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cheriladycl01 · 5 months

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No because that hurt me! Lando Norris x Girlfriend! Reader Part 1

Plot: Lando goes one step too far ...

Warnings: Mentions of Assault (From a random on the street)

Credit to purplephantomwolf for the GIF

"Hey baby!" you grin pulling your boyfriend of three years into a hug.

You'd met Lando randomly, you weren't a model and you didn't have a rich dad. You weren't at all famous, you had a private Instagram account that only really had some of the drivers that Lando introduced you to like Oscar and Logan, and then Max, Charles, Carlos and Daniel.

You actually house-flipped, and properly house-flipped. Not one of those super rich people who come buy a decent plot of land with a small little shack on it and turn it into their dream manor. You however have built you way up, you and the team you work with. You were a graphic designer/ architect so you would design the houses and draw a floor plan, helping the carpenters when showing them your vision.

It was a great job, that was incredibly flexible when it came to travelling with Lando. At first it was stressful, being his WAG and everything. People didn't think you spent enough time at the track and weren't good enough for Lando, but you did try to constantly attend every race you possibly could, which made Lando more than happy.

He honestly liked, kind of keeping you bubble wrapped in a way. His other relationships had ended because of the harsh media and the fans and he didn't want that to happen with you. But this sometimes would get suffocating.

"Hey" he grins at you, he roughly pulls you into a hug that you return with a laugh into his shoulder.

"I'm so so proud of you, for your first Formula 1 win!" you exclaim, kissing his cheek and he kisses your head. Reporters flood around you as well as the mechanics and you start to feel a little crushed. You see Oscar and Lily to one side and Lily nudges Oscar seeing the look on your face and that you're looking a little flushed and panicked.

Oscar manages to pull you out and you thank him, laughing along with Lily as you regain your composure.

"Are you okay?" Oscar asks.

"Yeah, I'm going to go wait for Lando on his driver room. He'll want to celebrate tonight I'm sure of it" you smile. You walk off, waving to people through the paddock before entering the Mclaren motorhome.

You sit patiently waiting for him to come and meet you in the driver's room, just scrolling threw TikTok and Instagram making a post about your boyfriends win. You were so happy for him that you felt like you needed to share that with your few followers on your main account. You also had an account for your house flipping, that was public and fans followed you on there instead, so you made a story to congratulate him on there as well.

You waited and waited for what felt like hours, until you stepped out of his drivers room not hearing many people around anymore.

"Hello?" you called out.

You walked out through to find only a few mechanics left still packing away.

"Hey guys, where's everybody gone?" you ask starting to help feeling bad that there was only a few workers left on site. You look around seeing some light coming from the other motorhomes but it was similar to here at Mclaren.

"Thanks for the help Y/N but you don't have too, everyone's left for the night!" he smiles at you and you stop confused.

"Everyone? Even Lando?" you ask confused as to why he hadn't come and seen you yet.

"Oh yeah Lando, left about an hour ago? Went back to the hotel with Max and Daniel i think" he admits as he walks with you.

"He didn't come looking for me?" you ask and the guy has a thoughtful look before shaking his head at you.

"Oh, erm okay. Well, I'm sort of stuck here, can i help you guys at all with packing up?" you ask, hoping that one of the mechanics would be nice enough to give you a lift.

"Sure, come on!" he advises before showing you he little pieces that you could help them pack away. You stayed until Mclaren were pretty much done, but seeing your phone blow up with millions of notifications you decided to check.

Message from Oscah - Where are you? Thought Lando said you were meeting us here?

Message from Lils Z - Girl, where you at. I need you here at the after party :(

Message from Maxie Fewtie - Lando's being weird, where the hell are you?!

Message from P - Y/N, i thought you were coming with me and Max to the club? Aren't you coming?

You then move onto Instagram checking all the stories from you friends. You could see Lando was already at the club, up at the DJ booth Max feeling with Daniel dancing behind him. In Daniel's story you see Lando lean into a girl at the club as she talks to him, nodding at whatever she said. It made you frown at first but he was DJing so it was probably a request. But still why had he left without you and not bothered to text you.

"I'm really sorry, I'm going to have to go guys!" you exclaim, seeing all the notifs.

"Are you going to be okay, how will you get back?" the mechanic asks worry etching on his face.

"I can walk, it'll be fine and good for me to get fresh air. I thought maybe someone would have realized I'm missing by now and come and got me. I'll be okay!" you smile before pulling the hood of Lando's hoodie up over you head.

You make the cold walk and halfway through when you start to feel uncomfortable with how quiet the road is you try to call Lando, he didn't answer making you sigh and tears brim your eyes.

"You alright pretty!" A man exclaims coming up to you making you freeze in shock. He grabs your arm, making you gasp loudly looking round trying to catch someone's eyes for help.

"You seem lost, let me help" he grins, gripping onto your waist, a weak whimper coming our your mouth as you attempt to push his hands away. His breath smells horrid and his hands are cold on your exposed wrist.

"Y/N!" A voice shouts and you turn round seeing the mechanic from earlier and two other guys in the car all glaring at the man.

"These your friends darling, or are you a little slut with three men at your feet. You come with me, I'd give you a better time than these little boys" he scoffs looking at them.

"Y/N, come join us in the car" the one driving directs, you immediately go sitting in the back next to the mechanic who was in the back. Tears were streaming down your face at this point and you just wanted to go home.

"Y/N, hey hey its okay. He's gone now your safe!" the one next to you exclaims, pulling you in for a hug.

"Please, please can you just take me to the club Lando is at" you admit looking at Dan who was the mechanic driving.

"Yeah, sure"

In no time he pulls up in the center of the city in the club you'd all discussed going too.

"Thank you, I owe you lunch or dinner or something for this" you say tears still running down your face.

"Y/N are you sure your okay?" he asks, and you simply nod before hopping out the car. You run over to the VIP entrance and hold up your ID to the man, he checks the list nodding and letting the rope down so you could go through. Your walk round the club, the loud music pounding in your ears as you look for your boyfriend.

You lock eyes with Lily and Oscar first and they rush over to you, asking where you've been.

"Where's Lando, I just want to speak with him" you sob, leaning into Lily's comforting hug, sniveling and wiping it with the hoodie cuff. Oscar guides you round to a booth that currently occupied, Max, Kelly, Other Max, Pietra, Daniel, Heidi, Lando and a few others. As you round the corner everyone notices Oscar's sudden appearance and then yours behind him.

"Lando, mate look who i found!" Oscar tries grabbing his attention but he's one of the only people at the table right now that hasn't got your attention.

"Oh... yeah cool, ill be there in a min" he says noticing it you but not taking anything in, you look over at Oscar tears welling in your eyes just wanting a reassuring hug from your boyfriend and for him to either help you calm down, or take you back to the hotel.

"L-lando?" you stutter, and everyone is looking at you in confusion having no clue what had happened.

"What Y/N, I'm trying to celebrate with my friends that actually bother to turn up..." he huffs, everyone had noticed that he had a semi sour mood tonight, and now they had started to understand why.

"Mate, look lets take this to the balcony!" Max says, taking Pietra's hand trying to get her to stand up so he can let the girl whose sat next to Lando and the boy himself out. He noticed the tear stains down your face even in the dim-lighting of the club the minute you came over, him and Pietra having shared a look.

"Nope, if she's got something to say, she can say it here..." he grins, even though he doesn't normally drink, he'd had to many drinks tonight and it was effecting him.

"Lando, you don't want to do this" Oscar, tries stepping next to you, making Lando scoff.

"Oscar's right mate. Not tonight" Max agree's.

"She's a big girl, come on Y/N tell me why you cant even be bothered to fucking celebrate with me? Huh? You know what your so fucking useless and I shouldn't have thought you'd care for something as big as this for me... your jealous...." he slurs his words.

"Fuck you Lando. Just... I hate you" you cry, everyone at the table stiffens as your mouth opens like a fish, as if you want to say something more.

"I'm done, We're done, I'm not coming home to Monaco, I'm going back to London" you add, before turning round and storming out the club. Out the front you found a sober, Alex getting George and Pierre into Charles car, while he got Lily in his own.

"Alex!" you exclaim running over to him, he see's you and waves before pulling you into a hug.

"Can you drop me to the hotel please?" you ask and he nods.

The minute you got back to the hotel, you locked the main door before entering the bathroom and scrubbing your body raw. You looked at your sleepwear options, you normally just slept in Lando's older tops... but of course you didn't want the thought, sight or smell of him anywhere near you right now.

You fell asleep pretty quickly considering what happened. Lando didn't disturb you, you assumed he went back with one of his friends and slept on their floor or sofa.

You got up early, wanting to get the earliest flight back to London that you could. You were packing up when a knock came from the door, and then the sound of a key card swiping before the door opened.

"Morning baby, how are you?" a voice asks that you didn't want to hear. You keep going on about your packing, leaving Lando's stuff alone.

"Getting an early start to head back home huh?" he tries again, Lando looked at you, with concern on his face. He hadn't spoken to Carlos before he left wanting to come straight to his girlfriend who he was confused as to why he didnt wake up in their room with her.

"Ah your a grouchy morning person, why don't we go back to bed for a little" he laughs, about to touch your shoulder to pull you up before you shrug him off.

"Don't touch me" you whisper, zipping your suitcase up.

"What's going on with you baby!" he asks, pulling your chin up so your eyes met his and he almost gasped in shock when he saw the tears streaming down her face.

"I'm guessing you don't remember much of last night?" you say trying not to sound angry.

"No, I think Charles and Pierre had me do shots straight away" he laughs a little before turning back seriously.

"Why?" he asks.

"Well considering I broke up with you last night ..." you glare looking at him before he stumbles back a little from the pure shock of the statement. He was about to ask if you were joking, nut seeing your face there was no joke there.

"What? Baby... no what happened?" he asks looking at you. You snivel and lean for a tissue to wipe your nose.

"Figure it out, because i need some space right now... you hurt me Lando... and I need time. This isn't the end I just need to think" you say, pulling your suitcase up before walking to the door.

"Please baby, lets just talk about this. I don't even know what i did..." he argues throwing his hands out.

"No... because you hurt me! And you need to apologize for everything said!" you say tears in your eyes.

"Maybe talk to Oscar, Max and those Mclaren Mechanics that stay late" you sigh walking out the door leaving a shell shocked Lando behind.

A/N: I'm so so so sorry, i need to write more fluff instead of all these angst pieces... and some smut i gotta delve into smut coz I'm a pretty decent spicy writer... so look out for that too.

Taglist:

@littlesatanicassholebitch @hockey-racing-fubol @laura-naruto-fan1998 @22yuki @simxican @sinofwriting @lewisroscoelove @cmleitora @stupidandunnecessary @clayra-g @daemyratwst @honey-belden @moonypixel @lauralarsen @vader-is-hot @ironcowboycopnickel @itsjustkhaos @the-untamed-soul @beebo86 @happylittlereader @ziejustme @lou-larcher5 @thewulf @purplephantomwolf @chasing-liberosis @chillyleclerc @chanthereader @annoyingmoonballoon @summissss @evieepepi08 @havaneseoger08 @celesteblack08 @gulphulp @fandom1ruined2me @celebstories @starfusionsworld @jspitwall @sierruhh @georgeparisole @dakotatankbig @youcannotcancelquidditch @zzonsbeek @tallbrownhairsarcastic @mellowarcadefun @ourteenagetragedy @otako5811 @countingstacksandpanicattacks @peachiicherries @formulas-bitch @cherry-piee @hopexcroc @mirrorball-6 @spilled-coffee-cup @mehrmonga @bigsimperika @blueberry64857959 @eiraethh @lilypadlover @curseofhecate @alliwantisadonut @the-fem1n1ne-urge @21stcenturytaegi @dark-night-sky-99 @spideybv28 @i-wish-this-was-me @tallrock35 @butterfly-lover @barnestatic @landossainz @darleneslane @barcelonaloverf1life @r0nnsblog @ilove-tswizzle @kapsylia @laneyspaulding19

#f1 imagine #f1 x reader #formula 1 x you #formula 1 #formula one #formula one fanfiction #lando norris #lando x reader #lando norris fanfic #lando norris angst #lando norris x reader #lando norris imagine #lando imagine #lando fluff

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begginmonty · 7 months

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(since i have been spammed for part two)

part 1

"do you want pizza for dinner?" mike asks abby tiredly, popping his head around her bedroom door. abby sat at her desk, drawing away, pretending she hadn't heard what happened an hour prior. abby responds with a happy hum and a nod of her head. "okay cool" mike goes to walk out his sisters bedroom, but he catches a glimpse of what she's drawing. it's himself, you and abby outside of a house, holding hands, and a small cat. "are you okay mike?" abby asks noticing her brother looking sad at her drawing. mike rubs his eyes with his hand, and sighs, "yeah abby im-". "i heard you and y/n fighting. are you guys breaking up?" and she looks genuinely upset at the thought of you and mike not being together.

"no abby" he's quick to response automatically but notices his sister's face. "you know how like we fight sometimes it's like that-" "y/n looked really sad. you must've done something mean" abby has a point. he's still stood, holding the door handle, looking at abby, sighing. "im gonna order pizza" mike shuts the door and walks off. abby just watches with a sad little face, but turns back to her drawing. mike orders pizza, and sits on the arm chair in front of the tv, thinking over everything, his flip-phone in his hand, looking at the 'im sorry i love you' text he had sent not long ago to you, debating whether to send more.

the evening goes on and the siblings eat dinner. mike goes off to shower, and as he's gone abby goes to the landline phone, a bunny plush toy in her arms. you had written your phone number on a note in her room in case of emergencies. "hello?" you'd picked up. "mike is really sad and i dont know what to do" hearing abby's voice on the other line broke your heart. "abby-" "can you please come back? i miss you. mike misses you! he's really sorry"

there's a knock at the front door. mike raises an eyebrow and gets up from his space on the armchair, walking to the front door. abby hears the knock as well, and watches from her bedroom. she watches as the front door open and you're stood there with red eyes. she watches the way her brother stutters your name and how you hug him instantly, and how he relaxes into the hug, cradling you so tight to his chest. abby can hear him muttering apologies over and over to you but she also hears how you tell him its okay he doesn't need to be sorry. abby the fixer.

#mike schmidt #mike schmidt x reader #fnaf x reader #fnaf movie #five nights at freddy's #five nights at freddy's x reader #mike schmidt imagine #fnaf movie x reader

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mememan93 · 2 years

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The two cakes art metaphor sucks because it sets the artist's expectations of the community too high and makes it hurt more when nobody reblogs their work in this essay i will-

#FUCK the two cakes metaphor all my homies hate the two cakes metaphor #cause its like. wow two cakes! and like. art that doesnt get reblogged? thats not a cake to these people?#i know my art sometimes gets some good reblogs and I owe that to one of my mutuals (my beloved) because they have a popular zelda blog #well its a skyward sword blog but still a lot of people reblog from their side #and because they're nice enough to reblog my stuff other people actually see it #but its still like. not helpful #nobody has room for two cakes and in the end they pick the better one. IF EVEN.#i see some INCREDIBLE art that sometimes doesnt get past 50 notes. like hello??? reblog art people #this is part of the reason that when i reblog art i give specific complimets. they're genuine but like. specific so the artist-#-knows i saw their work and I care about it. and also I have a pretty good amount of followers who reblog art from me #sigh #raven croaks #raven posts instead of drawing #art comin tomorrow people

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palskippah · 1 month

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Hi! I give you this Stobotnik fankid I made a while ago :'y

She's Sofia --or Ivania or some other name ending in 'ia'-- Robotnik (coolest last name)

It's a compilation and also there's some Stone for practice bc I have no idea how to draw him pipipi Eggman is easier bc it's just his Sonic Boom design (I love it)

Some stuff about this universe under the cut!

(Btw if there's incongruencies is bc I can't make up my mind about the facts whwhw)

-Robotnik and Stone are married, very much married. Cartoon villains in love, I love that for them.

-["MARTHA I'M COMING HOME SWEETIE-"] Mixing up the movie things and the whatever's going on in the Sonic Boom, so Robotnik was gone for eight months and when he's back she's already born.

>Also the drawing is a reference to Icarly's "Whatcha got there?" "A smoothie" but she was clearly asking about the ostrich Spencer brought with him.

>Alternatively, Eggman's there and they go through the journey together yippiee. Choosing names, making evil parenting plans and whatever, being their idiot selves.

(After celebrating because they're good news actually) "I want a boy or a girl-" (Eggman) "Yeah me too." (Stone) "-and we should name them a single, worth of remembering name! Like... Eggette for a girl and Eggson for a boy." "I'm not letting you name them any of that, doctor..." "Okay, then how about Beyonce for a girl and-"

>They wouldn't have kids (?? maybe? I don't really know, I only know sonic boom and the movie :'U)- but she was probably the 1% the birth control warns you about. Also, Stobotnik got a very active seggsual life, and I'm imagining she came to be from a quickie over the desk, why not.

>Helpful diagram of Eggman + Stone kissing and then = baby. They were in work hours.

-In the one where he comes back and the baby's already there, Eggman does a terrible job as a father the few first months, but then he gets the hang of it and it's not so bad.

>He gets projectile vomited on and he's immediately asking to get an abortion (the baby's already born) (he didn't give birth to her), Stone says no anyways.

>"Surprisingly, I'm a good father" he thinks one day and it's because he's still very much an orphan here with no frame of comparation or example aside from researching the matter.

-In the one where they wait for her together, he does all the research necessary in all those months, absolutely refusing in doing an average job in that matter, he's the great Ivo Robotnik c'mon. He excels at anything and he'll be a great father (jk he's terrified of fucking up).

-The Stobotnik family is an evil but loving family, like the bears in Puss in Boots whwh criminal family✨

-For the funny of it, Sonic and Eggman got a sort of relationship like in Sonic Boom, so sometime maybe our favorite boy, Tails and Knuckles had to look after their child.

-Also since Knuckles broke Stone's and Robotnik's hands with their handshake, let's have him handle the baby with the most careful grip ever, just to demonstrate that he didn't have to grab their hands that hard aksdjask

-She's a big fan of Sonic and friends (Sonic the Hedgehog, not Sonic Wachowski, the second guy hadn't done even half the things she admires him for, but no one has the heart to tell her when she's a kid). Has a bunch of merch and all the comics of Sonic the Hedgehog.

>When she's a teenager she proudly uses her Sonic backpack in the same way Deadpool uses his Hello Kitty backpack.

-BTW Sonic, Knuckles and Tails are all brothers and Maddie and Tom's kids bc that's the best idea ever made.

-ALSO I'm definitely gonna draw that scene where Knuckles was about to put the baby in the blender and Sonic shouts THE CHILI DOG NOT THE BABY. Some day, you'll see pipipi.

-SAGE was created for various reasons, to be her sister (since she wouldn't stop asking for one but neither Stone nor Robotnik were willing in raising another human kid, thanks very much), to protect her, and also to answer the tedious "why?" questions that neither father had the patience for (A+ parenting right there). Maybe she was used for the original purpose too idk (I don't know that sonic game where she debuts).

>The child's delighted about having a sister, then she grows up and SAGE doesn't, so she has a little sister.

>METAL SONIC TOO MAYBE? Perfect lil american family, the two happily married parents and their three kids (one human girl, an IA and a robot clone of their alien enemy).

-On her early months she was called Pebble, because she really was a mini Stone, Robotnik went along with it (bc he also looked at her and only saw his husband whw) until she was a little older and they started calling her by her name.

>Alternatively, since Eggman was gone, Stone waited for him to return in hopes of choosing together a name for their child, and Pebble worked as a placeholder since she was just a bebi.

>Alternatively alternatively, Eggman came up with the nickname. ROCK-ONNAISSANCE 🗣️ also yeah I know he was going crazy from the mushroom stuff, but he's not above making silly puns, he's a dad now and also he's naturally silly.

(NGL I really gotta make up my mind about how it all happened ajsdkad)

-She's a spoiled kid and also a little menace, unintentionally evil, she can't help it.

>Good-hearted too sometimes, she loves Sage and does her best to protect her back (it's not necessary but it's appreciated anyways).

-Robotnik calls himself 'daddy' way too much in the live-action movies to ignore it, so he's daddy and Stone's dad (dada when she was younger).

>"These are my daddies!" (points to what's clearly two villains -but also good fathers-)

-She has Robotnik's eyes but as big as Stone's. They're the lethal-est sad puppy eyes ever (they work wonders on both parents and other people) (both men got beautiful dark brown eyes with visible eyelashes fight me).

>Look at Eggman's silly eyelashes:

>Also, you know that picture of Lee Majdoub with the beautiful everything? I think he was wearing eyeliner so my Stone wears eyeliner too in contrast to Eggman's dark circles under his eyes JDJS😭

-She's the five-year-old that made Sonic fear them because 'they can be so cruel when they sense weakness' (she was brutally honest as any young kid is).

-Stone and Robotnik got Gomez and Morticia Addams kinda parenting. They see their child beating up someone and they're like:

"What did we do wrong?" (Stone while shaking his head in disappointment) "I know... she lacks resourcefulness." (Eggman) "Exactly, there's her baseball bat right there, why doesn't she use it?"

-Remember that Shadow said in a game that he wouldn't mind taking a candy from a baby? (fandub I think but still) This comes in handy when neither Tails, Sonic or Knuckles want to upset the kid (so Shadow does it instead).

-She plays sports too because she got too much energy. In each of them she loses her patience. She grabs the football and hauls it at the nearest team member, she throws her baseball bat to the ground and starts beating up whoever threw the ball that she missed, she stomps in frustration if she loses, she's great at dodgeball (sends her classmates to the infirmary).

-Throws tantrums and stuff and overall's an annoying kid if she's upset. Eggman's like UGH WHY'S SHE LIKE THIS?? and Stone's like Because of you, doctor (terrible temperament runs in the family and also Robotnik just spoiled her too much).

-I'm kinda dressing her up in the clothes that existed in my mind that supposedly Eggman wore (the weird dress-like jacket with the big zipper in the middle). Under her jacket there's a dress in the same pattern as the original Eggman's clothes, also she wears a baby onesie like that too.

-When she's older she's definitely proud of her fathers, but she doesn't appreciate the rumors that she's prone to go power-crazy like Robotnik did. Especially because it may be true, but what do they know.

-For the irony, she can't stand drinking coffee, but loves the smell of it because it reminds her of home (omg).

-THEY HAVE A PET CAT like I read in some fics and her name is Robot and she's a lil shit and also grumpy like Robotnik.

>Maybe she brings her alive mice to experiment on all sort of stuff (like Pávlov and his dogs and the guy Skinner with his mice and cats (??))

-She gets to hang out with Sonic and friends under the condition of annoying him as much as possible. So, she complies. (She loves Sonic the Hedgehog, but she loves making her fathers happy more).

-Very smart kid but not to the level of Tails or Robotnik at that age, she's just got very good memory and learning skills and knows a lot of stuff ever since she was a little kid. More like a Matilda-kinda intelligence.

-She's a scientist when she grows up too but the kind that makes evil potions and serums and stuff aksjdk probably (chemistry things? biochem idk). She can make silly little robots for the fun of it but it's not her passion, unlike Robotnik and Stone's. PROBABLY. I'm still deciding.

-BTW LOOK (it says 'carefully crafted ploy to distract space porcupines')

>While Eggman's there with the baby and Sonic in front of him going AWWW BABY BOO and making her laugh, Stone is sneaking up on him holding a chair above his head to knock him out.

THAT'S IT THANKS FOR READING ✨✨

#sonic the hedgehog #my art #agent stone #doctor eggman #ivo robotnik #aban stone #coolest fanmade name #stobotnik #I'm so normal about my fanbabies #Ivania Robotnik is too obvious but also why not #Sofia Robotnik sounds cool tho #fankids #I gave up on coloring everything sorry #SONIC BOOM EGGMAN MY HUSBAND 🗣️🗣️🗣️#When I was a kid I watched that show just for him whwhw #pls pls pls receive this well i want to draw these villains in love more #eggman being in love with stone is my favorite thing in fics #he loves in such a weird way but it's okay Stone loves it

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fawnforevergone · 10 months

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The Ultimate List of Dante References in Hozier's "Unreal Unearth" !!

Hello and welcome to my new-and-updated ultimate compilation of all 'Inferno' references I found in Hozier's new album! If I think of anything else, or if anyone else suggests something, I will be sure to add it, but, for now, enjoy this ridiculously long (you've been warned) list I made!

Since I didn't wanna make a post for every individual song and spam you all, the songs are separated by their respective circles! I hope that organises stuff a bit more :]

Usual disclaimer: I could be wrong about some stuff! I've read 'Inferno' and try to stick to the objective references, but sometimes I let subjective interpretation bleed through. If anyone has any corrections for anything, just lmk!! Okay, cool <3

DESCENT:

"De Selby (Part 1)"

We start the album not in the circles, but instead at the Gates of Hell. One of the main themes of Inferno is darkness, and these first two songs are embodiments of that.

The lyrics mention the idea of this being a "new empty space", suggesting that Hozier is being introduced to the feeling of Inferno through the relationship he's singing about, and, so, we begin the descent.

"The likes of a darkness so deep that God at the start couldn't bear." God is obviously a large theme of Inferno and is, biblically, the creator of light, hence the absence of it in Inferno. In fact, the first three stanzas all reference the heavy darkness of the threshold and its estrangement from God.

The Irish/Gaeilge lyrics roughly translate to: "Although you're bright and light, you arrive to me like night fall. You and I, together. You and I, metamorphized. Although you're bright and light, you arrive to me like night fall. The art of transformation is a dark art." The imagery of light and dark mixing together mimics the idea of walking from the brightness of Earth into the darkness of Inferno.

This entire album appears to be the recounting of a relationship and how it feels like walking through Inferno. Here we see the beginning of this relationship, of Hozier losing himself to the threshold.

"De Selby (Part 2)"

Part one appeared to be the step through the gates, whereas part two seems to be Hozier being enveloped by the threshold. In 'Inferno', Dante says the entrance to Hell is a darkness that no stars could shine in. We hear this shift from Earth to Unearth through the production alone; the weightlessness of part one falling into the heavy grunge of part two.

"Your heart, love, has such darkness, I feel it in the corners of the room." The theme of dark continues, as it will through the entire album, but, this time, Hozier feels it radiating from within his lover rather than the space around them. Though, him saying his lover carries darkness is not an insult. This extra depth to his lover is something more to know, something more to love. This idea actually differs from Dante, who sees the darkness as deceitful.

"I want to be so far from sight and mind." Inferno is a lawless place. He would be far from sight due to the darkness, and far from mind due to the insanity that persists within the circles.

"Let all time slow, let all light go." This lyric shows me that he has been submerged in the threshold. Again, the lack of light, but also the slowing of time. Punishment after death is eternal, something that time has no grasp on. Hozier is willing to let these aspects take a hold of him.

"I'd still know you not being shown you, I'd only need the workin' of my hands." Christianity is a heavy theme of Inferno, and this lyric plays on the proverb 'Idle hands are the devil's workshop', a proverb Hozier also hinted at in his song "No Plan" (from 'Wasteland, Baby!') - "My heart is thrilled by the still of your hand."

Now, though, Hozier's hands aren't idle, instead the opposite, his hands are working as God intended. Drawing us back to that idea we were given at the end of part one, we get the feeling that Hozier is bringing something light/Godly to Inferno, and he and his lover are fusing the ideas of Heaven/Earth and Hell.

FIRST (LIMBO):

"First Time"

We now enter circle number one, 'Limbo'. Limbo is an uneventful circle for those not worthy of punishment but also not fit for Heaven. It is mainly for those who do not believe in God, the unbaptised.

Firstly, to get to circles, Dante and his guide, Virgil, must be chaperoned by the Greek Psychopomp Charon down the river Acheron, and we see that in Hozier's first couple stanzas.

"And the soul - if that's what you'd call it, uneasy ally of the body - felt nameless as a river, undiscovered underground." This appears to be Hozier mentioning the river Acheron, one of the five rivers of the Underworld that surround Hades, and, in 'Inferno', are used to transport the souls of the dead to their respective circles.

"The first time that you kissed me, I drank dry the river Lethe." The river Lethe is another one of the five rivers, and is one that causes anyone who drinks from it to forget everything they know. Hozier is simply saying that kissing this person wiped his mind clean, similar to the end of "De Selby (Part 1)" where he mentions partaking in a transformation.

"Some part of me died / Some part of me came alive the first time that you called me 'Baby'." Relating to the previous quote, souls that drink from the river Lethe usually do so before being reincarnated, so they forget their past life. Hozier seems to experiment with the idea of being reborn by his partner's love for him - an idea prevalent throughout his entire discography.

"To share the space with simple living things, infinitely suffering, but fighting off - like all creation - the absence of itself." This lyric tells us that we should not ignore the privilege of living just out of the fear of dying. This lyric is reminiscent of "All Things End" and the circle of Heresy. Since Limbo is home to those who don't believe in God, the theme of Heresy is a very fitting one.

SECOND (LUST):

"When I was young, I used to guess 'Are there limits to any emptiness?'" The punishment for those in Limbo is to exist eternally with the curse of a hollow, empty feeling meant to represent the lack of God in their lives. This punishment seems referenced in this lyric.

[ i ended up thinking about this song more so if you want even more "first time" content, here ya go: "first time dante references." ]

"Francesca"

Into circle number two, 'Lust', we have the story of Francesca Da Rimini, a woman Dante spoke to during his visit to circle two. Francesca fell in love with her husband's brother, Paolo, and when her husband discovered the affair he murdered them both.

Hozier seems to be singing from the perspective of Francesca/Paolo but throughout the album we see Hozier liken his lover to aspects of Inferno - darkness in "De Selby (Part 2)" or Lucifer in "Unknown / Nth" - so the story of Francesca and Paolo is fitting as another metaphor here.

"Do you think I'd give up? That this might've shook the love from me?" Even in Hell, Paolo and Francesca physically cling onto another. They do not let their death affect their love.

"My life was a storm since I was born. How could I fear any hurricane?" The punishment in Lust is an eternal storm meant to replicate the throws of passionate love - a storm also depicted in the production of the end of this song. Hozier/Francesca/Paolo says that it's impossible for them to care about this punishment when life was already as treacherous as it was.

The whole chorus emphasises the imagery of Francesca and Paolo not being able to let go of each other.

"When the heart would cease, ours never knew peace. What good what it be on the far side of things?" Francesca and Paolo lived their love secretly and anxiously, so what good would peace be in the afterlife when they've already become accustomed to difficulty?

"Heaven is not fit to house a love like you and I." In the opening songs of the album, Hozier describes his lover as darkness, akin to something God cannot bear. Due to the depth of his lover, the mix of light and dark they've made, he believes Heaven would crumble beneath the weight of their relationship. That something as corrupt as Inferno is the only place suitable for them to live.

"I, Carrion (Icarian)"

Still in circle two, Hozier plays on Dante's own metaphor. In Canto 17, Dante refers to his own dread of descending Inferno to the same dread that the 'ill-fated Icarus' must've felt on his fall from the sky.

Hozier twists this, instead comparing his love to the hope Icarus must've felt as he flew towards the sun. He said, during a live show, this song is based on the idea hat Icarus never realised he fell, and woke up dead, too clouded by joy to realise what had happened.

"If the wind turns, if i hit a squall, allow the ground to find its brutal way to me." Again, we mention the storm of circle two. Lust is also said to have treacherous terrain - sharp rocks and jagged stone - that seems to be hinted at in the second half of this lyric.

"While you're as heavy as the world that you hold your hands beneath." This imagery seems reminiscent of the Greek Titan, Atlas, who holds up the Earth on his back. Dante talks about seeing Titans and Biblical Giants at the transition point of circle eight to circle nine, 'Fraud' to 'Treachery', which makes this lyric a sad hint to where Hozier will end up finding his lover; Taking the place of Lucifer in the deepest part of Inferno.

THIRD (GLUTTONY):

"Eat Your Young"

We enter the third circle of Inferno, 'Gluttony'. There are no specific references to Inferno, but the concept of gluttony is apparent. Hozier does what he frequently does throughout this album; He refuses to see the sin as "right or wrong" as Dante so stubbornly implies.

Hozier often divulges in a grey area, a spectrum or sale of severity, when it comes to the sin. Hozier's perspective seems more nuanced than Dante's, seeing sin as layered rather than objectively bad. In this specific song, he displays the different sources of hunger in humans, and where the line should be drawn.

"I'm starvin', darlin', let me put my lips to something, let me wrap my teeth around the world." We start, and reference back to in verse two, a sexual hunger, a harmless passion between two people. This is an innocent side of the sin, not deserving of the punishment of Lust which is to be ripped apart by Cerberus (the three-headed dog from Greek mythology) for all eternity.

However, Hozier moves onto the hunger of politics.

"Pull up the ladder when the flood comes." The government refusing to help the people when the sea levels rise.

"Throw enough rope until the legs have swung." When you don't have a ladder, you use a rope. This lyric plays on the notion of when governments give the impression they are helping, but are only making things worse - a take on the saying 'Give someone enough rope and they'll hang themselves', since what else are they meant to do with it?

"Skinnin' the children for a war drum, puttin' food on the table selling bombs and guns." The hunger for power manifests in war.

"It's quicker and easier to eat your young." Here, Hozier uses the common saying in a more literal sense, saying that if these politicians are hungry enough to destroy the world, they may as well physically eat their young, since it'll have the same effect.

FOURTH (GREED):

"Damage Gets Done"

This song takes place in circle four, 'Greed'! The title of the song alone is already very meaningful. In circle four, the main punishment is that the inhabitants are split into two groups and are forever forced to charged into each other and fight. Dante describes them are being so injured and damaged that they have become 'unrecognisable'.

The song is about greed within the changing of the world. It's about growing up and losing the naivety and innocence you once had, no longer able to ignore the burden of politics and money. Hozier and Brandi sing about the excitement of being young and in love, but, with the rise of inflation, it's hard to exist like that anymore - You need greed to survive.

"Wish I had known it was just our turn being blamed for a world we had no power in." This seems to be a reference to two things. One, the idea that governments blame the people for their own poverty, and Two, the idea of arriving in circle four by no fault of your own. It's not their fault they wanted more money with the world being how it is, but, nevertheless, they're being punished for it.

"I haven't felt it since then. I don't know when the feeling ended, but I know being reckless and young is not how the damage gets done." They talk about the enjoyment of the love they're singing about fading, and how they miss that, but they know that, again, this is not their fault. They know they didn't change, the world did, and they won't take responsibility for their 'sin' when all they did was adapt.

As aforementioned, the inhabitants of the fourth circle suffer extreme injuries, so Hozier saying "I know being reckless and young is not how the damage gets done" is him saying "I know that we are not at fault for being served the punishment of Greed."

FIFTH (WRATH / ANGER):

"Who We Are"

We enter the fifth circle, 'Wrath', where the inhabitants spend their time fighting to stay at the surface of the river Styx, another one of the five rivers of the underworld.

"Falling from you drop by drop." / "To hold me like water." These lyrics obviously give the idea of water, representing the river Styx.

"Or, Christ, hold me like a knife." This lyric comes in quite loudly, Hozier's voice strengthening with it. The subtle blasphemy of "Christ" and the violent imagery of "knife" comes across as a sort of anger. Being held "like a knife" is representative of how those is Wrath must feel - like they are something particularly dangerous, but still desperate to be held.

"We're born at night, so much of our lives is just carving through the dark to get so far." Again, this theme of darkness that is so frequently displayed in Inferno is mentioned again. After this song comes "Son Of Nyx", which Hozier said was the transition into the darker half of the album, and Nyx is the Goddess of the Night. Being "born at night" would make Hozier the son of the night, the son of Nyx. This gives the impression that, if the album is following on chronologically, this is the point where the relationship portrayed in the album begins to fray as Hozier starts to be consumed by the darkness.

"And the hardest part is who we are." Those in the circle of Wrath possess a 'savage self-frustration' that Hozier seems to represent throughout this whole song - A fierce annoyance with the way he and his lover let things go: "We sacrificed, we gave our time to something undefined", "Chasing someone else's dream", Etc.

SIXTH (HERESY):

"Son Of Nyx"

We have no lyrics for this song (though you can hear him faintly saying some things, one of which is him saying "who we are...") but we know it takes place in circle six, 'Heresy'. Heresy is a belief or opinion that is contradictory to religious doctrine, especially Christianity. As aforementioned, Hozier said this track is a transition song meant to replicate a descent into the darker half of the album.

Nyx is a Greek Goddess and is often known as the personification of night. She had many children all representing different things but the title would essentially mean 'The Son Of Night', and, as dissected in the previous song, we can see that Hozier sees himself as reborn into the darkness.

Once again, darkness is a large theme of Inferno, but Hozier saying in circle six that he is the Son of Night is particularly meaningful due to the association of light with God. He has been reborn as something that could not be further from God, something that opposes the idea of God, something of a Heretic.

Nyx was feared and respected by all, including Zeus, and, though I believe there is no reference to her in Inferno, she was described as residing in the dark recesses of the Underworld, which is heavily incorporated into Inferno.

"All Things End"

This song does not have many overt references to circle six but definitely incorporates the idea of heresy. As mentioned, heresy is an idea that contradicts (especially, but not always) Christianity. In this song, Hozier talks about the ephemeral nature of all things, particularly romance.

"When people say that something is forever, either way it ends." Whether it be death or a break-up, God doesn't plan for you to be able to spend eternity with your lover.

"Movin' on in time and taking more from everything that ends." Hozier, however, argues that things still have meaning beyond their end. That, even after moving on, we will remember and learn from the things we have lost.

"Just knowin' that everything will end should not change our plans." Throws back to the idea of the second verse of "First Time". If you avoided something just because it was going to end eventually, you would never achieve anything. That's like refusing to finish a movie just because you don't want to get to the credits.

When this concept of ignoring the end comes to death, we ultimately cross the concept of God. There are many rules people follow in religion, avoiding certain things because they are against 'God's Will'. Although this practice can be kept in moderation, it can quickly become self-imprisoning.

Not living your present life out of fear for an unproven afterlife can be limiting, especially if you dictate who you love due to what supernatural punishment may or may not follow. Hozier sings that we should not let God's plan interfere with what we need from life, allowing ourselves to indulge in love even if it will end - ultimately, Heresy.

SEVENTH (VIOLENCE):

"To Someone From A Warm Climate (Uiscefhuaraithe)"

This song places in circle seven, 'Violence'. Violence is split into three subcategories, or 'rings'; Violence against others, violence against self, and violence against God. I believe this song gives an overview of all three.

With this song, we recognise that the title says "To someone..." and Hozier said this song was a gift to someone who was from a geographical warm climate, but there is also a lot of heat in circle seven.

"A joy, hard learned in winter, was the warming of the bed." Throughout this song, Hozier describes himself as cold, and his lover as warm. The idea of warming the bed is a concept Hozier mentioned in his song "Nobody" (From 'Wasteland, Baby!') where he sings that, if he had a choice between the warm bed of his lover or performing on stage, he'd go home to the bed. Since this song comes after "All Things End" (the break-up song), this call back to "Nobody" could be instead referencing a permanent distance, rather than a temporary one (like the temporary distance in "Nobody").

"And, darlin', all my dreaming has only been put to shame." This could have two meanings. One, Hozier waking from a dream about his lover to find them not here. Or, two, Hozier's expectations of his lover falling short as their relationship has finally fallen through. These expectations could be a form of violence against self, the second ring, as he set himself up for heartbreak.

"And I wish that I could say that the river of my arms have found the ocean. I wish I could say the cold lake water of my heart- Christ, it's boilin' over." As mentioned, Hozier is cold, his lover is warm. His wishes he could find something to to fill the loss of his relationship, but he still feels the heat from his lover in every part of him.

"It's boilin' over." References the river of boiling blood in the first ring, violence against others, Hozier could be talking about the way his partner loved him, how that was almost an act of violence with how hard it is to now let go.

"Butchered Tongue"

This song has less references to 'Inferno', and is more of a commentary on the act of violence itself. Hozier sings of places and cultures lost to the violence of man, and he mourns this deeply.

"To say 'Appalacicola' or 'Hushpukena', like 'Gweebara'. A promise softly sung of somewhere else." This grieving for a time when native land wasn't colonised and culture wasn't violently erased is prevalent throughout the song.

In the second verse, he sings very strongly of the brutal acts inflicted upon Irish rebels by the British forces in the Wexford Rebellion of 1789. As we know, Hozier is from Ireland, and he incorporates both the Irish language and history into this album, and recounting such violent acts for this song feeds into the grieving of what has been lost: "Between what is lost forever and what can still be known."

In the context of 'Inferno', it feels as though Hozier is listing the sort of actions that would land someone within the circle of Violence whilst also appreciating the efforts those above ground take to preserve erased culture. Altogether, the song is a very moving commentary on modern violence.

EIGHTH (FRAUD):

"Anything But"

The eighth circle is 'Fraud', split into ten subcategories that are positioned around the circle in trench-like ditches, known as 'Bolgia'.

"I wanna be loud, so loud, I'm talking seismic," follows up with, "I want to be as soft as a single rock in a rain stick." Who he wants to be fluctuates between moderation and severity. He is changing, unreliable, possibly referring to bolgia one, Panders and Seducers. Seducers tend to 'lead astray', as Hozier's unreliable narration does.

The punishment of bolgia one is to be marched backwards and forwards rapidly whilst being whipped, very much evoking the imagery of a stampede: "If I were a stampede, you wouldn't get a kick." This alludes to the fact that if Hozier were sent to hell for the various sins he commits for his lover, he wouldn't resent them for it at all.

"If I was a riptide, I wouldn't take you out." The second bolgia of Fraud is for Flatterers, 'the act of giving excessive compliments, sometimes for romantic courtship'. Obviously, the song is filled with these compliments.

"I hear He touches your hand and then you fly away together. If I had his job, you'd live forever." The imagery of "fly away" gives the idea of ascending, perhaps to Heaven, as hinted at again by the idea of the longevity of living. Bolgia three is for Simoniacs, those who would sell church roles, offices, or sacred things. This seems to fit with Hozier saying that if he had a divine role, he wouldn't follow protocol, he would allow his lover immortality.

Simoniacs were sinners because they were disobeying God's trust, because the selling of divine roles would lead to corruption in the Church. Hozier is using this hyperbolically, saying that if someone were to sell him the role of God, he would most definitely be a corrupt power.

"I'd lower the world in a flood, or better yet I'd cause a drought." In bolgia four we have Sorcerers. Although Dante used this term in a more logical sense for fraudulent sorcerers - false prophets, fortune tellers, those who lied about the plans of God - Hozier uses the term in a supernatural sense. Sorcerers were punished for trying to interrupt God's prerogative, whereas Hozier is blatantly saying he would summon another flood, usurping God's plan overtly.

"I'm talking seismic." The bridge that leads to bolgia seven was collapsed by the great earthquake and, as we know, seismic activity leads to earthquakes.

"Worry the cliff side top as a wave crashing over." There happens to be a cliff near the entrance of circle eight that a large waterfall plunges over.

"Abstract (Psychopomp)"

This song appears to be the crossover point from circle eight to circle nine that I mentioned when discussing "I, Carrion (Icarian)". Before we get to that, the title itself is significant.

A psychopomp is a chaperon of death; Someone like the Grim Reaper, or Charon from "First Time", or Dante's guide through Inferno, Virgil. Here, Hozier is describing the act of hitting an animal with your car as taking on the role of a psychopomp, whilst also relating this idea to the act of letting a relationship die, leading it from life to death.

In the crossover point from eight to nine, Dante and Virgil stand and look at the large well that leads down to circle nine, 'Treachery'. The Titians and Giants burst out of the well, to big to fit, but their feet stand stubbornly in Treachery. I believe that, at this point in the album, Hozier stands here, too. He's visited all eight circles, and has one last place to go before he leaves Inferno, and ultimately his lover, behind. This song is him realising he has to let his relationship end, he has to act as a psychopomp for his love.

"Sometimes it returns like rain that you've slept through." Circle nine, 'Treachery', is a frozen over lake, aka a memory of water, similar to the residue of rain. With viewing this song as the predecessor to "Unknown / Nth", we can take this as a hint of what's to come.

"The Earth from a distance." Since Inferno is arranged in rings (like a circular staircase), Dante could feasibly look up and still see where he started his journey. The same way Hozier could look up and see where his relationship began, "De Selby (Part 1)", The Gates.

"Streetlights in the dark blue." We have the mix of light and dark again, as mentioned in the opening track, referencing back to Hozier and his partner falling in love.

"Darling, there's a part of me I'm afraid will always be trapped within an abstract of my life." Of course, Hozier is talking about the memory of the animal hit with the car here, but the way this relates to circle nine is beautiful. As we'll properly dissect with "Unknown / Nth", sat within the most central point of circle nine, the deepest part of Inferno, is Lucifer, the fallen angel. Lucifer was thrown down to Hell from Heaven, and found himself trapped in Treachery, his body too big to escape. Dante says that the more he struggles, the more stuck he becomes.

That moment he was struck down to hell is a moment he finds himself forever stuck in, just as Hozier is saying here. In the next song, Hozier relates his lover to Lucifer, but these lyrics are a gorgeous mirroring of Lucifer's experience, and another hint at the final circle we will now head to.

NINTH (TREACHERY):

"Unknown / Nth"

Okay, buckle in.

The ninth circle, 'Treachery', is also one split into subcategories, yet Hozier appears to be singing about the centre. The frozen over lake of Treachery gets more frozen the closer you get to the centre. The inhabitants start half-submerged in ice to fully plastered in it. Throughout Inferno, and the deeper we descend, a soft breeze becomes a strong wind, that, as we reach the centre, we find is caused by the violent flapping of Lucifer's wings. Here he sits, stuck and chewing on Judas, another one of God's biggest betrayers.

After "Abstract (Psychopomp)" Hozier is now exploring the final stage of his relationship. The circles of Hell had mirrored the love he once had, and Treachery is where it shall be buried. He also represents his lover as Lucifer, though not maliciously. In interviews, Hozier spoke about the song being about a heavy betrayal he suffered from someone he truly loved, and likening this to God and Lucifer is just heartbreaking.

"You know the distance never made a difference to me." The song is about knowing someone in their entirety, discovering their best and worst parts. Hozier uses Inferno to talk about the tiresome journey of finally knowing someone. He says he would've made the trip all the same, that he would've walked this far for his lover no matter what.

"I swam a lake of fire, I'd have walked across the floor of any sea." This mirrors the previous lyric, but also references specific parts of Inferno. The are many fires in Inferno, particularly in circle seven, 'Violence'. The sea floor lyric reminds me of the lake of Treachery. Though a surface, not a floor, the lake would still be below any seabed, since Inferno is geographically below the Earth.

"Funny how true colours shine in darkness and in secrecy." You guys are probably sick of hearing me say it but... Darkness is a big theme in Dante's Inferno. It is meant to represent the deceiving nature of humans when light is not being shone. Secrecy is a running thread through 'Inferno', too, as Dante finds many people he thought had done no wrong residing there. Hozier is simply saying how (sarcastically) funny it is that he only truly knows his lover in the remains of their relationship; How he only knows them after seeing them in their cruellest form.

"Where you were held frozen like an angel to me." There are many angel lyrics, but this one specifically references the ice of Treachery. The fallen angel is indicative of Hozier's experience: Seeing someone he regarded highly, even heavenly, falling from that pedestal and turning into something that couldn't be further from God's work.

"You called me angel for the first time, my heart leapt from me. You smile, now, I can see its pieces still stuck in your teeth, and, what's left of it, I listen to it tick. Every tedious beat going unknown as any angel to me." Hozier references his ex-lover chewing on his heart the way Lucifer chews on Judas. He listens to it somehow still ticking, however slowly, and at the end of the song we hear something akin to a heartbeat. The beats are "going unknown as any angel to me" since he can no longer recognise his own heartbeat after it has been mangled by another, and, since he mistook someone alike Lucifer to an angel, the idea of angels must be "unknown" to him.

"Do you know I could break beneath the weight of the goodness, love, I still carry for you? That I'd walk so far just to take the injury of finally knowing you?" We again have this imagery of walking far, referencing the journey of Inferno, and, even though he's aching with the realisation of who his lover truly is, he can't help but be grateful that he does now know them, no matter how painful that may be. That he would do this all again if it meant he at least got to the answer of who they are.

His weak heartbeat follows him through to final track as we begin the Ascent.

ASCENT:

"First Light"

The title is very meaningful for the Ascent. The song references both Dante and Virgil's ascent and the creation of light by God himself. Dante and Virgil leave Inferno through a tunnel that Lucifer left in the Earth as he was thrown down to Hell, and they emerge on the other side of the hemisphere. This song signifies Hozier stepping away from the relationship as he also makes that journey out.

"One bright morning changes all things." Dante is disorientated when he exits Inferno. He'd become so accustomed to the darkness that he asks Virgil, 'How is it that the sun progressed so rapidly from evening to day?' Hozier seems to recognise here that his relationship is no longer fit for him, that the darkness has become too encompassing, just as Dante realises on his ascent.

"The sky set to burst, the gold and the rust, the colour erupts...the sun coming up." Not only does this give the imagery of the birth of light, but it also represents Dante's view on his exit: 'Until...I saw the lovely things the sky above us bears. Now we came out, and once more saw the stars.'

"Like I lived my whole life before the first light." Hozier says that the darkness from his lover was so overbearing that it was hard to believe he'd ever felt light before - that light could not have exists with a darkness this heavy alongside it. It is a call back to "De Selby (Part 1)" - "A darkness so deep that God at the start couldn't bear."

"One bright morning comes. Darkness always finds you either way, it creeps into the corners as the moment fades." He speaks of bringing light to a moment between them, but has it quickly smothered by the darkness inherent in his partner. Another call back, this time to "De Selby (Part 2)" - "And your heart, love, has such darkness, I feel it in the corners of the room."

"After this I'm never going to be the same, and I am never going back again." This lyric is heart-breaking. Hozier states that Inferno has changed him, but he has no wishes to re-enter it. At the beginning of this album, he was begging for the likes of Inferno - "De Selby (Part 2)": "Let all time slow, let all light go." - and now he is desperate to get away from it. In "Francesca", he said, "At the end, I'd tell them, 'Put me back in it.'", yet, now, he's at the end, he's ascended, and he has no desire to go back at all.

He is letting go of his lover because he recognises that this pain was not worth it, that this love was not worth the punishment he received, so he leaves.

---

That was Hozier's Inferno !! I hope this was helpful to some people since it was very fun to make (I'm exhausted) and it's very enlightening to see how these lyrics relate to Inferno (I'm heart-broken) !! Okay, wooooo !! Enjoy !!!

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