#craft kits for adults

[streetmaille]

Learn to make a beautiful butterfly pendant out of tiny rings with my fun chainmail DIY Kit!

Choose your pattern at: https://streetmaille.etsy.com/listing/660718261

[holidayslane]

Our DIY Make Your Own Ornament Kit called Christmas Cottage is available at https://www.holidayslane.com/kits Each kit is for beginners to experienced ornament makers and includes everything you need to make this retro sequin and beaded ornament [except a few drops of glue].

[mintyvoid]

ugh ive been craving to splurg on a toys and craft kits and fidgets again. Ive always enjoyed them tho could never afford them, and now that i have savings am now super money anxious. Specially with like most toys n kits n blidnbag kinda stuff being more novelty. Most will end up just sitting gathering dust, but i still want it.

I wanna play with slime or get aquatdots or a paint by numbers or diamond painting. Same with like doing elves boxes or japan snacks :/

I think id might go the yt route, but i feel id be too boring. Even tho i think it would be fun and id mostly do it so that if ppl have questions about stuff most dont cover, itd be fun to go back to kits n stuff to really fully explore it. But its such a money sink and my focus should be on my art and freelancing/commissioning..or learning coding and building game prototypes.

But i struggle so heavily with what i want to focus on, that its not surprising that id want to find something else. Ugggh to be earning enough to do both would be a dream.

This kinda is fueled by my slight hyperfixation on explaining things, and exploring new things in every possible way. Id love to be like a product reviewer, i think itd be fun, i dunno.

[shatar-aethelwynn]

"quality is secondary to your enjoyment"

i hate

with my whole heart

anything that prevents you from making art in today's world of recording equipment in pokects video and audio and more

cheap paint cheaper paper

MAKE ART

i want to scream sometimes do at early hours in the morning when the sunset is beautiful and it has been too long since I slept and I have too many things to do and I decide to steal an hour

and make art myself

please

make art

quality is secondary to your enjoyment

make art

make art

make art

make art

make art

[glimmerbugart]

Artristro Watercolor Paint Kit Review

When I teach watercolor classes, I think it’s important for people to try out products that are more budget friendly if they are new to watercolors.

That being said, you can’t compare the best of the best (Schminke, Daniel Smith, etc.) with other brands, but for starters, it can be daunting and scary to spend all sorts of hard earned money on a few tubes of watercolors.

This watercolor set is a great value for what you get and is perfect for beginners. This is the set that I share with my students so they have a decent start with watercolors with an array of shades that will help their imagination and creativity thrive.

If you’re in the market for a kit, definitely give these a try:

[frownyalfred]

You know the "all osha regulations come from blood" thing? I like to imagine the exact thing happens with the Justice League. The list of protocols and rules goes on so long but every single one has a story behind it.

Some of them seem out of place, or down right useless. New members often scoff at the trainings they're tasked to attend.

One of the regulations involves a required emergency survivalist kit on every space craft the Leauge owns, and requires routine inspections of said kits. New members get stuck with that bit of maintenence, and often complain "there's no reason it'll ever be needed." That is, until a begrudged Batman plays a video from the time Aquaman, Flash, and Wonder Woman got stuck on an ice planet with no vegetation or wildlife and they nearly froze to death.

Those who can fly ask why they need to attend trainings on emergency landing procedure. Any founding member gladly points to the framed front page Daily Planet article on the wall. It documents the island-sized crater Superman made after being super-punched back into the atmosphere a few years back.

And so on.

If you kill a civilian, knowingly, out of outright negligence, Batman will be out for blood. You'll be kicked off the League if you're lucky. You're an adult and you should know better. Every single rule and contingency he has in place is either because someone fucked up once, or they're like to fuck up someday.

Over time, those same cocky new members slowly realize that Batman is the one cleaning up after those incidents. He's the one who pays off the families and replaces the equipment. He quietly settles lawsuits and pays for future medical care. He repairs buildings and offers grants to displaced civilians. And then he goes up to the Watchtower, writes up the new regulation, and has to live with that kind of responsibility all over again. Because now they know better. Now there's a rule, and god willing, this won't happen again.

Being stupid, being cocky, just simple ignoring the rules briefly -- it all has a cost. And usually, that cost is borne by the flesh-and-blood humans, not the metas, aliens, or gods. Humans.

[donelywell]

If your taking requests, I liked to see your sonic and tails if they were closer to their actual animal size difference.

January 9 2024

Doodle Request #5!

You have no idea what you've done. This doodle request has made me spiral into making my own self indulgent au.

I've never more times in my life used 'cause I want to' as an excuse for something. This entire au is just self indulgent fluff. At first, I looked at the request and went 'oh, they probably don't realize how small hedgehogs are or how big baby foxes are.' and then I was like 'okay, but Mobian'. AND THEN I was like 'okay, but it'd be funny if Sonic was like- almost an adult in this drawing.' and it just spiraled into this. I want to make so many more doodles of this au FUCK.

So everything isn't set in stone yet, aside form their ages I think.

Amy is 19, she's studying to become a teacher. She works at a daycare.

Sonic is 22, he picks up odd jobs where ever he travels in his van.

Tails is 8, he also picks up odd jobs, but more mechanically centered ones (and way less jobs because Sonic will not allow the kit to overwork himself).

Knuckles is 23, he guards the Master Emerald still, but he also is a pro at arts and crafts (mostly pottery).

I know I wrote 'plane' in the doodles (if you can even read them, my handwriting is a nightmare there), but I was originally thinking van that Tails later modifies into a plane-van combo.

Do they have powers? Yes. Because I want them to. Are there magical gemstones? Yes. Because I want there to. Is Eggman trying to take over the world? Eh, I don't think so. I like chill vibes, plus how is Sonic gonna beat up a Motobug if he isn't even as tall as the tire? Why are they wearing clothes? Because I want them to! Why is everyone but Tails aged up? BECAUSE I WANT THEM TO (and it's funny to me).

Sonic and Tails live in a van (that he stole) and travel around. Sure, Sonic has super speed (he's not afraid of showing it off), but he just likes driving (he had to diy an entire system just so he could drive). Plus, it's fortunate that he stole that van, because carrying around supplies needed for a toddler already twice your size when you met them is definitely not light.

[hellfirenacht]

This Machine...

Summary: Your birthday is coming up, and Eddie makes you a present. 

Tags: sfw, friends to lovers, slightly possessive Eddie and Reader if you squint, Eddie Munson x Reader

Word Count: 3.3k words

Master List

There were certain perks to being the school’s resident dealer. For one, Eddie had made very good friends with the old janitor that kept to himself, flying under everyone’s radar, including Higgins’. The nice perk that came with being friends with ol’ Mr. Greg was the fact that he had the keys to every single room in the school, which meant that Eddie’s lock-picking days were lowered considerably. 

These were good perks to have, especially since your birthday was coming up. Eddie had convinced the art teached at the beginning of every year to allow himself and his club to use the art room to make their Hellfire shirts. The art department had managed to get funding four years ago for a screen printing kit, convincing the board that having the ability to make shirts would create unity within the school. 

Frankly, Eddie thought that was a load of bullshit. But that didn’t mean he wasn’t going to use it to his advantage when he could. So every September, Eddie would gather his little sheepies for an afternoon of arts and crafts, creating the shirts and ruining the ones they were wearing in the mess. Eddie would always try and make a few extra, just in case there were stragglers that needed saving from the conformity of Hawkins High school. Not once did he consider the irony of having his sheep in uniform.

In most cases, the art teacher was willing to work with him and let him in without much fuss. Of course, that was when Eddie was still a student. He had now been a proud high school graduate for seven months and the shock of not being in school had him spiraling for the first month before he found himself working at the Hideout again. Work, rehearsal, work, rehearsal, a thirty minute set at the Hideout if he was lucky, work, rehearsal. 

God, he missed Hellfire. That was the only part of school that he missed; a consistent Dungeons and Dragons schedule. 

Still, it wasn’t all bad and monotonous. Turns out that if you aren’t stuck at school 8 hours a day, 5 days a week you can go other places when children are at school. And when you go to places where kids aren’t, you tend to meet adults. 

Enter you. 

You had been working at the record store on morning shift, and had been for a few months now. Although you had more often than not worked weekends, somehow you and Eddie had eluded each other in the two years of you sorting through the various artists and ringing up customers. 

It had been a Thursday when Eddie met you, a fact he only remembered because the previous night had been the day that Bev allowed him to go on two nights in a row at the Hideout, which had been unheard of for Corroded Coffin. 

“Ain’t no one barely here anyways, Eddie.” she’d said, having long since stopped calling him Junior. 

He had been flying high, and an old drunk had even left him a tip on the bar, enough to drop by the record store and pick up an album he’d been eyeing for a while. You had been standing at the boxes, resetting them and reorganizing them for the hundredth time that week. It had been so slow that day that it was all you could do to keep yourself busy. 

W.A.S.P had been playing at a near whisper quiet volume, and when Eddie asked you about it you had just smiled, shrugged, and said that the owner only allowed you to play them on Thursdays when it was dead, or Sunday morning when anyone who’d get offended by the lyrics would be at church. 

The two of you had been friends ever since. 

A half hour of idle chat about music had turned into five months of late night talks on the phone, hanging out in Eddie’s van, swapping music back and forth, visiting each other during your shifts, and a tentative bi-monthly D&D session with you, and Corroded Coffin. 

Eddie would never know how badly he messed up your sleep schedule, going on late at night with Corroded Coffin when you had a morning shift, but it was always worth it to give him a sober audience member. 

The best nights though, were the times where you’d come over and just... hang out with him. You’d come over to Wayne’s trailer after your shift, or he’d pick you up from your place, and the two of you would just sit and talk. 

You never bat an eye at how messy his room was, and he made sure there was no food left out and would at least make an effort to clean out all of the beer cans in his room. Mostly you’d just sit on his bed and watch him play guitar, or spend hours talking about everything and nothing. 

As much as you enjoyed hearing him practice the same riff on his electric guitar over and over again, you had admitted to him that you always had a soft spot for the acoustic guitar that collected a little more dust in the corner that he’d pull out on rare occasions. 

THIS MACHINE SLAYS DRAGONS

You’d voiced your fondness for the instrument several times, enjoying the combination of Woody Gunthrie’s iconic guitar adjusted for your friends’ eccentric taste. 

Five months of friendship. Five months of hanging out with no pressure, no needing to look after each other, five months of feeling like a fucking human in this damn town. 

And one month of having the most embarrassing and awkward crush on you. 

Eddie had dated before, and he’d been interested in girls and some girls had even shown some interest in him until they realized that Eddie wasn’t someone to be fixed or saved. Eddie had even had sex before, but not to the extreme lengths that he’d found had been circulating in high school. 

Seriously, who had the time to come up with half the shit that this town thought he’d allegedly done? 

You found great joy in hearing about his spin in the rumor mill. Whenever one of you heard a rumor about the Freak, you’d compare notes and laugh about how stupid it was. Of course, Eddie put little effort into actually stopping the rumors, and now that he was no longer in high school it didn’t seem to matter as much anymore. He’d still get dirty looks from people in town but he found that more often than not people would just leave him alone now. Jocks, nerds, freaks, cheerleaders; outside the halls of Hawkins High those words didn’t hold half the weight they used to. 

“So they’re saying that now you spiked the punch at homecoming?” you asked, laughing. “I must have missed that dance.”

“Yeah, so did I. I only went to homecoming once in school and that was Sophomore year.” Eddie replied, his fingers tabbing out a melody that he had been working on for a new song. “And there was no way I was able to get my hands on any alcohol that night.”

“Why would you waste perfectly good alcohol on a high school dance, anyway?” you laughed.

Eddie could listen to you laugh for hours. 

And it was because of this, that Eddie was now back at Hawkins High, while Ol’ Greg unlocked the art room on this fine weekend. It didn’t take much convincing, Ol’ Greg didn’t give a shit about Eddie’s reputation and never had, and for that Eddie had slipped the janitor an extra joint for his trouble as payment for letting him in. 

The room looked about the same as it had the last few weeks of school, aside from some new art projects. Other than that, everything was in about the same place. Eddie wasted a little time wandering around the room, looking at the different projects and taking in the scent of old clay and dried paint. Aside from the old drama room, the art room was the only other place in the school where he felt okay in this hellhole. 

It didn’t take much to get your shirt size. You always had a bad habit of leaving your sweaters in his van, so going to grab a blank hoodie in your size was the easy part. The design he was using was easy as well, and after so many years of making Hellfire Club shirts he could probably make this in his sleep. 

But he wouldn’t, because he wanted this to be perfect. So for the next few hours he carefully pulled out the equipment, found the right shade of red he wanted to use and painstakingly created the stencil, adding his own personal flair to it. The finished product was probably nicer than any Hellfire Club shirt he’d ever made. 

By the end of it, your new hoodie was done and he was sure that you’d love it so much that you’d never forget it in his van. 

With the finished product in hand he was able to lock up, thank Ol’ Greg, and make his way home. 

Now all Eddie had to do was give it to you for your birthday. The two of you had made plans to hang out that morning together at Benny’s for some birthday waffles or pancakes or french toast or whatever you wanted. He’d treat you, he’d been saving for this. 

Then he’d give you the gift, and you’d love it and then he’d suck it up and ask you out. He could do this. Jeff swore to Eddie up and down that you clearly had feelings for him. Eddie wasn’t stupid, he’d noticed your flirting and had flirted back so many times. This dance between the two of you had been going on for weeks now, but it didn’t make it any less terrifying. With any luck, the note he had tucked into the pocket would also help him out. 

You were already at your usual booth when he arrived that Sunday morning. It was supposed to be a very quiet morning, Benny’s was never busy first thing on Sunday. So when Eddie walked into the diner to meet you, his stomach dropped as he saw the rest of his band already sitting with you. 

A chorus of his friends called him over, and Eddie, dejected, slid in the booth on the opposite side of you. You were on the end of one booth, seated next to Jeff and Zack, while Eddie took the spot next to Gareth. 

Eddie wanted to be pissed at the guys for ruining his plan, but then he saw the look on your face. You were thrilled to be around everyone and were excitedly talking to Jeff about the new song that he was learning. It was your birthday, your day, and if you were having fun, that was the important part. He did make sure to put your food on his tab though, he wasn’t going to let anyone else have that satisfaction. 

As the morning went on, Eddie had completely forgotten about the hoodie currently sitting in the small bag by his leg. He was only reminded of it when Gareth got up to go pee and Eddie was forced out of the booth, as his foot kicked the bag and you noticed it. 

Your eyes immediately lit up when you noticed the red gift bag and your smile widened. 

“Eddie, is that for me?” you asked, batting your eyelashes. “Did you get me a present?”

He didn’t want to give it to you in front of everyone, that hadn’t been part of the plan. But he sucked it up and pulled the hoodie out and tossed it to you. Eddie could worry about asking you out later when the rest of his friends weren’t around. He’d never want to put that pressure on you anyway. 

“Yessss!” you grabbed it eagerly in your hands and unfolded the hoodie, noticing the design. 

This Machine Slays Dragons was splashed across the front, and on the front pocket was a small colony of bats, just like the ones on Eddie’s arm. He watched as your eyes widened, in surprise and delight, and felt a wave of relief wash over him as you eagerly put it on. 

“Holy shit, Eddie, I love it!” you said, and got out of the booth to throw your arms around him. Your lips pressed against his cheek, and for a moment Eddie felt like he was on cloud nine as he hugged you back, giving you a slight squeeze before you pulled away. 

“You always said you liked my guitar.” He said, shooting a look to his bandmates who were making kissy faces behind your back. The glare only egged them on. 

“It’s got your bats on it.” you said, looking down at the design, smoothing it out. “This is so fuckin’ cool!”

As you ran your hands down the design, you heard a faint crinkle in the pocket. When you reached inside, alarm bells went off in Eddie’s head and he quickly muttered something about needing a cigarette before turning on his heel and walking straight outside to his van. 

He’d completely forgotten the note that he had slipped into the pocket. You absolutely were not supposed to open that in front of everyone. Eddie leaned against the back of his van, lightly smacking his head against the door, the barely touched cigarette in his hand. 

“Eddie...?” Your voice made him go stiff, his head still against the fan. He took one long drag of the cigarette and exhaled the smoke before standing up straight to look at you. You were holding the note in your hand with a sheepish grin on your face. 

“Hey.” He said, not sure how to proceed. He couldn’t read your smile. Was it a sad smile? Were you going to awkwardly tell him that you didn’t feel the same but you could be friends? He could live with that, but it would really sting. 

“So....” you looked at the note and read the two words printed there in his handwriting. “‘Date me’, huh? I’ve heard you come up with the wildest descriptions for things when we play D&D, but the most you could jot down was... ‘Date me’?”

It was. Eddie had racked his brain for hours on what to say to you, but he couldn’t find the words he wanted to. Everything felt either too cheesy, or too stiff, or not him, or too casual. He was really banking on the hoodie to be more of a selling point than the note. 

“I thought it’d be cuter if it had just been the two of us this morning.” Eddie admitted. “Look, I get it if you’re here to respectfully decline. We can just be friends, I swear I won’t make it weird-”

“I’ll date you.” The words were firm and steadfast. There wasn’t a single waiver in your voice as you said those three words. You took a step closer to him and shoved the note back in the hoodie pocket. “Eddie I... I want to date you. I’ve wanted to date you for about 10 minutes after we met.” 

Eddie’s head lowered slightly and his eyes widened as he stared at you. “Are you serious?”

“Well, yeah.” you said. “A cute guy walks into a record store, knows about good music, invites me to play D&D and then becomes one of my best friends? Yes, Eddie, I want to date you.” 

Eddie snuffed out the barely touched cigarette and leaned in towards you. God, he was fucking clueless sometimes.

“You know... that hoodie looks good on you.” He said, trying to sound smooth. “It’ll look better in the back of my van.” 

You stared blankly at him for a second and then burst out laughing, your head thrown back. “No, no, nevermind.” you cackled. “I changed my mind. I’m done. We’re done.” 

Had Eddie not known you as well as he did, he might have taken that as a real rejection. But he knew that laugh, he’d heard it a hundred times over the past few months. 

He reached out and grabbed your hand and pulled you closer to him, you were still smiling wide when you looked up at him. “Seriously, Eddie? I agree to date you and you pull out that line?”

“Don’t get mad at me, Sweetheart.” He said. “You’re the one constantly leaving your clothes in my van. I don’t know why you’re laughing at my perfectly innocent statement.”

“Oh fuck off, Eddie.” You laughed. “You know exactly what you said and how you meant it. And maybe I wouldn’t have had to leave my clothes in your van all the time if you had asked me out earlier.” 

“And would you care to share that logic with me?” Eddie raised an eyebrow. Had you really been leaving things in his van on purpose?

“I had to mark my territory.” you said with a smile. “Can’t let anyone in your van think that you’re seeing someone else.”

It was Eddie’s turn to laugh and you wrapped your arms around his neck. “Ah yes, the most popular freak in all of Hawkins definitely has a line out the door of people wanting to date him.” he said, his hands finding your hips. 

“You’re laughing. I’ve seen you flirting with Ms. Robin’s at The Hideout and you're laughing at me?” you tried to pout, but you were holding back your own giggles. 

“Ms. Robins is a 75 year old woman who can drink everyone under the table.” Eddie pointed out. 

“See? How am I supposed to compete with that! I had to sacrifice my jackets to make sure no one would be asking you out.” you protested. “What else could I-”

Eddie had originally planned on asking if it was okay for him to kiss you first, but he knew that if he didn’t do something now you’d keep cracking jokes and this conversation wouldn’t go anywhere. You tasted faintly like your birthday breakfast, but Eddie quickly decided that it wasn’t a bad thing. He felt the faint push of your lips back against his, and he mentally kicked himself for not doing this the first time you two hung out.

“Happy birthday.” Eddie said, as he finally pulled back. 

“Guess I got my wish, and I didn’t even have to blow out any candles.” you replied, just a little bashful at the admission.

“You aren’t allowed to leave this hoodie in my van.” Eddie said. “You can leave any other jacket or sweater in there but not this one.”

“I wasn’t planning on it.” you said, “But why this one specifically?” 

Eddie touched the pocket that had the bats that matched his tattoo. “Because how else will other people know that you’re seeing someone?” 

“Oh, you little shit!” you laughed. “Really? You think I’m weird for what I did when you basically put your logo on a hoodie that you know I’m going to wear every day?”

“Guess that makes us both freaks now.” He replied, with a satisfied grin. 

“There are worse things to be in a small town.” you decided, taking his hand. “So I guess this means you’re my boyfriend now. No take backs.” 

“Wouldn’t dream of it, Sweetheart.” Eddie crossed his heart.

You leaned in and gave him another quick kiss. “Come on. The sooner we go back in there, the sooner you all can sing ‘Happy Birthday’ to me, and the sooner that’s done, then the sooner we can leave. And if you play your cards right, Eddie, you might get lucky and see this hoodie on the floor of your van anyway.” 

“So, the line worked?” He smirked. 

“Come on, Zack is hiding a box of cupcakes.” you laced your fingers with his. “Dessert first and then second dessert.”

“And then elevensies dessert?” Eddie teased. 

“It’s my birthday and I will change my mind, I swear.” you cackled, walking back into the diner with him. 

And because he knew your laugh so well, he had a very good feeling about how he’d help celebrate your birthday when the two of you would finally be alone. 

Thank you @hellfiredarling for the hoodie! They made it for me for my birthday last year 💜

Divider by @strangergraphics

[streetmaille]

Try out a new hobby this summer with my DIY Dice Bag Kits! Learn to weave chainmail and create your own drawstring pouch that can hold 35 dice 🎲

Available in aluminum or steel: https://www.streetmaille.etsy.com/listing/714458991

[super-lovely-star]

Fun and nostalgic gifts and treats for Middle Regressors and Dreamers

This is a list of cute little things you can get for yourself or your middle friend! I will generally list them from cheapest to most spendy- but remember, just because something is cheap doesn’t mean it’s a bad gift. Don’t spend beyond your means! And also, you DO NOT need these things to “properly regress!”

Mood Jewelry ($) These were popular when I was a kid. You can get mood rings, necklaces, bracelets, and probably even earrings.

Age appropriate cosmetics ($) Like scented lip creams and gloss, or body glitter.

Glow in the dark stars ($) you can get these in the classic color, or bright colors!

Fidget toys ($) I especially like Tangle! These are good if you have anxiety or are just fidgety.

Small collectable toys ($) Like matchbox cars, littlest pet shop, blind box toys, etc!

Candy ($) Just make sure you don’t get too much, or you might get sick! I especially like sour patch kids, and yan yan.

Stickers ($) I like to get these at Daiso, but you can get them pretty much anywhere! Especially good of you/your friend keeps a journal or writes letters.

Cute plushie keychains ($) To clip onto your bag!

Art supplies ($-$$) If you/your friend likes to draw, you can get some colored pencils, markers, etc! Even a new sketchbook!

Stuff with a First initial on it ($-$$) like pillows, jewelry, little compacts, keychains, etc.

Kids craft kits ($-$$) they have plenty of these at craft stores! Jewelry making kits, paint a sculpture, you name it!

A cute character waterbottle ($-$$) choose depending on your/their favorite character/franchise! I have an usahana water bottle coming in the mail!

A lava/glitter lamp ($$) A cool way to add atmosphere to your/their room, and super relaxing to look at.

A caboodle ($$) To keep your/their accessories, makeup, art supplies, or small toys organized.

Plushies, duh! ($$) If you’re on a budget, you can get these at thrift stores! Just make sure to clean before cuddling.

Action figure or Fashion doll ($$) If you/they are less into plushies, these make equally good companions.

Video games ($$) for whatever console you/they use. I like nintendogs games best!

Tamagotchi ($$) or a similar virtual pet! I never had one, but they look fun!

A DVD of a favorite movie ($$) You can get these cheaper secondhand! Just make sure they still work.

A cute journal ($$) I like the ones they sell at Claire’s best. They look like cute animals!

Vintage Clothes ($$-$$$) If your shopping on ebay or depop, make sure you know the measurements. Especially if you’re going for actual tween brands like Limited Too or Mezzo Piano Junior, which run smaller than adult sizes.

An inflatable or beanbag chair ($$-$$$) Just make sure you/they have space for one!

MP3 or CD player ($$$) Especially good gift for a music lover!

Last but not least, a Razor scooter! ($$$) Did you know they make these in adult sizes? I have one named Jazz and I love it dearly.

Love you all, platonically ofc! 🎁💝

[schmergo]

My mom gave me this chocolate London kit for Christmas and I finally decided to use it as sort of a tongue-in-cheek Fourth of July activity. I love my mom and I don’t think she meant to psychologically torture me, but this experience lowkey led me down a true long dark night of the soul and then utterly broke me. Follow my slow mental unraveling below.

I should add that I am bad at crafts and once got gorilla glue all over my hands while fixing a child’s display-only gingerbread house and spent Christmas break with a hard translucent shell on both hands gradually flaking off over the course of a week, so a fair amount of this may be user error. But also the box says this is for ages 6+ and I’m over 5 times that, so maybe they could have done a wee bit more handholding.

Anyway, here’s my journey, which should absolutely be read in the tone of Jonathan Harker’s letters in the beginning of Dracula.

The first hint that something was wrong happened when I melted the chocolate according to instructions and the next step said to pour it into the molds. The chocolate was not really the “pouring” kind. It was a chunky sort of paste that I had to spoon in. The molds filled unevenly and clumpily and at this point, I asked my husband if he’d let me try to assemble the rest of this on my own because I think I can tolerate my failure better if nobody else witnesses it.

The instructions also cavalierly said to save a “handful” to use as mortar for the chocolate tower.

How much is a handful? A Schmergo-sized hand or a husband-sized hand or what? I have very small hands for an adult, but this is for ages 6+ after all. I opted for a Schmergo-sized handful. I would live to regret that.

I chilled the pieces in the fridge for 20 minutes as directed, then popped them out of their mold. To my surprise, they actually didn’t look THAT bad.

Looking at the pieces of Big Ben that I had to assemble, I became acutely aware that there weren’t detailed instructions on how to fit them together other than just “put them together” and no actual photographs of a real person doing it. The wall pieces were still unnervingly floppy and I decided to freeze them in hopes of hardening them while I focused on the clock itself.

In addition to Big Ben, the kit came with a chocolate taxi and a chocolate double-decker bus. The taxi popped out slightly distorted but in a way I liked, with playful Toontown vibes. But the double-decker bus was still mushy and fudgelike, warping and rippling alarmingly as I tried to push it out of the mold. I opted to put it in the freezer, too, along with the walls of Big Ben.

The instructions said to use the melted remaining chocolate to stick the pieces together and to apply it by sticking my finger in it and rubbing it on. It did not mention that, even after letting the chocolate cool, the warm melted chocolate would make the details of the pieces of the chocolate you’re sticking together start to melt, too.

I began to wonder if this kit had ever been formally tested by anyone and if the instructions were written by AI, like that Google search result that suggests adding Elmer’s glue to your shredded cheese when making pizza to keep it from sliding off.

Nothing can prepare you for how bad the clock part looked, so I’m just going to let you deal with it cold turkey. Et voila.

As I cemented my terrible melted clock together, it occurred to me that I’d have a lot more fun if I really leaned into the ominous post-apocalyptic energy of the abomination before me.

What if this was the result of some kind of whimsical Doctor Who villain— or maybe The Unknown from that infamously bad immersive Willy Wonka experience— transforming major London landmarks into chocolate… during a heat wave?

How will will the new Prime Minister Keir Starmer deal with this on his first day in office?

I yelled to my husband in the adjacent room, “Maybe I’m just turning into the Joker, but this is starting to feel more funny than depressing!”

“Mr. Starmer, a second chocolate vehicle has hit Big Ben.”

The bus actually came out pretty well!

Trying to fit together the pieces of the walls would have been maddening if I hadn’t already been driven mad by the clock portion. The pieces didn’t actually fit together quite right, they were still slightly floppy, and the instructions said— after I was in blood stepped so far that should I wade no more, returning were as tedious as go o’er— that I was supposed to use ELASTIC BANDS to hold together the tower walls while the chocolate was cooling.

The kit didn’t come with elastic bands and I don’t have any in my house except for scrunchies with my gross hair stuck to them, and I’d already come this far, so I decided to forge onward. Then a piece snapped off.

Honestly, this rules, no notes:

I did it, but at what cost? I don’t know much about British politics, but this feels like a poignant commentary on the current state of affairs or something. Should I submit this to the Tate Modern?

[llatimeria]

i think i'm enamored because these are basically live action adoptables now that I'm thinking about it

little animals

little animals on the same/similar bases

fun colors, patterns, themes, etc

collectable and tradeable

seemingly endless creative potential

I need to get a job so I can buy custom littlest pet shops

[dino-boyo-agere]

A tutorial on how to modify these pacies with an adult nip!

You'll need:

Scissors

Baby pacifier

Adult pacifier nip

Small screwdriver or something similar in size and shape. (I had a thingy from a fingernail care kit)

.･｡ﾟ×ﾟ☆ﾟ.*･｡ﾟ×ﾟ｡･*.ﾟ.✧.ﾟ.*･｡ﾟ×ﾟ｡･*.ﾟ☆ﾟ×ﾟ｡･.

Please be careful when handling tools, as you'll see on the last picture, I slipped up and cut my palm a bit while trying to figure out how to pop off the top.. however, after figuring it out, the second one went smoothly!

.･｡ﾟ×ﾟ☆ﾟ.*･｡ﾟ×ﾟ｡･*.ﾟ.✧.ﾟ.*･｡ﾟ×ﾟ｡･*.ﾟ☆ﾟ×ﾟ｡･.

First step is to cut of the baby nip, so you have easy access with your tool of choice.

Next you insert the tool and citcle it in the hole, make a full rotation while pulling up on the handle thingy.

This will allow he back piece to pop out!

With the back piece out you now should insert one blade of the scissors and shave along the sides of the hole by carefully rotating the blade. Otherwise the adult nips won't fit, since they are thicker and bigger in general!

You can make the hole wider by slowly pushing the scissors further inside, since the blade gets wider.

Now the nip should fit snuggly. It's important to know that the milky ones are thicker than the clear nips, so you'll have to shave a little more off for those!

I checked how it fit after each circular motion I made with the scissors.

If the nip is folding, that means you didn't shave of quite enough yet, keep shaving until it sits nicely, but be careful not to shave up too much.

Now you can pop the back piece back in, it helps to make a back and forth twisting/ wiggling motion while pushing it in.

I decided to switch the backing colors, since I had a two pack and it looks more fun!

They are now secure, but still easy to open back up, so its easy to replace the nip if needed, just make the same wiggle motion while pulling on the handle!

I hope this helps some of y'all who are on a budget, like to craft or simply want to try this little project. Have fun!! @littleonabudget

Thank you for reading!!

.ﾟ｡.･.*.ﾟ☆❗only interact if your blog is SFW❗☆ ﾟ.*.･. ｡ﾟ.

[strayheartless]

friendship bracelets:

Zack makes them, obviously, because he’s a sentimental dork, and in Gongaga it’s considered a sign of great affection to give someone something like jewellery. I like to think there’s a Gongagan tradition/ holiday a bit like Valentine’s Day but it’s for showing appreciation to everyone. And on this day people swap hand made jewellery to signify their respect and love for a person.

Mostly Gongagan kids swap them, and it’s a big thing in school, but Adults do also observe the day with those closest to them -or someone who has done them a great service through the year!

Zack hasn’t really observed the holiday since he left home, but when he finally becomes FIRST he gets kind of sentimental and homesick for some reason. So he buys a bracelet making kit from a craft store and makes a bunch of bracelets for his fellow firsts and Cloud and Kunsel, he makes one for Aerith too!

Giving them to Kunsel is pretty easy. They’ve been friends for years and have talked a lot about Gongagan holidays before. Kunsel is pretty touched actually, and hugs Zack. It’s a nice little moment between them. Quality brotherly affection. Hense the reason the word “brother” is stamped on the bracelet.

Giving Cloud his is funny only because Cloud goes bright red in the face and stutters through accepting it. Zacks pretty smug throughout the entire encounter about making Cloud blush like that. But he’s also incredibly emotional when Cloud turns up at 12:00 PM the same night and pushes a bracelet into Zack’s hand. Zack hadn’t known what to stamp on Clouds “best friend” seemed too weak and and anything more then that felt presumptuous to the point of impertinence, considering he was still battling with how he felt about Cloud. In the end he’d gone with “legacy” which felt like a cop out but Cloud seemed to like it.

It’s only as he looks down at the word printed on his bracelet that he realises he needs to seriously get his act together with Cloud… the word that both brakes his heart and makes it soar “everything”.

Aerith is pretty happy with her bracelet, and as she does with most things, gives him a bunch of flowers for his efforts! He deliberated on what to put on hers too. “Girlfriend” made him feel guilty. He loves her, he does… but he knows, and she knows that they’re playing a game until Zack tells her about Cloud. Instead he stamps “soul” on hers because she will always know his soul better than anyone.

Giving Angeal his is nerve wracking because it makes Zack feel stupid. He knows Angeal wouldn’t make fun of his homes tradition, but still… in the end the worrying is for nothing. Zack gives Angeal the bracelet stamped “mentor” and Angeal is very touched and even a little emotional over it actually. He gives Zack a side hug and puts the bracelet on immediately.

Genesis is -if possible- even more nerve wracking, because Zacknis absolutely sure he’ll be made fun of. He positively shakes out of his skin giving the bracelet stamped “hero” to Genesis and for a second Gen does do his whole “shoot it down in flames” thing until he realises two things: 1. Zack had gone to extend a art lengths to match the colour red to Gens coat, and 2. he turns it over in his hand and runs his fingers over the letters stamped into soft leather.

Zack absolutely panics when Genesis starts to cry. Gens emotional sure, but Zacks never seen the man cry. Gen asks him “why would you spend time on this for me?” And Zack tells him the truth, “cause you are a hero Genesis, and I wanted you to know that people see you that way.”

Genesis is never taking the bracelet off. Ever.

Then the only person left to give a bracelet to is Sephiroth. It is exceptionally hard to pin the man down that day, and in the end Zack has to wait a week for him to come back from mission. And then it’s terrifying to hand it over.

What’s even more terrifying is that Sephiroth kind of stops breathing for a second when Zack gives it to him. He sits on the edge of his desk heavily and stares at the inscribed bracelet in his hand. Zack says his name at least three times before Seph responds to him. When he does it’s with a shaking “why?” And Zack can only hug him and whisper back “because you are,”

The stamp simply reads “best friend” but it’s enough to bring the great general sephiroth to his knees.

***

Alternative title for this little headcanon is:

Zack Fair stops crisis core with the power of friendship.

[astrangetorpedo]

Julien Baker: Accomplish the Most with the Least

by Zachary Gresham | Photos by Nolan Knight

Julien Baker is more visible than ever. After her low-budget debut, Sprained Ankle, made nearly every best-of 2015 list, the 21-year-old Baker signed with Matador Records and went home to Memphis to record her next record at the legendary Ardent Studios. Turn Out the Lights was released in October of 2017 to massive acclaim from critics, and was met with extreme devotion from audiences. It is the rare record that one can wholeheartedly describe as both monastically spare and cinematically epic, putting her in the heady company of Tori Amos, Nina Simone, and Jeff Buckley. We caught up with Julien shortly after her return to Tennessee from a quick tour of Japan to talk about guitars, Ardent, Craig Silvey, reverb, and doing more with less.

Turn Out the Lights is really beautiful.

Oh, thank you!

I find it difficult to disconnect from it emotionally for a while after I've turned it off, which is the sign of a quality record.

That means a lot to hear. Thank you.

You made it at Ardent in Memphis, but you did your previous album, Sprained Ankle, at a studio in Virginia, right?

Yeah. Spacebomb Studios. Most of the songs on Sprained Ankle were recorded at Spacebomb, but there are two on there (two with percussion, "Vessels" and "Brittle Boned") that were recorded at Cody Landers' house. He's an incredible engineer.

Were you recording yourself before that?

When I was in high school, the band I was in [The Star Killers, later known as Forrister] put out a full-length [American Blues] album that we recorded entirely in Cody Landers' attic. We were all kids, and he took on this project because we were his friends. It was a labor of love, as well as a learning experience. We had no idea what to ask for and what sounded good. It's funny, looking back now on what we were trying to emulate.

What were you trying to emulate?

Well, Matthew [Gilliam] – the drummer and one of my closest friends – our biggest influences are probably Manchester Orchestra and Circa Survive. We wanted to sound big, bombastic, and theatrical, but with sinewy, reverb-y guitars. The other guitarist listened to Wilco, Guster, and folk-adult-rock. It ended up sounding half like Whiskeytown and half like Sunny Day Real Estate. Those are mixed very, very differently. Also, and this is true with youth, is that everything is more exaggerated. You want things as more drastic, colorful caricatures of themselves. I always wanted a 30-second reverb tail on my vocals. The guitars had to be super loud. Matthew had the biggest snare that was sold at the local music store, because everything had to be so powerful. A better way to put it is that it lacks taste or restraint. I learned so much every day, after school sitting in front of Cubase and crafting a record. Before I ever went to MTSU [Middle Tennessee State University], that's how I learned how automation works, why you track drums first, or why you don't want to put a whole bunch of reverb on the drum kit, even though it sounds cool as an idea.

You went to MTSU to study recording?

I did. I went to MTSU because they had a really notable and reputable recording industry program, but my thing was always live sound. There's an audio engineering major, and within that you can specialize in recording arts or live sound. I don't have the meticulous drive to pick apart a waveform in a DAW. I make my own demos, but they're simply for mapping out songs. I can't sit there and master forever. When I was a kid I learned how to use a PA, and then they would let me run the console at shows. I thought, "Well, I could do that. I know how to do simple circuits, so maybe I could work at a repair shop repairing guitars." I went to school to learn that, systems optimization, and building stages at festivals. But because we were all in the same program – all of my friends who were wearing their headphones around their neck and mixing at the campus Starbucks – those were the people who would say, "Hey, I have some extra studio time. Do you want to come in and record?" I think that it is important to keep yourself open to opportunities to gain experience.

You've got to get in there.

Hands-on experience taught me so much. I took so many classes on systems optimization, signal flow, and live sound mixing. But what taught me how to find my way in a live sound setting was doing sound for bands at venues. What taught me how to act, how to vocalize what I wanted, or the protocol inside a recording studio, was being able to spend that time. I think that's a good thing that MTSU gives you. There are resources on hand to take the theoretical knowledge from the classroom and apply it in a real setting. Otherwise, I couldn't have gotten to meet [engineer Michael] Hegner and do the first demos of what would eventually become Sprained Ankle. He was sitting in the library and asked, "Does anybody have a song they want to do? I've got a session in 30 minutes and no one to fill it." I was like, "Yeah."

Of course, you had to put the time into having a song.

I didn't think about that. Writing is always a compulsory thing, so I always have literally hundreds of voice memos.

Is that how you make your demos, just voice memos on the phone?

That's how I make the very first part; the writing process. If there's an idea while I'm playing guitar that I think is worthy of being explored, then I'll make a short little 1-minute voice demo and save it as "cool riff 85," or whatever. Then later it will be fleshed out as a song with placeholder lyrics. I finally took the plunge and got a real DAW. I use Logic now and I do those little MIDI things for keyboards. I can plug straight into a little one-input interface and have my actual guitar sounds from my pedalboard. Before that, I was using a straight-up 2005 Audacity program that I found. It was free. It looked awful. No hate on Audacity. But my version was so old.

It's a great program for cutting up samples.

Yeah. It's really limited. I guess that's how you learn. I was also using a Toshiba computer from 2006, because I held off for so long, saying, "I'm not going to buy a computer. This one works fine." It's so hard for me to give in and upgrade my gear, because I get used to working within the parameters I've become familiar with.

From that perspective, let's talk about going to Ardent Studios. Listening to the record for the first time, I kept waiting for the gigantic production to kick in. Almost all the songs have a moment where I thought, "Here it comes." But it never does.

It's really interesting to me that you say that. I felt self-conscious in the opposite way. I thought, "There're eight vocal tracks and strings, and my buddy's playing clarinet. This is so much." By comparison, it's much more expansive than Sprained Ankle. I was worried. I had this oxymoronic fear that it would be too similar to my past material and also too different, but not in the right ways. I wanted to have it be very dramatic – and have the parts that seem like soaring ballad climaxes – because I'm a sucker for that kind of dynamic. I think it's very emotive. But I also wanted to be careful that I didn't take so much of a maximalist approach that I weighed the song down, or it got to this critical mass where there's too much going on.

That's an incredibly mature perspective. I don't mean this because you're a younger person, but just in general. There are people who never get there.

Thank you. I'm going to acknowledge your compliment; I didn't take it as a thing about my age. But I agree. I think that restraint is such an important skill in music. For a long time when I was playing guitar in a band – and I think this had a lot to do with my insecurities about being a female in a male-dominated scene – but every time we played a show, I had to rip a crazy solo so that everybody knew I was "good." Still, one of my primary lurking fears about performing the material that I have today is that if I have a song that's three chords of quarter notes, everybody's going to be bored and put to sleep. But that's the challenge. Restraint is such an important thing. Just because you have every single color in your palette doesn't mean that every single color serves the painting. I think there are artists where the maximalist approach serves them well. When you think about a Bruce Springsteen record, like Born to Run. Or have you listened to Kimbra?

Yeah. A lot going on there.

Or St. Vincent. There are so many sounds; it's insane. But I think the challenge with my music is figuring out how to make it interesting while still leaving it pretty sparse. It's an interesting interplay. How many points of dynamic can you introduce into the song, as subtly as possible?

Do you go into recording feeling like you're going to do what you do live, but with a little extra?

There was this reciprocal relationship between the live and the recorded for this record. Another thing I wanted was not to say, "I don't know how I'm going to pull this off live, so I'm not going to explore this possibility." Now I do the weird play-guitar-and-piano-at-the-same-time. I decided if I wanted to have clarinet in there, then it'd be worth it to add clarinet. I think I was a lot more particular about the instrumentation on this record because I knew that it would be received in a different way. With Sprained Ankle, I was recording the songs as they had formed in my free time, using my looping pedal or whatever. With these songs, I sat down with a spiral [notebook] and mapped them out. I thought, "This song is tedious. What small embellishment can I add that will change the song enough to re-focus the listener's interest, without detracting or obscuring the totality of the song?" One of the best pieces of advice I've ever gotten was from Josh Scogin [of bands The Chariot and '68]. We were at a show, and we were talking about how The Chariot's records are so interesting. They'll have this incredibly heavy breakdown, but it'll be free with no time signature at all. Or the song will completely stop and then something from Atlanta AM radio will play, and then the song will pick back up. "How do you know to do that? Is it just a novelty, or what?" Josh said, "I think you have to think of what will make people back up the track because they missed a thing." You don't want to make a song that goes on in a predictable fashion without introducing new elements.

You got an incredible guitar sound on the record. You tour with a [Fender] Twin and Deluxe, right?

Yes. We recorded a lot of Turn Out the Lights on my little 1x12 Deluxe, but I also have a 2x12 Blues Deluxe that I took the speakers out of and replaced with Warehouse guitar speakers called Veteran 30s. I got the higher-wattage option because there's way more gain room before it breaks up. My one gripe about Fender amps is that they break up too soon.

By design. A lot of people want blues.

Exactly. I get it. With the Twin, it's fine. It's a really sparkly break up. The Deluxe amps, I like the warmness of them. But when you start to break up such a warm, midrange-y amp, it gets fuzzy really quickly. I really like those speakers in that amp. I use so many of my instruments partly because they sound the way I want them to, but also partly because it took so much work for me to get them to sound the way they do that maybe my goal and my ability met in the middle. Especially with the wiring. I have a [Fender] Telecaster that I modded, and it took so long for me to figure that out when I was 18, trying to read a circuit diagram on how to get your pickups to go in series or parallel, and add that little option with the 4-switcher. Once I finally did it, I was like, "This is what I want, for sure." Whether or not it was what I was going for, I was so committed to doing it.

Do you go back and forth between series and parallel?

No. I have the blue guitar, it's a Mexican-made Tele, and then I have an American Tele, which is the butterscotch one. I leave it on series all the time. You have to put aftermarket pickups in Fender guitars. The Telecaster has the plucky clarity that I like; but I think everybody plays them so hot and bright, because that's the Nashville sound. I thought of Telecasters as country music guitars until I saw Now, Now and Circa Survive on tour. Both the guitarists were playing Telecasters. I was like, "What is happening? How are you guys getting this sound out of a Telecaster?" Then I used my next paycheck to buy a Mexican Tele. I love it.

Were you using Fender amps already?

Yeah. The first amp that I used was this Vox digital combo that was bad news. Well, it wasn't bad news, because I think those amps that have the effects built-in are good for learning. I wasn't playing big shows, so why would I need a $700 amp? The first real amp I bought was the Fender I replaced the speakers in. I had it for a really long time. Then I bought the 1x12 on tour when the tubes of my other amp broke, and now I play through stereo amps. It's interesting that the idea to do that never occurred to me, even though I had two amps on hand. Even on Sprained Ankle, I played through one amp.

You use so much reverb and delay, it's perfect for what you're doing.

Sometimes we'll be at a festival and I'll play through one amp. The way that my looping system is totally jury-rigged, I can use it into the first and second channels on a Fender amp.

It's a wonderful, underused feature, having the two channels on those amps.

It is. So much of my musical knowledge is very de facto and functional, and it doesn't result in a logical understanding of the mechanisms I'm using. On my Deluxe, there're two input jacks. I'd say, "Oh, I always plug into input 2 because it sounds different, and I like that sound." I didn't know until October of 2017 that one of them is high gain and one of them is lower gain. I had no idea. It sounded different. Now I have two A-B-C-Y splitters on my board; I send out from those two channels a dry channel and a reverb channel on one amp, and then yet a third reverb channel into a different amp.

Is the reverb channel 100 percent saturated?

It's all the way on, all the time. The dry channel is there in case the two stereo outs of my looper go off, because I'm paranoid about my loop breaking and there being no safety net for me to play through. I was not always that wise. I have been brought low by humiliation, the great teacher. Now I have one fail-safe channel. The rest of my loops come out on different outputs.

Do you use the amp reverb?

I used to have it pulled up to quarter to two almost all the time, but now I like the flat character of the amp enough, and I have three or four different reverbs. The Strymon blueSky is always on. I forget that I have it on my board, because it stays on. It's the staple of my tone.

I read that you used a [Neumann] U 67 for recording your voice. Is that right?

Yeah.

Did you do a shootout, or did you know going in you wanted a 67?

We tried out that mic because Calvin Lauber, engineer for Turn Out the Lights] suggested it. On Sprained Ankle, I recorded part of it on a [Shure] SM7B. We used a couple of different microphones on that one. I don't remember what the other one was. With the Neumann, I'm very reluctant to use mics with so much crispness, because I think my voice has a tendency to get really nitty and bland.

I respectfully disagree, but go on.

Well, okay. Maybe I'm hyper-critical of my voice. But that vocal mic sounded really nice, especially in the room. Once we started tracking with that, I was like, "Yeah, I'm really, really happy with this vocal sound." It's an incredible microphone. It sounds like it's capturing what's happening to your ears with intense clarity. Whenever I make my little Logic demos, I go in there and notch out 2.5 to 3 kHz, because it sounds really annoying. When I started singing in a band, I wanted the vocals to be pushed all the way to the back and ‘verbed out. I was self-conscious about my voice. I never really wanted to be a singer. I wanted to play guitar. Then our first show came up, and we didn't have a lead singer, so I said, "I'll sing until we find a singer." Then I became the singer. Every single time we performed live, someone would say, "That was really good. You should sing louder!"

Did you try to change the way you sing?

By the time The Star Killers had been a band for a while, I would do the shouty scream thing. But then that became a gimmick of my voice. It was atonal. It was less about the pitch and more about the intensity and having the gang vocals part where everybody sings along. It took touring for a while as a solo musician for me to become completely comfortable with my voice as an instrument. That was also probably because I still smoked at the time we recorded Sprained Ankle. Singing was really taxing on my voice. When I had not smoked for a little over a week, the way that my vocal control and the timbre of my voice changed was amazing. I thought, "This cannot be real." That made me much more confident, and it made me take singing seriously. My voice was no longer just a vehicle for poetry that I was using to "Leonard Cohen" out my lyrics. I think that's also what made recording this record a lot different. I was more ambitious with what I could do.

How long did you have at Ardent Studios?

I booked out six days, intentionally. We ended up staying there 12 hours a day. Time flies when you're in the studio, because it's fun, and exciting, and interesting. I think I limited it that way because of that fear of overproducing the record. If I gave myself too much time, I would fall into a paralysis of option anxiety. In hindsight it might have been good to have a deadline, but also take a rest. Record for a week, take a month off, let the tracks sit, and then come back with fresh ears. Maybe I was over-restrained, like I was overcompensating for my fear of overproducing.

It sounds like discipline is a huge part of your whole process.

Oh, definitely. I talk about this with so many of my friends in music. This land of words like discipline, motivation, and obsession are all fluidly bound. For any of the players on the record, like Cam [Boucher] from Sorority Noise, or Camille [Faulkner], who tours with me, the way that those people interact with music is almost obsessive, but in a way that drives them to be the most optimal players they can be. Not in a competitive way. I really don't think that trying to be the best you can be means that you have to be obsessed with being the best musician out there, or being superior.

It's its own reward.

Exactly. I think the fact you say that discipline is a huge part of the record is because maybe it wasn't that I had to apply an effort to sit down and map out the songs in a spiral notebook, or think about them and listen to them over, and over again. It's what preoccupies my mind all the time, so the only way to abate the anxiety of creating is to be engaged with it. But, at the same time, that's why I only wanted to book out six days. It's really important to get a great raw sound. We did a lot of setting levels for what would basically be how the record sounded.

It's a huge advantage not to "fix it in post."

Exactly! Get it right the first time. This thing that Calvin and I would say to each other all the time is, "It's worth it." When I would record a vocal track and it was almost what I wanted, and I felt I could live with it, we could nudge a note, or we could comp it. But I had the time. I'm not flying out to L.A. to do a two-hour recording session and we have to comp it. We had the time to get it right, and it's worth it. We ended up tracking a whole bunch of weird piano, guitar, and keyboard tracks that didn't make it on the record. But what if it had been awesome? It's worth it. When you start with good ingredients and you do less work on the back-end to try to wrangle it into sounding good, it's so much easier. And it sounds very pure and more organic, because I think you can tell when a song has had to be manipulated.

You can. It's almost never going to be as good as it would have been.

Exactly. There are so many great records that are tracked live. That's how recording used to be. Now I'm going to sound like one of those people who thinks that antiquated methods of recording are the only way and swears by tape only. No, there are amazing things we can use Pro Tools for. But I think the ethos of old-school recording is getting a great live sound. I watched a documentary about Tom Dowd [Tom Dowd & The Language of Music]. He plays the faders like a keyboard. It's so cool. Whenever I watch those documentaries, I'm amazed at that process, because it's happening to those people in real time; it's just their job. They have this very colloquial relationship with the music. Chilling out with Aretha Franklin and not knowing that it would change history. What I think you glean from those is not that it was better in the past, and we should only record to tape, and only use old vintage equipment. I think the process is that you should be able to accomplish the most with the least. You should know how to utilize a room, or you should know when it's enough. I think sometimes the necessity of having only four tracks, or having only eight channels, or what have you, makes you be more discerning. The options aren't endless. The time is not endless. You make a leaner, refined version.

Craig Silvey mixed Turn Out the Lights?

Yeah. We had a mixing day with Calvin; then he and I shot some mixes back and forth. I had very specific things I wanted out of the mix. It was really observable what Craig changed, but he didn't necessarily remove or add anything. I was amazed at how much he was able to add to the tracks. I think the people we involved on the record were all ones we wanted to use, either because of their prior work, or our prior history with them, indicated that they know how to be tasteful. Especially with Craig Silvey. I knew a few of the notable records that he had done, like Arcade Fire, but when I started to look at the breadth of the work he had been a part of, it was amazing.

Did you choose Craig, or did Matador say they wanted him?

Matador brought the idea. I was reluctant because I wanted the least tampering. They said, "We have this guy we think you'd really like. Give it a chance." I'll give anything a chance; but if I didn't like it, I was ready to say, "No." We sent a test mix, and when I got it back, I was like, "We should have the record mixed by this guy." It was ultimately a collaborative effort between Calvin being so personal and central to my life as a person and a friend, and knowing what I wanted, as well as Craig's expertise and impeccable ear. It made for a really special thing.

(link)