i live for the bass drum

While the bass is sounding, while the drums are pounding
Beatings of my broken heart will rise the first place of the charts,
My heart arranges, oh, those magic changes    

A happy Valentine’s Day to you all!

I’ve missed my babies. I’ve been waiting to do the Grease/Zutara mashup since I saw Grease Live and I loved this scene to bits. 

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And The Trumpets, They Go...

Daveed x Jazz-Trumpet-Player!Reader

Summary: You’re a jazz trumpeter in New Orleans and things between you and your boyfriend, Daveed, get a little steamy after your gig.

Warnings: Smut, Swearing

A/N: This is my favorite recording of the song “Sing, Sing, Sing”, which I mention in this fic. https://youtu.be/fhyhP_5VfKM

The clinking of piano keys. The heavy, humid New Orleans night air. The shine of the lights on brass. The smell of cigarette smoke and alcohol. The pulse of the string bass. Thump of the drums. The wail of saxophones. Trombones and trumpets screaming into the stratosphere.

This is what you lived for. The music, your band mates hopping around on the stage with you. The eyes of everyone in the club turned toward the stage. Bodies grooving to the jazz blossoming from the instruments. You were lead trumpet in this jazz band. You had started it with your friends back in high school. By college you had decided on a name. “Backbone”.
You booked your first gig in New Orleans when you got out of college. You had moved there and hadn’t looked back since.
That is, until a tour to New York City brought Daveed into your life.
He came to your first New York show. You’d recognized him from “Hamilton” and had missed some notes. He was all fluffy black hair and huge bright smile.
In the days after your show, he had taken you on a whirlwind tour of New York. You spent every minute you could together and any time you weren’t with him, you were texting each other.
Now here you were. Nearly a year later, you and Daveed were dating and living in a small apartment in New Orleans. You were in heaven.

The song of the moment was “Sing, Sing, Sing”. It was the final song of your set and one of Daveed’s favorites. You gazed out at the crowd, peering over the bell of your trumpet. You spotted Daveed sitting at a corner table, smiling and tapping his foot appreciatively. Your fingers flew over the keys, the last few notes of the song resonating in the air. Your band accepted the crowds applause before filing backstage.

You strolled through the humid night towards your apartment. Hand in hand with Daveed and your trumpet case slung over your shoulder. Neither of you saying anything. Just enjoyed each other’s company.

The second the door of your apartment closed, the calm broke. You dropped your case as Daveed grabbed your wrists and shoved you hard against the door, pressing his hips to yours to pin you there. He was looking down at you, his lips inches away from yours.
“You have no idea how much I wanted you when you were up there. Dancing around and blasting on that horn and shaking your damn hips…”. He was breathing hard.
“You’ve got 2 minutes to get undressed and get to the damn bedroom.” He growled before pushing himself off the door. He started making his way to your bedroom, leaving a trail of clothing as he shed them.
You leaned against the door, smiling for a second before running to follow him.

Upon entering the room you were immediately scooped up and tossed unceremoniously onto the bed. Daveed was already stripped down to his boxers. He pushed you down on the bed and pulled your shirt off, pants, socks, and undergarments following closely behind.
Both fully undressed now, he pulled back to look at you, running his fingers from your neck, down between your breasts. His thumbs sank into the soft parts of your hips, pressing you down gently. He was leaning over you, eyelids heavy and half closed. His full lips parted and brushing against yours. You felt his erection between your legs. He was hardly even touching you, yet your whole body was tingling. He dug his thumbs into your hips and squeezed your waist. He moved his hips forward a bit and you could feel the blunt head of his cock nudging against your opening.
“Daveed…” you whined.
“This is payment for all that hoppin’ and hip shakin’ you did on stage…” his voice was a dangerous whisper.
“Doll…” he growled as he pushed forward suddenly, bottoming out in one fluid motion.
You could feel the head of his cock hit your sweet spot and you squirmed against his hands.
“Do you like how it feels when I fill you like this?”
You moaned as he slowly slid out before snapping his hips and pounding into you again.
“Yes. Yes! Oh god yes! Fuck, I love you.” you whimpered.
Those three words were all it took for him. Faster than you could react he slung your legs over his shoulders and started bucking his hips against you. You were lost in pleasure.
“Arch your back.” He commanded. “I want to make you scream…”
You did as you were told and pushed up against his chest. Soft belly pressed against hard abs. You could feel the pressure between your hips begin to build.
He quickened his thrusts, grunting with each one. Bending over you, he stole a kiss before burying his head into your neck. Your hands immediately twisted in his curls as you both huffed and panted, bodies rocking in perfect sync.

You felt his abdominal muscles tighten and relax, tighten and relax and a second later he was coming. Pushing deep inside you as you felt a hot rush fill you. He pressed into you once, twice, three more times before your climax came rushing through you, your legs locking around his hips and your hands tugging at his hair. You could hear yourself whimpering like a kitten as he helped you ride out your orgasm.

When he felt your body relax under his, he pulled out and rolled the two of you over. You curled against his chest as he pulled the blankets up around the two of you.
He shifted you closer to him so your head was buried in the curve of his neck. Your bodies flush and fitting perfectly together.
He stroked his fingers soothingly down your spine. You pressed a kiss to his collar bone before drifting off to sleep.

Daveed lay awake for a while after you had fallen asleep, absentmindedly stroking your hair, your back, your ribs, watching them expand with every breath you took. Smiling at your fingers as they twitched against his chest. You sighed in your sleep. He gently, softly kissed the crown of your head before drifting off himself.

Supercorp Break Up AU

Don’t expect great grammar or spelling bc it was all copied and pasted and then formatted from a chat i had with @theninjacarrot and I’m too tired to correct it any further. So, sorry about that :P

Kara and Lena dated. Kara always sang songs to her and stuff and they were in love^TM

Kara’s dream had always been for her band to become like a known band and to make a living from making music with her bffs Winn who plays the keyboard, James who plays the guitar, and Lucy who plays the drums and her sister Alex who plays the bass and like some hot shot producer listened to them and they were like this band has got potential and shit. So like they get a deal and start recording their songs

Some are about Lena bc Kara is gaaaaaaay (well bi, but ehhh semantics)

The band is getting popular as fuck and they have a growing fanbase.

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Los Angeles Is Burning - Tate Langdon X Reader

AN: This one came out kind of fluffy actually. I wasn’t really going for romance when I started this, but it came out that way. Warnings for death, violence, drugs and language I guess. 


“Fuck this world, and all the bastard motherfuckers who live in it.” You snarled. Sweet, innocent Beau was gone.

Tate was pacing back and forth in front of you, tearing at his hair. “I know she was behind this, and she had her fucking sorry excuse for a boyfriend take care of it.”

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anonymous asked:

Hi Kog I have a question for you, could you please explain me how does the percussion works in the live version of Videotape? I know Colin uses a keyboard and Jonny uses Max but I don't quite understand how it works, thanks!! Oh and btw excellent work with the Feral Glitch, I couldn't grab one, so if someday you want to make more, me and more people would be very pleased. Cheers.

Hello there, glad that you like the pedal! So that you know, we’re going to be opening up a few more on the kickstarter next week.

Drum Machines and Acoustic Percussion on Videotape

For live performances of Videotape since 2008, percussion has been provided by Phil and Jonny’s combined forces. While Colin does trigger percussive samples with his MIDI keyboard (usually a Roland PCR-500) on 15 Step, on Videotape he uses the keyboard to play a sampled synth bass. When Clive Deamer joins the band on tour, he mirrors Phil’s playing, as visible in this video.

Phil’s main pattern consists of a roll on a high tom, followed by a simultaneous single hit on the floor tom and kick. Phil enters with this pattern when Thom begins repeating the line “on videotape” (1:48 – all times in parentheses are with reference to the 2008 full band From The Basement performance), and repeats it until Thom sings “because I can’t do it face to face” (2:58). At that point, he switches to matching Jonny’s sampled kick drums with his own. You can hear the difference between Jonny’s independent kick drums and their layered kicks by comparing this section to the very start of the performance. Phil switches back to his main pattern at during the song’s final swell (3:52), then switches to matching Jonny’s kick again at the very end of the song (4:22). It’s worth noting that Phil’s pattern is not quoted from the studio version of the song, but rather combines several percussion elements into a single acoustic part.

Jonny’s percussion forms the backbone of the live performances of the track, with a vacillating 909 kick drum leading off each performing. To better understand what he’s doing with Max, it’s best to first understand what he’s doing in the 2008 ‘Scotch Mist’ performance of Videotape.

Jonny’s hands on the Roland TR-909 during the ‘Scotch Mist’ performance of Videotape (youtube).

For this performance, Jonny is playing a Roland TR-909 Rhythm Composer – the same one as heard on the studio recording, starting with the closed hihat at 3:06. In performance and on the studio recording, Jonny uses the TR-909 to supply kick, closed hihat, snare, and rimshot sounds. In performance, the hihat pattern which begins at 3:06 on the studio version is introduced much earlier, starting as Thom sings “my videotape”.

In order to provide a “live” feeling performance with a drum machine, Jonny continuously programs the unit as the song progresses, modifying patterns and adjusting decay and level knobs. His hands are constantly at work, and his right spends most of the track glued to the closed hihat’s “decay” knob, minutely adjusting it to add subtle variation to its sound.

The best place to listen for this is when Thom sings his last line. Jonny quickly drops out as Thom sings his final word, then swells back in with a hihat and kick, soon adding a rimshot whilst also varying the hihat pattern.

Jonny’s laptop, showing his drum machine Max patch, in 2008 (citizeninsane).

Rather than bring his TR-909 on tour, and probably also to have some fun, Jonny seems to have sampled the drum machine and created a Max patch to control and sequence his samples. In the photo above, one can see the displayed waveforms of the samples, as well as sliders to adjust the volume and “tuning” of each sample. “Tuning” likely refers to pitch for some sounds (like kick) and decay time for others (like hihat).

Jonny’s laptop setup in 2008, with his Kenton Control Freak SE at the front. The sliders on the left are labeled K, R, HH, HI T, LO T, S – corresponding to the samples on his Max patch.

In order to replicate his TR-909 live programming, Jonny uses his Kenton Control Freak Studio Edition. He uses the MIDI controller’s sliders to adjust volume and tuning of the samples, and likely uses the controller’s programmable buttons to program patterns and call up presets. Aside from the ‘Scotch Mist’ version, there isn’t really any good footage of Jonny’s hands during a performance of Videotape, but we get a very good look at Jonny’s use of the Control Freak during the From The Basement performance of The Gloaming – particularly during the intro segment.

To summarize, Jonny controls a sampled drum machine which he built in Max/MSP, providing the song’s primary percussive elements, while Phil adds warm rolled toms as well as kick drum layering. Hope that this helps!

Remember when this happened back in 2013? The drummer for The Bronx/Mariachi El Bronx said that BVB weren’t playing live. He said “A friend of mine took this photo at warped tour. This is what the kids are calling “rock n roll” these days. I’m lighting fire to every drum I have and becoming an investment banker.” He confirmed the band that was playing faking was “Black Veil Brides from “Hollywood” aka Ohio”. Now that we know that Andy uses pre-recorded “back” vocals and  Ash can’t really play the bass as it’s Jake who has to do it on record - maybe *just maybe* Jorma Vik was onto something?

A/N: I do remember this. & Maybe he was onto something. -N

soundcloud.com
Julian Lamadrid - No Trouble (waitwhat remix)

The warm weather is creeping in and we’ve got the perfect tune to help celebrate courtesy of rising production talent, waitwhat, and is sun-kissed future bass remix of “Julian Lamadrid – No Trouble.”

With a laid back and positive sound, this remix is the perfect tune to put on as the afternoon sun begins to set or for those looking for some uplifting vibes. Julian’s vocals and lyrics are an example of excellent pop music while waitwhat turns the pop original into a vibey future bass jam. Sly chord progressions underneath Julian’s vocals in the first verse eventually build and unleash into a wobbly future bass drop layered brilliantly with some steel drum melodies – a first that I’ve heard and it sounds golden. A smooth second verse keeps things moving above the rolling drum tracks before we’re built up and dropped into another warm future bass drop. After a short bridge, waitwhat rounds out the track with his final drop section ending this lively and addicting remix. Be sure to stream this one here and drop the artists a follow on Soundcloud below:

FOLLOW WAITWHAT ON SOUNDCLOUD

Follow Julian Lamadrid on Soundcloud

Stream on Spotify

SNL: HEATHENS LIVE

- the beginning where tyler started it off real slow on the piano with a strings accompaniment
- THE “my fren” TAPE IS STILL ON HIS BASE
- josh’s head shakes of passion
- tyler doing that little scream and rocking out with his bass-gun while i was dying on my couch
- JOSH’S STARE INTO OBLIVION AT THE END LIKE “yeah… we- we just did that”
- tyler’s lil’ smile that lit up the whole stage
- everything was there including josh’s custom drum set and ty’s piano
- the whole thing was just 👌🏻🔥👌🏻🔥👌🏻 and it was live and they didn’t fuck anything up and i was just dying because i feel like a proud mother ???

skysolo!au where Rebel Alliance is a band w Luke singing/guitarist, Han w bass/drums, Leia as singer/guitarist. They live in a tour bus Han dubbed the Millennium Falcon and he loves it so much he would have sex w it
This was solely a sketch of luke at first but it grew tbh | I will continue this AU 
Open image in new tab to view better resolution please!
Bonus: Han trying to practice the acoustic guitar but sucks at it and leia cant stand him atm
Please do not repost or use my art anywhere without asking. 

On June 5th, write “the music plays on” on your wrist in honor of all the musicians who lost their lives this year. We have lost so many amazing band directors, band students, and musicians this year. Let’s honor them.

dailymotion

On this day in music history: September 17, 1967 - The Who appear on The Smothers Brothers Comedy Hour on the CBS television network, performing “I Can See For Miles” and “My Generation” (taped on September 15, 1967). It is the band’s first US television appearance following their breakthrough live performance at the Monterey International Pop Festival in June. Prior to the taping, drummer Keith Moon packs one of his bass drums with an explosive charge to set off at the end of “My Generation”. He fails to tell anyone that he has used several times the normal amount of explosives. When Moon detonates the charge, there is a massive explosion that engulfs the stage in smoke, causing one of his drum cymbals to shatter, cutting him on his arm and leg when he is hit by the flying shrapnel. Guitarist Pete Townshend is closest to the blast when it goes off, singeing his hair and causing him significant hearing loss. Actress Bette Davis, one of the other guests on the show that night passes out from shock backstage into actor Mickey Rooney’s arms (also appearing on the show), after witnessing how Keith Moon is injured in the blast.

Tagged by @tothestartrek

Name: Sarah, responds to Bones, Cap, Biscuit
Ancestry (brace yourself): I am a bland piece of white bread but mostly Swedish, Austrian, Dutch..
Zodiac: Libra
Where do you live: Californiaaaaaaaaaa
How are you feeling today: Decent I guess? Sort of sick and a little heartbroken since it’s Anton’s birthday
Favourite song right now: Don’t really have one rn? Anything by Daft Punk or any of the songs from Star Trek Beyond
Play any instruments: Drums and Bass :0
Are you craving anything: Innout please and thank
Signature drink: water, cherry coke, dr. pepper
Signature scent: iunno? clean laundry???
Favourite colour: Blue, Red, Yellow, Black, Grey
Sounds you love: Sound of rain, Jazz music, recently found a scifi white-noise machine that sounds like the Enterprise
Sounds you hate: Screeching tires, unnecessary loud noises, silverware scratching on a plate

I hereby tag: @tiniest-hands-in-all-the-land @8kaz8 @the-nerdy-blogger @strider-obsessed @hontou-gomi @jerkfacegenny @jetpacksquirrel

In light of their full length LP being released, we felt it was necessary to shine a light on the standout track from the album. “Vertigo” is our first taste of La-based indie band “Mini Mansions.” It is a continuous loop of electronic drums, live bass, and an enigmatic vocal delivery. It is similar to Drake’s “Worst Behavior,” in that it is relentlessly repetitive in the best way possible. I’ll note it sounds nothing like Drake, and a lot more like if the Beach Boys were a band made up of sharp looking fuckboys in 2015.

Subtle shout out to Arctic Monkeys mastermind Alex Turner, who makes a rare guest appearance in the second verse, as well as appearing in the 70’s lo-fi esque video.

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BAND MEMBERS WANTED

My name is Cece and I have been singing ever since I can remember! I’m currently 18 and live in Massachusetts. I recently graduated high school, moved on to college and decided that was not for me! Looking to expand my love for music by starting a band along the lines of Evanescence or Flyleaf. I have been writing songs since I was 9 years old, and have participated in band (flute, some guitar, some piano) from 4th grade to 9th grade; and have been in various advanced choral groups since 4th grade up until the end of high school. Looking for electric guitar, bass, piano, drums. Open to many ideas and opinions whatever they may be! Message me for more info!

SERIOUS OFFERS ONLY

2

“If you look at the makeup of my previous music, as far as production elements go, there are a lot of live drums, acoustic guitars, electric guitars, and live bass. And if you look at the landscape of 1989, it’s mostly synths and automated drums and these kind of big epic synth pad sounds, and key bass, and layered vocals. I have a very big band, there are, what, 14 of us, so what you’re going to end up with is more of a live feel in that it’s going to be filled in and more dramatic with more layers to it, but never to the point where it’s going to feel noisy or overcrowded. The music on this tour is going to live a little bit in that world, and thank God, my fans really seem to like that world.”

I’ve always been a really big fan of Bruno, but when we worked together[on “All I Ask”] he was beyond. He can do anything, literally singing the best vocals you’ve ever heard live in your life while he is playing a drum or a bass or doing some mad percussion riff. I think he definitely will be the biggest, biggest, biggest artist in the world.
—  Adele on Bruno Mars for VOGUE
youtube

Time Machine Video of the Week

Silversun Pickups - Lazy Eye (2007)

Silversun Pickups are an alternative rock / indie rock band from LA, they were formed in 2002. The band is currently composed of Brian Aubert (guitar, vocals), Nikki Monninger (bass, vocals), Christopher Guanlao (drums) and Joe Lester (keyboards).  Lazy Eye is the third single from Silversun Pickups’ debut album Carnavas. It was released on September 16, 2007. The video was directed by Suzie Vlcek. It takes place in a club, possibly in the 1970s or 1980s judging by the hairstyles and clothing, brimming with teenagers dancing to the song as the band plays live on stage. The video alternates between the band playing, and a young girl with short hair.

I’ve been waiting
i’ve been waiting for this moment all my life
but it’s not quite right

in this ‘real’
it’s impossible if possible
at who’s blind word
so clear but so unheard

i’ve been waiting
i’ve been waiting for the silence all night long
it’s just a matter of time

to appear sad
with the same 'ol decent lazy eye
fixed to rest on you
so clear but so untrue

everyone’s so intimately rearranged
everyone’s so focused with such shine

everyone’s so intimately rearranged
everyone’s so focused with such shine

locked and loaded
still the same 'ol decent lazy eye
straight through your gaze
that’s why i said I relate
i said we relate
it’s so fun to relate

it’s the room the sun and the sky
it’s the room the sun and the sky

i’ve been waiting
i’ve been waiting for this moment…