#altfunk

[thisbearneedsadrink]

ALTFUNK: a roleswap AU I made up in-between comics

A walking anachronism of a wannabe rocker (Darling) and his sly girlfriend (Mine) take on the perils of cockblocking musician parents, old friends, and not having a funkin’ clue in their heads

There’s more characters and stuff where that came from, I just wanted to post the core four first

Individual Profiles: Darling, Mine, Good Girl, Bad Boy

[thisbearneedsadrink]

Old Altfunk concepts for Week 2

I had like 2 of them but I liked both a lot so i tried to settle it by writing out what happens in either. Still haven’t chosen

In Lila’s version, Darling and Mine run a Spooky Month odd jobs service and get called by a little kid to check out this rat(????) in the attic. They end up rap battling her and Moloch, Lila being unaware of the big demon shadow behind her the whole time

In Hatzgang’s version, they snuck into some old house’s attic to mess around. Darling and Mine ALSO wanted to mess around in this attic, so they rap battle each other for it

Either way, the Monster shows up during song 3 and everyone flips out

[thisbearneedsadrink]

Altfunk vs. FNF comparisons

Wanted to make sure Darling and Mine looked different enough from BF and GF so I made a couple reference sheets and a height chart

[thisbearneedsadrink]

Altfunk Profile 04: Bad Boy

Age: ???

Occupation: Rapper

Bad Boy is a formerly small-time rapper that exploded onto the scene. Well respected for his freestyling and on-the-fly vocal skills, he’s become a powerhouse in more ways than one. While not formally married, he’s been steady with Good Girl for long enough that they may as well be. He may look like a trashy braggart, but he’s got some hellish abilities. Surprisingly pretty good dad. Human(?).

Other Altfunk Profiles: Darling, Mine, Good Girl

[thisbearneedsadrink]

Altfunk Profile 03: Good Girl

Age: ???

Occupation: Musician (composer)

A musician with almost supernatural skill, Good Girl is renowned for her stylin’ compositions. Despite her classy looks, her biggest claim to fame is mixing, which unsurprisingly goes well with the vocals of her longtime love Bad Boy. Her lax expressions belie the ambition of a demon, and the speakers she’s known for using almost seem like she can summon them at will.

Other Altfunk Profiles: Darling, Mine, Bad Boy

[thisbearneedsadrink]

Altfunk Profile 02: Mine

Age: 19???

Occupation: Starlet’s Starlet

Mine is the daughter of famed musician Good Girl, and has a bit of a temper herself. Currently at a delinquent phase in her life, she’s got a strained relationship with her folks and goes full-tilt into her “bad girl” image. When pressed, she can get nasty in situations.  She stole a few of her mom’s speakers and ran off to have fun with her boyfriend Darling, and does not take kindly to her parents’ disapproval. Surprisingly, her chosen genre of music is pop.

Other Altfunk Profiles: Darling, Good Girl, Bad Boy

[thisbearneedsadrink]

Altfunk Profile 01: Darling

Age: 19???

Occupation: Wannabe Rocker

One of the two lovebirds of this AU, Darling is a rocker-in-training with a hot head that worsens when challenged. Despite his chosen musical calling, he’s good at playing to other genres, so when Bad Boy makes the call to rap battle, he transitions naturally. When enraged, he seems to get a bit devilish. His girlfriend is Mine.

Other Altfunk Profiles: Mine, Good Girl, Bad Boy

[thebandcampdiaries]

Last Charge of the Light Horse presents: Year of the Horse

A 19-track collection that moves between classic forms and restless experimentation.

Framed as a four-sided set, Year of the Horse is a comprehensive collection of songs from Last Charge of the Light Horse, designed with the pacing of a full-length vinyl experience in mind. The album is also available as a deluxe double LP through Bandcamp.

The album opens with “This is Where,” a track that sets a measured tone while hinting at the album’s wider ambitions. A clean drum break gives way to a mid-tempo structure that nods to 60s psychedelic pop, but the execution stays grounded in a modern indie rock aesthetic.

Across its four sides, the record stretches into a broad survey of styles without losing its center. “Gateway Car” leans into Americana, carrying a road-worn sensibility that hints at the artist's eclectic background. Elsewhere, the album takes sharper turns. “Running My Finger Along The Scar” shifts into a funk-informed groove, driven by a prominent bass line and syncopated guitar rhythms.

“There The Winter Ends” brings in minimal electronic textures, adding space and contrast without overwhelming the organic core of the album. That balance becomes most apparent on “Spoken,” where a shuffle rhythm and straightforward pop-rock structure highlight the songwriting at its most immediate.

By the closing stretch, Year of the Horse presents itself as a carefully sequenced collection rather than a loose assortment. Its variety feels considered, giving each stylistic shift a clear place within the whole.