#this text will have almost no notes

[funsizedcrow]

When the youngest sibling becomes the oldest :)

Q&A (as asked by my sister and me to myself)

Q: Why is Time wearing his kokiri clothes while everyone else is just in smaller versions of their regular outfits?

A: Time came prepared for a situation exactly like this. shrunken or not child him is not wearing that armor (i didnt want to draw it)

Q: Why is Wind lecturing Legend?

A: He tried to grab a fire rod

Q: Why are they all children except for Wind?

A: I thought it would be funny. Maybe a wizzrobe did it. Maybe blue stalfos from oracle of ages showed up. Maybe there was an incident with Purah's de-aging rune. Who knows I'm just the artist here

[sealofarchives]

Hello, could you create a headcanon for ROTTMNT about what it would be like to date Leo, Raph, Mikey, and Donnie (separately) and what the pros and cons of a relationship with them would be?

Headcanon: GN!Reader dating the Rise!Turtles (Separate) (Requested prompt with established relationship)

A/N: This was really fun to work on and ended up surprising myself with how this turned out!!!

Donnie

Pros:

Since you take the time to listen to whatever he says, he'll do the same for you.

Even before you started dating him, he took some notes on what you liked and disliked. (He used to have a tablet for that said purpose but eventually, retooled as a backup photo album storage between the two of you)

- I personally think he's not one for the usual icebreaker conversations with stuff like "how's your day and etc"

So most conversations start with some tangent on his mind or about your favorite things then eventually discussing daily stuff that happened within the day.

Even though he struggles trying to cheer people up, but he's not gonna ignore your well-being when you happened to have a bad day.

- Like he makes sure you had something to eat or drink. And if talking about the problem makes it worse, already noted and tries to pull you towards light stress free activities. (Letting you borrow one of his headphones to listen to your music, sort and try out a box of fidget toys, or setting up a small space in the lair as the designated chill zone)

While there might be some technical mishaps, he always has good intentions trying to fix your phone or other electronic devices you have trouble with.

Cons:

Imo I feel like during the first few weeks in the relationship, he'll be awkward towards pda. (don't constantly pester him about it)

- He'll eventually come to it maybe near the end of the first month of dating. (With his personal quota of handholding and hugs that last a few seconds)

Until realizing your needs are just as important to maintain that special relationship.

- However, If some creep doesn't get the message you're already taken, its one of the rare times he'll force himself into initiating pda for your own safety.

Easily gets jealous and refuses to admit it with some snarky remark.

When he refuses to take breaks, you probably have to step in so he doesn't accidentally hurt himself or gets sick.

- When you do so, it often ends with him passing out on you.

(And tiny bit of scolding from his brothers [namely Raph and Dr Delicate Touch] after Donnie recovered from overworking himself on a large scale project)

Can be very passive aggressive and it could lead to some unpleasant arguments towards something very trivial.

- He's definitely the most stubborn out of his brothers and probably won't hear you out until your feelings get hurt.

It might take him a few days to think up of a proper apology. And during those days, he slowly regrets yelling at you along with letting his anger get the best of him.

Leo

Pros:

He won't admit it but, your level of honesty around him really puts him at ease whenever he's lost in thought about something.

- The leader can name a least few things about his brothers' special talents but during a few nights where he can't sleep, because of a nightmare from a past enemy. (either Shredder or the Krang)

He didn't have the energy for one of his usual portals but, really wanted give you a hug for saying such kind words through a phone call.

He'll instantly back off if he accidentally made a joke that offended you.

- The last thing he wants is to upset you. So he really tries working some type of compromise between the two of you, so it doesn't happen again.

He has a strong memory sometimes, like remembering the little details. It will usually happen when you least expect it.

- Casually bringing up a past event from one of the photos saved on your phone. Often being one of the early hang out sessions, before you started dating him. He'll lightly tease you about it but, mostly grateful that you took a chance to build up that relationship with him.

If you happened to have a case of bad luck, he's very determined to end that streak's rein of terror by his own hands.

- And if you can't visit the lair, he'll let you borrow his lucky rock as a good luck charm.

Cons:

He still has a bit of that competitive energy in him and can be a sore loser when he doesn't win.

- It could take him a while to realize that the playful showboating upseted you and to why you're refusing to give him any attention.

This also adds on to that he's not the best at genuine apologies.

- Like the first sorry has no feeling to it until the guilt weighes down on him.

I don't think he could last a few days with you giving him the cold shoulder + silent treatment (Imo, he has the type of desperate embarrassment that would be hard to watch)

Sometimes his "surprise planning" ends up in a panic since he waits until the last minute to get you something.

- Given how some of his strategies usually works towards his advantage. (Often not telling the others about it and another similar manner along those lines)

His ego can 100% break the relationship.

- Like there's only certain amount of patience you can handle with his nonsense and his brothers will absolutely not stand for that kind of behavior. The moment he realizes he was in the wrong, he scrambles trying to avoid a potential break up.

Raph

Pros:

Almost has the same level of patience as Mikey's. (Also a result of being the oldest brother and dealing with some of Splinter's shenanigans)

Will often ask if you need help with the heavy lifting. (Even towards small stuff like when you can't reach for something on the top shelf. He will immediately grab said item for you.)

Gives the best teddy bear hugs

- Not too tight or too close to his spiky scales. Just right enough where it can easily put you at ease, stopping any stressful thought plaguing your mind.

Can easily motivate you into short exercise routines.

- It doesn't even have to be the daily recommended 30 minutes. Often being close to under 5 minutes is still worth it.

When both of you were done following that one morning aerobics exercise from animal crossing, his brothers immediately teased him about it. But he doesn't care, he was just happy you got to stay up for a little bit before lazily resting your head near his plastron.

Cons:

While the big guy means well, he can be a bit overbearing.

- Especially if you got a small injury, after a brief night patrol fight from an unexpecting bad guy attack.

He will absolutely be a mother hen if you end up getting sick. Drops whatever he was doing and rushes over to make sure you're okay. Which often results in him getting sick after you fully recovered because he forgot to bring the protective gear for his own safety.

(This is a personal headcanon of mine) but he's definitely close to a morning kind of guy. Light stretches to start the day before he eats breakfast.

- So if you have a similar night owl schedule like Donnie or Leo, he won't say much but, he will judge you for it unless its related to some medical reasons.

If you decide on borrowing clothes from him, a lot of the shirts he has, will have a few holes because of his spiky shell. So pack some extra clothes (like a spare tank top or something similar) if you're not into the torn up clothing look.

You're bound to see Savage Raph at least a few times.

- Please approach with caution and take Leo's advice seriously. However, still be gentle around Raph and comfort him by the time he returns back to his usual self.

Mikey:

Pros:

The fact he knows how to cook is already best boyfriend material.

- He can probably cook up your favorite food if you ask for it.

Another plus is proper communication skills.

- Dr Feelings will always be there to help and will accommodate what's best suited to your needs.

Can be your personal cheerleader when you happened to be stuck at starting something.

- After all, he is the best hype man for a reason. But, can easily tone down the energy if you start to feel overwhelmed.

There will always be a lot of creative thought in whatever gift he makes for you.

- Very heartfelt and he will be a blushing mess if you ended up displaying it in a place where he can see it. (either in your room or a place in your house where there's a lot of care in preserving it)

Cons:

Imo I feel like the Dr Delicate Touch persona leans towards some of that passive aggressive energy.

- Namely the anger tone, (which might have some influence from a certain purple turtle) so Mikey still needs to be careful about that.

It won't happen all the time but, if you forgot to eat breakfast. (or any of the other important 3 meals of the day)

- Mikey will pester you into eating some food he made. He usually does this to Donnie and the box shell turtle won't budge until you finish the meal. Or at least half of it, so it can be saved for later as leftovers.

The sad puppy eyes trick is present in all the turtles but, Mikey's more dangerous since he's a master at it. So try your best not to give in to the temptation. (If you can help it)

He's the second turtle to make a beeline into danger. (and him being commited to be the bait as a distraction [like dressing up in a hippo costume with a cologne that attracts said animal or the time he wore a cucumber suit to tease Repo Mantis' mutant pet cat for one of Donnie's vlogs])

- Be prepared to patch him up as result of his rowdy energy.

[chaoticreivingu]

The Obscure Hidden Yaoi of Ranma 1/2

CW: Mention of Suicide, Period-Typical Transphobic and Homophobic reactions

There's a scene in the manga where Gosunkugi crossdresses to get Ranma's attention(this isn't the first time btw) and sabotage his role in the Romeo & Juliet play.

When he rejects the bomb, they parody a love rejection scene.

Whenever one of Ranma's rivals catches him with a girl that's not Akane/Shampoo, they normally celebrate it and even root for him since he won't be "getting in their way" anymore.

But Gosunkugi gets weirdly jilted about it, heart pumping sound effects and all.

In chapter 200 Gosunkugi gets a set of paper dolls that can control people when given commands. Though accidental, he only puts romantic commands on men.

In particular, Ranma and Gosunkugi's date gets a lot of spotlight, lasting 2 pages out of a 16 page chapter, culminating in this exchange.

After this happened Ranma starts blushing when Gosunkugi walks by and asks what his intentions were earlier.

The next Gosunkugisode is about him reconsidering his thoughts on Ranma since he saved him from bullies, but this gets rebuffed by Gosunkugi buying a mecha armor to defeat him. His crush on Akane gets mentioned less and less.

If the armor doesn't punch the desired target in 30 minutes both the wearer and the target will explode. By the end of the chapter, Ranma has a speech about pride and fighting Gosunkugi fairly. The only part of it that he notices is "man to man".

After this Gosunkugi tearfully swoons over Ranma acknowledging him, describing his current situation as a lovers' suicide and apologizing for not wanting to do it.

The chapter ends with Gosunkugi not being able to finish a sentence directed to Ranma with similar wording to the earlier scene about him being accepted.

Even though he sits directly behind Ranma, this is the last time Gosunkugi ever ambushes him. Even though he sits next to Akane, he never shows any reaction to her anymore and seems to be looking at someone else instead. He only uses his straw dolls to fidget with.

The last line Gosunkugi ever has in the manga has him sweating heavily with his heart beating fast after finding a supposed wedding ring that Ranma had buried in the ground(with Ranma blushing in the back for good measure).

This was just an excuse to list the fruitiest moments these two had.

As a bonus, here's a minor detail that I noticed. Whenever Ranma's rivals want to insult him, they all go "Yurusan!(Unforgivable!)" or "Onore!!(You!!)".

But Gosunkugi instead repeatedly says "Saotome no Baka!!(Stupid Saotome!!)" just like his suitors do.

[non-plutonian-druid]

look guys i actually did some spirit designs

[ID: the Hargreeves' spirits in the Paranatural au - or at least, the five of them that are kids in this au.

Luther's is an ape that looks like his body from the comics. Diego's is a creature that looks a bit like a small porcupine. Allison's is a large snake with its mouth duct taped shut. Klaus' is a blue raccoon with three eyes and a pink tail, and Viktor's is based off of the White Violin from the comics, except its head transforms into reaching arms. End ID.]

sorry, the ID got REALLY long this time. that's a summary for anyone scrolling, theres a more detailed one under the cut!

[ID: Luther's spirit is labelled First Simian In Space: THE MARTIAN APE. He looks like the ape that supplied Luther's body in the comics, drawn in the paranatural style; blue, with one eye. He is wearing an astronaut helmet and sitting in a coin operated rocket ship that is much too small for it. He has transformed the world around him into a scifi martian landscape; cardboard standups with doors and lockers scribbled on them are the only indication of the real world. Luther is sprawled on the ground staring in shock, while the Martian Ape says "Y'know, you should totally just kill your dad".

Diego's spirit is a very small creature that looks a bit like a porcupine.

Panel 1: Diego holds his spirit in his hands and says, "So, what's your name?". His spirit responds "I am called..."

Panel 2: A caption appears; Projectile Extraordinaire: KRAKEN. The image is in full color, focusing on Kraken, which glowers cutely and shows off her spines.

Panel 3: The same shot as panel one, except Diego now looks very skeptical. He says "..." and then "Why." Kraken responds "It sounded cool."

Allison's spirit is a giant green snake coiled around a tree branch, with a pattern down his back that looks like open mouths.

The first two images are centered on Allison, who is scowling in both. Someone unseen says "It can force people to do things, honey!" and "It's too dangerous to leave you alone with it." and finally, "So we fixed it."

The final image is of the spirit. He is captioned Muzzled Mind Controller: THE RUMOR. His mouth has been duct taped shut. He does not look pleased.

Klaus' spirit is a blue raccoon with dark purple legs and a fluffy striped pink tail. It also has three eyes.

Panel 1: The large colored closeup of Klaus' spirit. It is captioned Mystical Conartist: THE SEANCE.

Panel 2: Klaus asks it "With a name like that, what's your power?" The Seance, its nose just high enough to fit into frame, replies, "Oh, I can sense ghosts"

Panel 3: Klaus looks supremely unimpressed. In the background, a ghost says "Hi" to Allison and Luther, and they say "Oh, hey" back.

Panel 4: Klaus asks, "Seriously?"

Panel 5: The Seance, viewed from above, says "Hey, I can sense them even when they're not visible! Like behind walls and stuff!"

Panel 6: The Seance adds "Also I can float." It is demonstrating, floating about eye level with Klaus and emitting a cloud of cyan spectral energy as it does so. Klaus looks more pleased with this and says "Okay, that one's pretty good."

Viktor's spirit is a Wight, a spirit so warped by rage and pain that it has permanently been changed, its spectral energy has become white, and has gained massive, devastating power. It looks a lot like the design of the White Violin in the comics, but it manifests too many or too few arms from where its head should be.

There are three images of it. In the first, it is kneeling. It has manifested six arms in varying degrees of completeness, and all of them look sad.

In the second, the matter of its head has split into many small pieces that almost look like parts of mouths, save for two clawing hands. It screams, in the Wight spirit language from Paranatural, WHAT DID YOU DO TO ME.

In the third, the largest, its knees buckle as it stands and manifests one reaching hand. It is captioned Violent White: THE WHITE VIOLIN. End ID]

[lady-harrowhark]

lol not me crying because someone from my program texted me to ask how i was doing and that they hadn't seen me around in a while

[sergle]

can I just say how much I love. love love love being able to turn off reblogs on a post. It's so freeing bc people will literally reblog or retweet shit that has absolutely no business being a reblog

[jerichogender]

thinking about the time they actually gave joey dialogue in the new teen titans: games…

“He could be role-playing with us. Art represents civilization. Maybe he’s showing us his end game?”

this says sooo much about him: his deductive reasoning skills, his appreciation for art, his understanding of other people’s psychology. i need more stories where joey gets to play detective, especially in an art or music history context, and i NEED him to have proper dialogue

[just-spacetrash]

😁

[the-punforgiven]

Love the importance of Miquella's Great Rune in the trailer

Like, in this shot for sure

It's important enough to be its own gesture (Named Miquella's Ring) even, none of the other great runes do that

Important even to the point it's framed on the like, main cover of the dlc

Evidently whatever this great rune does, it's a Big Fuckin Deal I guess

[nobodybetterlookatme]

Update 3: drove the asshole home bc I was so sure he was fr gonna die if he drove himself lmao. Poor dude looked so miserable, like bro was either holding back while we were working or he got worse the second he was able to relax, bc there wasn't a single moment of silence the whole drive back, dude was just curled up in the passenger’s seat shivering and being so fucking symptomatic. Like he was doing that thing where you basically cough all of the air out of your lungs then doing that rattly little inhale and then repeating, like it was Not Good 😬 0/10, hated being there to experience that in person, I was horrified, I want all of that to stay in audio recordings where it can't hurt me lmao. And he wasn’t sneezing a ton, but when he did, he stifled them until I told him to quit it bc the last thing he needs is a fucking ear infection on top of whatever the hell is already wrong with him, and even when he stopped, he was so congested that they sounded kinda stifled anyway 😭 like it's all objectively hot and I would've loved it had I just read it and not experienced it first hand, but unfortunately I'm a massive germaphobe and had to sit three feet away from this guy all damn day. So I bleached the hell out of my car and scrubbed myself down in the shower three times and I still don't feel like anything is clean enough, but I'm tired so it's gonna have to do for now lmao

[cent-scratchnsniff]

More sketchy employee profile images. Mostly made to be able to replace the picrew I had in the template I made since I can draw. I did end up just putting it as back and white though but the color is just nice to have. I'm STILL trying to tweak the template since it is very finicky and there is an example of what it looks down below if you're interested. It is a lot. It will happen. I am just not the quickest

There are typos and inconsistencies I missed but in general it should be fine...

[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! 🐇

[izzy-b-hands]

The insomnia sure is insomniaing

[jamiethebeeart]

I ran across this old draft of a PI Spinner au and I might never finish it, so I'm posting what I had

[schnaf]

22 days until gaon's 22nd birthday

day 19 - gifs you can hear

[vodkacheesefries]

y'know, if tumblr ever dies I'm screwed because the amount of times i have used the drafts feature to get a photo, link, or something else from my ipad to my phone, or my phone to my computer, or computer to ipad etc and so forth is astonishing