Lower Body Spray

[blombluss]

I've just seen an advart for Lynx Lower Body Spray, which is an actual thing, apparently.

What happens if you use lower body spray on your upper body? Will it poison you causing your arms to drop off?

[endar]

your upper body smells like your baals, if i understand the advart correctly

[vom]

I've just been to the cinema and there were two separate adverts for deodorant that you spray on your balls, from different companies

A curious trend

[An Unicorn]

But i lost my baals

[CandyDarling]

I've just been to the cinema and there were two separate adverts for deodorant that you spray on your balls, from different companies

A curious trend

I think the two adverts are actually for the same thing (Lynx, I assume), but shown together for some reason. Unless there's a separate ball spray with an advert I haven't seen yet.

Anyway, I have seen those ads a lot at the cinema as well, and they revolt me. The one with the woman smelling the man's arse is the worst of the two

[vom]

There's another one that is more "people of every gender should spray deodorant down their pants, actually". I think it might be for Sure products

[vom]

But I'm not sure as I've been too horrified to pay attention to it

[endar]

spraying chemicals directly onto genitals and orifices is definitely the way to go

[Bruce Sato]

Inevitably, I am reminded of this.

[blombluss]

I spray deodorant on my baals.

My eye baals.

[CandyDarling]

I finally managed to see both of these different adverts, that are indeed by different multi-national conglomorates. Recently at the cinema I saw them back-to-back, and the one that isn't about the woman sniffing the man's arse is probably worse as 1) it really leans into a horrible and twee thing about "funny names for bits of the body!!!!" which only a fucking lunatic who works in marketing would think was appealing, 2) horrible endless shots of sweaty people leaping about, shots of FEET for PERVERTS, and finally 3) associating the sound of a comb effect on drum machine rhythms with its awfulness, ruining a sound I really liked

Whenever I see it now, I actually look down at the floor rather than engage with it in any way

Also there's some sort of insurance advert which involves a woman turning into an inflatable doll, which last time I saw it made a man sitting behind me audibly disgusted

[vom]

Somehow I find the "oh no I put too much sugar in my gochujang sauce and only AI can save me" advert even more repellent than the balls deodorant

Although on my last cinema trip I don't think we got any of them so maybe it has passed. Or maybe I was just a little late into the screening. I live in hope

[dng]

That google ai one infuriates and sickens me, simultaneously. There's another abysmal ai one where a woman has writers block or something, but then ai summarises the novel she's supposed to be adapting into a screenplay, and now she can finally be creative having been freed from the drudgery of, er, reading the source material and/or writing the adapated material (I'm not sure which)

[Bruce Sato]

Everything to do with AI is a sack of the worst turds.

Although my brain delightfully merged elements of vom's post to create "oh no I put too much deodorant on my baals and only AI can save me", which has amused me.

[dng]

every use case for ai seems to be an entirely nonsensical solution to a problem that either doesn't exist or isn't even a problem in the first place

[dng]

and we all know the actual solution for putting way too much of something in whatever your cooking is to eat it regardless, but miserably, while in a massive grump

[dng]

no matter how inedible

[dng]

now i'm remembering that time i made a chilli and the entire 200g tub of chilli powder ended up in the pan. i'd like to see google's shitty ai solution to that

[dng]

also i've just remembered that when i last went to sainsburys they had a big display for some company that sells "ai curated wine"

[dng]

which made me pretty pleased i don't drink wine any more

[CandyDarling]

I have also seen this stupid AI ad at the cinema as well. So naturally (and by a weird coincidence because I started this before I actually read these last several posts) I've just begun a one-room, very short text adventure making fun of it. It's not finished yet but the full version will probably be ready by tomorrow night. (Requires javascript to be allowed)

https://www.tizzcomics.com/noai/

[dng]

hooray

[CandyDarling]

The full version of it is now on itch.io

[Gravid]

The gochujang advert genuinely confuses me because it’s like they know their ai phone will confidently present you with the steps to make some inedible recipe that it has imagined is the sort of thing humans like to eat, but also they’re presenting that as a useful feature somehow.

[vom]

I don't get how pivoting from preparing an actual meal to having a bunch of weird-looking cookies is a particularly desirable outcome. You still need a meal!

[blombluss]

The full version of it is now on itch.io

Heh! I digs this! *thumbs up*

[CandyDarling]

Thank you!

[Pual]

hey google Gemini write me a whole fucking research paper on toby Vok and the eggs why don’t you

The Enigmatic Soundscape of Toby Vok and The Eggs: A Deep Dive into Experimental AnarchyI. Introduction: Unveiling the EnigmaToby Vok and The Eggs represent a singular, highly unconventional force within the realm of experimental music. Their artistic output is characterized by profound mystery, challenging sonic landscapes, and a deliberate blurring of traditional artistic boundaries. More than merely a musical group, they function as an artistic phenomenon, whose very existence questions conventional notions of music, identity, and narrative. Their work extends beyond typical musical composition, delving into conceptual art and narrative performance, which has cultivated a dedicated, almost cult-like, following.This report aims to meticulously dissect the multifaceted identity of Toby Vok and The Eggs. It will explore their origins, deconstruct their unique auditory signature, chronicle their elusive discography, analyze their reception among listeners, and examine their current manifestations. The objective is to provide a comprehensive analysis that illuminates the depths of their artistic intentionality and enduring mystique, synthesizing disparate pieces of available information into a cohesive, interpretive framework. The inherent challenge in describing such an elusive entity, where information is often fragmented and surreal, is not a limitation but rather a testament to their artistic strategy, inviting a deeper, more analytical approach to understanding their work.II. The Genesis of Chaos: Identity and OriginsThe artistic universe of Toby Vok and The Eggs is fundamentally shaped by its principal architect, Toby Vok, whose individual musings and conceptual explorations form the bedrock of the collective’s output. Toby Vok’s personal website serves as a primary portal into his mind, featuring abstract, philosophical writings that function as extensions of his artistic philosophy rather than conventional biographical details.1 For instance, his piece "A Void" describes the creation of "perfect nothingness," characterized as "matterless, energyless, structureless, lightless, pointless".1 Similarly, "The Ticking" explores a persistent, unidentifiable sound that defies conventional sources, while "Combinatrix" presents a scientific description of Toby's own exposed and delicate brain.1 Another work, "The serving," details an "uncake" that exists "solely between realms," offering an inversion of a traditional culinary item.1 These writings are not typical artist statements; instead, they are profound, often surreal, explorations of abstract concepts, existentialism, and the subversion of reality itself. This conceptual depth indicates that Toby Vok’s artistic endeavors are deeply rooted in philosophical inquiry, where the underlying idea and its intellectual implications are as significant as the musical execution. This approach lays the groundwork for comprehending the non-traditional nature of their sound.The relationship between Toby Vok and "The Eggs" is presented as dynamic and frequently bewildering, a partnership defined by shared chaos and unexplained phenomena. The very name suggests a duality or a collective entity that complements or extends Toby Vok's individual vision. The narrative surrounding the band immediately establishes a tone of established, yet mysterious, renown, posing the question, "What can you say about Toby Vok & The Eggs that hasnt already been said?".2 Their album "It Is Impossible" is specifically highlighted as showcasing "the band at their chaotic best".2 Notably, information regarding the "origin and history of 'the Eggs'" is explicitly stated as "unavailable".2 This absence of a concrete origin story is not an accidental omission; rather, it is a deliberate artistic choice that significantly contributes to the band's overall mystique. This intentional ambiguity compels the audience to engage with the unknown and the unexplained, aligning seamlessly with the abstract and conceptual themes prevalent in Toby Vok’s solo work. The enigmatic nature of "The Eggs" is thus a fundamental feature of their artistic presentation, not a flaw.The band's narrative subtly weaves in references to other legendary or influential acts, positioning Toby Vok & The Eggs within a lineage of groundbreaking and even mythic musicians. This hints at a shared spirit of avant-garde experimentation. For instance, the narrative mentions that "some people might say that THE DAVID MCPIPEHELM EXPERIENCE were irreplaceable, that R.E.M. owe them their entire early 90s back-catalogue, and some of Brian Wilsons quotes to the press back in the 60s indicate that the Experience were conducting time travel experiments".2 It is then stated that Toby Vok "had clearly learned from his time in McPipehelms shadow".2 These allusions serve to elevate Toby Vok and The Eggs to a legendary status, associating them with the avant-garde and even the supernatural. This is a narrative device employed to build their artistic credibility and suggest a deep, possibly esoteric, musical heritage, rather than providing direct biographical facts. It frames their work within a tradition of boundary-pushing artists who defy easy categorization.The consistent use of terms like "mysterious" 3 and the explicit declaration that the origin of "The Eggs" is "unavailable" 2, coupled with Toby Vok's website content, reveals a deliberate cultivation of mystique as a core artistic strategy. This is not merely a lack of information but a consistent pattern of obfuscation and narrative construction. The blurring of reality and fiction, alongside descriptions of the band at their "chaotic best" 2, points to an intentional strategy rather than mere obscurity. This chosen presentation suggests a conscious artistic decision to make the audience actively engage with their work, inviting them to interpret and explore the unknown. The enigma itself becomes a central and compelling aspect of their art. This strategy ensures that the audience's engagement extends beyond passive listening to the music, encompassing the entire narrative and conceptual framework surrounding the artists. It fosters a deeper, more intellectual, and almost investigative relationship with their fanbase, transforming passive listening into an active quest for understanding and interpretation.III. Aural Anarchy: Deconstructing Their Unique SoundToby Vok and The Eggs actively resist easy categorization, operating within the fringes of experimental music. Their approach involves pushing boundaries and challenging listener expectations, with their sound prioritizing the exploration of the outer limits of sonic expression over adherence to established genres. On Last.fm, a platform known for music categorization, they are tagged with descriptors such as "experimental," "post-rock," and "mysterious".3 Significantly, the platform also features a unique, self-referential tag: "vok-rock".3 These tags confirm their position within the avant-garde, indicating a sound that prioritizes innovation, conceptual depth, and unconventional structures over mainstream appeal. The creation of a unique "vok-rock" tag underscores their distinctiveness, suggesting their sound is so singular it defies existing classifications. This immediately signals to the listener that they are entering a unique auditory space that operates on its own terms.Their music is characterized by highly unusual and often disorienting elements, designed to provoke, challenge, and immerse the listener in a unique, often unsettling, sonic experience. These characteristics are not accidental but appear to be deliberate artistic choices. The album "It Is Impossible" is described as showcasing "the band at their chaotic best" and breaking "fresh ground everywhere".2 This groundbreaking nature is exemplified by specific, radical characteristics: "the tempos appear to run backwards," which is a direct subversion of rhythmic convention; "the synths seem to have been constructed to facilitate dimensional shifts," implying a sonic experience designed to alter perception or transport the listener; and "the hidden track occurs right in the middle of the album," a deliberate disruption of typical album flow and expectation.2Individual track descriptions further highlight their radical approach. "Forgetting Things Is Good" features "rhythmic kitchen noise," incorporating mundane, non-musical sounds as percussive elements.2 The lyrics for "FOR NOWN" were "pinched from a 1914 music book," a form of artistic appropriation that adds a layer of historical or found-object conceptualism.2 "It Is Time" is explicitly labeled "the fucking intolerable noise," a provocative statement that challenges the very notion of what music should be.2 Perhaps most strikingly, "Maudlin Nonsense" has a melody that "can only be heard by dogs (and even then they probably wouldnt like it)".2 This is an extreme example of niche appeal, pushing the boundaries of human audibility and conventional musicality. These detailed descriptions are paramount to understanding their sound. They paint a picture of music that is intentionally challenging, performative, and deeply conceptual, rather than purely melodic or harmonious. The "intolerable noise" and dog-only melodies are not flaws but deliberate artistic statements, designed to push the boundaries of what music can be, inviting a re-evaluation of aesthetic norms.The musical compositions themselves serve as a primary vehicle for conceptual exploration and sensory provocation. The descriptions of "backward tempos," "dimensional shifts" via synths 2, and sounds audible only to animals 2 extend far beyond typical musical attributes. The explicit labeling of "It Is Time" as "fucking intolerable noise" 2 is a direct, confrontational statement. These sonic characteristics align perfectly with Toby Vok's conceptual writings about "voids" and "uncakes" 1, which deal with abstract, non-sensory, or inverted realities. The music thus becomes a direct sonic manifestation of these philosophical ideas. If the music were merely for entertainment, these elements would typically be considered deficiencies. Instead, they are presented as defining features, suggesting that the purpose is not enjoyment in a traditional sense, but to evoke a strong, often uncomfortable, response, or to prompt a re-evaluation of what constitutes "music" or "art." This approach redefines the listener's role from passive consumer to active participant in an artistic experiment. The music aims to evoke a response, whether it is bewilderment, discomfort, or a profound shift in perception, rather than simply providing conventional enjoyment. This naturally filters out casual listeners, leaving a dedicated audience appreciative of the deeper, often unsettling, meaning embedded within the sound.IV. The Discography of Disappearance: Key Works and Unreleased LoreThe album "It Is Impossible" holds a central place in the discography of Toby Vok and The Eggs, having transitioned from a whispered legend among fans to a tangible, albeit still elusive, release. Its journey from myth to reality is emblematic of the band's narrative. This album was "thought to be only a myth of the rabid fanbase, but recently unearthed, and now finally available on Cowboy Democracy Records".2 Its release showcases "the band at their chaotic best," suggesting that its unearthing was a significant event for their followers.2 The track titles from this album, such as "Maudlin Nonsense" and "It Is Time," further reinforce its experimental and philosophical nature.2 The journey of "It Is Impossible" from myth to reality underscores the band's elusive nature and the dedication of their fanbase, who actively sought its existence. Its release on "Cowboy Democracy Records" hints at an independent or unconventional distribution channel, further aligning with their anti-establishment, cult-like ethos. This narrative itself becomes an integral part of the album's allure.A pivotal and highly surreal event in the band's history is the inexplicable ten-year disappearance of "The Eggs," leaving Toby Vok to navigate the aftermath alone. This event is a cornerstone of their mystique. The narrative states that "Shortly after recording sessions were completed, The Eggs literally disappeared for exactly ten years, returning with nothing to show but a tan, leaving a bewildered Vok to face a hysterical press, desperate for an album that it seemed would never be released".2 This event is a defining moment, adding a layer of profound surrealism and unexplained phenomena to their narrative. The detail "nothing to show but a tan" is particularly absurdist and defies logical explanation, reinforcing the idea that their history is as much a performance or conceptual art piece as their music. This vanishing act created a vacuum of anticipation and frustration for both the press and their dedicated fans, significantly fueling the band's legend.Beyond "It Is Impossible," their discography includes other obscure releases and the tantalizing promise of unreleased, potentially "cursed," material, which adds layers of intrigue and desirability for collectors. The existing back catalogue includes titles such as "We Were So In Phase" and "ATRAAAAAACT".2 A dedicated fan recounts having "scoured internet auction sites for rare copies" of these albums to acquire them.2 The belief in an unreleased album stemmed from a "brief mention" in fringe member Philip Wince's haiku autobiography.2 Intriguingly, the master recordings for this unreleased material are said to be "cursed".2 The inherent difficulty in acquiring their music and the existence of unreleased, "cursed" material further contribute to their cult status and the mystique surrounding them. This transforms discography collection into an archaeological quest for the dedicated fan, where the pursuit itself is part of the experience. The "cursed" nature adds a layer of dark fantasy to their lore, deepening the engagement of their followers.The "disappearance" of The Eggs and the narrative of "cursed" unreleased recordings function as meta-narratives or performance art pieces, integral to the band's overall artistic output and mystique, rather than mere biographical incidents. The ten-year disappearance of The Eggs, with the bizarre detail of them returning "with nothing to show but a tan" 2, is highly unusual and lacks a conventional explanation. Similarly, the notion of "cursed" master recordings 2 introduces a fantastical element. These elements align perfectly with the established persona of Toby Vok as a conceptual artist who blurs reality and fiction. If his brain is a "combinatrix" and he creates "uncakes" that exist "between realms" 1, then a band disappearing for a decade and returning with only a tan, or master tapes being "cursed," fits seamlessly within his artistic universe. These events are too specific and strange to be accidental; they appear to be deliberate narrative choices designed to enhance the band's legend, maintain its enigmatic quality, and continually provoke curiosity. They are not just things that happened to the band, but things the band is. This strategy ensures that the band's history and lore are as compelling as their music itself. It creates an ongoing, evolving narrative that keeps the fanbase engaged and reinforces the idea that Toby Vok and The Eggs operate outside conventional music industry norms, embracing the enigmatic and the absurd as core tenets of their art. Their discography is not just a list of albums, but a map of their conceptual journey.Table 1: Select Discography & Unique Characteristics of Toby Vok & The EggsTrack/Album TitleNoteworthy Characteristic/DescriptionRelease StatusIt Is ImpossibleShowcases "chaotic best"; features backward tempos, synths for dimensional shifts, hidden track in middle.Mythic/Unearthed, now available on Cowboy Democracy Records 2"Forgetting Things Is Good"Features "rhythmic kitchen noise."Released (on It Is Impossible) 2"FOR NOWN"Lyrics "pinched from a 1914 music book."Released (on It Is Impossible) 2"It Is Time"Described as "the fucking intolerable noise."Released (on It Is Impossible) 2"Maudlin Nonsense"Melody "can only be heard by dogs (and even then they probably wouldnt like it)."Released (on It Is Impossible) 2"We Were So In Phase"Part of back catalogue, rare, hunted by fans.Released (Obscure/Rare) 2"ATRAAAAAACT"Part of back catalogue, rare, hunted by fans.Released (Obscure/Rare) 2Unreleased AlbumBelieved to exist from Philip Wince's haiku autobiography; master recordings are "cursed."Unreleased/Legendary 2V. Cult Following and Critical ReceptionDespite their challenging sound and elusive nature, Toby Vok and The Eggs have cultivated an intensely devoted following, whose dedication transcends casual listening to an almost obsessive level of engagement and pursuit. The fanbase is explicitly described as "rabid," for whom the album "It Is Impossible" was initially "thought to be only a myth".2 One fan vividly recounts feeling "sick" that it took so long to discover them, immediately "jogging to the local record shop, wallet bulging with coins, and demanding the back catalogue".2 This fan's dedication is further exemplified by their relentless pursuit, "hunt[ing] down every scrap of information" from "interviews to press releases, gig posters to fringe member Philip Wince's haiku autobiography".2 This highlights the profound, almost visceral, impact the band has on its listeners, inspiring an almost obsessive level of devotion and an active pursuit of their elusive material. It speaks to the power of their unique artistic vision to resonate deeply with a niche audience, transforming passive listeners into active participants in their lore.The inherent difficulty in obtaining their music further solidifies their cult status, transforming discography collection into a dedicated, often arduous, quest, which in itself becomes part of the fan experience. The fan's account of spending "almost three days and nearly seven pounds to scour internet auction sites for rare copies of 'We Were So In Phase', 'ATRAAAAAACT' et al." illustrates the scarcity and desirability of their works.2 This confirms that their music is not readily available through conventional channels. This scarcity enhances the perceived value and exclusivity of their music, reinforcing the idea that discovering and owning their work is a privilege, not a given. It creates a barrier to entry that naturally filters for the most dedicated enthusiasts, deepening their commitment to the band.Traditional, objective critical reviews are largely absent or difficult to find for Toby Vok and The Eggs. Instead, the available "critical" commentary is often abstract, highly subjective, or even self-referential, mirroring the band's own unconventionality and blurring the lines between art and commentary. Toby Vok's own website features "reviews" of other conceptual bands, such as "Edgar Winifred: The Egg is on Fire," "The Underwater Seal Experiment," and "Hova Stanta: No Means, No (?)".1 These "reviews" are themselves abstract and surreal, with descriptions like "literally inaudible" for Hova Stanta, though it is noted that this review was published during a "deafness plague of '08".1 The absence of conventional, objective criticism and the presence of these internal, conceptual "reviews" on Toby Vok's site suggest a self-contained artistic ecosystem where external validation is less important than internal consistency and conceptual depth. This further blurs the lines between artist, critic, and audience, implying that the art itself dictates its own terms of evaluation.The challenging and obscure nature of Toby Vok and The Eggs' music and narrative acts as a filter, cultivating a highly dedicated, almost obsessive, fanbase who view the difficulty of access and interpretation as part of the artistic experience. The fan's testimony 2 describes an intense emotional reaction and a fervent pursuit of the entire back catalogue, including "scouring internet auction sites" for rare copies. This level of dedication is a direct response to the band's inherent obscurity, challenging sound (e.g., "intolerable noise" 2), and enigmatic narrative (the Eggs' disappearance, cursed recordings). These qualities, which might deter a casual listener, instead act as a magnet for those who appreciate avant-garde art. The band's deliberate inaccessibility creates a sense of exclusivity and a puzzle to be solved, which in turn attracts a specific type of listener who thrives on such challenges. This dedicated audience then reinforces the band's cult status and allows them to continue their unconventional artistic path without pressure to conform to mainstream expectations. The difficulty of engagement thus becomes a feature that enhances the reward of discovery, creating a self-sustaining feedback loop where the band's mystique and challenging nature attract a specific type of listener, whose dedication then reinforces the band's cult status and allows them to continue their unique artistic practice. This dynamic is a hallmark of successful cult phenomena in the arts.VI. The Current Pulse: Toby Vok's Latest ManifestationsWhile the current status and activities of "The Eggs" as a collective remain largely undefined or unpublicized, Toby Vok continues his individual artistic output. His engagement often occurs through highly personal, anachronistic, and unconventional means, reinforcing his unique persona. Toby Vok is described as "sometimes / usually of Toby Vok and the Eggs" and has been "spotted in Hull, handing out cassettes of his music to anyone who looks at him or blinks as they walk past or whatever".3 His website "may explain further, if you can decipher his ramblings," indicating that his current communications remain as opaque as his art.3 This paints a picture of an artist who deliberately operates outside traditional music industry channels, engaging directly and personally with potential listeners in a highly localized and intimate manner. The act of "handing out cassettes" is a nostalgic, anti-digital, and highly personal form of distribution, consistent with his enigmatic and grassroots approach, prioritizing direct connection over mass market reach.Last.fm provides a rare glimpse into the quantitative reach of Toby Vok's music, while also highlighting the crucial distinction between his solo work and the band's collective output, offering a factual counterpoint to the pervasive mystique. For Toby Vok as a solo artist, the platform reports 197 listeners and 1,046 scrobbles.3 His top tracks include "a room full of instruments" (100 listeners), "Plummeting At Intolerable Speed and The Pulsing Moon" (97 listeners), and "the inspection and the opening" (10 listeners).3 The titles themselves are evocative and align with the conceptual and introspective nature of his broader artistic work. Among related artists, "Toby Vok and the Eggs" is listed with 48 listeners, alongside others such as Vom Vorton (853 listeners) and Luke Elliott (1,230 listeners).3 These statistics, while modest in mainstream terms, demonstrate a tangible, albeit niche, audience for Toby Vok's work. Crucially, the differentiation between "Toby Vok" (solo) and "Toby Vok and the Eggs" (band) on Last.fm confirms their separate, yet intertwined, artistic identities. The lower listener count for "Toby Vok and the Eggs" compared to Toby Vok solo might suggest that the band's material is even more obscure or less accessible than his individual output, or that the solo work is more recently active on the platform.Toby Vok's current activities, particularly the grassroots distribution of cassettes in Hull and the Last.fm listener statistics, indicate a deliberate choice to operate outside mainstream music industry norms, reinforcing his anti-commercial, conceptual art persona and maintaining his enigmatic allure. The act of "handing out cassettes" in Hull 3 is a highly anachronistic and personal method of distribution in the digital age. This is not a sign of struggling to adapt, but rather a conscious rejection of mass market channels and a preference for direct, intimate engagement. The Last.fm listener numbers 3 are relatively small compared to mainstream artists, yet they represent a dedicated online following. The fact that Toby Vok (solo) has more listeners than "Toby Vok and the Eggs" suggests a shift in focus or a more accessible individual output, perhaps even a deliberate fragmentation of his artistic identity. This combination of low-tech, direct engagement and a niche digital presence strongly suggests that Toby Vok prioritizes artistic integrity and conceptual consistency over commercial success or broad appeal. His "ramblings" on his website 3 further indicate that accessibility is not a primary concern, reinforcing the idea that the art dictates its own terms. This reinforces the idea that Toby Vok and The Eggs are less about being a "band" in the traditional sense and more about being an ongoing, evolving artistic project. Their "current status" is defined by this continued commitment to their unique, challenging, and often obscure artistic practice, maintaining their enigmatic allure and ensuring their place within the avant-garde.Table 2: Toby Vok (Solo) Listener & Top Track Statistics (Last.fm)Metric / Top Track TitleValue / Associated ListenersOverall Listeners197 3Overall Scrobbles1,046 3"a room full of instruments"100 listeners 3"Plummeting At Intolerable Speed and The Pulsing Moon"97 listeners 3"the inspection and the opening"10 listeners 3"they came for our music"8 listeners 3"i woke up in an unfamiliar location"8 listeners 3"(before consciousness)"8 listeners 3"it preyed on my mind"8 listeners 3"Xmas List (Of Demands)"8 listeners 3"plummeting at intolerable speed / the pulsing moon"7 listeners 3"everything happened at once"6 listeners 3VII. Conclusion: Legacy of the UnconventionalToby Vok and The Eggs stand as a compelling testament to the power of artistic unconventionality, consistently pushing the boundaries of music and performance art. Their legacy is not defined by commercial success or widespread recognition, but rather by their unwavering commitment to conceptual depth, sonic experimentation, and the deliberate subversion of artistic norms. They have carved out a unique space where art is experienced as a profound encounter, not merely consumed as a product.The enduring mystery surrounding Toby Vok and The Eggs, punctuated by the unexplained disappearance of "The Eggs" and the philosophical depth of Toby Vok's solo work, remains a cornerstone of their appeal. This deliberate ambiguity and the blurring of reality and fiction invite continuous interpretation and deep engagement from their dedicated fanbase, ensuring their continued relevance within niche cultural circles. The band's history and current manifestations demonstrate a profound understanding of how to cultivate a lasting artistic presence through enigma and conceptual rigor.Toby Vok and The Eggs offer a compelling case study in how artists can cultivate a profound impact and a "rabid fanbase" by rejecting conventional norms, embracing chaos, and treating their entire existence as a canvas for conceptual exploration. Their work challenges listeners to move beyond passive consumption and engage with art on a deeper, more intellectual, and often uncomfortable level. This demonstrates that true artistic merit and a dedicated following can thrive far outside conventional commercial metrics. Their story is a potent reminder that in the vast, often commercialized, landscape of music, true innovation and lasting artistic impact frequently emerge from the shadows, where "intolerable noise" can be a profound masterpiece, and the greatest narratives are those left tantalizingly incomplete, inviting endless contemplation and discovery.

[endar]

jesus

[endar]

that was clearly just written by toby vok etc

[dng]

Toby Vok and the Eggless

[Pual]

To be fair, it was much more nicely formatted before I copied it.

[Pual]

And I guess that’s the most important thing in hell-year 2025.

[blombluss]

6/10

See me after class.

[An Unicorn]

Looooooooooooong

[Pual]

The worst picture ever

the_worst_picture_ever_-_negativexl_d__1215313643.png (1.13 MiB) Viewed 7656 times

[Pual]

Poor Keanu Reeves

[endar]

Keanu Reeves as Kylo Ren