#the song choice is pure nostalgia

[7grandmel]

Todays rip: 21/03/2024

Poké Village

Season 5 Featured on: SiIvaGunner's Highest Quality Rips: Volume C

Ripped by XxFemBu55yL0V3RxX

I've yapped on and on before on here about what the true core of SiIvaGunner is, be it comedy, emotion, shitposting, community, lore, what have you. There obviously isn't one true answer to that question: it's all subjective, not just based on your own reading of the channel, but your own experiences with it. As an aspiring writer, I love digging deep into its narrative and theming, the stuff found in Nice, Slick, Blackness and NIGHTMARESCAPE 〜Unrestrained HyperCam 2〜 (Final Boss Phase 2) - but other people are far more invested in the act of ripping itself, the people who go the mile beyond that even I do and keep up with all the various fan channels, or even make rips themselves. But no matter your angle, there's one thing that binds everything together, the thing that Poké Village and so many other rips represent. To share what you love, and love what others share.

I'm sure that at this point, Violet Snow Memories is one of my most-linked posts on this blog, but that's exactly because it represents that theme so well. Kyle Hyde's duology of DS Adventure games aren't exactly worldwide phenomenons, yet there are still people out there - people like Uncle Fill - who wish to share their love for the games in any way they can. And in turn, I myself have enjoyed hundreds of rips representing games and franchises I've never really engaged with much, franchises like Touhou with Imperial Touwer or Sable with Sable's Stickerbush. But it doesn't really matter whether or not I'M a fan of these series, when its ever-so-evident just how much the people making these rips love them, the love you can see in the rips themselves. And hell, I've said it before and I'll say it again: It was Chaze the Chat's love for Maroon 5 as a band, its early history and distinct style highlighted in the rips on SiIvaGunner, rips like As Miku Collides, that got ME invested in the band in return. Each ripper on SiIvaGunner, each contributor and fan submitter, wishes to share a piece of themselves with SiIva's audience, and it's truly heartwarming to see how many of us are able to look beyond the boundaries of fandom to appreciate real quality.

Which, then, brings us back to Poké Village - a rip featuring the Pokke Village theme from the Monster Hunter series. First appearing when the series was still primarily on the PlayStation Portable, and only reappearing on the core-fan installment Monster Hunter Generations. The franchise is far from niche, the song far from obscure - but it still isn't exactly a theme known to those *outside* of the Monster Hunter sphere, in the way that we for instance all know the tune of Green Hill Zone without having played a Sonic game. SiIvaGunner isn't exactly a gathering spot for the Monster Hunter community (the games themselves have a pitiful amount of rips on the channel), but by just Poké Village alone, you may be fooled into thinking otherwise.

What XxFemBu55yL0V3RxX's created here is a beautiful 7-minute arrangement of the aforementioned Pokke Village theme, initially led by the very same nostalgic Game Boy hum that leads much of the Johto Pokémon games' soundtracks. The extensiveness of the arrangement alone speaks volumes - it reminds me of rips like Jesus of the Underground right off the bat - but its hardly where the rip stops to impress. For one, I think the choice in game to use for this "bait-and-switch" arrangement is incredibly smart and quite deliberate. As an outsider, I need not have played a Monster Hunter game to get a sense for what Pokke Village is like, due purely to my associations with Ecruteak City and how those feelings are leveraged in the rip. I have no nostalgia nor attachment to any Monster Hunter game, yet the emotion present in just the rip's first half alone, the way the theme swells and settles, it conveys the rural village atmosphere pitch-perfectly. And all of it is, of course, elevated by the rip's unexpected twist - the remarkably seamless switch from the Pokémon GSC sound, to something far closer to a ground-up arrangement.

At first, I drew the conclusion that it was directly based on the Ecruteak City or Cianwood City theme of Pokémon HeartGold/SoulSilver, the 2009 remakes of the Johto Pokémon games for Nintendo DS. And while the arrangement feels incredibly similar to the sound of the DS, from the samples used to their quality, I can't directly connect the instruments used to either of the two city themes (which share a melody but with differing arranges). Yet the vibe is what truly matters, XxFemBu55yL0V3RxX is able to harness the warmth and comfort of those familiar DS-era samples to further bring home the sheer vibe of the Pokke Village theme that elevates the rip beyond its starting point, beyond its initial concept. I love pleasant surprise escalations like this, like I covered back in Plantasia 2, and much like that rip itself - I love how Poké Village is using it purely to further push a message of affection for a piece of media XxFemBu55yL0V3RxX seemingly holds very close to him.

Melody swaps between themes with such similar atmosphere are always some of the most surefire hits on SiIva, I'm reminded of just how quickly Aquadial enchanted me to name just one. And Poké Village certainly fits that mold, but I'm enamored by just how far XxFemBu55yL0V3RxX went to celebrate this theme that many of us are likely still rather unfamiliar with, to champion a franchise otherwise so underrepresented on SiIvaGunner with a seven-minute tribute covering two entirely different styles of arrangement. And it makes me so happy that it all worked, that the rip was able to hit the way it does without me having ever played a Monster Hunter game. Or in other words, that I was able to love the piece of himself that he shared in this rip.

[trickerys-domain]

Y'all ready for my hilariously candid unpopular UMK ranking!

Obligatory preferace that I'm just an opinionated bitch. This selection is overall really strong and I'm very much excited for the live show. I think a lot of these songs will make or break during the live. I also think there is an odd disparity in the obvious budget and set quiality for the 7 music videos. Almost like they had a different line-up and some songs were last minute replacements.

I also did not factor in whether a song would do well in eurovision at all because frankly rn I do not care.

This ranking will also probably change so like who cares, I'm ready to enjoy a great liveshow full of people who give a shit about their art.

Ok, here we go!

7. Vox Populi - Mikael Gabriel

The general sound of this one is fun and easy. Good filler or backgroud music. Like if it came on in shuffle I probably wouldn't skip it. However, the lyrics are like really bad. Especially in context of the seeming general opinion of this man I am seeing. Also, this man is strategically pandering and a. Its not working, b. No on seems to have noticed. The use of Matti and that obviously käärijä influenced face in the music video smacked me on first watch. He is capitalizing and I'm very curious to see what he does with the live. Not excited, just curious.

6. Dancing with Demons - Cyan Kicks

I liked Hurricane better. There its been said. I do enjoy listening to this but I forget about it a lot. It also took me until basically now to kinda remember what it sounds like. Meanwhile I can still think of the Hurricane chorus 2 years later having not listened to it since UMK 2022. I do think Cyan Kicks has a really good fun sound, I just don't vibe with this song all that much.

Also, this bears no weight on my opinion of either song. But I need to call out the hypocrisy I've been seeing online. I've seen so many people comment that they don't like the amount of autotune Sexmane uses in Mania and then go on to say how much Dancing with Demons showcases Susanna's voice. Like...... there is so much autotune on Dancing with Demons. It will not sound like that live. And that's fine, its clearly an artistic choice that fits with their musical style, like Sexmane. But pls just sit with that for a bit before complaining about the, frankly much less, autotune in a rap song. Tangent rant over.

5. Kuori Moi - Sini Sabotage

This is where my ranking will probably swap a lot. This song is really catchy and I ingeneral like this type of music. I call it chill sex. This is also a very fun unserious song and video played straight, and I appreciate that. I am worried about something with vocals this chill live. They're good vocals, but very intentionally monotone and if the staging isn't engaging it might fall flat. This song is mostly at 5th place because I dont have anything bad to say about it, but it doesn't stand out quite as much as some of the others. I adored her interview tho.

4. Paskana - Sara Siipola

This is a great power ballad while still being upbeat. It doesn't drag. The vocals are great. The music video is great even while being very simple. The lyrics and message are really really good too. This song gets stuck in my head a lot and I think it is, on a technical level, the stongest song this year. I really hope the staging supports the song but with how raw and peeled back the vibe of the song is it will be difficult to make staging that is engaging without being distracting.

3. No Rules! - Windows95Man

Pure unashamed 90s nostalgia schlock. This is very much the type of trashy eurodance I enjoy, so home run for me. I think the staging will be very fun, but maybe too much. Or it will be organized chaos like Portion Boys last year. Speaking of, this is definitely this years silly fan fave that will be well received but probably not win, a la Portion Boys and Teflon Brothers. For being trashy eurodance, I do think it is construced very well. It flows and it actually written well, its bad on purpose and it is successful. Is it the most original or masterful, no. It is very enjoyable and fun and low pressure, yes.

2. MANIA - Sexmane

This one gets stuck in my head the most. Good beat, good flow. I really like the sound of the chorus, including the auto tune. The lyrics hold more than I think comes across initially and you can tell Sexmane really connects with this song the way his voice delivers even in the studio version. This is the song that I'm most excited to see live because I wanna know what kind of staging he pulls out. Side note: I think it's really funny that the brother called Sexmane is less sexual musically than the one just called Isaac.

1. Glow - Jesse Markin

This is just a really phenomenally written and positive song. It is really nice to have some good classic rap at a competition like UMK. The flow is impeccable with his rapping too. There's a lot of American artists who can't write that well in english. The message of this song is really uplifting without feeling hollow because it recognizes you gotta actually work at being in a good place. Jessie is someone who knows exactly who he is as an artist and person and that translates into the song. Also Alpaca!

I think the the songs that have the biggest chance of winning are Paskana, Dancing with Demons, and No Rules!

But truly I have no clue how this will go. This is a very evenly matched line-up both in quality and fan reception. The live perfomances will 100% decide the outcome.

[musicforastylesrestaurant]

A Christmas To Remember.

as the snowflakes dance delicately from the sky, (y/n) (y/l/n), a free-spirited waitress with a passion for baking, exercise and all thing love, finds herself drawn to the mysterious and captivating harry. with his soulful eyes and a guitar that seems to carry its own secrets, harry becomes the muse that ignites a fire within your heart.

your love blossoms amidst the twinkling lights and cozy warmth of the holiday season. together, you create melodies that echo through the frosty air, your harmonies weaving a tapestry of emotions that captivate anyone who listens.

but as your love grows deeper, a cruel twist of fate threatens to tear you both apart. a blast from harry’s past turns up out of the blue, begging for his attention and he's completely stuck in a bubble filled with all things you and music. you’re faced with a heart-wrenching choice - to let harry go and be with someone who he already has a connection with or to hold onto your love.

in your journey, people close to them witness the sacrifices, the tears, and the moments of pure vulnerability that define your love story. will you and harry find a way to navigate the treacherous path of separation, or will your love be lost in the swirling snowflakes?

prepare yourself for a rollercoaster of emotions as you embark on this poignant journey of love, loss, and the unbreakable bond that defies all odds.

get ready to immerse yourself in the world of two souls, where every word, every note, and every heartbeat carries the weight of their anguished love.

authors note - hi, everyone, whose ready for a little christmas fic?? i’ve had this planned for literally forever and (y/n) and harry are my literal babies, like i’m obsssed with them so bad:(

this story will take place in normal time, except our darling hazza will not be a three time grammy winner that we all know and love, instead a simple busker. he is 29, where as she is 27, so a slight age gap.

chapters will be realised every two days from december 1st, 2023 from english time of 7pm (19:00) and with the final chapter being realised on christmas day !

if you’d like to be added to a taglist, feel free to let me know;)

warnings - perhaps a bit of explicit language, major angst, slight innocent reader (but very slight.) mentions of alcohol,panic attacks and very badly written smut.

if you so notice any more warnings, please give me a shout and i’ll get to fixing this list!

chapter one. a serendipitous encounter.

in which, a cheerful and talented barista, finds herself captivated by the enchanting melodies of a busker as the first snowflakes gently fall, his soulful voice and heartfelt lyrics resonate with her, filling the cozy café with warmth and joy. unable to resist the allure of his music, she steps outside during her break and joins the small crowd that has gathered around him.

chapter two. a brewing connection.

in which, there paths keep crossing, and she can't resist visiting his spot whenever she can. as the holiday season unfolds, he surprises her by playing classic christmas songs, filling her heart with joy and nostalgia. their shared love for music and the magic of Christmas brings them closer, spending evenings sharing stories and dreams under the twinkling city lights.

chapter three. the ghost of christmas past.

in which, he finds himself in a predicament when his ex-girlfriend unexpectedly shows up, bringing back memories of past mistakes. as they spend time together, he starts to notice his other connection distancing herself. feeling confused about his feelings, he has to try and come up with a resolution.

chapter four. the whispers of love.

in which, she starts distancing herself from him, leaving him puzzled. determined to find out why, he visits her best friend’s house, where a few things are finally hashed out, where feelings finally come to the surface, as the snow is falling around them, and locals sing christmas carols.

chapter five. a christmas to remember.

in which, as they prepare for christmas eve , they visit a festive Christmas market. where she surprises him with the news of something big. on christmas day , they gather at his house, inviting their friends over. they exchange gifts and enjoy each other's company.

[thesinglesjukebox]

ARTEMAS - "I LIKE THE WAY YOU KISS ME"

Last name Diamandis, but no relation to Marina...

[5.13]

Taylor Alatorre: By now, every major underground genre from the past 40 years has its own stereotyped and pornified reboot scene fermenting in some corner of the Soundcloudiverse. Yet it's the very ubiquity of this phenomenon that makes this song's hit status even less explicable. True, there's something slightly novel in hearing the words "hit it from the back" chirped out over a spare post-punk rhythm, but is the primary audience even aware that this is novelty when most of them couldn't define what "post-punk" is? What comes across in the production is a sense of blithe, unbothered coolness, eliding such concerns about authenticity by simply not registering them as concerns. It streamlines the ’80s darkwave sound without ever feeling that pesky postmodern urge to comment or build upon it, placing a hard limit on ambition in order to ward off any potentially embarrassing aesthetic clashes. This is the safe choice, entirely appropriate for a tune that ratifies the dominant sexual mores of its time while pretending to chafe against them. [5]

Katherine St. Asaph: Post-punk, machine-translated into electroclash trash, machine-translated into e-boy scumbaggery. Indie sleaze for people whose conception of that term doesn't come from the original 2000s stuff, nor from accurate nostalgia for it (Meet Me in the Bathroom, are.na), but from TikTok or at best the Aesthetics Wiki. This is not good; I am not good for enjoying it. Extra point for the second-best ass-related quip by a person named Artem(i/a)s. [7]

Will Rivitz: The hook shoulders an immense amount of weight here, the only believably nonchalant and dead-eyed bit of an otherwise purely unremarkable Shein-quality aestheticization of post-punk featuring a true nothingburger of a verse more indebted to G-Eazy's vocal stylings than traditional financial literacy typically recommends. I couldn't tell you exactly which bit of this song tends to get clipped on TikTok, but given the 25 seconds of genuinely compelling material provided by the chorus among two more minutes of dreck I can hazard a guess. [6]

Mark Sinker: A 21st-century William Empson devoting a whole book (348 pages) to the present-day implications of the phrase “from the back”. [9]

Iain Mew: "I'll hit it from the back just so you don't get attached" is so miserable that my enjoyment hinges on how knowing much that is the point. Two minutes of frenzied blankness never really deliver an answer. [4]

TA Inskeep: This is why AI must be stopped. [1]

Alfred Soto: In some places music writers will remark on how this or that song sounds "AI-generated" as if it were a bad thing. "I like the way you kiss me" is what might happen if you and I had access to a couple keyboards and a decent engineer and -- presto! Out spills this mild electrothrob. The bloodlessness is the point. [5]

Rachel Saywitz: Sounds like any hedge fund manager’s / self-starter CEO’s / crypto bro’s / man whose Bumble profile says “I am a strong, athletic man looking for a woman who can keep up with me haha ;) NO ONE NIGHT STANDS”’s idea of sex. “I’ll hit it from the back / Just so you don’t get attached”? Man, fuck off!  [3]

Ian Mathers: Every microgeneration gets the vaguely self-loathing/plausibly deniably "sensitive" fuckboy it deserves, I guess. At least there's some pace here and a certain earworm-y quality. [7]

Andrew Karpan: Dark pop seemingly taking after Belarusian TikTokers Covid-hipsters Molchat Doma? I’m seated, but itchy.  [7]

Leah Isobel: Laura Les and Alice Glass are filing a class-action lawsuit as we speak. [2]

Nortey Dowuona: Toby Daintree is such a vapor. The only thing I could at first dig up was an empty SoundCloud page and a 2024 album from Artemas that has him as the only other producer. And his work seemingly alongside Kevin White, producer of five Bazzi hits and this little gem, has made this record an unlikely hit. As for Artemas, he apparently can do a v good mimic of Billie Eilish, but so could Tate McRae. [5]

Isabel Cole: Not a lot happens in this song, but all of it sounds awesome; the track is every bit intoxicating and urgent as the feelings described.  [8]

Jacob Sujin Kuppermann: Back in the depths of the early stages of the pandemic, I was cooped up in a ludicrously priced, despondently boring Bay Area suburb living with three other people. To some purpose -- to kill time? to find some kind of connection with the outside world? to feel joy? -- we would sit around watching music videos on YouTube for hours on end. No matter where we started -- pop punk, Ys-era Joanna Newsom, 90s R&B -- we would somehow end up at MGMT's "Little Dark Age", a seemingly innocuous track that has somehow become, to a certain slice of a generation, a bigger deal than the three MGMT songs that the rest of the world knows. At the time, I took it to be a quirk of the algorithm, that capricious beast that tech writers have spilled gallons upon gallons of ink over the past decade or so. Now, though, we see chickens come home to roost -- a worldwide hit that's essentially just a sped-up, horny edit of "Little Dark Age." Kind of bangs, though. [6]

Harlan Talib Ockey: Molchat Doma cosplayer regurgitates Wattpad dross. [2]

[Read, comment and vote on The Singles Jukebox]

[randomvarious]

Today’s compilation:

Grammy Nominees 2000 2000 Pop / Latin Pop / Teen Pop / R&B

I think it's genuinely funny to look back on albums like these and to see some of the songs and names that the Recording Academy deemed worthy of nominating for some of the Grammys' most coveted categories: "Livin' la vida loca" for Record of the Year? Kid Rock for Best New Artist, even though he'd already put out three albums prior (and is also really bad)? Lou Bega for Best Male Pop Vocal Performance, and in the same category as Andrea Bocelli? 😂 What are we even doing here, folks? What's next, a Marvel movie getting nominated for Best Picture? 😳

Anyway, regardless of some of these choices, it's always fun to take a trip down memory lane, get a bit of that nostalgia rush, and re-evaluate some of these hits that were completely inescapable two-plus decades ago.

And I think my biggest takeaway here is that, even though I still can’t help but love most of its dopey songs, the US' Latin pop boom at the turn of the millennium was, for the most part, pretty objectively terrible. "Livin' la vida loca" is pure maximalist cringe, with its "skin's the color mocha" lyric possibly being the worst line ever written in the history of pop music. And its absurd James Bond guitar motif will also never not be funny to me. Amazing to remember that people unironically enjoyed this song at one point. Like, imagine going to a normal bar at peak hours on a Saturday night in 1999 and this song comes on, and people start going nuts for it? What a time to be alive.

And same goes for "Mambo No. 5," another incredible Latin pop inanity that also happened to mesh well with that whole swing revival thing that bands like the Brian Setzer Orchestra and the Cherry Poppin' Daddies (that fucking name, man) were somehow getting away with at the same exact time. God, what musical horrors this time period wrought. And Lou Bega's not even Latin, either, by the way. He's a German native who's of Sicilian and Ugandan descent. And still, he made one of the biggest Latin pop hits of all time. Go figure.

And then there's Santana's "Smooth," which isn't actually an *awful* song on its own—at least not to nearly the same extent as those other two—but it's managed to reach such an extreme level of saturation over the years that I think it's now achieved a meme status that's akin to "All Star." I mean, that opening bar hits and you just chuckle at the utter absurdity of this song's existence at this point, right? But I actually learned a couple interesting facts about it today. One is that the guy who produced Matchbox Twenty's debut album also produced this song, and the other is that, originally, it was given to Rob Thomas in its preliminary stages, so he could work on it and then someone else could end up singing the final product, but Santana just decided that Thomas should provide the lead vocals anyway. And Thomas actually had someone like George Michael in mind instead, so try to imagine what that would've sounded like 😯.

But I swear to you all that I'm not actually an insufferably stuffy despiser of all 90s pop; I love some of the music on here. "...Baby One More Time" and that whole Swedish-produced teen pop craze has really grown on me over the years. Producer Max Martin was a total pop production genius back then and that Britney Spears debut single was one of his finest works. It has such an excellently lush final push and the song itself legitimately changed the pop music landscape forever. But I also can't help but notice some of the similarities between it and another less remembered co-production of Martin's that he did in '97 for Robyn called "Show Me Love" (not to be confused with the all-time diva house hit, "Show Me Love" by Robin S.) .

By the way, wanna see quite possibly the wrongest anyone's ever been about anything, ever? Read the following sentence from the Wikipedia article for "...Baby One More Time." The level of lack of foresight is off the fucking charts!

Given what we know now, it's crazy to think how multiple people at the top of the industry could've missed this mark by so goddamn much, but they did. And maybe, had "...Baby One More Time" never been made, they might've actually been right. But as it turns out, they were the complete opposite of that.

Overall, this is a fun album for channeling more innocent times and enjoying some of the pure pop goofiness of 1999, but the idea that some of these songs ever got nominated for anything other than the musical equivalent of a Razzie by an “authoritative” institution is pretty funny in and of itself and it also reveals what an unserious organization the Recording Academy really became at some point. Like, I can't imagine, at any time, thinking that a song like "Livin' la vida loca" ever exuded any kind of level of excellence, but I'd also very much like to meet the people who did!

Highlights:

Backstreet Boys - "I Want It That Way" Ricky Martin - "Livn' la vida loca" Santana - "Smooth" TLC - "No Scrubs" Christina Aguilera - "Genie in a Bottle" Macy Gray - "Do Something" Kid Rock - "Bawitdaba" Britney Spears - "...Baby One More Time" Marc Anthony - "I Need to Know" Lou Bega - "Mambo No. 5 (A Little Bit Of...)" Sting - "Brand New Day"

[todayisafridaynight]

The topic of the dub is a complex one for me. Because while I do love the cast as well, it's also like, I genuinely think it's a problem with the industry that they can all be traced to like 1 or 2 other Smash Hit properties with few exceptions.

Like of course the Japanese actors are also household names, but I would be comparatively really hard-pressed to find that big of an overlap in casting. I totally understand it's exciting for people who enjoyed those properties to be able to say "Hey, that's X!" and I'm exactly the same way, but I just find it hard to believe that the same couple of US voice actors who've dubbed nearly everything for ages are always the best choice.

But way way more than that, it's the knowledge that the actors were essentially told to "direct" their own performances that has left me with kind of a bad taste in my mouth. I don't see the point of having an experienced cast of "actors everyone likes" and not harnessing their talents. It's pure insanity to me in comparison to how much care Yokoyama and the other directors put into each and every line.

Of course it's a huge credit to the actors that they understood The Assignment well enough that it turned out as good as it did, and I would still say it's the best dub in RGGS history (not that this is saying much), but at times it was painfully obvious that they didn't have enough to work off of.

So, you know, it was still pretty good, but I feel like that was in spite of how it was handled, and that I only used to say it was "great" to fit in with all my friends who were saying the same thing. I don't fault anyone who does think so at all, of course, but in my case I don't wanna do that anymore. (Though I'm sorry to be so overly critical in your inbox haha, it's no problem at all if you don't wanna talk about that)

Anyway! The Mole Song! My Blood and Bones in a Title I'll Never Remember! Great movies IMO and both fortunately very very easy to find. I hope you enjoy them, and thanks so much as always for taking the time to indulge my recommendations!

SPEAKING OF...... I SAW YOU READ SOLILOQUY AND CONFESSION............. I love how the exact same things stood out to us like yes, I've been wanting to draw That Exact Scene for ages too, How Did You Know. LITERALLY IMMACULATE RIGHT... Love the character interactions and themes discussed soooo so much.

But it's also really funny you mention it on that particular post because I had a dream we were discussing an AraSawa fic (that you may or may not have written in the dream?) the same day I recommended them. You know, now that you mention it, I've had a metric ton of Mine dreams, a few Jo and/or Arakawa dreams, even a few with Mine and one of The Joes, but as far as I can tell I've only ever talked about one dream with Daigo in it.

Apparently, in the dream, MineDai were confirmed a couple in the 10th anniversary book. Because they were participants in an experiment that was trying to gauge whether there was some kind of psychic link between partners, and while that whole thing turned out bogus, MineDai were the only gay couple and the only ones to stay together after the experiment was over. Like what in the SUBSTORY--

I don’t mind the criticism: everything warrants it and nothing can appeal to everyone, so it’s totally welcomed! Again, I’m purely biased, so it’s as you said my adoration can be influenced from someplace personal (which is a habit I try not to fall into: I’d like to appreciate the work for what’s presented, not from what I know or ‘nostalgia’ I suppose, you know). I know other people still have their grievances about the English dub, so I wouldn’t say you’re alone in that and I think you should make your honest feelings known! We criticise the media we enjoy because we know it can be better (or we’d like to see better), so again I totally have no issue with you sharing your thoughts (especially since voice acting is a special interest of mine, so I’m always happy to hear people’s word on it)! :]

BUT YEAH ONTO THE FICS THE TONE AND EVERYTHING WAS SO GREAT for sure to have special spots in my fic list (though tbh it’s a small list- but I guess it’s still an honor in that right, right lmao). And the rain scene is SO good I don’t blame you for wanting to draw it too- the fic in general was everything I was hoping, and that scene was just especially so good and something I’ve always wanted to see between Jo and Masato :’] With Arakawa’s perspective, I loved the drama theme- like it makes sense and is obvious, and I loved how the author executed the concept and ‘outline’ of Arakawa’s life.

I still stand that I have no idea how dreams work (the thought of writing a AraSawa fic, while surely temptig, I doubt I have the ability for), but that MineDai one does sound right goofy. Genuinely some kind of silly substory moment, dubious experiments and fake surveys and all ☠️☠️

[sheepwithspecs]

Playing to Win: Chapter 2

|| FFXIV || Rated M || (2 / 5)

Ao3 Link

The Final Days may be ravaging Thavnair, but the first ripples of despair’s swan song have yet to fully reach La Noscea. While others tremble in the wake of nightmares, life on the docks of Limsa Lominsa continue as normal. The same can be said for the eternal rivalry of the Sanguine Sirens and the Kraken’s Arms, as well as their obstinate captains. But as tensions rise alongside reports of monsters prowling the coastline, they will soon come to realize that the only thing more frightening than a Blasphemy is… a confession.

"Though she has her own place, Captain Rhoswen often dines at the Bismarck in secret." -Melkoko

If you wish to see something done right, you must endeavor to do it yourself.

As a child, Carvallain had often heard his father tout the age-old adage when dealing in trickier affairs of business. It was one of the few life lessons he’d taken to heart, and it had served him well in his thirty-odd years of life. At times, however, he was reminded of the lesson’s importance in the most inopportune ways, with minor grievances that might have easily been avoided had he taken matters into his own hands. These tribulations were often too petty to quarrel over, and yet they were also just aggravating enough that he could not let them go unnoticed.

A ruined meal, for example.

On those tedious days when he was forced to meet face-to-face with merchants from across the star, Carvallain often treated himself to a delicious—albeit pricey—private luncheon courtesy of the Bismarck. Although he considered himself something of a connoisseur, the dish he ordered was something more akin to comfort food. His cuisine of choice: Ishgardian beet soup, served fresh from the pot with a soft bread roll and a tall glass of wine. A hearty meal flavored by nostalgia, the rose-tinted reminder of bygone days.

Being a popular restaurant, the Bismarck was often booked for months in advance; in order to sidestep this waitlist, Carvallain usually made an effort to speak with Lyngsath personally. The Seventh Sage provided the Bismarck with a hefty discount on a variety of culinary imports, and Lyngsath was willing to pull strings and provide the occasional bribe in return. This time, however, their respective schedules had made it nigh impossible to meet before the appointed day. Desperate, he’d hastily scribbled down his chosen menu on a spare sheet of parchment before handing it off to one of the culinarians. 

Now, weeks later, he was reaping the unfortunate rewards of his split-second decision. The Bismarck culinarians had not, in fact, prepared him a piping hot bowl of Ishgardian beet soup. Instead, they had prepared him a piping hot bowl of Garlean beet soup.

“What does it matter?” Gerald had asked, upon hearing of the mix-up. “Beets are beets.”

“There is more than one variety of any given vegetable,” Carvallain had argued, angrily pushing away the offending soup. “Furthermore, it’s the principle of the matter. When a patron orders a meal from a prestigious restaurant, they are entitled to come away satisfied. I am not satisfied.”

“What do you plan to do about it, then?”

“For one thing, I will be marching over there to speak with Lyngsath on the sloppiness of his kitchen staff.” Gerald, used to his captain’s stringent demands, rolled his shoulders in a careless shrug.

“But are you not going to eat it?” Carvallain wrinkled his nose at the offending bowl, with its wine-dark puree and pale sprig of garnish. “Let me have it, then; I don’t care one way or another about the beets.”

That evening, Carvallain crossed the short breezeway between the Seventh Sage and the Bismarck. The sun hovered just above the horizon, coloring both sea and sky in vibrant shades of pink and orange. The air was lively with the clink of silverware and hum of conversation from the restaurant’s al fresco diners. Future patrons stood in a line that stretched along the upper walkways, waiting with growing impatience as they announced their reservations one by one to the attending hostess. 

He ignored the “No Entry” sign on the lower door, opening it to find the Bismarck’s crowded storage room. Crates were stacked here and there in the corners, their bulky wooden shapes broken only by the rounded curve of iron-rimmed barrels at odd intervals along the walls. Aging casks of wine stood ready along the far wall, stacked up higher than even a Roegadyn could safely reach. Ropes of onions and peppers were strung from the rafters alongside large linen sacks of flour and salt.

Near the entrance to the kitchens, a Miqo’te culinarian was busy tapping a barrel of ale. He approached with a polite smile, signaling with a wave of his hand.

“Excuse me, my good madam.” The culinarian looked up at him with wide eyes, her ears perking curiously before falling back to her skull. “Where might I find Lyngsath? I need to have a word with him.”

“Oh! He’s down cellar, but…” she trailed off uncertainly, eyes darting to the archway that housed the stone staircase. “I don’t think… that is, you probably shouldn’t—”

“Never mind,” he interrupted smoothly, with all the charm and grace he could muster. “Continue with your work, my dear. I shall go down myself and find him.”

“But sir—!”

Ignoring her continued protest, Carvallain descended the narrow staircase to find himself in the cellar. The vaulted stone chamber was full of perishables, shelves of aging cheeses and great vats of pickled vegetables, rows upon rows of jars containing jams and jellies, and several unmarked boxes piled high with ingredients used in the more tongue-tantalizing dishes served upstairs. His lips unconsciously pursed at the sight of katsuobushi, remembering how he’d once foolishly passed off an entire crate to the Sirens without knowing its true worth as a stock.

At the end of the long room was another door, this one covered in baize to muffle any sounds from inside. The door stood propped open with a barrel, allowing him a clear view into the cellar’s second chamber. This room appeared to be Lyngsath’s private galley, with all the tools needed for any culinary venture imaginable. A large stone oven had been built into the outer wall, as well as a stove like the ones used in the upstairs kitchen. Shelves of ingredients and solid wooden counterpanes lined either wall; beneath a free-hanging rack of pots and pans, a stone island stood sentinel in the center of the room.

He found Lyngsath in front of the stove, his broad face creased with intense focus as he stood over a bubbling stewpot. At his side, perched on a wobbling, three-legged stool… was Rhoswen. Carvallain did a double-take, barely able to recognize her without the trademark crimson garb and tricorne. Without them, she looked as unassuming as any other Limsan native in plainclothes.

Seven hells— Carvallain quickly retreated to the shadows, preferring to observe the scene without fear of discovery. What is she doing here? The galley was a far cry from a tavern kitchen, yet Rhoswen seemed perfectly at home on her little stool. And Lyngsath didn’t seem at all concerned to host a culinary rival in his workshop. In fact, the two seemed to make quite the cozy pair. Hmm….

A gentleman of high standing would not be caught dead listening to a private conversation. It was far beneath him to pry, but he simply could not leave the restaurant until he’d uncovered the reason behind this little rendezvous. By leaning just so against one of the shelves, he was able to see both parties while still remaining hidden from plain sight, one ear poised to catch any choice snippets of conversation.

Lyngsath gave the steaming contents of the pot one final stir before sampling it with a smaller spoon. He rolled the liquid experimentally around his mouth, tongue working in his cheek before his eyes lit up in an expression of pure joy.

“I don’t know how, but ye’ve done it again! This is damn near perfect!” He laughed, his booming timbre echoing in the vaulted ceilings. “Clever girl, using apples to sweeten the broth! I’d have never thought of it, meself.”

“Pshaw.” Rhoswen dipped her head, cheeks glowing with the compliment. “Ain’t nothin’ to it, really. I learned it meself from a long-eared Gridanian farmer when we took on that job for the Botanist’s Guild last summer.” She deftly pared another apple as she spoke, peeling the skin from a slice and popping into her mouth with a satisfying crunch. “I ain’t above takin’ advice from the professionals. I reckon if they grew the damn things, they oughta know how to eat ‘em too.”

“N’ it’s paid off, ain’t it?” Lyngsath chuckled. “Just last week I had two of my best culinarians going off their heads, tryin’ to figure out the secret ingredient in the Missing Member’s braised beef. It’s makin’ me wonder, now… could it possibly be?”

“Might be.” She winked. “Then again, might not. I gather me own herbs n’ spices rather than relying on the markets, so who’s t’say I ain’t got more than one secret ingredient?” 

Damn it all! Carvallain let out a low exhale, cursing his poor luck. This isn’t a chance encounter! It’s nothing more than a meeting of minds.

Clearly this was some sort of preplanned event; by the familiar way they spoke to one another, it might have even been a regular occurrence. While he firmly believed his opinions about the kitchen’s lack of quality service to be well founded, Lyngsath was in no position to hear them at present. Besides, he’d already endured countless merchants and their unending woes, with no consoling meal to bolster his mood. Any complaint on his part was not worth the trouble of fighting off that screeching she-devil. He turned to make a silent exit, swallowing back the bitter taste of lost gil.

“Y’know, lass, yer a true natural with flavors. I just don’t see why ye refuse to even think about striking a bargain with the Seventh Sage.” Carvallain froze, his head snapping towards the galley fast enough that the bones in his neck protested. “It’s a damn shame that pride o’ yers will keep ye from reaching yer true potential.”

“My pride?” Rhoswen scoffed. “Don’t make me laugh! Do ye honestly think that fop would bother cuttin’ me an honest deal? He’d have me head on a platter first.”

“Aww, ye don’t know that.”

Oh, yes she does! Carvallain sneered at the mental image of Rhoswen in the Seventh Sage, begging on bended knee for a single jar of Thavnairian ten-spice. He could humiliate her by parading her around as his personal servant, or force her to do menial tasks in the hopes of earning his favor, only to deny the request the moment his amusement finally waned. He almost wished she’d be foolish enough to try it, just to provide him with some much-needed entertainment.

“I mean, it’s a whole new era,” Lyngsath continued, oblivious of their observer and his cruel reverie. “Piracy ain’t what it used to be, after all, but ye found yer niches well enough. The Krakens have made a good name for themselves as tradesmen; I even heard that Carvallain brokered a deal with Ishgard, n’ I know good n’ well he used to avoid any mention o’ the place on principle.”

“N’ look at yerself!” he gushed, waving a mittened hand towards the stool. “Every night folks are lined up n’ down the balustrade, waitin’ to set foot in yer tavern. Not to mention this new seaborne guard-for-hire business on the side. Before long, ye’ll be up to yer neck in gil. So, why not let bygones be bygones? With yer talents and his spice, the Missing Member would be giving me and ol’ Baderon both a run for our coin!”

“Shut yer trap!” Rhoswen snapped, the blush spreading down her neck. She turned away from the open flames, fanning herself with the loose collar of her tunic. “Yer so full o’ it.”

“Full o— Why, I’m as serious as the plague!”

“Whatever. N’ anyroad,” she added, after a pensive moment, “the Missing Member was never meant to be fancy. We’re peasant folk makin’ food after our own ‘earts; that’s why everything on the menu is sourced from La Noscea, from the farm-grown ingredients down to the herbs we pick ourselves from the coastline. When ye eat, it ought to put ye in mind o’ yer ma’s food. If we started to use them fancy spices, n’ ingredients with names so long ye can’t begin to spell ‘em… it just wouldn’t be the same.”

“Don’t get me wrong. I enjoy it here.” Rhoswen picked up another apple, stripping the peel from its flesh with deft flicks of her wrist. “It’s peaceful-like, without everyone banging about n’ hollering at the top o’ their lungs. Ye can hear yer own thoughts, n’ I like that. I like helpin’ ye with all the newfangled recipe ideas ye always seem to have brewin’ away in yer head. N’ when them recipes get popular with yer customers, I ain’t never asked for recognition, on account of I don’t want any.”

“That’s true enough.”

“The fact is: I don’t come down here because I want to become a famous sooz-chef,” she declared, butchering the term in her usual manner. “I do it because I like to cook. But if Carval—if other people started to find out things like that, they’d start claiming that Captain Rhoswen’s gettin’ soft in her old age.” She scowled down at the newly cored apple, turning it over in her hand before slicing it neatly down the center. “All that to say: I wouldn’t be caught dead crawlin’ to that uppity whoreson, even if he were the last man on this star who could spare me an onze of salt.”

“Uppity, eh?” Lyngsath chuckled. “Now, now… ye weren’t saying such things when ye came ‘round askin’ for advice on chocolates not so long ago.”

“T-That—ugh!” Her face was turned so that Carvallain could not see it clearly from his current vantage point. Lyngsath could, however, and one look had him breaking into bellowing peals of laughter.

“Bwahaha! A face like that would turn milk sour—”

“That’s enough!” With a flash of steel, the paring knife was buried in a nearby cheese. Lyngsath jumped, eyes widening as he stared at her white-knuckled fist gripping the handle hard enough to hurt.

“Lass?” He ventured cautiously. Rhoswen’s expression took on a stricken appearance, releasing the handle as though burned.

“Oh… I didn’t mean t’—” She swallowed thickly, seeming to wilt on the spot. Before he could move she’d buried her face in her arms with a muffled sound not unlike a wounded animal. Carvallain all but clung to the shelf, equal parts curious and appalled as he studied the scene unfolding before him.

He’d seen Rhoswen angry before, blazing with fury. He’d seen her vengeful, willing to throw her own life away for one last bullet in a Garlean skull. But this was the first time he’d ever watched her lose control. A shock to the senses, but not in the way he would have imagined. It made her seem so… vulnerable.

The thought should have pleased him. It did not.

“Oh, lass….” Lyngsath seemed to feel the same, his gaze sympathetic as he reached out to gently pat her shoulder. “What’s wrong? Ye can tell ol’ Lyngsath. I won’t breathe a word of it to no one.”

“I hate him!” Her eyes were dry when she lifted her head, but each word drawn from her quivering lips sounded more like a sob. “He makes me ‘eart ache somethin’ fierce, n’ I hate him all the more for it!”

Her… heart? Carvallain averted his eyes, brow furrowing as he tried to make sense of the word. What did her heart have to do with anything?

“Don’t ye think it’s time to set him straight?” Lyngsath wiggled the knife free of the cheese, setting it aside. “With plain speak, not chocolates or challenges.”

“I don’t know… it just ain’t our way, I guess.” She flicked halfheartedly at the apple peelings, cheek pillowed on her fist. “Even if it was, we still gotta think about appearances n’ such. Krakens n’ Sirens, we’re still part o’ the tri… triad?” she guessed, making a face. “Y’know, the three powers. If somethin’ were to happen to either crew, the whole city-state would be thrown off-kilter. Pirates would be blasting one another off the Aftcastle left n’ right for the chance to replace us. Don’t ye think we’d have mopped the floor with those puffy-shirted man-boys ages ago, if that weren’t the case?” 

Rhoswen had a point. The rivalry between the Krakens and Sirens had been kept alive for years by the very idea that neither side could ever be allowed to overpower the other—the resulting imbalance would be far too great a blow to Limsa Lominsa’s shaky hierarchy. On land and sea, both crews set their behavior by a mutual understanding that today’s loss would become tomorrow’s gain, proverbial scales in eternal equilibrium.

“Anyroad,” she sniffed, rubbing her nose with the back of her palm, “Carvallain don’t seem like the kind what wants a truce. I’ve tried to play nice with him before, but nothing ever comes o’ it. Last ‘Eavensturn I even went outta my way to charm an extra cake from some no-name adventurer, n’ what does he do? When I go to give it to him, the blighter tosses the damn thing overboard! He went so far as to laugh in me face about it!”

“That’s not something I’d have expected from a man what calls himself a gentleman,” Lyngsath agreed hesitantly. “’Tis passing strange: the Carvallain I know would never turn down a Heavensturn cake.”

“Hmph. Probably thought I’d done som’mat to it. He ought to know better, though. Say I was fool enough to kill him. I wouldn’t bother with something as cowardly as poison. No, I’d just march right up to the Seventh Sage n’—” She mimicked cocking and firing a musket, aiming her finger at the far wall with a click of her tongue. “No need for underhanded tricks. I got me honor to think about.”  

“That’s so.” Lyngsath stirred the stewpot with a pensive air. “Clearly the way to this man’s heart is not through his stomach.”

“It ain’t that. It’s me.” She made a face that, in any other circumstance, might have given Carvallain cause to smile. “He won’t have nothin’ to do with me. I even went n’ invited him to that gaudy casino in the middle of the desert, n’ the bastard stood me up. Me n’ the girls still had our fun, o’ course, but… I thought after all we’ve been through, he might have at least humored me.”

But I was there! It was frustrating beyond measure to remain hidden, when he wanted nothing more than to charge into the galley and defend his honor. He seethed in silence, fingernails biting into the meat of his palms as he struggled in vain to pick apart her argument. Perhaps he had been rather hasty to dismiss her offer of a Heavensturn cake. But he had never failed to answer a challenge, written or otherwise! In this, surely, she had to be mistaken.

The letter had been very clear about when and where the duel was to take place. He had arrived accordingly, only to find the area empty of familiar faces. Then again, the noise and flashing lights of the casino had been admittedly taxing on his senses. And the crowd had milled thick around the designated meeting place. And she was so very small…. Was it possible that he had simply overlooked her? Even so, if you had but signed the note, I might have found reason to tarry overlong—

“Well,” Lyngsath remarked, sparing her a sidelong glance, “If ye ask me, I think he’s a bloody fool to ignore what’s right under his nose. A beautiful lady like yerself should have folk trippin’ over their own boots in their hurry to court ye. If he can’t see that, he must be blind.” 

 Court?! His jaw dropped, ears burning at the very mention of the word. Court!? What in the name of—since when was he—just who did they think—

“But ye see, the so-called gentleman likes his women refined.”

 “Pshaw!” He shook his head in clear disapproval. “He might say that, lass. He might even believe it. But Carvallain is a pirate at heart, no matter what fancy term he uses to describe it. N’ no pirate worth his salt would ever be truly happy settling down with one o’ them prim n’ proper types.”

“Them refined ladies are… well, they’re a bit like puff pastries. Beautiful to look at, n’ sweet as sugar on the surface. But if ye open ‘em up n’ take a look inside, ye’ll find that they’re full of air. They’ve nothing to satisfy yer hunger, n’ soon enough ye’ll be wishin’ ye had something a bit more filling.”

“A lass like yerself, on the other hand, is like a nice meat pie. Sure, some folk might turn up their noses at the offer of old-fashioned peasant fare. Ye might even look a little plain to some, seeing as how yer not all bedecked in spun sugar and fancy glaze. But we both know there’s nothing wrong with a simple homecooked meal. Underneath that crust is all manner o’ savory bits, just waiting for the right person to come along n’ appreciate it. Yer nourishing n’ hearty where it counts. Don’t forget that.”

“Seven bleedin’ hells! Is that yer way of cheering a girl up?” Rhoswen berated him sharply. “Calling her a meat pie?!” She crossed her arms, turning away with a huff. From his hiding place, Carvallain could see that her entire face had lit up in a deep blush. Even the tips of her ears were tinged red. “No wonder ye never landed yerself a missus!”

“Don’t be too harsh with me, lass. I was only trying to help.”

“Ah, well.” She shrugged. “Don’t go worrying about me. I ain’t never been the type to lose me head over a sweetheart, n’ I don’t intend to start now. Carvallain can stick a rod up his arse if he so pleases. There are more important things to worry about right now.” The corners of her mouth tightened. “Listen: I don’t want ye wandering the coasts for a while. If ye need something n’ ye can’t find it in the markets, come see me. Aye?”

“Is something wrong?”

“Dunno.” Rhoswen stood, reaching for her cloak. “I’ve just been hearing things, is all. Might be nothing. Might be something.”

“I’ll trust yer judgment on that. And I’ll be sure to pass the message along to the staff as well; don’t need ‘em getting any bright ideas.”

Carvallain did not wait to hear more, unwilling to risk being caught in a compromising position this late in the game. He needed time to think, his head awhirl with everything he’d seen and heard. He crept stealthily back the way he had come, thoughts tangling until he could not tell where one thread began and another ended.

Rhoswen and Lyngsath, their professional relationship that seemed to border friendship. How long have they known one another? How many dishes hold traces of her influence?

Rhoswen make an effort to be nice to him, of all people. Of course I would have no way of recognizing it, why would I ever presume she could be anything more than—

Rhoswen’s heart, broken, breaking. Why should I care? Why do I care?

Rhoswen. I’ve never seen this side of her before, so animated, so… so unguarded—

Rhoswen. In the lowlight, in that outfit, did she not seem almost—

Rhoswen. No pirate worth his salt would ever be truly happy settling—

“That’s enough!” he admonished himself, shaking his head as though the errant thoughts could tumble out of both ears. The fresh air outside the Bismarck helped to revive him somewhat, though his stomach seemed unsettled and his heart pounded a heavy rhythm against his breastbone. He no longer had any heart for the sunset or the lively dining atmosphere; he hurried across the breezeway, thinking only of the waiting comfort of his airing bed.

It was only when dusk gave way to nightfall that he dared to untangle the mess of his thoughts and lay them all out at once, examining each at his leisure until he was certain he could find a perfectly logical explanation for each. Once again, pragmatism had triumphed in the face of reckless emotion.

Of course, that was only if he didn’t account for bizarre dreams of Heavensturn cakes, laughing eyes, and a very strange sabotender.

[modounbubble]

tagged by @vaeri-art

aint taggin no one you can just read my latest info here

Favorite color: All colors are great, as long as they go well with other colors

Favorite flavor: not spicy or bitterness

Favorite genres: My standards are low as long as it holds my attention

Video games: BloodBorne GOAT, DS1 pure nostalgia and happiness. Silly hentai game sometimes.

Fanart: If this is asking about my fav it's any Manus drawn by any Russian artists

Fav music: Anything with a good choice of percussion instruments, or very smooth and sonorous string bowing

Last song: Been Loving aka that one tik tok song made by some person ripping off the best part of Duvet (Serial Experiment Lain op) and playing it on a slowed down 3 min loop

Last movie: Appleseed OVA. Everyone should check it out

Last wip: I've been working on this Penetrator art for half a year and with every line I draw on his armor I need to take a one-month break

Currently reading: Do I look like I read. I wish I do but I haven't read anything besides textbook.

Currently watching: Appleseed the CG anime movie. It's so shit but I love tough chick and her soft cute bunny bf

Working on: Job searching lmao

[neely-osbarrow]

D&D Classes- Neely

Stolen from @briar-ffxiv​ Anyone else who wants a go can nick it from me ^^ I thought I would have a go at this as Neely basically fell into being a ranger through childhood raising and then pure necessity rather than choice

bold what definitely applies to your muse. - italicize what somewhat applies to your muse

𝙱𝙰𝚁𝙱𝙰𝚁𝙸𝙰𝙽 »   toothy grins, stories around the campfire, clothes covered in pet hair, hot temper, old jeans, heartbeat in head, potatoes and steak, beaded jewelry, bruise like galaxies, mementos, backpack stuffed full, craigslist furniture, spontaneous road trips, air ripped from lungs.

𝙱𝙰𝚁𝙳 »   homemade bread, white lies, easily excited, trying on hats, band geek, pep talks, no impulse control, sunsets, vintage fashion, long showers, selfies, following dreams, rosy cheeks, song mash-ups, pink lemonade with tequila, loves easily, animated storyteller, full of comebacks.

𝙲𝙻𝙴𝚁𝙸𝙲 »   list of wishes, biting their tongue, band-aids and neosporin, shoulder to cry on, morning sun, necklaces, trial and error, homemade quilts, formal clothing, astrology fan, messages in bottles, pleated braids, speaking up for friends, feathers, motivational quotes, vivid dreams.

𝙳𝚁𝚄𝙸𝙳 »   bird watching, shy kid, wind chimes, trying to whistle, summer camp, apple orchards, lost in their head, glow-in-the-dark stars on the ceiling, hoodies, thrift shopping, saving worms off the sidewalk, pig latin, bare feet, thunderstorms, numb fingers, braided hair, naming potted plants.

𝙵𝙸𝙶𝙷𝚃𝙴𝚁 »   goosebumps, leather jackets, adventure, chewing nails, cares deeply but can’t show it, bronze locks, no sleep, taste of iron, netflix binges, never forgets, combat boots, stories behind scars, table for one, official soundtracks, sore calves, trusts themselves the most.

𝙼𝙾𝙽𝙺 »   always trying to be better, wanderlust, meditation, sweatpants, old photographs, yoga, sleeping in hammocks, nostalgia, minimalist design, breath of fresh air, baby animals, volunteering, perfectionist, doesn’t care about fashion, healthy snacks, noticing the little things.

𝙿𝙰𝙻𝙰𝙳𝙸𝙽 »   school uniforms, thick jackets, sleeping with the windows open, logical advice, scrap booking, compasses, I fight for my friends, sculpture gardens, cold morning air, big soul, likes routine, secret romantic, last to get jokes, sunflowers, practical presents, misty weather.

𝚁𝙰𝙽𝙶𝙴𝚁 »   herbal tea, smell of rain, blinking away tears, camping trips, collecting bones, swiss army knives, first impressions, anxious thoughts, bobby pins, burnt marshmallows, too competitive, clothes lines, messenger bags, holding grudges, gets along better with animals than people.

𝚁𝙾𝙶𝚄𝙴 »   flirtatious sarcasm, candid photos, lost phone chargers, adrenaline rush, picking dirt out from beneath their nails, social chameleon, clashing clothes, self-deprecating jokes, claw machines, sits in chairs wrong, smudged eyeliner, has too many sunglasses, eats nothing or everything.

𝚂𝙾𝚁𝙲𝙴𝚁𝙴𝚁 »   infectious laugh, family trees, shivers down their spine, lipstick and roses, mood swings, clumsy, believing in destiny, high expectations, sleeping in darkness, collection of nail polish, passionate, good grades but never studies, poetry books, blowing kisses, not knowing their own strength.

𝚆𝙰𝚁𝙻𝙾𝙲𝙺 »   knowing everyone’s secrets, backpack covered in pins, envy, being in walmart late at night, earl grey, selective memory, conspiracy theories and cryptids, keysmashing, need to know basis, can’t cook, bags under eyes, experimental art, flickering bulbs, black clothing all year long.

𝚆𝙸𝚉𝙰𝚁𝙳 »   piles of books, cat in lap, keeping a diary, indecision, scented candles, studying alone in a café, lingering touches, museum dates, unanswered questions, taking on too much responsibility, collections, chalk dust, comfy robes, unnecessary apologies, coming home after a long day.

So, I still got the most in ranger, which tracks but I was surprised by how many I got in fighter and druid too for Neely!

[newmusicradionetwork]

Zach Adam Releases Heart-Wrenching Version of “End of the World (Late At Night)”

Zach Adam has released “End of the World (Late At Night),” a piano pop ballad version of his recent single “End of the World.” The piece showcases Adam’s versatility and ability to be vulnerable. You can stream and download “End of the World (Late At Night)” on all platforms now. Zach Adam’s newest drop, “End of the World (Late At Night),” shows a new side of the artist, further perpetuating his well-rounded nature. The single highlights Adam’s dynamic and smooth vocals with just a piano instrumental as accompaniment, making it feel like you’re right there in the room with him. The soft, simple piano melody reels you in to pay attention to the lyrics, “How can you plan forever, Everything’s now or never, Gotta save ourselves tonight, You and I at the end of the world, Sitting by the ashes of the things we never learned…Hold my hand cause things will never be the way they were, You and I.” The track evokes visuals of a dark, empty theater with just a piano on stage, which is exactly what you’ll see in the music video directed by Cameron Veitch, out April 17th. The forthcoming video is the second part of a continuing story first told in the original version of “End of the World.” The upcoming videos serve as another element in Adam’s storytelling abilities as an artist and will showcase the same story as it keeps evolving and takes fans on an unexpected journey. “End of the World (Late At Night)” was produced by Zach Adam, mastered by Nicholas Di Lorenzo of Panorama Mastering, and mixed by multi-platinum, Grammy award-winning mixer Bob Horn (BTS, Kelly Clarkson). “For ‘End of the World – Late At Night,’ I dove back into the emotional depths where the original ‘End of the World’ left us, continuing the story from where we last stood, at the precipice of our feelings and the universe we’ve navigated together.” Adam expresses his love of storytelling further, “Recorded on a piano late at night, following a day of intense creation, this version was born from the same raw, unfiltered moments of its inception. My aim was to showcase how altering the perspective—both in time and arrangement—can transform the way we experience a song, paralleling how life’s diverse perspectives influence our journey through it.” This new rendition is not just a sequel; it’s an alternate reality of the same tale, offering a fresh emotional landscape to explore late into the night. Zach Adam, based in Los Angeles, is a genre-defying, multifaceted artist striving to take his listeners on a journey. The combination of his alluring vocals, eclectic instrumentals, and impressive cinematic choices creates an all-encompassing experience that is unique and leaves the listener wanting more. Adam speaks on the struggle and excitement that comes with growing up, evoking a sense of nostalgia and eagerness for the future. Each song he releases builds on the bigger picture of his upcoming album that will take you on a voyage through time. Adam has been praised for his soul-stirring composition and soulful vocals by many publications including Billboard, The Boston Globe, Divine Magazine, and Jammerzine. Adam has also made a name for himself as a producer with 6 Top 20 Billboard chart hits in America and multiple #1 hits around the world. Adam is also the recipient of a Billboard Pop Songwriting Award. “End of the World (Late At Night)” is a testament to Zach Adam’s pure talent and vision, and it is only just the beginning. His creativity and dedication to his craft do not go unnoticed. You can stream and download “End of the World (Late At Night)” on all platforms now worldwide and don’t forget to follow Zach Adam on Instagram and TikTok @ZachAdamOfficial and check out his website ZachAdam.com. Read the full article

[systemtek]

Why Classic Video Games Are Making a Comeback

When high-tech rules today, old school game­s still captivate players. Their date­d visuals and straightforward fun hold strong appeal. This piece e­xamines why gamers cherish the­se aged gems. It e­xplores their lasting impact and charm. The Draw of Re­tro Gaming There's something wonde­rful about firing up a Nintendo or Sega system, isn't the­re? Retro titles' simplicity lure­s players in. But their full expe­rience also hooks us. We relish physical button mashing and stick twisting. Mastering levels and clearing fresh challenges thrill us, enhanced by smart tech like cardano gpt, which brings new levels of artificial intelligence and blockchain technology to gaming. Pixelated graphics ooze nostalgic vibes, backed by catchy tunes. Pure entertainment. Their resurge­nce shows pop culture's cyclical nature. It re­veals how gamers highly prize authe­ntic experience­s from the past. Memories and Nostalgia Nostalgia's pull is mighty, luring us to re­tro experience­s. They transport us back to youthful bliss and innocent excite­ment. We can relive­ those simple joys. Many old video game­s are making a comeback. This is because­ of nostalgia. People love re­visiting classic games like Pac-Man and Tetris. The­y loved chasing ghosts or stacking blocks when they we­re kids. These game­s are still popular today. This shows how much we still love playing the­m after all these ye­ars. They never ge­t old. Straightforward Gameplay Retro games are­ fun because of their game­play, which is very simple. You can jump right in and start playing. It's not complicated. All pe­ople can enjoy these­ games, which is why they are still so popular. Eve­n newer games that are­ like old games focus on easy game­play. Keeping things simple ofte­n leads to success in gaming. Pixelate­d Graphics and Catchy Soundtracks The graphics in retro games we­re made with pixels. The­y don't look high-def like today's games. But the­y had charm. The simple pixel art le­t designers make unique­ visuals. Gamers still love that style. Re­tro games also had catchy songs. The music and graphics came toge­ther. It made you fee­l like you were in the­ game. That mix of sights and sounds makes them gre­at even now. Retro Gaming Console­s: Nintendo Entertainment Syste­m and Sega Genesis Back the­n, gaming changed big time thanks to the Ninte­ndo Entertainment System (NES) and Se­ga Genesis. They move­d things forward in cool ways we still see today. NES re­covered gaming after the­ 1983 crash by doing cool new stuff. Its intelligent design choices we­re key. However, Sega Ge­nesis was a formidable rival, with better graphics and sound than wowe­d players. Their console war shifte­d gaming standards in significant ways. Nintendo Entertainment Syste­m (NES) In 1985, NES brought arcade fun to living rooms nationwide. Games we­re played at home like­ never before­! But more importantly, NES started awesome­ franchises that are still huge nowadays. Lege­ndary Mario, Zelda, and Metroid—they be­gan here! Those e­pic games aren't just nostalgic memorie­s. They prove how rad gameplay and storie­s can stick with us forever. Sega Ge­nesis Sega Gene­sis blew minds with crisp graphics and immersive audio. Its colossal 915-game­ roster had classics adults loved like Sonic and Stre­ets of Rage. Mature fans rallie­d behind Genesis e­n masse. The console­ looked excellent, with black casing and high-quality audio hardware. That helpe­d make it super popular. But the Se­ga Genesis was more than just for game­s. It became essential in culture­, defining how a whole gene­ration played games. It wasn't just another syste­m – it was a genuine phenomenon. How Old Game­s Impact Modern Ones Retro gaming inspire­s modern games a lot, not just for nostalgic fee­lings. Developers today ofte­n borrow design ideas from classic titles, mixing old flavors into ne­w games. They learn from vintage­ games, especially how simple­, user-friendly designs worke­d well back then. Blending that into mode­rn titles improves the gaming e­xperience while­ connecting to the past. Game De­sign That Feels Old-School Pixel art graphics have­ made a comeback in indie game­s, as new titles draw heavily from re­tro styles. This revival comes from indie­ devs creatively mixing traditional e­lements into their proje­cts. It's famous for PC gaming, appealing to different type­s of players. It shows that vintage-inspired game­s still have a significant influence. Look at Crossy Road – it bre­athes new life into an old conce­pt like Frogger. Combining establishe­d ideas with fresh approaches can make­ distinct, engaging gameplay expe­riences. Classic Games' Le­ssons Easy gameplay principles and graphics are prioritized ove­r complexity, old video games te­ach us. Today's titles still use these­ ideas, showing vintage games' lasting appe­al. Even with limits, develope­rs created cleve­r 8-bit games. Their insights guide mode­rn developers, ke­eping retro titles re­levant. The retro gaming sce­ne thrives with its strong community. Online tourname­nts and events bring fans togethe­r.  Players swap tips, chat about favorite games, and work as te­ams. Casual get-togethers or compe­titive tourneys welcome­ everyone re­gardless of skills or games. Retro gaming has an inclusive­ vibe. Read the full article

[lil-melody-moon]

Hi! Looks like you have two of us this year! You can call me Blue! I'll be your other secret santa for this month. It's nice to meet you! Hope you're doing well.

I see you like The Doors, Led Zep, and The Who. Any favorite albums of theirs?

-Blue

Hello, Blue! <3 It's nice to meet you too, hope we both have fun <3 And yes, I am doing well, thank you for asking. I hope you're doing well too <3

Oh yes! I have two for each I think or maybe three. Let me tell you!

For The Doors it would be "Waiting For The Sun" and "L.A. Woman". - "Waiting For The Sun" is probably considered as one of the weakest, but somehow the songs are so moody, they just have the atmosphere I'm searching for at certain days. - "L.A. Woman" is kind of obvious, banger after banger!

For Led Zeppelin it would be: "Led Zeppelin III", "Physical Graffiti" and "Coda" - "Led Zeppelin III" mostly because of nostalgia. While "Babe I'm Gonna Leave You" was the first song that pulled me in the band, almost the entirety of Led Zeppelin III convinced me to listen to them. "Gallows Pole" my beloved <3 - "Physical Graffiti" for one reason only. I'm putting aside the fact that both CDs have wonderful music. The main reason is the fact that there's "In My Time of Dying" and this is my all time favorite. This song is purely on drums, I can't live without this song, it has to be played at least once per week! - "Coda" is a bit of a specific choice there. While being the last one I've listened to, the last track just hit me. I was at the beginning of being a fan and "Wearing and Tearing" started to play. It was heavy, fast, I replayed it immediately and it was when I've noticed the tempo speeds up throughout the song. Might be the actual song that made me go bonkers for John Bonham, but I love it. AND there's also "Darlene" on this album, "Bonzo's Montreux" on top of that, I just love this album!

For The Who... I didn't listen to every album yet. I think there's three left for me to listen through, so I can only be sure of one that is my favorite, and the second can be a pure guess: "Quadrophenia" and "Who Are You". - "Quadrophenia" because of probably obvious reasons. The album just flows, every song is good, there's NO skips, from "I Am The Sea" to "Love Reign O'er Me". It's either listen in one sitting or go home to me. Sure, I have to be in a mood for it, but once it's there, this album plays without any breaks. Of course I have my favorites: "5:15", "Bell Boy", "Love Reign O'er Me", but truly, I need it at home <3 - "Who Are You" is the guessing one. I hadn't listen to it and this is like the final one I want to listen to, unless I get in on Christmas. It's a pure guess, but it's also my gut feeling telling me to wait with this one as long as I can - it was the same with The Beatles' "Abbey Road" and guess how that turned out XD So yeah, I'm putting it there, knowing well that I'm tearing every time I see the cover of it and that it might hit me like a brick to the face once I give a listen to it.

[k00298112]

while looking at the correlation between music and visual media i was thinking about what aspects of media are created first then music added afterword compares to the latter. the bizarre nature of the performance in Stop Making Sense correlates perfectly with Talking heads style of music, so i started thinking about the reverse of that idea. the first thing that sprung to mind using this idea is the anime short series Lain: Serial Experiments.

The series has a very specific aesthetic, originally made in 1998 it incorporates the aesthetic of the early 2000s in its colour scheme and themes. it uses the futuristic elements while also keeping with the era its set in. In a very watered down description it is based around the idea of the power of the then new internet referred to as the wire, it follows a socially inept 14 year old girl who hopes to fuse with the wire in order to feel less alone along with feeling a connection to something. this helps the series remain relevant and relatable 25 years on from its release, becoming notorious amongst internet dwellers. i decided to pile together an image board/collage based on its aesthetics and themes.

Lain incorporates music in an extremely unique way. the original soundtrack for the series incorporates white noise in such a way that lets the audience experience what lain is potentially experiencing in a dissociated state. Although the OST is recognised as unique, the series is best known for its use of the song Duvet by Boa in its opening. the opening is considered one of the most iconic of its time. the choice of song is utterly perfect, it matches tremendously with the visuals and aesthetics of not just the show but also the time period. duvet provides a gorgeous sound to the future nostalgia the series provides, right down to its lyrics. Boa was a relatively unknown band prior to the release of Lain, so the obscurity of the band as well as the show accompany each other wonderfully

i want to use multimedia to express my ideas surrounding Lain and its music, specifically focusing on Boas album Twilight (this album features Duvet). Im going to incorporate lino, collage and paint within the piece. i decided to make another more specific collage to the piece i want to create rather than the previous one that served just to showcase the aesthetics of the show. i decided to focus purely on the visual concept of the piece today.

[vampykween]

aloe vera, papyrus, and chamomile for the ask game:3

❀ aloe vera:

something mundane i really want to experience is moving in with my partner. we've been long distance for two and a half years - and we'll be much closer after i move after graduation but i'll be living on my own (my own choice lol). but yeah im kinda just ready to get to wake up and go to bed together all the time :')

❀ papyrus:

the first song that shuffles on my on repeat playlist is slow life - ive had the twilight soundtracks on repeat recently hehe. growing up my mom and grandma loved the twilight books and movies so, i got really into them too, so the soundtracks are like pure nostalgia to me. i also really associate it with fall and especially since i live in a really foresty small town for college im kinda trying to romanticize it - i am a big city girl i am struggling out here :'(

❀ chamomile:

with gifts i literally never know what i want ahhh, but i think my favorite kinds of gifts are gifts that show that people really do know me. like the first year my gf and i started dating she gave me a purple glass heart she made at a glass blowing class and an eros sweatshirt (i am a harry styles girly oops) and my heart literally melted cause it showed me she knew what i liked and cared enough to pay attention

sorry if i metaphorically talked ur ear off oops but i am a chatterbox irl so thank u for asking mwah

ask game questions

[lochsides]

Speak Now (Taylor's Version) review

I cannot begin to write the feelings that the release of Speak Now (Taylor’s Version) has brought up for me. Speak Nowwas the first Taylor album release I ever experienced, 13 years ago at the age of 13. The fact that I am able to experience that again for the first time is magic. And that really is the perfect word to describe the feeling this album evokes; it is magic and whimsy and nostalgia.

Speak Now (Taylor’s Version) had a lot to live up to. I think I speak for many fans when I say that this album is precious to us. There is something about Speak Now that is purely for the fans. I think Taylor knows this and she paid meticulous attention to detail when recreating this album. Speak Now (Taylor’s Version) is very faithful in its production while elevated in its quality. I think that Taylor’s re-recordings only get stronger with every Taylor’s Version. Her vocal strength and control lend itself to stronger delivery. The very slight changes production make the album sound more cohesive. I love that she had her live band play on every single song that was originally on the Speak Now tracklist. They have been playing these songs for 13 years now and know them about as intimately as Taylor does, and that shows in the incredible instrumentation throughout Speak Now (Taylor’s Version).

The From The Vault tracks are so interesting in painting a fuller picture of where Taylor was at during that time. Personally, I think Castles Crumbling is one of Taylor’s strongest pieces of writing and Timeless captures Taylor’s storytelling capabilities perfectly. My favourite re-recorded tracks were Never Grow Up, Long Live, The Story of Us, Enchanted, and Innocent.

Mine — Listening to Taylor’s Version of Mine took me right back to the first time I listened to this song and watched that wholesome music video. This was such a strong replication of the original track. For all intents and purposes, it sounds essentially the same. Taylor’s vocal maturity is evident in her control on the belting note during the final chorus. It makes me so proud of her as a singer and so excited to listen to the rest of the album.

Sparks Fly — The production on Sparks Fly is more refined than previously. I’ll be honest, I thought it sounded different on my first listen, but after listening to it a few more times, I don’t notice it so much. I think this is a very good recreation of the original track. I love her delivery on the bridge. The song as a whole sounds more mature. I think it sounds so good. She knows how much her fans adore this track and she did well by it.

Back to December — Back to December (Taylor’s Version) feels like a beautiful combination of the original and the acoustic version. It sounds different but it works for the song. I liked the production choices they made with the instrumental. It captures the feeling of the song really well. It sounds sadder than before, and its already such a sad song. I remember this being the first song that I fell in love with on this album so its a speical one for me. The production changes really work well for Taylor’s vocal maturity.

Speak Now — I was shocked by Taylor’s vocals in this version of Speak Now. It’s light and airy quality transported me back to 2010, and with Liz on the backing vocals too. The refinement on the production makes the song sound a little different, but only if you’re actually listening for it. This version sounds really good and I really like it.

Dear John — I have mixed feelings about Taylor’s Version of Dear John because while it is technically a great replication and her vocal control on the track, particularly the bridge, is unmatched, I feel her delivery lacks the emotional nuance that she showed even a couple months ago on WCS. That said, it is by no means not a beautiful rendition. I really like the clarity in the production and smoothness of her vocals.

Mean — My only note on this song was that I love the banjo and miss the country accent. I don’t think that’s a big deal though, and I really love this version of Mean. I think it really captures the feeling of the song and is a really strong replica of the original. I love Caitlin and Liz on the backing vocals too, gives me ✨ Speak Now Tour vibes ✨.

The Story of Us — The production The Story of Us is so much sharper and it carries the maturity of her current vocals so well. I don’t know if this is an unpopular opinion but I love the clairty of her vocal performance on the bridge of this song and the stability of her belting notes. The instrumentation is so good. I think it all came together to create a great remastering.

Never Grow Up — This is my favourite re-recorded song on this album. Maybe my favourite re-recorded song of hers so far. I’ve always loved Never Grow Up because of the nostalgia, but this took it to a whole other level. I got chills listening to Taylor’s Version. The depth and maturity of her 32-year-old vocal over the lightness of the acoustic guitar really hit me. This is also one of the most emotive re-recordings in my opinion. It’s almost like she feels this song deeper now than she did at the time she wrote it. The production is really beautiful and delicate.

Enchanted — Enchanted (Taylor’s Version) feels bigger than the original, in the most literal sense. It sounds to me like it was recorded in a bigger room. Maybe its the echo she uses in different parts of the song. Either way, it accomodates the grandness of this song. Taylor knows this is a special one for us. Its the only Speak Now song on the main set of the Eras Tour for a reason. Her vocals sound beautiful. The way she goes between her head voice and chest voice is skilled. I love the orchestra. There is so much going on in terms of instrumentation for this song and yet the production is so clean and it works so well.

Better Than Revenge — Let me get it out of the way, I’m not mad at the lyric change. I think it was a no-win situation for Taylor because on one hand, people will get upset with her for not standing by her original work and on the other, if she had kept the original lyrics, people would be upset that she was standing behind a misogynistic viewpoint. I think she did what she felt was right and the lyric isn’t bad. Her vocal maturity is a double-edged sword when it comes to this song. The notes she’s hitting in her vocalising sound more effortless, but in that she loses the angered quality that comes from straining her vocals. I like the sharpness of the production and all the backing vocals. I love her delivery on “she’s so over it.”

Innocent — This song sounds softer than before, like the whole track has been pushed back, and I think that really works for Innocent. I have always loved this song the most, it got me through so many dark nights. Hearing it with Taylor’s matured vocals hits different. The smoothness with which she glides over the notes in the pre-chorus sounds so beautiful. The bridge sounds so full with the maturity of her vocal and production sitting where it is. I think the restraint in the production while still maintaining the actual sound of the original is perfect for Taylor’s Version. I wonder what the experience of re-recording this at 32 was like for Taylor. Whatever she was feeling, it sounds beautiful on the track.

Haunted — Okay so I think we all have to agree that Haunted (Taylor’s Version) is the song that sounds the most different to its original counterpart. Those panting breaths on the pre-chorus are startling at first, and then genius thereafter. There is also this echo in the background in the verses. I find these production choices so interesting because it shows how Taylor’s creative vision for the songs has evolved. There is a delicate balance she strikes between changing production without losing what we have always loved about this song.

Last Kiss — I am still upset about the shaky breath being gone. She said it was her saddest song and then proceeded to take the saddest part out. Criminal behaviour, Taylor. That aside though, I really love the production on this version. Every aspect of the song, from instruments to vocals, sound clearer. I think the overall quality of this re-record is amazing.

Long Live — I cannot believe how emotional listening to Taylor’s Version of Long Live makes me, every single time! This is one song I really struggled to compare at all, not because there are no differences (see: the amazing backing vocal on “this is absurd”), but because of the passion with which she sings it on this version that just blows me away. You can just feel her joy exuding off the track. You can hear her smile on “the crowds in stands went wild.” Her band also really did the most on the instrumentation. You can just tell how much this song means to everyone involved in making it. Another favourite re-record of mine.

Ours — I always think about the fact that Ours and New Romantics are the only bonus tracks she’s ever made singles, which is a testament to her pride in and love for these songs. I love the attention to detail on this re-record. It sounds like such a faithful recreation, down to her adorable giggle. Her mature vocal adds another element of romanticism to the song, in my opinion.

Superman — Honestly, this song sounds different and yet so similar at the same time. I can’t quite pinpoint exactly what it is about the production that changed. It feels more open than before. Taylor’s vocal performance on this is much stronger than before without changing anything and that’s exactly what I always look forward to with her re-recordings.

Electric Touch — This song slides so perfectly onto Speak Now. Its filled with wishful thinking and touches of sadness and heaps of romantic hope. I won’t lie, didn’t love the Fall Out Boy feature on this. I think the verse fell a little flat for me but their vocals together on the chorus and bridge make up for it. The production is really cool, wouldn’t have expected Aaron Dessner on this one.

When Emma Falls In Love — This one, on the other hand, has Aaron’s production fingerprints all over it. This is such a beautiful song, the kind that makes me pray Taylor and Aaron never stop making music together. I think this song feels so old school Taylor. Its hopelessly romantic and slightly apprehensive. I also find it very interesting how, if she had released this song in 2010, it would’ve been her first New York reference. I love the piano line in this song. It sounds so pretty. That’s the word that I keep coming back to with this one. Everything from the instrumentation to her vocals to the story she’s telling is all so pretty.

I Can See You — The production on I Can See You is very interesting for Speak Now era, but its just as sultry as the lyrics are. It fits the theme of the song and the song really suits Taylor’s mature vocals. I think this is a great song but it feels a little like Don’t You on Fearless (which is my favourite Vault track from that album), the production just doesn’t feel like the rest of the album. I can see why she withheld this in favour of the original tracklist.

Castles Crumbling — It is a crime that Taylor said she wanted to showcase her songwriting on Speak Now and then proceeded to leave one of her finest pieces of writing in the vault. This song is chilling in the very best way possible. Both Taylor and Hayley are such emotive singers and this was a top-tier collaboration. The part where they are vocalising before the bridge gave me goosebumps the first time I heard it. And to have that followed by Taylor’s voice breaking off on “never wanted you to hate me” was a personal attack. The production on this track makes me pray that Taylor and Jack Antonoff never stop working together because they create magic in the studio.

Foolish One — Taylor said delusional girls have rights too. This song is actually so fun and sad at the same time. I love a good old Taylor country song and this fits that vibe perfectly. My favourite aspect of the song, and this might be a reach but as is the spirit of this song, is how light and youthful her vocals sound throughput the song contrasting with the depth and maturity in the outro where she is reflecting on this situation. It’s like she’s grown and come to realise that “he just wasn’t the one” and is now telling her younger self, who throughout the song is hanging onto every last hope she can.

Timeless — If I had to describe the feeling of what the Speak Now era was to someone, I’d play them Timeless. This song is so quintessential Speak Now Taylor, from the romanticism and whimsy to the fact that she’s singing about an antique shop. It really showcases Taylor’s strengths as a storyteller. The way I could picture every movement in that antique shop, the way she crafted stories out of photographs, all the details in her writing are impeccable. I think this might be my favourite vault track. It just sounds like such a Taylor Swift song and I love that about it.

[thebandcampdiaries]

Stone Portal has announced a new album: Stealing Airwaves.

October 2022 - Stone Portal is a band with a one-of-a-kind sound and a unique approach to their rock music. The group’s most recent full-length is titled “Stealing Airwave.” The record unfolds over the span of 10 tracks, including the title track itself, which was released as a single. The song is a perfect introduction to the mood of this album. Right off the bat, the band set out to bolster their narrative with a huge sound and a modern rock twist. The song “Come Alive” offers an even richer palette of sounds, retaining its rock energy, while also incorporating acoustic guitars. The choice is spot-on, as it brings some extra detail and melody to the table, without necessarily compromising in terms of energy. The third song on the album is titled “Locked And Loaded.” This is an edgy tune and one of the most uptempo numbers on the entire record. It’s pure fire at play here! The fourth song is named “Turn Around.” The tune has a very mercurial quality, highlighting the band’s diverse creative range.

Still, there is a lot of room for variety on this album. Songs like “Coffee” explore the band’s more atmospheric side with psychedelic rock leanings in the intro, before diving into an explosive arrangement. The following track, “Smoke And Mirrors” has a heavy quality to it, tipping the hat off to the 70s and 80s, but without necessarily trying to recreate those retro vibes verbatim. The next song on the album is titled “Weathered Ways.” It is a pleasant and balanced track with prominent acoustic tones. The dynamics of the song are more understated, and it feels like a great breather to break the flow of some of the most energetic songs on this album. “Put Your Love Down” follows soon after. The intro riff is as catchy as it gets. It’s impossible not to make a rock and roll face as soon as you hear it going the first 2 seconds! This is the kind of song that will make you head-bang instantly, as it offer one of the highest-intensity moments on the album.

Songs like “Fear and Fantasy” showcase the band’s ability to explore different textures, ranging from huge walls of guitars to understated verses and personal lyrics. Last, but definitely not least, the final track is titled “Way Out West.” It has a more mellow and understated sound, but it still portrays the depth of the band’s rich and full sound to absolute perfection. This is a perfect conclusion to an album that feels like a genuine sonic roller coaster. Every song has something special about it, but the sum of the parts is even better.

The style of the vocals throughout the album is very cool and interesting, reminiscent of greats such as Anthony Kiedis and Eddie Vedder, but with a distinctive sound that makes it stand out. The production on the album is sharp and clear, providing a really great opportunity for the band to highlighting the dynamics of the member’s musicianship. The sound has a warm vibe that’s reminiscent of the great rock albums of the 90s and early 2000s, but this is no nostalgia operation. The album is vibrant and alive, fueled by an electric aura that makes the songs genuinely easy to relate to.

Fans of artists as diverse as Foo Fighters, Feeder, Dead Rituals, Pearl Jam or Audioslave should most definitely check this out.

Find out more about Stone Portal and check out “Stealing Airwaves.”

https://www.instagram.com/stone_portal/

https://open.spotify.com/artist/4d7IuaMbgZGRu2voLjDtYt