see you tomorrow folks!

I’m super tired and bored of still being ill so now you get assorted mostly-left-handed Birds Being Soft >:T

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*wheezes* (Please click for better quality…!!)

Very late, but I wanted to get this dang thing finally over and done with ;A; For Day 4 of Voltron Week: Day Off/Vacation. The Paladins have some time off so Allura starts teaching them one of her favorite Altean pastimes: dancing! 

Meanwhile Coran… the little princess he took care of is not so little any more, and all these Altean dances bring back memories and it really hits them both that they are the last to pass on their traditions to others…sorry my thoughts got a bit heavy– also! First time drawing Coran!! 

anonymous asked:

Mod!! You have no idea how happy it makes me to see a duck comic drawn by you! I had a terrible day until I saw this, thank you so much!! You continue to be an inspiration!

oh no, but I am glad if it helped put a stop to the terrible! remember; you can always defeat the terrible. with ducks. 

…yeah.

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And with that the CopperForge battens the hatches for tonight! 👌🏻
Lots of progress and after all - the decals came out much better in the end as I thought! 💪🏻
Have a good one, folks, see you all tomorrow!

The GazettE - The Heresy of 21st Century

Here I am with the last part of this themed week in “Focusing on…”! The subject is, as you could notice from the previous posts, is the most important band of the modern visual kei: The GazettE. They formed on 2002, under the famous label Matina, and they are composed by Ruki (vo.), former drummer and vocalist from the short-lived band Kar+te=zyAnose, Uruha (gt.), also from Kar+te=zyAnose, Aoi (gt.), Reita (ba.), also from Kar+te=zyAnose and Kai (dr.), who substituted on 2003 Yune (former drummer of bands like König and Jabell and at the moment he is member of the band More). The band’s name has not a particular origin, it was chosen because it sounded well. Their concept starts from their definition of “musical heresy”, that is not a definite concept, where they enclose several genres and styles, along with lyrics which go from the dramatic to the rebel. Their debut occurred on 2002 with the single Wakaremichi (Crossroads), followed by the singles Kichiku kyoushii (32-sai dokushin) no nousatsu kouza (Fascinating courses of a 32 years old single brutal teacher) and Gozen 0-ji no trauma radio (The radio of post traumatic stress disorder at 0:00), the mini-albums Cockayne Soup, Akukyuukai (Meeting of the bad company), Spermargarita, Hankouseimeibun (Letter of Responsibility) and Madara (Spots) and the singles Miseinen (Minor), Zetsu (Lick) and Zakurogata no yuutsu (Pomegranate styled depression).

The title-track features all the elements of their old-school style: a sound which goes from punk to pop-rock, with a pounding rhythm and a particular atmosphere; the song is about a man, who is in hospital and needs an heart transplant but, when her girlfriend suicides herself, he asks for her heart, a metaphor of maintaining the memory of love. It has been followed by the single Juuyonsai no knife (14 year old’s knife), the first album Disorder, the singles Reila and Chigire (Torn), the mini-album Gama (Toad), the single Cassis and the second album Nil.

One of the main tracks, Taion (Temperature), has a melancholic atmosphere, where heavy and sad sounds alternate in the whole melody; the song is about the tragic story of Junko Furuta. It has been followed by the singles Regret and Filth in the Beauty.

The title-track, one of the most known songs by them, has a structure based on a destructive and heavy rhythm, a typical headbanging one; the song is about a girl who is sexually abused by her father. It has been followed by the single Hyena, the third album Stacked Rubbish and the single Guren (Crimson Lotus).

The title-track, one of the best ballads by The GazettE, has a dark and powerful sound, which literally engages the listener, featuring one of the best guitar solos in visual kei music; the song is about a mother who loses her unborn child. It has been followed by the singles Leech and Distress and Coma, the fifth album Dim (already reviewed by me), the singles Before I Decay, Shiver, Red and Pledge, the compilation Traces (Best of 2005-2009), the singles Vortex and Remember the Urge and the fifth album Toxic.

The main track, The Suicide Circus, unites the strong music of The GazettE with the electronic sound, as it is the main feature of Toxic; the song is about the power of media images and how they can influence people’s mind. It has been followed by the sixth album Division.

One of the main tracks, Derangement, represents the main tune of Division, which is an exalted electronic sound, maintaining the potency of The GazettE’s metal; the song is about the conflict between two personalities (probably referring to the experience of Ruki). It has been followed by the single Fadeless.

The title-track brings the style of The GazettE back to the natural and pure hard rock sound they accustomed us to, but with more innovations; the song is about a female figure, whose evil nature oppresses the protagonist. It has been followed by the seventh album Beautiful Deformity.

In conclusion, The GazettE represents what visual kei should be: an universe of colours and sounds, which everyday change and become more powerful and new, adding more ideas in every song; the whole thing is united to meaningful lyrics, which carry a strong emotional component, which is hard to find in a metal band nowadays. In every song, this band managed to be different, even if it was a real achievement. In this sense, you should check my review for their latest masterpiece Dogma, released last Wednesday.

Who might enjoy: who needs a complete metal band, about music and content.

Recommended songs: Zakurogata no yuutsu, Cassis, Taion, Filth in the Beauty, Guren, Remember the Urge, The Suicide Circus, Derangement, Yoin and Fadeless.

That’s all folks! See you tomorrow with the last post of this exciting first season of Darkest Reviews in “Best of… August 2015″!

Thanks for reading!

Destruction and Tearing

Here I am with the first part of July’s themed week in “Lyrical Love”! The subject is a song by the Japanese rock band Dir en Grey, probably one of their most famous works. It is named Saku (New moon), released as main-track of their nineteenth single on 14th July 2004 and afterwards featured on their fifth album Withering to Death. (read here the review). A pretty distinctive track by a band, which was just approaching their heavier vibe, with a short but pretty effective text, which works well with direct images and strong symbols, for describing a common issue.

THE MUSIC

Kyo’s growling voice kicks off this song, with a strong and definitely macabre sound; the vocals are initially dark and distorted, in the typical style of this Diru’s era, bringing out the best side of Kyo’s singing, with dramatic and deep tones, which made him a distinctive vocalist. The sound becomes piercing and more and more powerful, appearing distructive, linked to the song’s atmosphere; a short metal song, which beats and rock as ever made.

Lyrics (Romaji)

Where’s the fortunate future?
Where does our fortunate
Future come?

Dick men
Fuck off fuck off
And wipe
[Get back my merrily memory]

Where’s the fortunate future?
Where does our fortunate
Future come?

Dick men
Fuck off fuck off
And wipe
[Get back my merrily memory]

Under the sun
Sesera warau ka no you ni hakujitsu no moto
Sakedashita nodokani nagareru seki no kawa

Shigai de tsukutta sandou wo omaetachi wa warai aruite iru
Mata te wo kake nobashi
Soshite yuri no hana ni ari ga muragaru

Under the sun
Nani hitotsu mo sukuenai hitotachi ni wa ryoute no naka
Hai to namida to kamoku wo…
Zankoku na  made nikayou wa tsuki to taiyou
Ashita sae mo me wo fusaida
Sekihi ni tou wa kamoku to…

Dick men
Fuck off fuck off
And wipe
[Get back my merrily memory]

Lyrics (Translation)

Where’s the fortunate future?
Where does our fortunate
Future come?

Dick men
Fuck off fuck off
And wipe
[Get back my merrily memory]

Where’s the fortunate future?
Where does our fortunate
Future come?

Dick men
Fuck off fuck off
And wipe
[Get back my merrily memory] (I)

Under the sun
The red river, flowing so peacefully
has been brought to light, a light which seemed to grin.

All of you who walk, laughing, over a mountain of corpses
You still hold your hands
And the ants swarm on the lilies. (II)

Under the sun
these people who cannot save anything
bring on their hands ashes, tears and reticence…
the sun and the moon bring a cruel resemblance to any other thing
We have even closed our eyes to tomorrow
I silently ask to the red sun…

Dick men
Fuck off fuck off
And wipe
[Get back my merrily memory] (III)

THE WORDS

Written by the singer Kyo, this song is pretty enigmatic (the order of the words, especially in the Japanese part, is pretty distorted and the words used can trick a lot) but at the same time the meaning appear pretty evident, probably because of the strong presence of English lines. But the mystery of this song starts from the title word, which carries on a double meaning, one linked to another. Analyze it better: in Japanese, the word saku has several meanings, but here we compare two of them; the first one, which I chose as main translation, is new moon, written as , and the other one is a verb, meaning to tear something or to be teared, written as 裂く, the hidden meaning. In this song we assist to a peculiar rhetorical figure, which is the use of a signifier (the first) and a meaning (the second one), both linked. And for understanding better this song, beyond the title word, the lyrics must be filtered under the main concept of Dir en Grey: the pain. As final result, this song carries on a description of destruction (symbolized by the new moon) and the pain itself, seen as a condition which literally tears apart whoever feels it, bringing even to be brutal. And now… let’s analyze this song!

I) The text starts with a part entirely written in English language, for making it more direct and efficient; the protagonist is looking for his future, defining it fortunate, desperately, as if it is the unique thing he has got; then the aggressivity grows more and more, with use of vulgar and strong expression, talking with the other people, inviting them to wipe away, bringing back to him his merrily memory (meaning a strong contrast between past and future); the whole thing is repeated twice.

II) The second sequence enters in a more traditional style, where the unique English line opens the same; under the sun, the red river, red because of the blood, flows peacefully (Sakedashita nodokani nagareru seki no kawa), is brought to the light, a light which appears to trick him, to grin against himself (Sesera warau ka no you ni hakujitsu no moto). And the other people continue to walk, laughing, over a mountain of corpses, careless of whatever it happens around them (Shigai de tsukutta sandou wo omaetachi wa warai aruiteiru), still holding their hands (Mata te wo kake nobashi), while the ants are swarming over the lilies (Soshite yuri no hana ni ari ga muragaru, a pretty strong image, synonym of the decadence and the corruption which afflicts us).

III) In the final sequence, always under the sun, the same people who continue to walk and to hold their own hands, are not able to save anything (Nani hitotsu mo sukuenai hitotachi) and bring with themselves the ashes of destruction (Hai), the tears of pain (namida) and the reticence of the unsaid things, but which are so evident (kamoku); then in a strong comparison, the protagonist puts the people as the sun and the moon, which bring on a cruel resemblance to any other thing (Zankoku na made nikayou wa tsuki to taiyou), appearing equal to the rest; this monotony leaded to the fact that the mankind, included the protagonsit, closed their own eyes to the tomorrow (Ashita sae mo me wo fusaida) and then he is asking silently help to the red sun (Sekihi ni tou wa kamoku to…), red for the reason of the second sequence; then the sequence ends with the final english part of the first one, ending this song in a more distructive way.

Pain and destruction are moving one’s soul against the decay of the mankind; Dir en Grey, with their known and appreciated approach, create a short but anyway deep and powerful in meaning, reminding us how the pain and the inner struggle are a current reality, which each one of us is afflicted by.

That’s all folks! See you tomorrow for another review in “Let’s Listen to”!

Thanks for the reading!

*Sorry for the delay*

chloebennet: Straight from set (hence the bruising and goth make up) we made it on the plane just in time dudessss! ( we also may have had a glass of wine, hence us looking boozed.) anyway I digress. We’re now OFFICIALLY going to see all of you lovely folks tomorrow.#newyorkcomiccon2016 #agentsofshield— also on a side note everyone on this plane thinks in a goth cannibal. 💥💥🌟

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Did you catch the pilot episode of our brand new modern Little Women vlog adaptation, The March Family Letters?

If you did and are looking for more March Family action, we strongly suggest following the sisters’ Twitters. Why? Well that would be telling.

nothing lasts forever - chapter 7

Summary: after 8 years of marriage, Taylor Swift and Calvin Harris are in the middle of a divorce being closely watched by the media. Between protecting their kids from the attention and moving on with the divorce, life (and truths) can be tougher than expected for these two superstars.

Chapter 1 | 2 | 3 | 4 | 5 | 6

a/n: ahoy! First of all, I’m so, so, SO sorry for the delay, but here’s the new chapter! I hope you like this one! And lmao I wrote in chapter five that he took his ring with him but he didn’t, ok? FYI, The flashback is their first really really bad fight. xx

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