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sinceileftyoublog · 2 years

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Hundred Watt Heart Interview: A Prayer for Humanity

Photo by Alexander Fischetti

BY JORDAN MAINZER

It’s mind-boggling how The Roots as a collective have time to balance their basically daily gig as the house band for The Tonight Show Starring Jimmy Fallon with live shows, tours, and recording new music. That any of them have time for solo careers on top of that seems next to impossible. Earlier this year, it was lead emcee Black Thought releasing Cheat Codes, his excellent collaborative album with venerable producer Danger Mouse. Now, “Captain” Kirk Douglas, the band’s guitarist and singer since 2004′s The Tipping Point, has resurrected his Hundred Watt Heart project for New Unknown, his second album under that moniker.

Recorded at home during the pandemic, New Unknown expands beyond Douglas’ debut LP Turbulent Times, traversing the spectrum of rock and guitar-based music, from prog and country to funk and Southern rock. Likewise, Douglas penned lyrics that aimed to emphasize connection, bridging the space between people who couldn’t be in the same room as each other during the COVID lockdowns, or perhaps even folks who couldn’t otherwise stand to be in the same room as each other, victims of our divided sociopolitical climate. It begins with the languid “Breathe In”, a peace-inducing ode to a certain drug whose appeal certainly transcends divides. “Together, we create a space that’s home,” Douglas sings on the gentle “Illuminate”, his voice upfront in the mix over echoing guitar. The album’s funky, horn-laden, Afrobeat inspired lead single “We Can Be One” acts as another collective hymn of healing, while the desert blues-like guitar licks that pervade instrumental jam “Breath of Fire” suggest a collective, expansive groove.

Before you roll your eyes at any suggestion of appeasement with the enemy: New Unknown is not a hippie idealist mindless exercise into compromise with Republicans evil. Rather, Douglas’s sophomore LP is just as much about self-love as community. Throughout my phone conversation with him a couple months ago, he repeatedly referred to the album as “a gift to myself,” and it’s useful to think of the album’s aims in this context. On the penultimate “Alone”, Douglas sings, “Leave the light on for me,” atop acoustic strumming. “Love is the thing that helps me feel more alive.” As wordless harmonies and layered vocals take the song to its conclusion, you’re left reflecting on his use of first person. Love works for Douglas. Will it work for you? New Unknown challenges the rest of us to be better.

Read the rest of my interview with Douglas below, edited for length and clarity.

Photo by Forest Erwin

Since I Left You: How would you say New Unknown expands upon your debut?

Kirk Douglas: There’s definitely an expansion. It’s another rock album, but world music’s explored a little bit. There are some more percussion aspects that are explored. [Also,] the previous record was done at Electric Lady Studios, and recording [New Unknown myself] gave me more artistic freedom. I was able to record more comfortably. Every aspect of the recording was done at a place where I was feeling most at-home, because it was done at home. When you’re able to record that way, it comes through in the performance. I was really able to nurture it in a way I wasn’t able to do previously.

SILY: The world music influence is pretty apparent on the first single, “We Can Be One”. Is that why you released it as the first taste of the record?

KD: That’s not necessarily the reason. The reason is because for the last record, the first single was a big, heavy rock song, and I didn’t want to do that a second time around. With the title of the song being “We Can Be One”, I wanted to put out an energy that was suggesting more of a convergence with people as opposed to the division we’ve experienced. Basically, putting out that intention for people to be on the same page in terms of humanity and how people want to be treated and empathy towards one another. There are a lot of instruments on it; it’s the most dense song on the record as far as instruments are concerned. It’s got members of The Roots on it: James Poyser playing keyboards, Ian Hendrickson and Dave Guy playing horns on it. It’s basically my intention, my prayer for what humanity could be and should be. But because of our given circumstances, it’s very difficult to be. All the instruments are doing their own thing, having their own identity, but playing towards one rhythmic and harmonic goal. When people go to shows, there’s a unity there despite whatever a person’s political opinion may be. This song is sort of a sonic utopian snapshot of how I wish the world could be and how it very well is at times. So that’s why I put that out as the first single. There are other songs on the record that are more rock-influenced, which is where I gravitate towards because I love the primal power of three-piece rock and roll, guitar-bass-drums. I’m a big fan of that. But I like to hear other flavors mixed into an album experience as well.

SILY: From a rock standpoint, as compared to your debut, this album is more progressive. There are a lot of tempo changes and switches between subgenres within the same song. Were you consciously trying to make songs that bounced around like that?

KD: Nothing was really conscious in the whole process. [laughs] The only thing that was planned was, “Let’s make some music.” This wasn’t set out to be an album. This was just to record and to express what was going on internally musically for me. A song like “Land Of Look Beyond”, I like the album to take you on a journey, so I love when a song is able to take you on a journey as well. That’s something I’ve always been interested in. Having more control over the recording process organically allows that to take place.

SILY: When I was listening to “Land Of Look Beyond” for the first time, I felt like it was a logical segue from “Breathe In”, albeit more melancholy and slow-burning. But it turns on its head midway through. Was there a general approach you took to the sequencing of the record?

KD: You toy around with different ideas and sequences of the record, and ultimately, you just arrive at a sequence that feels right. It’s like a movie for your ears. "Breathe In” is moving, but it’s not necessarily a heavy song. I thought it was a good introduction, the concept of breath, “Breathe in, breathe out,” and also a slight nod to anybody that enjoys cannabis. There’s that subtle suggestion. And then, that sets you up for “Land Of Look Beyond”. I think of an album like Dark Side of the Moon, an album that’s cinematic in scope. You can think, “I wanna make something that sounds like Dark Side of the Moon,” but when you start to create, you take a step back and start to think of your own musical experiences and the things that have musically touched you throughout your life. This record is made for me, ultimately. You just present it in a way that you enjoy it, the person that has helped to birth it. I’m like my own fan. You get to a place where you listen to it and enjoy it. This was recorded with mostly myself and the drummer Ricc [Sheridan]. It’s about our friendship; we enjoy playing and creating together and sitting back and listening to what we’ve done and surprising ourselves. That’s so much of what our friendship has been for so long. The record’s inviting others into that experience, if it touches them the same way it touches us.

SILY: That celebratory nature is on tap in the video for the first single. I love those casual, almost old-school videos that aren’t straight up live but show performances and dancing with a lot of movement. How did the video for “We Can Be One” come about?

KD: I didn’t do a video for the last record, and I knew that if I did another [record], I’d have to do something I hadn’t done before. All the planets were aligning to make it. This guy in my building, Brandon, we’re both part of the Park Slope Food Coop. We were both shopping there one day, and he was driving home, and he asked if I needed a ride. This is mid-pandemic. He asked how the pandemic was treating me, and I said, “I did make an album during it.” I noticed he’d be schlepping around a lot of video equipment because of his job, doing a lot of videos and commercial shoots. I mentioned that I’d be interested in making a video at some point, and he mentioned he knew a director that was really talented and that it might be a good idea to talk about collaboration. That’s what we did, and he and the director, Alex [Fischetti], came by, and I played them the song and told them what I’d want to see from the video. Like you said, the song has a lot of movement in it, and it’s the song where an image came to me more so than the other ones. We had a meeting, and I told them my concept, and they said they could bring it to life. We were able to make it happen, in Prospect Park, and utilizing Brooklyn. I wanted to utilize where I grew up, too, so a lot of the video is shot in the home, bedroom, and family basement I grew up in. A lot of the outside shots, I discovered that Alex’s parents lived 10 minutes from my parents, and we shot a lot of the outside footage at night outside his parents’ place. It was a lot of fun. The whole time, I was thinking to myself, “Why am I even doing this?” [laughs] But I was still having a good time doing it. My only hope was that the experience of filming it and the experiences we had on the shoot, with a cool, easygoing crew you enjoyed spending time around, somehow could translate into the final product. At the end of the day, it turned out to be like that. Once I got over having to look at myself so much, I was really pleased with the outcome. I’m really glad we did it.

SILY: That’s cool it became a generational look-back for both of you. What was your relationship to music growing up?

KD: Basically, it goes back as far as I remember. My parents were always singing, playing reggae music and classical music. When I started to go to school in Long Island, I was surrounded by kids playing a lot of hard rock. My dad was really into ballads and funk. He had a wide array of interests music-wise. One of my really close friends, his older brother had a guitar, and when I saw the guitar up close, I was completely hooked. I had to have that as part of my life.

Photo courtesy of the artist

SILY: What came first on New Unknown: the music or the lyrics?

KD: Definitely the music. The first song was probably “Illuminate”. It’s generally like that: There’s a melody or groove that gets into your head. That’s the most fun part and a big motivation, having something rhythmic pop into your head that becomes this inner mantra. Something that at first was inside your heart and mind is now coming out of speakers powerfully. It’s a very life-affirming process. Once that happens, you step back and listen to it and think, “What is this music saying to me?” Then, it’s time to go inward and put lyrics onto it. It’s an emotional crossword puzzle. You have these melodies and think, “What words can I fit into this melody that conveys what I’m feeling?”

SILY: I was talking to somebody yesterday who compared songwriting to solving a 1000-piece jigsaw puzzle that doesn’t exist yet. You’re both making and solving the puzzle.

KD: That’s a really good way to describe it.

SILY: Speaking of mantras, some of the most prominent lyrics on the record, whether “breathe in, breathe out” or “we can be one,” are mantras. What about that type of writing is so powerful to you?

KD: Something that you can say over and over again is somewhat of an affirmation, a prayer. We can be one whatever condition the world is in, no matter what energy or intention you can put in the world. To me, that’s a positive effect, for one to contemplate how these things can be possible. What needs to take place for these things to be possible or realistic? When it’s set to music, it gives an extra energy as a way of making sense of things. “Breathe in, breathe out,” it’s just a meditation on the impermanence of things. Nothing really lasts forever. But it goes on to say, “Within, without, it all begins again.” When one door closes, another door opens. There’s always a birth, a start of something new. The idea of letting go and breathing through things, no matter how difficult things get. Just remembering the breath and the practice of non-attachment is what can help us get through life at its most difficult times. They’re not bad mantras to have. They’re coping mechanisms, if you will.

SILY: What’s the story behind the cover art?

KD: I saw an artist on Instagram whose work I thought could possibly convey what I was trying to do. After agonizing over what the cover should be, I thought, “You know what, let me do this: The album is done, I’m gonna reach out to an artist I like and commission them to create for this album a gift to myself. If it works out that it can be the album cover, then that’s gonna be the album cover.” I found the artist Sarah Stewart. Her project is Rattlesnakes and Rainbows. I contacted her out of the blue, slid into her DMs and told her I was a fan and asked her whether she’d be interested in creating album cover art. She agreed. I asked her to do it if the music resonated with her. She did, and when she first sent it to me, I was kind of taken aback, like, “Woah, this is a lot.” But the more I listened to the music and looked at the album cover, the more I thought they supported one another. It brought me to a place of disbelief that this art exists as a way of me contacting her and asking if she would do it and her agreeing to do it. It was like a cosmic wink: “Keep going with this. Take this out of your experience and try to keep going with others.”

SILY: Are you playing these songs live?

KD: Not as yet. I haven’t thought about playing my own music live in a long time, and I’m realizing it’s something I’m probably going to be doing as another gift to myself that I can share. [laughs] [The album] wasn’t really created with the intention of playing it live. Now, I’ve created another puzzle for me to figure out. That’s also another part of the fun: Taking something that only exists on recording and bringing it into the real-time, in the air, in your ear experience live. That’s a whole other experience that’s going to be exciting--and involve a whole lot of scheduling. I’ll do at least some of the songs live.

SILY: Anything next for you in the short or long term?

KD: I’m hoping to do some more recording. I’m hoping it’s not going to take another pandemic to happen. It definitely took one for me to realize I can record myself. To be able to record oneself without the use of a studio is the ultimate freedom. There’s definitely been a lot more music written since the recording of this, so I look forward to tracking that and bringing these new songs to fruition some way, some how. Next summer will bring more Roots touring. [I always have] The Tonight Show. I also have a 14-year-old and a 17-year-old. All the life that exists outside of music, too. It’s a very full life.

SILY: Anything you’ve been listening to, watching, or reading lately that’s caught your attention?

KD: I really do love the band Khruangbin. I’m enjoying their live shows and find them really inspiring. It’s been fun to sit with the family and--with many grains of salt--look at The Secret Language of Birthdays. Viktor Frankl’s Man’s Search for Meaning, I’ve been returning to that recently.

Nothing else is jumping out at me. I’ve been trying to write a lot. The winter is when I get into listening to a lot of other people’s music. Last time around, it was a lot of early Peter Gabriel and Genesis, at the end of last winter. I was discovering a lot of things I hadn’t heard.

SILY: When you’re writing, do you tend to block out other music?

KD: It’s sort of random when it happens, but winter time is when I’m more inside listening to stuff. Over the summer, I like listening to reggae. Now that summer’s ending and [it’s] fall again, it’s time to go record shopping because [listening to music is a] more indoor activity. I just got the new Kendrick Lamar on vinyl, so I’m looking forward to getting into that.

But when I’m working on music, I have a phone full of ideas, so you could play “phone message roulette,” and part of the fun is listening to things you’re separated from in time and hearing what sounds like a whole other person creating.

youtube

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jordydrawsmerch · 10 months

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my current reptile merch!! 🐍

I'm gonna be at the LA Reptile Super Show this weekend, so if you have any suggestions for more little guys feel free to comment/tag em

shop

etsy (UK/EU)

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thisaintascenereviews · 4 months

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Frank Carter & The Rattlesnakes - Dark Rainbow / Dead Poet Society - Fission

The beginning of any given year doesn’t have a lot of new music typically, and the first handful of new releases aren’t very good, or they’re from bands and artists that are relatively unknown. You can kind of say that with the two new releases I wanted to talk about today, as they are the new albums from rock bands Frank Carter & The Rattlesnakes and Dead Poet Society. Like with other reviews, I wanted to talk about these albums at once because I feel the same way about these records, so I don’t feel like writing two separate reviews when I could just say the same thing for both. These two bands, in case you’re not aware, are bands that are rooted in hard-rock, indie, garage-rock, and even post-grunge. Frank Carter & The Rattlesnakes, however, started off as a hardcore punk band, as the titular musician was in hardcore / hardcore-punk band Gallows, but they’ve morphed into an indie / garage-rock hand circa 2007, but Dead Poet Society has kept the same sound for the last decade or so, which is when they formed, but I’ve only heard their last album from 2021.

These two albums sound very similar, and because of that, I feel the same way about them, too. These albums go for sounds that I normally like, and they’re not inherent bad albums, but both of these albums are very bland. If anything, I’m disappointed by Dark Rainbow, only because I really liked their last album, aw it was a very raw and intense hardcore album, but this is a sterilized garage-rock album. I mean, it’s fine, and Carter is a really good singer, but the album is either really generic or really slow-moving. There’s not much energy here, and despite having a couple of solid songs, it just doesn’t do anything for me. Dead Poet Society is the same way, as they throw indie rock sounds with hard-rock and garage-rock riffs, and aside from some cool moments, this album is kind of boring, too, and it just sounds pretty derivative.

This is one of those reviews where I don’t have a lot to say about these albums, aside from that they’re worth hearing, but they’re just okay. Hell, these albums may be better if I enjoyed these sounds and ideas a lot more. I’m not the hugest fan of garage-rock, minus a handful of bands, and while I can admit these bands have talent, and these albums are done well, I’m just not crazy about these. I wish I liked them more, but kind of like with the new Alkaline Trio album, it happens. I would listen to these if you do like indie, garage-rock, and hard-rock, but these records are just too boring and meandering for my liking, but they’ve got a few solid songs, and they’re both competent and welll-done, to say the least, so I don’t know, folks. I’m happy I checked these out, but I can’t say I want to go back to these albums. It is a bummer, because Frank Carter & The Rattlesnakes is a band I’ve liked for awhile, but this new album isn’t it, at least overall. Dead Poet Society is a band with a lot of potential, but their new LP has a lot of the same tricks that their last one did, and I remember not being too huge into that, either.

#frank carter and the rattlesnakes #dark rainbow #dead poet society #fission #rock #hard rock #metal #heavy metal

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soundtrack-for-lovers · 4 months

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How is it that two of my favourite bands released INSANELY GOOD albums within a few months of each other

I love it and I am HERE FOR IT

#and very glad I bought tix to 3 Rattlesnakes shows #frank carter and the rattlesnakes #creepercult #legit both albums feel like a turning point for both bands #anyway go listen to a dark rainbow and sanguivore

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unissonmag · 3 months

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SUR LA PLATINE – DARK RAINBOW – FRANK CARTER & THE RATTLESNAKES

Dire que j’attendais le nouvel album de Frank Carter & The Rattlesnakes, Dark Rainbow, avec impatience est un euphémisme. Maintenant qu’il est là, la connexion est faite, forte et implacable. Review. Continue reading SUR LA PLATINE – DARK RAINBOW – FRANK CARTER & THE RATTLESNAKES

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#album #dark rainbow #frank carter and the rattlesnakes #review

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senorboombastic · 4 months

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Release Rundown - Future Islands, Frank Carter & The Rattlesnakes, Gruff Rhys and Ty Segall

Words: Ben Forrester Future Islands – People Who Aren’t There Anymore(4AD) Those that read these pages regularly will know that since 2014’s breakthrough ’Singles’ LP, we’ve become a bit smitten with North Carolina good boys Future Islands. Though it took me a small bit of convincing from our faithful Ed at the start, I have to say that I am now fully onboard with this lot and I am always…

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#4AD #Album Review #As Long As You Are #Birthday cake for breakfast #Dark Rainbow #End Of Suffering #Frank Carter and The Rattlesnakes #Future Islands #INTERNATIONAL DEATH CULT #King of Sweden #People Who Aren’t There Anymore #Seeking New Gods #They Sold My Home To Build A Skyscraper #Three Bells #Ty Segall

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is-the-snake-video-cute · 11 months

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whats the difference between a viper and python ?

Important question, thank you for asking! Those are two of the major snake families; I know you only asked about two, but I'll discuss the big ones!

Pythons are a family of non-venomous constrictors. They're primitive snakes, meaning they have less stretchy skulls than modern families and they still have the vestigial remnants of a pelvic girdle. Pythons all have heat pits (except for the two members of the genus Aspidites) and those pits are set into the scales on their lips. Ball pythons, Burmese pythons, and rock pythons are all examples of snakes in the python family!

Boas are also non-venomous, primitive constrictors, and are closely related to pythons. They're distinguished, though, by having a couple fewer bones in their skulls and less teeth. When they have heat pits, they're between the scales instead of in them, and they're generally ovoviviparous and give live birth instead of laying eggs. Boa constrictors, anacondas, and rainbow boas are examples of this family!

Vipers are modern, venomous snakes. They have fewer bones in their skulls and less teeth than boas and pythons, and they lack vestigial pelvic girdles. Vipers tend to have primarily hemotoxic venom, and they're often heavy-bodied. When they have heat pits, they're located on their cheeks. Their fangs are hinged and swing out. Rattlesnakes, tree vipers, sand vipers, and copperheads are all members of the viper family!

Elapids are modern, venomous snakes who tend to have primarily neurotoxic venom. They tend to be diurnal and more slender than vipers, and lack heat pits. Their fangs are always set into position. Cobras, mambas, and sea snakes are members of the elapid family!

Colubrids are a large family of modern snakes. Most colubrids are non-venomous, and those who aren't are rear-fanged venomous, with a less sophisticated venom delivery system than elapids and vipers. They're a very diverse family of snakes! Hognose snakes, garter snakes, watersnakes, and ratsnakes are examples of colubrids!

There are other snake families, but those five are the really big ones. Understanding the differences means you also understand a lot of the commonalities and distinctions between common snakes!

#not rating #snake families

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talonabraxas · 4 months

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“The serpent shows the way to hidden things...” —Carl G. Jung

Serpents are symbols for spirit, the divine, enlightenment, and the power of transformation. We still see them in our modern medical symbol, derived from the Rod of Asclepius, and Hermes' Caduceus.

Caduceus 'Willow' Rattlesnakes and Rainbows.

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redpanther23 · 9 days

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When the rainbow gathering was in the national forest near me they skinned a timber rattlesnake alive and thrrw it in a fire. and they would threaten any locals that came across them with bodily violence. i understand the apprehension

Yeah some of the guys I met were very cool, but the ones that weren't REALLY weren't, and the nice ones wouldn't even talk to them about how fucked up they were being. So as an outsider from a totally separate culture I just had to sit there and take it.

This one dude claimed he was into martial arts, and agreed to have a sparring match (joking about taking me on as an apprentice.) Then when I broke his grip and started to win he got pissed off and asked me to stop, so I stopped and sat down, and teased him a little for losing to a girl. Then he started screaming that he was going to kill me, and when the other hippies asked him what happened, he claimed I assaulted him, that only pedophiles call people sir and ma'am, and a bunch of other crazy bullshit (and I'm pretty sure he doesn't know a thing about martial arts, cause I know I don't.) It was fucking wild. I tried to keep hanging out with them, but he literally wouldn't stop bringing up how I somehow crippled his knee when I lightly touched it - this dude wasn't disabled (edit: in his legs, he did have something wrong with one eye now that I think about it) and I didn't even finish knocking him over, though now I kinda wish I had. This same dude was the one making all the stupid racist comments to me.

Maybe punks are more rude but at least they aren't motherfucking pussies and liars.

#ask box

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skull-hoarder · 10 months

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Well, I'm doing a little experiment with this Mojave rattlesnake that I bought a few days ago.

Basically, I prepared it for the dermestids, removing skin and organs as usual, unlike the fact that at the end I fill it with plastic bags to give it volume, since I have noticed that they flatten quite a bit when it is just a carcass, which makes the skeleton look less natural.

So it is filled with plastic and wrapped in a thread, supported by pins and sticks, let's hope it dries well and without deforming

If it works I'll try to do the same with a Colombian rainbow boa I have in the fridge and maybe a ball python, I'll also try to get a better rattlesnake from a local breeder since this one was pretty broken from being roadkill, still I think it will turn out pretty well, I cross my fingers

#vulture culture #dead things #dead animal #bone processing #bone cleaning #dead snake #dermestids

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secondtolastfr · 1 month

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Happy Wavecrest Saturnalia!

The second to last fest of the cycle! This one really snuck up on me, but I think I'm enjoying it nonetheless- here are my thoughts:

Familiar

She's a cutie! And a yellow-lipped sea krait with venom more powerful than a rattlesnake's, so uh. Be careful.

Jokes aside, she really is pretty- I like the wavelike petals of the sweet peas, and the contrast of the yellowish face against the blues and purples is just wonderful.

Apparel

When I first previewed this I audibly said "Oh fuck yeah." Because look at it! Fuck yeah! This combines some of my favorite water-themed apparel, and I think it's incredible. I want a million recolors of it, in every colors of the rainbow.

Gene

I think this gene is one of my favorites. Maybe not as much as Trickmurk, but the combination of fins and waves is stunning. It matches Primal so perfectly, and the dual colors is incredible. Oh it's pretty. I love it.

Joxar Recolor

I like it! I don't have much to say about it beyond that, but it is good. Bottom text.

Favorite skin: Acquarian Lily

The colors and detail is beautiful and all, and the lighting on the water reminds me of Ghibli movies, and the pot itself is lovely, but I'm a simple girl. I see lily of the valley, I go apeshit.

That's all! Happy Wavecrest yall!

#flight rising

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mymiraclebox · 1 year

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The Many Miracle Boxes

The Native American Box Kiikaa, the Thunderbird of Electricity (Elemental) Shashh, the Bear of Preservation (Timekeeper) Tyyto, the Barn Owl of Secrets (Delta) Chaapa, the Beaver of Innovation (Delta) Yanna, the Bison of Victory (Delta) Dess, the Cougar of Apathy (Delta) Banditt, the Coyote of Guile (Delta) Fawnna, the Deer of Wilderness (Delta) Liiri, the Eagle of Freedom (Delta) Sorren, the Falcon of Observation (Delta) Karrma, the Goose of Justice (Delta) Skipp, the Grasshopper of Scarcity (Delta) Ziibi, the Otter of Transformation (Delta) Habuu, the Rattlesnake of Beauty (Delta) Ommen, the Raven of Probability (Delta) Finn, the Salmon of Wisdom (Delta) Drill, the Woodpecker of Dimension (Delta)

The Wandering Box Graay, the Wolf of Order (Alpha) Prrysm, the Platypus of Chaos (Alpha) Emburr, the Phoenix of Fire (Elemental) Frostt, the Penguin of Endurance (Timekeeper) Seer, the Tuatara of Quondam (Timekeeper) Kicc, the Kangaroo of Avarice (Delta) Attlantis, the Octopus of Choice (Delta) Linn, the Pangolin of Boundary (Delta) Yuume, the Sheep of Dreams (Delta) Prrince, the Swan of Loyalty (Delta)

The Climate Box Duskk, the Grim of Darkness (Elemental) Kirrin, the Qilin of Light (Elemental) Allta, the Frog of Change (Timekeeper) Sicco, the Camel of Desert (Delta) Florra, the Elk of Forest (Delta) Nixx, the Polar Bear of Tundra (Delta) Aqqua, the Seal of Sea (Delta)

The Desert Box Skyy, the Griffin of Air (Elemental) Zipp, the Dragonfly of Progression (Timekeeper) Sennta, the Chameleon of Emotion (Delta) Tuskk, the Elephant of Memories (Delta) Parra, the Giraffe of Confusion (Delta) Sotaa, the Honey Badger of Conflict (Delta) Niisha, the Painted Lycaon of Connections (Delta) Flairr, the Secretarybird of Passion (Delta)

The Forgotten Box Vitaa, the Panda of Life (Alpha) Shii, the Crow of Death (Alpha) Uunice, the Unicorn of Magic (Elemental)

The Jungle Box Stellar, the Firefly of Space (Alpha) Koree, the Raccoon of Void (Alpha) Tonna, the Feathered Serpent of Earth (Elemental) Passtel, the Sloth of Patience (Timekeeper) Faae, the Spider of Destiny (Timekeeper) Llucie, the Caiman of Clarity (Delta) Clikk, the Dolphin of Sound (Delta) Belaa, the Jaguar of Imperception (Delta) Ecco, the Parrot of Language (Delta) Fangg, the Vampire Bat of Fatigue (Delta)

The Mountain Box Ziima, the Yeti of Glaciation (Elemental) Apple, the Red Panda of Lineage (Timekeeper) Misst, the Chipmunk of Elusion (Delta) Anjjel, the Lark of Mercy (Delta) Pilott, the Moose of Direction (Delta) Frijj, the Snow Leopard of Silence (Delta)

The Savannah Box Matto, the Pterosaur of Gravity (Elemental) Keena, the Lemur of Intuition (Timekeeper) Purr, the Cheetah of Sensitivity (Delta) Atticus, the Gorilla of Mathematics (Delta) Duux, the Moth of Guidance (Delta) Huue, the Rainbow Agama of Color (Delta) Kaanda, the Rhino of Augmentation (Delta) Divvi, the Zebra of Duality (Delta)

The Zodiac Box Nokk, the Kelpie of Water (Elemental, Aquarius) Antiqq, the Aurochs of Reversion (Timekeeper, Taurus) Harmonee, the Ant of Cooperation (Delta, Gemini) Snapp, the Crab of Adaptation (Delta, Cancer) Saage, the Dove of Peace (Delta, Virgo) Elle the Gecko of Equality (Delta, Libra) Gloss, the Ibex of Friction (Delta, Capricorn) Valoree, the Lion of Courage (Delta, Leo) Baash, the Mouflon of Strength (Delta, Aries) Daante, the Pike of Intimidation (Delta, Pisces) Spikke, the Porcupine of Precision (Delta, Sagittarius) Verriti, the Scorpion of Truth (Delta, Scorpio)

The Mother Box Tikki, the Ladybug of Creation (Alpha) Plagg, the Black Cat of Destruction (Alpha) Longg, the Dragon of Storm (Elemental) Sass, the Cobra of Opportunity (Timekeeper) Fluff, the Rabbit of Evolution (Timekeeper) Pollen, the Bee of Subjection (Delta) Nooroo, the Butterfly of Generosity (Delta) Barkk, the Dog of Detection (Delta) Trixx, the Fox of Deception (Delta) Ziggy, the Goat of Imagination (Delta) Kaalki, the Horse of Migration (Delta) Xuppu, the Monkey of Derision (Delta) Mullo, the Mouse of Abundance (Delta) Stompp, the Ox of Determination (Delta) Duusu, the Peacock of Psyche (Delta) Daizzi, the Pig of Compassion (Delta) Orikko, the Rooster of Vigor (Delta) Roaar, the Tiger of Force (Delta) Wayzz, the Turtle of Protection (Delta)

#kwamis #kwami #oc kwamis #oc kwami #kwami oc #kwami ocs #my miracle box #miracle box #native american miracle box #miraculous ladybug #my headcanons

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unissonmag · 3 months

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ON THE TURNTABLE – DARK RAINBOW – FRANK CARTER & THE RATTLESNAKES

To say that I was waiting for Frank Carter & The Rattlesnakes’ new album, Dark Rainbow, with the least patience in the world would be an understatement. Now it’s here, the connection is made, strong and relentless. Review. Continue reading ON THE TURNTABLE – DARK RAINBOW – FRANK CARTER & THE RATTLESNAKES