typingnoise: (i'm still here)
I must’ve been about nine. That loose, liminal age where your sense of self is still made of borrowed scraps — the way your mum parts her hair, the songs your older cousin plays in the car, the smell of someone else's house that you think might be better than yours. I was wearing a jumper too big for me and shoes that squeaked on the assembly hall floor. It was a Thursday, which meant recorder practice, custard, and the boy with the chipped front tooth.

He was cool in the effortless way of kids who don’t try. I, meanwhile, tried so hard I nearly tipped over with it. I remember clutching The Secret Garden, trying to look like I understood the sadness of it all. I remember drawing a crow in blue biro on my pencil case. I remember laughing — too loud — when he said something vaguely funny, because I wanted to be seen. Not liked, necessarily. Just noticed. Just enough to change the temperature of the room when I walked in.

That was the first time I remember wanting to impress someone. Not because I wanted them to love me. I didn’t even know what that meant yet. But because I wanted to be something. Interesting. Strange, but in a curated way. Worth the space I took up.

Of course, he barely looked my way. Of course, I pretended I didn’t care. But that flicker — of trying to be shinier, cleverer, a little more like someone he'd remember — has never really left me. It’s just evolved: into mixes burned at midnight, book recommendations too carefully chosen, eyeliner sharp enough to wound.

Funny how a moment that small can echo for years.
typingnoise: (songs for when it still hurts a little)

Just take a look at me now...

It was a Sunday. I must have been thirteen — maybe twelve, with one foot still in childhood but already trying to fold myself into something cooler, sharper, less easily wounded. We were crammed into someone’s older brother’s car, the kind that smelled like knock-off Lynx and stale smoke, and Phil Collins came on the stereo — Against All Odds.

Someone groaned, exaggerated and loud.
“God, who listens to this?”
I did.
I loved that song.

But I laughed along. Said something like, “Ugh, yeah, so cheesy,” and pushed the part of me that sang along at home — curtains drawn, headphones on — deep down. I remember that specific kind of shame. Not because I didn’t like the song, but because I did, and I couldn’t admit it. Not in that car. Not with those people.

Years later, at 23 and mildly drunk on someone’s kitchen floor, that song came on again — tinny and imperfect through a Bluetooth speaker. I started humming before I even knew I was doing it. Across from me, someone smiled and said, “God, this song wrecks me.”

And just like that, I was allowed to love it again.

It’s strange, the things we carry. That moment didn’t break me. No one remembers it but me. But it was the first time I chose to be palatable over being honest. The first time music — which had always felt like safety — became a thing I could get wrong.

Now, whenever I hear Against All Odds, I don’t skip it.
I let it play.

Even if it still hurts a little.

typingnoise: (sad songs & better endings variant)
 They say you never forget your first heartbreak — mine came with a horn section and a deceptively cheerful chorus.

The Beautiful South taught me early that melancholy wears many disguises: a chipper piano line, a baritone muttering something brutal, a chorus you’ll hum in the supermarket and cry about in the car. No band was ever so polite about devastation. “Don’t Marry Her” is a hymn for bitter hope, “Prettiest Eyes” a love song that remembers time isn’t kind, and “Rotterdam” — well, that one just knows.

And then there’s Phil Collins.

Phil, patron saint of the emotionally inconvenient. His voice lives somewhere between a sigh and a plea, and I believed every word even before I understood what they meant. “Against All Odds” is a thunderstorm in slow motion. “Take Me Home” feels like walking alone in a city lit by sodium streetlamps. And “In the Air Tonight”? That’s a song you survive.

These are the artists who made it okay to feel too much, too often. Who said, yes, it’s absurd to be so wounded by ordinary life — but here’s a melody for that. Here’s a drum break that will make your chest cave in. Here’s a line you’ll repeat until it stops hurting, or until it does again.

So this is my love letter: to the unpretentious poetry of pop, to the way sadness sneaks into our softest places via FM radio, to songs that sound like walking home in the rain with your hands in your pockets. To The Beautiful South. To Phil Collins. To every moment that needed their voices.

You helped me name it. You helped me carry it. You helped me dance anyway.

typingnoise: (chipped black nailpolish)
not a checklist.

not a challenge.
just a way to look at the month with both feet on the floor and a hand on the heart.


things to tend to

  • the stack of library books by the bed - return, renew, or finally read
  • the windowsill basil that wants more sun (don’t we all?)
  • inbox zero, but emotionally: reply to that one message you keep thinking about
  • a small corner of the house that could feel more like you with a little care
  • the habit of drinking water before coffee


thoughts to return to

  • you don’t have to earn rest
  • not every silence is a problem to solve
  • things take the time they take
  • joy counts, even if no one sees it
  • nothing blooms all year


music to play on purpose

playlist: songs to make peace with your ghost to
a mix of ache, stillness, and strange comfort:


add your own. haunt gently.


soft hopes

to write more, even if no one reads it
to feel the day instead of racing through it
to keep showing up as someone you like
to be surprised by tenderness
to remember: there is no behind, only beginning again

add your own. haunt gently.


“It doesn’t have to be productive to be worthwhile.”

or, as the breeze through the open window might say:
you’re allowed to just be here.

 

typingnoise: (Default)
this is a journal. not a newsletter. not a brand. not an attempt at anything neat.

i’m rowan (they/them). 42. queer. librarian by day, vinyl night DJ when the moon’s just right.

here you'll find: long entries, soft grief, stray observations, half-formed theories about songs that break your heart in the right way, and maybe what i made for dinner. sometimes silence, too. that's allowed.

i write like it’s 2004 because it still matters to me.
no hashtags, no algorithms. just typingnoise.

stay as long as you like.

Profile

typingnoise: (Default)
Rowan

about me

rowan (they/them)

42 · queer · northern england

scorpio sun, cardigan soul

librarian by day / vinyl night dj for sad hearts

writes like a love letter, edits like a ghost

cat: lionel. not your friend.


journal & personal
daily life — for the small, soft chronicles
personal — general self-reflection
memory work — past recollections, nostalgia
mental weather — moods, emotional check-ins
soft epiphanies — realisations, clarity moments
grief & ghosts — for loss, absence, echoes

meta & thoughts
media thoughts — essays, critiques, deep dives
character studies — exploration of fictional people
themes & threads — recurring motifs, big picture
queer readings — interpretations through a queer lens
things i’m turning over — ideas in progress

rambles & essays
thinking out loud — messy, meandering entries
on love & other disasters — heart-thoughts
overheard in my head — internal monologue excerpts
note to self — affirmations, reminders, truths

reviews & reactions
read lately — books, zines, fanfic
watched lately — films, series, video essays
heard lately — albums, playlists, soundtracks
feelings about media — when the media hits hard
softly obsessed with — hyperfixations, favourites

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