tvd: angry but warm (caroline/bonnie fanmix)
I. “Wires” by Athlete
you got wires, going in, coming out of your skin
you got tears, making tracks, that are scared of the facts.
“When she opened up her eyes again she was kind of weirded out by the whole not being dead thing. She was in a hospital, and everything hurt, though, so she didn't waste brain power wondering why she was alive.”
II. “Breathe (2 AM)” by Anna Nalick
no one can find the rewind button, girl, so cradle your head in your hands
and breathe, just breathe.
Bonnie took a deep breath and looked her in the eye. She actually looked kind of sad, Caroline thought distantly. "You're a werewolf."
III. “Shattered” by Trading Yesterday
the silence of this sound is soon to follow, somehow sundown
and finding all the answers is forgetting all of the questions we call home, passing the graves of the unknown.
Caroline sighed and resigned herself to a night of boringness. Well, boringness and werewolf...ing.
IV. “Everything Is Everything” by Phoenix
things are gonna change and not for better
the things i do possess, sometimes they own me too.
She leaned against the fence just outside her house, trying to keep her emotions in.
V. “I Want Blood” by Empires
if it ain’t your love, i want blood from you, desperate and a little delusional, anger’s a lesser disaster
the truth is i got a fever, but we’ve got trouble now, i look for answers but there’s nothing i will see.
Although Bonnie was kind of bony and probably didn't taste very good, so Caroline wasn't sure why the wolf would want to eat her.
VI. “Falling Without Knowing” by Tilly and the Wall
the feeling was psychic, passing through, electric, my palm against your fingers
some kind of magic, moving, was automatic; a crashing cymbal rings outs.
"Warm," Bonnie said. "Angry. But warm."
VII. “I’ll Hold My Breath” by Ellie Goulding
breathe air you’re not used to, tread floors you don’t fall through
you are the risk i’ll always take; the only branch i’ll never break; and i’ll hold my breath.
Caroline didn't want to lose Bonnie just because the wolf was being stupid. She kind of figured she'd lost enough this year.
VIII. “Haunted” by Taylor Swift
you and i walk a fragile line; never thought i’d live to see it break
it’s getting dark and it’s all too quiet, and i can’t trust anything now; oh, i’m haunted.
"Do we have to be like this?"
"Like what?"
"Awkward."
IX. “Madly” by Tristan Prettyman
I’m not surprised that you still call, i’m more surprised that i don’t answer
the time that it took me to realize, there’s a tone in my voice that gives away my selfish choice.
Which was why it sucked that all her feelings for him were turning into this big ball of complicated she didn't even know what.
X. “She Is” by The Fray
this is going to bring my clarity, this’ll take the heart right out of me, this is going to bring me to my knees
she is everything i need that i never knew i wanted; i just want to hold you close to me.
"Are you sure? Because, um, it kind of - I mean, if she was a guy I'd say you had a thing for her. You know?"
"No," Caroline said way, way too loudly.
"Wow," Matt said after an incredibly long and awkward silence, "I never would've called it. Not in a million years."
"Except for how you kind of did, remember? Like, two seconds ago. You totally called it." Caroline took a deep breath. "Before I did."
XI. “First, Love” by She Wants Revenge
(instrumental) - first climax song.
Showtime.
XII. “Power” by Kanye West
i guess every superhero needs his theme music
the clock’s ticking, i just count the hours.
- second climax song.
Crap.
XIII. “Faith Hope Love” by Starsailor
another casual flag left unfurled by love; faith hope love, be enough
got to learn to stand on my own two feet; look back at your life with some kind of pride.
- resolution song.
...she was safe here. She really, truly, finally was.
all zipped up.
And an explanation, if that floats your boat:
The first song - “Wires” - serves, in my mind, as the opening song; the slow, floating song that plays during the opening credits of a movie as Caroline wakes up and realizes what has happened. The slow opening of the song picks up into a stronger ending to the first verse, and images of the party, Tyler, the car crash connect in her head, passing her by like a whirlwind. Her mind, fogged from the painkillers, is still clouded and unsure, tentative, like this song.
The second, third, and fourth songs have the purpose of moving along the initial shock and processing of everything that has happened. “Breathe (2 AM)” has a seemingly hopeful air about it, despite the sad and mellow atmosphere of the music. The emphasis on having another person for support echoes with Bonnie’s initial help in figuring out what’s wrong with Caroline. “Shattered” is calmer, more morose, perhaps. It slows Caroline down-it presents her, alone, coming to terms with what has happened. “Everything Is Everything” finishes this triage of acceptance songs; she realizes the hold this has on her, the power and strength-and consequent problems all attached to this. It’s a bit more chaotic, livelier, but forewarning. It’s unsure, hopeless, dreadful. The percussion section-what I believe to be a triangle-rings out, a lasting tenant of hope for her situation.
Song five - “I Want Blood” - plays as Caroline’s inner-wolf takes over. It’s uncontrollable; it pays no mind to what Caroline’s mind wants. It listens not to reason, but to its own instinct. It’s frenzied and hurried and urgent; it has no time for thought-through plans; only actions. And as much as Caroline tries to control it, it’s almost impossible. She knows this is something to fear, trouble is ahead.
The sixth and seventh songs play off of the turning tides of the dynamic between Caroline and Bonnie: the trouble they face, the shifting emotions, the awkward conversations, and the uncertainty where best friends used to be. “Falling Without Knowing” starts hesitant, but picks up immediately after the first few unsure notes. The scattered musical arrangement plays to the disjointed friendship they have now; the lack of clarity, everything that separates them but still holds them together: the fall. Conversely, “I’ll Hold My Breath” is a bit more certain. It builds on this newness. It acknowledges the uncertainty, the hesitation, the confusion...and it runs with it. It rolls through the punches and declares, with a simple tone-nothing overdone, nothing inadequate, but a dependable statement-that they’ll hold their breath. Whether they realize it or not, it’s a lasting note of what’s to come, what there is to wait for, to look forward to.
Contrarily but not at all, “Haunted” highlights the division between Caroline and Bonnie now that life in Mystic Falls has become that much more hectic. It’s almost angry, vengeful, the way the opening notes pan out. It doesn’t overlook the intensity of the situation; it attacks it head on. As the singing begins, it softens briefly before picking up just in time for the chorus. “Haunted’ portrays the powerful, harsh side of their suffering friendship. But it hopes. Angrily but desperately, it hopes.
Songs nine and ten surround the relationship of Matt and Caroline-their growing separation, Caroline’s growing tendency towards Bonnie, Matt’s decreasing hold to Caroline. “Madly” is light and airy. It holds no grudges. It’s not surprised that they both still try to make the relationship, that Matt still calls and Caroline still answers. It ends the relationship on an easy note, there is nothing to begrudge, nothing to envy, nothing to hate. It shows the gradual, mutual parting of ways. Following is “She Is” which is fairly upbeat and yet mellow at the same time. There is no confliction evident in the music; it’s smooth, it builds and swoops appropriately and accepts what is for what is. It’s admittance of the unexpected, but an agreeing, understanding admittance. It’s an unsurprised acceptance of the “shocking” epiphany. It clears away the fog, brings the clarity as it is, nothing more, nothing less.
The eleventh and twelfth songs are grouped together as the climax songs. The building action all manifests here, in those words of plot and these notes of music and it swoops out. “First, Love” is drawn out for an instrumental piece, steady and consistent. Whether it means to or not, it rises in your blood and sets your heart beating, anticipating. What I believe to be the brass section and the piano play notes that play on suspense, mystery, power. “Power,” fittingly enough, is next, and it releases that collected and harnessed energy in a swift, rap, haunted by the opening and background vocals as warnings that propel the plot forward. What better for the “take down that bitch” scene than a fast-paced declaration of power and determination?
Lastly, “Faith Hope Love” aims to bundle up the story in an open way; it ties the loose ends in a looser way. It sums things up nicely but not too neatly, just enough. It’s a strong song, doesn’t javascript:void(0);tread carefully on the intensity factor, but it’s not necessarily harsh or unnerving. It’s simply forceful, resolute, as any ending ought to be, but within the limits of the imaginable. It’s a promising summation.
you got wires, going in, coming out of your skin
you got tears, making tracks, that are scared of the facts.
“When she opened up her eyes again she was kind of weirded out by the whole not being dead thing. She was in a hospital, and everything hurt, though, so she didn't waste brain power wondering why she was alive.”
II. “Breathe (2 AM)” by Anna Nalick
no one can find the rewind button, girl, so cradle your head in your hands
and breathe, just breathe.
Bonnie took a deep breath and looked her in the eye. She actually looked kind of sad, Caroline thought distantly. "You're a werewolf."
III. “Shattered” by Trading Yesterday
the silence of this sound is soon to follow, somehow sundown
and finding all the answers is forgetting all of the questions we call home, passing the graves of the unknown.
Caroline sighed and resigned herself to a night of boringness. Well, boringness and werewolf...ing.
IV. “Everything Is Everything” by Phoenix
things are gonna change and not for better
the things i do possess, sometimes they own me too.
She leaned against the fence just outside her house, trying to keep her emotions in.
V. “I Want Blood” by Empires
if it ain’t your love, i want blood from you, desperate and a little delusional, anger’s a lesser disaster
the truth is i got a fever, but we’ve got trouble now, i look for answers but there’s nothing i will see.
Although Bonnie was kind of bony and probably didn't taste very good, so Caroline wasn't sure why the wolf would want to eat her.
VI. “Falling Without Knowing” by Tilly and the Wall
the feeling was psychic, passing through, electric, my palm against your fingers
some kind of magic, moving, was automatic; a crashing cymbal rings outs.
"Warm," Bonnie said. "Angry. But warm."
VII. “I’ll Hold My Breath” by Ellie Goulding
breathe air you’re not used to, tread floors you don’t fall through
you are the risk i’ll always take; the only branch i’ll never break; and i’ll hold my breath.
Caroline didn't want to lose Bonnie just because the wolf was being stupid. She kind of figured she'd lost enough this year.
VIII. “Haunted” by Taylor Swift
you and i walk a fragile line; never thought i’d live to see it break
it’s getting dark and it’s all too quiet, and i can’t trust anything now; oh, i’m haunted.
"Do we have to be like this?"
"Like what?"
"Awkward."
IX. “Madly” by Tristan Prettyman
I’m not surprised that you still call, i’m more surprised that i don’t answer
the time that it took me to realize, there’s a tone in my voice that gives away my selfish choice.
Which was why it sucked that all her feelings for him were turning into this big ball of complicated she didn't even know what.
X. “She Is” by The Fray
this is going to bring my clarity, this’ll take the heart right out of me, this is going to bring me to my knees
she is everything i need that i never knew i wanted; i just want to hold you close to me.
"Are you sure? Because, um, it kind of - I mean, if she was a guy I'd say you had a thing for her. You know?"
"No," Caroline said way, way too loudly.
"Wow," Matt said after an incredibly long and awkward silence, "I never would've called it. Not in a million years."
"Except for how you kind of did, remember? Like, two seconds ago. You totally called it." Caroline took a deep breath. "Before I did."
XI. “First, Love” by She Wants Revenge
(instrumental) - first climax song.
Showtime.
XII. “Power” by Kanye West
i guess every superhero needs his theme music
the clock’s ticking, i just count the hours.
- second climax song.
Crap.
XIII. “Faith Hope Love” by Starsailor
another casual flag left unfurled by love; faith hope love, be enough
got to learn to stand on my own two feet; look back at your life with some kind of pride.
- resolution song.
...she was safe here. She really, truly, finally was.
all zipped up.
And an explanation, if that floats your boat:
The first song - “Wires” - serves, in my mind, as the opening song; the slow, floating song that plays during the opening credits of a movie as Caroline wakes up and realizes what has happened. The slow opening of the song picks up into a stronger ending to the first verse, and images of the party, Tyler, the car crash connect in her head, passing her by like a whirlwind. Her mind, fogged from the painkillers, is still clouded and unsure, tentative, like this song.
The second, third, and fourth songs have the purpose of moving along the initial shock and processing of everything that has happened. “Breathe (2 AM)” has a seemingly hopeful air about it, despite the sad and mellow atmosphere of the music. The emphasis on having another person for support echoes with Bonnie’s initial help in figuring out what’s wrong with Caroline. “Shattered” is calmer, more morose, perhaps. It slows Caroline down-it presents her, alone, coming to terms with what has happened. “Everything Is Everything” finishes this triage of acceptance songs; she realizes the hold this has on her, the power and strength-and consequent problems all attached to this. It’s a bit more chaotic, livelier, but forewarning. It’s unsure, hopeless, dreadful. The percussion section-what I believe to be a triangle-rings out, a lasting tenant of hope for her situation.
Song five - “I Want Blood” - plays as Caroline’s inner-wolf takes over. It’s uncontrollable; it pays no mind to what Caroline’s mind wants. It listens not to reason, but to its own instinct. It’s frenzied and hurried and urgent; it has no time for thought-through plans; only actions. And as much as Caroline tries to control it, it’s almost impossible. She knows this is something to fear, trouble is ahead.
The sixth and seventh songs play off of the turning tides of the dynamic between Caroline and Bonnie: the trouble they face, the shifting emotions, the awkward conversations, and the uncertainty where best friends used to be. “Falling Without Knowing” starts hesitant, but picks up immediately after the first few unsure notes. The scattered musical arrangement plays to the disjointed friendship they have now; the lack of clarity, everything that separates them but still holds them together: the fall. Conversely, “I’ll Hold My Breath” is a bit more certain. It builds on this newness. It acknowledges the uncertainty, the hesitation, the confusion...and it runs with it. It rolls through the punches and declares, with a simple tone-nothing overdone, nothing inadequate, but a dependable statement-that they’ll hold their breath. Whether they realize it or not, it’s a lasting note of what’s to come, what there is to wait for, to look forward to.
Contrarily but not at all, “Haunted” highlights the division between Caroline and Bonnie now that life in Mystic Falls has become that much more hectic. It’s almost angry, vengeful, the way the opening notes pan out. It doesn’t overlook the intensity of the situation; it attacks it head on. As the singing begins, it softens briefly before picking up just in time for the chorus. “Haunted’ portrays the powerful, harsh side of their suffering friendship. But it hopes. Angrily but desperately, it hopes.
Songs nine and ten surround the relationship of Matt and Caroline-their growing separation, Caroline’s growing tendency towards Bonnie, Matt’s decreasing hold to Caroline. “Madly” is light and airy. It holds no grudges. It’s not surprised that they both still try to make the relationship, that Matt still calls and Caroline still answers. It ends the relationship on an easy note, there is nothing to begrudge, nothing to envy, nothing to hate. It shows the gradual, mutual parting of ways. Following is “She Is” which is fairly upbeat and yet mellow at the same time. There is no confliction evident in the music; it’s smooth, it builds and swoops appropriately and accepts what is for what is. It’s admittance of the unexpected, but an agreeing, understanding admittance. It’s an unsurprised acceptance of the “shocking” epiphany. It clears away the fog, brings the clarity as it is, nothing more, nothing less.
The eleventh and twelfth songs are grouped together as the climax songs. The building action all manifests here, in those words of plot and these notes of music and it swoops out. “First, Love” is drawn out for an instrumental piece, steady and consistent. Whether it means to or not, it rises in your blood and sets your heart beating, anticipating. What I believe to be the brass section and the piano play notes that play on suspense, mystery, power. “Power,” fittingly enough, is next, and it releases that collected and harnessed energy in a swift, rap, haunted by the opening and background vocals as warnings that propel the plot forward. What better for the “take down that bitch” scene than a fast-paced declaration of power and determination?
Lastly, “Faith Hope Love” aims to bundle up the story in an open way; it ties the loose ends in a looser way. It sums things up nicely but not too neatly, just enough. It’s a strong song, doesn’t javascript:void(0);tread carefully on the intensity factor, but it’s not necessarily harsh or unnerving. It’s simply forceful, resolute, as any ending ought to be, but within the limits of the imaginable. It’s a promising summation.