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ohwereusingourmadeupnames · 4 years

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Don’t Go Wasting Your Emotions

Pairing: Peter Parker/Tony Stark (Starker) Rating: (M) Notes: This is my pop star au fill for my @starkerfestivals bingo card. It’s based loosely off of this post here. There is a ton of 80′s music in it, so you might want to listen along while you read; it’ll really enhance the experience! Warnings: NSFW things, period typical homophobia Word Count: 11.5k Summary:

Tony Stark refuses to follow in his father's footsteps, his one true love is music and nothing is going to change that. During a particularly audacious performance of ABBA, Tony is noticed by Peter Parker, a man looking for lead singer for his band.

Or - the one where there's a lot of 80's music & Tony and Peter do a lot of eye fucking on stage.

Read it here on AO3

Throughout his life, everyone assumed Tony had it made. People looked at his last name like that held the key to who he was as a person. From a young age, Tony hated it. It seemed silly, to be compared to a name – one that he didn’t even want anything to do with. His father’s work didn’t define him, despite what everyone thought. The never-ending conversations about his eventual takeover of the company drove him even further from the obligation that came with his last name and the empire built around it.

The second Tony got the opportunity to do what he wanted, he did. Being so advanced in school meant graduating high school early and escaping to the dorms of MIT. With freedom came Tony’s true awakening. His roommate, a gorgeous man studying aeronautical engineering, loved everything about music.

Up until a year or two ago, Tony simply dealt with silence in the big house he felt trapped in – then, he discovered vinyl and the goodness of classic rock; The Beatles, AC/DC, Led Zeppelin – they were all part of the soundtrack that brought him true joy and happiness.

Rhodey, on the other hand, had a very eclectic taste in music. He appreciated all of the genres, funk, pop, rock – there was always something new on the record player when Tony walked in from a class or the extra time he needed to spend in the lab. Throughout their time together, Rhodey taught him everything he ever wanted to learn about the music world – including how to play the guitar.

By the time graduation rolled around, Tony knew he wouldn’t be using his mechanical engineering degree one single bit. He wanted to explore more of the music world, he needed to be something outside of the Stark name. His father didn’t approve of his decision, but he never did – nothing Tony accomplished throughout his life would ever be good enough, anyway. Though he didn’t cut him off, he didn’t allow Tony back to the compound – he figured it to be a punishment, that Tony would come crawling back. Tough luck that was.

Getting a job at a record store kept Tony up to date with all of the new music being produced by some of his favorite old artists and some of the new ones of the day. Every day, Tony went to work in a place that he actually liked, then came home to an apartment that he paid for by himself, decorated the way he wanted, and did whatever he wanted within it. It took a little while to get the place soundproofed – but when he did, all bets were off.

He got pretty good at the guitar, his hands nimble from years of working on small parts and pieces. His brain processed the notes easily and the tone seemed to come naturally to him. Through his dabbling, Tony found that he could sing – that his voice was rich and could carry many different pitches. From ABBA to Def Leppard, Tony slowly found himself learning how to control his voice and hit all the notes throughout the different octaves.

One of his favorite pastimes quickly became karaoke. Between the good times he always had with Rhodey and the ability to get on stage and work out his voice, Tony always enjoyed the weekly trips they took to Monteros’. The bar was a dive, there wasn’t any denying that. The chairs were old and the people behind the bar were even older – but they had a great stage and an audience that rolled with whatever got brought to the table.

They tried the more upscale places a couple of times – they were nicer and had younger, hotter people tending bar. Yet, the singers were usually stiff, and the song selection was very slim. The reoccurring theme in Tony’s life came down to freedom and he was bound and determined to only surround himself with people and places that fostered that – dingy dive bars included.

That Friday night, Tony put on his straight leg jeans, white t-shirt, and leather jacket – the outfit one of his favorites to perform in. He grinned at the worn-out Sambas on his feet and quickly left his apartment, Rhodey was probably already waiting there for him with a table and a pissy expression.

Walking into the bar that he could easily add to the list of his favorite places, Tony grinned when he saw Rhodey sitting in their normal spot. The other man didn’t take part in the singing, but he always appreciated the performances – their front row seats gave him the best vantage point to enjoy them head on and center. “Hey, Rhodes,” Tony said in a way of greeting, his hand squeezing his friends shoulder briefly.

“Tony Stark – nice of you to finally join me. I know your 19-year-old self can’t have one, but I’m going to get a drink. Hold down the fort for a few minutes, will you?” Rhodey got up without preamble, the man knew Tony would do what he asked – they’d been doing this song and dance for a couple of years now.

When Rhodey got back, he sat down with a smirk on his face – dark eyes glistening with a combination of mischief and excitement. “I put your name on the list already. You’re going to love what I picked out for you.” His smirk had a chuckle bubbling out of Tony’s chest, a grin of his own spreading across his cheeks.

“You don’t scare me. Nothing will ever beat the night you made me do the entire collection of Cindi Lauper – I still haven’t forgiven you for that, by the way,” Tony remarked, his hand wrapping around Rhodey’s glass to down some of the contents. The scandalized look on his friend’s face made the burn of the alcohol worth it so much more. “Bring it on, Rhodes.”

They sat through a handful of performances before Tony was called to the stage, the song selection making everyone in the audience laugh, Rhodey included. Meeting his eyes, Tony shook his head – what an absolute prick. Either way, Tony wasn’t going to waste a second of performance time. He cycled through the embarrassingly big collection of ABBA songs in his head, the lyrics and beat of this one calling for something special.

The music started when he nodded to Clint in the sound booth. Tony wrapped both of his hands around the microphone that still sat in the stand, his foot tapping to the beat of the instrumental – the song started with a couple of empty bars filled with the thump of synthesizer. Looking out in front of him, the transition happened easily – his mouth opening wide to belt out the first lyric. “I wasn’t jealous before we met,” Tony started, the end of the line hitting perfectly with the cutting tempo of the song.

The more he got into it, the more he loosened up – Tony swung his hips to the beat and pulled the microphone from its stand, the chord following behind him easily. There weren’t too many people in the crowd, the early part of the evening always a little bare. He kept his eyes up, the best part of performing for him the reaction of everyone else. One particular set of eyes seemed to follow him the entire time – Tony pointed his body in that direction, the first chorus quickly approaching.

Stepping down off the stage, Tony started to walk through the tables – he carried himself with excitability and knew getting close to the crowd would transfer some of that energy. He passed by the table where the intense eyes were, his gaze connecting with a boy around his age, his clothes somewhat similar to Tony’s – he hit the first “lay your love on me” right as his fingers brushed against the top of the table. Turning quickly, Tony strode over to Rhodey, his friend laughing, face completely lit up.

He sprawled across the tabletop; his face turned in Rhodey’s direction so the man got the full effect of the words coming out of his mouth – “Don’t go sharing your devotion. Lay all your love on me.” Tony reached out and pressed his palm to Rhodey’s cheek, his smile evident in the words vibrating out of his chest. He sat up then, his feet dangling from the table as he moved onto the next verse.

By the end of the song, Tony was dripping sweat and completely enraptured. The energy of the room picked up the further he got into the cheesy ABBA lyrics – the crowd got into it and the more that happened, the more Tony did, too. He finished the repetitive chorus with a bang, the edges of his leather jacket spinning with every turn he took. The applause he stepped down from the stage to made his heart ache – it felt so damn good to be up there, doing something that he actually enjoyed.

It took him a few minutes to calm down from the rush – his back against the bar where he nursed a cool glass of water. He would probably put his name in for another performance later – the queue more than likely not long, anyway. For now, though, he felt content to bask in the post-performance glory. It was small time karaoke and he still felt like a star.

Turning to flag Nick down for another glass of water, Tony was surprised to see the man from the crowd standing at the bar right next to him. He glanced over at him – his features were stunning; sharp cheek bones, plump lips, and eyes the color of cinnamon. The hair that framed his face was long, the edges of it curling around his ears and up against his neck. The best part of the decade had to be the hairstyles and wardrobe freedoms – he loved the long hair and jean jacket combo.

“You were pretty good up there,” the man started, his body turning until his side was leaning against the bar – it seemed as if he could see Tony a little bit better from that angle. Tilting his head, Tony let go of the glass in his hand and did the same thing, their gazes locking much easier now.

A smile at the man’s compliment slipped across his lips. It wasn’t often random people stopped him to talk, let alone tell him he was ‘pretty good’. The only recognition of who he was came when people put him and his last name together. This guy seemed genuine, so he opened up a little. “Thanks. My friend is a dick and thought he’d trip me up with that one. Sucks to suck – I fucking love ABBA,” Tony replied, his cheeks heating up from the admission. “I’m Tony,” he muttered after a moment, his hand sticking out between them.

It took a second for the guy to take his hand – he fiddled with the hem of his jacket before actually filing the gap and grasping Tony’s offer of friendship. The black polish on his nails made Tony smile wider – this guy had to be one of his people. “Good to know you. I’m Peter,” the other finally replied, his hand lingering for a second longer before the touch was gone. Tony’s hand felt a bit bare now that the warmth was absent.

“Have you ever tried a duet?” Peter questioned, his eyes roaming over Tony, the look seemingly nervous, like he just asked him the answer to the secret of the universe, not about musical performances.

Shaking his head, Tony pursed his lips – it never crossed his mind, trying to drag someone else on stage with him. He knew a lot of music and could sing, but that’s as far as it went. Tony sung to a hairbrush in the bathroom and marveled when he got the opportunity to actually have people hear him. The thought of other people present on the stage wasn’t a thing until that very moment. “I haven’t – but I wouldn’t be opposed. Why, you interested?”

In that moment, Tony saw something that would change him forever – Peter’s smile. The other guy looked so somber until his face lit up with excitement. His eyes were bright, the caramel of them smoothing out, like molten candy straight from the boiling pot. The slightest of crinkle started at the corner of his eyes, like maybe he spent a little too much time squinting at sheet music or small text. Tony found himself grinning widely back. It wasn’t particularly safe to be looking at another man like this in public, but he didn’t care – the radiant light of this guy was too much to ignore.

“I’m interested. Do you think you could take the first part of Don’t You Want Me?” Peter asked him, the tangible elation in his words making Tony nod his head without a thought. Luckily, The Human League’s record sat on his shelf, that particular song one of his favorites from the album.

“You bet. I’ll follow your lead in the harmonies.” Tony could already hear the lyrics in his head, the thought of performing that kind of song with another man felt scandalous, but also so right.

Another couple of performances went by before Tony and Peter were called up, the crowd a lot bigger than before, the claps loud and more than enough to spur both of them on. The stage crew did a good job putting another microphone on the stage, Peter saddling up to the furthest one before Tony could even ask. Looking over at him, Tony got a nod from Peter – the light in his eyes still so bright, the anticipation of performing very obviously coursing through him.

The song started, the funky beat playing into the first set of words – “You were working as a waitress in a cocktail bar, when I met you.” The pace was fast, so he focused on getting the words out. His eyes flashed between the teleprompter, the crowd, and the gorgeous man standing up on the stage next to him. Peter watched him the entire time, his body swaying ever so slightly. If this was what intimacy felt like, Tony wanted so much more of it.

Peter took up the second verse seamlessly, his stage presence a lot different when the music overtook him, and his mouth started to move with the lyrics. His voice was a lot higher than Tony’s, the fit of it for the second part of the song absolutely perfect. Tony felt himself beaming, this performance so much different than the one he put out for the crowd to see on his own. It felt good playing off of someone else’s energy – especially someone as talented as Peter seemed to be.

At the end of the song, they ended up back to back, their voices mixing to bring the last couple of repeats to a close. The music ended and the crowd came alive with noise and applause – Tony could hear Rhodey’s voice over the mass of people, his whoops so recognizable. He felt his chest heaving – sweat collected across his forehead and soaked his shirt throughout the performance; but man was it worth it.

Turning, Tony caught his breath at the look on Peter’s face. Tony loved the limelight – it was hard to break from after being in it for so long. Peter, on the other hand, seemed to appreciate a job well done – the reaction of the crowd something that brought the happiest look Tony had seen yet to his face. This guy belonged on the stage.

Warm hands were on his shoulders as they made their way down the stairs and off the stage, the heat of them seeping down through his leather jacket to the exposed skin of his arms. Tony felt himself laugh, his heart was beating a mile a minute and he just had the best encounter of his life up on the place he felt the most comfortable. He never thought this kind of happiness existed.

“That was the most fun I’ve ever had on stage,” Tony admitted, his hand reaching up to tap one of Peter’s. If they were anywhere else, he probably would’ve pulled him into his arms, swung him around in an excited hug. Even still, the small touch was enough – Peter tightened his grip for a moment, then pulled away.

The other’s face was absolutely flushed – the wetness of sweat making the hair on the front of his forehead stick to the skin there. Tony’s fingers itched to reach up and push it back. He refrained, but only just barely.

“You’re something else, Tony. Any chance I could convince you to come play with me and my band? We need a new lead singer and you seem to be everything we’ve been looking for.” Peter quirked a brow at him, the smirk on his lips only adding to the sexiness of the look.

Tony stared at him for a few seconds, his eyes roaming over his handsome face to make sure there weren’t any signs of joking or fucking around with him. He seemed pretty genuine, though – the redness of his cheeks made it difficult to see anything other than adorableness. Biting down on his bottom lip to keep the huge smile from spreading over his cheeks like a cheap whore’s legs, Tony nodded – hell fucking yes he wanted to be in Peter’s band.

“If you’re not fucking with me, I’m absolutely game. 100% down to be in a band and do that more than just once a week,” Tony answered, his own face red from the eagerness that couldn’t be contained.

Peter’s response was a swift arm around his shoulder, the shorter guy’s frame pressing into the side of Tony’s chest so sweetly. Without a thought, Tony wrapped his arm around him, keeping the contact between them close.

“When do we start?”

----

Much to Tony’s delight, Peter introduced him to the band the very next day.

Ned, the drummer, was a bigger man with dark hair and a friendly look on his face – he shook Tony’s hand with a grin on his face. “Pete says you’re better than Steve – can’t wait to see what you bring to the table, my man.” He shot him a smile and stepped back, his hands already fiddling with the sticks that were just in his pocket.

The bassist, a beautiful girl with the craziest curly hair and dangerous smile was up next – she didn’t shake his hand, her arms stayed folded across her chest, the bass tucked safely against her. “Do you play anything? Or just look pretty and sing?” MJ, as Peter introduced her, asked him with the slightest hint of sass. She was the spunk of this group – Tony could already tell.

“I play the guitar – I have a Gibson Les Paul and a Fender Strat. I’ve been slamming since college.” Tony was quick to quote a couple of his stats; her eyes were boring into him and it felt a little scary. He felt more of a need to impress her than anyone else standing in the room.

She was quick on the kickback, the look on her face softening a bit. “Was that yesterday, then? You look younger than Petey over there, and he’s the baby.” MJ pointed over towards the guy standing on Tony’s right side. People always asked him that question, his young face still something that got him into trouble every now and again.

Stuffing his hands into his pockets, Tony shrugged – “I graduated from MIT when I was 16. So, 3 years ago now, actually.” The collective gasps made him laugh – his secret identity obviously didn’t get to stay secret for long.

“You’re that Tony?” Peter piped up first, his voice causing Tony to turn a little. Peter’s eyes roamed over him – the appraisal not any different than before, just a bit more hesitant. “Tony Stark, right? Wonder kid – tech genius. You’re in line for a billion-dollar business. What are you doing here, with us?”

Tony didn’t have to think hard to answer that question, there were many reasons, so goddamn many of them. “I love music. My father just assumed I’d dump myself into the business. I followed his rules, went to college, did the whole song and dance – but it didn’t make me happy. This does – music, performing, bringing beats and words to life. I’m here for me, I guess. Because this is what I want.”

There was a moment of silence where everyone looked around – Tony watched the other three share looks between them, that mode of silent communication only available to the people that wrote the language. All at once, they swooped in and wrapped him up in a weird group hug. “This is the misfit family club, you’re totally welcome here, Tony Stark.” MJ was the one to voice the group’s opinion.

With the awkward stuff out of the way, the group got themselves organized – Tony stood behind the microphone with his guitar strapped across his chest right across from Peter, the man behind a fancy looking keyboard and a mic. There wasn’t a set list in place, so Ned started to tap out the opening lines of Take On Me – the beat of it easy to remember. Taking a deep breath, Tony started to sing, his entire being knowing that this was probably his only shot to impress these people. Peter was only one part of the package – MJ and Ned needed to get on board with his talent, too.

They didn’t stop for a while, Ned led them into song after song, all of them covers – all of them sounding a bit better the more the group played together. Tony took it as a good sign, MJ didn’t stop them right off the bat and demand him to leave – in fact, she got so lost in the music, it was difficult to bring her back from wherever she went when they were done. In all his life, he never felt so carefree – so openly accepted by people that liked the same thing he did.

“So, that’s the best we’ve ever sounded,” Ned said a little while later, all four of them sprawled out on the floor from pure exhaustion. They played for more than two hours, Tony’s throat was raw, and his fingers hurt – but it was the best he’d ever felt. “Like – we might actually have a chance to do something at Battle of the Bands this year.”

Looking around, Tony’s face split into a huge smile. “You guys compete at Battle of the Bands?” Tony gapped at them, his only experience with the music competition was as a fan standing in the crowd, looking up at the stage dreamily. Never in a million years did Tony think he’d actually be up on that stage.

The look on his face must’ve been dreamy, because they were all laughing. His cheeks flashed red, the idea of playing on a major stage and being teased about his excitement combining to create the ultimate blush – it probably trailed all the way down his chest at this point. Peter reached out and grabbed his shoulder, the move seemingly customary after a couple days of it happening – the squeeze was nice, the small touch reassuring. “It’s one of the coolest things you’ll ever experience, Tony.”

Still grinning, Tony went about putting his guitar away, the rest of the group doing the same. It’d been more than 4 hours since he walked in the door. His stomach grumbled, the reminder of how long it’d been making his body remember the fact that it needed food, water – sustenance was necessary to continue to rock out this way.

When he turned around, everyone but Peter was gone, the other two slipping out seemingly without a peep. Tony wasn’t mad about that, though. Since meeting Peter the day before, Tony couldn’t stop thinking about him. Of course, a lot of that had to do with their performance and the way it made him feel – there’d been so much chemistry between them. The more secretive part of him understood that carnality also played a part. Peter was hot, could play music, and the more he got to know him, the better his personality seemed to be.

“Any interest in getting something to eat? I’m wiped and could use a burger, or something.” Tony posed the question casually, he didn’t want to put any undue pressure on the outing, or Peter in general. They were practical strangers, after all.

Peter smiled over at him – “I could eat. I’ll show you some of the songs we’ve been trying to put together for Battle of the Bands, too. Maybe you’ll have some ideas.” Peter shouldered the bag with his keyboard in it, his hand once again finding Tony’s shoulder. “There’s a decent greasy spoon a couple blocks from here.”

Tony didn’t need to be told twice. He touched the spot on his arm Peter did and followed him closely – all of the touching was getting to him. Peter’s touch felt like fire, the entirety of it consuming him, moving down his arms and core to settle low into the pit of his stomach. Being gay and not really able to act on it all that often, Tony recognized the fact that he was touch starved. Yet, no one else’s touch had ever really – drawn such a reaction.

Stopping in front of May’s, Tony took a look around the place. It was old fashioned, decked out in old Coca-Cola signs and pictures of the city over the years. They settled at the counter, where Tony noticed a picture of the man he was sitting next to on the wall. “Is that you?” Tony asked, his finger pointing at a much younger and toothless Peter.

Curious eyes watched Peter’s cheeks color, the other guy shaking his head with mirth. “Oh god. Yes. This is my aunt’s place. I’ve told her so many times to take that damn picture down,” Peter’s grumbles were adorable and seemingly half assed. He might not be that old, but he was old enough to pull a picture off the wall if it really bothered him that much.

“It’s adorable. How long were you missing your front teeth?” Tony chuckled when Peter’s hand flew out and smacked against his arm.

“Asshole. It was a really long time. That smile followed me around for at least another year or so.” Peter’s lips were pressed together, the man obviously trying not to smile. “Wait – you think it’s adorable?” He tilted his head at Tony, a new look in his eye.

Blushing himself, Tony nodded his head, eyes dropping for a second. Flirting out in the open was new for him, he didn’t spend a lot of time doing this – getting to know a person. There weren’t a lot of people that seemed worth his time, so he avoided the experience all together. Now, though, he wished for just a bit more experience, for the words that were right for a situation like this. “Yes – insanely so. Hasn’t changed much, either.”

Peter didn’t say anything to that – he simply scooted his chair a little closer and leaned into his space more than he already did. The entire left side of Tony’s body was tingly and numb, the foreign feeling enough to take the edge off the hunger, despite no food crossing his lips. Maybe the hunger resided elsewhere, maybe he wasn’t just hungry for food, anymore. Opening his eyes to actual happiness came with a lot of new things to consider.

The illustrious May came to take their order. She hilariously reached across the counter to pinch Peter’s cheeks, her red lipstick smile endearing – it reminded him of his mother before complacency in life started to set in. A swift pang of something hit Tony square in the chest – his eyes leaving the scene in a rush.

A surprise moan left Tony’s lips when he bit into his burger a few minutes later. Not only was May eternally out to embarrass Peter in front of any person that would watch, she could cook better than anyone Tony ever encountered – even the paid chefs his father brought in to make them fancy meals. His father would curse him dead if he ever uttered anything like that in his presence. Regardless, she was amazing, and he annihilated his food without really looking up until he was completely done.

“Your aunt can really cook, Pete. I’m surprised you’re not a giant balloon with food like that at your disposal whenever you want,” Tony remarked, his full belly allowing him to actually pay attention to the man sitting next to him now. Though, he never noticed a weirdness in the silence, a feat that was substantial considering how much he loathed the silence everywhere else. His house growing up was riddled with a pit of quiet – but he didn’t mind it with Peter, it was actually nice, comfortable.

Tossing the last couple of fries into his mouth, Peter nodded, his cheeks full enough to make him look like a chipmunk hoarding nuts. Tony watched with amusement as he struggled to eat all of the food in his mouth and then swallow it – the bulging of his cheeks not getting any better until all the food was down. “I’ll make sure to tell her. She’ll be excited that THE Tony Stark liked her food.” Peter shot him a wink, the joke in his voice evident. “Now that’s taken care of, do you want to look at the set list?”

A rush of excitement washed over him, Tony nodding his head eagerly. “Hell yes, I do.” Peter shook his head fondly and opened up one of the zippers on his keyboard case – he placed a red folder stuffed to the gills with sheet music in front of Tony. Looking at it wide eyed, Tony flipped it open and immediately felt overwhelmed. There were handwritten sheets of lyrics, scribbled notes about key and pitch – his brain in overdrive already.

“I didn’t even need to see your face to know that was going to be your reaction. We haven’t been able to come up with anything that comes together cohesively. It’s just a bunch of little pieces of songs that don’t fit. Ever do any music writing?” Peter asked hopefully.

Tony scrunched up his nose, shaking it vigorously. “I could write you any kind of system programming you want, I can read music, but I’ve never written lyrics.” He pulled out a few sheets and flipped through them. There were three song options in the nine pages he pulled out. Taking a deep breath, Tony thought for a moment. “Does it have to be an original song? Or could we come in there with a cover?”

Peter looked at him like he’d just solved world hunger, his eyes bulging almost comically – “Holy shit – why didn’t we ever think about that? The stuff we were putting down today sounded amazing. We’ve been dragging our toes on prepping something because there hasn’t been anything to prep.” His voice rose in pitch and volume the more he talked, his enthusiasm overtaking him. “Tony, you’re a genius,” he exclaimed, his arm wrapping around Tony’s shoulder. “An absolute genius.”

Preening at the words, Tony leaned into the touch – exhilaration overtaking most of the functioning of his brain. A throat clearing had them tearing apart – May was standing in front of them, her eyebrows raised. “Stop making a ruckus in here, Pete. Take your friend somewhere else if you’re gonna do that shit.” She took their plates away, her head shaking as she walked through the door to the kitchen.

“She’s right – we should get out of here.” Peter wasn’t quite meeting his eyes then, the embarrassment of being called out by his aunt tangible. Tony nudged him with his shoulder, a soft smile on his face.

“Okay – make sure you thank your aunt for the meal?” Tony got up from his chair as he spoke, the strap of his guitar case going over his shoulder once again. “I’ll see you tomorrow, Peter.” He gripped the back of the other man’s neck for a moment – Tony couldn’t stand not feeling Peter’s gorgeous locks under his fingers for another minute. Squeezing lightly in goodbye, Tony crossed the restaurant and left through the door.

----

The next couple of weeks were spent going through a long list of songs that everyone thought would work for the dynamic of the band – and then refining that list. They performed them all over and over again, MJ arguing that the only way to really choose was to see how they sounded and how versatile they could be. Doing a cover was a good idea, but they needed to figure out a way to make it their own.

On top of all the band practice and get togethers, Tony spent some of his free time with Peter. After the diner and the mutual understanding of each other they came to, it was pretty easy to get lost in the friendship they were creating.

There was attraction there – Tony couldn’t deny how much he wanted to simply touch Peter, how he wanted to grab the back of his neck and pull him close enough to kiss. It was undeniable. Yet, toeing around the subject and merely getting to know each other felt more natural. Tony hoped something more would come, he thought about it pretty constantly; there wasn’t any need to rush, though – their similar interests weren’t going anywhere anytime soon.

About two weeks before Battle of the Bands, Nick the bartender/owner of Monteros’ got ahold of Tony, the man offering them one of the open mic spots that suddenly opened. Tony didn’t hesitate to say yes – they needed to get some stage time as a band before they hit the big one. It was one thing to practice in the space they did every day, but a whole other thing to actually be in front of a crowd and entertain for more than one song.

Relaying the news, the entire band went wild. Tony recognized the relief on everyone’s faces, the thought of getting a warmup gig under their belt as a band was reassuring – they could work out all the kinks of their performance, they could gage how well the crowd reacted and changes things up if need be. Their practice that afternoon was filled with passion and excitement – everyone hit their cues, the entire set they were planning to play sounded great.

Tony stuck around after they were done to help Peter pack up his keyboard – MJ and Ned fled the second they could, the two of them probably picking up on the unresolved sexual tension between Peter and himself. No one talked about it, not even them – but it was there, tangible in the way they looked at each other, in the way Tony seemed to know what Peter wanted or was thinking before the man himself did. He was waiting for MJ to yell at them to just fuck already – Tony couldn’t wait for that.

“So, are you stoked, or are you really fucking stoked?” Tony asked, breaking the silence in their rehearsal space. It always felt a little weird when they were done, the acoustics of the place seemingly sucking up all the sound they made during practice and pulling it into the void. The eeriness of the silence kind of reminding him of home.

Peter zipped up his case and turned towards him, a beaming smile on his face. “Really fucking stoked. I can’t believe Nick called us. I’ve been trying to get him to let us in on an open mic night for ages.” He slung the strap across his body and closed the gap between them. As was customary these days, Peter wrapped an arm around his shoulder, the man the ultimate tease with his soft touches and nonsexual intimacy.

“Rhodey was in there bragging about us last week – I bet that’s what swayed him. Nick is an old family friend of his,” Tony remarked, his own arm wrapping around Peter’s waist. “It’s a solid spot, there’s going to be a decent amount of people there. I’m so ready, Pete.” He squeezed the smaller man against him, fingers digging in slightly.

The other man stopped abruptly a second later, his shoes squeaked against the floor below them and Tony banged into his side. “Peter, what’s – “ was as far as Tony got before Peter turned slightly and pressed their lips together. It was electric – the satisfying feeling of finally settling deep within his gut. Tony adjusted enough to wrap his other arm around Peter, their chests making contact for the first time.

A subtle smack from the stem of his guitar against the back of his head had him pulling away, a gasp leaving his lips. He felt a little numb, his fingers and toes tingling obscenely – the core of the feeling pulsing his lips, the ones that finally got to be pressed against Peter’s. “Wow,” Tony mumbled, a hand moving to the back of his head to both soothe the ache and distract himself. The somewhat public space they were standing in was the last spot they wanted to get caught pressing each other up against the walls kissing frantically.

Peter’s dopey look had him pressing back in for another soft kiss – just to tide them over until they could do this properly, preferably somewhere less public. “Hold that thought,” Peter finally mumbled, his arms dropping down to his sides, feet carrying him a couple steps away from Tony. “I just couldn’t stand it anymore, y’know?” Peter asked the question with a laugh. “Of course, you know.”

Tony felt too breathless to answer, his entire body on fire from just those simple little touches. It scared him a little, just how much he felt in that moment. It was a craving – one so constant that the dam could potentially break at any time. He rifled his fingers through his hair, blinking rapidly for a moment. Peter drove him nuts and now that he knew the taste of him – he just might not survive.

By mutual agreement, they didn’t follow each other home like normal. Tony wanted time to process the new step they took – he needed to find a way to get himself under control before things ran away from him. He let his fingers brush across Peter’s cheek before they walked out of the building, the touch almost enough to spur him up again.

The walk helped to clear his head, his emotions in check now that he could think away from Peter. Getting to the point they were at seemed inevitable, yet it still shook him to the core. Someone wanted him, the Tony Stark that didn’t come with the glitz and glam, the one that just wanted to be who he was, not who people thought he should be. Giddiness slammed into him, the thought that someone finally saw him way more than enough.

He didn’t see Peter until the four of them got together a couple hours before the show at Monteros’ – Tony dug into the pizza they ordered to stave off pre-show hunger, his nervous eating something he thought he kicked a long time ago. His stomach felt funny, so he put food in it – anything else would have caused him more anxiety.

They kept their focus on the show the entire time, Tony determined to have his brain in it all the way. He planned to ask Peter back to his place after they were done, but that wasn’t here nor there in that moment – they had a show to play. Their last-minute preparations were quick and easy, the stage was already set up and ready for them to come out and hopefully blow the crowd away.

Nick announced them without much fanfare a little while later. Stepping out onto the stage, Tony was stoked to see Rhodey in their normal set of seats, he’d been on the phone with his best friend for a couple of hours the day before filling him in on the Peter situation and the insider details of what their set would entail.

Not wasting any time, Ned counted out the start of I Love Rock ‘N Roll – Tony and MJ hit the opening riffs perfectly. Sucking in a breath, Tony started to sing – “I saw him dancing there by the record machine.” He let his voice get a little gravely, his fingers moving over the frets as he belted out the first verse.

Tony dropped out at the chorus letting Peter and MJ take the harmonies through it, his mind preoccupied with the heavy guitar piece throughout. The sound of hands starting to clap through the next verse had Tony grinning, his energy increasing by the second. He almost wished he could drop the guitar and walk around the stage, work the crowd a little. It was alive, the thrum of enjoyment absolutely intoxicating.

A roar of applause sounded when they finished, the four of them clapping out the last note with the rest of the crowd. Taking a moment to soak it in, Tony turned to look over at Ned, his head nodding to start up the next song.

The click of his sticks brought Peter’s keyboard to life, the first few notes his and his alone. He counted out the beats after MJ joined in, his hands coming up to grip the microphone – “I feel the hunger, it’s a hunger – that tries to keep a man awake at night.” Flashing his eyes over to Peter, Tony quirked an eyebrow, the words coming out of his mouth never truer than in that moment.

The chorus of this song was always Tony’s favorite and their decision to bring Peter in on it as an echo made it hit a little harder – the high falsetto of his “be my little baby, oh, ho, oh” making the crowd roar. Grabbing the mic from the stand, he gripped some of the cord in his free hand to drag behind him, his guitar slung over his back. He took a few steps across the stage as he built up to the chorus.

Pressing himself against Peter’s side, Tony held the microphone between them, the chorus seeming to sound even better this time with both of their voices ringing so clearly in his own ears. He let a hand run down Peter’s thigh out of sight before walking back across the stage, stopping only when the tips of his feet were dangling off the edge of it. He leaned forward and delivered the last run into the climax of the song.

Tony couldn’t wipe the exhilarated look on his face, his cheeks burning from the smile, from having to aid in moving his mouth so much – simply from enjoying himself like never before. They finished the song off with the entire band coming in to hit the final line in a beautiful demonstration of organized chaos.

The next song was Tony’s favorite of the set. They spent a few days deciding whether they should replace the fiddles with a similar sound on the keyboard or rearrange it to include more guitar – in the end, they gave Tony the freedom to do whatever he wanted with the arrangement. During one of their late-night hangouts, Tony and Peter put together something special.

Tony started them off with the singular sound of the guitar, his fingers plucking over the strings in attempts to get a more wholesome tune, the pick he’d need later in the song between his lips. Ned came in with the bass drum and set the pace for MJ and Peter to slip in right before he started to sing – “Come on Eileen – “

Despite loving the initial entry into the song, Tony enjoyed the collective voice they put into the chorus. Most of the lines were call and response anyway – Tony dropping out every other line to magnify the sound of his guitar and the combined effect of Peter, MJ, and Ned echoing the lyrics back to him. He’d never felt the amount of energy from the rest of his friends on the stage before – they were fucking killing it and they all knew it.

Ending the song with his hand in the air, Tony finally let himself take a breath. His entire body was thrumming with a sort of energy he didn’t know existed – Tony had never felt like this before. He let the music die down completely before turning and looking at the rest of the people on stage with him – he was met with equals looks of joy and success. MJ looked serene, Ned sweaty and blissed out, and Peter – Peter looked equal parts hungry and over the moon. When their eyes locked, Tony felt the scorch of their gaze, the intensity of it off the charts.

In three songs, Tony managed to validate all of the things he’d been feeling about his step away from the Stark legacy. He worried and wondered for such a long time; it was insanely nice to finally feel at peace with his decision. The pumping of his heart felt so damn right – there wasn’t a single doubt in him any longer.

Nick came on the stage and called for another round of applause for them as they walked off. The second there was enough space, all four of them gathered together into one of their weird group hugs. Peter’s hand settled into the back pocket of Tony’s jeans, the touch adding to the tingly warmth that was already threatening to overwhelm him.

“That was amazing, right?” Peter asked. Everyone took a step back, the serenity of their group hug shifting to the room around them, instead. Tony’s face ached from the megawatt smile he could see replicated on all of the other’s faces. Amazing wasn’t the right word to describe that experience – it was world changing, Earth shifting kind of stuff.

“Hell yes – we’re going to kill it at Battle of the Bands. The changes we made to Come On Eileen made that whole set come together. Brilliant, guys – fucking brilliant,” MJ said in reply, her voice loud, the exhilaration apparent in the tone of it.

“The crowd loved it, too. They were into it from start to finish. What a rush,” Tony added, his cheeks tinging pink at the admission – he couldn’t help it, he felt good, free for the very first time in his life. He heard Peter chuckle and turned to look at him, a shy smile on his lips.

Peter didn’t look away like he expected him to. The hunger in his eyes seemed to pulse, the sight of it making his cock suddenly come to life. Obviously unwilling to wait any longer to touch him, Peter stepped into Tony’s space, an arm wrapping around his waist. Tony reciprocated, his fingers snaking across the back of Peter’s neck to wrap tightly around his shoulders.

Ned and MJ were their friends and bandmates – it seemed pertinent to be able to feel comfortable around them. Society wasn’t on their side, but he hoped they might be.

Turning his head, Tony pressed a kiss to Peter’s hair – it smelled like citrus, some sort of hair product, and sweat; the delicious musk of him tantalizing. Tony liked to function under the rule of actions speaking louder than words – his attempt at telling them loud, but not shouting it subtle enough.

MJ turned to Ned, her fist slamming into his upper arm with a solid thwack – “Cough it up. I told you.” Her painted lips were stretched into a shit eating grin. MJ was a breath of fresh air and the silent acceptance of that one statement meant so goddamn much.

“Want to come back to mine?” Tony whispered, his lips barely grazing Peter’s ear as he spoke. He felt Peter shudder, the movement pressing the other man’s shoulder into his side more fully.

Instead of answering, Peter looked over at Ned and MJ, a smile slipping across his lips. “You two can take care of my keyboard, right?” His eyes flashed with amusement at the question, Tony noticing a deep flush coursing across his cheeks and down his neck. If all things went to plan, Tony would get to see where that blush stopped and what exactly it led to.

“Yes, go. The tension you guys let fester over the past few weeks is disgusting. I’ll stop by May’s tomorrow and get your keys to you.” She stopped, then looked back at them with a saucy smirk. “Protect yourself, boys.”

----

Throughout the walk, Tony figured things would cool down between them – they needed to focus on the steps in front of them, not each other. Yet, Tony struggled to keep his hands to himself. The overall aura radiating from Peter was so bright, like light directly from the sun – the nights activities and anticipation for more looked amazing on him. Tony wanted to grasp the brightness and keep some for himself.

It seemed to take forever to get to his place, despite it being only a few blocks away from the bar. Getting to his building, Tony practically pushed Peter up the stairs. He struggled with the lock for a couple of seconds before getting the damn thing open with a sigh of relief. All bets were off when the door closed behind them.

Tony pressed Peter against the door, his hands settling on the other man’s hips in a tight grip. Using it to his advantage, he pressed Peter more firmly into the wood and rested his own hips against him. A moan left his lips at the evidence of Peter’s arousal, the bulge in his jeans more than obvious now that Tony was pressed so tightly against him. Rolling his hips, Tony thrust against him until they were lined up, cock to cock.

Peter’s head knocked back against the door, the solid thud of it making Tony look up. Normally bright brown eyes were covered by soft looking eyelids framed in gorgeously long eyelashes. The squint was back, crinkles at the corners of his eyes and a tight pinch between his brows one of the man’s natural reactions. His mouth was wide open, little hums and gasps falling from his lips.

While he still had a bit of sense left in him, Tony pulled back a little, the hands still on Peter’s hips guiding him, pulling him forward until they were walking down the hall. Tony could find anything in his place with his eyes closed, so the backwards position wasn’t an issue for him. The backs of his legs hit the mattress when they finally made it into the bedroom. Tony sat down on the edge of it, his hands still tugging Peter along,

The man didn’t hesitate to straddle his lap, a long sigh leaving both their lips when their cocks were lined up again – the pressure of his jeans made him want to tear off all their clothes, but the deliciousness of Peter’s hard warmth against him was too hard to pull away from just yet. Peter leaned down to kiss him again, his hands greedily running down the sides of Tony’s flanks until fingers were toying with the plain red shirt he’d been wearing up on stage. Wanting to help, Tony lifted his hands so Peter could pull the shirt over his head.

Fabric hitting the floor spurred Tony on just the same, his hands not nearly as smooth in their removal of the short sleeve button up Peter looked so damn good in. He let a huff of success leave his lips when he got the shirt down the other’s arms, his wrist flicking it across the room. With so much skin on display, Tony found himself in stimulus overload. He wanted to nip, kiss, and touch every single inch of him – Peter’s skin was smooth and pale, a couple of freckles and moles littering his torso and upper shoulders. Tony ached for it all.

“Hold on,” Tony mumbled against Peter’s lips, his hands gripping under Peter’s thighs. He stood up and flipped their positions, Tony doing his best to put Peter down on the bed gently. Peter’s pearly white skin was a perfect contrast to the black sheets on the bed – the man a spark amongst the darkness.

Eager fingers moved to the button of Peter’s jeans – he worked to get them open, unzipped, and down his thighs in no time at all. It took a bit of fumbling to get his shoes and socks off without making it awkward, but Peter was in just his black briefs in no time. With a quick kiss to Peter’s lips, Tony pulled away, getting up from the bed – he needed to get his pants off that very instant, or he might actually explode.

Peter shifted his position on the mattress, the man coming to his knees and meeting Tony at the edge of the bed. A sigh of relief fell from his lips when the metal of his zipper was no longer digging into his sensitive flesh. Kicking everything to the side, Tony stood in front of him completely naked – his cock sticking straight out in a delicate salute to one Peter Parker.

Before he knew it, Peter’s lips were around his cock – the other man didn’t waste a second of time, his greedy hands palmed Tony’s ass cheeks and pulled him closer; his cock slipping even further into the tight heat of his mouth. Tony let his hands drift into Peter’s hair, his head dropping back, the tension of his neck the only thing keeping it on his shoulders still.

Despite knowing he liked men since an early age, Tony wasn’t exposed to very many options to find partners similarly inclined. His experience wasn’t vast – even still, he knew Peter was good at what he was doing; Tony’s brains were oh so delicately being sucked from his cock little by little. Finding that he couldn’t keep his hips still anymore, Tony loosened is grip, forcing himself to look down. “I’m going to cum if you keep doing that. I want the first time to be inside of you,” Tony mumbled hoarsely, his arousal coloring his voice drastically.

The licks and sucks didn’t end right away, Peter bobbed his head a couple more times before pulling away, spit on his chin and a mischievous grin on his face. “I needed to taste you,” he said simply, his body already shifting away from Tony and further onto the mattress. He shimmied out of the briefs and threw them over the side of the bed. Tony watched him settle in the middle of the mattress on his hands and knees, his head turned looking at Tony over his shoulder. “This okay?”

“More than,” Tony babbled, his body moving on autopilot to the perfectly Tony sized space between Peter’s legs. He gripped both of cheeks in his hands and parted them, his tongue slipping out to drag across his perineum. He traced up the path and settled at Pete’s puckered hole, the tip of his tongue darting against the tension without any warning.

“Fuck, Tony – warn a guy,” Peter rumbled, a chuckle lacing his words. He pressed his hips back against Tony’s face, the action totally contradictory to his words.

Pressing against the rim again, Tony felt Peter relax around him, his tongue slipping in only for Tony to pull it back and thrust forward quickly again. The small ‘ahs’ he was getting from Peter spurred him on. He took long licks around the rim, the spit of it all collecting in his goatee and dripping down to the sheets below him.

He would’ve kept going, but Peter turned and tried to paw at him, his fingers gripping whatever they could of Tony’s arm. “I need you to fuck me, Tony.” Who was he to not stop what he was doing and get down to business? Nodding, he pulled back with another long lick from his crack down to his balls – a moan sliding from his own throat as he did.

Tony forced himself to reach over and open the bedside drawer. In anticipation of tonight, he brought a brand-new box of condoms and bottle of lube. Grabbing them, he tossed the condom onto the bed next to Peter’s hip and tore at the wrapping around the top of the bottle with his teeth. He let a sigh drip from his lips when he got it open.

Flipping the cap, Tony squirted a good amount of the lube on two of his fingers and let it heat up there. “Might be cold,” Tony whispered, both fingers pressing against Peter’s rim. There wasn’t much resistance when he pushed inside, his tongue doing a good job relaxing him. He thrust a few times, fingertips seeking out that special spot and finally hitting it.

“Do that again!” Peter exclaimed, his hips shoving back in an attempt to get Tony’s fingers deeper. Complying without question, Tony reached until his fingers were pressing against Peter’s prostate with every thrust. The walls around his digits were quaking, Peter rhythmically clenching around him. Tony couldn’t wait to feel that around his cock, the hardness straining between his legs sluggishly dripping precum from the tip.

Peter reached behind himself again, his hand patting the mattress until he found the condom. “Put this on. I need you.” His voice was dripping with need, the man’s hips thrusting forward into the mattress on their own accord. Peter was strung out, the sight enough to be any man’s downfall. Tony’s head swam for a second, his arousal finally catching up to him.

He bit into the side of the package and tore it open, his fingers working quickly to get the condom down his length – he had to clench the base of his cock a couple of times to stop himself from coming; it was all too much.

A lubed-up hand circled Peter’s hole a couple of times, then smeared the rest down his length – Tony gripping himself hard as he lined up and pressed forward. The initial push was like glorious torture – “Push back against me, you’re so tight, Pete,” Tony babbled, his cock encased in the most enticing heat he’d ever experienced. The orgasm he’d been trying to stave off the entire time was quickly approaching.

Finally bottoming out, Tony gave himself a moment to calm down. His skin was riddled with goosebumps and completely sweat soaked. He marveled at the same sheen he could see on Peter’s skin. He reached around until his hand was closing over Peter’s erection, the other man considerable in size and girth – his cock surprisingly rock hard despite the pain he probably felt upon first intrusion. Tony let his hips roll forward and the cock in his hand jump – the throb there so apparent against his palm.

To impatient to give either of them anymore time, Tony started to thrust. He drew his hips back until only the tip was resting inside, his balls already scrunched up and tight against his skin. Letting his hips roll, Tony pushed back in nice and slow. Peter took every inch, his body moving in time with Tony’s. After a few minutes, they found a good rhythm – Tony sat back up and clenched slim hips in his hands, picking up the pace.

It felt like hours, the push and pull of their coupling. Peter panted out Tony’s name over and over again – his voice rough, sounding a little more shattered each time. Tony did his best to keep things tame, but finally hit a melting point – his body ached, the need for release getting to the almost painful point. “I’m so close, Pete.”

“Me too. Touch me, touch me – please,” Peter babbled in response, his hips pressing back into Tony ruthlessly, the pace all sorts of fucked up now. Reaching around again, Tony wrapped his hand around Peter’s dick, his hips picking up speed enough to where the other man’s cock slipped through his grip with every thrust.

He felt the sticky wetness on his fingers and absolutely lost it. “Ah, Pete!” he just about screamed, his orgasm hitting him like a truck going full speed. Tony had just enough left in him to pull out and sink to the mattress with only half of his body on top of Peter’s.

They laid in their mess for a few minutes, Tony doing his best to blink away the dark spots and haze. He watched Peter’s breathing even out, the man’s chest heaving a little less with each draw of breath. The sweat on his skin was what brought him completely out of the post-orgasm goodness, his skin once again breaking out in goosebumps.

“Want to take a shower?” Tony questioned, his lips pressing to the back of Peter’s neck. He sat up and pulled the condom off, tying it and sending it into the wastebasket by the side of the bed with a thunk. He ran a hand up Peter’s hip just because he could – the concept one he would have no problems getting used to.

Peter reached back and pulled him into a kiss, a grin on his lips. “Sounds good, baby.”

----

Two weeks later, they were gathered in their rehearsal space, prepping one last time for Battle of the Bands the next day. After getting some feedback from friends and randos in the audience, the group decided to add a fourth song – they were given twenty minutes to perform and could get all of them in if they were efficient about their time.

Since the night of their show, Peter and Tony were pretty much inseparable – they practiced together daily, ate at May’s, hung out with MJ, Ned, and Rhodey; and had lots of sex. It was a good kind of weird, having someone to touch and kiss – Peter loved to be near him and always wanted to be against him in some fashion. Bonding the way they were helped their chemistry on stage, too. They were on fire – the translation of that in their performance coming out in the shape of wild energy and passion.

Wrapping up, MJ posed the question they’d been avoiding this entire time. “What do we call ourselves? We’ve been playing together all this time and never thought to come up with a name.” She looked at each of them, her eyes searching for some sort of clue.

“3 dudes and a lady?” Ned threw out, his shoulders shrugging. MJ’s eyebrows pinched together, the obvious distaste for that one written all over her face. Ned shrugged again – “At least I tried.”

Tony looked over at Peter, his brain going back to all of the adventures they had walking through this very neighborhood. When there wasn’t much to do, they picked a street and wandered until they found something or ended up back home. A grin slipped across his cheeks, an idea coming to him. “Why don’t we call ourselves The Neighborhood Friendlies?”

There was a beat of silence before MJ broke into a grin of her own – “Tony Stark, you’re a genius.”

Hearing that name announced the never next day made Tony’s heart want to beat straight out of his chest. They walked out onto a stage that was twice as big as Monteros’ and brightly lit. Tony squinted, his pulse thrumming in his ears. It took him a second to adjust and then another second to recognize Peter’s hand on his arm, the fingers there squeezing reassuringly. “Let’s rock it, baby,” Peter mouthed, his right eye winking saucily.

With a click, the performance clock started, the stagehand off to the side holding up her thumb as a sign to get started. “Hey, everyone. We’re The Neighborhood Friendlies!” Tony spoke into the mic, his voice much steadier than he figured it would be. Turning, he nodded at Ned – the man grinned and bringing his sticks up, clicked out the starting tempo.

Their first three songs went great, their dynamic got better the longer they were up there – the crowd played into it, chanting and cheering – the sound of it enough to keep Tony focused, his nerves in check, but just barely. Looking over at Peter, he returned the wink from earlier and started in on their final song – “Calling out around the world, are you ready for a brand new beat?”

He swung his guitar around his back and grabbed the mic from the stand meeting Peter in the middle of the stage. Dancing in the Street called for both of them to sing the entire time, the matching pitches of their voices sounding better than Bowie and Jagger. To top it all off, they kicked around the stage, getting themselves purposely tangled in the mic wires, only to finish perfectly free on opposite sides of the stage from each other. Leaning into his shoulder, Tony pressed his face into the sweat soaked shirt and let out a huge breath. No matter what, they’d just given and left their all out on the stage.

The four of them tried to watch the rest of the bands from the back of the stage but couldn’t focus a single bit – Tony was still thrumming with excess energy and excitement from their amazing performance. After that initial jolt of nerves, Tony forgot all about the big crowd and the potential prize and just cut loose – his performance all the better for it. He and Peter were covertly holding hands, MJ and Ned flanking them to be close and act as cover all at once.

As the last band performing left the stage, Tony felt himself starting to get a little nervous again. If they took this thing, they could easily find themselves on track for a record deal – the money they brought home from this would give them more than enough wiggle room to record, maybe even find a lyricist that could help them put together original songs for them to debut. His fingers gripped Peter’s tightly; the other man just as nervous if the sweat against his palm had anything to say about it.

It almost didn’t register – when their name was announced. Tony and Peter looked at each other, then turned to look at MJ and Ned – all four of them completely dumbfounded. “I think that’s us,” Ned finally said, a huge grin breaking out across his face.

“Holy shit, that’s us!” Peter yelled, his hand gripping Tony’s so tightly he thought for a moment that he might’ve broken a bone. The other man leaned forward and pressed a kiss to his cheek – “We fucking won!”

----

The next time Tony saw his father, they were finishing up their first tour in beautiful New York City – the band practically demanded it when they found out they’d be leaving the city for six months. It was a hell of a ride, traveling the states in a bus, getting to play for thousands of people on a nightly basis. Tony learned so much about music and singing, about himself and the things he wanted and could do, and about love and the way he could so selflessly give it to someone else.

When Peter looked at him on the stage, it felt like the first time every time. They were so much more now, together and apart – Tony figured things would always feel old as dirt and brand new all at the same time with Peter. That had to be what forever felt like.

So, seeing Howard standing there in the VIP line, Tony was pleasantly surprised. 18 months ago, he still would have tried to flee or angrily push him away. Now, he merely smiled at him, his dark tinted glasses hiding the hope that he couldn’t ever stop from coursing through him whenever his dad was around. “Dad, here for a picture with the band?” Tony asked, stepping up to the rope himself instead of letting the attendant walk him back.

“What are you doing here?” he asked once they were away from the rest of the line. He wanted to trust that his dad wanted to be there to support him, but that hadn’t ever been the case before. It felt like a longshot that something like that would change so easily.

“I had to see for myself. How good you were doing. Your mom plays your stuff in the house all the time. I just – needed to see you.”

Tony’s stomach clenched; he’d been waiting to hear that from his dad for his entire life. Without thinking, he threw his arms around him – “Thanks for coming.” He mumbled the words into the jacket of his suit, then pulled away. The current technology made getting pictures of him a lot easier these days.

“Well, come on, then. I’ve got some people I want you to meet.”

#starker #ironspider #peter parker/tony stark #tony stark/peter parker #musician peter parker #musician tony stark #au prompts #au #starkerfestivalsevents #pop star au #bobbie writes

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12/17/2020 DAB Transcript

Nahum 1:1-3:19, Revelation 8:1-13, Psalms 136:1-26, Proverbs 30:7-9

Today is the 17th day of December the 352nd day of this year welcome to the Daily Audio Bible I am Brian it is wonderful it is a joy to be here with you today as we take the next step forward. And, so, right off the bat as we’re moving toward the…the Old Testament we finished, completed the book of Micah yesterday, which was the sixth of the minor prophets, the sixth of…the sixth of the 12 minor prophets. So, we’re going into book 7 of the minor prophets today. And this is a book called Nahum and we will read it in its entirety today in one sitting. But let’s talk about it.

Introduction to the book of Nahum:

Let’s first remember a city called Nineveh. Remember that city, the capital city of the Assyrian Empire. We remember this story probably most vividly from Jonah, Jonah the prophet running from God but than having to circle back around and obey God and go to Nineveh and the Ninevites repent at the time. Nahum deals with Nineveh, but we have to go forward about 150 years after Jonah. And the thing about Nahum is almost nothing is known about them at all. The name Nahum means comfort and the book says he was from Elkosh, but the problem about that is nobody knows where Elkosh is. Like, was it a village, was it a town, like where are we talking about? Placing Nahum in time is a little bit easier because there are some references to events that are historical events contained within the prophecy. For example, Assyria conquered Thebes, which is in Egypt and that is a well-known historical fact and that happened in 663 B.C., but it's referenced in Nahum. So, we…we know the Nahum was written after that date. And Nahum also prophesies the…the fall of Nineveh. And that's also a historical fact, it happened in 612 B.C. So, Nahum probably did his prophetic ministry between those two events. And like I said this is a prophecy against Nineveh and this time the destruction of Nineveh is foretold. So, whatever repentance they had 150 years previous…well…was over. And the Assyrians were known for their brutality and known for their mistreatment of those they had conquered. I mean like a legendarily known for it. And they had destroyed the northern kingdom of Israel. And we remember this. We read the entire story. The Assyrian Empire came and destroyed Samaria and took the northern 10 tribes of Israel into exile where they were assimilated and never were cohesive tribes ever again. And, so, God uses Nahum to foretell the destruction of Nineveh. And there are many scholars who believe that Nahum…like Nahum didn't travel to Nineveh to give this message. This was a prophecy likely issued from Jerusalem and was likely intended to be heard by Hebrew people who knew about the destruction of the northern kingdom, and then this prophecy would come and tell them God's intentions, which would give them encouragement to live true and live into all of the things that they were facing knowing that God was just, and that God would in the end would do what God will do. And, so, in the major and minor prophets we've seen God foretell things but also invite repentance and then tell of a future where things would be restored so we know that God is merciful and patient. But we also know that God, He’s not a pushover, and nobody's gonna push…the…this is God. And, so, no nation will stand before God and God will not stand for a nation's sin forever. And, so, with that we will read the complete book of Nahum. We’re reading from the Good News translation this week. Nahum contains three chapters, and we will of course begin with chapter one.

Prayer:

Father we thank You for Your word. We thank You for the 136th Psalm today that over and over in the face of everything reminds us that Your love is eternal no matter what. And we are grateful for that. We bask in that. We relax in that. We exhale in that. Thank You for Your eternal love for us and we invite Your Holy Spirit to continually remind us of this. This Psalm is so beautiful because it won't let it go. Your love is eternal over and over and over. And, so, let that sink in today. Holy Spirit come we pray in Jesus’ name. Amen.

Announcements:

dailyaudiobible.com is the website, home base, and its where you find what's going on around here. And it's been Christmas around here. It gets more Christmasy every day as we move towards Christmas in the world. And, so, it's been Christmas time around here. So, let me let you know about something brand-new for Christmas.

So, my wife Jill is a singer if…if you didn't know. Not like, she's my wife and she sings, like a professional singer. This was…this was Jill’s career and my career was in the music business as well as a record producer before…before life tipped upside down and we found ourselves in full-time ministry. Something we really really thought was never on the radar. So, she has several albums and has toured all over the world singing. And, so, virtually she will be performing a candlelight service with some of our friends and partners in ministry in the Global Campfire community. Churches all over the world are part of what we do here. And, so, she’s gonna be singing and we’ll post a link to that, especially if…especially if you are virtual and maybe have no home then we’ll definitely post that on our social media links on Christmas eve. But she was asked to sing O holy night, which any of you out there who are singers, you know, that’s a singer’s song and that is a deceptively difficult song to sing. But she and I got together, and we were like, “let's…let’s make this real. Let’s do this like we always did. Let's…let's create a single that we can release into this holiday season into this unforgettable year. The words of that song just cut through which is why it's one of those songs that’s just stood the test of time, it just cuts through. And, so, we produced the single and she sang her heart out and we released it and you can hear now. Look for Jill Parr. Of course, her names Jill Hardin, she's my life but she was Jill Parr before she was Jill Hardin, and she was already known as Jill Parr and that's who she's known of…as known as…as a singer. So, just look for Jill Parr and look for O holy night the single and there you go, you can stream on Spotify, modify Apple music, Google play, YouTube music, wherever. You can also buy it from any of these stores and $0.99 track is like a stocking stuffer for the Daily Audio Bible. Everything helps, especially everything in a year like this one. And we’ve just kind of always had a little bit of an unspoken motto - if we’re gonna ask, we’re gonna give too. And, so, we worked hard and it's available now for your Christmas listening pleasure and I hope it encourages you tremendously and inspires you.

Also, kind of while you’re streaming or, you know, downloading albums and stuff there’s the Family Christmas album that is the soundtrack to the season for the Global Campfire. And you can get that at the Daily Audio Bible Shop if you want like a physical CD copy, but if you just, you know, your music is digital, and you download your albums digitally then look for Family Christmas. You can look for my name Brian Hardin and you’ll find Family Christmas and stream or buy that record. It is the kind of record that…well…that really follows the sensibilities of the Daily Audio Bible where we really, really seek out peace, we really seek out serenity when we read the Scriptures, we really try to create a space that’s holy, a space that’s different, that's sacred and separate from all of the cares of this life, so that we have an oasis, a place to go. Well, Family Christmas is the soundtrack inside of that for Christmas. It’s the kind of thing you just sip your hot cocoa. And like I’ve always said, because it's what I like to do - turn off all the lights, leave the Christmas lights on, and just sit and take it all in. And Family Christmas is a great soundtrack for that. So, check it out.

The other thing that we have been talking about is the Daily Audio Bible Shop and resources that are available there that make fine gifts and inspiring invitations to engage with the Scripture on a more intentional…in a more intentional way. So, a couple more days and we will have reached the end of the road there as far as shipping goes. We’re well past shipping for arrival for Christmas time internationally but here domestically with in the United States, a couple more days and then we will have reached that threshold as well. So, we’re kind of in the final…final days. So, to check out the Daily Audio Bible Shop.

If you want to partner with the Daily Audio Bible, you can do that dailyaudiobible.com as well. There is a link on the homepage. Thank you humbly and profoundly for your partnership. If you’re using the Daily Audio Bible app you can press the Give button in the upper right-hand corner or the mailing address, if that's your preference, is PO Box 1996 Spring Hill Tennessee 37174.

And, as always, if you have a prayer request or encouragement 877-942-4253 is the number to dial.

And that's it for today. I’m Brian I love you and I'll be waiting for you here tomorrow.

Community Prayer and Praise:

Good morning siblings it’s your little sis His Little Cherry in Canada. Today is the third Sunday in Advent the beginning of joy and I’m so grateful for Advent this year. Every day in Advent I have been walking to the sunrise and it’s been such a nourishing exercise. Today is bitterly cold. It’s -17 right now that’s Celsius which is about 1°F and I still plan to walk to the sunrise. I’m just getting ready to go, bundling up. I’m putting three pairs of pants on and my big wool sweater and then my big knee length down jacket and I am bundling my head up with just a slit for my eyes showing and deep Arctic gloves and on and on and on. And I will be waddling to the sunrise this morning but I will be there and I just have come to depend on seeing the sunrise. Hosea 6:3 says, “as surely as the sun rises the Lord will appear. He will come to us like the winter rains, like the spring rains that water the earth. So, come Lord Jesus I will meet you at the sunrise. We will both be there.” And family I’m taking you with me today to discover the certainty of joy.

Hello DAB family I was just listening to this song that says, “yes I will choose to glorify your name, the name of all names” and I was thinking about just 2020 and how we can say as believers God has been good in 2020. God has been faithful this year. We’re going to look at all of the things that he’s done for us and know all of the things we don’t know that He’s done for us to take care of us, to show us love, to protect us. He’s done so much. And, so, I choose to praise Him. I choose to give thanks for all that He is and all that He’s done in 2020. I am praising Him for it. This has been a great year. It…it still has and sometimes I have to go to the store, and I wear a mask and I feel claustrophobic and I don’t like it but I’m praising Him and when I hear about people sick, I pray for them. So, that’s the way I choose to live but I choose to praise the name of all names, Jesus and I just encourage you all to do the same. And I love you and bless you and I’m so happy to finish out the year with DAB.

Grace and peace Daily Audio Bible family this is RJ calling for Jesus. I just want to say this year 2020 has been a year of bitter and sweet. This year I’ve actually lost my mom. A month before that I actually got married to the love of my life. Three months before that I actually contracted the…the Covid virus and was tested positive and wow…during the season, you know, with my mom when we had her a home going I was able to reconcile with to my children one of my…one of my boys here that’s with my new wife has gotten in trouble with the law, you know, my job is at a…has had…a lot of things have been happening, a lot of ups and downs. But I pray to God in the name of Jesus. So, a word of encouragement to those who are listening and to just never give up. Our God is able. He’s faithful to do exceedingly abundantly above all that we could ask or think according to the power that worketh in us through Christ. So, I pray that each and every one of you guys that are listening that you’re encouraged, that you let the love of God shine in your hearts and in your mind that whatever you do or what you see will be through that lens of love and you will share it to others. Be encouraged my family. Let the love of God continue to shine. Love you all. May God bless you. Amen.

Good morning this is Boyce in northern Nevada and first of all I want to thank Brian for this amazing community and this app that helps us to start our day with the word of God. I feel burdened to pray for all of the delivery people that are working right now many times around-the-clock. I’m a USPS mail carrier myself. And, so, I know that all…all delivery drivers and carriers are working tremendously harder than normal during this season. And, so, I just want to pray. Father God just be with all of the…the carriers - FedEx, UPS, USPS, Amazon drivers - that are having to work just around-the-clock tremendously longer hours and under the burden of this Covid 19 situation that is adding tremendous strain to their…to their jobs. And just give them a sense of gratitude for all of the joy that we get to…we get to help people to receive the things that they ordered and that they need and that we have good jobs that are providing for our families. Also, Lord give them a sense of, you know, the harder that we work the more that we enjoy our…our time off. So, I just ask that you be with them and keep them safe, their family safe in Jesus’ name.

Hey Daily Audio Bible family this is Jason from North Carolina area. Brian I just wanted to say thank you for this. I’m glad that the Lord convicted your heart and allowed in His good grace you to produce this podcast. And I look forward to the God of My Story that I purchased for me and family members for Christmas. I look forward to using that as a companion to the Daily Audio Bible next year. This is my fourth you’re listening, and this is going to be the first year that I complete the Daily Audio Bible completely. And I thank the Lord God for that for it has changed my life profoundly. Jim and Janet if you’re listening to this just know that I love you so much and I thank you for this gift. I thank you for the encouragement and I’m glad that I truly believe the Lord prodded you to tell me about it because it is definitely within the wheelhouse of how I learn and just cannot tell you enough how it has grown me and matured me, and I look forward to keeping it a part of my life for as long as the Lord will allow. And I definitely look forward to using the Chronological Daily Audio Bible next year in the evenings. I’m a nurse so in the mornings I love having this quiet time making breakfast listening to the Daily Audio Bible, but I’ve been convicted and know lately that in the evenings I’m kind of board and I just look forward to hearing from the Chronological. So, again I thank you for that resource as well. I love you all and I thank you very much for this. Just it is wonderful again to have this example of community within our own local churches and families but as a church abroad. In Jesus’ name I pray. Thank you, guys. Amen.

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dustedmagazine · 4 years

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Dust Volume 6, Number 7

Stars Like Fleas

The summer rolls on in a very peculiar way, with masks and zoom calls and brief, furtive trips to the grocery and the growing realization that normal is months, if not years, away. Even so, the music remains excellent. Thank god it’s downloadable and accessible even in these strange days we inhabit. Here writers including Bill Meyer, Jennifer Kelly, Jonathan Shaw, Ian Mathers, Justin Cober-Lake and Ray Garraty consider improvised drone, precocious alt.country, experimental banjo tunes, rap metal and jazz. Enjoy.

75 Dollar Bill — Live at Café Oto (75 Dollar Bill’s Social Music series)

Live at Cafe OTO by 75 Dollar Bill

Before 75 Dollar Bill put out those widely revered LPs for Thin Wrist records, Che Chen and Rick Brown made a series of tapes. You could pick them up at shows, packaged in a clamshell case with a business card advertising their services. 2020 is a plague year, so it’s going to be a while before anyone hires them for another party or a parade, but this download-only release fulfills similar functions. It captures the band at a particular moment in time, and it gives you a chance to throw a few bucks their way. Do so and you probably won’t be sorry, because the late 2019 tour documented by Live at Café Oto was unique in 75 Dollar Bill’s history. Chen and Brown did the whole run of shows with double bassist Andrew Lafkas, but they also did nearly all of them without essential gear. It wasn’t until near the end, when they played in England, that Brown was reunited with the big wooden box that is his main percussive instrument. Spread across three sets, this three-hour long album shows how swell they sound when they’ve got a committed agent of swing adding his subtle shift to their Bo Diddley meets Mauritanian wedding music groove. If you know I Was Real, you’ll recognize many of these tunes, and you’ll likely appreciate the differences that 75 Dollar Bill works and reworks upon them.

Bill Meyer

Bandgang Lonnie Bands \ Bandgang Javar – The Scamily (TF Entertainment \ Empire)

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After Bandgang broke up, Lonnie Bands made a successful solo career. His only misfortune, apart from a murder rap prosecutors tried to stick him with, was that he picked up a no-talent partner Javar. Here, surrounded by aggressive but undistinguished artists Mascoe and Paid Will, Lonnie hasn’t learned lesson. Thankfully, Javar makes his presence on The Scamily scarce, and the second half is basically Lonnie’s solo effort with some guests. As usual, Lonnie makes himself busy in illegal activities: drugs, scams, pimping, firearms. He neatly sums up his bad deeds on “Me Too”: “You on that bullshit? Me too.” The Scamily is not that focused as last year’s KOD but Lonnie, with his slick rhyming and catchy hooks, always reinvents a bad man’s lexicon.

Ray Garraty

Sammy Brue — Crash Test Kid (New West)

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Sammy Brue is no longer quite the wunderkind he was when he released his first full-length at 15, but he is still quite impressive here on the follow-up, hitching the spit and fire and wordy angst of, say, Ezra Furman, to the downhome pyrotechnics of Bob Log III. “Teenage Mayhem” explodes with teenage aggression, building out a twitchy blues riff into a monumental rock chorus, while “Crash Test Kid,” is softer sonically, but just as unflinching in its narrative. “Skatepark Doomsday Blues” is epic and grandiose but carries it off, infusing an old man’s blues progressions with the eruptive feelings of young manhood. All the signs point towards Brue growing into his art. He’s already channeling raw emotion into sharp song structures and lyrics without sacrificing their force. It’s a drag getting old, but it doesn’t have to be a step back.

Jennifer Kelly

John Butcher — On Being Observed (Weight of Wax)

On Being Observed by John Butcher

English saxophonist John Butcher has a deep and diverse discography, much of it on CD. Since the standard of his playing is so high, and the settings and accompanists he selects so diverse, they’ve never been merely about documentation; you’d have to look hard to find a dud on the shelves. But as format preferences, economic shifts, and that damned virus turn everything upside down, Butcher has, like everyone else, found himself suddenly with plenty of time to comb through the hard drives and reassess the music stored there. And since CD manufacturing and distribution has been snarled up worldwide, what better time to transfer some of it straight to yours? On Being Observed comprises six solo performances recorded between 2000 and 2006, and you could not ask for a better introduction to what he does on his own. It features him in the studio, at a jazz festival, and in some unusual acoustic environments which afford a number of ways to understand what it means to read the room. Whether he’s playing to an audience or a 20 second delay in a dis-used gas storage facility, acoustically or amplified, using a soprano or tenor sax, Butcher’s tone is unmistakable, and his sense of how long to develop ideas and how to develop them is peerless.

Bill Meyer.

Carling & Will — Soon Comes Night (self-released)

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Carling & Will (banjo player Carling Berkhout and multi-instrumentalist William Seeders Mosheim) have spent the last few years working out new twists on old-time music. Their debut album Soon Comes Night takes another a step forward from their previous, more traditional sound. Much of the album relies on the interplay of banjo and electric guitar. The pair don't go for outre sounds, but Mosheim provides textures for Berkhout's banjo playing. “Lillie's Lullaby” offers a highlight, not only in its prettiness, but in its revelation of Berkhout's idiosyncracies as she shifts in and out of more typical patterns. The album in itself makes for a lovely collection of songs, but it has both the ups and downs of an act starting to find itself. Carling & Will have a distinct voice, and the more they work to develop that (probably by letting Berkhout get odder and Mosheim explore his voicings a little), the more impressive they'll become. If the pair decides to just focus on smaller updates to mountain music, they've already shown a worthy artistry in that.

Justin Cober-Lake

Cloud Rat — “Faster” (Self-released)

Faster by Cloud Rat

Like a lot of us, the folks in Cloud Rat have been cooped up behind walls, watching the world burn. But that hasn’t stopped them from making some terrific music. This new track, “Faster,” has been posted to Bandcamp as a benefit for Black Lives Matter-aligned organizations. The song is somewhat in the mode of their most recent EP, Do Not Let Me off the Cliff (2019). That record traded in the band’s characteristic grindpunk intensities for some weirdo experiments in dreampop, noise and gauzy gothic nightmare soundtracks. “Faster” isn’t quite as far out there, and longtime listeners of the band will recognize some of the textures of tracks like “Moksha,” “Raccoon” and “Luminescent Cellar.” The song starts and ends with some lovely acoustic finger-picking by guest musician Andy Gibbs of Thou. In between, there are clean vocals by Madison Marshall that border on the ethereal, and electric riffs that build and build toward majestic heights. Good cause, great tune.

Jonathan Shaw

Drakeo the Ruler – Thank You for Using GTL (Stinc Team)

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Recorded through a phone line from prison, with beats later provided by JoogSZN, Thank You For Using GTL right after its release was named best prison album since Penitentiary Chances, by now classic joint effort by C-Murder (still incarcerated) and Boosie Badazz (now free). It was too strong a claim to be true. On that duo’s album you can hear a sense of doom hanging over them. When all hope is lost, there is only a prayer, and even that can get lost on its way to God. There was no tomorrow. Drakeo the Ruler, on the other hand, raps like there is tomorrow. Even rough sound of voice recording and “This call is being recorded” tags are more like a necessary sound effect and a gimmick rather than an effect of reality (he couldn’t do it any other way). Strip this tape of all these effects, and you end up with an ordinary rap album, exactly like others released by dozens every week. Maybe there is no reason to thank GTL. It did us a disservice.

Ray Garraty

Holy Hive — Float Back to You (Big Crown)

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These super laid back funk soul cuts stay well inside the pocket, except when they veer unexpectedly into indie-folk. The funk parts come from one-time Dap King Homer Steinweiss, whose loose but transcendent way with a groove can be best heard on “Hypnosis.” Paul Spring, the singer, brings in the psychedelic falsetto, more Justin Vernon than Curtis Mayfield, but still radiant and chilling. The title track plays like a lost 78 soul classic, Spring’s mournful melody wafting skyward as big loopy bass notes and splayed jazz guitar chords drop into a slink and strut of snare drum. That’s maybe what you’d expect from Steinweiss’ Brooklyn soul revivalist resume, but elsewhere, there are surprises. “Red Is the Rose” sounds like Tunng, all space-bopped folk magic and electro-pinging drums, and “Be Thou By My Side” is lattice-picked folk without the slightest hint of syncopation. Both sides of Holy Hive have their sweetness, but only the funk stuff buries a stinger.

Jennifer Kelly

Dustin Laurenzi’s Snaketime — Behold (Astral Spirits)

Behold by Dustin Laurenzi

Here’s an irony for you. Composer Louis Hardin, whose habit of dressing up like a Viking and hawking his wares on the streets of mid-20th century NYC turned him into a bona fide attraction, may have conversed with jazz musicians, and shared a record label or two with them. But he didn’t really like jazz. Nonetheless, jazz musicians liked his music back, and they still do. The melodies are graceful, but malleable, and the Bach-meets-powwow rhythms have plenty of productive implications for a percussionist willing to work between the lines. After years of study Chicago-based tenor saxophonist Dustin Laurenzi formed Snaketime, a project named after one of the composer’s rhythmic notions, that turned seven of his compatriots loose upon the Moondog book. Maybe loose isn’t quite the right word, since Laurenzi’s arrangements show deep respect for the original melodies and their exotic vibe. But there’s not a lot of music that can’t be made a bit better when you ask bass clarinetist Jason Stein to improvise from its foundations. This half-hour long tape adds four tunes to the seven on last year’s excellent LP Snaketime: The Music of Moondog, and any one of them could have made the cut if Laurenzi had been given enough rope to make a it a double album in the first place.

Bill Meyer

MachineGum — Conduit (Frenchkiss)

Like its Pepto-Bismol-pink cover, these songs seem a bit over-sweet and undernourishing at first, but damned if their synth and disco and art-rock grooves didn’t start to catch on after a few listens. The project, launched in New York City with the mysterious appearance of pink gum machines, is not what you’d expect from a Strokes offshoot, but give Fabrizio Moretti credit for branching out. Here tight, “O Please”’s sleek, wah-wah’d guitars and fat-fingered bass throws off a funk shimmy, but soft, dream-y choruses add an element of electro-pop introspection. “Act of Contrition,” by contrast, swells and swirls with gothy new wave drama, but also vibrates with indie earnestness; it’s like the National playing a New Order cover. If you’d told me a month ago, that I’d be enjoying a super clean, super precise synth-dance album by a member of the Strokes, I’d have laughed, but here we are.

Jennifer Kelly

Phosphene — Lotus Eaters (Self-Release)

Lotus Eaters by Phosphene

Portland’s Phosphene drifts and drones in a satisfying vintage 4AD-ish way, the serene vocals of Rachel Frankel wafting out over intricate tangles of shoe-gazey guitars as Matthew Hemmerich pounds out motorik rhythms on the kit. This album, the band’s second, was written in the turbulent aftermath of the 2016 election, but it exudes a murky calm. In “Carousel,” for example, Frankel sings about how “everyone gets lost in their own power,” but the temperature remains cool, dream-like, lit by arcs of guitar sound and undergirded by a thudding mantra of bass (Kevin Kaw). The two singles run closest to pop. Bright, upbeat “Cocoon” is spiked with Spoon-ish piano chords, while “The Wave” damn near bubbles with girl pop exuberance. I can see why they’re leaning on those cuts, but I like the cloudy radiance of “Seven Ways,” the morose moods of “The Body” better.

Jennifer Kelly

Sara Schoenbeck / Wayne Horvitz — Cell Walk (Songlines)

Cell Walk by Wayne Horvitz/Sara Schoenbeck

Bassoonist Sara Schoenbeck and pianist Wayne Horvitz built to their first duo release slowly. They've been playing together since the previous decade in Horvitz's Gravitas Quartet, working together in various styles. The bassoon doesn't necessarily lend itself to jazz, but Schoenbeck's experience with artists like Roscoe Mitchell and Anthony Braxton — as well as in various orchestras and symphonies — has revealed her fluency in different languages. Horvitz and Schoenbeck develop that approach on Cell Walk, mixing composed and improvised tracks, moving from jazz to classical and back again, happily residing in a new music space. The pair's chamber background comes to the fore more than anything else, but the artists' experimental ideas and Horvitz's occasional electronics keep the duo moving forward. The album mostly stays cool, although a few tempo shifts and Schoenbeck's varied tone create unexpected energy any time the disc starts to settle. Schoenbeck and Horvitz fill an unlikely niche, but they also make a good case for expanding it.

Justin Cober-Lake

R.E. Seraphin — Tiny Shapes (Paisley Shirt)

Tiny Shapes by R.E. Seraphin

Ray Seraphin makes sweet, sharp songs out of guitar jangle and whispers that seem to nestle right in your ear. His first cassette under his own name after a stint in the slightly more abrasive Talkies kicks up a power pop dust and haze a la Luna or, more recently, Plates of Cake. Like these bands, however, he envelops smart, coiling melodies and wild spiralling guitar hijinks in daydreaming inchoate jangles. In “Streetlight,” Seraphin vamps and caroms in spike-y mid-temperature anthemry, crooning “And I won’t feel a thing,” and indeed there’s a misty, nostalgic remove around most of this album’s emotional content. Yet there’s also a classic pop shape that can’t quite be obscured by muttered, offhand delivery. “Fortuna” is the best bit, to my ears, a summer radio megahit heard from several rooms away, bittersweet and slipping away even as it plays.

Jennifer Kelly

Stars Like Fleas — DWARS Session: Live on Radio VPRO (Amsterdam) (self released)

DWARS Session: Live on Radio VPRO (Amsterdam) by Stars Like Fleas

New York collective Stars Like Fleas are still gone, but the tracers and streamers left in the air by their passing continue to be entrancing. Whatever collapsed in the wake of their work on the follow up to their epochal LP The Ken Burns Effect can perhaps be glimpsed a little in the bulk of this first (and hopefully not last) release from what they describe as “a huge archive of live and session material.” As the title indicates, six of the 11 tracks here come from a radio session they did during their final tour (coming apart and leaving the final album unfinished upon their return to America). Along with a couple of Ken Burns highlights that session is all new material and it is as rich as anything they released during their lifetime. The collection is rounded out with some brief improvisations and another track intended for the final album, the 7” single “End Times”, and a wonderful performance of “Falstaff” from a Toronto show. Perversely and beautifully enough, the result is not only a must listen for fans of the group, it makes an excellent introduction for anyone who missed them the first time. Bring on the archives!

Ian Mathers

Thecodontion — Supercontinent (I, Voidhanger)

Supercontinent by Thecodontion

A death metal band entirely devoted to songs about ancient, paleolithic lifeforms and geological history? It’s not the most harebrained musical concept you may have heard — it even makes a sort of sense. What better musical genre to address such massive, atavistic and lumbering forms? Supercontinent is the Italian duo’s first LP, following 2019’s Jurassic EP. As its title suggests, this new Thecodontion record goes way, way back, to primal landforms, before continental drift assembled the earthball’s map into its current shape. Appropriately, the longest track on Supercontinent is “Pangaea,” named for the unimaginably huge late Paleozoic landmass. Thecodontion’s featured instrument is Giuseppe D’Adiutorio’s bass, which he variously thrums, hammers and shreds. He gets some pretty amazing sounds out of it, sometimes producing the soaring, moaning, keening sounds that Greg Lake coaxed out of his bass on the early King Crimson recordings. The proggy reference is pointed; Thecodontion’s high concept project smacks of prog’s grandiosity. But where prog shoots for the heavens, Thecodontion goes bone hunting. It’s interesting work.

Jonathan Shaw

Various Artists — Building A Better Reality: A Benefit Compilation (JMY)

Building A Better Reality : A Benefit Compilation by Various Artists

As Bandcamp’s choice to waive its portion of transaction proceeds in favor or certain needs and causes has evolved from an occasional to a monthly event, releases have started to appear which take advantage of both the event and the rapidity of production when no physical objects are being produced. George Floyd died under a policeman’s knee on May 25; this compilation was released just 24 days later, on Juneteenth. Brent Gutzeit of TV Pow secured 106 contributions from friends, friends of friends, and customers of friends — and that’s just the parties that this writer recognizes. They range in length from Kendraplex’s 58 seconds of metallic shredding to Joshua Abrams’ half hour of mournful clarinet and cathartic double bass. You’ll find acoustic protest music, swinging jazz, harsh noise, hip-hop, and a sound collage that includes sounds of protest and mourning. The participants include Simon Joyner, Jsun Borne, I Kong Kult, Jesse Goin, Chris Brokaw, AZITA, Keith Fullerton Whitman, and the Jeb Bishop Trio, along with many, many more. Have I listened to them all yet? Of course not! But the thing with a set like this is that you don’t need to. Put it into your shuffle play and it’ll yield surprises for years to come. Income goes to Black Lives Matter, NAACP Legal Defense Fund. and the Greater Chicago Food Depository.

Bill Meyer

Michael Vincent Waller — A Song (Longform Editions)

A Song by Michael Vincent Waller

At first listen, you might not guess that composer Michael Vincent Waller’s new EP/song A Song is an improvised piece, and as the surrounding material on Bandcamp makes clear, that’s kind of part of the point. Composition vs. improvisation is the kind of duality where both sides are never really distinct, and Waller is both interested in the history of composers improvising and (possibly naturally) improvises in a way that’s not a million miles away from his compositions. Which also means that just on that first listen the 21 minutes of solo piano found here are frequently beautiful, whether patiently probing a set of arpeggios or momentarily going somewhere a bit darker and deeper near the end. Whether considered as work done around or between more composed ones or in its own right, A Song makes for both a fine follow up to Waller’s 2019 collection Moments and a brief thesis on the always permeable boundary between two methods of creation.

Ian Mathers

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prehistoricsounds · 4 years

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Great Australian Warehouse Sale

Today was originally supposed to be Record Store Day Australia 2020 (it will be later in the year) But today is the beginning of the Great Australian Warehouse Sale. We have over 500 items on offer!

We have plunged the depths of our own warehouse as well as some great offers from our suppliers. Some of the items could have slight imperfections but are priced accordingly.

Items start at less than $10! With discounts of up to 60%!

We're open from 11am till 2pm today or visit https://www.prehistoricsounds.com.au/store/Warehouse-Sale-c48362068

Warrnambool Residents can choose the local pick up option and either pick up or we will deliver for free!

Here’s The List

!!! - All U Writers / Gonna Guetta Stomp [12"], Single, Ltd - $9.50 !!! - Thr!!!er [LP] - $22.00 Adam Torres - Pearls To Swine [LP] - $20.00 Aerosmith - Permanent Vacation [LP] - $25.00 Agenda Of Swine - Waves Of Human Suffering [LP], Ltd, Gre - $14.00 Agustin Pereyra Lucena - Agustin Pereyra Lucena [LP], RE, RP - $20.00 AIR - Casanova 70 [12"], Single, Ltd, RE, (Clear) - $20.00 Albino Python - The Doomed And The Damned [LP], Ltd, (Purple) - $22.00 Alexandre Desplat - Godzilla (OST) [2LP], Ltd, Num, (Red) - $30.00 Alicja-Pop - Rats (Home Recordings 2009-2013) [LP] - $20.00 Aloe Blacc - Lift Your Spirit [LP] - $22.00 Alpha Tiger - iDENTITY [LP], (Red) + CD - $20.00 Amanda Palmer & Edward Ka-Spel - I Can Spin A Rainbow [2LP] - $32.00 American Wrestlers - American Wrestlers [LP] - $20.00 Amorphous Androgynous - A Monstrous Psychedelic Bubble Exploding In Your Mind - The Wizards Of Oz [2LP], Comp, Mixed, Gat - $50.00 Andrew W.K. - 55 Cadillac [LP], Ltd - $40.00 Angry Angles - Angry Angles [LP], Comp - $25.00 Angus & Julia Stone - A Book Like This [2LP] - $25.00 Animal Collective - Danse Manatee [LP], RM, DMM - $25.00 Armored Saint – Armored Saint [12"], EP, Ltd, RE, (Red) - $22.00 Art & Language And Red Krayola - Corrected Slogans [LP], RE - $18.00 Atomic Suplex - Bathroom Party [LP] - $18.00 Atreyu - Long Live [LP] - $25.00 Audacity - Butter Knife [LP], Ltd, (Gold) - $18.00 Augie March - Bootikins [LP] - $34.00 Austra - Future Politics [LP], Ltd, (Red) - $24.00 Axegrinder - The Rise Of The Serpent Men [LP], RE, (Red) - $30.00 AXIS:SOVA - Motor Earth [LP] - $25.00 Barb Wire Dolls - Desperate [LP] - $20.00 Bardo Pond - Looking For Another Place [12"], Ltd - $32.00 Bayside - Vacancy [LP], (Yellow) - $24.00 Beat Connection - Product 3 [LP] - $20.00 Beck - Dreams [12"], Single, Ltd, Emb - $25.00 Becky Lee And Drunkfoot - Hello Black Halo [LP] + CD - $20.00 Beech Creeps - Beech Creeps [LP] - $20.00 Belphegor - Conjuring The Dead [LP], Ltd - $34.00 Bible Of The Devil - For The Love Of Thugs & Fools [LP], Ltd, (Clear) - $20.00 Big Jim Sullivan - Sitar Beat [LP], RE - $22.00 Big Scary - Four Seasons [LP], Comp - $30.00 Big Smoke - Time Is Golden [LP], RE - $32.00 Big Star - Complete Columbia: Live At University Of Missouri 4/25/93 [2LP], Ltd, RE - $32.00 Birth - Birth [12"] - $18.00 Bison Machine - Hoarfrost [LP], Ltd - $28.00 Blaak Heat Shujaa - The Edge Of An Era [LP] - $20.00 Black Magic Six - Halfway To Hell [12"], MiniAlbum, Ltd - $18.00 Blackwood Jack - Triggers [12"], EP - $18.00 Blank Realm - Illegals In Heaven [LP] - $17.50 Blessed Feathers - There Will Be No Sad Tomorrow [LP], Club, (Purple) - $19.50 Blues Control - Valley Tangents [LP] - $15.00 Bob Evans - Familiar Stranger [LP] - $32.00 Bobby Darin - Bobby Darin [LP], RE - $16.00 Bon Jovi - This House Is Not For Sale [LP] - $30.00 Bonnie "Prince" Billy - Wolfroy Goes To Town [LP] - $22.00 Born From Pain - Reclaiming The Crown [LP], Ltd, RE - $25.00 Born Of Osiris - The Eternal Reign [LP], (Orange) - $42.00 Brat Farrar - Brat Farrar [LP], (Clear) - $15.00 Brendan Welch - The Gleaner [LP] - $18.00 Brian May - Mad Max 2: Road Warrior OST [LP] - $18.00 Brian May - Patrick (OST) [LP], Ltd, RE, RM, (Blood Red) - $24.00 Brian May - The Day After Halloween (OST) [LP], Ltd, RE, RM, (Orange) - $30.00 Brian May - Thirst (OST) [LP], Ltd, RM, (Blood Red) - $24.00 British Sea Power - Machineries Of Joy [LP] - $25.00 Bruce Gilbert · Graham Lewis - 3R4 [LP], RE - $25.00 Bubbles - Raw And Unreleased [LP], Comp - $20.00 Buffalo Summer - Second Sun [LP], Ltd, (Orange) - $25.00 Bunny Lee - Kingston Flying Cymbals (Dubbing With The Flying Cymbals Sound 1974 - 1979) [LP], Comp - $20.00 Burn Pilot - Riots In Jerusalem [LP] - $20.00 Bushman - Higher Ground [LP] - $15.00 Buzzcocks - A Different Kind Of Tension [LP] - $30.00 Carcass - Choice Cuts [2LP], Comp, Ltd, (Red) - $36.00 Catherine's Horse - Garage (Blue)es From Connecticut [LP], Ltd, RP - $24.00 CCR Headcleaner - Lace The Earth 2013 With Arms Wide Open [LP] - $16.00 Cellar Darling - This Is The Sound [2LP] - $26.00 Cellophane Suckers - White Pants, White Heat. [12"] - $24.00 Cellos - Bomb Shelter [12"], EP, Ltd, (Gold) - $20.00 Chadwick Stokes - The Horse Comanche [LP], Gat - $32.00 Charley Patton - Complete Recorded Works In Chronological Order Volume 4 [LP], Comp, 180 - $25.00 Cheater Slicks - Destination Lonely [LP], RE - $18.00 Cherry Glazerr - Stuffed & Ready [LP], Ltd, (Red) - $38.00 Children Of Bodom - I Worship Chaos [LP] - $24.00 Clever - Kewdi Udi [12"], Ltd - $22.00 Clint Mansell - In The Wall (OST) [LP], Ltd, Bro - $26.00 Clock Cleaner - Auf-Wiedersehen [12"] - $18.00 Coda Chroma - Coda Chroma [LP], Ltd, Num, (White) - $25.00 Coin Banks - Heads & Tails [LP], Comp, Ltd, Sil - $22.00 Cola Freaks - Cola Freaks [LP] - $16.00 Conan - Existential Void Guardian [2LP] - $25.00 Courtney Barnett - Kim's Caravan [12"], Ltd - $15.00 Cowbell - Skeleton Soul [LP] - $18.00 Crobot - Welcome To Fat City [LP] - $28.00 Crystal Fairy - Crystal Fairy [LP] - $26.00 Cuntz - Force The Zone [LP] - $20.00 Cuntz - Here Come The Real Boys [LP] - $20.00 Cuntz - Solid Mates [LP], Ltd - $18.00 Cybotron - Sunday Night At The Total Theatre [LP], RE - $22.00 Damien Jurado - Brothers And Sisters Of The Eternal Son [LP] - $20.00 Dan Melchior - K-85 [LP] - $20.00 Daniel Vega - La Noche Que Precede A La Batalla [LP], RE - $17.50 Danny Graham - Danny Graham [LP], RE, RM - $25.00 Dark Angel - Live Scars [LP], Ltd, RE, 180 - $20.00 Daughter - Not To Disappear [LP] - $24.00 David Bridie - Wake [LP], Ltd - $34.00 David Guetta Feat. Sam Martin - Dangerous (Remixes EP) [12"], EP - $16.50 Dead Farmers - Wasteland [LP] - $18.00 Dead Fucking Last - Proud To Be [LP], RE, Gre - $20.00 Dead Hookers - The Burial/The Rebirth [LP] - $18.00 Deaf Wish - Deaf Wish [LP], Ltd, RE, Gre - $22.00 Deap Vally - Femejism [LP], Ltd, Mar - $40.00 Deftones - Covers [LP], Comp, Ltd - $22.00 Dexter Romweber - Carrboro [LP], 180 - $25.00 Diablo Blvd - Follow The Deadlights [LP] - $20.00 Die Kreuzen - October File [LP], RE - $20.00 Diskaholics Anonymous Trio - Live In Japan Vol. 1 [LP] - $22.00 Dixie Witch - Let It Roll [LP] - $20.00 Doctor Midnight & The Mercy Cult - I Declare: Treason [LP], Ltd, Glo - $16.00 Dor Koren - Bigfoot [LP], (Purple) - $22.00 Drakkar Sauna - 20009 [LP] - $12.00 Dreadnaught - Caught The Vultures Sleeping [LP] - $25.00 Drnwyn - Gypsies In The Mist [LP], RE - $20.00 Dub Narcotic Sound System - Boot Party [LP] - $22.00 Duran Duran - Budokan [LP], Ltd - $36.00 Dwarves - Invented Rock & Roll [LP] - $20.00 Earthless - Sonic Prayer Jam [12"], Gre - $26.00 Eat Skull - III [LP] - $16.00 Els Masturbadors Mongolics - Els Masturbadors Mongolics [LP] - $22.00 Empire Of The Sun - Two Vines [LP], Gat - $26.00 Ennio Morricone - Butterfly (Original Soundtrack) [LP], RE - $20.00 Esben And The Witch - Wash The Sins Not Only The Face [LP] + 7" + CD + Ltd - $22.00 Every Time I Die - Low Teens [LP] - $20.00 Exene Cervenka - The Excitement Of Maybe [LP], Ltd - $16.00 Exhaustion - Biker [LP] - $25.00 Exhaustion - Phased Out [12"], EP - $14.00 Exhumed - Garbage Daze Re-Regurgitated [LP] - $24.00 Exploded View - Exploded View [LP] - $30.00 Eyes Ninety - Eyes Ninety [LP] - $18.00 Fear Like Us - Succour [LP] - $18.00 Finch - What It Is To Burn X Live [2LP], (White) - $32.00 Finntroll – Bloodsvept [LP] - $26.00 Flat Duo Jets - Go Go Harlem Baby [LP], RE - $22.00 Footy - Record [LP] - $15.00 Gerald V. Casale w/ Italy's Phunk Investigation - It's All Devo [LP], Ltd - $22.00 Germs - Germicide [LP], RE, 180 - $32.00 Get The Hater - Get The Hater [12"] - $12.50 GG King - Unending Darkness [LP] - $20.00 Giuda - Racey Roller [LP], RE - $28.00 Godflesh - Decline & Fall [12"], EP - $20.00 Gone Is Gone - Gone Is Gone [12"], EP, Ltd, (Clear) - $24.00 GravelRoad - Psychedelta [LP], (Yellow) - $20.00 Grim Tower - Anarchic Breezes [LP], (White) - $18.00 Guided By Voices - Let's Go Eat The Factory [LP] - $24.00 Guided By Voices - The Bears For Lunch [LP] - $20.00 Handguns - Disenchanted [LP], Hal - $18.00 Hanni El Khatib - Moonlight [LP] - $20.00 Heads. - Heads. [LP], Ltd, 180 - $20.00 Heavy Times - Fix It Alone [LP] - $18.00 Heavy Trash - Midnight Soul Serenade [LP] - $22.00 High Priest Of Saturn - High Priest Of Saturn - $22.00 Holy Balm - It's You [LP] - $16.00 Home Blitz - Frozen Track [12"], EP, Ltd - $10.00 Honey Hahs - Dear Someone, Happy Something [LP] - $28.00 Howard Eynon - So What If Im Standing In Apricot Jam [LP], RE + Flexi, 7", Ltd - $20.00 Howl At The Moon - A Slave To The Ghost [2LP], Dlx, Bla - $30.00 Howlin Rain - Mansion Songs [LP] - $20.00 Hudson Mohawke - Ded5ec - Watch Dogs 2 O5T [2LP], Ltd - $26.00 I Am Duckeye - Songs From The Gunt [LP], Ltd, Gre - $20.00 Iggy Azalea - Reclassified [2LP] - $30.00 Indica - Stone Future Hymns [LP], Ltd - $30.00 Jaala - Joonya Spirit [LP] - $26.00 Jad Fair & Norman Blake - Yes [LP], (Red) - $22.00 Jaga Jazzist - Starfire [LP] - $20.00 Jail Weddings - Four Future Standards [12"], EP, Ltd, (Red) - $16.00 Jail Weddings - Love Is Lawless [LP] - $18.00 James Mccann And The New Vindictives - James Mccann And The New Vindictives [LP] - $22.00 James McCann's Dirty Skirt Band - Lost Property [12"], MiniAlbum, Ltd, Num - $18.00 Jay Reatard - Blood Visions [LP] - $20.00 Jayne Mansfield - Jayne Mansfield In Las Vegas [LP], RE, Unofficial, Pin - $15.00 Jeff Grace - The House Of The Devil [LP] - $32.00 Jeff The Brotherhood - Wasted On The Dream [LP] - $25.00 Jerry Lee Lewis - Whole Lotta Shakin' Goin' On [LP], Comp, RE, 180 - $25.00 Joe Delia - Ms.45 - OST [LP], Ltd, RM, (Clear) - $26.00 Joe Satriani - Joe Satriani [12"], EP, Ltd, Num, RE, RM, 180 - $25.00 Joe Strummer - Gangsterville [12"], EP - $18.00 John Sangster - Ahead Of Hair [LP], Ltd, RE - $26.00 John Sangster - The Joker Is Wild [LP], Ltd, RE - $26.00 John Wesley Coleman - The Last Donkey Show [LP] - $18.00 Junior Kimbrough + Daft Punk - I Gotta Try You Girl (Daft Punk Edit) [12"], S/Sided, Etch, Ltd - $15.00 Justin Greaves - The Devil's Business [LP] - $24.00 Kalevala - People No Names [LP], Ltd, RE, RM - $55.00 Katastrophy Wife - All Kneel [LP], S/Edition, (Blue) - $30.00 Keith Hudson - Entering The Dragon [LP], RE - $25.00 Kelley Stoltz - Double Exposure [LP] - $24.00 Kid Creole And The Coconuts - I Wake Up Screaming [2LP], Gat - $22.00 Kid Rock - Cocky [2LP], RE, Tur - $36.00 King Gizzard & The Lizard Wizard - 12 Bar Bruise (Green) [LP] - $32.00 King Gizzard And The Lizard Wizard - Gumboot Soup (Baby Blue) - $32.00 Kitty, Daisy & Lewis - Superscope [LP] - $24.00 KLOZAPIN - Klozapin [LP] - $16.50 Kurt Cobain - Montage Of Heck: The Home Recordings [2LP], Dlx, 180 - $45.00 Kyle Dixon & Michael Stein - Stranger Things 2 OST [2LP] - $25.00 Kyle Dixon & Michael Stein - Stranger Things: Halloween Sounds From The Upside Down (Pic Disc) [LP] - $18.00 L.A. Takedown - II [LP], 180 - $34.00 L7 - The Best Of The Slash Years (Green) [LP] - $50.00 Lacksley Castell - Princess Lady [LP], RE - $50.00 Leadfinger - Friday Night Heroes [LP], Num + CD - $32.00 Lee Perry - Holiness Righteousness [LP], Ltd, 180 - $22.00 Les Baxter - Les Baxter's Barbarian [LP], RE, 180 - $26.00 Little Cub - Still Life [LP], 180 - $24.00 Long John Baldry - Long John's Blues [LP], Mono, Ltd - $25.00 Lorelle Meets The Obsolete - On Welfare [LP] - $20.00 Lower Plenty - Life/Thrills [LP] - $15.00 Lower Plenty - Sister Sister [LP] - $20.00 Lymbyc Systym - Shutter Release [LP], (White) - $24.00 Lyres - A Promise Is A Promise [LP], RE, Gat - $22.00 Lyres - Lyres Lyres [LP], RE, 180 - $28.00 Lyres - On Fyre [LP], RE, 180 - $28.00 Machine Gun Fellatio - Paging Mr. Strike [2LP] - $45.00 Mad River - Mad River [LP], RE - $25.00 Madball - Hardcore Lives [LP] - $34.00 Man Man - Six Demon Bag [LP], Ltd, RE, 180 - $32.00 Man Or Astro-Man? - Your Weight On The Moon [LP], Comp, Pic - $30.00 Mark Lanegan - Scraps At Midnight [LP], RE, 180 - $28.00 Mark Lanegan Band - A Thousand Miles Of Midnight (Phantom Radio Remixes) [2LP] - $32.00 Mark Lanegan Band - Phantom Radio [LP], 180 - $35.00 Marty Friedman - Inferno [LP], Ltd - $20.00 Marvelous Darlings - Single Life [LP], Comp - $18.00 Marvin Gaye - I Heard It Through The Grapevine (Purple) [LP] - $20.00 Mastodon - The Motherload [12"], Single, Ltd, Pic - $25.00 Matthew E. White, Flo Morrissey - Gentlewoman, Ruby Man [LP] - $20.00 MDC - Elvis - In The Rheinland (Live In Berlin) [LP], RE - $32.00 MDC - Shades Of Brown [LP], RE, (Blue) - $32.00 MDC - This (Blood Red)od's For You [LP], RE, (Clear) - $22.00 Meat Loaf - Welcome To The Neighbourhood [LP] - $45.00 Meat Puppets - Monsters [LP], RE, RM - $22.00 Megadeth - The Threat Is Real [12"], Ltd, (White) - $18.00 Melbourne Ska Orchestra - Sierra Kilo Alpha [LP], 3D - $36.00 Men With Chips - Attention Spent [12"], Ltd - $25.00 Mike & Rich - Expert Knob Twiddlers [3LP], RE, RM - $49.50 Mike Adams At His Honest Weight - Casino Drone [LP] - $22.00 Mike Patton - Mondo Cane [LP], RE - $40.00 Miles Tackett - The Fool Who Wonders [LP] - $18.00 Minkions - Distorted Pictures From Distorted Reality [LP], Ltd, (Yellow) - $16.00 Miriam Linna - Nobody's Baby [LP] - $20.00 Mississippi Sheiks - Complete Recorded Works Presented In Chronological Order Volume 4 [LP], Comp, 180 - $25.00 Mississippi Sheiks - Complete Recorded Works Presented In Chronological Order Volume 5 [LP], Comp, 180 - $25.00 Mississippi Sheiks - Complete Recorded Works Presented In Chronological Order, Volume 1 [LP], Comp - $25.00 Mississippi Sheiks - Complete Recorded Works Presented In Chronological Order, Volume 2 [LP], Comp - $25.00 Mississippi Sheiks - Complete Recorded Works Presented In Chronological Order, Volume 3 [LP], Comp - $25.00 Missy Higgins - On A Clear Night (Clear) [LP] - $24.00 Missy Higgins - The Sound Of White (White) [LP] - $24.00 Mmoss - I [LP] - $20.00 Modest Mouse - Building Nothing Out Of Something [LP], Comp, RE, 180 - $25.00 Moon Duo - Escape [LP] - $24.00 Mordbrand - Imago [LP] - $22.00 Mother Earth - Stoned Woman [LP], Ltd, RE, 180 - $30.00 Movie Star Junkies - Son Of The Dust [LP] + CD - $20.00 MS MR - How Does It Feel [LP], (Red) - $30.00 Mudhoney - My Brother The Cow [LP], RE, 180 + 7", Promo, RE - $35.00 Mudhoney - Since We've Become Translucent [LP], RE - $26.00 Nachtmystium - Addicts - Black Meddle Pt. II [2LP], Ltd, Gre - $26.00 Nathan Bowles - Whole & Cloven [LP] - $25.00 Necronomicon Beast - Sowers Of Discord [LP] - $18.00 Neil Young & Crazy Horse - Colorado [2LP+7"] - $55.00 New Memphis Legs - Aaaa The New Memphis Legs [12"] - $20.00 Nickelback - The State [LP], RE - $24.00 Nico Fidenco - Emanuelle Perche' Violenza Alle Donne? - The Degradation Of Emanuelle [LP], Ltd, RE, (White) - $30.00 Night Horse - Perdition Hymns [2LP], (Red) - $20.00 Nü Sensae - Sundowning [LP], (Blue) - $18.00 OBN III's - Third Time To Harm [12"] - $20.00 Obnox - The Juke That Sat By The Door [12"], EP, (Clear) - $20.00 Of Montreal - Snare Lustrous Doomings [2LP], (Orange) + LP, (Yellow) + Album, Dlx, Ltd, 180 - $26.00 Old 97's - They Made A Monster: The Too Far To Care Demos [LP], Comp, Ltd, (Yellow) - $26.00 Omar Rodriguez-Lopez - Octopus Kool Aid [LP], Tra - $45.00 Oneohtrix Point Never - Commissions II [12"], EP, Ltd - $15.00 Opeth - Watershed (Gold) [2LP] - $28.00 Oren Ambarchi, Jim O'Rourke - Behold [LP] - $24.00 Otis Clay - I Can't Take It [LP], RE - $20.00 P.O.D. - The Awakening [LP] - $22.00 P'Taah - Staring At The Sun [2LP] - $24.00 Painted Wives - Obsessed With The End [LP] - $22.00 Palace Of The King - Valles Marineris [LP], Ltd, (Orange) - $26.00 Palma Violets - Danger In The Club [LP] - $22.00 Pascal Comelade + The Limiñanas - The Nothing-Twist [LP], Ltd, RE, (Yellow) - $24.00 Paul McCartney - Egypt Station [2LP] - $18.00 Peace - The World Is Too Much With Us [LP] - $18.00 Pere Ubu - Lady From Shanghai [2LP] - $26.00 Pererin - Tirion Dir [LP], Ltd, RE - $20.00 Perfect Pussy - Say Yes To Love [LP] - $22.00 Peter Buck - Peter Buck [LP], Ltd - $20.00 Philm - Fire From The Evening Sun [2LP], Ltd - $24.00 Pissed Jeans - The Best Of Sub Pop 2009-2013: "Live" At The BBC [12"], EP - $16.00 Powerwolf - Blessed & Possessed [LP], Ltd - $32.00 Prince Fatty Meets Mutant Hi-Fi - In Return Of Gringo! [LP] - $20.00 Purling Hiss - High Bias [LP] - $22.00 Purling Hiss - Weirdon [LP] - $20.00 Puscifer - Donkey Punch The Night [12"] - $15.00 Quatrain - Quatrain [LP], RE, (Red) + LP, (Orange) + Album - $25.00 Queen - A Day At The Races [LP] - $32.00 R.L. Burnside - An Ass Pocket Of Whiskey [LP] - $25.00 Ralph Jones - The Slumber Party Massacre [LP], Ltd, RE, (Clear) - $32.00 Rammstein - Rammstein [2LP] - $25.00 Rat Vs Possum - Let Music And Bodies Unite [LP] - $16.00 Rattus - Turta [LP] - $25.00 Raw Power – Tired And Furious [LP], Ltd, Gre - $32.00 Ray Campi - Rockabilly [LP], Mono, Ltd, RE - $20.00 Red Krayola - Amor And Language [12"], RE - $22.00 Red Krayola With Art & Language - Black Snakes [LP], RE - $20.00 Reggie And The Full Effect - No Country For Old Musicians [LP], Ltd, (Orange) - $18.00 Regurgitator - Mish Mash! [LP], RE, RM - $32.00 Retox - Beneath California [LP] - $20.00 Rimauri - D.O.C. [LP] - $10.00 Roger McGuinn - Cardiff Rose [LP], RE, 180 - $30.00 Rozwell Kid - Precious Art [LP], (Orange) - $24.00 Russell St Bombings - Russell St Bombings [LP] - $20.00 Samiam - Astray [LP], Ltd, Sil - $32.00 Sarofeen And Smoke - Sarofeen And Smoke [LP], RE - $40.00 Sea Bastard - Scabrous [2LP] - $30.00 Seaweed - Actions And Indications [LP], RE, RM - $26.00 Sewers - Hoisted [LP], Ltd - $15.00 Sewers - Weight [LP], Ltd - $18.00 Shawn Lee & Clutchy Hopkins - Fascinating Fingers [2LP] - $35.00 Shawn Lee's Ping Pong Orchestra - Moods And Grooves [2LP] - $28.00 Shihad - The General Electric [2LP] - $50.00 Shovels - Shovels [LP], Ltd - $20.00 Silver Apples - The Garden [LP], RE - $26.00 Silverchair - Diorama (White) [LP] - $24.00 Silverchair - Young Modern (Blue) [LP] - $24.00 Silverstein - This Is How The Wind Shifts [LP], RP, Hal - $22.00 Sixtyniners - Too Drunk To Truck [LP] - $20.00 Sky Needle - Rave Cave [LP] - $16.00 Sleaford Mods - Fizzy [12"], S/Sided, Etch - $22.00 Sleaford Mods - Live At SO36 [LP] - $25.00 Sleaford Mods - Tiswas EP [12"], EP, Ltd, (Orange) - $25.00 Soma Coma - Dust [12"] - $15.00 Some Jerks - Strange Ways [LP], Ltd, Num - $30.00 Sonic Youth - Slaapkamers Met Slagroom [12"], EP, RE - $25.00 Sonny And The Sunsets - Talent Night At The Ashram [LP], (Red) - $22.00 Sonny Vincent - Cyanide Consommé [LP] - $22.00 Sons Of Otis - Seismic [LP], Ltd - $24.00 Space God Ritual - Eldritch Tales [LP], Ltd, Num, (Clear) - $28.00 Spacejunk - Bite Your Tongue [LP] - $30.00 Speedy Ortiz - Major Arcana [LP] - $20.00 Spider Fever - Spider Fever [LP] - $18.00 Spock's Beard - The Oblivion Parti(Clear) [2LP], 180 + CD - $30.00 Spray Paint - Dopers [LP] - $20.00 Spray Paint - Punters On A Barge [LP] - $22.00 Stark Reality - Roller Coaster Ride [2LP], RE, RM - $28.00 Stereo Total - Les Hormones [LP], (Blue) + CD - $30.00 Steve Earle - Copperhead Road [LP] - $25.00 Steven Wilson - Transience [2LP] - $25.00 Stickmen - Man Made Stars [LP], Ltd, RE, RM, (Blue) - $26.00 Stickmen - The Stickmen [LP], Ltd, RE, RM, Tip - $25.00 Straight Arrows - Rising [LP], Bla - $22.00 Strand Of Oaks - Hard Love [LP], Ltd, Gre - $28.00 Strawberry Alarm Clock - Best Of The Strawberry Alarm Clock [LP], Comp, RE, 180 - $26.00 Stray Trolleys - Barricades And Angels [LP], RE - $28.00 Subtle Turnhips – Redhair With Some [LP], Ltd, (Orange) - $24.00 Summer Blood - Comet [12"], MiniAlbum, Num, (Red) - $15.00 Sun Dial - Sun Dial [LP], Ltd - $24.00 Superchunk - I Hate Music [LP] - $24.00 Superchunk - No Pocky For Kitty [LP], RE, 180 - $25.00 Surfer Blood - Astro Coast [LP], Ltd, RP, (Red) - $26.00 Sweet Apple - The Golden Age Of Glitter [LP], (Blue) - $22.00 Sylvie Simmons - Sylvie [LP] - $18.00 Tad - Infra(Red) Riding Hood [LP], RE, 180 - $28.00 Tapiman - The Singles [LP], MiniAlbum, Comp, RM - $25.00 Teramaze - Her Halo [2LP] - $25.00 Terveet Kädet - Musta Jumala [LP], Comp, RE - $32.00 Tess Parks & Anton Newcombe - Cocaine Cat - $19.50 Tex Napalm & Dimi Déro - Sticky Singers [LP] - $16.00 The Acacia Strain – Gravebloom [2LP], (Clear) - $34.00 The Afghan Whigs - Do To The Beast [2LP], 180 - $24.00 The Ancients - Night Bus [LP] - $17.50 The Black Keys - Thickfreakness [LP] - $25.00 The Cairo Gang - Goes Missing [LP] - $20.00 The Casualties - Under Attack [LP], Ltd, RE, (Red) - $26.00 The Clang Group - The Clang Group - $22.00 The Comfort - What it is to Be [LP], Sea - $40.00 The Dacios - Monkey's (Blood Red)od [LP], Ltd, Num, RM - $20.00 The Daisy Chain - Straight Or Lame [LP], Mono, Ltd, RE - $26.00 The Deathtrip - Deep Drone Master [LP], Ltd - $28.00 The Devil Wears Prada - 8:18 [LP], Gat - $30.00 The Devil Wears Prada - Transit Blues [LP], Ele - $20.00 The Easybeats - Absolute Anthology 1965-1969 [2LP] - $40.00 The Flesh Eaters - No Questions Asked [LP], RE - $20.00 The Fleshtones Featuring Lenny Kaye - Brooklyn Sound Solution [LP] - $17.50 The Future Primitives - Into The Primitive [LP], Spl + CD - $22.00 The Hecks - The Hecks [LP] - $24.00 The Hives - Barely Legal (Bronze) [LP] - $36.00 The Ides Of March - Ideology 1965-1968 [LP], Comp, Mono - $25.00 The John Steel Singers - Midnight At The Plutonium [LP] - $26.00 The Junior Raymen - Rumble '66 [12"], MiniAlbum - $14.00 The Kills - Ash & Ice [2LP] - $32.00 The King Khan & BBQ Show - Bad News Boys [LP] - $25.00 The Krewmen - Klassic Tracks [LP], Comp - $24.00 The Lions - Soul Riot [2LP] - $25.00 The Love Language - Libraries [LP] - $20.00 The Loved Ones - Magic Box (Pink) [LP] - $22.00 The Mekons - Ancient & Modern 1911-2011 [LP] - $20.00 The Men - Tomorrow's Hits [LP] - $22.00 The Midwest Beat - Singles 2005 - 2011 [LP], Comp - $20.00 The Monochrome Set - Cosmonaut [LP] + CD - $24.00 The Murlocs - Old Locomotive (Blk/Silver) [LP] - $32.00 The Murlocs - Young Blindness (Neon Pink) [LP] - $32.00 The New Pornographers - Brill Bruisers [LP], Gat - $25.00 The Ocean Party - Restless [LP] - $30.00 The Order Of Apollyon - The Sword And The Dagger [LP], (Red) - $25.00 The Pandoras - It's About Time [LP], RE - $20.00 The People's Temple - More For The Masses [LP], Bla - $20.00 The Phenomenal Handclap Band & Peaches - Walk The Night [12"] - $12.00 The Psyched - The Psyched [LP] - $15.00 The Psychic Paramount - II [LP] - $22.00 The Raveonettes - Pe'ahi [LP] - $19.50 The Reach Around Rodeo Clowns - Rockabilly Deluxe [LP], (Gold) - $20.00 The Red Paintings - The Revolution Is Never Coming [2LP], Num - $34.00 The Residents - Intermission [12"], EP, Ltd, Num, RE - $25.00 The Revelators - We Told You Not To Cross Us... [LP] - $20.00 The Ronettes - Volume 2 [LP], Comp - $25.00 The Scrapes - The Songs Of Baron Samedi [LP], Ltd - $26.00 The Spinning Rooms - Complicating Things [LP], Ltd, GAT - $16.00 The Spoils - The Spoils [LP], Comp - $18.00 The Staple Singers - Freedom Highway [2LP], RE - $40.00 The Stevens - A History Of Hygiene [LP] - $22.00 The Still - The Still [LP] - $30.00 The Strollers - Waiting Is . . . [LP], Gat - $22.00 The Third Power - Believe [LP], RE, (Red) - $32.00 The Treble Spankers - Hasheeda [LP], RE, 180 - $25.00 The Tree People - Human Voices [LP], RE - $18.00 The Tree People - It's My Story [LP] - $18.00 The Tunas - The Tunas [LP] - $18.00 The White Stripes - Get Behind Me Satan [2LP] - $32.00 The White Stripes - Icky Thump [2LP] - $25.00 The Youngbloods - Earth Music [LP], Mono, RE - $20.00 The Yum Yums - ...Play Good Music [LP] - $18.00 The Zingers - The Zingers [LP], Ltd - $12.00 Thee Mighty Fevers - Fuckin' Great R'N'R [LP], Bla - $22.00 Therapy? - Nurse [LP], RE - $36.00 Thom Yorke - Tomorrow's Modern Boxes [LP], RE, (White) - $34.00 Tim Hart - The Narrow Corner [LP] - $25.00 Titus Andronicus - S+@dium Rock: Five Nights at the Opera [LP] - $22.00 Tombstoned - Tombstoned [LP] - $22.00 Torres - Sprinter [LP], Club, 180 - $24.00 Totally Mild - Down Time [LP], Ltd, RP, Fou - $28.00 Totally Unicorn - Sorry [LP] - $25.00 Tracer - El Pistolero [LP], (Red) - $20.00 Tracer - Water For Thirsty Dogs [LP], (Yellow) - $28.00 Trap Them - Blissfucker [LP], 180 - $22.00 Tricky Featuring Milo Johnson & Luke Harris - Skilled Mechanics [LP] + CD - $22.00 Turbonegro - Sexual Harassment [LP], Pin - $40.00 Turbowolf - Two Hands [LP] + CD - $24.00 TV Haze - Scrap Museum [LP] - $20.00 Twitch - Dark Years [LP], Mono, Num, RM - $32.00 Tyrannamen - Tyrannamen [LP] - $28.00 Uncle Acid & The Deadbeats - Wasteland [LP], (Orange) - $40.00 Unity Floors - Life Admin [LP] - $32.00 upsidedownhead - complex [12"], EP - $30.00 UV Race - Made In China [LP] - $22.00 Vader - Live In Decay [12"], RE, (White) - $25.00 Various - "Doused In Mud, Soaked In Bleach" [LP], Comp, Ltd, Sil - $30.00 Various - 20 Big Ones 1992-2012 [2LP], Pin + LP, Gre + Comp - $24.00 Various - Absolute Belter [2LP], Comp - $32.00 Various - Axels & Sockets (The Jeffrey Lee Pierce Sessions Project) [2LP], 180 + CD - $40.00 Various - Bill Brewster After Dark (Nocturne) [2LP], Comp, Ltd - $35.00 Various - Bonehead Freaks [LP], Comp, Ltd - $30.00 Various - Epitaph For A Legend [2LP], Comp, RE - $32.00 Various - Generations: A Hardcore Compilation [LP], Comp, RP, Gre - $20.00 Various - Greased Buckskin Belters [LP], Comp, Ltd - $30.00 Various - Head Start To Purgatory [LP], Comp - $15.00 Various - Hot Wacks [LP], Comp - $10.00 Various - Just A Little Bit Of The Jumpin' Bean [2LP], Comp - $30.00 Various - Kanine Records Presents Non Violent Femmes [LP], Comp, Ltd, Pin - $18.00 Various - Kaptain Kavemen From Brisbane [LP], Mono - $28.00 Various - Land Of Nod: An Atlanta Punk And Hardcore Omnibus [LP] - $16.50 Various - Like Nashville In Naija [2LP], Comp, Ltd - $34.00 Various - Live At The Bootleggers: Featuring Lattie Murrell And William Floyd Davis [LP] - $22.00 Various - Live From High Fidelity: The Best Of The Podcast Performances [LP], Ltd, Tra - $24.00 Various - Los Alamos Grind! [LP], Comp, Ltd, (Blue) - $24.00 Various - Monster Skies [LP], Comp - $25.00 Various - Normalised : The Detonic Collection [LP], Comp, (Clear) - $18.00 Various - Recutting The Crap, Volume One [LP], Comp, Ltd, Num - $20.00 Various - Reverend Beatman's Dusty Record Cabinet Vol. 2 [LP], Comp - $24.00 Various - She Bop [LP], Comp + CD - $22.00 Various - Sub Pop 1000 [LP], Comp, (Blue) - $18.00 Various - Sugar Lumps 3 [LP], Comp - $26.00 Various - Suicide Squeeze Records Presents:Forever Singles [LP], Comp, Ltd, Num, Gre - $16.50 Various - Sunday Nights: The Songs Of Junior Kimbrough [2LP], Comp, Ltd, (Blue) - $32.00 Various - Texas Flashbacks Vol. 1 Dallas [LP], Comp - $22.00 Various - The Rough Guide To South African Jazz [LP], Comp - $25.00 Various - This Is Fort Apache [LP], Comp - $25.00 Various - Todo Muere Volume 4 [LP], Smplr - $20.00 Various - Todo Muere Volume 5 [LP], Comp, Ltd - $24.00 Various - Yesterdays Universe [2LP], Comp - $20.00 Various – Bored Teenagers Vol.8: 19 Great British Punk Originals '77-'82 [LP], Comp - $25.00 Velvet Illusions - The Velvet Illusions [LP], Comp - $22.00 Voïvod - Target Earth [2LP], Ltd, (Purple) - $32.00 Weezer - Everything Will Be Alright In The End [LP] - $22.00 White Kaps - Cannonball Man [LP] - $16.00 Wil Malone - Wil Malone [LP], RE, (Blue) - $28.00 Willie Nelson - Summertime: Willie Nelson Sings Gershwin [LP] - $26.00 Winters - Winters [12"], EP - $12.00 Witch Hats - Deliverance [LP] - $20.00 With The Dead - With The Dead [LP], Sol - $35.00 Wooden Shjips - Vol. 1 [LP], Comp - $20.00 Wymyns Prysyn - Head In A Vise [LP] - $18.00 Yes I'm Leaving - Mission Bulb [LP] - $15.00 Yes I'm Leaving - Slow Release [LP] - $19.50 Yo La Tengo - Here To Fall Remixes [12"] - $16.00 Yonatan Gat - Iberian Passage [12"], EP - $18.00 Zodiac - Grain Of Soul [LP], Ltd - $25.00 Zombiefication - Procession Through Infestation [LP] - $18.00

#prehistoricsounds recordstoredayaus greataustralianwarehousesale shop3280

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midnightiscoming-kasabian · 5 years

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Nine Songs: Serge Pizzorno [1/2]

Kasabian’s Sergio Pizzorno talks Maddy Smith through the songs that have soundtracked his hit-filled career, and why he’s taking on an escapist solo project with The S.L.P.

“I always think that there’s a Japanese take on western culture. One where you can get a different eye looking at society. It’s a cartoonish way of looking at the world.”

A shaven leopard print fade, suede tiger print shirt and cheetah print jacket is not the typical get-up of someone who takes themselves too seriously. Kasabian’s creative force Sergio Pizzorno is just that - a character with a unique view of the world. As we sit down to chat in a London café, Pizzorno’s laid-back demeanour is somewhat at odds with his aggressively loud attire. Discussing his approach to song writing he reflects on a career that spans two decades riddled with no. 1 albums, and he stresses the importance of comedy and light-heartedness in a world that can often take itself too seriously.

“It’s all very visual and imagery is really important, I like to set little scenes in my lyrics, and humour as well. I think there has to be a little twist, or a little darkness, like in ‘Vlad the Impaler’. Calling a track that is ridiculous, so there’s a cartoonish nature to it as well. But ‘Underdog’ actually is about the love of the underdog and ‘Fire’ is about when you keep rolling sixes, when you just can’t miss. ‘Thick as Thieves’ and tracks like that are little stories. I think films and cinema are important, I feel like a lot of my ideas come from that world.”

With five no. 1 albums, a Glastonbury headline set and a wealth of worldwide tours behind him, Kasabian’s guitarist and songwriter meets me in the run up to a new challenge with the release of upcoming solo album, The S.L.P. Featuring Little Simz and Slowthai, he explains the reasons behind his solo venture. “I wanted to make an album where I can collaborate and it’s easier to do that when it’s with a different project. It was almost to create a world that you can visit every now and again. It gives you total freedom; you can be in the studio with anyone, see what happens and that’s really exciting.”

From his tongue-in-cheek dirgy, paleontological lyrics, zesty fashion sense, to the left-field tracks in his nine songs, it’s clear to see an eclectic pattern emerge; a comical twist on the everyday but also on life’s darker tangents. Catching a glimpse of the luminous socks peeking out of his shoes (which are emblazoned with a product available in Amsterdam coffee shops - you know the ones) I inwardly chuckle as I’m reminded that all too often we get caught up in cynicism, and think back to those infamous words from ‘Vlad the Impaler’ where Noel Fielding rigidly terrorises unassuming locals in ‘80’s horror movie fashion through barren fields. “Get loose, Get loose.”

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“Dragonaut” by Sleep

“There’s a wicked film called Gummo, have you seen it? This song is on the soundtrack and it’s got that Sabbath thing going on, which we were looking for around our second album. The first album sort of blew up and we were quickly becoming quite big. We went in to record the second album with that in mind, we wanted to have heavy guitars for the live sound, that tone and that evilness, that heavy sort of drone in ‘Dragonaut’ - we just wanted to create some of that.

“It was a big contrast to what the first album was. It was becoming this band on this escapade, so we fell into that and life just got insane. We wanted to make a really heavy record to reflect that, the guitar was at the forefront because we played live every night, so we wanted to take that attitude and capture it in the studio.

“This track has that dirgy sound that I love, for me that will go to a lot of different areas but at the core, groove, flavour and flow is so, so important. We used to call it “The push” because if it pushes, it’s laid back behind the beat.

“It’s funny, because if you know that a musician has got it or a band has got it, it’s like you’re in that clique - ‘I know why you like that, because it’s got that flavour.’ You can listen to a hip-hop tune or a heavy metal tune and somehow get it. I think that was the appeal with making Empire, it was to retain that, ‘Okay, it’s going to be heavy and it’s going to be distorted, but we still need to retain that flavour and that push.’”

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“Revenge of the Black Regent” by Add N to (X)

“I love their album Avant Hard, it’s way, way ahead of the game. It must have been the late ‘90s when I discovered it, around ‘98 or ‘99. I used to work in a clothes shop when I was about 18 or 19 and in the square where the shop was there was a record store. We got on with the guy there and he told me I’d love this record. So on the Monday, when the new records would come out, I put that on instantly and thought ‘What is going on here?’

“They were really ahead of the curve with ‘Revenge of the Black Regent’. Add N to (X) were using all these synths that I’d never heard of, that’s when I started to really research and get into the synth world and I became a complete synth nerd.

“What’s interesting is what people can hear compared to what you’re actually listening to. Say with our first album, when people said it sounded like Primal Scream or Happy Mondays and all this, we were actually listening to Add N to (X), that’s where we were getting that sound you can hear on the first record. It’s almost like they didn’t dig deep enough to realise what we were into, and where we were getting our inspiration from.

“‘Revenge of the Black Regent’ is really minimal, there’s hardly any layers and the girl’s voice is amazing; ethereal and floaty, it’s so good. The synths are amazing and the flavour’s there again that I love. There’s a horror to it as well, a darkness to it. It celebrates that feeling of discomfort or like you’re feeling a little on edge. It looks like there’s a thread to these tunes!”

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“A To G” by Blackalicious

“That’s going back! For me, the lyrics from Gift of Gab - who’s part of Blackalicious - have such an amazing wittiness and humour about them. Blackalicious are so good at that, combining cleverness and wittiness with that melody and production on the track.

“My friend used to DJ in Leicester as a hip-hop DJ and he used to get me all of these albums. He played that out to me one time, it was that wordplay and the artistry in connecting words and meaning that grabbed me, and the flow on ‘A to G’ blew my mind.

“There’s humour in the song and I feel that’s also important. At the forefront I think humour plays a big part of my taste; there’s humour in all these tracks - even in ‘Revenge of the Black Regent’ and ‘Dragonaut’. I find something quite absurd about them, but I think if you’re writing something that’s a bit weird and wacky it’s really important for people to be in on the joke.

“We actually managed to work with Blackalicious and get a remix done of ‘Take Aim’ by them. We’re going to get that on YouTube at some point, which is amazing. That was great.”

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“Plateau” by Meat Puppets

“I came late to the game with grunge. At the time I was a bit young, the rave scene had a massive effect on me and grunge was so far from what I was into. I think back in the day you didn’t tend to like everything, you’d say you were more into grunge, or into hip-hop, or a certain scene; it was very tribal.

"So I couldn’t really connect the dots to Nirvana and grunge, and at the time I missed the wave of grunge. But then when I got into guitar music later on - maybe in the late 90s - I found Nirvana. I heard Kurt talk about Meat Puppets, I think they covered them on MTV’s Unplugged? “Again, it’s the vocal on this track - “And an illustrated book about birds” - you can’t not smirk at that, it’s so far off. It’s the brittleness of the sound, it feels like at any point it’s going to fall to pieces - and I just love that, I like broken stuff. In the studio I play with guitars that are really old and have got one string on them, so I feel like I really connect with this ramshackle, rustic sound and I just want to be in that band. I want to be in the Meat Puppets - I feel like they operate in a whole other world.”

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“Six Days” by DJ Shadow

“I’ve spoken about ‘Organ Donor’ quite a lot, but with this track I think the words are really powerful, especially with everything that’s going on at the moment. He talks about “Tomorrow never knows until it’s too late.” It’s a very powerful message and it’s where the world is right now.

“DJ Shadow has always been a massive inspiration and I cite him as the reason that I make music now, because of how big an impact that first album Endtroducing..... had on me and how it made me look at music. He combines a sort of psych/folk with a beat with more of an electronic focus.

“As long as there’s people willing to experiment with synths and electronic influence in rock music - and I like to think there is - I think it will stay popular. Those waveforms must do something to some people’s ears. It’s funny when you hear people getting synths really wrong though, because it’s very obvious. I think you should have to have a licence. There’s certain synths that I hear on records that are so bad, it’s ‘Put that away! Please stay away from pre-sets and do some research if you want to get involved in experimenting with synths. Don’t just pull out a keyboard and start to make music.’ You’ve really got to do your research.”

The Line of Best Fit | Words: Maddy Smith | 23 August 2019

#kasabian #sergio pizzorno #the s.l.p.#interviews #interviews 2019

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grigori77 · 5 years

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Lost Classic #28

EMPIRE RECORDS

Dir. ALLAN MOYLE; Wri. CAROL HEIKINNEN; Music. BASIL POLEDOURIS; Starring. ANTHONY LaPAGLIA, RORY COCHRANE, JOHNNY WHITWORTH, LIV TYLER, RENÉE ZELLWEGER, ROBIN TUNNEY, ETHAN EMBRY, COYOTE SHIVERS, JAMES “KIMO” WILLS, BRENDAN SEXTON III, MAXWELL CAULFIELD, DEBI MAZAR, BEN BODE; R.T. 90 mins; 1995, USA

WHAT IT’S ABOUT: “Rex Manning Day” has come to Empire Records, the small record store managed by Joe Reaves (LaPaglia) and staffed by a motley crew of teenage misfits. The washed-up soap opera star-turned-washed-up pop star (Caulfield) has come to Empire for a signing day to promote his new album, but the staff are going through a small personal crisis, with Joe in a bit of a tight spot because his junior manager/foster son Lucas (Cochrane) has stolen the previous day’s cash receipts and lost them gambling in Atlantic City in a misguided attempt to stave off Empire’s takeover by big-brand chain Music Town.

WHY IT’S LOST: This film was VERY badly received at the box office and by critics, tanking on its release while being almost universally panned, largely derided as a glorified music video intended to shift a soundtrack album. It seems strange now, of course – Empire Records has become a major cult favourite with a large and loyal following, and is even being adapted into a stage musical destined to hit Broadway in 2020 …

WHY YOU SHOULD DISCOVER IT: Personally, I loved it RIGHT AWAY. I never got what the critics hated about the movie – for me, there’s nothing but simplistic, archetypal genius in its primary colours, its button-cute bubblegum pack of punks and delinquents, its anarchic sense of humour and its thoroughly addictive alt rock-heavy soundtrack. I remember spending the latter half of my teenage years wishing Empire Records was real and operated in my hometown, because I would have applied for a job like a shot – it’s the kind of fun workplace you ONLY get in Movieland, where everybody just hangs out and goofs off and never seems to do any actual WORK. They’re an adorable bunch, too – Anthony LaPaglia (Criminal Minds) just might be the coolest boss in movie history, emotionally mercurial but ultimately just a really nice guy, while future CSI star Rory Cochrane frequently steals the film as cocky but self-deprecating career screw-up Lucas, the constant target of Joe’s exasperation; the rest of the ensemble are similarly pitch perfect, a rich collection of then fresh talent who have rightly gone on to VERY great things since, from Liv Tyler and Johnny Whitworth (Blindspot, Ghost Rider: Spirit of Vengeance) to The Mentalist’s Robin Tunney, future Oscar-winner Renée Zellweger and (my personal favourite) Ethan Embry (Sneaky Pete), whose pure, irrepressible goofiness fuels some of the film’s biggest belly laughs; and then there’s Grease 2 star Maxwell Caulfield, who makes Rex Manning one of the oiliest, sleaziest pricks ever committed to film, a preening narcissist you just love to hate. This is teen comedy at its most infectiously enjoyable, riotous, gently subversive and frequently laugh-out-loud hilarious, but like the best films in this genre there’s plenty of heart too, the humour tempered with bittersweet emotion and rich pathos to help us care and invest a little more. Director Allan Moyle may be best known for Pump Up the Volume (and rightly so), but this will always be my favourite of his films – when it comes to pure, screwball escapist teen comedy, I can’t think of anything better outside of John Hughes …

#empire records #allan moyle #carol heikinnen #anthony lapaglia #rory cochrane #johnny whitworth #liv tyler #renee zellweger #robin tunney #ethan embry #coyote shivers #maxwell caulfield #Awesome Movies #must see movies #quality comedy #the best musical movie of the 90s you've probably never heard of

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leighlikesthing · 5 years

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Damn the Man, Save the Empire

I am the way that I am, in part because when I was a kid, I watched Empire Records. These weirdos inspired this weirdo to be herself in a very big way. The idea that there is a record store that is the safe haven for these strange outcasts was so appealing to 90′s preteen.

“This music is the glue of the world, Mark. Without this, life would be meaningless.”

I truly believed that. I still do, and seeing people who felt that music was not just something to be enjoyed, but something to be intertwined into every moment of every day was comforting and inspiring as hell. Add to that a charming script and some decent gags, and tween Leigh was hooked. Tween Leigh would have given anything to work at Empire.

In rewatching, it still makes me smile, and it makes me realize that when I grew up, I found my own Empire in the form of an independently owned comic book shop I still chip in at to this day.

Empire Records is a strange little movie that I’m not sure could be done in 2019. For one thing, big chain music stores are a dying breed with the invention of music streaming, and the entire conceit of an independent music shop in danger of being scooped up by a big chain isn’t really feasible.

To say nothing of the original cast being intensely white and very straight (though Deb very much feels like she should be an queer character, and there’s an argument to be made that every single one of these fucks is bisexual, but there isn’t any overt text to support it).

it’s a time capsule of a sensibility long gone, which isn’t necessarily a bad thing. There are some antiquated things happening in this movie.

A remake would be fun, with a diverse cast, maybe as a TV show to explore some of the deeper character beets that were mentioned in the movie but not delved into, although apparently there’s a whole bunch of material that was cut for time that would have helped explain some things a bit better.

The soundtrack is killer, and I can do nothing but recommend you listen to it. Not only does it include some of the most popular musicians of that era, but some great classics like AC/DC and Hendrix.

I’m not sure it’s as charming a movie if you didn’t grow up with it, but it’s a movie that I will love forever.

Damn the man.

Save the Empire.

#Empire Records #Movies #Damn the man save the empire #I don't feel the need to explain my art to warren

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dablesretrospective · 3 years

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2010 - Dables - Pretty Ugly

Time to get back to what I created this tumblr for, which was blogging liner notes for the CDs I have released as Dables in order. This is Pretty Ugly, my 4th album and definitely the first Dables album most people heard because shortly after it came out is when I started performing regularly. During this era, 2009-2010, I was still performing solo, but instead of just playing improvised noise or electronic music, I started playing songs more songs from my albums using a set up similar to Ween or Big Black. I played electric guitar and sang while my Tascam Portastudio was plugged straight into the PA, playing the pre-recorded bass and drum machine parts. I played my first “electric” show this way in December 2009 in Fountain Inn, SC at a house party with Coma Cinema and it went over extremely well. I played mostly songs from the “14 Songs” album, and a few from this disc.

Released on February 3 2010, this album was conceived as a concept album to mix pretty pop songs with ugly noise songs. The idea was to go back and forth, first track being a pretty pop song, the next being an experimental or weird/off-putting/ugly noise song. The cover illustrates this concept with combining the beauty of a sunflower, placed in an ugly toilet. That is also actually my real toilet, from my parent’s house, with plastic flowers inside of it. I took the picture and sent it to my friend Victoria Ferrer, who runs The Black Lodge, a subculture get together at various local clubs. She edited it for me, writing the text on it and coloring the background around the toilet black, and turning the flowers red instead of yellow, and I think she did an absolutely fabulous job and I love her for it. My friend/occasional-partner-in-crime with Slacker Pop Records Micheal Keller, of the band Satan in Bondage, helped me put together the inner artwork including the lyrics, and he paid to help me print and make over 50 physical copies, and he helped distribute it so I also owe a huge thanks to him. Listening back to this album reminds me of what was going on in my life at the time. I was working at a Kangaroo Express gas station, and came in one day to find out my store manager and good friend Russell Folk had committed suicide the night before. I was extremely shocked and upset by this and I ended up walking out on my shift, and quitting the job on the spot. It was my first day back from a two week vacation and I couldn’t handle the responsibility of having to be the one to tell customers who came into the store who were asking me, “Where’s Russell?" all day so after about an hour of my shift, I just up and left. I went home and wrote "Song For Russell”, which didn’t make it onto this disc but ended up on a future one called “Stuff Volume 2”. I spent the next two weeks frantically recording songs to help escape from the depression caused by the death of such a close friend. I had known Russell for over 2 years, and saw him about 5 times a week and we had become very close. This disc is most definitely dedicated to his memory, and I recorded it as therapy to help cope with my first experience of death. Besides my great-grandmother, who I wasn’t very close to, Russell was the first person I knew well to die. I still miss him very much, and this disc will always remind me of him. Anyways, on to the songs themselves.

‘Boredumb’ is one of the most popular Dables songs. It has been performed at every single show since that first electric show December 2009. Funny that this one is such a fan favorite because it took me less than hour to write and record it to completion. However this song is sort of a loose rip-off musically of Flies on My Dick by Ween. It has minimal guitar, slow, plodding drum machine, monotone vocals, and quirky lead guitar breakdown just like that song does. Although I like to think I did my own thing with that formula and I wouldn’t say this song an out-right rip-off, just inspired by the formula of Ween.

'Sober and Bored’ was the first track recorded for this album and the title and music itself was inspired by The Boredoms.

'Hang Around’ came out extra poppy because The Beatles remasters had just came out and I was listening to them non-stop and wanted to do a song with “doo-wahs” vocals on it. Besides a short, sloppy, semi-solo on the song “Who Are You?” from Slacker Pop, this track was the first “real” guitar solo I ever put on a song and I’m still pretty proud of it and I think I nailed it on the second take. Prior to this, I was pretty opposed to doing guitar solos. Never performed an electric version of this song live before, but I’ve played it at acoustic shows several times.

'Live Forever’ was my attempt to emulate The Melvins, although it sounds little like them. The odd lyric “I want to lick your knees” was inspired by a porno I saw where a girl was blowing a guy and said “I wanna lick your knees” and proceeded to lick his kneecaps for a few minutes. I thought that was odd and hilarious so I put it in this song. The lyric “I want to see the end cause you know it will start again” means that if a person were to live forever, they would witness the collapse of civilizations and empires, only to see them get rebuilt and start again.

Along with a fellow local band Hollow Body, 'An Exercise in Isolation’ as well as portions of 'Boredumb’ was later put on the soundtrack to local independent film, “WTF?”, a horror/comedy film made by Firefly Ink Productions about a group of people on a road trip who’s car breaks down and the person who picks them up off the side of the road who proceeds to slaughter them. Clips of the movie are available on youtube.

'This is Nothing’ was a bit of a jab at the poor work ethics of my fellow bandmates in my side-project DAN, about how they wanted to play shows really badly, but weren’t dedicated enough to practice regularly. Needless to say, DAN broke up about 6 months after Pretty Ugly came out after only playing 3 shows together, all but 1 were a disaster. Although we eventually made up and became friends again, after another year or two we fell back into the same drama and I haven’t spoken to either of them in about 7 years now and don’t plan on it either...but if either of them happen to read this, I have no hard feelings toward Sid and Clayton (there’s been too much drama and we can’t get along with each other anymore but I’m not mad at either of them) and I think the music we made together in DAN was some of the most creative and fun songs I’ve ever been a part of, and I’m proud of the recordings we made together and I wish them luck with their recent project, People of Mars.

'Loop 3’ is the third installment of tracks I create using my Boss Loop Station. The first one was on '14 Songs’, and the second was on 'Stuff Volume 1’. This is probably my least favorite and is definitely the laziest one and in hindsight should’ve been left off this album entirely. Loop 4 appears on the most recent self-titled album.

“She Don’t Dig Me” was the last song recorded for this album. This song was lyrics written probably 2 years prior that I never put music to. I lifted the vocal melody of this song from Get Me by Dinosaur Jr, although in the end it turned out Listening back to it, the audio quality on this track is embarrassing, and I remember being very frustrated with mixing it, and eventually giving up and just releasing it as-is, with several glaring technical mistakes, that hopefully nobody can notice but me.

'108’ was an older recording, recorded shortly after finished 14 Songs, but was saved for this release. At 9 minutes and 32 seconds it is the longest track I have ever recorded.

------------------------------------

one pretty song, one ugly song. back and forth. that is the concept of Pretty Ugly. love and cringe as much as you can.

Released February 1, 2010 All music written, performed, and recorded by David Walker Track 15 is a Daniel Johnston cover

1.Pretty Ugly 2.Boredumb 3.Did You See? 4.Sober and Bored 5.Hang Around 6.Live Forever 7.An Exercise in Isolation 8.An Exercise in Stupidity 9.This is Nothing 10.Loop 3 11.Mind’s Gone Blank 12.An Exercise in Laziness 13.Afterglow 14.She Don’t Dig Me 15.True Love Will Find You in The End 16.108

Download this album for free at:

https://dables.bandcamp.com/album/pretty-ugly

#dables #lo-fi music

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bringinbackpod · 4 years

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Interview with Blame My Youth

Together with American Songwriter and Sean Ulbs of The Eiffels, we had the pleasure of interviewing Blame My Youth over Zoom video!

Blame My Youth is Sean Van Vleet – a name you might not be aware of, but unknowingly heard in your headphones, in a store or on a television. As a former principal songwriter in Chicago indie faves Empires, Van Vleet expanded into the world of songwriting and syncs, providing music for major artists and ads worldwide. Blame My Youth is Van Vleet’s return to the band format, bringing all of the earworm-y grandiosity that permeated his quietly complicated pop gems.

Blame My Youth - reveals a new song, “Dance With My Demons,” his follow up to Blame My Youth’s debut single “Fantastic.” Teaming with Billboard’s #1 producer Joey Moi and co-writer Greg Holden (who co-wrote the song) “Dance With My Demons” once again highlights Van Vleet’s prowess for crafting endlessly catchy, hook-filled songs. He shares, “‘Dance With My Demons’ is a pub/barn burner for the pint raisers who choose to cheers their vices and reckless behaviors for a night, and shove their shames off into the future. This song celebrates a mindset where the bright side and dark side meet, and the party starts.

The day I met my now extremely good friend and frequent collaborator Greg Holden, we were equally crashed out at the bottom of recent life highs. He had some heavy personal struggles as did I. We shared a guilty conscience we had about giving into vices and letting bad habits and thoughts get the best of us. Both of us grapple with loving and hating our demons. So we wrote this song where we allowed ourselves to be good with them for little while, accept them, maybe even warmly embrace them.”

A perfectly-crafted modern rock banger permeated by seductive pop hooks and sheer audacity, “Fantastic” was released this Fall and debuted on SiriusXM’s Alt Nation. It has amassed upwards of 3 million streams and the video hit the top 10 rock and alternative charts at Vevo. It is the follow up to “Right Where You Belong,” which was written and recorded exclusively for the soundtrack to Bill And Ted Face The Music - it played during the movie’s closing credits - and marked the debut of Blame My Youth.

Blame My Youth is Van Vleet’s return to the band format, bringing all of the earworm-y grandiosity that permeated his quietly complicated pop gems. Sean Van Vleet first success came with Empires, a Chicago based indie band with several releases, an appearance on The Late Show with David Letterman and festival appearances such as Austin City Limits, Bonnaroo, Lollapalooza and more during tours with Death Cab for Cutie, Deerhunter, Alkaline Trio and others. After Empires called it quits in 2015, he connected with friend Josh Ocean (NVDES) to build an impenetrable musical bond that has seen their explosive “laptop punk” find its way into placements around the world including the likes of Samsung, Google and Apple iPhone advertisements.

As Van Vleet was writing the first Blame My Youth songs he shared them with close friends including some of the people he worked with along the way - a crew mostly renowned for their time in Nashville - Big Loud’s Seth England, Craig Wiseman and Moi. They have long wanted to collaborate and while Big Loud primarily work in the country music space, there was no denying that Blame My Youth was something special, and they quickly signed Sean to their new label imprint Big Loud Rock. “I met them all 10 years ago,” recalls Van Vleet. “Not only are we really good friends, but I think we all knew that we would eventually work on something awesome together. It’s just about the right timing.”

With Blame My Youth, Van Vleet is showcasing his overwhelmingly feel good approach with nods to Andrew WK’s brazenly positive big bang and Post Malone’s inescapable pop sensibility, all with touches of darkness and vulnerability throughout. It’s music meant for maximum volume while recovering from a life on maximum volume, yet so earnest, singular and inescapable that it relates to anyone who has fought through any sort of adversity.

We want to hear from you! Please email [email protected].

www.BringinitBackwards.com

#podcast #interview #bringinbackpod #foryou #foryoupage #stayhome #togetherathome #zoom #aspn #americansongwriter #americansongwriterpodcastnetwork

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source https://bringin-it-backwards.simplecast.com/episodes/interview-with-blame-my-youth-FAVAh8HU

#podcast #interview #bringinbackpod #music #aspn #americansongwriter #americansongwriterpodcastnetwor

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ramajmedia · 5 years

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10 Wild Behind-The-Scenes Stories From Reservoir Dogs

Quentin Tarantino’s Reservoir Dogs is one of the most renowned directorial debuts in film history. It established all of the director’s trademarks – graphic violence, excessive profanity, nonlinear narratives, dozens of pop culture references, a soundtrack full of pop music etc. – and took the world by storm following its Sundance premiere, both in terms of widespread controversy and cult success.

RELATED: Ranking The Most Memorable Scene In Each Quentin Tarantino Movie

Empire magazine has since declared it the greatest independent film of all time and it has inspired countless indie filmmakers to go out and shoot their own Tarantino-esque crime thriller on a similar shoestring budget. Here are 10 Wild Behind-The-Scenes Stories From Reservoir Dogs.

10 The title came from a video store customer (maybe)

Everyone knows that Quentin Tarantino used to work in a video rental store called Video Archives, which has since become legendary, and it’s given a lot of wannabe filmmakers romantic ideas about working in a video store and learning about movies and then going on to become a god of cinema.

He used to recommend foreign movies to customers and once recommended Louis Malle’s Au Revoir les Enfants to a customer who misheard him and replied, “I don’t want to see no reservoir dogs!” There are many theories about what the title of Reservoir Dogs means, but as it turns out, it doesn’t really mean anything – it’s just a phrase that Tarantino once heard and liked. And there’s a good chance this story isn’t even true.

9 Steve Buscemi had to steal the role of Mr. Pink from Quentin Tarantino

We all know that Quentin Tarantino has a habit of putting himself in his movies – sometimes in a minor role, like the answering machine voice in Jackie Brown, and other times in a larger role, like the monologue-laden part of Jimmie Dimmick in Pulp Fiction – and his directorial debut was no different.

He wrote the Mr. Pink character with himself in mind, but Steve Buscemi wanted to play him. Tarantino told Buscemi that the only way he could take the part from him would be to give a really fantastic audition. Buscemi was up to the task, and Tarantino ended up conceding the role to him and playing Mr. Brown instead.

8 Tarantino blew the whole soundtrack budget on “Stuck in the Middle with You”

Quentin Tarantino revealed in a recent interview that he spent Reservoir Dogs’ entire soundtrack budget on securing Stealers Wheel’s “Stuck in the Middle with You.” He knew that it was the perfect track to use for Mr. Blonde’s torture scene, so he didn’t mind if it ended up being the only song in the movie.

RELATED: 10 Best Used Songs In Tarantino Movies

The only reason the film contains other songs is that the producers managed to get a record deal for the soundtrack album. It was worth it, of course, because the juxtaposition of “Stuck in the Middle with You” against imagery of Michael Madsen torturing a cop has become iconic.

7 Some investors had unusual demands

When Tarantino and his producer Lawrence Bender were doing the rounds in Hollywood, looking for investors to fund the production of Reservoir Dogs, they encountered a couple who had some unusual requests. One offered to give them $500,000 on the condition that his girlfriend could play Mr. Blonde (which Tarantino and Bender actually considered for a while).

Another offered them $1.6 million – more than the movie’s eventual budget would be – but only if they would change the ending to have an asinine plot twist where everyone who died was revealed to be alive and it was all a big scam.

6 Tony Scott wanted to direct it

According to the DVD commentary for True Romance, which was written by Quentin Tarantino and directed by Tony Scott, Scott read two of Tarantino’s early scripts – True Romance and Reservoir Dogs – and wanted to direct Reservoir Dogs. However, Tarantino told him he could direct True Romance if he wanted, but not Reservoir Dogs, because he was determined to direct that one himself.

Scott ended up linearizing the nonlinear storyline of Tarantino’s True Romance script, so Reservoir Dogs probably would’ve been completely different in Scott’s hands. Maybe he would’ve even secured a large enough budget to show the heist, which would inadvertently ruin what makes it so great.

5 The warehouse was actually an old mortuary

A lot of Reservoir Dogs takes place in a warehouse. It’s often mistaken for a movie that takes place entirely in one location, like Saw, when the film actually jumps around from location to location across its nonlinear timeline. Still, many of its scenes do take place in the rendezvous warehouse.

The location used for the warehouse actually wasn’t a warehouse; it was an old, abandoned mortuary. A lot of viewers think that Michael Madsen is leaning on a crate when Mr. Blonde first arrives at the warehouse, but it’s actually an old hearse from the building’s forgotten mortuary days.

4 Mr. Blue was played by an actual career criminal

Mr. Blue was played by Edward Bunker, a former career criminal who used to rob banks before he became an actor. Bunker found the script to be unrealistic while he was filming it. He claimed he would never have done a job with a bunch of guys he didn’t know, because he wouldn’t know if he could trust them.

RELATED: 10 Crime Movies All Anti-Hero Lovers Should Watch

And he wouldn’t have breakfast with them publicly, all distinctively dressed, because witnesses would undoubtedly remember them. Funnily enough, that diner scene at the beginning was only written in to give Bunker some lines, because until then, he didn’t have any.

3 Lawrence Tierney was crazy on-set

Lawrence Tierney is one of Hollywood’s best-known tough-guy character actors, but a recurring theme from on-set anecdotes that involve him is that he was utterly crazy. When he guest-starred as Elaine’s dad in Seinfeld, he reportedly stole a knife from the set.

Within days of shooting Reservoir Dogs, he got into a heated argument with Tarantino and got himself fired. (Tarantino eventually relented and invited him back.) Plus, the movie’s stars have described going out drinking with him – he ended up with his pants down outside the bar. He also apparently forgot most of his lines and appeared drunk on the set.

2 The black suits were free

Due to the film’s budget being so low, most of the actors just used their own clothes as their wardrobe. The most famous of these is Nice Guy Eddie’s tracksuit jacket, which was Chris Penn’s own.

The characters’ black suits, which are now arguably the most iconic part of the movie (and of Tarantino’s visual style), were provided for free by the designer, because she was a fan of American gangster movies and wanted to see her work on-screen in one. Instead of a pair of suit pants, Steve Buscemi wore his own pair of black jeans with his suit.

1 Harvey Keitel’s casting secured a larger budget

Reservoir Dogs is a low-budget movie, but originally, Quentin Tarantino was going to shoot it with an even lower budget. His initial plan was to shoot it on 35mm black-and-white film for just $30,000. However, producer Lawrence Bender gave the script to his acting teacher, who gave it to his wife, who gave it to Harvey Keitel, who liked it so much that he signed on to star as Mr. White and co-produce it.

With Keitel in the lead role and tackling some production duties, the movie was able to secure a $1.5 million budget in no time, allowing for much higher production value.

NEXT: 10 Reasons Jackie Brown Is Quentin Tarantino's Underrated Masterpiece

source https://screenrant.com/reservoir-dogs-behind-scenes-stories/

#screenrant

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ohwereusingourmadeupnames · 4 years

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Don’t Go Wasting Your Emotions

Or - the one where there's a lot of 80's music & Tony and Peter do a lot of eye fucking on stage.

Read it here on AO3

“When do we start?”

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Much to Tony’s delight, Peter introduced him to the band the very next day.

“It’s adorable. How long were you missing your front teeth?” Tony chuckled when Peter’s hand flew out and smacked against his arm.

----

Ned and MJ were their friends and bandmates – it seemed pertinent to be able to feel comfortable around them. Society wasn’t on their side, but he hoped they might be.

“Want to come back to mine?” Tony whispered, his lips barely grazing Peter’s ear as he spoke. He felt Peter shudder, the movement pressing the other man’s shoulder into his side more fully.

----

“Fuck, Tony – warn a guy,” Peter rumbled, a chuckle lacing his words. He pressed his hips back against Tony’s face, the action totally contradictory to his words.

Peter reached back and pulled him into a kiss, a grin on his lips. “Sounds good, baby.”

----

There was a beat of silence before MJ broke into a grin of her own – “Tony Stark, you’re a genius.”

----

“I had to see for myself. How good you were doing. Your mom plays your stuff in the house all the time. I just – needed to see you.”

“Well, come on, then. I’ve got some people I want you to meet.”

#starker #bobbie writes

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