#Destructive Vinyl Labels

[bedlam-barbie]

Hate the way

Hate the Way

Or Attention Part 6

Pairing: In Ho x recruiter!reader; salesman x recruiter!reader; love triangle intensifies

Warnings: toxic relationships; emotional whiplash; possessiveness; jealousy; unresolved tension; heavy angst; bruises; emotional manipulation; push and pull dynamics; self-destructive coping mechanisms; mild violence; implied past intimacy; longing

Word count: 4.1k

Summary: The business trip ends, but the weight of the past lingers. A tense encounter on the rooftop pool in Jeju leaves wounds deeper than bruises, solidifying the emotional battlefield between her and In-ho. Back in Seoul, she finds herself caught between the suffocating silence he left behind and the undeniable pull of Gong Yoo, who refuses to be ignored. As she drowns her thoughts in whiskey and sharp words, she is forced to confront the cycle she keeps repeating—and whether she’s ready to break it before it breaks her.

Masterlist

Part 1 Part 2 Part 3 Part 4 Part 5

The rest of the business trip weekend passed in a blur, a haze of meetings and fleeting moments, and before she knew it, she was back in Seoul—back to the quiet sanctuary of her apartment in Hannam-dong. The moment she stepped through the door, a wave of ease washed over her, like an exhale she'd been holding for too long.

Her home was a spacious retreat, designed with a minimalist elegance that still radiated warmth. Floor-to-ceiling windows stretched across one side of the living room, inviting in soft, golden light during the day and the shimmering glow of Seoul’s cityscape by night. The furniture followed a neutral palette—creamy beiges and soft whites—creating a sense of calm that soothed the edges of her busy life. Yet, the space was far from sterile. Every corner whispered a story, a memory, a layer of her personality.

Bookshelves lined the walls, brimming with novels and memoirs, poetry collections, and well-worn travel journals. Nestled beside them were stacks of vinyl records, some brand new, others crackling with the nostalgia of decades past. A sleek, vintage-inspired record player stood in the corner, always ready to fill the space with music that matched her mood—whether soft jazz on rainy evenings or upbeat tunes for lazy Sunday mornings.

But her favorite corner of the apartment was the small, intimate balcony. A humble escape, it offered a perfect view of the bustling streets below. Here, she spent countless hours, lost in the comfort of books and the slow ritual of sipping coffee or wine. She'd watch the city breathe beneath her, its people moving like stories waiting to be told. On quieter nights, the balcony became her haven for reflection, where the hum of Seoul met the quiet of her thoughts.

However, an unease lingered beneath the surface of her comfort—an elusive feeling she couldn’t quite place. Something was off, a disturbance in the familiar rhythm of her space. Her gaze swept across the room, searching for the source of the disquiet, until it landed on the coffee table in front of her sofa.

There it was. A bottle of whiskey. Unopened. A dark satin bow tied neatly around its neck, an elegant contrast to the amber liquid inside. Beside it, a solitary glass, crystal-clear and heavy, waiting as though it anticipated her company. She stepped closer, curiosity pulling her in. Her fingers grazed the bottle, tracing its smooth surface, and she read the label. Yamazaki. Japanese. Old. Expensive.

A small smile tugged at the corners of her lips, accompanied by an exasperated roll of her eyes. Gong Yoo. Of course. Who else would be bold enough to break into her apartment and leave such an audacious gift? This was exactly his style—a silent intrusion, a quiet mark of mischief left behind like a secret signature. She wasn’t even a whiskey drinker, but she knew this particular brand well. Not for its taste, but because it was his favorite.

She turned the bottle slightly, and there, stuck to the back, was a yellow post-it note. His handwriting was unmistakable—casual, a little crooked, like it had been scribbled in haste but with intent.

"Thought you might like a drink similar to how you like your men—sharp and twice your age. - psycho killer"

Her laugh came unbidden, soft and warm, echoing in the quiet of the apartment. It was the kind of humor only he could get away with—teasing, irreverent, and laced with an intimacy that only years of knowing each other could bring. 

But underneath the humor, there was a trace of something else. A quiet message between the lines. An acknowledgment of the connection they shared, the games they played, and the way he always seemed to know how to get under her skin. The bottle wasn’t just a gift—it was a statement, a mark of his presence, even in his absence.

For a moment, she just stood there, holding the note between her fingers, the warmth of his mischief lingering in the room. Her fingers traced the handwriting absentmindedly and she felt a familiar warmth overwhelming her body. She opened the bottle, the satisfying pop of the cork breaking the silence, and poured herself a glass. She deserved it—no, earned it—after the weekend she had endured. The amber liquid caught the light as it swirled into the glass, rich and sharp, promising a burn that might distract her from the thoughts clawing their way back into her mind.

But the memories were relentless. They pressed against her, uninvited and heavy. The last night of the business trip, after the fight. After the silence. The moment when In-ho had cornered her, his eyes shadowed with suspicion, his words sharp and low as he asked about the bruises he'd glimpsed beneath the edge of her collar during the meeting.

And then he saw the rest.

The knife-thin cuts. The dark, blooming bruises on her hips. The fading hickeys pressed between her breasts like secret, sinful whispers. Traces left by Gong Yoo. Marks of possession, of surrender. The memory of it still pulsed beneath her skin, a lingering ache she wasn’t ashamed of. She had let him mark her. Wanted him to. Even now, she felt no regret. Because for one night, she wasn’t just owned—she was wanted, consumed. A need met, sharp and undeniable.

And if In-ho was going to be a fucking coward, too scared to reach for her, too hesitant to claim what was offered, then he could suit himself. She wasn’t going to wait for him. Not anymore.

She forced the thoughts aside, pushed them down until they dissolved into the burn of whiskey at the back of her throat. No. She had made her choice. She wasn’t going to waste tears on a man who couldn’t choose her in return. She had better things to do. Stronger things to be.

But the lie tasted bitter.

God, can you be more pathetic?

And the answer, unfortunately, was yes. Because Hwang In-ho had always brought out her most vulnerable, most humiliating side. He peeled her open, raw and exposed, reminding her of every weakness she fought so hard to hide. He reminded her of her father—cold, stoic, impossible. A man she had spent her life trying to impress, trying to win over with every perfect moment, every achievement, every selfless sacrifice.

Because what if this time, it was enough?

What if this time, he smiled? What if this time, he said, "I’m proud of you. I love you." What if this time, she didn’t have to try anymore?

But it never came. It never would. And still, she bent. Still, she broke.

And now, here she was—years later, older, wiser, or so she had thought—trapped in the same vicious cycle. Repeating old patterns like a song stuck on loop, each verse cutting deeper. Another man. Another disappointment. Another battle waged between her pride and her longing.

A man who would rather carve out his own tongue than admit what he felt for her. A man who claimed her body and discarded her heart in less than twelve hours. Who burned her with his touch, then left her to smolder alone. And as if that wasn’t complicated enough, In-ho wasn’t just any man. He was her boss.

Cold. Unreachable. Dangerous.

And yet, he was also the man whose hands had left bruises on her hips, whose mouth had written secrets against her skin. The man who didn’t need to say the words because his body had said them for him—fierce and consuming, as though she was the only thing he craved. But when morning came, when the heat between them cooled and reality crept back in, he was gone. Silent. Distant. As if it had meant nothing. As if she had meant nothing.

But the worst part?

The worst part was that if In ho walked through that door right now—if he looked her in the eye and said, “I choose you. It’s always been you,”—she would crumble. She would run. She would fall into his arms like it was instinct, like it was survival. She would forgive him with a kiss and let him break her all over again.

Because deep down, beneath the anger, beneath the pride, beneath the armor she wore so carefully, she wanted to be chosen. Just once. Unconditionally.

You’ve really done it, dancer.

She laughed, but it was a hollow sound, brittle and sharp.

You’re officially the poster child for daddy issues.

The whiskey burned its way down, but it didn’t take the ache with it. It never did.

So, like always, when she felt low, she reached out to Gong Yoo. Because he was an ass, but he was also the closest thing she had to a friend. Or a lover. Or whatever twisted in-between thing they were doing now.

She took another sip of the whiskey, letting it burn slow and sharp, before setting the glass down and picking up her phone. Her fingers hovered over the screen for a moment, debating. And then—she caved.

[Princess]: Breaking into my apartment is an odd way to show affection, Hannibal Lecter.

[Psycho killer]: It’s not breaking if you leave your window open.

A laugh almost slipped out, but she bit it back, shaking her head as she glanced at the open window across the room. She took another slow sip of whiskey, letting the silence stretch before typing.

[Princess]:That's not how that works.

[Psycho killer]:It is when it's me. 

Of course. That cocky, untouchable arrogance. She rolled her eyes and picked up the glass again, tipping it back as she thumbed out her reply.

[Princess]:You’re an ass.

[Psycho killer]: And yet, here you are. Drinking my whiskey. Thinking about me.

[Princess]: I’m thinking about how you need new material.

[Psycho killer]: And I’m thinking about how you need to stop pretending you don’t like it when I leave you little gifts.

She swallowed, the words sticking. Her gaze lingered on the bottle, on the dark bow still tied around its neck, like a silent reminder of him.

[Princess]: What’s next? Dead bodies on my sofa?

[Psycho killer]: Only if you ask nicely 

Her breath caught for just a second—half a laugh, half a choke. She stared at the message, rereading it twice, her pulse skipping. She shook her head, muttering, "Psycho," under her breath.

And yet, she didn’t reply. She didn’t know how.

Instead, she set her phone aside and reached for the whiskey again, letting it burn, hoping it would drown out the echo of his words.

But her phone buzzed one more time.

[Psycho killer]: Enjoy it, princess. It tastes better when you think of me.

She closed her phone and let it fall to the coffee table with a soft thud, her fingers brushing against the smooth screen like she wasn’t quite ready to let go. The ghost of a smile lingered on her lips, fragile and fleeting. That was the thing about Gong Yoo—he could always make her forget. Even if just for a second. His words were like smoke and silk, wrapping around her, pulling her under until the chaos in her head quieted. Until the ache in her chest dulled.

But it never lasted. Not really.

Because the silence always found her. And with it came the memories.

Her gaze drifted to the window, but all she saw was the rooftop. The silver shimmer of water beneath the moonlight. The echo of In-ho’s voice. The burn of his hands.And the almost-kiss that never happened.

She could still feel it. The weight of his body close to hers, the tension vibrating between them like a live wire, begging to snap. His breath against her skin. The rough press of his fingers curling into her wrists. The broken words that hovered in the space between them, heavy with things neither of them could say.

And it had been her who stepped back.

Her who said no. The memory hit like a bruise she’d forgotten about, sharp and sudden. And for a moment—just a moment—she wondered if she'd made a mistake. If she should’ve let it happen. Let him kiss her. Let him win.

What if that had been it? The moment that broke the stalemate. The moment that cracked his walls and finally, finally let her inside?

But no.

She forced the thought down, shoved it deep where it couldn’t hurt her. Because she knew better. She always knew better.

With In-ho, nothing was ever simple. Never easy. Wanting him was like bleeding slow and pretending it didn’t hurt. Every step toward him left her stumbling two steps back, and it wasn’t just exhausting—it was annihilating.

And she was done.

She was done letting him drag her into this half-life. Done letting him take pieces of her, only to vanish when it mattered.

Because if he wanted her—really wanted her—he needed to stop hiding behind duty and fear. He needed to fight for her. Not pull her close just to let her go again.

And if he couldn’t do that?

Then she would rather burn alone.

She wouldn’t beg. Wouldn’t chase. Wouldn’t be the girl who kept waiting for scraps.

Not anymore.

She swallowed hard, the whiskey burning her throat on the way down, but it wasn’t enough to chase the bitterness from her mouth.

Because there was still that part of her—the weak, traitorous part—that ached. That still wanted him to come after her. To choose her. To stop being such a fucking coward.

But that wasn’t her problem anymore.

And if he couldn’t see it?

Then he didn’t deserve her at all.

24 hours ago - Jeju Island ; 02:33 AM ; hotel rooftop pool

As she passed the illuminated Rooftop Pool sign, she slowed, her eyes lingering on it for a beat. A midnight swim—cool water and solitude—seemed like the perfect escape from the weight pressing down on her chest.

Her lips pressed into a thin line as thoughts of Hwang In-ho flooded her mind. He was nothing if not consistent, always keeping her at arm’s length. Just when she thought she had finally reached him, peeling back the layers of stoicism and guilt, he would pull away, retreating behind walls she couldn’t breach.

She wasn’t blind. She saw the way his eyes searched for her in crowded rooms, the flicker of something unspoken lingering just beneath the surface. But God, it hurt—the constant push and pull, the dance between almost and never quite.

A pang of frustration gripped her chest. She wished she could shake him, yell at him to snap out of it. To forget his duties, his guilt, and whatever self-imposed shackles he clung to—if only for ten minutes. Ten fleeting minutes where he was just hers.

But wishes didn’t change reality. And tonight, like always, she was left standing alone in the aftermath, chasing shadows of a man who refused to be caught.

With a resolute breath, she turned toward the pool. If nothing else, the water would be there—cool, cleansing, indifferent to everything else weighing her down. She made her way to the pool. Once there, she stripped off her clothes and got in. It was an unusually warm night for spring in Korea but she did not complain, she let the water wash away the day and the smell of sex off her skin. 

The water was cold, but not enough to numb her. She wished it was. Wished it would burn, would choke, would drag her under. Anything but this unbearable stillness pressing against her ribs. She floated on her back, eyes open, staring at the ceiling as the fluorescent lights above flickered and hummed. Her skin was raw—marked by greedy hands and teeth, by the remnants of another night spent lost in the Salesman’s grip. He took as much as she let him. Maybe more. Maybe too much. But she hadn’t stopped him.

Didn’t want to stop him.

Because for all his cruelty, for all his jagged edges, he looked at her like she mattered. Touched her like she was something precious, even as he left bruises in his wake. His brand of affection was twisted, possessive, wrong—but it was something. And something was better than nothing.

The door creaked open. She didn't flinch. She knew who it was before she even turned her head.

In-ho.

He didn’t speak right away, just stood there in the doorway, his mask absent but his expression unreadable. A cigarette burned between his fingers, tendrils of smoke curling around him like ghosts. His gaze swept over her, taking in the bruises, the faint red imprints of hands that weren’t his. His throat bobbed. “You’re hurt.”

She huffed a bitter laugh, closing her eyes again. “No shit.”

Silence. Heavy. Suffocating. Then—the quiet sound of fabric shifting, the soft rustle of movement. When she opened her eyes, he was stepping into the pool, boots and all, water lapping against his shins, soaking into his clothes.

She frowned. “What the hell are you doing?”

His expression didn’t change. “Come here.”

It was barely a command. More a request. One she wanted to refuse—should refuse—but she didn’t. Couldn’t. Her limbs felt heavy as she waded toward him, stopping just within reach. He lifted a hand, hesitating for a fraction of a second before his fingers brushed the bruises on her wrist. A gentle touch. A stark contrast to the ones that had put them there. Something inside her twisted.

His jaw clenched. “Did he—”

She cut him off before he could finish. “Don’t.”

A sharp inhale. His fingers curled into a fist at his side. “I told you to stay away from him.”

A cruel smile tugged at her lips. “And I told you I don’t take orders well.”

His nostrils flared. This time, he did take the bait. He grabbed her wrist—not hard enough to hurt, but enough to hold her there. Enough to make her feel it. “Do you like this?” he asked, voice low, dangerous. “Letting him use you?”

She tilted her head, feigning curiosity. “Jealous?”

His fingers flexed against her skin, grip tightening before he seemed to catch himself. He let go like she burned him, but the fire in his eyes didn’t dim. “You don’t even realize what you’re doing to yourself.”

She took a slow step closer, her breath mingling with his. “Oh, I know exactly what I’m doing.”

His jaw tensed. “You think he cares? That you’re anything more than a fucking game to him?”

“Maybe,” she whispered, leaning in until her lips nearly brushed his ear. “But at least he doesn’t pretend.”

Something inside him snapped.

In one brutal motion, he had her pinned against the cold tile, the shock of it tearing the breath from her lungs, sending ripples slicing through the water. His hands clamped around her arms—firm, unyielding. His breath was hot, ragged, furious as it ghosted across her skin, his body trembling with something volatile. Something dangerous.

“You want me to stop pretending?” His voice was low, guttural—scraped raw from the inside. His fingers pressed into her skin, hard enough to leave marks, but not cruel. Not yet. It wasn’t anger that laced his grip. It was desperation. Pleading.

“You think I don’t fucking feel this?”

The words punched through her, sharp and staggering. Her heart thundered in her chest, a brutal rhythm of want and fear, fight and surrender. She could push him away. She could end this, crush it with a word, break whatever fragile thread still bound them together.

But she didn’t.

Because this—this—was real. This anger. This heat. This hunger that cut deeper than skin.

His lips hovered over hers, so close she could taste the smoke clinging to his breath, could feel the trembling restraint in the air between them. One breath. One wrong move, and it would all shatter.

“Tell me to walk away,” he rasped, voice broken and trembling. “Tell me to stop.”

She should have.

She should have.

But instead, her fingers curled into the soaked fabric of his shirt, clinging like a woman drowning. She stared up at him, defiant, unflinching.

“Make me.”

The words cracked like lightning.

The tension snapped—loud, violent, inevitable.

He dragged her closer, his hands searing against her hips, fingers digging deep enough to bruise, but still, still, he didn’t move. His lips hovered, shaking with restraint, with everything he wouldn’t say.

His breathing was ragged. So was hers.

And for a moment, the world narrowed to nothing but this. The space between them. The war inside them.

And she hated it.

Hated how much she wanted this. Hated how her body betrayed her, how her pulse jumped beneath her skin, craving the burn of his mouth. Craving him.

Because she knew what would come after. The silence. The regret. The ache.

And wasn’t that always the way with him?

He’d take her, devour her, and leave her bleeding in the morning. Always running. Always leaving her to pick up the pieces.

The fury came slow, simmering beneath the surface of her skin, rising with every heartbeat.

And when it broke—when it finally broke—it wasn’t sharp. It wasn’t sudden. It was a slow, painful pull from her chest, a crack in her ribs that split her open.

She shoved him back, her hands trembling—not from weakness, but from the sheer force of everything she had been holding back.

“No.”

The word came low and rough, scraping its way out of her throat. She wasn’t even sure who she was saying it to—him, herself, the ghost of what they could’ve been.

“You don’t get to do this.” Her voice gained strength, shaking but furious. “You don’t get to pull me in and push me away like I’m nothing. I’m done playing this game with you!”

“You think this is a game?” His voice was low, trembling, as if saying the words tasted like poison.

She let out a sharp, bitter laugh that echoed off the walls. “What else would you call it?” Her chest ached, her throat burned, but she forced the words out like knives. “You haunt me like a fucking ghost. Always watching, always waiting, just close enough to ruin me, and then you disappear. Over and over again.”

Her voice cracked, but she pressed on, the fire in her chest too hot to extinguish. “And I let you. Every. Damn. Time.”

His hands curled into fists, nails biting into his palms. He looked at her like he hated her. Like he hated himself.

“I never wanted this for you.”

The words struck like a blade. She staggered a step, but caught herself, swallowing the pain like venom.

“Oh, give me a fucking break.” She stepped closer, fire pulsing under her skin. “You come here judging me for the way I sleep with another man, and now what? Now you’re concerned? Now you care?”

The air between them burned, thick with tension, with everything they wouldn’t say.

“You don’t get to do that, In-ho.” Her voice trembled, but it didn’t falter. “You don’t get to act like this is about me when we both know it’s not.”

He didn’t move. Didn’t speak.

But his jaw clenched tight, like it was taking everything he had to swallow the words he wanted to say.

She swallowed, chest heaving. “You either man up and stop running, or I walk away. For good.”

Silence. His gaze flickered, searching her face for something—hesitation, doubt, anything to hold on to. But there was nothing left for him to find.

So she turned. Climbed out of the water without looking back. Because she knew—if she met his eyes, if she let herself waver even for a second—she’d stay. And for once in her life, she chose herself.

In-ho watched her go, chest heaving, words strangled somewhere between his throat and his pride. His fists clenched at his sides, nails biting into his palms, but the pain was nothing compared to the fire burning in his gut. Fury. Frustration. Something darker he refused to name.

How dare she walk away from him? How dare she look at him like he was the one at fault? As if she hadn’t just spent the night tangled in the arms of a man who would throw her away the second she stopped being a novelty. As if she wasn’t his before she was ever the Salesman’s.

Had she lost her mind? Or had the bastard really sunk his claws in so deep that she couldn’t see what was right in front of her?

His breath hitched, his own thoughts slicing through him like knives. No. No, that wasn’t fair. He could hate the Salesman all he wanted, but this—this—wasn’t just his fault.

This was his.

He had let it happen. Hell, he had made it happen. Pushed her away, pulled her back, over and over, like some sick, twisted game where neither of them could win. And now?

Now, he was paying the price.

And the worst part?

He knew he deserved it.

[crippledgiraff]

This HUGE Techno Priest is printed on thick, markable craft paper, allowing you to use this to label your stuff!

This flock of helpful servo skulls is here to help you with your many tasks! Printed on clear vinyl, they can be easily separated with an exacto knife so you can proudly distribute them around your stuff!

Display the holy unity of flesh and steel!

Display the confusing unity of penguin and machine!?

An Adorable Iron Warrior surveys the destruction his daemonic ordinance hath wrought!

tried to get more of these in stock, but the holographic effect didn't come out quite right. While I try and get some printed properly I've put the Misprints up for the low price of $3! Perfect for covering up hate speech!

[mywifeleftme]

364: Various Artists // Israfel

Israfel Various Artists 1997, Ape

A 1997 vinyl benefit compilation of mostly Middle American grindcore / powerviolence / emo acts, assembled in an edition of about 1000 by Bloomington-based DIY label Ape Records (active 1995 to 2002), in handmade sleeve with a recent release catalogue, a substantial zine, and a few priceless gag inserts (incl. YOUR HARDCORE SELL OUT DECODER RING). I’m not an aficionado of any of the genres Israfel covers by any means, but you’d have to be a real head to know most of these: in terms of notoriety, the Locust (who contribute a 47 second blast of lo-fi outrage) are basically Led Zeppelin compared to the rest of the acts, most of whom topped out with a couple of EPs and compilation appearances.

Of course, hearing music that would otherwise be basically lost to time is the appeal of taking a flyer on a comp like this. One of my favourite tracks is “Untitled” by Roanoke, VA’s the Weak Link Breaks, supposedly the first thing the band ever wrote (and, judging from their discography, nearly the last too). It begins with a very, very quiet spacy-Fugazi-style amble (the vocal harmonies couldn’t be more Ian and Guy) that explodes into a brief screamo-style D-beat section, and then some big heaving riffs that make me want to exaggeratedly lift and stomp my feet like a giant trying to keep his balance. I also dig Murfreesboro, TN’s Serotonin, an emo / post-hardcore act with a steely '80s shred band guitar tone who play like they want people in the pit to twirl around ecstatically instead of slam dancing. A lot of the other nasty yowling cat speedballs on Israfel don’t really catch my ear, but that’s okay—I’m weirdly proud of them 27 years after the fact for being themselves and getting out whatever they needed to get out through this violence.

The package’s tone is all over the place. The zine opens with a haunting description of the compilation’s beneficiaries, the family of a pair of little girls with spinal muscular atrophy (a common birth defect) whose condition worsened until they perished, leaving their parents distraught and financially ruined—and the 21-year-old compiler racked with guilt that he didn’t somehow do more to help. From there, it whips through his heterodox thoughts about the hardcore scene (despicably self-absorbed; unresponsive to requests from label operators); the state of emo (too abstract); the best way to bring about change (working within the capitalist system); rape (it’s bad; consent is black and white; can we stop litigating this in the scene?); calling the cops (fine to do); disrespecting the American flag (played out; tacky); and drinking/drug use (“when did self-destruction become rebellion?”). After he finishes up, each band (that got their artwork in on time anyway) gets a page to talk about themselves. This section is full of old school punk zine/leaflet treasures, with designs that mimic motel newspaper ads, postcards, messy handwritten perzines, and Xeroxed 7” grindcore sleeves.

It's funny reading his scornful words about pseudo-rebellious drunkards stumbling toward “the day when punk rock is shelved for an 8 hour workday, Budweiser, and television” and then finding his LinkedIn, where he describes himself as “driving omnichannel excellence” and as “whimsical (after coffee).” You wouldn’t believe it from the splenetic angst of the Israfel zine, but the guy seems like he turned out happy and normal, with a few kids and a successful career. I wonder how the 21-year-old would see the 48-year-old, if he’d call him a sell-out or feel relieved that things worked out; if the 48-year-old would pity his former self, or feel ashamed about losing his edge. More one-time zinesters and hardcore kids end up looking square from a distance than you’d think (I certainly do if you catch me during the workday), because you usually stop hearing about them when they drop out of the scene. For most, the quiet part of life is the larger portion by far. It’s your choice whether to embrace that, mourn it, or seek your own alternative. But if Israfel reminds us of nothing else, it’s the importance of having a good scream at least once in your life.

364/365

[twh-news]

Season Two's God Loki Already Has His Own Funko Pop

Less than a week after the season two finale, Marvel has already revealed Loki's new form has his own Funko Pop!

[SPOILERS TO LOKI SEASON 2 AHEAD!]

Loki's second season is in the books. The first MCU show on Disney Plus to get a second season after other shows wrapped up their stories in one season, or they potentially have follow-ups on the way. A big moment for the MCU heading into 2024 at a time when some of its movies haven't been performing as well as usual at the box office. There was clearly a lot of faith in Loki season two as days after its finale, the show already has a line of merch headlined by a brand new Funko Pop!

If you're not all caught up on Loki season two, there are some pretty significant spoilers for its story ahead, particularly the finale.

The Funko Pop! is one of many Loki has received since Tom Hiddleston first played the character more than a decade ago, but this figure is notably different from the ones that have come before. That's because it's modeled after a form Loki took in last week's finale. Named God Loki, so seemingly giving the character's new form an official title that he didn't get in the show, the Pop! has the anti-hero sitting on the same throne he's left on when he was shown for the final time in season two.

God Loki's Pop! is a deluxe one which means a couple of things. First of all, it's more expensive than a regular figure, priced at $30 and exclusive to the Funko store once it goes on sale. Getting the deluxe treatment also means there's more to it than a regular Funko Pop! While this Loki variant won't stand taller than the rest of your figures like a Jumbo Pop!, it comes with a throne, hence it being labeled Deluxe and costing quite a bit more than your garden variety Funko Pop!

Season two's finale centered around Loki using his newfound ability to timeslip in an attempt to save reality itself. However, after centuries of trying to change the course of history, and revisiting He Who Remains at the end of time, Loki realizes the only way to prevent complete destruction is to ensure He Who Remains lives, and that means killing Sylvie. That is until Loki assumes the God form on show via the Pop! above. Upon doing so, Loki grabs all the branched timelines, turning them green, and assumes his new throne.

There's now no way of knowing when we see Loki in the MCU again, if at all. Hiddlestone is keeping quiet on whether his God of Mischief has a future after appearing to sacrifice himself for all time (always) the last time we saw him. Whether we're going to see Loki again or not, the Pop! above is one of many items Marvel has revealed - including a Loki-branded slow cooker for some reason - fans can buy to keep their love of Loki alive.

Pop! Deluxe God Loki

Slip through time with Pop! Loki! Help this god of mischief prevent world devastation when you welcome him into your Loki collection as this exclusive Deluxe Pop! God Loki on throne. The clock is ticking to add him to your Marvel Studios lineup! Vinyl bobblehead is approximately 5.9-inches tall.

[ghettoorion]

Björk & Rosalía Unite for Environmental Advocacy with Limited Edition Vinyl Release of "Oral"

#björk #vinyl #indiemusic In a powerful fusion of artistry and activism, Björk and Rosalía have collaborated on the release of a new track, Oral, now available as a limited edition 12” vinyl. This release, featuring a mesmerizing remix by Olof Dreijer of The Knife, transcends mere music to become a rallying cry for environmental justice. Both Björk and Rosalía, along with their respective labels, have waived all profits from the release, ensuring that 100% of proceeds will support AEGIS, Björk’s charity dedicated to combating the destructive impact of intensive fish farming in Iceland’s pristine waters.(...) Read the full article

[adrienneryatt]

And by now I don't need no help to be destructive I've been gone Yeah, I've been on this road too long

►GENERAL INFORMATION

FULL NAME: Adrienne Layla Ryatt NICKNAME(S): Jynx, Adri, Riot LABEL: The Mystic AGE: 32 DATE OF BIRTH: October 31, 1991 ZODIAC: Scorpio Sun, Aries Rising, Capricorn Moon GENDER & PRONOUNS: Female; She/Her HERITAGE: French, Mexican, Italian SPOKEN LANGUAGE(S): English, Spanish, Italian OCCUPATION: Occult Specialist/Demonologist SEXUALITY & ROMANCE: Bisexual; Biromantic PET(S): Doberman named Khaos & a black cat named Hekate

► APPEARANCE

FACE CLAIM: Seychelle Gabriel HEIGHT: 5'2" WEIGHT: 112 lbs. DOMINANT HAND: Left HAIR COLOR: Brunette EYE COLOR: Brown SCARS: None notable. TATTOOS: None.

►PERSONALITY

POSITIVE TRAITS: Clever, Dauntless, Beguiling, Open-Minded, Authentic, Prophetic. NEGATIVE TRAITS: Sarcastic, Intangible, Arrogant, Sycophantic, Self-Sabotaging. LIKES: Stargazing, burning candles/incense, thunder storms, music on vinyl, horror movie marathons, deep conversations with strangers, solving a problem before everyone else, eureka moments when researching, conducting tarot card readings, making intention jars/journaling, cooking. DISLIKES: Being the scapegoat, people who think they are smarter than her or belittle her, critics/cynics.

►MENTALITY

PHOBIAS: Nyctophobia DISORDERS: Not diagnosed. ALLERGIES: Seasonal (Pollen)

►BACKGROUND

HOMETOWN: Danvers, MA CURRENT RESIDENCE: Merrock, ME EDUCATION LEVEL: MA in Magic and Occult Science at Salem State University FAMILIAL CONNECTIONS: - Reina Ryatt - 55, Mother, Not In Contact - Sylvester Ryatt - 54, Father, Deceased

►FAVORITES

FOOD: Mushroom Gnocchi DRINK: London Fog MOVIE: Scott Pilgrim vs. The World, Practical Magic, Scream TV SHOW: Criminal Minds, Rick & Morty, Goosebumps BAND/ARTIST: The Killers, Lana Del Rey, Nirvana, Fleetwood Mac SONG: Lilith - Halsey

► EXTRA INFORMATION

JUNG TYPE: ENTP ENNEAGRAM: The Free Spirit (4w5) TEMPERAMENT: Choleric MORAL ALIGNMENT: Chaotic Neutral SIN: Wrath VIRTUE: Temperance ELEMENT: Fire CHARACTER PLAYLIST

I just fuck things up, if you noticed Have you noticed? Tell me have you noticed?

► BIOGRAPHY

TW; Religion mention, funeral mention

It was raining when Adrienne was born. Maybe that was the first tell of the path she would be walking. Or, maybe it was the intention of her given name; Adrienne: dark woman or dark waters. There was some odd fascination with the darker things in life. Growing up attending more funerals than weddings, can anyone really blame her on that impact? Though, her nickname was Jynx due to the chaos that would spiral in her presence. For instance, her grandmother's ashes going missing when they were addressed to her apartment, or traveling all the way to California just for a once in a lifetime storm to be passing through and the festival being cancelled, or every color she calls for Roulette being the wrong one and her friend then going into the negatives with funds. Though she was labeled as an outcast and was seen as the black sheep in the family because of this, she still had something about her that drew people in. She had a great group of friends, and her fair share of experimental relationships. In short: she didn't miss anything, but she wouldn't have cared if she did. Her aunt was the one who taught her about spirituality after Adrienne had a paranormal experience at the age of 5. Whilst being in a Catholic household, Adrienne and her aunt would often sneak in order to practice their own eclectic belief. Magic, tarot cards, seances, you name it - Adrienne has dabbled in it. What no one was expecting was for her to make a career move out of it. It started in high school, she helped assist her teacher in their paranormal investigation group. It was through this teacher that she learned about anomalies and the role of the paranormal in anthropology. Her job as an investigator was just the groundwork for her BA in Parapsychology with a minor in Religious Studies at Stockton Univeristy, where she studied the connections of the paranormal and demons with the human psyche. She then went on to gain her MA in Magick and Occult Science with a specialization in Women and Minority Studies where she learned more about the occult across various religions and cultures as well as witchcraft and the impact and power women have within interaction, at Salem State University. At this point in her career, she can be seen as an expert in the occult as well as a demonologist. She actually works alongside various religious institutions, is still a researcher for a paranormal investigation team, and is also hosts a podcast about horror movies, the paranormal and the occult.

► PERSONALITY (DEEP DIVE)

Adrienne is one of those people who can attract and attract and attract, but still feel alone underneath the surface. She can be sarcastic and condescending if someone asks a question she deems as 'stupid'. She's known to bully as her type of flirting. She's actually not online, and prefers it that way. She's clever and witty and goes on passion-dump sprees about her line of work and conspiracies pretty often, or about her research or podcast. She loves people who have a sense of humor and can dish it back out to her. Adrienne used to not like being seen as a Jynx, but now she is sorta indifferent. She just knows something bad or weird is bound to happen when she's around, and it's just within her chaotic state of being. She used to be deathly afraid of the dark, mostly because she didn't know what was in it. It's still a fear, but she works through it due to her career. Adrienne comes across as intimidating and mean cause of her resting bitch face. This is partly true; seeing that she does bring hell to people and her wrath can be intense. But, if you're on her good side you have a very loyal and fun friend in your corner.

[xtruss]

“We Rock ‘n’ Rollers Will Resist—And We Will Triumph!

When the Smoke Cleared on Disco Demolition Night, Debate Over Its Cultural Meaning Began.

— October 26, 2023 | Kirstin Butler

Courtesy Chicago Sun-Times. Photo by Jack Lenahan

In the bright glare of Comiskey Park’s stadium lights, the rising column of smoke takes on a spectral quality. Riot police approach from the right to close in on the phantom, a smoldering pile of vinyl records, at center field. Debris litters the turf below; haze obscures the deck above. Disco Demolition Night, as captured here by a Chicago Sun-Times staff reporter, had turned into something far more out-of-control than a promotional stunt during a double header.

The July 12, 1979 event was the brainchild of a Chicago shock-jock-style radio personality, 24-year-old Steve Dahl, and Mike Veeck, Chicago White Sox promotions manager and son of the baseball club’s owner. Dahl had become a self-appointed anti-disco activist the previous Christmas Eve when he lost his job; his then-employer had switched overnight from rock to an all-disco playlist, following a nationwide trend that saw many radio stations jump on the disco hype train.

Dahl landed at WLUP 97.9, another rock station, where he developed a loyal following. He opened each morning’s broadcast with a ritual: According to a 2019 interview with NPR, Dahl would first cue up a disco song, and then after a harsh record scratch, play the sound of an explosion. He began hosting “Death to Disco” rallies at local Chicago nightclubs, and his band, Teenage Radiation, recorded a disco parody track (sample lyric: “Look at my hair, it's perfect/I saw Saturday Night Fever/Eighty-seven times”). “We have to destroy all disco, it’s our job,” Dahl told his listeners. He planned to make good on his destructive mission, literally, by blowing up a cache of disco records at a local mall. When Veeck learned of the idea, he offered Dahl a much larger venue for the pyrotechnics. The event would take place on one of Comiskey Park’s teen nights.

Dahl was tapping into an animus that had as much to do with anxiety over the zeitgeist as dislike of a musical genre. “It’s worth remembering now that in 1979, the economy and economic opportunities for people who don’t have a college education is actually shrinking,” Adam Green, a professor of African American history and cultural studies at the University of Chicago, told American Experience. “The city is changing because of things that have to do with the economy and politics; it’s not changing because of disco music. But if Steve Dahl says that he’s been screwed by disco, it gives permission to other people to say, ‘you know what? I’ve been screwed too.’”

Steve Dahl’s band recorded an anti-disco parody of Rod Stewart’s “Do Ya Think I’m Sexy.”

Disco had first emerged earlier in the decade, evolving out of funk, R&B and soul music; its innovators were Black, gay and Latino, and its milieu was the underground nightclub, where those marginalized groups found safe spaces to socialize. However, once record labels realized the genre’s commercial potential, disco music went mass market. And those now-mainstream clubs where disco was played (of which Studio 54 in New York City was the ne plus ultra) developed an elitist cachet that alienated the young, mostly white working class Chicagoans who listened to Dahl. With songs like “Y.M.C.A.,” “Night Fever” and “I Will Survive” topping the Billboard charts, the genre’s ascendance by the end of the Seventies was complete. It was also, then, a prime target for takedown.

These currents were all swirling in the air around the nighttime double header in mid-July, a showdown between the last-in-league Chicago White Sox and the Detroit Tigers. Veeck simply thought Disco Demolition Night would draw several thousand more fans during a losing season.

Dahl wore a combat helmet and fatigues to the park. His anti-disco army turned out en masse, drinking and growing increasingly rowdy as the innings went on. By the time Dahl rode out onto the field in a military Jeep after the first game, nearly 50,000 spectators were crammed into the park; an additional 10,000-plus were outside.

For reduced-price tickets to the park that night, many attendees brought records to be destroyed; all of the sacrificial vinyl filled a bin that was set down, ceremonially, in the middle of the field. Dahl got the crowd chanting “Disco Sucks,” a message matched by homemade banners hung from the stadium’s upper deck. “They’re not gonna shove it down our throats,” he yelled into a microphone. “We rock ‘n’ rollers will resist—and we will triumph!” The records were detonated, tearing a crater into the midfield sod. “That blowed up real good,” Dahl crowed, echoing the signature line that accompanied his on-air disco “explosions.” Triumphant, he got back in the Jeep and rode off the field—along with many of the ballpark security staff. That was when the true mayhem broke out.

People started streaming onto the green by the thousands. They stole bases and tipped over a batting cage; they ripped up turf. They rushed both bullpens and began burning signs. Fights broke out. Veteran White Sox announcer Harry Caray tried to shift the tone by singing ‘Take Me Out to the Ballgame’ over the PA system. No one listened. A message on the scoreboard—PLEASE RETURN TO YOUR SEATS—pleaded, futilely, with the attendees still stoking fires. White Sox announcer Jimmy Piersall opined, “I hope they don’t let you people see what’s going on here at Comiskey Park; one of the saddest sights I’ve ever seen in a ballpark in my life.” Eventually the Chicago riot police arrived, some on horseback, and cleared the field.

Later, after the smoke cleared, and critics and commentators began evaluating the event, many would describe Disco Demolition as an opening salvo in the culture wars. What role racism and homophobia played in Dahl and his groupies’ rebellion remained up for debate. Even from today’s vantage point, a definitive interpretation of Disco Demolition is still murky. “If we seek a true memory,” Green said, “this is the meaning of the backlash against disco, then we're probably going to find ourselves in a situation where we never settle the argument. And I think that that’s the way of all major cultural transformations.”

[chrinopiqua]

We face a crisis

Brothers and sisters, fellow practitioners of reason and rebels against conformity, tonight we gather with heavy hearts. We face a crisis unlike the cartoonish fears our parents once had—no imaginary demons or hidden backward messages on vinyl albums. No, the threat today is far more insidious, more subtle, yet far more destructive.

We, who proudly walk the path of rationality, independence, and thoughtful rebellion, now watch helplessly as our very offspring drift away, seduced by the siren song of social media algorithms, TikTok-induced dopamine loops, and the toxic virtue-signaling hysteria of woke dogma.

Our young, who should be forging their identities through critical thought and self-exploration, now kneel before screens, enslaved to digital prophets preaching anxiety, perpetual outrage, and performative justice. Our kids, who once would stand alongside us in forests under solstice moons, embracing freedom, symbolism, and yes, even healthy rebellion, now bow not to Satan—would that it were so simple—but to influencers peddling victimhood, manufactured trauma, and addictive shallow validation.

We embraced our satanic identity to challenge norms, to stand fearless against conformity, and to celebrate individualism with reason, pride, and wit. We encouraged our children to question everything, to wield logic as their sword against dogmatic oppression.

Yet, instead of questioning the world, our children now police thoughts. Instead of exploring the vast realms of philosophy, literature, and fearless discourse, they censor ideas, labeling skepticism as dangerous, reason as oppressive, and debate as violence. They exchange authentic individuality for sterile group identity, swapping Nietzsche for TikTok soundbites, Sartre for social credit points.

Do you remember when we gathered around fires, daring to ask difficult questions about existence, ethics, and reality? Now our youth gather around LED screens, fearing cancellation more than any mythical hellfire.

Friends, we must intervene. Not with oppressive restrictions or futile prohibitions—such strategies belong to the very zealots we've opposed. No, our path must be one of bold, radical truth, tempered by irony and unflinching honesty.

Let us rekindle in our children the sacred flame of curiosity, intellectual bravery, and relentless skepticism. Let us show them once again the dark joy of questioning authority, mocking self-righteousness, and exposing hypocrisy—particularly their own.

Our enemy isn't supernatural, it's algorithmic. It's not demonic spirits, but dopamine hits. We face not satanic panic but an identity crisis born of digital dependency and ideological conformity.

Reclaim your offspring! Bring them back from the vacuous abyss of endless scrolling, mindless parroting, and woke zombification. Teach them the true satanic virtues: humor, reason, self-awareness, and fearless exploration of life's complexities.

Let us show them the liberating power of authentic rebellion, reminding them that to truly think freely is to defy both godly dogma and digital delusion alike.

In Satan’s metaphorical name—Amen.

[aidc-india]

Barcode Security Tags: Types, Uses & Role in Theft Prevention

Retailers, libraries, warehouses, and logistics firms all share a common concern: protecting assets from theft and misplacement. While advanced technologies like RFID and GPS tracking are on the rise, barcode security tags remain one of the most cost-effective and widely used solutions for asset identification and theft deterrence.

In this article, we’ll explore what barcode security tags are, the different types available, their primary applications, and how they contribute to theft prevention in various industries.

What are Barcode Security Tags?

Barcode security tags are labels or stickers embedded with a barcode—usually a 1D or 2D code—that can be scanned to identify, track, or authenticate an item. These tags often include tamper-evident features, making them difficult to remove or duplicate without showing signs of interference.

They are used in both physical retail environments and supply chains to help manage inventory, track item movement, and prevent theft or unauthorized use.

How Do Barcode Security Tags Work?

Barcode tags are typically applied to products, equipment, documents, or storage units. Once attached:

Each barcode represents a unique identifier linked to a product or item in a centralized system.

Scanners or mobile devices are used to read these barcodes, enabling quick data retrieval or verification.

Security features (such as tamper-proof adhesives or destructible labels) add a physical theft deterrent element.

In some cases, barcode tags are integrated with Electronic Article Surveillance (EAS) systems, triggering an alarm if someone attempts to exit a store without deactivating or removing the tag.

Types of Barcode Security Tags

Different environments and item types require specific tag solutions. Here are the most common types:

1. Paper Barcode Tags

Material: Coated or uncoated paper

Use Case: Low-cost, temporary tagging for inventory or warehouse use

Security Level: Low; not tamper-resistant

2. Polyester or Synthetic Tags

Material: Durable plastic or polyester

Use Case: Ideal for retail, libraries, and long-term asset tracking

Security Level: Moderate; resistant to moisture and wear

3. Tamper-Evident Labels

Feature: Breaks or shows “VOID” message when removed

Use Case: Electronics, pharmaceuticals, confidential documents

Security Level: High; discourages tampering or unauthorized transfer

4. Destructible Vinyl Tags

Feature: Crumbles when removal is attempted

Use Case: Prevents reuse or tag swapping

Security Level: High; acts as a strong theft deterrent

5. Dual-Technology Tags (Barcode + EAS or RFID)

Feature: Combines barcode with anti-theft tech

Use Case: Retail stores, libraries, high-value inventory

Security Level: Very High; enables both tracking and alarm triggers

Common Uses of Barcode Security Tags

1. Retail Theft Prevention

Products tagged with barcoded security labels can be tracked and monitored at the point of sale. If a product is not properly checked out, it may trigger an alarm at the exit if integrated with EAS.

2. Inventory Management

Businesses use barcode tags to log items during receiving, stocking, and shipping. This prevents misplacement and ensures real-time inventory accuracy.

3. Library Book Tracking

Libraries tag books with barcode labels for both check-out tracking and theft prevention. The tags are often placed inside the spine or back cover for durability and discretion.

4. Pharmaceuticals & Medical Supplies

Barcode tags on medicine and equipment help ensure they are not tampered with or replaced. Tamper-evident tags are especially important in high-risk environments like hospitals and drug warehouses.

5. Office File and Document Protection

Sensitive legal, financial, or HR files can be tagged with barcodes for tracking and auditing purposes. Destructible or tamper-proof tags ensure that files aren't moved or altered without authorization.

Role in Theft Prevention

Barcode security tags may not physically stop someone from stealing an item, but they offer several layers of theft deterrence and detection:

Visibility as a deterrent: The presence of a barcode tag can discourage impulsive theft, especially when accompanied by in-store signage about surveillance or EAS.

Tamper resistance: Tamper-evident features make it obvious if someone has tried to remove or swap a tag.

Audit trails: Each scan or read event is logged, providing a traceable history of the item’s movement and access.

Loss prevention integration: When used with alarm systems or integrated inventory platforms, barcode tags can help identify loss trends and prevent repeat thefts.

Benefits of Using Barcode Security Tags

Low-cost solution: Ideal for businesses that need basic but effective asset protection.

Scalable and flexible: Can be used across industries and item types.

Easy to implement: Doesn’t require major infrastructure or training.

Customizable: Available in different sizes, adhesives, and materials.

Boosts accountability: Helps monitor who accessed what, when, and where.

Choosing the Right Barcode Tag for Your Business

When selecting barcode security tags, consider:

The type of items you’re tagging (fragile, high-value, reusable)

Environmental conditions (exposure to moisture, chemicals, temperature)

Security level required

Integration with existing inventory or EAS systems

Working with a professional provider can help you tailor the right tagging system for your security needs and operational goals.

Conclusion

Barcode security tags continue to be a reliable, cost-effective tool in theft prevention and asset tracking. Whether you operate a retail chain, library, warehouse, or medical facility, incorporating the right type of barcode tags can significantly reduce losses, streamline operations, and enhance accountability.

Looking for high-quality barcode security tags or a custom tagging solution for your business? Contact us today to get started.

[music-industry-updates]

The Evolution of Free Music Creation: From Analog to Digital

The way we create music has evolved dramatically over the years. The transition from analog to digital technology has transformed the music industry, making it easier and more affordable for anyone to create and share their music. This article explores the journey from analog to digital and how creating free music has become more accessible, highlighting key milestones and technological advancements that have revolutionized music production.

The Analog Era

Overview: In the early days, music was recorded using analog equipment like tape recorders and vinyl records. This process was expensive and required professional studios with specialized equipment and trained engineers.

Key Characteristics:

Tape Recorders: Magnetic tape recorders were the primary means of recording music. These devices captured audio by magnetizing particles on a tape, which could be played back later.

Vinyl Records: Music was distributed on vinyl records, which involved a complex and costly manufacturing process.

Manual Editing: Editing involved physically cutting and splicing tape, a labor-intensive and time-consuming task.

High Costs: The cost of studio time, tape, and vinyl production made music recording accessible only to those with significant financial resources.

Challenges:

Limited Access: Due to high costs, only well-funded artists and record labels could afford to record and distribute music.

Quality Degradation: Analog recordings suffered from wear and tear, leading to degradation in sound quality over time.

Complex Process: The recording process required technical expertise and specialized equipment, making it inaccessible to most aspiring musicians.

The Digital Revolution

Overview: The introduction of digital technology in the late 20th century marked a significant shift in music production. Digital audio workstations (DAWs) and compact discs (CDs) revolutionized how music was recorded, edited, and distributed.

Key Developments:

Digital Audio Workstations (DAWs): DAWs like Pro Tools, which debuted in the 1980s, allowed musicians to record, edit, and mix music on computers, significantly reducing costs.

Compact Discs (CDs): CDs provided a more durable and higher-quality alternative to vinyl records and tapes, making music distribution more efficient.

MIDI (Musical Instrument Digital Interface): MIDI technology enabled electronic instruments and computers to communicate, allowing for more complex and precise music creation.

Advantages:

Cost Reduction: Digital technology drastically reduced the costs associated with recording and editing music.

Ease of Use: DAWs offered user-friendly interfaces, making music production more accessible to non-professionals.

High-Quality Audio: Digital recordings provided higher fidelity and were less susceptible to degradation over time.

Editing Flexibility: Digital editing allowed for precise and non-destructive manipulation of audio, making the process faster and more flexible.

The Rise of Free Tools

Overview: Today, creating free music is easier than ever. The availability of free digital audio workstations and online distribution platforms has democratized music production, allowing anyone with a computer to create and share their music.

Key Tools:

Audacity: An open-source, cross-platform audio editor that allows users to record and edit multi-track audio files for free.

GarageBand: A free DAW available on Mac, offering a wide range of virtual instruments and loops.

LMMS (Linux MultiMedia Studio): A free cross-platform DAW that supports various plugins and instruments.

Cakewalk by BandLab: A professional-grade DAW available for free on Windows, providing advanced features for recording and mixing.

Tracktion T7: Another free DAW offering unlimited tracks and built-in effects.

Online Platforms:

SoundCloud: Allows musicians to upload and share their music with a global audience for free.

YouTube: Provides a platform for sharing music videos and reaching a wide audience.

Bandcamp: Enables artists to upload their music and sell it directly to fans, while also offering free streaming options.

Impact:

Democratization of Music Production: The availability of free tools has leveled the playing field, enabling musicians from all backgrounds to create and distribute music.

Global Reach: Online platforms allow artists to reach a global audience without the need for a record label or significant financial investment.

Creative Freedom: Musicians can experiment with different styles and techniques without worrying about studio costs or production constraints.

Future Trends in Free Music Creation

Artificial Intelligence (AI):

AI-Powered DAWs: Emerging DAWs incorporate AI to assist with tasks like mixing and mastering, making professional-quality production more accessible.

AI Composition Tools: AI tools can help generate melodies, harmonies, and even entire songs, providing new creative possibilities for musicians.

Cloud-Based Collaboration:

Real-Time Collaboration: Platforms like Soundtrap and BandLab enable musicians to collaborate in real-time, regardless of their location.

Cloud Storage: Cloud-based DAWs offer storage solutions, making it easy to access and share projects from anywhere.

Virtual Reality (VR) and Augmented Reality (AR):

Immersive Experiences: VR and AR technologies are being integrated into music production and performance, offering new ways for artists to engage with their audience.

Interactive Tutorials: VR and AR can provide interactive, hands-on tutorials for music production, making it easier for beginners to learn.

Blockchain Technology:

Decentralized Music Distribution: Blockchain can provide transparent and secure ways to distribute music and ensure artists receive fair compensation.

Smart Contracts: Smart contracts can automate royalty payments and licensing agreements, simplifying the business side of music production.

Conclusion:

The evolution from analog to digital has democratized music production, making it accessible to everyone. The journey from costly, complex analog systems to free, user-friendly digital tools has transformed the music industry, allowing anyone with a passion for music to create and share their work. As technology continues to advance, the future of free music creation looks promising, with emerging trends and innovations poised to make music production even more accessible and exciting.

[shopping4pets]

The Joy of Squeaky Toys: Why Dogs Love Them

Introduction

Welcome to Shopping4Pets, Australia's favorite online pet store! At Shopping4Pets, we understand the importance of providing our furry friends with the best toys and accessories. One type of toy that dogs absolutely adore is the squeaky toy. In this article, we will explore why dogs love squeaky toys so much and why they bring so much joy to our four-legged companions. So, let's dive in and discover the world of squeaky dog toys!

The Allure of the Squeak

Have you ever noticed how your dog's ears perk up and their tail starts wagging when they hear the sound of a squeaky toy? That's because the squeak triggers their natural instincts and captures their attention. Dogs are instinctively drawn to sounds that mimic the high-pitched squeaks of small prey animals. This instinct comes from their ancestral roots as hunters and predators.

When a dog bites down on a squeaky toy and hears the satisfying squeak, it triggers their prey drive and stimulates their senses. It's like they're experiencing the thrill of the hunt right in their own home! The sound of the squeak engages their natural curiosity and keeps them entertained for hours on end.

Mental Stimulation and Playfulness

Squeaky toys not only provide dogs with physical exercise but also mental stimulation. Dogs are intelligent creatures that need mental challenges to keep their minds sharp and active. Squeaky toys offer a fun and interactive way for dogs to engage their minds and problem-solving skills.

When a dog plays with a squeaky toy, they have to figure out how to make the toy squeak. This can involve biting, pawing, or squeezing the toy in just the right way. The process of figuring out how to make the toy squeak provides mental stimulation and keeps their brains engaged.

Additionally, squeaky toys can help alleviate boredom and prevent destructive behaviors. Dogs that are left alone for long periods of time can become bored and may resort to chewing on furniture or shoes. By providing them with a squeaky toy, you give them a constructive outlet for their energy and prevent destructive behaviors.

Physical Exercise and Dental Health

In addition to mental stimulation, squeaky toys also provide dogs with physical exercise. When a dog plays with a squeaky toy, they engage in activities such as chasing, fetching, and tugging. These activities help dogs burn off excess energy and stay fit and healthy.

Furthermore, the act of chewing on a squeaky toy can promote good dental health. The chewing action helps remove plaque and tartar buildup, which can prevent dental diseases such as gum infections and tooth decay. So, not only are squeaky toys fun for dogs, but they also contribute to their overall well-being.

Choosing the Right Squeaky Toy

When it comes to choosing a squeaky toy for your dog, there are a few factors to consider. Firstly, you want to make sure the toy is the appropriate size for your dog. A toy that is too small can pose a choking hazard, while a toy that is too big may not be as enjoyable for your dog to play with.

Secondly, consider the durability of the toy. Dogs can be rough with their toys, so you want to choose a squeaky toy that is made from durable materials and can withstand some rough play. Look for toys that are labeled as "tough" or "indestructible" if you have a particularly strong chewer.

Lastly, consider your dog's preferences. Some dogs prefer plush squeaky toys, while others enjoy rubber or vinyl toys. Observe your dog's play style and choose a toy that matches their preferences.

Conclusion

Squeaky dog toys bring immense joy and entertainment to our furry friends. The sound of the squeak triggers their natural instincts and provides mental stimulation. These toys also promote physical exercise and contribute to good dental health. When choosing a squeaky toy, consider the size, durability, and your dog's preferences. At Shopping4Pets, we offer a wide range of squeaky toys that are sure to bring endless joy to your beloved canine companion. So, go ahead and treat your dog to the joy of squeaky toys!

[metalmessage]

[ Artwork: Timon Kokott ]

TRACKS: 01. The Dark Wanderer 06:56 02. Tristram 04:56 03. The Desert Sands 04:55 04. Risen From The Grave 07:03 05. The Fallen Temple 06:50 06. Mephisto 05:41 07. Lord Of Hell 04:07 08. Sescheron 04:59

total 45:27

[ Pic: Anna-Lena Hickmann ]

LINE-UP: Christian Krajewski • Lead Guitars, Vocals Ersin Kara • Guitars Oliver Krajewski • Bass Alexander Czernik • Drums

Action: OLD RUINS Title: Always Heading East Base: Gelsenkirchen • Germany Style: Black Metal Genre: Melodic Death Metal, Black Metal, Post Black Metal, Atmospheric Black Metal FFO: Early In Flames, Children Of Bodom, Arch Enemy, Tribulation Type: Full-length Format: CD + Vinyl Label: Doc Gator Records Release: Sept. 15, 2023 𝗢𝗟𝗗 𝗥𝗨𝗜𝗡𝗦 ⚠️ 🎧 𝗦𝗣𝗢𝗧𝗜𝗙𝗬 Alert🤘 • Feel free to share: https://open.spotify.com/intl-de/artist/16B7r7ccFBc2CGIdwzxSWA?si=40mlzhJsSlKidNDuGm5iEQ&nd=1 https://youtu.be/8tXT_4ny51o [ Official Video ] Bulletpoints: 🔘 The top debut album of the capable Germans 🔘 Individual, also vocally highly distinctive style 🔘 Melodic-catchy, gripping Black Metal

OLD RUINS • Fascinating tragedy

OLD RUINS can be rightly classified as BLACK METAL, whereby the resourceful German formation has created its own, very individual style with many influences from the areas of Heavy, Doom and Melodic Metal and is thus a very appreciated term to a large part of the underground scene already since their first demos on YouTube.

OLD RUINS also made first plans for their stage debut, but the Lord Of Destruction had other plans and brought the world a pandemic. However, OLD RUINS were not discouraged by this and began in August 2020 with the recordings of the completely convincing 6-track debut EP „Old Ruins“, which physically and digitally passed the gates of hell on November 06, 2020 and brought darkness from the heart of the Ruhr area over Tristram. 


On September 15, 2023, OLD RUINS will release their first long-player entitled „Always Heading East“ on Doc Gator, with which the record company proves exquisite taste. 


OLD RUINS was founded in 2019 and was initially supposed to be a pure studio project of drummer Alexander Czernik and singer/lead guitarist Christian Krajewski. But the thus only really hungry players quickly developed a damn dark, very atmospheric sound, which is still not easy to categorize and which remains not least because of this permanently as fascinating as exciting and wear-free. Inspired by their ingenious concept, they completed the line-up with Oliver Krajewski on bass and Ersin Kara on guitar. About their debut album „Always Heading East“ the conspiratorial gloomy souls say:


“The lyrics lyrically refer to the video game classic ‚Diablo‘ from Blizzard. The dark atmosphere of the game has always fascinated us immensely. Whether the tragic story without any happy ending, or the neglected (sound)worlds on ‚Always Heading East‘ were the main inspiration is hard to say today“, but „when you close your eyes and put the record on, you really dive into the mystical story of the dark wanderer“, Christian Krajewski raves fervently, adding: „If you’re not versed in the history of the video game, you can still immerse yourself in the dark musical world of the album and enjoy the soothingly atmospheric Black Metal sound. „

Where Iron Maiden have to deal with only one beast, the brave warriors of OLD RUINS are exposed to numerous spawns of hell. Face to face they bravely take on MEPHISTO the Lord Of Hate, LILITH – Daughter Of Mephisto and Queen Of The Succubi, TATHAMET The Seven-headed Dragon and BAAL The Lord Of Destruction.

Follow these exceptionally talented German top artists on their new adventures in „Always Heading East“ and dive into a dark, atmospheric sound experience of a very special kind – inspired by the legendary world of Diablo! DISCOGRAPHY: 2020 • Old Ruins • EP 2023 • Always Heading East • Full-length OLD RUINS are available for interviews via phone, Skype, Zoom & email oldruins.official@googlemail.com

🌐 𝙋𝙧𝙤𝙢𝙤 & 𝙋𝙍: 𝗠𝗘𝗧𝗔𝗟 𝗠𝗘𝗦𝗦𝗔𝗚𝗘 ᴳᴸᴼᴮᴬᴸ • 𝐸𝓈𝓉. 2001 https://www.metalmessage.de/PR_OLD_RUINS_en.php

MEDIA FEEDBACK:

10 / 10 ➤ „… explosive mixture … epic … melancholic … great melodies … predominantly midtempo … the vocals put the crown on the whole thing …“ (Bleeding4Metal)

9,5 / 10 ➤ „OLD RUINS deliver a tour de force on their full-length debut, combining the raw frenzy of Black Metal with exquisite melodies and riffs from Heavy and Epic Metal. This album is by no means just a homage to a cult game, but skillfully forged black stainless steel!“ (Soundmagnet)

9 / 10 ➤ „… a dark, atmospheric album, coupled with influences from Death Metal and doom, as well as from classic Heavy Metal … anyone who likes dark and atmospheric Black Metal should definitely risk an ear here …“ (Moshpit Passion)

8,7 / 10 ➤ „… an album rich in detail, full of subtleties … multi-layered in its orientation, but still at home in melodic Black Metal. A promising newcomer, of whom you certainly haven’t heard the last … my insider tip for this month. Strong.“ (Zephyr’s Odem)

8,5 / 10 ➤ „… a heavyweight … jewel …“ (Saitenkult)

8,5 / 10 ➤ „… Krajewski’s harsh vocals are typical for the genre, but his fine guitar leads and harmonies are worthy of any Epic Metal combo and have nothing to do with some blind bludgeoning from the Black Metal mud corner. By the way, this also applies to the production …“ (Obliveon)

8,5 / 10 ➤ „This is how Melodic Black Metal must be. Here, a black dripping atmosphere is conjured out of the hat … falling for the melancholy of the black vocals … strong riffing, which could almost be classified as heavy metal … this Black’n’Heavy mixture is a great mood, doesn’t let boredom arise and immediately runs into the auditory canals to burn itself there …“ (Hellfire)

8 / 10 ➤ „… very great sounding atmospheric and melodic mixture of Black, Death, Doom and Heavy Metal …“ (A Different Shade Of Black Metal)

8 / 10 ➤ „Rounded off by an oldschool but nevertheless tidy and powerful production that should satisfy purists as well as friends of modern Metal productions. Let’s hope that the Ruhr area formation will follow this promising starting signal with many more releases, because here we could have a very exciting new entry in the black metal lexicon. And in such a hopelessly overrun genre, this fact alone is a small accolade!“ (Powermetal DE)

8 / 10 ➤ „… epic sound that lies somewhere between late-80s Bathory, mid-range Immortal, early In Flames and Dissection … while not missing out on great melodies and clear references to classic Heavy Metal … melancholy and epicness are the two cornerstones …“ (Metal DE)

8 / 10 ➤ „… works excellently over the entire playing time … varied, full of strong melodic arcs … with numerous, successful epic moments … the so-called Gothenburg sound as well as Doom and Death Metal are also cleverly integrated … appealing level … the production is quite powerful and relatively modern, more like a Power Metal record … all kinds of subtleties make this album a feast for the ears …“ (Neckbreaker)

12 / 15 ➤ „… should convince not only the quality-conscious Black- but also the inclined Epic-Metaller …“ (Legacy Magazin)

7,5 / 10 ➤ „… score with a proper Heavy Metal attitude … spirit meets melancholy and finds a nice balance … the songs are varied, but always have their own style and sound homogeneous … everything sounds like from one cast … interesting and detailed, without overwhelming … comparisons to Alcest, but also newer Tribulation spontaneously come to mind …“ (Crossfire Webzine)

3,7 / 5 ➤ „… sounds like dark big battles … besides genre-typical jangling and tremolo riffs there is also a good portion of Power, Thrash and Death Metal … partly almost traditional metal underpinnings. That makes mood. The sound is also not cold and clanking, but quite dense and fat … a plus of atmosphere even reminds something of the Irish Primordial … quite surprising …“ (Handwritten Mag)

7 / 10 ➤ „It almost feels like there is a hidden meaning underneath the surface of Christian Krajewski’s vocals with a fresh emotive quality rising to the surface from the black depths, something which works very well … despite being shrouded in a cloak of darker atmospheres there is a real sense of epic majesty …“ (Metal Noise)

7 / 10 ➤ „… a heavy reliance on melody … not afraid to measure themselves with less explosive but still rocky dynamics … great passion of the musicians involved …“ (Heavy Metal Webzine IT)

➤ „OLD RUINS do a lot of things right on their debut ‚Always Heading East‘, above all they know how to create an atmosphere that sweeps the listener along and where it doesn’t matter if you know the source of inspiration or set off ignorantly down the dark paths to Tristram. Black/heavy/doom metal that isn’t hard to digest and is fun to listen to.“ (Breakout)

➤ „… they master a broader spectrum of Metal music … sounds sharp and does not have the atmosphere that the representatives of the genre usually aim for … compositionally it is also quite edgy, but this is due to the organisational talent that seems to generally characterise these creators … the melodic moments are pronounced … carry something distinctive …“ (Flight Of Pegasus)

➤ „In many ways, the album hits those emotions that grab you, consume you and at the same time are delivered so (almost) elegantly that you just want more all the time … there are elements of several branches of Metal, but imagine some of the early In Flames, a little Children Of Bodom, a little Arch Enemy and then add a little Tribulation and mix it well together, and you have the sound of OLD RUINS – presented here on a really good album that will surely appeal to many.“ (Rancor Metalzine)

➤ „A crushing Heavy/Post Black Metal album. It’s heavy. It hits hard. At the same time, it’s also beautiful and soaring high with its elegant moments that can touch your very soul. A moving record while being brutal with a high-dynamic sound.“ (Noisewriter)

➤ „Dissection/(early) In Flames/Dark Tranquillity meets Epic Heavy Metal in all its powerful, enthralling, captivating glory. High Heavens, Burning Hells!“ (KMäNriffs)

➤ „… much to love about this … heavy, but often not blistering, with headbanging beats and hypnotic riffs … the subtle Black Metal influence is there, without OLD RUINS having to rely on it much, creating a unique sound … great …“ (Wanna Hear a Great Song Today?)

➤ „… clear recommendation … melodic guitar harmonies … OLD RUINS are clever songwriters and change tempo and mood in pretty much all tracks again and again, so that no boredom arises … really strong album, somewhere between Black and Heavy Metal, whereby the latter clearly predominates … is really fun … I had not expected otherwise after the great EP …“ (Vampster)

➤ „… very atmospheric … influences from Melodic Metal clearly recognisable … slight doom influences that give the songs more depth and balance, making them even more accessible than they already are … perfectly staged and also produced … professionals at work …“ (Metalglory)

➤ „… imagine some early In Flames, some Children Of Bodom, some Arch Enemy and then add a little Tribulation and mix it all together well, presented on a really good album that I’m sure many will enjoy.“ (Metaltone DK) etc.

[awesomeadityalodha-blog]

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It is for this and many other reasons that the company is considered to be a pioneer in the construction of the hologram across the country. The company's proficiency is diverse and includes artwork, master origins and multi-functional labels.

For the company, which started just 10 years ago, headquartered in Chennai has already emerged as a national leader in its field. It is also considered the most economical high security solution provider in the Giant Country.

[k-i-l-l-e-r-b-e-e-6-9]

𝔊𝔲𝔫𝔰 𝔑’ ℜ𝔬𝔰𝔢𝔰 –  𝔖𝔴𝔢𝔢𝔱 ℭ𝔥𝔦𝔩𝔡 𝔒’ 𝔐𝔦𝔫𝔢

[felassan]

Let's talk about these new images & the new/clearer looks at images from the Dragon Age Vinyl. (first, read this post hhhh). under a cut for length.

These resemble the map of the Fade in DA:O.

This one with the eluvian is labelled as the "Black City" side of the flip mat merch item. behind the eluvian is a flower-like pattern. and this is the first time I remember [? could be wrong] seeing the 'roots' of the 'tree statue' structures. from root, to trunk, to branches. [interestingly with root and branches looking like veins, lyrium veins, Titan veins..]. an eluvian shattering in the context of the "Black City" - again the splattering, the shattering..

and I looked up and saw the seven gates of the Black City shatter, and darkness cloaked both realms.

were/are the seven "gates" eluvians? ^^ they are portals and a gate is type of portal.

On the left here is Grey Warden imagery - griffon, sword, Joining Chalice with darkspawn blood drop.

I can't make out the two middle images - is anyone skilled with image manipulation able to unskew them?

On the right here, the four circles pattern looks similar to the pattern on Solas' Hermit Tarot card. and in the middle is the sense once again of an eclipse - in the very center, a sun-like shape/representation of the sun. and behind that, two overlapping spheres/two shadowed spheres.

Codex entry: Old Elven Writing

This elven writing found in the Arbor Wilds is so old as to be incomprehensible. There are whispers from the Well of Sorrows. It's impossible to understand the entire text, but certain parts suddenly reveal a shadow of their original meaning. "In this place we prepare to hunt the pillars of the earth. Their workers scurry, witless, soulless. This death will be a mercy. We will make the earth blossom with their passing." For one moment there is a vivid image of two overlapping spheres; unknown flowers bloom inside their centers. Then it fades.

And here is our first clear look at the Black City version of the art. we can now make out details in it that we couldn't the other day. the 'feel' of the image is that the sunrays emanating from the dragon/just behind the dragon cause/caused the now-Black City to destabilize and crumble. the wings and foliage also have a color gradient. at the bottom, gnarled and blackened, where the rot set in and is spreading. it spreads upwards to marr the little amount of gold that there is left, killing the foliage in the process.

but the main new exciting detail here is the heads held in the wings. there are 6 of them and they have elven ears. on their helms are the 'Evanuris headpiece/symbols'. seen from different angles in some, but it's these symbols nonetheless. you can match them up, like so:

After matching up the heads to these symbols, only the central one, the biggest one, is left out. and as you can see, what does match that is the Black City dragon's horns (recall they or the dragon itself changes from the Golden City version of the art to this one) and the staff of the figure facing the dragon in the Golden City version of the art.

close up of that figure shows they have pointed elven ears.

here's an Elgar'nan asset from DA:O. compare the horns with the staff top, the Black City dragon horns and the symbol in the biggest semicircle.

I still speculate that the figure and therefore the second 'Black City' dragon is Elgar'nan (with the first dragon being Mythal). opposite Mythal, he's the leader of the gods, the Zeus. that semicircle and symbol is the biggest. There isn't another big one because Mythal was murdered, and of course there isn't a ninth because that's Fen'Harel. I wrote in my last post on this,

left, silvery dragon - Mythal? right dragon (which is gold-toned despite the blackening) - Elgar'nan, after he’s approached her [maybe as the figure on the rock promontory] and then murdered her and taken her place as the god, ruler, dragon who presides over all? moon and sun, moon dragon and sun dragon, beauty and destruction.. the shape of the 'right-hand’ dragon’s horns match the evanuris headpiece on the ring which is in the biggest hemisphere, and of the 7 gods those headpieces apply to (9 Evanuris, minus Mythal and Fen'Harel), the 'biggest’ naturally is the patriarch leader opposite Mythal, Elgar'nan.

husbands killing, betraying or doing acts of violence against their wives is unfortunately not a rare thing. and in the lore this has happened before. Andraste (with her Mythal-like crown..) was betrayed by Maferath. Conobar betrayed Flemeth, the human woman whom the spark of Mythal - betrayed herself by other Evanuris - crawled to. the spark of Mythal "clawed and crawled through the ages" to Flemeth when Flemeth cried out for help. there is a reason Flemeth is the vessel the spark of Mythal joined with, their stories are similar. Dalish lore and the memories of ancient elven lore we see in DA:I sometimes show that Mythal sometimes had to temper Elgar'nan's fury or defuse situations involving him. of course, just because Elgar'nan was the main culprit of Mythal's death didn't mean that he did it alone or acted alone. other Evanuris were involved. Solas says "and in their lust for power they killed her". in their lust for power, the City was blackened.

the question is, what do the Evanuris heads in the dragon's blackened wings represent? ofc it's another version (really different art style etc) of this event. the heads/symbols, the City blackening.. it's the same event being depicted. but the way their body-less heads hang there in the blackened wings, dark and connected to the corrupted tree.. it reminds me of the theories connecting the Evanuris to the Blight somehow. "What the Evanuris in their greed could unleash would end us all. Let this place be forgotten. Let no one wake its anger. The People must rise before their false gods destroy them all." The Balrog Theory. Andruil travelling into the darkness of the Void and returning, twisted and mad. stuff like that. that's what the heads in the wings remind me of. so other Evanuris ("they") were involved in Mythal's death, and they were up to something shady "in their lust for power" that was giving 'not great for the world' vibes.

also, stylistically the choice to show their heads like this also reminds me of the faces in the borders of the beautiful map that came out with the Tevinter Nights book. those borders not only also contain two different dragons facing off from each side of the map but a bunch of celestial body, sun/moon and eclipse imagery...

anyways, we also get a more detailed clearer look at the Golden City cover art and in this we can see -

this is the door/gate to the Golden City in this Art. and idk, it just reminds me of this dragon Mythal mosaic or this Mythal dragon statue.

also -

soo is Elgar'nan is one of the "Evil Gods" that has Thedas in their sights? that mural could be read as implying that there were two returning or at least lurking ominously. All 7 non-Mythal-non-Fen'Harel gods coming back or being at risk of coming back in one game could be too much both in terms of irl meta-resources for development (there are lots of other things going on in Thedas to cover as well) and too much as a threat, if I was a writer I personally might handwave most of them to the side like "oh yeah, 5 of them got corrupted/stuck/lost forever over the Ages since while they were trapped and only Elgar'nan and [Other One] remain to pose a threat. they're still looming and ominous though". yknow?

but who knows, this was just one guy's take. to be further updated on all things gaming news reviews and discussions, stay tuned right here on yongyea, I'll see you guys next time, yong out

[rock-and-roll-hell]

August 2, 1986

Recorded: Baby 'O Recorders, Hollywood, California

Genre: Glam metal

Label: Chrysalis

Vinnie Vincent Invasion's self titled debut album is released.

Two singles were released, "Boyz Are Gonna Rock" and "Back on the Streets". A music video was only made for "Boyz Are Gonna Rock", In the video the singer in the video is Mark Slaughter rather than the actual singer Robert Fleischman. Fleischman left the band prior to filming the video and Mark lip-synched to Fleischman's vocals.

The song "Invasion" (for the CD and cassette versions) contained about three minutes of looping guitar feedback at the end of the song. The record version had the same feedback, but the difference was that it never ended until you picked up the needle. This was because the sound went all the way to the end of the vinyl, causing the needle to loop it over and over again. The liner notes state that no pedals, outboard gear or synthesizers were used anywhere on the album.

The album was listed 8th on Kerrang!'s list of hard rock albums in 1986. The same magazine listed the album 100th on their list of 100 Greatest Heavy Metal Albums of All Time. In the book Fargo Rock City, journalist Chuck Klosterman names it the second greatest heavy metal album of the 1980s, behind only Appetite For Destruction by Guns N' Roses. Rolling Stone listed it 39th on their 2015 list of Greatest Hair Metal albums of all time.