tiny_voices: 13 avatars from The Palace arranged in a roughly square shape (palace avatars)
“Collin? Buddy, are you there? Man, I could really use your advice right now.”

Today was fucking awful, had been since the moment Doug woke up this morning, but he had been thrown one single, solitary bone in the form of his roommate being out. Doug could do and say whatever, unobserved.

“Collin?”

He was desperate, but not quite panicking. Desperation, tragically, made him feel more confident in this. This could take a little bit of a time; Collin was hard to get a hold of sometimes.

Minutes passed. Nothing. Doug’s hands shook as he wiped his sweaty palms onto the denim of his jeans. “Collin, please,” he tried again.

His roommate’s clock tick-tocked incessantly on his desk. Doug sat down and reached for the half-empty bottle of water on his own desk and took a pull to ease his drying throat. Halfway through this, Collin picked up. A healthy, startled mouthful of water erupted back out of Doug’s throat, and he spent a moment sputtering and coughing all of it into his lap.

“H-hey, man, fuck, you spooked me. You’re too good at that.” Doug paused to cough a bit more, wiping his mouth on the back of his hand. “Good to hear from you. It’s— I know it’s been a while, I’m sorry. It’s been a fucking rough couple weeks, you know that. Sorry.”

Collin went on, and Doug listened. With Collin on the line, he felt a little better. Emotionally. Physically he was still fucked, but that mattered less. “Yeah, I really appreciate it. Listen, listen, I need to know something. I’m hoping you can find out.” Doug cleared his throat, suddenly nervous. “Collin, um… is Yena cheating on me?”

The subsequent pause wasn’t long. It wasn’t even 30 tick-tocks on that damn clock. But all the same, Doug’s heart was racing. He clacked his teeth together, and he hated that he did that. Collin hadn’t liked it when he did it when they were kids, but he couldn’t help it right now. When Doug swallowed a swig of water it felt like dull needles in his throat, and his skin felt like it didn’t fit his body properly.

“...She is.”

Doug rose from his chair in increments. First his left foot pressing against the floor, then his right. He leaned forward and shifted his weight as though he were in a film that was missing every third frame. At least he didn’t puke this time.

“Yena’s cheating on me.” Only four words, but how expensive they were. “I knew it. That’s the sick thing about it, Collin. I knew something was wrong, and I think I knew what it was, but I just had to be sure. I just… needed to hear it from you. Gods.”

He ran a hand through his hair. It was greasy and made his palm tingle strangely, as though he had pinched his ulnar nerve.

“Fuck! Fuck, man. I can’t believe she’d— wait. No, stop— the rest of you, don’t, please—”

Doug grabbed at his head— more tingles— before covering his ears. This was fruitless, of course, but he hadn’t ever figured out how to fight the instinct in times like this. He regretted standing now but didn’t trust himself to move back down to the chair.

“There’s too many of you, it’s too loud. Please stop. Collin, can you— can you make them go away? It’s not personal, you guys, it’s not, but— so loud… Don’t say that. Shut up!”

Doug staggered to his bed, hurting his shins as he bumped them into the wooden frame and fell forward. He burned from the inside out. “I know I should’ve been better, but that doesn’t mean— I could have been, but she didn’t— No, I’m not trying to make excuses— listen to me, just bring Collin back, he’ll get it, he can explain—”

He whipped onto his back, catching rug burn on his arm for it, and stared unseeing at the underside of his roommate’s bed. “Shut up! This isn’t my fault, she’s the one that cheated! Please stop, please stop screaming.”

Tears trickled down Doug’s face. One track even made it to his ear. Doug wrapped his arms around his torso, feeling too tight in his bones and yet loose enough to make him worry he would detach from himself at any moment. That scared him more than anything. He knew where he would go if that happened.

“Okay, okay, maybe I was kind of pathetic,” he managed after writhing on the bed for a few minutes. The noise was incessant. “Yena— she deserves more than me. I get it, I know. I’m sorry. Collin, if you had been here, man, you would’ve known what to do. You were always better with girls than me.”

His throat clicked when he swallowed. He dared to reach up and press a finger to his pulse. It was a rabbit’s BPM. He almost laughed at it. They wanted what he had so badly. It was sad, really, since they had had it before. They ought to have known it was a little overrated. They ought to have known better, seeing him as he was now, and every other day of his fucking life.

Doug’s voice came in a hoarse whisper, “is she happier with him?”

The answer was immediate. It hit him like a sucker punch. Doug flinched into sitting upright, blood seeping from his nose. He coughed around it as he scrambled for the box of tissues on his desk. He sputtered and cried into a fist full of tissues for a while. The sole relief was that his head was quiet now; the voices had flowed into silence along with the blood.

Once he had steadied himself somewhat, Doug slinked off to the bathroom and washed his face. He watched the last traces of blood run down the drain before glancing up at the mirror. His own reflection was thoroughly regrettable, but Collin hovered just behind his shoulder. Concern sat heavy on his brow, which was shaded by the bill of his old baseball cap. He wordlessly, heavily, patted Doug’s shoulder. Doug recoiled from it, just slightly.

And to an empty and silent room, Doug murmured, “thanks, buddy.”
tiny_voices: nate barcalow from the band Finch, tinted blue (august)
it's funny how i'm sitting here, just across the room from you, feeling like you're an ocean away from me. or more accurately, that i'm an ocean away from you. it's funny how it always comes down to me, or it seems to, at least. i think of the way promises sit on your lips, perched on your teeth. i think of the way your eyes only meet mine for fleeting moments. what do you see when you look at me? do you see the same promises, or are they already broken before they leave my throat? maybe it's more likely you see nothing. that wouldn't surprise me, that you look at me and think nothing in particular. a neutral entity. just some guy. some guy in some band in some city, who cares. that stings like a fucking wasp but it wouldn't surprise me at all.

sound check is still ringing in my ears. i'm nervous. that's not new, i'm used to getting nervous before each show, but somehow this one feels different. i guess it's because you're going to be in the crowd. i won't know what to do if i see you out there, under the darkness and the lights and the screaming and sweating, unaffected and not caring. you're good at that. too good at it. i have to let it push me forward, to make me scream harder (haha) or else i'll stumble and panic and disappoint everyone.

i was gonna write something about the double edged sword of being the center of attention but i'm gonna try to have some dignity. gods. get a grip.

niko keeps saying this weird thing about VHS tapes. jesse's pissed at him for it but he keeps laughing so he's not actually mad. liz said she's gonna stop smoking again. for reals this time. i hope she can. mat joked about slapping the cigs out of her hands but liz said he should and she wasn't joking. they keep trying to cheer me up and it works sometimes. between shows (and trashing truck stops, ha) we've been watching a lot of Cricket Cabin. funny, comforting in a quiet-evening-grandma's-blanket sort of way. "ah, woe is me, tortured artist, i'm always climbing myself into trees and tossin' rocks at myself. wait, that's good, i gotta write that one down. the fellas at the Ol' Saddle will love that one..."

anyway, if you're in Crowdshade tonight and you want to get sweaty, come see us. treehaus, 8 pm.

-dammmmm gus

[posted by dam_gus on Saturday, Hellex 26th, 1003 @ 4:34 PM]
tiny_voices: charlie brown at a record player saying "say, that's a pretty good song..." (album reviews)
Sometime around October of last year I finally listened to the entire album What It Is to Burn by Finch after really enjoying a couple of its tracks for a long time. I ended up playing that album a lot, really digging into it. So then I did a similar thing with their following album, Say Hello to Sunshine, released in 2005. I think I didn't jump right into this follow up until yesterday because the tracks I had enjoyed didn't hit quite the same as the previous album; they were a little different, a little farther from the usual vibe of things I listen to over and over. A bit of a departure, one might say. It's easier to listen to the thing you already love than try to get into the newer, slightly different thing that you might not like as much. Worst case scenario is that you're disappointed, let down.

But then, there's always the chance that the newer, slightly different thing is actually good: a new flavor of good, a new thing to chomp chomp on. Life is good sometimes, because this was the case with Say Hello to Sunshine.

[click to read the rest]

This was a fun new (to me) album week because I indulged in my emo bullshit. With the other albums I've reviewed here before, I haven't gone back and listened through them again aside from a couple of tracks, whereas with this one, I've already played through most of the songs multiple times and I fully expect to continue doing so. It's exciting to listen to an album and realize rather quickly that it's going to enter frequent rotation-- especially since I already really dug Finch's first album. It's a "holy shit, two cakes!" moment. Even when the songs didn't check the "banger" box on first impression, I could tell that they just needed time to cook. I would warm up to them, it would just take a few listens. I think that's kind of rare.

Throughout my initial listen, I was comparing and contrasting this album to the previous because I had been given the impression that it was a slight change in direction, or more accurately, a development of the band's sound that wasn't as popular. It can be tricky to tell if YouTube commenters' sentiment that this album should've been just as big or even bigger than its predecessor is a sign that it really is that good, or just that they're upset their obscure fave remained obscure. I don't have a comprehensive knowledge of Finch, unlike other bands; I only became aware of their existence within the last year, so I missed out on putting my obsessive teenage enthusiasm into them like I did for Green Day and blink-182 and the like. So, I didn't know if Finch were the kind of band to make two good albums in a row, or if they'd be the kind of band that makes one really good album and then the rest are kinda mid. The latter does happen sometimes. Anyway, my conclusion is that yes, this album is a different flavor, but it's still a good, hearty meal. I've been trying to avoid describing it as "less poppy" than What It Is to Burn, but maybe that's the term for it. It's heavier, for sure. That makes me cringe less to type, so let's go with that.

Perhaps the most clear step forward between albums is in the lyrics. The lyrics on this album go so hard, and I highlighted a lot of them on my first listen. Often they pertain to the body; lots of mention of flesh and blood and sickness, and talk of medicine and dying. There's also the occasional reference to God and the devil, so in combination, the album's lyrics give this creeping, unwell, almost apocalyptic feeling. Not so much in a "the whole world is ending" way, but a "my body is failing, I feel sick, and everything feels grim" way. At one point in my notes I coined the term "hypochondriangst," and at several points I described the lyrics as cunty. Maybe you, dear reader, think it's silly to describe a 2005 post-hardcore album as cunty, but trust me, it is. I know these things. I was forged in emo bullshit.

Not only are many of the lines dropped in this album cunty, so are the vocals. My man Nate Barcalow can fucking sing. And scream. I know virtually no vocal terminology or science, but he's clearly talented, and I don't normally note that when I listen to music. He has the range, and I don't mean the range of notes he can sing (although I don't not mean that either), but he does lots of little things to add a lot to the songs. He belts, he screams, he does these cunty little taper-offs, he does these creepy whispers, and sometimes he just really enunciates words in a way that scratches the brain. The verses on "Ink" are a good example of that. He gets a lot of bang for his buck on this album.

I've read that this album dabbles in some other genres besides emo/post-hardcore, namely math rock. Honestly, I don't really know what math rock is, but what I can say is that the funky time signatures and (comparably) less conventional melodies are what make this album not as easily consumed as the previous. Many of the tracks are not instantly sing-along-able, have slightly unusual rhythms, and even the single "Bitemarks and Bloodstains" doesn't feel as radio-ready as the previous album's singles (compare it to "Letters to You" and the difference is pretty clear). Beyond this factor, though, this album still has a lot of fun instrumental stuff happening it. There are some cool guitar riffs that make me wish they went on for longer. "Fireflies" has this bold bass sound in the intro that I wish were present in other songs as well. Occasionally there are additional little effects that add depth to the music, make it more cinematic, but it's never too far or over-dramatic for the genre(s) we're working with here. Just cool shit. You know? Sometimes the best way to describe something is just "cool."

I won't do a full track-by-track breakdown, but I will list some highlights for each one. I feel the songs deserve their own shout outs. (Shouts out?)

Insomniatic Meat: What a title; the lyrics remind me of nights of anxiety dreams and bad sleep; a HELL YEAH moment with "this is the worst thing you have ever done" lines at the end.

Revelation Song: Fun circular sort of riffing; the vocals creeping up into screams is my shit; breakdown!

Brother Bleed Brother: Love the vocals at the beginning; I'd describe the guitaring here as "dire;" bit of a riff that returns in a later track.

A Piece of Mind: "A pound of flesh or regret, tied to a marionette, loop around my neck." Yeah!; "Cold shades of sanity are bleeding over / I broke apart the disguise, the demons live in the eyes and underneath your breath / a softly spoken death." YEAH!; "This man is using his mind as a weapon / and woe betide the creature who steps into his garden / let's see if I can't get it on me / let's see if I can't him all over my hands." Cunty!!!

Ink: Was already familiar with this one, it's a jam with funky timing and lyrics, plus those creeping whisper-vocals; the lyrics in the second verse remind me of that scene in Bound where the mob guys are cutting that dude's fingers for information.

Fireflies: BASS INTRO; "They say silence is golden / loneliness never shined like this / diseased the leper sits / the leper is me;" cool harmonies in the bridge; cool drum fills between verse and chorus.

Hopeless Host: "Stomach won't digest demons / one wound for every reason why;" this song could also be called "Monster's Religion" which would fuck; slower quieter bridge going into a big and loud screaming ending.

Reduced to Teeth: The title!; cunty yet again; fun little harmonic guitar transition; the bridge emulating Humpty Dumpty of all things; screaming "murder" at the end.

A Man Alone: Tempo picks up before mellowing in the verses; "Cut off all loose ties and bleed for days / who could stand veins with friends like these?" GO OFF; nice long scream; perfect ending.

Miro: This one kinda suggests a cyclical theme, like the cycle of being sick, getting medicine and treatment, focusing back on emotional and social issues, getting sick again, so on; liminal space kinda jam.

Ravenous: LET'S GO; beancore jam that was my favorite basically immediately; perfect delivery to the verses; "Fire and brimstone / remove the back bone / say hello to sunshine / wake up, you're baptized;" screaming about man's greed; "Something to believe in is something to be."

Bitemarks and Bloodstains: Most immediately sing-along-able song on the album probably, with one of the best choruses; guitars working vibes; "Maladjusted, you must trust me, darling / subsequentially you see that you deserve more than me;" shout-along-able bridge.

The Casket of Roderic Usher: Speedy and lots of screaming; flesh and burial and contagious corpses; almost doesn't sound like the same band as the rest of the album.

Dreams of Psilocybin: Unsettling intro with reversed(?) choppy vocals; "Satire's no match for a matter of fact / that's blasphemy!" Muffled whispers about spooky shit; Satan and/or grim reaper vibes.

So yeah, really cool album. I look forward to listening to it too much for the next week or so. Makes me want to listen to the band's other album too. Long live emo bastards.
tiny_voices: charlie brown at a record player saying "say, that's a pretty good song..." (album reviews)
One day a few weeks ago I hit play on some album, probably Nevermind by Nirvana, and eventually laid down and allowed Spotify to keep playing whatever it thought I might like once the album was over. I ended up loafing for a good while and so, many different songs played, and two of them stood out to me enough that I added them to my Likes and replayed them many times over the next few days. Those songs were by the band Muse, both from the 2003 album Absolution. So, in conjunction with my new year's resolution to listen to a new album every week, I decided to start there. And why not try and review some of them too?

Might spend a few entries feeling around for the format I want to use for this sort of thing (also what I'm going to call them...). With this album I followed a track-by-track format that I used back in the day when a friend and I would exchange album reviews. This practice usually involved a lot of hollering about Cher, but more to the point I went through each song in album order, chronologically typing out my reactions to the songs as I listened. I did all my rambling (and some hollering) in a Notepad file, and here I'll be tuning up these notes (no pun intended) as I go, for a cleaner and more intellectual read-through. I chose not to give a score to any of these songs because, for one, I'm awfully wishy-washy about that sort of thing, and secondly, I don't think we'll be missing much in the absence of numbers.

I haven't listened to much Muse before today; the extent of my knowledge of the band was a song or two I'd heard were good from a friend, and that they had a song called "Stockholm Syndrome" which is also the name of a song by blink-182 (which I'm very familiar with. And hey, that song also came out in 2003!). Therefore I didn't have many expectations or preconceptions going into this album, but I figured I'd like it, judging from the two tracks I'd heard from it earlier.

Getting into the track-by-track... (click to read)

...excluding Intro, because there's really nothing to say about it.

Apocalypse Please: I wasn't super impressed by this opener, but it does a good job of setting the tone for the album: it's cinematic and feels grand, as though communicating something of import or musing (ha) on a momentous occasion. Movie soundtrack shit. The title is cool and the song reminded me of Queen, which I find hard to believe is a bad thing. The song is very piano-forward where I had figured there would be more guitar, and it seems to build to something but that something wasn't quite as big as I had hoped. But, not bad.

Time is Running Out: This song is more of a hit for me. It starts immediately with a bass groove that I imagine hits different pumping through loud car speakers. The first verse has a cool "walking in the rain" vibe (as in, if you were listening to it while walking in the rain, you would feel cool), which then ramps up in chunkiness and goodness in the post-chorus. At that point the sound of the snare drum really pops (good way to win me over: good sounding snare drums). The second verse is more of a slutty animatic kind of vibe (as in, if you had a character or pairing in mind while you were listening to it, the resulting animatic you would imagine would be slutty). The bridge features a neat little piano bit and the last couple of choruses have a nice drum groove, so the track is capped off pretty well. For my tastes this one could've also gone a little harder, but it's still pretty good.

Sing for Absolution: The song starts with a light intro that's backed up nicely with present drums. Generally this track is slow and dreamy, which encouraged my wind-up car brain to wander. Something about the nearly haunting quality communicates "vampires" to me. This lead to my idea that this album could follow some kind of storyline about a human/vampire pair exchanging these songs in the midst of the apocalypse or something in that vein. The guitar does some evil plotting in the bridge and carries on stylishly in the background of the final chorus. "Our wrongs remain unrectified / and our souls won't be exhumed." Vampires, see?

Stockholm Syndrome: This was one of the two songs from this album I heard ahead of the rest. It slaps. The intro is very replayable. It has this really cool blend of chunky, heavy instrumentation and airy vocals with this kind of delicate, angelic sort of atmosphere. It's a combination that never feels awkward or forced here; these guys nailed that. The bridge and outro of this song are badass. This is the kind of song your friend's wrestler OC hits the ring to. "And we'll love and we'll hate and we'll die / all to no avail."

Falling Away with You: Bit of a transition from the jams of the previous track into this one's sad sentimental instrumental opening: "I'll love whatever you'll become." Eventually the song wakes up a bit and says good morning to a capital B Bassline with some nice high notes. Lots of interesting bits of instrumentation, notably some "weird bass shit" as I called it on first listen, in the second verse. The choruses on this track sound strange and uplifting but the lyrics are sad; this is far from a novel concept but it's a unique sound happening here.

Interlude is really just an extended outro for the previous track. It's just under 40 seconds of cool full-bodied feedback sounds or something. That's it.

Hysteria: This was the other song I heard previously. Simply put: this song fucks. The bass riff is legendary, the build up in the intro is sick, the guitar riff is sexy and badass. It's just a jam and it made me want more jams from the album. Looking over the lyrics again, my vampire theory remains strong with this track. And bitch, the bridge. I listened to it three times. If you read this post and feel at all inclined to listen to anything from this album, listen to "Hysteria."

Blackout: We ain't beating the vampire allegations with this one. This is another slow and understated track, with long sections of strings and limited percussion. It gives the feeling of a dance song, like a "slow dance at a ball" situation. When the guitar (or feedback, or distortion, or whatever it is, the cool kinda fucked up sound) adds in to the melody, that's a nice moment. The first real snare hit of the song actually jump scared me. This is a song you go to for the starry, stately, maybe a little ghostly atmosphere.

Butterflies & Hurricanes: The stakes feel high, with the keys in the beginning of this song, and from those keys the instruments expand organically. There's a feeling of intrigue to this track, but then there's a cut, and then you find yourself in a boss fight in an RPG. I haven't played any of the Persona games, but I was reminded of them here. I noted at this point that the lyrics on this album hadn't stood out to me much, but rather that the instrumentation is more of the focus. The song seems to cook something after the second chorus, the piano seemed to be taking me somewhere, somewhere grand, perhaps. This is the kind of song that lends itself to an animated music video. It has a bit of an abrupt ending, but overall this track had me going "Wow. Huh."

The Small Print: The guitar riff to this one drew my attention from the start, and the drum sound was solid, so this one was trying to win me over, clearly. The band achieves some Big Sounds here, which is Good. The lyrics are also more my speed, ramping up the evil vibes: "I'm a priest God never paid." The vocalist goes for it here, which I appreciate. The hustle, you know. This is a song for when you're feeling like a bastard and you're reveling in it. Nice little rock pick-me-up in the midst of the slower ones.

Fury: This is apparently a bonus track. I'd describe the instrumentation on this song as sludgy, but without the grime, if that makes sense. It features the kind of bass that pleasantly rattles your whole chest with the right speakers, I can tell. The chorus is trippy and loooong in the vowels, and the bridge goes for a chunky groove. The last chorus has a nice new guitar part, and overall the song feels a little funky, little unusual. It maybe drags a little, but it's not bad. "Your self-loving soothes and softens the blows you've invented."

Endlessly: This song is cool and weird, carrying this thread of devotion with some underlying tension in it. "And I won't leave you falling / but the moment never comes." It opens with a new drum and keyboard sound, almost like a loading screen theme. There's some really neat stuttering keys here and there, and eventually there's the addition of some kind of reversed sound that, by the bridge, gives the song this feeling of falling upward. The track keeps adding things and building slowly and just kinda scratches the brain.

Thoughts of a Dying Atheist: My first thought on this one was that the title is cunty. This song picks up a bit, even if it's a bit straight forward in comparison to the other songs on the album. It carries a sense of movement while simultaneously feeling like staring at a wall, lost in thought. Good guitar solo also. "And the end is all I can see / and it scares the hell out of me." Yeah.

Ruled by Secrecy: I could smell another villain song right from the sinister beginning of this one. Some of the words early in the song are lost a little in the high tones and effects on the vocals. There's a feeling of climbing a large ornate staircase, the kind with velvet carpeting and carved hand rails. Eventually there is the drop, so to speak, one would expect in an album closer of this nature (or that I expected, at least). The aforementioned villain (perhaps a vampire?) is playing piano in the room at the top of that staircase. This track is almost creepy, creating a vibe that something is wrong but you can't pinpoint what it is. Truthfully, it didn't get to the level of big, loud, and evil as I had hoped for, but it certainly made me think. I'm still pondering over the significance of the title.

...Overall, Absolution by Muse is a good album. Lots of interesting instrumentation, some real jams, lots of cinematic feelings. It makes me want to use the word "tableau." Given that my first impressions were the two biggest Rock Jams on the album, I didn't get exactly what I wanted, but what I did get was still good. Not the most satisfying to my "go fast go loud" monkey brain, nor was it particularly interesting in the lyrics department, but it felt enriching to listen to. Like eating healthy food. I recommend.

In conclusion: this album is about vampires.



(no but really if you listen to this album or you're already familiar with it, please let me know if you see what I'm talking about, with the vampire storyline)
tiny_voices: jane lane (Default)
finding myself wandering back down the rabbit hole that is the 2000s emo scene developing and crashing as my fall break winds down. finding inspiration and entertainment in pete wentz's old livejournal entries from 2005-2006. i have more band OCs floating around in my head (i'm even managing to draw a few of them, when i can get my focus in check). i don't exclusively make OCs that are in bands but it's fun to make them because then you have a whole band to build around them. you can make a playlist of what the band would sound like, branch off into other bands that influence them, develop their group dynamic, think of what their fans would think of them, even draft lyrics for what their songs are like. bands are just cool. they exist in little eras-- during this time period they had this album out and their hair looked like this and they dressed like that, etc etc. and many of my favorite bands/albums are from (surprise surprise) the 90s/00s which has gone on to become especially interesting to me because i was alive back then, but i wasn't really around for the "culture" of it.

i mean, i'm all about it now, but it's not really nostalgia, exactly, because i was, for example, 9 years old in 2004. sure, american idiot came out that year, but i wasn't screaming about green day because i was in 3rd grade and all i cared about was pokemon, neopets, and teen titans. i wasn't old enough to be obsessed with daria and buffy, i wasn't really even old enough to understand them with any depth. i didn't get a gamecube until i was like 12 years old and i wasn't reading shit like electronic gaming monthly or nintendo power, keeping up with new releases or griping about new trends in gaming. it's like there's this whole world of shit that's so beancore, but that i didn't get to explore because i was busy learning long division and trying to beat the champion fight in leafgreen. i wasn't on the pulse point of the internet; i was playing sutek's tomb and watching stupidass flash animations. but now, i can explore it, with hindsight and a perspective that allows me to appreciate the culture of that era. and make fun of it too, of course. those were post-9/11 years, after all.

i got caught up on critical role (again) after losing touch with it while i was watching buffy. i don't know why i tend to second guess staying up to date with the show, or put off watching new episodes-- they're long, sure, but i always end up really enjoying it. i'd also planned on watching the new season of legend of vox machina, but it's coming out piecemeal and i think it might be better to watch it once it's fully released. and really i'm just biding my time until the mighty nein show comes out.... mighty nein my beloved

my hair is freshly bleached, though some touch-ups are planned for later today to make it all more or less even. shout out to my roommate for doing that for me and putting up with me complaining about my ears itching from the bleach. i did two pieces of digital art during this break(!) and scribbled up a "zero draft" of something that i'll maybe post...? i dunno. i have vague ambitions (i'm not good at those) of making some sort of collection of short stories set in my rpg setting. some day i gotta sit down and Plan that. maybe while i'm at work-- that sounds silly, but you'd be surprised how effective it is to be at work but do something else besides your job.

oh also: i got another tattoo scheduled. november 6th. that's gonna be fuuuunnn

sinking.

Oct. 12th, 2024 02:00 am
tiny_voices: half-orc goth girl in her bedroom (dakota)
to the girl at Gloom last night that danced with me and pulled my hand under her skirt: you were lovelier than the lace you were wearing and your mouth was sweet and dark like an autumn evening, but i just couldn't give you what you wanted.

and that half moon smile that dripped with borrowed light did not reach your eyes. we were waning from the first moment. you walked off, silent under the din of the club, and i was adrift again. part of me wishes i could just not care, that i could throw the weight off my shoulders, that i could've found you again and been your paramour until night's end.

but i do care, i can't throw anything off, and i won't find you again.

now i lie here with the sun forcing its way through the drawn curtains and remember someone else. the most important someone else in the world. it feels inadequate to call her that, like calling a star a speck, or calling a home a house. i lie here longing for the shape of her. beautiful and unreal waiting outside classroom doors, under the willows, in her driveway.

i feel like i'm being crushed by my own mistakes. my past decisions are iron shackles locked around my ankles and every step without her is a miserable struggle. i was just so fucking scared. i still am. i fear the lack of safety and the lack of normality. but when have i ever cared about normal and safe? why does it feel like i gave up more than i can even comprehend? like i gave up the key to feeling safe and normal? i think i gave up the moon. without its tides my heart is a sinking stone in a deep ocean.

[posted by acrylic_cynic on Sunday, Zwolven 19th, 1004 @ 10:55 AM]
tiny_voices: 13 avatars from The Palace arranged in a roughly square shape (palace avatars)
LINOLEUM MAGAZINE PRESENTS:

Interview with icebox: on their upcoming album and being stone(d) cold

Interview and article by Nick McNally. Posted Ryfa 20, 1004.

CLICK HERE TO READ INTERVIEW

I met the four members of icebox the other day, behind the locally-famous club The Hideout. It was midday, springtime sun shining brightly, though we mostly lounged in the shade. The lawn chairs provided by the club's owner and the graffitied concrete set a gritty but casual tone for the interview and photo shoot. The band was passing around a joint, save for lead vocalist and occasional secondary guitarist Kova Iven, who didn't want to blur her focus even with several hours before the band would hit the stage that night. Drummer Aubrey Maplekey offered the joint to me, practicing proper stoner etiquette, though I also declined. She and guitarist Dev Dezaar remained composed but noticeably more loose-limbed and spacey as the joint burned on. Bassist Relin Apollor seemed to handle his hits the most smoothly, his already friendly and well-articulated demeanor remaining consistent throughout our time together.

I opened our conversation by telling the band we had been getting a lot of people writing in asking us to do a story on icebox. The group seemed mildly pleased to hear that, although Dev's reaction was tempered with a set of skeptically narrowed eyes.

NICK: So, real quick, can you catch us up on the band's history, for those who don't know?

DEV: Ah, big leagues now. Origin story, for all the new fans.

KOVA: We formed in 999, put out music in 1000, 1001, and 1003. We've had some great tours, a couple rough ones. New album... soon. And we're still on Scratched.

NICK: How did the band form?

DEV: Corporate espionage.

KOVA: No. [laughs] Me, her, and Aubrey met in high school. Aubrey knew Relin and invited him to try out.

AUBREY: 'Cause he's really good, man. He was in jazz band and played in these crazy prog rock bands and shit.

NICK: You played in prog rock bands before icebox? That's quite... the musical jump.

DEV: You can say a step down, it's okay.

RELIN: [laughs] Yeah, before icebox I was kinda rotating through a few different prog bands. The last one was basically PHROG, if PHROG weren't actually very good. Not a cover band, but I think we really wanted to be PHROG. But we, uh... we weren't. And then I joined icebox.

KOVA: We didn't really have a bassist set in stone yet. We had a couple people in mind, but Relin just had better chops. Even without playing much fast music before.

NICK: Be honest, did the three of you ever doubt that he'd be a good fit, in terms of attitude?

DEV: I did. I thought he was a fuckin' nerd. But I got over it when I realized he helped us write better music.

AUBREY: I didn't really care 'cause he's been my buddy for a long time. I was like, ah, it'll be fiiine.

KOVA: Yeah, no, ultimately we were concerned with the music and the shows. You don't have to wear spikes and dye your hair green to be in a punk band. It's not a uniform.

It became clearer, the more time I spent around the band, that both Kova and Dev are quite self-aware individuals, though this trait manifests differently in either of them. Kova sees the world through clear eyes and reacts with optimism and gruff but charming earnestness. Dev on the other hand notices the world's sharp edges before they cut and treats them with cynicism, often ahead of schedule. Though Kova denied being the quote unquote leader of the band, she and Dev seemed to be at the wheel, while the rhythm section keeps the tires spinning. Kova writes the majority of the lyrics, with Dev penning a song or two now and then. (Those one or two are some of my personal favorites: big rec to "Need No One" and "SMS.") A key part of the band's song-writing process is to put on a movie, mute the volume, and riff over the silent scenes until something clicks.

DEV: Ew. I don't like to call it the song-writing process.

AUBREY: What would you call it then?

DEV: Hmm. Violence.

AUBREY: Okay, bro.

DEV: For real though! I'd call it violence. I'm ripping something out of me and turning it into a song.

AUBREY: And she says she hates emo kids.

DEV: I do! Don't call me emo.

All of them seem to share a certain sense of humor, making jabs at each other with practiced ease. Kova, the least involved in the trading of emo-related insults, appears unfazed by it, even happy to let it continue in the background of the interview.

NICK: Kova, you featured on a song by The Oils, on Gravel. You've done some touring with them; how has it been, working with them?

KOVA: I wouldn't even call it working. We don't really work with The Oils, we're friends.

DEV: Partners in crime.

KOVA: That too. We came up in the same scene, around the same time. I think of The Oils as kind of another side of the coin from us. They're more scratchy, more monochromatic, but never boring, and we're a bit more colorful. Sun, moon, that kind of thing.

DEV: Did she say "another side of the coin?" Girl, there's only two sides.

KOVA: I'm getting a contact high. Shut up.

RELIN: Yeah, Darla's on one of our new songs too.

NICK: Guest vocals?

KOVA: That's right. It's called "Honey/Vinegar." It was originally an instrumental we would play at sound check and such that grew into something better. But it wasn't growing right at first.

AUBREY: We were hacking away at that thing for, like, months.

DEV: That's what she--

(Kova kicks her in the leg.)

AUBREY: It was originally two songs, right? And we tied 'em together. And we played it for Oils and Darla was like, add this and this to it. And we were like, dude, you should do that!

KOVA: We have a lot of fun with them. They're the real deal.

Icebox swept me up into a series of tangents and so, for a while, we discussed the group's hobbies and complaints. Outside of drumming, Aubrey skateboards (apparently she has more than once done tricks off the roof of The Hideout, and managed to stick the landing once or twice). Kova works at a grocery store that shall remain unnamed (it's a soul sucker though). Dev said "fuck work" at least twice and, unemployed, currently sleeps on Kova's couch. Relin is the only one enrolled in any sort of education, and is on track to graduate with a botany degree in the next few months.

NICK: I have to ask, is your choice of major related to a particular substance that's fueled much of our conversation today?

RELIN: What? No.

Eventually we got back to discussing the band's upcoming album, titled Sunburst. It's their fourth overall release on independent label Scratched Records, and their second full-length album. All four bandmates perked up at the subject, seeming excited to talk about their latest collection of songs and soon-to-follow tour. Despite the group's careless, never too serious affect, the way they talk about their music betrays a real sense of personal investment.

NICK: What's been your approach to this new record?

KOVA: All the things we've done before-- or, most things-- but bigger and better.

DEV: We're all just better at our instruments now. I've learned so much shit about amps and heads and pedals. Not that I'm a big pedal guy, but I've experimented a little.

RELIN: Dev's kind of become our tech nerd-- hey, in a good way. I think the new songs sound familiar but in a more evolved form.

DEV: We did some synth-keyboard shit on a couple songs. Started out as a joke but then we figured out how we can make it sound good.

KOVA: We try to get the crowd involved, in our shows. I mean, they mosh and dive and that's great, but with these new ones especially we want them to sing along and scream with us and have it mean something. It's still fun, it's still us, but... I don't know. My songs always came from a real place or real emotion I had, but I ended up finding things to say that felt a little more necessary. And we've been listening to a lot of Reckless Attack lately, so that's been a big inspiration too.

NICK: Is that your way of saying your lyrics are getting more political?

KOVA: Yes and no.

Here the vocalist pauses to think and Dev, breathing out smoke and sitting forward in her seat, picks up where she left off.

DEV: Our shit's always been political, just not in a vocab test, buzz words, straight up "fuck the government" way. Just like, ground-level stuff. Working sucks, money sucks, school doesn't teach you important shit, that kinda thing. And now, since we started a few years ago, everything is more... uptight. People are suspicious as fuck, you know?

KOVA: As in, they're paranoid of everything. "This means they're doing magic, that means they're doing drugs, if we let this happen we're all going to die..."

RELIN: As they say, it's an anixety culture.

AUBREY: I think a lot of it is an outlet. People act crazy, we feel crazy, we play crazy.

KOVA: And I tie a lot of it back into community and, sometimes, the Champions. We have a song, "Holy Weapon," that's about how music and the scene can be a tool to bring people together and ignite them. That's how you start making things happen.

NICK: Are you doing this out of a sense of community, then? For the scene?

KOVA: I'd say so.

DEV: We make music for us. Don't know if you were going there, but we're not really thinking about going to a major or anything. We're good. If people like our songs, awesome, if they don't, I don't see it as a loss. I mean, the scene is usually pretty solid, but people can let you down...

KOVA: Without the scene I think we'd be a little adrift. I want the things I create to bring people together. Even if that's only the two people that work at the bar. Even if it's just venting about someone being an asshole at a house show. That's the feeling I bring to the music.

AUBREY: It makes us happy when you come to our shows and scream and run around in circles.

DEV: Yeah, we don't half-ass it, so you don't get to either.

RELIN: Whole ass only, please.

Icebox originally formed for fun, but these four take their craft seriously. This may prove to be key, as many other bands of this time period don't last even the few years that icebox has managed. In the ratty world of punk rock-- perhaps especially in it-- passion is a band's lifeblood.

NICK: You all seem to have a fire in you when it comes to this band.

RELIN: I disagree.

NICK: You do?

AUBREY: Yeah, we're icebox. No fire, just stone cold.

KOVA: More like stoned cold, huh?

DEV: Well, there's your fuckin' headline. There's your title. You're welcome.

icebox's new album, Sunburst, releases Tansa 5, 1004.

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