#8158

[every-tome]

[5sospicturesque]

Clearing out my camera roll 8158/?

[everymobbu]

[diebabydie]

got distracted being elated i had not one but two normal interactions and one of them was even prolonged. anyway re:moving in the pit, in my (tiny baby weenie half a year of) experience with metal and hardcore shows what I would personally keep in mind if I was going to play would be:

If you don't get the energy high in your first or maybe at a stretch second song you're gonna struggle to pick it up any higher than that

wheedling and begging does not work very well if you haven't got that energy. makes you look desperate and it's a bit of a bummer. to tell people to get moving you need to have their buy in so you need to have that energy high to begin with and then hype people up as they run out of energy and get knocked around more. if you've had people moshing before and now they're flagging you telling them to get moving will be better received

related, no one likes being told they suck. if you're playing a heavy show and you accusatorily tell your audience they're not moving or tell them fuck them they're not gonna be pissed or offended or anything, but you're not gonna bait them into moving for you. genuinely you would probably get more movement by praising the people who do move or otherwise hyping up your audience. plus if you spend your entire set getting frustrated about a lack of movement and then thank the audience at the very end it's going to ring exremely hollow

if you're halfway through your set and no one or very few people are moshing consider dropping it. you can try salvaging it by playing something where you demand everyone to get in super tight and jump but if people don't do it then there's not a heap you can do

at the very start first thing get people in close to the stage and refuse to play until you've got them in thick. tell everyone to take two steps in. close proximity means they're more likely to form a push pit and keeps people engaged AND it breaks the ice of invading personal space. in normal life people don't usually press up close to each other and headbang violently or shove each other, so you want to remove that personal space barrier. think like you're a HR manager trying to get office workers to do a trust exercise

circle pits are also great for getting energy high or picking up flagging energy because it gets people moving in a way they wouldnt usually and naturally dissolves into a push pit. you'll lose people around the stage but hopefully by then you'll have people flailing around and will have dispersed the chill people to the back and the violent people to the front. from here you can try for a wall of death or side to side or something like that

if people never mosh for you look Within. it would probably help to open with something with an obvious or heavy beat (easier to get into) and if your opener doesn't get movement it may not be getting people hype. consider something heavier or bouncier. or maybe you're just not very good, which is something you can work on

people show up for acts they like and mosh to songs they know because they know the parts and, if you're cool, can share the mic for the lyrics. if you're playing local keep at it and engaging the crowd. also show up for other local bands and mosh hard for them. grab the mic if it's offered. if you're not meeting the people attending your shows you can't do banter and you don't have friendly people in the audience ready to start shoving. (if you're touring then it's doubly important to get people in close to compensate for this lack)

get off the stage into the crowd and do some audience interaction by moshing or pointing or whatever. okay you can't do this all the time but if and when you do do it people will enjoy it. tell your bass player to go stand on a table. tell them. make them go do it. it's enrichment

[diebabydie]

if you wish to comment somewhere that is not the post then drop the analysis (I find Your Guy interesting! that's my guy-in-law who seems maybe to complicated to go and read up on but I like to hear about)

unfortunately it's as simple as the fact that he's a) canonically an ex-crustpunk who made canonically horrible punk music in a band called mucous membrane, meaning that song is far too polished for him (no hate, I listened to that song a lot back in my Spotify era and it's pretty perfect as a pop-adjacent song goes), and b) I don't know if he LIKES to play with fire. He likes to stick his fingers in places (he would say it's because he's a bastard but it's because he's ultimately a good bloke, even if he's not a nice bloke) but he also gets burnt a lot and then mopes around about it.

basically not pathetic or off-putting enough. that song is not nearly as grubby as it would need to be

[diebabydie]

day 2 living at the airport. although i only arrived yesterday it feels like it's been months. years. the maze of walkways and cul-de-sacs are an enclosure of rabbit warrens twisting through the airport. silence is the texture of construction work and engine turbines. someone asks me if i work here. they misundertand the question; i AM here. coffee is seven dollars a cup. i don't ask for the receipt because reimbursement is a product of the End Times, that mythological time after the airport, and it will never come. i get lost between terminals and i walk past the giant melbourne sign. before it was like meeting a celebrity. now it is the tacit acknowledgement that i am under surveillance. the client sits from their walkway above the terminal and watches on a kaleidoscope of security cameras. i have heard tale from the Others of them being sighted in coffee places, on paths between terminals, but i am not sure i believe them. i am not sure the client has physical form. maybe that's why they won't see us. to come into contact would be to reveal their nature. i get lost between the cafe and the hotel. the map estimate of time to arrival jumps from 8 minutes to 43. the path back is right there, cordoned off by 5 metres of construction site. walking back towards terminal 2, the faces of passersby are haggard. they are exhausted after their flights. how long will they be here? do they have places to go, friends and family waiting for them outside? they look at me, too, but only in passing. the airport is not their world--not yet. they'll learn that the faces of strangers are the only predictable things here. employees of the client walk past in neon green vests. at first it was imperative to make a good impression as they might have been the quarry, but the time in which that was a possibility has long since passed. i avoid their eyes as i enter a carefully cordoned walkway through a construction zone. i'm lost again, but i can see the distant hotel through a haze of melbourne heat and car fumes. the construction sprawls in a desert through which endless streams of cars churn, roaring engines and blaring horns. endless horns. they are an excuse for communication, however violent and angry. it may have been days since their drivers could communicate verbally. the walk sign turns green and a bus driver glares bloody murder for having a pedestrian walk out when he wants to go. maybe he's lost too. i sure am

[diebabydie]

been a while since i locked in so hard i feel like ive come out of a coma

[diebabydie]

Are these the right ones for your toaster socket man or are the good ones something else?

(I've somehow managed to unlock Quick Reader Juan again and I need to feed it. I already blitzed the entirety of Witch Hat Atelier and I don't think The Secret History will hold me long.)

those are the ones! Also PLEASE let me know how the secret history goes for you!!