#RAMESSES band

[savage-kult-of-gorthaur]

DID THE BEST PARTS OF THE WIZARD CALL IT A DAY IN 2003? IS CLASSIC WIZARD UNTOUCHABLE?

PIC(S) INFO: Resolution at 1048x1210 -- Mega spotlight on the rhythm section from cosmic hell, Mark Greening and Tim Bagshaw, the former original rhythm section for the mighty ELECTRIC WIZARD, and who later worked together for nine years in Stoner/DOOM/Sludge overlords, RAMESSES.

These photos were taken during rehearsals in 2014, in the band's post-WIZARD era.So, I'm not a big fan of post-power trio WIZARD in any way, shape, or form, and those dudes lost me in a big way after their "Let Us Prey" album, which I later warmed up to in a big way some years back. New WIZARD, on the other hand? Thanks, but no thanks.

Sources: www.pixnoy.com/post/6871554750315521673458 (Pixnoy 2x).

[romanceclub-confessionss]

Confession:

"Livius' personality is being ruined in SCN. He's presented as a healer but we're yet to see him treat anyone. We're don't know about his motivation to become a healer except for "awww he's so kind". I wish there were episodes of Livius battling with disease and realising he can't save his patients, and Eva being there for him. That could lay a tangible foundation for their relationship instead of "The Sun and The Moon" thing which doesn't even work since there's no moon symbols related to Eva presented in the text (or at least I haven't noticed any). Instead we see Livius being turned into Eva's mental band aid, with his interactions with Eva in the latest episodes being indistinguishable with those of Ramesses', or a second brother figure (his friendship path) with their relationship being underwhelming for this closeness"

[papaver-decervicatus]

tiktok keeps recommending me videos of bassists and I cannot stop thinking about julius because of you

First ask ever, let’s go!!! Let me, not at all, remedy this issue you’ve found yourself with, anon! Answer Below the 'read more'

Most of what Julius plays is in the safety and privacy of his own home, and it’s not a hobby he ever really brings up. If anyone knows about it and is egging him on to join a local bar-band while out, he has to be about 6 beers in to even entertain the idea. If the lights in the venue won’t blind him on the stage he does require being blindfolded for stage fright reasons. 

He usually starts predictable and “universal” with something like Pink Floyd’s Money or Superstitious by Stevie Wonder, he’s always partial to a little Super Freak by Rick James, too. The sort of stuff you’d find on a ‘Top Ten Bass Lines of All Time!’ list because for the most part those are songs that are popular in their own right without the kick-ass (if a little sanitized) baseline. But that’s not where his heart is, his heart has always been with Heavy Metal (Metallica, Black Sabbath, for a more recent example see anything in the Doom Metal subculture/subgenre like Ramesses and Valhall) and Neue Duetsche Härte (think Oomph! and Rammestein.) And I’m not talking slipknot, Tin or Steel levels of metal, I mean straight up Mercury or Lead poisoning. The second song is always when things get interesting. 

See, the funny thing about König playing the bass is, people hate playing in a band with him. Think about the phrase “take em for a walk,” when it comes to a musical breakdown, yeah well. König never got the memo that a bass is supposed to be a rhythm instrument first and foremost. He takes that puppy for a full on marathon sprint, shows off to the max, he’s playing the lead guitar’s part or the vocals half the time if he knows the song well enough. With his own personal double neck bass, Walküre (obligatory quick mention of @kneelingshadowsalome‘s series Valkyrie, go read it yesterday if you haven’t already) he is replacing the strings four times as often as he ought to because, as gentle and loving as he is with the instrument as a whole (he adores her, and is probably a few screws loosening away from sleeping in the same bad as the damn thing), his playing is naturally violent and bombastic to the point of shredding his fingers and the strings. 

His style is something like this (Djent Style, a sub-genre of metal) 

But he likes his kickback and reverb, way, way, way up. The only thing louder than the mess of pure sound coming from the amps is the barely-recognizable music notes cascading out. König doesn’t know what dynamics are, if he’s playing it, it’s gonna be loud, except of course, when the rest of the song gets quiet. 

He usually finishes a set with something classic like Metallica’s Master of Puppets or 21st Century Schizoid Man by King Crimson because those are universals, everyone’s gonna know them. But if he’s feeling particularly pumped, in his element, or is that drunk, he’s playing a once in a lifetime rendition of Agent Orange by Sodom (because trash metal isn’t heavy metal, but it sure is fucking fun!)

The second he steps off the stage, however, he’s practically running away to get to the bathroom or a shower or something. König isn’t usually a sweaty guy, or at least not more so than any other man, but when he jumps off the stage he’s practically swimming in clammy anxiety and sweat. Finishing his little show and going back into the crowd is his least favorite part of the ordeal by far. It’s a dire tone shift once he’s finally gotten back to the people he came in with, from a heavy metal god that rivals the craftsmanship and raw power of Hephaestus or Vulcan to… demure and anxious Julius Doss, dodging praise like bullets on a battlefield. He would never admit it, but he absolutely adores the compliments and awestruck expressions he gets from his little displays of what remains of his teenaged exuberance and the blood hammering adrenaline of having everyone's attention on him (usually the very last thing he wants outside of the field.)

That being said, practically no one gets the privilege of seeing König on bass but when they do. God, do they fucking see it. 

[famousinuniverse]

Ramses II (1303 BCE – 1213 BCE) 

Pharaoh

Ramesses II, commonly known as Ramesses the Great, was an Egyptian pharaoh. He was the third ruler of the Nineteenth Dynasty. 

Died: 1213 BC, Pi-Ramesses, Egypt

Place of burial: The Egyptian Museum in Cairo, Cairo, Egypt, MORE

Children: Merneptah, Ramesses, Amun-her-khepeshef, Meritamen, MORE

Parents: Seti I, Tuya

Spouse: Nefertari, Meritamen, Isetnofret, Nebettawy, Bintanath, Maathorneferure

Siblings: Henutmire, Nebchasetnebet, Tia

Grandchildren: Seti II, Amenmesse, Twosret, Hori I, Merenptah

Rameses II 1279 – 1213 BC

Usr-Maat-Ra Setep-en-Ra Ra-messu-Meri-Amun

Rameses II at the Battle of Kadesh

Rameses II (right 19th dynasty), son of Seti I, was around thirty years old when he became king of Egypt – and then reigned for 67 years. He had many wives, among them some of his own near relatives, and was the father of about 111 sons and 51 daughters.

As was usual in those days, the threat of foreign aggression against Egypt was always at its greatest on the ascension of a new Pharaoh. Subject kings no doubt saw it as their duty to test the resolve of a new king in Egypt. Likewise, it was incumbent on the new Pharaoh it make a display of force if he was to keep the peace during his reign. Therefore, in his fourth year as pharaoh, Rameses was fighting in Syria in a series of campaigns against the Hittites and their allies. The Hittites, however, were a very strong foe and the war lasted for twenty years.

Rameses II from the pylon wall at the Ramesseum

On the second campaign, Rameses found himself in some difficulties when attacking “the deceitful city of Kadesh”. This action nearly cost him his life. He had divided his army into four sections: the Amun, Ra, Ptah and Setekh divisions. Rameses himself was in the van, leading the Amon division with the Ra division about a mile and a half behind. He had decided to camp outside the city – but unknown to him, the Hittite army was hidden and waiting. They attacked and routed the Ra division as it was crossing a ford. Rameses II from the Ramesseum – his mortuary temple on the West bank at LuxorWith the chariots of the Hittites in pursuit, Ra fled in disorder – spreading panic as they went. They ran straight into the unsuspecting Amun division. With half his army in flight, Rameses found himself alone. With only his bodyguard to assist him, he was surrounded by two thousand five hundred Hittite chariots.

The king, realising his desperate position, charged the enemy with his small band of men. He cut his way through, slaying large numbers as he escaped. “I was,” said Rameses, “by myself, for my soldiers and my horsemen had forsaken me, and not one of them was bold enough to come to my aid.”

Ramesseum Second Court – his mortuary temple on the West bank at Luxor

At this point, the Hittites stopped to plunder the Egyptian camp – giving the Egyptians time to regroup with their other two divisions. They then fought for four hours, at the end of which time both sides were exhausted and Rameses was able to withdraw his troops.

In the end neither side was victorious. And finally – after many years of war – Rameses was obliged to make a treaty with the prince of the Hittites. It was agreed that Egypt was not to invade Hittite territory, and likewise the Hittites were not to invade Egyptian territory. They also agreed on a defence alliance to deter common enemies, mutual help in suppressing rebellions in Syria, and an extradition treaty.

Thirteen years after the conclusion of this treaty in the thirty-fourth year of his reign, Rameses married the daughter of the Hittite prince. Her Egyptian name was Ueret-ma-a-neferu-Ra: meaning ” Great One who sees the Beauties of Ra”.

Although brave in battle, Rameses was an inept general – and I wonder how Thutmose III would have dealt with the Hittites. Maybe Rameses also pondered this because he spent the rest of his life bolstering his image with huge building projects. His name is found everywhere on monuments and buildings in Egypt and he frequently usurped the works of his predecessors and inscribed his own name on statues which do not represent him. The smallest repair of a sanctuary was sufficient excuse for him to have his name inscribed on every prominent part of the building. His greatest works were the rock-hewn temple of Abu Simbel, dedicated to Amun, Ra-Harmachis, and Ptah; its length is 185 feet, its height 90 feet, and the four colossal statues of the king in front of it – cut from the living rock – are 60 feet high. He also added to the temple of Amenhotep III at Luxor and completed the hall of columns at Karnak – still the largest columned room of any building in the world.

Ramesseum Temple, Luxor as it appears today

Although he is probably the most famous king in Egyptian history, his actual deeds and achievements cannot be compared with the great kings of the 18th dynasty. He is, in my opinion, unworthy of the title ‘Great’. A show-off and propagandist, he made his mark by having his name, like a graffiti artist, inscribed on every possible stone. Whereas kings such as Thutmose III left a stronger and more dynamic Egypt, after Rameses death Egypt fell into decline. Luckily for Egypt, her prestige and pre-eminence as a world superpower was such that this process took a long time. Only one other king, Rameses III (1184 – 1153 BC), was able to temporarily halt this process.

Facade of the Great Temple at Abu Simbel

In 1255 BC, Ramesses and his queen Nefertari had traveled into Nubia to inaugurate a new temple, the great Abu Simbel. It is ego cast into stone; the man who built it intended not only to become Egypt's greatest pharaoh, but also one of its deities

The great temple of Ramesses II at Abu Simbel was discovered in 1813 by the Swiss Orientalist and traveler Johann Ludwig Burckhardt. An enormous pile of sand almost completely covered the facade and its colossal statues, blocking the entrance for four more years. The Paduan explorer Giovanni Battista Belzoni reached the interior on 4 August 1817

Mummy of Ramesses II

His mummy was eventually discovered in 1881 in TT320 inside an ordinary wooden coffin and is now in Cairo's National Museum of Egyptian Civilization (until 3 April 2021 it was in the Egyptian Museum)

The remains of the Ramesseum in aerial view

The temple complex built by Ramesses II between Qurna and the desert has been known as the Ramesseum since the 19th century. The Greek historian Diodorus Siculus marveled at the gigantic temple, now no more than a few ruins

A duck bracelet of Ramses II

(maximum diameter: 7.2 cm)

New Kingdom, 19th Dynasty; during the reign of Ramses II

ca. 1279-1213 BCE

[ollie-wears-armour]

The plundering of the Valley of the Kings wasn’t just done by bands of tomb robbers. Most of the emptying of the royal tombs was carried out officially by workers of the Necropolis, under orders from the high priests of Amun. The project was led from the beginning by Butehamun, one of the most famous scribes involved in the building of the royal tombs of the Valley of the Kings.

Ramses II was Egypt's most prolific builder and spent so much that he emptied the royal coffers and by the time of Ramses III, supplies in the state granaries were low and the grain which formed the monthly wage rations of state employees like tomb builders and artisans was no longer paid when due. This sparked the first recorded labour strike in 1155 BC. 

The workers laid down their tools and staged a sit in at the temple but the state's response was to hand out a delivery of pastries, an ancient 'let them eat cake.' In response to the government's indifference, the workers only became angrier and began shouting and harassing the local officials for weeks. They were finally given enough supplies to calm them down just in time for the Pharaoh's jubilee celebration but the striking workers had highlighted the waning power of the monarchy.

Now, the Pharaoh's rivals were the high priests of Amun. (In the picture, the high priest of Amun Amunhotep and the pharaoh Ramesses IX are shown in equal size. For the first time, they are the same height meaning that they are of equal importance.) The priests had become powerful politicians and had ambitions to rule and they did so, finally taking control over the entire south (Upper Egypt) and thus dividing Egypt into its ancient halves.

These politician priests were only concerned with their power and wealth, no longer caring about the sacred afterlife. Butehamun was key to the priest's corrupt ambitions and the high priest himself ordered Butehamun and his men to go to the Valley of the Kings, open the ancient tombs, and remove all the gold they could find. This was tomb robbing sanctioned by the state.

Butehamun did his job, beginning c. 1081-1069 BC, breaking open the seals of royal tombs and removing the mummies, unwrapping them and removing any gold and jewels they found. The mummies were rewrapped and repackaged in incorrect coffins with incorrect lids, basically tossed together haphazardly. Only one tomb, hidden by rubble, escaped the plunder: Tutankhamun's.

[wongiemei]

1. First Rings

Standing upon the pedestal, servants and handmaidens rushed around to look for any other accessory that could be used to make you look more beautiful and enchanting than you already were. The blood-red dress that contrasted against your pale porcelain skin had real gold embedded into them, shimmering and sparkling against the light from the chandelier hung above. Annoyance radiated from you and they shuddered, your aura so powerful that it felt light a heavy weight was suddenly placed on their shoulders.

“My daughter, for today is your wedding day, you must show your acceptance of this arrangements and not embarrass our family,” said a voice from the door. You didn’t even bother to turn around but just sighed unhappily. 

This was all because of her.

“Mother, for one day, can you please stick your fangs in other places rather than my own neck?” You commented causing her to lowly growl at you and approach you causing the handmaidens to squeak in fright and make way.

“Just because you are getting married to that Orendian Prince doesn’t mean you can talk like that to the one who gave birth to you,” threatened your mother. The servant girls in the room looked back and forth between the mother and daughter, admiring how you didn’t look scared nor annoyed.

It was blank. Like a canvas, waiting to be painted on.

The bright redness of your mother’s eyes mirrored your own but yours were becoming dull, not feeding for the last 24 hours.

You can see the flair and the fire raging behind those eyes but you just scoffed and laughed humorlessly. 

“You see, the difference between us, Mother, is that I will be the queen to both kingdoms one day. Not only will I have Kalon, but Orenda as well. But the most important part is, I’ll be more powerful than you.” You whispered that last part, knowing full well she heard what you said and she raised a hand, ready to slap you but you just simply looked at her well-adorned fingers and she froze.

With your eyes fleeting back to meet hers, the corners of your lips rose to a smirk and you looked at a servant through the mirror saying, “Find all of my golden rings. Fill my fingers until every inch is covered in gold. Unless it is done, consider yourselves as feeding to the soldiers.”

Your mother watched the servants scurry to your jewelry boxes and rummage for any other rings, desperate to find any golden jewelry that could potentially save their life.

Meanwhile they were busy, you grabbed the opportunity to speak to your mother away from their eyes. Finally having the courage you never gained from your 186 years of living, you delicately grabbed your mother’s chin to face her to you.

Your actions seemed to fuel the fire inside her more but it didn’t matter you. “Listen to me, woman. You have done this to yourself. I’m merely your pawn in your chess board but I will play on my own rules and I get to choose my moves.”

The tall, golden building was in a buzz and excitement was heard from the chatter going on in the room. Husbands shook hands and wives held their daughters close as they introduced suitable young men to one day ask the little girl’s hand in marriage. To anyone, they looked like normal human beings by the way they acted and they moved about, sipping a glass of red liquid.

But, they were far from normal.

These vampires have been around for thousands of years and they have watched the world evolve into what it is now. Many wars were caused by the vampire women but the bloodshed was done by the vampire men. 

The oldest vampires in the room were the Council of Elders as they have been around since Ramesses the Great and one was even a diplomat from China. 

Due to their old age and highest status in the Vampire World, they were rarely seen out and only attended the most important meetings or events that would change the history of their kind forever.

This occasion is considered one of them as today was going to be the day that all blood-shed between the fueding houses would end and would shift their attention to human business. The most powerful kingdoms, Kalon and Orenda, have bared their fangs at one another for millennia and caused the deaths of many powerful members of the Coven.

The Prince of Orenda stood wearing white, a contrast to his blood-red eyes. His blonde hair was gelled to place and he scanned the room, recognizing some but there were others he didn't know. The atmosphere was joyful and excitement reeked from the King and Queen of both kingdoms but Jaemin was anything but happy.

“Nervous, Jae?” A voice from behind him held a teasing tone. Turning around, Jaemin cracked a smile, seeing his best friends.

The Twins from House Cerilian, Lee Donghyuck and Lee Jeno.

The Cousins from House Dormir, Huang Renjun with Zhong Chenle as Crown Prince.

The youngest from House Vermille, Park Jisung.

Renjun was the one who spoke and stood beside him, prompting the others to stand beside him too.

“Never. I will take a Kalonian wife and breed mixed blood children.” A sharp smile emphasized Jaemin's sarcasm causing Jeno to roll his eyes.

“Jaemin, remember this is the Red Princess you speak so rash about. If you force yourself upon without her consent or anger her, she has all power to condemn you and your kingdom and she won’t stop till she has your head.”

Jeno’s warning made Jaemin sharply turn to him and growled lowly, moving his eyes away towards the crowd to maintain his poker face. “She’s my bride, my wife, and I’m her husband. If she was raised well, she should know how to act like a woman, not a child.”

In front of a statue of Lucifer, a man stood in all red clothing with the original Book of the Dead on his bony, milky hands. The prince and the princess, wearing the 2 colors of the Coven, stood in front of him, facing the hideous statue of the horned fallen angel, clutching the head of the archangel Michael.

“Friends and family, we have gathered here today to bind the Kalonian Princess and the Orendian Prince. To seal the bond between rivaling houses and turn our focus on to more important issues at hand. Let us make history with the intertwining fates of our future leaders.” 

Standing with your right hand on top of his left hand, your arms started to tire as your hands were raised to your shoulders to show that they were being conjoined. You quickly glanced at Jaemin and noticed how he clenched his jaw with his red eyes being fixated on the decaying old man.

A little boy, must be an assistant, placed a cushion with 2 rings resting on the crimson red cloth on the table in front of the old man. They were encrusted with diamonds and the bands were real gold.

“Each of you take the ring closest to your beloved,” he instructed and you and Jaemin grabbed a ring that was farthest from you both. “Slip these bands on to the ring finger of your beloved’s hand.”

The jewelry became the second ring on your ring finger but it shined the most with the big chunk of diamond resting on it. 

“These signify the start of your marriage and your First Rings as wedded beloveds to symbolize the never-ending cycle like the shape of your bands. At this time, if the Highest Maiden and the Highest Damoiseau please place the cup of Judas on to the pedestal.”

The two of you turned slightly to see your Highest Maiden, your trusted servant Ari and an Orendian diplomat you’ve seen before with the name of Jeno.

The small brown cup rested on the white marble block and the both of you were instructed to held your arms above it. 

“Crown Princess Y/N, please take this knife and repeat after me,” he instructed causing you to hold the dagger against your skin and repeated every word that escaped his mouth.

“I, Crown Princess Y/N of House Kalon, Red Princess of the East, Sister of Macbeth’s Witches, future Queen of House Kalon and House Orenda, take this dagger before me and draw my blood that traces to my lineage full of Kings and Queens of House Kalon. Today I will bind my blood to thee, Na Jaemin, Crown Prince of House Orenda, Stormbringer of the North, Brother of the Coven, future King of House Kalon and House Orenda in front of the Dark Lord, the Council of Elders, and the Coven. An oath I will make to lead our kingdoms to prosperity and to continue the legacy our forefathers have built for us. So please, take my blood and feast on the ambrosia from the Gods, my king.”

Without even flinching, the blade ran across your porcelain skin and the red liquid quickly flowed into the cup and you held it in place until it slowed down, Ari handing you a rag to clean the mess.

You passed the dagger to Jaemin and he wrapped his hand around yours first before grabbing the golden hilt of the silver dagger. A small smirk formed on his face and he held it to his arm like you before saying the same thing without assistance.

“I, Crown Prince Jaemin of House Orenda, Stormbringer of the North, Brother of the Coven, future King of House Kalon and House Orenda, take this dagger before me and draw my blood that traces to my lineage full of Kings and Queens of House Orenda. Today marks my bond with Crown Princess Y/N of House Kalon, Red Princess of the East, Sister of Macbeth’s Witches, future Queen of House Kalon and House Orenda, as our bloods fuse into the cup of Judas, marking our fates to be sealed. I solemnly swear to you my everlasting loyalty and my protection as the army of House Orenda will stand by in your defense to whoever and whatever may bring you and Kalon harm. So please, take the mixture of our bloods and feast on our vows and accept my oath to you, my queen.”

As per tradition, the brides were the ones who drank first and you swiftly handled the cup and looked down at the beautiful colors of Jaemin’s being light red while yours was mahogany red.

Then a thought hit you.

This was it.

Once the liquid touches your tongue, you are eternally bound to this man and you will remain as his wife and queen to his kingdom till the day you die. Your loyalty will forever side to him and if you were to become a widow, you can never take another man to be a replacement of your former spouse.

Hesitating for a second, you turned to look at the Kalon Council and the looks from your family, friends, and more specifically, your parents. They raised an eyebrow and motioned to drink from the cup and your eyes fluttered shut for a moment before opening again.

You turned your attention back to the cup and up to Jaemin who gave you an amused look at the way you were acting. Gulping lightly, you raised the cup to your lips and winced at the burn of the sworn blood and the trail left burning sensations all the way to your stomach.

Placing it down, Jaemin drank the rest of it and the old man yelled out Latin incantations and before you know it, the audience stood up, clapping.

“I present before you, the Coven, the Council of Elders, Kalon, Orenda, Lucifer, the union of unholy matrimony. All hail! Crown Prince and Princess, Y/N and Jaemin!”

You blanked out during the party. 

There was a big slaughter fest and a human girl found in the woods was given as an offering from the Hunters Council, who you and Jaemin drank first from and eventually, your High Maidens and his High Damoiseaux pounced onto the poor girl.

Did you feel bad?

No.

Because of her kind, your people were being slaughtered and burned at the steak being accused of being vampires and witches.

Yes, it was true.

But it was still the blood of your people and if you needed to bring bloodshed to avenge their deaths, you will.

By the time it was over, you were still in shock and you missed Jaemin holding your hand in the carriage as he sat opposite of you. He looked out of the window and you wondered why your parents could ever sacrifice you to a monster like him. 

There were rumors about the boy. 

Jaemin slaughtered the entirety of House Pezzerio up North since the said House launched an ambush attack towards one of his cousins who were vacationing up in the mountains for winter, resulting to the death of the youngest child, Wooseon. He was a family man who would do anything to protect his loved ones and claim as many lives as he needed to.

So, when news spread about the extinction of House Pezzerio, Jaemin was found guilty but walked away without being charged for his crimes under Beelzebub’s Vow which stated that ‘any act of revenge on any attack of the royal family will result in the death of anyone associated with the accused’.

‘If a man is capable of killing an entire House, who says I can live until I turn 200?’

The entire ride was spent in silence, relishing in the last few minutes of being rivals and preparing the mentality of husband and wife.

“Your Highnesses, we have arrived at your estate.”

The coachman opened the door for you and you held your dress, trying not to trip on it. Jaemin held his arm out for you and you reluctantly slipped your arm through his and followed the lead of the Head Servant to where your shared bedroom would be located.

“I cannot go beyond this door, your highnesses. No staff is allowed to enter until the room has been consummated.”

At the mention of ‘consummate’, your mind became empty and you were pretty sure if you had a heart, it would be beating rapidly by now. From the human novels and texts you’ve read, it describes having blood rush up to your cheeks and heat rushing down past your abdomen and your marriage becoming official with the connection of your bodies.

Stepping into the grand room, Jaemin turned to shut the door and locked it before crossing it to go to the dresser.

“Don’t listen to the rumors you’ve heard about me, princess.”

His rough and low voice startled you from your misery and you jutted your chin high. “You may be husband but you cannot dictate what I choose to hear and not to hear.”

Jaemin chuckled amused, “Yes, your highness, I am your husband.” He confirmed and you were about to scoff until he turned around and met you with his stare. “But I am also, your king.”

He walked over to where you remained standing and went behind you to hug you from behind, letting his hands wander across the front of your dress. You bit your lip and you shook from both anger and humiliation as you knew you couldn’t stop him. He buried his face in your neck before taking a deep sniff and placing little kisses on your skin.

“Where should I put my mark on your pretty little neck? It’s too beautiful to ruin so I must decide carefully,” he mumbled.

His hands remained at your hips and the euphoric energy Jaemin might be purposefully radiating right now was affecting you. With a content sigh, you leaned your head back, resting it on his shoulder as he continued his assault on your neck.

But something inside of you snaps and you ripped his hands away from you, moving quickly to wrap your hands around his neck but he was faster.

With one hand, he restrained both of yours and he looked down on you, letting him raise your head up with his index finger and clenching your jaw. “Did you know that little stunt of yours is considered as treason, my love?”

The nickname made you angrier, “I’m the future Queen, I know my laws. Failing to request consent is considered a higher crime, my king.”

“But I am king and my word is law. Shouldn’t you be scared, sweetheart?”

Jaemin stared at you with a small smirk causing you to spit out, “I’m not afraid of you.”

“Oh, but you should be,” he mumbled, still inspecting the golden flecks in your eyes.

“But I’m not and I won’t be.” Your defiant tone made him scoff lightly before forcefully grabbing your jaw with his strong grip.

“Aren’t you just a pretty little thing?” His mocking tone caused you to spit to his face.

“I’m no thing. I’m Crown Princess Y/N of House Kalon, Red Princess of the East, Sister of Macbeth’s Witches, future Queen of House Kalon and House Orenda. I’m not just a pretty little thing you can place on a shelf for everyone to admire.”

But all he did was look at you intently, “But don’t forget, Princess. You’re mine and if you really are the future Queen, didn’t you learn to listen to your King?”

a/n: here’s the first chapter. not really that long but its kinda hard since its kinda the introductory part and not really the real tea yet.

[seshatthout]

Bracelet of Ramesses II The solid gold bangle is composed of two parts, linked on one side by a hinge and on the other by a clasp. The broader upper part of the bracelet is decorated with a double-headed duck. Its body consist of a large chunk of lapis lazuli framed by broad bands of gold plate. The two heads and the duck´s spread out tail were made of gold decorated with small soldered beads and wire. Gold mining has a long history in Egypt, as ancient artifacts attest. This gold and lapis lazuli bracelet was probably worn by Ramesses II or one of his favorites. From Bubastis (Tell-Basta). Now in the Egyptian Museum, Cairo. # #gold #jewellery #jewelry #luxury #egypt #love #travel #voyage #voyages #diamondsareforever #beautiful #dubai #egypte_ancienne #egypte_pharaonique #luxor #cairo #egypt🇪🇬 https://www.instagram.com/p/CNkNt20nPJ6/?igshid=1pi03kh5ma4c9

[vinylspinning]

Ramases: Space Hymns (1971)

One of my favorite summer reads, Strange Stars (pictured above) chronicled the surprisingly frequent intersection of popular music and science fiction, going well beyond Ziggy Stardust’s obvious and sizable contribution to this interdisciplinary fusion, to the delight of interdisciplinary NERDS like myself.

The book diligently covered everyone from Hawkwind to UFO, Pink Floyd to Parliament, Kraftwerk to Klaus Nomi, merely using Bowie’s career launch via “Space Oddity” and 1980 Major Tom redux via “Ashes to Ashes” as convenient bookends to this surprisingly extensive (and still ongoing) interaction between musical and scientific escapism.

And, among the most obscure of all bands cited by author Jason Heller, was Ramases -- ostensibly a pseudonym for English singer and space cadet Kimberley Barrington Frost, who, in 1968, claimed to have been visited by the Pharaoh Ramesses, told he was the Pharaoh's reincarnation, and instructed to shave his head, start wearing colorful robes, and launch a musical career.

A few unsuccessful singles followed, but Frost’s luck improved once he was paired with future 10CC members Eric Stewart, Graham Gouldman, Kevin Godley and Lol Creme (the latter pair are better known to children of the ‘80s for their one-hit-wonder “Cry”).

And when I learned that 1971’s Space Hymns was released through the iconic Vertigo label, adorned with captivating Roger Dean cover art (*) and I simply had to track down this 1980 reissue and ship it all the way from Germany, mid-Pandemic.

Unfortunately, the music contained within is just about the least compelling piece of the Ramases story ...

Heller describes it as “haunting and exquisitely sad,” but it’s not nearly sad or haunting enough for me -- though I agree with his assessment of its “post-psychedelic eccentricity,” meshing futuristic space adventures with Egyptian mythology, universal truths with personal introspection.

None of which infused significant musical distinction into esoteric folk-prog like “Life Child,” “And the Whole World,” and “Earth People,” let alone narcoleptic mantras like “Hello Mister,” “Molecular Delusion” (sitar included) and “You’re the Only One.”

My favorite numbers -- the ones with a little more meat on the bone, as it were -- would be the cryptic “Quasar One,” the almost bluesy “Balloon,” the lyrically incongruent (but musically sound) “Jesus Come Back,” and the backwards-masked, electronics-spiked “Journey to the Inside” (think Hendrix’s “Are You Experienced?” in zero gravity). 

By the time the latter wraps things up with party banter in which Frost, I presume, points out the comparable ratios of interstellar and molecular distances, Space Hymns feels like something out of the Hitchhiker’s Guide to the Galaxy, but then, what else should we expect?

At least Ramases’ ensuing professional trajectory followed a predictable course, by quickly veering off course, and crashing to Earth after a 1975 sophomore LP called Glass Top Coffin, after which an increasingly despondent Frost took his own life in December of 1976, at age 42.

No doubt, he was bound for the stars ...

* I couldn’t afford to spend a BEEELLION dollars on an original 1970s pressing of Space Hymns, which revealed the full, six-paneled glory of Dean’s cover painting (see above), along with a hilarious reverse-side photo of Frost and his wife Dorothy Laflin.

More Space Rock & Sci-Fi Music: Alchemist’s Tripsis, Be-Bop Deluxe’s Futurama, Blood Incantation's Absolute Elsewhere, Enslaved’s Monumension, Hawkwind’s In Search of Space, Iron Maiden’s Somewhere in Time, Neil Merryweather’s Space Rangers, Monster Magnet’s Dopes to Infinity, Nektar’s A Tab in the Ocean, Novadriver’s Void, Orange Goblin’s Frequencies from Planet Ten, Parliament’s Mothership Connection, Alan Parsons Project’s I Robot, Pink Floyd’s A Saucerful of Secrets, Rush’s 2112, Samael’s Passage, Sun Ra’s Space is the Place, UFO’s UFO 1, UFOmammut’s Snailking, Vattnet Viskar’s Settler, Vektor’s Terminal Redux, Voivod’s Nothingface.

[lovejustforaday]

2020 year in review - honourable mentions

It’s year-end list season folks. I’m gonna be listing off my top 10 for this year with some tasty reviews, but I also wanted to make an appreciation post for a few albums that didn’t make the cut, so here’s a collection of mini reviews for five albums that almost made the top 10:

WEST OF EDEN - HMLTD

Main Genres: Art Punk, Glam Punk, Art Pop A decent sampling of: Dark Cabaret, Progressive Pop, Synth Punk, Post-Punk, Punk Blues

West of Eden is what I imagine what happens when a bunch of theatre kids become punk rockers. I had no idea who HMLTD were before I checked them out this year on a whim, and boy am I glad I did. This is very eclectic punk music with pop hooks and a lot of influence from cabaret and musical theatre. Definitely the kind of album where the artist throws everything at the wall to see what sticks, so it’s a mixed bag, but there’s a lot of pay off too. “The West Is Dead” is a wondrously flamboyant opener, and “Satan, Luella, and I” is a such a massive song, with a brilliant clash of aesthetics that is one part wild west, one part gothic, and one part broadway fanfare. Also I swear they’re sampling a vocaloid voice track on “Why?” so that’s something. Check this album out if you wanna get weird. 8/10

Highlights: “Satan, Luella, & I”, “The West Is Dead”, “Where’s Joanna?”, “To The Door”

FUTURE NOSTALGIA – DUA LIPA

Main Genres: Nu-Disco, Dance Pop A decent sampling of: Funktronica, Synth Pop

Ironically, 2020 has been a really big year for nu-disco even though we can’t go out to the clubs. Likewise, this somehow ended up only being my second favourite disco/pop crossover project this year, but this is still a great album and the singles are easily the best thing to dominate the charts this year. If Jessie Ware’s What’s Your Pleasure? is classy, sensual, and soulful, than Future Nostalgia is spunky and free-spirited, like the perfect soundtrack to a night out with the girls. Dua Lipa has really proven she’s a force to be reckoned with in the pop world, and I’m glad she’s starting to approach the level of stardom of artists like Taylor Swift and Ariana Grande who frankly I think she’s starting to really outperform musically. The last two tracks standout as easily being the weakest, although unlike some man-children I’m not mad at the lyrics of “Boys Will Be Boys”; it’s just a weak song musically, but not enough to make me forget how much the rest of this kicks ass. Honestly, it’s a crime that I can’t be drunk off my ass shouting the lyrics to “Hallucinate” in a gay bar right now as I’m writing this, but I digress. Very good album, proud of Dula Peep. 8/10 Highlights: “Hallucinate”, “Break My Heart”, “Don’t Start Now”, “Levitating”

SILVER LADDERS – MARY LATTIMORE

Main Genres: Ambient A decent sampling of: Post-Minimalism, New Age, Electroacoustic

I checked out this album because it was co-produced by Neil Halstead of Slowdive (my all-time favourite band), and I didn’t know what to expect from the process of a shoegaze giant producing an album of instrumental harp music. Thankfully, I’m happy to report that the end result is both unconventional and beautifully mesmerizing. Mary Lattimore’s Silver Ladders is a heavenly ambient album comprised mostly of just gently plucked harps, warm reverb, and the occasional addition of sparse bass and synths. Lattimore’s harp work is intricate but subtle, and the songs make a lot of good use of the space between notes, especially on the title track “Silver Ladders”, a haunting siren song that ends in a crescendo of shimmering echoes. I find the shorter ambient pieces on the album work a lot better than the two darker, longer pieces “Til A Mermaid Drags You Under” and “Don’t Look” which I find to be a tad bit dreary. Still, like all good ambient music, this entire project is a lot more than just ‘background music’ and it really captures the imagination of the listener. I want to get lost at sea listening to the cold air of Mary Lattimore’s harp, but I’ll gladly settle for listening to Silver Ladders on the bus ride home instead. 8/10

Highlights: “Silver Ladders“, “Sometimes He’s In My Dreams”, “Chop on the Climbout”

SHRINES – ARMAND HAMMER

Main Genres: Abstract Rap, Experimental Rap, East Coast Rap A decent sampling of: Conscious Rap, Hardcore Rap

Definitely my favourite album cover of the year, and it’s a completely real photo of an incident that actually happened so that’s pretty crazy. As for the music, Shrines is a hypnotic, cryptic hip hop album with hard leftist politics and very interesting production that sounds like the sonic manifestation of a head full of cynical thoughts. Billy Woods and Elucid spit rhymes with a lot of poetic frustration, expressing the feeling of utter disenfranchisement by the power systems of classism and racism that dominate their society. The first half of the album is mostly tracks that are energetic like the absolutely ferocious “Leopards”, while later tracks like “Flavor Flav” and “Ramesses II” are mostly mellow and bitter. The beats can be disorienting and confusing, and some of the tracks are kinda formless, so its definitely not an album to dance to, but Shrines is great for a more introspective listen on a late night walk. If I had to pick an album that captured the zeitgeist of 2020, this is probably it. Great music and important subject matter. 8/10

Highlights: “Leopards”, “Dead Cars”, “Flavor Flav”, “Pommelhorse”

ISLAND – OWEN PALLETT

Main Genres: Chamber Folk A decent sampling of: Art Pop, Modern Classical, Ambient

Owen Pallett is an indie folk artist who has had one foot in the sophisticated world of modern classical music for some time now. Likewise, Pallett’s 2020 concept album Island is grand and orchestral with distinct movements. Continuing the saga of his character Lewis from his 2010 LP Heartland, the new album is equally philosophical and complex, telling the story of Lewis being metaphorically stranded after killing his manipulator god at the end of the last album in the saga. The majority of this album is brilliantly nocturnal in a way that is neither creepy nor unsettling, instead conjuring the invigorating fantasy of a mysterious and enchanting night of a full moon. “Paragon of Order” is particularly enchanting, and while this album only sits at #11 on my year-end list, this one track in particular is probably in my top 3 of the year because it’s just so incredibly magical and captivating in a way that feels like it’s lifting me to a heightened sensory experience every time I listen to it. The last few tracks are a little confusing, especially “Lewis Gets Fucked into Space”, taking a somewhat abstract direction that deviates from the gorgeous imagery of the first half that I fell in love with. Nevertheless, Island is an album I’ll want to revisit on nights when I’m feeling excited or inspired. 8/10

Highlights: “Paragon of Order”, “--> (i)”, “Perseverance of The Saints”, “--> (iii)”, “--> (ii)”, “The Sound of The Engines”

[savage-kult-of-gorthaur]

FUZZ BASS & FX -- ASSAULT & BATTERY -- CONJURING DARK RHYTHMS IN THE DEEP.

PIC(S) INFO: Spotlight on English musicians Tim Bagshaw and Mark Greening, former original rhythm section for British stoner/DOOM metal band, ELECTRIC WIZARD, c. late '90s

Both later worked together for nine years in Stoner/DOOM/Sludge metal outfit, RAMESSES. The second photo was taken during rehearsals in 2014, during their post WIZARD era.

Source: www.picuki.com/media/3274778661994641746.

[jkflesh]

VIVIANKRIST “Cross Modulation: Bootleg Remixes” out April 24th

It was only a matter of time before we welcomed Viviankrist into the Ritual Productions family. This year saw her host an incredible performance at Woodland Gathering, including a live collaboration with labelmates 11PARANOIAS, and she was no stranger to sharing stages with Ramesses in her previous incarnation as Gallhammer’s bassist/vocalist Vivian Slaughter.

Before departing Gallhammer in 2010, Eri Isaka Fuzz-Kristiansen (Viviankrist), released three full-length albums (Peaceville Records) and extensively toured Europe with the band. Post-departure marked a shift in pace with Eri moving to Oslo, Norway and taking a musical hiatus...until Summer 2017, when Viviankrist came into being.

With Viviankrist, Eri has delved deep into her love for analog synths and improvised music, switching effortlessly between cinematic, hypnotic and affecting grooves and Cross Modulation - Bootleg Remixes is an extension, a modification and a transformation of her debut LP.

Side A: Behind Mirror | Behind Glass - Tucan / Blue Iron | TBA - JK Flesh / Midnight Sun | rLr roLer - Richard Russell / Nails | Witch's Mist - Viviankrist

Side B: Tear | IM NORDEN - Robert Hampson / CHASM / Blue Iron | Melmetallic Joseph Conrad Void - Maniac / Insects | Remember When - Andrew Liles / Eleventh | Paranoid Albedo - Adam Richardson

LP: link CD: link

[ir-egipto-travel]

Detail of a painted limestone statue of Queen Meryetamun, the fourth daughter of King Ramesses II (reigned from circa 1279 to 1213 BCE during the 19th Dynasty). Her name means 'Beloved of Amun'. She was promoted to the position of Great Royal Wife to become her father's consort sometime after the death of her mother, Queen Nefertari. This fine sculpture (JE 31413) is now in the Egyptian Museum, Cairo, Egypt. Photo: Tyldesly, Joyce, Chronicle of the Queens of Egypt, Thames & Hudson Ltd, London, UK, 2006. The exquisite workmanship in addition to the gentle smile and graceful presence make this work one of the most beautiful statues of the Ramesside period. Meryetamun's ornate wig is held in place by a double band that supports two royal serpents wearing the crowns of Upper and Lower Egypt. A circular base rests upon the queen's head, decorated with multiple uraei with sun-disks; this base would have once supported the large disk and double plumes, which are typical of queenly headdresses during that period. Ramesses II took at least three of his daughters, including Meryetamun, as queen consorts following their mothers' deaths. Scholars, however, have debated whether this was through consummated marriage or they were consorts in name only. Meryetamun died during her father's long reign and was buried in the Valley of the Queens. #egyptpassion #iregipto #thegiftsofmindfulness #ashleymariemoderndayalchemist #alchemistofunconditionallove #egyptpassion_ #pyramids #spiritualconnection https://www.instagram.com/p/BuUBzG7hzlm/?utm_source=ig_tumblr_share&igshid=180z0j5yxtmuj

[egyptology-misr]

Bracelet of Ramesses II The solid gold bangle is composed of two parts, linked on one side by a hinge and on the other by a clasp. The broader upper part of the bracelet is decorated with a double-headed duck. Its body consist of a large chunk of lapis lazuli framed by broad bands of gold plate. The two heads and the duck´s spread out tail were made of gold decorated with small soldered beads and wire.  Gold mining has a long history in Egypt, as ancient artifacts attest. This gold and lapis lazuli bracelet was probably worn by Ramesses II or one of his favorites. From Bubastis (Tell-Basta). Now in the Egyptian Museum, Cairo. #egyptology_misr #Egypte #Agypten #Egipt #Egipto #Egitto #Египет #مصر #मिस्र #エジプト #埃及 #Egypten #Visit_Egypt #discover_Egypt #Experience_Egypt #diving  #socialmedia #egypt #iloveegypt #luxor #karnak #mylifesamovie #mylifesatravelmovie #travelblog #travelblogger #solotravel #wanderlust #gopro #egyptology #ancientegypt (at Egyptian Museum) https://www.instagram.com/p/CNxua1Xlh6e/?igshid=11wp7kg3srb6y

[ancientegyptianjewellery]

😍🇪🇬🌷photo exclusively for our  page😍🇪🇬 Don't take my photos without logo 😊 Bracelet of Ramesses II The solid gold bangle is composed of two parts, linked on one side by a hinge and on the other by a clasp. The broader upper part of the bracelet is decorated with a double-headed duck. Its body consist of a large chunk of lapis lazuli framed by broad bands of gold plate. The two heads and the duck´s spread out tail were made of gold decorated with small soldered beads and wire. Gold mining has a long history in Egypt, as ancient artifacts attest. This gold and lapis lazuli bracelet was probably worn by Ramesses II or one of his favorites. From Bubastis (Tell-Basta). Now in the Egyptian Museum, Cairo. JE 39873 #Tutankhamun. #BritishMuseum #egyptianmuseum #MuseumFromHome #bkmegyptianart #ancientring #Egypt #AncientEgyptian #JewelryAncientEgyptian #Jewelleryancientegyptian #ringsancientegyptian #scarabsrings #scarabs  #newkingdom #jewellerybloger #instajewelry #egyptological #egyptianjewelry #tutankhamón #18Dynasty #newkingdom #metmuseum (at Egyptian Museum) https://www.instagram.com/p/CCfD21phy4w/?igshid=xt17bywh8b6d

[dwellerinthelibrary]

A stela at the Ashmolean, from the time of Ramesses II, probably depicting the goddess Astarte. If you look closely you’ll see crossed bands across her chest; these were used by Egyptian soldiers to carry their weapons, and other deities such as Ishtar and Baal were depicted wearing them.