ohhh october be kind. on god be kind

im handing out chocolate and tea to everyone reblogging this. good luck friends i wish you all the best

i do not have wings love i never will soaring over a world you are carrying if these heights should bring my fall let me be your own icarian carrion

This interview was taken down and someone asked me about it. Be the change you want to see. Here's the interview since I had already downloaded it.

I love the interviewer because he said that whenever he listenes to the album he finds a new favourite song and I think that's how we all feel about it

In the fetal position, sobbing.

I had First Time lead into Anything But on my shuffle just now and realized that the last verse of the former ties itself to the latter in a way I think is [through extremely gritted teeth] interesting

Like, here you've got the singer saying "c'mere to me" to his lost lover, someone who he's argued with, someone who's called him 'baby' for the last time because they've broken up. It's a bittersweet line, intimately pulling this person close to ask about something so heartbreaking.

AND THEN!

I've seen other people talk about the duality of Anything But - it's the Fraudulent circle of Hell; it seems at a surface level to be the singer pledging all his effort to his lover, when upon reflection it belies a coldness or indifference towards them. It's a similar tone to that last verse of First Time!! It feels like Anything But is a conversation these two are having as they part ways for that final time. There's an initial sweetness to the words that fades into a wish for distance and a subtle cruelty. Huge divorce energy.

I also think the fact that there's mention of the Liffey in both songs (and that the latter comes so close to the opening line in Anything But) serves to underscore this connection.

The river Liffey is notably kind of gross. At this point he would rather be trash in a polluted river, or drink it all down, than think of the time they spent together, which is a hell of a burn now that I think about it. It'd be a beautiful image if you didn't know anything about what it's actually like, which sums up the story of their relationship.

In conclusion:

me listening to unknown/nth: how am I supposed to shalala in these conditions

Hozier every time he emotionally destroys his fans with his music

"Hold me like water. Or christ, hold me like a knife", he put it into words the need the human desperation to be held and chosen and wanted and just be in your lovers arms to be chosen either way to submit to them no matter how they want you, to choose it no matter what, as long as it's them, as long as they want you.

Been in a situation recently where this person just hugged me from the back in a flirty manner and I literally had a dream about it because it made me feel like I'm an actual real person for the first time in a while

literally one of my favorite hozier tiktoks

OK, who are the absolute fuck was going to tell me that abstract (psychopomp) was actually inspired by Andrew Hozier as a child seeing an animal, that’d been hit in the road and then watching a stranger stopping and getting out of a car and holding it in the persons lap as the animal died and comforted it in its last moment, who the fuck is going to tell me that!!! Jesus Christ I’m crying I’m losing my goddamn mind

oh to be loved the way Hozier loves

I GOT A FUCKING RAISE THE POTATO WORKED WTF

This potato works. Every. Fucking. Time.

Then bring me luck

the day after I posted this last time I was notified that I was selected for a really cool mentorship gig and got an unrelated glowing review at work

rebloging the potato

Not a Transformers post but Hozier released his album and no I’m not sane or okay. I wanna talk about Butchered Tongue because there’s barely any discourse about it and I am absolutely inconsolable about it. While there are a lot of elements/ central themes of Irish colonization and the preservation of Irish language and inherently history/ culture with it, as a Person of Color, I was so deeply moved. It is a song of beautiful mourning, of sorrow in the blood and scars that run through the dying of or absolute death of a language. However, it is also a celebration and expression of admiration and awe over the strength and perseverance of language and those who wield it. Every verb, noun, accent, rolling of the tongue. Every simple sound, letter, article. All of it is an act of defiance of the voice to the oppressor. It is a fibre of being healing the deep wounds inflicted by the colonizer. Every utterance screams “We are here and we are moving onward even while still bleeding.” Even then, Hozier still captivated the grief that comes with the fact that…not all cultures have that. Not every community has the ability to learn their languages. Some are gone entirely. Some stopped being passed down for the sake of survival and assimilation. The anguish that comes with a bloody tongue, one that cannot speak what it was born to utter, to scream to sing…it’s a feeling difficult to put into words. To have this song in the Circle of Violence not only brings to light the physical violence against the Irish in their colonization, but the invisible consequences of such brutality on the colonized. The murders and scarring didn’t stop at flesh. Even some languages that survived didn’t escape without scars and wounds, infused with the languages of their colonizer (ex- Tagalog having pieces of Spanish in it). This was a love letter and kiss of praise yet also a funeral dirge to those wounded by colonization, and I have never sobbed so hard over a song before. It stirred such deep grief in me that I cannot explain.