#the lyrics are VERY clear

[lyramundana]

Just listened to "Want it so BAD", the new song by Han and Lee Know and, after reading the lyrics twice, let me tell you:

If there's still people who claim they're just friends, I'll lose my faith in humanity. Those guys are the real delulu here because what the fuck? With this song they basically confirmed everything we've heard since debut and screamed to the world they're, in fact, very much in love and not in a platonic way. They're married, your honour. This song basically confirms it, it states firmly and without a shadow of doubt that MINSUNG is fucking REAL and it has been since the survival show.

So for all those who don't agree with it, go argue with the wall. Us, the minsung whores and defenders, are going to fucking celebrate this gift to humanity.

Now lets focus on the parts where they specifically mention their first meeting, something we've heard from both of them in skz episodes, but now the uncensored version.

Minho: "I fell in love with you unexpectedly, couldn't get any work done, so many thoughts in my head keep me awake at night, spring snuck into my heart and left me frozen with excitement, i'm not used to it i know it's pain but i really want it so BAD" 😭😭😭😭😭 this is so minsung pre-debut coded omg, he's so fucking cute in the early states of love. knowing he was going to suffer but he loved him so much he just kept going.

Jisung: "Ride, come closer, just the two of us"🥺🥺 "together we make a whole romantic comedy movie" "let's get is started, getting anxious, can't think straight" "love you, i wanna place mysef in a spot next to you" "i'll hold you tight and say i've always been waiting for this moment" "the moment I first saw you, it was meant to be. For me, it's you"💀💀💀💀💀my man wasn't even being subtle here, he didn't try

In conclusion: Minsung is more real and solid that my parents' marriage and anyone who disagrees please come and kiss my ass. thank you❤

[eliounora]

I wanna push you around

[mournmourn]

Lots of people have already pointed this out, but Ruoska seems to be a play on their careers and their public image. The song disguises itself as an expression of kinkier desires with the chorus and snippets of the verses' lyrics. And them, since they both express themselves within these themes in the media from time to time. The music video balances this by not being explicit at all, instead it's all about the scrutiny of being a public figure.

Listening to the lyrics and seeing the mv, my impression of the song is that its message isn't actually about expression of sxual freedom, but taking twisted pleasure from being torn to shreds by the media. Because if your image has unconventional aspects, that's sharkbait to peoples opinions, especially when you've gained fame.

With that, I cant' help but wonder, if it was intentional to promo the song first and foremost as sxual? Because that's the shallow top-layer people love to stay on, and if there's no deeper dive into the message, that's what people will criticize and comment on?

Which would make it fucking hilarious that they went on with the photoshoots and iltalehti interview about "being explicit" since that's exactly what that trash magazine will focus on solely.

[themanwhomadeamonster]

The 1999 combat theme and its foreshadowing because the autism got to me and I spent too long trying to figure out this soundtrack

Jumping off from @brokenjardaantech's WITW music analysis post here - go check it out, it's very insightful and lays the foundations for what I'm about to talk about! And thanks to @theterribletenno for the burst of inspiration by giving me a massive oh shit realisation in the most chilling way possible LOL

Spoilers under the read-more; TL;DR at the end :'^D

To preface, the soundtrack is structured in an ABC structure with bridges between A and B, as well as another between B and C that borrows from A. The key starts in Cm, briefly modulating to Gm in section B then back to Cm during the second bridge, and settling on Em for section C. In-game for WITW you most likely will only hear up to the first bridge since the Technocyte fight only goes for around a minute long

Sections A, the bridges and partially C feature genre similarities to grunge rock with fuzzy guitar chugging, whammy bar, and palm muting, while the drums are notably sharp snares (except for the first bridge, which are clean bass kicks that gradually distort transitioning into section B's style). Musically, it sounds like a typical fighting soundtrack meant to hype you up - the melody is confident and likes to push and pull its rhythm. But in section C it notably become emptier in its layering while keeping the distorted drums, placing emphasis on the lyrics (which I'll get to below lol). Heavier syncopation and polyrhythms are also introduced.

Section B however is the main outlier. This section is where it most strongly resembles industrial rock: rhythmic synth layers begin to accompany the melody (a pedal point line that plays every semiquaver/sixteenth note), synth drums replace acoustics and the guitars drop the fuzz that is characteristic of grunge and steadily strum every quaver/eighth note. Compared to the push and pull rhythm of section A, this section is steadier, less chaotic than the other sections, it wants you to focus on this section.

Notably, the lead guitar introduces a familiar leitmotif: This is What You Are (which @brokenjardaantech goes more in depth regarding its use in WITW). Here, though, its second chord becomes flattened (Dm -> D♭m) and introduces a diminished, dissonant sound. To me this was the first hint that the song may actually be about Arthur's downfall. This is What You Are is a musical leitmotif that recurs in moments of vulnerability, especially when someone is at risk of losing their sense of self, their identity and what they are. It plays during The Second Dream when we discover the Operator, during the New War when Eidolon!Lotus just lost herself to Ballas and can't recognise the Tenno, and in WITW during the Vessel "fight" when the Tenno is forced out of their Warframe.

I was prompted to actually dig more into the lyrics because I saw @theterribletenno bring up something really interesting

In this specific song, the leitmotif is diminished, it's corrupted. "Surrender to the corruption" - this is what Arthur is afraid of. I brought up earlier that section B had a genre shift. The contrast of the music is important, it's highlighting something, and together with the musicality of the leitmotif, it's making a sense of urgency and danger. The leitmotif is a warning to Arthur.

Section B sings these lyrics:

Break it, break it, Break it open!

Compared to the desperation in the other lines, these two lines are sung mockingly. The Infested are trying to break Arthur, and are succeeding. Their voice is becoming his. But there are actually two vocal lines in this section - you can also hear muted backing vocals in a much less aggressive and lethargic tone warning that "Disillusion". Arthur is trying so hard to keep his own voice and stay clear-minded but it's being drowned out and he's nearing his breaking point, and Albrecht, based on the Codex Fragments you find, is well aware of this.

In section C, while the layering is less intense it's noticeably more heavily syncopated and polyrhythmic, and introduces new (accompanying) echoing and dissonant synth layers reflecting the confusion and disorientation that Arthur begins to feel (these synth layers are actually introduced in the second bridge, but are more easily heard in section C). Section B and C also keep the synth/distorted drums that section A and both bridges lack (at most it's a reverb in those sections); the industrial sound of the song becoming associated with the increasing influence of the Infested over his humanity.

So I tried deciphering more lyrics for each section; I haven't figured all of it out and most of it could very well be wrong because of how heavily clipped the vocal line intentionally is so I don't want to make anymore assumptions than I need to, but I can understand enough of it to realise that the song is foreshadowing Arthur's corruption to the Infested. In green are the lyrics I'm confident are correct:

A:

Sting it, sting it, sting it! Sting it, sting it, sting it in the flesh!

Bridge:

I don't understand! It brings more disease!

B:

Break it, break it, Break it open! (Disillusion)

Bridge:

Sting it, sting it! Sting it in the flesh!

C:

Who's dreaming? Who's the [???] It's a vision[?]!

TL;DR: the grunge/industrial genre hybrid represents Arthur's humanity/Infested respectively, and the song becomes increasingly industrial as the song progresses, most noticeably through the increasing distortion of the drum sound. Section A sets the stage, section B serves as a warning to Arthur that he's losing his sense of identity as the Infestation drowns out his "voice" while a dissonant version of This is What You Are plays, and section C is him experiencing confusion and disorientation as the Infestation continues to corrupt him.

[littlespoonevan]

Oh damn buck’s basketball warmup playlist just dropped

[doodleynan]

all I need is you

[drumlincountry]

I marched with our local Palestinian solidarity group in the st patrick's day parade and it was fantastic BUT someone was using a speaker to play Palestinian music as we went & the Palestinians in the group kept bursting out laughing because apparently the music was the Palestine equivalent of like. Flo Rida.

[ingo-ingoing-ingone]

Demons don't sleep at night

For Day 6 of Emmet month, Emotions, I decided to do a piece inspired by one of my favorite submas fics ever, Demon in White by @anxiously-introverted. When listening to Fake a Smile by Alan Walker, I felt the lyrics fit really well and have had this image in my head ever since as part of an animatic sort of thing. I figured I could make one panel real.

Emmet having lower self esteem and struggling with self worth is a headcanon that hits me extremely close to home (hello, projection), so portrayals of Emmet dealing with that, then receiving assurance from his loved ones, mean a lot to me. This fic has lived in my brain since it was written and I am glad I finally drew something inspired by it.

[redgoldblue]

for the drabble spotify wrapped game, if you want: i rolled my rainbow d10 twice and we have a 75 🌈

❤️ 🌈

75: America's Sweetheart by Elle King

uh. I don't know where this came from. i apologise, my partner-in-fluff 🫡

Also I am obviously not abiding by the technical 100-word definition of drabble here, but instead the much looser 'short piece of writing'.

spotify wrapped drabbles!

Steve doesn't know when he stopped caring about killing people. It didn't bother him until he started caring again.

It's not anyone unusual, is the thing that gets him. It's a nameless, almost-faceless drug smuggler that he didn't even mean to kill, but he shot with intent to disable and a little too much carelessness in a rush to stop the ship they came in on, and when he finally loops back around there's a pool of blood and a corpse with a busted femoral artery.

He's kneeling down, checking a pulse even though it's clearly absent, removing weapons even though he'll clearly have no use for them, when his fingers brush against a thin edge in the inside pocket of the off-the-rack grey suit jacket the guy's wearing.

When he pulls it out, it's a photo. He has to look down to check that it's the same guy in it, partially because death rictus changes a face, especially when your comparison is smiling and happy, and partially because he just hasn't looked at his face properly. It's the same guy, his arm around a similarly smiling woman shoulder-height to him and so close in features she has to be his sister, with a chubby-cheeked frizzy-haired kid straddling his shoulders and holding onto the woman's hand.

One of the first things the military teaches you, explicitly or not, is to erase personhood. Your own, and your enemy's. Numbers, statistics, body parts and targets and usefulness.

He puts the photo back into the dead man's jacket and moves away. A tech comes at some point, body-bags him, and Duke is there and the rest of his team have it well in hand, so he goes back to where their cars are parked, boosts himself onto the hood of the truck, and waits.

Kono walks past at some point, but they're still in the midst of cleanup and HPD handover, so even though she does slow and ask, "You okay, boss?", when he replies in the affirmative she nods and keeps moving.

He remembers himself before. He remembers when it would never would have occurred to him not to think that every person with a bullet in them is a person with a family. A person with a life, at least before they were a person with a death.

He doesn't bother trying to count. The impulse washes over him, but it would take hours with military records and Five-0 reports to calculate anything even close to accuracy.

Himself before was decades ago, but also not that long ago. It was target practice at the Academy and work behind computers in Military Intelligence and crawling through mud with a similarly young Freddie by his side.

Himself after, apparently, is sitting on his own truck at the edge of his own city watching his family and his family's family and his friends and his friends' friends move efficiently through shipping containers and body bags.

Eventually, Danny finds him. He takes one look at Steve's face; he doesn't say anything, just leans against the hood next to Steve and waits.

Eventually, Steve finds the words. "I don't think the military would like me anymore, Danny."

It's not all that new a state of affairs; he got driven by revenge and tattoos in non-regulation places and too many personal attachments and he remembered how to have fun in quiet spaces and how to love in loud ones. He started caring again.

"Good," Danny says, harsh and definite, and Steve realises with a start that the things that would debase him in the eyes of his country are probably exactly the same reasons Danny - not just Danny, his whole family - would cite for loving him. Except the tattoos, maybe.

He can't bring himself to be upset about it in the face of that.

[qroier]

spiderbit lyrics in hozier songs, in no particular order apart from the fact that this is how they are listed in the document i made months ago. not definitive because otherwise this would be a million miles long:

We'll steal her Lexus, be detectives /Ride 'round picking up clues

We tried the world, good God, it wasn't for us

There's something tragic about you / Something so magic about you

Idealism sits in prison, chivalry fell on its sword / Innocence died screaming, honey, ask me I should know

There's something broken about this / But I might be hoping about this / Oh, what a sin

I'd be home with you / I'd be home with you

When my time comes around / Lay me gently in the cold, dark earth / No grave can hold my body down / I'll crawl home to her

My babe would never fret none / About what my hands and my body done / If the Lord don't forgive me / I'd still have my baby and my babe would have me

I will not ask you where you came from / I will not ask you, neither should you / Honey just put your sweet lips on my lips / We should just kiss like real people do

You don't understand, you should never know / How easy you are to need

It can't be unlearned / I've known the warmth of your doorways / Through the cold, I'll find my way back to you

When I was a man I thought it ended / When I knew love's perfect ache

When you move / I'm put to mind of all that I wanna be / When you move / I could never define all that you are to me

I'd be appalled if I saw you ever try to be a saint / I wouldn't fall for someone I thought couldn't misbehave

Who could ask you be unbroken or be brave again? / Or, honey, hope even on this side of the grave again / And who could ask you to be sound or to feel saved again? / But stick around until you hear that music play again

Whatever here that's left of me is yours just as it was / Just as it was, baby / Before the otherness came / And I knew its name / The love, the dark, the light, the flame

And tell me if somehow some of it remained / How long you would wait for me? / How long I've been away?

Be that hopeful feeling when Eden was lost (lover, be good to me) / That's been deaf to our laughter since the master was crossed (lover, be good to me) / Which side of the wall really suffers that cost? / Oh, lover, be good to me

With the roar of the fire, my heart rose to its feet / Like the ashes of ash I saw rise in the heat / Settle soft and as pure as snow / I fell in love with the fire long ago

But whose heart would not take flight? / Betray the moon as acolyte / On first and fierce affirming sight / Of sunlight, sunlight, sunlight

I had been lost to you, sunlight / And flew like a moth to you, sunlight, oh, sunlight / Oh, your love is sunlight

You are unbreaking / Though quaking / Though crazy / That's just wasteland, baby

If I was born as a blackthorn tree / I'd wanna be felled by you / Held by you / Fuel the pyre of your enemies

Ain't it warming you, the world gone up in flames? / Ain't it the life of you, your lighting of the blaze?

Remember once I told you 'bout / How before I heard it from your mouth / My name would always hit my ears / As such an awful sound

Some part of me must have died / Each time that you called me baby / But some part of me stayed alive /Each time that you called / Each time that you called

Do you think I'd give up / That this might've shook the love from me / Or that I was on the brink? / How could you think, darling, I'd scare so easily?

Darling, I would do it again, ah, ah / If I could hold you for a minute

And though I burn how could I fall? / When I am lifted by every word you say to me / If anything could fall at all, it's the world / That falls away from me

If there was anyone to ever get through this life / With their heart still intact, they didn't do it right

You know the distance never made a difference to me / I swam a lake of fire, I'd have walked across the floor of any sea

You called me angel for the first time / My heart leapt from me / You smile now, I can see its pieces still stuck in your teeth

That I'd walk so far just to take / The injury of finally knowing you

The sky set to burst / The gold and the rust / The colour erupts / You filling my cup / The sun coming up /Like I lived my whole life /Before the first light / (Some bright morning comes)

The waking up, having forgotten / And remembering again the full extent / Of what forever is

But after this I'm never gonna be the same / And I am never going back again

[hum--hallelujah]

and if I said that Hum Hallelujah is the most p2 "love song" to me and didn't elaborate on that? what then?

[bones-and-whatnot]

Will Wood really said “I don’t know why people compare me to Tally Hall” and then put a melancholic orchestral song with choir vocals at the end of his album that brings back a melody from the opening song and has almost the exact same six-note intro and recurring melody as Miracle Musical’s song that does the same thing.

[thatonegeekygirl]

i want to believe instead i look at the sky and i feel nothing

little song lyric art piece that i did for school today! words are from Chinese Satellite by Phoebe Bridgers.

[lovers-instead]

Studio Killers - Underneath My Raincoat (2023) 🐯

[rogersstevie]

Often you find yourself in a conversation with somebody who says, "Taylor Swift, I don't get it. Why is she the most famous popstar? Like, why is she so famous? I think some of her songs are fine, but it doesn't make sense to me, it doesn't compute, you know. She's not that sexy, she's not that great of a singer, she's not that great of a musician. What's the deal?" I find this incredulity actually totally unbearable, because it's pretty obvious. Like, she writes her own songs. They're distinctive. They have a distinctive storytelling style, a distinctive lyrical style, and she's a great writer of melodies. I mean, the melodies are really what make her music great. It's what makes her music iconic, it's why she can always assume she's gonna be in the charts, because those are melodies you can't forget. That's songwriting. I just, I kind of find this like, what do you think makes somebody a great musician? Like, what are you talking about? She's a great songwriter, who has not only like, a great sensibility, but like, a distinctive style which she brings to every song. Every song of hers is recognizably hers, not just because of the lyrics, but also because of her melodic signatures.

Know Your Enemy: Taylor Swift Derangement Syndrome

[shock-micro]

oh how it is,

isn’t how it is meant to be but finally we’ll see

there's no reason, there's no time or space

to keep feeling, the world's lost its faith