So like I’m super attracted to Garrus Vakarian’s voice…like just his voice alone like holy sheesh oh man. I don’t know what it is…like that weird modulation flanging going on is gonna be the death of me I swear. I’m saying like a lot jeeze like I just ah.
Okay so just curious, are there any characters whose voices you really dig? Or is there anything in a voice that gets to you in particular?
A month ago you found out that your biological father is Bruce Wayne after your mother passed away. Her dying wish was for you to get to know your father. You were brought to Wayne Manor, it felt so alien compared to the little two bedroom apartment that you and your mother lived in. The first thing you noticed when you arrived here was the many family portraits. Apparently your father has adopted many children, which some may say was very kind of him but you resent him for in a way since he never bothered about your existence until now. He claims that he didn’t know but you have a feeling that is a lie. As well as your adoptive brothers you have a half-brother too, his name is Damian. You don’t speak to him much, in fact, you don’t really speak to anyone.
For some strange reason you don’t feel apart of this family, not yet anyway, maybe you never will. You hardly see your father, he’s rarely ever home. Damian is around during the day but after a certain time he disappears too into his room and you don’t see him until the next day. Alfred, the family butler, is the only person you ever see around this place. You have never felt so alone, your life here is miserable. Alfred senses that you don’t quite fit in and has tried on many occasions to make you feel welcome and at home but you just reject him. He understands you still need time to adjust, you have just lost your mother and your life has changed dramatically since your arrival.
You lay awake in your bed, staring up at the ceiling, wondering when things will get better. You’re not sure how long you can keep going like this. Suddenly a loud noise can be heard outside, you jump out of bed and go to the window to investigate. A bright light blinds you, eventually, your eyes adjust to see a large car driving away from the Manor. Was that your father? What is he doing driving so late? You decide to investigate further, feeling like there is something he is hiding from you.
Emerging from your bedroom you make your way to Damian’s room, knocking lightly on his door. “Damian? Damian are you still awake?” You whisper, not wanting to disturb Alfred’s sleep. “Do you know where dad is going?” There is no response so you carefully open the door. To your surprise, Damian isn’t in his bed, it doesn’t even look like it has been slept in at all tonight. Where could he be?
“Damian?” You start to wander around the Manor by yourself. “Alfred?” Still no answer no matter whose name you call out in the dark.
Damian’s pet dog Titus gets out of bed and walks over to your side, you pet him gently. “Where is everyone boy?” You ask and he just whines before rushing off into the library. Reluctantly you follow him, perhaps he is trying to show you something.
When you walk into the library you switch the light on and find Titus sitting in front of one of the bookcases, wagging his tail. No one seems to be in here and you are even more confused than before. “Why did you bring me in here, boy?” You give him a questioning look.
Music anon: I'll try to explain the music part but please keep in mind english isn't my first language so some terms might be different. Basicly, What's the Use really doesn't show a clear key? It starts unusually with a B chord that is higher than major, which basicly means both thirds that make the chord are major (but a normal major chord has major+minor). Later in the song, there are these weird modulations. Some are set up correctly while others are just so sudden, what's their need? (1/?)
By modulations I mean the change from F sharp to F flat notes etc. There are so many of these that they confuse me. When the first main melody after the intro starts (YD’s first verse) it looks like A minor, but it doesn’t end like an A minor, it end something like an E minor and suddenly goes back to A? And the rest of the song does the same. Back up vocals are too prominent and don’t harmonize well with YD’s singing. There are so many unprepared jumps you can tell the VA is struggling. (2/?)
By jumps I mean quint (five note) jumps. If you can tell that the VA can’t pull them off, why not add a mid note to help with the transition? And lastly the instrumental. It doesn’t fit this type of song. This is something that’s more suited with classical string orchestra or piano, not electronic. It doesn’t harmonize nor does it fit the mood. Sorry for this being so long, I hope I made it understandable!
Also forgot to mention. The song starts with a B chord, but the entire song ends with a G sharp octave, no chord to indicate the key. Not having the basic key of a song is the biggest offence. It’s a confusing mess.
your English is fine, so no worries! and these asks were very interesting to read!
i’m not the best with music theory in general (i was in band for 7 years- middle & high school years- but my main focus was more towards animation), but even i could tell there were a couple of things that were off with the song. and i really think that the song being a more slow-paced, orchestra-heavy song would’ve really helped with the idea that the song is more emotional (even with Yellow Diamond talking about wanting to destroy Earth and then having her quiet somber moments when thinking of Pink Diamond).
Honestly, whatever they do with the Cybermen in Nu-Who, they’re never, ever going to make them as creepy as the originals.
Maybe it’s the fact that the more you make the Cybermen look like robots, the more you make them brains transposed to mechanical bodies, the less human you make them, the less frightening they become. The original concept of the Cybermen is so damn creepy because they’re basically us if we go too far to extend our lives.
Maybe it’s the fact that behind those sinister surgical masks you can see their eyes, which was absolutely horrifying to me from the moment I noticed it.
Or maybe it’s those voices. Those weird, modulated voices.
Call them crappy costumes all you like. I know that I’m chilled to the bone a lot more by them than some stompy robot thing shouting “DELETE” like they’re worried it’ll go out of fashion.
Here’s a little treat you don’t get to see up close very often, Mark Mothersbaugh of DEVO “satisfaction” guitar. The only guitar he rocks with DEVO! It’s a 80s lefty Squier Strat, with a Boss DS1 and a weird Make Ring Modulator, not sure of the make. The top 2 heavy strings are tuned in unison to A and the bottom 2 high strings are just loose and not tuned to anything. Just for stretchy noise on the song. RIPPING! Devo soundcheck, the Bellyup, Solana Beach, Caluf. #devo
Of course I saw the monstrously adorable pictures of Elden Henson in braids, and then hasserole was like “What if Karen braids Foggy’s hair?” And here we are.
“Your hair’s not long enough for a traditional French braid, so I think I’m going to try something different.” Karen’s taking her sweet time, and Foggy can’t say he’s complaining. Her fingers carding through his hair is activating some sort of lizard brain grooming instinct, and he’s as close to boneless as someone can be while still having, y’know, bones. As it is, he’s slumped against Matt’s couch, Karen’s legs on either side of him. She’s probably biting her lip in concentration, her nails just this side of a scratch as she sections off more hair to pull into the first braid. It sets off an explosion of feeling in his scalp, an overwhelming weird tingling that eventually modulates into pleasure. He makes an inarticulate noise and shifts against the couch, and Matt laughs in response, low and quiet and pleased. He hears the thwap of flesh against fabric as Karen swats Matt’s arm.
“Don’t encourage him!” Foggy knows she doesn’t mean it, because she kisses the top of his head, her lips touching bare skin where she parts his hair for the second braid. The tug and slide of her fingers becomes rhythmic, lulling. For a few minutes, there’s nothing but his breath and heart and her fingers in his hair, and he wonders if it’s anything like the state of grace Matt told him about once: unmerited, but something beautiful to be grateful for nonetheless. And he is grateful, to have all of them safe and here and together.
“All done.” Karen ties off the second braid and pulls it a little bit, bringing Foggy back. Her hand lingers on the back of his neck, stroking gently with her thumb.
“Hey Matt, feel how pretty my new hair is.” Matt’s fingers are inquisitive but tender, moving over each section of the braids. He ends his exploration at Foggy’s neck, resting his hand next to Karen’s.
“You’re gorgeous.” His voice is fond, and Foggy slumps lower on the floor, so they’re both cradling his head.
“Beyond stunning. And don’t you fucking forget it.”
TONIGHT at The History Center: Two hour-long synth sets from Weirding Module and Sunken Cheek, with visuals by Neeraja D and Ahmed Ozsever. Doors at 5, music starts at 5:30. FREE EVENT (but donations always welcome).
The highest function of ecology is understanding consequences.
The extent to which Kynes, his father, their background, and their ecological motivations were pushed aside in the film version of Dune is utterly tragic. And in favour of what? Third Stage Guild Navigators and weirding modules? Please.
I’d pay good money [as opposed to what? counterfeit tender?] to see a LotR-style adaptation that maybe takes some liberties with the details of the plot, but gets the broad strokes right—the ecological emphasis, the religious and political nuances, all that stuff in the appendices. Maybe the miniseries does all this … I haven’t seen it, if I’m honest.