d e v o n
KIROKAZE
he wasn't even looking at me and he found me
No title available
No title available
Sade Olutola
dirt enthusiast
Misplaced Lens Cap
ojovivo
No title available
YOU ARE THE REASON
Janaina Medeiros
@theartofmadeline
Today's Document
tumblr dot com
No title available
🪼
styofa doing anything
2025 on Tumblr: Trends That Defined the Year
"I'm Dorothy Gale from Kansas"
seen from Kazakhstan
seen from Türkiye
seen from Kazakhstan
seen from United States
seen from United Kingdom
seen from Türkiye
seen from United States
seen from United Kingdom
seen from Kazakhstan
seen from Kazakhstan
seen from Türkiye
seen from United States
seen from Brazil
seen from Brazil
seen from Iraq
seen from Nigeria
seen from Poland
seen from United States
seen from United States
seen from Italy
@kevofallcosmos
This is what's so fucked up about "nothing that requires the labor of others is a human right".
The labor is already being done under capitalism. The laborers are already being underpaid under capitalism.
When you propose removing the greedy profiteers and paying the workers a reasonable wage, people call that "slavery" while they have no problem with the current system.
They're not even trying to make sense.
Vote for progressives. #DSA #ZohranMamdani
The Epstein Files should end careers.
Republicans have shielded all their pedophile leaders from accountability.
Democrats will end that and put men who rape children on trial and behind bars.
MAGA needs the racism.
Cities need to permanently cut off all utilities to these buildings before they go online.
Well done, Georgia! 👏🏻👏🏽👏🏾👏🏿
"Dignity For All" is anti-capitalist. 👏🏻💫
Join a union. Respect your coworker. Solidarity.
Men made decisions to rape with fellow rapists. They decided sexual abuse and torture were bonding experiences.
Language matters. Stop removing men from their active role in raping children.
KKK said the same thing about the hoods.
"They're just doing their jobs."
And how many people have been at work when kidnapped by ICE? How many people are afraid to go to work because they're afraid of being kidnapped by ICE?
If someone "doing their job" is sacrosanct to you, you should be demanding that ICE be abolished, because no one is a bigger hindrance to people doing their jobs than ICE is.
We still remember the hate you had toward David Hogg for being a traumatized child who watched his classmates be shot to death.
Really good basis for a billion dollar lawsuit.
HORIZONS/WEST
Horizons/West is out now!
[aaaand exhale]
Making music is wild. I go through so many emotions during the process — the uncertainty and accompanying anxiety of having parts and ideas early on but not knowing what the whole will be, the elation of jamming those parts and ideas out for the first time and feeling them start to gel, the doubts around doing too little or too much to a song as you write it, the excitement about honing and fully committing to these songs before you actually record them, the myriad pressures of the recording process, the thrill of hearing the songs take shape as they’re properly recorded, the fatigue of hearing a song for what feels like the thousandth time and wondering if it’s really where it should be, and the joy of having a mixed and mastered record. And then … you wait. For months. Several months, that creep along at half-time. And then release day nears and you’re anxious and excited about people finally hearing something you put so much time and energy into. And then poof. It’s just out there in the ether. Forever.
I hope you’ll give Horizons/West a spin, and I hope there’s something within these 11 tracks that resonates with you, whether it’s sonically, lyrically, thematically, emotionally, or a combination of those things. I honestly find new ways to connect with it each time I listen to it, and I’m really proud of it on many levels.
Huge thanks to Scott Evans for not only doing an amazing job mixing this record, but for being a great friend and sonic sherpa of sorts as I worked through my ideas for these songs.
Thanks to Matthew Barnhart for mastering it and finding a way to make the dynamics of this record work as they should.
Thanks to Jordan Butcher for killing it yet again on our artwork and packaging. I love everything he’s done for us, but this is next-level. The deluxe version is mind-blowing in its attention to detail and execution. Can’t wait for you all to have it in your hands.
Massive thanks to our manager Ken for herding cats during not only this process , but always. Big thanks to Epitaph Records for sticking with us and putting out our records in this weird and ever-changing musical landscape. And thanks to my family and bandmates for putting up with my neuroses during the the writing and recording of this.
And finally, thank YOU for listening to, caring about, and supporting us. Being able to make music for people is a total gift, and I’m beyond grateful to *still* be able to do it and excited to *keep* doing it for as long as we can. We couldn’t do this without you all.
***
And now some stuff for the drum nerds. Sorry to make all three of you scroll all the way down here, but let's be honest ... if I put the drum babble at the front end of this post everyone would bail before the page even finished loading.
Actually, there isn't a ton to share about my drums for this record. [Price Is Right Loser Horn]
How many different kits and snares did you use on this record? A few? Several? A veritable shitload?
One-ish? I kept it really conservative with my set up. I used the same old kit (save a couple minor exceptions) and same snare for every song. The Q Galvanized Steel has been on every record post-hiatus because I love it and it tunes up so easy. It's punchy, and lively, and fun as hell to play. Great combo. My Q Copper Gentlemen's snare has also been on every record post-hiatus because it's like a Swiss Army knife -- works great in any situation, sounds awesome regardless of tuning range, and every audio engineer I've worked with legit loves it.
What about the cymbals? Did you use any of those cymbals that look like they were found at the bottom of the ocean? How many splash cymbals did you use? 7?
Nope. Lotsa Zildjian Ks. Lotsa Avedis. I did do a little bit of cymbal swapping, but nothing too wild. No tea towels or shell necklaces piled on stuff or swiss cheese cymbals or weird dingledangles hanging down like chandeliers for me to swing at. No bonkers mic placements, aside from uh ... sticking a mic inside a beefy aluminum stockpot on the floor and a stuffing a mic inside a piano. (I'm not even sure how much, if any, or that made it on to the finished product, but it's definitely A Thing We Did.)
Why didn't you switch it up for each song and get wild, especially since you were working in your own studio?
Because I didn't think the record really called for it. We experimented a bit with different setups when we recorded Horizons/East, but I'm not sure it really mattered as much as I thought it might have. And even though we're tracking drums in our own space I think Tone Chasing can get a bit exhausting, especially when it happens early in the recording process. Everyone's geeked to start making music and you're in the studio dicking with a snare drum for two days or scratching your chin and staring at a pile of drumheads for hours on end. It can be a real buzzkill. When we did East and The Artist In The Ambulance - Revisited in our own studio with Teppei engineering and Scott Evans mixing, I found a drum combo that sounded really good to all three of us and I just kinda stuck with it.
Which sample pack did you use? How did you fight the urge to run every snare roll through a phaser?
Heh. I cannot tell you how exhausted I am by all the sample pack-littered, hyper-gridded, zero-dynamics, same-sounding drums in rock music these days. It all so sounds so plastic and soulless to me. The goal with Horizons/West was to keep things raw and alive and huge but imperfect, and I think Teppei and Scott nailed the raw and alive and huge part, and I nailed the imperfect part (as I am wont to do). I know I said the drums on East were the best my kit has ever sounded on a record, but we legit leveled up on this one. I am so incredibly stoked, and I'm totally guilty of listening to just the drum stems from the record because ungh they sound SO GOOD.
THE END
If you've actually read this far, I owe you a high five.
Here are the specific drum details for each song. We used a bunch of mics whose names sound like droids from the Star Wars Universe. If you're curious about those mics and where we put them, LMK, but I'm not gonna list them all here.
BLACKOUT
Q Galvanized Steel Kit 24/13/16
Swapped 24” Ludwig Classic Maple kick for ending
Q Copper Gents - 7 x 14
15” Avedis Hats
20” K Cluster Crash
21” K Projection Ride
21” K Crash Ride
20” Crash Of Doom
GNASH
Q Galvanized Steel Kit 24/13/16
Q Copper Gents - 7 x 14
16” K Light Hats
20” K Cluster Crash
24” K Light Ride
22” K Light Ride (right side crash)
21” K Projection Ride (for bridge only)
20” K China
ALBATROSS
Q Galvanized Steel Kit 24/13/16
Q Copper Gents - 7 x 14
15” Avedis Hats
20” Cluster Crash
24” K Light Ride
21” Avedis Ride (right side crash)
UNDERTOW
Q Galvanized Steel Kit 24/13/16
Q Copper Gents - 7 x 14
15” Avedis Hats
20” K Cluster Crash
21” K Projection Ride
21” K Crash Ride
20” Crash Of Doom
HOLDING ON
Q Galvanized Steel Toms 13/16 w/ 24” Ludwig Classic Maple Kick
Q Copper Gents - 7 x 14
15” Avedis Hats
20” K Cluster Crash
24” K Light Ride
22” K Light Ride
THE DARK GLOW
Q Galvanized Steel Kit 24/13/16
Q Copper Gents - 7 x 14
15” Avedis Hats
20” K Cluster Crash
24” K Light Ride
21” K Crash Ride
20” Crash Of Doom
CROOKED SHADOWS
Q Galvanized Steel Kit 24/13/16
Q Copper Gents - 7 x 14
15” Avedis Hats
20” K Cluster Crash
24” K Light Ride
21” K Projection Ride
DISTANT SUNS
Q Galvanized Steel Kit 24/13/16
Q Copper Gents - 7 x 14
15” Avedis Hats
20” Crash Of Doom (left side crash)
24” K Light Ride
21” Avedis Ride (right side crash)
VESPER LIGHT
Q Galvanized Steel Kit 24/13/16
Q Copper Gents - 7 x 14
16” K Light Hats
20” K Cluster Crash
24” K Light Ride
21” K Crash Ride
20” K China
This is why art is important, in case you were wondering.
And kids will be so productive if you make it a game. I bet at least 50% of the kids who met this sculpture went and intentionally hunted for litter to feed it.
Made this emo monster with Toucan yarn from Hobbii and some leftovers. I feel like he would have been a hit at 2000s hot topic.
Made a blanket on vacation. Caron Anniversary cakes in Pebbled Path and Hocus Crocus in a peacock stitch with a simple border. Biggest thing I’ve made yet.
