#it's wild because I actually think his writing for Tim is pretty solid. but he's not writing a Tim series. he's writing a Batman series. | Explore Tumblr Posts and Blogs

stxleslyds · 3 years

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Also, the writers' failure to understand, every crime Jason committed had a motive. Attack other criminals? Holy warrior destined to purify the world of evil. Attack Bruce? Joker's still alive. (Oh, Jason, it's much worse than that.) Attack Tim? A parody of what he once was. He wasn't just a "bad boy". He was dangerously insane.

Hi, Anon! Yup, there seems to be a lot of things that writers have gotten confused about Jason Todd/Red Hood and the biggest one is his motivations to kill certain criminals.

Let’s be honest, Judd Winick set a golden path for the upcoming Red Hood writers. But each and every writer that used Red Hood in their stories completely missed the point of Jason’s character. All of them. It’s so incredibly wild to me that every other writer read UtRH and came up with whichever version of Jason they came up with.

Let’s list the writers that completely missed the point.

Geoff Johns in Teen Titans vol.3 #29.

Geoff Johns was one of the first to completely mischaracterize Jason, why on earth would Jason go to the Titans Tower to beat up Tim? This is not me saying that Jason would never do that because Jason thinks of Tim as his brother or a friend or the person that he can trust the most from the Bat-Clan (can you believe Lobdell tried to sell us that one?), this is me saying that Jason wouldn’t have done that because he couldn’t have given less of a fuck about Tim’s existence.

When Jason found out that Bruce had another Robin he wasn’t bothered by his “replacement” he was mad at Bruce for having another child playing hero after he lost his life as a fifteen-year-old. Jason didn’t even think of Tim as his replacement as fandom likes to make us believe, Jason called Tim “pretender”. And that was that, but to go from minimal recognition to go out of his way to beat him up at Titans Tower is a massive mischaracterization.

Paul Dini in Countdown (to Final Crisis).

Paul Dini in Countdown did absolutely nothing with Jason, I am sorry but that’s all he did. Him writing Jason was like watching a dog trying to catch their own tail. He started with a pretty basic take on UtRH Jason, then he added a bit of Jason being an annoying man with Donna, then we had the jealousy arc because apparently, Jason had the hots for Donna but she didn’t want anything to do with him and he was all angsty when she paid attention to Kyle instead of him, and then, later on, he had that whole Red Robin bullshit (I am sorry about this, but I absolutely hated that, it was so dumb, I am so glad it didn’t last long because it was just too bad), and after all that mix of just not interesting stuff he went right back to the Jason that he had at the very start. It was a waste of time, but I guess that he had to be there because he was an anomaly and all that. I just think that was DC’s first try at making Jason Todd/Red Hood something more than just a street-level vigilante and they failed miserably.

Tony S. Daniel in Batman: Battle for the Cowl.

Even though the first two did make mistakes with Jason’s characterizations, this man was the first to just throw UtRH out of the window and make up his very own version of Jason Todd. And his version was horrendous, that Jason had no problem with attempting to kill children and innocent people, he also really wanted to be Batman because Gotham needed a Batman and he wanted to be the person to wear the Cowl and he was looking for a Robin for himself.

I know, the whole concept is the perfect opposite of what Jason Todd and Red Hood were in UtRH. Every aspect of BftC Jason is based on nothing.

Jason wanting to be Batman because Gotham needed Batman is just the beginning of what’s wrong in this book. Jason became the Red Hood (in part) because he believed that Batman and his ways weren’t what Gotham needed so he made a better version of Batman with Red Hood (according to him) because Red Hood did what Batman refused to do. Another thing that is just wrong is Jason wanting, Damian, Tim or Dick to be his Robin, there is just so much wrong with this, first of all, Jason wanted Batman to stop having Robin because child soldiers ran the risk of dying at a very young age and that’s exactly how he saw the whole thing because that was what had happened to him. Second, if Jason was mad at Bruce for getting another Robin why would he now want one of his own to team up with his Batman? Damian was a child, Tim was someone that apparently Jason hated (because Jason beating Tim was mentioned in this event), and then Jason actually asked Dick Grayson, Nightwing, to be his Robin? Listen, there is no way that was Jason, nothing about him makes sense, even taking into account that Jason had beaten Tim already in this event Jason actually tried to kill both Tim and Damian (it might have been just one of them but yeah, it still doesn’t make sense).

I just don’t think that Tony S. Daniel knew who Jason Todd was, maybe he got confused but the thing is, his “villainous” and deranged version of Jason Todd allowed a villainous and deranged version of Red Hood to happen with the next writer that I will be talking about.

Grant Morrison in Batman and Robin vol.1 #3-6.

This was the birth of the villainous, deranged and bloodthirsty Red Hood. There is absolutely no trace of UtRH Jason here, not even if we are looking at the opposite of things like we could do with Daniel’s Jason. Grant Morrison wanted Dick and Damian to have a villain to match their Batman and Robin and they decided to give us a red-haired-pill-headed-red hood. Everything from Morrison’s characterization of Jason is crazy, from the red hair (hello pre-crisis) to the awful Joker’s Red Hood looking suit, everything was just weird.

I still don’t believe that was Jason, to be honest, I would rather think that version of Jason was actually a rouge Skrull that came all the way from the Marvel Universe and lost his way in Gotham City. Maybe when he made the jump between universes, he got too much information and got confused and took the form of the wonkiest Jason Todd he could come up with.

This Jason was absolutely deranged, he knew exactly what he was doing and he didn’t care if innocents died. This Jason was the one that got locked up in Arkham. This is the Jason that Dick put in Arkham for Jason and everybody else’s safety.

Dick putting that Jason in Arkham wasn’t a bad thing or something that anyone can use to shit on Dick Grayson (not on this house). This Arkham was reformed and that Jason knew that if he stayed in that new Arkham he would stay away from trouble, but here is the thing, that Jason loved trouble, so he took all the tests to prove he wasn’t insane and asked to be transferred to Blackgate (where all the Red Hood’s enemies were). That Jason didn’t ask to be sent to Blackgate because the Joker was a cell away from his in Arkham, he did it so he could go on a killing spree in Blackgate (which he did when he got there).

Skrull Jason was just bloodthirsty and nothing like UtRH Jason, he had no motive other than just killing for fun or whatever. He didn’t want to protect Gotham and he couldn’t have cared less about the drug trade in Gotham. In Batman and Robin vol.1. Jason Todd was unrecognizable. And luckily, we never saw him again.

Scott Lobdell in Everything that he ever wrote about Red Hood.

This one is pretty self-explanatory. Lobdell was the king of overpowering Jason, he was the one that drove Red Hood farther and farther away from his street-level vigilante status. He continuously added more to him, he was a big deal because he was meant to take down Ra’s al Ghul, he was a big deal because he was the only human to train in the All-Castle and learned to summon the All-Blades.

This Red Hood’s morals and ideals were kind of gone, there just wasn’t any kind of interest in Jason to get rid of drugs or try to control its trade in Gotham, he just had no interest in street-level threats, everything was extraordinary in both New 52 and Rebirth. If he wasn’t in space he was in some mystical land. His friends and allies became even more and more powerful, his level of power was completely off compared to the others. His personality was ever-changing and quite honestly you could barely see the Jason that he once was.

This Jason also was very inconsistent in the way that he felt towards people (obviously because Lobdell is a shitty writer), he wanted to follow Batman’s rules and was shown as someone that still had fond memories of his life with Bruce before he died but was also willing to let those memories go, to move on? Maybe? I don’t know. But he changed his mind about Bruce and following his rules or not for a very long time. Jason was also a little bitch about Dick, and he was a little bitch because he (Lobdell) never gave the reader or anyone a concrete reason as to why he hated him so much and then in Rebirth he decided that Dick wasn’t that bad. Also, Jason went from “Willis Todd, abusive husband and father that deserved to die” to “Willis Todd abusive husband and father but he sent me letters when he was in prison and Penguin had him killed so now, I really want to avenge him”. Yeah, I don’t really know why that happened and like most of Lobdell’s arcs and stuff it was never really completed or well thought out.

Lobdell’s Jason characterization was a mess for ten years and that’s the prime reason why Jason is a character with no solid background, story or future.

James Tynion IV in Red Hood and the Outlaws.

Tynion’s Jason Todd was a hero, he was like a mini Tom King Batman. Everything he did was right and there was just no way that you could bamboozle him. This Jason was able to hold to Blades that drained his soul as well as hosting the Untitled in his body (that were able to drain his soul too) and on top of all that he completed his journey of the Chosen One by making those ancient martial arts moves that he learned before he was Robin even though Talia hadn’t been able to master it yet.

Scott Snyder, Tim Seeley in Batman Eternal and Batman and Robin Eternal.

A mess, this was pure New 52 levels of bullshit and they all just wanted to push the “Batfamily” and while Dick was gone, they were trying to make Jason fill the void that Dick left in Batman events. It didn’t work at all and all they did was mess around with Jason’s characterization more.

Geoff Johns in Three Jokers.

I have talked enough about Johns’ takes on Jason Todd and Red Hood, but let me tell you something real quick, if a writer thinks that the best they can do with a character is make them give up their morals/ideals for an unrequited love interest, then they can keep that idea for themselves. Geoff Johns wrote a book that was absolutely not needed and then proceeded to butcher every characterization that he could, Three Jokers was three issues long and he managed to add more trauma to Jason’s torture, push the narrative of Jason being at fault for his own murder and make Jason’s motivations to be the Red Hood weak enough to make him want to give up his work for a woman that he barely knows (and doesn’t like him at all).

Joshua Williamson in Future State: Red Hood and Robin #5.

Now, with Williamson I have issues only when he writes Jason, not because his stories are bad, don’t get me wrong, I would have completely enjoyed FS: Red Hood if it weren’t for the completely unnecessary Rose/Jason side plot he had going on. Jason was clearly working undercover for some people that he hated working with. He had to arrest or kill “masks” (vigilantes, just like he “used” to be) for the Magistrate.

His ideas were pretty solid, Jason did the job but he never killed the masks and actively didn’t trust the Magistrate but he was working there to tear them apart from within, and that’s amazing if Williamson had given us Jason Todd/Red Hood working undercover to dismantle an organization I would have been really happy.

But that’s not all he gave us, even if I just forget about his failed attempt at giving Jason a relationship, I can still see that Williamson is the kind of writer that wants (or is just following DC) to make the “Batfamily” happen no matter how dumb and out of place it looks in comics’ canon. So, I am a little bit weary, any writer that leans too much towards making Jason and Bruce work together and become a family makes me want to scream, but I do understand that is just me, many people want those two to be buddy-buddy, I, personally, would love to see Jason kick Bruce in the balls and tell him to lose his number.

Chip Zdarsky in Urban Legends: Cheer.

Ah, yes, I remember the days in which I thought that this could have been something good. Well, I was utterly wrong and I suffered all the way through this mini. I feel like now I can safely say that Zdarsky only wanted to write a Batman book but DC told him, “Hey you can write Batman but it has to be within a Red Hood story, but don’t worry, you don’t have to know much about the Hood guy, just come up with something and write Batman around that”.

I know that’s what happened because I read that story and all we got from it was horrible characterizations for pre-Robin Jason, Robin Jason, Jason Todd and Red Hood. I don’t know how he did it but yes, he managed to mess it all up.

From Jason not really wanting to be Robin and acting recklessly every step of the way, to secret desires of a perfect family with Bruce and so many other people that he couldn’t care about, Urban Legends: Cheer is the perfect book to avoid at all costs if you believe that the concept of “Batfamily” is the biggest lie, DC is trying to profit off this time around.

Zdarsky also nerfed Jason in ways that I thought DC only wanted to nerf Dick Grayson. But I was able to see that I was wrong. Zdarsky’s run also pushed some of the most disastrous narratives that DC really wants readers to believe like: Robin Jason wasn’t good at his job, he was too reckless and ultimately his death was his own fault. Yay! I want to cry!

I will give Zdarsky two points for at the very least showing that Red Hood wants to protect children and that he has a huge issue with how the drug trade is controlled and abused in Gotham City, it had been a while since we had seen that aspect of Jason’s Red Hood make an appearance.

It’s just too many writers completely missing the point of Red Hood’s character or simply writers agreeing to destroy Jason’s uniqueness in the DC Universe so DC (as the publisher) can further push the abomination that is the “Batfamily” in comics’ canon.

I do agree with you Anon when you say that Jason isn’t just a “bad boy” but I also don’t think that we can call UtRH Jason “dangerously insane”. Personally, I will only use that last description for BftC and Batman and Robin Jason, those two were dangerously insane indeed.

UtRH Jason was very meticulous in who he wanted dead and who got to live. He entered Gotham’s most dangerous world and he had to make a big entrance, he invited the eight most prosperous street dealers to a meeting, showed up with the decapitated heads of each of their right-hand men and an AK-47 and said:

“I am offering you a deal. I will be running the drug trade from now on. You will go about your business as usual. You will kick up forty percent to me. That is a much better deal than the Black Mask will give you. In return, you will have total protection from both the Black Mask and Batman. The catch? You stay away from kids and schoolyards. No dealing to children, got it? If you do, you’re dead.”

This was Red Hood! Red Hood wanted to control the drug trade in Gotham because he knew that Gotham is far too corrupt and filled with drug lords for him to just want to eradicate drugs from Gotham. If he had tried that he would have been a dumbass, but he wasn’t. He didn’t want to start a gang war and get innocent people killed because of it, he wanted to set the rules of his new Empire and he had to start with the street-level drug dealers, from there he grew until he became a major pain in Black Mask’s ass.

We went from Jason wanting to control the drug trade and take over Gotham’s underworld so people like Black mask couldn’t have people work for him (or being dependent on him) when they were still in high school or were in a vulnerable position, to Jason fighting a war for a mystic land because he was their “Chosen One”. DC really wanted to do something grand (yet boring) with Jason instead of sticking to a street-level vigilante that could have become a Drug Lord to control the drug trade of a city that is so filled with crime and corruption that it can’t be saved by anyone.

Batman doesn’t eradicate crime, he “controls” it, puts a blank it over it, lets it nap up until it wakes up once more to make more mess.

Red Hood had other plans, certain criminals didn’t get to nap, or, better said, they would get to nap forever.

So, no. I wouldn’t call that “dangerously insane”, I will call that “vigilante that believes himself judge, jury and executioner” of a city that is drowning in crime and corruption.

Anyway, I hope you have a really nice week Anon and thank you so much for sending me this ask!

#jason todd #red hood #under the red hood #red hood and the outlaws #dc comics #future state red hood #three jokers #bftc #asksss

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trans-siberian-orchestra-life · 5 years

Text

Night Castle

Hi all! I will be posting mini-reviews of my favorite parts from each TSO album! I will go over band personnel, the story, and the music! Please enjoy!

Night Castle was released in 2009, and was TSO’s second non-Christmas album! It is also their longest, with 26 total songs, and, to me at least, their most emotional album to date.

The album features many familiar faces, with lead singers being Jay Pierce, Jeff Scott Soto, Tim Hockenberry, Rob Evan, and Jennifer Cella. The band personnel is also very familiar, with Paul O’Neill, Chris Caffery, Angus Clark, Al Pitrelli, and Alex Skolnick on guitar, Robert Kinkell, Jon Oliva, Luci Butler, Shih-Yi Chang, Jane Mangini, and Derek Wieland on keyboards, Chris Altenhoff and Johnny Lee Middleton on bass, Roddy Chong and Anna Phoebe on violin and strings, and John O.Reilly and Jeff Plate on drums. And, with Dave Wittman on, as all TSO albums say, “drum, guitar, and bass inserts for those little things the rest of us forgot.”

It also features Emerson, Lake, and Palmer's Greg Lake on bass for Nutrocker!

And, not to mention the numerous amazing backing vocalists and instrumentalists!

Its a big album with big personnel, a big story, and even bigger music. Lets get into that~

---------

Night Enchanted

-Best hard opening to a TSO album

-HEEERE belieeeve a nigHT ENCHANTED S̸̟͋̉̔͛̀͋̃̑̑̈́̏̅̈́È̵̡̜̼̞͔̖̩̦̟̞̣͈̑̄̽̒͝E̸̛͖̯͙̜͕̟̽̈́̃̉̿̏̈͛̌͆̔̂́ͅE̵͙̙̞̯͚̹̲̟̙͐̀͑̍͊̚͜Ẹ̷̡͇̹͍̓̈́̏͑̄̅̀̎̈́̓̚E̶̛̱̖̘͓̹͍̟̭̲̲̽͋͒̀̓E̵͓̰̠̤̻̪̣̎͊̎͒N̴̢̧̜̰̦̰͓̯̗̦͚̘̝̑̔̌͂͐̀͊

-Very different song, like,,VERY DRAMATIC. ExtrEMLEY DRAMATIC

-Based on Verdi’s Requiem and Dies irae

-Has the Child Of the Night aria sandwiched in the middle

-So the falcon character sings the aria

-I don’t know how that works either

-then it KICKS IN AGAIN FULL POWER

-The pounding opening guitar motif that repeats is amazing

Childhood Dreams

-A very classical-based song, like, its very operatic

-The “controversial” song on the album. Only because people either love it or hate it. I love it. Its fun.

-CHILDhood CHILDhood CHILDhood

-Jay is singing from his SOUL here

-Lyrics are very whimsy:

“But then it's known to catch our eye And dare us all to once more try And with a childhood faith believe And that magic to retrieve As childhood dreams ...”

-Overall solid song

-The slow piano that kinda hangs back the entire time is great

-I love the way he sings the line “But suddenly inside the dark, she sees the magic of the sparks...”

Sparks

-Old-school rock n roll song

-One of my favs off the album, its just so, idk..classic sounding?

-”Tell me when...Ḁ̷̯͖͉̽̎̔͋̀̽͗͐͂̊̌̇̕A̸̢̳̪͉͓̼̟͑Å̷̛̛̜̈́̆̀̆͂͋̊͐͗̔͑̇Ḩ̸͋̿̓̆͋͛͌͐͑͆̕̕Ḣ̷̨̙̺̦͚͓̠̀̿́͝H̴̗̮̎̽̀́̓̏̓̋̚H̶̼̘̩̱͖̻͎͒́Ḩ̶̢̧͓̲̼͇̼̱͓̱̞̖͕̀̽̾̒̚̕͠ͅ”

-It actually has “AHHH” in the CD booklet I kid you not

-Its a tad long ill admit but it rocks so hard you hardly notice

-The old school chugging guitar riff rocks

-”Leaving marks...SPARKS!”

-Just a classic song, nuff said

The Mountain

-eyyyy first Savatage cover- based n Prelude to Madness! From Hall of the Mountain King!

-The atmosphere is REAL

-The windy sound effect in the opening, the deep bells AH so good

-A familiar melody, and MAN they give it their best

-They speed up gradually over time, and it just gets to the point where its ridiculous how much is going on in the song

-These guys are so talented I swear

-The solo at 4:09 KICKS

Night Castle

-Jeff Scott Soto giving me life, once again

-Very different sounding song I believe, not many other TSO songs sound like it

“Am I risking my own life...my life..?

-OK also I SWEAR in the last 4th of this song, when the slow bit hits, the melody is EXTREMELY CLOSE to the opening to Mephistopheles, from Beethoven's Last Night. It may just be coincidence, but it sounds like an Easter egg to me. Or maybe I’m just crazy. AHA.

-The falling synth piano bits at 1:55. Yes.

-Song gets creepy with the minor change at the end

-I LOVE the last few seconds its so peppy and pretty, like that piano is so gentle

The Safest Way Into Tomorrow

-And I’m crying already, thanks Paul.

-They used this song for the tribute to Paul O’Neill in the 2017 live show. And i get so sad every time I hear it now. Like a melancholy feel now.

“Morpheus is at your side, offering the wings to fly, and be there..”

-Thanks Morpheus

-This line hits me right in the feels every time:

“Be there, free from Earth to sail across this night, where stars are all eternal”

-The piano build at 3:15 mmmm

-BEEEE THEEEEEERE

-BEEEEEE THEEEEEEERE

-BEEEEEEE THEEEEEEEEEERE

-BEEEEEEEE THEEEEEEEEEEEERE NOOOOOWWW

-”And tell me what you...see!”

-I cry

-Also may I note how I LOVE that every character that TSO makes looks like an 80′s rocker. Like look at my dude Morpheus. And Tran-Do. Never stop TSO, never stop.

(Morpheus^)

Mozart and Memories

-Second Savatage cover!

-Very eerie

-Fits with the “dream” thing going on in the story at this point

-The guitars are the best part at 0:42, that melody is so eerie and cool

-The pianos and strings at 0:24 hit me hard, VERY well recorded there

-It gets real fast at the end

-TSO and classical covers are such a good combo

Another Way You Can Die

-TSO got PG.

-Like look:

“And the tracers probe on 'Till a close friend is gone And you find yourself embracing ground”

-and:

“I see a figure in my rifle sight Who does not know that he's there And as I hesitate to take his life The ground explodes My blood it flows My heart is racing Times escaping As I feel it slowly scraping by”

-like holy hell

-Like I love the song don’t get me wrong

-But lord Paul went all out here

-He was NOT holding back

-PAULS GOT A MESSAGE TO GET ACROSS AND LORDY HES GONNA DO IT ANY WAY HE CAN

-That end piano drop mY HEART HURTS

Toccata - Carpimus Noctem

-TSO has mastered Christmas, TIME FOR HALLOWEEN MUAHAHA

-Literally its such a good cover. They keep the classic classical intro, with synth and guitars of course, but then they go full metal with it.

-I love the weird guitar lick at 1:49, it really stands out

-Yet another guitar solo featured song and mmm its good

-Also, the DRUMS ARE AMAZING IN THIS ONE

The Lion’s Roar

-Third Savatage cover kind of

-The second half is from Temptation Revelation from Gutter Ballet

-As a trumpeter, I love this song, as it is TSOs only trumpet-featured song.

-The first half is a very military-esque (Fits with the story, eh?) trumpet solo on The Minstrel Boy. This song is very accurate as it is usually played at military events or funerals.

-Which makes me even sadder because of the context of thE STORY

-Nice little interlude song

Dreams We Conceive

-EMOTIONS.

-The opening organ, it its me right in the HEART.

-You can just HEAR the sorrow in his voice in this song.

-The way he sings “Where the dreams die...as the blood dries...”

-Too relatable my soul can’t take it.

-His little voice quiver on the word “do” in the line ‘WHat else is the night to do..”

“As you stand all Alone at your station What if God doesn't Know where you are As you send out your Prayers for salvation But afraid that They don't go that far

So you wait all Alone in your darkness There's a train that drives on Through the night And if everyone's On it except us Would it return for That single life

In a city After midnight Neath the halo Of a street light”

-Its just so LONELY SOUNDING this man needs a hug

Mother and Son

-I used to skip this track before I understood it in context to the story.

-Then I felt emotions

-You can find the translation HERE.

-Imagine you past self looking at you and saying “How did I become you?” TO YOUR FACE

-savage

There Was A Life

-ENTER ROB EVAN

-This song man,,,the emotions are REAL

-The way he sings the word “life” in the opening line

“Can someone tell me Can someone say when The writer of this story Will just tell us how it all will end?”

-I relate too much to that

-Paul asking the real questions of life: “ Is there forgiveness for hesitation?”

-The HURT in his voice when he sings “DEAR GOD” at 3:14

-Robbbb why you gotta kill me like this

-The piano is superb at 4:22

-Captures the vibe perfectly

“Are you scared of your life? Are you scared of your death? Though that day will arrive Well it hasn't come yet...”

-Calling me out like that huh

-His “ALIIIIIIIIIVE” at 8:37 oh my LORD

-I’m feeling ALL the emotions

Moonlight and Madness

-OK. So I can’t think of which piano player it was, I’m thinking either Kinkel or Weiland, I could be wrong...BUT. Paul said in an interview once that the songs piano was recorded in one take. ONE TAKE THAT INTRO. He just FLEW INTO IT PERFECTLY.

-Its a wild song, based on the moonlight sonata.

Time Floats On

-This song man..this song

-*Insert seagull meme here* “tiiiiime flllOAATS OOOOON!!!”

-It was one of the first TSO songs I ever heard

-The crazy contrasting piano bit in the middle AH its cool

-Such an eerie song really

-”Time floats on...as I write these letters that you'll never see...” ;-;

-this song has so much heart

Epiphany

-OK HERE WE GO

-TSOs longest song

-TSOs most emotional song

-I’m crying again

-The SHEER HURT and SORROW in Rob’s voice when he sings “ I fear the night, I fear the dark, I need this light...that distant spark...”

-The fast bit at 3:52...I don’t think Rob breathed once during that recording.

-The spoken part was a bold choice, TSO has never done that before. I liked it a lot, its a great addition to the song.

-The subtle harmonies in the “Somewhere”s...amazing.

-and MAN. The LYRICS.

“Did you ever walk up To the edge of a cliff Stare into the abyss As your mind wonders if You should take one more step Further into that night Well your mind says you won't But your heart says you might Would you fall through the dark Feel the wind in your hair Would you embrace the ground And end your life right there Or would god reach his hand And that moment you fly Or if he chanced to blink And then, that moment you die You die...”

-Like GEEZ that is heavy stuff

-This is the “contemplating death song”

“Be who you are What you were What they see From eternity's view Tell me which one is me?”

-Relatable. holy heck.

-He sounds like hes about to cry when he sings “Hold me close...”

-Like me too Rob. Me too.

-”This all is your....life..."

-You feel DRAINED by the end of it, like wow. The emotion, the power, my soUL. MY HEART.

Bach Lullaby

-A nice calming music box medley of the C major prelude.

-OK SO TSO SHOULD ACTUALLY MAKE LITTLE MUSIC BOXES THAT PLAY THIS HOLY HECK ID BUY 50

Father, Son, and Holy Ghost

-The OTHER most EMOTIONAL SONG on the album

-First half: pain, sorrow, regret, melancholy, slow piano...

-The EMOTION in the line “ Never quite there but it's never quite gone, you are the star that is wished upon...forever....”

-Second half: RAGE. ANGER. FIRE. AAAHHHHH.

-The main guitar riff is so heckin powerful

-Lyrics literally have this background in it: “...she raged against all those citizens of apathy and willful ignorance who lived behind the sacrifices of others.”

-The high piano swapped out for low guitar and bass melodies, a heavy mood, and pounding drums

-”...You cling to that card, Father, Son & Holy Ghost”

-You FEEL THE RAGE

-It has the most metal lyrics:

“And Christ and Confucius Are all their words useless We quote them in fractions But not in our actions”

-Like WOW

Remnants of a Lullaby

-A simple, but pretty song

-Very calming, and a nice breather from the song before

-The feeling in “ What to keep, what to save...”

”Wished on coins Childhood wings Carousels Still turning Waiting there patiently Remnants of a lullaby...”

-IM A KID AGAIN

The Safest Way Into Tomorrow (Reprise)

-dangittt I’m crying AGAIN

-album comes full circle here in the most emotional way possible

-especially when you consider the context of the story at this point aahhHHH

-Soto owns my soul

Embers

-OK, just..I love this song. Simple as that.

-This is pure atmosphere.

-Listen to it. Bonfire. Embers soaring to the stars above. Fireflies all around. Friends sitting with you at the camp fire. Acoustic guitar playing. A perfect summers night.

-Just...perfection.

Child of the Night

-Eyyyyy the aria again. It grows on yah.

-Very relaxing.

-Just brings that calming night vibe to life.

-Makes yah feel like a kid again.

Believe

-AAAAND the TSO song everyone knows for one reason or another.

-Also one of the more emotional ones on the album.

-A cover of the Savatage song off Streets

-I love this version, (No offense Jon), like idk why exactly...it just feels more..personal? Idk, maybe its just because of the sheer emotional journey we just went on lol.

-It builds spectacularly, and the emotion is all in in this one. 10/10 great cover.

Nutrocker

-YAYY JUST HAD AN EMOTIONAL AND HEARTBREAKING JOURNEY, TIME FOR HAPPY FUN CHRISTMAS EMMERSON LAKE AND PALMER NUTCRACKER SONG YAYY

-Heh I kid I kid

-It features Greg Lake on bass!

-This song ROCKS man it ROCKS

-TSO does SO WELL WITH THIS

-The fast piano, the amazingly melodic guitar melody, the rock bits with a jazz break sandwiched in between AH.

Carmina Burana

-This is also one of my favs off the album.

-I believe this is also the song that got some conservative folks mad at TSO for being “satanists” by playing this. It was the latin I think.

-Doesn’t matter, this song is epic. Very bombastic.

-It builds so well, and the repeated guitar and bass riffs make it feel so pounding I love it.

Tracers

-Ok so this song and I have history.

-I originally didn’t like this song (woah, right?)

-It just didn’t click. Buuuuut, TSO did it live in 2018, and BOI that changed everything. I loved it after that. Its top 25 TSO songs for me now.

-IDK what they did or how they did it, but after the live show, I loved it. Past me was wrong. This song ROCKS.

-The pounding opening is iconic

-The soaring guitars

-The weird interval medley at 0:49 is so cool

-The main melody KICKS at 1:00

-My fav bit is the surreal acoustic bit at 2:06

-Its SO GOOD

-The repeated 5 notes at like 1:34 are so driving

-The descending bit at 2:55!!!

-and the BUILD UP TO THE VOCAL PART AT 3:32 OH MAN POETIC CINEMA

-------

And there you have it!!! Night Castle! To me, its the most emotional album of the lot. And the most atmospheric. Its long, but its a wild ride the entire time. The story is sad but inspiring, the music is legendary, the art is beautiful, so all around, this, to me, may be their best album in terms of general scoring. What do you think?

Thanks for reading ya’ll! You rock!

#Trans-Siberian Orchestra #trans siberian orchestra #night castle #album review #metal #rock #symphonic metal #symphonic rock #text post #this took so long to re do #BUT I DID IT #music review

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plush-anon · 4 years

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plush reviews: pirates ahoy! (collected)

for my own personal reference, decided to collect the singular posts into one, w/ breaks between each original post below the cut

I will say this, the opening credits for this one are pretty dang good - nice visuals flow together with some wonderful music to create a compelling overview of the Bermuda Triangle and some of the wild theories commonly associated with it, as well as how far back these myths go. Kudos 🤗

also, I did not realize how short this movie is - paused it for a second and it’s only 70 minutes long apparently. huh

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oh man, good times - I forgot how stilted and choppy the WNSD animation could get in some shots.

annnnnd there’s the cotton candy fog. it moves like it’s on a skateboard being pulled across the screen XD

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finally cut to the gang - i honestly like this shot of everyone in the car. daphne paints her nails like my sister used to when we were young - on the dashboard on long car rides 😅 the nausea from the smell led to some “fun” trips, lemme tell ya

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oh Casey Kasem, even in old age your Shaggy was memorably good

also the joke on Fred’s age never gets old XD like, you guys grew up together as kids in this continuity, how could you not know his age, much less that he’s obvs not in his 40s? still a fun one tho

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another thing i forgot about WNSD continuity - Shaggy’s character model being like 2 feet taller than Fred in some shots

also the gang being legitimate friends and liking each other and getting along, unlike some portrayals *side-eyes sdmi*

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i think this is my fave version of fred’s parents, although i do love Professor Huh from be cool scooby doo. they are EXACTLY how i picture the people who raised the sdway/wnsd version of Fred to be

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holy crap, i forgot Kathy Najimy was in this

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actually, here’s a thought: why haven’t they graduated Frank Welker to playing Fred’s dad in a show, and hired someone else to play Fred?

granted, the man still (uncannily I might add) sounds exactly like he did in the 60s (hOW?!?) but it’s strange they haven’t tried to do that yet apart from maybe pup named sd, where he played fred’s… uncle, i think and i guess kind of with the new scoob 2020 movie, where he only plays scooby

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…i think the captain of the ship just got beamed aboard the Enterprise o_O

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the alien has the general head shape of the ones from Alien Invaders and the claw hands of dr claw from inspector gadget

also, whoever designs fred’s facial expressions in this movie is having waaaay too much fun (although kudos for actually… you know… making them. some characters have very minimal face movement and it’s rather unsettling, especially when the voice acting is actually pretty decent)

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i gotta say, good on fred’s parents for encouraging their son’s interests and talents, as well as getting him a birthday gift that he can not only enjoy, but also inviting his friends along for.

…unlike SOME incarnations *glares at sdmi*

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holy fcuk shaggy just brought back the ghost of captain cutler, glow-in-the-dark diving suit and all O_O

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dang, velma’s lounge wear looks cozy. i’m glad they haven’t tried to force her into something weird

camp scare put her in a white bathing suit, which was… really odd for her, color scheme wise. altho the storyboard artists reaaaaaally wanted to do a drawn out, slo-mo play-in-the-water thing with velma and daphne in that one, so maybe that contributed to it? idk

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i do like that the gang inadvertently solves every mystery on a mystery cruise - that cracks me up

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cripes, they keep cutting back and forth between a decently animated shot of the gang on a polished background, and this almost MS Paint looking rough animation of the castaway being guided on the deck, which is all flat colors and rough black lines. it looks terrible

the animation quality is all over the place here

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and suddenly man in a jetpack

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RON PERLMAN?!?!?

how the FRICK did they get him on this movie cast?! this is post-hellboy!

( also apparently arsenio hall voices the captain. who the heck had all these high rollers on speed-dial at the studio that day)

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actually, here’s a thought: given the voice cast we have, and how i’m actually able to follow this without having to look at the screen all the time (i’m folding laundry rn), this could make for a really decent comedy mystery radio show.

think about it! get a decent voice cast and writing team, and there’s a lot you can do with Scooby on the radio. you may not be able to do the chase scenes as well, but those can be worked around pretty easily with a solid writing team. i’d be interested in seeing that come to reality in all honesty - it could be fun!

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another thing i just noticed: Scooby hasn’t talked NEARLY as much in this one as he does in later shows/movies. I forgot how much I missed that from him

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wait a tic that’s Dan Castellaneta as the hypnotist

seriously, who was able to get all these people on board for a Scooby Doo DTV about pirates

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now here’s an interesting moment/snafu: Shaggy and Scooby canNOT be hypnotized, according to this movie, but the clown in SDWAY was able to hypnotize them both using the exact same method - a gold circular object on a chain swung back and forth.

then there was Legend of the Phantasaur much much later able to hypnotize Shaggy so successfully he overcame his panic disorder

was it because they weren’t allowed to eat prior? their meal was continuously interrupted before they were dragged onstage. maybe being actively hungry and denied food when it’s right in front of them blocks them from being hypnotized properly…?, idk but it’s food for thought, for sure 😁

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ehehe, one of the background guests is wearing a Tin Man costume from the Wizard of Oz

alas, this is prolly as close to a crossover as I’ll ever get between my first two fandoms ever and maybe that’s for the best

(honestly kind of surprised there's never been a scooby themed oz-related adventure tbh public domain and recognizeable)

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it took about half an hour into the movie for the title villains to actually encounter the gang, or almost exactly halfway through the movie. that’s actually pretty odd for a scooby movie, isn’t it? especially when they haven’t encountered any other mystery except the fake-y ones (a lot start off with an in-progress mystery to finish up before being introduced to the main)

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welp, villain’s been spoiled, it’s ron perlman’s character as the pirate captain…

*sighs* Pirate Captain Skunkbeard

like… you get freaking Slade from the teen titans, Hellboy Himself, to voice your baddy… and you give him a name like Skunkbeard.

could have been something cool like Capt Barnaby Bones, or Cuthbert Butcher the Red Pirate, or SteelHook Slater, or Morgan “Moonscar” McWright (okay, that one’s been used before, but the point stands dammit!)

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holy moly, one of the pirates just tried to cut scooby and shaggy’s head off with an actual blade

it cut clean through their costume heads with one swipe

jesus christ on a bike, what is WRONG with you?!?!

(sometimes these scooby dtvs have moments like this. moments that explain how it is shag and scoob have what is likely ptsd for days)

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*gang follows trail of oozy green liquid sheen to the pirate ship*

now see, i thought those wooden ships weren’t supposed to pollute the oceans back in the day

(tho it does work as a solid clue i’ll grant em that)

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shaggy, why aren’t you more excited to go into the cotton candy fog? it’s clearly grape and green apple flavored!

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…i think one pirate just killed another one during that sea shanty there

brutal

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so i didn’t mention earlier, but tim conway is fred’s dad, and i think he’s the only voice star in this i’m not surprised at - he’s been on the new scooby doo mysteries as their celebrity guest of the week, so him coming back is more like a belated reunion

that being said, his voice work here varies wildly between ‘what the heck take was that’ and ‘hysterical’ - it’s quite odd

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and suddenly the cruise ship is sunk, and the gang is on an island

alrighty then

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the captions are cracking me up right now - not a single one has spelled “bananas” right

it only spells it as “banas” 🤣🤣🤣

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“Prepare to suffer the wrath of Capt Skunkbeard!”

…nope, that’s still not intimidating. try again sir.

(truly i am made to sail the seas, for i am salty af on this name)

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‘Seize them!’

fade to black

come back in on gang tied to the pirate ship mast

…really? the gang has escaped far worse than a group of pirates before (and usually to some funky tunes), and you’re saying they were captured just like that?

fred, please tell me this is a plan of yours, otherwise this is just dumb

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sooo the pirates want to find a place that matches a painting of stars from 200 years ago… without ever stopping to consider that the painting could just be a pretty picture?

it’s a small painting, and i don’t think that star maps were really used like that back in the 1800s when it was purportedly made (at least not from what they look like on wikipedia… none of them look like pretty wall paintings)

these pirates are kinda dumb, methinks

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the ghosts of the bermuda triangle, including world war fighter places, old exploration ships, and a sea monster are apparently trying to stop the pirates

because the pirates want to time travel and rule the sea throughout time

and they needed the pretty pretty picture to lead them to the time travel macguffin they want to retrieve… which is also the sole reason the Bermuda Triangle is all bermuda triangly to begin with, when it fell to earth from space itself.

…say what now?

...that has to be one of the dumbest time travel plots i've ever heard and i sat through endgame twice

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the macguffin is a solid gold meteor

a giant hunk of gold literally as larger as twenty of the pirates put together, and you want to use it to time travel instead of selling that shit and being made for life

why are none of you smart

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yet again i see scooby shoot someone with an item that should have killed them outright and ended the mystery right there

moon monster madness had scooby shoot the alien with a missile on the moon, and pirates ahoy has him shoot a cannon at someone point blank with only a wooden door immediately between them

shrapnel should have shredded that pirate to bits, if even that much was left after that

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okay, the time travel thing turns out to be a hoax the hypnotist uses to convince the billionaire to finance his search for the literal meteor of solid gold located in the heart of the Bermuda Triangle

that’s a relief at least - Scooby Doo has done some weird shit in its days, but time travel does not need to be one of them

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well, at least we finally have the answer to who would win in a fight - homer simpson or scooby doo?

(obvs scooby, of course :D)

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according to velma, everyone on the cruise was hypnotized into believing they were pirates (including fred’s mom), but doesn’t hypnotism only work if the person actually subconsciously agrees with/goes along with the suggestions?

does that mean that at least one person on the cruise ship wanted to behead someone, since they nearly succeeded with Shag and Scoob? does that mean the fred’s mom secretly wants to kill her husband, since she tried to have him thrown overboard the ship while she was hypnotized?

the questions this raises, they are unsettling thoughts indeed 😨

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“Wouldn’t you like a nice ski trip to the Himalayas?”

“And risk a run in with the Abominable Snowman?! Forget it!”

exactly one year later (no joke, it came out exactly one year later):

“Join Scooby and Shaggy as they run in terror from the Abominable Snowman in the Himalayas, in Chill Out Scooby Doo!”

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And that was Scooby Doo Pirates Ahoy!

That was a relatively fun, if dumb, done-in-one mystery. What really saves this one (especially given the REALLY inconsistent animation quality, from acceptable to ‘someone used MS Paint didn’t they?’ levels) was the voice cast. I don’t know what blackmail they had on these guys, but the voice acting was really dang good.

Probably too good - the bad guys’ voices are so memorable you know immediately who they are when you hear them.

The time travel spiel was unbelievably dumb, only saved by the fact it was a hypnotic ruse, and some of the stuff doesn’t quite mesh that well? Like the padding on the desert island, and some of the really weird plot contrivances like the painting being the exact map to a giant ass solid gold meteor :/

Still, a solid set-up (mystery cruise in the Bermuda Triangle) with some new elements (Fred’s parents, an absolute delight) make it a fun film for the wee ones. I’d call this a keeper at the end of the day.

Then again, I really have forgotten how nice it is to see the gang as actual supporting friends and have it feel sincere. Be Cool Scooby Doo was mostly for humor, but the kids still felt like they liked each other well enough.

WNSD on the other hand really made them feel like actual friends, based on body language around each other, general closeness, and a warm comradery that’s hard to replicate. For the flaws this show has, this is certainly not one of them.

That’s all for tonight folks. Sleep well, me hardies yo ho!

#plush reviews #pirates ahoy!#plush reviews: final thoughts

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noiseartists · 4 years

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The Academy Of Sun: Psychaedelic Pop from Brighton

Formed in Brighton nine years ago, The Academy of Sun is a four-piece comprised of Nick Hudson (piano, synths, hammon organ, harmonium, vocals, percussion, synths), Kianna Blue (bass, synths), Guy Brice (guitars) and Ash Babb (drums). Together, they present dystopian fantastic creations that combine the deeply personal and the poetically arcane. Dark yet buoyant, this is a controlled explosion of psychedelic and dark power pop with atmospheres couched in vast and expansive landscapes and cinematic arrangements.

Nick Hudson's musical juggernaut has been active in various incarnations since 2012, always transcending expectations. The Academy Of Sun has collaborated with Massive Attack's Shara Nelson, members of NYC's Kayo Dot, David Tibet of Current 93, Asva and Matthew Seligman (Bowie, Tori Amos, Morrissey). Hudson has also collaborated with Wayne Hussey of The Mission, as well as Canadian queercore icon GB Jones. Known for explosive and psychedelic live shows, The Academy Of Sun has performed in a medieval castle in Italy, a boat on the Thames, an abandoned railway carriage in Offenbach, colossal churches, The London College of Fashion, The Old Market theatre in Brighton, the MS Stubnitz in Hamburg, Brighton Dome, and a string of L.A. shows in 2019. Having toured 3 continents, highlights include appearances with Mogwai, Toby Driver and Keith Abrams from Kayo Dot, and Timba Harris (Mr Bungle, Amanda Palmer). 'The Parts That Need Replacing' is out now, available across online stores and streaming platforms such as Spotify. The full album 'The Quiet Earth' will be released in summer of 2020 on CD, as well as digitally.

THE INTERVIEW

Who are the group members?

Myself, Kianna Blue, Ash Babb, Guy Brice.

How did you meet?

A poet introduced Kianna and I. We ended up living together, In our modest cottage on the edge of a cliff we kept house goats. Guy was one of them. It became quickly apparent that if he kept his hooves pedicured, he had an incredible way with a guitar. Ash and I met in a local tavern, courtesy of a mutual online awareness via the blog of author Dennis Cooper.

How did you come up with your name?

I'd been reading literature on pagan sun-worshipping cults and came across Heliogabalus, the queer teenage anarchist emperor of ancient Rome. Artaud wrote on him. So I wanted to unleash and harness the unkempt nuclear blaze of that energy within a formalist framework.

What is your music about?

It's about invigoration and alchemy – stimulating the mind and soul in tandem with the body. Music to dance and cry to. It's about pole-vaulting transgressive and subversive narratives over the iron gate of mainstream normativity. Spiraling wells of energy and dynamism. Loud and shimmering vibrancy. “Did I really hear that?”

What are your goals as an artist artistically/commercially?

Artistically I just want to continually evolve my craft, critical faculties, and general state of awareness so as I can get ever closer to precisely articulating the atmospheres, geometries and ghost stories that circle my head like ever-mutating angels, day and night, on the brink of expelling light and form. And in doing so, to gather those who are similarly drawn to peering through the cracks. Commercially, I - and we - really just want to connect this with a bigger audience. We're aware that we're a weird band, and that it's a long game. So it demands stoicism, patience and persistence. The ideal would be to get to a level where we have sufficient economic backing to be able to actually deploy all the ideas we have without compromising on logistics or production values.

What are you trying to avoid as a band?

The music industry.

Why do you make the music you make? Is it in you? Is it your environment?

It's more interior than exterior. Albeit I respond very palpably to landscapes, just not the one that I'm writing this interview from within! Haha. I'm drawn to severe, wild landscapes, and likewise to art and music that evokes such landscapes.

What inspires you for the music or for the Lyrics?

I've always written prose and poetry, and so a key factor in my embarking upon songwriting fifteen years ago was preserving the conditions of unabashed literary aspirations in my lyrics. I like to think/strive to ensure that as much as they might stand successfully alone on the page they also transmit the melodies with ease. I'm drawn to art in any medium that explores and expresses extreme states of being – modes of transcendence, ultimately. Ecstasies, agonies, the uncanny, the transgressive, the sublime. Stillness can also be extreme. Lots of nature imagery. European cinema and literature.

Tell us what you are looking when trying to achieve your sounds. Do you experiment a lot or have a clear idea of what you want?

I think we all share a delight in unusual sonics – there were some genuinely experimental moments in the studio – for example, the first sound heard on the record is a drone created by my playing a pre-recorded vocal through the speaker of a cassette recorder into the pick-ups on Guy's guitar, which was then sent through waves of delay. We created a MIDI church organ by recording the bass pedals of the church organ of St Mary's, Brighton and turning that into a MIDI instrument. The idea of pitch-bending such a monolithic and defiantly analogue instrument was irresistible. There's one track where we recorded the drum part four times and placed each take peculiarly across the stereo field. And there are field recordings scattered throughout, evoking radioactivity and harsh landscapes. I usually, with each track, have a pretty clear idea of the aesthetic and formal parameters within which experimentation can occur, and we go from there.

Explain your songwriting process.

Sometimes I'll be improvising on piano and motifs will surface that later impose their will upon my subconscious, continually knocking until I open the door and allow them to become a song. Other times I'll have the completed lyrics and sit and just experiment with ways to place them, and edit, and edit until they're homed. Some songs arrive in one swift nuclear wind, and others take years to ferment. I keep a lot of audio notes on my iphone.

Describe your palette of sound.

Rich but not cloying, Psychedelic but not nostalgic. Adventurous. Green and gold. Complex but not arbitrarily technical. Deconstructing, rerouting and inverting obvious formal choices but not at the expense of comprehension.

Who would you want as a dream producer, and why?

Trent Reznor, Bjork, Tim Palmer, David Lynch, Danny Elfman. I thought I'd compensate for not saying 'why' by instead listing five, haha.

If you could guest on someone else’s album, who would it be and why? What would you play?

Well I know he's technically on the cusp of retiring, but assuming this questions dwells in an amorphous temporality (as we do ourselves under quarantine), I'd say Ennio Morricone. Because he's peerless. I would love to have played piano/organ on one of his sixties/seventies film works. To say I've been produced by Morricone and appear on, say, the Sacco and Vanzetti soundtrack, would see me fairly ecstatic.

What musical skills would you like to acquire or get better at?

I'd like develop further fluency in classical notation and orchestration.

Which other musician/artist would you date?

I don't really subscribe to coupledom or its rituals but maybe Jack from These New Puritans. NB. I would never, EVER date a musician. Haha.

Is there a band that if they didn’t exist you wouldn’t be making the music you make?

Probably Mr Bungle. In that they not only blew my mind at a young age with their own music, but laid breadcrumbs for me to explore the family tree of John Zorn, Tzadik, and the sprawling concentric circles of artists making up the experimental underground of LA and NYC.

You are from England. What are the advantages and inconvenient?

Hold my hair back. Well. Its primary advantage is its proximity to the European mainland.

Its disadvantages are manifold and voluminous – aside from a micro-percentage of wonderful, compassionate, intelligent and progressive entities and institutions, its a nasty little hotbed of misplaced Churchillian hubris and post-imperial egocentrism, ruled as a playpen by which neo-liberal public schoolboy millionaires can move their assets around and grow their wealth while 'ironically' masquerading a paper-thin veneer of concern for the public interest and welfare.

Boris Johnson and his monstrous cabal aside, the UK treats its musicians appallingly. I've toured Europe, America and The Middle East and it shames me to say that the worst treatment I've experienced out of any of the countries I've played is that of the UK. I'm not alone in this assertion either.

There are exceptions of course, but as a rule, this sadly remains the case. Ten years of Tory rule certainly hasn't helped this.

What are some places around the world that you hope to play with your band?

There's that amphitheater built into a rock face somewhere in Central Europe. I'd like to do a tour of churches and cathedrals. And acoustically-dynamic natural rock formations.

It's my dream to take The Academy Of Sun on an extensive tour of Europe, but we'd need solid economic backing to be able to do so with production values intact, let alone keep us all afloat while doing so.

So that's something to push for. There's a pueblo in New Mexico called TAOS – obviously it's pre-destined that we play there. I went to Svalbard in the Arctic last year, and there's a beautiful concert hall called Huset right between two glaciers. I'd love us to play there. (Johannes, are you reading this?)

When is the next album/EP due?

June! We inevitably had to postpone the release from its intended release in April, when the whole world went on pause. We're super-excited to have you all hear The Quiet Earth.

Some artists you recommend

I can't get enough of Oingo Boingo right now – Danny Elfman's band that split in 1995. Peerless songwriting, arrangement, production and performance. Otherwise, Arca is amazing. I'm listening to a lot of Nico. Devouring Clive Barker's early novels. Revisiting Diamanda Galas' earlier catalogue. Watching a lot of Chris Marker and Maya Deren. And I just read Marina Abramovic's memoir, which is profoundly inspiring.

Anything else you want your fans to know?

Mainly – thank you for your support, engagement and enthusiasm, especially during this wayward, hazy and anxiety-inducing time. We hope you'll enjoy the record, and we're super-psyched to play shows all over the place when concerts are indeed a viable concern once again. Stay well, breathe deep, and celebrate and nurture the connections that enrich, comfort, soothe and embolden you.