orpheus turner

movedto-kohlweis  asked:


oh man settle down because i have a lot to say

it used to be so much more subtle, little glimpses of something else: the way he moved onstage like in a dream, how he seemed to sense the music wrap around him like a cocoon, moments where the light would hit his face just right and highlight an ethereal feature, the ever-shifting but always overwhelmingly intense expressiveness of his eyes. offstage, he was different, more tangible, seemingly more human, but there was always still something ever-so-slightly off - a soft spoken, almost poetic awkwardness, as though he’s not from here but has suddenly found himself thrust into our version of reality and is trying quite hard to act how he’s meant to

it’s always been like this. go back, look at past eras: he may look different, act slightly different, but there’s always the same underlying current: on the stage he’s a phantasm, someone with such great command that reality seems to bend, someone who can tame or rile frantic crowds; offstage he is neither boy nor man, human nor inhuman, a dream-drifter with understanding but confused comprehension of the waking world

sometimes there’s a deterioration. sometimes it looks as though he’s forgetting human etiquette. sometimes, during performances - performances that so often look like a visual and phonic narrative of his myth - his presence is so overwhelming, so alarming, that between songs one has to look away and catch their breath. he isn’t terribly over-the-top (unless he is attempting that dancing, one of those aspects of humanity he doesn’t have a grasp on yet), but in his movements and his eyes and his voice there is a certain severity, something powerful and passionate that can’t be ignored 

lately there’s been an unraveling, as though he’s shedding the human disguise almost entirely. the extremes have gotten even more extreme, he holds crowds in the palm of his hand (and sometimes in a clenched fist), he combines his mythology and his cosmic dreamlike poetry with shrieking guitars and pounding drums. human is no longer a priority, the heart and soul is, the music is, the magic is

“i think it was nietzsche that originally said stop making the eyes at me, i’ll stop making the eyes at you”

and when all is said and done, well, we have been seeing a lot more smiles from him

anonymous asked:

505 fucks with my emotions every time i hear it. i listen to it and all i can think about is orpheus lamenting about losing eurydice to the underworld for the second time. and how alex always seems to access his most orphic self whenever he performs it. it fucks me up man. sorry i had to complain and i knew you'd understand.

oh man oh man oh god you bet i understand, don’t ever apologize

there’s always a sleepy, grieving vulnerability in most of the performances of 505 that i’ve seen, but also something very composed, even when the song itself devolves into a gut-wrenching mess, which tend to makes it hurt even more - the song itself is very hopeless in its own way, very much about giving up, and it fits into the orpheus narrative so well because that’s exactly what he did, he gave up

adt is very tapped into an empty and bleak sort of longing that is very orphic, he stirs up the emotions of “all is lost; press on” that not many people can capture so easily, so naturally, that you can’t help but feel like he knows something about loss, almosts, and the underworld that other people just don’t