#the chorus could be a little intense for her musically but they could edit the way its sung

[itsnevercasual]

Have Yourself a Merry Little Christmas

part ii

pairing: harry styles x fem!reader

warnings: none really.. not edited.

summary: in which y/n's friends book her an amazing gig, but they don't mention anything about her favorite singer being in attendance.

request: nope!

your friends were more than aware of your obsession with harry styles. it’s not like it was a secret.

so, it only made sense that when you started to sing in bars and cafes — anywhere, really — that you’d always incorporate something of his into it. whether it be a love on tour crewneck, a song of his, a one direction song, or a song about him — you loved to cover style, because.. who didn’t want to strut on a stage to a song everyone knows?

however, you weren’t aware of what they were planning when they somehow booked you in a very prestigious bar.

the dress-code for this bar was strict. your usual get-up of jeans and a crewneck — or jeans and anything, really — was vetoed before you could even ask. so, you searched through the depths and trenches of your closet until you found a black, skin-tight cocktail dress that ended right at your mid-thigh.

“seriously, babe. you know sign of the times inside and out. you’re just psyching yourself out,” one of your friends, melanie, told you.

“i know, but.. still.”

“you doubt yourself too much.”

“so you tell me everyday. now shoo! i’ve gotta be onstage in five.”

you weren’t exactly sure how you got onstage. you’re pretty sure you blacked out.

as you nervously scanned the crowd, you spoke into the mic, “hi.. my name is y/n. uh.. i’ll be singing some songs tonight. i figured since it’s christmas eve, i could sing through a few.. christmas classics or whatever. so.. yeah!”

a few people in the audience laughed at your awkwardness.

you sang through last christmas first, which really boosted your confidence. the audience was very interactive, singing, dancing, and clapping along.

you sang a few other christmas classics. santa baby, let it snow, things like that.

and then.. it was time for the section you very much dreaded. your songs.

“so.. these next few songs are songs that i wrote. they’re.. like.. my babies. so.. please be nice to them,” you laughed.

you nodded to the band. a silent signal that they could start the music.

“when you first told me about her, you said she was thirty. and i just can’t help but think.. you knew it was dirty. and maybe you were just a little sad, but there’s no excuse to lie to me like that. but when you first told me about her, you said she was thirty,” you took a deep breath before belting the chorus, “but she’s only twenty-eight. i’m not even half her age. she probably just had her first high school reunion. you’re probably the first guy she’s ever moved in with. you think that i wanna hate. but you set me up this way. so for my health i’ll be blocking your number, ‘cause you couldn’t wait till i got a bit older.”

the crowd cheered, giving you more confidence as you walked around the stage.

“and sometimes i kinda feel like i wanna forgive. but it never crossed your mind that maybe i’m still a kid. and i’m so used to being the adult. even when you say it’s not your fault. but i’m kinda getting sick and tired of crying. so please stop lying, and lying, and lying. she’s only twenty-eight. i’m not even half her age. she probably just had her first high school reunion. you’re probably the first guy she’s ever moved in with. you think that i wanna hate. but you set me up this way. so for my health i’ll be blocking your number, ‘cause you couldn’t wait till i got a bit older. to tell me she was twenty-eight.”

as the drums and electric guitar got more intense, the lights flashed different colors.

“to tell me she was twenty-eight… what the fuck is twenty-eight? you said she’s mature, so that makes it okay. and you said she likes sports, so that makes it okay. and she’s actually pretty, so that makes it okay. but there’s nothing you can say that makes twenty-eight okay.. to me.”

the crowd cheered as you lowered the mic. a smile overtook your face as you laughed.

you walked back over to the mic stand, putting the mic in the slot as a slow, piano-ballad type song started. the lights switched to a soft white.

“they’re always charismatic. and they’ll turn up the charm. their words do something magic, saying no is really hard. they’re over-generous, you’ll never pay the bills. they’ll fall in love in seconds. die for you, or probably kill. ooh. and after six months, you’ll feel really stupid. ooh. i promise that it’s not your fault you fell for it,” you shook your head, keeping your eyes closed as you sang, “‘cause.. one little fight breaks into war. feels like you’re dying on the bathroom floor. you’ll make an excuse. you’ll say that it’s you. and the mirror’s telling you it’s true. won’t leave, can’t stay. how much are you gonna take? ‘cause you’ll always take the blame. it feels like shit, but that’s just how it is. when you love a narcissist. so if you’re feeling crazy.. i wouldn’t be surprised. the only thing they’re good at’s knowing how to gaslight. then make you feel like the most beautiful in the world. while they’re sleeping with another girl. ooh. and after six months, you’ll feel really stupid. ooh. i promise that it’s not your fault you fell for it, ‘cause.. one little fight breaks into war. feels like you’re dying on the bathroom floor. you’ll make an excuse. you’ll say that it’s you. and the mirror’s telling you it’s true. won’t leave, can’t stay. how much are you gonna take? ‘cause you’ll always take the blame. it feels like shit, but that’s just how it is. ‘cause i felt like shit. so i know how it is. when you love a narcissist.”

the crowd cheered as it went straight into another song.

“when you’d yell, i would stay quiet. you never noticed i was quiet. i was taught that speaking up was talking back. always first to say, ‘i’m sorry’, ‘cause i wanted you to like me. and i thought that’s what it took to make it last. it’s a lose, lose. that i don’t choose. but you don’t always choose the ones you love. i shouldn’t have to be the bigger person. how come i have to break to keep us working? it’s always up to me, even though it shouldn’t be. i’ll take the blame the way you want me to. ‘cause that’s what i do for you. i was half of this dynamic. i was stable, you were manic. without you or with you comes with a cost. i got used to the excuses and emotional abuses. we kept moving the lines we never crossed. it’s a lose, lose that i don’t choose. but you don’t always choose the ones you love. shouldn’t have to be the bigger person. how come i have to break to keep us working? it’s always up to me, even though it shouldn’t be. i’ll take the blame the way you want me to. ‘cause that’s what i do for you. i always think it’s over, but it never really is. but i can’t get the closure when you’re like this. can we switch? maybe this time you’ll be the bigger person. ‘cause i’m getting tired of carrying all your burden. it should be up to you, but you won’t admit the truth, oh-oh. shouldn’t have to be the bigger person. how come i have to break to keep us working? it’s always up to me, even though it shouldn’t be. i’ll take the blame the way you want me to. ‘cause that’s what i do for you.”

the crowd cheered again.

“thank you! we have.. four more songs tonight. this next one is would’ve, could’ve, should’ve.”

a crew member came and slipped an electric guitar around your neck. you quietly thanked them as you cleared your throat and the music started.

“if you would’ve blinked, then i would’ve looked away at the first glance. if you tasted poison, you could’ve spit me out at the first chance. if i was some paint, did it splatter on a promising grown man? and if i was a child, did it matter? if you got to wash your hands? oh-oh, oh. all i used to do was pray. would’ve, could’ve, should’ve. if you’d never looked my way, i would’ve stayed on my knees. and i damn sure never would’ve danced with the devil at nineteen. and the god honest truth is that the pain was heaven. and now that i’m grown, i’m scared of ghosts. memories feel like weapons. and now that i know, i wish you’d left me wondering. if you never touched me, i would’ve gone along with the righteous. if i never blushed, then they could’ve never whispered about this. and if you never saved me from boredom, i could’ve gone on as i was. but, lord, you made me feel important… and then you tried to erase us. oh-oh, oh. you’re a crisis of my faith. would’ve, could’ve, should’ve. if i’d only played it safe, i would’ve stayed on my knees. and i damn sure never would’ve danced with the devil at nineteen. and the god honest truth is that the pain was heaven. and now that i’m grown, i’m scared of ghosts. memories feel like weapons. and now that i know, i wish you’d left me wondering. god rest my soul, i miss who i used to be. the tomb won’t close, stained glass windows in my mind. i regret you all the time. i can’t let this go, i fight with you in my sleep. the wound won’t close, i keep on waiting for a sign. i regret you all the time…. if clarity’s in death, then why won’t this die? years of tearing down our banners, you and i. living for the thrill of hitting you where it hurts. give me back my girlhood, it was mine first,” as you held the note, the crowd screamed.

“and i damn sure never would’ve danced with the devil. at nineteen. and the god honest truth is that the pain was heaven. and now that i’m grown, i’m scared of ghosts. memories feel like weapons. and now that i know, i wish you’d left me wondering. god rest my soul, i miss who i used to be. the tomb won’t close, stained glass windows in my mind. i regret you all the time. i can’t let this go, i fight with you in my sleep. the wound won’t close, i keep on waiting for a sign. i regret you all the time. oh, god rest my soul, i miss who i used to be. the tomb won’t close, stained glass windows in my mind. i regret you all the time. i can’t let this go, i fight with you in my sleep. the wound won’t close, i keep on waiting for a sign. i regret you all the time.”

with the final strum of your electric guitar, the crowd stood up to applaud. the crew member switched out the electric guitar for an acoustic one.

“this next one is called ceilings.”

a little bit more applause.

“.. ceilings. plaster. can’t you just make it move faster? lovely to be sitting here with you. you’re kinda cute, but it’s raining. harder. my shoes are now full of water. lovely to be rained on with you. it’s kinda cute but it’s.. so short. then you’re drivin’ me home. and i don’t wanna leave, but i have to go. you kiss me in your car. and it feels like the start of a movie i’ve seen before. before… bedsheets, no clothes. touch me like nobody else does. lovely to just lay here with you. you’re kinda cute and i would say all of this. but i don’t wanna ruin the moment. lovely to sit between comfort and chaos.. but it’s over. then you’re driving me home. and it kinda comes out as i get up to go. you kiss me in your car, and it feels like the start of a movie i’ve seen before.. but it’s not real. and you don’t exist. and i can’t recall the last time i was kissed. it hits me in the car. and it feels like the end of a movie i’ve seen before. before.”

you laughed as you saw melanie and your friends stand up in the back of the bar, dancing on stools.

“i can see my friends dancing.. so badly because they love the next song,” you laugh.

“once the flight had flown. with the wilt of the rose. i slept all alone. you still wouldn’t go. let’s fast forward to three hundred takeout coffees later. i see your profile and your smile on unsuspecting waiters. you dream of my mouth before it called you a lying traitor. you search in every maiden’s bed for something greater, baby. was it over when she laid down on your couch? was it over when he unbuttoned my blouse? ‘come here,’ i whispered in your ear in your dream as you passed out, baby. was it over then? and is it over now? when you lost control. red blood, white snow. blue dress on a boat. your new girl is my clone,” you smiled, knowing was part comes next. “and did you think i didn’t see you, there were flashing lights. at least i had the decency to keep my nights out sight. only rumors ‘bout my hips and thighs, and my whispered sighs. oh, lord. i think about jumping. off of very tall somethings. just to see you coming runnin’, runnin’. and say the one thing i’ve been wanting, but no. let’s. fast forward to three hundred awkward blind dates later. if she's got blue eyes, i will surmise that you'll probably date her. you dream of my mouth before it called you a lying traitor. you search in every model's bed for something greater, baby, was it over when she laid down on your couch? was it over when he unbuttoned my blouse? ‘come here,’ I whispered in your ear in your dream as you passed out, baby. was it over then? and is it over now? oh. oh. think i didn’t see you? there were flashing lights. at least i had the decency to keep my nights out sight. only rumors ‘bout my hips and thighs, and my whispered sighs. oh, lord. i think about jumping. off of very tall somethings. just to see you coming runnin’, runnin’. and say the one thing i’ve been wanting, but no. let’s fast forward to three hundred takeout coffees later. oh. i was hoping you’d be there. and say the one thing i’be been wanting… but no.”

another round of applause as you passed off the guitar.

“so.. this song is not my song. i am.. very nervous for this, but.. this is sign of the times.”

you closed your eyes tightly as the music started, “just stop your crying, it’s a sign of the times. welcome to the final show. hope you're wearing your best clothes. you can't bribe the door on your way to the sky. you look pretty good down here. but you ain't really good.. we never learn, we been here before. why are we always stuck and running from the bullets? the bullets? we never learn, we been here before. why are we always stuck and running from the bullets? the bullets? … just stop your crying it’s a sign of the times. we gotta get away from here. we gotta get away from here. just stop your crying, it’ll be alright. they told me that the end is near. we gotta get away from here. just stop your crying, have the time of your life. breaking through the atmosphere, and things are pretty good from here. remember everything will be alright. we can meet again somewhere. somewhere far away from here.. we never learn, we been here before. why are we always stuck and running from the bullets? the bullets? we never learn, we been here before. why are we always stuck and running from the bullets? the bullets? just stop your crying. it’s a sign of the times. we gotta get away from here. we gotta get away from here. stop your crying, baby, it'll be alright. they told me that the end is near we gotta get away from here. we never learn, we been here before. why are we always stuck and running from the bullets? the bullets?” you finally opened your eyes, trying to find melanie, but instead, you find the last person you expected to be here.

the man whose song you’re literally singing.

harry was slightly weary when an over-excited girl with light pink hair came up to him and asked him — begged him, really — to come to her best friends show. he wasn’t sure what convinced him. or what possessed him to bring his mother and gemma along with him.

but he had to say, he didn’t.. regret it.

you were pretty — extremely pretty. and you were a crazy good singer. he was pretty sure you were singing his song better than him.

you swallowed your nerves as you sang the chorus and bridge, keeping eye contact even though you felt like shitting your pants. “we never learn, we been here before. why are we always stuck and running from the bullets? the bullets? we don't talk enough. we should open up. before it's all too much. will we ever learn? we've been here before. it's just what we know. stop your crying, baby. it's a sign of the times. we gotta get away. we got to get away..” you finally looked away, closing your eyes. “we got to get away. we got to get away. we got to get away. we got to, we got to, away. we got to, we got to, away. we got to, we got to, away.”

you let out a shaking exhale as the song ended, backing up from the mic. you bowed and blew kisses to the audience before practically sprinting offstage.

to: mel x

WHAT THE FUCK MELANIE WHY THE FUCK DID INJUST MAKE EYE CONTACT WITH HARRY STYLES WHILE SINGING SIGN OF THE TIMES IM GONNA KILL

MY

SELF.

from: mel xx

NOOO I INVITED HIM ITS FINE

to: mel xx

you

what.

from: mel xx

I SAW HIM A WEEK AFTER WE BOOKED YOU THE GIG AND MIGHT HAVE BEGGED HIM TO COME BECAUSE I KNOW YOU WANT TO MEET HIM AND WHAT BETTER WAY THAN THIS

to: mel xx

oh i dunno

ANY OTHER WAY?

from: mel xx

BABE IT IS FINE

HE BROUGHT HIS MUM AND GEMMA TOO

to: mel xx

WHAG

from: mel xx

HE SAID HE LOVED IT AND U WERE OHENOMENAL

NOW GET OUT HERE AND MEET HIM

after taking ten minutes to breath, you walked over to the bar, finding melanie pretty easily.

“i love you so much for playing is it over now!”

“i played it just for you and your psycho obsession with it,” you laughed as she yanked you into a hug.

you two pulled away, and you turned around when you felt a presence behind you.

your eyes widened when you were face to face with harry fucking styles.

“hey.. y/n, right?”

you blinked a few times… that couldn’t be real. this was most definitely a prank.

“.. are you alright?”

“yes! sorry, i’m.. yeah, i’m good. hi, yeah. i’m.. y/n.”

he smiled at you, “i’m harry. but.. you seem to already know that, since y’sang my song and all.”

“i.. yeah, i do know who you are,” you laugh awkwardly.

“well, i’m glad to know who you are as well.”

you had to bit your lip to keep from smiling like a psycho.

“oh, and uh.. happy christmas,” he smiled.

you furrowed your brows, grabbing your phone.

12:01, 25 december 2018

happy christmas, indeed.

a/n: edging 😛 LMAO this might get another part, it lowk just depends on how well it does!!

[maxwell-grant]

 🎶✨ When you get this u have to put 5 songs u actually listen to, publish. Then, send this ask/tag 10 of your favourite followers ✨🎶

tagged by @artbyblastweave. Thanks! Well now I have to curate my playlists for this so I don’t look like some kind of dweeb plugged into videogame music and Youtube instrumental-only recs 24/7, what would the neighbors say?

Rejoice by Devin Townsend

I’ve been paying more attention to the rest of Townsend’s discography and I’ve been really loving it, been listening to Z² a bit lately and I’m highlighting Rejoice in particular. I got a new job recently, and it’s a really good job, I really really need the money, but it also takes 2-3 hours of subway/bus surfing to get to, which involves a lot of walking, which I usually enjoy doing except I'm usually racing on a schedule, and ever since I twisted my ankle a couple years ago I’ve been dealing with chronic pain that's gotten so much fucking worse since I took this job, feels like daggers stuck in both of my feet all day, so that part of the chorus that goes “IT HURTS, SO MUCH” tends to be pretty cathartic to listen to in the ride. Because yeah, it fucking hurts Mr Ziltoid, thank you for screaming that with a cool backing track, limping home feels way less shitty with cool music as added fuel.

-O U T - O F - I D E A S - by Dankmus

Good YTPMVs just scratch an itch nothing else does. Generally the better YTPMVs come from sickos who painstakingly sample and edit every little scrap of sound the source material gives them, like iteachvader who goes through the most batshit lengths to cannibalize ASotH into a uniquely consistent musical soundboard, but Dankmus is closer to those that use the source as added spice for a whole new instrumentation, which is usually less fun, but he’s doing on such an absurd level of quality. He makes the most hypnotically catchy music with Simpsons meme soundbits intertwined inseparably and it works so marvelously. The vocals and synth of this one in particular get stuck in my head a lot.

Iron Horse / No Man’s Land by Mean Mary, couldn’t pick one

Stumbled onto these by sheer accident looking for songs to match WIP-specific keywords. Banjos tend to be associated so frequently as a comedy instrument but every now and then something like this knocks you over with sheer skill and mood alone. Really love her voice and enunciation, her songs are wonderful instrumentals even without it but her voice is so great, so full of character, so dramatic. She’s very quickly become one of my favorite vocalists to listen to.

Confessions Part II (feat Colin Stetson) by BADBADNOTGOOD

Some of the punchier tracks of BBNG are music for when you need to absolutely and completely need to get your brain hotwired enough to willpower through sewage. They play the soundtracks that manifest when you need to groove while your eyeballs are twiching and sparks fly off your temples and your hands grip the desk and the work is just not gonna fucking end anytime soon but you’re not quitting now, and then when the saxophones start blaring nonstop it’s like they’re screaming and roaring and raving the way you wish you could do right now, and then they hit you with a nice spitzy beat that makes it a little easier to put up with the next minutes or so (is spitzy even a term? Probably not, but it feels right for them), and the music dips into one layered intensity after another and then it grabs your head and shakes it loose and makes it feel like any second now your spine is gonna spring out of your neck like a snake nut can and somehow, it feels like that would be a nice thing to happen that might even fix your back and hey, I feel better now.

Boi Luzeiro por Cordel do Fogo Encantado

Putting links to both the audio as well as a live performance, audio quality’s different but watching the performers go wild on drums and one vocalist taking center shmooving with a pandero at hand is indispensable (to not spoil the ending as well). I’ve been trying lately to branch out tastes and listen to more Brazilian music and I really enjoy northeastern Brazil styles, feels like rediscovering something I always liked and never really had any reason to not listen to more. Not sure it translates too well into English but I really love the song’s concept and lyrics, love the cordel theme the band uses, love the drums and beat ramping up intensity, love the vocals, love the progression, VEM TACAR FOGO NO MUNDO, EI HEI-EI HEI - QUANDO O DIA NASCER E MORRER, EI HEI-EI HEI, QUANDO O DIA NASCER E MORREEEER. Maracatu music just hits differently and I’ve been missing out big time.

tagging @krinsbez, @jcogginsa, @deathchrist2000, @zoanzon, @mirrorfalls, @irregularjohnnywiggins, @about-faces, @totallynotagentphilcoulson, @khancrackers, @thedeathalchemist

[hugepolecat3298]

i understand haruka got android girl because it’s the sequel to two breaths walking because if deco goes 6 months without making a sequel or remaster he explodes but i dont think he will make it sound good i have the least faith in him that you could possibly imagine. sorry mr horie

[gingeralepdf]

Walk On By - Part 1

shoutout to @harrylefleur​ for this^ amazing edit!! thanks again for letting me use it, it’s perfect!!

A/N: hello!! i’ve been slowly cooking up this 70s dealer!harry au (also known as shroomrry) fic ever since the first italy pics surfaced. i had a lot of fun writing this, so i hope you have fun reading it! another massive thank you to brailey @daydreamsofh​ for yelling about shroomrry with me since the very first rough draft. your encouragement and support means so much to me!! ily <3

****DISCLAIMER/WARNING: This fic includes scenes in which characters purchase and consume recreational drugs (psilocybin mushrooms) as well as purchase and consume alcohol. If any of this makes you uncomfortable, please do not feel pressured to read or interact with this fic. And do not consume if you are underage.****

You’re simply buying magic mushrooms from Harry. However, if you keep running into each other, is it going to stay that simple?

word count: ~5k

🌈✨🍄✨🌈✨🍄✨🌈✨🍄✨🌈✨🍄🌈

**August 30th, 1977, Inglewood, California**

The evening sun beats down on you as soon as you step off the bus. You walk away from the door before reaching for the sunglasses hanging from the collar of your shirt and slip them onto your face before wiping the small beads of sweat from your brow.

“Stuffiest bus ride of my life.” Your roommate and partner in crime, Jenny, walks over to your side. She leans her head back and groans toward the sky, as if to broadcast her misery to anyone that will listen.

“Really? I thought it was a five star experience,” you reply flatly.

Jenny scoffs and looks at you in disgust before shoving your shoulder. “What bus were you on then?”

Your laughs quickly turn into blissful sighs of relief when a breeze picks up. A brief intermission from the heat and residual stickiness on your skin from the crowded bus ride.

“You’ve still got the tickets and the money, right?” Jenny asks.

“Yep.” You pat your purse. “You’ve still got that guy’s license plate number, right?”

Jenny reaches into her pocket and pulls out a folded piece of paper, “Yep.”

**********************************

The sign outside of the Forum looms over your heads as you enter the parking lot. The large black letters on the sign simply read ‘FLEETWOOD MAC. NIGHT TWO. SOLD OUT’. Even more gigantic is the Forum itself. You’ve been to a couple of shows at this venue before today, but you still can’t get over just how massive it is. It makes you feel so small even when you’re standing one hundred feet away from it.

Your mind begins to buzz with excitement and anticipation knowing that you’ll soon be inside seeing possibly one of the most in-demand shows of the year. It’s incredibly lucky that you were able to score these tickets anyway. Having a job at a radio station definitely has its perks.

You’re pulled out of your thoughts by Jenny’s nudging elbow. She holds the paper that has the numbers and letters of a license plate number scrawled on it in front of both of you.

“He drives a blue Pontiac Tempest. He said he was gonna try to park in the third row,” she says.

Both of you look at the paper for a minute, trying to commit the number to memory before setting out to comb the parking lot in search of this mystery man.

With all the other people milling around and gathering in the line outside of the venue, you wonder how many of these people are on a similar mission as you and your friend.

You turn to Jenny, “Do you know what this Harry guy looks like?”

“Uh,” Jenny draws out before pulling her gaze from the line of cars beside her. “My cousin Kathryn said he’s white,” she begins listing things off on her fingers, “has brown hair, has a lot of tattoos, and he’s British,” she looks at you and wiggles her eyebrows.

Jenny laughs when you roll your eyes, “Oh my god I know he’s British. You’ve been going on and on about how he sounded on the phone.” You walk a few more paces before asking, “How does she know him again?”

“They work together at the record store. You probably would have already met him if you weren’t so pretentious about where you buy your records.”

You switch from scanning over license plates to squinting at Jenny, “I’m not pretentious, the owner of that place is just an asshole.”

“You say that about nearly every record store owner.”

“Only the ones that are fifty year old men who constantly degrade female customers’ music tastes.”

Jenny sighs. “Yeah, you’re right. Most of them are assholes.”

“Hey, maybe with your business degree you can be the first record store owner that’s not an asshole.”

She smiles at you and taps her temple with her index finger. “That’s not a bad idea.” Her eyes flit over your shoulder. She stops abruptly and grabs your arm, “Oh-- hey, I think that’s him right there.”

You turn to follow her gaze. Immediately you spot the blue car. You both take another look at the note in Jenny’s hand. Sure enough, the license plate on the car in front of you is a perfect match.

So this is Harry. He has his head down and his eyebrows are furrowed in concentration just beneath the frames of his yellow sunglasses. There’s a pencil behind his right ear and his left elbow is resting on the door frame, sticking out of his rolled down window, while his fingers are mindlessly fiddling with his neat mustache. On that same arm, you see scattered tattoos that begin at his wrist and run all the way up into the sleeve of his green and white striped t-shirt. You weren’t sure what you had been expecting of this man, but you can’t help but be struck by how handsome he is. The low hanging sun is casting golden light through his back window, shining through the ends of his brown tousled hair.

The pressure of a hand on your back pushing you forward causes you to whip around.

“Could you go talk to him?” Jenny asks softly.

You give her a ‘what are you talking about?’ look, “You’ve already spoken to him on the phone, Jen, he doesn’t know me.”

“I mentioned you,” she pleads. “Ugh I know I talked to him on the phone but now that I see him in person I’m too nervous.”

You take another look at Harry and look back to Jenny. “Okay, come on.”

As you get closer to his car with Jenny trailing behind you, you begin to hear the music blasting from his radio. Hearing the chorus of “Dancing Queen” somehow makes this situation a touch less intimidating.

You take your sunglasses off your face and hang them from the collar of your shirt. You  clear your throat once you feel like you’re close enough, hoping this would catch his attention. When he doesn’t move, you open your mouth only to realize that you have no idea what you want to say.

“Um,” you hesitantly mumble to yourself as you reach up and knock on the top frame of his window.

He slightly jumps and pulls his arm into the car in response. He mutters a ‘fucks sake’ before quickly turning his head to you, his eyebrows now creased in aggravation.

You jerk your hand back to your side. You’re not sure if it’s the pressure of having to do the talking or his intense stare, but you suddenly can't seem to string a full sentence together.

“Hi. Sorry. I, er--, we... um. We were supposed to--”

Harry looks past you to glance at Jenny and his face softens. He reaches over to turn the radio down before pointing his finger between the two of you, “Kathryn’s friends?”

“Yes,” you sigh in relief.

He nods, brushes a few stray hairs from his forehead and tilts his head toward the passenger seat. “Yeah, come on in.”

Hearing his soft British accent is a lot more endearing than Jenny’s annoying impressions of what he sounded like on the phone.

Jenny follows you around to the passenger side door and you pull on the handle.

When it doesn’t open, you reach through the window for the lock. You freeze when Harry’s hand meets yours. You lower your head slightly to look through the window and see him leaned over, still staring at your hands that are both grabbing the lever. He looks up at you and slightly shakes his head.

“Sorry,” he mumbles as he pulls his hand away and reaches to lean the passenger seat forward.

You open the door and gesture for Jenny to climb in first. After you get in and close the door behind you, you plop down in the back seat next to Jenny, who’s sitting behind Harry. You do your best to hold back a hiss when the heat from the light blue leather seats burns through your trousers and the back of your thin t-shirt.

The car smells fresh and is very tidy aside from a few crushed gum packages on the floorboard. Two little tree air fresheners hang from his rearview mirror, swaying in the slight breeze. You peep down to his dashboard and smile.

“I like your stickers,” you blurt out, pointing to the smiley face sticker and the strawberry sticker above the volume and tuning dials on his radio. Mostly, you’re trying to make amends for startling him a second ago, but you’re also trying to dispel some of your nerves that are still fluttering around in your stomach. The mental image of him peeling stickers from a sheet and putting them on there himself seems to be helping a little bit.

“Thanks.” He cracks a smile over his shoulder. You catch a glimpse of a dimple indenting his cheek. You visibly relax your shoulders upon seeing a change in his demeanor. “Would you mind reminding me of your names?” He asks, taking a glance at his rearview mirror.

You both introduce yourselves.

“So it was you that I spoke with on the phone last week?” he asks, turning in his seat and looking at Jenny.

“Yeah, that was me,” she grins.

“Right,” he huffs. “So I know what you’re both really here for but,” he trails off as he reaches into his lap and holds up a folded newspaper, displaying the daily crossword puzzle. “Are either of you any good at these?” He shakes his head, “I’ve got like... three left and it’s driving me crazy.”

Jenny hums as she takes the paper from Harry’s hand and holds it up between you. Coincidentally, Jenny happens to be very good at these puzzles, often taking this same section out of the paper every day.

She puts her finger up to the page and begins counting the boxes in one of the columns. “Fourteen down is ‘questionnaire’.”

As you skim over the page, you catch an error that could be hanging him up. “And seven across is misspelled. ‘Memento’ should start with M- E- instead of M- O-.”

Both of you look back up at Harry and Jenny hands the paper back.

In the same motion he takes the paper from Jenny and takes the pencil from behind his ear. He sets the paper on his center console and brings his bottom lip between his teeth as he erases and fills in the boxes on the puzzle.

You and Jenny exchange a private laugh. If anyone had asked the both of you to predict how this interaction was going to go, this would not be part of it.

“Well. Thanks. It probably would have taken me forever to get those.” He tosses the paper and pencil on the floorboard in front of the passenger seat and uses his finger to push his sunglasses back up the bridge of his nose. “Now, do you have cash with you?”

The shift in his tone catches you off guard, the friendly lilt in his voice being replaced by one more quiet and flat.

Jenny looks over at you.

“Oh yeah, sorry.” You pull four ten dollar bills from your purse and hand them to Harry.

He fans them out before folding them twice and putting them in his pocket. He opens his console. There’s some shuffling before he closes it again and carefully passes you two small envelopes. “Should be one gram in each of those.”

You lean forward in an attempt to shield your actions from people who may be passing by. Carefully, you break the tape seals across the front of the envelopes with your thumb and take a peek inside. Satisfied with the amount of shriveled mushrooms you see, you reseal the envelopes and stuff them into your purse.

“You’ve both taken these before, right?” Harry asks.

“Yeah, a few times before this,” Jenny says.

“Nice. So you know they usually take about half an hour to start working and you’re probably in for about four to six hours of effects and all that?”

“Yeah,” you and Jenny say in unison.

“Okay, I just-- I always want to make sure, you know?” Harry scratches his chin and looks to the side in thought. “Did you drive here?”

You shake your head. “No, we took the bus. And Alice, our friend, is gonna pick us up after the concert.”

He nods, “Okay, good.” He lowers his voice. “The last thing I’ll say is I’ve seen quite a few cops around so… if I were you I’d duck into a bathroom or something to take those.” He slightly raises his hands, “But obviously all of that’s up to the both of you so…” he trails off and shrugs. “Ultimately I hope you both have fun.” He looks at you with a sincerity that puts you at ease. It makes you feel a lot better that he seems to genuinely care about both of you being safe and having an enjoyable experience. You can’t say the same for other dealers you’ve come in contact with.

“We’ll just see what happens I guess,” you shrug back.

“I think we should head in now.” Jenny says, craning her head past Harry to look at the line of people. She pats the back of his seat. “Thanks so much, we really appreciate it.”

“Sure, was great to meet you both.”

“Was good to meet you. Are you going to the show as well?” you ask while reaching forward for the door handle.

He instantly perks up. “I am. Managed to get a ticket. It’s in the nosebleeds but…”

“I had nosebleeds when Queen was here a few months ago and it was still a fantastic show,” you reassure him. You climb out and hold the door for Jenny. “I’m sure you’ll have a great time. Take care!”

You close the door and wave goodbye.

You and Jenny link arms as you’re walking toward the venue, and extra spring in your steps after jumping that hurdle.

She whispers, “I told you he was British.”

“Jen.” You roll your eyes and elbow her side.

You look over at your friend who’s now covering her mouth with her hand, poorly concealing her laughter. You steal a glance over your shoulder. The last thing you see before you turn back around is Harry staring directly back at you.

**********************************

Jenny walks in front of you, weaving through the groups of people as you both search for a water fountain to wash the earthy taste of the mushrooms from your mouths.

You both join the line behind the fountain closest to the main entrance. When Jenny leans down to take a drink, you spot a familiar green and white striped shirt amongst the crowd of people streaming in. Harry is strolling by, heading toward the arena entrance.

He glances in your direction and does a double take. He instantly grins and raises his eyebrows at you, giving you a thumbs up before mouthing ‘have fun’ and disappearing around the corner.

Your cheeks warm and your stomach flutters.

After you’ve had a drink from the fountain, you and Jenny make your way into the expansive arena and join the crowd of people in general admission.

About half way through the opening act, just as you’re about to ask Jenny if she feels anything happening yet, you see her looking at you fervently and everything around you starts to feel dream-like. The spotlights on the stage begin to look like halos, making it impossible for you to turn away. You start to feel as if the music you’re hearing is coming from your own body. The drum beat bursting through your chest and every note from the guitars coming from the tips of your fingers and the ends of your hair.

The euphoria of being surrounded by love and joy takes over you, making you laugh and dance and sing until the music comes to an end.

**********************************

You’re sitting on the sidewalk outside of the Forum, legs crossed in front of you with your elbows resting on your knees and your head resting in your hands. The concrete  has finally cooled off after the heat of the day. You’re hunched over, currently transfixed by a trail of ants marching along the smooth surface in front of you.

“It’s like you can hear all their little footsteps,” you say, your eyes open wide in awe.

Jenny, who’s sitting across from you in a similar position, giggles in response to your observation before gasping. “I hear them too.”

Both of you snort and break out into unrestrained laughter. It’s never felt so good to have the sound of laughter ringing through your ears.

After a moment, you start to hear the sound of something else. It sounds like your name is being called, but it’s not coming from Jenny. You hear your name again, closer now. It sounds as if it’s echoing from the enormous wall of the Forum right next to you. Your eyebrows pull together in confusion and curiosity as you slowly turn your head to look over your shoulder.

You’re immediately filled with excitement upon seeing the friendly face walking toward you.

“Harry!” you exclaim, waving wildly.

A smile spreads across his face and you swear little sparkles appear next to his dimples.

You can’t take your eyes off of him as he makes his way over to stand next to you and Jenny. You have to crane your head back to see his face from your position on the ground.

“Hey, you alright?” he eyes both of you curiously.

You simply nod in response.

“What are you guys still doing here?”

Jenny sighs as if this is the twentieth time he’s asked, “We’re waiting for Alice.”

“Well,” he trails off while scratching the back of his head, “you probably don’t know this, but the concert ended about two hours ago.”

For whatever reason, this sends you and Jenny into a fit of howling laughter.

Jenny suddenly stops and looks at you wide eyed. “Hey, lets just take the bus home.”

You gasp and grab Jenny’s shoulder, marveling at her great idea. “The bus! Let's take the bus!”

You rise up to your knees with a newfound surge of energy and Jenny follows.

“No no no no no,” Harry surges forward and presses one of his hands on your shoulder and the other on Jenny’s, urging both of you to sit down.

He sinks to the ground along with you, propping himself on one knee. “Do you have Alice’s number with you? I can try giving her a call?”

It takes you a minute to realize that he’s speaking to you. “Yeah I have my address book in my purse--,” you look down to your side and freeze at the sight of the zipper on your bag. Your stomach drops. You definitely do not want to put your hands anywhere near the jagged edges of the zipper that are suddenly taking on the shape of menacing teeth.

You barely hear Harry let out a breathy laugh. You look up to him and he points to your bag. “Need some help?”

“I….. uh…..” You’re not completely sure what to focus on or how to put your thoughts into words.

Before you can ask for help, he slowly reaches out and takes your bag between his fingers, bringing it away from its resting place on your hip. “S’ this alright?” he asks softly.

“Yeah.”

He slowly unzips the bag and you grimace at the unsettling noise. Once it’s been opened all the way, he slightly tilts it toward you and asks, “Can I look inside? Or do you wanna do it?”

You flinch away and shake your head profusely, raising your hand up as a barrier between you and the bag. “No, you do it.”

He looks down, reaches his hand into your purse and starts carefully poking through it.

Your shoulders relax as you turn your focus to his hair. It seems to be much curlier and fluffier than before. It looks… inviting, like a soft blanket that you want to curl up into. It seems to have its own gravitational pull. You lean forward, bury your nose in it and take a deep breath in. The smell of apples and some cologne you don’t recognize and the scent of his sweat swirl together in an exhilarating way.

Harry slowly lifts his head up and eyes you suspiciously over the frames of his sunglasses that have slid down the bridge of his nose. Now that you’re sitting here eye to eye with him, you notice every single detail of his face that you hadn’t been privy to before. Every eyelash, the crease between his eyebrows and the way one of them is slightly raised. The deep set dimple in his cheek due to the smirk pulling up on one side of his mouth. The thin green irises of his eyes.

The more you look into them, the bigger they get, and the more you’re able to see your own reflection in his pupils. You tilt your head and smile as they keep growing in size. Just as they're getting to a comical level, making him look more like a cartoon character, you notice a blush creep onto his cheeks.

He folds his lips into his mouth, blinks rapidly, and shakes his head before returning to his search through your purse.

Harry finally pulls out your yellow leather address book. The white daisies printed on the cover seem to dance and twirl in place when he holds the book up and opens it.

Your purse is returned to its previous position on your hip before he looks at you again. He points his thumb over his shoulder at the payphone a few feet from you. “I’m gonna go call Alice. You guys just stay right here, alright?”

When he starts to get up to his feet, you blurt out, “I have dimes you can use.”

The corners of his mouth turn up and he waves you off, “That’s alright, I’ve got some.”

You watch as he walks over to the payphone. You watch as he digs into the pocket of his jeans and pulls out a handful of coins in his palm. He inserts a dime into the coin slot and cradles the phone between his shoulder and ear. You watch his every move until the stripes on his shirt begin to ripple as if they’re made of water. This plus the flickering light above the phone becomes too much for you to handle.

You lay on your back with your hands folded across your stomach and begin to take in the stars in the sky, which are somehow less overwhelming than a simple striped t-shirt.

You’re not sure how long you stay like this. You feel like you’re so close to the stars in the night sky that you could reach out to touch one, or maybe even cradle one in your hands to feel its warmth. The sound of Jenny sitting next to you humming some tune you don’t quite recognize only adds to the peacefulness you’re feeling.

A bright light suddenly overwhelms your vision and you look over to your left to see a pair of headlights coming toward you. You hoist yourself up from the ground and bring your arm up to shield your eyes from the blinding light.

The car screeches to a halt at the curb. The first thing you see after the driver’s side door opens is a head of curly hair that can only belong to your friend Alice.

“Holy shit you guys. I’m so so so sorry.” She rushes over to where you and Jenny are sitting. Only half of the words she’s saying are even registering in your mind. “I ended up falling asleep and then there was a car wreck on the freeway and traffic was backed up for miles and-” She stops in her tracks once she’s standing in front of you and snorts out a laugh. “Oh my god you guys are so fucking high.”

Her laughter is interrupted by Harry. “Are you Alice?”

“Yeah, who are you?” she replies with a slight edge to her voice.

“Sorry. I-- I’m Harry. I... uh… I gave them the…”

“Oh you’re Harry. Well. Thanks so much for sticking around with them but I can take it from here.” She shakes hands with Harry before extending a hand to Jenny, helping her stand up and walking her to the car.

Meanwhile, you slowly make your way to your feet and walk over to Harry. He grunts when you clumsily wrap your arms around him in a hug.

“Thank you Harry. You’re a very nice person,” you mumble into the fabric of his shirt.

“You’re… You’re welcome.” The vibration of his chest when he chuckles travels all the way down to your toes. You also pick up the thrumming of his heart beating wildly against your ear. His hand lightly rubs your back.

You soon hear Alice’s voice behind you saying your name. The feeling of her lightly tugging on your t-shirt coaxes you away from Harry and into her arms.

Before you know it, you’re settled into the backseat of Alice’s car next to Jenny and Alice is shifting to drive.

As you slowly pull away from the curb, you steal a glance over your shoulder to see Harry standing on the curb. He has one hand on his hip and the other is scratching his jaw as he watches your car move away. His figure is getting smaller and smaller as you leave the venue. Just before you turn the corner, you see him step over to the payphone again.

**September 1st, 1977, Los Angeles, California**

You take a long sip of your coffee as you carefully place the needle on your record player. After a few seconds of rustling and popping, the first kickdrums of The Five Stairsteps’ “O-o-h Child” fill your living room, followed by a chorus of trumpets.

Jenny left for work early in the morning and you have a day off, so you’re relishing in the freedom of having the house to yourself.

You walk through the doorway into the kitchen where your fried egg is sizzling on the stove. With your free hand, you take a plate from the cabinet and set it on the counter before grabbing a spatula, turning the burner off, and carefully lifting the egg out of the pan onto your plate. You pluck the piece of toast from your toaster and turn to set your plate on the table along with your coffee mug. The only thing missing is the newspaper, which is most likely still sitting at the end of your driveway from the morning delivery.

You pad through the hallway to the front door, turn the lock, and swing it open. As soon as the early fall air hits you, however, you come to a halt and let out a shocked gasp.

An equally startled Harry is standing on your front doorstep with one hand behind his back and the other hovering over your doorbell. All of your systems stall for a moment, as if you’re trying to connect whatever dots you can to make this scene make sense in your brain. You can feel heat quickly spreading all over your face each second you both stand there in silence, which you both break at the same time.

“What are you--?”

“Sorry I--”

You press your lips together and wait for him to continue.

“I’m sorry. I, um,” he clears his throat before dropping his hand by his side, “I should have called ahead of time.”

“What-- uh,” you stop to rephrase your question since What are you doing here? sounds a little more blunt than you’re wanting to be. “What brings you here?”

“I just thought I would stop by on my way to work.” He pulls his hand from behind his back, revealing the yellow and white cover of your address book in his hand. “Wanted to return this to you.”

He must have picked up on your confusion as you take the book from his hand and run your thumb over the cover.

“I’m sorry. I accidentally left it on top of the payphone after the concert. Didn’t realize until you had already driven off. But your address and everything is written in the front so… thankfully it wasn’t hard to figure out how to get it back to you.” He gestures to the book before jamming his hands in his pockets.

“Oh,” you draw out as the realization dawns on you. In the process of debriefing your trip with Jenny and Alice, you thought that Harry had given your address book back to you, concluding that it must have been somewhere in your house. You figured it would turn up someplace unexpected, and technically you turned out to be right. You laugh to yourself, “I thought I lost it somewhere in my house or something. I-- Thank you.”

You spare a glance at him for long enough to catch the tight grin on his face, causing his dimples to indent on his cheeks.

As you’re taking in his loose fitting white shirt and ripped jeans, you’re quickly becoming aware of the fact that you’re only dressed in cotton shorts and your old UCLA t-shirt you had slept in. If this whole interaction had been timed better you at least could have run to your bedroom to throw on pants or a sweater before answering the door. You reflexively cross your arms in front of you.

“So you had a good time, I hope?” Harry’s question interrupts your thoughts.

“Oh, yeah. Alice just brought me and Jenny back here and we sat around listening to music and talking. Then we pretty much spent all day yesterday sleeping so.” You shrug.

“Did your bag give you any more trouble?” he squints, pausing around the word ‘bag’ and giving you a sly smirk.

You scoff and shift your weight to lean against the doorframe. “No, it did not,” you mutter defensively toward the ground.

He breathes a laugh through his nose and you urge yourself to steer the subject of conversation slightly away from the specifics of your high state the other night.

“Also, thanks so much for staying there with us. I mean, who knows what we could have gotten into.”

“Oh, it was no problem. I’ve done some pretty stupid stuff while on shrooms, even when I’m supervised so…” he trails off into a chuckle.

You smile at his confession, somehow you can’t imagine this level-headed man doing anything stupid.

He continues. “Just wanted to make sure you were okay.” After a brief pause he adds, “You and Jenny.”

Your eyes snap up after he corrects himself.

He looks down at your doormat, scratching his chin. His cheeks tinge a light shade of pink.

“Well thank you. And thank you for coming to return this,” you say through a deep sigh, raising the book in your hand.

“Of course.” He looks over his shoulder at his car parked on the curb before turning back to you. “Well, I better get going. Was good to see you.” He nods before turning toward the street.

“Yeah, see you around.”

“Take care!” he calls over his shoulder, throwing a peace sign in the air.

Once he’s walked away, you retreat into your hallway and close the door. Your house is now quiet since the record you were playing has reached its end. There’s nothing to mask the sound of your heart beating out of your chest. You stare at the door for a moment, replaying the conversation in your head.

“See you around?” you mock yourself. “Where are you going to see him around?” You rest your forehead against the door and let out a deep sigh that gradually turns into a groan.

Harry’s car rumbles to a start outside. You don’t want to release the tension in your shoulders until you’re certain he’s driven away.

A thump on the other side of the door makes you jolt back. Your eyebrows furrow in confusion when you look through the peephole and see Harry climbing into his car and shutting the door.

You reach down to the door knob and open the door halfway, barely poking your head out. You can’t seem to find the source of the noise until you look down and see the newspaper rolled up in a rubber band sitting on your welcome mat.

You glance back at Harry just in time for him to flash a smile, give you a wave, and take off down the street.

*************************************************

thank you so much for reading!!

if you enjoyed part 1, please remember that reblogs and/or nice messages mean the world to fic writers. <3

you can find my masterlist here and my inbox here

-> PART TWO <-

[violetarks]

Just A Game: Shouldn't Couldn't Wouldn't

Anime: My Hero Academia

LEVEL DOWN | MENU | LEVEL UP

"Shinso, you don't want to watch with us?" Uraraka questioned, settling down in between Todoroki and Midoriya.

The man shook his head. "No. You guys are probably gonna' watch some boring rom-com." He joked, brushing a hand through his hair.

It's been two days since he last spoke to Y/N.

They were completely cut off from each other. No, they didn't delete their numbers off of their phones, but they weren't talking at all. It gave Y/N time to cool off and work on her song as well as stream sometimes. Shinso worked on streaming by himself and helping others with their videos.

"Y/N came out with a new song!" Uraraka giggled out in excitement, turning on YouTube on the TV, "Only the music video is out for now, but I heard all her friends helped to film it!"

Shinso visibly tensed up at her words. They hadn't mentioned anything about Y/N to him, just guessing that they were having some trouble. But it completely went out of Uraraka's head as soon as she read Y/N's Twitter post that said ''Shouldn't Couldn't Wouldn't' is out now on my YouTube channel!! Go check it out or else I'll send Bakugou after you 😡😡😡'.

Shinso sighed out, "I'm good. I need to make some lunch for us anyway."

They said their 'thank you's to Shinso as Iida told him to be careful in the kitchen. He stood in the kitchen for a while, mind going to Y/N. She looked so hurt when he admitted he lied. And maybe she would've felt better if he just poured out why he felt this way, to lie and such.

The chatter of Todoroki, Midoriya, Iida and Uraraka died down at the girl pressed 'play' on the TV.

Shinso stood behind them in the living room doorway. He didn't want to sit with his friends right now. He just wanted to be alone and watch the music video.

The music came out gently at first. The plucking of the strings on the electric guitar was simple. It sounded like the feeling of falling. The video started out on a blank screen, the words 'Shouldn't Couldn't Wouldn't' on the black background. Underneath showed the people's names.

Vocals: L/N Y/N, Kirishima Eijiro

Guitars: Kirishima Eijiro (lead), Kaminari Denki (back-up electric), Jirou Kyoka (bass)

Drums: Bakugou Katsuki

Cameras: Ashido Mina, Sero Hanta

And then the drum beat came in behind, slowly at first as the first verse came up.

"'By now I got your bad habits all memorized, like, when I know you need me most'," Y/N sung, hand on the microphone as she tugged the wire behind her, "'You go and shut me out, figures, you Gemini."

They decided not to film a big music video, just one in the studio. They got Mina and Sero to dl the camera work, and God, did they do a great job

"Wow, she can really sing!" Midoriya commented before Uraraka quieted him down. She was a huge fan of Y/N's.

"'And I'm not sayin' that I've got, all of the answers, but,'" She kept going, Mina's camera panning to Kaminari who was focusing on the guitar at the moment, "'Boy, I've been in love before'."

Jirou had sung in the harmonies, adding in the ones they agreed on. It sounded like honey.

He wondered who she was in love with before him, and if they did a better job. Y/N admitted that she wanted to be more than friends with Shinso, and he blew it. Maybe the other person who loved her treated her better.

"'It's not always peachy, look, life ain't that easy,'" Y/N kept going, tapping her foot in beat with Bakugou's soft drumbs, "'But one thing I know for sure is it—'"

"'Shouldn't,'" She sung lightly with Jirou behind her, looking up to the camera with a completely 'done' expression, "'Be this hard, you couldn't, DTR. Oh wouldn't, it be nice, if we could stay friends? But we shouldn't.'"

The camera caught how Kirishima and Bakugou glanced at each other before at Y/N. It wasn't very discrete in the shot of the whole band.

Shinso clenched the fabric of his sweater as he watched her. She was gorgeous, on and off camera.

"Y'know what? I couldn't." Y/N went on, one hand brushing the back of her neck whilst the other held onto the microphone, "'Nough's enough. If I had your heart, it wouldn't be this... hard."

She looked deep in thought and would've stayed that way if it wasn't for Kirishima's little riff on his guitar.

Shinso noticed how she looked to the ground, swallowing before looking back up to the camera with a small grin.

She began to walk around the studio, tugging the wire behind her. "You wonder why suddenly, I'm coming off indifferent." She chimes, shrugging her shoulders innocently, "'What you don't seem to understand is..."

She stood next to Jirou, who was smiling at her friend. She hadn't seen Y/N this passionate about a song in ages. Jirou didn't like the intention behind it, but she always loved seeing Y/N give her all.

"It's not anything you said, it's everything you didn't. Ooh," Y/N spoke, glaring at the camera as Jirou harmonised with her. It was obvious who she had in mind. She hoped he saw this.

Shinso definitely did, he was feeling his heart rate increase slowly as she spoke. She meant every word she said and Shinso had the front seat to who she meant it to.

"Yeah, you." She sung, waving a finger in the air, "You always answered with, more questions to questions that scare you."

Y/N stood in the middle of Kirishima and Kaminari, tilting her head down to the camera. She wore a face that said she was truly angered, but was hiding it behind her smile. But it fell for the next line.

"We're not always peachy, look, love ain't that easy." Y/N stated, Bakugou in the background of the shot twirling his drumsticks in between his fingers.

"But one thing I know—" Y/N struck her fist up into the air, as did Kaminari and Kirishima, "I know it for sure that it!"

"Shouldn't," Jirou came in as Y/N finished the climax of that line.

"Be this hard, you couldn't," Y/N went on after taking a deep breath, pulling the mic back to her lips, "DTR. Oh wouldn't, it be nice if we could stay friends? But we shouldn't!"

Kaminari had whistled in the background at her voice. Y/N sung this chorus with so much more heat and push, making it sound less soft and passive-agressive than the last. Making it now — just agressive.

But Kirishima and Bakugou focused on their instruments. They knew how much Shinso hurt her. Which is why they encouraged her to sing this song for the album, it would help her get all this hatred out of her system.

"Y'know what? I couldn't!" She called, hand in her hair as she went over to Kirishima. As Sero's camera followed her, she leaned her arm against Kirishima's shoulder. "'Nough's enough! If I had your heart, it wouldn't be this hard."

Bakugou's drumming was the main attraction in the music background for the third verse.

"I drank too much tonight to not try to call you up." Kirishima finally joined in, singing into the microphone that stood in front of him. He worked with Jirou to help get his voice to suit this song better. "I mean, that's what our phones are for."

"Even Kirishima? Damn, they're all talented." Todoroki commented, sipping from his glass as Uraraka shifted in her spot.

She squealed, "Oh my God! People are gonna' go crazy over this! A duet between Kirishima and Y/N!"

Shinso didn't like that. The idea of Kirishima and Y/N together right after they broke it off, as friends. He wanted a second chance to make things better.

Mina's camera showed Kaminari throwing up a fist to cheer on his best friend, Jirou smiling at Kirishima.

It made the red-haired boy grin through his singing. "Not one for titles, girl, in other words — terrified." He said, seeing Y/N lift herself off of him to whisper to Bakugou about something.

Shinso was terrified. He hated to admit it. Perhaps that was why he could lie. Because he was scared.

The next line made him blush red. "That pussy kicked my rules out the door."

Y/N only grinned at him.

Shinso felt his heart ache.

Kaminari wrote that sentence. He wrote all of Kirishima's lines. Which made Jirou and Y/N laugh in rehearsals.

Kirishima shook his head, Sero's camera now focusing on him. "I could take more shots or I could take you, off your blouse." Kirishima sung as Y/N came back to her spot, still watching him, "My favourite parts of fucking is either when I'm done or when you're walking out my house."

Again, Shinso grit his teeth as he listened to those lines.

But why? Y/N wasn't his.

Jirou had hit Kaminari for writing that line as he claimed it was too late to change it now.

As Y/N twirled the microphone wire in between her fingers, Kirishima closed his eyes and went on, "You don't pick up when I call unless I call you 'mine'. But one thing I know is it—"

"Shouldn't!" Y/N came in again, taking the last chorus again with Jirou. Kirishima went back to focusing on his guitar.

He tried calling her. She didn't pick up. Ever. Maybe because she was filming and editing, or because she didn't want to waste the time on him.

"Be this hard. You couldn't, DTR. Oh wouldn't, it be nice if we could stay friends? But we shouldn't..." She sung, tilting her head to the side with closed eyes.

Y/N held onto the microphone tightly as Jirou watched her intensely. "Y'know what? I couldn't! 'Nough's enough!" She sung loudly, mic pulled away a bit to prevent peaking, "If I had your heart, it wouldn't be this..."

She took a deep breath in before letting it out in the song. "Hard — ah, ah, ah—ah, ah, ah..." She sung in melody with Jirou, closing her eyes with knitted brows. She was about to burst. "Oh, woah, woah—Hard, ah, ah! Mm!"

When Y/N opened her eyes, she stared at the ground. The drumming was dropped and the only one playing was Kirishima, the lead guitarist for the song.

She sighed, "It's not always peachy, look, love ain't that easy. But one thing I know, for sure is we... shouldn't."

The music stopped and was replaced by Kaminari's cheers. They finished the take in one go. He set his guitar down and ran up to the girls, engulfing them in giant hugs as he complimented their voices.

Y/N giggled, hugging back with Jirou, who looked madly annoyed. Bakugou only came towards them at Y/N's whining, telling him to be a team player. He allowed her to wrap an arm around his neck, saying how good his drumming was.

The last to join the hug was Kirishima. He stood in front of Y/N, placing a hand on top of her head and ruffling her hair. She complained about it until he rested a kiss on her forehead.

That's where the video cut off.

Shinso squinted at the TV before overhearing Uraraka compliment how well they sang and how great they performed all together. She always loved their friendship group.

Iida said something about the camera work and how the transitions were smooth.

Midoriya liked how they seemed relaxed all the time during the recording.

Todoroki mentioned how it kind of hinted to Kirishima and Y/N being a couple.

Shinso walked back into the kitchen.

Fun Fact: Y/N and her best friends really only met through Kaminari spilling his tea over Y/N's shirt at the cafe they all coincidentally studied at. She had her music playing through her headphones, which is why Jirou had introduced herself since she liked the artist too. Kaminari and Mina cried over ruining a pretty outfit. Kirishima apologised for their behaviour. Bakugou hit the two for their actions. Mina invited Y/N to come to their table and pay for her food in return.

TAGS: @just-some-stars @freyafolkvangr @headfirst-halo @wotsitgirl @falling4fandoms @katsuki-bakuhoee @adorable-punk-superheroes @firecet @ouijaeater15 @swoonhui @thegalxe @caitff @camry-orphanaccount @angelofdarkness1020 @someweirdshitman @jazzylove

[fbfh]

“forever” paxton hall-yoshida x reader

genre: fluffy romance + mutual pining (not too slowburn tho lol)

word count: 3.4k

au: none?? jock x theatre nerd ig

pairing: Paxton x broadway baby!reader 

requested: yes !! i hope u like it uwu

warnings: one hell one motherfucking and i think that’s it for swearing?? um brief self deprecating/talking bad abt urself from paxton (bby boy needs a self love boost), reader and paxton are home alone together for a little while but nothing bad happens, uh,,, i think that’s it

summary: when Eleanor can’t run lines with you, she sends over a very attractive, mutually pining substitute.

reccomended songs: “Seventeen” - Tuck everlasting OBC, “The Kiss” -The Princess Diaries score

a/n: i’m p sure i kept the reader p gender neutral but there’s implied slightly long hair, and you play the lead (a girl named winnie) in ur schools production of tuck everlasting but like it’s theatre so anyone can play anyone lol,, this took so got dam long bc i’m fucking s o f t for jock x artist and it just sorta happened lol aLsO,, not super thoroughly edited so there might be a typo or two?? im tired lol

requests r open <3

You had only ever seen two athletes present during rehearsals. Once when Madeline (who at the time was playing Penny in your production of Hairspray) was dating a guy from the soccer team. The other was when the star of the basketball team had come in to give your choreographer pointers for the basketball scenes during High School Musical. 

Until now.

You had run onstage part of the way through “Live Like This”, which wasn’t out of the ordinary since so much progress had been made on the costumes. You were still tying the ribbon on your pinafore as you jumped into the song, but when your eyes met a face in the usually empty auditorium, you faltered. You almost sang the wrong verse, but recovered quickly, continuing with the blocking. What felt like a moment later, the number was almost done and you were nearing the end of your counterpoint with Mae Tuck - played by Eleanor, of course. Who could be better for the part? You held out the last note, trying to stay in character despite all the distractions in the back of your mind. You had to talk to Eleanor when the director called for 10; she’d started telling you how Devi was being weird recently. Also, what the Hadestown was Paxton Hall-Yoshida doing chilling in the auditorium? You shoved all that away, focusing on staying in character until the director called for a break. 

‘I want to go to the fair. I want to go so badly! I just need a change, need to get out of this house for a little while. I never do anything, so this can’t be asking for too much, right?’ 

You projected all that into your everything - face, voice, mannerisms, energy.

“Hold!” 

Everyone froze.

The director wrote a few things on his paper, sighed, and underlined something several times. 

“Okay, good job! I need to revise some of the blocking, then we’ll do notes, so take ten.” Your sudden nerves had definitely made you pitchy, you knew that would be one of your notes for sure. 

A chorus of “Thank you ten”s erupted, and you immediately ran to Eleanor, telling the others good job as you passed. 

You leaned in and started speaking to her, quietly.

“Okay you need to finish telling me about Devi, and that other news you’re being so cryptic about! Also, what’s up with Fierro over there?” you nodded towards Paxton hoping he wouldn’t see, and you noticed Fab is sitting near him. You realized they’re probably waiting for Eleanor and/or Devi. That must be it, he’s been hanging out with them lately, right? Eleanor gasped.

“You’re right! Paxton is such a Fierro!”

You cringed inwardly a little bit as her voice carried through the auditorium, mixing with the others. Your eyes darted over to him for a fraction of a second. Oh god. He was looking at you. Or in your general direction at least. Lena, the costumer, walked around the set gingerly, following you around and getting you out of your dress incredibly carefully as you and Eleanor walked off stage. 

“No! Well, yes- but no. What’s he doing here? Jocks never come here during rehearsals. I saw Fab too, are you guys and Devi getting dinner or something?” You said, entering the auditorium, and stepping out of the dress. You grabbed sweatpants and a silky, floral kimono jacket from your bag to throw over your leotard and tights. She waved back at Fab before sitting down in the front. You both grabbed your fans and dramatically flicked them open in sync. Your wrists fluttered, cooling both of you off.  A knowing, and slightly mischievous, look came on her face. 

“Devi and Fab and I are. Paxton must be here for something… else.” she shrugged, nodding towards Paxton. You looked over again. He was staring at you. You did a double take and tried to hold back your smile. 

“Wh- I do not know to what you are referring.” 

“To what I am referring is the blush on his cheeks.”

You barely held back a nervous, bubbling laugh.

“He is not blushing! Why would he be blushing!”

“I don’t know,” She shrugged, “Just like how I don’t know that he’s been loitering in the halls outside the music room during your last three solo music rehearsals.”

You struggled for an answer. Before you could form one, you were interrupted.

“Okay, okay what is the best Lin Manuel Miranda musical? Because Kathryn thinks it’s Hamilton-” 

“Duh!”

“-But I think it’s In the Heights! It’s an underrated jewel!” Jonah interjected, still wearing his Jesse Tuck hat. 

You considered for a moment.

“I mean, they’re too different to compare. In the Heights has the same energy as Rent - showcasing what goes on in ordinary people’s lives, and how love ties us all together,” he nodded in agreement, “But Hamilton is on a way larger scale, almost Les Mis meets Fun Home vibes. But in terms of personal preference…” Eleanor scoffed at your answer, and Jonah went back to debate further with Kathryn.

“Anyway,” you turned back to Eleanor to ask her what the hell she meant by Paxton Hall-Yoshida was blushing. But before you could-

“Eleanor, we need you to try on your blue dress again,” Lena was already pulling her away, “I had the empire waist in the right place but half the pins fell out, and it’s just...” And she was whisked away before you could finish the thought. You just had time to help Holly get out her wig pins and drink some lemon water before notes. Eleanor still wasn’t back, so you made sure to write down hers for her. It was pretty standard; be quiet backstage, go over your lines, don’t touch props that aren’t yours, don’t eat in costume, and a couple blocking changes you made note of. After your end of rehearsal warm downs and huddle, everyone left relatively quickly. You ducked into the bathroom to freshen up a little. Sometimes it was hard coming down from such intense energy after rehearsal. You mentally ran through your to do list. You needed to get some more tea, write that essay when you got home, go over your notes- You gasped, cutting off your own train of thought. You ran out of the bathroom to look for Eleanor, still clutching her notes in hand. 

~

Your voice still echoed in Paxton’s ears. He wished he had a whole album of you singing. Your voice made him want to ruin his spotify algorithm by listening to nothing else. You had looked at him a couple times, and his heart had almost stopped. He didn’t know eye contact could be so intense. It’s probably just cause you’re like, the only person in the audience. Where else is she supposed to look? He deflated a little. He heard his name and looked over to you and Eleanor talking together. Hopefully it was about him. Hopefully it was good. He checked his phone, trying to look busy. When he glanced up to see if you were looking, you were gone. He started to look around for you when he saw Eleanor waving at Fab, and sure enough, you were next to her. What he didn’t expect was you dropping your dress to the ground. Time slowed down (and his heart sped up) as you stretched a little, and pulled out sweatpants from your bag.

Wow.

 You had on what looked like a bathing suit on underneath, and a few other people had done the same, but he knew that image would be in his memory, probably forever. His heart was beating in his ears and he knew he must be blushing.

“You okay, Paxton?” Fab asked, a seat or two away. Oh god, he didn’t want people asking why he blushed every time he looked at you! He muttered something about needing to make a call and headed for the doors. Don’t look back at her, don’t look back at her… His eyes involuntarily darted in your direction right before he left. You had on a flowy translucent jacket, your hair thrown back supermodel style as you fanned yourself to cool down. He needed to cool down too. Maybe a cold shower, a really cold shower.

~

You managed to find Eleanor just before she left. Two girls were with her, you had seen Fab once, and you’d heard a lot about Devi, but had never been introduced. 

You gave Eleanor her notes, and she hugged you.

“You’re a lifesaver!” 

“Of course, I-”

“Uh, who’s this?” you looked over, and the shorter girl - Devi, based on what you’d heard about her -  was giving you a weird look. You introduced yourself. 

“Nice to meet you. How do you know Eleanor?” said the taller girl - definitely Fab.

“Oh,” you smiled, “she’s my almost mother in law. And my arch rival,” you counted on your fingers, “my sister, my niece, my lover, my husband, and…” you trailed off, trying to think of the other dynamics your characters had had in past shows.

“Your co-conspirator.” 

“Right,” you laughed. Devi and Fab looked at you two.

“We’re in the musical together.” you clarified. You were about to part ways when you called to Eleanor, “Hey, we’re still on for running lines tomorrow night?” 

“Uh… Sounds good!” she walked away quickly, speaking to Devi and Fab in hushed tones. Something was definitely up. That was typical Eleanor Scheming behavior. 

~

That night, you almost couldn’t sleep. This wasn’t the normal post rehearsal can’t sleep. In fact, Tuck Everlasting was the last thing on your mind as you readjusted your pillows and snuggled into your duvet. You stared at the neon blue stars projected and swirling on your ceiling. You sighed. Again. Your brain was a 24/7 livestream of Paxton Hall-Yoshida to relax/study to. You saw him again, his face in the dimly lit auditorium, Adonis in a sea of faded seats. If you hadn’t been sure before, you knew now that red was definitely his color. You rolled onto your side. Your heart picked up speed as a thought crossed your mind. You could almost see Paxton now, kneeling next to you, his fingertips brushing your cheek. The piano underscore to “Seventeen” ran through your mind. You could imagine him saying “Wait with me, we could share the world…” so vividly it almost hurt. He leaned in, and… 

You let out a loud sigh and rolled over again. Your heart was fully saturated. That’s more than enough pining for tonight. 

~

“Paxton!” 

He was a little surprised when Eleanor just walked up to him at lunch the next day. Most people were too intimidated to approach him out of the blue. 

“I have a plan.”

“Uh, I don’t know what you-”

“Cut the crap, I know you like her.” 

His face blanched. Well, yeah of course he did. Who wouldn’t? He was going to ask Eleanor if there was something he could do to win you over, just not here, not now. Not where everyone could watch and jeer and rib him for it. Just like they were doing now. 

“Woah, dude, who is it?” Trent asked. He fumbled for words. He couldn’t believe this was happening. He hadn’t kept his crush a secret because he was embarrased of you, he’d kept it a secret because his dumbass friends wouldn’t get you. Hell, he barely got you. You were so deep, and emotive, and artistic... 

“Bro, if you like her as much as it seems like you do,” Trent continued, “you gotta win her over.” He was a little shocked at the agreement murmuring through his group of friends. He didn’t know how to respond. Trent turned to Eleanor.

“What’s the plan, drama mama?”

“First of all,” she said, an almost humorously dangerous look on her face, “never call me that again. Second,” she shoved some papers into Paxton’s hands, “meet me in the music room immediately��after school.” She started back for her table. Trent looked back over to Paxton. 

“You gotta do it, dude. We’ll cover for you at swim.” 

The rest of his friends agreed. He was pleasantly surprised at how supportive they were being. 

“Yeah, I guess... we’ve got a plan.”

~

The next day went by pretty smoothly. No rehearsal was scheduled since they were finishing construction for some of the sets, but everyone was instructed to do a couple read throughs of the script, focusing on scenes they’re still forgetting, to make sure everyone’s off book. You stopped by 7 Eleven to get a blue slurpee (for homework) and a couple coconut waters (for run throughs). You texted Eleanor on your way to the slurpee machine. 

okay so do you like the mango coconut water or the pineapple one?? It’s the mango one right?? i always forget lmao

sent at 4:16 pm

btw I don’t have that much homework so you can probs come by around 5:30 if you’re ready by then

sent at 4:16 pm

Bae Tuck

OMFG!! I totally forgot about running lines tonight, I can’t make it! :( but I’ll send someone over to help you out. :)

sent at 4:17 pm

You squinted at your screen. That was weird. Eleanor never used colon parentheses smilies. Like, ever. She always used emojis, and usually way more than two per text. 

yeah np, are u good? ♡

sent at 4:17 pm

Bae Tuck

Yes :)

sent at 4:18 pm

Bae Tuck

Also get the passionfruit one 🥥🍠 👀

sent at 4:18

that’s,,, el that’s a sweet potato,,

sent at 4:19 pm

Bae Tuck

Close enough 🤷🏻‍♀️🤷🏻‍♀️🤷🏻‍♀️🤷🏻‍♀️

sent at 4:19pm

...Okay? That was definitely weird. You shook it off and headed for the counter to pay. You stopped half way there, and turned back to swap the mango for passionfruit. 

Not long after you had finished your homework and tidied up your room a little, the doorbell rang. You exited the kitchen, drinks in hand, and opened the door. Your heart caught in your throat. Paxton Hall-Yoshida was standing outside. And you were pretty sure he looked nervous. You both just stood there for a second. No one breathed, no one spoke. 

“Uh, hi, do you want to…” you backed up, motioning for him to come inside. 

“Yeah, thanks,” he said, entering the doorway. Paxton motherfucking Hall-Yoshida was in your living room. You held out a hand to him.

“Coconut water?” he took the box, looked at the label, and smiled. 

“Yeah, thanks,” he said again, this time a faint, yet unmistakable note of joy in his voice. He took a sip. He smiled.

“Passionfruit’s my favorite.” You silently thanked Eleanor, who you knew must have planned all this. Most of the evening was a blur, and you thanked god your family wasn’t home right now. You went upstairs, texted Eleanor asking what the actual fuck, made some surprisingly comfortable small talk, then filled him in on how to run lines. 

“Do you think playing the soundtrack would help you… get into character?” he asked. 

“I would probably just end up singing the whole thing,” You laughed and tried to ignore the butterflies in your chest. The main scene you struggled with was before “Seventeen”. It was harder to get into Winnie’s head because you had no romantic feelings for Jonah, and you always just made each other laugh. You had started with a few easier scenes of Winnie and Jesse, like the fair, and the dialogue before “Top of the World”. 

“That was really good,” he said, and you felt the sincerity of his words. 

“Thanks…” you smiled and took a sip of coconut water, hoping you weren’t blushing too hard. 

“So what next?” he asked. 

“Probably the scene before ‘Seventeen’,” you said, giving him the page and scene number, “it’s one of the hardest ones for me. I guess I just can’t connect to Jonah the way Winnie does.” 

“Huh,” he said, skimming the page. When you looked up at him, he had something between a smile and a smirk playing at his lips. You made yourself look away before you got too distracted. You refused to think about the fact that you were sitting across from Paxton Hall-Yoshida on your bed, in your room, like you were… close with each other. His eyes skimmed the script, finding the dialogue. He glanced up at you and nodded, indicating he found his place. You began.

“I was so afraid you wouldn’t get away,” you said, jumping into character.

“I may be 102, but I can still outrun anyone,” a smile played at his lips. You smiled, then let your face fall.

“I’m so sorry, I-I tried to warn you-”

“No, no,” he interjected almost seamlessly, “It’s okay, it’s… refreshing having someone look after me who isn’t my mom.” His eyes flickered between your face and the page. You smiled with him for a second, then let distress cloud your face.

“Jesse… that man came by my house today. He heard the music box, he knows about you-”

“I know he knows…” 

You continued on with the scene and he trailed off when he came to the sheet music for the song Seventeen. You took in a breath to start the dialogue in the middle of the song, but before you could…

“Six years from now you will turn seventeen,

Turn seventeen,

The same age as me,

Six years from now,

Go to the spring,

Go to the spring and drink…”

He was singing to you. He was looking at you and singing to you. His eyes only flickered down to the page to confirm the lyrics. He was nervous, you could tell. But through his hesitance, the emotion in his voice was sincere. Your heart was beating faster. You didn’t even notice your pulse was ringing in your ears, you were too focused on Paxton. 

“I'll wait for you till you turn seventeen,

Turn seventeen,

The same age as me,

Six years from now,

Go to the spring,

Go to the spring and drink…” Your hand rose to cover your mouth. He hesitated, and you remembered your dialogue.

“Uh, wh-what if I… forget where the spring is?” He reached out and took your free hand in his. Your pulse was off the charts. “I’ll go get you some water. Just… remember to keep it somewhere safe. Somewhere no one will find it.” You got the feeling he wasn’t just talking about the water. You knew he had never really been in a serious relationship before, and it clicked suddenly - if he learned an entire song to duet with you, just how much he must like you. You exhaled a breathy laugh, unsure how to process the sudden euphoria you felt. 

“You make the world sound so… exciting. I just want to drink the water right now!”

“Uh, no. You have to wait.” you both smiled, anticipating the upcoming joke.

“Why?” you ask, “What’s the difference?” You held your breath as he tried not to laugh through the delivery of the punchline. 

“Believe me,” he rubbed his thumb over your hand, “there’s a difference.” You both chuckled, and he continued singing. You were so focused on him, so… touched that he would do all this for you. 

“Winnie, wait with me,

And we could be married,

Winnie, wait with me,

And we'll share the world,

Winnie, you can stop time,

And live like this,

Forever…”

“I could live like this forever,” you echoed.

“Live like this...” you sang in tandem.

“What do you say, Winnie? Do you want to…” he broke character suddenly, and asked, his eyes boring into yours, “Do you want to go out some time?” 

He could see the adorable smile blooming on your face, even from behind your hand. You nodded.

“Yes, I-I would love that,” and you began to sing the last line in the song, “Forever-” 

But before you finished holding out the note, his lips were on yours. His mouth moved slowly, intentionally, against yours. You followed his lead, flustered. He leaned further forward, his palm caressing your cheek. It was everything you imagined it would be, and you had quite the imagination. Your head was angled up and your hands rested themselves on his back, one tracing little shapes. Your shoulders were pressed against each other and neither of you could think. He was so warm. He tasted like coconut and passion fruit, and a distant part of your mind silently thanked Eleanor again. 

You really could live like this forever.

[bad-bitch-beauchamp]

Songs About Me: Chapter Four

How Claire found herself inside Jamie's bookshop, and what happens when Jamie finally gets inside to watch her perform.

READ ON AO3

The Alleys of Beacon Hill, Boston; Early October, Mid-Morning.

Following a very intense conversation with Joe and Geillis in which Claire repeatedly tried to express that there was absolutely nothing going on with that guy from the night before, peppered with lines like, “Oh bullshit, Claire! Jamie couldn’t take his eyes off ye!” from Geillis and “Seriously. It was disgusting. And romantic. Something’s there!” from Joe, Claire eventually succeeded in getting them to let the topic lie… for now.

Outside in the daylight, Claire felt refreshed. She would find a place to sit and write, and decompress. Strolling down her tree-lined street, breathing in and out slowly, she savored the way autumn here made her feel. The brick townhomes was trimmed in white with shiny red and  black doors, covered in wild ivy and window boxes with trailing flowers. Mums in classic pots lined the front porches, and stone walls raised courtyards and gardens above the worn-brick sidewalks. Tall trees, oak and maple and elm, towered as tall as the buildings and brought a soft green and yellow glow to everything below their canopies. Everything felt old, here. There was a history, here. Under normal circumstances, Claire could’ve never dreamed of living here in Beacon Hill, but because of Lamb’s will, his love, his generosity, she was now able to call her favorite place, home. She was a woman who placed very little weight on material goods, but if the townhouse and her greenhouse were the only things she claimed, she would die happy. Boston was the first place that Claire felt she could create her own history. She wandered through the winding alleys of Beacon Hill, admiring how green changes to gold on every leaf and living surface. She stopped at the coffee house that knew her name, left with an earl grey latte a few minutes later, and was back outside at a wrought-iron table and chair on the sidewalk, her black leather notebook and cheap pen drawn from her purse. She admired this little courtyard, tucked just off an alley. Across the close was her favorite bookstore. She often wished to had more time to visit the physical shop, but with running a business of her own, she didn’t have as much time to peruse all the fellow small businesses around her. When she moved to Boston in 2015, she stopped in the little bookshop, and left with nearly more books than she could carry. The man behind the desk told her she could place orders online as well if that would be easier for her, smirking as the top book of the stack Claire was balancing slid off the top. The bookshop took residence in a historic three-story brick building, with the shop taking up the bottom two floors. An open staircase in the middle of the shop gave way to an open loft filled with shelves and leather chairs. The downstairs was completely open, making it easy to work your way around the shop in a u-shape. For any other type of store, it might seem like a bit much. For the bookshop, however, it was the perfect mix of historical and charming and quaint and magnificent and absolutely beautiful. It had been awhile since she had been able to physically make it in the store, and she missed it and it’s comfortable grandeur greatly.

Today was different though, as Claire had given herself the day off while Geillis worked, and she would spend it adding new books to her collection. She savored the last time of her latte and stood when she glimpsed a man inside the shop putting up a poster in the window.

Local Musician Wanted. Claire approached the sign after the man finished taping it to the window. In smaller letters, it read: Come share your talent, play for the community, and grab a good book when you’re done. Call or inquire within.

She had promised herself to have more fun, and karaoke had turned out to be a blast in the years she and her friends had been going. Music and gardening are what made her feel alive, made her heart bloom… Why not give this a chance when she wasn’t working? Claire’s heart rate sped up and she started to sweat when she thought of going inside and introducing herself as a musician. Deciding she’d call and arrange a time to come in with her keyboard, she started to turn away. The morning sunlight caught the lettering on the window, glittering just at the edge of her vision. She’d never paid much attention to the store’s exterior before -- or really even the name, since she’d long been calling it just “the bookshop” for years now -- but today, the gold paint drew her attention. Fraser Literature. Her breath hitched, her pulse raced, her head lightened. She couldn’t look away from the sparkling name on the glass. It couldn’t be… could it? Her pulse raced, her head felt light, the brick and cobblestone around her began to swirl.

With one shaky step and an attempt at a steadying breath, she pulled open the heavy wooden door.

Fraser’s Literature, Beacon Hill, Boston. Mid-Afternoon.

Jamie stepped through the doorway and tried not to jostle the small crowd that had assembled at the front of the shop. He just wanted to glimpse her, convince himself that she was real, that this, was real. That she was here in his shop, playing her music, just for him. He slowly, carefully, made his way to back of the crowd and found a small bit of standing room directly in her line of vision. She’d play a song with no lyrics, only instrumental melodies followed by quiet chords braided with thoughtful verse and chorus. The sunlight was streaming in the shop’s window now, lighting the crown of her head with rivers of auburn and gold. God, she’s ethereal. After each song, the small crowd would quietly clap and she would politely nod, cheeks turning rosey with shyness when her eyes fell back to the keys -- like she hadn’t even noticed they’d been there. She’d occasionally look up and look around the crowd, but only for a moment. Come on, lass. Look up. Find me. See me. As if she heard his plea, she held a long chord with both hands on the keys and looked up, straight into his eyes. Jamie gulped. She was singing, in French. She was singing, to him. He hadn’t expected it to work, the calling for her. He didn’t expect to be shocked into stillness by the whisky of her eyes and the dark shimmering curls around her head. He didn’t expect to feel this way after one night with a lass he barely knew… But here he was, enthralled by her. A gentle hand cupped his shoulder then and he jumped.

“Ye look completely enamored for a man who just met the lass a single night ago. Like a lovesick puppy,” said Rupert. Claire had gone back to her songs, but both men continued to watch her.

Angus had joined them now. “Ye never want to seem too eager tae please a woman, ye ken? It gives them too much power.”

Jamie watched as Claire finished another piece. He had to physically keep his feet rooted in place when she glanced his way, quirked a corner of her mouth up in a smile, and quickly looked down, tugging her cardigan tighter around her chest to hide the pink bloom erupting there and moving up her neck. “Aye, I’m completely under her power,” he smiled softly at her, “and happy tae be there.”

For the rest of the afternoon, Jamie tried to work, he really did. He refused to work in his office, since it was the furthest place from the front windows, and the furthest place from Claire. He went around with a polishing rag, trying to be inconspicuous with his meanderings until Rupert whispered, “I can practically see ma reflection in that shelf. Maybe move yerself along?” He tried to water the plants, only to remember he’d already done that when the pots started to overflow. He would run his hands through his hair just for something to occupy his time. Eventually, Angus suggested he bide his time making sure the rare and first-edition copies that sat on the highest shelves were dust-free.

“Aye, that’s a good idea! I’ll just be up on the ladder then if ye need me.” Angus laughed and shook his head as Jamie ascended the first rung. “Come get me, will ye,” Angus turned to look at him with a smirk and raised brow, “if she… uh, if anything happens.”

“Yeah yeah, get tae work. I doubt she’ll be leaving without saying hello if her looks meant anything at all -- and they definitely did.”

Jamie placed the last book at the end of the row back into its place and started his way back down the ladder to slide it to the next tall shelf when electricity pulsed up his calf. He lost his footing and came to a crashing halt on his back on the floor.

“Fuck fuck fuck… Fuck! are you okay? I shouldn’t’ve spooked you!” He tried to shift himself up, but couldn’t. “Don’t try to move; here, I’ll try to keep you still. Is your head okay?” It took Jamie a moment to get his bearings. His head smacked the hardwood floor when he landed, and his wrist tried to take the fall. Neither of those things were of much concern to him now though, since Claire was kneeling over him. Not just kneeling over him, he noticed. She was on top of him, a knee on either side of his torso. His brain was short-circuiting. She was in light-wash high-waist skinny jeans, a goldenrod cardigan, and a white tank top and she was on top of him . He couldn’t stop tracing her with his eyes. “Jamie?? I’m going to need you to respond or I’ll have to call the squad. Can you hear me? Can you say something, please? What hurts??” Dear God in heaven, nothing hurts. Nothing a damn thing. Her face came closer to his and he noticed the way her curls fell forward, how the sun was still lighting her from behind, how she was absolutely incredible. He blinked. Her brows knitted and her hands came to his face. Her touch revived him and he remembered how to speak.

“Claire,” he watched her, reverently. She smiled as her eyes glistened with unshed tears.

“Oh, thank god. You scared the shit out of me with that little stunt, you know,” she said as she began touching near and watching his eyes. Touch me again, never stop, he thought to himself. “How do you feel? Any ringing in the ears, nausea, blurry vision, dizziness, light sensitivity? Wait, you’re not bleeding, are you?”

Jamie smirked. “Actually, there’s some pressure on my abdominal region.”

“Your stomach? I don’t understand how that could have…” She blushed when she realized she was still straddling him, right on the storeroom floor. “You mean me.” She climbed off of him as quickly as she could manage and turned a shade of red Jamie hadn’t known was possible. “I am SO sorry about that, I didn’t know if you’d be injured and you wouldn’t stay still so I--”

“It’s quite alright, lass. Thank ye for looking after me. Truly.” His hand came out to hold hers. His thumb brushed her knuckles.

“Are you sure you’re alright? Honestly? I feel terrible.”

“I’m jes’ fine, Sassenach.” He made to stand up then, using his arm to prop himself when he stood. He came crashing back down with a grunt.

“It sure wouldn’t seem like you’re “jes’ fine”,” she replied in her best mocking tone. He smiled, sheepishly. “Is there somewhere we can go where I can have a better look at it?”

“Does up in the loft work for ye? It’s usually quieter, and better light than in the office.”

“Sounds perfect.” She extended a hand to him. “On your feet, soldier.” He looked at her then. How could one woman go from tugging on his heartstrings with soft melodies and French words to making him fall for her with demanding medical questions and authoritative requests. He watched her outstretched hand, her long fingers, her gentle bones. He watched her eyes, watch him. He grasped her hand, and she led up him up the stairs to the loft. She led him. In his shop. Seeing her lead him, he decided he’d let her lead up anywhere for the rest of his days.

She motioned for him to sit in a velvet wingback chair and took his wrist in her hands. He tried to breathe normally as her fingers probed the dips in his palm and traced down the veins in his forearm. Surely, she would feel his pulse. Surely, she would know she was the one that made it race. In the distance, Jamie heard her ask him some questions about pain and discomfort, and he’d nod or not depending on his response. He couldn’t form words. He was still in disbelief she was even there, in front of him, kneeling at his side.

Claire sat back on her heels. “Will you tell me if it starts to hurt? You could have a sprain, you know. That was a pretty nasty fall.”

His mind was working overtime but he finally found words to use. “If ye didna find anything wrong, I’m sure I’m jes’ fine.” He dipped his head to meet her eyes. “Yer a verra competent doctor, Claire.” He grinned. A tear fell from Claire’s face. “Och lass, what is it? Did I do something wrong?” She sniffed. She wouldn’t look at him. “Please, Claire. Please talk to me.”

“You’ve done nothing wrong. I’m not a doctor, is all.” She wiped away a tear with the sleeve of her sweater. “I actually… I quit medical school, a few years back.”

“I’m sorry, I didna know…”

“It’s honestly fine,” she replied hastily. “I’m really happy with the decisions I’ve made in my life, and I don’t have any regrets. Honestly. It’s just… sometimes it hits me that the plans I made my whole life didn’t work out. It gets me sometimes.” Jamie watched her, listening. “Oh my god, I just keep rambling!” She sat back on her hands, legs out in front of her, ankles crossed. “I’m so sorry about that, I really am fine.” She smiled at Jamie, and reached down to hold her hand.

“I understand the feeling of missing things that didna come to pass. I feel it myself sometimes.” Claire watched their hands intertwine. “Ye can always talk to me, Claire. I’m always here.” I’ll always be here.

She laughed then, and looked up at him still sitting in the chair. “Next time, I’d like to see you when one of us hasn’t nearly killed ourselves with a fall.” She giggled, and Jamie followed suit.

“Ideally, that’d lovely,” he replied with a laugh of his own. “What brings ye to the shop by the way, if ye don’t mind me asking? I never expected to see ye here today.”

“Oh, I came here for the first time after I moved, and I try to make my way in again whenever I can but work makes that a little difficult. It’s one of my favorite places in Boston though. It’s so quaint and quiet, but somehow still enchanting, and then today I saw a poster in the window asking for musicians and…” Jamie was absolutely beaming. “Wot?”

He laughed then at her absolute Englishness, and brought his free hand up to join their combined ones. “I’m jes’ glad ye like it here so much is all.”

She looked down at their hands. “To be honest, I was going to come today anyways, but then I saw the poster, and I remembered what the name of this place is, and well, I took a chance.”

Jamie was watching her intensely. “And ye took a chance.” He, too, looked down at their hands. “I’m glad ye did.”

The conversation was heavier than Claire thought it would be. She didn’t expect this. She cleared her throat and asked, “So, how long have you been here?”

“Me, or the shop?”

“Both, I suppose. The shop has been here as long as I have.”

“I moved here from Scotland--”

“Shocking, the accent didn’t give anything away,” she joked, and he pinched her forearm before continuing.

“--back in 2015--”

“Hey, that’s when I got here, too!”

“--and I’ve been here ever since. When I graduated my undergraduate studies, I went back home to the highlands and spent some time with family. Wandering the cobbled streets, the little shops, reading about the history… it was the only thing I wanted to do with my life. Some things happened back in Scotland -- some family things and some ex-girlfriend things -- and Boston seemed as good a place as any with history to start over. So, here I am. I started the shop, hired the lads when they came over a bit after me, and that’s the story.”

“I feel like there’s more to the story you’re leaving out,” she said with a grin, “and I do love a good story, Mr. Fraser.”

“Ye got the Cliffnotes version. Tell me yours,” he nodded at her.

“Well, I nearly didn’t survive medical school. I wasn’t happy, I wasn’t coping, and my mental health was kind of in the gutter,” she looked at him, and he gave her a sympathetic smile. Maybe he understood the feeling better than he let on. “I decided to drop out during my junior year and leave it behind. My uncle used to live here and left me some property, so I moved, and started over. Geillis and Joe came over after they graduated. Joe continued with medicine, and Geillis joined me, and as you said, that’s the story.”

“And where is it you started over at? What is it ye do?”

“Oh, I opened a plant shop here in Beacon Hill. It’s exotic houseplants, non-traditional bouquets, that kind of thing. It’s small, and eventually I’d like to run a greenhouse and garden, but right now, the shop is perfect. Besides, Boston isn’t exactly conducive for having that, is it?” She laughed, and tried to hold her pipe dreams at bay. “Geillis offers zero-waste products, and makes some of the macrame hangers and planters in the shop. It really is the most lovely place. If you ever want to visit and make sure I’m not the one to fall off a ladder, it’s just over on---”

“Garden Street. Aye, I know the place,” said Jamie, smiling to himself. His eyes were positively twinkling.

“You know the shop?”

“Where d’ye think all the plants in this place came from? Aye, I know yer wee shop and believe me, Claire. It’s a dream. I had no idea it was you behind it all.” He paused, watching her. Drinking her in. “We’ve just missed each other for years now, it would seem.”

All she could do was nod. Her mind was racing. How had they been so close so many times, but had never met? How had only two days with the man made her feel like her heart was beating outside her chest? He moved to the floor to sit next to her, his hand on her thigh. Suddenly, he turned to her. “I think yer verra brave, Claire. For starting over like that. For following your dreams.” Her pulse slowed with his comforting words, and her hand rested on top of his. “I could say the same about you, you know.”

They stayed that way for a while, watching the people down below, touching hands, touching legs, moving closer into shoulders and sides. Jamie leaned back into the shelves. Claire sighed.

“Since you own the place, I guess I should let you get back to work.” She stood, smiled, and started down the stairs. Jamie launched to his feet, unwilling to let what happened the previous night repeat itself.

“Claire! Lass!” He reached for her hand and she stopped a few stairs below him, turning to face him. His mouth was dry.

“I dinna think I can’t wait a week to see ye again. I didna think I could stand it this morning and then ye dropped out of the clear blue sky into my shop and ye sang yer songs -- oh, and I didna know ye knew French! I do as well,” Claire blushed at that but Jamie continued on, “and ye showed up and mended my wounds and ye told me of our shared histories, and… and I willna wait to see ye again.” He descended a step. “That is, if ye want to see me, too.”

Claire was overcome not just with Jamie’s declaration, but also with everything that had happened today and the last five years that led them here today. She could only smile at his nervousness, and admire him. You’re beautiful, James. His simple navy t-shirt was pulled taught across strong muscles, the red curls she daydreamed of were just combed straight back with the exception of a single lock that escaped with his chase of her down the stairs. His ocean eyes bore into hers with a plea, with an guarded passion Claire was increasingly desperate to unlock. She reached in her crossbody bag to retrieve a pen and finding no paper, offered up a Dunkin’ Donuts receipt. She brought the receipt up to his chest, just above his heart, and wrote her name and number.

“I’ll be waiting for your call,” she said, and turned back down the stairs, not waiting for a reply.

She reached was reaching for the door when a voice echoed down the stairs, “I promise ye’ll hardly be waiting at all, Sassenach.”

His phone rang then, and a woman’s smiling face shone up at him from the screen. As soon as he could, he would call Claire. He sighed, and hit accept on the call. 

[1989xtaylorsversion]

taylor's swift's speak now is nostalgic and magical (my album review)

once again, i'm writing and proclaiming my love for taylor's albums. this time, i'll be diving into the fairytale world known as speak now. i think i've said this in a previous post, but before i was a full-time swiftie, i was still a fan of her music as a child. even though i didn't listen to the album all the way through in 2010, i have a lot of memories of me watching her music videos during this era, and being obsessed with some of these songs.

1. mine

this was one of the songs/music videos i was obsessed with as a child. i used to watch it all the time! this song is so cute, and one of her best album openers. "You made a rebel of a careless man's careful daughter" is one of her best lyrics. also, i love the bridge.

2. sparks fly

i really like this song. it's not one of my top favorites on the album, but i don't dislike it by any means. the chorus hiiiits.

EDIT - this is definitely in my top 10.

3. back to december

this is another song that i was obsessed with as a kid. it's also one of my all-time favorite taylor swift songs as well. the lyrics just crush your heart, and the bridgeeeeee...

i can't believe the song that makes her self-reflect on her mistakes in a relationship is the one she wrote for taylor lautner. i mean, i won't complain because it gave us a beautiful song, so i'll take it.

4. speak now

ahh the album title. i like the song, and her little giggle is so cute. again, it's not one of my top favorites, but it's a good song. i hate the storyline though, the girl and the groom are trash for doing that to the bride. i read that taylor was gonna name the album enchanted, but then she obviously went with speak now. does anyone know why she chose that title? i feel like enchanted makes more sense with this album.

5. dear john

I. LOVE. THIS. SONG.

it crushes your soul, but i love it anyway. the heartbreak, the sadness, the intensity... it's perfect. the way she name dropped john mayer. it's what he deserves.

it's one of my all-time favorite taylor swift songs and bridges. i can't explain how much i love this song. also, the live version when the fireworks go off... i ascend. it's definitely in my list of top 5 favorite songs on speak now. i can't wait for the memes that'll come when she re-records the album.

also, "dear john" walked so "tolerate it" could run.

6. mean

i love the anti-bullying psa by taylor swift. i remember watching this music video a lot as a kid too. i like the song, but i don't often listen to it. also, i've never forgotten that joey king was in this music video for some reason lol.

7. the story of us

another song/music video i was obsessed with as a kid (i told you, i remember this era). i love this song and how catchy it is. i love the part where she says "next chapter" and "i never heard silence quite this loud." it has a great bridge.

8. never grow up

what a sweet and innocent song. i don't listen to it all the time, but if you ever need a little slice of childhood innocence, this is a great choice.

9. enchanted

here it is, everyone's favorite song. one of my earliest memories of this song is hearing it in the background of her wonderstruck perfume ad. remember that, swifties?

it got me really obsessed with this song lol. it's one of her most relatable songs, and i love everything about it. it's definitely in my top 5 list. i still say it should've been the album title, but i'll have to get over it.

10. better than revenge

if anyone hates this song, this is your warning to scroll past this section because i'm about to proclaim my love for it <3

take my feminist card, i don't care.

this song is so catchy and we know that there is nothing she does better than revenge ;)

i've seen lot of people hoping that she skips this song in the re-recording or how she should just change the lyrics, but like why? we know taylor has matured and learned from her internalized misogyny. have y'all watched her explain the teenage love triangle from folklore?

just enjoy the song bestie, i know i do.

this gif sums up how i feel about this song:

her face makes me laugh everytime

11. innocent

oh, how i love this song. the chorus and the bridge is just so so good. i just wish it didn't have kanye west and the memory of that wretched vma ceremony attached to it.

i just know the re-recording process is gonna suck because the whole message of the song is that she forgives kanye for what he did to her, and how we all make mistakes. and well... if you've paid attention, clearly she spoke too soon.

regardless, i still enjoy the song, and the situation hasn't stopped me from listening to it.

12. haunted

another cult classic in the swiftie fandom. i really enjoy this song and how dramatic and intense it is. it's so taylor. i don't always listen to it, but when i do, i have a fun time.

13. last kiss

I. LOVE. THIS. SONG.

the verses, the chorus, THE BRIDGE. THE BRIDGE.

everyone needs to hear this bridge at least once. the buildup to it and then the lyrics just hiiiiit. i'm so excited to hear the re-recording of this one.

it's also in my list of top 5.

14. long live

this song and its meaning is so cute. i feel like it'll have a completely new meaning when she re-records it, considering everything she's gone through since 2010. i love it.

15. ours

it's a cute song, but i don't always listen to it. but, when i do, it makes me smile. it’s just so pure. also, it has a really sweet message. the music video is really boring though.

16. if this was a movie

i really like this song. it's got nice lyrics and i enjoy listening to it. although when she sings "come back to me like" i always hear "come back to me, ELI" and it surprises me.

17. superman

tbh i almost never listen to this song. i can only remember the chorus right now. it's just not my favorite <3

overall thoughts:

i think with each album, taylor's songwriting improves, and it's very evident with this album. she talks about topics that aren't just about love and crushes, and it gives it a mature edge. it's not as tumultuous as red, but it's also not as naive as fearless (taylor' s version). it's sort of a happy medium. plus, the fact that she wrote this by herself is why i call her the music industry. i always enjoy speak now, and i can't wait to hear taylor's version... i just hope it's not before 1989.

my rating: 8/10

the weakest songs: mean, superman... they’re cute though <3

the strongest songs: back to december, dear john, enchanted, innocent, last kiss

see you in my next post where i'll be reviewing 1989 ;)

[sinceileftyoublog]

Gretchen Lieberum Interview: Eerie Nostalgia

BY JORDAN MAINZER

Singer-songwriter Gretchen Lieberum wanted to make an album of standards while totally subverting your preconception of what that sounded like. With This May Only Be A Dream, which came out Friday, she succeeds, in both capturing the magic of old recordings and performance styles while talking full advantage of the time-bending quality of modern production. In BAFTA-winning composer Keefus Ciancia, Lieberum picked the perfect partner. After singing over piano, she sent what were basically demos to Ciancia, who removed the piano, deconstructing and reconstructing the songs to then be rerecorded with session musicians. The result shares the ambition of something like Julia Holter’s version of “Hello Stranger” but over a whole album. Album opener “Come Rain or Come Shine”, which has been recorded by Ray Charles, Billie Holliday, and Chet Baker, combines lurking, fluttering woodwinds with reverb-laden vocals and chaotic orchestration. On “Blue Skies”, a song that you expect to build up with drums, strings, and chorus, like in a climax scene in a Hollywood epic, the strings cut in and out, toying with your perception. While there are some songs that sound familiar, like the Fiona Apple-esque percussive clatter of “Angel Eyes” or the solemn, quiet closer “While We’re Young”, the back-and-forth between subtlety and Technicolor orchestration keeps you on your toes.

A couple months ago, I spoke with Lieberum from her home in L.A. and Ciancia from his in France about how the album was constructed, their approach to recording, and how they would describe the music. Read our conversation below, edited for length and clarity.

Since I Left You: So this seriously just started with you singing over piano, Gretchen?

Gretchen Lieberum: I have a friend who has a studio in his house. I wanted to do an album of standards for years and years. It’s just an idea I’ve had I couldn’t let go of. I wanted to do an album of these songs but interpreted in an unusual way, not acoustic bass, drums, piano, and that’s it. I’ve known Keefus for years, and he was the only guy I wanted for the job. So I waited years and years, and finally, the timing was right to start working on it. I’d just record vocals with my friend Peter at his studio playing piano, which is great because I do much better in low pressure situations. If I’m in a big fancy studio, I’m like, “Oh god, how much is this costing?” It’s hard for me to be emotional and in the moment. I was just able to go to my friend’s house and record any song that popped into my head or I was feeling. I would send them to Keefus, and he would pick his faves. I think I recorded maybe 25 songs in all, and we ended up with 10.

Keefus Ciancia: The most important part is what Gretchen said--the comfort zone that Gretchen was in where she could get to the feel and heart of the song, comfortably with Peter. He’s an amazing piano player, and they had such a good rhythm that everything I was getting made it so that it was just real. It felt right. That was always fun to be able to open these and also have total separation, pick out Peter’s stuff and start reimagining things, erasing the chords. Gretchen was on fire! She was knocking them out. A lot of great pieces I’ve never heard, too, which I really enjoyed. Maybe that was good for me, too, to not know those standards as well so I wasn’t trapped in the chords. Maybe my lameness of being a hack--I wanted to be a jazz player but I couldn’t do it! [laughs]

GL: That’s what’s so great. I didn’t want a jazz guy to produce it. That’s what ended up happening--he would choose his own chords underneath the melodies that were really interesting and cool.

SILY: Did you know he was gonna remove the piano?

GL: Oh yeah. I know Keefus’s aesthetic and how he works, so I was like, “I’m gonna send you this, have fun, go to town.” I sent him literally zero notes and never knew what I was gonna get back. There’d be a song that’s a stark ballad that would come back with a full orchestra, some of the tempo sped up, some of it slowed down. Different lines chopped up into different places. Quite a few times, I’d take the song and rerecord the vocal to go with what Keefus did, to emotionally match what he created. Sometimes not--the song “Come Rain or Come Shine” was one take I did at Peter’s house and didn’t change at all.

SILY: How did you whittle down from the initial list of 25 songs for this record?

GL: This project was so much about emotion and love and love of these songs. What songs I loved singing and what was inspiring me. I grew up in a house where jazz was constantly playing. My father wasn’t a musician but a huge fan. It was a big part of my life growing up. I was in the jazz band as a singer in high school. These are songs I’ve known my whole life. There were some that I tried that I didn’t feel that I didn’t send to Keefus.

There are a few that aren’t jazz standards, too. We do a Beach Boys song, which is also a song that I love.

SILY: They’re standards nonetheless, independent of genre.

GL: Yes.

SILY: What made you want to release “Come Rain or Come Shine” as the first single and open with it?

GL: It’s just one of my favorites. One of the ones I’m most proud of. It’s indicative of the project as a whole. It’s a standard I approach traditionally from how I’m singing it, but there are these surreal flourishes around it. Also, I mean, what an intro, that [screams] “Ahhh!”

KC: I agree.

SILY: What was the process of getting the session musicians in after Keefus worked on the songs?

KC: Basically, it was kind of known all the way through that once we got these bodies we’d get some more breath and air on it to get more of the quality Gretchen and I love from old 50′s recordings but also taking it somewhere new. That studio is now closed--Vox Studios--such an amazing place that was perfect for that record. It was the first commercial studio in Hollywood through Paramount.

GL: It was the longest continuously running studio in the world, I read.

KC: Someone will move in, I’m sure. Woody [Jackson], who owns it, there was no rebuilding the rooms because they sounded so good from how they were built in the 40′s. The room is amazing, and his engineer Michael Harris is incredible. He was the first one to get his ears on this stuff besides Gretchen and I. To be able to put it in a room, listen through a different system, warm things up for his outboard gear. We had some of our favorite musicians. It wasn’t a ton of folks, but the dream scenario where we had 5 days and a rolling, “Get moving”. The next day, Gretchen sings, then some more people come in.

GL: Jay Bellerose is so damn good. So tasty. He just goes in and does his thing.

KC: His heart breathes all the old jazz but he’s also someone who likes to keep pushing things. I think that was the trick with us--we always want to hear something new. Of course, there are some things that sound great that you should do again, but we all listen to music so much you just want something new. Sometimes, you have to make it yourself.

SILY: The album does sound new even though it has older reference points, both the songs themselves and aesthetically. A lot of older jazz tunes with woodwinds and fluttery strings have something eerie and disorienting about them. Thinking about a track like “Blue Skies”, when the sound cuts in and out. That’s not something you hear on traditional “standards” records. To what extent were you trying to achieve that eerie nostalgia?

GL: I think “eerie nostalgia”’s just our M.O., you know? [laughs]

KC: I like that, eerie nostalgia.

GL: I don’t even think we try. 

SILY: “For All We Know” starts out with quiet plucks of string but ends up a swinging jazz tune, the moment on here that’s the most “traditional.”

GL: Even on that one, it’s funny because our friend David Ralicke, who plays the horns on everything--he’s incredible and has such great taste. But this one, I was like “Keefus, I don’t know.” Keefus was like, “It’s gotta get big. It’s gotta be a party at the end, an explosion!” Ralicke, he sent a bunch of horns. When he sent them in, they were very bright and intense, and I was like, “Oh god, this is a little weird!” Keefus was like, “Don’t worry, I’m gonna make it weird and demented.” It is traditional, but something about the way it’s mixed or the added affects give it that eeriness, which I love.

One thing Keefus often did that was really surprising to me was there were songs I sent as straight ballads, like this one. If you listen to the lyrics, the first half is like, “Who knows what’s gonna happen? Life is so uncertain.” But then it’s like, “Who cares? Tomorrow may never come.” And it’s a celebration. It’s one of my favorite songs now after being most uncertain about it at first. Keefus, you sent me Frank Sinatra, Jr. singing “Black Knight” [as a reference]. It starts as a ballad and explodes, an emotional outburst.

SILY: Is there any other specific track on here you think is a standout?

KC: Each one is such a little episode, that even that was tricky to put in order for the record. It almost would have been interesting to go old school and release 45s, make each one of them a single and B-side. When you hear “Wild Is The Wind”, on my radio, I would make that a single. It’s totally different than the others. It’s not this powerhouse. But if I bought it as a single, I would think it’s a really beautiful single. Same with “Who Knows Where The Time Goes”. That’s on Keefus & Gretchen radio. [laughs]

GL: “Who Knows Where The Time Goes” was the very first song Keefus did. It was the only vocal recorded at my house, with a different friend in my dining room, with a little laptop mic set up. We used that vocal. It’s a pretty special one, and genre-defying. “Wild Is The Wind” fits comfortably in the jazz section. Or not--I don’t know. It’s a weird question. One of the things I hate more than anything is when I’m uploading my music and it asks you to pick a category. I don’t know. I hate picking a category. Nothing feels quite right, and it feels like a mixture of all of these things.

KC: Gretchen is a huge jazz fan listening for a long time, but jazz records strayed from her and my tastes as it went along. Jazz records went on a different road and started getting not such a punk rock vibe. It was a classy thing, not so underground. That was one thing we were talking about when finishing the record. We think it should be heard by all age groups and invite them to learn these pieces because they might not have the chance to learn them as often. To pick a genre can really be dangerous for all artists because there are a ton of artists that like a ton of different music and can make a ton of different music and change their records as they go. That was big, too: approaching this apart from being a jazz record and bringing in new listeners. Gretchen and I don’t know exaxctly how this works with the tagging on Spotify, but if you put “jazz” on it, does that mean other people will never listen to it?

GL: I don’t think it is a jazz album. It’s an album of standards, but I wouldn’t call it a jazz album.

KC: I like to call it torched songs instead of torch songs.

SILY: What was the overall approach to the sequencing?

GL: I really pulled my hair out. I was crying myself to sleep at night. It was hard. One thing we ended up doing, which was Keefus’s idea, was he felt like the A-side of the record leaned themselves more to samples and surreal electronic elements. Keefus was like, “Once you get sucked into the album, the vibe is very complementary, and you can take people anywhere.” So after the first 4-5 songs, “Wild is the Wind” comes, which is a stripped down ballad. From then, you’re just on the ride.

SILY: What was the inspiration behind the album title?

GL: I had this idea of taking a line from one of the songs as the album title. I went through all the songs and went through some of my favorite lines. At one point, I thought I was gonna call it “How Blue The Sky” which is from the last song, “While We’re Young.” But then I thought “This May Only Be A Dream” felt really good with the dreaminess of this music and the somewhat surreal journey it takes you on. One thing I’m really proud of about the record is it takes you on an emotional journey from start to finish. I know the kids don’t listen to albums anymore. Peter was one of the people I sent it to, and he said, “I feel like I watched a film listening to this album.” That felt right.

SILY: What’s the story behind the cover art?

GL: Keefus’s daughter Raven [Violet Ciancia-Vincent] is a really talented visual video artist. She’s the one that directed the video for “Come Rain or Come Shine.” We made a video for the song “Don’t Explain”, and that’s just a still from the video. She layers things like a collage, so there’s a video of me with fireworks on top of it. When I was trying to come up with something to make the cover, I took a bunch of stills from the video, and that one jumped out at me, especially with the title, This May Only Be A Dream. I just thought it really worked beautifully together. The font, to me, is a throwback to the Blue Note covers. I know a lot of people do Blue Note covers, so I wanted to do a little nod to it without fully going there.

SILY: Are you planning on doing any shows?

GL: When we do end up playing live again--Keefus, I should probably talk to you about what the hell you think I should do--but some of it would be laptop-tracked songs with live bass or drums on top of it. That’s possible, right, Keefus?

KC: I would dream of a full-on 10-to-12 piece orchestra. For a special show in Los Angeles, and when everything explodes, a special show in New York and Paris. I think you could get the right band, and it’s all completely playable.

GL: Maybe a keyboard player adding samples.

KC: Do you play, Jordan? Gretchen’s looking for band members.

SILY: I don’t.

GL: Show me ya stuff, kid! [laughs]

SILY: What else is next for you?

GL: My husband [filmmaker Jacob Aaron Estes] ended up doing an alternate video for “Don’t Explain” that we’re gonna release that I’m pretty excited about. The other thing that I do--which is a totally other universe--is my Prince cover band with Maya Rudolph. I hope we start playing again. That would be great. I am glad, though, that I had so much time to focus on my own music. As much as I love doing Princess, it’s not totally me. I want to really focus on this for a while.

KC: I’m doing Pringles commericals. [laughs] I’ve been working on a bunch of shows and some records and a new soundtrack for a show [Made For Love]. I’ve made a lot of music during the last year and a half. There’s some fun stuff coming up. I’ll start a new Unloved record when our band is allowed to fly over here.

SILY: Anything you’ve been listening to, watching, or reading that’s caught your attention?

GL: My mind just went utterly blank. [laughs] Utterly. I’ve been reading a lot of weird dystopian future stuff to distract my anxiety about the dystopian future stuff we’re dealing with in real life. Reading it calms my nerves.

KC: I watched the Bee Gees documentary [How Can You Mend a Broken Heart] the other night on HBO. I thought it was beautiful. They just touch those places, when you hear those voices.

[tangledbea]

(Part A of a looong ask) I just saw the ask about the Broadway version of tangled, and I would like to add my opinion on the subject (I don't know a thing about making musicals, I just have OPINIONS to share) The main thing to improve from the cruise version is that it condensates an hour and a half of a movie into just one hour of show and it's SUPER rushed.

(Part B) The other issue is that it tries too hard to recreate iconic animated scenes that do not have the same impact when you don't rely on shots and editing; when making a musical show you have music, choreography and lighting as the main tools for enhancing the emotional impact of scenes.

(Part C) Broadway adaptations usually add LOTS of songs for this reason so let's imagine the following songs for emotional/visually charged parts of the story:

(Part D) 1)"Flower of gold" is a great addition, they should keep it 2)a song for Rapunzel seeing Eugene for the first time, exteriorizing her fears and starting thinking of her escape plan 3)an extension/different song for "when will my life begin reprise" that shows us more of the first things Rapunzel experiences out of her tower, instead of the contradiction montage

(Part E) 4)another reprise of "Mother knows best" when Gothel comes back to the tower (and, as you suggested, for when she plots with the stabington bros) 5)this is not song-related but they could change the flooding cave to just a collapsing cave (bc is just too much effects work that don't add emotional impact) and maaaaybe a song would fit in this scene 6)a song about Eugene and his feelings, I suggest a sad reprise of "Wanted man" that takes place in the campfire scene

(Part F) (think about the new meaning, when he explains that Flynn was the man he wanted to be as an orphan kid) 7)"when she returns" is good but it shouldn’t have the king and queen singing joyfully, instead 8)an intimate sad song for them, taking place before releasing the lanterns, about their dream of finding their daughter, and being paralleled by Eugene and Rapunzel in the boat talking about the lanterns and finding a new dream

(Part G) 9)the "I see the light" reprise when Rapunzel realizes she is the lost princess is great, let's keep it 10)when Rapunzel reunites with her parents it should be kept as the movie: no songs, no narration, just intense body language. idk about technical aspects or plot changes, I’m usually flexible to that (that was long, thanks if you read it)

I like “Flower of Gold,” but the reason I suggested a different song is because I like to have new songs. lol It’s kind of like, “If you could do this again, how would you do it different?” to Alan and Glenn (since they also wrote the new cruise musical songs). That was why I wanted a different “introducing Eugene solo/chorus number.” Just to have something new and fresh and see how they could do it differently. (Though I’m not gonna lie, the line, “You gotta love the way his trousers stick, plus--” is ICONIC!!) Same for “When She Returns.” Different and/or lengthened, intertwined with Rapunzel soloing about “this world is new and beautiful and kind and fun and not dark or scary at all” with and Eugene soloing about “look at this girl, she’s opening my eyes to how bright and beautiful the world can really be, I forgot all about that in my cynicism.”

As for the campfire scene, I would like it if they took the flute melody that’s on the soundtrack but not in the movie (the flute solo was removed, I think because it distracted from the dialogue) and based it around that, rather than a reprise of “Wanted Man.” 

For your king and queen/lantern dream song idea, what if it was a four-part thing? Like, two duets that counterpoint each other to make one gorgeous tune?

I’d also like a confrontation song between Rapunzel and Gothel. It can be brief, but I’m seeing it after Rapunzel realizes she’s the Lost Princess. I’d always wanted a little more... emotion there. We know by the way that Rapunzel reaches for Gothel as she falls out the window that she didn’t want her to die, that despite everything, her love for her mother didn’t just shut off. I’d like that explored in song a little more.

[lucindarobinsonvevo]

This week, a record made and released by close collaborators Eerie, Indiana and Heart on a Chain received a re-release with a deluxe edition to celebrate its 20th birthday 

Though the front cover of Marshall’s Theory of Believably, the joint album by bands Eerie, Indiana and Heart on a Chain names only those two bands, the project was a collaboration between all the members of the Indiana seven. The Indiana Seven were a close group of collaborators who had a close working relationship in the 90s, creating iconic tracks and albums. The cover, which depicts a lone man in a ghost costume was shot by Sara Sue, an artist/photographer who shot most of the Eerie, Indiana’s album covers, and a track labeled ‘we gave this track to Tod’ features the enigmatic artist known as Tod, who also helped on the band’s delayed record Broken Record. The album art is different from the works of both bands, with Eerie, Indiana frequently having a sort of DIY feel to their photoshoots and Heart on a Chain tending to the more abstract kind. These particular photos (remastered for the deluxe edition) depict various band members in the dessert wearing a sheet over their heads with large black eye holes. The cover is Holmes, peering from behind a large unlit bonfire at the viewer. The title is written in the handwriting of Janet Donner, who also features as the figure on the CD itself. Teller features on the back of the album, and the back page of the liner notes, waving goodbye. Inside the liner, there are images of X, with Monroe being absent, apparently due to having a broken leg at the time of the shoot following an incident at a waterpark.

The album features twelve tracks, with many of them focusing on the idea of cryptids and other mysterious entities to make up the metaphors of the song. On the idea for the Album, Donner said: We wanted to talk about love as we knew it. This broad, mysterious concept that so many people in their twenties make love out to be.” On what she thinks of love now, Donner then remarked: Love is being glad the world hasn’t ended yet. I’ll leave you to make of that what you will. On the album, both X and Teller have cited the other as an inspiration behind the tracks, which will not come as a surprise to anyone who frequently listens to Eerie, Indiana as the pairs sometimes tumultuous relationship is often at the center of the most controversial and interesting projects done by the band. But this album is, more than anything else, a happy one. 

The first single released from this album was the track ‘Sometimes I Almost Miss You’ in the one-two punch style of Eerie, Indiana the track is titled like a break-up but is a love song. Over an energetic guitar track and drum machine, Monroe sings about the heart transplant she’d had some years before and how she believes that she can still feel the donor even though he’s (according to the lyrics) long gone and sweetly resting. The track is careful to avoid any religious implications, instead suggesting that the donor (who has since been identified as Devon Wilde) instead rests inside her chest. With X on the guitar and Holmes on the drum machine and (of all things) the triangle, Teller is free to singe verses from the perspective of the heart donor, viewing the world from inside Monroe’s chest while Donner provides very beautiful backing harmonies. The overall mood of the track is one of quiet love and happiness, as well as gratefulness to the young boy who gave her the second chance. Those familiar with the work of Heart on a Chain know that the transplant features heavily in their songs and it’s no surprise to see it here. 

The second track released in the work was ‘Me and My Jackalope’ and fueled rumors about a relationship between Teller and his bandmate, Dash X. At the time, both were closeted at the request of the label to avoid scandal. “Being in the closest literally almost killed me.” Teller would reflect later, interviewing for a project he did, releasing tracks for an LGBT themed album in the 2000s.”The funny thing is, I don’t think anyone who listened to us gave a damn. We’d go on stage, and we used to stand so close our knuckles were almost touching getting up in each other’s face and people would just go crazy.” Me and My Jackalope is, as you may have guessed, a song about impossible love. A love that the singer, in this case, mostly Teller, keeps hidden under his bed, only bringing it out to play when he’s alone. It’s a slow, sad track with Teller crooning to his animal “If they saw you, then they’d send you away.” Both Holmes and Monroe are credited as writers on the track, with the usual Eerie, Indiana flavor of complicated guitar playing set aside in favor of Donner and a violin and Holmes playing an assortment of other instruments. 

The third and final promotional single was meant to be Skylines, which lyrics from are also featured on the inside booklet of the album however at the last minute it was swapped out to the Meatloaf cover in the center of the album, Midnight at the Lost and Found due to ‘label meddling’ after it was decided they needed another upbeat track after Me and my Jackalope. The track is nothing special, a seemingly typical Eerie, Indiana cover. Eerie, Indiana frequently covered Meatloaf and Jim Stienman tracks, hoping to work with one or the other someday. Sadly, this collaboration never came to be. But it’s a fun song, much like the original version from the 1983 album by Meatloaf. Somewhat of a deep cut by today’s standards, but it’s fun. Which I think was probably the mission statement of this album if Dash X is to be believed (Yes, that’s his stage name, no I do not know his real name). ‘We were a bunch of 20 something friends given a studio and a year or two to do whatever we wanted. So we did whatever we wanted, which was being weird.’ 

Skylines and it’s reprise is a group effort, with every member of the group joining in with the writing process to produce something that could have gone astray but managed to come together into something coherent. Skylines covers the re-treaded ground of many bands, it’s a song set about missing people while on tour. Set against New York’s bright, iconic skyline the track is mostly led by Donner as she wonders what her lover is doing right now. Her lover, played by Teller wonders about if his lover will stay in New York, swept up by the bright skylines, and pleading for them to simply be theirs. The track has backing vocals from all of the members involved, including Holmes who mostly shies away from singing parts. ‘It’s not that I don’t love to sing.” He explains, “I’m just not very good at it. Marshall was always the singer, I’m much happier playing the drums, or a cello or something.” 

The final track on the album, clocking in at nine minutes, is Cryptids (I Still Believe in You and Me). This track shows off the impressive guitar skills of Teller and X, this time paired with the violin playing from Donner who shows she can keep up with the boys by playing speedy, intense sections with precision. This Dash X penned track also has extensive work by Holmes on the drums and a solo from a very jazz saxophone in the third act. Ultimately, the song doesn’t quite come together, feeling disjointed and a little over-complicated. But...Maybe that’s how it’s meant to feel. Dash was never brought into Eerie, Indiana as a writer, he was brought on to foil with Marshall on stage and because he was the only person the label could find that could play the punishingly difficult riffs Teller produces. On his Instagram speaking about pride X has suggested that a lot of his music was changed during production because it was too overtly about men, while Donner and Teller both proficiently changed pronouns in there songs, or stuck to calling their love interests you. 

The album has three tracks that feel like filler, the intermission track which is not unusual on the cinematic, large scale Eerie, Indiana albums, a seemingly ‘story’ track called ‘Lost in Time’ which is a piece of Holmes poetry performed by Donner and an odd little track called ‘We Gave This One To Tod’ While the enigmatic Tod was often credited on Eerie, Indiana albums and opened for them at live shows he never quite reached the level of recognition his peers did. However, seeing the bizarre and experimental nature of his work, and his goth and punk leanings I think it’s safe to assume he was happier underground than his friends were blinded by the lights of showbiz. This piece features heavy synths and a drum machine. It doesn’t hit for me, but perhaps for a fan of Tod, it could be a holy grail. 

On this version of the album, known as the deluxe edition, we’re given three additional tracks. A demo version of Elvis and the Mothman, which is lyrically the same slowed all the way down with the shouting chorus replaced with a mouth against the mic crooner style. The released, upbeat anthem style track is a far better fit for the album. Baba Yaga in Heels is a Heart on a Chain only track, perhaps why it was discarded. It features a techno style dance beat, with the lyrics being about a night out with Baba Yaga, a Banshee, and a harpy. Ultimately, the lyrics are not that impactful but they don’t need to be. The final listed track is a cover of Meatloaf’s Bat out of Hell, which lyrically and sonically is almost identical to the original. 

Overall, what Marshall’s theory of Believability tries to do is ambitious. It’s an album between two experiential groups of friends trying to make something that they enjoy. But it’s not the best work of either group, which is a shame because it could have been something very special if they were given a little more time to work out some of the kinks and if they pruned some of the tracks that are superfluous to the story of the album. I’m happy to have a copy in my collection, but honestly, I’d rather listen to something the group produced independently anyway. 

[late-to-the-sexy-party]

We are not two we are one

My first fic is a short one shot about Rae and Finn to whom I’m eternally grateful for bringing me back to writing after a long absence. Equally grateful to @madfatty for your unexpected encouragement and thoughtful editing.  The more of your brilliant work I read, the more honored I am by your kind attention. 

In this vignette, Rae asks Finn about his scar.  It takes place one Saturday afternoon months after S2 but before S3.   

As late in the fandom as this is, I am extra appreciative of anyone who gives it a read. All feedback welcome.

Two hours into playing records that Saturday afternoon, Rae and Finn lay on top of his bed, over the covers, flannel shoulder to flannel shoulder, while Finn traced coiling swirls onto Rae’s palm. Finn loved these music-filled hours next to Rae, knowing there was nothing they’d rather be doing with their clothes on and that there was truly nothing better than what they’d be doing later with their clothes off. His mind wandered freely. He was starting to understand that he was an observer of people and could see the things they hid from the world; he needed these times to put everything together, to arrange things as he saw them.

He was lost in his thoughts and the tunes and the sudden mental flashes of Rae’s bare flesh; her nipple at the edge of his lips, the arch of her neck when she told him not to stop, each of which sent electric jolts straight to his groin. It was all strange and beautiful and satisfying on many levels, none of which he felt capable of explaining in words. He nestled closer to Rae, whose warmth drew him in like the sun.

Rae was banging on in her own head, trying to get comfortable with feeling this good, with being enough for someone, with being more than enough. She was a little extra in pretty much every way, but Finn seemed like a cat who just wanted to be near her all the time. And by cat, she meant sexy unicorn. When he said she was perfect, what did he mean? Perfect like Chloe’s breasts? Certainly not. Maybe perfect the way her silly bathrobe was perfect? Did he mean she was comfortable and exactly the right fit, cute and well-loved but weird and loud and wrong, and–if so–was that pathetic or was it amazing? She wrinkled her nose and arranged her whole face into a question mark.

Strangers by the Kinks was playing now. Rae had turned Finn onto them, though once in a while he pretended it was the other way around. She appreciated the way he respected her mind and loved her taste, laughing to herself at her unintended pun. He also LOVED her taste. Her eyes rolled back in her head as she pictured a scene two days prior and Finn’s head squarely between her thighs. As her resting heart rate returned, she sang along with the chorus, “…strangers on this road we are on, but we are not two we are one.”

Still singing, Rae propped herself on her elbow and ran her fingers through Finn’s hair, loving that he was hers for the handling. She traced his champion eyebrows, which often spoke Finn’s thoughts more freely to her than his mouth. Finn instinctively closed his eyes so she could trace his eyelashes, as she always did. By the time she reached the top of his right cheekbone, her singing had trailed off. Her finger paused here as she decided whether to continue. She felt some unspoken permission, so she did, tracing her finger slowly and deliberately down the long scar on Finn’s cheek and then slowly back up again, so there could be no mistake.

Finn looked over at his toes, “Guess you’re not the only one with scars,” he said quietly.

“Howdya get it?” Rae asked, just above a whisper.

Finn let out a long exhale as he realized that he was going to tell her. He licked his lips and tapped his tongue against the roof of his mouth, making a couple of clicking sounds. Rae considered letting him off the hook, but with this gearing up ritual underway, she waited. He let out one more long breath through his loosened lips, “So when I were about 6, I guess my parents was arguing…I think my Nan were there too…anyway, my mum threw a bottle at my dad–”

Rae interrupted with a gasp, “And it hit you instead!” Her eyes were wide and glassy.

“No,” he corrected her, “but it sorta smashed up on a cabinet and a piece came flying at me. I think it were really scary for everyone, like a lot of blood and rushing to hospital, but I don’t actually remember any of it.” He sucked in the right side of his mouth and bit the inside of his lip. “Apparently that’s when my mum realized … I guess that she couldn’t be a mum.”

Rae was stricken, “So, that’s when she left, was it?” Her words were more conclusion than question.

“Not right away, but before I were seven. It were for the best my dad says, because she didn’t want to hurt me like that again.” Rae held her tongue as she watched Finn thinking and eventually he continued, “Would’ve hurt less if she’d stayed, even if she’d thrown a million bottles at me.” Finn wanted to play this off, to finish with a laugh, to say “whatever” or roll his eyes, but he didn’t. He let the words lay there even though it felt like his guts were hanging out of his skin. That Rae was pressed up to his side as close as she could get made the confession bearable and he continued hesitantly, “Sometimes I…I feel like my dad forgets that I’ve grown up and I need a better explanation…but it’s too hard or too late to ask…like it’s frozen back there.”

“I’m so sorry, Finn,” Rae said, wanting to soothe all the pain that was surfacing. “It’s never too late to figure out the truth though. I’m still discovering what a shit my dad was! And it is actually helping me make sense of things,” she added, believing this even more as she said it out loud. “Promise you’ll always talk to me about it? About her?”

Finn looked out the window with a distant but very sweet smile, “Yeah,” he said, “I promise.”

Rae smiled too, “Maybe your mum and my dad are meant to be together.”

“No,” Finn said, shaking his head slowly before raising his eyebrows and looking straight at her, “but… we are, yeah?”

The intensity behind Finn’s eyes stunned Rae and made every part of her ache to crawl inside him; maybe she really could trust him.

As he brought his lips to hers, he pulled her even closer. The happiness and the sadness were all okay, because the promise of safety was so close he could almost taste it.

[grimelords]

October Playlist

My October playlist is finished and it’s complete from Rico Nasty to Rachmaninoff. I absolutely guarantee there’s something you’ll love in this 3 and a half hours of music, and probably something you’ll hate too! Something for everyone!

If you’d like to have these playlists delivered to your inbox instead of having them randomly appear on your dash, please subscribe to my tinyletter here.

listen here

Santeria - Pusha T: In anticipation of Jesus Is King I relistened to the entire Wyoming Sessions project a few times, and a year removed from all the hype and controversy here's the thing: it's fucking great. The individual albums ranged pretty widely in quality and felt slightly unfinished for how short they were sometimes, but taking the project as a whole 5-album 120 minute playlist it turns out it's a masterpiece. My personal tracklist goes Ye/Daytona/Nasir/KTSE/Kids See Ghosts, which isn't release order but I think makes it flow the best - both Kanye albums bookending it and the less impactful Nas and Teyana Taylor albums buried a bit further in where you can appreciate them now that you're deep in the mindset of the whole thing rather than alone on their own.

Puppets (Succession Remix) - Pusha T & Nicholas Brittel: This remix is such a perfect match: Pusha T’s corporate villainy finally given a context and prestige it deserves. It’s also short enough that it could feasible be the actual theme song next season, which would be a marked improvement imo.

Use This Gospel - Kanye West, Clipse & Kenny G: I am and remain a Kanye stan, even after everything. It’s nice to see him going back to the extremely uneven mastering of MBDTF era, it’s a sound that is uniquely his and it’s fun to see him revisit it. The thick vocoder harmony is so soupy you get lost in it, and the way it opens up to include the full choir in the No Malice verse is beautiful. Kanye reunited Clipse through Christ and we have Him to thank for that at least. The Kenny G break is great, and the grain and dirt on the whole track when the beat kicks in is so gritty you can feel it.

Man Of The Year - Schoolboy Q: I didn't love the Chromatics album they surprise released but it did thankfully remind me of the time Schoolboy Q sampled Cherry for Man Of The Year. Taken exclusively on lyrics, Man Of The Year is a triumph: he's the man of the year and it's all worked out but the sample and the beat underscores the dead eyed melancholy that runs through the whole of Oxymoron of never winning even when you've won.

Cold - Rico Nasty: This song fucking tears your face off. Imagine STARTING your album at this level of intensity. She just goes straight to 100 and burns the house down. Outside of Lil John so few rappers can get away with just straight up screaming in the adlibs but the way she just lung tearingly screams GOOOO through this is fucking sick.

Fake ID - Riton & Kah-Lo: TikTok songs are becoming their own genre, but it’s a very nebulous sort of a mood encompassing everything from aughts pop punk hooks to skipping rope raps like this. It’s a strange new way for songs to blow up that everyone seems compelled to write articles about but my take on it is it’s exactly the same as ads were in the old days. Remember how many songs did absolute numbers because someone put it in a Motorola ad? Same thing except you’re not being sold a phone this time, so in some ways it’s better. Anyway, this song bangs. The spirit of 212 era Azealia Banks lives on even if she’s doing her best ever since then to kill it.

Doctor Pressure - MYLO & Miami Sound Machine: There was a very good era in the mid-2000s where you could just put mashups out as singles and they’d chart, it was sick. My only two examples are this and Destination Calabria but I’m sure there’s more. Drop The Pressure is a masterpiece but as an alternate version this mashup is equally masterful.  

If You’re Tarzan, I’m Jane - Martika: Martika is unfortunately best known for the 1989 one hit wonder Toy Soldiers, a sort of boring overdramatic ballad which is best known for being sampled by Eminem in 2004 in his quite bad super duper serious song Like Toy Soldiers. I say unfortunately because every other song on her first album is great, it’s all hypercolour 80s synthpop and I love this song especially because it is so completely stuffed with activity it becomes dizzying. It gets so lost in itself that they completely abandon the dramatic pause before “I’m Jane” for some reason toward the end and instead just layer three different tracks of vocal adlibs. Every part of this song is great, the weird ‘o we o we o’ chant before the second verse? The neighing horse guitar before the bridge? The musical tour of the world IN the bridge? The part where she says ‘I want to swing on your vine?’. This song has everything.

You Got Me Into This - Martika: Every part of the instrumentation in this is amazing. The bass sound, the main synth, the extremely athletic brass, the wonderful echoing 80s snare that’s as big as a house. I just love it. She also does some really intriguing slurs on the word ‘love’ all the way through, just moving it around absolutely anywhere.

Space Time Motion - Jennifer Vanilla: I love when someone has such a clearly defined aesthetic and mission from the very beginning. Jennifer Vanilla is the alter ego of Becca Kaufmann from Ava Luna who I've had in this playlist before but never competely investigated. Jennifer Vanilla feels like an episode of Sex And The City where Samantha gets really into Laurie Anderson and she is incredible. This video is the best mission statement I’ve ever seen and is currently criminally underviewed so please do your part and support the Jennifer cause by watching these two videos.

So Hot You’re Hurting My Feelings - Caroline Polachek: Caroline Polachek said watch me write a Haim song and did it. Apparently the very early versions of this album started when she was in writing sessions for Katy Perry, but then it started to turn into something else and she took it for herself, and I think you can hear that. With more normal production and a little faster this is a hundred percent a Katy Perry song, but instead it’s completely uniquely Caroline Polachek and it’s all the better for it. And also Katy Perry must be furious because her new songs are simply not good at all.

Electric Blue - Arcade Fire: I just love the obsession of this song in the outro, chanting over and over and over “Cover my eyes electric blue, every single night I dream about you”

Promiscuous - Nelly Furtado and Timbaland: I got a youtube ad for one of those Masterclass videos the other day and it was Timbaland teaching production. This ad went for five minutes for some reason and I watched the whole thing and it made me admire Timbaland even more. He’s demonstrating his compositional technique which is basically to just beatbox, and then loop it, and then add some extra percussion layers with more beatboxing and hand percussion, then loop that and add a little melody by singing or humming. ‘It’s that simple’ he says. Then later he goes back in and puts in actual drums or synths or whatever. I was stunned because suddenly a lot of his music makes sense. Without the barrier of instrument or timbre to get hung up on it allows him to write from this instantly head-nodding place of just making up a little beat you can sing and dance to immediately. Listening to a lot of his music now you can hear the bones underneath everything so clearly, all his beats are supremely beatboxable and all his melodies are very hummable, they’ve never overcomplicated by instrumental skill or habits, they just exist to serve the song.

Serpent - TNGHT:  TNGHT are back baby and this song is like nothing I’ve ever heard before. It feels like afrofuturist footwork from another dimension, the mbira sounding lead against the oil drum percussion in this cacophony of yelps and screams that just builds to an irrepressible energy without a bassline in sight.

Ghosts Of My Life - Rufige Kru: I'm reading Mark Fisher's Ghosts Of My Life right now and some good person has put together a spotify playlist of all the songs he mentions. He has a whole essay about why this song is sick so I’m not going to go into it here but it’s interesting to hear about someone growing up with jungle when it’s a genre that has always felt very niche to me. I guess partly as a result of it never really making it mainstream as a genre here, and also me being a little too young for it.

Renegade Snares - Omni Trio: My biggest introduction to drum and bass comes from the game Midnight Club 3: Dub Edition and this really great song from the soundtrack that is finally on spotify after a very long absence. At almost the exact same time as I discovered this song with its spacious piano and repitched snares, I discovered Venetian Snares and breakcore in general. Having no particular frame of reference for breakcore as an offshoot of drum and bass only amplified its appeal to me as a completely alien genre that sounded like nothing else I’d ever heard, and so my personal history with drum and bass is a story of walking backwards into it after the fact which is interesting if not helpful.

Punching In A Dream - The Naked And Famous: The Mark Fisher book also mentions the Tricky song which I’ve never heard from which The Naked And Famous got their name and I thought ‘man remember The Naked And Famous, they were sick?’. The sort of harder edged Passion Pit instrumentation mixed with pop punk, a winning combination.

Vegas - Polica: My favourite part of this song is the unexpected blastbeats after the chorus, using their two drummers to their full advantage and just shaking the song by its foundations every now and then lest you get too comfortable.

Right Words - Cults: I’m beginning to suspect I may be the last surviving Cults stan but if this be my lot I’ll gladly do it

Running From The Sun - Chromatics: The new Chromatics album got me to relisten to their definitive document Kill For Love, and something new I appreciated this time about an album I love a lot is its length. Kill For Love is almost 80 minutes long and it luxuriates in that length. It’s sequenced perfectly so it never feels like it’s long for no reason, but large chunks just completely space out and go out of focus in the soft neon light and the second half of this song is a good example. The whole thing just evaporates into smoke and it feels perfect. If this were a shorter and more concise song that had a proper ending it wouldn’t feel right, this whole album has no straight edges at all and it’s all the better for it.

Chance - Angel Olsen: I cannot belive this song. This feels like she wrote her own version of My Way looking forward instead of back. Instead of the ruefully triumphant "I've lived a life that's full / I've traveled each and every highway" it's “I don't want it all / I've had enough / I don't want it all / I've had a love." before the turn from the future to the present at the end, where she gives up on a forever love in exchange for right now. I love how raw this vocal take feels. It's not her best voice but it feels very very honest as a result. She's just singing her heart out in this huge showstopping closer. In an interview she said "I didn’t love the recording of it very much, and now I just feel in love with it as a closing statement, because it’s a way of saying, ‘Look, I have hope for the next thing in my life.’ I’m not going to anticipate negativity or hate or an end. But instead of us looking towards forever, why don’t we just work on right now?"

Something To Believe - Weyes Blood: This album just keeps paying dividends. I’m systematically going through long obsessive periods with every single song on it and now it’s Something To Believe’s turn.

Don’t Shut Me Up (Politely) - Brigid Mae Power: Without meaning to, Brigid Mae Power seems to have created some incredible fusion of folk music and stoner metal. The way this song absolutely sits unmoving on one deep and resonant chord for so long is amazing. When it does change chords it feels like a full body effort to get up and shift. She has a similar feeling to Emma Ruth Rundle, who more explicitly wears her metal influences, but Brigid Mae Powers' strength is in how much it resembles the traditional folk side of the spectrum. Her voice is also amazing, with the huge effortless runs she goes on about halfway through just coming unmoored from the song completely and floating off into space.

Sweetheart I Ain’t Your Christ - Josh T. Pearson: I had a real problem with Josh T. Pearson for a long time because of how he presents as so authentic on this album, and as I’ve previously discussed in these playlists the concept of authenticity in country music is a source of neverending anguish for me. But his newest album The Straight Hits! has largely cured that for me because it’s not good at all, is extremely contrived (all the song titles have the word ‘hit’ in them) and he’s shaved his beard and replaced it with one of the worst irony moustaches I’ve ever seen. So now I’m free to enjoy The Last Of The Country Gentlemen as a character construction, which allows me a far deeper and truer engagement than the idea of a man actually living and thinking like this which is frankly a little embarrassing.

Codeine Dream - Colter Wall: I love this song, it has that feeling that great folk songs do of feeling like you’ve always known it. The strongest moments on this Colter Wall album to me are in songs like this that chase this particular feeling of morose isolation, and where he leans away from storytelling like his biggest hit Kate McCannon - a kind of cliche country murder ballad. This song is fantastic because of the way it wallows in this black depression not as a low point, but as a reprieve from the lower previous point. Things are as bad as they get now, and they’re always going to be like this, but at least I don’t dream of you anymore.

Motorcycle - Colter Wall: I only just found out about Colter Wall this month and have been listening to this album over and over. When I first heard him I though it was strange I'd never heard of him before because he's obviously some old country veteran based off his voice, but it turns out he's 24 and this is his first album he just sings like he ate a cigar. I love this song especially because it's so straighforward. It's a simple and supremely relatable mood: what if I bought a motorbike and fucking died.

Who By Fire - Leonard Cohen: I watched American Animals a couple of weeks ago and it’s a great movie, highly recommended. This song plays near the end and I waited for the credits to find out what this great song was, and like a rube found out it’s only one of the most celebrated songwriters of all time. I’ve never had much of a Leonard Cohen phase, somehow. In my mind I always get him mixed up with Lou Reed, which I’m learning is actually way off. I love the harmony vocals in this, and the way they move around into the shadows in the ‘who shall I say is calling’ parts.

Words From The Executioner To Alexander Pearce - The Drones: Alexander Pearce was a convict who escaped Sarah Island’s penal settlement in Tasmania with seven other convicts in 1822. He was recaptured two months later alone. In 1823 he re-escaped with a fellow convict, Thomas Cox and again was returned alone.He was executed by hanging later having eaten six men during his escape attempts.

It Ain’t All Flowers - Sturgill Simpson: I found this album going through the Pichfork 200 albums of the decade list and I feel like a fool for not having heard it sooner because now I am completely obsessed. Sturgill Simpson is doing the very best work in country music right now because he's looking backwards with one eye and forwards with the other and this song is a great illustration: a perfect Hank Williams Jr type country song with big voiced hollers that morphs into a surprise psych freakout for the whole second half.

Desolation Row (Take 1, Alternate Take) - Bob Dylan: I’ve always liked Desolation Row a lot as a song but the acoustic guitar on the album version is simply not good, it's just kind of mindlessly playing this long directionless solo the whole time and over the course of a song this long it really adds up to just being annoying. Luckily because it’s a Bob Dylan song there’s a whole universe of alternate takes and mixes and this is a great pared down version I found without it. The best kind of Bob Dylan songs are the ones where he just makes an endless stream of allusions and bizzare imagery, and this and Bob Dylan's 115th Dream are my favourite examples of it.

Living On Credit Blues - El Ten Eleven: This is a groove I get stuck in my head a lot, and this is also a song I think would work well as a theme for a tv show. I've been meaning to do a 30 second edit of it just for my own amusement, maybe I'll do that soon. El Ten Eleven are a duo where one guy plays drums and one guys plays a double necked guitar/bass and looping pedals and somehow against all the odds of that description they manage to make emotional, driving instrumental music of very deep feeling, like this song which is one of my all time favourites.

Dusty Flourescent/Wooden Shelves - Talkdemonic: This is sort of a companion Living On Credit Blues, and Talkdemonic are similarly an instrumental duo with good drums. This entire album from 2005 is highly recommended, it's a sort of halfway between the post rock of the time and a kind of acoustic hiphop instrumentals that ends up sounding very rustic and homemade, like a soudtrack for a winter cabin.

Turnstile Blues - Autolux: This is a perfect song, built around a perfect beat. Every part just fits perfectly.

Fort Greene Park - Battles: The new Battles album is finally out and I absolutely love it. I cannot think of another band that has shed members in the same way as Battles; originally a quartet on their first album, then a trio for their second and third and now down to a duo for their fourth album - and somehow still performing material from their first album live. The paring down has seemingly only servers to focus them and the new album sounds fresh but still distinctively Battles, with no sense of anything lost or missing. This song is my standout so far, and the guitar line in particular is so good and interesting to me because I don’t think I’ve ever heard Ian Williams play something so distinctly guitar-y in his whole career. This is a straight up pentatonic riff with bends and everything. Filtered through his usual chopped and looped oddness it feels like he’s almost gone all the back around the guitar continuum and is this close to just doing power chords next album. And I’ll support him!

Diane Young - Vampire Weekend: I've listened to this song a lot in my life and I only looked up the lyrics the other day to find out that the opening line is 'you torched a SAAB like a pile of leaves' which I somehow never noticed. What a power phrase. There's also this very good quote from Ezra about it: "I had this feeling that the world doesn’t want a song called ‘Dying Young’,“ says Koenig, "it just sounded so heavy and self-serious, whereas ‘Diane Young’ sounded like a nice person’s name.”" and he was right to do it. This song is 100 times better because he’s saying Diane Young than it would be if he was saying ‘Dying Young’. That’s a songwriting tip for you.

Monster Mash - Bootsy Collins & Buckethead: Hey did you hear Bootsy Collins and Buckethead did a cover of the monster mash? Thank god for freaks.

The Dark Sentencer - Coheed And Cambria: There's not that many bands that I absolutely loved as a teenager that I've completely abandoned. I've moved on from a lot but I'll still keep up with them if they have a new album or something. Coheed And Cambria are one that I've almost completely turned my back on. They've had 3 apparently pretty patchy albums since I stopped listening after Year Of The Black Rainbow, which was extremely bad and really taught me what people mean when they say an album is 'overproduced'. On a whim I decided to see what they're up to now and listened to their album from last year and guess what: it rocks. It's got everything you'd expect from them: big riffs, bad and confusing lyrics, his weird high voice, overwrought and overlong songwriting, cheesy muscleman solos. Everything about this band is sort of cheesy and embarrassing and takes itself way too seriously, but I'm discovering slowly that that's what's so good about it. The weird pulp sci-fi story and mindset that underpins this whole band is ridiculous and overwrought and as a result it gives the music a reason to exist the way it does. It’s so big and dumb because the story it serves is so big and dumb. It feels exactly like reading Perry Rhodan or some increidibly long and dense but not especially good series like that, it’s pulp music and that’s what I love about it.

Romance In A (6 Hands) - Sergei Rachmaninoff: Piano works for 4 hands (where two guys sit next to each other on the same piano) have always seemed to tend towards the realm of the gimmick or party trick, and works for 6 hands (where three guys do it) even more so - but this Rachmaninoff piece is just beautiful and I can’t believe I haven’t heard of it before this month. It doesn’t overload everyone with a million things to do, it just builds this very wide harmonic bed for the simple melody to swim in - then the way the melody transfers over to the middle register is just magical before the tension of the final section takes over and builds.

Love's Theme - The Love Unlimited Orchestra: I’m so glad I got to learn about the Love Unlimited Orchestra this month. Aside from having one of the best names in music, they were Barry White’s backing band and had their own solo instrumental records too. Here’s a fun aside: Kenny G was a member when he was 17 and still in high school. This is a genre of music that has seemed to totally disappear into the realm of parody and farce only which is sort of a shame because it is unironically very beautiful and dense in its own way.

Dancing In The Moonlight - Liza Minelli: Can you believe I thought Dancing In The Moonlight by Toploader was an original until the other day when my girlfriend played this Liza Minelli version that predates it by several decades? This also isn’t the original! It was written by a band named King Harvest in 1972, with this version AND a version by Young Generation both coming out in 73 and a whole bunch of others in between (including a Baha Men version in 94) before Toploader finally had a proper hit with it in 2000. Truly the world works in mysterious ways. This version is the finest I think, it just goes and goes, frenetically unwinding at a breakneck pace before opening up into a flute solo of all things and then winding up again even and finishing in a kick line breakdown. Absolutely no limits.

Girls - Royal Headache: The sheer amount of power and melody that this song manages to pack into a minute and a half is incredible, and I don’t think I’ve ever heard a more instantly relatable opening lyric than “Girl! Think they’re to fine for me! Oh girls! And I’m inclined to agree!”

Pov Piti - Matana Roberts: In anticipation of Matana Roberts new volume of her Coin Coin album series that just came out I relistened through the three previous albums and they are even more powerful than I remembered. This song serves as a pretty good mission statement for the whole project, and the heartrending tortured screams that open it set the tone for the rest of it. Matana Roberts sings the injustices of slavery into being, and her sing-song delivery highlights the trauma - her indifferent delivery mirroring the indifference of the world at large. The way she rattles off this story like she’s gone over it a million times and grown numb to the facts only accentuates the pain in the telling, a pain that rises to the surface in the screams of her instrument and herself.  

Kingdoms (G) - Sunn 0))): This new Sun 0))) album is one of my favourites they’ve ever done because it’s so straightforward and back to basics. Every song is just ten minutes of straight up no-nonsense, big, rich, drone. They even put the notes in the track names so you can drone along if you like.

listen here

[shhhhyoursister]

hi friends i wrote this all yesterday and just never posted it i guess and these thoughts are definitely less coherent but!!!!! they’re valid!!!!! so here is the second edition of.....

MUSIC IN DRUCK (3x02)

quick musical doodles - i’m including this just cause it makes me laugh, cause it starts and the first notes hit kinda heavy, especially cause you can see matteo sitting on the steps just flopped over and it seems like it could potentially be the start to a serious scene, but then you see the BOYS coming in and then you see matteo looking slowly up at them and carlos’ fucking face kills me every time he looks like he’s trying so hard not to laugh but jonas and abdi are walking with like,, a hint of swag??? and then you can see the “what the fuck” on matteo’s face, that part is just hilarious and i had to mention it

obvs - so i didn’t think i’d have much to say about this song (plays during the scene where david and matteo are awkward gay stuttering and then leonie comes over) but i think the function of it is to highlight the whole nervous/stuttery/apprehensiveness of approaching/talking to someone you’re developing a crush on??? and how you can obviously hear the music during the moments of awkward silence and there are no words so you’re just kind focusing on the fact that they aren’t speaking and it plays until david is completely gone

8896 - so this song gets interesting when you look into the lyrics a lil more,, this song plays while matteo is watching david try to shove his bag in the locker (as this post said it’s heavy bottom imagery) and when i looked ho the lyrics i was like 🤔🤔🤔 because the first line is “you say there is nothing to hide” which is interesting because both matteo and david, at this point in the story, are hiding pretty big things about themselves!!!! it gets even MORE interesting later on when you look in the 2nd chorus and see “we’re running down roads and crossing track stones / pay for the ticket, just enjoy the circus / run away another day” that first line kinda made me think about them leaving leonie and sara to go to the pool (i know they were riding bikes but you get it) which is further cemented by the last line?? like how many songs did the druck crew manage to find that reference “running away”???? that must have been someone’s entire job!!!!!!!! (also the fact that this song that mentions hiding things and running away leads up to matteo googling how to have sex with a girl when you’re not into her.....)

go! - AKDKAKD okay y’all there’s not even that much for me to say about this one i just needed to include it cause the absolute CAMP of having matteo fantasize about david walking down the hallway staring at him and then twirling while a dramatic saxophone song plays in the background???? are you kidding me???? that’s comedy gold

where’s the catch? - this song goes from rap to basically a few different voices going “aaaAAAHHHHH” (in like a nice melodic way of course) as he sees david in the bus, and then they the beat kicks in again as matteo is doing his weird 👁👄👁 intense staring, and it’s a very steady beat and it was kinda making me think about when you’re standing near your crush and you can kinda feel your heart beating a little harder and faster and you can maybe hear it a little in your ears and your palms are sweaty (moms spaghetti) and you’re trying to not be weird (matteo definitely did not succeed at that) and you’re just excited?? that’s the vibe i got with this song in this part, esp cause it sounds like it’s in kind of a weird key so it’s really driving in that “this is exciting but strange and kinda nerve wracking but i don’t hate it” vibe ya know??

**jazz - okay so i think this was such a fucking good song to play for this part???? “drink more water” is just....idk really funny to me?? but also the song itself is really chill and playing a rap song if they knew they were gonna cut the sound of the dialogue out was a really smart type of song to choose!!!! like it’s obvious that matteo is just staring at him and losing his mind over having a cute boy at his place, and the way they cut the words out when matteo and david are talking and slowly fade it out....it’s good dude it’s VERY good

love$ick - this song starts with a very interesting lil percussion bit that really sets up the tone for this part of the clip??? it’s fun and catchy and has an interesting beat and mixes really well with the sounds of two high dumbasses cooking gross sandwiches and falling in love :,,) it’s also kind of interesting that they chose to play a part with no words while they are cooking because there is very little actual dialogue, so unlike before where they filled the silence with fast rap, here they really want you to focus on the smaller details and the way their bodies already naturally kind of move around each other very well?? and the way they end it right after the boys each take a bite of the sandwich is really funny to me just cause you can obviously hear the *crunch* and then it stops and you hear them both going like “hmmm” “mhm” and the “weird....but also good??” i think i love every single decision this show has made so far with the music tbh

**go rilla - this song starts playing like the second before matteo picks up davids beanie, and it definitely isn’t the happiest sounding song, but while it has kind of a sadness to it the music drives in a way that makes the vibe more that matteo is sad that david left, but seeing the beanie is a moment of “oh, but now i get to interact with him again” so it’s a hopeful kind of sadness?? i’ve definitely talked about the hopefulness of some of the songs before but i feel like its the correct word?? like as a viewer i’m hearing that song and seeing him hold the beanie and i’m thinking to myself “oh, davids gone, but it’s not over yet folks!!!!”

ahh hope this was okay hope y’all enjoy readin my stupud ass thoughts about this topic lol next one soon??? probably??????

[hey-have-you-heard]

Hey have you heard these 50 songs from 2019

I really enjoyed this last year so going to give it another go for ‘19. I put quite a lot of thought into what actually a ‘song of the year’ for me when I was first constructing and then heavily editing the playlist that came to be my Top 50 of 2019. I think the most important thing is that above all it’s a track that I’m glad exists, sometimes this is because of the songwriting or composition, sometimes the performance, sometimes the lyrical importance and sometimes just because it sparks joy.

https://open.spotify.com/playlist/6bFJOjL8b8Zc2s5r1oJbsk?si=UJdqSXOTR3SQ8D3IwcmV2g

Explanations for each tracks inclusion below the fold…

100 gecs - 800db cloud 100 gecs channel a mix of Crystal Castles and Sleigh Bells with a Death Grips level appreciation for noise. It’s an absolute rush and that outro is just absurd.

Natalie Evans - Always Be Natalie Evans soft melody and sing song vocals are sublimely sweet on this heartfelt track of lost love, longing and nostalgia.

Petrol Girls - Big Mouth “If you fight back or disagree you’re the one with the fucking problem” this hits home, hard. Big Mouth is a rallying cry to speak out against oppression and discrimination, to raise you’re voice and be heard, not to be controlled.

Charli XCX ft. Lizzo - Blame it on your Love Charli has a midas touch when it comes to pop, combine that with Lizzo who has just about been the most fun thing in music this year and you’ve got a 10/10 banger.

Poppy - BLOODMONEY Poppy’s music just keeps going further down the rabbit hole. Originally playing with blending elements of nu-metal with bubblegum pop, she now seems to have transcended genre altogether to create whatever BLOODMONEY is, it’s absolutely ridiculous and I love it.

Body Hound - Bloom Get on that GROOVE! So proggy it hurts, this track from Body Hound is a technical wonderland of metamorphosing rhythms, gargantuan riffs, and just the tastiest of chord progressions.

Can the Sub_Bass speak - Algiers Word of warning, this is not an easy listen. A freefall tumble through genre and tone accompanies a stream of consciousness monologue full of racism, prejudice and political and artistic critique.

Elohim - Buckets Buckets is an onslaught of trap influences, emotional outbursts and aggressive distortion. I’m a big fan of this sound.

VUKOVI - C.L.A.U.D.I.A I know very little about VUKOVI as a band, but that riff is absolutely massive and this track has been a constant throughout my year on that basis alone.

Show Me The Body - Camp Orchestra Apparently more hardcore bands should use Banjos, because this is a damn good sound. Slowly building from a single bass line this track builds into a powerful demolishing force.

clipping. - Club Down Having thoroughly proven themselves able to do afro-futurist scifi on the Hugo nominated Splendor and Misery, clipping. now turn their considerable talents to horror core and unsurprisingly nail it. Daveed’s flows are tight as ever as he brings to life a decaying city backed by tortured screams.

Dream Nails - Corporate Realness YOU ARE NOT YOUR JOB. WORK IS NOT YOUR LIFE. YOU ARE NOT WHAT YOU MUST DO IN ORDER TO SURVIVE. Dream Nails are great and exactly what we need right now.

ControlTop - Covert Contracts This track positively bristles with an anxious energy. A fitting sound for the subject of the information overload we find ourselves locked into everyday.

Cherry Glazerr - Daddi There’s an icy coolness to ‘Daddi’, a disconnected sarcasm that falls away to reveal the anger and torment in the chorus, it’s a masterful bit of emotional storytelling through musical tone.

The Physics House Band - Death Sequence I Listening to Physics House latest release, the Death Sequence EP feels like a physical journey. This opener is a perfect example of this, as you’re plunged straight into a heady and disorienting mix of rhythms and counter-melody’s, the Sax guiding you through the turbulence until you land in a placid midsection, before that bass riff drags you forward through rhythmic breakdowns into an absolutely absurd brain melting saxophony and then it just keeps on going from there…

Witching Waves - Disintegration I saw WW back in the early summer, they were a bassist down so it was just a guitar and drums duo. They started with this track and it was one of the most pure punk things I’ve experienced, drummer/vocalist Emma Wigham bashing the absolute shit out of her kit . A great no-nonsense lo-fi banger.

Lingua Ignota - DO YOU DOUBT ME TRAITOR Another, not particularly easy listen here. DO YOU DOUBT ME TRAITOR is a dark and angry brooding track, building in intensity to release the primal rage, fear and horror of the abused. Its deeply chilling and instantly arresting. This track and the entire CALIGULA album stands as an absolute must listen.

Carly Rae Jepsen ft. Electric Guest - Feels Right I love the instrumentation on this one, those chunky piano chords and screaming guitar lift the track out and make it the highlight of an already great album to me.

Orla Gartland - Figure it out Dialing back the intensity slightly, Orla chronicles the frustrations of having to deal with someone in your life who you’re done with. The choruses burst forth in beautifully fuzzy explosions of noise. That vocal flair at the start of the final chorus is chef kiss.

Battles - Fort Greene Park Battles are at their best when they keep things simple. This is evident on 2019′s Juicy B Crypts which features some incredibly cluttered moments, but this just makes Fort Greene Park stand out all the more. A delightfully spacious piece of math rock, from some of the best in the business.

Dogleg - Fox Boy howdy, do I love me some midwest emo. Catharsis in musical form, it just makes me want to mosh my troubles away like I’m 16 again.

Tørsö - Grab A Shovel Tørsö go hard, I can appreciate that. An absolutely brutal track about the destructive power of depression and self-loathing.

“Pijn & Conjurer playing Curse These Metal Hands” - High Spirits “We were like, are we Pijn and Conjurer, or are we Curse These Metal Hands? I think we’ve settled with ‘we are Pijn and Conjurer playing Curse These Metal Hands’ …whatever that means!“ what it means is one of the most joyously triumphant pieces of metal music I’ve ever heard. Some of the guitar lines in this absolutely soar.

Lizzo - Juice Lizzo has won 2019, her message of self love, acceptance and body positivity has won her both critical and cultural acclaim and permeates her music in a way that makes it impossible to not love.

COLOSSAL SQUID, AK Patterson - Kick Punch Colossal Squid is the name given to Three Trapped Tigers drummer, Adam Betts’ experimental project. After a solo album of percussive wizardry Betts has now teamed with vocalist AK Patterson to give us something else entirely.

Evan Greer - Liberty Is A Statue Evan Greer uses the a folk punk sound to deliver an essay on the damaging influences of cis-normativity and social inequality. Of course I like this one.

Taylor Swift - Lover I wasn’t on board with this song for a fair while, but then I kept listening to it and kept coming back to it because of a roughly 50 second section which ties the track and the whole album together. Yeah, this is on here purely for the bridge, which is just beautiful.

Dodie - Monster Monster is an incredibly well written and delivered study on how perception changes with resentment and it makes me cry.

The Y Axes - Moon Moon is a delightfully dreamy piece of pop that glitters with infectious melodies, it’s lyrics a blissful embracing of cosmic nihilism, need I say more?

Ezra Furman - My Teeth Hurt My teeth hurt is a song about tooth ache, about that pain you carry with you everywhere and can’t get rid of, that ruins your days and and is one hell of a mood. Yeah it’s about gender dysphoria.

Nervus - No Nations Speaking of things being a mood, this track hits the nail squarely on the head.

Cultdreams - Not My Generation "Everyone ignores me Unless I’m on a stage talking Because they put me on a pedestal And pretend I’m just performing“ Lucinda Livingstone calls out the misogyny in our culture with a singular ferocity.

Lil Nas X - Old Town Road If there’s one song that’s dominated 2019 this is it right here. Who ever had the idea of putting that NIN Ghosts sample to a trap beat and cowboying over the top of it is an absolute genius.

King Gizzard & The Lizard Wizard - Planet B It’s impossible to predict where King Gizzard’s sonic influences are going to take them next I doubt even they know half the time. Whatever they turn their hand to though they do it as if they mastered the sound decades ago Planet B is an all out thrash track with a strong environmental message.

Kesha - Rich, White, Straight Men Okay, I’m about to compare Kesha to John Lennon here but HEAR ME OUT… As ‘Imagine’ asked us to consider a world without conflict or capitalism, Kesha now posits that we should tear up our conceptions of our society based on its formation by a privileged group and imagine what kind of utopia could be built if we gave the underprivileged and minority groups a say.

Allie X - Rings A Bell The chorus here sounds like it could have been off Daft Punk’s Random Access Memories, and I’m all about that sound. Combined with Allie X’s dreamlike vocals make this a certified bop.

Poly-Math - Sensors in Everything Sensors in Everything is a beast of a track spanning over 14 minutes of absurdly dense prog. Having recently enlisted keyboardist Josh Gesner. Polymath make use of the new sounds and textures available to them, at times imitating a sort of Hammond sound not unlike John Lord to the chaotic maelstrom of noise.

Calva Louise - Sleeper Big hooks on this one. Sleeper has a confident swagger to it’s sound which stands apart for the bands previous work. It’s an absolutely huge track.

Slipknot - Solway Firth Slipknot didn’t disappoint after the tease of 2018′s “All Out Life”, following up with an album which blended old and new aspects of their sound to create one of their best to date. Solway Firth is a perfect example of this matching the punishing heaviness of Iowa with the melody driven sound of All Hope Is Gone.

Clt Drp - Speak To My Seeing Clt Drp perform live was one of my highlights of the year. The filthy guitar tones, powerhouse vocals tight as heck drumming and the _grooves. _Absolutely like nothing else I’ve seen. Just an incredible band that deserve so much more recognition.

Black Country, New Road - Sunglasses Black Country, New Road released two tracks this year and now I just want more. Dense wordy lyricism plays off against ever evolving instrumentation to present a raw cut of emotional storytelling.

Her Name Is Calla - Swan Her Name Is Calla are a band that have always been on the edge of my radar, my Dad is very fond of them and saw them live a couple of years ago, but never went back to relisten to any of their stuff, then they started an album with this. I was sold instantly.

black midi - Talking Heads Talking Heads (the band) are an obvious inspiration on this track. Both David Byrne’s vocal style and the Talking Heads penchant for sharp angular melodies are on show here. But given an extra ounce of chaos through Black Midi’s delivery.

Amanda Palmer - The Ride The ride is ten minutes of bundling up all your fears and anxieties of where we are and where we’re going and just, accepting them as part of the ride. Written off the back of a prompt from Amanda asking her fans what they were afraid of right now.

Kim Petras - There Will Be Blood Okay, let’s have some out of season spookiness. Love the squelchy synths on this, there’s a huge amount of energy on this track and with it’s commitment to the horror conceit it makes for a super fun bop.

Kate Nash - Trash Kate Nash’s sound is like bathing pure nostalgia,here she spins the toxic-relationship narrative central to her work to deliver a bigger story about humanity’s, quite literally toxic relationship to our planet.

American Football & Hayley Williams - Uncomfortably Numb The other side of the “midwest emo” coin. A melancholic song built on a soft bed of arpeggiated chords and clean harmonics, Uncomfortably Numb is a heartbreaking track of losing everything and of cycles persisting thorugh generations. Employing the clever metatextual trick of referencing Pink Floyd’s comfortably Numb to mirror the generational similarities.

Glenn Branca - Velvet and Pearls Disclaimer, Glenn Branca was a musical hero of mine, his approach to music and composition being solely responsible for influence a vast number of my favourite bands. Released posthumously, Velvet and Pearls is taken from a live performance by Branca’s ensemble and perfectly captures the sense of sonic disorientation, conjuring aural illusions through an assault of intricately crafted noise. It’s an exhilarating piece that should be played as loud as humanly possible.

Brutus - War The raw emotional strength of Stefanie Manneart’s vocals instantly made me pay attention when I first heard this track. Then the song exploded into a barrage of riffs and breakneck drumming.

Valiant Vermin - Warm Coke Another slice of throwback pop, Valiant Vermin proved with “Online Lover” how much of an ear she has for pop and has proven it once again with Warm Coke. Is a real good bop.

———

Welp there it is, 50(+1) songs, I had to limit myself to one track per artist in the main 50 because according to Spotify I listened to [checks notes] 1082 new artists this year. There are a small handful of tracks I wanted to highlight from the same artists though as they offer something quite different to the tracks in the playlists, so here they are quickly with 3 word descriptions.

Petrol Girls - Skye (dead dog, sad) Amanda Palmer - Voicemail for Jill (Talk about abortion) Ezra Furman - I Wanna be Your Girlfriend (Trans Torch Song) Battles ft Jon Anderson & Prairie WWWW - Sugar Foot (Batshit Prog Insanity) Poppy - Choke (Dark Minimalist Pop) Show Me The Body - Forks and Knives (Anxious nightmare punk) Lingua Ignota - CALIGULA (the whole album.)

———

Closing Statement

Cultdreams - Statement

There has been a shadow over the entertainment industry the latter half of this decade. Whether film, music, TV or video games, the late 2010′s are filled with stories of people coming forward to bravely tell their stories about being abused and manipulated by men in positions of power. The #metoo movement as it’s come to be known has been a powerful force in giving marginalised people a voice and the ability to call out oppressors and in starting the groundwork to root out the misogyny in the seats of power, but this is a battle far from won.

While there are thousands of stories out there I want to focus on one in particular.

In 2016 a number of women spoke out about various forms of abuse by a well-known musician in the punk scene. It’s now over three years later and this group of women are in the midst of a long fought claim of defamation from this musician. If this case goes through it sets a precedent for silencing marginalised voices in the industry. They have been fighting for so long and with no legal aid available for the case they have had to finance their defense from their own pockets.

This is where Solidarity Not Silence comes in. Solidarity not silence is a crowdfunding effort to help take the case to trial without the women bankrupting themselves entirely so that they don’t have to give in to this mans demands.  You can read more about Solidarity not Silence and make a donation (if you feel so inclined) here: https://www.crowdjustice.com/case/solidaritynotsilence/

You can also follow them on twitter here https://twitter.com/solnotsilence

[chickennoodlesoupfortae]

Tell them

Hoseok x reader 

Summary- You get tickets to a BTS concert from a work giveaway. You choose to take your friends and your current boyfriend. Your boyfriend starts to get annoyed and then fights you.

Word count- 1.9 k

Warnings- fighting, assault, and cursing 

A/N- it’s a new series! The tiniest mariachi band is playing the happiest song for me. Backstage love part 3 will be out on Wednesday or Friday.  Enjoy! (update the way I screamed editing this to make it better) 

The concert began you looked over at your boyfriend as the music began blaring through the stadium. He was laughing with your friends well you guess they were more his friends now. You never really knew why you started dating him. He was loud and obnoxious and honestly, he made your head hurt more than he made you happy. When you asked your friends if they wanted to come to the BTS concert you had gotten free GA tickets for they agreed and you had to bring him. So there you were at the beginning of the concert the one you barely got into with the boyfriend you didn’t love anymore. 

“It's starting come on.” you heard one of your friends say. They all moved you along and closer to the stage. It was a huge venue there were people at all levels. You were sure they must have paid hundreds if not thousands to see this show and you had just won the tickets at your jobs annual raffle. All the songs start going through some you know line for line others you were hearing for the first time. There was something about Louis (your boyfriend) when he got drunk, he became more aggravating and rude then he normally is. He started grabbing you and pulling you closer, you were not in the mood. 

“Come on let us just see the show.” you pulled away and swayed to the music. 

“Your such a tease.” he snarked and your, no his friends laughed you rolled your eyes. You looked back on stage. It was the part of the show were the singers were already sweating and tired from singing. It was coming to an end. You let yourself become absorbed in the music. Your eye caught one of the singers as he sang his heart out, hair falling as he moved his head up and down instructing the crowd. He was handsome, not the type of handsome that you see on the street. Not even the type at your high school that makes all the girls drop on their knees. He was the celebrity type and you were right he was an international star and his looks didn’t serve his talent. His voice was incredible and the songs spoke to you. You were now engrossed in the music watching as he went from side to side of the stage. How could one man be so gorgeous it made your eyes hurt for a second you forgot your shitty boyfriend. That was short-lived. He came stumbling towards you. 

“What the fuck Louis. This is a concert why are you so smashed. Aren’t those beers like a hundred dollars,” you were livid it was your money he was spending “why are you such a dumbass.” You were shaking your head.

“You're a bitch you know that?” he slurred.

“Go away let me in joy the concert.” the clapping after the last song grew quite as the next began. The chords to ‘Tear’ began. You loved this song and were ready to listen to it. Everyone was quiet as they waited for the lyrics to begin.

“This is the song you like slut”  Louis screamed and you were sure everyone heard.

You felt your blood run cold everyone in the space was looking at you. You even felt as though everyone looked around at where the sound came from you looked down quickly.

“Fuck,” you mumbled to yourself. You looked up as the song started.

“You’re my tear...” you heard everyone sing along. You hoped the guy wouldn’t find who screamed that because that would be more embarrassing than it already was. You saw him approaching your side of the stage and saw the immediate excitement grow in the crowd as all the thirteen to twenty-year-old girls rushed to the barricades. You laughed at how intensely invested these people were but understood the need to escape. You weren't one for pop music to uppity and rock was too loud you preferred indie pop. Yet here you were at a concert which music was a combo of both. You looked up at the stage again feeling as though the shame had passed. The first thing you saw when you looked up was the guy looking down into the crowd leaning as he rapped. You were sure the girl he was looking at was having a heart attack if not fainted. You watched mouthing the words of the chorus.

“Babe-Babe”  you heard your boyfriend stumble out. “I’m-i-i so sorry I didn’t mean it.” he pulled you into his arms you were in an empty bubble of the GA section because everyone had rushed the stage to get a better look at the performers.

“Get off of me.” you pushed him away 

“Come on babe don’t be this way.” he was beyond wasted 

“You’re being embarrassing there are children here you’re gonna get us kicked out,” you whisper screamed at him 

“But why babe.”  he pushed his face towards yours 

“Stop calling me babe” you looked for help from your friends 

“Come on Louis lets get you some water.” your friend grabbed him off of you 

“No let go of me dude.” he flicked off his hand returning too you

At this point, the song had finished and the group song started. You looked around you hoping no one was noticing the scene that was unfolding.

“Louis I swear on the lord that above if you don’t stop you’re gonna get kicked out because you’re ruining the night for everyone,” you whispered into his ear trying to be discrete 

 “This is why I hate you!” he screamed pulling your hair a little 

“Oww stop that.” you swatted his hand away

He pulled your hair harder pulling you to the floor. At this point, you weren’t able to see anything around you your focus on the throbbing pain in your head from the impact and the pulling. You heard a commotion as the crowd looked at both of you. You were blacking in and out concussed. You saw Louis being held back by one of your friends.

Soon you were looking at all the faces of the concert-goers turnaround and back on the performers.

You looked on the stage to see the perfectly choreographed dance continue. You looked back at Louis hoping to tell him off when you saw him charging at you again. 

“Stop. Stop. someone help.” at this point you were looking for any help you could get already weak from before. Soon his fists made contact with your body and face pushing you to the ground where he climbed on top of you slapping and hitting you as bystanders tried to pull him off. 

“Cut the music.” you heard the man you had been watching say into his microphone.

“What stop hobi,” a bandmate said 

You heard the sound of someone punching someone else and the screams of all the fans and saw the screen go black.

“Stop it. Hey, you stop get him out of here.” you looked up to see the big screen displaying another member walking off stage and into your section. 

“Hey. Hey. Can I get security to call the cops?” his voice wasn’t on the speakers anymore.

“I’m sorry. I’m sorry,” you said pulling yourself up in spite of the pain.

You didn’t realize that the man in front of you was extending his hand, you took the hand without looking at who it was. Instead of looking at his face you examined his hand seeing his knuckles were angry and looked like they were bruising.

“Thank you, sir. I’m so sorry you had to see that.” you finally looked up. It was like none of the dots connected in your mind until then and you realize why the music had stopped, why it seemed like they had gotten off stage and why security had cleared a path.

“It’s okay honey why don’t we take you backstage for some medical attention.” he gave you a weak smile. I must look awful you thought to touching your face and seeing some blood on your hand. Then you realized you were still holding his and quickly pulled away. You looked to see another one of the members talking with security concluding that he had been the one who called out. 

“Oh my gosh, I’m so sorry. I can see myself out so the show can continue. Please excuse any inconvenience I may have caused you.” You felt yourself tearing up as you saw the whole GA section look at you and then looked on stage and saw the other members and back up dancers look at you. You looked down immediately. You started to walk away but felt a hand catch yours. 

“I think it would be best if a team member helped you get this all sorted out.” the man said.

“Hey, you can you please see that she gets some treatment and take her to the back” He gave you the most beautiful smile you had ever seen and walked in the other direction. 

“I am so sorry guys for the interruption who wants to see ‘mic drop’ again!” you heard the crowd go wild at those words.

“Hi, miss” the manager he had pointed to you approached you. “Can you follow me or do you want me to call someone to help you walk?” she looked at you with sympathy in her eyes

“No I can walk.”  you kept looking down noticing the blood on your sneakers that must have fallen from your face.

Soon you were sitting down on a couch somewhere in the stadium looking at the performance through a T.V. You were holding an ice pack to your face. The woman had brought you here and told you that a police officer would be up to take a statement and that some compensation would be given since the security didn’t intervene earlier.  

You watched the group play on a bouncy house having the time of their lives singing an upbeat song. Soon you were swaying your head with the music. “Waiting for you anpan…” and the door opened like a woman with a badge came in.

“Hi, ma’am. It is stadium policy that all statements be taken on-site by all those involved except for the assailant.” she had an award-winning smile and long black hair which framed her beautiful face distinguished by honey brown eyes. You were at a loss of words it seemed like today you were meeting more beautiful people than your heart could handle.

“Ok.” you managed to get out

“Good. You’ll be staying here until the concert concludes and then I’ll have to ask that you come down and show us what happened.” she smiled and exited the room.

You picked up your phone and called your friend.

“Marina, wherein the fuck are you?” you shouted into the phone

“I’m at the station with Louis,” she answered sounding frustrated

“Why are you with him and not with me?” you asked your voice breaking slightly

“I don’t know why we were rushed out and why you only got to stay cause that guy was helping you. That’s just the way it worked out I guess,” she replied 

“I don’t think I can do this. I was just assaulted by my boyfrie-I mean ex-boyfriend.” you corrected “I’m so alone.” you sobbed 

“I’m sorry (y/n) I can’t talk right now.” you heard the click of her hanging up and sobbed.

You looked onto the screen seeing the performance winding down. All the members seemed to be enjoying it except the one who had helped you. He seemed lost in thought and worried. You wondered if he could be thinking of you.

Soon the speeches came and you waited to hear the man who had helped you speech. Finally, it got to him and you could hear the crowd chanting.

“Hoseok, Hoseok, Hoseok.” 

“Hoseok, so that’s your name.” you thought out loud.