i love wonderful purgatory so so so so so muchhhhhhhhhhh

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i love wonderful purgatory so so so so so muchhhhhhhhhhh

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A Million Possible Outcomes #5
What a ride! With a word count of around 8,800, this may just be my longest one yet. But, since I wrote almost all of it in two evenings, I feel like that's fair. Considering all that, though, I think I did this really well! Read on if you enjoy: lots of gay metaphors, mysterious old ladies, riddles and treasures and Enid-Blyton-Esque summer adventures, and a yet another healthy sprinkle of anti-capitalism.
TW: mention of death, cancer, and minor themes of familial abuse and assault
For those who don’t know, AMPO (@a-million-possible-outcomes) is a writeblr challenge run by @nicola-writes & @strawberrystarcake and I’d highly recommend getting involved! The prompt this is based on is "Let's make one thing clear: this is not a confession."
Now, without any further ado:
confess
/kənˈfɛs/
verb
admit that one has committed a crime or done something wrong.
"He confessed that he had attacked the old man"
acknowledge something reluctantly, typically because one feels slightly ashamed or embarrassed.
"I must confess that I half-believed you"
—
Golden sun seeps in through the grand, arched window, a liquid Midas touch that leaves everything in the room tinged with sepia. It’s not the sort of scene I would ever have expected to live through, a melancholy reserved for portraits of fields, faded photos in trim brown frames, or the beginning scenes of the Wizard of Oz.
In some twisted way, that makes sense. Aaron Ordrich is not something you live through. He’s the end of everything.
But, more than that, he’s the love of my life.
And now, he looks at me from across the expanse of the table stretching out between us, sleek marbled wood lined with golden trim along the edges, curled into intricate shapes and gleaming animal heads. I look at them like that will keep me from feeling the weight of his gaze.
“Go on then,” he says. “Out with it.”
“I want to start by making one thing clear.” I raise my eyes to meet his, ringed with gold as they are. He is the sun, and I’m nothing more than a speck of dust caught in his sway. “This is not a confession.”
Welcome, Friends and Enemies
This is the blog for the A Million Possible Outcomes writblr event, which is run by Nico, he/him (@nicola-writes) and Mika, she/her (@strawberrystarcake).
A Million Possible Outcomes is a monthly writing event based around prompts, the concept of every story being original even if they share similarities, and having fun!
On the first of each month, we will post a writing prompt. It might be dialogue, or it might not be. It'll be vague, but hopefully enough to get the gears in writers' heads turning! Then, we'll reblog them on/around the 20th. It's not a competition, just a fun little event.
AMPO accepts fanfic, original fiction, prose, and poetry. We're a-OK with dark topics, provided there is no NSFW and you give appropriate content/trigger warnings in the post.
Each story should be posted roughly around the 20th of the month they're for. We won't reblog a story until the 20th, but if it takes you a little further into the month to get it done and posted, that's totally okay. :D
We will be adding in the masterpost of AMPO stories shortly--make sure to check that out! Additionally, all AMPO stories from March 2022 and onward will be reblogged onto this blog, so if you follow, you're sure to see some awesome work each month.
About us and kindly DNI under the cut!
A Million Possible Outcomes Story Masterlist
This is a list/archive post of all the AMPO stories that have been written, for better navigation and so they can hopefully still be appreciated! It will be updated each month.
(Let me know if you would like your story/stories removed.)
From the December 2021 Prompt:
A corpse sits at the bottom of the river. Everyone knows this. What they don't know is how to handle it when that corpse wakes up.
strangely familiar by @think-through-pen
where monsters lurk by @strawberrystarcake
body in the river by @dauntless-shadow-ice-1
know by @alainayumira
killers get caught by @/nicola-writes (me)
From the January 2022 Prompt:
“Do you understand, darling, how often immortals do so wish to die?”
untitled by @wherearetheplants
untitled by @cactusprincewrites
immortals by @dauntless-shadow-ice-1
loving you is a losing game by @strawberrystarcake
pretty girl by @/nicola-writes (me)
From the February 2022 Prompt:
"What could go wrong? It's a deal with the devil, you idiot, it's already gone wrong!"
all the saints of hell by @cactusprincewrites
devil may care by @strawberrystarcake
cold by @dauntless-shadow-ice-1
From the March 2022 Prompt:
I think, looking back, this was all Walter's fault.
untitled by @cactusprincewrites
untitled by @thepotatowriter
ataraxia by @strawberrystarcake
From the April 2022 Prompt:
She knows how this ends, of course.
untitled by @studiare-con-asteria
SUNSHINE by @strawberrystarcake
From the May 2022 Prompt:
“And as the noise swelled outside, something inside of him swelled, too.”
untitled by @cactusprincewrites
destruction of the universe by @wherearetheplants
~
Will update again at the end of the July event! (June... didn't have one. lol. things happened)
Reviews 370: Coyote
I have been mostly absent as of late due to the pressures of completing my PhD studies, but now that the work there is finishing, I am trying to return to regular reviewing. And for months and months now, one of the records I’ve most wanted to discuss has been Coyote’s Buzzard Country, released last year on their home station Is it Balearic? Recordings. In fact, my delay has been so extreme that, not only has Coyote released an accompanying Buzzard Country Remixes 12”—which I will cover here as well—they have also dropped the incredible Return to Life 12”, and even announced a new 2xLP slated for the summer called The Mystery Light. But better late than never, and there is no way I can pass up the chance to at last write in depth about the music of Timm Sure and Ampo. I say “at last” because, despite the fact that I consider Coyote amongst my very favorite recording artists, you would be forgiven for not knowing that by scanning the Sun Lounge archives. Though I’ve had opportunity to discuss their work here and there via remixes (such as on Blank & Jones’ Relax: The Sunset Sessions 2 and Joe Morris’ Cloud Nine 12”), by some strange turn of fate, Coyote has released no vinyl of their own since this blog’s inception...something that only changed very recently. Indeed, prior to 2020, the last time the duo put out solo works on wax was their stunning 2016 run, which included the Song Dogs LP, the Fight the Future 12” on Clandestino, and the seventh EP in their long running self-titled series on Is It Balearic? Which is not to say they weren’t active, and in fact, Timm Sure and Ampo delivered a really great set of digital singles and EPs in collaboration with Music for Dreams, and additionally, they remained active with remix and DJ work. As well, Buzzard Country was due quite a bit earlier than 2020, but was unfortunately plagued by production delays. To at last get to the point, this is all a roundabout way of saying that I am really excited to have plenty of Coyote to write about now and in the future, so that I can finally pay proper tribute to this foundational duo of the modern balearic beat.
As I’ve explored the balearic soundworld, Ampo and Timm Sure have always been beacons of light guiding me on my path, whether through their eclectic productions as Coyote, through the curation of Is It Balearic?, Über, and the Magic Wand edit series, or through their mixes and DJ sets, which are typically loaded with unheard treasures that lean towards the trippier and dubbier ends of the chill out spectrum. And it is this tendency towards the psychoactive that most endears me to Coyote, for the duo have always championed an authentic balearic spirit, one that foregrounds the music’s connections to the hippie hedonist heydays of Ibiza, to the second summer of love, and to a spirit of ecstatic abandon, one that is equally imbued with a magical sense of melancholy…of a feeling of being in paradise, but knowing it can’t last…as if the moments of revelatory magic—of wild nights dancing and sunrise comedowns—are tempered in real-time with senses of longing and regret. Which brings me finally to Buzzard Country, Coyote’s fifth full-length LP and a pitch-perfect encapsulation of their signature mixture of wistful melodic nostalgia and daydream seaside grooving. Across the album, baggy beats morph between downbeat disco, stoner dub, and world exotica while bottom heavy basslines work the body. Echoing vocal samples thread around hand drums tapestries, emotional washes of synthesis flow over radiant piano chords, and at crucial moments, the exotica guitar flourishes of longtime collaborator Saro Tribastone carry the mind away to lands of faraway fantasy. As for the Buzzard Country Remixes 12”, the A-side is given over to the Hardway Brothers, who brilliantly transform the album’s “Sun Culture” into varying landscapes of ultra deep Chain Reaction style dub wizardry. Then on the B-side, Woolfy vs. Projections and Max Essa respectively flip album stand outs “Shimmer Dub” and “Ranura de Marihuana” into their own specific strains of equatorial dancefloor euphoria, with each remix pushing the mind, body, and spirit towards maximal beach boogie mania.
Coyote - Buzzard Country (Is It Balearic? Recordings, 2020) “Soaring” begins with buzzard calls and hovering breaths of synthesis evoking a new dawn. Ripples form in the ether via bubbling squarewave synth leads, and pulsating dub bass sits beneath a blanket of sighing strings. The carrion calls continue streaking through the mix and celestial pianos rain down while echoing playfully across the spectrum. Plucked bass electronics bounce in counterpoint and hesitate woodwind glimmers call to mind flashing laser lights beneath a beautiful sea surface…almost as if a flute has been transmuted into a rapid fire fractal vibration. At times the strings back away, leaving layers of rainbow colored ocean ambiance to flutter and dance, all before ending with white noise delay oscillations that mimic the swell of ocean waves. Then in “Soft Top Saab,” an echo-soaked voice muses on the sunrise, with chills running down the spine as the solar affirmations are increasingly surrounded by space age string synths, and by Sara Tribastone’s mystical guitar filigrees. Reversing melodies enter the spectrum and swell the heart while shakers and tambourines hold a gentle beat. Tribastone’s guitar serenades softly overhead, with plucked textures of synthetic wood and stone dancing in the background. Further delay-laced pianos fade into view, with the track ebbing and flowing…growing and receding…and sometimes backing down into understated back and forth between guitar and piano, wherein harmonious brass layers and swells of spectral space glitter moving at the periphery. The result is a conversational interchange between seaside melancholy and romantic nostalgia, one which is eventually superseded by cosmic flutters, soft six string dances, and the spoken spells of a reggae mystic, who gives thanks to the sun, and its bounty of restorative light.
Dusty acoustic guitars and sunrise vapors introduce “Shimmer Dub,” while dancing dub bass portends the first real taste of a groove. A rocking hypno-rhythm comes into focus and laid back snares guide the infectious glide, while tablas roll overhead and evocative vocal layers thread through the mix. Steel pan synths are seen through the titular shimmer and wavering wavefronts of blurred melody wash over everything, until the mix drops down into a haze of stoned exotica comprised of a minimalist pallet of tabla rhythms, bleary-eyed pads, and thrilling vocal incantations…the effect like awakening on the shores of some faraway ocean paradise, with visages of desert caravan rituals preceding in the distance. The dubbed out groove eventually resurges, with passages given over to extended echo percussion experiments and the fragile songs of tropical idiophones. Feminine vocals glow like some intoxicating gas of multi-hued magic, and springy basslines guide the body while hi-hats and snare work through a psychedelic skank. Smoldering currents of ether move through the stereo field and moments of subtle intensity erupt from the horizontal vibe out…with airy woodwinds shrouded in static, claps cracking, and hand drums creating webs of groove mesmerism. And as the beat starts to vaporize, echo oscillations set the air aflame amidst fantasy orchestrations.
“Ranura de Marihuana” bathes in echo acoustic guitars that seem beamed in from some distant past…these evocations of classical folk music futurized via layers of fx. An ecstatic scream washes the mix clean, and a four-to-the-floor kick drum emerges to pound in the void, while overhead, Flamenco-indebted guitars spin webs of magic and reverberating vocals call to the spirits of sea and sky….sometimes whispering, other times shrieking wildly into the night. Sub-earthen bass movements are felt more than head, with exotic dub lines moving far beneath the surface. Bongos and congas pop and nervous shaker patterns lead the downbeat disco strut, while guitars work through further Mediterranean hooks and Iberian flourishes. A moment is given over to heavy bass and kaleidoscopic hand percussion–with scatting vocals, reverberating snaps, and lost souls wailing in desperation–and when the groove snaps back, there are touches of tango kissing the preceding, which bring to mind a rose-in-mouth glide across some dark and mysterious dancefloor, wherein spindly psych folk guitar melodies work the mind and airy drum rhythmics entrance the body. The kick climbs back towards dancefloor strength, with desert mystic percussions moving all around the mix and vocals morphing though fever dream echo layers. Elements from across the track refract through oscillating delay machines, and touches of rave haunt the rhythms, especially as subsonic basslines and subdued breakbeats work together.
A single piano note brings light to the darkness in “Sun Culture” and layers of radiance rain down in the form of heart-melting piano chordscapes, with some of that Screamadelica soul bliss suffusing the progressions. Warming pads envelope everything and deep dub pulses walk down white sand beaches, with shakers and lysergic breaths giving shape to the groove. Hi-hats, snare taps, and beachside bongos enter and buzzing guitar notes give off waves of golden light while overhead, liquids drip from the roofs of ocean cliff caverns. The single piano note continues to glow while souflul chords hold the mind in a state of psychedelic rapture, and space age ethers blind all vision as they spread outwards, then recede. Coyote move the track progressively towards a state of horizontal bliss, with almost everything washing away except the summery piano incantations, which are so soaked in reverb as to generate billowing cloudforms with every single note. Hushed rhythms return and hand drums take on a slight sense of urgency while pads generate layers of oceanic warmth, resulting in an audial invitation to greet the rising sun, and a naturalistic tribute to crashing waves and drifting clouds.
Intergalactic pads breath in “Dos Canas,” with tones wispy and suffused with inner light. Palm-muting electric guitars dance like bubbles through the ocean blue, and a touch of kosmische ambiance is soon tempered by bulbous dub basslines and splayed out layers of percussion, wherein the mechanic and organic merge seamlessly. Electroid sketches and seed shakers move in time as a slow and low balearic skank emerges, with glorious tones of brass pulsing overhead before ascending to the heavens on currents of humid tropical air. Hand drums circle the mix as the heavy atmospheres recede, leaving vaporous rhythms and golden synth strands to intertwine. Heartwarming chords give off mirage shimmers as the dub bass works its way back in, bringing with it further layers of world drum delirium. Soft sirens pan before giving way to more of the ascendent brass synthesis, and hisses of white noise add layers of subtle psychotropia. Snares are blasted into bursts of desert sand and all throughout the mix, various strands of melody and harmony are caught within oscillating delay cycles…progressively distorting and roaring into the ether. Shakers and 16th note hi-hats lead the groove while bongos and idiophones dance playfully against the snare and kick, until it all breaks down into an ambient outro of serene static, sighing strings, and layers of phasing rainbow light.
“Feedback Valley” closes the show with synth incantations portending the glow of a glorious sunrise, while shakers generate an infectious shuffle. Tribastone and his acoustic guitar explore Flamenco landscapes and a four-four kick drums hits against the body while layers of synthesis radiate compelling colorations. Babbling voices ride a serpentine synth sequence and touches of acid bass move in support, with cut-off filters opening as the snare drops, creating a head-nodding and body bopping groove that lifts the spirit towards the sky. The sequential electronics are so effective as they bob and weave through the mix, creating an effortless vibe of beach dance perfection…of hands-in-the-air euphoria and the abandonment of all worry or fear. Additional touches of six string sunshine push the mind every towards the shores of Ibiza and during a breakdown into burning delay feedback, synthesizers filter into solar squelch and guitars drift towards psychedelic delirium. A slow yet anthemic snare roll calls to mind big room trance as it brings the groove back into focus, now with 3D synth snaps firing in the left ear as the ever-present sequence reduces to a calming purr. Tribastone continues letting loose threads of sunshine lysergia and points of synthetic light swell into magnificent globes of blinding incandenscence. And towards the end, an echo-shrouded choir of the sea sings beneath a brief guitar fantasia before it all washes away in a scream of oscillation.
Coyote - Buzzard Country Remixes (Is It Balearic? Recordings, 2021) The Hardway Brothers take “Sun Culture” into ultra-deep territory across two versions on the A-side, with the first being the very aptly named “Balearic Channel Remix”…which is of course a reference to the work of Mark Ernestus and Moritz von Oswald. Underground warehouse kick drums pound beneath hissing space fluids, as a low down Chain Reaction-style groove emerges, though with its eyes locked on a melting sunset panorama. Liquiform chords flow into cold industrial caverns and string synths suffuse the reverberating spaces with splashes of sunshine, while sub bass motions vibrate the soul. Shadowy tracers flit across the sky and DMT vibrato waves squiggle at hyperspeed, yet their effect is blunted and muted. Claustrophobic clouds fade in then out while melodic piano chordstrokes reflect in strange ways off of glowing walls of stone, their effect like gemstones glimmering underwater, yet with their luster sanded away by the march of time. Muted dub chords are caught in crackling delay chains and the deep kicks and jacking bass never relent in their heads down, hands-in-the-air stomp. Snares are reduced to a whisper and shaker patterns cause head-bobbing hypnotism as funky chords bring touches of liquid fusion grooving…only as if proceeding in the middle of a dub techno fever dream. Insectoid chitters move in from all corners of the mix, sawing sirens swirl into screams of feedback, and all the while, drum circle flourishes are shattered into a web echoing delirium.
Next comes Sun Culture “(Hardway Brothers Meet Monkton Uptown),” which sees the bass going even deeper somehow, as growling riddims menace the mind and rattle the ribcage. We soon find ourselves in another subaquatic dub techno dopamine dream, wherein kick, snare and hi-hat lock in for maximal hypnotic effect. Sometimes the bass guitar of Duncan Gray seems to take on a post-punk drug chug edge, and at some point, the rhythms pull away, leaving chopped up voices to decay into the void. Bassline and beats return and streaks of feedback sing softly over everything, while fogs of seafoam move at the outer edges of the stereo field. Clouds of solar static are seen from millions of miles away and traces of flamboyant fuzz guitar are submerged into a pooling vortex of deep dub delirium, emerging stretched out and mutated into currents of neon starshine. Gray's melodic basslines serenade through the underground club grooves, those funky chords return to sing their 70s fusion songs within layers of sighing feedback, and increasingly, the mix is overwhelmed by distorted blasts of drug-induced haze. Abstracted voices filter from one ear to the other…their unintelligible spells of esoteric mystery pushing the mind ever further towards astral activation. And towards the ends, the original tracks Primal Scream-style piano chord structures can just be heard amidst feedback fires, delay detritus, and morphing vocal abstractions.
In the Woolfy vs Projections mix of “Shimmer Dub,” the original track’s hand percussions intermingle with gurgling rhythmic fluids…the effect like wandering upon some tribal jungle ceremonial. Big blasts of downer synth bass are soaked in reverb, repetitive synth pulses tickle the mind, and pillowy arpeggios flow into view while those familiar synthetic steel drums shine in the sunlight. Fingers roll across myriad skins as the kick drum drops away, leaving the mind to swim in a world of equatorial energy. Then, as the bass drum resumes–with shakers never relenting–a new bassline emerges, bringing with it a heavy touch of wiggling squiggling Italo boogie. The vibe is hesitant…anxious even…with a persistent refusal to lock in, and as bass bursts grow in intensity, the rest of the mix begins reverberating into a balearic dreamscape. Following a delirious pause, the track explodes into flamboyant disco funk perfection, as sweltering chord hazes melt from the sky and bouncing basslines join an infectious and tropically tinged body groove. Chords scat, virtual marimbas dance, synthetic steel pans shimmer across the spectrum, and swells of white light synthesis overwhelm the mind...the whole thing as massive a groove as there could possibly be. Touches of electro kiss the rhythms and futuristic synth riffs fire as we back down into a swinging breakbeat, with rapid keyboard riffs locking into heady funk cycles and stadium-sized tom tom fills splaying out across the stereo field. Guitar licks are soaked in sunshine as they lead a dubwise swing, and as we explode once more into the block rocking groove, double time shakers and hats push the vibe towards dance party mania…all as coral-colored leads rush through star ocean fx clouds.
Max Essa’s take on “Ranura de Marihuana” sees a four-four kick smacking with infectious disco dance energy and hand percussion flowing all around. A snare crack introduces another groove indebted to Italo boogie, with big bottomed synth basslines accentuating the vibes of beach dance euphoria. Shakers spread into sandy clouds of atmosphere and heatwave pads sweat and squelch as starlight arppegios race across the sky. The vibe of Ibizan melancholia is here perfected, causing body and soul to merge in hedonistic ecstasy, and though the track resembles one of Essa’s characteristic blue ocean dancefloor cruisers, its a little slower and baggier than usual, which fits completely with Coyote’s zoner stoner vibe. Seascape pianos bring a peaktime fee and at certain moments, the groove momentarily recedes, only to rush back in on an infectious snare crack. Ivory melodies are increasingly strange and psychotropic as they flutter across the mix, with decaying vibration tails carried away on an aqueous breeze. The radiant piano chords and vocalizations from the original swim into the stereo field as Essa barrels down into a heavy bassline stomp, with every pulling away aside from smeared out voices and 70s prog rock pads that evoke a string orchestra tuning to the sounds of the stars. Further clap cracks bring back layers of equatorial euphoria and the vocals are used to incredible effect, with echoing snippets repurposed as anthemic hooks. Pianos continue their alien dance over relaxed disco rhythms and snapping funk basslines, and as we move towards the end, claps and basslines fire rapidly as vocals morph through slapback oscillations…all before dropping into one last expanse of seaside dancefloor magic, with dub disco beats, infectious world percussion rolls, and a pleading voices diffusing towards a gorgeous sunset horizon.
(images from my personal copies)

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A Million Possible Outcomes #3:
With a word count of about 4,700 this is a little shorter than my previous too, and I had quite a bit of trouble coming up with a concept, then even more getting it into words. Considering all that, though, I think I did this really well! Read on if you enjoy: Mysteries slowly being unravelled, Omniscient-ish narrators, and LOTS and LOTS and LOTS of cool, flowery description.
For those who don't know, AMPO is a writeblr challenge run by @chaotic-queer-disaster & @strawberrystarcake and I'd highly recommend getting involved! The prompt this is based on is "I think, looking back, this was all Walter's fault."
Without any further ado:
Walter Catherine Rose was 9 when he disappeared. It was, according to all accounts, a Summer's day like any other. Golden sunlight shone down on the park, streaming through a filter of blooming green leaves. The grass rippled like waves, shade cast in tiger-stripes over it, courtesy of the dense-trunked trees set in a crescent around the swingset.
Walter's mother, a practical woman of thirty-five-and-three-quarters, sat primly on the bench just outside the gated play area as he swung, her legs crossed at the ankles, lilac purse clasped in tense hands. A quick buzz from her phone, set down on the mottled wooden surface next to her lap, and she swung her sharp gaze down to look at it.
A message from an unknown number, listing an address a few cities away, and a date and time. Three weeks from then.
She pursed her lips, set the bag down, and picked up the phone, running her thumb over the smooth edge of the screen. After leaving it a few beats—to see if any more information might come through—she sighed and looked up, only to find herself staring out at an empty swing set.
Ampo #6 WIP
It's at times like these when I wonder why I don't use the full time limits for @a-million-possible-outcomes and instead constrain myself to the last few days...but oh well, no matter.
here's a fun extract from what i wrote today:
In keeping with the mystical traditions of CoME alumni, the first thing that Lady Cassandra did was consult the Oracle of the West about the Dean's calendar. Upon that failing, she attempted the blood sacrifice of a two-headed hydra-goat. After that, she changed her dress, set the three-headed hydra-goat free, and sent an email. The Dean — an old scholar of Chronomancy — responded to it three minutes before it was sent, and with that, Lady Cassandra was on her way.
yeah, this one's a different tone from usual, but I'm feeling experimental -- i'd love to know what you all think :D
A Million Possible Outcomes February Event
This is the official post for the third "A Million Possible Outcomes" writblr event, which I host with @strawberrie-faerie. For those who are unaware what it is, it's explained here.
This month's prompt, created by my co-host, is as follows:
"What could go wrong? It's a deal with the devil, idiot, it's already gone wrong!"
The prompt will run from February 1st to February 15th, with the stories being reblogged by me the day of. Have fun!