(The scans came out illegible)
Full Version: The T.Y.O.C.M. Club
Pages: 1, 2, 3, 4, 5, 6, 7, 8, 9, 10, 11, 12, 13, 14, 15, 16, 17, 18, 19, 20, 21, 22, 23, 24, 25, 26, 27, 28, 29, 30, 31, 32, 33, 34, 35, 36, 37, 38, 39, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50, 51
If it's not much trouble
(The scans came out illegible)
(The scans came out illegible)
Damn interweb didn't blow them up as big as I scanned them. 
Just give me a few minutes, love.
Just give me a few minutes, love.
Thanks dear
(and take your time, there's no hurry
)
edit: It's out next week
(and take your time, there's no hurry
)edit: It's out next week
QUOTE(Eleanor Rigby @ Jul 3 2006, 02:42 PM) 
^
You already bought the album?? It doesn't come out for another 8 days! 
Guess who has new scans...
Rolling Stone #1
Rolling Stone #2
I know the first one got a bit cut off, and the pic did too on the second. But Rolling Stone makes their mag way to fucking big for my scanner.
If you want me to type out the article(s), I Will.
oh,no,I didn't buy the album (yet
),I found that pic at the atease.com forum,it seems it's already out in hong kongby the way,thanks for the scans,they're great even though I can't really read them
Many people find Thom Yorke disturbing. And Thom Yorke seems to be one of them. On his excellent surprise solo album The Eraser he creeps himself out constantly, muttering about heartbreak amid waves electronic keyboards. He doesn’t have the rest of Radiohead to buoy him up – it’s just a man and his laptop, with hardly any guitar. Yorke comes on as a Lieutenant Columbo of the psyche, rumpled and haggard, who always has just one more question. On The Eraser, he has some particularly barbed ones. “Are you only being nice because you want something?” he asks his opening title tune. “Be careful how you respond/You might end up in this song.” Like the rest of the album, it’s intensely beautiful, yet it explores the kind of emotional turmoil that makes the angst of OK Computer or The Bends sound like kid stuff.
Yorke recorded The Eraser with Nigel Godrich and kept it a secret until Radiohead hit the road, so nobody would wonder if they were splitting up. The album could hardly sound more different from the superb new uptempo songs Radiohead are debuting on their current tour. Live, Radiohead are killing crowds with Velvets-riffing “Arpeggi” and “Bodysnatchers,” or the Run-DMC tribute “15 Step,” or the trimly rocked-out “Bangers ‘N’ Mash,” which is even cooler than the classic Peter Sellers/Sophia Loren duet of the same name. But The Eraser is full of glitchy electro ballads, in the style of Kid A tracks like “Morning Bell” and “How to Disappear Completely.” The structures are tighter than in Radiohead songs, centered on the vocals – fans hoping for ten-minutes ambient dub doodles will be disappointed. Yorke’s voice has never sounded to fragile; his melodies have never sounded so mournful. In a word, he sounds alone. And it wears him out.
For the most part, these are sad love songs, maybe even breakup songs. They’re pretty straightforward in the lyrics department, detailing a crumbling relationship full of bruises that won’t heal. As Yorke puts it in “Black Swan,” “You cannot kick-start a dead horse/You cannot cross yourself and walk away.” Usually, when the words “you” comes up in a Radiohead song, it’s aimed at some faceless symbol of our sick society. But in knockout tunes like “Atoms for Peace,” “The Eraser” and “The Clock,” Yorke seems to address an individual, somebody with whom he shares complex emotional history. There’s no percentage trying to read autobiography into Yorke’s songs, or anybody else’s – the question isn’t whether they’re about him, it’s whether they’re about you. So let’s say he sounds like he knows what he’s talking about. You might have to go back to Side Two of David Bowie’s Low to hear a guy delve so deep inside the well of synth-pop loneliness.
“And It Rained All Night” is a typical highlight – burbling synths, eerie percussion clicks, Eighties computer-game bleeps. And Yorke sings it exactly like Mick Jager, which is weird. “The Eraser” has a broken stop-start piano sample, while Yorke vows, “The more you try to eraser me/The more that I appear.” “Black Swan” has a growling guitar line and snarling vocals, reminiscent of “I Might Be Wrong.” But the peak is “Atoms for Peace,” where Matmos-like synth static crackles as Yorke tries to decide whether to save his lover from herself, or save her from him. No doubt these would have made excellent Radiohead songs. The Eraser is full of moments where you wait for the band to kick in, and it doesn’t happen. It reminds you how much Radiohead thrive on their sense of collective creation – even at their most downbeat, their camaraderie gives off a life-affirming energy. Yet these aren’t Radiohead songs, or demos for Radiohead songs. There something different, something we haven’t heard before. Lieutenant Yorke is asking new questions, looking for clues to the same old mystery: how to appear incompletely.
by Robert Sheffield
That's the first one. I'll start the second. It's shorter.
Yorke recorded The Eraser with Nigel Godrich and kept it a secret until Radiohead hit the road, so nobody would wonder if they were splitting up. The album could hardly sound more different from the superb new uptempo songs Radiohead are debuting on their current tour. Live, Radiohead are killing crowds with Velvets-riffing “Arpeggi” and “Bodysnatchers,” or the Run-DMC tribute “15 Step,” or the trimly rocked-out “Bangers ‘N’ Mash,” which is even cooler than the classic Peter Sellers/Sophia Loren duet of the same name. But The Eraser is full of glitchy electro ballads, in the style of Kid A tracks like “Morning Bell” and “How to Disappear Completely.” The structures are tighter than in Radiohead songs, centered on the vocals – fans hoping for ten-minutes ambient dub doodles will be disappointed. Yorke’s voice has never sounded to fragile; his melodies have never sounded so mournful. In a word, he sounds alone. And it wears him out.
For the most part, these are sad love songs, maybe even breakup songs. They’re pretty straightforward in the lyrics department, detailing a crumbling relationship full of bruises that won’t heal. As Yorke puts it in “Black Swan,” “You cannot kick-start a dead horse/You cannot cross yourself and walk away.” Usually, when the words “you” comes up in a Radiohead song, it’s aimed at some faceless symbol of our sick society. But in knockout tunes like “Atoms for Peace,” “The Eraser” and “The Clock,” Yorke seems to address an individual, somebody with whom he shares complex emotional history. There’s no percentage trying to read autobiography into Yorke’s songs, or anybody else’s – the question isn’t whether they’re about him, it’s whether they’re about you. So let’s say he sounds like he knows what he’s talking about. You might have to go back to Side Two of David Bowie’s Low to hear a guy delve so deep inside the well of synth-pop loneliness.
“And It Rained All Night” is a typical highlight – burbling synths, eerie percussion clicks, Eighties computer-game bleeps. And Yorke sings it exactly like Mick Jager, which is weird. “The Eraser” has a broken stop-start piano sample, while Yorke vows, “The more you try to eraser me/The more that I appear.” “Black Swan” has a growling guitar line and snarling vocals, reminiscent of “I Might Be Wrong.” But the peak is “Atoms for Peace,” where Matmos-like synth static crackles as Yorke tries to decide whether to save his lover from herself, or save her from him. No doubt these would have made excellent Radiohead songs. The Eraser is full of moments where you wait for the band to kick in, and it doesn’t happen. It reminds you how much Radiohead thrive on their sense of collective creation – even at their most downbeat, their camaraderie gives off a life-affirming energy. Yet these aren’t Radiohead songs, or demos for Radiohead songs. There something different, something we haven’t heard before. Lieutenant Yorke is asking new questions, looking for clues to the same old mystery: how to appear incompletely.
by Robert Sheffield
That's the first one. I'll start the second. It's shorter.
QUOTE(Eleanor Rigby @ Jul 3 2006, 05:27 PM)
Many people find Thom Yorke disturbing.
Poor mixed-up people
QUOTE(Eleanor Rigby @ Jul 3 2006, 05:27 PM)
And Thom Yorke seems to be one of them.
Oh
QUOTE(Eleanor Rigby @ Jul 3 2006, 05:27 PM)
But The Eraser is full of glitchy electro ballads, in the style of Kid A tracks like “Morning Bell” and “How to Disappear Completely.”
.................................................................................................
QUOTE(Eleanor Rigby @ Jul 3 2006, 05:27 PM)
“Be careful how you respond/You might end up in this song.”
Thanks for copying this, Michelle
Thank you for this Michelle!
No problemo.
#2:
During Radiohead’s two-hour show, Thom Yorke played guitar, organ and drums; showed off some near-virtuosic tambourine playing; gave Michael Stipe a shout-out; and preformed a sly hip-shake dance. Though Yorke usually puts on a fervent, nuanced show, tonight he seemed unusually engaged: He amped up his angsty moments, focused his malleable voice with particle-ray command and embarked on sprawling flights of fancy.
Playing a 5,000-seat venue they could have sold out nine times over, Radiohead opened with “The Gloaming,” a hypnotic slow-burner, before trotting out two new songs slated for their next album (due next year): The so-so “Arpeggi” mashed up churning guitar and Yorke’s ghostly moans, and the subtly catchy “15 Step” set Yorke’s agitated, punch-and-jab melody over an almost-dancehall beat.
The eight new songs the introduced in the course of the night mostly played like the toughened up versions of the material on 2003’s Hail To The Thief: Heavy on propulsive grooves and meaty guitars, the songs favored dark sprawl over proper song form but were still plenty engaging. The standout, “Bangers ‘N’ Mash,” was a serrated, punk-schooled barnburner, with Yorke snarling like a speed-addled Johnny Rotten.
College-y, keyboard-driven songs like “Dollars and Cents” featured tweaked arrangements and carefully tended-to details, with guitarists Jonny Greenwood and Ed O’Brien massaging synths and kneeling before analog consoles. And extended “Kid A” was stellar: While the band added and insistent trance-pulse to the album version’s disjointed music box patter, Yorke tossed in mantralike ad-libs amid the song’s warm, meandering melody. But the show was equally strong as a guitarfest. Big, space-rocking oldies, including “Paranoid Android” and “Just” – sounded especially adrenalized, exploding with chunky riffs, noisy skronk and Greenwood’s wailing solos.
Following some tuneful fan-faves including “No Surprises,” which Yorke dedicated to “Monsignor Stipe” – Radiohead launched into a sprawling version of “Everything in its Right Place,” setting a pillowy electric piano and a light techno groove against Yorke’s shape-shifting croon, then leaving the stage one by one as Greenwood mixed what they’d just played into a sea of echoing loops and keyboard spatter. The seven-song encore – featuring a great “Idioteque” – was icing on the multi-layered cake. “Thank you very much,” Yorke said at the end. “It’s amazing that anybody still gives a shit.” What a kidder.
by Christian Hoard
Edit: By the way, the mag also featured a hot two page spread of Johnny Depp.
#2:
During Radiohead’s two-hour show, Thom Yorke played guitar, organ and drums; showed off some near-virtuosic tambourine playing; gave Michael Stipe a shout-out; and preformed a sly hip-shake dance. Though Yorke usually puts on a fervent, nuanced show, tonight he seemed unusually engaged: He amped up his angsty moments, focused his malleable voice with particle-ray command and embarked on sprawling flights of fancy.
Playing a 5,000-seat venue they could have sold out nine times over, Radiohead opened with “The Gloaming,” a hypnotic slow-burner, before trotting out two new songs slated for their next album (due next year): The so-so “Arpeggi” mashed up churning guitar and Yorke’s ghostly moans, and the subtly catchy “15 Step” set Yorke’s agitated, punch-and-jab melody over an almost-dancehall beat.
The eight new songs the introduced in the course of the night mostly played like the toughened up versions of the material on 2003’s Hail To The Thief: Heavy on propulsive grooves and meaty guitars, the songs favored dark sprawl over proper song form but were still plenty engaging. The standout, “Bangers ‘N’ Mash,” was a serrated, punk-schooled barnburner, with Yorke snarling like a speed-addled Johnny Rotten.
College-y, keyboard-driven songs like “Dollars and Cents” featured tweaked arrangements and carefully tended-to details, with guitarists Jonny Greenwood and Ed O’Brien massaging synths and kneeling before analog consoles. And extended “Kid A” was stellar: While the band added and insistent trance-pulse to the album version’s disjointed music box patter, Yorke tossed in mantralike ad-libs amid the song’s warm, meandering melody. But the show was equally strong as a guitarfest. Big, space-rocking oldies, including “Paranoid Android” and “Just” – sounded especially adrenalized, exploding with chunky riffs, noisy skronk and Greenwood’s wailing solos.
Following some tuneful fan-faves including “No Surprises,” which Yorke dedicated to “Monsignor Stipe” – Radiohead launched into a sprawling version of “Everything in its Right Place,” setting a pillowy electric piano and a light techno groove against Yorke’s shape-shifting croon, then leaving the stage one by one as Greenwood mixed what they’d just played into a sea of echoing loops and keyboard spatter. The seven-song encore – featuring a great “Idioteque” – was icing on the multi-layered cake. “Thank you very much,” Yorke said at the end. “It’s amazing that anybody still gives a shit.” What a kidder.
by Christian Hoard
Edit: By the way, the mag also featured a hot two page spread of Johnny Depp.
QUOTE(Eleanor Rigby @ Jul 3 2006, 05:54 PM)
Playing a 5,000-seat venue they could have sold out nine times over, Radiohead opened with “The Gloaming,” a hypnotic slow-burner, before trotting out two new songs slated for their next album (due next year):
*sigh
QUOTE(Eleanor Rigby @ Jul 3 2006, 05:54 PM)
The standout, “Bangers ‘N’ Mash,” was a serrated, punk-schooled barnburner, with Yorke snarling like a speed-addled Johnny Rotten.
QUOTE(Eleanor Rigby @ Jul 3 2006, 05:54 PM)
The seven-song encore – featuring a great “Idioteque” – was icing on the multi-layered cake. “Thank you very much,” Yorke said at the end. “It’s amazing that anybody still gives a shit.” What a kidder.
Fishing for compliments, Thom?
QUOTE(Eleanor Rigby @ Jul 3 2006, 05:54 PM)
Edit: By the way, the mag also featured a hot two page spread of Johnny Depp.
THANK YOU AGAIN, DEAR
It really was no problemo, dear.
The whole magazine was RadioheadAhoy! They must have mentioned them at least 10 times.
The whole magazine was RadioheadAhoy! They must have mentioned them at least 10 times.
QUOTE(Eleanor Rigby @ Jul 3 2006, 06:10 PM)
It really was no problemo, dear.
The whole magazine was RadioheadAhoy! They must have mentioned them at least 10 times.
Jeez, I think I'll go and just get a copy
I have a lot of Rolling Stone magazines and most of them always mention Radiohead or something Radiohead related
thanks for that article
thanks for that article
QUOTE(Vinny @ Jul 3 2006, 11:13 AM)
Jeez, I think I'll go and just get a copy
And then you can read up on Justin Timberlake as well.
QUOTE(Eleanor Rigby @ Jul 3 2006, 06:17 PM)
And then you can read up on Justin Timberlake as well.whoop de doo
Oh darn. I think we've got another tornado coming in...
I better go. Laters.
I better go. Laters.
QUOTE(Eleanor Rigby @ Jul 3 2006, 06:26 PM)
Oh darn. I think we've got another tornado coming in...
QUOTE(Eleanor Rigby @ Jul 3 2006, 06:26 PM)
I better go. Laters.
yeah the past 3 issues have mentioned them and reviewed their live gigs...all as 4 stars and amazing to say the least.
(they think i subscribe yet i've never paid for it...)
(they think i subscribe yet i've never paid for it...)
I get mine from the Barnes & Noble.
Have you seen this man?
it's a cool album promotion I think
EDIT:is Thom wearing make-up in the cover of July's MOJO magazine?
it's a cool album promotion I think
EDIT:is Thom wearing make-up in the cover of July's MOJO magazine?
I don't know but it's a pretty fucked up shot...I want to see the other 10 pages though...
QUOTE(Eleanor Rigby @ Jul 4 2006, 01:27 AM)
Many people find Thom Yorke disturbing. And Thom Yorke seems to be one of them. On his excellent surprise solo album The Eraser he creeps himself out constantly, muttering about heartbreak amid waves electronic keyboards. He doesn’t have the rest of Radiohead to buoy him up – it’s just a man and his laptop, with hardly any guitar. Yorke comes on as a Lieutenant Columbo of the psyche, rumpled and haggard, who always has just one more question. On The Eraser, he has some particularly barbed ones. “Are you only being nice because you want something?” he asks his opening title tune. “Be careful how you respond/You might end up in this song.” Like the rest of the album, it’s intensely beautiful, yet it explores the kind of emotional turmoil that makes the angst of OK Computer or The Bends sound like kid stuff.
Yorke recorded The Eraser with Nigel Godrich and kept it a secret until Radiohead hit the road, so nobody would wonder if they were splitting up. The album could hardly sound more different from the superb new uptempo songs Radiohead are debuting on their current tour. Live, Radiohead are killing crowds with Velvets-riffing “Arpeggi” and “Bodysnatchers,” or the Run-DMC tribute “15 Step,” or the trimly rocked-out “Bangers ‘N’ Mash,” which is even cooler than the classic Peter Sellers/Sophia Loren duet of the same name. But The Eraser is full of glitchy electro ballads, in the style of Kid A tracks like “Morning Bell” and “How to Disappear Completely.” The structures are tighter than in Radiohead songs, centered on the vocals – fans hoping for ten-minutes ambient dub doodles will be disappointed. Yorke’s voice has never sounded to fragile; his melodies have never sounded so mournful. In a word, he sounds alone. And it wears him out.
For the most part, these are sad love songs, maybe even breakup songs. They’re pretty straightforward in the lyrics department, detailing a crumbling relationship full of bruises that won’t heal. As Yorke puts it in “Black Swan,” “You cannot kick-start a dead horse/You cannot cross yourself and walk away.” Usually, when the words “you” comes up in a Radiohead song, it’s aimed at some faceless symbol of our sick society. But in knockout tunes like “Atoms for Peace,” “The Eraser” and “The Clock,” Yorke seems to address an individual, somebody with whom he shares complex emotional history. There’s no percentage trying to read autobiography into Yorke’s songs, or anybody else’s – the question isn’t whether they’re about him, it’s whether they’re about you. So let’s say he sounds like he knows what he’s talking about. You might have to go back to Side Two of David Bowie’s Low to hear a guy delve so deep inside the well of synth-pop loneliness.
“And It Rained All Night” is a typical highlight – burbling synths, eerie percussion clicks, Eighties computer-game bleeps. And Yorke sings it exactly like Mick Jager, which is weird. “The Eraser” has a broken stop-start piano sample, while Yorke vows, “The more you try to eraser me/The more that I appear.” “Black Swan” has a growling guitar line and snarling vocals, reminiscent of “I Might Be Wrong.” But the peak is “Atoms for Peace,” where Matmos-like synth static crackles as Yorke tries to decide whether to save his lover from herself, or save her from him. No doubt these would have made excellent Radiohead songs. The Eraser is full of moments where you wait for the band to kick in, and it doesn’t happen. It reminds you how much Radiohead thrive on their sense of collective creation – even at their most downbeat, their camaraderie gives off a life-affirming energy. Yet these aren’t Radiohead songs, or demos for Radiohead songs. There something different, something we haven’t heard before. Lieutenant Yorke is asking new questions, looking for clues to the same old mystery: how to appear incompletely.
by Robert Sheffield
That's the first one. I'll start the second. It's shorter.
Thats a great article, thanks.
I can't wait for the album!
What I've heard so far sounds amazing.
sweet cheers!!
I FINALLY listened to Eraser...I had to be in the right mindset (downloading all their boots from this tour helped) and it's pretty damn good! Black Swans is the early fave.
so. fucked. up.
so. fucked. up.
So that whole "being a good little girl" thing blew out the window I suppose.
How long is it, on the whole?
How long is it, on the whole?
*le sigh*
Atoms For Peace is fucking amazing.
They're all 4-5 minute songs and there are 9...not bad length.
Atoms For Peace is fucking amazing.
They're all 4-5 minute songs and there are 9...not bad length.
Atoms For Peace is supossed to be fantastic.
Meh, it's a decent length I guess. 40-ish minutes. Just wish there were more songs then just nine.
Meh, it's a decent length I guess. 40-ish minutes. Just wish there were more songs then just nine.
well we have 15 new Radiohead tracks heh
seriously his vocals are top on it
seriously his vocals are top on it
15 tracks? 
Oh hell yes. The Eraser has got to be the best example of phantastisch vocals.
Oh hell yes. The Eraser has got to be the best example of phantastisch vocals.
Have you not heard them all? I have them....with multiple versions...I got a little bootleg crazy.
Err, I've heard a few new songs. ie 15 Step, Videotape, All I Need, House of Cards, Go Slowly, Down Is The New Up...
I have resisted the temptation to download even a single song, ha.
I have masochistic tendencies
Only three days till it's out
I have masochistic tendencies
Only three days till it's out
psh... For you. I've got 4.
I just love to tantalize myself
Anyway.
I wonder what The Eraser vids will be like
QUOTE(Vinny @ Jul 7 2006, 02:08 PM)
I just love to tantalize myself
I love you.QUOTE(Vinny @ Jul 7 2006, 02:08 PM)
Anyway.
I wonder what The Eraser vids will be like
I'm almost doubting there will be any...
This is simply NOT an option.
What if there were vids, but they all included puppets?
QUOTE(Eleanor Rigby @ Jul 7 2006, 09:18 PM)
What if there were vids, but they all included puppets?
I'm not talking to you.
In fact...
I don't wanna hear your voice!
edit: and don't you start shouting now
I don't think there will be vids either sadly.
Would you like me to upload the other songs? I can do that later tonight.
Would you like me to upload the other songs? I can do that later tonight.
QUOTE(Vinny @ Jul 7 2006, 02:22 PM)
I'm not talking to you.
In fact...
I don't wanna hear your voice!
edit: and don't you start shouting now
Sorry, love.QUOTE(plug in delaney @ Jul 7 2006, 02:25 PM)
I don't think there will be vids either sadly.
Would you like me to upload the other songs? I can do that later tonight.
If you would, that would be great. Thanks.
when does it come out, next week right?
well it's definitely worth the wait.
yeah sure, will do
well it's definitely worth the wait.
yeah sure, will do
Tuesday.
oh hey hey http://www.gigwise.com/news.asp?contentid=19430
video for that...?
brilliant choice, fucking loooove the track.
p.s. released on my birthday as well!!
video for that...?
brilliant choice, fucking loooove the track.
p.s. released on my birthday as well!!
QUOTE(plug in delaney @ Jul 7 2006, 09:25 PM)
I don't think there will be vids either sadly.
QUOTE(Eleanor Rigby @ Jul 7 2006, 09:25 PM)
Sorry, love.That's alright dear
QUOTE(plug in delaney @ Jul 7 2006, 02:29 PM)
p.s. released on my birthday as well!!
Best birthday gift ever.
QUOTE(Vinny @ Jul 7 2006, 02:30 PM)
That's alright dear
QUOTE(plug in delaney @ Jul 7 2006, 09:29 PM)
p.s. released on my birthday as well!!
Ahem
Did I ever mention I was born in October?
Like Thom
QUOTE(Vinny @ Jul 7 2006, 02:38 PM)
Ahem
Did I ever mention I was born in October?
Like Thom
psh.. no. You never told me your birthday...
Only Thom is a Libra, and I'm a Scorpio
*sigh
*sigh
I'm an Aquarius.
"When Libra and Aquarius join in a love match, their relationship can serve to heighten and strengthen both Signs' consciousness. These two connect on a high mental level; they share a love of art, people and culture; they both abhor restrictive influences in their lives. They are likely to get along well because they have such similar needs and will not require more of one another than they're both willing to give. Both Signs are also very energetic, enthusiastic types; this relationship is not likely to become stagnant.
Both Aquarius and Libra are concerned with the betterment of the world and their fellow people. Aquarius is the most progressive thinker of the Zodiac, and they always have a new idea in the works. Libra is the diplomat of the Zodiac; abhorring conflict of any sort, they are born balancers (hence their Symbol, the Scales). Libra's urge to avoid conflict put together with a love of intellectual freedom can lead them to be somewhat indecisive at times; when this happens, more decisive Aquarius can step in and help Libra figure out which direction to turn. Libra can return the favor by smoothing Aquarius's occasionally ruffled feathers that result from the Water Bearer's idealistic thinking sometimes crashing down in the face of reality.
Libra is ruled by the Planet Venus (Love) and Aquarius is ruled by the Planets Uranus (Rebellion) and Saturn (Karma). This combination of influences can be an interesting and productive one; Libra and Aquarius should certainly take on other projects together than simply their love relationship, because they can make great things happen using their hearts, their urge for progress and their consciousness of the greater good. These two are an extraordinary duo for standing up for social justice or radical change in the community. "
Oh hell yes.
"When Libra and Aquarius join in a love match, their relationship can serve to heighten and strengthen both Signs' consciousness. These two connect on a high mental level; they share a love of art, people and culture; they both abhor restrictive influences in their lives. They are likely to get along well because they have such similar needs and will not require more of one another than they're both willing to give. Both Signs are also very energetic, enthusiastic types; this relationship is not likely to become stagnant.
Both Aquarius and Libra are concerned with the betterment of the world and their fellow people. Aquarius is the most progressive thinker of the Zodiac, and they always have a new idea in the works. Libra is the diplomat of the Zodiac; abhorring conflict of any sort, they are born balancers (hence their Symbol, the Scales). Libra's urge to avoid conflict put together with a love of intellectual freedom can lead them to be somewhat indecisive at times; when this happens, more decisive Aquarius can step in and help Libra figure out which direction to turn. Libra can return the favor by smoothing Aquarius's occasionally ruffled feathers that result from the Water Bearer's idealistic thinking sometimes crashing down in the face of reality.
Libra is ruled by the Planet Venus (Love) and Aquarius is ruled by the Planets Uranus (Rebellion) and Saturn (Karma). This combination of influences can be an interesting and productive one; Libra and Aquarius should certainly take on other projects together than simply their love relationship, because they can make great things happen using their hearts, their urge for progress and their consciousness of the greater good. These two are an extraordinary duo for standing up for social justice or radical change in the community. "
Oh hell yes.
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