip from your fingers in a heartbeat.

but could it be? could you really be in love with your best friend in a zombie apocalypse? you were sure of it, but horrified to know if he felt the same, which is why you didn’t even realize your leg was was anxiously bouncing up and down on the floor of the car until…

“y/n. you alright?”

“huh? oh y-yeah, i’m good. what’s wrong?”

“nothin’, you’re just..extra quiet.”

“do i need to start talkin’?” you didn’t mean for that to come off as rude as it did. you were just nervous, nervous about what he’d tell you if you told him how you truly felt.

“no, no, it’s fine. you don’t gotta say nothin’ if you don’t feel like it.”

aww shit, now i feel bad, you thought. you tried your hardest not to sink into the car seat in shame so he wouldn’t notice yet another thing off about you today. you tilted your head to the window.

“we made it.” in what seemed like a flash, you and Rick were parked outside the convenience store. did you zone out that hard? not that it mattered anymore. you climbed out of the car and you both took a closer look at the store. it was abandoned all right-at least, it could’ve just looked that way-but it still looked intact. untouched by the world. you hoped that would also apply to whatever awaited inside.

bigger than what i thought it’d be, you thought as you peered at the building.

“bigger than i thought it would be.” rick said aloud.

is this nigga reading my mind..? you thought. “let’s just hope there’s no walkers on the inside.” you said in an attempt to reassure yourself that there were no undead lurking around.

You looked back at Rick for a response or some sort of agreement, but when you did, out of the corner of your eye you saw him damn near snap his neck just to stare back at the store. he cleared his throat loudly. the gesture alone radiated an anxious energy, something you had almost never sensed in the man since knowing him. it was kinda like he was afraid of getting caught…wait…

..was rick staring at you? and how long had you gone without even noticing?

if he was staring, it certainly wasn’t for no reason. you are undoubtedly stunning, so much in fact that some people were envious of your beauty before and during the apocalypse. your rich, brown skin, glistening in the hot, june sun, and your thick, coily hair, pulled into a low puff, were just a few of your most admirable features, both inside and out.

shaking the thought off your mind, you both finally approached the building, carefully peeling open its glass doors and sliding inside. you knew the drill already, but rick felt the need to tell you again, which wasn’t to your surprise at this point. “i’ll take the left side, you take the right. we’ll use our walkies to communicate-if you’re in trouble, i’ll be right there, alright?” you nodded in compliance-you both knew you could handle yourself-but you couldn’t help but bite down a smile when he said that. his low, whispery voice was strangely reassuring, like he cared for you as a lover instead of a friend. you felt your cheeks begin to burn-it’s not really like he could tell anyway, for obvious reasons, but also because it was dark as hell in the store- you assumed the owners didn’t survive long enough to pay the electricity bill.

you were shocked to see that the aisles were just barely looted-you we’re expecting them to show signs of being scavenged at least a bit, but there they were, filled to the brim with food that would just about save Alexandria from starvation.

you clicked on your walkie and held it up to your mouth. “holy shit.” is all that could manage to come out of your mouth right now.

“looks like we hit the jackpot.” rick replied on the on the other line. he already knew what your “holy shit” meant.

with caution, you strolled down the “canned goods” aisle, looking up and down each section in awe. you came to an abrupt stop in front of one of the rows, gazing at everything in stock until your eyes settled on a can of peaches. you knew they were probably expired, you expected everything else in there to be, but you were curious to see what the expiration date read on its back, to see how long it’d been since the world went to hell. you held the can in your left hand, examining the date on its back: 10/18/09; it’d been expired a year before the apocalypse even began…

didn’t think it’d be that expired.., you murmured to yourself as you creased your lips into a disgusted frown. just as you began to set the specimen back on the shelf, a loud thud from underneath the rack sent it bouncing upwards, startling you so badly that the can slipped from your fingers and splattered onto the floor into a mushy mess. somehow, there was a walker under there, reaching its pale, maggot-infested limbs out to grasp at your leg. your eyes immediately traveled to the undead as you quickly thought of how you could quickly end its 2nd life. you frantically tugged your imprisoned foot backwards in an attempt to break free, reaching into your leather sheath and pulling out your dagger halfway, but, soon enough, you were met with an even more terrifying scenario. your back clashed violently with the rack behind you, and a walker on the other side, suddenly aroused by the sound and the smell of your human flesh, reached its spindly hand through a wide, open hole in the decaying rack. its hand curled around your throat with enough pressure to keep you pinned to the shelf while you also tried to free your leg from the walker below you.

“RICK, I NEED HELP!” you yelled out into the aisle. it was a risky move and could probably attract even more walkers than what was already threatening you, but you couldn’t get a good grip on your dagger and that was the only weapon you had. calling for backup was the only option you had left.

the oncoming presence of death pricked at prodded at your skin like thorns. the thought that-in that moment, you could be bitten, and all of your hopes and ambitions for the future could immediately be crushed-left you speechless, stricken with terror.

just as the walker grabbing at your neck prepared to take a bite out of it, rick appeared and stabbed it right in its head. just after you finally freed yourself from its grasp, the man noticed the walker on the ground and stomped on its skull, leaving a bloody, mushy mess on the floor, but you were too panicked to even notice.

an exasperated sigh escaped your mouth. “oh my God, rick, you’re a lifesaver-“

your rushed, panicky words were interrupted when he suddenly crashed his lips onto yours. your eyes immediately widened at the sensation of his coarse lips pressing onto yours, soft and plump, then slowly fluttered shut. your breathing, at first rapid and filled with anxiety, had simmered down into slow and steady breaths as his lips passionately devoured yours. almost subconsciously, he trailed his right hand, roughened with scars and calluses, on the nape of your neck, holding you closer than ever before as he rested his left hand on your hip. his ocean blue eyes drifted shut as he explored you, desperate for your touch, before he slowly pulled away from the kiss to give you some time to breathe. you fluttered your eyes back open and waited for him to look up at you.

“i’m-i’m sorry, i shouldn’t have done that, just so randomly. fuck…” rick babbled rapid apologies before a frustrated, shaky sigh escaped from his mouth. without thinking, you cupped his cheek, burning with the embarrassment of his decision, and leaned into him, rewarding him with a kiss of your own; it only seemed fair after he saved your life and your heart in only a matter of seconds. his eyes fluttered shut at your touch as your other hand tangled into his neatly combed hair. you let the feeling of your lips gently pressed together linger for a few seconds before you slowly pulled away. you felt your heart buzzing with excitement but also with relief, now that you knew that he’d been storing feelings for you this entire time. a confident grin appeared on your face as you looked up at him.

“i like you too, grimes.”

-the end. ⋆.ೃ࿔*:･

[sugar-coat-it]

hi belle! what do you think body piercer is like as a bf 👉👈

also would you do an alphabet or something for him? lowkey dying for more content for him

Hiii!! <3 

Omgggg wait wait let me tell you some details

He’s very much into punk rock (Fugazi, Rage Against The Machine, etc.) and lives in his band tees. Much like the back room of the parlor, a lot of his stuff is covered in stickers for his fav bands. So I think he’d really like to introduce his girl to his music if she’s willing to try it out, it would mean a lot to him!

Whenever he picks her up, he’s always blasting music LOUD so she knows when he arrives 

Big fan of CDs. You can bet your ass that he’s burning CDs for her for all sorts of things. Songs that remind him of her, songs he wants to fuck her to. Some of them are stupid too, like “Good Shit” scrawled in black Sharpie on a disc. Sometimes he’ll scribble little drawings on there too. His handwriting is shit and she loves it.

Also music related, he's an amazing concert bf, always making sure she can see and no one is getting too close to her. He'd be SO PROUD if she went to a punk rock show with him

Now… if she ever did say she was interested in getting another piercing of any kind, he is begging her to let him do it for her (for free, with princess treatment). He’s very much like “fuck yeah, do it” whenever she brings up a tatt or piercing of any kind

Quietly cuddling, he’s tracing her features with his finger, he comes to the bridge of her nose and he’s suddenly like “You have a good nose for a septum piercing” and she’s like “???”

He remembers everything about her, and he makes a point to, even if he has to write sticky note reminders to himself sometimes (ADHD brain as hell)

This man SMOKES. My god his marijuana tolerance level is ungodly. If his girlie is into it too, it would be the joy of his life to roll spliffs for her.

Big fan of getting baked with her, putting on music, and then going off about the album’s impact on the music world because he knows she likes listening to him talk, and none of his boys let him ramble on nearly as much

The late-night diner visits after hotboxing his car go CRAZY (side note, don’t ask me why, but I feel like he has a rubber duck on his dashboard)

One time after a smoke session they built a fort in his room and made out for close to an hour, all giggly and hazy

I think he’d like to let his girl paint his nails. He prefers black, but he wouldn’t mind painting his nails the same shade as girlie’s so they can match

He also let her braid his mohawk once… lol

Tea had sent me an idea about this, but he’d absolutely buy her engraved jewelry. Like… barbells with hearts that have little M’s engraved on them??? Holy shit 

Also, from a discussion with B, HE GOES SO FERAL WHEN SHE GOES BRALESS AND HE CAN SEE HER PIERCINGS THROUGH HER TOP

He keeps a Polaroid picture of her both in his wallet and at the desk in the shop 

If anyone asks about it he’s like “THAT’S THE LIGHT OF MY FUCKING LIFE”

Veeery possessive. Not to a toxic point, but she is his, and he makes sure that everyone is aware in his own little ways 

He likes to be touching her almost all the time. Whether it’s an arm lazily slung around her shoulders or lacing their pinkie fingers together

Really likes love bites. One time he left hickeys in the shape of a heart on her collarbone 

Y’all remember that hip pouch thing he wore during the 2020 era? That but it’s filled with his girl’s things like her lipstick or her wallet so she doesn’t have to carry them

Teenage boy humor. Hella “that’s what she said” jokes

He forgets stuff at her place constantly. She’s starting to wonder if it’s on purpose at this point. Maybe it’s his own way of feeling like a more permanent part of her life

Finding his jewelry on her dresser, his lighter on her coffee table, a hoodie hung by the door

Sometimes he’ll leave his keys and come running back into her place just to end up messily kissing her against the wall

Overall, I think he probably looks a little intimidating to people because he has a mohawk and wears chains and platform boots but he’s such a sweetheart oh my god anon. He just loves her so so so much, and he’s so gentle with her. I love him. So much. That’s my baby.

And as for an alphabet, maybe! I’d be happy to if that’s something you guys would want to see

[weaselle]

let's talk racist algorithms

i have a weird relationship with music for reasons i won't get into, but as an example, despite loving music, i have not been able to make myself listen to music on purpose in about 6 months. Music is weird for me. BUT I DO LOVE IT

I'm a poet, if i'm really feeling myself i'd even say i'm a word-smith, so rap has a really special place in my heart

The first rap artists i heard and bought an album from them on tape cassette and would listen to all the time were Snoop Dogg, McHammer, DJ Jazzy Jeff and the Fresh Prince (that's Will Smith for you young ones) De La Soul, and Vanilla Ice

This was 7th and 8th grade. Rap was the new rock, the kids were going wild for it, and because my school let students select the lunchtime PA music, Vanilla Ice was played at lunch almost every day at school.

We had zero black students at that school.

(I still remember the exact day Vanilla Ice stopped being popular at school, but that's about the severe homophobia of the time and a different story)

Now let's come back to today. When I listen to music it's often on Youtube, or Pandora. And i noticed a problem with these platforms pretty early on.

See, I had taken a big break from rap. Like i said, i have a weird relationship to music i don't have time to get into, but i didn't pay much attention to what was happening in rap for a long time. I'd had a friend who was excited to get me to geek out over Eminem with her a few times, and i went through a phase where i was in love with Digable Planets (high key recommend if you like an indie feel with a smooth jazz sound and east coast vibes)... I had a secret love for that one verse by Left Eye in Don't Go Chasing Waterfalls, could sing every word of Shoop, and i adored every Missy Elliot song that i heard on the radio. And that was about it. As a lyricist myself, the one that stuck in my head the most from this time was eminem, because lyricism is his whole thing.

I don't go to concerts. I don't buy albums. I tend to like specific songs more than specific artists. I know, i know, but that's not the point. When i can listen to music without it fucking me up mentally, I listen to music on Youtube and Pandora

And lyricism is my main attraction to rap, so when i came back to it on Youtube I put in Eminem first.

And right away, Youtube started recommending other rappers to me. And very quickly, i discovered that i was being recommended mostly white rappers.

I really like Hopsin, I went through a Dumbfounddead phase, i was into Dax for a minute, i like Domo Wilson, the J. Cole songs i like I REALLY like, I'm obsessed with Snow tha Product, I love the first Janelle Monae album i heard, i still fangirl over Missy Elliot, it's no surprise i like Joyner Lucas...

All of these i discovered and listened to via Youtube.

But because i like eminem, because I had a phase where i enjoyed a couple indie artists like Watsky, Wax, and Dan Bull, and because my depressed ass was drawn to NF and now a little Ren, when Youtube recommends rap artists to me, 90% of the algorithm recommendations are white artists. White men, specifically.

I had a similar problem with Pandora.

I actually had to create a special Pandora station that i seeded with three black artists and then ONLY liked non-white artists AND disliked every white artists that came up, just to get a station that wouldn't turn itself into a white rap channel.

It makes me furious, because i don' want to care about who is a white artist and who is a black artist!!!! I just want to listen to music that i like!!! But these bullshit music platforms make me have to care a lot about who is white and who is black just to not be pushed into racist music tastes and i fucking hate it.

And, if i'm being super honest, one reason i really hate it is because i know i probably really do have some internal racist tendencies when it comes to music, because i was raised white in america, and i really resent having to fight these fucking algorithms instead of, idk, being helped by them. I need to be able to look at my feed and assess it for my own unacknowledged racism... like, if there was no algorithm, and i looked at my music history and saw all white artists, i could be like, OH. I need to look in the mirror about this. But instead i have to play this weird tug-a-war with the platform about it and i can't tell what's my own deficiency and what is being forced on me. But SOME of it is being forced on me.

I mean for fucks sake, Snow tha Product does half her lyrics in spanish and the algorithm sees me love her and STILL recommends mostly white men. Hundreds of hours of listening to her, and zero spanish artist recommendations. Its infuriating.

Anyway, if you're curating your music tastes mostly online, and you start with white artists at all, then you really really gotta work to not fall deep into the bias.

And if that's what's happening with the music, how much more insidious must the social commentary content bias be

[dustedmagazine]

Guided By Voices — Strut of Kings (GBV Inc.)

Photo by Ellen Qbertplaya

In an interview following the announcement of the new Guided By Voices record, Strut of Kings, Robert Pollard explained why it would, uncharacteristically, be the group’s only release this year: “I just wanted to give this one a little more time to sink in with the fans. Give them some breathing space.” Take Pollard at his word: Strut of Kings is worth the focus and, speaking of space, it’ll take up as much as your speakers allow.

Back in 2018, I wrote that Space Gun (also that year’s only GBV album) was “a protein-rich re-entry point from which to backtrack through the post-millennium catalog…with triumphant blends of sweeping rhythm guitar, ascending lead riffs and rolling rhythm sections.” Six years and 13 albums later, I’ll say the same of Strut of Kings, only more so. As on Space Gun, Pollard is backed by Bobby Bare Jr., Doug Gillard, Mark Shue, and Kevin March, but here they play with a stormier ambition that adds an extra potency to the songs. This isn’t angry music, exactly, but it is noticeably heavier and sounds off with a harder-rocking urgency.

On the edgier end of things come ornery, ear-ringing slugfests like “Olympus Cock In Radiana” and “Cavemen Running Naked.” The first of which heaves around thick, fuzzy guitar arpeggios over a dogged stomp with the bare menace of early Black Sabbath. The second evokes both Queens of the Stone Age with its brute force drumming and taut, meaty riffs and Thin Lizzy with its buzzy, glamorous bursts of guitar. Sequenced between those two and yet darker is “Leaving Umbrella.” The track, slow, sheer and draped with cymbal crashes and sliding walls of distortion, finds Pollard wallowing in a psychedelic, fantastical fog, like a long lost David Bowie album for Southern Lord.

Ill-tempered bangers aside, Strut of Kings is, like so much of Pollard’s vast catalog, at its best in rich, punchy, power pop mode. One of Pollard’s great strengths as a vocalist is delivering even his hardest-to-parse lines with the conviction of confessional poetry. As the sparkling strum and thrust of “Fictional Environment Dream” is lifted by sustained electronic keys, “trying to sell me/on such same primitive tools/programming fever dreams/with the fools/let them expel me” might as well be Matthew Sweet lamenting “I’m sick of myself when I look at you.” It’s one of several moments when the musical ambition and vigor of this album crosses into more radiant, but no less powerful territory. Take, for instance, the long, elegiac build of “Bit Of A Crunch,” from clean, picked guitar to a robust, sunbreak-after-rain stadium balladry close to Oasis’ ragged, golden “Don’t Go Away.” Perhaps the record’s most potent blend of beauty and brawn, however, is “Serene King.” At the bridge, while Pollard raps towards his jet plane takeoff on the final refrain, a rapid series of single guitar notes shoot up from the bullying rumble of bass, drums and blasting, third-rail rhythm chords, taking the song from fist-pumping to something like transcendent.

Chalk it up to the explosive instrumentals, but the lyrics, often the most beguiling aspect of a Guided By Voices record, aren’t the most memorable part of Strut of Kings. One verse, though, from the album closer “Bicycle Garden,” stands out: “Though all the roses are dying/the old nest climbing with ivy/is lively.” What better way to describe Pollard’s indefatigable musical career than in terms of voracious regeneration. With this latest liveliness, Pollard and company continue that relentless growth. And remember, they’re leaving the breathing space for you: no one said they needed it.

Alex Johnson

[cherrylng]

Gears & Playing Analysis - Matthew Bellamy Playing Method [STYLE Series #004 - Muse (August 2010)]

Matthew Bellamy Playing Method The guitar part played by Matthew Bellamy, a dynamic driving force behind Muse's music. Unravelling the personality behind his unique and technical playing, which directly touches the listener's heart. Score and commentary by Yugo Yokoyama

Here we analyse Matthew's guitar playing, which is at the heart of Muse's songs. The three themes are ‘single-note riffs’, ‘backing with chord tones’ and ‘tricky playing’. We will reveal what kind of playing Matthew is good at and what kind of thinking goes into the construction of his phrases based on these three themes. The hand photos in the magazine are Matthew's own. We used the photos taken when we interviewed him at the time of the release of his first album.

P-1: The 3f on the 6th string is pressed with the index finger, not the thumb. The 5f on the first string is pressed with the little finger.

Riff playing that gives the impression of chord progression even in single-note lines

Ex-1 and Ex-2 are played in the style of ‘Supermassive Black Hole’. Both are simple plays based on single-note lines. Ex-1 is particularly simple, with the exception of bar 5, where only two notes appear: the open E on the 6th string and the G on the 5th string 10f! The rhythm is the key to victory. The game is therefore rhythm. It is important to stop the sustain of the note played just before the rest, and to ‘rest’ the rest note firmly. Ex-3, which follows the same single-note riff, is played as a shuffle. It can be described as orthodox blues-rock type playing, but it is important to note that despite the single-note riff, the line is a line that gives the impression of a solid chord progression. The next tune, Ex-4, is played with a pedal on the open E of the sixth string. It is quite unusual for Matthew to play only on the sixth string, even in a range like the second half of bar 4. Also, in [10f12f] and [10f→9 f] [ 9f8f], he seems to be playing with full picking, although hammering and plucking could be used. This style of playing seems to be Matthew's characteristic. Ex-5, reminiscent of Jimi Hendrix's ‘Foxy Lady’, which Matthew cites as one of his favourites, is surprisingly played with a single note line. It should be noted that, like Ex-3, Ex-5 is also played with a chord progression, although it is single-note. The key to the playing is the open six-string on the back sixteenth note. The trick is not to play this note too clearly, but to pick it lightly, just to the extent that you feel it. Incidentally, the sixth string is pressed by the index finger, not the thumb (P-1).

Ex-6 to 9 are also played in riffs, utilising drop-D tuning. Again, it is the positioning that is noteworthy. For example, in Ex-7 and Ex-8, the key point is that, as in Ex-4, only the sixth string is used. Ex-8 is, let's say, a drop D version of Ex-4, so it's not hard to understand, but I think it would definitely be easier to play the second bar of Ex-7 using the fifth string. Be that as it may, it is also worth noting that bars 1-4 of Ex-7 are also played to give the impression of a chord progression, despite being single-note lines. In this case, it is a natural arrangement as it is played in a bassline style, but considering the examples of Ex-3 and Ex-5, this tendency may be a characteristic of Matthew's riffs. The following Ex-9 is more about the octave playing in bars 7-8 than the drop D. The same can be said of Ex-10, which follows, but the trick to playing these parts is to place the extra middle & ring fingers on the strings and mute the extra strings.

Backing playing that cleverly utilises some of the chord tones.

Ex-11 is chord cutting using the voicing of the first three strings. However, this is a relatively rare play, as Matthew does not often make backing plays that use simple chords like this. Instead, Matthew often uses playing with chords in the third degree. Ex-12 (P-26) is a good example of this. The technique of building up the backing while cleverly using third degree chords as part of the chord, such as [2 string 10f & 3 string 11f] and [2 string 14f & 3 string 14f] on F#m, is one of Matthew's specialities. The method of string pressing in Ex-12 is also noteworthy. He does not use his index finger at all. As can be seen in P-2 to P-6, Matthew makes extensive use of the mute method, in which he crawls his index finger over the strings to prevent noise from adjacent strings.

P-2: Middle finger on the second string 10f, ring finger on the third string 11f. Note the extra index finger. P-3: The second string, 14f, is pressed with the little finger and the third string, 14f, with the ring finger. Mute the extra string with the index finger. P-4: P-2 moved parallel on the 2f. The index finger is also used to mute the extra string. P-5: Middle finger on the second string 9f, ring finger on the third string 10f. The form is a parallel shift of P-2 down 1f. P-6: Slide down 2f quickly from P-5. P-7: middle finger on string 2, 8f, ring finger on string 3, 9f. Note the extra index finger. P-8: From P-7, keep the ring finger in place, release the middle finger and press the second string 7f with the index finger. P-9: The second string 8f is pressed with the ring finger and the third string 8f with the middle finger. The index finger stands by on the 2nd string 7f. P-10: From P-9, keep the middle finger in position, release the ring finger and press the second string 7f with the index finger. P-11: Tremolo picking form bar 9 onwards. Note the picking position. P-12: Matthew's style is to pick with a twist of the arm from the elbow upwards, without much wrist movement. P-13: Right hand action is similar to Eddie Van Halen's Hummingbird picking form.

This is a significant feature. However, even if the index finger is used for pressing the strings, it is still possible to mute the strings sufficiently by making use of the extra finger, so it is not necessary to play with the same fingerings as he does. The following Ex-13 and 14 (P-7-13) can be seen as an application of Ex-12. These should not only follow the tablature, but also take the chord tones into account. Ex-15 is a play using chords in the sixth degree, which could also be described as an Ex-12 type of play. The reason is that the third and sixth degrees are like the front and back of the chord. The chord progression of this phrase is explained in detail on p. 104, so please refer to that. In Ex-16 to Ex-18, arpeggio backing is given. The key point is that the timing of the chord change at the start of Ex-17 is every two beats, making it difficult to recognise the arrangement as being in 3/4 time.

Ex-18 only plays two notes in the chord, but the phrase still gives the impression of a chord progression, which is typical of Matthew. Ex-19 is not an arpeggio, but it is based on the same idea as Ex-18 in that only two notes are played in the chord. The following Ex-20 is a solo development of the same line of play as Ex-19. It can be seen that arpeggios are effectively incorporated at the ends of phrases.

P-14: Pick-scratching form. The left hand is in the position shown in the picture, while muting the strings.

Tricky play with a variety of ideas.

Ex-21 is played using pick scratching. In normal pick scratching, the pick is rubbed on the strings over some long distance, but here the distance is about 1 cm. For example, if the first sixteenth note is scratched from the bridge side to the nut side, the next sixteenth note is scratched in the opposite direction, from the nut side to the bridge side… (P-14). The point is that you are rubbing a short distance back and forth in time with the rhythm. The same applies to the pick scratch in Ex-22 (P-15-17). The next one, Ex-23, is a bit tricky. The choking in bar 3 is the key point. It may be hard to tell from the score, but the choking is only on the second string, and you just pull the string downwards to avoid hitting the third string. Ex-24, on the other hand, is a much higher level. It combines right-hand tapping with left-hand trills. This alone is tricky enough, but it also involves a whammy pedal, and the pedal is depressed in time with the right hand tapping to produce a note an octave higher. The final ‘Effect Noise’ is probably the result of the guitar's built-in ‘Fuzz Factory’ oscillating. A commercially available ‘Fuzz Factory’ would have a similar effect by turning the ‘Stab’ knob.

P-15: Octave form with index finger on 5th string 5f and pinky on 3rd string 7f. P-16: Form of P-15 with a parallel shift of 2f down. Note how the middle finger mutes the extra string. P-17: Form of P-15 with the pinky position moved down 1f. The middle finger is also used for muting.

Translator's Notes: I honestly didn't expect that the hand pics in the article are Matt's actual hands. So that was a bit of a pleasant surprise.

[defjux]

200 of my favorite albums that I swear by, from any genre - limited to one per artist. I always wanted to do this since the start of the decade and finally got around to it. I’ve had a lot of different musical obsessions up to this point and periods where i was deep into specific genres so I tried to make sure all of that was represented here. Overall it’s a mix of personal classics that I go back to constantly, albums that helped form my taste, and some recently stuff I love. Didn’t want to stress too much over the order, but i’d say the first 50ish are pretty accurate. I’ll post the list below, and a version of the charts with the titles included. Let me know what you think - any favorites here? What would some of your picks be? Let me know. Peace. Charts with album titles included  1. At the Drive-In - Relationship of Command 2. Organized Konfusion - Stress: The Extinction Agenda 3. Aesop Rock - Labor Days 4. Ghostface Killah - Supreme Clientele 5. Cannibal Ox - The Cold Vein 6. MF DOOM - MM..Food 7. De La Soul - Buhloone Mindstate 8. John Coltrane - A Love Supreme 9. Converge - Jane Doe 10. Billy Woods & Blockhead - Dour Candy 11. The Mars Volta - De-Loused in the Comatorium 12. Pete Rock & C.L. Smooth - The Main Ingredient 13. Portishead - Dummy 14. The Dillinger Escape Plan - Ire Works 15. Björk - Vespertine 16. El-P - I'll Sleep When You're Dead 17. The Roots - Illadelph Halflife 18. Isis - Wavering Radiant 19. The Pharcyde - Labcabincalifornia 20. Miles Davis - In A Silent Way 21. Edan - Beauty and the Beat 22. Deltron 3030 - Deltron 3030 23. A Tribe Called Quest - Midnight Marauders 24. Company Flow - Funcrusher Plus 25. Every Time I Die - The Big Dirty 26. Gospel - The Moon Is a Dead World 27. OutKast - ATLiens 28. GZA/Genius - Liquid Swords 29. DJ Shadow - Endtroducing..... 30. Dälek - From Filthy Tongue of Gods and Griots 31. Stereolab - Dots and Loops 32. Refused - The Shape of Punk to Come 33. Mos Def - The Ecstatic 34. Boredoms - Vision Creation Newsun 35. Freestyle Fellowship - Innercity Griots 36. Redman - Dare Iz A Darkside 37. Armand Hammer - Paraffin 38. Panopticon - Autumn Eternal 39. Wu-Tang Clan - Enter the Wu-Tang (36 Chambers) 40. Godspeed You! Black Emperor - F# A# ∞ 41. Black Star - Mos Def & Talib Kweli Are Black Star 42. Ornette Coleman - Science Fiction 43. Electric Masada - At the Mountains of Madness 44. Orchid - Orchid 45. Alice Coltrane - Journey in Satchidananda 46. Digable Planets - Blowout Comb 47. Grouper - A I A: Alien Observer 48. Public Enemy - It Takes a Nation of Millions to Hold Us Back 49. Charles Mingus - Let My Children Hear Music 50. Camp Lo - Uptown Saturday Night

51. Milo - who told you to think??!!?!?!?! 52. Boris - Flood 53. Stan Getz & João Gilberto - Getz/Gilberto 54. Dr. Yen Lo - Days With Dr. Yen Lo 55. Avantdale Bowling Club - Avantdale Bowling Club 56. zeroh - awfulalterations 57. toe - For Long Tomorrow 58. Sun Ra - Sleeping Beauty 59. Dark Time Sunshine - ANX 60. Kayo Dot - Choirs of the Eye 61. Kate Bush - The Dreaming 62. Boards of Canada - Geogaddi 63. Unwound - Repetition 64. Jeru the Damaja - The Sun Rises In The East 65. Massive Attack - Mezzanine 66. Black Moon - Enta Da Stage 67. Tim Hecker - Harmony In Ultraviolet 68. CunninLynguists - A Piece of Strange 69. Quasimoto - The Further Adventures of Lord Quas 70. Glassjaw - Worship and Tribute 71. Sonny Sharrock - Ask The Ages 72. J Dilla - Donuts 73. Aceyalone - A Book of Human Language 74. D'Angelo - Voodoo 75. Jam Baxter - ...So We Ate Them Whole 76. Pharoah Sanders - Karma 77. Danny Brown - XXX (Deluxe Edition) 78. Gravediggaz - 6 Feet Deep 79. Sonic Sum - The Sanity Annex 80. Death - Symbolic 81. Funkadelic - Maggot Brain 82. Mach-Hommy - DUMPMEISTER 83. Prince Paul - A Prince Among Thieves 84. Nas - Illmatic 85. Grant Green - Idle Moments 86. Gang Starr - Moment Of Truth 87. Agalloch - Ashes Against the Grain 88. O.C. - Word...Life 89. Ne Obliviscaris - Portal Of I 90. Joni Mitchell - Hejira 91. Mr Key & Greenwood Sharps - Yesterday's Futures 92. Little Brother - The Listening 93. Max Roach - Members, Don't Git Weary 94. Cult Favorite - FOR MADMEN ONLY 95. Deftones - White Pony 96. Marvin Gaye - What's Going On 97. Cocteau Twins - Treasure 98. Prince - Sign o' the Times 99. Pageninetynine - Document #8 100. Boldy James & Sterling Toles - Manger on McNichols 101. NoMeansNo - Wrong 102. Fiona Apple - The Idler Wheel... 103. Baroness - Blue Record 104. Drive Like Jehu - Yank Crime 105. Alcest - Écailles de lune 106. Raekwon - Only Built 4 Cuban Linx 107. David Bowie - The Rise and Fall of Ziggy Stardust and the Spiders From Mars 108. Madlib - Beat Konducta Vol. 5-6: A Tribute To Dilla 109. Aphex Twin - druqks 110. Electric Wizard - Dopethrone 111. Siah & Yeshua dapoED - The Visualz Anthology 112. Discordance Axis - The Inalienable Dreamless 113. Mastodon - Crack the Skye 114. Juggaknots - Re:Release 115. The Cure - Pornography 116. Wolves in the Throne Room - Two Hunters 117. Erykah Badu - Mama's Gun 118. Fela Kuti - Expensive Shit 119. Blu - Below the Heavens 120. Ohbliv - Retrospective 121. Shibusashirazu Orchestra - 渋星 (=Shibuboshi) 122. United Nations - The Next Four Years 123. Mobb Deep - The Infamous 124. The Chariot - Long Live 125. Serengeti - Ajai 126. Heltah Skeltah - Nocturnal 127. Talking Heads - Remain In Light (Deluxe Version) 128. Autechre - LP5 129. Lil Ugly Mane - THIRD SIDE OF THE TAPE 130. Roc Marciano - Reloaded 131. Yndi Halda - Enjoy Eternal Bliss 132. Albert Ayler - Spiritual Unity 133. Open Mike Eagle & Paul White - Hella Personal Film Festival 134. Melt-Banana - Fetch 135. Bad Brains - Bad Brains 136. Deathspell Omega - Paracletus 137. Nujabes - Modal Soul 138. Nails - Unsilent Death 139. Cavalier - Private Stock 140. Flying Lotus - You're Dead! 141. The Avalanches - Since I Left You 142. Lightning Bolt - Hypermagic Mountain 143. Envy - Insomniac Doze 144. Gojira - From Mars to Sirius 145. The Doppelgangaz - Lone Sharks 146. System of a Down - Toxicity 147. letlive - Fake History 148. Goodie Mob - Soul Food 149. Death Grips - Ex Military 150. Jeromes Dream - Seeing Means More Than Safety 151. Standing On The Corner - Red Burns 152. Hüsker Dü - Zen Arcade 153. maudlin of the Well - Leaving Your Body Map 154. Oddisee - The Good Fight 155. Krallice - Years Past Matter 156. tricot - T H E 157. Gorguts - Obscura 158. Kvelertak - Kvelertak 159. Shabazz Palaces - Black Up 160. Sade - Love Deluxe 161. Opeth - Ghost Reveries 162. The Fall of Troy - Doppelgänger 163. Batsumi - Batsumi 164. Deafheaven - New Bermuda 165. Leonard Cohen - Songs of Leonard Cohen 166. The Number Twelve Looks Like You - Worse Than Alone 167. Dragged Into Sunlight - Hatred For Mankind 168. Earl Sweatshirt - some rap songs 169. Burial - Untrue 170. Mgła - Exercises in futility 171. Emperor - Anthems To The Welkin At Dusk 172. Fugazi - Red Medicine 173. Lord Finesse - The Awakening 174. Cult of Luna - Somewhere Along The Highway 175. Cryptopsy - None So Vile 176. The Ahmad Jamal Trio - The Awakening 177. Bohren & der Club of Gore - Black Earth 178. Lauryn Hill - The Miseducation Of Lauryn Hill 179. Bear vs Shark – Right Now, You're In The Best Of Hands 180. Wormrot - Voices 181. Broadcast - Tender Buttons 182. Swans - Swans Are Dead: Live '95-'97 183. Yves Tumor - Heaven to a Tortured Mind 184. AFI - The Art of Drowning 185. Mazzy Star - So Tonight That I Might See 186. Botch - We Are the Romans 187. NEPTUNIAN MAXIMALISM - Éons 188. Sigur Ros - Takk... 189. Rubberoom - Architechnology 190. Herbie Hancock - Sextant 191. Big K.R.I.T. - 4eva Is a Mighty Long Time 192. Oh No - Oh No Vs. Now-Again 193. Weyes Blood - Titanic Rising 194. Hella - Hold Your Horse Is 195. Loma Prieta - I.V. 196. Defcee - Lacuna 197. Genesis Owusu - Smiling with No Teeth 198. Brutus - Nest 199. Bruno Pernadas ‎- Those Who Throw Objects At The Crocodiles... 200. The Koreatown Oddity - Little Dominiques Nosebleed

[freshthoughts2020]

IF KENDRICK DOESN’T DO THIS THE BEEF WAS POINTLESS

IF KENDRICK DOESN’T DO THIS THE BEEF WAS POINTLESS

June 23, 2024

This was an article I was thinking about doing for a little minute but I’m glad I didn’t get around to it until after the “pop out” show.

Let me start by stating the obvious, the show was amazing from start to finish, it was basically everything you wanted out the show.

I didn’t have many critiques but if I had to have one it would be maybe keeping the aggression a little bit in the show after opening with Euphoria. I called it before it started that he would open with Euphoria because I knew he would want to set the tone.

Then going into DNA and ELEMENT made sense if you apply today’s debacle within those lyrics but when they came on, I was kinda like “uhh I don’t wanna hear this right now”.

I was #TeamDrizzy, but if I’m going to watch an aftermath beef concert (no pun intended) then I wanna see smoke the whole time you know lol.

I can’t really think of any replacement songs so he probably made the right decision. Anyways, so he ends the night with the obvious smash “not like us” which he’s shooting the video to this weekend.

Now with all that said, I’m still here thinking what did Kendrick get in this beef for? From the outside looking in I can tell Drake entertained this because he respect the emcee code and he’s never backed down from a challenge. So when Dot finally came with a direct hit after years of subs, of course Aubrey would answer the call.

But I can’t figure out why Dot wanted this smoke with Drake so bad. I feel like Dot was used as a proxy vehicle to make a permanent chink in Drake’s Canadian armor.

I’m not saying he doesn’t have a real personal gripe with him but I am saying other people in the industry used their gripe as an opportunity to launch onto his in an effort to get the Boy outta here.

Everybody is riding the Dot wave but I swear I don’t remember people glazing cuz this hard when Mr Morale dropped. When I heard that album I was praising it nonstop in fact I was even saying that after that release artist should think twice about what they drop next because Kendrick got so deep in his substance bag it wasn’t the time to release music with nothing worth while in it. 

Really it was a truly great album that hit plenty deeper than the surface topics, but like I said people were not riding the wave that hard. In fact they was flat out calling the album trash. By people I mean the casuals because obviously his core rocked with it, he just completed a worldwide tour. 

I can tell you exactly why the casuals thought it was trash because the album did not contain a commercial hit. After releasing a DAMN, people wanted more of that sound and Mr.Morale was not that instead you learned his auntie was a man now.

The casuals made this whole battle annoying , people were saying anything and was literally regurgitating points. Someone said to me “Drake isn’t black”, I’m like he’s literally black and Jewish.

The narratives that were allowed to get push during this beef was out of control and the casuals already decided Drake’s fate so anything half way decent from his enemies would be enough to rally behind.

Though the casuals were annoying, they also play a key position in Dot’s career moving n forward. Basically they’re like swing states in politics, he already won the casuals over but he can extra secure him if his next album is a pure commercial effort.

Which brings me back to the “why” of this beef.

If this beef was to just show he can rap better than Drake or that he’s more cultured than Drake then this beef was a waste of time.

Beefs of this caliber should be only for one thing and that’s for determining rank and elevating career status. This is like a ranked match in Tekken, you’re fighting to move up not to look cool.

Yes we can say Kendrick “won” this battle. But the way he wins the war is by dropping his most commercial album to date, if he’s not trying to become “Drake” then what is he doing? 

His next effort needs to be dumbed down, a whole album of “Not Like Us”, he sprinkled in a tiny bit of Pulitzer Kendrick on there but kept it digestible. He may have put a dent in Drake’s armor but Drake is still number one even after all this because no matter how many jokes are thrown his way, everything comes down to music.

How many Dot records you’re going to hear while out vs Drake. Not saying he don’t have club records just ask yourself how many you’re going to hear? Fasure you will hear his biggest one but the moment for Not Like Us will pass and what will Dot do then? It’s a million Drake records you can choose before you throw on Swimming Pools or something beloved.

I believe the most last longing effect from this battle is the destruction of the big 3. The Big 3 is done you even see it don’t mean anything in sports anymore either.

Right now it’s 1A and 1B. Drake is 1A. Dot is 1B.

Everybody else find their place in line. The only way Dot becomes 1A is dropping his most commercially digestible  album to date THIS YEAR! I might be willing to give him to next year but dog if you do all this and take three years off don’t come back talking that number one talk. 

He’s talented enough to make a timely album he don’t need a hundred years to conceptualize like people make it seem, he just chooses to be mysterious. 

He talking about sometimes you gotta “Pop Out” he better pop out with an album or it’s gon look like you only pop out to diss the boy. When we ain’t heard from him in years after DAMN, he pops back up on Keem record and he start talking about he smoking on people TOP 5. 

Alright Dot you got exactly what you wanted you caught the Boy slippin and snuck you in a dub. Now you better finish the job foreal or don’t come back another three years wasting everybody time with this again.

And as far as what Drake should do to stop Kendrick from getting number one. He should focus making his best music and not dissing him.

Make good songs then when it’s album time get back to dissing the living hell out of him. Get at him on album cuts. But the music wins always. If Dot want that number one spot he gon have to follow up with music for the masses or just settle for being the people’s champ. I guess that’s worth something but is it really? The people turn at the drop of dime, let him do something they don’t think behooves the “culture”, his ass gon be tooted on a silver spike too Lmao.

Follow me on Twitter.com/onlyonejaevonn

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[hstylesmermaid]

A Spectacular Fashion Voyage with Taylor Swift's Eras Tour!

As the final notes of the American leg of Taylor Swift's Eras Tour echo in our hearts, let's revel in the extraordinary fashion journey she's gifted us with! From the mesmerizing Lover era to the captivating depths of Reputation, each phase unveiled a distinct style, outfits that spoke volumes, and an aesthetic that transcended time.

She starts the show in her Lover Era with “Miss Americana and the heartbreak prince” followed by the first bridge of the night form “cruel summer”. For this era she has worn three custom bodysuits from Versace, all of them full of rain stones in shades os pink, blue, gold and purple, inspired byDuring this set in “The Man”, over the bodysuit, she wears a sparkly blazer as a dress, also from versace.

Fearless is next, Roberto Cavalli was in charge of creating these dresses that Swift rocked while dancing in a storm. The gold fringe dress was reminiscent of a similar look the designer created for her Speak Now Tour in 2011, the three dresses rememore the ones she wore back them, golden fringe and tassels that belong to her more than ever.

Long story short, while performing various songs from her album Evermore she took the stage in a yellow Etro dress that featured a corset top and beading detail down the front. For her magical performance of “Willow” she added a matching Etro cape. Playing into the woodsy nature of the Evermore album with a darker burgundy color and ruffles throughout Marco de Vincenzo, creative director of Etro, designed another dress for this set.

One of her most dramatic looks was the Roberto Cavalli one-legged jumpsuit. The design features a black sheer sleeve, glittering material and a three-dimensional embroidered snake motif winding from the bottom of her leg to the top of her neck. The ruby red snake contrasts with the black bezels of the design, it was reminiscent of the many bodysuits Swift wore during Reputation Tour as it was covered in black sequins scales.

For the end of a decade and the start of an age, she wore a custom-made Zuhair Murad Couture tulle ballgown – featuring beautiful beading, sequins, pearls and crystal embellishments all over the voluminous skirt and bodice. The impressive dress required 50 metres of tulle, while the elaborate design took more than 350 hours of handwork to create in the brand's atelier. In addition to the shimmering Zuhair Murad gown, after the release of Speak Now (Taylor’s Version) she wore a beautiful lilac Nicole + Felicia ballgown, featuring a tiered tulle skirt that captured the light beautifully, thanks to its crystal-embellished finish. Another gown Swift fought dragons is was a Elie Saab one covered in flower apliqué and shimmery beading.

She was never good at telling jokes but the punchline goes, and she know it too well because she wore a sequinned Ashish t-shirt embroidered with quotes such as “Who’s Taylor Swift any wat? Ew”, “A lot going on at the moment” and “we are never getting back together like ever” with a Gladys Tamez Millinery hat that she gave to different fans every night.

So far we had a marvelous time leading to Folklore where the singer performed in a more delicate look in the form of a floaty, layered lilac dress by Alberta Ferretti. "Thinking about these stage dresses for her also pushed me to reflect on my career milestones," explained Ferretti. "I think what we have created reflects this journey where the key elements of my style stand out: lightness, femininity, romance, attention to detail and a delicate, gentle seduction." She wore a green chiffon gown with a deep neckline, flowing sleeves and embroidered leaf detailing, designed by Alberta Ferretti too. Swift added to her repertoire of beautifully designed dresses in a custom-made orange Etro gown, with an embroidered ruffled bodice.

Darling, she’s nightmare dressed like a daydream in three shimmering two-pieces by Roberto Cavalli. Its beautiful design gave the illusion of crystal water droplets, which moved effortlessly as she performed onstage. She wore the outfit with her go-to sequin Christian Louboutin boots. For the surprise song, Taylor topped this cavalli matching sets with Jessica Jones ruffled dresses in matching colours.

From sprinkler splashes to fireplace ashes, the last part of the show started with a midnight blue bodysuit full of sequins and rainstones with a matching garter by Oscar de la Renta. In a lighter shade of blue, Zuhair Murrad designed another beaded bodysuit. In the lasts shows in LA, she also wore a bodysuit similar to the one she wore in the 1989 tour, with cut-outs and fringe bottom. Every time, everybody agrees that Taylor Swift wears the best looks on stage, and for Anti-Hero Taylor wears her second Oscar de la Renta look consisted of a sequinned 'aurora borealis' T-shirt dress with a co-ordinating lavender faux fur coat, which also featured delicate crystal droplets. For Karma she vibes like that with a tassel coat just to say see you later to the swifties.

An epic wardrobe, just like her music, just like @taylorswift

If you want to know more about fashion you can follow me on ig itsjessania 🩷✨🫶🏻💕

[psychicequalizer]

how many tapes do you own? and which are your favorites?

so this ask has been sitting for a hot minute bc i keep forgetting to count them. but i counted today and i have around 100! my mom actually found 3 new ones for me in an antique mall today, and even though i won't have them until friday, i already know they're gonna be some of my favs. i'll make you a list of my top 10 (ok it turned into 11 sue me):

young man's blues - rock city angels (this band is so very special to me. this is the only tape i've ever ordered online)

law of the order - shark island (found this one new, still shrink wrapped from 1989, in a record store bin for $5)

back to mystery city - hanoi rocks (gift from ryan @lonelyplanetfag and one of my coolest tapes imo)

sign in please - autograph (from my mom, not on spotify, been looking for it. i have it on vinyl but it skips)

hooked - great white (from my mom, but i have it on CD too)

fair warning - van halen (this one is particularly special bc it's a hand me down from my dad—the last tape he (ostensibly) had left after all of his were stolen in 1988. it was in the center console of his truck when the box of tapes he kept in the passenger seat was stolen. i have the CD too, which i stole was gifted from my mom)

faster pussycat - faster pussycat (one of my favorite albums of all time, have it on CD too)

keel - keel (when i bought this, the album wasn't on spotify and i was so fucking excited to find it)

dokken - under lock and key (gift from ryan, my favorite dokken album)

gnr lies - guns n' roses (oddly, my only gnr tape. also a gift from ryan.)

back in black - ac/dc (this belonged to my dad in high school. i found it, worn out to the point that most of the lettering on the tape itself is gone, without a case on my grandparents' basement floor. the only way i even knew what it was and didn't toss it was that i vaguely recognized some very faint words that i thought said "hells bells." i didn't have a player at the time, so i took it home and kept it. when i got my boombox, it was the first tape i played, and it was, in fact, back in black. it plays perfectly. my dad remembers losing it his junior year and never saw it again until last summer. needless to say he let me keep it!)

overall, i have some really cool shit and hope to acquire more. i also have a steelheart cassette single, but it didn't make the top 11. and, i have a shitload of classic country too, and classic rock shit like lynyrd skynyrd and traffic. i also have a tape from a current shoegaze band that one of my friends from radio gave me. i can take pics of my whole collection for you if you wanna see!

[pusha-t2024]

Discovering the Songs About Rats

Rats have held a peculiar place in music history. From symbolizing mischief and chaos to representing resilience and survival, these small creatures have inspired some unforgettable tracks. If you’re a music lover with a keen interest in the unusual, you've come to the right place. This blog post will walk you through a curated list of songs about rats, providing you with interesting tidbits about each track. Whether you're a rock enthusiast or reggae lover, this eclectic playlist has something for everyone. Let's explore these fascinating songs and understand what makes them so compelling.

"Rat Salad" by Black Sabbath

Released in 1970, "Rat Salad" by Black Sabbath is an instrumental track that showcases the band’s musical prowess. The song was composed during a period when the band was experimenting with different sounds and styles. It serves as a testament to their skill, blending intricate drum solos with heavy guitar riffs. The track stands as an essential piece in their classic album "Paranoid," reflecting the band's darker and edgier side.

Released: 1970

Genre: Heavy Metal

Mood: Intense and Energetic

Key Lyric: (Instrumental)

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"Rats" by Sonic Youth

In 2006, Sonic Youth released "Rats," a song that dives into themes of urban decay and societal issues. The track is part of their album "Rather Ripped," which was crafted during a time when the band was exploring more melodic and accessible sounds. With its haunting lyrics and gritty guitar work, the song captures the essence of life in a deteriorating cityscape. It serves as a commentary on the struggles and resilience found in such environments.

Released: 2006

Genre: Alternative Rock

Mood: Dark and Reflective

Key Lyric: "Rats, they crawl, they crawl"

"Great King Rat" by Queen

"Great King Rat," released in 1973, is a track from Queen's debut album. Written by Freddie Mercury, the song narrates the story of a mythical character with a dark, twisted fate. The track was composed during the early days of Queen, capturing their raw energy and theatrical flair. It’s a blend of rock and progressive elements, highlighting the band's unique sound. The song remains a fan favorite for its storytelling and musical complexity.

Released: 1973

Genre: Rock

Mood: Dramatic and Theatrical

Key Lyric: "Great King Rat was a dirty old man"

"Rat Trap" by The Boomtown Rats

In 1978, The Boomtown Rats released "Rat Trap," a song that became their first number one hit in the UK. Written by Bob Geldof, the track explores themes of escape and the monotony of urban life. The song was composed during a time when punk rock was gaining popularity, and it reflects the angst and rebellion of that era. With its catchy melody and poignant lyrics, "Rat Trap" resonated with many young people at the time.

Released: 1978

Genre: Punk Rock

Mood: Rebellious and Reflective

Key Lyric: "You feel like a rat in a trap"

"Rats" by Ghost

Ghost's "Rats," released in 2018, is a powerful anthem that speaks to themes of plague and destruction. The song was part of their album "Prequelle," which was heavily influenced by medieval themes and imagery. Composed during a time of significant lineup changes, the track showcases the band's ability to blend heavy metal with theatrical elements. Its infectious chorus and driving rhythm make it a standout track in their discography.

Released: 2018

Genre: Heavy Metal

Mood: Energetic and Epic

Key Lyric: "Them filthy rodents are still coming for your souls"

"Rats" by The Kinks

Released in 1970, "Rats" by The Kinks is a track that captures the gritty realities of urban life. Written by Dave Davies, the song was part of their album "Lola Versus Powerman and the Moneygoround, Part One." The track was composed during a time when the band was experimenting with more hard-edged and socially conscious themes. Its raw energy and biting lyrics make it a memorable entry in The Kinks' extensive catalog.

Released: 1970

Genre: Rock

Mood: Raw and Energetic

Key Lyric: "Rats in me kitchen, what am I gonna do?"

"Rat Race" by The Specials

The Specials released "Rat Race" in 1980, a song that critiques the cutthroat nature of societal competition. The track is part of their album "More Specials," which was crafted during a period of political and social upheaval. With its ska-influenced sound and sharp lyrics, the song addresses issues of inequality and the pressures of modern life. It remains a poignant commentary on the struggles faced by many.

Released: 1980

Genre: Ska

Mood: Upbeat and Critical

Key Lyric: "You're working at your leisure to learn the things you'll need"

"Rat" by The Walkmen

In 2004, The Walkmen released "Rat," a song that blends melancholy with raw emotion. The track is part of their album "Bows + Arrows," which was composed during a time of personal and professional turmoil for the band. Its haunting melody and introspective lyrics capture the essence of feeling trapped and searching for meaning. The song has been praised for its emotional depth and powerful delivery.

Released: 2004

Genre: Indie Rock

Mood: Melancholic and Introspective

Key Lyric: "You’ve got a nerve to be asking a favor"

"Rats" by Pearl Jam

Released in 1993, "Rats" by Pearl Jam is a track that explores themes of betrayal and mistrust. The song is part of their album "Vs.," which was composed during a period of intense scrutiny and pressure for the band. With its grunge-infused sound and provocative lyrics, the song captures the raw emotion and energy that Pearl Jam is known for. It remains a powerful commentary on human nature and relationships.

Released: 1993

Genre: Grunge

Mood: Raw and Intense

Key Lyric: "They don’t eat, don’t sleep, just feed"

"Rat in Mi Kitchen" by UB40

UB40's "Rat in Mi Kitchen," released in 1986, is a reggae-infused track that combines humor with social commentary. Written by the band's lead singer, Ali Campbell, the song was composed during a time of political tension and economic hardship. Its catchy melody and playful lyrics make it a standout hit, addressing issues of frustration and resilience. The track continues to be a favorite for its infectious rhythm and relatable themes.

Released: 1986

Genre: Reggae

Mood: Playful and Relatable

Key Lyric: "There’s a rat in mi kitchen, what am I gonna do?"

Conclusion

Rats may not be the most glamorous of creatures, but they have certainly inspired a diverse range of music. From heavy metal anthems to reggae hits, these songs capture the resilience, mischief, and complexity associated with rats. Whether you're looking to explore new genres or revisit classic tracks, this playlist offers something for every music lover.

If you're intrigued by these songs and want to discover more unique tracks, sign up for our newsletter and join our community of music enthusiasts. Happy listening!

[luna-writes-stuff]

Do you have a plan to make a modern au headcanon for Starcrossed Losers?

WOW THIS TOOK FOREVER TO ANSWER I AM SO SORRY. But yes. Yes, I do.

Kili and Raewyn modern AU! headcanons

Kili X Starcrossed Losers! OC

Fluff, headcanons

Tw: Mentions of miscarriage/dying through childbirth, dogs and cats.

Wait, you don’t know who Raewyn is??? Blasphemy. Check her story out right here!

-In a modern day setting, I think Fili and Kili would own a busy pub somewhere in a side street. Ironically enough, I believe Raewyn would become either a history or geography teacher. At night, she’ll help in the pub, serving guests or helping in a band performing that night. Because, obviously, she’d take music lessons (see earlier headcanons)

-Due to the vacations of the school, she travels a lot with Kili, visiting big cities in Europe and distant villages in Asia. Her students love to hear tales about the people there, and she loves telling them.

-Kili helps Raewyn prepare lessons for students. He actually has some really good ideas in there and Raewyn loves to tell him how the class responded to ‘his’ teaching.

-Even though the pub is located in the centre of the city, Raewyn and Kili would live in a house surrounded by forests. Those tiny roads leading through woods, sometimes extending towards two or three houses? That’s where they’d likely live. Raewyn loves to spend her nights walking the forest. Kili is just glad to be there.

-The garden offers enough room for Farris, because - naturally - she’d still be there. Knowing Kili, she’d probably be accompanied by three dogs, likely named after characters from famous films, like Gizmo, Luke, and Marty McFly.

-Raewyn would get a cat just to spite Kili’s dogs. They’d get a decent name - likely after someone from ancient history. She’d go with names from gods, like Bastet or Artemis. Because Kili insisted on big dogs, she got a Norwegian Forest cat.

-The cat loves Kili more than Raewyn. Kili hates the cat.

-Likewise, Marty McFly loves Raewyn. He doesn’t like Kili because Kili doesn’t let him swim in lakes.

-Speaking about ‘children’. Raewyn and Kili would adopt two kids rescued from war zones, left without family. Raewyn used to want biological children, but her mother never lived long enough to hold her youngest daughter, and ever since, she’s been terrified of the idea of getting pregnant.

-Thorin and Bilbo are the godparents - naturally.

-Surprisingly, Raewyn is the chill parent. Kili does his absolute best to not teach the kids any swear words or let them watch anything under the age guide on films and series. The oldest said their first swear word just three weeks in Raewyn and Kili’s care. Fili was the culprit. To this day, Kili still believes it was Raewyn. She thinks so too.

-Bilbo often visits the dogs when Raewyn helps Kili in the pub at night. They’re twice as heavy as he is, but they love him. Bilbo used to be scared of them.

-Don’t worry, Raewyn gets therapy sessions.

-Kili is a swiftie. He pulled Raewyn into the fandom. Her favourite album is folklore. Kili is a 1989 stan. Raewyn’s favourite artist would probably be a classic rock band like Led Zeppelin or Black Sabbath.

-On the topic of modern media; the two love to watch horror films late at night. Raewyn is the psychopath who can go to bed after the credits roll. Kili needs to watch at least one episode of a comedy show before he can even walk up the stairs.

-Kili loves science fiction most, preferably Star Wars or Back to the Future. Raewyn has a secret love for terrible comedies like the Monty Python works. Horror and fantasy are their middle ground.

-Their home is littered with books. They have a bookcase. But there are books everywhere. At least three in the bathroom. Kili is a binge reader. He finishes series within a week. Raewyn reads twenty books at the same time. None of them place the books back in the bookcase. Bilbo does when he looks after the dogs.

-Gandalf has a spare key to their house. He never enters unannounced (surprisingly), but does enter their garden to entertain the dogs. When Raewyn invites him in, he claims to hate the dogs. He doesn’t. He even has a favourite. But don’t tell Marty McFly and Gizmo.

-The dogs aren’t forced to be outside. They just never want to go inside. Raewyn and Kili have to carry them in at night for their own safety. Luke, the St. Bernard, has to sleep in bed with them every night. So does the cat. Luke is the only dog she accepts. Raewyn and Kili often wake up on the floor.

-Once a week, Raewyn and Kili have a ‘duty-free’ night. They’ll go to a little shed in the forest Raewyn bought while someone takes care of the children and the dogs (the cat takes care of themself). They usually fall asleep there, but every so often they play boardgames or spend the night chatting away under the stars.

-Kili packs Raewyn’s lunch every morning. He leaves little notes in her lunchbox. There is not a day he has forgotten to do so.

-Raewyn and Kili wear matching ugly Christmas sweaters around the holidays.

[pecanwriter]

Very Uncool Love Story part 2 (MPREG, WG story)

Themes: M/M MPREG romance (low key slow burn) between a fat librarian and a disabled punk musician

Words: 1690

Part: 2/?

PART 1

“Hello.” Larry said, nervously fidgeting with the receipt as he stood at the counter of Music Emporium, facing the shop clerk who looked even more attractive in real life than he did in Larry’s memory. “Oh, Slayer album, I didn’t expect you to be back.” he grinned. “You remember me…?” Larry asked, genuinely surprised. “It’s hard not to remember someone like you in a shithole like this. And besides, you have a bewitching voice.” the man said, deadpan. Larry sputtered, feeling the blush coming in. “Relax, man, relax!” he chuckled. “So, what brings you here?” “I, uh… I need to exchange the CD I got last time.” “Present didn’t work out?” “My brother-in-law already has this one…” he explained weakly “He asked me to get something called Hammerhunter Vol 4…?” “Hm.” The man’s brow furrowed. “I should have one. I’m not sure though. Come with me.” Larry followed the man noticing another tattoo on his back, peeking over his tank top collar. He also noticed the man was limping decidedly more than Larry remembered. “Are you okay?” He heard himself ask, and couldn’t fathom why he did it. “I fell. Being a cripple, rock concerts… Doesn’t always work out.” he shrugged, stopping at one of the shelves. 

Larry wanted to ask why, of all words to choose from, he chose to call himself a cripple, but sparking up a conversation not related to the shop business was entirely beyond him at the moment. He was a coward, he wasn’t trying to deny it.

“I don’t think it’s here…” the shop clerk muttered, his head turned slightly as he read the labels with his right eye. Reaching out to a much higher shelf he let out a hoot of victory as he went on tip toes to reach the shelf, clearly forgetting about his injured leg and promptly losing balance. Larry wasn’t sure how he did it, but he caught the man before he fell and somehow managed not to fall or knock any CDs over in the process. They froze for a moment. Larry could feel the man’s fresh, citrusy perfume and a faint smell of cigarettes. And a hip bone digging into his fat belly. He gently peeled himself off the man. “Thanks.” The shop clerk croaked, clearing his throat. Larry reached out, grabbing the CD with ease. Only then did he realise he probably had about six inches on the other man. Somehow his beauty made him seem so much taller. His what now? Larry shook his head, he was truly losing it. “Here.” Larry pushed the CD into the clerk’s hand. “Ah.” the man gave him a flustered smile. “Let me ring it up then.”

“Here we go.” the beautiful man handed Larry his new CD in a black plastic bag with the Music Emporium’s terrifying logo on it  “Come again if he doesn’t like that one either.” he gave that little mischievous smirk and then he winked. Actually winked! “Thanks” Larry said and turned to leave, but suddenly, something possessed him. For a fraction of a second, he felt like a cool, confident rocker and not a nerdy middle-aged librarian. Feeling his imaginary burning wings spread behind him Larry turned back to face the counter and in a voice that couldn’t be his own he asked: 

“Could I invite you out for a coffee sometime?” 

The beautiful man smiled. “Sure, Angel-voice,” he said. “I’m Oliver, by the way.” “Larry.”

*

“A date?!” Arianna’s voice was shrill on the phone. “How did this happen? When did you meet him? Oh my God, tell me everything!” 

“He’s the shop clerk at the CD store.” Arianna laughed. “See? This is why I tell you to get out of the house more! So, tell me, how did you manage to ask him out?” “I… He’s… his leg was hurt and he lost his balance and I caught him and… I don’t know, I guess that body contact broke some sort of an invisible barrier and I just… asked him before I left.” “Oh my god, my brother is finally going to settle down, at last!” “Arianna! Stop it! I’m not going to go through with the date, it was a stupid idea.” “What are you on about now?” “I’m not the dating type, I don’t…” “Stop it, Lawrence Marshall!” she quipped. “You have to stop being so afraid of human interactions! The world doesn’t end with your books and games. You need this. You’re going.” 

And so, Larry guessed that he was going. 

*

Larry let out a groan. How did he outgrow another pair of trousers?! Truth be told, these were quite old, but he still hoped they would fit. They were one of the coolest trousers he owned and the thought of being seen in public with a person like Oliver while looking so painfully like a librarian wasn’t an option. Although now, he assumed, it was the only option. He put on a pair of olive green chinos. He looked critically at himself. Hating the way his shirt highlighted his massive gut he pulled on a sweater, completing his librarian get-up. 

He looked pathetically uncool. *

Oliver looked even better outside of the dark shop, Larry was astonished to discover. The jeans rested so low on his hips that it was almost inappropriate. He was wearing another tiny tank top, but since this was England he was also wearing a leather jacket and looked so, so good in it. “Hey,” Larry said, trying not to think how uncool, grey-haired and fat he looked next to this gorgeous man. “You look great.” “Hey, Angel-voice.” Oliver grinned. “Right back at ya.”

Larry blushed. “How’s your leg?” Larry asked, remembering the fall. “Better, thanks.” he gave a tight smile. “So, Angel-voice, where will you take me?” “I wasn’t sure since I didn’t know if your leg would be better but maybe river-side?” “Romantic.” he grinned. “Let’s go then, Angel Voice.” He said, gesturing vaguely “Lend me an arm then, I’ve already had a taste of those strong arms and I would like another sample.” he grinned "And besides, I gotta be honest, I tend to use people as much as I can if it saves me from using this thing." He waved the crutch slightly. Feeling that his face was already red like a beetroot Larry stretched out his arm and gently took Oliver’s hand to wrap around his arm since this was Oliver’s bad vision side. “You know someone blind?” Oliver asked, suddenly. “Sorry?” “I can tell that you already figured out I can't see on this side. You’re very good at interacting with me. You know when to use touch and not make it seem invasive. I assume it’s because you know someone sight-impaired?” “My sister.” He admitted. “She lost her sight to tumour complications in her twenties. But other than her sight she made a complete recovery, thankfully.” 

“Good for her.” Oliver nodded. “Sorry about her eyes though.” “I’m sorry about your eye,” Larry said, suddenly realising he had no idea if that was rude. Oliver laughed. “You’re a weirdo, Larry.” “I’m sorry, I don’t do this often.” “Brain aneurysm.” “What?” “A brain aneurysm ruptured. That’s how I lost my eye and my leg.” “That sounds… painful.” “I was in my last Uni year.” “What did you study?” “Believe it or not, Biochemical Engineering.” “I… Have to admit that I wasn’t expecting that.” 

Oliver didn’t reply, instead, he continued:

“It was the last year of uni, you know. So when that damned thing ruptured in my brain I just thought it was exhaustion. Headaches, fatigue, blurry vision… All that type of shit, you know? And then one day I collapsed in class. Turns out I fell into a fucking coma. That’s when they found the bleed in my brain. I woke up two months later, only one eye and one leg still working and unable to speak.”

“Unable to speak…?” Larry stared at him, not caring if it was an appropriate response. 

“Yeah, when I collapsed I apparently suffered a stroke caused by the rupture and not only did it paralyse parts of my body but it also destroyed my speech centre. I spent three years re-learning how to talk, read, write… Truth be told, I still suck ass at writing.” He laughed suddenly. “Wow, I’m a fun date, aren’t I?” Oliver exclaimed and Larry, stupidly, felt himself blush. A date? He said date. Larry looked down at the man on his arm and was once again astounded at how beautiful he was. Maybe it was foolish to concentrate on that after what Oliver just told him, but that’s where his brain went.

“I’m a librarian.” He heard himself say and flinched instantly at his own stupidity. “What?” Oliver laughed in surprise. “I’m sorry! But you’re so intelligent and you’ve been through something so difficult and came out on the other side being so bright and resilient and attractive and cool and I’m… I’m a librarian.” “And what’s your point?” Oliver asked, trying to sober up, but not really doing a good job with it. “I’m not cool like you, I’m just a nerd. I don’t think you realise how uncool I am, I don’t think you would like to be seen on a date with me, actually…” 

Oliver let out a sigh. “You know why I agreed? None of my co-workers even asked what was wrong with my leg. I don’t know many people who would offer to exchange their gift for someone since the first one wasn’t right. You’re a considerate person. That’s why I agreed to go out with you. And, man, that bewitching voice…” Larry didn’t think it was possible to turn any more red than he did at that moment. 

“And besides” Oliver gazed up at him, his pale grey eyes full of light “I get the feeling you underestimate how good-looking you are.”

Okay, Larry realised, it was possible to turn even more red.

"Come on, let's get to the river." Oliver laughed again. His beautiful, ringing laugh.

And Larry let the man who was meant to be leaning on him lead the way.

[sleekervae]

Yoü & I [2.3]

Masterlist

A/N: Happy Wednesday everyone!

Warnings: some angst, mentions of depression

--

"I know it's warmer where you are, And it's safer by your side, But right now I can't be what you want, Just give it time"

Charlotte nodded along to the building beat, her own voice a foreign entity as it floated through the air in the -- soundproof -- studio in LA. The demo was beautiful but it needed that extra push to make it a hit lead single. A lead single for an album that was months away from being completed. 

"And if you and I, Can make it through the night, And if you and I, Can keep our love alive, we'll fight, We can meet in the middle, Bodies and souls collide Dance in the moonlight, Where all the stars align, For you and I, for you and I"

The girls were impressed however, with Chloe claiming it was some of their best work yet. It was more electronic than their previous pop/rock sound, with humming bass lines and ethereal echoes that wailed from verse to verse. And Charlotte's voice was the pinnacle, reaching a prominent gravelly growl when she'd sing the long notes, paired with Maria and Kim's backing vocals, it was eargasmic bliss.

Kim was the type of person who used a Pinterest board religiously and was already culminating ideas for what the video would look like: black and white obviously with animated doodles, black paint, and fast-flashing lights. And maybe some mild nudity?

"That's sexier than Brendon Urie in 'Miss Jackson'," Maria said. 

"It's beautiful," Charlotte had to admit.

Chloe slapped her on the back, promptly shocking her, "You outdid yourself, Lottie! So smile a little more!" she told her. Charlotte forced a really big Joker smile. 

Kimberly elbowed the drummer, who now had galaxy-ombre hair. The girls swore with all the hair dye that Chloe must've switched to wigs when they weren't looking. 

"Well... I couldn't have done it without you guys," Charlotte said, smiling at each of her friends. 

"We got to stick together," Maria claimed, "We're all we got in each other," 

With the demo complete, Charlotte gave the approval for the tape to be sent to be remixed and produced for the final product. She was nervous to hear it, but there was also an element of excitement coursing through her. There was immense pressure on following up the success of the first LP with the second, but she was confident with the way Catch the Caper were growing musically that it would be some of the best material they put out yet. 

Charlotte still had reservations about only letting key personnel in on their material, not eager to replicate the first mess of 'Heaven'. The song would still be on the album, but it would be released later on. Maybe within the summer of next year when the album was more grounded for release. And then there was 'Saint', the song that she and Luke agreed would be a shared piece between them, but he insisted it should go on her album. Three songs down, another seven or so to go...

For the two and half weeks they had back home, she and Luke spent some of it rehearsing 'Saint'. Unlike 'You & I', this was a song she was actively getting excited about, heartbreaking yet it held a particular bite that could be the backing track to the lead in an indie movie finally taking back control of her life. Well, there's the saying that we're all the lead in our own stories, Charlotte was still working on getting to the end of hers. 

Luke was supposed to meet Charlotte that afternoon. She left her apartment door open for him, got out her guitar and put out a plate of shortbread cookies for them to munch on while they worked. He was a few minutes late, but Charlotte chalked it up to Luke being Luke. He was always late for shit. 

However, ten minutes late soon turned to thirty, then forty five, then a whole hour. Charlotte sat on her couch, eating her cookies and watching Dr. Who, trying to ignore the fact that she was just stood up. No phone calls or texts were sent, and there was no miraculous knocking at the door. What the hell could he possibly be doing? It wasn't like Luke to stand Charlotte up like this; if he couldn't make it he would call her first. 

Charlotte soon realized she that the cookie plate was nearly empty, and Luke was two hours late. Something was wrong here. Unless she got the date wrong? Maybe she should phone him?

Luke was fine -- physically speaking. Let's just say that he got a little ahead of himself with the time. Melody opened her big mouth again and they went at it, she was upset again because Luke was spending more time with Charlotte on his break than he was with Mel. She did have a fair point, but Luke just wished she wouldn't fly off the handle so over dramatically. He couldn't help it that he was working on something that he was quite proud of with one of his best friends.

A minutes-long fight had elongated into an hour, and soon enough Luke gave up; frustrated and itching to take some control back. And take control he did. Anger turned to an afternoon of passion-fuelled angry sex, both he and Melody taking their stress out on each other in the best way possible. And Luke couldn't deny afterwards how much better he felt by the time the late afternoon arrived.

It was by the end of her fourth Dr. Who episode that Charlotte's phone finally rang. Luke was calling; this ought to have been good. 

"You better be fatally injured or missing a pint of blood," Charlotte said when she picked up, "I just ate three-quarters of a bag of cookies and I'm not proud of myself," 

Luke was standing in his kitchen, dressed only in some slacks while Melody showered upstairs. By the time they were both exhausted he realized the time, and his lust for his girl was replaced by guilt for his friend. Of course he had to call her, but he hoped Charlotte would understand.

"I am neither one of those things, and you have no reason to be ashamed. I think we've all been there," he said, trying to sound cheery.

"Dude, what the fuck?" Charlotte asked, clearly annoyed, "Where have you been? I was about to send out some K9 units," 

Luke grimaced, knowing fully-well how upset she was, "Charlotte, I'm sorry. I-I got a little caught up in some things. I'll definitely make it up to you, though," 

It was then a terrifying thought entered Charlotte's head -- did Melody do something? Throw another mass tantrum? What was she saying to him? About Charlotte, namely.

"Is everything okay?" she asked, now a little concerned.

"I'm okay," he assured her, looking up when he heard the shower water stop running, "I'm sorry, love. But how about I come over tomorrow instead?"

Charlotte noted how quiet his voice suddenly became, he didn't want Melody to know he was talking to her. It was a strange, complicated plight: suddenly becoming a secret to your best friend. If Luke was so afraid to talk to her when Mel was around, then what the point? It was clear Melody was drawing some lines -- so Charlotte figured she should do the same.

"No, it's okay. We leave again in a few days, you should spend the time with Melody," she told him. 

Luke could hear the bite in her voice, "Charlotte, I really am sorry,"

"I know," Charlotte nodded, "I'm not mad at you. I swear. Spend some time with your girl," 

"Alright, I love ya," he mumbled.

"Love you too," Charlotte said listlessly, then hung up without another word. Groaning aloud, she then grabbed the plate and dumped out what was left of the cookies. She felt sick now, and not just from the sweets. She was mad at Luke, pissed off that he blew her off. Then she felt stupid for being jealous of Melody. She was jealous of Melody, but at the same time Charlotte had probably seen more of Luke this year than she had. 

You have no right to be upset with him, his girlfriend comes before you. That's the way it should be. Leave them alone.

Charlotte decided that it only hurt more because she knew how hurt Luke was by Melody. He used Charlotte as a vessel to blow off steam, to laugh for a while, pretend he was something he wasn't when he'd go back to her. Charlotte knew he could be so happy, she could make him so happy. But time and time again, he would go crawling back to her. 

Meanwhile, Luke quickly shoved his phone away as Melody came sauntering in to the kitchen, adorned in only his t-shirt. Her eyes glimmered with the Devil as she stood before him, smelling of fresh coconut shampoo with a smile that could stop any man dead in his tracks. He held her and gave her a kiss on her head, but he averted his eyes to the wall behind her. 

"What do you wanna' do for dinner?" she asked sweetly. 

"Anything you like," he affirmed, "We can cook, we can order in," 

"Let's order in," she decided, pulling away to go for their drawer of various take-out menus. 

Luke watched Melody from where he stood. He felt better, he felt happier, relaxed -- but he didn't feel whole. Then fear settled in, the fear that he was indeed falling out of love with Melody. Because when he looked at her, his mind raced back to mornings with Charlotte, sitting at her kitchenette as she made them both coffee and would go on and on about whatever had captured her interest in a dream she had. Her thoughts were as beautiful as her face.

Melody was beautiful, she shone like a strobe light. But Charlotte was a damn lighthouse beacon, burning so bright and full that she washed Melody out. However, there were some days Luke feared Charlotte may just burn out. 

A half empty bottle of wine sat on the coffee table, beside it an empty glass that Charlotte had just finished. She poured herself another glass, guitar perched in her lap and she began to play again, singing a wistfully sad melody about feeling, well... used.

"You see, I want the world to believe, That there's a light inside of me, But it's time that I come clean. I'm not what I seem, no, Some would say I'm possessed, yeah, But I'll confess I've just been obsessed With life and death and emptiness, I guess. Can't you see all of the change in me?"

The more she drank, the more emotional she became. The more poems she wrote, her voids once filled now flooding out. She was lonely, felt more lonely tonight than she had in so long. She could hear memories of her own words echoing in her head, like a bad dream. 

"Three years I let myself get tossed around in a salad spinner of emotional turmoil. Now I'm watching Luke go through what I went through; we both see the same thing in each other and yet willingly stay in a precarious and chaotic situation. I mean -- that must register as clinical insanity!"

"Well, ask yourself: why did you stay with Ben? When you had every single person in your life telling you how toxic that relationship was, why did you stay?" 

"I didn't want to be alone," 

What did she mean by that? Of course Charlotte wasn't alone, she was surrounded by friends! Friends who told her hours ago that they would support her no matter what. And yet, drunk on wine and emotions she felt more empty than she had in months.

The last time she felt so lonely she had been dumped. Eight months ago, she was tossed aside like a pebble on the street. Ben abandoned her, and in her less than cognitive state of mind, Luke abandoned her too. She was abandoned for something better, something closer, easier. Something she could never get within arms reach of.

"You took these starving limbs, tried to see. Tried to see what they could be, But I thought I'd be something.I thought you'd complete me, That you'd erase all the pain that I felt in my brain. If you filled my heart with love, Then you'd fill my voids above. Now you see, that didn't change a thing,"

She recorded her voice as oppose to write, she gave up writing as her penmanship was a little sloppy now. Tomorrow she'd decide whether or not to put this song on the album. Tonight the only guest in her apartment would be her perilous brain.

[thisaintascenereviews]

Slash - Orgy Of The Damned

Hey, Slash dropped a new album this past Friday, entitled Orgy Of The Damned, and it’s a (checks notes) blues covers album? Okay, color me curious, especially since I’m a fan of his work, but let’s see what kind of vocalists he’s recruited — Brian Johnson, Gary Clark Jr., Demi Lovato, Dorothy, Chris Stapleton, and a handful more. Now that’s even more interesting, as I like a lot of the vocalists here, and I’d love to hear these artists tackle a blues song. The only trepidation I had with the album before listening to it was how long it was, because 70 minutes is a bit daunting for an album, regardless of its style.

I will say, that after spending the last week with this album, my curiosity paid off, because this record is pretty cool. It’s not perfect, but it’s not necessarily the album’s fault, or anyone attached to it. I still enjoy it a lot, though, and blues / rock fans are sure to have a blast listening to this thing. I absolutely love that this is a blues covers album, so every song is from a classic blues artist with a couple of exceptions, including a Stevie Wonder song, and a Norman Whitfield song made famous by The Temptations in the late 60s, but those songs are given the blues treatment.

Every song on here is done with the utmost care and effort, regardless of the vocalist attached, and there’s not a bad cover here, although I will say that some of the covers are better than others, but that’s kind of due to the vocalist just not being one of my favorites. With that said, the songs usually work to the vocalist’s strengths. Chris Stapleton’s cover of “Oh Well” is a blues and southern-rock banger, whereas Brian Johnson’s “Killing Floor” is a hard-rock song with blues touches, so an AC/DC song, basically. A lot of songs here are what you’d expect, especially since everyone here has some blues cred, but that leads me to its biggest issue — some of this album, while Slash’s guitarwork is great, is pretty run of the mill, and the vocalists don’t stick out as much.

Dorothy’s cover of “Keys To The Highway” is good, but a rather forgettable slice of blues-rock, just as the covers with Chris Robinson (of The Black Crowes), Iggy Pop, and Billy F Gibbons. A few covers really stick out, like Chris Stapleton’s, Paul Rodgers’ cover of “Born Under A Bad Sign,” or what is both the most surprising and my favorite cover, Demi Lovato’s cover of “Papa Was A Rolling Stone.” It’s a fantastic cover and her vocals are wonderful on it. The rest of the album is good, albeit what you’d expect for a blues covers album. A couple songs could have been cut, but nothing is bad here. The album ends with a cool instrumental track from Slash, showing off his musical chops without any accompaniment.

Honestly, I really enjoy this record, despite it being a little too long, and the album having some peaks and valleys, but it’s a really fun, loose, energetic, and catchy album with some great performances from both the featured vocalists and Slash himself. This is Slash’s album, so he’s the main star, and he rules here. He matches his playing to the song and vocalist, but his playing is great throughout nonetheless. Slash fans should check this out, and fans of blues and rock should check this out, too, but only a handful of songs are really memorable. I’m not sure if this will be one of my favorite albums of the year, but even so, it’s a good time.

[mrschwartz]

What was that about AM being kicked off the rock category? 👀👀 Pls explain 🙏

okay so like i said on that ask, in this video (which i still highly recommend in its entirety!) at around 14:50 it's mentioned how in the mid-2010s one guy who was part of the comittee who voted in the rock categories said that one year the best selling rock album of that year got kicked out of the best rock album category bc one other person in the committee thought it was "too commercial" (do watch the video if you want to know better how this works, btw)

his actual quote: “A lot of the people in the room that year were either crusty old metal dudes or indie-rock guys who hate anything successful, and they took that year’s biggest-selling rock album and knocked it off the ballot because they thought it was too commercial. Then they added two [from outside the top 15], and one was a band that one guy on the committee brought up at the end of two long days of listening. Everybody was, like, ‘F— it, let’s put that on.’”

so i actually went to read the article mentioned in the video and basically narrowed it down to the guy talking about AM. we can never be 100% sure until he says so, but basically:

the article is from 2017, and the guy is a former member, so that places the year he's talking about as 2016 or down

they mention 1975 as an example of a "commercially successful act" and their first album came out in 2013, so this places the year between 2014 (since the ceremony is always at least on the following year) and 2016

they mention 1975 but they never had a best selling rock album of the year so it wasn't them

so let's break it down: in 2014 the nominees were led zeppelin, black sabbath, david bowie, kings of leon, queens of the stone age, and neil young+crazy horse; in 2015 the nominees were beck, ryan adams, the black keys, tom petty and the heartbreakers, and u2; and in 2016 the nominees were muse, james bay, death cab for cutie, highly suspect, and slipknot. idk about you, but to me all of those would very much please both the "crusty old metal dudes" and the "indie-rock guys who hate anything successful" as the guy in the article says

let's break it down some more: the best selling rock album of its debut year that could've vied for the 2014 ceremony was babel my mumford and sons (so let's discard this album and year bc to me this would please the "indie-rock guys"); the best selling rock album of its debut year that could've vied for the 2015 ceremony was (guess what??) AM by arctic monkeys (🚨🚨🚨 fresh sound ✔️ commercially successful so not exactly "indie" ✔️ definitely not old rock ✔️); and the best selling rock album of its debut year that could've vied for the 2016 ceremony was rock or bust by ac/dc (i'd also discard this one bc this would very much please the "old rock" bores)

not to mention 2015 seems like a year especially filled with some more-than-common obscure nominations (which would go along with what the guy said that two recommendations from two members were added last-minute)

and phewwwwwwwww this places AM as the most likely album that got kicked out for being too successful. does this makes sense? like to me am is the only album which ticks of all the boxes