#Toronto Tunnel Monster

[davenelsononair]

This is the story of the Cabbagetown Tunnel Monster. An encounter a resident of Toronto had with some sort of unknown creature back in the 1970s.

#paranormal #toronto #cabbagetown #cabbagetowntunnelmonster #tunnel monster #cryptid #unexplained #weird

[gooompy]

Some Fakemon designs I finished up last month for spooky season! 

Goomy > Sliggoo > Goolossal I first designed the Goomy about a year ago and have been stalling on the evolutions ever since, but I’ve finally gotten to them. Felt fitting for a regional form that gains the Bug type to be based on parasites, leucochloridium to be specific!

Mermorbid "A certain Galarian researcher has stumped the scientific community with her discovery and revival of a supposed ancient mermaid-like Pokemon. The origin of this fossil is unclear." Pretty much just imagine the Fiji mermaid crossed with the Galar fossils. Nobody remembers the original Pokemon so they think its a new species! :)

Impidimp > Morgrem > Grimmurk Based on the Toronto tunnel monster! They lurk dark sewers and probably smell like wet dog.

#pokemon #fakemon #goomy #sliggoo #goodra #simipour #lumineon #impidimp #morgrem #grimmsnarl #cryptid #fiji mermaid #leucochloridium #slug #pokemon fusion

[thestuffedalligator]

I haven’t dabbled with Fakemon design for a while, but I have Thoughts about a starter trio based out of a Canada region.

Grass starter is a trout wearing a coat of moss and kelp which evolves into a Grass/Ghost sabre-toothed salmon. It’s also based on the fur-bearing trout, a hoax from American and Canadian folklore.

Water starter is a sphynx cat that loves water and getting baths. It evolves into a Water/Fairy alien, based partly on Canadian alien sightings and the Toronto Tunnel Monster, which was spotted in a sewer below Cabbagetown.

Fire starter is a lamb (?) with a coat of smoke. It becomes more obviously a wolf as it evolves, finally turning into a Fire/Poison wolf based on the loup-garou, the quebecois werewolf.

All three share a theme of being based on myths, hoaxes, and urban legends.

#pokemon #fakemon

[bigstupid69]

what cryptids is Cryptid Jane based off of

A literal amalgamation of a bunch of them, honestly in general I would just classify her as "those forest cryptids" but here's some that I took inspiration from (not design for most of them, mainly behavior)

Not deer

Mimics

Hide behind

Dark watchers

The Toronto tunnel monster

Skinwalkers are not necessarily "cryptids" (at least I wouldn't put them into that classification) but are part of Navajo beliefs, I took some inspiration when it comes to behavior and mechanics (and also made sure it wasn't the whitewashed/gentrified version of them), but I feel the need to preface she is not a skinwalker

#ride the cyclone #jane doe ride the cyclone #freaky monster au

[grits-galraisedinthesouth]

Worldwide Privacy Tour #EasterEggs

Harry the Lost Boy

Meghan plotted for Disney & won a "Peter Pan." It's not a coincidence that South Park compared Harry to Strat's Lost Boy character. The musical premiered in the UK (2017) & then Toronto. Meat Loaf actually relocated to London during his career and was quite happy in the UK.

"My love, I will do anything for your privacy."

Before the album Bat Out of Hell was released, Steinman worked on a musical of that storyline that was called "Neverland" at the time.

Steinman has said in interviews that a version of the Peter Pan story inspired some of the songs on the 1977 album Bat Out of Hell, and that is the connection between this musical and the 1977 album.

RIP Meat Loaf - I'd do Anything for Love

I'd Do Anything for Love (But I Won't Do That)

"Written by Jim Steinman(1977), and recorded by Meat Loaf with Lorraine Crosby. The song was released in 1993 as the first single from the album Bat Out of Hell II.

The last six verses feature a female singer who was credited only as "Mrs. Loud" in the album notes. She was later identified as Lorraine Crosby. However, she does not appear in the video, in which her vocals are lip-synched by Dana Patrick."

"After 35 years, it still sells an estimated 200,000 copies annually and stayed on the charts for over nine years, making it one of the best selling albums of all time."

"Meat Loaf promoted the single with US vocalist Patti Russo. " 

"Michael Lee Aday (born Marvin Lee Aday, September 27, 1947), known by his stage name Meat Loaf, is an American hard rock musician and actor. He is noted for the Bat Out of Hell album trilogy consisting of Bat Out of Hell, Bat Out of Hell II: Back Into Hell and Bat Out of Hell III: The Monster is Loose. Bat Out of Hell has sold more than 43 million copies worldwide."

"Strat: the eccentric and forever (18) eighteen year old leader of 'The Lost', a group of teenagers whose DNA froze at eighteen (18) causing them to remain young forever. He falls in love with Falco's daughter, Raven. He and 'The Lost' live in abandoned subway tunnels below the city of Obsidian."

"Bat Out of Hell: The Musical (promoted as Jim Steinman's Bat Out of Hell: The Musical) is a rock musical with music, lyrics and book by Jim Steinman, based on the Bat Out of Hell album by Meat Loaf. Steinman wrote all of the songs, most of which are from the Bat Out of Hell trilogy of albums (Bat Out of Hell, Bat Out of Hell II: Back into Hell, and Bat Out of Hell III: The Monster Is Loose). The musical is a loose retelling of Peter Pan, set in post-apocalyptic Manhattan (now named 'Obsidian'), and follows Strat, the forever young leader of 'The Lost' who has fallen in love with Raven, daughter of Falco, the tyrannical ruler of Obsidian."

"Steinman has said in interviews that a version of the Peter Pan story inspired some of the songs on the 1977 album Bat Out of Hell, and that is the connection between this musical and the 1977 album."

"Before the album Bat Out of Hell was released, Steinman worked on a musical of that storyline that was called "Neverland" at the time."

I'd Do Anything for Love (But I Won't Do That)

And I would do anything for love

I'd run right into hell and back

I would do anything for love

I'll never lie to you and that's a fact

But I'll never forget the way you feel right now

Oh no, no way

And I would do anything for love

But I won't do that

I won't do that

Anything for love

I would do anything for love

I would do anything for love

But I won't do that

I won't do that

Some days it don't come easy

Some days it don't come hard

Some days it don't come at all

And these are the days that never end

Some nights you're breathing fire

Some nights you're carved in ice

Some nights you're like nothing I've ever seen before

Or will again

Maybe I'm crazy

Oh, it's crazy and it's true

I know you can save me

No one else can save me now but you

As long as the planets are turning

As long as the stars are burning

As long as your dreams are coming true

You better believe it!

That I would do anything for love

And I'll be there till the final act

I would do anything for love

And I'll take a vow and seal a pact

But I'll never forgive myself

If we don't go all the way tonight!

I would do anything for love

Oh, I would do anything for love

I would do anything for love

But I won't do that

No, I won't do that

I would do anything for love

Anything you've been dreaming of

But I just won't do that

Somedays I pray for silence

Somedays I pray for soul

Somedays I just pray to the God

Of Sex and Drums and Rock 'N' Roll

Some nights I lose the feeling

Some nights I lose control

Some nights I just lose it all

When I watch you dance and the thunder rolls

Maybe I'm lonely

And that's all I'm qualified to be

There's just one and only

The one and only promise I can keep

As long as the wheels are turning

As long as the fires are burning

As long as your prayers are coming true

You better believe it

That I would do anything for love

And you know it's true and that's a fact

I would do anything for love

And there'll never be no turning back

But I'll never do it better than I do it with you

So long, so long

And I would do anything for love

Oh, I would do anything for love

I would do anything for love

But I won't do that

No, no, no, I won't do that

I would do anything for love

Anything you've been dreaming of

But I just won't do that

But I'll never stop dreaming of you

Every night of my life, no way

And I would do anything for love

Oh, I would do anything for love

I would do anything for love

But I won't do that

No, I won't do that

[Girl:] Will you raise me up?

Will you help me down?

Will you get me right out of this God-forsaken town?

Will you make it all a little less cold?

[Boy:] I can do that!

I can do that!

[Girl:] Will you hold me sacred?

Will you hold me tight?

Can you colorize my life?

I'm so sick of black and white...

Can you make it all a little less old?

[Boy:] I can do that!

Oh, oh, now I can do that!

[Girl:] Will you make me some magic

With your own two hands?

Can you build an emerald city

With these grains of sand?

Can you give me something I can take home?

[Boy:] I can do that!

Oh, oh now, I can do that!

[Girl:] Will you cater to every fantasy I got?

Will you hose me down with holy water

If I get too hot?

Will you take me places I've never known?

[Girl:] Will you cater to every fantasy I got?

Will you hose me down with holy water

If I get too hot?

Will you take me places I've never known?

[Boy:] I can do that!

Oh, oh now, I can do that!

[Girl:] After a while you'll forget everything

It was a brief interlude and a midsummer night's fling

And you'll see that it's time to move on

[Boy:] I won't do that!

No, I won't do that!

[Girl:] I know the territory, I've been around

It'll all turn to dust and we'll all fall down

And sooner or later, you'll be screwing around...

[Boy:] I won't do that!

No, I won't do that!

Anything for love

Oh, I would do anything for love

I would do anything for love

But I won't do that

No, I won't do that

Anything for love

Oh, I would do anything for love

I would do anything for love

But I won't do that

No, I won't do that

#revenge #tom bower #like a spare #spare us #crazy in love #south park #worldwide privacy tour #bat out of hell the musical #easter eggs #neverland #modern day tragedy #waaagh #Youtube

[cryptid-quest]

Cryptid of the Day: Toronto Tunnel Monster

Description: In August of 1978, a man named Ernest went into a suspicious looking cave to find his lost kitten. What he found instead was a 3ft, monkey like monster It hissed, “Go away… Go away!”, and ran off. The monster could be related to the Memegwesi, an Algonquian monster.

#cryptids #Cryptid #cryptozoology #cryptid of the day #toronto tunnel monster

[cryptids-of-the-world]

The Toronto Tunnel Monster is a monkey-like creature found in the tunnels of Toronto in Canada. The Toronto Tunnel Monster is described as a monkey-like creature that is roughly 3 feet tall with gray fur, long claws, sharp teeth, and glowing orange eyes that are slanted. Toronto had to move some their creeks underground tunnels due to pollution creating a sewer system of some of their oldest creeks that have been around for 12,000 years the most notable one being Garrison Creek.  The most notable sighting of the creature happened in 1978 by a man only known as Ernest and his wife. They were raising kittens at the time and one got out so Ernest went to look for the kitten and came across the opening for one of the tunnels. He went in and turned on his flashlight where he saw the creature; according to Ernest when the creature saw him it spoke to him in a hissing voice saying, “Go away, go away.” Ernest then ran out of the tunnel and the newspaper later caught wind of the story and though they were skeptical the maintenance workers weren’t saying that things are weird down there. 

#Toronto Tunnel Monster #toronto #canada #canadian #North America #tunnel #tunnels #sewer #sewers #Garrison Creek #creek #creeks #Ernest #monkey #monkeys #cryptid #cryptids #unknown #paranormal

[lpbestiary]

The Toronto Tunnel Monster is a strange creature that was sighted in the tunnels beneath Toronto, Canada in 1978. It has been described as a small, hairy, monkey-like creature with large teeth and slanted red eyes.

The monster was seen by a man who was searching in the mouth of a tunnel for his missing cat. Stories about hairy, humanoid creatures living in the subterranean tunnels and waterways have been told by the Algonquin tribes for many years. These beings are sometimes said to be the Memegwesi.

Image source.

Monster master list.

Suggest a spook.

#toronto tunnel monster #monster #cryptid #supernatural #mythology #monsters #bestiary

[dailycryptodrawings]

837: Cabbagetown Tunnel Monster

Primate matches the body type the most but really could have been another skinny and wet animal like a cat perchance? Raccoon even, depending on how much light the witness had when viewing.

#art #monster #sketch #cryptid #cryptozoology #paranormal #cabbagetown #tunnel monster #toronto #canadian cryptid #humanoid cryptid

[puppyeared]

how rude

#/crawls out of the dark/ have some art #thinkin of the toronto tunnel monster and im like #man what if we just getting his kitty back from that asshole who swiggity swankered into his hole #idk #cat is an alien now he mumbles weird shit #my art #notoc #cryptid #cryptid art #bad word #cat #third eye #doodles #beeart

[recommendedlisten]

A couple years back, Recommended Listen introduced an appendex to its annual Best of albums list with a focus on all of the darker, heavier music it wanted to recommend from over the course of the year, because let's face it: Between the polarities of indie rock and poptimism, sometimes the loudest sounds don't get a fair shake on year-end coverage. It took last year off to focus on rounding up the decade's best albums instead, but it's back in 2020 to highlight the best albums in the realms of hardcore, punk, metal, experimental noise, even hip-hop, and beyond. Given the year it has been, the context of what constitutes a heavy listen has very much taken on a totally different meaning, but at the same time, has made these sounds all the more wild. Here's to the albums of Heavy '20...

Backxwash - God Has Nothing to Do With This Leave Him Out of It [Self-released]

God Has Nothing to Do With This Leave Him Out of It challenges the notion that hip-hop -- especially the kind that is executed as masterfully in its artform and intentionally as that created from the caverns of Backxwash’s lost soul -- can’t be heavy music, too. The breakthrough album from the self-made, self-produced Montreal-by-way-of-Zambia artist is raw in texture and a carnal mean-mugging in its energy just like the unapologetic eye of its creator. The listen does not repent on the brooding weight of Backxwash’s confessional rhymes and the beat soundscape -- a playground built from pieces of the goth, trap, and industrial underworlds -- she sets them along is a 22-minute thriller through damnation.

clearbody - One More Day [Smartpunk Records]

One More Day, the debut album from shoegazing emo-punks clearbody, bears down on you from above from its very opening moments. Much like scene luminaries Superheaven and Cloakroom, the Charlotte trio’s grizzled, reverb-soaked rock aspires to fill the whole sky, yet with its melodic density in tow, much of that is consumed into our own claustophobic insularity. Thus, brings the hearth from the trio’s vacuous sound into our own desolate realm of darkness wholly, and lets it burn within. It makes for a blurring firestorm of palatable gloom that at least offers you comfort in spite of each daily struggle.

Code Orange - UNDERNEATH [Roadrunner Records]

As most of the world remained stuck inside throughout 2020 and unsure of what it will look like when we actually do see that light at the end of the tunnel, the corrosion of the self through our addicted virtual identities has come back karmically to torture us on UNDERNEATH. Code Orange’s latest transformation is a series of shock therapy treatment and defiant self-immolation tailored for their largest stage to date as well. The Pittsburg band’s sound continues to thrive off pure hybrid chaos that reflects pitch black nihilism with frayed wired nü-metal connections, dramatic, brutalist metalcore maximalsm, and towering new power that shakes the fault lines. A collective machine built from not only their own individual might, UNDERNEATH hears the ills of humanity sink deep into Code Orange’s skin and again change their DNA.

Deftones - Ohms [Warner Records]

Ohms, the ninth studio effort from Deftones, is a masterful display of the sheer sonic velocity which the metal-gazing hydra-heads still have the power to conduct through the atmosphere, even 25 years after they broke new ground with their definitive album White Pony. It could be, in parts, due to the fact that Ohms reunites the Chino Moreno’s atmosphere-defying vocals and guitarist Stephen Carpenter’s monochromatic electricity with classic era producer Terry Date, but there’s a newfound wisdom on balance (”balance, balance, balance!…”) heard in their alternative rock innovations that turns Ohms into an infinite current every future heavy artist will be keen to draw from.

DRAIN - California Cursed [Revolution Records]

Santa Cruz thrashers DRAIN have been seething to make their official first move in the hardcore scene since amassing a cult following within its DIY circles and becoming fest highlights over the last few years. Their debut full-length for venerable hardcore label Revolution Records does no hold back on that feeding frenzy. Rattling influence of NYC hardcore as well as a high voltage metallic intensity, California Cursed is a filthy homage to their home state that chomps with disgust and reckoning for its polluted air and water. Frontperson Sam Ciaramitaro’s sneering performance ups the confrontation with a tidal wave of chaos backs up his audacity. Washed ashore at its end, you won’t know what hit you.

ENTRY - Detriment [Southern Lord]

It only takes 15-minutes of ENTRY’s Detriment to turn your body’s nervous system inside-out. Formed in Los Angeles between PA punk scene veteran Sara Gregory, Touché Amoré guitarist Clayton Stevens, Sean Sakamoto of the indie-pop band Sheer on bass, and drummer Chris Dwyer, the band’s arrival spills all of the very heaviest-hitting emotions being burdened within our bodies in a terrifying year into an onslaught of scathing screams and brutalist hardcore. Their exorcism might wreck everything, including you. Burn it down. Start over. ENTRY’s means justify its ends.

Gulch - Impenetrable Cerebral Fortress [Closed Casket Recordings]

You will experience instantaneous confrontation when pressing play on Gulch’s Impenetrable Cerebral Fortress. The Santa Crus five-piece’s debut full-length is a scourge of corrosive electricity and piston drums played at excess speed with an ugly, nihilist end destination. All this is placated with album art that projects Gulch’s binary of strange, carnal beauty and a grotesque allegory of life gnarled through reckless hardcore merrymaking, making the whole of the 15-minute listen resonate much deeper than its temporal intentions. Paired with the production of Jack Shirley (Deafheaven, Loma Prieta), Gulch are able to see their vision through the flames fanned on their 2018 EP Burning Desire to Draw Last Breath, and incinerate you from a stereo’s distance.

HEALTH - DISCO4 :: PART I [Loma Vista Recordings]

Normally, HEALTH’s DISCO series involve remixes of their own work, but its latest installment is a very, very different, more abrasive monster. Instead of reimagining existing work, the Los Angeles industrial trio set out to create new music with an esoteric cast of abrasive misfits and other sonic outliers, including the likes of Soccer Mommy, Xiu Xiu, 100gecs, FULL OF HELL, and Youth Code. The culmination of those efforts on DISCO4 :: PART I is a fascinating experiment in new possibilities, as each of the artists are able to explore new layers within existence’s darkness (and their own) by merging their creative identities into HEALTH’s futuristic noise.

Higher Power - 27 Miles Underwater [Roadrunner Records]

Built with just the right amount of progressive hardcore groove and big anthem gloss, Higher Power’s 27 Miles Underwater has the ability to command pits digging up the underground as well as those soaring above the masses. The super power distinguishing the UK bunch from the growl of their peers is the vocally amorphous presence of frontman Jimmy Wizard as it polarizes itself over sawing riffs and cosmic spaces with both raw and aerodynamic plasticity. His existential primal screams compliment the overarching soundscape guitarists Louis Hardy and Max Harper, drummer Alex Wizard and bassist Ethan Wilkinson create as it zig-zags from melodramatic hardcore into ambiguous psychedelic wavelengths being resonated through the depths of the universe.

Hum - Inlet [Earth Analog Records]

In the 22 years that Hum have gravitated away from our orbit, their mark on rock music has at least been apparent from down here on Earth. There is however, a greater reach from Hum’s orbit down to our terrain here on their return Inlet. No longer glossed with the major label studio sheen that gave them alternative FM dial hits, the Champaign space-rock quartet sound at home reconvening in a more ornate, dynamic form through their second life. For 55 minutes, it feels like every detail on Hum’s International Space Station is visible from the ground as it makes passage right outside your window, humanizing their future sound as something tangible with a touch of fragility.

METZ - Atlas Vending [Sub Pop]

METZ have never ceased to take artistry into account in the loud volume of their noisemaking, where as many of their peers have fallen by the wayside for relying too, er, heavily on their ability to make the room shake and bowl over listeners. Atlas Vending, the Toronto trio’s third full-length effort, is what noise-rock sounds like when all of its moving parts work in unison as one well-oiled machine. Guitarist and vocalist Alex Edkins, bassist Chris Slorach and drummer Hayden Menzies have not only refined their decibel-crushing sound by pushing it even further into the sky, but they do so by delivering their hookiest material yet without disregarding their innate ability to rattle through any surface, be it in the flesh or through the speakers.

Moor Mother - Circuit City [Don Giovanni Records]

Camea Awaya’s work as Moor Mother feels endless and interconnected, even when she veers off course into cosmic experimentalism or joins forces with creative forces outside her own body. The sounds which the avant-noise artist has already assembled especially move differently when she reconnects with them, as is the case Circuit City, a production originally staged in front of a festival audience and now given a proper recording which brings a different source of energy into the composition. Awaya fills every second with its own purpose, struck by calamity in an avant-jazz fusion of brass and percussive confusion mirroring her own. Her words and the fury of sound battle with the darkest of American injustices – All of the shattered wishes, dreams, and right. Constantly surrounded by a war for her own being, Circuit City connects the outside world’s noise with an anxiety that has becomes too daunting to ignore.

Narrow Head - 12th House Rock [Run for Cover Records]

The second 12th House Rock lifts off with “Yer’ Song”, Narrow Head have left our atmosphere. With the Houston rockers’ sophomore effort and first for Run for Cover Records, the five-piece take homage with the mightiest of the ‘90s alternative’s big riffed work heard in the currents of everything from Hum, the Deftones, My Bloody Valentine, and Brit pop fully amped. With a little rewiring of their electric diagrams, Narrow Head rips through huge hooks and dizzying spins of their own gravity. In these times, 12th House Rock’s energy is the kind of escapist album direly needed in 2020 when you need to put something on loud to drown out the rest of the world.

Nothing - The Great Dismal [Relapse Records]

There is probably never going to be a moment in time where Nothing change their tune on the inevitable collision between our lives and oblivion, and The Great Dismal is the period on that statement that makes it reverberatingly loud that won’t be happening any time soon, if ever at all. The Philly shoegazing punk band’s fourth full-length effort piles on heavier dark matter and churns up the velocity as they plummet into the big black hole sucking us all in more by the day. The songs on this album are also beautiful sinks into the void as well, containing the four-piece’s most accessible work to date. Their sound – muscled in hook-laden feedback, adorned by touches in oddity from Alex G and Mary Lattimore, and confident in boldness – can hold its own even in zero gravity.

Record Setter - I Owe You Nothing [Topshelf Records]

Despite having clashed with their sound in the past through grungy post-hardcore and atmospheric math-rock, Record Setter’s I Owe You Nothing is arguably the first obvious moment of clarity for the Denton, TX four-piece even if their sound veers off into varying gravities of screamo, post-hardcore, and cavernous emo rock. The emotional weight anchored behind each track is what grounds the listen onto the same landing space regardless. A catharsis in identity and by Judy Mitchell’s living truth, approaching their art with this intention has emancipated the band’s second-guessing. Be it the chaos in motion, melodic turnstiles, or vulnerabilities impressed close to the surface, Record Setter attach a heaviness to their sound created not by decibel or amplification (although, the use of added weight in their crushed guitars and crash cymbals adds the album’s turbulence…,) but by human forces bleeding themselves into it.

Shamir - Cataclysm [Self-released]

On Cataclysm, the darker side of two very different albums from Shamir this year, the genre ambiguous artist embraces death through distortion, and that it renders both an anomaly in his catalog by way of stylistic consistency as well as some of his most hook-driven rockers to date makes this turn toward sonic violence stick. In listening to tracks like the static-drenched menacing bop of “Hell”, the desolate post punk atmosphere of “Scream”, or a queer take on Nada Surf popularity in “Feminine Guy”, you can hear how these songs exist to hex listeners into Shamir’s heathenry as he channels an unconventional lightness in his vocals through beefed up muscularity in guitar electricity. If the butterfly must die, then it will never be in vain, for this incarnation of Shamir creates something remarkably outside this world when baring all of its weight.

SOUL GLO - Songs to Yeet At The Sun [Secret Voice]

Even in its rapid fire 12-minute length, Songs to Yeet At The Sun, the latest EP from SOUL GLO, is one of the most vital pieces of heavy music this year. Chomping from the fringe as artists mutating the look and sound of the modern punk community in both its vantage point and a forward-thinking clash of style, the Philly four-piece’s latest offering slams like a poetry of Pierce Jordan’s own Black American experience through a rapid scene-changing stream of conscious, as the five-track listen surges in with adrenaline junky hardcore before recoiling into noisy raptures, then back into bulldozing mode before. What’s left behind is a sludgy pile of bones and guts that will surely be used to reshape the scene from here on out.

Sparta - Trust the River [Dine Alone Records]

Between the band’s 2006 effort Threes and their return in Trust the River, Sparta’s Jim Ward has ventured off the beaten path with his songwriting by delving into folk and indie rock with his other projects under his own name and the band Sleepercar, respectively. Some of those homegrown hints have seeped into Sparta’s water on their first album in 14 years on what is a fitting return to ground-level after gravitating far above the horizon for so long in the band’s early catalog. Trust the River communicates with these times’ political landscape as well as the complexities of our own personal relationships in that way where Sparta’s roughened melancholia can feel like a faded picture. This time, it’s easier to see the faces from down here on Earth, and they’re wearing heavy emotion.

SPICE - SPICE [DAIS Records]

There are five members in the pan-Californian band SPICE who’ve contributions lay equally on the surface of their eponymous debut album’s crackling, rocky complexion. At its epicenter of those fault line is most notably that of vocalist, CEREMONY frontman Ross Farrar alongside fellow CEREMONY drummer Jake Casarotti, bassist Cody Sullivan (No Sir, Sabertooth Zombie), guitarist Ian Simpson (Creative Adult,) and violinist Victoria Skudlarek. The collective’s “deliberate isolation of pain” through a fascia of hardcore and indie rock channel themselves through in non-stop urgency that makes for one of the year’s most rewardingly thrill rides in anxiety-riddled head charges and whirring melodies. Pop-induced, billowing in the air, and heavy like a pile of bricks at once, and when all of these elements atomize onto one slab, we hear how pain even in isolated form comes in many forms.

Sprain - As Lost Through Collision [The Flenser]

Sprain’s As Lost Through Collision is an album that will test your patience. Across seven tracks in super-length spans, the listen lingers, reawakens, and stretches out time to defy the space is consumes. Alex Kent and April Gerloff, who early on the band’s catalog sought to realign elements of slowcore and post-hardcore in a meditative sense, now have piled on a heavier rig of louder influences pulling from the Flenser universe of black metal and post-rock, with the addition of second guitarist guitarist Alex Simmons and drummer Max Pretzer assisting in the moving of concrete walls and steel beams in their sound. Whatever they are building, they eventually redesign or break down, leaving your bereft in its glum.

Touché Amoré - Lament [Epitaph Records]

Touché Amoré’s fifth studio effort Lament is a duality in natural evolutions for the Los Angeles post-hardcore band. In one respect, it deals with the fallout of grief laid bare on the band’s 2016 album Stage Four and in learning to coexist with those emotions, for better or for worse. In another, the listen marks another seismic shift in pushing the boundaries of their progressive hardcore sound into bigger, more ambitious territories with the help of veteran rock producer Ross Robinson, who has guided genre classics by everyone from Korn and Slipknot to the Blood Brothers and At the Drive-In. In giving themselves a larger arena to shout into, there still is no ceiling too high in sight for how far Touché Amoré can climb out of life’s murk.

Thou & Emma Ruth Rundle - May Our Chambers Be Full [Sacred Bones Records]

Emma Ruth Rundle’s manifestation of doom unfurls naturally through knots of haunted folkwork and sludgy feedback, while the heavy experimental metallic atmosphere of Thou has proven to have a way of melding itself around whatever surroundings its thicker air seeks out. On May Our Chambers Be Full, a collaborative effort between the two forces in metal, the two build a monument for the human experience’s polarities in its joyous desperation and immense sorrow through a sound formed in grungy pits and sky-scaling alternative anthemry. If this one feels like it’s tearing every emotion straight from the chest, it’s only because Emma Ruth Rundle and Thou have a natural sense as to where they beat most heavily.

Truth Cult - Off Fire [Pop Wig Records]

Truth Cult is breaking out of the Baltimore hardcore scene with their debut full-length Off Fire, released fittingly on local scene label Pop Wig Records (the label ran by members of Turnstile and Angel Du$t.) Its membership is familiar with spaces that form pits, as it collects members of Give, Pure Disgust, and Red Death, and their sound touches on the gruff post-hardcore rumblings of its surrounding environment. For context, they’ve opened for Lifetime, and have a very Dan Yemin-like energy to their sound that deadlifts a weight similar to what Paint It Black and Open City are throwing down. Off Fire is similarly politicized and swings hard, but that takes nothing away from the melodic gravity of the LP in a way that hears Truth Cult’s sound living up to the elements of its title.

Uniform - Shame [Sacred Bones Records]

Shame, the third studio effort from combustible Brooklyn industry noise torchers Uniform, sets out to rid the self of that which destroys us from the inside out. What’s different about this beastial incantation from the trio’s past releases is how it much raw the internal wounds look on the surface, as the album unburdens itself of conditioned self-hate and constructs a effigy for all that pain to set into flames. It’s a self-immolation of the soul in which frontperson Michael Berdan screams through the smoke, his voice often engulfed and dissipated in a razor burn of guitars and fuel-doused drums. To free themselves it all, Uniform sees no other way out beyond setting themselves on fire -- and burn gloriously, at that.

War On Women - Wonderful Hell [Bridge Nine Records]

Wonderful Hell was released days ahead of this year’s critical presidential election, and War On Women had a concentrated reason as to why: The rallying cries and calls for action hurled into the masses by Shawna Potter made for one last push of resistance against these last four years. Now that we’ve overcome the first hurdle, the Baltimore punk band’s third album serves as a reminder as to how much more work there is to be done. Their agenda hasn’t changed all that much since 2017′s breakout Capture the Flag – defeat fascism, fight for equality for both women and the marginalized, make misogyny and any form hate extinct – and they’ve sharpened the edges of their razor-backed melodic punk anthems here to make their ultimate end-game clear.

#best of 2020 #backxwash #clearbody #code orange #deftones #drain #entry #gulch #health #higher power #hum #metz #nothing #moor mother #narrow head #record setter #shamir #soul glo #sparta #spice #sprain #touche amore #thou #emma ruth rundle #truth cult #uniform #war on women

[cloudcloudcloud]

I could have sworn I posted this picture already, but apparently not? Weird. 

Anywayyy.... My resolution for 2021 was to make OC profiles and descriptions for all/most of my OCs. So here is RILEY. 

-She/Her, Lesbian, 

-cabbage town tunnel monster, Cryptid

-Toronto, Ontario

-Owns Slowtown Gas Station, which gives amnesty to creatures crossing the border, as well as helps run the Great Lakes

If you want more info on her and other characters, you can always check out my portfolio in my bio :)

#oc #oc art #cryps #riley #digital art #meet my oc #art #artists on tumblr #character art #my characters #character design

[ironychan]

WEEK 42: THE CABBAGETOWN TUNNEL MONSTER

I am so proud - I have not yet missed a week of the Crypt-A-Long! This is my tribute to cryptids and tall tales from around the world, in the form of a blanket like the Geek-A-Long from Lattes and Llamas. My charts are designed to fit into their patterns, so pop on over to the website for yarn, instructions, and general inspiration.

Possibly one of the weirdest things ever to happen in Toronto (and that's saying something), in 1978 a man went into a tunnel looking for his cat, and encountered a gray-skinned, glowy-eyed, monkey-like creature that told him to get out. Out he duly got, and the tunnel has since caved in, making the incident impossible to investigate. As far as I know, no-one has ever suggested it was the Dover Demon hiding from annoying teenagers, so let me be the first. Whether he found the cat is not recorded.

#knitting #knitblr #pattern #cabbagetown tunnel monster #cryptid #cryptozoology #crypt-a-long

[sinister-bob]

Cabbage-Town Tunnel Monster

It was a warm summer’s day in August of 1978 when a Toronto area man had an experience with a strange creature that would forever change his life.

Ernest (he would only allow his first name to be used) was a soft-spoken 51 year old at the time of his harrowing experience. He and his wife of 19 years had been raising a litter of kittens. One of the kittens apparently disappeared and Ernest decided to search for it in the vicinity of their Parliament St. apartment. Closeby he stumbled upon the opening to a dark “cave” and crawled approx.10ft inwards. This is where he said, “I saw a living nightmare that I’ll never forget.”

Armed only with a flashlight Ernest encountered a creature of unknown origin. He described the monster as “long and thin, almost like a monkey, three ft long, large teeth, weighing maybe 30lbs with slate-grey fur.” However it was the eyes that truly stood out, “orange and red, slanted.”

Ernest spoke reluctantly with reporters as to what occurred next. The creature spoke to him. “I’ll never forget it,” he said. “It said, ‘Go away, go away,’ in a hissing voice. Then it took off down a long tunnel off to the side. I got out of there as fast as I could. I was shaking with fear.”

Ernest never approached the media with his story. He was afraid that people would think that he was “drunk” or worse “crazy” and felt that no one would ever believe him. “The (Toronto area newspaper) Sun found him after hearing about his experience from a reliable contact who worked with a relative of Ernest’s, one of the handful of people to whom he had confided the experience. He would agree to talk only if his last name was not revealed.”

“I believe Ernie saw exactly what he says he did”, said Barbara (Ernest’s wife). “He was terrified when he came back to the apartment and he doesn’t scare easily. Look, he’s been known to to have a drink in the past - like most people, and to occasionally tie one on, but he’s not a drunk and he wasn’t drinking at all that day.”

The Toronto Sun did question some of Ernest’s relatives and neighbourhood acquaintances. They found that all agreed with and supported Barabara’s evaluation of her husband.

Ernest accompanied by Sun staff returned to the location of his strange sighting in March of 1979. The cave’s entrance was located at the bottom of a narrow passageway between the building where he lived and the one next door. Together they found the corpse of a cat, which was “half-buried in the tunnel.” The sad discovery reminded Ernest of ‘strange noises, like animals in pain,” that he had heard emanating from the tunnel prior to his frightening encounter.

Ernest showed the Sun reporter exactly where he saw the strange being. He stated, “ The last I saw the creature it was heading off into the dark.” The passage seemed to drop down very quickly and go a long way back.

It was speculated that the tunnel in fact led to the sewer system and that the entranceway beside Ernest’s apartment was “an access point used by the creature to the surface.” Safety concerns promoted Toronto’s Sewer Department to thoroughly inspect the tunnel as it was feared that area children may in fact try to enter it.

Ernest’s story was very strange, however sewage employees did not ridicule or scoff at it according to the report made by The Toronto Sun at that time. One worker who was quoted in the paper stated, “People who work on the surface just don’t know what it’s like down there. It’s a whole different world. Who would have thought a few years ago that people would live in sewers, and yet that’s what they found in New York a few years back. Another was quoted as saying, “I don’t know what he (Ernest) saw down there.” He also stated, “I’ll tell you one thing. If we could get in there, I sure as hell wouldn’t want to go down alone.”

#Scary #Monster #Halloween #Monster Mash #dead animal mention

[mechanicalmelancholy]

Someone in an occult server I’m in: Would you ever go cryptid hunting?

Me, just getting back to my apartment after walking the entire neighborhood the Toronto tunnel monster was spotted in: Maybe

[cryptid-quest]

#toronto tunnel monster #cryptids #Cryptid #cryptozoology #cryptid quest