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tequiilasunriise · 1 year

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Okay more screaming about Wednesday specifically THAT moment during the final ep:

Enid walks out of a forest, covered in blood and wounds from her previous battle for her life. Enid was shown to be (incredibly justifiably) afraid of creepy shit like exploring spooky ass mansions or going in the woods, but homegirl did not hesitate to RUN through those dark, murder-filled woods in order to find Wednesday. I believe her wolfie form was triggered by not just the powerful blood moon, but also her deep sense of protectiveness over Wednesday. Like, she literally JUMPKICKED Hyde!Tyler’s ass when he was choking out her moon even though this is her first shift and she has no prior experience with controlling her wolfed out state. That’s…. Pretty fucken gay and the fight scene was pretty fucken AWESOME with how visceral it got. Apollo really looked at the ao3 fics we were pumping out and said, “Bet.”

Furthermore, the fact that Wednesday instantly recognized Enid in the midst of all of this adrenaline rushing and shadowy scenery? How Enid initially snarled at Wednesday but seemed to pause and calm down a little upon recognizing her ? Calming down to the point where our beloved ray of sunshine got distracted mid-fight and gave Tyler an opportunity to strike back? Also super fucken mega gay behavior, like yes Enid my darling that’s your girl I know you were so worried over her bUT MY GOD FOCUS ON THE SERIAL KILLER RIGHT BEHIND YOU BABYGIRL I KNOW THIS IS YOUR FIRST SHIFT BUT GODDAMN!!!

I will never shut up about the Hug Scene™️ and its buildup. Enid stumbling out of the woods all blood covered and even though she’s in Ajax’s arms she isn’t like, “Thank god you’re safe” or whatever. No, she takes one look around and immediately asks in a soft, shaky voice, “Where’s Wednesday?” AND THAT TINY MOMENT OF DISTRESS ON HER FACE WHEN NO ONE ANSWERS HER. ARGH. EMMA PLLEASSEEE YOURE FEEDING US SO WELL. When Enid sees Wednesday walking out she a) is the first one to even recognize Wednesday’s silhouette against the fog b) HER IMMEDIATE RELIEF IS SO PLAIN TO SEE ON MY GOD c) does not hesitate to pull away from Ajax and fucken sprint into Wednesday’s arms.

The.

Slow.

Motion.

THE SLOW MOTION YOUR HONOR.

Gods, that just emphasized the sheer gravity of this moment SO MUCH, after so many attempts to hold her moon close Enid finally says, “FUCK IT” and goes right in because fer all she knew Wednesday could have been dead by now. The way she tightly embraces Wednesday before pulling back with so much relief and T E A R S, my god Emma you understood the assignment so well. Wednesday’s wide-eyed stare shifting into equally intense passion as she suddenly pulls Enid back to into her arms and they just CLING to each other with amazing shots of how emotional their expressions are. So fucken full of love and relief and wanting. I especially love the way you can see everyone in the background smiling at the pair. Shit dude, even Ajax shared a knowing look with another student, like even HE knows that Wenclair reigns supreme. The whole school be approving of Wenclair fr fr they witness this devotion-filled hug scene and collectively go, “Yeah, those two belong together. We ship it.”

The hug was so fucken tender. My god. It was a choice made by both of them, a choice both Enid and Wednesday made with equal fervor. They didn’t need words anymore, Jenna’s phenomenal acting gave Wednesday a longing stare that said it all. The way Enid’s hands spread across Wednesday’s back as she clings close, Wednesday’s eyes squeezing shut as if she’s just begging for this moment to last without any visions to get in the way. The final shot of the two embracing with her heads tucked so firmly into the crook of the other’s neck. Seriously, I’ve read some VERY top tier Wenclair fanfics, but none were as so potently, “Fuck… I almost lost this. I almost lost her” as the canon Hug Scene™️. I was losing hope for any Wenclair goodness that could balance out the sheer throw up that was Enid and Ajax making out, but the Hug Scene™️ literally broke into my house, dragged me outta my bed by my scruff, and went about beating the living shit outta me in my own kitchen at 5 am in the morning and it was AMAZING. Wenclair Slowburn Truthers rise up, because my god do we have a solid foundation to work with.

#hug hug hug #gods. even the soundtrack understood the assignment.#forever dying over Wenclair’s AMAZING chemistry no other love interest fer either girl has even a third of the same level of connection #Enid literally planned out this wholeass big old bday party fer Wednesdayand made her a snood and everything #GET ON HER LEVEL BUCKOS #wenclair #wednesday addams #enid sinclair

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witchrealms · 2 months

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#u #web finds #the addams family #vintage #vinyl #physical media #addams family #60s addams family #1960s #60s #morticia addams #gomez addams #music #soundtrack #goth #wednesday addams

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jakeperalta · 11 months

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happy the good witch release week to everyone who celebrates btw

#doing a discography listen through this week #dressed too nice for a jacket today #then it's your bed tomorrow #trying soundtrack on wednesday #ysuft on thursday #and then good witch friday!!!!! (or realistically i'll just stay up thursday night)#talking #maisie peters

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try-set-me-on-fire · 11 months

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Tagged by @devirnis for WIP Wednesday! Here’s a whole scene from proposal fic because why not… (vomit content warning)

Bobby shows up on the doorstep before Buck's first PT appointment after being discharged and Buck is hit by sudden intense gratitude for the stupidest possible reason. Ah, he thinks, thank god Eddie isn't going to see what I'm like during one of these. And then What the fuck, Buckley? Eddie did see him after that first session, and it's not like his patheticisms start and end within a 45 minute time frame and the clean walls and persistent disinfectant smell of Dr. Shelley's office. He's spent the last two days in a shivering little lump on the man's bed, sleeping 16 hours out of 24. He's not really sparing him anything he hasn't already seen. What, then? Spread the different facets of exactly how fucked up he is around? Like if no one has to deal with too much they won't get tired of it? Here, Eddie, you can have helping me go to the bathroom because I can't stand up on my own. Maddie, you get me crying whenever I see you or even hear you on the phone because you're my big sister so I get to dump all my feelings on you, that's fair right? Bobby, you can hear me screaming in pain, is that ok with you? You were there last time, I'm sure you'll do fine. It's too much for any of them. It's too much for Buck.

"You ready, kid?" Bobby says, with the softest little smile. God. Buck is going to fall apart into tiny, gross little pieces. Eddie can mop the floor and be done with him.

“Ready,” is what he says, knowing it sounds like a lie.

They have him walking between the parallel bars today. He remembers them, from his leg. They don’t start there, most of the hour is more stretching (ow) and fine motor skills practice (frustrating). But they told him at the beginning they want to get him walking again as soon as they can to avoid any further muscle loss or atrophy, and they want to work with him to see if they can figure out how much of his dizziness is from brain injury and how much is from vestibular damage.

Well, he’s up on the bars now and he couldn’t fucking tell you. The whole world is just spinning around him at a sickening speed as the physical therapist and Bobby both mutter encouragement, tell him to keep taking one more step, he can do it. Buck tries, he really tries, he wants to take these five steps on his own and for the doctor to tell him he’s progressing fantastically and to be tired but happy on the drive home with Bobby, both of them smiling and cracking jokes. Instead he collapses three steps in and vomits on the soft plastic-y blue floor covering. His ear is ringing and he only has a split second to feel humiliated before there are arms around him.

“Sweetheart,” Bobby is saying over the background hum, “Sweetheart, I’ve got you.” There are hands in Buck’s hair and he chokes out a sob. He doesn’t really stop crying until they’re almost back at the Diaz house, how he got from the office to the car a mysterious blur. Bobby is holding his hand on the center console. When Buck squeezes a little tighter he hears him sigh in relief and it almost starts the tears up again. Bobby is out of the car as soon as he's parked, hurrying around to the passenger side to help Buck to the house. He’d protested, days ago, about the need to rent a wheelchair until he could carry a little more of his own weight, but now he guesses getting rolled to the door is more dignified than Bobby having to put him in a fireman's carry.

He’d do it. Buck knows he would, Bobby would pick him up and hold him in his arms and carry him as far as he needed to go. Bobby settles him on the couch, handling him as gently as he would a child at a disaster site, running to bring him mouthwash to get rid of the bitter taste of stomach acid, finding saltines in the kitchen, pouring ginger ale on ice and procuring as if by magic a bendy straw in old fashioned, environmentally unfriendly, single use plastic. He sits on the coffee table in front of him, at attention, ready to appease any want.

"Thanks, dad. Bobby! Thanks- thanks, Cap," Buck slams his eyes shut and drops his head onto the couch behind him. The indignities never fucking end, apparently. He's stopped from withering away entirely by the warm weight of a hand over his own where it lays on the armrest. Buck opens his eyes. Bobby is staring down at their hands, jaw working, breathing through his nose.

"It wasn't even-" Bobby frowns as his voice fails, and clears his throat to try again. "I kept wishing I could be mad at you. Being reckless again, running into danger, getting yourself hurt." He exhales heavily, breath stuttering into a sad little laugh. "But I watched you climb that ladder. I kept playing it over and over in my head. You had three points of contact the whole time. Could have filmed it for a goddamn safety manual. It could have been-" his voice catches again, and Buck turns his hand to grab onto Bobby's. "It could have been any of us. It could have been any of us up there. All the stupid stunts you pull that you walk away from, and it's-" Bobby's free hand waves wildly into the room. "It's a random fucking act of god that nearly-"

"Bobby-"

"That nearly takes you from me," he finishes, squeezing Buck's hand. He's crying, and Buck thinks he might be again, too.

"I'm so sorry-"

"Oh, kid," Bobby says, leaning forward, gathering Buck up in his arms. “Nothing to apologize for. You’re right here. You’re still breathing. That’s all I need.”

Buck weeps again, into Bobby’s shoulder, his captain or father or good friend’s hand rubbing up and down his spine. He is still breathing. He’s still breathing. Bobby’s soft flannel shirt smells like grill smoke and Eddie’s couch is familiar beneath him, and Buck hurts and feels sick and dizzy, and he exists. “Bobby-“

“It’s alright. It’s alright.”

Bobby’s face is wet when Buck pulls away after however long it takes for each breath to stop aching so bad as it rattles in and out of him. Buck wants to say all sorts of things, most of which amount to I love you, but what comes out is a nod towards the TV and “You wanna stay for the game?”

Buck doesn’t even know what sports, if any, are on today, but Bobby seems to hear some of the other words he meant to say because he smiles so kindly at him and says “Yeah, Buck. Anything.”

Tagging @iinryer @bigfootsmom @shortsighted-owl if you’ve got anything to share!

#wip #wip wednesday #proposal fic #thats his dad boogie woogie woogie #was listening to the interstellar soundtrack while finishing this scene up #i remember fuck all about that movie but the soundtrack hits #listen to Stay and cry about how that song feels like a building plea and a desperate desire to answer that plea #stay!! stay with me!!#arms wide open for you

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valeffelees · 8 months

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hey, what's up. i hope August has been kind to y'all. 🖤

thank you to those who've continued to tag me in their wipsday posts these last couple weeks. i'm in pretty rough shape these days, so y'all have no idea how much i look forward to sundays and wednesdays, even when i don't have the energy to engage with fandom as fully as i'd like to.

i thought i'd share a bit more of the chat-fic i affectionately refer to as "bitverse" today. 💫 i've shared two other snippets from this fic before, [here] and [here] if you're curious.

Agatha doesn’t text him until quarter-to midnight. “Home safe,” she says. And then, “Sorry.” And, “We went out for supper.” Simon slouches in his chair, wedging a knee into the space between his stomach and his desk, the edge digging into his shin. It’s sharp and tight and not at all comfortable. He texts back, “it’s ok,” and, “where at?” “That Italian place downtown.” “ew,” he says, and she reacts to it with a thumbs-up. “Did I wake you?” she asks. “no,” he says. Then, “DQ tmrw?” Agatha reads his message, but doesn’t respond right away. The three dots pulse on her side of the screen for three strange, awkwardly long minutes before she finally replies with, “Maybe,” followed quickly by, “Ask again in the morning, I can’t think about ice cream when I’m tired.” “are you going to bed?” “Yeah, sorry.” “it’s ok,” he says, “it’s late. night aggie” “Night.” “ily,” he says. She reacts to that with a thumbs-up, too. Simon locks his phone and drops it on his chest.

🖤🖤🖤

Tag, you're it! 🪄 @cutestkilla @raenestee @hushed-chorus @thewholelemon @larkral @artsyunderstudy @blackberrysummerblog @captain-aralias @you-remind-me-of-the-babe @imagineacoolusername @ivelovedhimthroughworse @facewithoutheart @rimeswithpurple @aroace-genderfluid-sheep @jasonfunderberkerthefrogexists @nightimedreamersworld @shrekgogurt @prettygoododds @youarenevertooold @alexalexinii @fatalfangirl

#i love this fic so much but the first time i told the plot to my gf she called it a creepypasta and i think about it EVERY day 💀#(idk if i'm any good at capturing the atmosphere i'm going for)#(but pls imagine this in your head as one of those low budget yt horror shorts with extremely lofi audio and no soundtrack)#(whenever simon moves his clothes are unusually loud but nobody knows how to fix it in post so they just leave it lmfao)#wip wednesday #carry on #simon snow #agatha wellbelove #snowbaz #(👁️👄👁️ is the snowbaz in the room with us right now?)#bitverse

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theg4ycousin · 1 year

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I like to study to soundtracks, so I've been obsevively listening to the Wednesday soundtrack.

Now, I am no music expert - I'm a scientist, so the furthest from music expert you can get - but! if you listen carefully and enough times, you can start seeing a trend in the songs that involve in some way Wednesday and Enid interactions.

I don't really know how to explain it, because again, I'm not a musician, but they are softer? like the music is always more on the high notes than the low notes (I can distinguish that, tyvm), and it's like a softer tempo - to be honest most of the time they sound like lullabies or something like that.

I'm pretty sure it was on purpose because it is not possible that they all sound kinda the same but not really, just enough to end up recognizing the pattern. Now, I don't know if they did it to show something in particular or just to establish a theme for the relationship between Enid and Wednesday, but I think it's worth looking into.

Moreso, when you listen to the song for the first kiss between Wednesday and Tyler (it's literally called "First Kiss") and you see how rough that song starts almost like any other "Enid/Wednesday" song, but ends up sounding way rougher, almost like a chase song.

tldr:: I need someone that actually understands music to help me analyze the soundtrack of Wednesday because it's also telling a story and I want to decipher what it is.

#wenclair #yes what im saying is that the soundtrack of Wednesday is wenclair coded #wednesday #wednesday netflix #enid sinclair #wednesday addams #enid x wednesday #wednesday x enid #music is important when telling stories #and wednesday clearly shows that #becuase that series is thought until the smallest detail

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crwatters · 1 year

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Okay but I like how many people I've seen in the new Wednesday fandom already who are a) wenclair shippers, b) a fan of Taylor Swift's Midnights, and c) like to put one in context of the other

#Wenclair #love all the wenclair fics with ts lyrics as titles #love when a fandom decides on a soundtrack #wednesday addams #wednesday netflix

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teenytinycowboy · 1 year

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alright fuck it as an elder nerd and someone who hyperfixated on the addams family for literal years i feel like im sitting on a fucking gold mine here so uhm because we do not gatekeep in this house hI HELLO there is an addams family musical with songs that???? almost entirely <3 <3 parallel <3 <3 wenclair <3 <3?????????? i mean she’s singing about a boy it came out in 2010 but --

12 years ago wednesday was literally singing “the boy’s got a bite better yet than his bark / and you bet i’ll bite too, do what’s truly taboo” and then they gave her a cutie werewolf roommate in the year of our lord 2022???? come on now

the plot is LITERALLY about wednesday falling in love with someone too cheerful and sunshine-y for her family & the two families meeting for a dinner it is A+ and campy and fun and is all the proof ill ever need that wenclair is real and the writers are dropping hints xx ( i found most of the original chicago cast show too with nathan lane!!!!!!!!! pls enjoy!!! OR AT LEAST GO LISTEN TO THE SOUNDTRACK IT SLAPS!!!!)

youtube

#wednesday #the addams family #............ here i am talking about the addams family musical again #i should be put away but also #before i get locked up someone needs to listen to pulled from that soundtrack and tell me that wenclair isn't real #wenclair

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manysmallhands · 4 months

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Top 10 Albums of 2023!

This was all supposed to work out differently. As i recall from the now long distant past, my original plan was to do a countdown where i put up one post a day throughout December. However, I got Covid on December 1st and that plan immediately became lame and useless. After that, my assumption was basically that i wouldn't be able to do any of this, but i got better more quickly than i'd anticipated and found myself working on these reviews in bits as the month has gone on. So, having rushed through all the the song blurbs that i wanted to do, here i am on New Year's Eve with a more or less finished Top 10 albums to put up.

The only problem is that there are ten quite lengthy reviews here and the vibe is already pretty tl:dr. But tbh that's fine: there really is only my girlfriend who ever reads everything (and i believe her, trust is what love is all about after all) so for anyone looking at this and thinking blimey, that's a lot of text, my advice is: you don't have to read any of it. Just look at the albums, scan thru to see if it sounds like something you might like and give one or two of them a listen if that looks like the case. The words are really just to keep me occupied but i'd like to hope that someone likes some of the records.

I said yesterday that i would reveal what the best one is and so I am now delivering on that important promise. The best one is Scarlet by Doja Cat. Anyone who follows me on whatever platform already knows that the best one is Scarlet by Doja Cat. Don't make me say it again.

Barbie - The Album

Few people have seemed much interested in the Barbie soundtrack, other than the punters who kept it atop the compilations chart for four months. I, as ever, channel the spirit of the populous. The sound is basically 80s synth pop updated for a modern audience - the likes of Haim and Ava Max slot in predictably well - but its the extra dimensions created by how the artists interact with the film that provide some of its more interesting aspects. Sam Smith’s Man I Am reflects a surprisingly LGBTQ Ken despite protestations (certainly its "I'm not gay bro, but..." T-shirt is prompting a lot of questions already answered by the shirt), while Billie Eilish dwelling on life as a manufactured product makes for interesting and uncomfortable parallels in What Was I Made For. Mark Ronson’s plasticky production suits its subject to a tee, further cementing the conceptual unity of the project.

Star turns abound throughout the album as A-listers like Dua Lipa and Lizzo bring their best games alongside some terrific and unlikely downcard cameos. What Was I Made For? and Dance The Night were both deserved #1s, but the pacey pop punk of GAYLE’s Butterflies and Dominic Fike’s breezy, hook laden Hey Blondie are as much highlights as any of the bigger names here. Special mention should be made for Ryan Gosling’s I’m Just Ken, a blockbuster 70s rock number that, whilst puncturing the wider stylistic template, is batshit and hilarious enough to more than justify its place as well as netting him a surprise hit too. The quality lapses once or twice (Tame Impala in particular are bloody awful) but by the time Ava fires the final laser I’m generally happy to go back and start all over again. With banger after banger here, my verdict is in: the Barbie soundtrack is *Charli voice* HOT!

Claire Rosinkranz - Just Because

While this has been a year that I’ve gotten more fully into pop, it took a while for me to find many new albums that I’ve been interested in. This may partly be to do with me clinging to an idea that LPs ought to be substantial beyond having good hooks and charm. In truth, all I needed to do was revert to my indiepop training, where bands have never knowingly been fussed about having any great weightiness. But even so, it took Just Because to make it clear to me that no, you really don’t need any grand vision at all: a high number of great if frothy pop songs will do just fine. It’s a record which bounces from banger to banger in an endearingly sunny style, with each tune so catchy that their lightness becomes a strength rather than a weakness.

Rosinkranz’s voice seems to mark her out as one of the many Billie clones who populate the current pop scene but her musical ambitions are both simpler and more instantly engaging. Not yet 20, her songs have an element of schoolyard whispers which add a welcome silliness here and there, but she also plays with the intensity of youthful emotions to make them a little heartrending even as she goofs off. Highlights include Dreamer, a break up song where the vocal makes it clear that she’s far from as done as she says she is, and Wes Anderson, which offers some sombre advice but packages it in a song so sweet that you’d never know. But in spite of all this it makes no end of year lists (well, maybe just the one), being merely a lovable set of songs that are very hard to forget. Need it be more? I don't believe so.

Doja Cat - Scarlet

Mired in discourse throughout the year, Doja Cat still found time to make a chart topping single (Paint The Town Red) that took the world by storm and a cracking album which, sadly, did not. Scarlet was in my opinion the better of the two: largely ditching the afrobeat pop of Planet Her, Doja staked her claim as an old skool rapper and brought it off pretty well, mixing hard rhyming with her more scattershot pop delivery and sounding entirely comfortable wherever she landed. While flitting musically between modern RnB and neo-soul grooves, her subject matter was largely taken up by how much she hated her fans, a bold strategy that found her shedding support even as blistering tracks like Fuck The Girls shaped up as some of my favourites of the year.

Whilst I’ve found myself uncomfortable with both the company that she keeps and the views which she may or may not subscribe to (i feel safe in saying that she's a right wing edgelord but i suspect that’s the least of it), Scarlet is such a good album that I’ve found myself, if not making excuses for her, then at least deftly navigating around my distaste in order to keep listening to it. While Agora Hills often reminded me how serious she is about her scumbag of a boyfriend, it’s still a song that can submerge me in its beauty entirely; while some of the complaints from her online audience are less easily dismissed than others, it’s more comfortable just to think about the morons calling her a devil worshiper, especially when she mocks them so wickedly on the elegant Skull And Bones. Am I the problem? Maybe I am: it’s a place I often find myself in with hip hop, where faves are frequently problematic and exceptions beg to be made. As such, I can not wholeheartedly recommend this record to people who might want to take a principled stand against some of her bullshit. I can only say that, as a musical talent, there was no one better all year.

Lana Del Rey - Did You Know That There’s a Tunnel Under Ocean Boulevard?

After 2021’s fairly middling brace of albums, Did You Know That There’s A Tunnel Under Ocean Blvd always felt like it was going to be a return to form and this time the faithful were not disappointed. It was another epic and sprawling record which unfolded like a cross between The Bible and a 50s musical. While changeable in style, ranging from hammy country ballads to trap beats and beyond, the thing that springs to mind most often is the Great American Songbook, as Lana takes the melodramatic grandeur of those standards and soaks them in her own messy and complicated worldview. This draws in family, romance, the future, her relationship with religion and how it all scrappily fits together, ranging widely and wildly across 75 extraordinary minutes.

Much of the album feels like it’s being broadcast from a kind of dreamworld, although one that overlays with reality neatly enough. Lana’s dismissive “if you want some basic bitch go to the Beverly Centre and find her” line undercuts the mood on the otherwise lush and evocative Sweet but the impact is hilarious rather than jarring, a perfect marriage of the strange and mundane. In contrast, the brooding A&W initially brings that realism to a far more uncomfortable level, before goofing off wonderfully in the second half in a way that only Lana ever really dares to do. Much of the record feels like it's creating its own language, as key phrases (“let the light in”, “when you know, you know”) are repeated and musical themes come back around in strange modulations. All in all, while perhaps less satisfying as a pop record than Norman Fucking Rockwell, Did You Know… feels like her most complete statement on a personal level yet, whilst still working well within the broader world that she’s spent over a decade constructing.

Mitski - The Land Is Inhospitable And So Are We

Despite liking the odd song or two, I have until now been largely immune to Mitski over the full length of an album. But The Land Is Inhospitable And So Are We has a much more organic sound than I’m used to hearing from her, well adrift from the polished guitar rock of her big 10s records. Instead, it takes many of its cues from classic folk and country, occasionally lush and expansive, often determinedly sombre but always at a distance from the areas where she’s generally been at home. Opener Bug Like An Angel is a brooding scene setter, where Mitski unveils the terse and grumpy presence we will grow familiar with over the next half hour. The main elements of the album are already in place - the spare instrumentation; Mitski’s extraordinary voice, hard and intransigent but still full of yearning; the occasional, overwhelming interjections from the wings. It all creates a distinctive atmosphere, extremely intense but intimate too: we’re allowed into Mitski’s world but there’s a lot to take in.

Lyrically, the songs are both heavily allusive and extremely personal, like hearing ancient parables told by the characters from the story. Surprise hit My Love Mine All Mine seems to sit apart as a relatively standard love song but a closer listen reveals deeper layers; the placing of her love as something independent from its object makes it feel more of a piece with the album’s other enigmas. At a time where Mitski seemed to be cooling on being a rock star, The Land Is Inhospitable adds a new twist to her long musical journey, seemingly presenting a more intimate portrait while in fact retaining most of her essential mystery. As an album, it really is quite something: what that is I’m less certain of but I like it regardless.

Olivia Rodrigo - Guts

Tho I wouldn't have called myself a hater (I don’t think I would have been bothered enough), I don't really like Olivia’s all conquering debut Sour, which I thought a bit too one-note and overpopulated with slushy ballads. But by the time Guts came around I was open to listening again, drawn in by its excellent singles and primed for a different experience. Vampire, the best of them and more or less of this year, was a fantastic example of taking something that Olivia is clearly very accomplished at (the grand piano lament) and then, rather than running that into the ground, instead using it as a springboard for an entirely different idea. Get Him Back and Bad Idea Right hark back to earlier guitar based tracks like Brutal, but on Guts they form a much more substantive part of the album, cementing its brand of addictive pop grunge and working up a much goofier version of her messy teen persona.

Elsewhere, the ballads did in fact return. Some have speculated that this may have been a bad idea (right?) but for me they’ve been growers, particularly the likes of Lacy and The Grudge, where Olivia explores the bitterness of youth and uses it to tear holes in the people who’ve wronged her. But if I’m honest, it’s the rockers that I’m usually waiting for: whether the new wave pastiche of Love Is Embarrassing or autumnal Cure homage Pretty Isn’t Pretty, each one feels like a mini-revelation and it’s the style that I hope she leans on most in the future.

Palehound - Eye On The Bat

Palehound have been around for a while now and every so often I’ve given their records a try and haven't really managed to connect with them properly. Eye on the Bat has been the first exception, though whether that's because it’s any better than the others or I just made more of an effort with it I don’t know. Its template is certainly well worn in the indie world - country rock with varying degrees of aggression or melodic sweetness - but there’s still a lot here that grabs my attention, especially in the charming indie pop of the title track and the heart-rending melancholy of Route 22.

But the thing that caught my ear the most was Ellen Kempner’s disarming honesty, with much of the album spent documenting what sounds like a deeply messy break up. Whether she’s bitterly picking through the fall out on Independence Day or remembering some hilariously embarrassing bedroom scene on opener Good Sex, Eye On The Bat's almost diaristic view is mesmerising throughout, making you warm to Kempner even as she works thru some of her own worst traits. And aside from anything else, her understanding of relationships underlines her strengths as a lyricist, as she dissects their complexities with wit, sympathy and occasional anger to capture all the stuff that transcends whatever we were hoping for in the first place.

Poppy - Zig

After the wild ride that commenced with 2020’s extraordinary pop/metal mash up I Disagree, Poppy has journeyed thru indie rock, goth and punk to wind up back where she started, only not quite. Zig may represent a return to pop - indeed it’s produced by Weeknd affiliate Ali Payami - but it’s one that’s filtered thru all of the places she stopped off along the way.

The crepuscular grind of Church Outfit and Knockoff sound like more danceable versions of the I Disagree sound, while the crunching title track suggests that she can still go as hard as ever. But there are nods to a lighter side here as well, particularly in the strong trio that wind up the album: The Attic recasts her sound in a euphoric drum n bass clatter whilst closer Prove It kicks up a remarkable blend of manic hyperpop and gentle electro-balladry, whilst still working in the rich emotional palette that she’s developed in recent years.

In one sense this is a huge departure from the frenetic punk of last year’s Stagger EP but the vibes here stake out territory that you’d still find oddly familiar. Some of the gothy ballads are less immediate than other songs but nothing on Zig is boring, just varying refinements on her ever evolving musical journey. The critics were split, occasionally rattled and sometimes just plain baffled, but that’s only to be expected by now. Poppy follows her own plan and rarely sticks to the same tune: in truth it’s a privilege just to be a witness to the chaos.

Sweeping Promises - Good Living Is Coming For You

One thing that I find missing in a lot of modern guitar based music is snappy songs with good catchy hooks. While Sweeping Promises appear to place their focus elsewhere - their high concept sound is best understood as someone broadcasting direct from 1979 through a wristwatch speaker - their second album still finds time to deliver fully on the tunes. Good Living Is Coming To You is steeped in bubblegum melodies and memorable choruses, with songs that become earworms before you’ve even registered how catchy they are.

More than anything, it's dominated by Lira Mondal’s imperious vocals: whether it’s in the cascading harmonies of Throw Of The Dice, the fierce yells and hisses that close out the title track or her sweet voiced switch-outs on Ideal No, her character springs out of every song in a way that few singers ever really manage to impose. While you might think that the post punk era has been mined to death by now, Sweeping Promises drag new life into it by going back further: their sound may be heavily rooted in a specific moment but the elements of songcraft often have more in common with 60s girl group classics than gnarled art rockers. Ten bangers and no filler: Good Living Is Coming For You is everything I wanted from it and more.

Wednesday - Rat Saw God

While the queasy vibes of 2021’s Twin Plagues are still high in the mix here, it was the welcome injection of melody on Wednesday's third album that managed to alert the media. That lightness was more apparent in Karly Hartzman's lyrics than you might notice on a passing listen too: though often praised for her grimly amusing takes on middle American backwaters, the key to them was her deceptively soft touch, casting a sympathetic eye over grisly scenes even as she retained their gnarlier undertones.

Single Chosen To Deserve, with its crunching chorus and heartwarming romantic turnaround, feels like the designated big moment from the record but in reality Rat Saw God has an embarrassment of riches. Quarry in particular, with its Waterloo Sunset-esque signature and matter-of-fact dissection of grim local gossip, is an almost pop version of the most haunting aspects of Hartzman's craft, while the washed out bounce of closer TV in the Gas Pump pitches a lonelier scene in a similarly gorgeous manner.

This is not to forget that Wedneday can still rock extremely hard when they want to, especially on the brutal 8 minute Bull Believer, an ambitious multipart epic that ends with Hartzman screaming “FINISH HIM!!!” repeatedly over the chaotic finale. But while Rat Saw God brought this kind of sawtoothed sound back to widespread acclaim, its real trick was how it sugared the pill just enough to get it past even the most determinedly sweet tooth.

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morgue-ratt · 10 months

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How Daniel Robitaille fell in love and was killed, essentially martyred for it and is kept alive through faith and other’s belief and they say his name like a saint’s prayer and his rib cage is full of and his heart is surrounded by bees, am I saying he is meant to be a corrupt version of Saint Valentine, a twisted mirror image, perhaps? Who am I to say.

#st Valentine is the saint of bee keeping #and also I rewatched candyman on Wednesday and. bought the soundtrack and have been listening to it all day #I’m so normal about candyman #I’m so normal about Clive barker twisting religion and holy icons into horror stories #candyman #daniel robitaille

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dysaniadisorder · 6 months

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what albums do you guys have on vinyl :) or cds if you use cds

#i have mcrs the black parade is dead (live)#blame game; prom queen; & promises all by beach bunny #back home big joanie #i was trying to describe you to someone wednesday #the s4m soundtrack #and half of flower boy by tyler the creator. it was a gift. it doesnt have the first half

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tequiilasunriise · 1 year

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ITS JUST WENCLAIR IM FUCKEN DYYINNGG THE SHEER AMOUNT OF SAPPHIC DELUSION IS TRENDING HIGHER THAN THE WORLD FUCKEN CUP

KEEP THIS UP YALL I WANNA SEE WENCLAIR ON FANDOMETRICS TOP 100 SHIPS OF 2022‼️‼️‼️

#WENCLAIR WARRIORS RISE UP #WENCLAIR SLOWBURN TRUTHERS RISE UP #BLASTING THE SOUNDTRACK FROM THE HUG AS IM TYPING THIS #FUCKEN WWHHHEEEZZZEEEE #our delusions are so so fucken strong #wenclair #wednesday addams #enid sinclair

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princessstevemunson · 9 months

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Let’s hear it for the boy please?

“Since when do you own the Footloose soundtrack?” Steve asked as he turned to face Eddie holding the aforementioned tape.

“I don’t,” the metalhead quickly replied.

“What’s this then?”

“It’s Wayne’s.”

“Is it now?” Steve asked, barely able to contain his smirk.

“Uh huh, big Kenny Loggins fan,” Eddie deadpanned while he began chewing on the end of his hair, and his cheeks were dusted with pink.

#Steve finds Eddie’s Footloose soundtrack #originally this was going to be Steve walking into the trailer to see Eddie and Max dancing/singing let’s hear it for the boy #the ficlet had another idea #wip wednesday #ask game #send me asks

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stobinesque · 10 months

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WIP Wednesday!

Tagged by @eriquin and @steves-strapcollection, thank you!!

THE RULES

In a reblog (or new post w/ rules attached), post up to five (5) filenames of your WIPs; not titles, file names.

Post a snippet from one of them. Snippet must be words you wrote in the last 7 days. We’re posting progress here. If you haven’t made any, go make some and come back to post!

After you’ve posted, people can send you an ask with one of your file names. You must then write 3 sentences in that file. If the filename is one you can’t share from (for example, an event fic), write 3 sentences on it anyway, and then 3 more on another to share.

That’s it! You can invite others to join in, or just post. If you tag me in your post, I will send you an ask request!

THE WIPS

Jeff is Steve's Bi Awakening AU (fwiw I already have two of these sitting in my inbox from a couple weeks ago)

wigwag [Steve's Big Gay Sex Adventure]

Wayfinder [S4 Fix-it, Lucas POV]

phryctoria bonus chapter 7 (marginalia and annotations of How To Have Sex in an Epidemic)

THE (no pressure) TAGS

@devondespresso @starryeyedjanai @xenon-demon @inairbinad @hellsfireclub @delta-piscium @steddielations @thefreakandthehair @skjachukson @steventhusiast -- and anyone else who wants to participate!

THE SNIPPET

uhhhh, I'm pretty sure most of the writing I've done in the past 7 days has already been shared in various asks (or my steddie microfic), so have a sneak peek at chapter 5 of phryctoria, which I spent a good chunk of today revising.

Robin yawns again, stretching her arms high above her head. “Absolutely worth it,” she says, sounding a bit smug.

Steve shakes his head, but can’t bite back the smile she brings to his face. He clicks back into a conscious awareness of their surroundings, and realizes they’re passing by Weathertop. (Try as he might to deny it, the kids’ names for locations around Hawkins have fixed themselves in his mind.) He pulls off and parks the beamer on the side of the road, circling around the front to pull Robin out of the passenger seat. “C’mon, Bobbin, we’ve got a hill to climb.”

Halfway up, Robin turns to him and starts flapping a hand against his chest. “Hey, hey! How’s that song go? The hills are alive, dah-da-dah daaah dah, you know?”

Steve smirks. “Aren’t your ears supposed to be little geniuses? Robs, the next lines are literally the title of the movie.”

“Pretty sure it was a musical first.”

“This does not actually help your case, you know that, right?”

“Whatever, dingus. Just tell me how the song goes.”

“You sure you wanna hear me sing?”

“Okay, you’ll notice how I didn’t say ‘sing how it goes for me,’ you could just tell me the words.”

“No, no, now you’re going to be subjected to the musical stylings of the Harrington family singers, because,” Steve leans into her space and starts singing, sickly sweet, “My heart wants to sing every soooong it hears.” His head is almost fully resting against Robin’s shoulder as he looks up at her with a shit eating grin.

“Oh, my god, get off me,” she says, shoving at him while she laughs.

He lets himself be pushed away, taking a couple of dramatic, stumbling steps away from her before righting himself and drifting back into her space. “You know the next lines have always been my favorite though?”

“Do you have the whole song memorized?!”

“...yeah?” Steve frowns at her. “Robs, it’s one of my favorite movies! I thought that’s why you asked!”

Robin shakes her head, looking at him a little dumbstruck. “Nope, I’m pretty sure I would have remembered that little Harrington factoid.”

“Well…yeah. My mom really loved it, so I guess I just watched it a lot growing up? Especially when my dad was out of town—before she started going on the trips with him—because then we could sing along.”

Robin opens her mouth to say something, before seeming to make the conscious decision not to approach the whole ‘you couldn’t sing along to the movie about not being allowed to sing?’ thing with a ten foot pole, and snapping her mouth shut again. “Huh.” She takes a couple more striding steps forward with a pensive look on her face. “So...how does the next part go?”

He smiles at her, and even without being able to see his own face he can tell that it’s radiant. “My heart…wants to beat like the wings of the birds that rise from the lake to the trees.” He looks at her, and he can feel the way his gaze has become just a little too intense.

“Birds, huh?” She knocks his shoulder with her own, a gentle smile on her face. “Yep. Always loved ‘em,” he says, his heart feeling a little gooey in his chest.

#wip wednesday #read writes #phryctoria #i maybe listened to the whole sound of music soundtrack on repeat yesterday

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