#Six Discs Track

[jontycrane]

Waiopehu Hut loop

My first tramp in New Zealand for five months due to overseas travels, the Waiopehu Hut loop was a satisfying 33km overnight hike in the north-west part of the Tararua Ranges, close to Levin. It made me appreciate how different hiking in New Zealand is compared with much of Europe, as I carried a much heavier pack with everything I needed, over much rougher and more challenging terrain, and…

[fruitcage]

[doyoulikethissong-poll]

Snow - Informer 1992

"Informer" is a song by Canadian reggae musician Snow, released in December 1992 as the first single from his debut album, 12 Inches of Snow (1993). "Informer" was a chart-topping hit, spending seven consecutive weeks at number one on the US Billboard Hot 100. It peaked at number one on the singles chart in Denmark, Finland, Germany, Ireland, Norway, Sweden and Switzerland, as well as on the Eurochart Hot 100. It entered the top 10 in Austria, France, Greece, Iceland, Italy, the Netherlands, Portugal, Spain, and the UK, where the single peaked at number two during its third week at the UK Singles Chart. Outside Europe, it reached number one in Australia, New Zealand, Zimbabwe, and on the US Billboard Hot 100. In Snow's native Canada, "Informer" topped The Record's singles chart and was a top-10 radio hit, peaking at number nine on the RPM 100 Hit Tracks chart. "Informer" was awarded with a gold record in Austria and the Netherlands, a silver record in the UK, and a platinum record in Germany, New Zealand and the US. In Australia, it received a double-platinum record.

As he was growing up in Toronto, Canada, Snow had a strong interest in rock music, but in 1983 there was an influx of Jamaican immigrants to the neighbourhood and his interest turned to reggae music and he became adept at the use of the Jamaican dialect, or Jamaican Patois. He developed his own style of music, by blending dancehall and reggae with rock and pop music.

Snow served an eight-month sentence in Toronto for assault when "Informer" began getting radio and MuchMusic airplay. The song is based on a separate 1989 incident when Snow was charged with two counts of attempted murder. At the time, he was detained for a year in Toronto before the charges were reduced to aggravated assault, and he was eventually acquitted and freed.

"Informer" won a Juno Award for Best Reggae Recording in 1994. It has been recorded twice in the Guinness Book of World Records as the best-selling reggae single in US history, as well as the highest charting reggae single in history. In Japan, Snow received the Recording Industry Association of Japan's 1994 Japan Gold Disc Award for New Artist of the Year.

In 2019, Puerto Rican singer, songwriter, and rapper Daddy Yankee released a new version of "Informer" as "Con Calma" together with Snow, who recorded new parts. The Spanish-language remake topped the charts of 20 countries and reached the top 10 of 10 others. In 2020, Snow won four awards Song of the Year with Daddy Yankee for "Con Calma" at Premio Lo Nuestro Awards, the Pop Music Award from SOCAN, and they won the Top Latin Song of the Year at the 2020 Billboard Music Awards. "Con Calma" won big at the Latin Billboard Music Awards 2020, taking home six awards.

"Informer" received a total of 68,5% yes votes!

[riaaanna]

QUEEN I boxset spoilers look away if you're waiting for another six hours!!

£200 ish (not QOL store exclusive). Release date for 25 October 2024.

Queen’s self-titled debut album will be remixed and released this October. This is the first time that a Queen album has been remixed. Retitled Queen I for this release, the front cover’s Queen logo, originally designed by Freddie Mercury, will be updated with the addition of the Roman numeral “I”. The original album was recorded in 1972 and was released in July 1973 on EMI Records in the UK and Elektra in the USA.

Featuring the singles “Keep Yourself Alive” and “Liar”, the album achieved Gold sales in the UK and USA, and has been a fan favourite ever since.

This Collector’s Edition sees the album presented in a whole new light, having been newly mixed from the original multi-track masters, and with the song “Mad The Swine” now reinstated into the album running order in its originally intended place.

The bonus discs that complete the 6CD+1LP set include: De Lane Lea Demos (also newly mixed from the original multi-track masters for the very first time); a CD comprised entirely of previously unreleased Queen I session out-take music and dialogue; a CD of instrumental and backing track versions of the album; a live CD featuring some of the best and most interesting live performances of songs from this album (some of which are previously unreleased); and finally, a disc comprised of Queen I tracks that were recorded for BBC Radio One (including DJ announcements).

Queen I – including “Mad The Swine” – is also presented on 180g black vinyl.

The Collector’s Edition is complemented by the addition of a 108-page 12” hardback book, which features a treasure trove of rare and previously unseen photography, hand-written lyrics, Freddie Mercury’s sketches, and more.

Presented in a rigid two-piece box with fold-out poster and four photo prints.

Track List:

Exciting!! 😭💀💸

[yuurei20]

Interview with Twst Music Composer Ozawa Takumi from the Soundtrack:

Q: How were the individual tracks for the Overblot battles created? (pt2)

"The story of Chapter 4 was filled with Jamil's hatred, and I found myself really able to relate to him, thinking- ‘Yes, I totally understand that feeling!,’ which made me like him even more.

I set out to make ‘Showdown in Scarabia’ (Disc 2-26)- the most ominous of all the overblot battle music."

"While I sang the choruses of the other six Overblot battle songs on my own, for this one I added male and female voices to create the atmosphere of frightening incantations infused with envy.

I received instructions to make Vil's ‘Showdown in Pomefiore’ (Disc 3-06) majestic and dramatic. I included tragic-sounding blocks that bordered on cliché. Then there comes a key change, and I remember feeling so happy when Toboso-sensei listened to this track and said, ‘I am able to feel the sadness of not being able to become number one. The oppressive scariness is very characteristic of Vil.’"

"Out of all the overblot battle tracks, Idia and Ortho's 'Showdown in Ignihyde' (Disc 3-11) took the most time to produce.

Similar to the dorm's theme song it goes in the direction of digital Eurobeat, so every instrument (except the guitar) was recreated digitally and it features a lot of different sounds. I believe that the chaotic noises effectively convey the brothers' anger, frustration, anguish, and woe."

"Malleus's 'Showdown in Diasomnia' (Disc 3-14) was designed to be full-on goth rock, which I really enjoyed creating as I am a fan of goth metal.

While the choruses of the overblot battle songs are mostly gibberish, there is a part in this track where Malleus is explicitly mentioned by name. It might be interesting to listen for that detail."

[wheelsgoroundincircles]

1969 Shelby Mustang GT500 Fastback

1969 was, effectively, the final year for the Shelby Mustang. By now assembly had shifted in Michigan from California where it was contracted out to A.O. Smith Corporation. Smith, an established Motor City contractor, had brought a level of serious manufacturing skill, supplier management, procedure and standards never seen at Shelby’s facility where LAX met the vibrant (and sometimes extreme) subculture of Venice, California.

Now largely designed and specified by Ford staffers, the 1969 Shelby Mustang was drastically different visually from the standard Mustangs, with a completely different nose and grille, a wide rectangular opening with blacked out grille flanked by 7” headlights and with Shelby’s characteristic driving lights now smaller rectangular pieces below the attractive, but largely ineffective, bumper. The special Shelby hood had five ducts, three NACA-style surface ducts replaced the complicated but entertaining shaker hoods of years gone by to supply cold air directly to the engine air intake and two extractors at the back of the hood relieving underhood pressure and exhausting heated air in front of the windshield.

A surface duct behind the headlights and a scoop behind the door and in front of the rear wheel arch that was ducted to the rear brakes continued the performance theme. The rear panel was completely different from the Mustang, housing a set of 1965 Thunderbird sequential taillights with the rear license plate placed between them and including a small ducktail spoiler. The area under the bumper where standard Mustangs carried their license plate contained two rectangular outlets for the Shelby’s dual exhaust system. Standard wheels were unique 5-spoke Mag Stars with alloy centers and chrome steel rims.

Under the hood lay the 428 Cobra Jet which had powered the ’68 Shelby GT500KR. Both Ford and Shelby recognized the superiority of the high performance CJ and made it the standard engine for 1969’s Shelby Mustangs. 

At the end of the 1969 model year 789 Shelby Mustangs were in-process at A.O. Smith. They were visually updated with black hood stripes and a chin spoiler and given new VINs. Otherwise the 1970s were exactly the same as the ‘69s making these two years essentially identical examples of the end of the Shelby Mustang series which had begun only a scant six years before.

Avidly sought by collectors and obsessively documented by the Shelby American Automobile Club, most Shelby Mustangs are well known and have well known histories. Occasionally, however, a example appears which has been out of sight for years. Even more rarely it turns out to have been little used and continuously maintained by a thoughtful and caring single owner for nearly forty years.

The Black Jade 1969 Shelby Mustang GT500 Sportsroof fastback offered here is one of those rare and highly desirable cars. It was delivered new to Ford’s dealer in Yokohama, Japan, Marubeni Motors K.K., and was sold thereafter to its first, and only, owner in Japan. It has been repainted in the original color once but is otherwise completely original, as delivered and has only 84,941km on its metric-calibrated export speedometer (52,779 miles.) Its sympathetic maintenance and care shows throughout in its clean, straight, rust-free condition.

Power of course comes from the 428 cubic inch Cobra Jet Ram Air V-8 engine which Ford and Shelby conservatively rated at 335 horsepower at 5,200rpm and a gut-wrenching 440 lb-ft torque at 3,400rpm. It puts the power through Ford’s highly regarded C-6 automatic transmission and Traction-Lok differential with high speed 3.00:1 gearing that takes full advantage of the CJ engine’s torque. In addition to the highly desirable drivetrain specification it is loaded with options including the Visibility Group, Goodyear white letter tires, Sport Deck folding rear seat, power front disc brakes, power steering, tilt steering column, Selectaire air conditioning, AM/8-track stereo radio, tinted glass, deluxe belts, tachometer and trip odometer.

It is finished in one of the Shelby Mustang’s most attractive colors, Black Jade. The interior and high back buckets seats are upholstered in black Clarion Knit/Corinthian vinyl that complements with Black Jade exterior.

It returned to the U.S. in 2006 but has never been titled by its current owner so it remains a one-owner car. Its absolutely clear history, one-owner provenance, highly original condition with known mileage and extensive options list are attributes shared by few Shelby Mustangs of this age. This is a rare opportunity for an astute collector to acquire a particularly significant, unmolested Shelby Mustang from the last, and most highly developed, series.

1969 Shelby Mustang GT500 Fastback

Powered by a 428ci V8 engine mated to a C6 automatic transmission, this beauty includes the original #Shelby owner card, a copy of the Shelby work order and Window Sticker.

1969 Shelby Mustang GT500 Fastback

1969 Shelby Mustang GT500 Fastback

[vulpixisananimal]

(Mirabelle) (Thai belongs to @lavender-tea-dragon)

(You cut down the next sadness with ease, your sword slicing through it like butter. You step back, panting, that was the, seventh? Eighth? Glancing around, you can see Isa and Ramos back to back, Odile being helped up by Bonnie, Nille protecting them both, and-)

"MIRA!!"

(You turn, a sadness was rushing at you-)

(In a blink it was sliced clean in half. Siffrin, well, Null, landed a few feet in front of it, his new sword in hand, smiling. Actually, this might be the first time you've seen him smile.)

"T-thanks Null! Having fun?"

"No." (He said, still smiling.) "I never have fun."

"Heh, of course! Oh! lower your stance a little, leg to the-"

(You hear a protest from Odile.) "Now is not the time Mirabelle!"

(You and Null nod at each other, then dive again into the fight.)

(You had made it to Wolworth, and not a moment too soon! You were walking down the road when Null suddenly started running. "Stage time" was all he said. After a very winding sprint, you got here in time to see a wave of sadness storming the city gate.)

(There were SO MANY!!!)

(You throw a scissors sign, your sparkly discs of light slicing into another sadness. The one saving grace here was that these sadness were comically weak! B-but even then, you had to fight the off!! You might not get hurt but if even one makes it in-)

"How ya doing Mira!" (Isabeau yells) "I'm on about eight!"

"Six, here!" (Ramos adds, cracking a fist into another sadness.)

"Are y'really keeping track?!?" (Nille raised an eyebrow, keeping a sadness away from Bonnie and Odile.)

"Of course!" (Isa smiles.) "It's for the competitive spirit."

(You giggle, at least your friends could help make light of it all! You turn to face another sadness, but an arrow pierces it before you can attack. Someone at the gate was holding a bow and a satisfied grinn. You wave.)

(There was a small militia in Wolworth, just a group of everyday people who would come running to fight sadness, but they were overwhelmed when you showed up. Just behind that gate were half a dozen people nursing wounds. Change, they must all be so brave.)

(The wave was thinning out, you stab another, duck back, Null jumps in to strike. It was exhilarating and exhausting. By the time the last sadness fell, your dress was a mess and the tip of your sword felt dulled.)

(You're panting, look around, make sure it's all clear.) ". . Everyone alright!?!"

"Good here!"

"Alive!"

"Tired but great!"

"Safe!!!!!"

"I'm okay."

". . . Well done." (Null sheethed the sword and walked over to you.) "Saving the day yet again with no. . . Urgh-"

(Nulls knees buckled and he collapsed to all fours, breathing heavily. You rushed to his side, healing ready. You heard the others thunder over too.) "A-are you okay?!? Craft exhaustion??"

"Y-yeah-" (He was gasping for air, you got a small tonic out and handed it to him.)

"How many times did you loop just now?" (Odile asks, you could see the worry hidden behind her eyes.)

"Only, two times." (Null drinks down the tonic.) "First, got here late. Many wounded, had to, try again."

(Isa offers a hand, Null takes it, getting back up. Odile squints at him.) ". . . And the second?"

". . . Wanted to look cool."

"Null!!"

"You CRAB!!!

"Haha!!! That's a TERRIBLE idea!"

"Hey! Look alive." (Ramos gets your attention, they're pointing to the city. Right! Call Null Siffrin in front of other people. None of them want that secret getting out after all.)

(Now that the sadness were cleared, some of that city militia were coming to check the aftermath. One had an arm in a sling, another with a bandage on their head, you noticed one was still sitting at the gate, leg in a cast. You see that person with a bow running up to you all.)

"Change I'm glad you all showed up when you did." (The bowman said. She had a heavy jacket and messy darkless hair. She had a sword and shield at the ready, as well as her longbow and arrows over her shoulder. She had bonding earings, too, a snake and a darkless bird.) "Ha! the saviors of Vaugarde themselves coming to save the city, haha!"

"All in a days work!" (Isa said with a smile.)

"I-I'm just glad we made it on time!!" (You walk up to her, still tired, but smiling.) "I-is everyone okay?!?"

"Just some booboos, some real big booboos, but nothing major. What about him?" (She gestured past you to Null.)

"Oh I'm just tired." (Null started.) "Don't worry about-"

"Siffrin here is suffering from acute craft exhaustion." (Odile cuts him off.) "Is there a doctor or someone we could see for medicine?"

"Ha!" (She grinned.) "I know people like that. Sure, there's a medhouse in town, closer to the Wolworth House of Change."

"HEY! ARK!" (One of the other fighters came running over with a limp. He had partially dyed hair and darker skin, they were wearing a striped apron. His bonding earings matched hers.) "Who won!"

"Oh yeah!" (She, Ark? Turned to Isa.) "How many ya get?"

"Oh! I got ten! Ha."

"CRAB YEAH!!!" (The newcomer replied.) "No way anyone could beat that!!"

"Twelve." (Odile replies flatly.) "I guess I'm not anyone."

"COME ON!" (The newcomer pouted and crossed his arms.)

"Told you, Thai." (Ark looked smug, holding out a hand.) "Don't underestimate a book. Pay up-"

(Null coughs into a hand, attention at him.) ". . . Seventeen."

"WHAT?!?"

"NO CRABBIN' WAY!!"

"HAHA!!! YES!!! THAT'S MY BUDDY!!!"

(Thai gave Ark a smug look right back and put his money pouch back. You couldn't help but giggle.)

". . . Aren't you two bonded?" (Bonnie squints at them.) "You'd just have the same amounta money."

"It's about PRIDE! Kid!!" (Thai jeers back. Uhoh.)

"'M NOT A KID!!!" (Bonnie got all big and tall, ready to fight this stranger before Ark got between them both.)

"OH HOW RUDE OF ME I DIDN'T INRODUCE MYSELF! Ahem- My name's Ark (she/her), I help organize-" (Thai punches her in the shoulder) "Ow- Right. I'm in charge of this little group of guards-on-demand."

"Guards on demand?!?" (Thai crosses their arms.) "PUH-LEASE. We kicked their crabbin sadness butts!!!"

"How's the leg." (Ark grinned, Thai winced, still limping, point proven.)

"FINE Whatever. Oh, uh, I'm Thai (he/they), I'm just a tea guy who likes kicking sadness in the face!!" (Thai strikes a heroic pose.)

"Tea?" (Null perked up.)

"YEAH!!! The Tea-vern!! Toughest place in town with the BEST tea IN VAUGARDE!!!"

"Ooooh that's fighting words." (You say jokingly.) "I've had some really really good tea before!"

"We'll I'll make it BETTER!!"

"O-kaaaay we wont keep you guys any longer." (Ark interrupts, putting a hand on Thai.) "We got to clean up the place, thanks again, all of you."

"Thank you all so much!" (You wave goodbye as you head into town.)

"HEY IF Y'LIKE TEA COME BY TO THE TEA-VERN!!" (You hear Thai yell after you.)

(Well, that was a very warm welcome!)

(The city of Wolworth had nice cobblestone streets with a few carts and sturdy looking houses. From what you remember it was built by an architect who wanted to build a city to last, and it did!)

"Ah Wolworth. . ." (Ramos sighed and smiled as you walked through the main gate.) "Can't get rid of me that easily."

"Glad to be back? (Nille asks.)

"Yeah! Can't wait to see Eri again, I hope they're doing good without me!"

"Your guardian, right?" (Null asked. rubbing his head.) "Memory."

"No you're right! Eri! Last letter I sent them was around, well, the King stuff."

"It'll be a reunion to celebrate then!" (Isa cheers.)

"What about 'Frin?" (Bonnie pipes up, poking Null in the side.)

"Right! Well, we should get him to the medical house, but. . ." (You rub your chin, thinking.) ". . . I-Isa could you help me get Sif there? You all go on ahead an meet Mx. Eri!"

"Fine by me." (Null nods.)

"Aww, I wanted to meet 'em sooner but that's okay!" (Isa beams.) "Sifs health comes first!"

"That should be fine." (Ramos nods.) "We'll have the house all ready for you too. Heh."

"Perfect! I'm sure they'll be glad to see you, Ramos!" (You patted them on the back.) "I think we're going opposite directions, right?"

"Yep! You go that way to the House of Change, and the medhouse will be around there. But we're going this way!" (Ramos couldnt wait, and was already walking, jogging off.)

"WAIT UP YOU CRAB!!!" (Bonnie chased them.)

"LANGUAGE- Oh we'll see you guys later, K?" (Nille waves and runs after.)

"Gems. . ." (Odile sighed.) "I thought we were done with the running."

"Cardio is good for you M'dame!" (Isa says encouragingly. Odile just rolled her eyes and chased after the others.)

(The three of you started off in the other direction. It wasn't far, but, it was just far enough to give you a chance to talk about The Thing.)

". . . . S-so!" (You cough into a hand.) "Null, M-mind if I ask about. . . W-well. . . The Ramos thing?"

(Null looks at you and huffs.) "With Siffrin?"

"Yes. With, Siffrin."

"I've been, meaning to ask about that too actually." (Isa adds, he sounded sheepish.) "I promised not to pry but Ramos' really anxious about it."

"Right." (Null breathes in, and out.) "We have reached an agreement, as a Constellation."

"Oh?"

"Yeah?"

(Null nods.) "Mhm. Myself, Mal, and Loop have until we meet and get to know Eri to prove Ramos is a danger."

(You listen intently, Null continues.) "That deadline gives us time to get to know Ramos more, and meeting Eri will help confirm if Ramos is a good person. After that, Siffrin can do whatever they want."

"Right." (You nod. You saw the medhouse come into view.) "So, we'll find out soon, right?"

"Mhm" (Null sighs.) "And you're fine with it, Isabeau?"

"Huh? Oh yeah! I'm fine with it." (He was smiling ear to ear.) "Pretty excited actually!"

". . . Good."

(You walked up to the small one story building with a little tilted plus on the door, there was a little porch out the front. The medical house was just up the street from the House of Change.)

"Here we are! Ready, Sif?" (You turn and ask.)

(Null looked exhausted, but he smiled.) ". . . Ready as ever."

"That's the spirit." (Isa smiled at him.)

"Alright, let's go!" (You turn to the door and open it.)

(The inside was a little waiting room. A desk, a few chairs, and some random books. There was a couple of people here already, one had a doctors coat with some papers. The other had a vest, dark hair, bonding earings, and-)

"It's you!!!"

(Perci turns to you, the shock on his face was obvious. Your reach for your sword-)

"O-OH!! Yes I'm sorry for running out on our get together but I just had to check on my bonded!!" (Perci interupts anything you were about to say, he turned back to the doctor.) "A-and, you're sure they'll be alrght?"

"I'm positive, Mr. Monet. She just needs a few more days rest."

"Oh change, thank you, you've put my heart at rest. ." (He's smiling, normalcy intact.)

(He turns to exit, pausing a second. You see him very clearly and purposfuly put his hands into his vest pockets, one of them was bandaged. You take your hand away from your sword and step to the side. He waits a second, then walks past the three of you.)

"We can catch up outside." (You hear him whisper.)

(. . . What was HE doing here.)

"Friend of yours?" (The doctor asks.)

"Somewhat." (You reply simply- Oh crab.) "B-but enough of that. Could you help us? My friend here's suffering from craft exhaustion."

"A second case in so many days?" (The doctor chuckled.) "People need to remember to take crafts slow."

". . Haha, yeah, I know, right?" (Isa tries livening up the tone, helping Null over to the doctor. He glances at you, and nods. You nod back.)

(You pause for a second, the doctor lead them away. You do the Siffrin thing; breathe in. . . And out. . . You turn to the door, turn the handle, and walk out.)

(. . . . Perci was standing on the porch to the right. A soft 'tink tink tink' of metal eminated from a 3d puzzle he was focused on. It was the kind where you were supposed to untangle two things of metal spaghetti from each other.)

(. . . Well he could read your mind, right? didn't you want to talk?)

(. . . He's still focused on the puzzle. Well, fine then. You cough.)

(His head bolts up to look at you. Now that you weren't about to stab him through the chest, you could see the bags under his eyes. He sighs.) ". . Lady Mirabelle."

"Mister Monet." (You reply, taking a step forward.) "You have a lot to answer for you, you crab!"

(He raises an eyebrow, then looks back to the puzzle as he talks.) "Ahaa. . . I'm sure you think I do. . . How's Siffrin? Not sick I hope."

". . . They're fine." (You huff, and look out from the porch.) "It's craft exhaustion, they haven't fully recovered from your friendly scuffle."

"Ah, yes." (Perci pauses again.) ". . . Merlon was very cross with me about that when she woke up. She was not a fan of that loophole I used- ah, pun not intended."

"Hmph." (You don't look at him. 'Loophole', yes, exhausing Null half to death in that fight. Wait, when they woke up?) "Is something wrong with Merlon?"

"Ah. . Yes. She's also been recovering from craft exhaustion since that fight." (He sighs.) "That skill they used was one they never used before. It nearly killed her."

". . . ." (Are you lying to me, Perci?)

". . . ." (He still doesn't respond, the only sound that came from him was the tinking of metal.)

". . . And, so they're still recovering?"

"Yes, she is." (Tink tink tink.) "Transporting matter from one point to another takes an incredible amount of energy. Energy that she didn't have."

"That's. . . Hard to believe." (You were trying to keep calm. It was very, very hard to believe. If Sif can- wait stop thinking! He can still read your mind, right. . ? Or. . .) ". . Can't you read my mind, Perci?"

"Hm?" (He looks up again, then down to the puzzle.) "Oh! Well, yes? But you don't need to worry about that right now."

(He holds up the puzzle.) "A word to the wise if you learn Mind Craft, find something to focus your attention on. If I let my mind wander it will eventually wander to all the minds around me. Imagine hearing the inner monolog of every person around you at once. A puzzle like this, though? A wonderful way to focus."

"Oh!" (You perk up, mind clicking like said puzzle.) "So you really are being honest with me?"

"Of course" (He smiled, back to the puzzle.) "Why wouldn't I- oh dear don't tell me I left such a bad impression you think me a dishonest man."

"You are a dishonest man!"

"Lady Mirabelle, I promise I'm no such- aha!"

(With one last clink, he undoes the two bits of the puzzle, before happily starting to put it together again.)

(You huff.) "Alright, fine. If we're being honest with each other then, then, just know I don't trust you, Perci."

". . . I see." (Perci sighs, pausing a moment again before replying.) "I won't pretend like I can get that trust back. But, I would at least like you to know I'm really not an evil or dishonest man."

". . . I understand." (You sigh, letting yourself relax.) "I. . . It'll be hard to trust you. But, I'll believe that you're not evil." (Not like the King. . .)

". . . Thank you. Aha, actually." (He holds up the bandaged hand.) "Did you know about that little side effect of mind craft? Or did you get lucky in our fight."

"Side effect?" (You tilt your head.) ". . . If that's the wound from our fight, that should have been healed weeks ago."

"Good eye." (He nods, flexing his his hand and wincing.) "Advanced mind craft requires skin to skin contact; it's a connection of the nerves. If you use mind craft a lot like I do, the nerves on where you connect with mind craft become more sensitive over time. And for me, it's my hands."

". . . Oh." (You remember back to that day, how you struck his hand, and how he couldn't hold his sword, afterwards.) ". . S-sorry."

"Don't be, we were fighting after all." (He chuckles.) "But yes, my hands are very sensitive. My swords handles are specially made to be easy on the hands, and I really should get gloves too, but. . ."

"No you should, that sounds like a great idea! For everyone." (You giggle to yourself.)

(He laughs back, and clicks the two pieces of the puzzle back together. He held it out to you.) "Lady Mirabelle, I promise that, until my bonded has recoverd, I will not cause what you consider trouble."

(You look at his outstretched hand holding the puzzle, then to him. There's a quiet, uncomfortable pause.)

". . . Ah! Right." (He chukles, and places the puzzle on the banister, NOW you take it. Looking over, he's already pulled out a new one.) ". . So, deal?"

". . . Fine." (You huff.) "I don't like you, Mr. Monet, but I'll try and trust you here. It would be nice to have a few days without worrying about trouble."

"Ahaha, I imagine. I heard about the dramatics outside the gate. Oh! What brings you to Wolworth, by the way?"

"Oh!" (You look at him, smile on your face again.) "We're actually visiting Eri! Ramos' guardian! Once Siffrin's better we're meeting up, at. . ."

(Your voice trails off. Perci is looking at you, mouth open with a mix of shock and horror.)

(You tilt your head.) ". . . .Is, something wrong."

"You. . ." (You can see him struggling to keep his mask in place, but it slipped. It slipped just enough to see the sorrow behind it. He looks away.)

"You, you don't know. . ?"

[brokehorrorfan]

Friday the 13th (2009) will be released on 4K Ultra HD on September 17 via Arrow Video. Gary Pullin designed the new artwork for the Platinum Dunes remake; the original poster is on the reverse side.

Marcus Nispel (The Texas Chainsaw Massacre) directs from a script by Damian Shannon and Mark Swift (Freddy vs. Jason). Jared Padalecki, Danielle Panabaker, Aaron Yoo, Amanda Righetti, Travis Van Winkle, and Derek Mears star.

The limited edition set comes with a booklet featuring new writing by Matt Konopka and Alexandra West, a double-sided poster, and a Crysal Lake postcard.

The theatrical version and "killer" extended cut of the film are presented in 4K in Dolby Vision with original 5.1 DTS-HD Master Audio. Special features are listed below, where you can also see more of the contents.

Disc 1:

Theatrical cut (97 minutes)

Audio commentary by director Marcus Nispel (new)

Audio commentary by writers Mark Swift and Damian Shannon (new)

Interview with director Marcus Nispel (new)

Interview with writers Mark Swift and Damian Shannon (new)

Interview with cinematographer Daniel Pearl (new)

A Killer New Beginning - Video essay on Friday the 13th and horror remakes by film critic Matt Donato (new)

Terror Trivia track excerpts

The Rebirth of Jason Voorhees featurette 

Hacking Back / Slashing Forward featurette

The 7 Best Kills featurette 

Deleted scenes 

Teaser trailer

Theatrical trailer

TV spots

Electronic press kit

Image gallery

Disc 2:

Killer cut (105 mintues)

Audio commentary by film critics Alexandra Heller-Nicholas and Josh Nelson (new)

A group of oblivious teenagers choose Camp Crystal Lake as the destination for a weekend getaway. Among them, the young Clay Miller (Jared Padalecki) is not looking for fun and frolics, but for his sister Whitney who disappeared around the lake six weeks earlier. The trip turns into a waking nightmare as the bloodthirsty Jason emerges from the shadows, wielding a deadly machete and out for blood. Cut off from civilization, these youths discover too late that Crystal Lake bears the scars of a violent past as they uncover the terrifying events that spurred the masked killer’s quest for violent vengeance.

Pre-order Friday the 13th (2009).

[gazetto-no-ki]

LIVE2024 HERESY LIMITED 【HETERODOXY Vol.3-IMMORTAL CREED-】 2024.09.12 Toyosu PIT - spice.eplus Live report

At every live show, the GazettE's vocalist RUKI always says, “First, thank you for sharing this time with us.” These words are not just a formality; they come from his heart, and during this two-hour performance, it became evident that this is the reality of their world. Thousands of fans filling the venue chose to share the same space and time with the GazettE, directly meeting the members’ gaze and creating an intense sense of unity. What seems like a "usual" sight for their live shows—a sea of fans and the band connecting deeply—is, in fact, a miraculous and irreplaceable experience. This night served as a profound testament to that truth, and it will surely stand as an enormous “trace” (shouseki) in the band’s future path.

In April of this year, the band’s bassist REITA passed away, and this was their first live performance after the memorial concert "HERESY LIMITED 'SIX GUN'S,'" held on May 27th. This show was part of their fan club exclusive series 'HETERODOXY' Vol. 3. Ahead of the performance, vocalist RUKI stated that the setlist would be chosen from across the three-disc best-of album they released about two years ago (the GazettE 20TH ANNIVERSARY BEST ALBUM HETERODOXY -DIVIDED 3 CONCEPTS-). He also explained that the title, "IMMORTAL CREED," carried the meaning of an "undying belief." In other words, the purpose of this concert was to reflect on the band’s journey so far, while reaffirming their unchanging commitment, no matter what happens. After watching the two-hour show, this became an undeniable conviction.

As the start time approached, the SE track "HETERODOXY" played, and five flags, adorned with the logo of their fan club ‘HERESY,’ slowly rose. With the five spirits gathered on stage, the intro to "Filth in the beauty" began, featuring graceful female vocals. This unexpected opening song sparked a cheer from the audience. When this single was released in 2006, its innovative blend of heavy rock and R&B created a buzz, and the floor shook with movement as fans jumped and headbanged at RUKI’s command. Applauding the sight, RUKI then transitioned the applause into clapping, signaling the start of "VENOMOUS SPIDER'S WEB." As the distorted guitar sound filled the venue, laser beams, like spider webs, crisscrossed the inside of Toyosu PIT. Uruha (Gt) and Aoi (Gt) exchanged guitar riffs while Kai (Dr) drove the beat forward, overwhelming the space with the band’s signature heaviness.

“Tokyo! Show me how cool you can be!” RUKI shouted as "VORTEX" began. Uruha had already taken the center stage platform, and RUKI moved fiercely from side to side, riling up the crowd with clapping and headbanging. In the powerful chorus, you could clearly hear REITA’s (Ba) voice, and the excitement in the room continued to rise. This unusually fast ignition of energy showed that the band truly craved the live performance setting, something RUKI hinted at in his next MC.

“Can I be honest with you? I’m so happy to see you. Really, live shows are a place where you can let out any feelings, any emotions, so feel free to do whatever. Show me any face you want. You don’t have to worry; we’ll lead you.”

Next, they performed "GABRIEL ON THE GALLOWS," a hard-hitting, vertical-headbanging song, followed by "FADELESS," a catchy melody wrapped in loud rock. Both numbers combined the decadent theme of ‘falling from grace’ after losing wings, delivering a clear narrative. During the latter’s outro, the spotlight turned to the rhythm section, placing the focus on the bass, and chants of “REITA!” echoed through the venue, etching his presence into that space.

RUKI’s vocals, both smooth and on the verge of breaking with sharp shouts, were bathed in blue lighting and smoke, reminiscent of water's surface, as he walked unsteadily, expressing loneliness through "DRIPPING INSANITY." The song introduced a world of quiet sorrow. In "QUIET," where the powerful drumming felt like it could blow everything away, RUKI sang "For now it's goodbye" but didn’t complete the line "The habit of leaving an empty space by your side." This left the audience with a tightness in their chest. After the poignant guitar echoes faded completely, applause filled the venue. RUKI’s silhouette swayed like a shadow puppet under the heavy, drumbeat-like drumming of Kai, while Aoi unleashed the maddeningly beautiful intro phrase of "GODDESS." The performance, drenched in red light, ends with RUKI singing of a broken mind, and just as he repeats the words "Are you testing me?" the curtain lifts on "BABYLON'S TABOO." The red lights flickered like candy threads across the hall, while RUKI whispered the spell-like phrase "ADE DUE DAMBALLA," creating a dark and unsettling atmosphere akin to a ritual. The band's heavy, technical, and tricky performance was captivating. No matter how aggressively they stormed through the songs, the deep tracks that followed were always integral, forming the foundation of the GazettE’s profound world.

"After all, live shows are great. Standing here, I feel like this is a place where you can release any emotion. So, everyone, don’t hold back. Let it all out, everything, and follow us from here," RUKI said.

Emphasizing the word "everything," the band’s physical power began to push the emotions of everyone present. In "TWO OF A KIND," RUKI incited headbanging with calls of "Head! Head! Head!" while the audience unleashed their wild energy under the weighty and brisk sound. But it wasn’t just their bodies that trembled—the lyrics like "Knowing the same pain" and "Every time we share our scars" shook their hearts as well. Under the laser beams, "VERMIN" painted a thrilling sight as the crowd leaped high during the chorus, while REITA’s gritty bass lines intertwined with Uruha’s swirling guitar. When the intro to "ATTITUDE" kicked off, the crowd exploded into a massive sing-along and clapping to "Until die!" RUKI rallied the crowd, shouting, "Come on, shout from your gut! Make it reach!" as the guitarists quickly switched positions, driving the audience into a frenzy.

"You're doing great, Tokyo! Can you keep going? You can do more, right? This isn't all you’ve been holding back! Bring it on!" RUKI roared as the crushing low bass of "ABHOR GOD" reverberated through the venue, sparking a storm of headbanging. As the crowd clapped in unison, Uruha and Aoi stood side by side, strumming their riffs, electrifying the audience with their presence. The intense blast beats of Kai and RUKI’s death growl brought the madness of the final moments to a thrilling close.

Then, as RUKI shouted, "Can you handle the last one? The last one!" and Kai hit the bass drum with a steady four-on-the-floor beat, the audience instantly responded with claps and cheers. In perfect harmony with the crowd, the band launched into "TOMORROW NEVER DIES." When RUKI shouted, "I’m singing for you guys!" fists were raised high, and the front members of the band freely ran across the stage, filled with the joy of performing. As the crowd erupted into cheers before the final chorus, RUKI looked up to the sky, repeatedly asking, "Do you hear it!?" The voices from the audience grew louder with each repetition. Needless to say, by the end of the song, RUKI let out a roar, pouring out all of his feelings.

Though REITA’s physical presence couldn’t be seen, his sound, his spirit, and his soul were unmistakably there. Because through the GazettE’s songs, the memories and presence of REITA were etched into the hearts of everyone in the venue.

"First of all, I want to thank you for sharing this time with us. You all have your jobs and daily lives, yet you chose to come to our live show today, and I’m really grateful for that. Truly, I’m genuinely so happy. No matter what expression you have, show me your faces clearly. To be able to meet again on the day we promised—honestly, I think that’s such a blessing. Time is something that inevitably passes equally for everyone, but today, every single second, let’s make this an unforgettable and amazing moment together, you and us."

Responding to the encore, the band reappeared, and RUKI expressed his gratitude as always, speaking about the happiness of being able to gather for the live show, which was met with applause. He followed it with these touching words: "Memories, you know... they're treasures that will never disappear for a lifetime." Then, he began singing the deeply emotional "Anata no Tame no Kono Inochi." (This Life is for You) with heartfelt love and melodic grace.

As he called out, "Let me hear you!" a huge chorus erupted, and during another early song, "Akai One Piece", the crowd joined in with claps, fists, and headbanging, creating a truly spectacular scene. "Go wild and go home! Can you do it?" he shouted, as they launched into "INCUBUS," sending heavy bass through the venue and creating a sea of raised fists, shaking the hall. This led seamlessly into "Hyena," where REITA's shout echoed across the venue from the start. Although REITA's voice and bassline were not live, the overwhelming live experience born in that moment, with the drums, twin guitars, vocals, and the audience's chorus all coming together, seemed to possess a mysterious, superhuman power.

The last song RUKI signaled was "UNFINISHED," a track that unmistakably declared that the GazettE’s journey is far from over, and they have yet to reach their final or complete form. Aoi leaned against Uruha, layering their sound together, while RUKI brought the lyrics "I'll take your hand" to life by gesturing as if pulling the crowd’s hands into his own. The audience responded with all the voice they had, and the unforgettable stage reached its emotional finale.

"Thanks to all of you, we were able to create an unforgettable and amazing day. Thank you. And next year, thanks to your support, the GazettE will be entering its 23rd year. As a surprise, we've prepared a promise for when we can meet again. We'll be waiting for you like this once more. Please spend your precious time with us again. Thank you for giving us such an incredible day today and for always supporting us. Please continue to support the GazettE from here on. Let's meet again. I love you."

As RUKI spoke these raw and sincere words, he gazed across the floor filled with applause before leaving the stage. On his way out, Kai embraced the bass amp. The flyers distributed at the venue's exit announced the tour 'the GazettE LIVE 2025 23rd ANNIVERSARY TOUR Shouseki,' which will take place in January through March next year. The tour will begin at Nagoya's DIAMOND HALL on January 16, continue at Osaka's Namba Hatch on February 6, and culminate on March 10 at the Tokyo Garden Theater, marking the band's 23rd anniversary.

The title of the tour, "Shouseki" ('traces or a trail that will serve as proof in the future'), reflects their earnest desire to leave behind a solid mark as the GazettE continues its journey. What kind of "trail" they will create along the way will depend on the audience who loves them.

[ltwilliammowett]

Half hour sandglass from the wreck of HMS Invincible, before 1758

A sandglass was a method of keeping time at sea, this helped keep track of watches on deck, regulating life on board. During sea passages, the naval watch system divided 24 hours of the day into six four-hour watches with half the ship’s company on watch and the other half off duty. Each four-hour watch was marked every 30 minutes by ringing the ship’s quarterdeck bell.

After the first 30 minutes, one bell would be sounded; thirty minutes later two bells, and so on up to eight bells at the end of the four-hour watch. The circular ends are all made of turned oak marked with a large broad arrow.

The vertical posts are made of pine. The two bowls are separated by a brass control disc with a small central hole and bound together with a sail maker’s whipping.

[carsthatnevermadeitetc]

Felix, 2023 (1969), by Sean Smith Designs. A restomod first generation Camaro fitted with a supercharged Wegner Motorsports 427ci LS7 V8 that produces 1,180hp driving through a Tremec T56 6-speed transmission. In addition to the modified bodywork there's a Fast Track chassis from Roadster Shop with  C7 Corvette spindle and hub assemblies. Stopping comes via Baer six-piston callipers with 14-inch discs all round. The car unveiled at the recent 2023 Grand National Roadster Show in Pomona, California.

[g1rltalk]

Like a Girl is the seventh mini album of the fictional South Korean girl group, GIRL TALK, released on November 16, 2023, through Delphi Entertainment and XG Labels. It’s available digitally and physically and has seven tracks with “Get It” being its title track. There are three versions of the album; “Get”, “Kill”, and “Hit”. GIRL TALK promoted “Get It” and “Nobody Knows” for six weeks.

“Get It” received nine music show wins. The music video received 70.4 million streams and 5.3 million likes in 24 hours. They posted daily content videos of “Sleep-Over with GIRL TALK” on their YouTube channel, held several online and in-person fansigns, as well as appearing on multiple variety shows. They also released the “Kill It” and “Hit It” dance practice versions. As usual, their girl crush and mature concepts always go viral, and this time, it was no exception.

Two weeks after Like a Girl was released, Delphi Entertainment announced GIRL TALK’s documentary film; The Girls Talk. Produced by Jordan Hwang, The Girls Talk is a documentary film that emphasizes each members’ individuality and struggles. According to Hwang, the girls “get real”. The Girls Talk was released on November 30, 2023, in select theaters worldwide. Due to popular demand it re-entered theaters in select countries on December 20 and 21 2023. The film is to be released on YouTube Premium on February 24, 2023.

༺☆༻ TRACKLIST

Get It title track

Nobody Knows promoted bside

Look

Eyes Roll

Love Me Like This

ICU (쉬어가도 돼)

21:29

༺☆༻ ALBUM CONTENT

THREE VERSIONS ( GET, HIT, KILL ) … EACH 1 disc + 1 photobook (112 photos) + 1 random photocard out of 5 types + 1 out of 5 mini solo posters + 1 out of 2 large group posters + 1 lyric book (16 pages) + 2 sets of stickers sheet + 1 random bookmark out of 5 with a member’s kiss stain on it

GET YOUR PHOTOCARDS HERE!

༺☆༻ LOOKBOOK

LEFT Get It RIGHT Nobody Knows

༺☆༻ THE PUBLIC’S VIEW

The comeback was announced on October 20th, giving fans and the public a few weeks to prepare. After it was announced, Yuuri went live with the title “AND THE GIRLS ARE BACK!” where she would spoil Nobody Knows, giving fans the first taste of their newest album. Soojin came in a moment after and took her phone away like she was a child, ending the live with a swift but sweet goodbye.

Now that fans knew that the album would involve a mature concept, boy, were they excited. Of course, they love all concepts by the girls but there’s always something about their mature concepts. Of course, non fans were excited, too.

Minji helped write Get It with Cho Yoonkyung, Holly helped Yoonkyung with Nobody Knows. Minji completely wrote ICU and all the girls wrote 21:29.

The music video would get 70.4 million streams and 5.3 million likes within 24 hours. Therefore beating their previous record of 79.8 million with Devil.

Get It debuted high on the charts, #1 on Bugs, #5 on MelOn, #7 on Genie, and #50 on Flo. It was #19 on Billboard 200. Nobody Knows also debuted #4 on Bugs, #6 on MelOn, and #90 on Flo. The girls tweeted a ten second video of them just screaming. No talking, no pausing, just screaming and then it ends. They followed up with another video, thanking the fans and everyone who listened to them.

Minji said ICU was to a close friend of hers, letting them know she’s always there for them, even oceans apart. She didn’t say which friend, but from the girls’ reactions, it’s safe to assume it’s about someone else.

The girls wrote 21:29 for the fans, one of the many. It was a tearjerker, Holly tears up when they first performed it live at an in person fansign.

Get It and Nobody Knows were promoted for six weeks from November 17th to December 17. Their first out of nine win for Get It was two days later on Inkigayo. They had two additional wins for Nobody Knows— which one of them they won against Get It.

As usual, the girls were active on social media. They especially posted a lot on TikTok, posting videos nearly every day and when they skipped one, Blossoms jokingly wondered if the girls were kidnapped or dead. They replied to fans on social media and had one or two lives each week.

They went on variety shows such as Knowing Bros and Minji and Mei guest starred in Running Man. Yuri joked on Knowing Bros that she wished We Got Married was still airing, she wanted to be on it. You can imagine netizens’ reactions. They also went on Jimmy Kimmel and performed.

Throughout the era, they released all three versions of Get It’s dance practices. They also released their MMA and GDA performance dance practices. On December 25, they released a special dance practice video where they wore similar outfits to the Mean Girls’ Santa dresses. Soojin and Mei got the cutest outfits and solo stans were pissed.

Most of the girls stayed their natural dark hair color, while Yuri was blonde and Minji dyed her hair blonde halfway through the era, saying that the blonde hair in her photocard was a wig.

Oh, this was Minji and Holly’s eras. They just shined really brightly in this one, going viral almost every other day for a fancam or something they did or said.

People gave Minji such backhanded compliments for her lyrics and voice while somehow degrading her to a ‘dumb blonde’. Holly went viral for her Nobody Knows fancam, people stating it was her choreo like she just does it like it was made for her.

As usual, Yuuri went viral for all the wrong things. People took her words a bit too seriously like her We Got Married comment, and her saying their comeback was the best comeback the entire year. Stupid things like that.

Antis didn’t have one thing to complain about Mei this era for, but you know— they still did.

It’s not a GIRL TALK comeback if there’s not at least one dating rumor. This era’s victim was Soojin, what a surprise.

All of the girls went viral for Nobody Knows, multiple fancams of theirs for the song had more than two million views. This brought more attention to them, both bad and good.

Some people thought it was somehow too raunchy …? As Holly said, “They don’t like people showing their ass, I guess.”

Twitter was in hell for Blossoms. Like it was a constant war every day. They had to defend the girls from so many other fandoms, who called them sluts or untalented, etc. You know the works.

They attended Macy’s Thanksgiving Parade in New York and all stops of the iHeartRadio Jingle Ball tour, meeting a few celebrities such as Sabrina Carpenter, Olivis Rodrigo, Doechii, Melanie Martinez, SZA, and more.

GIRL TALK went to AAA, MMA, SMA, GDA, and CCMA. They went home with at least one award every show.

They released their documentary film The Girls Talk on November 30 in select theaters. The girls shed light on past incidents, reminisce together, and even visit their families in the film as a way to go back to their roots after finding stardom. It will be released on YouTube Premium on February 24, 2024.

On midnight January 1st, the girls dropped a music video for 21:29, a thank you gift to them, concluding the Get It era.

[romanceyourdemons]

cds should come with a little warning label that says the first track of this disc opens with six seconds of silence, DO NOT turn up the volume thinking maybe you’re not hearing it or else a power chord WILL blast you fully into next week

[dustedmagazine]

Redd Cross — S-T (In the Red)

Photo by Albert Licano

The McDonald brothers of Redd Cross have some of the craziest stories in rock and roll, from launching the band at an eighth grade graduation party with, holy wow, Black Flag sharing the bill, to Steve’s dalliance with a 24-year-old girl; he was a preteen at the time.  Now, 45 years later, they’re still at it, not as snotty, bratty and punk as in their “Clorox Girls” days, but still full of hard-hitting hooks.  This two-disc set capture the duo in full-psyched out freak mode, 18 tracks of spiraling, tightly harmonized, punchily played guitar pop that the two brothers have been holding onto since COVID bollixed up a post-Beyond the Door tour in 2020. 

These songs are a good deal more polished than the ones on Redd Cross’s first self-titled recording, a six-song EP released by Posh Boy in 1981.  It opens sweet, strummy and harmonized in “Candy Colored Catastrophe,” a song that kicks into full, electrified, amp-burning gear about a minute into its run.  The shift is pronounced and might remind you a little of Ty Segall, or perhaps its Ty who’s been reminding you of Redd Cross the whole time. 

Topically, the material leans heavily on the joys and tribulations of making music your whole life.  Exuberant “Simple Magic” extols the virtues of uncomplicated hooks (“One, two, three chords!”) while “Terrible Band” slashes and croons around a story about musicians with more ambition than talent. 

Nuggets-style psychedelia is the predominant flavor, sonically, and the band gets especially wiggy on “Witch’s Stand” (name checking Brian Jones, for one thing) and giddy, chorally euphoric “The Shaman’s Disappearing Robe,” which is what might happen if the Minus Five had five espressos. 

The album’s final track, “Born Innocent,” wracks up the power chords like bowling pins while retelling Redd Cross’ unlikely beginnings in middle-school band practice and a precious rejection of the blues.  “We are born, born innocent,” asserts a rallying chorus.  Sure, but where you go from there is up to you. 

Jennifer Kelly

[pretentious-art-love]

Alternative Versions of Frances the Mute and the Tracklist Iceberg Explained!

The Incorrect Tracklists

You know, Frances the Mute is like the bible, there are so many versions now that it is hard to tell which one is the real one. First, there is the fact that in Spotify and a lot of YouTube videos, the movements of Frances are split wrong. First the label split Cassandra in 8 parts instead of the right 5 movements.

Sometimes you will see Pour Another Icepick or Pisacis or Con Safo on Cassandra, when Cassandra has none of those movements, all those are movements of Miranda. You can notice an example of this because Con Safo is heard first at the end of Cygnus and it has its reprise on Miranda, it cannot be heard in Cassandra at all, Pour Another Icepick is the second ballad of the album, the one with the trumpets on Miranda.

If you want to know the correct order, Wikipedia has it listed as "Original track listing", or well, the supposed correct order, because there is no source regarding that section, and you can split Cassandra in several ways based on the 5 movements. The only proof we have is that the original CD tracklist with the 8 splits fit with the 5 movements if you add them up. I swear, nobody knows what the real division is, but for the sake of simplicity, let's go with Wikipedia's version for this discussion.

It goes more or less like this:

-Cygnus….Vismund Cygnus

Sarcophagi (0:44)

Umbilical Syllables (2:34)

Facilis Descensus Averni (5:26)

Con Safo (4:18)

-The Widow

The Widow (5:51)

-L'Via L'Viaquez

L'Via L'Viaquez (12:21)

-Miranda That Ghost Just Isn't Holy Anymore

Vade Me Cum (4:17)

Pour Another Icepick (4:38)

Pisacis, Phra-Men-Ma (2:42)

Con Safo (1:32)

-Cassandra Gemini

Tarantism (0:39)

Plant a Nail in the Navel Stream (4:06)

Faminepulse (16:27)

Multiple Spouse Wounds (10:25)

Sarcophagi (0:55)

If digesting the album in each track is hard for you, perhaps contextualizing the songs in each one of its more smaller sized movements will help you understand more about which one is trying to do and pick the ones you like more easily as well as let separate your favorites from the ones you don't like. You will have to edit it yourself, though.

The missing song

But still, it doesn't end there, you see, there is a hidden title track, a track that was not released with the album.

It is said the label didn't trust them enough to make a double album, since it would make it more expensive, really, so the title track got cut (don't ask Omar, he said it was cut due to an artistic decision, and I bet he would never able to accept he had to give in to the requirements of the label), so it was later released as a single.

The title track has movements as well and they go as it goes ahead.

-Frances the Mute

In Thirteen Seconds (7:22)

Nineteen Sank, While Six Could Swim (3:34)

Five Would Grow and One Was Dead (3:40)

Normally, people add this track to the beginning since the last movements has the riffs of Sarcophagi on repeat, connecting it with Cygnus. Some people like to put it at the end after Multiple Spouse Wounds and then add the Sarcophagi reprise of Cassandra afterwards to keep Cygnus intact as the opener.

My favorite version is keeping the title track as the opener. For the people who say Cygnus is the ultimate opener, maybe it will kick you into action faster, but with the title track, the whole album becomes symmetrical. Consider it a double album, one disc has 9 songs with 45 minutes of music, and the other has 10 songs with 48 minutes of music. So everything is around the same length.

-Frances the Mute

In Thirteen Seconds (7:22)

Nineteen Sank, While Six Could Swim (3:34)

Five Would Grow and One Was Dead (3:40)

-Cygnus….Vismund Cygnus

Sarcophagi (0:44)

Umbilical Syllables (2:34)

Facilis Descensus Averni (5:26)

Con Safo (4:18)

-The Widow

The Widow (5:51)

-L'Via L'Viaquez

L'Via L'Viaquez (12:21)

Second Disc

-Miranda That Ghost Just Isn't Holy Anymore

Vade Me Cum (4:17)

Pour Another Icepick (4:38)

Pisacis, Phra-Men-Ma (2:42)

Con Safo (1:32)

-Cassandra Gemini

Tarantism (0:39)

Plant a Nail in the Navel Stream (4:06)

Faminepulse (16:27)

Multiple Spouse Wounds (10:25)

Sarcophagi (0:55)

Even more, miranda works as a brand new introduction to the second disc just as the first movement of the title track does, one is industrial drone, other is dark ambient, both are non music type of tracks that give a creepy aura to each one of the sides of the album.

Overall, whatever version you make as long you have the title track, Frances the Mute becomes the double album it was originally intended to be…. or does it?

The restored ending

It doesn't end there. Because, you see, in my opinion, cutting the title track messed up not just the flow of the beginning of the album but also the coda of Cassandra. Some people think Cygnus is the ultimate opener, and true, it kicks and gets you into action right away, as it stands, it is stronger than the title track, but I would argue it doesn't give you the best idea of what the album is going to be, because there are interludes and ambient passages, with Frances as the first track the listener is forced to open up to weird sounds from the first second, and then get a reward after that for their patience in exploring the most abstract moments of the record, besides, there is a very crucial detail that changed everything and the reason I think the album in its released state is not the best experience.

First, the album goes in a time loop, right? It starts with Sarcophagi and it ends with Sarcophagi, right? It is a reprise of the beginning that ties everything together. And it sounds kinda neat at first… but the thing is that the transition from Multiple Spouse Wounds to Sarcophagi is super jarring and completely abrupt. And not just that, it doesn't let Cassandra properly explode, it is as if you ended the song in its bridge rather than the last final chorus reprise. All of these years I have known Frances the Mute I never quite got Cassandra Gemini ending and I considered Frances the Mute not my favorite because the pay off for half of the album, Cassandra, it is absolutely chopped off. Personally, I hate it, I hate how it ends, it just ruins the build up.

Let's go back a bit, we said that the album references the first song of the album at the beginning, right? Sarcophagi, from Cygnus, but wait, that is all wrong, the first song of the album is not Sarcophagi, or Cygnus in general, it is the Frances the Mute title track, right? So the reprise should not be Sarcophagi, but of the title track! See? It's all a conspiracy!!

Try this out, split Cassandra into its right movements, but instead of adding Sarcophagi at the end, add the last movement of the title track Frances the Mute, around the 11:11 mark, or 1:15 if you did split it. Since we do not have the stems, you will have to sync the final scream of Cedric with the drop of the title track, the way the guitar goes from major notes to minor notes will give a tape slowing down effect and the album will go back full circle from Cassandra to the climax of the first track, Frances the Mute, doing the time loop and connecting the whole album altogether exactly when Cedric sings "THIS NEVER HAPPENED".

It gets better though, you might be a bit sad having Sarcophagi reprise getting cut, right? But the truth is that it is not getting cut, at least not entirely. Since Frances the Mute was released as a single, the final 2 minutes where it sounds as if Sarcophagi repeats on the radio are left in there, but you could leave them at the end of Cassandra instead, the spooky sounds and electronics help match the ending of the album and the repeating riffs of Sarcophagi will end up referring Cygnus at the end, even if Cedric is not there. For a better transition, you could cut those last 2 minutes from the first time the title track sounds, and just fade out into Sarcophagi from Cygnus, around 12:21 if you have the full track, or 1:22 if you did split it into its third movement like I told you.

It might not sound perfect because that part has the electronics already added, and you know, we have no stems, but it will let you transition more smoothly into Cygnus/Sarcophagi as well leaving the Sarcophagi reprise for the end of the album, when everything has ended.

Isn't it oddly fitting the album loops back to the moment we are told this never happened? As if the whole record had been an illusion we just woke up from?....

As far as it goes, and with the edits I made, this is the final track list I got.

-Frances the Mute

In Thirteen Seconds (7:22)

Nineteen Sank, While Six Could Swim (3:34)

Five Would Grow and One Was Dead (1:31)

-Cygnus….Vismund Cygnus

Sarcophagi (0:44)

Umbilical Syllables (2:34)

Facilis Descensus Averni (5:26)

Con Safo (4:18)

-The Widow

The Widow (5:51)

-L'Via L'Viaquez

L'Via L'Viaquez (12:21)

-Miranda That Ghost Just Isn't Holy Anymore

Vade Me Cum (4:17)

Pour Another Icepick (4:38)

Pisacis, Phra-Men-Ma (2:42)

Con Safo (1:32)

-Cassandra Gemini

Tarantism (0:39)

Plant a Nail in the Navel Stream (4:06)

Faminepulse (16:27)

Multiple Spouse Wounds (10:25)

Five Would Grow and One Was Dead (3:21)

Some people might have gotten used to Sarcophagi as a coda, some people, like myself, never did, so if you are one of those, I recommend you to give this track-list edit a try. In my humble experience I can't believe how better this makes the album is, it is like from earth to heaven levels of difference. It just not makes the pay off for the whole Cassandra pay off well, but also connect the album in a cohesive and dramatic, grandiose way. See? Haha! I am not crazy, you are the one that is crazy! Haha! Ha!

Oh and the mirror thing I don't really know, it is in some versions and not in others, oh well. Maybe they thought it looked dumb (it does).

[agoraphobic-artist]

Kuro-Shit Haul (Late Sep.)

The merchandise shown in this post was all sourced from Japan and is related to the Public School Arc of the series.

Starting with the set of shikishi artboards produced by MOVIC.

I loved that the art shows each person in their representative formal attire for each house, as could be seen during the opening ceremony for the cricket tournament.

The character line-up is pretty much the same as with previous merch for this season: Sebastian and Ciel, followed by the P4 - and our bonus character of Soma.

Next up, a set from the musical rather than the anime.

The Secret of the Public School 2024 Musical were selling Enamel Keychains of the outfits and I absolutely fell in love with them!

(The only thing to keep in mind is that they are a magnet for dust and fingerprints!)

Again, the main six characters we have come to expect but with a bonus character of The Undertaker this time; not sure why he is in those clothes, especially as he doesn't have his mourning locket at this point in the story either but it still is a very nice piece of merchandise.

Next, is the 3rd Japanese release DVD for Season Four of the Kuro Anime.

We have Herman Greenhill and Gregory Violet gracing our outer case this time and the inner illustration is another landscape shot this time of the Thames River.

Included inside the case are:

Episodes 6, 7 and 8 on the Main Disc, A soundtrack Disc, Information booklet and mini pop-up illustration.

The Soundtrack disc is labelled Vol. 2; The Vol. 1 disc was included with the first boxed DVD.

As a side note, a full list of the 19 tracks can be found within the information guide.

Moving onto the guide, inside are a breakdown of the individual episodes, what appears to be an interview and a couple of promotional art pictures in the back.

And lastly, my favourite part of each DVD is the bonus mini Pop-up scene. This particular one is named "Afternoon Break".

Depicting the characters in the Swan Gazebo, Violet is sketching in the foreground, in the middle we have Ciel contemplating his next move.

... and in the background we can find Sebastian... in a tree...

The very last item, is a "Project-Black-Butler" Tea set!

The set includes a Boarding School Edition Cup and Saucer, manufactured by MOVIC in partnership with Aniplex.

Recently, Aniplex held an online lottery, in which the "A" Prizes were themed cups for each house and one relating to the Main characters.

If I had infinite Money and space, I would happily purchase and display all six, however I feel that this separate one encompasses all of the elements tastefully into one commemorative piece.

The teacups pattern begins with a cameo motif wrapped in striped ribbon, there are two fountain pens crafted into the design with a large font initialling the item as Black Butler.

Subsequently, as you work your way around the cup, each house is honoured by their respective flower bordered with more filigree.

The only thing worth mention, is that the gold sections are gritty, like a fine sandpaper to the touch and had left gold streaks on the inside of the box from production. As a decorative piece I am sure that this would cause no issue. However, if someone were handling this item excessively or using it to drink from I am not sure that the pattern would remain intact as it seems to be some sort of transfer as opposed to painted.