#or might do some edit later

[foldingfittedsheets]

I start my new-old job on Wednesday selling beds. I’m antsy. It’s gonna be a new routine to get into and it’s gonna be an official pause on game jobs for a year unless I wanna burn this bridge to the ground.

I need to get some button ups today, pick plums because I promised my nana, ideally groceries would happen but like. Who knows. And I need to bust out story illustrations.

I’m already so tired.

[orcelito]

ok, i cant resist the urge to make a post about it after all, especially since it's related to a post i made prior

one of my favorite moments in trimax is By Far this part in chapter 35

[ID: Two pages from Trigun. The first starts with Wolfwood thinking, "Now that I think 'bout it, it may be one of the major differences between our species." That deep rooted dear I felt on the ship…" He thinks of Vash crying blood and, swearing, wonders, "Is he the one who can save humankind? That monster?" Wolfwood is briefly shown in resolution before someone calls, "Hey, Wolfwood!" and he looks up with surprise.

Vash sits with a smile at the edge of a rooftop, backed by the Fifth Moon and its prominent crater. Vash asks with a smile, "Just coming back now? You're a bit of a night owl, huh?" Wolfwood looks taken aback and wary. End ID]

Right Here. Vash is just sitting there, smiling like normal, but he's got the backdrop of the damage he caused on the moon set Perfectly behind him. it's a glaring reminder to Wolfwood of who exactly he's dealing with here, and that TERRIFIES him.

& the fact that Wolfwood still remembers that moment of crying blood as a moment of true fear. because for all the cheer Vash shows in the average moment, Wolfwood just recently saw him nearly lose control Again (at the Dragon's Nest). the second time he witnessed it, & the third time he would know about.

Vash is a walking atomic bomb with multiple charges. even with how cheerful & kind he is, he's shown Multiple Times that he does not have full control. he is decidedly something different, something Hazardous to humans, and Wolfwood knows this very very painfully.

for all that Wolfwood loves Vash, he is also terrified of him. and at this point in the story, that terror is potent enough to nearly eclipse his affection for Vash.

leading to some of the next most iconic pages:

[ID: The next page starts with Wolfwood standing behind the sitting Vash, his expression hard and the moon bright behind him. Vash seems sad and has one eye open. A close-up focuses on Wolfwood looking down.

Wolfwood thinks, "So easy to pull the trigger. So easy to remove half the problem." Another close-up with bright lighting obscures his face but for one eye. Then Vash turns around curiously and asks, "What's up?" Wolfwood sits behind him and says "Nothin'. Come on. Let's go." Vash seems surprised as Wolfwood scolds, "Don't get yerself tangled up in every little skirmish ya see. It'll be pointless if ya get yerself killed before ya meet him." End ID]

the manga frames it like Vash doesn't know Wolfwood was pointing the gun at him, but I think he did know. he's freakishly perceptive over and over again throughout the story. he HAS to be in order to survive like he has. he'd hear the movement of the gun & sense Wolfwood behind him...

he'd know. i really think he knew.

but he doesn't do anything about it. there is zero fear in his face. he turns to look at Wolfwood curiously, a bit confused, but not afraid. he never once thought that Wolfwood would shoot him. there's full faith and trust there in that moment.

Wolfwood pretends that nothing happened, & Vash lets him. they both move on, not talking about it, because they never talk about Anything of substance like this (not until much, Much later).

overall, it's just such a great example of their relationship's development. Wolfwood's fear & Vash's trust that he won't act on it... it's just. Man.

(EDIT: people have made some good points about how Vash's expression when Wolfwood points the gun at him shows that he probably did know and YEAH that's a good point! & probably why I was so certain he knew lol, I just hadn't realized it myself)

[bloobydabloob]

When you answered the ask asking about your art style (which is a post I keep looking back on bc what you have to say is very interesting) in one of your screenshots of you talking you mention something about how most if not all of your symbolism is self referent and I was wondering what you meant by that!

Hellloooo. I’m glad you found my ranting interesting. Here is some Dirk art I’m probably never going to finish for your troubles.

What I meant by that when talking about any symbolism in my art is that it doesn’t reference outside sources - e.g. where some art might use something like religious concepts, animals, real life events to represent ideas, I tend to use things more like colors, contrasting objects, composition. That sort of thing. So things that are inherently a part of the work itself rather than connections to the real world. If I ever do use symbolism otherwise, it’s usually comic related even still. Although I have done pieces with religious symbolism before too, haha.

I don’t know how to describe it other than “self referential” because I’m not really sure what else to classify that sort of symbolism as. Just… artistic maybe? Non literal? I couldn’t say. I think it all basically just goes along with the majority of my art nowadays being more figurative than literal. Sorry if this doesn’t explain it very well. It’s also funny to think that anyone is “Looking back” on any of my texts posts though, haha. To me I feel like I am just dumping my words on my poor followers. Surprising. Thank you for reading.

[wastingawayinmyroom]

@moonyswarmsweaters @thedvilsinthedetails @thevampireslovelywife i'm seriously debating turning this into a multi chapter a03 fic ngl

here's the "stacy's brother" x rosekiller microfic!!! 902 words, warnings: uhhh slightly nfsw?, blood, dissection of a lizard (not in much detail), a little bit abt the abuse bitch crouch sr inflicted on bcj

...

He knew Evan Rosier in glimpses. Taking out the trash, talking to Pandora out of his field of vision on FaceTime, popping up in hallways between classes every now and then. 

That did not change shit about the way he felt for the older boy.

It was sinful, Barty thought, throwing a backpack over his shoulder and crawling out his bedroom window. He scaled down the brick wall in complete darkness, every ridge and possible handhold memorized. Totally, wholly sinful to fall in love with your best friend’s older brother, all while she fell in love with you. 

Of course, he couldn’t be sure that Pandora liked him, but it wasn’t like she did anything to curb the rumors— in fact, she seemed to like it when people whispered behind their backs, saying they were fucking, dating, or whatever new story they had come up with. 

Barty didn’t really mind, but if Evan thought he wasn’t single, that was ruining his chances. Then he minded.

He dropped silently onto the ground, checked it for any traps, and ran, carefully avoiding any dried leaves. He couldn’t risk making any sound. His father could hear, and then…

His back throbbed from the remnants of his latest beating. He definitely wasn't anxious for another one. He had to keep quiet.

When he finally made it to the Rosier house, he climbed up to the second story window. His arms burned and his legs protested from the effort, but it was all worth it when he peeked inside and saw Evan Rosier. Evan fucking Rosier, sitting right there on the desk, dissecting what looked like a lizard.

There was something strangely hot about the way Evan furrowed his eyebrows while he poked around with tweezers, intently focused on the animal. There were guts and organs spilled everywhere on the newspaper he was working on, and suddenly Barty was overcome with the urge to lay down on the desk for Evan to examine. He wanted to feel Evan’s touch, to be looked at with that much focus and dedication. He wanted to be the object of Evan’s fascination. 

He licked his lips, dry and chapped from the cold. He couldn’t bring his eyes away from Evan’s face—oh, the things he wanted to do to that face—so he raked his gaze over it instead, millions of unholy fantasies running through his mind. 

Fuck. He needed that boy. He needed that boy on him, right at that moment, or else he’d—

“Are you going to knock?” 

Evan didn’t even bother with lifting his head or stopping what he was doing. “What are you waiting for, an invitation?”

His voice was muffled by the glass in between them, but it was still sexier than ever. Deep and husky and so perfect.

“I…” Barty didn’t know what to say. He would kill for this boy, die for him, anything for him. Just for him. 

“Could you..?” He gestured vaguely to the window. Evan rolled his eyes, but set down his tools and got up to open the window. As Barty shimmied through, he caught a glimpse of blood on the other boy's hand, and he had to resist the urge to not stare at it forever.

“What?” Evan asked, noticing how Barty’s eyes lingered on his skin for too long.

“You’ve got something there,” Barty said, eyes still on Evan’s right hand. He had no idea where the surge of bravery had come from, but he had the strong urge lick the blood off with his tongue.

Evan just stared at him, his hollow-eyed gaze digging holes in Barty’s head. Barty leaned towards him. “I could help get rid of it.”

No response. Fine, then. He’d have to take matters into his own hands— literally.

Slowly, Barty brought his hand closer to Evan’s. Evan didn’t break eye contact. Neither did he. 

He intertwined their fingers, giving Evan ample time to resist, but the other boy seemed just as into it as he was. He ran his fingers over the blood on Evan’s hand, wiping it off gently until it was all on him. 

He took his hand away. Evan was watching now, eyes fixed on Barty’s slender, ringed digits. 

He raised his hand to his mouth, staring directly into Evan’s murky eyes. Flirting with his best friend's older brother? Fuck, he was screwed.

So he did the obvious thing. 

He parted his lips and slipped his fingers inside, leaving his mouth open for Evan to see. He rolled his tongue over them, moving then back and forth, letting out small groans and closing his eyes in bliss. 

Evan clutched the windowsill. “Fuck,” he whispered, eyes wide at the show Barty was putting on. 

Barty smirked. He slipped his fingers out with a wet pop. There was not a single trace of blood on them.

“I can do some other things with my mouth,” he said, his face mere inches away from Evan’s. He relished the way the other boy’s eyes darkened.

“Evan!” Pandora swung a door open, probably down the hall. “Is Barty here? Or did you fucking kill him?”

“I’m here, Panda,” he yelled back. Evan’s vocal cords still seemed to be in shutdown.

He adjusted the strap of his backpack. “I’ll go wash my hands,” he said, grinning deviously. 

He stopped at the door. “Oh, right.” He fumbled through the backpack for his phone. “What’s your number?”

[o0o0thorn0o0o]

Anyway, I got addicted to my own palette again, oops. Exclusively IchiHime addition this time.

Quality’s a little iffy on the first one because I drew it so tiny, eheh ^^

[nullapophenia]

welcome to my twisted mind

hi i finally did the funny. sprite edits for lisa :) (that first one is a postgame edit i did for tupper purposes)

acts 5/6 spoilers under the cut

the act 6 sprites had the chest scarring too but it made the sprites way too noisy. sad! you get boobs instead.

maybe ill do more one day who know

[deepseaspriteblog]

Rose could either be a Psychic, Dark or Fairy type. Psychic/Dark is more obvious for her character but I wanna see a Fairy-type Rose.

I can vibe with that! Have some really quick mock up designs of a psychic type Rose (with a Gothitelle as her signature pokemon) and a fairy type Rose (with an Aromatisse). I might try and refine these designs later.

[harrietvane]

Perfume chat, because it's hot, summer's ending, and I'm of a mind to list out some of my favourite Hot Weather Perfumes. To be fair, once it gets above 30C/86F, I don't tend to wear scent, but all these I ones I could, and have worn in hot weather, and worth mentioning. Lot of citrus going on here, not much floral, and heavily leaning towards citrus cologne strenght (and away from big floral, gourmand, or sweet eaux de parfum). BYO gender, none of these are marketed specifically one way or another.

-Cédrat Enivrant (Atelier Cologne): the 'cedrat' here is not referring to cedar, but to the ur-citrus known in english as the Citron, aka the mighty Etrog. It's one of the original citrii from which all others spring: it's lumpy, bitter, like 60% rind, and doesn't care what you think. Cedrat Enivrant is a bitter cocktail cologne resembling a French 75 - which is gin and champagne - but dry AF. There's a mintiness, and a pine needle dryness as well. Starts off very high and tart, dries down herbal.

Paris-Deauville (Chanel): part of their Eaux de Chanel cologne-style lighter series, this is an orange/basil combo that stays fairly light and dry - the sweetness is from orange, but otherwise the addition of basil heart note keeps this summery and green. Starts off quite juicy, but 'dries' as it dries, ending in mostly sweet herbs, and the basil is unexpected. Light enough to be a splash bottle though, not a typical Chanel.

Blenheim Bouquet (Penhaligon's): despite going all-in on flashy, heavier things lately, Penhaligon's keeps the old BB on the shelf because I'm p sure it's still one of their best sellers: it's a classic for a reason. Despite listing notes of lemon, black pepper and pine, this comes off mainly with a 'clean pencil shavings' vibe on me, and it suits that freshly-sharpened pencil image. Lemony, sharp, dry, precise. if it was a person it would be Anton Lesser's character in Endeavour.

Melograno (Santa Maria Novella): I sought this out after seeing it on-screen in Casino Royale as one of Vesper Lynd's few belongings in Venice, and it did not disappoint. A warning: despite the name, if you go in expecting a syrupy bath and bodywork's style fruity pomegranate, or dislike things 'that smell like perfume' this perfume is not for you. There is very little, if any, fruit in Melograno, and I confess it's a surprise entry to a cologne-y summer list because it lists several flowers (and oakmoss! and patch!), BUT the reality of it on me is dry dry dryyyy. I have worn this in very hot weather, and the impression is a herbal soap in the cleanest italian bathroom that's ever existed, with a rigid linen handtowel, and some dried flowers in a bowl on the window.

Bergamotto di Positano (Floris): if you DID want fruit, but not syrup, Floris has you covered for orange and mandarin. It steers away from Body Shop fruit with marine notes, but don't let that dissuade you if you avoid CK One types: there's a softness to this from some ginger, green tea, and vanilla in the background. Never goes overly gourmand on me despite the fact that these are all edible things.

Ouarzazate/Series 3 (Comme des Garçons): whaaaaat, an incense in a summer list?? Adding it here as we can't have an entirely citrine list, and this makes the cut due to DRY. CdG did a little series on incense of various styles (the most infamous being Avignon, which does actually smell like a realistic in-use thurible, so hats off to them), and Ouarzazate is their desert incense vibe. It's clean in that dry sauna/spa room sort of way. It's the driest and woodiest of the 4 they did imho. Like walking into a shady, cool, dark wooden room when it's hot outside.

Le Pamplemousse (Miller Harris): MH perfumes divide into those made when Lyn Harris was the nose (interesting, lots of werird herbal combos), and those after she left (generally bigger and sweeter) - this is one of the former. Obviously grapefruit as a theme, which is always a nice bitter citrus for summer, this wears like a crisp white shirt. Despite mentioning things like rhubrarb, the notes are kept in strict order by rosemary, sage, and vetiver. The grapefuit fades as the herbs take over on drydown, manages to evoke clean laundry with no musk. (Bonus points: I have also loved Le Petit Grain from the same house for its twiggy orange tree bundle vibes, but it's discontinued)

Budget options: some countries get great sampling or decanting services (not mine, booooo), and getting 10mls of the above might be easier for you than me, but if not: here's some you can get for a lot less cash but still give you quality-

Vetiver Pamplemousse (Zara): done by theee Jo Malone, so that gives you an idea of the vibe (light, approachable). It's grapefruit, tangerine, and vetiver. Vetiver keeps it dry, quite linear development. Might be slightly 'spicier' than the MH Pampelmousse, or at least more vetiver-forward. Comes in a rollerball for those wanting a short commitment!

4711 (Mäurer & Wirtz): how could i not end on the OG, the classic, the unbeatable 4711. Four-Seven-Eleven has been freshening up people's bathroom routines since 1799, and boasts of a recipe (mostly?) unchanged since Napoleon was tramping around the area. It's citrus, it's lavender, it's romemary, it evaporates in 8 seconds, it's fresh lemony goodness. It's an aftershave, it's a cologne, it's a linen spray, it's a bath soak, is there nothing it cannot do? M&W have started to do endless 'remixes' of the base cologne, in many fruit and floral varieties, but the classic is where it's at. And it costs almost nothing.

[lacetop]

it’s quite comfortable, wrapped up in your tentacley lover’s embrace. the most thorough, all-encompassing cuddle you’ve ever had, and it’s cute, how eagerly all the arms coil and feel around you like they’re on an exploration -- like it hasn’t already touched every possible inch of you (outside and inside).

you pet absently at the thick one looped around your chest, mesmerized by the way the texture of the skin changes in the wake of your touch. like goosebumps, or like a cat arching, all the way down the long limb as far as you can reach.

another one coils close, underside upturned, and you run your fingers back through the rows of suckers.

you can’t help but be charmed at the way each one bends to pluck at you as you pass. you wonder: can it taste you, in a way, with these things? or does it sense some sort of... electrical or chemical signal in your skin, that you couldn't even begin to analogize?

whatever it is, they certainly are sensing something -- they plant themselves on every plane of skin they can reach (you've got the criss-crossing rows of bruises (hickeys??) to prove it).

as you're playing your fingers through the suckers, the tentacle stuffed inside you squirms, twisting in a way that makes your eyes cross and -- you swear it thickens, if the renewed burn of the stretch is anything to go by. 

“oh, you like that, huh,” you murmur.

they must be quite sensitive, judging by how it explores sucker-first and by their surprising dexterity (your belt buckle comes to mind). so you explore it right back, lightly circling around a sucker with the tip of your finger.

it doesn’t have... teeth, exactly, but it’s ringed with very fine ridges and bumps. perhaps not unlike the ridges of your fingerprint? does each of the (you run some quick mental math) thousands of suckers have its own pattern? its own ridge-print?

the tip of this tendril whips and squirms -- you wonder for a moment if it might not be ticklish.

when you stick your fingertip into the center of one of the suckers, it cups around you like a flower blossom closing, and you walk your fingers along a row like that. they lean in toward you as you go, in a way that seems almost playful.

then a very playful, silly impulse strikes you, and you grab at another tentacle with both hands, pulling it toward your face. you’ve taken them in your mouth before, of course (more than one, and more than once), but this time you wrap your lips around just one sucker and trace its edge with your tongue.

the whole thing immediately plasters onto your face, wrapping heavy around your head and neck and plucking with its other suckers at your skin, your hair, the corners of your mouth.

it likes that, you think.

[3sp3r]

💕transparent psychic-type trainer hatsune miku icons from project voltage pokémon x hatsune miku collab!! art by take!!💕

feel free to use!! credit is appreciated but not necessary!!

[ctl-yuejie]

ramblings on Li Ming (and Heart) and homosexuality

moonlight chicken has so many things to offer in terms of technical beauty and interesting themes but what i cannot stop thinking about is the different ways they approach homosexuality in the story.

we have Wen who has a rainbow flag on his desk and pictures of him and Alan on the wall. Wen, who openly flirts with Jim and has no qualms talking openly about his one night stand. Wen, whose step father knows about his sexuality and is close enough with him to discuss his love life.

Kaipa we don’t know too much about. But his mom knows and is supportive and some of the vendors and the chicken family seem to know. But if anyone was questioning in what reality this show is set with all the class discussion and corona featuring, his part of the story shows that homophobia exists and he is worried about how he fits in with his own family, the expectations of his mother and possible the awareness that he makes the family he has “different”.

Jim is arguably even more visibly gay than Wen in terms of what we see throughout the show. He opened the shop with his ex, they prayed at the temple together and even though he objected due to proprities sake eventually they loudly declared their love to each other and the whole neighbourhood knows. Wen somehow feels like he is living in the remnants of a bubble: his circle of friends seems very queer, his closest friend and the whole gym seem to be all part of that as well. This only might change now with him questioning his work and breaking up with Alan: some gatherings he won’t attend anymore apparently.

And finally, we have Li Ming. At school he doesn’t seem to open up to his classmates on most things and additionally is in the closet. While there wasn’t anything alluding to homophobic rethoric being spread at school we can see how the heteronormativity gets to him and feel that there must be good reason as to why no one knows. And it could just be how Li Ming is judging the situation based on vibes, we don’t know. His mother is or at least was homophobic but at the same time he is raised by his gay uncle who is surrounded by other gay people. And I love how it feels like this might have given him enough security to be comfortable with his own sexuality but how it also isn’t enough to shield him from the world at large.

With so many great shows coming out of Thailand and most of them getting more and more political it just feels so real and 2023 to me that Li Ming is part of a generation that knows who they are but still have to battle with the shadow that homophobia has cast way before they were born.

[bnesszai]

skk Valentine's seek day 4: almost too late / "your beauty never scared me" @bsdfanweek

I was gonna add unrequited too but, as usual, this did not turn out as i had planned. Enjoy<3

***

Dazai trips over himself, cursing the pain in his ankle.

Blood spills from Chuuya's lips alongside a manic laugh. His body trembles, but the smile doesn't fade. Orbs of pure gravitational force manifest in his palms. He's about to toss them, about to ruin innocent landscape, but Dazai finally reaches him. Dazai's fingers circle around Chuuya's wrist and they both tumble to the ground.

Hissing, Dazai curls onto his side, drawing Chuuya in close. His body aches all over. The fight was supposed to be rather easy, rather routine. But unexpected players entered the field and when Dazai, caught off guard, screamed in pain, Chuuya hadn't hesitated in activating corruption.

“Shit,” a voice between clenched teeth, tucked into Dazai's chest.

“I was slow,” Dazai murmurs into Chuuya's hair. I'm sorry goes unspoken. Always. There are never apologies between them. Dazai thinks that's what makes their partnership work, but wonders if it is also what makes them fall apart.

Chuuya coughs. “Are you okay?”

Despite the rattling of his bones, Dazai huffs out a laugh. “Really, Chibi? You're asking me that?”

“Shut up, then,” Chuuya groans and tries to move. Dazai clutches him tighter. “Let me go, asshole “

“You know,” Dazai says before he can stop himself. “Your beauty never scared me.”

Chuuya goes still in his arms.

“The beauty of destruction has never scared me, but….”

After a moment, Chuuya curls a hand into Dazai's shirt. “But what?”

“The idea that I might be too late….that it might consume you…. that's—” His voice breaks.

“Shut the hell up, moron,” Chuuya says, burrowing his face further into Dazai's chest. “My head is killing me. I'm gonna take a nap.”

That's another thing about the two of them. They never speak in honest terms. They tiptoe around topics, using teasing remarks and aggression as shields against truths.

You won't let that happen, Chuuya doesn't say with words, but instead with his calm, even breathing.

Dazai wonders if Chuuya can hear the bleeding confessions in his heartbeats.

[raiiny-bay]

i always forget how short marky is compared to everyone else.....

[dreagine]

Hi hi to all the sillies of the world!!!!

So, I’ve decided that I’m not gonna use this account anymore, or tumblr in general really. Social media has become overwhelming, and being on so many platforms and having a plethora of different accounts, side accounts has just been a whole lot. It’s been getting me down recently.

So I’ve decided to get rid of this one!!

I won’t be deleting anything on here, all my accounts will still be up, I just won’t be active on them until further notice. Maybe I’ll come back one faithful day or hop on every now and then…but for the most part it’s gonna be radio silence here🫡

That being said!!!!! I will still be active on Instagram under the username ‘Teazzrr’ in case you still want to follow me and see new art(hopefully)!!

But really, thanks for supporting me on here! And thank you if you continue to on Instagram. Some of the reblogs and things written in the tags and my ask box are just the sweetest things I’ve read ever, and they’ve given me a good laugh! I genuinely appreciate all of you, and all the kind words!!!!

All in all, not gone, just won’t be here on tumblr any longer, and this was a really long way of saying that, lolz!! :]

[seaofreverie]

I listened to a new Sparks album and it was all I could think about for two weeks straight afterwards, a.k.a. My Hello Young Lovers Review

Okay, so here's my fabled review (I mentioned having written it once about three months ago, so I guess there's a chance that someone still remembers that). It's hecking long (seriously, it's long.) and consists mostly of me pointing out specific sections of the songs and raving about which specific elements of the songs I particularly like. And also attempting to make some sort of general statement on the style / atmosphere / themes etc. of the whole thing. I wrote this back in november, after 5 full listens of the album, over the course of about a week, and I didn't update it with any new opinions that I have formed since, to keep it true to that original form, besides some side notes where I thought they'd be useful to add. I hope you enjoy my yapping, however unprofessional and all over the place this whole thing probably is.

How to start album reviews? Well, I could sum up the general vibe / thing / feel / theme with the album but that seems much more fitting for the conclusion of the whole thing.

So let's kick this off with the first thing we see instead!! The album cover, the sleeve! (note: I got this album on vinyl for that first listening experience, the 2022? reissue) Ohh so pretty and cute, isn't it? Even inside, so much pink, even over-the-toply-so (for real though, I didn't even really think about what to expect from the inner cover, besides some photos that I knew would be there, but it was certainly not THIS. level of pink and cute), it looks so pleasant and sweet, doesn't it? And the band photos too, fun times all around!

Oh wow, ok, let's get back to reality here, I knew what I was in for (knowing just one track and excerpts of other two + reading misc comments on the album before already, as it is inevitable, you know. And frankly, that was actually the exact right amount of info from that commentary for a peak enjoyment here. Not going in totally blind but still encountering many surprises). This is a prime and, imo, very well executed example of mood dissonance. In a way where, idk, maybe it comes from me still having this even small amount of info beforehand, but it's the kind of situation that you can actually tell that something is off.

So yeah, the visual aspect of the album does fit it and I'd even say it does so VERY well, but as to how and why, maybe I should start exploring the atmosphere and themes and elements of individual songs first so we can make more general conclusions from that! So yes, I think it's time to dive in!

1) Dick Around ▪︎

Shortly put, amazing, showstopping and life changing song. And one of the earliest ones for me too! As a part of the extremely important and memorable playlist (note: my first time hearing a bunch of random popular sparks songs), it appeared somewhere in the latter half on the mix and oooh boy, was hearing this song for the first time, on the road in the dark evening too, an experience. I certainly found it intriguing to say the least, maybe I wasn't yet completely SOLD you know, and let's not forget that the second time I heard it (july) it actually kind of freaked me out in a way, but still, it certainly made an impression immediately. There's a reason this is one of the more well known / popular / important songs of theirs overall. This song is truly a journey and it messes with you in so many ways, oooohhh so many ways. I was super looking forward to hearing it again properly after being teased with some parts of it in the more recent weeks, so ok, maybe this is where I get to the individual parts I want to talk about.

Actually wait, first let's maybe say something about the placement. Of course it's the first song as I was pretty much certain it would be (and maybe already had kind of possibly spoiled..?), and it does work incredibly well as a mood-setter for the rest of the album, so it truly couldn't work any other way in my view. So yes, speaking of parts, there are so many different ones! Hearing this again was extra fun also because I would remember the main "point" / mantra of the song ("all I do now... is dick around") but not much else, then be reminded of another notable but very different part, then listen after this whole time properly on pretty much repeat now and be aware of those other little touches and bits that bring it all together...

So, let's start with the pleasant vocals & piano break near the beginning, it's, well... I just really like it (I hope I'll be able to say more specific things about other elements in these songs that I think need to be mentioned as I go on LOL), and right after that we have some very nice strings, then, suspenseful strings!! Idk why but I really really like it when those come in, they really set the unnerving classical tone that follows and returns throughout the album, then the same "calm" / bouncy vocal melody and a more "all over the place" piano returns (at least from what I remember, the notes are sort of more expansive in range in this part I think...). And soon enough... we reach the real moment of the song when it gets, well, real. And very intense. And this is almost jumpscare-like, ohhhh it's so good, even when you know you can expect it it still hits the spot amazingly.

So this is the rocking part that's honestly pure distilled joy and amazement to hear for me each time, the repeated echoey "hey hey"s for a second there are just the icing on the cake, so so so good. And, in fact, it doesn't get more rocking than this for the rest of the album. Dissappointing? Maybe it WOULD be, if there weren't other things still going on later, which were also in their own ways showstopping, so I think that yeah, those can make up for all that follows not really coming close to this level of unhinged. And this is the right word here I think, unhinged!! Damn, this freaking song. Like for a second there I remembered that in one of my early-ish hearings I just found it almost uhhh, unbearably raw? Idk if it's the right word but yeah, it gets... ugly for a second (I need to stop cringing at every more unusual / to the point word I use or I won't be able to write any genuine reviews in my life). Before going back to the main mantra of course! And then it goes on in a circle a bit more again, with more changes and some progression of the story and all that. And end on the mantra again. I don't know if I'm leaving out any super important bits here, I might be... Well, it comes back to full on rocking near the end too, with some variation too, so that's awesome! And very suspenseful and unnerving strings too for a moment!

So, should I talk about the lyrics / the story just a bit now? Ok, I won't go super deep into these or any of the following ones, I'll try to focus more on specific bits and the feelings that come with them and a general "theme" if anything. So, I think this song and its story is very engaging and I like it a lot and it certainly provokes further thoughts and ponderings, those 6 and a half minutes fly by super fast (guess that's just the power with sparks and their long songs, it's kind of incredible how maybe this goes ESPECIALLY for songs that rely a LOT on repetition, because those might work this trend the best), lots of variation, while still keeping some prominently repetitive / reoccurring parts balances it very well. You're really just thrown from one part to the next with this song. Ok, I wrote a lot about just one song and I feel like there's still more I could say if I thought about it hard, but let's move on now, we don't have all day (night)...

2) Perfume ▪︎

This is a favourite. An instant favourite. Right away this song grabbed me with its subdued, brooding and honestly pretty dark tone and sound. Low vocals, kind of ragged but driving guitar sound, and the DRUMS. They do SO much for this track, something about this specific drum pattern / style is very pleasant to me, very atmospheric. It's like a specific pattern that works to deliver some kind of effect (ok, I think through that, in a way, I just described the whole thing with repetition in sparks' music, especially in this era, nice, I guess that's how I view it and why it works so well) there's still a lot of interesting stuff going on there, plus it just sounds nice, idk. Once again, maybe "driving" is a good word for it. But now I need to mention that there is this one odd-one-out part that sounds much more cheerful, or maybe hopeful (and it returns again near the end). Because it has this specific thing, the different intonation of the SAME lyrics than the rest of the song ("and that's why...") feels strangely emotional. It certainly hit ME in the feels once I noticed it, so, yeah!!

So I think this is one of the darkest songs in mood and sound, while it also has something extremely COOL about its sound that I can't really categorize, I think I'm gonna feel like repeating this for every other song on the album but it just feels so CLASSIC, it's that typical song that always existed type of feel, yeah. But here it's less so due the melody necessarily, and more due to the whole picture. With some others it's also the song as a whole of course but they don't necessarily feel as much as a representation of a whole THING / genre / type of song / feeling in music of sorts (I'm really bad at articulating my exact views on these, am I not...) rather than those specific special moments that just bring it all to the next level. But OHHH I can't believe I almost forgot this, but the piano lines (I mean the post-chorus ones specifically) in this song, oh my goddddd!!!!!!! They're truly THE thing that sold me on this song completely, they're just so... something. So I guess this song also has that special "it" moment after all, doesn't it? Well, still possibly not quite as prominently as the next one, because...

3) The Very Next Fight ▪︎

Well, this is the kind of song that's completely made up of those specific parts making a very special whole. Starting with, of course, that melody line during the chorus "it's always the same. It's always the same". But maybe, just to be fair, I should actually start with where the song actually starts so, well, hmmm, the beginning. The very solemn piano and overall kind of heavy atmopshere here kind of slows down the momentum after the first two songs, and it delivers something quite different instead. So yeah, well, that chorus melody!! Oh wow!!! Isn't it so simple though? But it works so well!! It's simply beautiful honestly. It absolutely is! And later the electric guitar comes in for more effect and oh wow, it feels so incredible, yeah. And then some more solemnity with the... I think harpsichord?

This track feels very empty (as in the atmosphere, I'm not actually calling it empty as a bad thing or something like that, no no no!!) in some parts, then it has those emotionally charged bits, and let's not forget that it has some more really amazing guitarwork near the end. That kind of guitar "wailing" sounds beautiful in its own right too, it also kind of reminds me of some other rock-adjacent genre(s), I can't tell what exactly though...

4) (Baby, Baby) Can I Invade Your Country ▪︎

In all honesty, after my first listen I decided that this was probably the song I was the least impressed by? Kinda strange, yeah, because I no longer think that, and yeah, it was another one that I was only slightly familiar with already. Very slightly. It's a very interesting song once again, I think it's really unique after some thought actually (as are most all of the songs on this record tbh, obviously). It's unique, but it once again has this special classic quality to it that just feels like it represents a very specific type of sound.

I wanna say that the chord progression in the chorus might be some variation of one of the "usual" progressions although OF COURSE I might be very wrong here, it's just the feeling I get because maybe it's worth mentioning that 1) a while ago I started noticing this one type of progression in songs that made them sound very similar to Kiss Me, Son of God (They Might Be Giants song), so I figured it must mean that KMSOG is just in some kind of typical progression that is used a lot, especially in country-sounding songs from my experience 2) there was also an element of some classic rock / rock&roll (?) / punk (??) songs that also made them sound very alike after a while when I started listening to this one internet radio station recently, idk if it's the same progression or its variation or if all those songs use different variations mostly but are still based on a very similar thing at the end of the day, but yeah. I might still not understand chords or be able to catch them while listening, but there's now at least a little part of that whole section of music theory that I might be able to recognise in music just by myself, so that's some major music literacy development on my part I think... Anyway, maybe the progression in this song didn't even remind me of that usual pattern specifically, but it just made me think of that thing nevertheless, maybe it's similar, maybe it's not... So this was kind of an irrelevant tangent on my part, oops.

So ok, let's get to the jist of this... What exactly I like about this song and such, or just what I wanna mention. Well, I wanna mention that this is probably one of the more repetitive songs, also one of the longest I think, maybe the third longest, I wouldn't be surprised by that (the opener and closer are both pretty tough competition in the length department) but it doesn't feel monotonous, it flies by super fast, once again.

I think it's also possibly the brightest sounding song on the record, the word that immediately sprung to mind here is "triumphant". Certainly fitting with all those awesome horns!! They're truly what really sets this song apart. I'm especially a fan of the horns in the bridge part, I think it's the bridge. Sooo so cool sounding, kind of "descending". I also really like the layering of the different vocals and their melodies and such, the acoustic guitar also brings it all soooo nicely together, it's so pleasant sounding, especially in the quieter "baby, let's invade" part.

Idk what else to say, very awesome song though and I definitely don't mind listening to it twice (with the repeat as a bonus track, which I'll also get to briefly at the end) at all, in fact this might be the least "intrusive" song in a sense, so that makes the best choice for a repeat, if I had to choose, I could see myself going with this one, it's just very pleasant all around.

5) Rock, Rock, Rock ▪︎

So things get real once again, huh. This is one of the songs that I count in the category of kind of sick and twisted but in a way where I only respect them more for making it, so that puts it right next to, hmmmm, sherlock holmes for sure, maybe some others I can't think of right now. Big part of that factor is surely played by the repetition which just works, well, very well. Specifically the choruses.

One part of this song I was pleasantly reminded of on my first few listens were the short strings interludes, they really give it some of that pleasant classical feel (a separate thing from what i describe as classic feel here!) that I could say kind of contrast with the song and its atmosphere in general. Or maybe spruce it up, idk, we do have very dramatic strings during the verses too... The very deep drum sound is also pretty prominent in this track I think, pretty great.

As to some more notable parts in the vocals department... Let's just say that the way Russell says some words is very, uhhhhhh, effective (i think this sounds more cursed than it should, but i mean exactly that, the delivery just really hits you... and other times it's kind of silly instead). And also, with that repetition and it creating something great in mind, there's the repeated "and since you put-" part near the end that's also really great. The repeated "I"s in the bridge I think also need a mention. It's like they know exactly what word / phrase to repeat, what amount of times, and in which part of the song for it to work the best, like the perfect placement and number.

I think this song also has a bit of a fake ending, so that's also something of note, especially when it's supposed to sound as dramatic as possible (at least that's the idea I get from it). And actually, oh, so does the previous song! I forgot that part even though it's even more noticeable / memorable in that song than it is here imo.

6) Metaphor •

Second half of the album starts off with something that's very elegant and all the while very pleasant and melodic, all of which makes it a very nice track, even in a more usual pop song sense. Some very cool piano to start things off, and the electric guitar accompaniment, which also enters pretty early on. And then we have that slightly more strange part, kind of like an early bridge, that honestly has a bit of a comical effect imo (with no disrespect intended!!)? As in, I find it kind of funny and silly personally. Yeah, the "who's up for a metaphor" part, especially when we get the repeated "don't don't"s and "we we"s, and, well, what follows is what's definitely the greatest part(s) of the song, when Russell enters his falsetto mode and we get the "aaaaa-ªªªªª..." etc. backup vocals in choruses. Those are the moments of the song that are just, well, ONCE again that classic factor that makes the melody & everything else super special. But more specifically, I think those parts are just kind of beautiful. Yeah, I'd say this song is the prettiest in sound that this album gets overall. Truly wonderful and gets you excited for the remaining songs.

Meanwhile, the spellings of dig as d-i-g might feel kind of random I guess? But it works. Adds variety or whatever (note: it's also a very good moment of a rhythm change I believe, I think now that's what makes it sound as cool and satisfying as it does). So yeah, kind of a heavenly song I think, in a sense, also one of my top faves just for that factor (note: this song is now probably my favourite on HYL, and also among my top fav Sparks songs overall. It wasn't instant, but it grew on me quickly and oh man, I truly love this song so much now)

7) Waterproof •

I think this is kind of an odd-one-out actually? And why? I think it's probably the closest on the album to being sort of a fully, or at least MOSTLY, "normal" song. It doesn't have so many parts that are just downright weird and unexpected I'd say, it's just kind of friendly instead compared to the other ones (note: it took me perhaps too long to realize that this song just doesn't have quite as much repetition, which most other songs here rely on heavily, so that's definitely what makes it stand out the most). Not that it's an entirely bad thing! Sometimes you gotta slow down and relax a bit I guess...

I do appreciate the kind of sudden switch with the "the sky is starting to cloud up" part, and the little orchestral bit right after the first time the aforementioned switch happens (the second? or generally some later time it happens again there are also some very awesome horns! Really starts feeling like a quaint rainy street in some french town or something...) when, well, I was going to say that the vocals and the strings do the same melody, but they actually don't, at least not fully, still though, I did have that illusion before I made sure it wasn't the case with another relisten, either way, when it DOES happen, and Sparks do that a whole lot I feel like, it's always quite awesome, I mean, syncing the vocal melody with some other prominent intrument's melody...

The I think harpsichord also makes a return, yay! And then there's the guitar part, that does have some real surprise factor when it comes in, but this time for sort of the opposite reason - it sounds bright and nice this time around, and also it reminds me of Sparks' later style tbh, specifically in their following more rock-centric songs of course. And I think that's very nice, we see the always progressing evolution of their sound here I think. That guitar bit also has some album closer vibes, that kind of fake closer (or nearly-closer) situation kind of reminds me of a similar thing I experienced with Bon Voyage on Propaganda for example (note: I have since learned that Bon Voyage IS the closer on Propaganda, and the following two songs on streaming are just b-sides. So it makes sense that it would sound like an album closer because it IS one).

Annnddd the last thing that I just can't forget about here is Russell's another epic falsetto moment (waterwatereverywherebutnotadroponme!~) that part actually makes me smile. Yeah. Legit. I paid attention and I did smile on that part during my relisten today. ... Ok, let's go on.

8) Here Kitty •

When this song came on the first time during my vinyl listening I of course instantly knew exactly which song it was (bcs I've heard the title before, and a few words on it too) and had this little amused "oh no" moment. And, well, turns out this song is actually very awesome and veeeery interesting! It adds something really unique to the album. I saw someone call it quite impressive in the vocals / vocal lines layering department recently (in the last week, so already after hearing it myself I'm pretty sure) and I absolutely agree.

First off, let's settle that - this is a very strange song. But that's exactly what makes it so good of course. The strangeness keeps you so distracted from this fact, that when we reach the bridge of the song you suddenly realize that beneath all the "tatata"s, meows and unsettling rising piano notes we have the very much usual song structure with verses and choruses. Yeah, I think I actually sort of figured it out, what might be the verse, and what might be the chorus... Speaking of which, the parts that I identified as choruses have this, well, it's the same thing all over again (but each time the specialness comes from a different place and is totally different of course), but that very classic feel, indicative of maybe even some specific genre but idk what exactly...

Besides that, well, maybe let's go back to my oh no moment for a minute, and let me say that I either am very illiterate in that sense (and yeah I am tbh) or the lyrics aren't as overtly, let's say, innuendo-filled? as I expected. They actually have a semblance of a story you know... I mean, NO, not even a semblance, it IS a story! Let me also say that this is a very interesting song to have stuck in your head a lot over the course of pretty much an entire week. Yes, it got to the point where it could be annoying. One last bit of the song I really like is at the very end, when one vocal line starts to sound kind of echoey / distant, nice touch.

9) There's No Such Thing as Aliens •

The song that first cemented itself as being by far the shortest song on the album, sort of an interlude before the incoming epicness of the last one (that was quite literally my very first impression before I even heard either, looking at the vinyl this one was visibly much shorter than the last, and of course I expected the last one to be fittingly grand, and so it was obviously, but we'll get to that in a minute). The funny thing is, it's not even that short, as I figured even before eventually making sure how long it was in fact, and that's almost 3 minutes, which, well, of course that's still something around well over two times shorter than the last song.

But enough about its length, this song actually does kind of work as an interlude thematically too, which it is? it sort of even feels like it doesn't quite fit with the themes of the other ones, I mean, maybe not that it doesn't fit but just that it's defintely the furthest removed from the much more similar topics of the other ones (more about that also later!). Plus it's pretty sparse lyrically, once again, there's less you can fit in under 3 minutes anyway. Which supports the interlude argument also I believe.

Anyway, the music. First of all, waltz time!! Always a treat in sparksland to have that rare spooky 3/4 time track. The feeling I get from this track is: grand, very orchestral, anddd, hmmmm, elegant. But is it more elegant than the rest of the album... Idk, I wanted to use 3 different descriptors. I honestly don't think there's much more to say about this one, it's great, the melody is really great, the grandiosity of the choruses, the even more notable waltz time during verses. I think that yeah, I could pick this track as the most orchestral / classical inspired of the album. One cool moment I'll mention though would be the very ending, with the repeated "no"s going for longer than you'd expect them to maybe, and the deep drum accompanying all that. Very grand ending.

10) As I Sit Down to Play the Organ at the Notre Dame Cathedral •

Well, how do I even start on this one. I think I can say that with literally each single listen I become more and more in awe of this song. Could I even call it even more of a journey than the opener? In a sense, yeah. There's so much going on here. So much that I almost feel like breaking it down into individual parts and giving all of them their due because they all work for the amazingness of the whole. In fact, I might even already have this track roughly memorized (all... 7 minutes of this track) so it could be done. But ok, I'll just go with each part as I remember it, we'll see if I in fact do go over nearly all or all of them.

So. Echoey synth (?) intro, then the first melody part, with the individual words repeated, kind of "urgent" vocals part, very nice rhythm and something I just find very cool. As it progresses we get another part of just the synth / electric guitar-like synth / guitar or whatever this thing is, then a mix of both + this clicky instrument and / OR is it the harpsichord again? Giving it all more urgency and a nice constant rhythm. I also really like when the "byebyebye" vocal gets looped before the synth reenters. Overall, this part of the song has a very electronic, drony feel that I greatly enjoy and find very atmospheric and immersive already.

But, well, it doesn't end here. Because later, everything else stops and we hear a church organ. Even the melody it enters with is very much like something you'd hear in a cathedral, indeed! Good environmental storytelling, isn't it? But then... the organ transitions into this very very cool frantic melody (and by very very cool I mean that it's probably the #1 thing that stood out to me about this song right from the start) which returns consistently throughout the song and is just oh so very awesome.

So we enter the next part, what could probably be called the central part "as I sit down to play the organ...", tension is rising, the organ is doing its thing in the back, then some "hallelujah"s and BOOM! The chorus? The "I've got faith" part of course. And with it some epic strings, and I don't think I can really say what exactly it is about this part that makes it SO FREAKING GOOD & ABSOLUTELY SHOWSTOPPING but it's easily in my top 3 moments on the album at least. Then it's followed by the slightly considerably calmer "she's here..." section and we go mostly full circle for now, more variations on the same parts. Some grandiose "lalala"s & epic drum action too. And then, the "I believe" sections which I cannot let myself neglect, mostly just on the basis of them being kind of sickening to me. You know, in the "why did they do this (said respectfully)" way.

Ok, did I really just talk about all of the individual parts, I guess so. But before I move on I have to mention the moment when the very first major part, the "bye-bye-bye my baby" part, makes a sudden comeback. It's honestly just so good and satisfying, when completely different sections switch and make unexpected (or maybe you actually DO expect them on some subconscious level, and that's what makes them work so well??) returns like this, if a song has that it's very likely it will become a top top favourite or at least have a very big effect on me. Or even HUGE effect, like here.

So yeah, the song does eventually end (I mean technically unbelievable somewhat, since it's so long, but have I actually mentioned yet that this track goes by about just as fast as the first one, because it sure does, you do not notice the time passing WHATSOEVER) on some more "hallelujah"s. And the album's over. Wooo boy.

Bonus tracks

Well, it's not really over yet if it's not the vinyl but the streaming version. We still have just two more bonus tracks, technically just one? So I'll go over both quickly now for completion's sake.

First we have "We Are the Clash" which is a pleasant song for sure, can work as kind of a denouement after the crazy journey of the previous track, so you're left on a little less of a mood unresolution and can become a little less unsettled after all of this going down... Idk.

But yeah, I actually have this impression veering on pretty strong conviction that this song is a cover actually. It could even be a cover of the band whose name is mentioned in the song, which would put this version in a extremely funny area of how far stylistically it might be from the hypothetical original, if it exists (what's up with all these bands and their "we are the [band name]" songs, there's so many). Of course I could also be very wrong about this so all I just wrote could turn out to be absolutely hilariously off target, still, a fun little attempt at guessing things and connecting ideas on my part, whatever the truth turns out to be (I will learn the truth... in due time. My experience tells me that when I'm still fully in initial unwell mode over an album it's difficult for me to read and retain any outside information / commentary on it. So no need to rush it, heh) (note: yeah I was right for once. I meannnn I guess it was obvious anyway but still, let me have this, I've been fooled by assuming that a cover was someone's original song way too many times so I'm happy to not be fooled for once).

So ok, the last last track. Baby baby can i invade your country is baaaaaack, not much to say but it's pretty much the same other than the lyrics, since well, it is the "alternate lyrics" version, not "alternate" version. I do think that it might be slightly longer than the final version though but it's also likely I'm misremembering.

Anyway, lyrics, all I can or feel the need to say is that they seem to be definitely way more to the point on what this song's actual topic is (not... invading... countries . I don't need to explain it here do I) so subtlety win for the final one I guess. Just so it is known, I have not read these two songs' lyrics unlike all the main album tracks'. But I think I caught enough to get the main idea from both, you know. I do think also that the final version's lyrics just kind of sound better, idk if it's the rhythm of the words or what but they do just have a nicer flow. So, improvement, probably, still very nice to know this version anyway of course. (note: yeah i have learned since that most of the final lyrics are the US national anthem. Makes sense that if any song were to have alternate lyrics it would be this one)

To round it all up...

I think there's still a lot that can be said about this album as a whole but how do I go about that. Well, I did mention earlier that I'd come back to a) the overall feel / atmosphere here b) the themes / stories and how they connect. So those shall work as a guide to my conclusions part of this whole review.

First off, I could even say a bit about the main vibe / sound here in reference to Lil' Beethoven! Since it really does work as a sequel, at least in sound, by all means. I described LB with stuff like... cold, distant, cathedral-like, what else was there.... Ok, I have more, lifted directly from my LB write-up. (note: finally listening to LB a month prior to this was enough of a big deal for me that I wrote down my live reactions to hearing the songs) Impersonal / detached. Alien. Spacious.

Do those apply here too? I think so, yeah! Pretty much all of these words also feel like pretty good descriptors here. But honestly, the more I think about it.... Maybe it's just that the distance / the detachedness and alienated feeling is a bit lower here? Or at least in some songs more than the others. It's hard to explain honestly.... That similar atmosphere continues here but it's just..... not as pronounced maybe. Idk, maybe it will become clearer with this next point I wanna make which is that LB actually is less, uhhh friendly in sound. Less accessible! Yeah, I do think that this album could be seen as: LB started the experiment, HYL perfected it by taking it in a slightly more accessible direction. Or is perfected a wrong word here, who can say which was, or should be considered the better outcome here.... I think I actually have a problem putting concepts into the right words today. But maybe at least some of my feelings about this can still come across here...

So yeah, I don't think it's possible to tell if HYL is better or LB, it also depends on how you look at it! As it kind of always does when judging stuff per good / better. One thing that I can say sort of for sure though is that LB certainly started ideas / techniques that HYL expanded on and toyed with further, so in that sense, it could be considered an improvement. And so it is clear, I don't think I can say 100% that I like one more than the other. It's not that simple. I guess you could however say that HYL was more of an instant hitter and LB really just grows and grows more in power overtime....

So yeah, they kind of did take the LB concept and all of the avant-garde, experimentation factors that come with it, and made it more accessible, which is a form of art and an achievement and a testament of skill in itself. I think the somewhat friendlier, more palatable approach of this album also lifts off the coldness aspect a bit, but it's still there, especially on tracks 1, 3, 5, 10, off the top of my head.....

But maybe I should talk more about the album and its sound as it stands on its own before I move on though. Maybe we could jump from the words I already used: classic, orchestral, brooding, dramatic, dark, aggressive (yes, I somehow see it as friendlier than its predecessor despite also being much more aggresive in all senses. Raw even. How does that work? I can't tell you today. And idk if I'll ever figure it out. And also personal, YES, that's the word, this album feels soooo very personal and emotive. Not in the sense that I'm trying to say that it must be personal to them, more like it just shows some very personal feelings and struggles), triumphant (but that goes only for that one song really), driving, ELEGANT. I think the word elegant is the key here. In all of its subtler or less subtle tone shifts it keeps that very elegant, kind of graceful feel, all throughout. Even when it seems to be touching subjects that wouldn't necessarily bring that kind of atmosphere to mind, it kind of elevates them and gives them, idk, a new meaning?

So is this a good segue into the topic of themes? I guess the album name sits well with what I think is going on here, because my main impression of the whole thing was something like.... stories of fucked-up guys with self-image problems / feelings of inadequacy, which they try to go around fully convinced that they're right (and their messy love-lives too ofc). Or are they just, normal, regular guys actually. Who can tell. It certainly gives you an idea / a whole concept to work with and ponder here and to connect and visualize kinda.

I think that yeah, out of what I've heard so far this has to be the most thematically-consistent sparks album there is. It comes to a point where all the songs give this little impression of a whole universe where all of this takes place, and while I've had these kind of impressions from albums that are way more all-over-the-place conceptually with their lyrics (I mean like.... pretty much every They Might Be Giants album. You can create this sort of illusion with more than words, the music and its atmosphere and often also its stylistic consistency might be even more important actually), this comes, in my mind, almost close to concept album levels in that regard.

The definition of a concept album probably calls for something more specific than all the tracks being in sort of a similar theme but you know.... I don't think it really happens most of the time in music in general, that the whole album has this sort of a familiar idea / spirit throughout that makes a unique whole. (note: apparently wikipedia calls this album a concept album. Another win for me in that case, lol). You could probably try to connect different songs' themes and work with that in some way.... Which is something I already did in all honesty, but actually it's a between albums thing here, because I do believe that the dick around guy could be the same guy that the narrator from ugly guys with beautiful girls talks about. Similar ideas you can connect! That's what I'm talking about. I love it when songs tell overarching stories.... Make me think about characters from songs or little universes and vibes created by even the vaguest of lyrics and the ideas those create and the imaginings they bring, any day.

Ok, what else can I say. I think I mostly covered everything I could actually. Should I say something more about the cover with the added context now. I already said that it gives off a "something's wrong" feeling, but I think it's also compelling in how it conveys that elegant, non-threatening and polished image, sterile kinda. Well, I think only one of those four words I just chose doesn't really apply to most of this album's songs. I mean non-threatening ofc. Hmmm, maybe sterile doesn't really work here either, besides those prominent examples of the coldness of sound on this album, it would actually go more with LB, which also has a fittingly minimalist, all-white cover. Collected and orderly to a distressing degree. Just like here, it also gives off some.... distressing vibe. As I already said with the "this isn't right" feel.

What else can I say. In reviews you usually give your opinions, which I very much did throughout this thing here, everything like this is always somewhat subjective I think, but even then, a final verdict could also be said here. I think it's pretty damn clear by now what my opinion on this album is. I wouldn't spend several days writing a review and analysing every little detail if I didn't have a very strong (positive) opinion on this album (I guess I technically can imagine writing a very throughout review of something that just annoys you so much that you simply have to go through everything wrong with it and have some relief and closure through that. I can't see myself doing that kinda thing however, I'm not that kind of hater (or really a hater at all lol, i hope), I'd rather devote my time to things that I find actually cool and awesome and stand-outs in a positive sense, and worthy of attention and that dedication).

So this comment I fittingly found on tumblr over the last few days feels pretty relevant towards my opinion of writing "reviews" of stuff (this was more of a, very detailed analysis I know, but review just kind of fits, especially with how people call their recaps / commentary / writeups of concerts "reviews" a lot of the time):

(note: yeah I think I should come clean here that despite my very recent start of actual social media participation I've already been a serial lurker in various places for years now, lol, I mean, that's probably a normal thing to do though, I hope. I mean, probably lots of people do or did that at some point, but still. And I don't know whose post this is anymore sadly. But I thought I'd keep it here because it's a good summary)

And also, just for the record, this is my opinion on HYL pretty much. Yaaaayyy i loved it i had so much fun!! For real. i'm glad they're creating something!!!! Absolutely. One of a kind album that I will cherish as yet another great and unforgettable entry on the list of albums that changed me (TM) and brought me lots of fun and great memories / associations, even in such a short time. And the actual FIRST on the new list of albums that I'm happy to have brough the utmost attention to and dissected like that. It's out of love.

Thank you for reading this far! Here's a little bunny as a prize!

Whoa whoops this gif was supposed to be small! Have a huge bunny in that case, you deserve it! 🐇

[shiro-hatzuki]

i made these edits a while ago to procrastinate studying for a final that i really needed to pass. i thought they looked good for pfps~

edited from the ORQUESTA x MILGRAM crossover comics released on twitter [ 1 ] • [ 2 ] • [ 3 ]