like i love my drum machine

Last Young Renegade Track List


2) WE DO NOT ENCOURAGE DRUG USE…But you know, what happens on Warped Tour… by Alex Gaskarth 

3) Someone please teach this bitch, how to use a washing machine by Alex Gaskarth 

4) WE AREN’T BREAKING UP by All Time Low 

5) Once you break up it is over !! …Unless you marry her. by Alex Gaskarth 

6) Where’s Waldo? More like where is my will to live? by Alex Gaskarth 

7) CASPER, FUCK OFF! by Alex Gaskarth 

8) Every album needs a sex song, you should know this by now by Alex Gaskarth 

9) MAN I FUCKING LOVE SPACE by Alex Gaskarth 

10) Listen to my sick drum beats by Rian Dawson 

what ur fav new wave band says about u
  • adam and the ants: I will have sex with anybody
  • the b-52's: I will spit in your face and laugh
  • duran duran: I am a vain piece of shit
  • depeche mode: I blend into walls
  • erasure: gay
  • eurythmics: do you know how many shades of eyshadow I own? like at least a dozen
  • falco: I don't even speak german
  • inxs: I am wearing a bandanna and drinking cheap beer
  • japan: I'm special. so special
  • joy division: not even a new wave band also go fuck yourself
  • kate bush: I am an artsy piece of shit
  • new order: I never knew my true parents I was raised by a drum machine
  • the police: I hate myself I hate myself I hate myself
  • roxy music: the leather underpants I'm wearing are really chafing me
  • talking heads: what
  • u2: I appreciate the finer things in life and love getting my ass kicked
  • ub40: I think I'm an incredibly diverse and tolerant person

I’m Your Lady.. And You Are My Man - A Trio of DickKory Playlists

Because I have too much free time, I decided to make a DickKory playlist. It kind of got out of hand… so I made three…

Please send help.

Playlist 1: And She Was - Dick Grayson’s Playlist (Spotify Link; Running Time - 57mins)

Playlist 2: I Do Adore - Koriand’r’s Playlist (Spotify Link; Running Time - 52mins)

Playlist 3: All I Ask of You - A Duet Playlist (Spotify Link; Running Time - 54mins)

Cover Art is taking from the 2016 Starfire mini-series, but I honestly don’t remember which issue.

So, without further ado, enjoy the music!

Track Listings:

Keep reading

anonymous asked:

I don't know if it's okay to ask this question on here but since you like music and love the recs: 10 songs that you think represent drarry/Harry/draco well? :)

Haha so I felt strangely scandalised at this question because it feels really personal? Idk?? Sorry I took so long to answer though!

Anyway, my music taste tends to be all over the place but the basis of most of these songs are either *boom boom pow* or ‘sad confused sexy war boys’


Parachute - Can’t Help

Florence + The Machine - Drumming Song

Kaleo - Hot Blood

WALK THE MOON - Tête-à-Tête

The White Stripes - You Don’t Know What Love Is (You Just Do As You’re Told)

Major Lazer - Powerful ft. Ellie Goulding, Tarrus Riley

The Wombats - Greek Tragedy

BØRNS - Fool

The Kooks - Sway

Young The Giant - My Body

My Chemical Romance - The Light Behind Your Eyes

Taylor Swift - State Of Grace

Dua Lipa - Hotter Than Hell

Slash - Gotten ft. Adam Levine

Lion Babe - Treat Me Like Fire

ACOWAR Characters & Florence + The Machine Lyrics

Feyre:  And with one kiss you inspired a fire of devotion.
What kind of man loves like this? (What kind of Man, How Big, How Blue, How Beautiful 2015.)

Rhysand: I heard your heart beating, you were in the darkness too.
So I stayed in the darkness with you (Cosmic Love, Lungs 2009.)

Cassian:  A kick in the teeth is good for some. A kiss with a fist is better than none (Kiss with a Fist, Lungs 2009.)

Lucien: There’s a drumming noise inside my head that starts when you’re around. I swear that you could hear it. Louder than sirens, louder than bells, sweeter than heaven and hotter than hell(Drumming Song, Lungs 2009.)

Tamlin:  And I’ve been a fool and I’ve been blind. I can never leave the past behind. Looking for heaven, found the devil in me (Shake it Out, Ceremonials 2011.)

Elain:  And my heart is a hollow plain for the devil to dance again. I was looking for a breath of a life, for a little touch of heavenly light. Whose side am I on? (Breath of Life, Snow White & the Huntsman Soundtrack 2012.)

Nesta:  I must become a lion hearted girl ready for a fight, before I make the final sacrifice  (Rabbit Heart, Lungs 2009.)

Mor:  I’ve been keeping secrets, from my heart and from my soul. Going from road to road, bed to bed, lover to lover (Lover to Lover, Ceremonials 2011.)

Azriel:  So much time on the other side waiting for you to wake up.
Maybe I’ll see you in another life if this one wasn’t enough  (How Big, How Blue, How Beautiful 2015.)

Amren: Holy water cannot help you now. Thousand armies couldn’t keep me out. I don’t want your money. I don’t want your crown.
See I’ve come to burn your kingdom down (Seven Devils, Ceremonials 2011.)

Hybern:  And I never wanted anything from you, except everything you had and what was left after that too (Dog Days Are Over, Lungs 2009.)

The Suriel:  ‘Cause your pain is a tribute. The only thing you let hold you.
Wear it now like a mantle. Always there to remind you  (Third Eye, How Big, How Blue, How Beautiful 2015.)

me (about Elucien): Did I build a ship to wreck?  (Ship to Wreck, How Big, How Blue, How Beautiful 2015.)


“We’re living in a time of real change,” says Depeche Mode singer Dave Gahan, a vision of intensity dressed head-to-toe in black. “As I get older, the things going on in the world affect me more. I think about my kids and what they’re growing up into. My daughter, Rosie, was deeply affected by the election last year. … She just sobbed, and I was like, ‘Wow.’”


Depeche Mode Look Back on 'Violator’ 25 Years Later

The album was “the pinnacle of us having fun,” says Martin Gore

It’s an overcast mid-January day, and the singer, 54, is picking at some tagliatelle in a corner hotel restaurant located in downtown Manhattan, where he’s lived for about a decade. Despite sharing his alarm about the state of the world, he’s in bright spirits and can look at himself objectively. “Martin [Gore] and I both live in America, so we’re both very affected by what goes on,” he says. “Martin said to me, 'I know to some people, this will come off as rich rock stars living in their big houses in Santa Barbara with not a care in the world, and it’s true that we’re very fortunate. But that doesn’t mean you stop caring about what’s going on in the world. It’s really affecting me.’ And I said, 'I understand. I feel the same.’”

That sense of worry informed Gahan and his Depeche Mode bandmates while writing their upcoming album, Spirit, which is due out March 17th, as many of the LP’s 12 songs deal directly with the general Weltschmerz circulating the planet lately. Although Depeche Mode became megastars to a legion of black-clad, disaffected malcontents with serious songs about universal compassion (“People Are People”) and more personal revelations (“Enjoy the Silence,” “I Feel You”), the new tracks seem like a different chapter for the group. “I wouldn’t call this a political album,” Gahan says, “because I don’t listen to music in a political way. But it’s definitely about humanity, and our place in that.”

He sings of bigots “turning back our history” on “Backwards,” cheekily calls for change in “Where’s the Revolution?” (“Who’s making your decisions,” he sings, “you or your religion?”) and looks inward on the brooding “Poison Heart.” Musically, these songs are dark-hued with complex textures that are both icy and warm sounding, harkening back to the group’s Violator era while still sounding musically like an extension of their last album, 2013’s Delta Machine.

The realization that Gahan and Gore were on the same page with regard to world events came early when they regrouped last year with bandmate Andy Fletcher to begin work on the album. When they looked at everything they’d brought to the table, they saw a through-line. “We called the album Spirit, because it’s like, 'Where’s the spirit gone?’ or 'Where’s the spirit in humanity?’” Gahan says. “We considered calling it Maelstrom – that was a bit too heavy metal.”

They brought in producer James Ford, whose work with Florence and the Machine, Arctic Monkeys and Simian Mobile Disco had impressed the group, and he helped get the musicians get back on the same page. Other than a few disagreements between Gahan and Gore that Ford settled (“We really had it out,” Gahan says with a laugh, “It got pretty emotional”), the recording process went relatively quickly and easily, with sessions in Gore’s Santa Barbara studio and in New York.

Now the group is releasing the record’s first single, the Gore-penned “Where’s the Revolution?” The slow-building number, which features fuzzy synths, serves as a call-to-arms, on which Gahan sings, “The train is coming/Get on board,” along with the title question. “Martin wrote it in a very sarcastic, English way,” Gahan says.

It’s a mood that continues in another Spirit song “Backwards.” It opens with Gahan singing, “We are the bigots/We have not allowed/We have no respect/We have lost control.” It goes on to lambaste some people’s “caveman mentality” and how others “feel nothing inside,” amid jabbing keyboards and pounding rhythms and complete with Gore’s backing vocals. “If we want things to change, a revolution, we need to talk about it and about caring about what goes on in the world,” Gahan says. “It doesn’t seem the way things are in London. We seem to be going in another direction, and I think Martin felt like he needed to express that.”

That theme also resounds in another song written by Gore, “So Much Love,” a more upbeat, electronics-driven number about realizing that everyone has love inside. “It’s like we have so much love here, we really do, but we’re afraid to use it and access it,” Gahan says. “It’s the old John Lennon thing, like, 'love and peace, man.’”

But while Gahan sees a connection to the Beatles, the tune sounds nothing like the Fab Four with its dense, noisy pastiche of keyboards, drum machine and an eerie guitar line. Gahan says that the song, musically, has more in common with Depeche Mode in their earliest days.

“Back in '79 or 1980, we would play these 25-minute sets where I would write the little dots on the drum machine and shift it up and down to make it go faster or slower,” Gahan recalls. “It was a wall of sound. We’d plug these three keyboards into the drum machine, and three microphones – Vince [Clarke], Martin and myself – so it was three-part harmonies and a very distorted drum machine. … ['So Much Love’] also reminds me of early electronic stuff, like Tuxedomoon and Cabaret Voltaire, who did kind of punky, distorted songs.”

It’s the exact opposite sound of the ballad “Poison Heart,” a particularly catchy and euphonious number Gahan concocted with the group’s drummer, Christian Eigner, and keyboardist, Peter Gordeno. “They sent me this guitar line, and it had a bit of a Muscle Shoals vibe,” Gahan says. “It was a very different feel and I got this melody in my head.” It opens with a slow, funeral march in the vein of Screamin’ Jay Hawkins’ “I Put a Spell on You” and builds to an almost Beatles-like bridge with only a smidgen of noisy guitar. Gore, whom Gahan says is “not a man of many words when it comes to others’ songs,” called “Poison Heart” the best song Gahan had ever written.

“You have poison in your heart,” he croons outright at the beginning of the song. And later, he sings, “You know it’s time to break up/You’ll always be alone,” but Gahan says it’s not intended to be a breakup song.

“I was watching the news on TV and I was writing through my own inability to really relate to another human being,” he says. “There must be something wrong with me, poison in my heart or whatever. So it was fun to play with that imagery, and it became more worldly – greed and lust and wanting what you want when you want it and nothing else matters. So I was breaking up with myself – trying to evolve, trying to break up with old ideas that I think are working for me but are not in actuality. Fortunately, that’s not my relationship with my wife.”

He laughs, picking at his pasta, and says that “Poison Heart” complements another song on the album, which wasn’t played for Rolling Stone, called “Worst Crime.” “The lyrics to 'Poison Heart’ are more of an internal dialogue, but 'Worst Crime’ is looking outward,” he says. “It’s bringing about the change. You’ve got to do something different or act differently. We can all talk about whatever is going on until we’re blue in the face but you have to take real action, and sometimes we don’t know what that looks like. Individually, I believe people are inherently good, but we’re really distorted by the information we get and we act out on that information out of fear.”

Another way he expressed that opinion on the album is in a song called “Cover Me,” which he describes as a story song. “It’s about a person who travels to another planet only to find that, much to his dismay, it’s exactly the same as earth,” Gahan says. “It’s a different planet but the same. He really can’t get away from himself. If he wants things to change, he’s going to have to implement it.”

If that premise sounds like pure Bowie, it’s only because the Starman loomed large as an influence on Gahan and Gore throughout their career. “When Bowie died, we both didn’t know what to do with it,” Gahan says. “There was a personal connection there. It was a huge loss.”

Gahan recalls sobbing last January when he heard that Bowie had died. He had gotten used to seeing Bowie in surprisingly normal social settings – Gahan and Bowie’s daughters are about the same age and attend the same school – and Gahan would sometimes chat with Bowie at school functions. “It was very different to the Bowie that I grew up adoring and living vicariously through,” he says. He’d become a fan as a young teen watching Top of the Pops and latched onto Bowie’s androgyny because his mother didn’t like it. When he turned 16, he scrounged together some money (“I’m sure I stole something and sold it,” he says) to see Bowie perform at London’s Earl’s Court in 1978, and he calls the double live album, Stage, which was recorded on that tour, “some kind of pacifier” for him, his go-to Bowie.

“I had seen the news but it wasn’t until my wife told me he had died that I just broke down in tears,” Gahan says. “My daughter came out and they were both hugging me. It really affected me. I felt a huge gap. One of the things I was most regrettable about was that I had never really gone up to him at any time I’d seen him in passing and said, 'You know, David, I bump into you every once in a while, but I’ve never told you how much your music has meant to me and continues to mean to me.’”

To right this, Depeche Mode paid tribute to Bowie at a special concert they recently recorded at New York City’s High Line public park. They filmed the performance – which they did without an audience and which included several songs from Spirit – with just a drum machine and Gore on guitar, and they capped it with a cover of Bowie’s “Heroes.” “I was so moved, I barely held it together, to be honest,” Gahan says. “Martin listened to 'Heroes’ once it was mixed and randomly told me, 'Wow, that was really fucking good.’ And I said, 'Yeah, it was, wasn’t it?’”

Although Depeche Mode have not yet decided how they will release this film, Gahan is eager for people to see the whole thing and especially “Heroes.” In the meantime, he’s getting back into the headspace of performing live, and spreading the band’s new message of world awareness to audiences. By his estimation, the band has already sold over a million tickets to a few dozen stadium European stadium shows later this year, and the group is still finalizing plans for a U.S. tour; rehearsals begin in mid-February.

But it’s the early interest in the upcoming European leg that Gahan is most excited about, since many venues were nearly sold out before the release of the new single. “We spent a lot of years just fighting to be heard and to be respected,” he says. “One or two reviews of our past albums over the years have been pretty harsh. And you go, 'Oh, those people really don’t get us, they don’t get it.’”

But over the last nearly four decades, Depeche Mode have amassed a dedicated fan base, something that resonated with Gahan recently when he was working on a side project with the cinematic production team Soulsavers. One of the members of that group, Rich Machin, told him that Depeche Mode records like Violator and Songs of Faith and Devotion were among his favorites when he was 13.

“They were like what Diamond Dogs and Ziggy Stardust were to me, those albums where you sit in your bedroom wondering why you don’t fit in with the rest of the world,” Gahan says. “That’s what I was doing with David Bowie at that age. I had found somebody in him that I could understand, where I felt I was part of his world, when I felt alienated. And I think that’s why Depeche Mode appeals to a lot of people. Somehow it’s comforting, like, 'You’re not alone.’ You’re not, of course. None of us are. But music is the thing that crosses all boundaries and brings odd people together.”

It’s a sentiment that also echoed last year when it was announced that Depeche Mode were nominated for the first time to enter the Rock and Roll Hall of Fame but ultimately didn’t make it. “We’re not just part of the fabric, and I’m proud of that,” he says. “We stick out as being something that’s a little bit odd. We knew we weren’t going to get up there with the Rock and Roll Hall of Fame, but someone wrote something like, 'They’re a band wearing eyeliner, writing pervy songs about twisted, weird, depressing subjects.’

"I took that as a massive compliment,” he continues. “Because we are a little odd, and we’ve always appealed to the odd out there, the odd in the world. Our fans and the people like ourselves are a squad that maybe didn’t quite feel right hanging out with others. We’re a little awkward, a little nerdy, a little different. We found each other and it became a gang.” He laughs, looking proud. “And it’s a pretty big gang now.”

(via Depeche Mode’s Dave Gahan on Urgent New LP, Bowie Influence - Rolling Stone)

Florence + The Machine Ask Prompts/Starters

“There is no way out.”
“But I like to keep some things to myself.”
“I was dead when I woke up this morning.”
“There is a hollow in me now.”
“There’s a drumming noise inside my head.”
“Tell me what you want me to say.”
“Leave all your love and your longing behind..”
“I'l be dead before the day is done.”
“It’s over. And I’m going under.”
“It’s so peaceful in the deep. No need to pray, no need to speak.”
“Looking for heaven, I found a devil in me.”
“A kiss with a fist is better than none.”
“You are the space in my bed.”
“If you’re gone, I will not belong here.”
“I was looking for a breath of life.”
“So I stayed in the darkness with you.”
“I don’t want your money. I don’t want your crown. I’ve come to burn your kingdom down.”
“Sooner or later, the things you love – you lose.”
“Would you leave me if I told you what I’ve done?”
“Never let me go.”
“All your love will be exorcised.”
“I can hear your heart beat.”
“What has been done can not be undone.”
“You left me in the dark.”
“I’m damned if I do, and I’m damned if I don’t.”
“You can’t carry it with you if you want to survive.’
"A thousand armies couldn’t keep me out.”
“Things go wrong no matter what I do!”
“You’re my head, you’re my heart.”
“Though the pressure’s hard to take, it’s the only way I can escape.”
“It’s hard to dance with the devil on your back.”
“We will never be afraid again.”
“I never knew daylight could be so violent.”
“They were there when I woke up this morning.”
“I know I can count on you.”
“Sometimes I just feel like saying, Lord, I just don’t care.”
“I’m always in this twilight in the shadow of your heart.”
“I started to hear it again..”
“I can’t leave the past behind.”
“You’ve got the love I need.”
“The dog days are over.”
“You can’t choose what stays and what fades away.”
“Life is just too much.”
“I’m not giving up. I’m just giving in.”

Love me so

This story’s for a friend of mine @lk-1179

He helped me when I first started writing, he did art of my fic Home, and I promised him this, something to his liking, that gave me the idea to open the ask box for requests (It’s still open now!), I hope you like it lk, and I hope everyone does

Summary: Lapis’s Diary of her adventure with a tiny blonde bassist.

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Music Playlist Shuffle

Tagged by Morgana thank you! :)

Rules: Shuffle your music and list the first 10 songs that come on.

To be honest I can’t do 10 songs without skipping some songs that I’ll never admit I like :D so I better list songs from my playlist for Leila and Jay, because everything about these two was inspired by music (and books).

  1. Sigma - Find Me ft. Birdy
  2. Florence The Machine - Drumming Song
  3. LP – Good With You 
  4. James Bay - Hold Back The River
  5. Dorothy - Raise Hell
  6. Zella Day - Hypnotic
  7. Ed Sheeran - How Would You Feel
  8. Gabrielle Aplin - Salvation 
  9. Gabrielle Aplin - Please Don’t Say You Love Me
  10. BANKS - Waiting Game

I tag: @vil-lain, @pottery-sims, @naginatah, @dizziesims@walkininfected@something-wicked-sims,  @utopiasims

“Florence + The Machine: Lungs” sentence meme

Send one to my muse for their reaction

  • “If you could only see the beast you’ve made of me.”
  • “You can’t carry it with you if you want to survive.”
  • “Was that the wrong pill to take?”
  • “I’ll cut your little heart out cause you made me cry.”
  • “I’m not calling you a liar, just don’t lie to me.”
  • “You left me in the dark.”
  • “This is a gift.”
  • “No more dreaming of the dead as if death itself was undone.”
  • “The horses are coming so you better run.”
  • “Sometimes I feel like saying, “Lord, I just don’t care."”
  • “Be careful of the curse that falls on young lovers.”
  • “A kiss with a fist is better than none.”
  • “No walls can keep me protected.”
  • “I was in the darkness, so darkness I became.”
  • “You made a deal, and now it seems you have to offer up.”
  • “There’s a drumming noise inside my head that starts when you’re around.”
  • “The saints can’t help me now.”
  • “Sooner or later in life, the things you love you lose.”
  • “I like to think at least things can’t get any worse.”
  • “My reputation’s kinda clouded with dirt.”
  • “I love you so much, I’m gonna let you kill me.”
  • “I’m going out, I’m gonna drink myself to death.”
  • “Like some child possessed, the beast howls in my veins.”

So I just watched C.S. Pacat’s livestream video on youtube and she mentioned listening to No Light by Florence + the Machine on repeat while writing the love scene in Prince’s Gambit and I thought ‘oh that’s and interesting choice. it’s probably because its such a moody and and intense beat. lots of drums. like heartbeats!’ so here I go listening to it again to give me a little refresher and I start to actually listen to the lyrics…….. 

You are the hole in my head
You are the space in my bed
You are the silence in between
What I thought and what I said

You are the night time fear
You are the morning when it’s clear
When it’s over you’re the start
You’re my head, you’re my heart

No light, no light in your bright blue eyes
I never knew daylight could be so violent
A revelation in the light of day
You can’t choose what stays and what fades away

And I’d do anything to make you stay
No light, no light
No light
Tell me what you want me to say

Through the crowd, I was crying out
And in your place there were a thousand other faces
I was disappearing in plain sight
Heaven help me, I need to make it right

You want a revelation,
You wanna get it right
But it’s a conversation,
I just can’t have tonight

You want a revelation
Some kind of resolution

You want a revelation

Would you leave me,
If I told you what I’ve done?

And would you need me,
If I told you what I’ve become?
‘Cause it’s so easy,
To say it to a crowd
But it’s so hard, my love,
To say it to you out loud



*Requested* Imagine Kol is a solider fighting in a war and he gets injured and you’re a nurse who heals him and what not and it ends with falling in love over a course of time even though kol is very hesitant.

( So I set this in WW1 and Kol is obviously human, otherwise he wouldn´t get injured. I also changed his past, because again, it wouldn´t work out with the family´s history and what not. I hope you get what I mean :D Also, since this got way longer than I anticipated, I wont have time for the second imagine I promised, but I will make for it soon.Anyways I hope you enjoy!)

Warnings: Human Kol. (Not really a warning but essential to the story) Also,unfortunately I had no time to proof read so I´m sorry for any mistakes

Word count: 1200

Your name: submit What is this?

It is the year 1912 and you are working as a nurse at a hospital. You are currently cleaning out wounds of a soldier who got brought in today unconscious, after his squad got attacked. He was the only one to survive. As you are carefully wipe dirt and blood from his face as he abruptly sits up and looks around in panic, not knowing where he is and how he got here.

Y/N: “Shh shh you´re save, you´re in the hospital”

His fearful eyes find yours and you notice his face muscles slowly starting to relax. His eyes fade from fear into ones coated with curiosity and unexpected calmness.

Kol: “Wh- what happened?”

Y/N: “What´s the last thing you remember ?”

Kol: “Me and my squad were on our way to the enemies hideout. All I know after that is-”

He stops midway as a memories seems to strike in his brain. He covers his mouth with his hand, gasping.

Y/N: “Oh no. We.. we got attacked. Do you.. do you know what happened to them?”

You hesitate for a moment, not knowing if you should deliver him the terrible news. You decide he should be stable enough to tell him and he deserves to know the truth, despite how horrible it will be for him to hear it. You take a deep breath, as you sit down at the end of the hospital bed.

Y/N: “I am terribly sorry but you were the only survivor of this attack.”

His eyes dim a little bit, as his hands fumble around with a small necklace bearing a unrecognizable crest of some sort.His head hangs low in defeat and sorrow as he tries to digest the terrible news.

Keep reading

The Signs as Panic! At The Disco Lyrics

Aires: “Give me envy, give me malice, give me your attention. Give me envy, give me malice, baby, give me a break!”// Time to Dance 

 Taurus: “Don’t try to sleep through the end of the world, bury me alive. ‘Cause I won’t give up without a fight”// This is Gospel 

Gemini: “That’s when you stu-stu-stutter something profound to the support on the line. And with the way you’ve been talking, every word gets you a step closer to hell.”// Nails for Breakfast, Tacks for Snacks 

 Cancer: “Placing a smile at the perfect event,gracing your skin with the side of my hand.If I ever leave I could learn to miss you, but “Sentimental Boy” is my nom de plume”// Trade Mistakes 

 Leo: “Haven’t you heard that I’m the new cancer? Never looked better, and you can’t stand it.”// There’s A Good Reason These Tables Are Numbered Honey. You Just Haven’t Thought Of It Yet 

 Virgo: “How does a heart love, if no one has noticed its presence, and where does it go? Trembling hands play my heart like a drum, but the beat’s gotten lost in the show”// Nearly Witches (Ever Since We Met) 

 Libra: “Stop stalling, make a name for yourself. Boy, you better put that pen to paper. Charm your way out”// London Beckoned Songs About Money Written About Machines 

 Scorpio: “Sweetie, you had me. Girl, I was it, look past the sweat, a better love deserving of exchanging body heat in the passenger seat?” // Lying is the Most Fun a Girl Can Have Without Taking Her Clothes Off 

 Sagittarius: “Just for the record, the weather today is slightly sarcastic with a good chance of: A. Indifference or B. Disinterest in what the critics say”// London Beckoned Songs About Money Written About Machines 

 Capricorn: “Forged at the pulpit with forked tongues selling faux sermons. ‘Cause I am a new wave gospel sharp, and you’ll be thy witness. So gentlemen, if you’re gonna preach, for God’s sake, preach with conviction!”// I Constantly Thank God for Esteban

 Aquarius: “Back to the street, down to our feet, losing the feeling of feeling unique. Do you know what I mean?”// Nine in the Afternoon

Pisces: “I’m not complaining that it’s raining. I’m just saying that I’d like it a lot, more than you think, if the sun would come out and sing with me”// I Have Friends in Holy Places

You are a pipe dream - andreil fanmix

The Run and Go - Twenty One Pilots // Stay - Rihanna // Landfill - Daughter // Please Don’t Say You Love Me - Gabrielle Aplin // Runaway - Aurora // Pistols at Dawn - Seinabo Sey // Skulls - Bastille // Unsteady - X Ambassadors // Drumming Song - Florence + the Machine // I’ll Be Good - Jaymes Young // Heroes - Mika // Like Real People Do - Hozier // Home - Gabrielle Aplin // Flaws - Bastille // From the Ground - Sleeping at Last

In my seemingly never ending quest to acquire every goddamn affordable synth and drum machine I can get my grubby mitts on, I now have a Korg Volca Keys! Which I nabbed at a local Music Go Round for like a hundred bucks last Saturday but forgot to mention. Whoops. Still, more lovely poly-synth action for husky! And yet another piece to my collection of Volcas too (at this point I’m only missing two of the six total in the whole Volca line… man I spend too much money on this stuff).

And as for this little cheesy demo? Well, I’m using it as all good multicolored husky musicians would! By making cheesy house music that sounds like it’s stuck in 1992.


don’t go without me - a foggy/matt mix // his shoulder blots out the stars and the minutes don’t stop. he covers my body with his but the minutes don’t stop.

i. yellow light - of monsters and men ii. you are in love - taylor swift iii. sinners - lauren aquilina iv. summer skeletons - radical face v. fools - lauren aquilina vi. sidekick - walk the moon vii. texas - magic man viii. sixteen, maybe less - iron & wine ix. drumming song - florence and the machine x. we will wake - seasfire xi. how do you feel today - gabrielle aplin xii. our song - the xx xiii. little talks - of monsters and men xiv. c'est la mort xv. faultlines - suede xvi. cold ground - love like birds

Andrew Farriss talks Kick track by track

Guns In The Sky

“Michael wrote this one. It started off as a demo that we cut in Hong Kong. I helped him program the drum parts on a Roland 707 that I had. He had a very clear idea of how he wanted the song to go, which I totally respected.

“We brought the demo back to Sydney, played it for the other guys, and they all loved it. Tim does an amazing guitar solo – it’s so harsh and biting. Everybody else really dug in and made the tune rock pretty hard. It’s like hip-hop and heavy metal in spots.

“Michael’s vocal is so important to how the song works. There isn’t a trace of irony or glibness to what he’s saying. It’s no bullshit.”

New Sensation

“This is part of the first batch of songs that Michael and I wrote for Kick. It started out with a blues feel, and the demo had a funky drum box pattern. Even now, the verse moves along in a typical blues pattern, but when it gets to the chorus it gets kind of strange.

“The notes, the whole feel, it’s definitely weird and quirky. I love Kirk’s sax playing, Jon’s drumming is amazing, and Garry’s doing incredible things on the bass – the whole band is so solid. They really took hold of a song that doesn’t make any sense at all.

“It still amazes me to see audiences going crazy to it. Really, I think New Sensation is such a odd song to have been a hit. We definitely did something right with it.”

Devil Inside

“It’s a pretty strong riff. We were on tour, and the band was staying at a hotel in Edgewater Road in London. That’s where I wrote the riff – I put it on a demo in my room. I worked out the chords, played everything for Michael, and he said, ‘That’s really good. Let’s run with it.’

“The band did a phenomenal job on it. It’s still a cracker of a song to play live, because what you hear on the record is just that – the group is performing together in the studio. There’s some overdubs, but not as many as you might think.

“I give a lot of credit to Chris Thomas for preserving that live feel. It’s a funny thing. If you know the right parts, you can pretty much play this song, and the whole of the Kick album, as a bar band. You don’t need an orchestra, you don’t need 24 tracks of backing tapes – if you know the song, you can do it.”

Need You Tonight

“Another weird, quirky song. I demoed it at home in Sydney while a cab waited outside to take me to the airport. Why I thought it was so important, I couldn’t tell you. It was this little thing that I worked on with my eight-track, and I bounced it down to a cassette recording.

“I made the plane with just minutes to spare and flew to Hong Kong, where Michael and I were working on some ideas. He loved what I played him and said, ‘Give me a pad and a pen.’ He sat down and wrote the lyrics in something like an hour. The engineer put a mic up, and while Michael sang right there, I replayed the parts, with the drum machine, onto a 24-track, two-inch analog tape. That’s pretty much what you’re hearing.”


“It has the same Roland 707 drum machine that I used to program the part for Need You Tonight. I hadn’t touched the beats per minute knob at all. And when I say ‘knob,’ that shows you how old school it was. It was way before the heavily quantized, locked-in and gridded beats per minute thing; everything had a variable air about it. It wasn’t synced perfectly. There was a drifting quality to it.

“It never occurred to me that the two songs, Need You Tonight and Mediate, could share the same beats – that was Chris Thomas’ idea.

“Michael and I wrote everything together but two songs: he wrote Guns In The Sky on his own, and I did Mediate by myself. What I wanted to create was a Brian Eno-type landscape with keyboards, one which was very emotive and gentle, against a hard funk beat.

“Michael’s vocal is like some sort of New Age rapping. It’s surreal. At the time, it must have turned people’s heads. I remember hearing it in a club in Houston, and I have to say, I thought to myself, Wow… this is pretty interesting. I didn’t have anything to compare it to.”

The Loved One

“It was written by some of the guys in an Australian blues band from the 1960s called The Loved Ones. We always loved it. It was my brother Tim’s idea to record our own version of it, just a balls-to-the-wall blues-rock track, and not be forgiving about it.

“It has a very important place on Kick in that it balances out the experimentation, us messing around with technology and trying to forge our way into the future. At the same time, it’s our tip of the hat to our rock and blues influences. I’ve got Tim to thank for that.”

Wild Life

“I don’t exactly know why we wound up zeroing in on this one. There were other songs that didn’t make the Kick album that might have been equally as good – it’s hard to say. What I do like about it are Michael’s vocals and the groove – it swings along in its own way and does things that typical pop songs don’t.

“It’s another good example of what we were trying to do overall as a band, which was to blend funk and rock. You’ve got a lot of small sounds married to heavy guitars through Marshall amps. It’s a great combination. Your ears are constantly being challenged and pulled different ways. The drums, too – there’s big, fat, ambient drums that exist in the same sonic space as these tiny little drum boxes.”

Never Tear Us Apart

“In preparing the 25 Anniversary re-release of Kick, I went back into the tape box and listened very carefully to the master recordings and some of the other studio reels, and I was amazed at the version of Never Tear Us Apart. It’s us playing live with no overdubs. The drum take is the same as what’s on the album, but there’s a different arrangement, different vocal, sax part, and there’s no strings.

“On the record, I played the string parts on a keyboard, but originally I did it on guitar. When I heard the tape again, I thought, Wow, this is pretty cool. It shows people exactly what we were thinking when we did the demo. Chris Thomas said to us, ‘This is a great song, but I don’t know about the instrumentation. I think it needs a more formal sound.’ He suggested the strings, which worked beautifully. They have the right kind of empathy for the vocal.

“Thinking about Never Tear Us Apart, I just have to say how much respect I have for Michael as a songwriter, a singer and, in particular, as a lyricist. He didn’t play an instrument, but his voice and his words were his instruments. He was phenomenal.”


“Jon Farriss and I were talking about the song the other day. It has a groove that’s almost like blues, but it more goes into the zone of Swing. It was a funny track for us to be doing in that era. The whole music scene had moved away from your basic bar-band blues scene, which is what our background was, playing pubs and all.

“Going into the Kick album, Michael and I were in Chicago, working on a few more demos. It was a 16-track studio with a piano. We wrote Mystify there, made a demo of it and a couple of others – there was a song called Move On that didn’t make the record. The band loved Mystify, and they really did a great take of it. Tim and Kirk’s guitar playing is fantastic. The drums are just massive. The whole thing turned out cool.”


“When I made a demo of the song, it had a lot of acoustic guitar and was quite different from the album version. Michael really liked it, but he wanted to toughen it up. He thought we should get rid of the acoustics and play it as a straight-out rock song with the brass and everything. I think that was the right call.

“The band did a knockout job, but Michael really took ownership of the song. If you listen to the vocal, he’s unbelievable – such cool confidence. Great sax by Kirk, as always.”

Calling All Nations

“We’ve been playing it live again recently and having some fun with it. It fits in with the whole funk-rock genre of what we were trying to stay the course with. I think the song ties everything together with its big, thumping groove.

“We had toured a lot and had been around the world, so we wanted something that reflected what we were feeling. When you travel internationally as much as we had, and you’re under so much pressure, you do think to yourself sometimes, Well, what are we doing?… We weren’t just in one country with one mindset of people. We were talking to everybody. So to have a song titled Calling All Nations made a lot of sense.

“I love the musicianship on the track. Everybody contributed really interesting and effective parts. The song felt right. In fact, we even called one section of our tour for the album the Calling All Nations tour.”

Tiny Daggers

“To me, it sounds almost like Springsteen, but that’s not what Michael and I were thinking of as writers. When we put the demo together, believe it or not, we were more thinking, What would Elvis do?

“It changed a bit when we got around to recording it. The rhythm track is particularly cool – great work by Jon and Garry there. I actually wound up playing a pretty big guitar solo on the song, which is a first for me. Usually Tim or Kirk handle the solos, so I’m kind of proud of my bit on the guitar. And it ends the record well, so there you have it.”


“It was one of our first writing sessions and RZA played me like a bunch of songs that he had kind of in one of his drum machines. Love + War jumped out at me, the chord progression was really, really strong and the vibe was really strong and I got a vocal idea probably instantly I think and I just went into the booth and did the hook.” (x)

DickKory Week is almost here! So I decided to create the official DickKory Week 2015 playlist~ It can be found [here].

Track List:

1. Alt-J - Every Other Freckle
2. Bastille - Flaws
3. Twenty One Pilots - Can’t Help Falling In Love With You
4. Fall Out Boy - Young Volcanoes
5. Florence + the Machine - Drumming Song
6. Adele - Make You Feel My Love
7. Shakira - Empire
8. The Cure - Just Like Heaven
9. Lana Del Rey - Young and Beautiful
10. Fall Out Boy - Alone Together
11. The Drums - Down By The Water
12. RAIGN - Knocking On Heaven’s Door