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arlecchno · 2 years

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mission accomplished [ scaramouche x reader ]

fifteen | stay

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as things go downhill, you tried your best to salvage what's left and figure out a way to unfold the mysteries behind the culprits of the crimes. after sleepless nights and stressful thinking, you ended up sick instead. how will you continue your work now?

warnings: swearing, overthinking, mentions of blood and murder, lots of comfort, scara takes care of you, me overusing the only one bed trope idea on my series once again lmao

a/n: *drum roll* thank you SO much for 100 followers! i never thought i'd get this far and i'm glad everyone's enjoying this series. as a reward, this chapter is around 3.7k words!! let's hope ma has a happy ending hahaha... happy reading!

grammatical errors may occur so please let me know if i've made any mistakes!

as soon as the mug hit the floor and shattered into millions of pieces, scaramouche immediately jolted from his position on the couch. he swiftly turned his head to you, eyes widened and worry cradled his face.

“holy shit, are you okay?!” he asked worriedly, though his words fell on deaf ears as time seemed to stop for you.

he's dead?

is this real, or are you just hearing things?

scaramouche's phone was still in your hand, the call you were on with childe a second ago still there, meaning he's heard everything.

“what's that sound? y/n, what happened?” childe's voice popped up from the other line, but his words too had no answer from you.

the ravenette beside you took his phone from your hand. “i'll call you back.” he said flatly, and ended the call.

putting your hands on your head in disbelief, you dug your feet to the floor, not even minding that there were shattered glass everywhere, resulting in your feet starting to bleed from the sharp object.

james words from the other day played back in your mind.

this isn't over.

was this what he meant?

you think again. no, that's impossible. who in the world would kill themselves just to get back at someone?

wait.

the trial.

he just came back from the trial yesterday.

he was supposed to be sent to jail right after you were done.

the trial might be displayed on the news.

snapping your head up, your eyes instantly landed on the tv screen.

“the 34-year old drug trafficker was found dead this morning in a police van, with the driver missing.” the news reporter said, face stoic. “he was initially to be sent out to teyvat prison after the man was dealt with a dreadful trial. it has been going on for a year now, and the trial was officially finished the other day, with the man, james, being guilty.” she continued.

fuck. your name might be exposed. your real name. with your face. everyone's gonna know who you are.

and what's worse is that your cover's going to be blown.

how did it get this fucked up in just a day?

please don't say it.

you repeated those four words for an infinite amount of times in your head.

please, i can't afford to lose this case.

“the trial involved a detective from the only prestigious precint, the fatui precint, who was shot by the victim over a year ago.”

you shivered, biting your thumb nail anxiously.

“reporters have started showing up at the precint upon hearing the devastating news, wanting to hear what detective–”

the tv news got cut off.

you perked your head up in confusion. “huh?”

scaramouche was dumfounded too, mouth left agape.

you turned to him. “is this from the news or is it our tv?”

“...pretty sure it was the news.”

what?

who in teyvat had that much of power in snezhnaya to make the well-known national news get cut off?

your phone on the coffee table lit up, the soft melody of your ringtone started ringing through the living room.

ah, sure, if it isn't the one and only.

your worry for your cover about to be blown up dissipated, now only confusion plastered on your face. picking up your phone, you answered the call.

“captain.”

the usual busy noise of the precint was now replaced with a much more chaotic one. shouts, screams, and every single disorderly sound can be heard from the other line. “y/n, there's something–”

“you were the one who did that, right?” you cut her off.

the tsaritsa's voice changed to confusion. “huh? what do you mean?”

you huffed. “don't play dumb with me, i know you were the one who cut off the news right before my name got revealed.”

“...i seriously have no idea what you're talking about.” she said, panting from who knows whatever she's doing.

you raised a brow, though stopped when you remembered that she couldn't see you. “then why did you call me?”

the tsaritsa sighed. “i–” she stopped for a second, scattering for what you assumed were crime files. “the precint is a whole mess right now, people are trying to barge in here to get you in the spotlight for some reason. but now that i heard what you said, i assumed words got out that he's dead.” she said.

“i suggest you stay inside your dorm for the next few days, i'm afraid people will find out who you are sooner or later.”

“but...” you shriveled. “you don't know anything about what happened to the news?”

the tsaritsa sighed once again, sounds of footsteps emitted from your phone. “i have no time to watch the news today, dear. sure, i have enough of a connection with all of the higher ups in this nation, but i don't even have an ounce of idea on what you're speaking of.”

huh, who could possibly be responsible for that now?

“please, take care of your safety. refrain from going out for a while, you'd have to hold off the case for now.” she concluded.

you were silent a few seconds.

“i'm sorry, y/n. this was unexpected, and it's all we can do for the time being.”

you held your phone more tightly than before, knuckles turning white. “it's... it's okay, i understand.” you said, voice almost breaking.

“we'll try our best to not get you exposed and have your cover blown. i know this case is important for you, so everyone here will help you with whatever we can.”

letting out a breath, you replied. “i'll see what i can do, too. thank you for your help, captain. hope i'm not too much of trouble to you guys.”

“it's alright.” she muttered. “i'll have to leave now, this place is a complete mess. i'll call you back soon.” she ended the call the second she finished her sentence.

ah,

everything's surely fucked up now.

you slowly placed your phone on the coffee table and buried your face in your hands. scaramouche was awkwardly sitting beside you the whole time, not knowing what to say or do.

he looked down on the floor and saw your, now wounded feet, glass sticking onto them with blood slowly dripping. you probably had no idea your feet were in pain from the shattered glass, and even if you did, you were too busy to even think about it, the adrenaline running quick as you were too bundled up with emotions.

widening his eyes, he let out a bunch of curse words under his breath and quickly placed your legs on the small coffee table. he got on his feet and avoided the shattered glass as he took off and went to get the emergency aid.

you didn't pay much mind with what scaramouche's doing, so you spent the time he was out of your sight by thinking about your current situation.

how is he even dead?

who killed him?

was this what he meant the other day?

is this going to affect your career?

question after question pops up in your head, making you the more agitated.

archons.

what happens when your cover gets blown? everyone in campus is going to find out who you are, and you'd be sabotaging your own case. what happens when people have already found out who you are? are you going to be the talk of the campus? will viktor find out about your cover? will yun jin get disappointed that you lied to her face?

you realized you've been caught up in your own thoughts for too long when you've noticed that your mug that was shattered on the floor were now gone, all swept up by the short male beside you.

speaking of which, he was already starting to treat your injured feet. he looked up from the emergency aid placed on the couch, averting his eyes to you.

you were in shambles, your hair was all over the place, face confused and anxious.

he sighed, brushing over your knees to bring both of your legs to the couch with one arm, tending to your injuries in an instant. you were turned around on the couch to face him, eyes averting elsewhere.

none of you spoke for a moment as he helped you patch up. the antiseptic going through the wounds made you wince, cursing yourself for getting in such a state.

after a while, you decided to kill the silence by letting out an airy chuckle, though no amusement laced your voice. “what the hell am i gonna do now?”

scaramouche looked up from his position, finishing up from cleaning and patching up your injuries. “what do you mean?” he asked.

you glared at him. “are you fucking stupid? you exactly know what i'm talking about.” you spat, making him frown at your sudden bitterness.

you immediately stopped once you've realised what you said.

“i... i'm sorry. i didn't mean that.” you mumbled, eyes on your lap.

the ravenette sighed, putting the emergency aid aside and looked back at you. “i know.” he simply said.

the wound on the sole of your feet from the incident earlier were now all patched up and nicely done, thanks to the short male in front of you.

“come here.”

you perked your head up. “what?”

he rolled his eyes. “you heard me. i'm not repeating it again.”

“um... why?” you asked, suspicious of him.

“must i need a reason? come over here.” he demanded a second time, one hand hovering over your knee to make you scoot to him.

you raised a brow, but obliged anyway. moving closer to him, you faced him on the couch, seeing each other eye to eye now with your legs crossed and your knees touching his.

“what now?” you grumbled, arms folded.

without waiting a second, scaramouche pulled you into a hug.

in the past, it was always you who embraced him, never failing to pull him close and cling on him during the trial. but right here, right now, it was him who initiated it, making you shocked, and slightly flustered.

you left your mouth agape, not knowing what to do. scaramouche had his chin on your shoulder and his arms wrapped around you tightly, as if you'll vanish the moment he looses his grip on you.

“i–um...” you trailed off, unable to find the right words.

the male in front of you rubbed your back with one of his hands, trying to cheer you up. “we'll figure out a way.” he muttered, referring to the rising problem.

you silently sat there for a while before you finally got to your senses and hugged him back, face nuzzling into his neck, humming at his sentence.

he smells nice, you thought to yourself, as you take in the faint scent of his body wash still lingering around his figure. you nuzzled into his neck more, eyes closing at the comforting warmth of his body.

scaramouche sighed at the small affection, his thumb tracing small circles over your hips, pulling you closer than before. he paid no mind to the lack of space and gap between you both.

the current position you two were in was ridiculously uncomfortable, but the warmth and comfort scaramouche gave was what you really needed at the time being, so you ignored it— even if you'll end up with cramps later on.

neither of you bothered to move anyways.

and it is true. you two will find a way— you always do. if you both can solve thousands of problems in the 5 years you've worked together, then surely it won't be too hard to figure out a way to solve this particular one.

right?

it was midnight when you felt like absolute shit.

you've spent the last couple of days trying to find out the culprit that cut off the news, and the one who killed james, but you seriously couldn't pinpoint on who it is.

while you were held off from going to classes for the time being, scaramouche had to keep an eye on viktor two times more frequently now to make up for your absence. both viktor and yun jin have asked him about you, even going out of their way to try and personally call you.

the ravenette had to make up a lie saying that you were sick and needed some time alone.

the only difference now is that the lie is probably becoming true.

“oh for archons sake...” you groaned, the headache that's currently trying to kill you being the reason you can't get up from bed. you were bundled up with your blanket, body cold to the brim.

for some forsaken reason, you got sick.

you're not sure how, when, or where you got it, but for whatever reason it is, you really hope this won't stop you from continuing the work you've been piled up on, you think as you tried your best to get out of bed.

“shit!” you yelped, accidentally rolling off the bed instead with you wrapped around your blanket like a burrito.

the sound of you hitting the floor resonated the small room, and you silently cursed yourself once again for getting in this mess.

you've been staying up and pulling all nighters this past week, trying to rack you brain as much as you can. since you were out from classes, you thought that it'd be way quicker and easier to find the culprit, but it seemed that your conclusions were wrong.

it was no doubt that you had fallen sick from the amount of times you've stressed yourself over your work, exhaustion clearly shown on the growing eye bags on you.

the sound of footsteps from the halls were evident to your ears, and next thing you knew scaramouche was at your door, knocking a couple of times.

“i heard a noise, did anything happen?”

you just grumbled loudly as a response, hoping that he heard you. the door opening and the lights that came from the hall illuminated your room concluded that he probably did.

“...why the hell are you on the floor?”

“'m sick...” you mumbled, voice muffled from the blanket you're wrapped around. you hoped he could decipher your words.

“huh?” he walked over to you and pried off the blanket from your face, crouching down to the floor. “why do you you look dead?”

“i'm sick.” you said it again for the second time, voice hoarse from dehydration.

“what?!”

you rolled, facing the floor. “just get me some water and i'll be good as–”

“how the fuck did you even get sick?!” he cut you off, grabbing your arm and rolling you back to face him. he brought up a hand and placed it over your forehead, the scorching hot temperature seeping through your body. “shit. you're hot.”

you smirked mischievously despite your current condition. “i know i am.”

scaramouche slapped your shoulder, making you whine, saying that this is not the time to be making jokes.

you slowly sat up, and leaned against the lower part of your bed. “'m fine. just some painkillers will do and i can go back to my work.” you commented, looking at the ravenette.

“you're burning up yet you're still thinking about work, you're unbelievable.”

“you know me. can't live without work.” you muttered.

scaramouche stood up, offering his hand to you.

“come on.”

you looked up at him, his shadow towering over your figure. “where are we going?”

“to your bed. you need to rest.”

groaning, you flailed your arms in frustration. “don't wanna go. floor's nicer.” you whined.

he rolled his eyes at you. “whiny when drunk, whiny when sick, there's absolutely nothing that'll make me surprised about you.” he went closer to you, urging for you to take his hand. “hurry now, or else i'll carry you up myself.”

“you wouldn't dare.”

upon hearing your comment, he immediately crouched down and wrapped his hands around your waist, making your breath hitch, and heart pounding.

“try me.” said the ravenette with his voice suddenly an octave lower, the warmth of his breath fanning over your ear, and his face just inches away from yours.

you're flustered, he thinks, given how you're so quiet with your eyes as wide as saucers and mouth left slightly opened.

he smirked to himself before lifting you off the floor and throwing you on the bed, making your previous flustered self vanish, replacing with a small yelp instead as you landed on the bed face-first, a very annoyed expression plastered on your face soon after.

“that's not very gentleman-like of ya.” you said, voice muffled by the pillows you were buried in.

he ignores your complaint. “get some rest. i'll come back later.”

and off he went, leaving you and your sick self alone in the small room.

he came back roughly thirty minutes later.

you hadn't realised he came back, too busy fixing your eyes on the work in front of you, frantically writing about your theories with the energy you have left.

it was when he placed a tray at the end of your bed, and snatched the papers and pen from you was when you realised he was present.

“what the hell are you doing? i thought i told you to rest up.” he coldly looked at you, though if you looked a little more closer then you'd see just a tinge of empathy in his eyes.

you grumbled. “give them back.”

“no.”

“please?”

“if you want to end up in the hospital, then be my guest.”

you didn't say anything else.

he took the tray at the end of your bed and placed it on your nightstand. looking at the stuff on the tray, you've realised that scaramouche had served you a bowl of chicken soup, with a glass of water and some medicine.

you averted your gaze to him. “you made this yourself?” you asked, pointing out to the soup he's made for you.

he hummed, taking a sit near you. reaching for the bowl, he offered it to you.

“don't really feel like eating.”

he groaned at you. even when you're sick, you can still be the bitchiest, he thinks.

“the food's gonna get cold if you don't eat.”

“then so be it.”

he sighed, bringing up a hand to rake his hair back in frustration, before an idea popped in his mind.

he took the spoon from the bowl, taking some of the chicken soup and blowing over the hot broth. he scooted closer to you and brought the spoon to your mouth, his other hand went under your chin to avoid spilling over the soup.

you raised a brow, asking him what he's doing. he only shrugged, and brought the spoon closer to your mouth, your lips touching the utensil filled with chicken soup.

after what felt like forever, you finally caved in and opened your mouth, allowing scaramouche to feed you. you sighed in contentment, the warm and delicious broth hitting down your throat.

it went on for a couple of minutes, with him blowing off the steam to feed you, and you sitting quietly on your bed with your back against your bed frame, he fed you until the bowl was empty.

you reluctantly took the medication from his hand after he nagged you about the consequences to your actions, and by the time everything was settled, you were getting tired.

yawning, you finally felt like going to sleep after countless of sleepless nights.

scaramouche helped you get ready to bed, tucking you in with your cozy blanket wrapped around you once again. you mumbled out a thanks to him for taking care of you, making him smile halfway, saying that it was nothing.

he cleaned up after everything and just as he was about to leave, you grabbed his wrist.

“hm? do you need anything else?” he asked the last question of the night, turning back to you.

you were pouting.

it was kind of adorable, scaramouche thinks. you barely do such an expression, and seeing you do it now made his ears go slightly red. you're being cute without even trying, with you being sick no less.

it was almost comical how it made his heart skip a beat.

“don't go.” you mumbled lowly, only for his ears to hear.

he placed the tray back on your nightstand. “you need to rest up, y/n. we can see each other in the morning, i'm not going anywhere.”

“no.” you fought. “stay with me.”

widening his eyes, he stared at you in shock.

your grip on his wrist tightened. “please.”

it wasn't a question. you were pleading. you were actually begging him to stay with you, despite the very big hole in your relationship.

he always knew you'd be clingy and whiny whenever you're sick, but he didn't expect for you to be so bold and impetrate for such a shameless request.

“...fine.” he sighed, obliging. “i'm only doing this just so you can rest.” he said, taking a seat at the edge of your bed from where he previously sat. “i'll leave once you're asleep.” he caressed the hand that was holding his wrist, leaving fluttering traces along your skin.

you pouted again. “noo..” you whined. “sleep with me. in bed.” you corrected, making him widened his eyes even more than before.

“that's such a ludicrous request. i'm not getting in bed with you.”

you grumbled, tugging his hand harshly to make him come closer to you. “c'monnn... don't wanna be here alone.” you pressed, giving him your signature puppy eyes whenever you needed something so badly.

damn it, he silently said.

you're absolutely ridiculous for asking such a thing.

and he's absolutely ridiculous for indulging in your pleas.

sighing for the hundredth time that night, he loosened your grip on his hand and climbed over to the empty side of your bed.

he placed a pillow in the middle to use it as a makeshift barrier and plopped back on your small bed. “i'm not holding you. sleeping on the same bed is already preposterous enough.”

“'s okay.” you assured. “'least you're here with me.”

he only hummed as a response, not wanting to say more.

it wasn't long before you two were finally pulled back to sleep, with pillow barriers blocking the only small gap between the both of you.

how you two ended all tangled up and arms wrapped around each other the next morning (and the makeshift barrier pillows thrown elsewhere on the floor) was something even the archons couldn't answer.

and then the next day scaramouche catches a cold /j

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#h✧˖—mission accomplished #scaramouche #scaramouche x reader #genshin impact #genshin impact x reader #genshin impact scaramouche #genshin scaramouche #scaramouche fluff #genshin #genshin x you #genshin impact reader insert #genshin impact imagines

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jegulusandwolfstar4life · 2 years

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marauders headcannons

Regulus was always so dramatic when he’s sick.

James 100% had a red rucksack for school, and used it whenever he went out.

James also loved his red converse to death but we know this already.

Sirius drools in his sleep.

Peter was extremely superstitious. and the boys always took advantage of it. the only thing he wasn’t superstitious about was black cats. he loved them to bits.

“JAMES FOR FUCK SAKE STOP OPENING THAT UMBRELLA INSIDE.”

“Moony don’t you dare go under to that ladder. REMUS NO.”

“Wormy look its a black cat your gonna get bad-“ James gets interrupted by Pete “OH MY GODRICK IT’S SO CUTE!” Peter exclaims while running over to the cat.

If there was one thing anybody knew about Dorcas, it was that her and Peter were inseparable 99% of the time. (idc if this isn’t popular it is in my mind)

Regulus was an animagius. he was a small black cat.

James loved sweet potato chips. non of the boys liked them and claimed they tasted like shit.

Peter loved to read just as much as moony. but had reading blocks months at a time.

They boys always made jokes about making a band together and almost actually made one. James was gonna be on drums, peter and remus playing guitars, Sirius singing and the keyboard from time to time.

james would make a massive deal about christmas and force the other three lads to decorate their dorm on november 1st

james loved crisp butties. his mum would make them for him all the time and when he got to hogwarts, he was baffled that sirius had never had one.

james hated cheese and onion crisps with a passion, would say they taste like mud.

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sasha-whos-askin-racket · 1 year

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TREASON LIVEBLOG SINCE LIGHTING THE FUSE JUST DROPPED

When Will I See You Again - ARE WE STARTING WITH MARTHA???? - WE’RE STARTING WITH MARTHA. - I DONT KNOW WHATS HAPPENING IM SO LOST ARE THESE IN NARRATIVE ORDER? - carrie sounds absolutely fantastic, 100%, absolutely gorgeous. - “then i will go from your grave” is this about thomas? i haven’t looked enough at martha historically, i’m not all that interested in her but this might be about thomas?? in which case, confusion and intrigue. - BRADLEY??? SIR???? YOU SOUND GORGEOUS OH MY GODDDD.

The Wedding - "BEFORE WE MET I WAS A TROUBLED MAN" NO I CANT BAWL OVER THOMAS ALREADY - immediately so glad this isn’t Oliver Savile as Thomas still because I’d already be sobbing by now if it was. - OH GOD MARTHA AND THOMAS’S WEDDING I CANT DO THIS, I GET SAD ENOUGH ABOUT THOMAS AS IT IS - “AND NOW IM PROUD TO BE YOUR WIFE” I CANNOT DO IT - OH NO NOT IT BEING HAPPY, OH NO PLEASE, OH GOD THEY HAVE NO IDEA WHATS COMING - "we will endure the storm together" NO YOU WILL NOT BESTIE The Catholic Problem - Ohhh this is a new voice, hello. I have no idea who this is. Narrator? Do we have a narrator? - Guys we might have a narrator. - Sorry I am absolutely obsessed with how much this song feels like an allegory for queerness.

All We Dreamed And More - assuming this song will be much the same as the version on the album- OH NEW LYRICS - NEW LYRICS GUYS, STAY CALM, NEW LYRICS. NEW LYRICS. - nO THEY TOOK OUT THE VERSE ABOUT JAMES???? WHY WOULD THEY DO THAT??? - okay they’re making me sad about thomas can we just have the- OH OKAY THEY KEPT THE JAMES VERSE THEY JUST MOVED IT FURTHER BACK - holy shit bradley sounds so good, i love this man, i love this man so much, he’s absolutely killing it. - OH HARMONIES OH THE TEMPO IS PICKING UP, OH WE HAVE INSTRUMENTS OH THIS IS AWESOME - oh shit yeah course because the other one was an acoustic version, right? oh the little triumphant instrumental oh i love this oh im gonna cry - THEYRE ACTUALLY POOR LITTLE MEOW-MEOWING THOMAS WHAT IS GOING ON. - okay really glad they’re making more references to his past, i was literally talking about this with somebody earlier, i’m super happy we’re getting these little references.

The Promise - Immediately I’m like. This does not sound like Daniel. - It definitely is because you can hear it in the intonation and the accent but I am....not necessarily on board with the character voice? i get what he’s doing but i’m. i can’t say im a fan? maybe i’ll warm up to it. - i was gonna say this version is less camp but actually as we hit the chorus, i think it's just as camp - OH THAT LAUGH HOLY SHIT - OH GOD OKAY THIS MIGHT BE MORE CAMP - oh this is so good. oh bradley you are so good. i am a massive oliver stan first and foremost but bradley is doing a phenomenal job. - HERE WE GO COME ON DANIEL - i heard that little laugh sir, you didn’t get away with that - NAILED IT. FUCKING NAILED IT. HOLY SHIT. I LOVE THE ENDING TO THIS SONG. AND THE ENUNCIATION AS WELL???? FUCKING PERFECTION.

The Day Elizabeth Died - Okay so I wasn’t a fan of this on the album so we’ll see how we do. - Granted I think that’s because it’s a Thomas-less song so I just wasn’t all that interested. - OOHHH HARMONIES, OKAY. - hmmmm are those the bells from Take Things Into Our Own Hands - IT IS, THATS THE DRUMMING FROM TAKE THINGS INTO OUR OWN HANDS. - yeah that’s so cool, i love that so much. i love that you can hear Take Things Into Our Own Hands building in the background, i’m assuming that’ll be the next song? either way, gorgeous detail. - is that daniel? little bit of daniel? not sure. can’t tell.

A United Kingdom - DANIEL SONG. DANIEL SONG. ANOTHER DANIEL SONG. OHHH THERE’S THE END OF THE PROMISE PLAYING IN THE BACKGROUND, OH I LOVE ALL OF THIS. - smh James get your ego in check, there’s more important things right now than being remembered for uniting the nation. - oh i love this. i love daniel. his voice is so good. - i don’t know how i feel about the comedic tone shift? knowing what comes later, i’m unsure. i don’t like it. i guess that’s kind of the point? maybe? - "i said i'd leave the catholics alone. in fact, i sort of...promised" the fact that i can visualise the face he's making - explode? poor choice of words there james.

Burn - Oh narrator again! Hello narrator! - See yeah I’m really not being sold by the continuing tonal whiplash. this feels too hamilton-esque and it doesn’t really fit? - i’m so confused by this song, there’s so much going on. - oh hello is this the catholics? trying to pick Bradley’s voice out and struggling. - okay yeah i liked the narrators first song but i’m not on board with this one. it would be really good if it was separate from the other vocal parts but having the two combined in one song is kind of muddling my brain.

Take Things Into Our Own Hands - Immediately i’m excited to see if Bradley gives us that beautiful high note that Oliver does. I know I shouldn’t pit them against each other, but I’ve seen so much of Oliver’s stuff that I know what he basically always brings to a character, and having seen Bradley in only a couple things, I’m excited to see how their versions of Thomas differ. - I like this Catesby. I think this is the first we’ve heard from him all musical so far, he sounds really good. - Okay that was Thomas’s verse but that wasn’t Bradley. I’m fairly certain that wasn’t Bradley. - OH OKAY THEY JUST CUT OUT THE ENTIRE BUILD-UP AND THE END OF THE SONG. WHY WOULD THEY DO THAT. HELLO???? WHAT. - absolutely not a fan, i really love the build on the “haaaands” before they split off into their vocal parts and do the harmonies. bring that back. bring that back right now. bradley would have killed that high note, i know he would have.

The Inevitable - I cried the first time I heard this song. Let’s see how it holds up. - OH YEAH OKAY RIGHT OFF THE BAT THE VIBES HERE ARE DIFFERENT. - OH THAT LITTLE LAUGH. - OH THIS IS SO MUCH SADDER. - OH NO MARTHA ITS OKAY. - i mean its not okay but its okay. - GOD THIS IS SO GOOD. - I have a really strong visual of Thomas during this song and this is kind of adding to it? this version doesn’t feel quite as hopeless? like, there’s an anger here where in the other version it was just, kind of an acceptance? super interested to see how this translates across towards the ending.

The Plot - Is this Catesby? I think this is Catesby but I’m not 100% - oh i love these vibes, it reminds me of something but i can’t put my finger on what it is - i can’t hear Bradley, where is Bradley, give me Bradley. We want Bradley. We want Bradley. We want Bradley. - ohhhh. the metronome(?) in the background. - OH NO NOT THE INEVITABLE CREEPING BACK IN. I HAD A FEELING IT WOULD BE USED AGAIN BUT I FIGURED IT WOULD BE DURING THOMAS’S DEATH, NOT THIS EARLY ON. - okay is this bradley? oh yeah that’s bradley.

A Watchful Eye - OH A SONG ABOUT MARTHA???? - OH NO IS THIS GOING TO BE ABOUT THOMAS. OH NO. OH NO. - oh this is going to ruin me. oh martha. oh darling martha. - oh thomas my boy. my darling boy. my (historical) thomas percy fixation started i think a little over a decade ago? its been a long time anyway. i fucking love (fictionalised) thomas percy so much.

Digging Down Deeper - hello narrator!! i missed you!!! - oh this slaps, go narrator!! - i might need a better name for them than “narrator” but i don’t think they have any historical basis, i think they might just be a narrator. - “someone oughta warn them, someone oughta tell, they’re tryna find god but they’re heading for hell” HOLY SHIT

Blind Faith - Okay this was my favourite song so lets go! - carrie aceing it, of course. come on bradley. - opt up? - oohhhhh no he’s sticking with the lower range from the acoustic version. yeah, i think this song is where his and Oliver’s approach to Thomas differs the most. he sounds super good though. - i think i prefer the opt ups that we get from oliver but bradley sounds gorgeous either way. - i know bradley has the upper range, i just wanna hear it. he’s a lot stronger though i think? that might be the lower notes but he feels very booming. i’m conflicted as to how well it fits with the thomas we’ve seen seen so far. and i know bradley has a different approach than this to No Happy Ending. - not sure this one holds up unfortunately. not that i’m giving out points, but if i was, it would be a point for oliver.

The Plot Reprise - See now THIS is what i wanted to hear from bradley during Blind Faith. - oh this is super good. i love this. do i remember what the non-reprise version of this song sounded like? no, but this slaps. - okay i just scrolled back up and checked my notes, back on board. - sidenote, terrified to reach Caught in the Crossfire in case that’s Thomas’s death song.

As Far as I Can Tell - OH DANIEL SONG AGAIN. - he sounds so good i’m a daniel stan fr. - oh this is jazzy. i hope he gets some good choreo for this. i want some jazz hands, a couple of kicks maybe. - “...oh for gods sake” Daniel you’re incredible. - pls stop giving daniel massive notes at the end of his songs, he’s got to do an entire run of this. i have complete faith that he’ll manage it but still. come on.

No Happy Ending - I don’t actually have that much to say about this song? This is the version they dropped on November 5th, and I’ve listened to it enough since then that I don’t have anything else to say about it really. - “robert catesby is a man of pure intention” gets me every single time though. i am grabbing thomas and i am shaking him and demanding he listen to his wife. he is a FOOL. an IDIOT. and i love him immensely. - “but my faith in you has clearly been misplaced” BRADLEY JUST DOESNT MISS. EVERY LINE HE SAYS FEELS LIKE A PUNCH IN THE GUT. - how have we gone from The Wedding to this. Y’all sounded so happy earlier and now we’re here. - oh scream bestie, i love you thomas. - okay i am conflicted on martha here. i love her and she’s done her best and thomas is doomed and we know that but still. be gentle with the man who has been brainwashed into a religious cult. that’s my two cents on the matter.

Caught in the Crossfire - I paused it immediately because I needed to emotionally prepare myself but I think I heard the narrator so i think we’re okay. - no, this is not the narrator. i may still need to prepare myself. - i don’t know who this woman is. it’s not martha. - SING LADIES. FEMINISM. - i was expecting to be sad about thomas and actually im just vibing. there’s two minutes for things to go sour before the end of the song but i think we’re good. - wondering if the final song will be thomas then since its a reprise of the first song, which was a Martha and Thomas song. - MARTHA GETS THE DECIDING VOTE. NO. I MEAN, BE A FEMINIST GIRLBOSS BUT THAT IS HER HUSBAND IN THERE. - IS SHE TURNING HER BACK ON HIM. I KNEW THEY OBVIOUSLY HAD BECOME ESTRANGED BECAUSE OF NO HAPPY ENDING BUT IS SHE ABOUT TO ACTIVELY BETRAY HIM. - OH NO IM REALLY INTRIGUED BY HOW THE LAST SONG IS GONNA GO THEN.

When Will I See You Again Reprise - buckle in lads, lets go. - oh that’s martha. that is martha. - see i’m now fairly confident she’s not talking about thomas? i don’t know. this is what has stumped me. - is this about thomas? give us a bradley line. i need some indication of something. - oh is that the Take Things Into Our Own Hands motif again? it sounds similar. oh i think it is. - WHAT DOES THAT MEAN.

Okay then. Uhhh, general thoughts below ig? - the lack of Cold Hard Ground did not go unnoticed. Where is that song? give me that song. i want it. i’m aware that this isn’t all of the songs from the musical, but i’m surprised it’s not on here, since it was an already released track. very intrigued. much to think about. - no actual conclusion song. again, i’m aware this isn’t all of the songs but i THOUGHT we’d get a thomas and catesby death song this time around. i hope we get one. i hope one exists. i will be really fucking bitter if not. its been set up really well. i want one. give me one. - same goes for anything post-plot actually. i am assuming the musical will continue on and explore the death of the plotters rather than cutting off when the plot fails? i am hoping it goes on until the deaths of the plotters. i think there is the potential for good songs surrounding the manhunt. and i always want another daniel song. - i need more of thomas. i always need more of thomas. again, talking about the deaths of the plotters, i want a death song for thomas. let me take a peek inside his tiny idiot brain. i want to know if he dies still believing that catesby is a good man, or if that blind faith finally starts to give way to doubt. i want to know. i need to know. give me that good thomas percy content please.

all in all - that fucking slapped. i’m assuming we won’t get any new content until the tour releases, so i’m gonna have to be really fucking patient until it does. i think i can manage that. im lying. i can’t. i need it now.

#treason #treason the musical #long post #rlly long post #sorry #i just have THOUGHTS and FEELINGS #its almost 3am and this took me like two hours to make this post so sorry if it goes off the rails near the end #i am thinking about this musical SO HARD OH MYGOD #going wild fr #anyway yeah those were my Lighting The Fuse thoughts as i heard it for the first time #vince liveblogs life

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dustedmagazine · 2 years

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harm: Listed

harm’s one and only album was recorded in Pittsburgh at a college radio station where Andy Beckerman and Kyle Bittinger had shows. (Beckerman later wrote for Dusted, back at the old site, if his name seems familiar.) They finished it, left for separate graduate schools and the rest of their lives. Beckerman writes for television and hosts the Beginnings podcast now. Buttinger teaches in the pediatrics department at the University of Pennsylvania. I Am Suddenly Aware didn’t fit, long term, with anybody’s plans. But the album, newly reissued, plays like a lost Elephant Six gem. In her review, Jennifer Kelly noted that I Am Suddenly Aware, “has a casual, yearning charm to it, with its aching little melodies threading through dense thickets of euphoric keyboard sound and percussive bouts of guitar strumming.

Do you like complicated concepts for the Listed feature? Then we have a treat for you! We thought we’d list two bands that inspired harm as a whole, and then each write about 1) music that inspired us in the late 1990s and 2) music that inspires us now. If there’s one thing we at harm HQ seem to love, it’s complexity for its own sake!

Two Bands

hollAnd — Your Orgasm

your orgasm by holnd

The 1990s were a real renaissance for a lot of twee-ish music that wrapped a perplexing nostalgia for high school-era emotions in kitschy Casio sounds. Trevor Kampmann, probably more than any other musician at the time though, taught us you could make complex *and* killer keyboard-based pop songs that featured adult emotions.

Dump — A Plea for Tenderness

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Besides having Electr-O-Pura and I Can Hear the Heart Beating As One coursing through our blood at the time, it was specifically James McNew’s solo recordings that pushed us in a very specific, very gentle direction. Who knows what would have happened if we hadn’t heard this album? Nu-metal casiopop?

Late 1990s

American Analog Set — The Golden Band

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Kyle: A near-perfect record and my favorite from the Set. They start out with the classic American Analog Set sound and then dig further into it as the album progresses. The music is full of rich Farfisa organ that mirrored the tones we were trying to pull from our own keyboards at the time. The Golden Band is 100% an autumn record.

Galaxie 500 — On Fire

On Fire by Galaxie 500

Cindy: I was (and still am) so enchanted by this band and this album in particular. So much atmosphere. It’s the perfect soundtrack to play any season, from snowy mornings to summer sunsets. You can get lost in Naomi Yang’s bass lines, while Dean Wareham’s vocals lull you through soft and storied melodies. Plus the occasional sax moment — why not?

Beulah — When Your Heartstrings Break

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Andy: Despite harm being mainly focused on using Casio keyboards in creative ways, Elephant 6 loomed large in our late 1990s lives, teaching us that you didn’t need to be an acid-soaked Angeleno to use orchestration. You could be an acid-soaked Athenian! Or a weird, quasi-straight-edge kid from The Keystone State! While I remember the day sophomore year Brett Buzzini cracked open his brand-new CD of In the Aeroplane Over the Sea, it was really Beulah that cracked it wide open for me. Miles Kurosky and crew’s pop purity really dug into my cells, but unlike other things that can dig into your cells, like say, the novel coronavirus, they did not scare me into hiding in my apartment for a couple of years. No! They showed me you could overload your songs with melodies and horns and still have something that sounded holistic and controlled.

Boards of Canada — Music Has the Right to Children

Music Has The Right To Children by Boards of Canada

John: In the mid to late-1990s, I was listening to a lot of IDM and other types of electronic music as well as the usual indie pop/rock that was around at that time. The album which influenced me most is a hazy mix of hip hop beats, lo-fi tape-scorched synthesizers and samples of old educational films. I got really into drum programming using outdated technology because of this album, which you can hear on the harm track “The Sailing Coast,” where I layered several classic Casio sounds using the Casio RZ-1 sampler/drum machine.

The 21st Century

DJ Metatron — Loops of Infinity

mandarín · DJ Metatron ‎– Loops Of Infinity (A Rave Loveletter)

Kyle: Starting in 2012, I took a deep dive into house and techno, genres which have accounted for most of my new music listening over the last decade. This album exemplifies some aspects of electronic music that I find amusing: ridiculous DJ aliases, oddly marketed vinyl-only releases and nostalgia for a rave culture in which I never participated. But the album also exemplifies how tracks work together in house and techno to create something more than the sum of its parts. The songs touch on a variety of styles but maintain a consistent mood, and they lock together to draw you into the dreamworld of DJ Metatron. Honorable mention to the Strum and Thrum comp of American jangle from 2020.

Various Artists — The Guest Original Motion Picture Soundtrack

youtube

Cindy: Hear me out. This movie is an unexpectedly fun action thriller/horror flick, but the soundtrack is what made it. Full of various synthwave songs from both now and the 1980s, it has a throwback theme with a seriously dark aura. It’s like a mixtape I wish I’d been cool enough to make myself. Last year, there was an April Fools’ Day bit about a sequel coming out that they reinforced with an equally impressive (and real) soundtrack on Spotify.

Crying — Get Olde/Second Wind

Get Olde Second Wind by Crying

Andy: As a childless adult in the entertainment industry, I have a LOT of free time to check out new music, and there is SO much good stuff out there, from Rosie Tucker to Pictoria Vark to Linqua Franqa to Daniel Wyche, but I thought for Listed, I’d pick something that is more in line with harm. Crying might be defunct now, which is a bummer because this album (which is two of their EPs smushed together) does for chiptunes what I think we were trying to do for Casios, that is, transcend the kitschy nature of the medium. I love chiptunes and video game music, but Crying did something new with it, writing extremely catchy and complex songs full of actual emotions.

Tony Rolando — Breakin’ Is A Memory

Breakin' Is A Memory by Tony Rolando

John: Music that evokes nostalgia has always resonated with me for some reason. Using these toy keyboards from my childhood to craft complex pop songs was a big part of making music with harm. On this record by modular synth designer/musician Tony Rolando, there’s a healthy dose of nostalgic analog synth gear as well as modern designs from his company Make Noise. He seems to have one foot firmly planted in the past, as well as a keen eye on the future.

#dusted magazine #listed #harm #hollAnd #dump #american analog set #galaxie 500 #beulah #boards of canada #dj metatron #the guest original motion picture soundtrack #crying #tony rolando

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speakingofdoorknobs · 2 years

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I was tagged by @mikesmoustache

name: ehhhhhhhh we'll go with AJ (I'm too old to feel comfortable using my full name online)

star sign: Cancer - I have never seen a zodiac lighter with my sign on it, which is a shame because it would be hilarious to offer to people ominously.

birthday: June 26

height: 5'10" (~177cm)

time: 1.30 am

favorite bands/artists: Top 3: Queen, Depeche Mode, Devotchka in that order. After that I can only give categories, not ranks.

last movie: in a theater: The Addams Family/at home: The Incredibles (just happy it wasn't one of the Cars movies again)

last show: Currently rewatching 'Allo 'Allo

when did i create this blog: this specific blog was created March of 2011

what i post: on this blog, just shiny things I like - stuff comes in waves as I get into different things, but Star Trek and Disco Elysium are pretty constant content. Also cats.

last thing i googled: "can you skip a ring on water" (wanted to see if it was plausible for a character to dramatically toss a ring into a lake and have it skim/skip)

other blogs: okay, so: This blog started as a sideblog of All Our Yestertomorrows, which was a comic I was drawing based on the TTRPG we were playing at the time (a mashup of several White Wolf settings). I kind of ran out of steam on that (I should really get back to it, I found the binder with my game notes again), and decided that I'd switch this blog over to be under another account I'd made to use as a portfolio (@effulgentinara), which is only for original work like fanart, jewelry, sketches, etc. Unfortunately, this causes some confusion since I mostly interact with everyone through this side blog.

Please, please @staff - let me either make this its own account or let me swap which is my main and which is my sideblog, or at least let me choose which account replies and asks are marked as being from. It's been eleven years, I think I deserve this.

do i get asks: Not often, but I always enjoy them.

following around: 100. I've determined that's the maximum number of people I can follow without feeling overwhelmed trying to keep up with Tumblr, and it's a pleasantly round number.

average hours of sleep:

My personal best/worst is technically only around 50 solid hours awake, but yeah, I'm really bad about just... forgetting? to sleep? But I'm trying to be better about it recently.

instruments: couple of years of piano lessons that I could probably dredge up with a little refresher (don't currently own a piano or working keyboard so I'm out of practice), guitar, ukulele, a little bit of flute, playing around with an electronic drum pad I bought as a treat, every now and then I give that toy accordion a shot again, and recently I've been enjoying the otomatone I got for my birthday

what i’m wearing: t-shirt and shorts (with pockets!)

dream job: children's book illustrator or just creating weird little games (I do some stuff in my spare time, but don't have a lot of chances to work on it)

dream trip: would be nice to go to Japan (particularly the Korakuen Gardens), but if I'm being perfectly honest my main motivation for brushing up on my French is to go visit Parc Astérix someday.

nationality: American/Irish (technically UK as well, but I've never bothered to file the paperwork because I don't really have any plans to live there anytime soon)

favorite song: Fire Escape in the Sea by Sea Power may have managed to dethrone '39 by Queen, or has at least tied

last book i’ve read: Does an epic fanfic completely re-writing Star Trek: TNG but with Tasha surviving count? If not, then I think it was either Howl's Moving Castle or James Acaster's Classic Scrapes.

top 3 fictional universes i would like to live in: Star Trek (fully automated luxury gay space communism FTW), Animal Crossing, or Wallace and Gromit

Tagging @shoutsindwarvish @tiwaztyrsfist @singedsun @nerdishnerd @angelchrys @tardigradesonthemoon @thewinterarcher

#ask and ye shall receive

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citizenhullabaloo · 4 months

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Smash, Pass, Trash: 72 Seasons by Metallica

Disclaimer: Completely subjective opinion! Remember that before you bully me 😦

Pros?

An ELEVENTH Metallica studio album? What a treat! James Hetfield’s vocals are just as strong here like with the last album. The man can *SING* and be bad-ass! Their musicality hasn’t decayed at ALL, even if people keep ragging on Lars’s drumming ability. Man’s still be double kicking and it still sounds GREAT! Hell yeah. “Lux Æterna” is one of their best singles, similar to “Hardwired”.

Cons?

After 11 records, I feel the gentlemen can make shorter songs… I grew tired of the direction the band was heading from Death Magnetic onwards. To me, it felt like a constant reach for the glory days, and that’s something you can never return to. The album feels like it drags. It’s too many ideas thrown in that don’t lock in 100% all the time and causes it to make you wonder “Is it done yet?… Oh, another chorus/solo/verse…”. I cannot recall songs to singalong to besides “Lux Æterna” and “72 Seasons”.

Afterthoughts?

With a career as great as Metallica’s, you can’t deny they’ve done so many wonderful things. I don’t believe the band should just call it quits, but I believe they should open their options more musically. Add more duets, add more electronics, add more creativity, just because you can! It’s punk as hell to not be same ol’ Metallica. They have MORE than enough music from their career prior to Hardwired…to Self Destruct, to play worldwide, with a few new songs slipped in to keep interest. I don’t think the band has to resort to releasing BIG albums anymore. Maybe an EP here and there. I would call them a legacy band at this point, and if they want to fight it, I want them surprise me with something revolutionary for Thrash Metal then 🙂

Rating Scale: Smash, Pass, or Trash

Rating: Pass

It’s Metallica! Anything after Death Magnetic sounds… just like Death Magnetic. At this point, they’re literally becoming AC/DC in a bad way. I would want them to try something different by now, or make everything shorter at least 😦

3 / 5 (Based off my The Music Checklist)

#72 Seasons #James Hetfield #Kirk Hammett #Lars Ulrich #Metallica #Music #Music Review #Robert Trujillo #Smash Pass Trash

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sinceileftyoublog · 7 months

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Riot Fest 2023: 9/15-9/17

The Cure's Robert Smith

BY JORDAN MAINZER

So was this the biggest Riot Fest yet? Maybe in terms of headliners, but the festival still felt like the type to bring together bands new and old, paying just as much mind to presenting up-and-coming artists with a punk rock ethos as the legends who spearheaded those scenes to begin with. Here were our favorite sets.

Quasi's Sam Coomes

Quasi

The amount of sound that Sam Coomes and Janet Weiss got out of keyboard (plus affects), drums, and vocals was mesmerizing. Quasi, 10 albums deep, certainly showcased their latest opus, Breaking the Balls of History (Sub Pop), nailing the tempo changes of "Nowheresville" and warbling harmonics of "Riots & Jokes". But they also reminded you why they've been such a consistent force since the early 90's. Those unfamiliar with the band watched as Coomes unceasingly made his keyboard sound like a guitar on the clattering "The Rhino", or like a Peanuts-style barroom jaunt on "Unto Itself". Weiss, meanwhile, ever the impressive multi-tasker (watching her, you gain an appreciation for the difficulty of playing drums and harmonizing), rhythmically swung on the soulful "Back In Your Tree" and pummeled "Last Long Laugh". And yes, "Doomscrollers" was awesome.

Quasi's Janet Weiss

Yard Act's James Smith

Yard Act

Seeing a talk-singing band at a festival has its risks. What if the sound mix is off and the band overshadows the singer? And what if that singer is someone like Yard Act's James Smith, who delivers such beautifully acerbic words you don't want to miss? Not to worry at Riot Fest. You could hear him perfectly, his lyrical dexterousness and emcee-like flow shining on tracks like set opener "Rich" and "The Trapper's Pelts". But the band itself also provided breaks for Smith, embarking on extended jams during "Land of the Blind" and a full-blown disco breakdown on their latest single, "The Trench Coat Museum". Overall, what separates Yard Act from so many of their peers in the UK post-punk scene is a unique mix of cynicism and humanity, tightly wound compositions and inescapable boogie-downs. "The future is terrifying," remarked Smith before performing "100% Endurance", imploring the crowd to live in the moment. What normally might be forced seemed all the more genuine coming from him. Or, as the band might say, "It's hippy bullshit, but it's true."

Yard Act's Sam Shipstone

Screaming Females (from left to right: Marissa Paternoster, Jarrett Dougherty, Mike Abbate)

Screaming Females

With a mere 40 minutes to play, New Jersey heroes Screaming Females managed to fit in some of their hookiest songs with enough room to breathe in between them. The set contained plenty of intro jams, Marissa Paternoster's relentless shredding, Mike Abbate's brawny basslines, and Jarrett Dougherty's rich snares, from "Brass Bell" to "Wishing Well". And the band serenaded us with side 1 track 1 of their finest, Albini-produced hour, Ugly's "It All Means Nothing", sounding as crispy as ever.

The Breeders' Kim Deal and Josephine Wiggs

The Breeders

I find that the quality of experience of full album plays at a concert or festival are dependent on a few factors: whether the band are good instrumentalists, whether the songs are as effectively sequenced as a live set as they are a studio album, and the rarity of the material itself, in the band's recent history or as a past full album play. For The Breeders this year, 2 out of 3 ain't bad. While I would have pined at the opportunity to see them blast through Pod, you cannot deny the anthemic quality and musical significance of Last Splash, cementing the band in indie rock history and introducing to the world the quick learning of Kim Deal's sister Kelley. And to me, it doesn't matter that I saw the band perform Last Splash twice for the album's 20th anniversary back in 2013. It will never get old to hear Kim bark "Check / check / check / One, two" into a harmonica mic, anticipating Jim Macpherson's introductory click-clack and Josephine Wiggs' all-timer of a sinewy bass line. Throughout their set, The Breeders demonstrated what I believe they've always done best, even better than the Pixies or Nirvana, creating an interplay between the gentle and the raw and the distorted. Oh, and they did have time for a few more at the end, including "Iris". Here's to the Pod 40th anniversary set at Riot Fest 2030.

Turnstile's Brendan Yates

Turnstile

Talk about dynamics! If most hardcore bands rely on intense cacophony, the Baltimore band's crossover appeal comes in the form of not even their hooks but their melodies. In between ferocious versions of "MYSTERY", "BLACKOUT", and other game changers from Turnstile's breakout record GLOW ON, they traded fist-pumps for dance-offs, drum solos, ballads ("ALIEN LOVE CALL"), and moments of ambience and quiet. At the center of it all is lead vocalist Brendan Yates and his unique timbre, at once forceful and gorgeous on back catalog highlights like "Real Thing". Turnstile is one of a kind; when they thank you for letting them be themselves, it's not just a sly Sly reference. They mean it.

Turnstile touring member Meg Mills (left) and bassist "Freaky" Franz Lyons (right)

From left to right: Foo Fighters' Rami Jaffee, Dave Grohl, Josh Freese

Foo Fighters

In previewing Dave Grohl and company's headlining set, I suggested folks "catch Foo Fighters performing songs from their best album since The Colour and the Shape." Taking the stage after Turnstile ended, they shockingly proceeded to play absolutely nothing from But Here We Are. Okay, according to setlist.fm, both "Rescued" and "Glass" were on the setlist, but not performed. Grohl, perhaps taking a page from his one-time mop-topped bandmate, is the ultimate showman, preferring to elongate songs from silence to build to climax (opener "All My Life", church-organ-hue-to-full-band "Times Like These"), tell stories (the one you've heard about 13-year-old Grohl going to see Naked Raygun and Rights of the Accused at the Cubby Bear with his cousin), and launch into a medley of covers when introducing his band ("Sabotage", "Blitzkrieg Bop", "Whip It", an impressively loud version of Nine Inch Nails' "March of the Pigs"). Yes, some of the spontaneous moments were probably gimmicks. Even though the camera panned to fans in Metallica and Black Sabbath t-shirts when Grohl stuffed riffs from "Enter Sandman" and "Paranoid" in "No Son of Mine", as if he was doing the covers for the people in the t-shirts, past and future setlists show evidence of the same exact shtick. But when a crowd member shouted out a request for Wasting Light deep cut "White Limo"--not done consistently for at least the past couple album cycles--the band, including new drummer Josh Freese, absolutely nailed it. Grohl is also, thankfully, self-aware, noting before playing the maudlin "My Hero" that, "The good thing about a Foo Fighters show is if you don't know the song, just look at the minivan driver next to you. They'll know what to do." Yet, his unavoidable role as leader of the band for the common person doesn't prevent him from being earnest. The set's best moment came when the band played There Is Nothing Left To Lose's "Aurora", the first song Grohl wrote with the late Taylor Hawkins, the drummer's favorite Foo Fighters song. It ascended to a guttural scream, a quick moment of catharsis before some true professionals went back to work.

Jehnny Beth

The Savages frontwoman seems to be just getting started as a solo artist. After releasing the underrated To Love Is To Live in 2020 and a collaboration with Primal Scream's Bobby Gillespie in 2021, Beth gave Riot Fest a collection of heady, yet horny industrial tunes. Her presence captivated onlookers above the skittering beat and deep bass of "Heroine" and the propulsive techno of "We Will Sin Together". She entered the crowd multiple times throughout the set, establishing a warm camaraderie much different than the pure intensity of Savages. And her voice, as ever, was on point, rising above backing tracks and her band (including guitarist/keyboardist Johnny Hostile) with her belt and quintessential yelps. And if Foo Fighters gave us a taste of NIN the night prior, Beth performed her cover of "Closer" in its entirety, a song whose salacious subject matter fits right in with Beth's ethos. To get a taste of what she and her band sounded like (including two new songs played at Riot Fest), check out the just released LIVE EP (20L07 Music).

Viagra Boys

The self-described "Sweden's third worst band" essentially distilled all of the best moments from their show at The Salt Shed earlier this year into a tight 45 minutes of bangers. They started off with mostly highlights from their most recent album Cave World, the stars of the show as usual mostly shirtless singer Sebastian Murphy, guitarist-saxophonist Oscar Carls (donning a white shirt with the word "GOGO" in bold black print), and Tor Sjödén's breakneck timekeeping. As the set went on, even if you were familiar with their routine as I was, it never got old, from the disco breakdown of "Ain't Nice" to Carls' bleating intro to "ADD" and gyrations during "Research Chemicals". Perhaps new this time was Murphy's push-ups during "Sports", noises dripping like molasses out of his mouth and into the microphone on the floor. If a full concert reveals Viagra Boys in all of their fascinating contradictions, a festival exemplifies their id, a group of stellar musicians at their most absurdly sleazy and stunningly surreal.

Viagra Boys' Sebastian Murphy

PUP

Talk about a victory lap: Saturday at Riot Fest marked a year and a half since PUP's most recent studio full-length, THE UNRAVELING OF PUPTHEBAND (Rise), as well as their last show for a while as they take a touring break. It was also a good summation of a moment in time for the band. They were capable of displaying the cleaner sound and hooks of their more recent material, like the 60's pop harmonies of "Totally Fine". But they also resembled the band who can reliably rip your ass with the one-two life-affirming punch of "If This Tour Doesn't Kill You, I Will" and "DVP", and who can casually return back to their roots on a rare song played from their self-titled, "Reservoir". They're still the best Toronto rave-uppers this side of METZ.

From left to right: (PUP's Stefan Babcock & Nestor Chumak)

Crowd at PUP

Death Cab For Cutie

If I'm going by the same three rules I laid out when covering The Breeders, then Death Cab For Cutie performing Transatlanticism in full covers rules one (capable instrumentalists) and sort-of three (rarity of material). They don't often play many of the Transatlanticism deep cuts on a regular basis, which made hearing the album in full at golden hour worthwhile for diehards. But there was sort of a reason "Death of an Interior Decorator" didn't intoxicate the same way "The Sound of Settling" did, the latter with a wordless chorus unfamiliar crowd members learned on the spot. Death Cab didn't meet rule two: The band's breakout album is top-heavy and slow-paced, not nearly as fun of a live experience as Last Splash or The Postal Service's Give Up. At the same time, in a vacuum, each song performance contained its own thrills, whether the guitar distortion and crescendos of "The New Year" and the album's title track, the squeaky chair sway of "Lightness", or the driving keyboards of "We Looked Like Giants". Especially as compared to Death Cab's later material, though, the band here was less riotous, more contemplative.

Queens of the Stone Age

As they walked out to Peggy Lee's "Smile", I couldn't help but think that Queens of the Stone Age was, as recently as early this year, one of the less likely bands to emerge under the lights at Riot Fest. Since 2017's Villains, Josh Homme had kicked a photographer in the face during a concert and faced a deserved public chiding, been embroiled in a bitter divorce with ex-wife Brody Dalle, and been diagnosed with and successfully fought cancer. It's understandable that he wasn't even sure he wanted to record the band's latest album In Times New Roman... (Matador) given the ups and downs, but it came out, and here was the band. The record is pretty much what you'd expect, with the band's quintessentially swaggering riffs and thudding beats, Homme's spooky, warbling falsetto, goofy portmanteaus, and lyrical head-scratchers. (See: "Voyeurism-jism may cause blurry visions on opener "Obscenery".) During their sub-headlining set, QOTSA performed the appropriate tracks from their new record. Fatalistic worldview be damned, "Negative Space" sported siren-like guitars to match its buzzing rhythm section. Instead of "Paper Machete", whose titular object is certainly a metaphor for the purportedly "all bark, no bite" Dalle, the band opted for "Emotion Sickness". Homme repeated the refrain, "Baby don't care for me," referring to his divorce but in a large festival setting ambiguous enough to conjure a singalong from anyone who has ever been a part of a decaying relationship. And then there was the slow funk psychedelia of "Carnavoyeur", on which Homme sings, "Accept, enjoy the view / When there's nothing I can do / I smile," maybe the reason they walked out to Peggy Lee, continuing to bare their teeth when life tries to get them down.

Mr. Bungle's Mike Patton

Mr. Bungle

Given that Faith No More and Mr. Bungle cancelled tour dates in 2021 due to Mike Patton's health--including that year's Riot Fest--Saturday night's Mr. Bungle set felt like a triumph. Walking out to an atonal version of Richard Strauss' "Also sprach Zarathustra, op. 30", the all-star lineup of a pig-tailed Patton, guitarists Trey Spruance and Scott Ian, bassist Trevor Dunn, and drummer Dave Lombardo went on to slay nonstop. Immediately notable, of course, was Patton's shapeshifting voice, emulating a digeridoo at one moment and forcibly chanting the next, screeching at warped speed in between. Though they played mostly from their excellent 2020 album The Raging Wrath Of The Easter Bunny Demo (Ipecac), it wouldn't have been a Mr. Bungle set without covers, from the fitting (Slayer's "Hell Awaits", Sepultura's "Territory"), to the unexpectedly beautiful (10cc's "I'm Not in Love", Spandau Ballet's "True"), to the nonsensical (the Pepto Bismol jingle). For the fans that had waited all day to get front row or even the casual listener, it was a performance well worth the wait.

Mr. Bungle's Trevor Dunn

Mr. Bungle's Scott Ian

From left to right: Thursday's Tucker Rule, Geoff Rickly, Tim Payne

Thursday

With weather delaying the gate opening until just before 2 PM and all sets scheduled before then cancelled, perennial Riot Festers and New Jersey heroes Thursday played an abridged set that was the first of the day for many. Since they started right at 2, the crowd was, at first, very sparse. Geoff Rickly decided to give people time to filter in, the band starting with a slow song, cheekily, "Running From The Rain". From there, it was like the Thursday CliffsNotes: "Signals Over the Air", "Cross Out The Eyes", "Understanding in a Car Crash", the works. Ever the appreciative and charismatic frontperson, Rickly shouted out the cancelled bands, mentioned that none other than Gorilla Biscuits were going to let them do a song were they themselves cancelled, and called touring with headliners The Cure 20 years ago "one of the best experiences of our lives." By the time they finished with "War All The Time", the title track of an album celebrating its own two decades, the crowd was, thankfully, Thursday-sized.

Ride

"This is a song from Nowhere not about death," is how Ride vocalist and rhythm guitarist Mark Gardener introduced "Taste". It made me think: Even if you do pay attention to this band's lyrics, their songs have an inherently uplifting sound, and especially live. From the get-go, the legendary in-and-out Hammond organ riff from "Leave Them All Behind", the band enveloped the crowd in a tornado of noise, whether on melodic later material like "Future Love" and "Lannoy Point" or the stunning "Vapour Trail", which saw Andy Bell capture the spirit of the song's violin with his guitar. They closed with "Seagull", whose opening bass riff inspired various crowd members to bounce up and down, including yours truly, even after standing in line for three hours on day three of a massive festival.

Ride's Mark Gardener

Ride's Andy Bell

Gorilla Biscuits

During their set at Riot Fest, someone turned to me and mentioned they saw Gorilla Biscuits at Metro in the early 90s as a teenager. The person next to him replied, "I learned about them like I learned about all music: Tony Hawk Pro Skater." Such is the life of a classic hardcore band playing at a punk festival in 2023. Leave it to the New Yorkers to break the rules of full album plays, though. Though a horn section came out to call them on to the stage, just like "New Direction" opens, they interrupted their play-through of Start Today with a few songs from their self-titled debut as well as a cover of "Minor Threat". Anthony Civarelli was in top form, launching himself into the crowd from the start, never stopping in his communal energy.

Gorilla Biscuits' Anthony Civarelli

The Mars Volta

When you're a band whose best songs are double digit-minutes long, curating a one-hour set must be difficult. Thankfully, The Mars Volta can cram a wide array of ideas, genres, and tempos in just one song. "L'Via L'Viaquez" was chock full of retro metal guitar solos and salsa breakdowns, Cedric Bixler-Zavala wailing with the best of them. They even managed to sandwich a snippet of Can's "Vitamin C" into the beloved "Cicatriz ESP", contemporary prog rock legends paying homage to their krautrock forebears. Bonus points for Bixler-Zavala pausing to name his top 3 Chicago punk bands: The Vindictives, Trenchmouth, and 90 Day Men.

The Cure's Reeves Gabrels and Robert Smith

The Cure

Seeing The Cure live is one of those transcendent experiences like watching Nine Inch Nails close out last year's Riot Fest. I caught people weeping in the front row during "Pictures of You". The drawn-out instrumental intro to "Fascination Street" garnered just as much fanfare as "Push", "In Between Days", and "Just Like Heaven". Even an overplayed, cheesy song like "Friday I'm In Love" sounded longing and wistful. The band members' age may increase, but they sound exactly the same as when I saw them last decade, presumably as beautiful as ever. The three unreleased songs they've played, slow burns "Alone", the epic "Endsong", and ballad "And Nothing Is Forever", have become staples of their setlists since debuting last year. I knew The Cure's set would be a highlight, if not the highlight of the festival. What I didn't expect was for it to cause me to anxiously await the release of their first new album since 2008.

The Cure's Roger O'Donnell

The Cure

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tidalwavesmusic · 9 months

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JAMES DALLAS 'LIFE FORMS’ (1982)

James Dallas is a talented producer, songwriter and saxophonist from Milwaukee. He started playing the clarinet in Junior High School at the age of thirteen, during this time public schools would loan students an instrument who could not afford their own. James originally requested an alto saxophone but none of those were available. In 1967 he got his hands on a baritone saxophone…and it became his main instrument for the next 15 years.

Dallas decided to pursue a career in entertainment (influenced by his parents who allowed him to play in a professional R&B band at the age of 14) and was possessed by an exceptional drive to excel in music. James wanting to showcase his talents as a multi-instrumentalist led him to his pursuit in playing the flute, various forms of the piano…and of course all the saxes & clarinets.

Soon he started playing with local bands and solo artists in the jazz & blues scene, he even participated on several recordings (mostly as part of the horn section)…but things really started to take of when James (together with his brother Chris and his cousin Kevin) started the outfit Heavy Weather. Most of the other bandmembers where his friends and would later become regular players on Dallas’ two solo albums ‘Life Forms’ (1982) and ‘Here And Now’ (1984).

The album we are proudly presenting you today: Life Forms (1982) was James Dallas debut album. Recorded at Mauer Brothers’ Studio and completely self-funded with the help and encouragement of his peers and family. Dallas paid for all the recording time and the privately pressed 1000 copies of the album…back then he could not have imagined that decades later it would become a much sought-after collectible that fetches high prices.

On Life Forms James Dallas is joined by a top cast of musicians such as Earl Thompson on percussion, Myron McClain and Noland Clark on drums, Rick Lacey and Robert Walls Jr. on guitar, Jake Simmons and Kevin Whitehead on bass. Kevin Whitehead (who is James’ cousin and known for his work with Ben Webster, Ella Fitzgerald, Miles Davis, Sun Ra and Pharoah Sanders) also wrote a track for the album. The whole venture truly is a family affair because James’ brother Christopher can also be heard on keyboards and the album design was handled by his other brother Calvin.

James Dallas surely deserves the title of ‘multi-instrumentalist’ because not only did he compose the majority of the songs (and produced the whole album) but next to his trademark soprano saxophone work, he also took care of playing the electric piano, flute, vocoder and keyboards.

The six songs on the fantastic Life Forms album are a heavy mix of mind-blowing funk, fusion and Vocoder/Odyssey synth extravaganza. If you are a serious collector or a smooth jazz underground enthusiast, then this is the thing for you! Also included is the magnificent ‘Sidetrack’ song that was included on the Numero compilation ‘NuLeaf’ released in 2020.

Tidal Waves Music (in collaboration with The Numero Group) now proudly presents the FIRST ever vinyl reissue of this iconic Jazz-Funk-Soul fusion album (original copies tend to go for large amounts on the secondary market) originally released in 1982 as a private pressing and now finally back available as a limited 180g vinyl edition (limited to 500 copies) complete with the original artwork and obi strip.

Available in stores October 13, 2023. Pre-order now from www.lightintheattic.net

An exclusive variant (#100 copies CLEAR Vinyl) is also available from www.lightintheattic.net

An exclusive variant (#100 copies COKE BOTTLE CLEAR Vinyl) is also available from www.roughtrade.com (UK) and www.roughtrade.com (US)

#jamesdallas #1982 #Funk #souljazz #numero #numero group #tidalwavesmusic #lightintheattic #vinylmeplease #roughtraderecords

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sunshinesesequencing · 10 months

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Conditional Breakbeats for Rytm

Concept: The Elekton Sequencer which allow more variety in pattens beyond just percentages with the NGI, FST, PRE et al conditions. The basic idea is from a drum patten or score calculate percentages and combinations of hits then create a conditionally based 1 bar patten. The randomisation provide a quick way to create variations in the style of particular breakbeats. The aim is not to duplicate but to have a basis for variations. Just studying breakbeats like this can be helpful in creating your own. It also adds to working out various techniques with the Elektron sequencer and related features.

** Examples (Source: Breakbeat Bible by Mike Adamo)

Runnin - The Phrcyde - J Dilla

94bpm C,3,5,7,9,11,13,15 @ 100% S 5,13 @ 100 K 1@87, 2@12, 3@38, 6@25 8@50 9@37 10@75 12@87, 16@37 A straight forward percentage patten. With an all percentage track there is the slight chance that there can be no hits or all hits. Note: Percentage as calculated. These will need to be rounded to Elektron values.

God made me funky - Headhunters - Mike Clark

94bpm C 1,3,5,7,9 @100,11@75,13@100, 14@75, 15@75 O 11@_NEI (not neighbour) S 5,13 @ 100 K 1@100, 8@100, 16@_1ST (not first)

The hats need to be neighbour tracks and will alternate randomly The kick on 16 does not occur on the first bar and _1ST handles this. For more random have 16@87%

Funky Drummer - James Brown - Clyde Stubblefield

101bpm C 1,2,3,4,5 @100,6@2:2, 8@75,9,10,11,12,13@100,14@8:8,15,16@100 O 8@_NEI, 14@_NEI S 5@100, 8@100, K 1@100, 3@300, 6@8:8, 9@3:3, 11@100, 14@100, 16@8:8

This is a very simplified version of the patten as there is a lot more hat work. The A:B provides fixed variations and _NEI provides hits for the open HH on 14 for all bars not 8:8. More variation can be done with using percentages instead of A:B.

Amen Brother - The Winstons - Gregory C. Coleman

129bpm C 1.3.5.7.9, 11 @75, 13@PRE, 15@100 O 11@_NEI Cy 13@NEI Note: NEI/_NEI ignore previous NEI/_NEI so The O and CY hits are based on 13 conditional of C.

S 2@25,5,8,10@100, 13@50, 15@_PRE,16@PRE Note: PRE/_PRE ignore previous PRE/_PRE so 15 and 16 are based on 13 conditional

K 1@75, 3@-, 4@_PRE, 11@100, 12@50 Hit 4 based on the occurance of 1 as 3 is not evaluated.

Apache - Michael Viner’s Inredible Bongo Band - Jim Gordon

bpm116 C 1,3,5,7,9,11,13,15 @ 100 S 5,10,13,16 @ 100 K 3@75, 111@100

A repeditive four bar patten with scope for added probabilities.

Soul Pride - James Brown - Clyde Subblefield

bpm 121 C 1@100, 3@66, 5@100, 7@100, 9@100, 11@50, 13@100, 15@50 S 2@50, 4@33, 5@78, 6@16, 8@78, 10@100, 11@66, 12@50, 14@50, 15@6100, 16@50 K 1@50, 3@78, 7@33, 9@50, 11@50, 13@50, 15@50

C 1@50, 3,5,7,9,11,13 13@1:2, 15@1:2 S 5,8,10@100, 11@2:2, 12@ 2:2,14@2:2, 15@100, 16@2:2 K 1@1:2, 3@100, 7@2:2, 9@2:2, 11@1:2, 13@2:2, 12@2:2

An approximation of 8 bars. The alternating bars can be represented as overall percentages or as A:B given the regularity. This patten gives you an added appreciation of Stubblefield in case more was needed.

Reduced Hits

In some cases there are hits cut out from the patten just for one bar notably the last bar. Is no negative A:B which play on all bars except the A:B. This would partially solve the issue as having that as a conditional precludes other conditional.

The 1 patten focus is not mandatory so a second patten could be used. This is not a fixed system and just a starting point so deviate away.

#breakbeats #Elektron #sequence #drums

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tladb · 2 years

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Conditional Breakbeats with rytm in 1 bar

Concept: The Elekton Sequencer which allow more variety in pattens beyoud just percentahes with the NGI, FST, PRE et al conditions. The basic idea is from a drum patten or score calculate percentages and combinations of hits then create a conitonally based 1 bar patten. The randomisation provide a quick way to create variations in the style of particular breakbeats. The aim is not to duplicate but to have a basis for variatiions. Just studying breakbeats like this can be helpful in creating your own. It also adds to working out various techniques with the Elektron sequencer and related features.

** Examples (Source: Breakbeat Bible by Mike Adamo)

Runnin - The Phrcyde - J Dilla

God made me funky - Headhunters - Mike Clark

94bpm C 1,3,5,7,9 @100,11@75,13@100, 14@75, 15@75 O 11@_NEI (not neighbour) S 5,13 @ 100 K 1@100, 8@100, 16@_1ST (not first)

The hats need to be neighbour tracks and will alternate randomly The kick on 16 does not occur on the first bar and _1ST handles this. For more random have 16@87%

Funky Drummer - James Brown - Clyde Stubblefield

101bpm C 1,2,3,4,5 @100,6@2:2, 8@75,9,10,11,12,13@100,14@8:8,15,16@100 O 8@_NEI, 14@_NEI S 5@100, 8@100, K 1@100, 3@300, 6@8:8, 9@3:3, 11@100, 14@100, 16@8:8

Amen Brother - The Winstons - Gregory C. Coleman

129bpm C 1.3.5.7.9, 11 @75, 13@PRE, 15@100 O 11@_NEI Cy 13@NEI Note: NEI/_NEI ignore previous NEI/_NEI so The O and CY hits are based on 13 conditional of C.

S 2@25,5,8,10@100, 13@50, 15@_PRE,16@PRE Note: PRE/_PRE ignore previous PRE/_PRE so 15 and 16 are based on 13 conditional

K 1@75, 3@-, 4@_PRE, 11@100, 12@50 Hit 4 based on the occurance of 1 as 3 is not evaluated.

Apache - Michael Viner’s Inredible Bongo Band - Jim Gordon

bpm116 C 1,3,5,7,9,11,13,15 @ 100 S 5,10,13,16 @ 100 K 3@75, 111@100

A repeditive four bar patten with scope for added probabilities.

Soul Pride - James Brown - Clyde Subblefield

bpm 121 C 1@100, 3@66, 5@100, 7@100, 9@100, 11@50, 13@100, 15@50 S 2@50, 4@33, 5@78, 6@16, 8@78, 10@100, 11@66, 12@50, 14@50, 15@6100, 16@50 K 1@50, 3@78, 7@33, 9@50, 11@50, 13@50, 15@50

C 1@50, 3,5,7,9,11,13 13@1:2, 15@1:2 S 5,8,10@100, 11@2:2, 12@ 2:2,14@2:2, 15@100, 16@2:2 K 1@1:2, 3@100, 7@2:2, 9@2:2, 11@1:2, 13@2:2, 12@2:2

Reduced Hits

The 1 patten focus is not mandatory so a second patten could be used. This is not a fixed system and just a starting point so deviate away.

#Breakbeat #Elektron #Rytm

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lecameleontv · 2 years

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Le 13 octobre 2022 l’acteur James Denton a donné une interview au TV Guide pour promouvoir la diffusion à venir du nouveau TVfilm Perfect Harmony.

Après avoir rappelé le lien qui lie l’acteur avec la chaîne Hallmark, avec la série Good Witch et sa saison 7 terminée en 2021, l’article introduit son personnage Jack Chandeller dans le TV film Perfect Harmony, qui chantera le titre original : "Ooh Wee Ooh,".

Après avoir rappelé que son fils joue son propre fils dans le tv film, et qu’il s’agit de la 3ème collaboration après For Love and Honor (2015) et Kiss Before Christmas (2021) avec sa partenaire de la série Desperate Housewives, l’article annonce que deux chansons seront chantées en duo : "Crazy Little Thing Called Love" et "Total Eclipse of the Heart".

James Denton : "I love this movie," [...] "My co-producer Jonathan Eskenas came to me and said, 'I know you play guitar, why don't we do something that's music centered?' That was the germ of the idea. Jon and I trying to come up with something that hadn't been done."

C’est donc connaissant la pratique musicale de l’acteur que ce tv film a été conçu, sachant que ses deux enfants jouent aussi de la guitare et pour sa fille, chante aussi.

TV Guide : What do you like about being a producer? James Denton : This is the first one where I had my hands in everything. This one was really a labor of love. It's sort of perfect for my stage of life because I'm not chasing work like I used to. I'm slowing down a little bit on purpose. So I have some time to do things other than act. It's very creatively rewarding and fulfilling not just the pre-production but in the post. There are few examples where I would say, 'I know there's a better take of this.' That's really rewarding after all these years of being at the mercy of other editors.

TV Guide : And your son gets to play your son in the movie. How did that come about ? James Denton : We wrote my son into this because I just think he's a brilliant actor. It's wasted that he's not doing it for a living. I owe Hallmark a lot for letting me cast him sight unseen. He didn't have to audition. We wrote the role for him.

TV Guide : What was it like working with him ? James Denton : We had a ball. We were there for almost five weeks. We had an apartment in Winnipeg. It was one of the best times of my life easily. We would talk a little bit of movie at home, a little bit of scenes, but basically, we left that to the director. It's tricky as a dad on set because you are biting your tongue a lot. We didn't talk much shop we just had a lot of fun, eating junk food and just hanging out. It was a once-in-a-lifetime experience that I wish more actors got to have because being across from him in front of a camera, there's nothing like it.

TV Guide : Are there any scenes that come specifically from your life together ? James Denton : We added a couple of scenes just because of the conversations he and I had at home. There's a scene where I walk in and he's playing the guitar. I wanted to be able to say, 'When did you get better than your old man?' because I've said it 100 times at home. [In] another scene, he was having trouble really letting me have it because I'm his dad. Between takes I said, 'Remember that time you went off on mom and me at dinner about trying to put you in all these clubs, and you finally just snapped?' And I said, 'Yes! That! Action !

TV Guide : But Sheppard doesn't want to act full-time ? James Denton : He's at the University of the South getting a psychology degree. He's a musician. He has music on Spotify. On his songs, he plays all the instruments – drums, bass, guitar, horns. He's a fantastic musician so if he could do that, I think he would quit school and do that.

TV Guide : To turn to the romance of the movie, you and Sherri Saum have such good chemistry. James Denton : Sherri is so grounded and heartfelt. She was a revelation. She has a quality about her that's almost regal. I fall in love with her every time I watch the movie.

TV Guide : I liked the maturity of their relationship. James Denton : [laughs] When you cast me, you get maturity. We wanted to come up with characters where it made sense that this is where they were in their lives, kind of set in their ways and that makes it a little more fun to watch them—both her journey with coming out artistically and having the guts to be published and my character not just professionally but also romantically. We see both of them sort deal with the insecurities and self-doubt and overcome them in 88 minutes.

TV Guide : Do you think there's a larger message viewers might take away from this movie ? James Denton : I hope there's a lesson to people that you can apologize. These two people apologize a lot and there's power in that.

TV Guide : You both sing in this movie. Both original songs and covers. James Denton : I'm not a singer.

TV Guide : This movie would say otherwise ! James Denton : Thank God for pitch correction. I can get by. The trick is to be so synced that people buy it. All the guitar is me. All the singing is Sherri and myself but I definitely feel better if we can lay it down before and get it sweetened a little bit.

TV Guide : Is there a time in the movie when you sang live and didn't pre-record ? James Denton : There's one verse of the song "Perfect Harmony" we did live with just boom mics on the set. I hope we get some credit for that because nobody does that anymore. I survived it. I had just worked that song to death because I knew it was the big finale. I'm good enough to kind of fake it.

TV Guide : The movie has two original songs. The first is "Ooh Wee Ooh" which is Jack's big hit and although it is a silly-sounding title, the song turns out to have a much deeper meaning. Jack wrote the song for his late wife while she was undergoing chemotherapy. James Denton : Jonathan Eskenas wrote the lyrics and Jack Lenz wrote the music to make it an earworm that just felt like silly mouth sounds. Jack is such a kind of cheesy, one-hit guy. We hope people will go back and listen to the song and it's so obvious that he's talking about someone getting better. Barrett says a couple of times I presumed the popular was simple and I was wrong.

TV Guide : This movie gets a little more serious than many Hallmark movies. James Denton : A lot of people don't want to feel anything negative while watching a Hallmark movie which is why this is on Movies & Mysteries. The Hallmark Movies & Mysteries Channel they are doing a little deeper dive. There are things we did in this movie that we would not have been able to on Hallmark. That scene where my son throws down the book and kind of gets in my face? You can't raise your voice on Hallmark. We were able to do more.

TV Guide : The movie has a happy ending but it also seems like just the beginning of Jack and Barrett's story. Will there be a Perfect Harmony 2? James Denton : I hope so. I loved working with Sherri. It seems like a no-brainer. Obviously, it's a business and a lot of it is based on the numbers. It's screaming to me to have a sequel. We've bounced around a lot of ideas about what happens to these two and so there's conversation.

TV Guide : What's next for you? James Denton : Hallmark has approached me about doing a movie next spring about empty nesters. We just found out they are going to put that in production and that I'll also produce that with Jonathan Eskenas.

Perfect Harmony premieres October 16 at 9/8c on Hallmark Mysteries & Movies

source : @TVGuide

Autre promotion presse : - 12 octobre 2022 à New-York Live - 12 octobre 2022 à Today.

Alias Mr Lyle dans la série Le Caméléon

#TV Guide #perfect harmony #james denton #interview #2022 #press #Presse

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