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‘Sea Monsters’ SOLD 

These A5 Illustrative drawings were my first ever commission piece I did for a friend of mine. Each illustration took around 5/6 hours each. The detail and lines within these illustrations created I used crosshatching and dot work. I enjoy working with inks and detailed illustrations. I am currently working on a second project for the same person, using the same details and crosshatch works to create a solar system Illustrative series.

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It’s March, the sun is shining and I’m in a playful mood.
I’m in the process of restocking my amigurumi jellyfishes and also new colors will be available soon.
These jellyfishes are one of my favorite products to make. Do you have a project that every time you make it brings a smile on your face?
#amigurumijellyfish #seamonsters #jellyfishlover #handmadewithpassion (at Milan, Italy)

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World War I Folklore — The Legend of the UB-85 Seamonster

On April 30th, 1918 British patrols in the North Atlantic came upon the German U-Boat UB-85 in the open ocean, manned by a visibly terrified crew.  Rather than dive, the crew of the U-Boat immediately surrendered, offering no resistance.  It was noticed that the submarine had sustained damage which prevented it from submerging, however there were no reports of combat actions by Allied forces in the area.  Immediately, the U-Boat’s commander, Captain Gunther Krech was interrogated.  His explanation was one that the British officers certainly did not expect.

According to Krech the submarine had surfaced the night before in order to recharge its batteries when a large monster crawled out of the dark waters and climbed aboard the deck of the sub.  Krech described the creature as thus,

“This beast had large eyes, set in a sort of skull. It had a small head, but with teeth that could be seen glistening in the moonlight. Every man on watch began firing a sidearm at the beast, but the animal had hold of the forward gun mount and refused to let go.”

Immediately the creature began to shake the sub back and forth, attempting to capsize the boat.  The battle continued as the men fired upon the monster while it continued to rattle the boat.  Eventually the monster gave up and let go, disappearing into the dark abyss.  The U-Boat was saved, but damage to the U-Boat resulting from the battle with the creature made it impossible for the boat to submerge.

UB-85 was scuttled by the British, her crew taken as prisoners of war.

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#sea #ocean #whale #seamonsters #beauty #magic #океан #кит #контики 🐋

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The Wedding Present - Dalliance (Live in Sydney)

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The Wedding Present - Suck (1991)

Szóval a saját hülyeségem miatt az előbb majdnem lemaradtam a Wedding Presentről! Egy ajtóval eltévesztettem ugyanis a helyszínt, és sajnos ebben a másik épületrészben is éppen koncert készülődött, bár igaz, ami igaz, ahogy elkezdődött, eléggé furcsállottam, hogy egy feldolgozásokat játszó együttes az előzenekar. Aztán valahogy úgy, ahogyan a Közönséges bűnözők híres jelenetében, hirtelen kirakódott a kép, hogy hát én tulajdonképpen rossz helyre jöttem, és pánikszerűen átrohantam, ahova kellett, de mivel közel másfél órával a meghirdetett ajtónyitás után jártunk, a Wedding Present nyilván eddigre már a színpadon állt. De akkor jött az első csodálatos dolog: kiderült, hogy hiszen még csak tíz perce! És aztán is már csak további csupa-csupa csodálatos dolgok történtek velem.

Mert jöttek, főleg a Seamonstersről, a jobbnál jobb számok, én az első sorban találtam magam, és a David Gedge-ről megállapíthattam, hogy ő amúgy nem egy ilyen látványosan jóképű férfi, de persze nyilván jó pasi, ez azért nem is kérdés, és mivel elég sokat játszott háttal, az is feltűnt, hogy világklasszis a feneke. De és akkor egyszer csak ott volt ez a dal, a Suck, amit pár órával korábban még futás közben hallgattam oda-vissza, hogy bárcsak-bárcsak ezt is játszanák, és most itt volt tőlem az egész másfél méterre, és már ez is elég lett volna, de gyerekek, ekkor a Gedge pár pillanatra rám nézett, és hát innentől már tényleg libabőr volt és miegymás. De meg úgy általában is az egész koncert kurva jó volt, egyszerre bazi hangos és ilyen szívemhez szóló, imádtam. És ezzel még mindig nincs vége!

Mert a konci után a merch-pultnál gyanútlanul oldalra néztem, és basszus, nyilván, hogy éppen a David Gedge állt mellettem, ki más. Vacilláltam, mi legyen, de végül csak megszólítottam, és kaptam is egy aláírást az új Wedding Present-képregényemre. És amikor a nevem miatt kiderült, hogy hát magyar vagyok, felcsillant a szeme, hogy jártak ám már Budapesten is, 1989-ben. Mondjuk talán nem kellett volna megjegyeznem, hogy én négyéves voltam akkoriban, egy picit mintha keserűen mosolyodott volna el erre; a fenekét pedig sajnos nem mertem szóba hozni :(

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The Wedding Present - Dalliance

I was listening to Seamonsters while walking home today and it fit my mood perfectly.

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The Wedding Present- I’m Not Always So Stupid

An originally unrealeased song off their first album, George Best (1987).

Emerging in the wake of the Smiths’ demise as the U.K.’s most successful indie pop band during the late ‘80s, the Wedding Present were founded in Leeds, England, in 1985. Formed from the ashes of the short-lived Lost Pandas, The Wedding Present was essentially the vehicle of singer/songwriter David Gedge, the only constant member throughout the group’s history. Initially rounded out by guitarist Peter Solowka, bassist Keith Gregory, and drummer Shaun Charman, the fledgling band quickly won a loyal following among college students, as well as the patronage of influential DJ John Peel, for whom they cut their first radio session in February 1986.

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The Wedding Present, Seamonsters
RCA

May 1991

When the Smiths broke up in 1987, the Wedding Present ably took up the standard of the indie idea, with their muscular jangle pop and wry lyrics on the mundanities of relationships. By 1990, though, the band was to the American underground for inspiration: their single ‘Brassneck’ featured a cover of the then-unknown Pavement (which would lay the ground work for that band’s subsequent success in the UK after being played by John Peel) and was engineered by Steve Albini. The Wedding Present decided to extend the collaboration to a full album, recording Seamonsters over 13 days in Minnesota.

Seamonsters is a catalogue of frustrated desire, examining the ways love can curdle and sour. A lover returns to her husband (‘Dalliance’); a relationship never sparks (‘Blonde’); a taken woman begged to give in to mutual desire (‘Dare’); an old flame is rebuffed (‘Corduroy’). This was familiar ground for David Gedge but the lyrical approach on Seamonsters feels more direct and raw than on previous efforts. There’s an amused detachment to ‘Everyone Thinks He Looks Daft!’, from their debut; it reads like a wry anecdote, a short story. On Seamonsters, that narrative distance is eliminated, so whilst the song’s subject matter is as fictional as before, it sounds as though they are Gedge’s anguished personal experiences. The intimacy is furthered by every song addressing the listener directly as though they were the song’s subject, often taking the form of one half of a conversation. (‘Stop listening for the door / I told you where she went before / Nothing can go wrong / If you’re not here too long’.)

Steve Albini has often stated that he prefers to be considered a recording engineer rather than a producer, feeling it is his job to merely capture the band on tape, rather than influence or impose his own creative ideas onto the band; the diametric opposite of a Martin Hannett or Phil Spector. It’s undeniable, though, that his production is integral to Seamonsters, both sonically and aesthetically. (Though I do dislike the bass being reduced to a trebly, metallic clang rather than a real bottom-end.) On ‘Dalliance’, the vocals are mixed low to begin with, but are not boosted when the distortion crashes in—it’s as though Gedge’s thoughts can barely make it through the violence of his musical emotions, rendering the line, ‘It’s not fair after all you’ve done / That I’m so… / I still want to kiss you’ more desperate; he’s so overcome that he cannot even describe what he is ‘so’, lapsing into inarticulate grief.

On the page, ‘Suck’ seems to be a straightforward love song (‘Because I can’t fall asleep / Even in my own bed / Until you’re near’) but it sounds queasy and sick, with that needling F# throughout the second verse, and the guitars revving at the end like a monstrous threshing machine powering up. The song seems less one of devotion than obsession, and an unwanted one at that, as though the narrator is enthralled. ‘Octopussy’, the closing track, is similarly ambiguous. Is the final verse (‘We don’t have to do anything except watch the leaves / Turning in the wind / Say what you want to say’) indicative of intimacy, or the pregnant moment before a break up?

Perhaps sensing that Seamonsters would be impossible to best, Gedge decided to release a new single each month for the following year rather than a new album. Though the quality varied, it was probably better than releasing the LP equivalent of a sacrificial lamb. Seamonsters is undoubtedly ranks as the finest not only of the year, but of the decade.

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I’m down to one….the other one died & this one ‘et it ^.^ #triops #triop #seamonsters #seamonster #soulsurvivor

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