coming out of a the 1975 song

falling for you (reddie)

summary: the winter formal is coming around, and everyone is scrambling to find dates. eddie is hoping that maybe the signs richie’s been giving him means that richie will ask him, but is disappointed when he learns that richie has accepted another date.

pairing: reddie

word count: 2.9k

warnings: none

a/n: this is my first reddie writing and one shot (it’s fuckin’ long im sorry, i probs should’ve broke it up in parts), so i hope it’s not too horrible. i haven’t read the book yet, only seen the movie/tv series, so i don’t know all of the nuances yet! i’ll do my best <3 feedback and comments/likes are appreciated and welcomed! oh also. the losers are around 16/17, taking place in modern times. some things might be different but i hope you welcome it

OH. song of the one shot is fallingforyou by the 1975. i listened to it while writing so maybe i’ll get you in the right mood

“gaaaay!” the losers looked over towards the end of their cafeteria table, not one of them surprised to see the person behind the call was none other than richie tozier.

despite richie being the only one to not have the same lunch period as them, he still managed to get out of history to come and bother the gang.

“beep. beep. richie.” stan pronounced each word with a hard pause, a slight glare finding his features as he gripped his boyfriend, bill’s, hand tighter.

“i’m just joking around. don’t get your damn panties in a twist, staniel..” the trashmouth grinned, taking a seat in the spot that he normally sat in - right next to eddie. “besides, everyone knows i ship stenbrough so hard.” a lanky arm was tossed around eddie’s shoulders, one which he shrugged off just as quickly in protest of his behavior.

everyone was used to richie’s antics, and ignored them for the most part. though, that hardly ever stopped tozier from continuing them. “mike, have you found a date to the winter formal yet?” beverly questioned across the table, leaning into ben’s side as his eyes glossed over homework reading instead of focusing on the lunch in front of him.

ahh. winter formal. in a small town like derry, maine, a school dance was something highly anticipated. buzz generally began weeks before.

“i’m stuck between rosie and taylor. you guys think they’d be down for a threeway date?”

as it was now, bill and stan, and ben and bev were supppsed to be attending the dance as couples, respectively. the only three without dates was richie, eddie, and mike.

the dance was only a week out, and eddie found himself shifting uncomfortably at the talk of the dance. he wasn’t sure that he would attend, but a huge part of him was hoping that he would be forced to go if a certain someone asked him to be their date.

“sure they would! who wouldn’t want some mclovin from you, mike? be careful, though. having two love interests can get preeeetty messy. eds and his mom would know.”

a frown crossed eddie’s face as he shoved richie’s shoulder gently. “beep beep richie! and don’t call me that! y’know i hate it when you call me that.” the frown on eddie’s face didn’t quite match the now hammering of his heart after registering that richie had identified him as a love interest. maybe eddie was reading too much into his joking. maybe richie’s increased flirting and touches was just him trying to be more annoying than usual.

“are you and eddie p-planning on g-g-going to the dance?” bill questioned, shooting a knowing look in both richie and eddie’s direction, causing eddie’s cheeks to lightly flush a pink while averting his gaze down onto his untouched food.

richie turned his attention on eddie, a small smile finding his lips as he stared at the pretty, small, teenage boy. it had taken him a few days to decide whether he wanted to go big with his formal date invitation to eddie or not.

it would have been his first time asking eddie out.

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Binary Star (II)

Author: kpopfanfictrash

Pairing: You / Jaebum / Mark

Rating: PG

Word Count: 3,282

Summary: In some cases, these close binary systems can exchange mass, which may bring their evolution to stages that single stars cannot attain.”

You and Jaebum have been dating forever when Mark Tuan shows up in your classroom. You’ve always been against change - a bit debilitating, being a writer - but for some reason this new kid has you thinking there might be an upside to chaos.

Originally posted by jae-en-beom

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Headcanons: Music

Eren: I believe he would listen to really upbeat, passionate music. Something that really gets him pumped and going, some sort of rock anthem or any genre that can inspire him and he can easily relate to.

Armin: Armin would probably enjoy classical music because it’s intellectually stimulating and he can probably play idk how many instruments if we’re being real here.

Jean: He would most likely be into anything really, Jean for the most part wouldn’t really narrow it down to just one genre. Just because he seems like the type to not limit himself musically.

Connie: Connie would probably like rap and hip hop, even though he cannot for the life of him ever accomplish getting through one song without messing up.

Annie: Annie would probably listen to music that encases most of what she feels but doesn’t show. She’s not adverse to listening to a slow, piano song. Of course, if you confront her about it she’ll vehemently deny it.

Bertoldt: Bert would be into the really underground music, the bands or artists that don’t get much recognition, solely because he finds it interesting, or different from all the radio music.

Reiner: Would most likely be into something like EDM, or Trap because he lives for the beat drops.

Sasha: Would most likely listen to pop, and would occasionally play the really obnoxious so ha because they’re catchy. Though at times she finds herself trying to out-do Connie at rapping. (They both fail miserably.)

Mikasa: Mika would most likely like anything that has a soft, mellow tone to it. Maybe an acoustic song with deep, meaningful lyrics.

Christa/Historia: Would be totally ironic if she blasted heavy metal, and hard rock out of the blue. She headbangs and everything.

Ymir: Is head banging right beside her Christa.

Mike: Probably likes bands like Coldplay, or the 1975. Only does it for his aesthetic.

Erwin: Daddy Erwin would probably like really classy music, like Frank Sinatra and Nat King Cole, or Cab Calloway. Jazzy, and oldie.

Hanji: Would blast country music just to troll everyone. Secretly likes it a bit, yet she hates it. Has good taste in music, but she has everyone genuinely believing she likes country.

Levi: Levi would most likely be into Old Rock, or 90’s grunge. He can relate to some songs about hardship, and he genuinely appreciates the music from back then as opposed to what comes out on the radio.


Productores Rock Music

Reinhold Mack

Reinhold Mack (a.k.a. Mack) is a German record producer and sound engineer, mostly known for his collaborations with rock bands Electric Light Orchestra and Queen.[1] Most of this work took place at Giorgio Moroder’s Musicland Studios in Munich, which became famous after Marc Bolan & T.Rex (with producer Tony Visconti) first discovered it for recordings in 1973.[2] In 1981 the Queen album The Game brought Mack and the band a Grammy Award nomination for Producer of the Year (Non-Classical).

Mack’s third son, John Frederick Mack, was named by Freddie Mercury and was a godson of both Mercury and Queen bass guitarist John Deacon.

Mack is referenced in the lyrics of the Queen song “Dragon Attack” on their 1980 album The Game, which he produced with the band: “gonna use my stack/it’s gotta be Mack”

Selected discography

Albums worked on as sound engineer:

Albums produced or co-produced by Mack:


The 50 Best Songs of the 1970s


  • Must have been released in years 1970 through 1979
  • No jazz included
  • Limit one song per artist
  • Listed alphabetically

Archie Shepp - Attica Blues - 1972. Leave it to a jazz legend from the 50s/60s to put out possibly the fiercest funk of the 70s. A righteous, careening outrcry of surging rhythm—this was Black Pride.


Bill Fay - The Sun is Bored - 1970. I’m astounded so much drama can be packed into a sub-three minute song. It sounds like a full orchestra as backing band, punctuated by timpani and crash-cymbal exploding crescendos. And then it’s over.


Budgie - In the Grip of a Tyrefitter’s Hand - 1973. The GROOVE of this song! Budgie were ostensibly a metal band but the rhythmic sensibility on display here—nothing complicated, just an instinctual hook—eludes most heavy bands. And Burke Shelley’s yelped goofball lyrics (the song’s title is a clue) somehow make the thing complete.


Camille Yarbrough - All Hid - 1975. Atop a motorik bassline of perpetual sixteenth notes, Yarbrough takes America to the woodshed. Her scathing word strings are perfectly augmented by Cornell Dupree’s probing guitar thrusts in one channel, that duel a disembodied clavinet in the other. As convincing as societal indictment in song ever got.


Can - Vitamin C - 1972. For me Can’s greatness is achieved through the interplay of Damo Suzuki’s voice and the incomparable Czukay/Liebezeit rhythm section—perfectly demonstrated here. One of the tightest/loosest grooves ever put to tape.


Captain Beefheart and the Magic Band - Bellerin’ Plain - 1970. The drums are doing their own thing but they keep the bass in line. A howling loonatic shaman raises spirits with alliteration scrawled on a cocktail napkin. Polyrhythm by way of staggered stuttering guitars, on over to winged marimba breaks. Sloppy jalopy steered by Captain art maker.


Chico Magnetic Band - Phantasm - 1972. Metallic crunch abruptly yields to pastoral lull and just as abruptly back to crunch. Chico sings like some displaced hippie gone off his rocker. This is one of the great heavy-psych numbers I’ve heard.


Chrome - March of the Chrome Police - 1979. Delicious sci-fi scuzziness, feeling like it was recorded in a junkie den post apocalypse. It’s futuristic-primitive gutter punk from space.


Contortions - Contort Yourself - 1979. What really makes this spastic JB send-up go—besides the obvious, like James Chance’s affected holler and sax blurts—is how a snaking slide guitar is set against locked-in rhythm guitar. 


Eddie Hazel - So Goes the Story - 1977. I love the funk that doesn’t play by the funk rules. Here we have a blistering guitar solo from start to finish (Eddie Van who?)—weaving its way through a lurching beat, piercing vocal chorus, and Bootsy’s rubber bass.


Edgar Broughton Band - The Birth - 1971. Jethro Tull but with conviction and imagination? The Birth is a sinister acousti-blues romp, probably recorded in the woods where covens gather. Edgar’s best Cap'n Beefheart howl, too, for good measure.


Elf - Hoochie Coochie Lady - 1972. By ‘72, boogie rock had been done to death. This boogie rocker is a triumph, though. It absolutely rips—beefy guitar riffs with saloon piano tinkling, and RJ Dio’s majestic wail over top.


Eno - Needles in the Camel’s Eye - 1974. Shimmering, twisted, and irresistible. One of the best-ever slices of subversive pop.


Faust - It’s a Rainy Day, Sunshine Girl - 1972. So wonderfully deliberate and minimal it could easily pass for early Velvet Underground. Tribal drum banging and monotone singing hypnotize, and then towards the end when the sax enters, you find yourself grinning and you play it again.


Fela Kuti - Alu Jon Jonki Jon - 1973. Prolific and consistent as he was, you could go with almost any of the 70s Fela groove jams. But for me this one seems to pulsate with a tad more energy and bite. Pushing it over the top: maestro Kuti’s ridiculous organ solo comprising the final four or so minutes.


Flamin’ Groovies - High Flying Baby - 1971. Exceptional loose-and-loud rock that reportedly made even the Stones (fresh off recording Sticky Fingers) blush. With its dual guitar bombast and countrified swagger it’s easy to hear why.


Flower Travellin’ Band - Satori I - 1971. There’s a spirituality here—like a connection to the natural world and its place in the universe—not found in typical heavy music. Satori is fearless. It goes out there further than, say, Black Sabbath or Led Zeppelin were willing/able to go. It’s scarier, more compelling, and altogether superior.


Franco Battiato - Areknames - 1973. This is an exquisite, downright spooky, synth-driven number from one of the true Italian masters. I’d liken it to a holy mass from Mars, with Martian ghosts (ghost Martians?) as priests.


Gang of Four - Natural’s Not In It - 1979. One of the best products of the aggressive-taut-angular aesthetic that took hold towards the end of the decade. It’s at once precise and askew, and I think it’s that opposition within the song—almost like the drum beat is battling the guitar line—which makes it feel so arresting.


Germs - We Must Bleed - 1979. So much of what was called punk, especially from England, seemed formulated for mass consumption. Enter the Germs from L.A. I love this song because it is dirty and menacing, a gloriously unhinged mess. Darby Crash sings as if the city is burning around him. And the extended (by Germs standards) outro, with the instruments barely staying on the tracks, is somehow a thing of beauty.


Hampton Grease Band - Hey Old Lady - 1971. Reckless abandon. Col. Bruce Hampton supplies the nutso sing-shouting (I PICK UP GARBAGE AND WHAT’S IT TO YOU), while Harold Kelling and Glenn Phillips go toe to toe in some kind of tortured-guitar cage match. A dizzying blast of southern-fried garage chaos.


Hawkwind - Silver Machine - 1972. The way the instruments come forth out of the whooshing synth opening—like some vessel emerging from a mist—is fabulous. And then we’re off, hurtling through space. It’s a dense, claustrophobic rocker, intensified with Lemmy’s growl-yowl.


John Cale - My Maria - 1975. A hosanna of a song, bursting with brass, electronics—the whole works. Cale’s knack both as arranger and manipulator of sound is on dazzling display, as are Chris Spedding’s lightning-bolt guitar stabs.


Karen Dalton - Are You Leaving for the Country - 1971. Karen sings this so beautifully. Hers was by no means a from-the-rooftops “classic” sort of voice, but it had more emotional heft than perhaps any I’ve heard. I feel real pain and longing every time I hear this.


Kevin Coyne - Mummy (live) - 1976 - What a scorcher. I really like Coyne’s studio recordings, but he never quite achieved in the studio what he did on his live record In Living Black and White, from which this song is taken. His voice here crackles beast-like, his lyrics are spitfire. His ace backing band is in tune with every minute vocal inflection, every improvised segue. All of this might very well be the result of superb recording/mixing/mastering of the performance—but the performance itself really is one of the most convincingly ferocious you’ll hear.


Kim Jung mi - Haenim - 1973. A gorgeous, haunting number beginning as delicately sparse and culminating in an exultant rapture. Throughout, Shin Jung-hyeon’s triplet-laden guitar sorcery serves as the integral lifeline. The song’s climax occurs through a resounding multi-tracked vocal chorus.


Lula Cortes & Ze Ramalho - Trilha de Sume - 1975. This is an ominous freak-samba cauldron. As I listen I feel enveloped by a layered percussion chorus and looping bass groove in the heart of some sweltering rain forest. Cortes and Ramalho’s voices, repeatedly trading spots between the left and right stereo channels, function as apparition-like tour guides.


Magma - The Last Seven Minutes - 1978. Magma devotees might raise their eyebrows at this choice, and I’m OK with that. For me this is the finest single slice of Magma (if we were talking about album sides, I’d go with one of the sides from MDK or Kohntarkosz). It bursts its seams with energy and chops and maniacal genius.


Mama Bea Tekielski - Le Secret - 1976. If you’ve seen the John Cassavettes movie A Woman Under the Influence, you’re aware of the tour-de-force performance by Gena Rowlands. I kind of feel like this is Tekielski’s own A Woman Under the Influence. She doesn’t so much sing as wail, hiss, plead, and moan. For those vocal pyrotechnics to work, a sensitive band is required—and the roomy, elastic funk they back her up with here does the job nicely.


Mick Faren - Outrageous/Contagious - 1977. A haggard holdover from the London psychedelic scene shows the young-and-snotty bunch how it’s done. This is crusty, guttural (and essential) punk from an actual punk.


Neu! - After Eight - 1975. The duo take their groundbreaking but simple groove aesthetic and give it snarl, with phenomenal results. Where previously it had been atmospheric and even pleasant, it now has an abrasive menace. Ground re-broken.


Os Mutantes - Haleluia - 1970. The power of human voice(s) as instrument. The choral harmonizing here is splendid—beginning quietly and building steadily to a din. It’s some kind of psychedelic opera-samba.


Pere Ubu - Final Solution - 1976. I sometimes wonder if this towering anthem was a sort of happy accident. Pere Ubu in the '70s made odd music that, though I love it all dearly, can come off as alienating. But holy shit, THIS SONG. It’s almost as if they decided, for one song, they would do heartfelt, for-the-people emotion. Of course, all that said, it’s still only as epic as a group of scornful weirdos from Cleveland can manage to be. In any case, it’s likely the song of the decade for me.


Roky Erickson - Starry Eyes - 1975. It might be hyperbolic to use “transcendent” for a jangly, 60s-styled pop song. But Roky’s vocal delivery makes it so. His lyrics are mostly inane but he sings them out with this ragged yearning that sears them into your consciousness.


Roxy Music - In Every Dream Home a Heartache - 1973. Somber dark noodling, as if from a lounge inhabited by David Lynch, cuts out… Elvis-Lugosi singer in an almost-whisper: “but you blew my mind"… BASH! the instruments return, now like thunder. One of the indelible moments of rock and roll.


Roy Harper - Hallucinating Light - 1975. A bittersweet murmur of a song. Harper sings as evocatively as he ever has, but it’s guitarist Chris Spedding (once again) that takes it over, with his dancing, wavering notes around a sparse, echo-drenched solo for the ages.


San Ul Lim - Laying Silks and Satins on My Heart - 1978. It’s this song’s beginning I’d like to talk about. The entire piece is great, but the phenomenal intro segment is what makes it. A military-precise drum beat on top of a provocative but simple bass line starts it off—seemingly utilitarian, but just so locked-in, tight, and spacious that it exudes this confident power. And then, when a fuzzed and dissonant guitar joins in, intermingling, the military precision becomes wigged-out, glorious clamor.


Sensational Alex Harvey Band - Faith Healer - 1973. Epic, glam-drenched hard rock without any inhibition whatsoever. The suspenseful opening segment perfectly gives way to the meat of the song. What Bon-era AC/DC might have sounded like had they borrowed from Roxy Music’s repertoire.


Shuggie Otis - Aht Uh Mi Head - 1974. Cloudy funk strangeness that probably alienated genre consumers upon release. The use of the beat-box as percussion was never more effective (even in Sly’s hands). It’s a striking song that transports me.


Slapp Happy - The Drum - 1974. Yes, Dagmar Krause’s sublime voice carries this song, and the lilting melody really hooks you. But there is more—it’s got this beguiling avant-hippie feel, like if the Incredible String Band had collaborated with Red Krayola, and it works so very well.


Soft Boys - Leppo and the Jooves - 1979. A buoyant, galloping post-punk workout. I love Robyn Hitchcock’s word play and cadence here, the way his vocals rise and fall with the rhythm.

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Sparks - Amateur Hour - 1974. They were perhaps the first (and only?) American act to achieve the flamboyant, unabashed yesternow rock aesthetic that the Europeans (Roxy, Bolan, Bowie) had crafted. This song in particular blends pounding heaviness with theatrical whimsy so well that something singular is produced. Setting it apart even more is vocalist Russell Mael’s operatic falsetto.


The Stooges - TV Eye - 1970. Proto…everything? Brutal music, played by (heroic) troglodytes, at a brutal point in history. A post-Woodstock call to arms in America the Bleak.


Suicide - Girl - 1977. Surreal urban-decay lament on love and lust. Drum machine and keyboards so simplistic that it doesn’t seem right. But then it occurs to you it’s actually got a mesmerizing emotional depth.


Terry Allen - Lubbock Woman - 1978. Allen likely intended this as a satirical, if heartfelt, depiction of a pathetic South-Texas caricature. And it does work on that level, just like Randy Newman songs and Robert Altman movies do. But it’s also a visceral listening experience. Putting it over the top is a startling coda—a three-part vocal harmony that gathers speed and intensity all the way through the fade.


Throbbing Gristle - Five Knuckle Shuffle - 1978. One of the most frightening songs I’ve heard. It’s unholy mayhem achieved through a web of sonic devices. Deliberate synthetic rhythm, a la the German bands, is the foundation for calibrated steel-wool dissonance. Add Genesis P-Orridge’s contempt-for-everything moans and, all told, it’s hell on earth captured in song.


Tim Buckley - Down By the Borderline - 1970. A select few would dare attempt this kind of vocal performance, let alone pull it off. Luckily for us, Buckley had the courage and ability he did. It’s a bucking bronco of a song, the rhythm component sounding almost like the more wild electric material Miles Davis was doing at about the same time. It’s not a stretch, then, to say Buckley’s voice emotes on the level of Miles’ trumpet.


Townes Van Zandt - No Lonesome Tune - 1972. Townes sings this in a knowing, world-weary voice that hits me hard. And the way the pedal steel, mandolin, and piano come together to play out the closing minute is lovely.


Wire - Reuters - 1977. The opener on Wire’s debut LP is a searing manifesto. Bruce Gilbert’s guitar is alternately dissonant and crunching and Colin Newman’s voice a controlled rage. All of the song elements are layered with such care that the resultant cumulative whole is sonic nirvana—while still being punk as hell. 


Yvonne Fair - Love Ain’t No Toy - 1975. An unbridled funk stomper that is one of the absolute high points of the genre. Perhaps it’s Norman Whitfield’s magical touch as a producer/arranger/writer, or the world class backing band that’s assembled (featuring guitar stalwarts Dennis Coffey and Wah-Wah Watson), or Yvonne’s blazing vocal delivery, or the unique incorporation of a beat box for percussive oomph. Probably all of these things—but man, this one leaves a mark.


10 COMMANDMENTS: STEVIE NICKS - Q Magazine, March 2017



I’m scared, that’s what I am. Before shows, some people – me, Mick [Fleetwood, [ drummer], we get panic attacks. I have always been terribly nervous before shows. So I am so rehearsed and ready that I could be dead and stand up there and still sing the right words and do the right thing. Cocaine almost killed me. It’s better to just not do it. Eventually you’ll have to stop so start saving your money for rehab now. 


Touring with Fleetwood Mac in the ’70s, cocaine was almost part of the daily routine. But when I talk about it now, I would never want the kids of today to think that I’m saying it was something good. Cos it really wasn’t something good. It almost destroyed my life. It almost killed me, and almost killed a lot of people I know. So if anybody thinks it’s safe now – it’s not. It’s better to just not do it. Because you will eventually have to stop, so start saving your money for rehab now. It’s so expensive. 


I’ve been listening to The Weeknd’s records. I play them one after the other when I’m in my bathroom getting ready to go out, or just hanging out with myself. He’s brilliant. And his voice – he could have come straight out of 1975 – he could have been like Stevie Winwood. He’s over-talented. But if I were to meet him, I would probably say: “You say over and over again words that I would prefer you didn’t say. I think they’re unnecessary. However, even though I think a lot of your songs are super-dirty, I still really like ’em! So I’ve given you a pass on that!” 


I saw Adele at the Grammys [Adele had to restart a performance of George Michael’s Fastlove], and that song was a very hard song to sing for George Michael. It’s all about the syllables. I have a song on my 24 Karat Gold album, Mabel Normand, that’s exactly the same. That’s the reason we’re not doing it onstage. Because if you take a breath, you get off the beat. You’re one word too late, you can never get back on, and you’re dead in the water. 


Onstage is the one time you can’t bemoan how you feel. Even if you have pneumonia, you have to say: “I’m leaving that in the dressing room and I’m walking out and I’m gonna be great. And when I come offstage, then I can burst into tears.” 


I love Game Of Thrones. [Author Author] George RR Martin is my age [68 ] and it blows my mind that he’s able to create this vast, interlinked world. As a songwriter I write little movies, but I can’t imagine writing even one small book. But then, probably, somebody like him would say, “I couldn’t imagine writing Landslide.” 


In the 24 Karat Gold show, I’m singing songs that are new old songs – the ones that should have gone on [Fleetwood Mac’s] Tusk and Tango In The Night, and on [solo albums] Bella Donna, The Wild Heart and Rock A Little. And they didn’t: not because they weren’t good enough, but because I didn’t like how they were done at the time. I didn’t like the producers’ concept, whether it was Lindsey [Buckingham, Fleetwood Mac bandmate] or Jimmy Iovine. So I pulled them. So the way the songs are recorded on 24 Karat Gold is exactly how they were done as demos. 


I give Jimi Hendrix, Janis Joplin and [Jefferson Airplane singer] Grace Slick the three nods. From Grace I got her slinky-ness. Janis was just little with a big attitude and big hair and feathers, and a drop-dead amazing voice. And Jimi was completely and utterly humble. So from those three people I got slinky, attitude and humility – and that was my stage performance. 


Chrissie Hynde and I have been touring America together. She’s just fantastic. A lot of the people in her group say they haven’t seen her that happy in 30 years. And I love that so much. Because I never wanted Chrissie to feel like she was opening for me. I wanted her to feel that it was a complete and utter double bill. But because the tour was my idea, I got to go on last, basically.


I’ve always loved Tom Petty, from Refugee to Breakdown, all thosesongs. Tom’s an easy writer – very unlike Lindsey, more like myself. When Tom goes up there onstage, he might as well be in his studio or his living room with the stereo banging. 

Stevie Nicks plays BST Hyde Park on 9 July. Tickets are available now.

Go Down, Soft Sound (The 1975) || Matty Healy Oneshot (Tracklist Series)

Word Count: 1,136

Summary: Your friend drags you to a terrible party where you meet a very sweet stranger. After escaping the crowd, the two of you share a lovely evening.

Author’s Note: Fluff!!! I was gonna publish this tomorrow, but with all the drama I figured we all we in need of some fluff! Anyway, this is the start of my Tracklist “Series” which will fics based off all the songs on the two albums, going in order of tracklisting (this is the only one that will be called something other than the song title, but calling it The 1975 felt weird???). As always, please like if you like and follow me if you want to see more! Send requests to me here (or I’ll only write Matty fics until I die lol). Enjoy!!

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playmaker0810  asked:

come to think of it, Camila's tweet about the 1975 and the song Somebody Else really made sense esp with all this tyren shit being flaunting around SM. maybe she knew that this PR stunt is going to be more visible and put out that she can relate to the song. 😂 also bc whenever camila or lauren is following camren shippers or making us delusional, something tyren shit is gonna happen after so they kinda low key warned us in a way 😅 but that's just me

For sure, it’s all very dodgy if you ask me


Two years ago today, one of my favorite people did something beautiful for me. Matty Healy brought me on stage at a the 1975 show for the song Robbers and made me the happiest person ever. I love this band more than anything and this song is so special to me. The lyrics from the song “if you never shoot, you’ll never know” have resonated with me ever since I first heard Robbers. Those words are always in the back of my mind and have pushed me to do new things, try new things, and step out of my comfort zone for the sole reason of not knowing what can come from it. Robbers is a love song and the 1975 is about love and I got a rose tattooed on me today to represent all of these things. Thank you @the1975music for everything, I’ll see you soon ❤️

There’s this elite thing, where everybody’s petrified of the idea that you could want your music to reach lots of people, but that’s what excites me. The idea of starting in a room and then bleeding out across humanity, the idea of one of my songs being on in a car while people are having an argument that really matters to them, or a song being on when somebody has that moment when they feel really alive. I want that. I don’t want unaspirational bullshit. There is no time for it in art. I come on stage and go: ‘This is what I do and I’m proud of it.’
—  Matty Healy
You need to learn how to listen, you need grace, you need to learn how to speak. You’re coming with me

“Poetry approached me in that chaos of raw inverted power and leaned over and tapped me on the shoulder, said, “You need to learn how to listen, you need grace, you need to learn how to speak. You’re coming with me.” I did not walk off into the sunset with poetry, or hit the town with a blaze of gunfire with poetry guarding my back. Rather, the journey toward poetry worked exactly as the process of writing a poem. It started from the inside out, then turned back in to complete a movement. And then on and on in the manner of a ripple in water, a song in the air.”

~ Joy Harjo, from the introduction to How We Became Human: New and Selected Poems 1975-2002 


— — —

“Kian!” I groaned, getting up off the couch.

I asked him to make a singing video with me but he’s being ridiculous and trying to find ways not to do the video. I pushed his door open an seen him smirking at me.

“Stop being fucking petty and come do the video with me!” I grabbed the nearest pillow an chucked it at him.

“(Y/n)! I told you I didn’t want to sing!”

“You did a fucking song with Jc! Why can’t you sing a song with me?!”

He chuckled and ran his fingers through his hair. “Fine! Fine! Fine!”

He rolled off the bed and walked past me, earning a smirk from me. I followed him over to the couch an watched him fall right down on the couch.

“What song are we singing?”

“Girls by The 1975.”

He nodded his head, letting out a big sigh. I smiled and started the camera.

“Hey you guys! So, recently all of you requested for me to do a singing video with Kian and after a lot of arguing and persuading, I got Kian to agree to do the video.”

“Okay! We got into one argument and that was today when you chunked a pillow at me, dork!”

I rolled my eyes and let out a sigh. “Anyways, were singing Girls by The 1975. Enjoy!”

I started the music. Luckily this was our favorite song.

‘Bite your face in spite your nose
17 and a half years old
Worrying about my brother finding out
What’s the fun in doing what you’re told?’

Kian an I kept messing around, doing every little move in the music video as possible. We had the whole song and video memorized.

‘They’re just girls breaking hearts
Eyes bright, uptight, just girls
But she can’t be what you need if she’s 17
They’re just girls
They’re just girls’

Kian and I finished off the song with a kiss. I laughed, taking ahold of his hands.

“I hope you enjoy this! If you want Kian and I to make another singing video please request. Love you all! Bye!”

Kian waved and blew a kiss to the camera. I turned off the camera and glared at him.

“Thank you, sweetheart.”

He grinned, “You’re welcome, sweetie pie.”

He pinched my cheek, making me laugh. I leaned in an placed a kiss on his lips. He bit my bottom lip, making me sigh. He got off the couch an went back into his bedroom.

“What ah dork.” I mumbled, taking down the tripod.

Hi! My names Delilah (yes like the song) and I’m 14 soon to be 15 in october. I live in the US and im looking for someone to write to! (also text bc mail takes forever..)


My interests are:

photography, computer editing (i have a fan account lol), drawing, old things (retro), aesthetics, plants, writing, traveling, reading, memes,i love cats! +many more

movies/tv shows + music:

my favorite tv shows are shameless, gotham, bobs burgers, RuPauls drag race, ahs, twd, stranger things and shadowhunters. My favorite movies are perks of being a wallflower, all of the harry potter series, the craft, leon the professional, Jennifer’s body, most scary movies and most disney movies.

my music taste varies;

I like twenty one pilots, Melanie martinez, lana del rey, some of the 1975 and arctic monkeys, the neighborhood, drake (pls dont come @ me) and its just everywhere. i also get tired of some songs and go look for more ¯\_(ツ)_/¯

my “perfect” pen pal would be:

some similar interests but other than that gender, sexuality or religion doesn’t matter to me. as long as you’re not racist or homophobic i’ll probably like you so reach out to me!

find me @:

kik: delilah_baca

insta: @clown_princessof_crime or my personal @wthdelilah

snap: shadow_1010 


From now on this title shall be abbreviated as “ILIWYS,FYASBYSUOI”. Ok that abbreviation is still really long but what are you going to do about it. This album is the British band’s second studio album following their very successful self-titled debut, “The 1975″. I recently saw them in January where they played songs from their first album, and also 5-6 new ones. The boys were brilliant live, I strongly suggest any lover of music witness their magic. After hearing singles “The Sound” and “Love Me”, I am expecting a lot of 80′s inspired, synth-pop much like the track “Girls” from their first album. Let’s see how accurate my assumptions are!

Track 1: The 1975                                                                               Rating: 7/10
The beginning of this track is a rush of sound until it reaches a climax, and then the words come in, “Go down/ Soft sound/ Midnight/ Car lights”. Familiar? That’s because the boys have recycled the lyrics from their debut album’s first track with the same name. The music however has a different sound which is assumedly the boys way of showing their growth as a band, and their more developed sound, but deep down they are still the same guys, just improving.

Track 2: Love Me                                                                              Rating: 10/10
“Love Me” is a synth-pop-rock, funk influenced track about superficiality. The song itself without the words has a narcissistic vibe about it, especially evident in the guitar solo.  Summed up in the line “She got a beautiful face but got nothing to say”, it’s obvious the band are coming to terms with their own fame and recognise they don’t want to be like the many shallow people around them. Both music and lyrics are perfect on this song so it’s no wonder why it’s such a hit!

Track 3: UGH!                                                                                     Rating: 9/10
Another synth-pop-rock funky tune, “Ugh!” is about Matty’s experience and struggles with quitting cocaine. The 1975 have always been honest as a band about their drug use so it’s quite insightful to hear about the inner monologue Matty converses with, and how he talks himself in and out of giving up coke. The whole song is a whirlwind of emotions, but to me the most powerful line is, “And you’re the only thing that’s going on in my mind/ Taking over my life a second time”. It really shows what drug users must feel when going on and off drugs, and the title “Ugh!” tell it all, the frustration and disappointment with yourself for not being able to get over an addiction. Very interesting and insightful track.

Track 4: A Change of Heart                                                               Rating: 7/10
“A Change of Heart”, made obvious by the title, is about the process of falling out of love with someone. The song is very simple musically, but also very honest. Through analysation, the sonf seems to be about the girl Matty was in love with when he wrote the songs “Sex” and “Robbers”, as well as bearing a connection lyrically with the song “The City”. In “Robbers” we hear the line, “She had a face straight out a magazine/ God only knows but you’ll never leave her”, while in this song Matty says, “You used to have a face straight out of a magazine/ Now you just look like anyone”. The similarity found in “Sex” is the line “And this is how it starts/ You take your shoes off in the back of my van”, which is similar to the line fro this song, “You were fit but you’re losing it/ You played a part, ‘this is how it starts’“. Matty also states in “A Change of Heart” that he “never found love in the city”, whereas in the song “The City” he repeats “Yeah, you wanna find love/ Then you know where the city is”. Of course these connections are intentional and probably represent both the band as a whole growing up and moving on, but also Matty himself and how he has changed. I love the guitar solo towards the end as it’s a beautiful and effortless riff that adds another dimension to the simple song.

Track 5: She’s American                                                                   Rating: 8/10
“She’s American” is about a fling Matty had with an american girl. He describes the cultural differences between the two of them, “If she likes it cause we just don’t eat/ And we’re socially relevant, she’s American/ If she says I’ve got to fix my teeth/ Then she’s so American”. While this plays into a stereotype, you can’t deny the vast difference of the shallow way many American’s see the world, opposed to the rest of the world. While I don’t want to pigeon-hole all Americans to that standard, I believe Matty is probably speaking more specifically about the “Valley Girl” type and those who live in Los Angeles. Again, it’s very catchy and synth-pop-rock which makes it another hit.

Track 6: If I Believe You                                                                     Rating: 9/10
This song is a sentimental track about Matty reaching out to a higher power for answers. As Matty has tweeted before, “Religious belief solves no moral problem and yields no knowledge”, in this song, and in an older track titled “Antichrist”, it’s obvious his religious roots do not run deep. I honestly find this quite insightful, while I think it is actually nice to believe in something or someone so you feel as though you can speak to relatives who have passed on, I understand Matty’s viewpoint in that it doesn’t truly fix anything and that you should really get out there yourself and try solve your own issues. Very slow and beautiful track with the back vocals of what sounds like a choir. Lovely and sultry saxophone solo keeping the song mellow yet compelling.

Track 7: Please Be Naked                                                                 Rating: 7/10
The first purely instrumental song, “Please Be Naked” sounds like it would be some raunchy Miguel or Usher song. It is in fact very slow and expansive, with a few notes delicately being played on a piano and some static twinkling sounds. It has a very open and honest sound about it, and my interpretation of the title relating back to Matty and his way of thinking, is that he wants this person to be raw and honest with him. We often connect nakedness to vulnerability, and the hesitance of the piano keys being played makes me think this way. It’s very captivating, as simple as it is.

Track 8: Lostmyhead                                                                         Rating: 9/10
Distorted guitars juxtaposed with Matty’s sweet voice while he repeats, “And you said I’ve lost my head/ Can you see it? Can you see it?/ Belly aches while you’re in bed/ Can you feel it? Can you feel it?”. “Lostmyhead” seems to be a reoccurring thing, much like a lot of the narcissistic comments, where Matty questions these things about himself and other people. In the middle of the song it sounds like the music is almost taken flight and then we are shot into the air via a rocket and it feels as though we’re soaring above the world, and possibly ourselves. This makes me feel as though I have “lost my head” and I’m being taken on a journey which has left me perplexed. I really enjoyed the whole experience of this song.

Track 9: The Ballad of Me and My Brain                                          Rating: 8/10
This song follows the previous song in which Matty is actually looking for his brain, or head. Much like we’ve seen in his other lyrics, Matty discusses his mental health very openly and insightfully. This song is a look into Matty’s mind and how fame can cause you mental side effects. One of the reasons I love this band and their music so much is that I feel like not enough singers focus on the experience of mental health, but rather just being positive and how it has changed them for who they are now. Each to their own on what they want to share, I’m not ridiculing, but I feel as though The 1975 are very popular with younger audiences and therefore seem to be more in touch with the experiences many of us are going through. The music is a reoccurring harmony of voices in the background with a basic drumbeat and distorted guitar. The harmony is sometimes lost then finds it’s own voice again, which is very fitting to the songs theme. I love the line, “Well what do you expect when you’ve got no mind?” as Matty’s voice scratches at the start of it, then he laughs off the last few lines, truly sounding like he’s lots his mind.

Track 10: Somebody Else                                                                  Rating: 8/10
The song begins with a piano and a slow, consistent beat with Matty singing slowly and emotionally. The beat picks up as Matty sings the chorus “I don’t want your body/ But I hate to think about you with somebody else/ Our love has gone cold/ You’re intertwining your soul with somebody else.” The song is about a girl who was unfaithful and while Matty knows he shouldn’t be with her, he still can’t help but be frustrated with the mental images of her with a new lover. Physically their relationship has deteriorated but emotionally Matty is in disbelief someone would cheat and hurt him. Somehow the band have made such a beautiful song about feelings so upbeat. Kudos.

Track 11: Loving Someone                                                                Rating: 8/10
Though this sounds musically like your typical trance music, the lyrics are way deeper than your average. This song is a cross between spoken word and rap with a mixture of some singing. It discusses popular culture, the media, and social aspects of life, and how this is all affecting the youth. The line “It’s better if we keep them perplexed/Better if we make them want the opposite sex”, is a great example of how people want young people to be treated. I also really REALLY love the lyric, “I’m the Greek economy of cashing intellectual cheques”. Matty has such an incredible way with words! This line is in reference to the Greek economy which is in crisis, and how it’s like he’s making money off his sophisticated knowledge, which together means he is being both self deprecating and self aware at once.

Track 12: I Like It When You Sleep, for You Are So Beautiful Yet So Unaware of It                                                                                                                               Rating: 7/10
The only lyrics to this song are, “Before you go, (please don’t go) turn the big light off”. Matty has said that this line comes from something he used to say to an old girlfriend. The music is all synthesizers with a mix of twinkling and distorted sounds. It’s very sweet and simple, and I feel like there is many ways to interpret the meaning, be it either romantic, or possible rhetorical or harsh in that he is closing the end of a relationship. The song picks up at the end and sounds like the kind of music you rave to, almost a celebration sounds.

Track 13: The Sound                                                                        Rating: 10/10
When I first heard this song i immediately thought “this is their best song they’ve ever made!” Everything about it is great, the productions, the word,s the inflections, it’s so perfect. It’s songs like this, “Heart Out”, and “She Way Out” from their first album, that I feel like as someone who has dealt with mental illness and who can also be quite conceited, I just wholeheartedly relate to the song. Sometimes I feel like Matty and sometimes I feel like the girl he is singing about which is very contradictory much like the song itself! Regardless, I connect with this song and just can’t get it out of my head or heart. As a teenager, we all relate to these relationships that are a little bit toxic because of the strong sexual attraction, but in the end we just know we should stay away. I could go on and on about how much I love this song, but I’ll just leave you with my favourite lyric; “It’s not about reciprocation, it’s just all about me/ A sycophantic, prophetic, Socratic junkie wannabe”, which bears similarities to the line “She said, “It’s not about your body/ It’s just social implications are brought upon by this party that we’re sitting in”, from “She Way Out”…. Must be why I like the two so much!

Track 14: This Must Be My Dream                                                   Rating: 8/10
A sweet synth-pop song about a girl who Matty thought was perfect for him, but turns out not to be. The lyrics “I personify that lack of freedom in your life/ And I’m sure she’ll be gone in a second”, means firstly she takes away his freedom, personifying freedom and becoming the girl. That freedom, that girl, will be gone sure enough. Matty also states that he found her when he was wide awake, and while our dream person is often the ultimate person we want to be with, it is obvious she is not. 

Track 15: Paris                                                                                    Rating: 8/10
I like the slow jam, melancholy vibe about this song, a simple chord progression on the guitar and basic drum beat, whilst also sounding quite depressing reminding me of The Police song “Every Breath You Take”. The lyrics are about a materialistic, drugged up girl Matty has met at a party in Paris. Matty also discusses his own issues with drugs and infidelity, and in the lyric, “She said I’ve been romanticising heroin/And oh how I’d love to go to Paris, to paris again”, Matty relates Paris to heroin in that though there are bad memories attached to each, they’re addictive.

Track 16: Nana                                                                                   Rating: 8/10
This song is played on an acoustic guitar, with he soft sounds of an electric guitar, slow drum beat, and a piano reverb. Matty discusses the memories of his Nana, “It’s not the same when I scratch my own head/ I haven’t got the nails for it”, and the little things he misses about her. He also brings up the fact that he doesn’t believe in God but he still hopes she can hear him when he speaks, similar to my own views I discussed previously in relation to “If I Believe You”. A beautiful tribute to his late Nana who obviously touched his heart and life tremendously. 

Track 17: She Lays Down                                                                  Rating: 7/10
This song is an acoustic ballad about Matty’s mother who suffered from postnatal depression. “And even though her sun is gone/ She’d like to love her child nevertheless”, a beautiful lyric describing a mother’s deep love for her child, and even through a very hard time in her life, she wants to be there for them. The last two songs are very different to the rest of the album’s synth-pop sound, and only reinforces the unpredictably of the band. 

Final Rating: 8.1
With an array of 80′s inspired synth pop and beautifully deep slow ballad’s, The 1975′s second studio album is a definite hit just like there first. We gain a deeper understanding of the band thought process as musicians, and also as people, namely Matty’s mental health and infidelity issues, as well as his conflicting ideas of faith and addiction. The whole album was a journey from start to finish, I truly adore the entire thing and will definitely have it on repeat for weeks to come.

Listen to: The Sound & If I Believe You
Skip: The 1975 & Please Be Naked (If you’re not really into instrumental dominated music, I myself wouldn’t skip a single song!)

My band took off, my family fell apart. My parents got divorced. It’s kinda good – no good marriage ever ended in divorce. If two people had a really good thing going on and they had to get divorced, that would be really sad. But that’s never happened once. That’s fine. That was a long time coming. December of last year I went on tour and they sold that house. I went home for two days to move out of my house, and I wrote and recorded Is There Somebody Who Can Watch You?, the last song on the album, about that moment. So I left and I’ve not really been home since. But I’ve fucking embraced it, man. Because you take the good with the bad. I don’t have a home, but I have a thousand people come and see me, whatever city I’m in. If you can’t feel at home there, where can you feel at home?
—  Matt Healy

COMEBACK KID - a Mello playlist

that boy's a holy horror. 
songs for the outlaw orphan with a loaded inferiority complex
and idol/mentor/daddy issues coming out of his leather-clad ass.

Art credit goes to the kickass Cparris

Comeback Kid || Sleigh Bells // White Palms || Black Rebel Motorcycle Club // Ride Or Die || HeartsRevolution // Unstoppable || Santigold // 2 1 2 || Azealia Banks // Cobrastyle || Robyn // Battling Go Go Yubari In Downtown L.A. || EdiT // Don’t Let Me Be Misunderstood || The Animals // Chocolate || Dwntwn (The 1975 Cover) // Bravado || Lorde // The Prayer || Bloc Party // Turn Blue || The Black Keys // Falling || Haim // Please, Please, Please, Let Me Get What I Want || Muse // Carry on Wayward Son || Kansas // Captain I’m Fine And Thank You For Everything || Right Away, Great Captain! // Won’t Go Quietly || Company Of Thieves


I was tagged by the amazing @seriouslyblacklikemysoul and thank you ❤

Rules: Put your music on shuffle and write the first 10 songs that come up.

1) One Direction - Ready To Run
2) Imagine Dragons - Demons 
3) Duke Dumont - Ocean Drive
4) 5sos - Amnesia
5) Arctic Monkeys - I Wanna Be Yours
6) Ed Sheeran - Give Me Love
7) Bruno Mars - Locked Out Of Heaven
8) Andy Grammer - Honey, I’m Good
9) Shakira - Dare
10) The 1975 - The City

tagging: @teddylupixn @prongsno @black-the-star @fortisfiliae @slytherin-woolf @pygmyspuff @wizardwritings @yerahizardwarry @iamsiriuslyworried and anyone else who wants to do it :)

I’m not sure if you’re ready for the madness that is my Spotify, but @delos-mio , you challenge me, so here we go.

Rules: Put your music in shuffle and write the first 10 songs that come up.

1) DNA - Kendrick Lamar

2) Helpless - Hamilton Mixtape - Ashanti ft Ja Rule

3) The Man - The Killers

4) Fake Love - Drake [i got fake people showing fake love to meeeeee, straight up to maaaa faceee] I don’t apologise for the singing.

5) Say It - Flume

6) Stressed Out - Twenty One Pilots

7) Colors - Halsey

8) Chocolate - The 1975

9) My Favourite Game - The Cardigans

10) Praying - Kesha

So. There we go. Random as hell, just like me.

Tagging: @softalbus @thewaterfalcon @acciovodka @fairystonelove @sandra-sempra 💜