#where she only does backup vocals for like two lines T-T

[precuremusictournament]

Mascot Milk/Mimino Kurumi/Milky Rose MINIPOLL!

For comparison:

Milk・Miracle・Milky Legend

Everyone Must Listen To Milk Miracle Milky Legend. Everyone Must Vote For Milk Miracle Milky Legend. You Agree.

[tillidontneedfantasy]

A Track-by-Track Breakdown of Taylor Swift’s 9th Studio Album: ‘evermore’

“My collaborators and I are proud to announce that my 9th studio album and folklore’s sister record is here. It’s called evermore,” is how Taylor Swift introduces us to this album in its foreword. One might assume a “sister record” would entail b-sides, or tracks that didn’t quite make the cut for folklore, despite Taylor’s explanation that “we just couldn’t stop writing songs.” evermore’s release came at a strange time, upon the heels of the Folklore: Long Pond Studio Sessions film on Disney+, as well as 5 Grammy nominations for folklore. The world still captivated by folklore, it’s understandable why one might not consume evermore as critically. Even as a die-hard fan, I felt some whiplash by this announcement; I am still processing folklore! Hell, I’m still processing reputation!

If this was the Taylor from two years ago, this may have been a big enough fear of hers to hold off on releasing evermore. But as she explained upon folklore’s surprise release, life is too unpredictable now, and there are zero givens or guarantees. So she followed the same path this time (although making sure it fell in line with her birthday weekend). But it’s not just the strategic timing of the release that she’s thrown out the window for now, but also her mindset whilst making records. As she explains in the evermore album foreword,

“I’ve never done this before. In the past I’ve always treated albums as one-off eras and moved onto planning the next one as soon as an album was released. There was something different with folklore. In making it, I felt less like I was departing and more like I was returning. I loved the escapism I found in these imaginary/not imaginary tales. I loved the ways you welcomed the dreamscapes and tragedies and epic tales of love lost and found. So I just kept writing them.”

This is a revelation for Swift, to let the music lead her into artistic freedom, which is what makes evermore such a triumphant return. Truly folklore’s sister record, Taylor wrote evermore with the same creative team: Aaron Dessner of The National (Swift’s favorite band), long-time pal and collaborator Jack Antonoff, Justin Vernon of Bon Iver, and William Bowery aka Swift’s boyfriend, Joe Alwyn (as officially revealed in the Long Pond Studio Sessions). Additionally, former 1989 tour openers and close friends of Taylor, the HAIM sisters, join the crew, along with Marcus Mumford for some dreamy backup vocals.

The production is just as wistful and mesmerizing as it was on folklore, yet the storytelling on evermore is kicked up a notch, expanding on the topics and worldbuilding established in its sister record, with even sharper lyrics and an effective and elaborate use of alliteration. The best thing about Taylor is that no matter what she does, her masterful lyricism is always at the heart of her art, and somehow, she keeps getting better. Once again, I wanted to explore the rich stories she’s crafted in this woodsy universe. This is how I’ve interpreted the album, but I hope you find your own meaning in the songs as well.

1. willow It is fitting that the opening track to folklore’s sister album, where we wade further into the forest that is Taylor Swift’s imagination and storytelling, would center on the type of tree that is a symbol of hope, belonging, safety, stability, and healing. “willow,” one of the few more obviously autobiographical tracks on the album, is a hymn of gratitude for her man (as she wants you to know, yes, thirteen times), Joe Alwyn, and how the invisible string tethering them together pulled her to him in a time when everyone else was counting her out. Though not as present on many of the other songs later to come on this record, you can feel the lightness in her heart on this song as she embraces the way in which the willow has bent, wrecking her plans, throwing her into the water and leaving her happily lost and afloat in his current. The downward key modulation throughout the last two repetitions of the chorus is beautiful and very fitting for Swift vocally, but also sounds like the feeling of finding your comfort and settling into it, basking it in while you wait for the next place the wind pulls you. Best lyric: “Now this is an open/shut case / I guess I should’ve known from the look on your face / Every bait and switch was a work of art.”

2. champagne problems On the second track of the album, Taylor dives back into the fictional worldbuilding she began to explore on folklore. While on folklore high school relationships and dramatics took center-stage, evermore graduates from adolescence to young adulthood, not that it is any easier emotionally on the listener’s heart. “champagne problems” chronicles a rejected marriage proposal between two college sweethearts at their old dorm building. Taylor sings as the narrator, a reflective, self-deprecating young woman who jokes about belonging in a madhouse and dismisses all her turmoil as champagne problems. The term ‘champagne problems’ itself could have various meanings here: their trivial concerns, the fact that their “sister splashed out on the bottle” of champagne that they will not be using to celebrate as they had hoped, or perhaps it could even hint that excessive drinking is a piece of all the ways the narrator is “fucked in the head,” as they said. Although the person she is singing to is the one who got hurt in the story, the hurt in the narrator’s heart is just as palpable and relatable, because you only have yourself to blame when you self-destruct. Best lyric: “’She would’ve made such a lovely bride, / what a shame she’s fucked in the head,’ they said / but you’ll find the real thing instead / she’ll patch up your tapestry that I shred.”

3. gold rush On her YouTube live chat prior to the album’s release, Taylor explained that this song “takes place inside a single daydream where you get lost in thought for a minute and then snap out of it.” The daydream consists of a love story so pure that the town had never seen such a thing; it could only happen in a fantasy for the narrator. How could she possibly have the gall to call them out on their contrarian shit, or end up with her Eagles t-shirt hanging from their door, when they are so coveted by all, and when she cannot withstand the thought of even competing? She sings, “My mind turns your life into folklore / I can’t dare to dream about you anymore,” a sweet little connecting piece to this album’s older sister, effectively convincing herself out of the idea of jumping into the chaos of the gold rush because even inside her own imagination it’s too dangerous. Best lyric: “I don’t like that falling feels like flying ‘till the bone crush.”

4. ‘tis the damn season According to Aaron Dessner, Taylor had written the lyrics for “’tis the damn season” in the middle of the night amidst their Folklore: The Long Pond Studio Sessions recording after a long night of chatting and drinking with their co-conspirator, Jack Antonoff. The lyrics perfectly encapsulate the guttural ache the track evokes. It is a tale of two people who always find their way back to one another in their hometown, which acts as the ever-returning fork in the road. The path taken, back to L.A. in pursuit of her dreams, is the one she chose and continues to choose, but whenever she returns home, she takes a ride down the road not taken, just to get a taste of what could have been, even if just for the weekend. What starts off as an icy homecoming always transforms into the warmest intimacy. The success of this track is aligned with the success of Taylor’s entire career; even with such specific details, it feels so deeply personal to the listener. You know the street you’d drive along late at night laughing, the spot you’d park the car, the person who stars in every what-if. You will never really know if the road not taken is as good as it seems, but that might be ok; sometimes, the fantasy is better than the reality, anyway. Best lyric: “It’s the kind of cold / fogs up windshield glass, but I felt it when I passed you / There’s an ache in you / put there by the ache in me.”

5. tolerate it Inspired by the novel Rebecca by Daphne du Maurier, “tolerate it” is an agonizing track from the perspective of a devoted wife who polishes plates and paints portraits and waits by the door for her husband with a battle hero’s welcome, who at best tolerates all her adoration. There are few things as painful as idolization being met with indifference, when you have all this love to give to someone who just leaves it there untouched. “tolerate it” captures that desperation for the approval you know will never arrive, but you sit and watch, waiting for it just in case you’re wrong, but you know you’re not. Best lyric: “I made you my temple, my mural, my sky / now I’m begging for footnotes in the story of your life / drawing hearts in the byline”

6. no body, no crime feat. HAIM “no body, no crime,” the one evermore song solo-written by Taylor, has the clearest plot from beginning to end. In the same vein as the female powerhouse country classic “Goodbye Earl” by The Chicks, Taylor is out for blood to avenge her friend, Este (named for one of the HAIM sisters). The story goes as such: Este’s husband kills her for calling him out on his infidelity, and then Taylor kills the husband and frames his mistress. The HAIM girls, who are long-time friends of Taylor’s and former touring mates, lend their vocals to reinforce the accusation on the husband and to provide Taylor’s alibi. “no body, no crime” is so far the closest we’ve gotten to a return to “country Taylor,” proving that she is still the master of a killer country tune (yes, pun intended, it had to be done I’m sorry). Best lyric: “Good thing Este’s sister’s gonna swear she was with me / (she was with me, dude) / Good thing his mistress took out a big life insurance policy”

7. happiness Written a week before the album’s release, “happiness” is one of Swift’s strongest and most reflective breakup songs. Although she writes it as though it is recent, there’s a lot of power in knowing that she’s been happily in love for four years, and that she is even better now at doing the thing that has always been best at. She is finally “above the trees,” as she sings, and is able to see it all for what it is, but her character is still in the heat of it all, trying to navigate the stages of grief when a relationship ends. We see the narrator grapple with many of those stages throughout the song. Most striking is the anger displayed in the second verse when she sings: “I hope she’ll be a beautiful fool who takes my spot next to you / No, I didn’t mean that, / sorry, I can’t see facts through all of my fury.” That section is jarring and feels like one of the most honest moments in a Taylor song, the insanely difficult emotional balancing act when we are grieving a relationship. The devastation of loss can distort our perception, and a part of that is the difficulty of understanding how multiple seemingly opposing things can co-exist in our hearts, such as happiness because of someone and happiness after them. But when you leave it all behind and finally find your place above the trees, you can find happiness after someone and also look back and appreciate the happiness they once provided. Both of these things can be true. Best lyric: “Showed you all of my hiding spots / I was dancing when the music stopped.”

8. dorothea Taylor Swift has the uncanny ability to create such developed and well-rounded characters with such little information, which is what makes her storytelling so compelling. In “dorothea,” we learn much about the title character through the narrator’s eyes, and the relationship they once had. The lyric “skipping the prom just to piss off your mom and her pageant schemes” alone tells an entire story in itself. “dorothea” is also the companion song to “’tis the damn season,” just from the other person’s perspective, which helps shine even more light on the story. The narrator of “dorothea” reveres her but wonders if she’s still the same soul in L.A. as she was back in their never-changing town. Whatever the answer, they’re still willing to support her no matter where she is, but she’s always welcome back in Tupelo by her hometown love’s side if she ever just wants to be herself rather than someone known for who they know. Besides, they’re the only soul who can tell which smiles she’s faking. And you can always return to the road not taken. Best lyric: “They all wanna be ya / but are you still the same soul I met under the bleachers? / Well, I guess I’ll never know / and you’ll go on with the show.”

9. coney island feat. The National What really started the folklore / evermore journey was Taylor’s love for The National. Taylor has cited them as one of her favorite bands for many years, and as we know, this led to her beautiful new collaborative relationship with Aaron Dessner. So it would make sense for the track written with the intention of this duet to be so well executed; you can feel the love and care Taylor put into writing this song. In her press for these sister albums, she has spoken about trying to channel frontman Matt Berninger’s writing style. But what actually happened was she just produced her own signature lyricism at its sharpest. “We were like the mall before the internet, it was the one place to be / the mischief, the gift-wrapped suburban dreams / sorry for not winning you an arcade ring over and over,” is a hall of famer Swift-ian lyric. “coney island” explores the confusion, hurt, and self-reflection when a passionate affair burns out fast because you did not prioritize that person. And to top it off, Swift and Berninger’s harmonies are achingly beautiful, transporting you right there in the story, on the bench, wondering, over and over. Best lyric: “Do you miss the rogue who coaxed you into paradise and left you there? / Will you forgive my soul when you’re too wise to trust me and too old to care?”

10. ivy Leave it to Taylor Swift to make a song about an affair sound so romantic, and so sympathetic to the narrator, that you’re rooting for adultery. “ivy” tells the tale of a woman in a lifeless marriage, likening her home with him to the tombstone that the widow in town visits each day. I like to think this is the same wife whose husband was out there building other worlds without her in “tolerate it,” because then that means she found someone who celebrates her love, who holds her pain for her, who blooms all over her; they started it, but she’s fighting for it all the way to the end, nonetheless. “ivy” showcases Swift’s gorgeous vocals and her sharp lyrics, with a melody so infectious it is bound to permanently plant its roots in your dreamland. Best lyric: “Oh, I can’t stop you putting roots in my dreamland / my house of stone, your ivy grows, and now I’m covered in you.”

11. cowboy like me With the beautifully blended backing vocals of Marcus Mumford, “cowboy like me” is an entrancing love story of two con artists who lost at their own game and got conned into forever with each other. She’d gone from swindling old men for their money and fancy cars to falling victim to the danger of dancing with someone who only has eyes full of stars, and she knows she’ll pay for it. “cowboy like me” is one of the most romantic tracks on the record, proving that life never plays out quite as we plan. Best lyric: “Now you hang from my lips like the gardens of Babylon / with your boots beneath my bed / Forever is the sweetest con.”

12. long story short One of the more pop-sounding tracks on evermore, “long story short” is pretty much a summary of the long story behind reputation (2017). The song is filled with various metaphors for her reputation crumbling around her, and then finally putting her defenses down to be with her lover, someone as “rare as the glimmer of a comet in the sky.” It is a sweet ode to her boyfriend, and a gentle comfort to her past self that it will all work out. But it is also an oddly relatable example of how we shrug off our struggles and minimize them to just a “bad time,” when the time she is singing about was obviously something that deeply affected her (as will be further explored in the title track); but sometimes it actually feels good to just shrug it off as just a blip in your life, because at the end of the day, you survived, and that’s what counts- even if you’re not keeping score anymore. Best lyric: “Pushed from the precipice / clung to the nearest lips / long story short, it was the wrong guy. / Now I’m all about you.”

13. marjorie Whereas track 13 on folklore was a tribute to Swift’s paternal grandfather, evermore’s track 13 is a tribute to her maternal grandmother, Marjorie Finlay, who was an opera singer in the 50s, and passed away in 2003 when Taylor was 13 years old. “marjorie” is quite possibly the most touching track Taylor has ever written thus far in her career. Grief is one of the most difficult topics to tackle in a song; the genius of “marjorie” is that it is simple, yet not understated. Swift reflects on the profound lessons she learned from her grandmother, about the difficult balances of kindness and cleverness, and politeness and power. She curses herself for not cherishing the moments she had with her, for complaining rather than understanding in the moment how admirable her spirit was, for all the amber skies she’d love but will never see. The chorus, blunt and hard-hitting, reminds us that someone does not have to be living to be alive, to be all around, to be with us. “If I didn’t know better, I’d think you were singing to me now,” Taylor sings towards the end of the song, right before you hear a sample of Finlay’s opera singing in the background, a truly eye-swelling moment. It is clear that Finlay played a pivotal role in Swift’s own ambitions, as she sings, “all your closets of backlogged dreams, and how you left them all to me.” Marjorie knew she was leaving them in good hands. If you haven’t yet, check out the moving lyric video for the song, where you can see photos and video clips of Marjorie, both throughout her career and in her time with Taylor. Best lyric: “Never be so polite you forget your power, / never wield such power you forget to be polite.”

14. closure On the most experimental track musically on the record, Taylor writes off her need for closure from a relationship of some sort, whether it be romantic or platonic or business, all of which can cause hurt of equal intensity. The subject of the song is trying to make nice with Taylor, and she is just not having it, as it is not coming from a genuine place, but rather to ensure that their life remains picture perfect, or to clear their guilty conscience, or to preserve their own ego. This is a deeply relatable sentiment; as valuable as forgiveness can be, sometimes the person who hurt you just doesn’t deserve it, and all you can do is forgive yourself for blocking their number or shredding their letters. Best lyric: “I know I’m just a wrinkle in your new life / staying friends would iron it out so nice.”

15. evermore feat. Bon Iver To close out the standard edition of the album, Taylor joins forces once again with Justin Vernon of Bon Iver, with whom she collaborated on the Grammy-nominated duet, “exile” for folklore. However, Swift leads most of the track this time, lamenting the difficult time she went through in 2016. The piano and Swift’s vocals are haunting, particularly when she describes this time in her life as “catching my death,” consumed by a pain that she feels will never end. If you’ve ever been depressed, you know what that feels like, and the dark places it leads you. Although she is singing about a time four years prior, it sounds so present, and it is heartbreaking to hear her in such a state. When Bon Iver comes in, the tempo of the song picks up, the piano riff becomes more erratic, like a winter storm hitting you in the face, and he voices all the anxieties of the cost of such a downfall. But through those anxieties, Taylor finds not a cure, but an anchor in love, and then the tempo slows back down. By the end of the song, Taylor has the foresight to understand that although it may not feel like it now, the pain she is experiencing is not permanent (a sentiment my therapist has been trying to instill in me for years). In her Apple Music interview with Zane Lowe, Taylor explained how the lyrics parallel the times we are in currently, and so it feels really special to have the album end with someone who knows how it feels to be imprisoned by your pain gently comfort us with the wisdom that “this pain wouldn’t be for evermore.” I hope one day soon, as we leave 2020 far behind, we can all truly believe her. Best lyric: “I was catching my breath / barefoot in the wildest winter catching my death.”

16. right where you left me (bonus track) The first bonus track on evermore, “right where you left me,” captures a moment so earth-crushing, a piece of you is trapped in it forever. In this song specifically, the narrator finds herself stuck in the same corner of a restaurant where she was told by someone she loved that they had met someone else. “Glass shattered on the white cloth, everybody moved on,” she sings in mourning. We have all experienced those moments that we could teleport back to if we just closed our eyes; the scenery, what you wore, the smell and taste of the season, the very point in your body where it felt like your insides were collapsing. Or that one particular person, who is long-gone from your life but seeing them is like time-travelling back to that person you once were, ready to pick up where you left off. But as much as you want to stay in that moment forever, just in case it changes in your favor, the cold reality is that the world stops for no one. Best lyric: “If our love died young, I can’t bear witness / And it’s been so long, but if you ever think you got it wrong / I’m right where you left me.”

17. it’s time to go (bonus track) “right where you left me” was Taylor’s cry for help to get out of restaurant, and “it’s time to go” is the answer to the call, as she sings in the first line, “when the dinner gets cold, and the chatter gets old / you ask for the tab.” This song is about gathering the strength to leave situations and relationships behind that no longer serve you. She grieves the betrayal of someone she thought to be a twin from her dreams (almost definitely referring to former friend, Karlie Kloss), acknowledges that keeping a marriage together for the sake of the kids often actually has the opposite intended effect (possibly- but not certainly- something she and her brother experienced), and recounts attempting to bargain with someone consumed by greed, only able to leave with herself (absolutely referring to the end of her fifteen-year long business relationship with Scott Borchetta, her former record-label owner). But as painful as leaving all of those situations was, Taylor has gained the wisdom to understand that walking away sometimes takes as much strength as persevering. You can’t stay at the restaurant, or at the mercy of someone else forever; you have to forge your own path, even if it’s in the opposite direction of what you envisioned for so long. And even with all her past success behind her, as folklore and evermore have proved, there is so much more ahead of her. Best lyric: “That old familiar body ache, the snaps from the same little breaks in your soul / You know when it’s time to go.”

In a time where we are all trapped in our homes and in our heads, the folklore/evermore experience has been the sweetest escape. If anything, the creation of these wonderful sister records has taught me that our most powerful tool in times of distress is our own imagination. Even just the ability to close my eyes while listening to one of these tracks and feel the character’s story is a gift. The way I’ve always been able to pick up Harry Potter and escape to Hogwarts when I’ve felt alone and friendless, I can listen to folklore and evermore when I feel scared or hopeless and escape into this enchanted forest Taylor has built, where I can climb above the trees and see it all for what it is. I feel so lucky to watch Taylor’s imaginative world unravel around me. I can’t wait to see what she creates next.

DISCLAIMER – REVIEWER’S BIAS: I would literally die for this bitch.  

[unironicduncanstan]

Total Drama Music Camp AU - playlist / performance ideas

here she is,,,, the cursed secret texts,,,,, the total drama music camp playlist , along with some short explanations below, cringe city bitch (most of these are just covers that i feel are the closest to the performance Style id imagine for these characters and not necessarily the exact sound but u feel me) also i went back and tagged my previous posts abt this concept with “td music camp au” so if you dont know what the helling fuck im talking abt plz have a gander xoxo

link: youtube .com/playlist?list=PL-bPcaq3ZK2L682RHPauxrsFIPvGJdsiM (space is there so tumblr hopefully doesnt nerf me from the tag 🥺 )

Some Nights - ok so first weeks challenge. i feel like chris would just want them to all collab together on one huge group performance. kinda like on the first day of school when they make you do the ‘get to know you’ tests. idk exactly who would sing what parts tho bc there are so many so let your imagination run wild !!

Hand crushed by a mallet - ok. OKYAY. im a home of sexual. but this is a Cody, Trent, Tyler, Harold and Izzy song. Cody is on vocals (especially the rap in this version shdofsgjsk), Trent is on guitar and some vocals (does some back and forth with him during the rap), Tyler is on drums (and does that one tiny background screamy bit towards the end), Izzy and Harold are joined up on creating the background track and DJing the whole thing. the distortion/choppy part at the end is izzy LIVE going ape on the audio level sliders. its one of the most energetic performances of the whole series and surprises everyone including the group themselves

Misery Business - Duncan on vocals and guitar, Geoff on drums, Trent also on guitar and maybe some backup vocals. you all know i chose that bc i love associating mgk with duncan but. i rly like this idea actually ;;

Paparazzi - ezekiel. idk who the fuck else except maybe justin bc he’d dance that shit to death. i will not apologize thats Him and its fire but you may write and send any formal complaints to my po box. ill roll a blunt with them,

Pom Pom - Lindsay, Heather, Sadie+Katie, and Izzy. Lindsay and Heather are on vocals, sharing the chorus and each getting a solo verse, and ofc izzy does the weird rap part towards the end, and most of the background track. they all thought they were stuck with izzy but izzy is stuck with these preps. Sadie and Katie are on backup vocals, but their role in this one is mostly dancing and adding ✨ stage presence. 

Maps - Trent is on the guitar and male vocals while Courtney is on the female vocals (the ~top two performers~ gotta have a song together eventually right), DJ on drums, Bridgette on piano. Heather, Lindsay, Justin, and Leshawna are dancers bc lbr the dance from the video is pretty good for a group number

CREEPER? AW MAN - ok this one. is kind of a joke but wouldnt it be rly hilarious if cody, ezekiel, and harold did this one mostly for fun and the whole second part with the existential breakdown was just. used with on stage satire to make fun of chris for being old or smth. like would they suffer that week, yes, would it be worth it, Y E S, 

Shatter me - Eva, Courtney, Gwen, Beth. QwQ Eva’s on vocals for the first time and rocks it, Courtney is on violin, Gwen on drums, and Beth uses her instruments to make a background track before the performance so she can do stage tech/DJ stuff. oh also justin should be on this one bc i want. those costumes from t he vi deo, 

Chop suey - Lindsay and Courtney on vocals (LMAOSJFkSF listen. we love contrast queens that stun the crowd), Duncan on guitar, Eva on drums (and a lot of background screaming to help the Vibe Tee Em)

Unwritten - Leshawna and Trent? ik its a weird combo but i think they’d kill this

Shake it - GEOFF LMFAOGHJKgjfdG

White Winter Hymnal - Lindsay as Kirstie, Noah probably as Avi even tho we all know he can’t sing that fuckgin low. and idk my other 3 bros as Cody, Tyler and Ezekiel. truly iconique group

Forget me too - QWQ DUNCAN AND COURTNEY ,,,,,,,,,,,, i dont apoloigze for the second mgk = duncan pick, anyways duncans also on guitar, gwen on drums (there is no love triangle in this au btw. the only reason theyre singing this song is bc of the regular ~tension~ that u see in like tdi but its just for the stage mostly. as soon as the songs over they would hug and cheer abt it)

Simple and Clean - Bridgette on singing, Gwen on piano, DJ on drums, Beth on general stage stuff + creates the backtrack with Bridgette's harmonies overlayed

Mr. Brightside - OWEN ON THE BRASS YES BBY ITS HIS TIME 2 FUCKIENG SHINE, Geoff on drums, Gwen begrudgingly on piano, Noah is on vocals and they have to literally bribe him with everything they HAVE to get him to try and sing this way. and he does it and it aint too shabby but he will never do it again

Domino - Leshawna on vocals (again these choices are all, based on general vibe and style and not necessarily voice, this is a tiny white girl singing,), Tyler on drums, Duncan on guitar. energy to the max babey the speakers are gonna blow the fuck out on this one

Starships - KATIE AND SADIE GET TO BE A MAIN DUO !!! they alternate lines , with courtney on violin, izzy on that synthy backtrack, and justin is involved in this one bc id change just a couple of things abt the music video costumes for these characters but like. [grabby hands] gimme

Bulletproof - ezekiel vibes.....? izzy and harold get to team up again for the backtrack. weird kids only karaoke night

The Wolves And The Ravens - 🥺 a geoff and bridgette songk,,,,, 

Never Enough Praying (Mashup) - Courtney on Praying, Heather on Never Enough, Beth and Izzy end up together on the background stuff and make a rly nice track actually

Gasoline - bitch. you know what im gonna say but duncans on vocals, Tyler on guitar, Geoff on drums, Ezekiels on track

Better not wake the baby - Noah gets to sing a song that actually matches his style a tiny bit better lol, DJ on drums, Trent on guitar, and i feel like beth is the only one with any hope of figuring out the accordion keyboard thing thats in the background

This is Gospel - Gwen on piano and Trent on vocals. really the music video is the most important part for me bc i think a challenge where oyu have to sing a really intense emotional song while chris gets to dump shit down on your head from the ceiling of the stage. sounds perfect,

Wildest Dreams - codys on vocals bc god i am Obsessed with this cover being a bisexuality / coming out song . everybody thinks hes just regular simping and being his usual fuccboi self when he chooses this song till he gets to those Very Intentionally Unchanged Pronouns that he sings a little too enthusiastically hhhshHDSHHHSDH , also DJ on drums and Tyler on guitar

Happier - Bridgette solo ! 

Stay - Courtney on guitar and vocals, Dj and Harold are on the hand drum shit. once again i live for the ‘unlikely group actually works together and rocks it’ stuff. courtney as always has talent and enjoys what she does but harold and dj kind of steal the show with how in sync and energetic they are abt it lmfaodghd

[suckasstakenames]

Craig and Those Guys Week: Day 5 - Sleepover 💤 🎮

The third and final oneshot I wrote for @craigandthoseguys-week !! Craig POV this time!

Thank you for reading!!

----

Token’s residence has always been the favourite hangout, so it was expected that the votes were unanimous when our group decided where to have our highly anticipated boy’s night. My house usually had adult guests over during the evening, Tweek’s parents don’t leave us alone at his place, Clyde wasn’t a very good host, and Jimmy’s parents had completely banned any of his friends from going over because of the aftermath when they went out of town once. Playing fantasy in fourth grade had it’s consequences.

Mr and Mrs Black even decided to take a spa trip so that we’d purposely have the house to ourselves. Risky, but I guess Token is reliable enough to make sure the house is in pristine condition by the time they get back. Even if the rest of us aren’t.

After the four of us shared a car to get there, we were joyfully greeted by Token at his front door and led up to his room. Only it wasn’t Token at the front, it was Clyde, who excitedly (and pretty rudely) barged right in front of us all. We’re all equipped with sleeping bags and rucksacks, each carrying a different assortment of things. Well...besides the essentials.

We collectively decided that I would be in charge of bringing booze to the occasion. My parents were the only ones who didn’t give a shit if I hoarded a large amount of alcohol, so there was no debating it.

Clyde had brought a TON of junk food. He regularly had a pantry stocked with all kinds of goodies (when he wasn’t scoffing it himself) so he just grabbed whatever he could find and stuffed it in a bag.

Tweek was in charge of DVD’s. Being the anxious wreck that he is, we figured it would be best that he picked the film selection so that he didn’t get too disturbed by anything. I did help him out a little, though.

And lastly, Jimmy took it upon himself to come up with any backup plans, incase we got bored with anything. We had no doubts that he would think of some fun shit to do, or bring something that would entertain us. After all, we’d do anything to avoid going to sleep early.

Token had a good amount of food and entertainment himself, but we thought it was only fair to handle our own, since his parents were being so accommodating to us. Plus, he had every video game console thinkable, and a good game selection at that. We were more than prepared.

~

Walking into Token’s oversized bedroom, Clyde drops his backpack on the ground and launches himself onto the kingsized bed starfish style.

“You know you’re not sleeping there right...?” I remind him.

“Unless you’re s-s-spooning with T-Token.” Jimmy jokes from behind me.

Clyde just nuzzles into the bed even further. “I’m sure he’d be happy to have me.”

“Uhhh like fuck I would...” Token retorts, “Your ass is on the floor.”

Clyde turns onto his side and attempts his sexiest pose (which, believe it or not, wasn’t sexy at all). “Don’t be like that baby~”

“Just get over here and unroll your damn sleeping bag” Token says, throwing the sleeping bag directly at Clyde’s head with perfect aim. The impact sends him flying backwards. I thought Clyde was supposed to be the sporty one out of us? He can’t catch if his life depended on it.

Tweek stands next to me, shaking his head and smirking. It definitely isn’t a first for us to witness antics like this; we’re so used to it, it’s unbelievable. I take his rucksack off him and put in down next to mine.

“Here, I’ll take care of your bed.”

“Ngh! Craig, I’m fine doing it myself, really!”

I ignored him and started to set it up anyway. But the little shit went over and grabbed mine instead. Tweek can be a stubborn fuck sometimes, but it wasn’t all that much of a bad thing.

We’d all laid out our sleeping bags in a line (in front of the television, of course) as the sun was just about to set outside. Mine was on the far left, with Tweek next to me, Clyde next to him and Jimmy on the right. We changed into our pyjamas and nestled into our sleeping bags, Token sitting down right in the middle of us. Damn right were we gonna make this a proper conventional slumber party.

Token switched the TV on and some animal documentary was showing. There was a lioness with some lion cubs and it was telling the story of their survival.

“No way?! You’ve got the Nintendo Switcheroo!” Clyde exclaims out of nowhere, making us all jump out of our skin. He crawls over to the console to investigate. Token looks pissed off as Clyde’s big-ass head was blocking some of the screen, and he seems kind of invested in the lion story.

I sigh. “…you did NOT just call it a fucking Nintendo Switcheroo..."

“Of course he’s got one man! He owns everything!” Tweek jokes.

“Yeah, p-p-pauper.” Jimmy stutters. Token just blows a raspberry in response.

“We need to play Mario Kart. We’re playing Mario Kart. Right now.” Clyde dictates.

I groan and roll my eyes. I thought that game had died many years ago…however…when it WAS a thing, I did kick some serious ass.

Fortunately the game box was staring him right in the face, so he started trying to set it up, taking out the disc and trying to figure out how to switch the console on.

Meanwhile the documentary was getting pretty dramatic, as a group of hyenas were closing in on the mother lion and her kids. She was fighting them off, but then the narrator explains how she left behind one of her babies while doing so. It shows one of the hyenas circling the cub like a shark.

Tweek yells out, turning his head away. “Oh god hurry up Clyde!! It’s gonna eat the cub!!”

“I’m trying!!” Clyde whines, pressing any button BUT the correct one. It was clear he wasn’t a fan of the documentary either by how frantic he was being.

The hyena started closing in on the cub.

“CLYDE!! PLEASE!!” Tweek holds his hands over his ears, trying to completely shut it out. I try and comfort him while looking over at Token as if to say ‘don’t just sit there, help him’. He does exactly that and crawls over, pressing a button on the side with ease. Thankfully, the channel automatically switches over and the game console loads onto the screen. I feel a giant exhalation of relief coming from Tweek, who finally withdraws himself from burying his face in my chest.

~

Eventually the title screen appears with the familiar Mario Kart jingle playing. Jimmy starts to wiggle along to it, which, of course, persuades Clyde to dance too. Tweek and I decided we’d share the controller and take it in turns since there could only be four players at once.

When it came to selecting our characters; Token picked Mario, Jimmy went for Toad, and Clyde settled for the ‘Fly Guy’ (Shy Guy). I let Tweek pick our character and he went for Yoshi.

The first course was selected and it was one of the basic Mario stadium courses. Tweek passed the controller to me and the race began. Clyde and I zoomed off ahead, Token went at a normal start, and Jimmy pressed the button too early and caused his kart to blow up.

“Fuck…f-f-f…f-fuck a duck.” Jimmy curses.

I end up taking the lead by quite a bit, Clyde chasing me in second. He’s super competitive; the kinda guy who leans in the same direction as he steers. He was constantly targeting me; sending red and blue shells in my direction at any chance he could. Typical.

The race ends with me in 1st, Clyde in 2nd, Token in 5th and Jimmy in 8th.

“Loser chugs his beer!!” Clyde makes a terrible suggestion. Jimmy rolls with it anyway, grabbing a can of beer and impressively chugging while Clyde and Token count from 10 down to zero. Jimmy can be a real dark horse. Well…maybe not when it comes to Mario Kart though.

Race number 2 is some sort of jack-and-the-beanstalk type level. Tweek takes the wheel this time, and it proved to have been a bad idea. The road has a lot of holes and tight corners without barriers, and Tweek somehow managed to fall off every single one. It even got to the point where the CPU in first place was lapping him.

Of course, he was very vocal about this. “Jesus are you kidding me?! How are you supposed to make that turn?! HOW?!”

Token ended up in 2nd place, Clyde in 4th, Jimmy in 5th, and Tweek…in last place. Before the other guys could even suggest it, I grabbed my can of beer and chugged for ten seconds. They just looked at me dumbfounded, including Tweek. Like hell was I gonna let Tweek chug his beer; I don’t even think he’s opened his can up yet. We’re a team, and I’m the one who’ll be taking the consequences.

The next race came around and it was one of the Bowser castles. Clyde struggled in this level, while Token, Jimmy and I were in the top three. Clyde, after somehow blaming Token for his loss, ended up coming 9th and chugged his beer like there was no tomorrow.

The last stage loaded up…Rainbow Road. Of COURSE Tweek had to get the two difficult courses... I kept my beer in my hand ready to chug again.

The race starts; there goes Clyde. Plummeting into the void below.

Jimmy starts off pretty well but eventually starts to lose his skill when it comes to the tight corners.

Token is a little better than the other two, but he keeps getting hit with items from the CPUs and ends up being knocked back in the placing.

With Clyde in last, Jimmy in 11th and Token in 9th…where does that put Tweek, I hear you ask? Well... Tweek was driving so slowly and cautiously that he managed to dodge the majority of the corners. Then he got a bullet item on the last lap and soared his way right into 2nd place. He even gave an excited little fist pump when he crossed the finish line.

“…...I think that victory alone deserves a chug from all of you.” I insist, slinging my arm around Tweek. He chuckles in response.

After a few groans and eye rolls, the three of them reluctantly chug their beer while Tweek and I counted down from 10.

~

A couple hours later and Jimmy had decided that we were going to play drinking games. How old were we again?

Tweek even agreed to it, intrigued at what kind of secrets were going to be revealed during this.

“Never have I ever…gotten arrested!” Token starts.

Well…we’ve all been in trouble with the police at some point, but actually arrested? Hmm…I’m sure I got caught with something illegal once. I drink anyway.

Jimmy drinks due to causing grievous bodily harm to his ex girlfriend, Nancy.

Clyde drinks due his whole involvement with the Nazi zombies and stealing the green goo from the government.

Tweek doesn’t drink because he’s never actually been arrested. Of course, he’s still been in trouble with the police like the rest of us back in our ‘vigilante’ days.

Next it was Jimmy’s turn. “N-never have I ever been awake for more than t-t-twenty four hours.”

Clyde doesn’t drink. The dude can’t function without at least 8 hours of sleep.

Token takes a sip while telling us about how one time he’d spent all night studying for finals and then worked a 12 hour shift the next day. He makes way too much work for himself sometimes...

Tweek and I both drink. Do I even need to explain Tweek’s reasoning?

“Uhhh…never have I ever…broken somebody's heart.” Tweek takes his turn.

Fuck, another shot for me. I had no regrets when it came to making girls cry when I was younger. He manages to catch the other three out too; Clyde and Token even clink their cans together, sighing disappointedly. We’re a gang of heartbreakers.

Clyde is up next. “Never have I everrrr…..sent a text to the wrong person!”

Nobody else drinks but Jimmy; I figured he would be pretty flippant in that area.

But then I realised something.

“…wait…that is horse shit.”

Clyde looks at me bewildered. I whip out my phone and bring up Clyde’s texts. I can feel Tweek’s chin resting on my shoulder, taking a peek.

“3 weeks ago. Wednesday, July 10th. 9:24pm. ‘hey babe u looked gorgeous on ur recent instagram pic, u got nice legs’.” I look back up at him with a blank expression, Tweek chuckling next to me.

Clyde goes completely silent for a minute, his face flushing bright pink. Jimmy and Token laugh a little too, Jimmy putting his arm over Clyde in sympathy.

“Are you s-sure he doesn’t just think your legs are nice, C-C-Craig?” Jimmy winks at me.

“Jimmy…when have I ever showed my legs on Instagram.” I scoff.

“There’s a first for everything!” Token jests.

~

In the early hours of the morning we find ourselves sprawled across the floor in our sleeping bags, watching All Dogs Go To Heaven - a film that Tweek had chosen. He was resting his head on my lap, and when it neared the end of the movie, I noticed him sniffing. I reached down and wiped away the tiny bit of water that had appeared under his eye. Meanwhile, Clyde had used up an entire tissue box, Token wasn’t even watching the film because he was cleaning up after Clyde, and Jimmy was making fun of every little aspect of the film.

When the movie finished we moved right onto another one; some cheesy comedy that Token had suggested. Mainly because Tyler Perry was in it.

Clyde was asleep within minutes; mouth wide open and snoring like a pig.

It didn’t take long for Jimmy to doze off too, clearly not impressed with the humour.

Token was now in his bed, snickering to himself and eating potato chips. From the angle he was at, he probably didn’t realise that all four of us were completely disinterested in the movie.

Tweek was snuggled into the side of my neck, slowly drifting into dream world. I drew circles on his back with the tip of my fingers, using my other hand to play with a strand of his thin blonde hair. A few years ago this would have never been a thing; there’d only be the four of us, with Tweek hanging out with entirely different cliques. Luckily the guys were quick to accept him into our group once we started dating, and treated him like one of us immediately.

I guess that’s one of the many things I can thank them for.

----

[sandstonesunspear]

Superwoman: An Interview With DEO Director Lucy Lane

Inspired by that article in Women’s Health Magazine with Jenna Dewan that came out this morning. 

Thanks to @nerdsbianhokie for letting me run with Dylan for this.

AO3

XX-XX-2020

A CatCo Exclusive by Kara Danvers

It’s been six months since the Daxamite Invasion and the public appearance of the DEO. In that time, no had been able to get an interview with the DEO Director. At least, that had been the case right up until last week.

First thing’s first: DEO Director Lucy Lane smells amazing. Hints of cinnamon with an underlying base made of jasmine and roses linger in the air as she walks into the room. I find out later that it’s a very exclusive scent. Only one bottle exists, and it was custom made by her 5-year-old son, Dylan, with the help of one of her partners. He also made a second bottle with a different scent and named both of them: Dinosaur Dreams and Fierce T. Rex, the latter of which she’s wearing right today.

Out of all the topics we discuss today, it’s talking about her son that makes Lucy beam. “He’s a great kid,” she says. “He’s one of my biggest motivators for the work that I do, both as the Director of the DEO and as a lawyer.” Dressed in a crisp black polo, black cargo pants tucked into polished black boots, everything about Lucy matches the perfume she’s wearing.

Her fierceness is only amplified by the extensive list of her accomplishments: top of her class at West Point, promoted below the zone twice before the age of 25, a Signal Officer turned JAG after  graduating top of her class from the prestigious Harvard School of Law, and now Director of a semi-clandestine federal agency. It’s only a fraction of Lucy Lane’s incredible pedigree. All of it is worthy of awe. Of course, express that to her and the woman who served two tours in Afghanistan blushes and waves compliments away. “I’m just a soldier,” she insists. A soldier who became well-renowned within the legal community, both civilian and military, for her prosecution of the Hector Alvarez, a former Army Captain who was, at one point, the top lieutenant of the Reynosa Cartel. Thanks to Lucy’s efforts, Alvarez is now serving multiple life sentences at Fort Leavenworth for a litany of charges that include felony drug possession with the intent to distribute and murder.

Extensive pedigree aside, Lucy herself was never a stranger to the life and burdens of being a soldier. The daughter of General Sam Lane, a man who has gained a great deal of infamy in recent years for his vocal and vehement anti-alien rhetoric, Lucy was ingrained with a sense of duty long before she ever assumed the position of DEO Director. That sense of duty has kept her humble and it shows, both in how quick she is to dismiss compliments and in her actions.

Halfway through our interview, an alarm goes off. An agent bursts in moments after to inform Lucy of an alien attack by the docks. She’s out of the office and in the command center seconds later, barking out orders and demanding visuals. When it becomes apparent that the squad at the docks needs backup, Lucy doesn’t hesitate to suit up and enter the fray herself. When she returns an hour later, it’s with all of her agents by her side. I stand against the wall as Lucy makes her way to medbay, checking on the wounded and waving away medical help for herself until all of her people have been taken care of.

“Sorry,” Lucy apologises as she settles back into her plush leather seat in her office. By now, her arm is in a sling and there’s a bandage on her forehead. On anyone else, it would be a sight for concern, but the warm grin sitting firmly on her lips ultimately puts me at ease. She’s happy to inform me that all of her people made it back in one piece. I assure her that it’s fine just as her phone chimes. It’s Dylan’s father, James Olsen, Editor-in-Chief of Catco Magazine and Lucy’s ex-boyfriend. They share custody of Dylan.  

When I ask if there’s any tension with that arrangement, Lucy just laughs. She fires off a quick text to James, letting him know that she’s fine and that she’ll be there tonight to pick Dylan up, before providing me with a more concrete response. “There’s no tension at all,” she assures me. “James and I live pretty close to each other, so even on the days where one of us doesn’t have custody of Dylan, chances are that we’ll still get to see him.”

“Do you think you and James would ever get married to take the custody arrangement out of the equation?” It’s a question that’s been floating around National City ever since news of Dylan’s parentage broke. To my surprise, Lucy shakes her head. “Nope. Jimmy’s a great guy, I wouldn’t have dated him if he hadn’t been, but he and I wanted different things,” she tells me. “We both love Dylan, but James and I being together isn’t what’s best for him. Besides, James’s been eyeing a lucky lady lately.” She gives me a wink, like she knows more than she’s going to let on. “And I have my partners.”

Partners. Plural, as in more than one. Rumours that Lucy was in a relationship with two women had been going around ever since she was seen attending various charity galas in the city with two different women.

I ask if she’s concerned with the backlash she might get by revealing that she’s in a polyamorous relationship. Being the daughter of a prominent military official and being a prominent lawyer herself, Lucy’s familiar with having public scrutiny aimed at her. But she’s not concerned. “I’m in a healthy, committed relationship,” she tells me. “I just happen to be in one with two women.”

Lucy tells me a little about the women she’s involved with. “They’re both incredibly smart and know their way around firearms. And they’re great with Dylan. He loves the both of them as well.” As to who exactly her partners are, she remains tight lipped. “A lawyer doesn’t kiss and tell,” she says, her grin turning cheeky.

It’s hard to believe that a woman of Lucy’s position and history could be so human, but that humanity is something she strives to exemplify for her son. “I don’t want my son to look at me and think that he has to be cruel or hard to get by in the world.” She wants Dylan to understand that kindness and warmth and being human aren’t weakness, they’re strengths. “I want him to see me and Jimmy and my partners and be like, ‘There’s nothing wrong with helping another person or with being kind.’” It’s a surprising admission, given her line of work, but it’s certainly not unwelcome. If anything, it makes her seem even more human. “Of course, you’ve got people who have very different opinions but,” She gives a casual shrug as best she can with one arm in a sling. “They’re not raising my son.”

I realise towards the end of our interview that neither of us has mentioned the elephant in the room: her last name. The nameplate on her desk is a stark reminder. DIRECTOR LUCY A. LANE. Lucy notices where my eyes are at. Her smile turns sardonic. She assures me that she received her job entirely based on merit and that she wholeheartedly does not support her father’s views. It sounds so rote, like she’s had to say it a thousand times, it makes my heart break for her.

It’s obvious that even with the power her last name carries, Lucy is very much a self-made woman. “I’ve fought tooth and nail to get where I am,” she says. The law degree on prominent display makes that much clear. “I’ve had to fight even harder to get seen as my own person and not as ‘General Lane’s daughter’ or ‘Lois’s little sister.’ I might’ve joined the army for my father, but I stayed for myself and I’ve done over the years has been to make a difference through my own effort.” I’m reminded of something that Lucy said earlier in the day, about why she decided to pursue law instead of staying in the Signal Corps. “Lois writes about the world’s problems and our father adds to the world’s problems, so I decided I wanted to fix the world’s problems,” she said, glancing out the window and towards the city her agency was tasked with protecting.

We end the day much like we started it: with Lucy gearing up for another confrontation, only this time it’s not a physical one, it’s a socio-political one. In two weeks time, Lucy will be on Capitol Hill testifying to the Senate on behalf of the aliens who fought alongside the DEO and NCPD during the Daximite Invasion six months ago. It’s stunning move for the head of an organisation that hadn’t been on friendly terms with the alien community. But in a way, given the kind of woman Lucy is, it makes sense. “I believe that everyone has the right to due process and justice regardless of species or homeplanet,” Lucy tells me as we wind down. Having gotten to know Lucy as well as I have over the course of a day, I can tell that it’s an earnest statement.

I ask if she’s worried about the upcoming Senate hearing. Lucy flashes me a smile. “Not at all. If anything, the Senate panel’s scared of me. I’m a powerful bisexual woman with a biracial son and two girlfriends, after all.” Her confidence and cheek is infectious and I find myself smiling right alongside her. Lucy Lane wears many hats: soldier, lawyer, leader, mother. But those hats only tell part of her story. The whole, overarching story behind Lucy can be summed up as thus: she’s an amazing woman. Simple as that.

[laellaescribe]

That Lying Bitch - A Review

At first glance, you might assume that a band named That Lying Bitch is made up of pretty mean dudes (or some really self-aware ladies). The truth is, TLB is made up of 4 talented, kind, and honest-as-hell gentlemen from Chicago, IL.

Previously only having released 4 singles, an album of 10 cohesive songs has been long awaited by fans. And that time has come.

The self-titled album takes the listener through all 7 stages of a breakup (though maybe not exactly in order). As cited here, TLB was formed after lead singer Darren Vorel’s not-so-pretty breakup, and the songs show it.

We open with a song about fun, which is a genius move. The video for ‘I’ve Been Doing Fun Shit Without You’ (here) is free spirited, and exactly what everyone aspires to feel like after a breakup. Vorel sings about all the great things he’s doing without this girl who’s done him wrong.

He does let a bit of transparency leak through in the second verse: “She’s not the one/she’s a runner up/’cause you threw my fuckin’ love away,” but quickly recovers with the line, “But I’m no longer alone.” It’s a theme that recurs throughout the album: Well, maybe I don’t have you anymore, but I’m definitely doing better than you are.

“Girls are comin’ over/And I’m crying on their shoulders,” Vorel admits in another moment of transparency in ‘Fun Shit’, presumably telling his ex that he’s sad, sure, but that’s not stopping him; nothing is.

‘How Am I Supposed to Hate You When I Love You’, shortened often to ‘Hate/Love’ on TLB’s set lists, might be one of the most relatable songs on this album for those of us who have had our hearts broken in any situation. While some of TLB’s music feels very specific to Vorel’s breakup, Hate/Love is something we can all understand: You did me wrong, you’re wrong for me, but I want you back anyway. 

The sound in these first two songs is similar, and I’d venture to guess that Vorel wrote them closely together, and shortly after the breakup. They were the first two videos released on the band’s YouTube channel as well. They are loud, fast, and downright hard. 

The vibes of both ‘Fun Shit’ and ‘Hate/Love’ are angry, vengeful, a little bit sad, and just what you want to listen to when you’re pissed off, driving around, thinking about that person who not only broke your heart, but also stomped on it and maybe caught it on fire a few times.

Where the first two tracks are loud and angry, ‘Cum Get Yr Shit’ is honestly kind of a bop in comparison. The feeling of not being able to let go because “You’re everywhere I look/you’re everything I see” is so brutally transparent. At first listen, I thought, “Why didn’t he just mail it all back to her?”

But it’s more than that. There’s so much - beyond just the “book on fashion” and the “hairties and panties,” there’s the feeling that if she wants her shit back, then she needs to come get it and, honestly, face what she’s left behind. It would be so easy to get rid of it - mail it, burn it, donate it, whatever - but if she comes to get her own stuff, maybe she’ll come back. Or maybe she’ll still leave, but she’ll feel a little worse about it.

Come get your shit - and face what you’ve done at the same time.

“You’ve Been Telling Lies to My Best Friend’s Girlfriend” takes us back to the anger, and the heavy sound. And honestly, this song is a shock at this point in the album. Where before this, we’re led to believe that this girl who has left, has done so without a second thought, now suddenly she’s still involved. 

And she’s really pissed Vorel off, it seems, by running in the same circles, which is just plain not cool - if you do wrong, then you don’t get to keep the friends I introduced you to. And you definitely don’t get to talk to them about me. 

Besides, as the song goes, “I’d rather hear that shit from you.”

Full transparency here, I have a special fondness for the next song on the album, ‘Drinks On Me’. Those of you who have read previous blog posts know that I once took a road trip from my hometown in Southeastern Pennsylvania to the suburbs of Chicago to see TLB perform and film a video. Though the video hasn’t been released (ahem), this is the song in question. So, I’ve got a lot of totally not objective love for this jam.

‘Drinks’ is the night at the bar with all your friends where you literally just want to drink and forget. And you know it’s not gonna be any better tomorrow, you know it’s not gonna hurt any less tomorrow, but tonight you can dull the pain. How? “About a thousand shots” - or, if we’re being true to the TLB brand, a whole lot of Old Style. 

“I never knew it was so easy to break my heart,” gives the same sense of sadness we see throughout the album: How could she do this? I don’t understand. But, for tonight, the rest of the song tells us, it’s okay, because we’re just gonna get wasted.

The next track, right smack dab in the middle of the album, has a very simple message: “I miss the shit out of you.”

Both the title and essentially the only line of the song, it feels like Vorel is back in his ‘Hate/Love’ mindset: angry at himself and at the girl, and not sure who’s more to blame at this point. We all want our feelings to sort themselves out after a breakup, particularly a traumatic and dramatic one, but sometimes all you can do is just admit that you have no idea what the next step is.

And, honestly, that’s okay.

‘We Are Getting Back Together in 2000 Never’ and ‘Coverband’ come as a matched pair for me. The sound is similar, the message is similar. The most recent additions to the final lineup for the album, they show a ton of growth in attitude, and honestly in songwriting. I love this whole album - there I go, not being objective again - but these two songs are far and away the best, the most truthful, and the most creative.

‘2000 Never’ features the bop sound of ‘Yr Shit’ but with a much larger sense of closure. “Cause I’ll be somewhere movin’ on/Drivin’ with my music on/You’ll be just some girl I left behind me” is probably the most iconic line of the album. Maybe we haven’t totally left this girl behind just yet, but the future is clear, and she’s not in it.

Bassist Dave Tirio (rhythm guitar + backup vocals for the Plain White T’s) offers us some deep, rough backup vocals for this song that provide an incredible contrast to Vorel’s smooth, high singing. Tirio’s voice finds its home here on the the song you’re most likely to dance to, and the grittiness works so well against the rest of the happy beat of the song.

‘Coverband,’ as a whole, is quite possibly the most brutal song of this album. If someone wrote this song about me, I’d never want anyone to know it. It’s harsh, it’s angry, and it’s almost calm in its revenge. ‘Coverband’ is that person who never yells, but instead just stares you down and lets you know how angry they are while keeping their tone completely even. And maybe cocks an eyebrow at how absolutely stupid you are.

“You left a headliner for a coverband,” Vorel sings. Here, the theme of, “I may not have you anymore, but I’m doing better than you” morphs into, “Oh, and I was always better, and you’re kind of a fool for tossing it out the window, so good luck with that.”

From the title ‘I Can’t Wait Till You Get Dead,’ you’ll think I misspoke when I called ‘Coverband’ the most brutal song of the album. But ‘Get Dead’ is pure hatred and anger in comparison to ‘Coverband’s quiet acceptance. 

‘Get Dead’ is the moment you found out that she lied about cheating on you. It’s yelling and screaming and dishes thrown at walls. It’s fighting where the rest of the album has been leading up to being done fighting. This sudden turn of events is shocking to the system at first listen, but it fits quite well in its place here at the tail end of the album. It’s the culmination of all these other feelings, these other songs of anger, of sadness, of hatred, of regret.

‘Get Dead’ is the moment when you aren’t struggling to hate her anymore, when you don’t miss the shit out of her anymore, when you just want her to go the fuck away. 

Which is why the album has to end quietly.

‘Totally Fucked for You’ is the only acoustic song on TLB’s self-titled record, featuring only handclaps and a guitar to go along with Vorel’s quiet crooning.

Placing this song after the anger of ‘Get Dead’, after the acceptance of ‘Coverband’ is a bold choice, since it seems like a few steps backwards in the breakup grieving process. 

But the beautiful thing about an album is that it plays again. (Or, in my case, again and again and again). So where ‘Totally Fucked’ may seem like an unhappy ending, it’s really just another step in the cycle. And at some point, the cycle has to end, right? So while right now, we’re totally fucked for this person who stomped on our hearts and set them on fire, at some point, we’ll just go back to doing fun shit without them.

That Lying Bitch will be appearing at Slidebar Rock N Roll Kitchen in Los Angeles, CA for a free show on Wednesday October 18th. Details here.

[wildlydopecomputer-blog]

Shower As well as Physical body Performs Xmas Product Release.

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