#angstics

[frasiest]

pls share your lesmis top 10. and phantom too if youd like? top 5 if youre not so opinionated

yayyy okay! some of these the order will be a little arbitrary

stars. (this one is not arbitrary)

one day more. classic for a reason

the confrontation

javerts suicide

who am i (this 3 and 4 are p much same level 2 me)

empty chairs

valjean soliloqy ( ESP in los mis. really really good)

prologue/look down

i dreamed a dream

the robbery/javerts intervention (specifically from the symphonic recording. theyve got some funky electric guitar or smth idk but it rocksssss. e quast <3)

as you may have noticed im a fan of javert songs. and of course i could yap abt all of this forever and tweak the list but this is pretty solidly roughly my thoughts

phantom..... this will be a top 7 bc i do not listen to it as much....

point of no return/down once more. hot.

all i ask of you. very pleasing cadence

music of the night

entr'acte i know its not a song per say but its really good.

angel of music (short but i rlly like it)

prima donna. i dont love notes before it tho

masquerade. esp the visual spectacle of it

bonus: til i hear you sing. i definitely watched love never dies but i remember absolutely none of it. i have been listening to this song a lot lately tho thank you mr karimloo for having 2 different versions of it on spotify

also some of these songs are combined differently in different recordings and i mainly listen to the canadian og cast so thats the delineations im going with...

[smeagles]

oo do you remember if mikey & frank met when mikey auditioned for pencey? for some reason i have this idea they met at university. they couldve also met from just being in the same scene, both hanging out w eyeball records. just not sure. and ray..... i know he and gerard had the rodneys (and another band?), but i cant remember how they met or through who?

weirdly enough i’ve never heard any specific stories of how they met, with frank & mikey i assume just through eyeball. just the other day i saw something going around twitter saying ray, mikey, and gerard were childhood friends which i’m almost certain isn’t true but i don’t actually know for sure when they did meet

[wav48k]

gay sex picture.

dude. the gay sex picture

[fagflint]

help where’s the word of god confirming the leverage trio

^ screenshot taken just now but uh yeah if u look up "ot3 from:jonrog1" on twitter youll find. several references to it and how it became a bit of a trend in his writing. again its pretty subtextual In the show like several straight ppl ive watched w have been confused when i told them but um. the head writer+showrunner considers it canon (as well as i think the exec producer but idk). AND he's written fanfiction abt it apparently. so yeah anyways

[sendmyresignation]

if you wanna indulge me, id love to hear your opinions on sing (all of mine are detractory which i know isnt the complete view of the song)

omg id love too!! sorry this took me a sec to formulate post-work haha. i know we don't agree about sing but honestly that's the beauty of music opinions- I feel like it becomes easier to define what I like about things when faced with legit measured criticism anyway

for me, i want to start with the structure and instrumental since it's usually not mentioned (most of the criticisms of sing are exclusively lyrical or intention-focused). it's so cool. and evocative. and full of tension!! my favorite use of synth on danger days, plus the keys and the drums (man i love the dd studio musician drums lmao), really emphasizes sing as a suspended moment both in the album (necessary bridge, tonally, between bulletproof and planetary imo) and in the track itself- its alllll building up to that bridge and final chorus. but there's all these little pieces- the backing vocals, there's so many hidden guitar parts that riff just under all the noise, that opening like, tambourine. sorry for not having a quote on hand but Ray's said he really loved writing sing and it's so totally obvious to me. especially live- part of the reason I was soooooo excited for sing swarm tour edition is that even during dd ray was like absolutely shredding for sing after the bridge. and everytime time it's so good. part of the reason the lyrics don't bother me is sing could stand alone instrumentally and I'd still want to listen to it. (sing also reminds me of Ray's solo music- the sentiment is more significant that the lyrics and the music is itself a vehicle for storytelling)

also though, i think there's a lot of intention with sing (it's up to the listener to determine if that paid off obv) but within the context of dd the record as a pirate radio station, sing has always read as a trojan horse song. making it a single too, like once a song takes on a life of its own outside the record there's new meaning and circumstance. so both within and outside the killjoy universe sing is a vehicle for not just the bridge but the overall sentiment of dd (how fucking excited was gerard when glenn beck took the glee bait) like, yes, i do agree they could've benefited from another pass over the lyrics (i will always defend keeping "sing it till your nuts" bc its sounds like sing it to your nuts though) but I don't personally get the criticism that sing isn't "specific enough" about what exactly it's against or is too optimistic about "sing it for the world"-- i think there are songs on the album (notably planetary right after it!) which do that job just fine. dd is gerard in arguably top lyrical form so theres a lot of meat in the rest of the record like. sing it for the world is a purposely simplistic art is the weapon. like those are the same sentiments rendered very differently!

also like. i do think there was a very directed target at the younger part of their fan base here (girl/boy) which is sweet. to me. like i did hear sing first when i was a young teen (one of the few dd songs i was familiar with) and it did feel huge and empowering at that moment. my chem are their best when they are navigating the dualities of their specific fame, which includes simultaneously making very serious, adult rock music which is concerned with violence death grief and sex, as well as being a role model for younger people and taking them seriously and neither of these are in rhetorical conflict with each other. so like whatever sing is a little juvenile. but it's still filled with passion! taken as a legitimate project with a creative instrumental and a narratively-driven music video. I like that aspect, it works for me. I'll never call it my favorite my chem song but its certainly not the worst when you add in the bridge (i wanted to prove my point without the bridge but like. damn!! it's a good bridge!!!). that's my spiel.

[dulcevenganzaa]

whatre your thoughts on teenagers

ohhh i know people tend to brush her aside bc it's pretty overplayed but it's good. it's a great song even. i love the 70-esque vibe it brings (t.rex hi), tho i wish it leaned a bit more into its bluesy influence a little more. umm you could also probably line dance to it which is a good marker for me, personally.

but tonally (thematically?) it doesn't make a lot of sense in the record:( and i stand by what i said, i don't believe any song on tbp is a filler (and mayyybe you could say that they needed a 2nd (3rd?) single), but i think there's more layers to the song rather than just simply being a commentary on violence in adolescence, especially bc of the perspective it comes from, sure, it's an adult looking in but it's also an adult in a rock-band. < i do think the music video does a lot more to explore that dynamic in particular with the nod to pink floyd, which is i think the only direct (visual at least) link between tbp and the wall ? and the single cover art is a great moment in mcr graphic history imo

also any song with a vibraslap moment is kind of a winner

[milfygerard]

BARRY you watched glow... ohhh ruth & debbie...

RUTH AND DEBBIEEEE

[foolscapper]

✍️🤠