❜❜

𝓣he 𝗰𝗼𝗿𝗿𝘂𝗽𝘁𝗶𝗼𝗻 begins with the mouth,
the tongue, the wanting.
𝓣he first poem in the world is 𝖨͟ ͟𝗐͟𝖺͟𝗇͟𝗍͟ ͟𝗍͟𝗈͟ ͟𝖾͟𝖺͟𝗍͟. 

✶

𝓢ome desires are only legible in the dark.

✶

𝓘nside my blood and bone and their network of
tendon and meat
we have, you and I, our histories of hunting
and being the beast.

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﹡ ׂ𝅙 𝚈𝙾𝚄'𝚁𝙴 𝙼𝚈 𝚁͟𝙴͟𝙻͟𝙸͟𝙶͟𝙸͟𝙾͟𝙽͟ ⃗ . 炎ˑ ִ ֗ 𓈒 ⋆ ✶ ࣪
𓏔 f𝒂k𝑒d𝒊a𝑚o𝒏dㅤᘡ　 ۫　𖨂　𓈒　🚯　 ۟ 𓍼 ❫
────────　 ━━━━━ 　────────
❛❛ 𝒇𝒊𝒔𝒉𝒃𝒐𝒘𝒍, chokehold, 𝒄𝒍𝒆𝒂𝒏 𝒘𝒂𝒕𝒆𝒓, i'm cold ❜❜

▇ ৎॱ˖ ✷ 𝚃𝙷𝙴 𝙶𝙻𝙾𝚁𝚈﹐ ๋ ˓ 🦷
..⃗. ⋆ ╱ 𝗖𝗢𝗡𝗖𝗘𝗣𝗧 𝗢𝗩𝗘𝗥𝗩𝗜𝗘𝗪 ˖ ↸̸ 𓍢 ⭑ 𓍼
❛❛ 𝚆͟𝙰͟𝚁͟𝙽͟𝙸͟𝙽͟𝙶͟𝚂͟.  mental illness， death，murder，substance abuse & usage，toxic relationship & behavior，associated various violence，exploitation，unlikeable characters，romanticization. also be cautioned— ur mind might break a little. it's a lot to take in.

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❚ ˖ 𓈒 ﹙　. 𝟢̶̶͟0　﹚𝙸𝙽𝙳𝙴𝚇 ⋆ ✷

。 ' 𓉮ֶ ⎯ ♥︎̼̻ 𝖨𝖭𝖳𝖱𝖮𝙳𝚄𝙲𝚃͟𝙸͟𝙾͟𝙽 .
𝗜. extended  summary
𝗜𝗜. formation  history

。 ' 𓉮ֶ ⎯ ♥︎̼̻ 𝖵𝖨𝖲𝖴𝖠𝖫𝙲𝙾𝙽͟𝙲͟𝙴͟𝙿𝚃 .
𝗜. the  name
𝗜𝗜. snhm  as  a  universe
III. discography
𝗜𝗩. silent  sun

。 ' 𓉮ֶ ⎯ ♥︎̼̻ 𝖯𝖧𝖸𝖲𝖨𝖢𝖠𝖫𝙲𝙾𝙽͟𝙲͟𝙴͟𝙿𝚃 .
𝗜. life  as  the  antithesis  of  idol  culture
to　be　extended　.  .  .

✶ ❳ ˒﹟ ۪ ֹ PART 𝟬𝟭.𝟭 ╱𝓔x͟t͟e͟n͟d͟e͟d͟ 𝓢ummary
━━━━━━━━━━━　　we go ͟𝖿͟𝖺͟𝗋͟.

❚ ˖ 𓈒 ﹙SNHM is a music group project under ODDSAINt ❪  the sineater—esque stepchild of THE HAPPY STAR, where all the ❛  degenerates et cetera   ❜ are shoveled  ❫, previously known as M⎯ VARACIÓN. The group is known as an ❛  Antithesis  ❜ to idol culture, and have been lauded for having no genre or identity since their debut, which took place in 2013 with the single ❛❛ MY VARIATION. ❜❜ 

　　Upon finding the name ❛ M⎯VARACIÓN  ❜ too . . . reminiscent of boyhood, in 2018, the name was changed to SNHM, carrying the new meaning of ❛ binary⎯less post development, ❜ further solidifying the group's concept. Their first release under SNHM, ❛  Wilder THAN,  ❜ was released July 2018. 

　　Prior to that, however, two new systems were put into place— Firstly, everything was rearranged into a  promotion–demotion hierarchy, in which a member can ascend or descend based on year–end evaluations—

⭑ S／N ❪ Main ❫
⇊
⭑ S–N ❪ Sub Main ❫
⇊
⭑ N ❪ Lead ❫
⇊
⭑ H, N–H ❪ Sub Lead ❫
⇊
⭑ H, M ❪ Sub ❫
⇊
⭑ Abstract ❪ No equal ❫

— and as for the second, three decentralised subunits were introduced: DEUS ❪   Ivory, Jichan, Xuhui  ❫, ÉKARLATE ❪   Euiyoung, Dahi, Sulle, Whyy  ❫, and AUTLIERE ❪  Xingxia, Rosirld, Arisu, Yve, Yoonha  ❫The whole matter was only sought after in order to complicate two rather simple systems; a bloody business, truly, that the members still find themselves tripping on the entrails of to this day, namely in, one, the fact that there is a concerning population of people out there who think the subunits are autonomous groups, and two, the positions are often obscenely innacurate. 

 　　Speaking of complications, the most complicated matter of them all, rather, is the lineup. A large part of 𝗦𝗡𝗛𝗠's concept, inexplicably, relies on a foundation of ❛  eleven,  ❜ and yet, in over ten years of promotion, there have only been six releases to actually feature all of the members.

　　Currently, the lineup consists of, aged 30 to 20, Kang Arisu, Yagira Aiki, Xu Hui, Cosme—Hélio Mikala Silva Madeira, Royal Hyun Jung, Nian Rui—he, Bae Jukyoung, Ling Xuan—zi, Aida Hiroto, Hadrien Ivoire Dior—Jang, and Itokami Seia.

　　Despite lacking in numerical consistency, the members of the group ⎯ as well as the general structure of their participation ⎯ are deeply crucial to the central concept, perhaps more than one might expect. For instance, the members' many hiatuses and breaks are nothing short of planned, playing into their elaborate ❪  and maybe unethical ? ❫ ❛   physical  concept. ❜ The only two members to not take a hiatus, Alice and Sulle, have managed so, not because of their godly health and stability ❪  definitely not  ❫, but out of necessity⎯ if, more or less, each member was like a chess piece on an insanely intricate board, Alice and Sulle would represent the kings.

　　Many of 𝗦𝗡𝗛𝗠's concept, in similar context, is fueled from the nature of the members themselves, who are notably open in their identities and various struggles, including mental illness, which was a flagship in 𝗠⎯𝗩𝗔𝗥𝗔𝗖𝗜Ó𝗡 criteria; the group members highlight a variety of under⎯represented groups, i.e. those with complex traumas, identities, and disorders.

　　This complexity, particularly of participation, only deepens when regard is shown to every member of 𝗦𝗡𝗛𝗠, past or present. There are 5 𝗳𝗼𝗿𝗺𝗲𝗿 𝗺𝗲𝗺𝗯𝗲𝗿𝘀: Kuo Chengyang, Hino Raira, Kamishirashi Jin, Kim Minsik, and Choi Sohyeon ⎯ as well as Yu Yihang, who subsituted for Royal from 2018 to 2022 ⎯ who have since been removed ❪ ✶ ❫ or have departed ❪ ▬ ❫ —  

𝗟ILAC ﹝✶ ﹞. . . . . . . . . . . . . . . 𝟮𝟬𝟭𝟯.𝟭𝟬.𝟮𝟵
𝗝EAN ﹝✶ ﹞. . . . . . . . . . . . . . . . 𝟮𝟬𝟭𝟰.𝟬𝟯.𝟬𝟳
𝗠INHYANG ﹝▬﹞. . . . . . . . . . 𝟮𝟬𝟭𝟲.𝟬𝟮.𝟮𝟯
𝗖HENGYANG﹝▬﹞. . . . . . . . . 𝟮𝟬𝟭𝟲.𝟬𝟲.𝟭𝟮
𝗛WAHYEON﹝✶﹞. . . . . . . . . . 𝟮𝟬𝟭𝟴.𝟬𝟰.𝟭𝟮
𝗪HYY ﹝▬ ﹞. . . . . . . . . . . . . . 𝟮𝟬𝟮𝟮.𝟬𝟴.𝟬𝟳

— for a multitude of reasons, varying from harassment accusations, legal issues, and parental protection. The idea of 𝗦𝗡𝗛𝗠 — or rather, 𝗠⎯𝗩𝗔𝗥𝗔𝗖𝗜Ó𝗡 — not being simply a project, but rather a state of being, is truly demostrated through these departures; specifically being exemplified in the fact that three of five former members are currently missing. 

　　As a distraction to this fact ❪  which was starting to dawn on people  ❫, beginning in 2017, the members were reorganized into delocalized subunits, complicating means even further, whilst the ❛  𝗦𝗡𝗛𝗠 cleanup team  ❜ worked tirelessly to repair the gashes in the lacy web the group had wove around their secrets. The subunits are as follows:

✶𓏲ּ ，𝗗𝗲𝘂𝘀 ❪  god  ❫ ⠀:⠀⠀⋆ ˒▲
IVORY, JICHAN, XUHUI.

✶𓏲ּ ，𝗘́𝗸𝗮𝗿𝗹𝗮𝘁𝗲 ❪  scarlet ❫⠀:⠀⠀⋆ ˒ ▰
EUIYOUNG, DAHI, WHYY, SULLE

✶𓏲ּ ，𝗔𝘂𝘁𝗹𝗶𝗲𝗿𝗲 ❪  outlier  ❫ ⠀:⠀⠀⋆ ˒ ⬤ 
ARISU, ROSIRLD, YVE, XINGXIA, YOONHA

✶ ❳ ˒﹟ ۪ ֹ PART 𝟬𝟭.𝟮 ╱𝓕o͟r͟m͟a͟t͟i͟o͟n͟
━━━━　　unholy and ͟𝗌͟𝗐͟𝖾͟𝖾͟𝗍͟.

❚ ˖ 𓈒 ﹙DESPITE the group's genesis dating back to 2009 with the AMOR VEM ❪  love comes  ❫ blog operated by RIEI MORITERA and KOKORO TSUKINAGA, the implementation of what would come to form 𝗠⎯𝗩𝗔𝗥𝗔𝗖𝗜Ó𝗡 saw various . . . struggles. In its rawest form, the blog, active until 2011, outlined an ❛  experiment   ❜ that involved gathering boys with ❛   severed mentalities  ❜ into an idol group, and observing their reactions to the idol industry that was ❛   rife with perverse, surging appeal.  ❜ At th time, it was the pinnacle fantasy of RIEI and KOKORO, and everything was outlined in extreme detail, as if they were talking about a human being⎯ the name, promotion, life, and death of 𝗠⎯𝗩𝗔𝗥𝗔𝗖𝗜Ó𝗡 was planned before they even had a single trainee.

　　The end goal was to furnish the thesis of ❛  salvation a la hedonism ❪ self⏤indulgence ❫   ❜ which claimed that, by abandoning human restraints, rewards ❪ i.e. love, fame, success ❫ would follow. If it sounds rather questionable and maybe even unethical, then good, because it was. 𝗠⎯𝗩𝗔𝗥𝗔𝗖𝗜Ó𝗡 was born a fantasy and was supposed to always be fantasy, never to actually involve  living & breathing humans ⏤ however, after Riei had a chance meeting and Alice and discovered that such desperation was real, there was no stopping what had been set in motion. And surely enough, a few months later, MeU was born.

　　MeU, or, in full, MeU: New Idol Process ❪  2012 Apr. — 2015 Jul.  ❫, was a training project and global audition, which would gather trainees and funnel them instantly into 𝗠⎯𝗩𝗔𝗥𝗔𝗖𝗜Ó𝗡, set to have a ❛  train⎯as⎯you⎯go  ❜ concept. The lack of training was attributed to the fact that MeU was more of a social experiment than anything else— RIEI only really sought four qualities:

𝒊.Desperation ⎯Severed Mentality⎯
𝒊𝒊. Chaos ⎯Unstable Quality⎯
𝒊𝒊𝒊. Passion ⎯Searing Desire⎯
𝒊𝒗. Youth ⎯Boys Genre⎯

　　After recieving twenty—one thousand submissions, narrowing that down to two thousand, and then that to six, it became evident to RIEI that the kind of boy she was seeking didn't necessarily come so easily, thus beginning her ❛  hunting  ❜ era, i.e. randomly scouting them wherever she could⏤ rehabilitation centers, shopping malls, their schools ⏤and putting up audition posters everywhere else lowlife teens might be lurking.

　　Unsurprisingly, this proved to be worlds more effective— by narrowing the scope to only the most desperate and broken, she could essentially come in like some predatory angel and offer her twisted salvation on a silver platter, an offer few could refuse. For instance, member Ivory recounts his first encounter with RIEI to be similar to that of biblical context, wherein the condemned character hears the disembodied voice of God— only, his redemption was not so instantaneous, and ❛  sainthood  ❜ is ❛ not quite what I thought.  ❜

　　At the time of debut, the group consisted of a round ten— Alice, Euiyoung, Ji chan, Lilac, Ivory, Minhyang, Jean, Dahi, Hwahyeon, and Chengyang —but as that number continously and unpredictably waxed and waned, RIEI grew insatiable, and sought out more members continously. Therefore, 𝗦𝗡𝗛𝗠 doesn't technically complete its formation until 2016, when the final member, Yoonha, was added to the group.

　　Considering this, by the time the group finished it's ❛   formation,  ❜ there would come significant changes to the group's entire dynamic, followed by a tumultuous period of sheer inconsistency. During Haru's — a member who joined in 2015 — four⎯year⎯long hiatus, a second reformation was heavily considered, but fought against by the members, who claimed that any alterations to the group past that point would ❛  only work to destroy the gentle fabric and strong chemistry we have put so much effort into,  ❜ claims Alice.

。 ' 𓉮ֶ ⎯ ♥︎̼̻  𝐯isual 　𝐜oncept 𓏔 .
including　all　that　is　not　tangible　
in　3D　, 　mostly　 media. 

✶ ❳ ˒﹟ ۪ ֹ PART 𝟬𝟮.𝟭 ╱𝓣h͟e͟ 𝓝ame
━━━━━　　burns and 𝖻͟𝗂͟𝗇͟𝖽͟𝗌͟.

❚ ˖ 𓈒 ﹙A DOG of two names, the group places a great deal of the burdensome load that is their visual concept onto their title, and likewise have managed to work it into every pore of their concept by any stretch possible. 

　　Like an eager parent, KOKORO created the name for 𝗠⎯𝗩𝗔𝗥𝗔𝗖𝗜Ó𝗡 about three years in advance, borne with Mexican folklore character La Llorona ❪  Lit. The Crier  ❫ and Marvel superhuman franchise X⎯men in mind, combining the letter M which stands for ❛  male,  ❜ and ❛  make,  ❜ an em⎯dash for ❛  path,  ❜ and the Spanish word ❛  varación  ❜ ❪  Variation in English  ❫, it comees to mean—

❛  Boys that make their own path towards variation, uniqueness, and development.  ❜

　　Of the present four concepts ❪   boys, variation, uniqueness, development  ❫, really, the first was expressed in utmost importance, and the other three just followed in succession— with the average M—V age being 17.4 ❪ the oldest being 23 and youngest literally 11 ❫, and most of the members, clearly, being underaged and more or less skewed in their development. Check and check?

　　Like all ❛   good   ❜ things, however, 𝗠⎯𝗩𝗔𝗥𝗔𝗖𝗜Ó𝗡 came to an end. Unexpectedly, the boys' project was completely butchered like raw meat, and streaked in blood and dirt, its successor made an emergence; 𝗦𝗡𝗛𝗠. In line with 𝗠⎯𝗩𝗔𝗥𝗔𝗖𝗜Ó𝗡's practically indecipherable concept, the members were officially announced to have ❛  escaped the chyrsalis of boyhood,  ❜ to be the ultimate ❛  finalé  ❜ to 𝗠⎯𝗩𝗔𝗥𝗔𝗖𝗜Ó𝗡's faces as boys—when they returned, they would have transformed completely. 

　　In reality, the group was never supposed to grow out of 𝗠⎯𝗩𝗔𝗥𝗔𝗖𝗜Ó𝗡 ❪  or really last more than a year  ❫, but the rush of success and that viceral curiousity was like a vice, for both the members and RIEI. The whole rebrand was really a last minute resort to prevent some people ❪  read: law enforcement   ❫ getting too close to the label's growing pile of skeletons.

　　And in truth, 𝗦𝗡𝗛𝗠 was, underneath it all, more or less unchanged; they still bore the same soiled and sordid bones, just covered with a fresh, new skin, soft like snow and innocent. Sorta. Anyhow, the new name more accurately explained the theme of the project, so the rebrand did have positive outcomes. The name is quadruple the dynamic mouthful that 𝗠⎯𝗩𝗔𝗥𝗔𝗖𝗜Ó𝗡 was, but is so beautifully and intricately involved that one can look past it. Right? ❪ Please. ❫

𝕾 H U 𝕹 𝕳 I 𝕸 U ₊ ‎ ‎ ▎春光夢
⠀⋆ ˒ 青春 ❪  seishun  ❫　❛  youth  ❜
　⋆ ˒ 光 ❪ hikari ❫　　❛ light  ❜
⠀⋆ ˒ 夢中 ❪ muchuu ❫　❛ obsession ❜
⠀⋆ ˒ 悪夢 ❪ akumu ❫　❛  nightmare ❜

𝕾 E O 𝕹 𝕳 A E 𝕸 U ₊ ‎ ‎ ▎선해무
⋆ ˒ 羡 ❪ seon ❫　 　❛ envy  ❜
⋆ ˒ 海 ❪ hae  ❫　　❛ ocean  ❜
⋆ ˒ 无 [  无情  ] ❪ mu  ❫　❛  heartless  ❜ 

𝕾 E 𝕹 𝕳 E I 𝕸 I ₊ ‎ ‎ ▎森黑密
⋆ ˒ 森  ❪  sēn  ❫　　❛   forest  ❜
⋆ ˒ 黑 ❪  hēi  ❫　　❛  darkness  ❜
⋆ ˒ 密 ❪  mì  ❫　❛  dense／intimate  ❜

✶ ❳ ˒﹟ ۪ ֹ PART 𝟬𝟮.𝟮 ╱𝓢N͟H͟M͟𝓥𝖾rse
━━━━━　　young 𝗆͟𝗈͟𝗇͟𝗌͟𝗍͟𝖾͟𝗋͟𝖾͟𝗌͟.

❚ ˖ 𓈒 ﹙DESPITE the physical concept being unwavering and everlasting, the visual concept has actually changed quite a bit, cultivating into a distinct line that separates 𝗠⎯𝗩𝗔𝗥𝗔𝗖𝗜Ó𝗡 from 𝗦𝗡𝗛𝗠. Both bear a central inspiration and from it, comes the styling, musical genre or motif, and general ❛  visual  concept  ❜ that the group entertains. The only problem is, in both cases, the central muse has been . . . rather depraved— unusual, to say the least. And since this is practically the heart of the concept the result — i.e. the group itself —comes out to be pretty controversial. 

　　In 𝗠⎯𝗩𝗔𝗥𝗔𝗖𝗜Ó𝗡's case, their concept was supposed to focus on youth culture, but, with the nature of it being a social experiment ❪  practically  ❫, of course it was not just any kind— rather, the concept focused on an ❛  introduction to abandoned youth in a romantic, societal, and, at rare times, sexual, context,  ❜ delivered through the portrayal of self⎯destructive lifestyles meeting at a dichotomy with the idea of focusing on what's important in life, loss, and love. And the muse? Shinjuku. Well, particularly, the subcultures of Kabukichō⎯ though technically a red⎯light district, when you look at it more objectively, it fits the ethos of  𝗠⎯𝗩𝗔𝗥𝗔𝗖𝗜Ó𝗡 and all that ❛  perverse, surging appeal.  ❜ 

　　Of course, deriving your concept from a red⎯light district is not always the most easy to navigate, but the group itself never really crossed any boundaries into danger or exploitation, at least, not while acting as 𝗠⎯𝗩𝗔𝗥𝗔𝗖𝗜Ó𝗡. The concept of the time mostly closely reflects the modern subculture of ❛  Tōyoko Kids,  ❜ but at the time, 𝗠⎯𝗩𝗔𝗥𝗔𝗖𝗜Ó𝗡 was in a category of its own, forcing its viewers to come to terms with the qualities and trials of ❛  youth unrelenting.  ❜

　　As the group matured, as did their concept; as 𝗦𝗡𝗛𝗠, the themes gradually came to represent mental health, fragile anger and violence, and general emotional chaos. The overarching enviornmental structure of ❛  abandoning human restraints  ❜ remained, but transistioned from wild and youthful rebellion to exemplifying the raw and uncomfortable truths of living with emotional turmoil, navigating self⎯destruction, and confronting the depths of vulnerability, in all of its sordid glory. 

　　More mature projects, often with ❛ violence  ❜ as the main theme, such as the 𝗩𝗶𝗼𝗹𝗲𝗻𝗰𝗲 𝗦𝗲𝗿𝗶𝗲𝘀 ❪  focusing on describing the multifaceted angles to approach violence of all kinds  ❫, 𝗟𝗢𝗩𝗜𝗡𝗚 ❪ an exploration into turmoil and love  ❫, and 𝗦𝗶𝗹𝗲𝗻𝘁 𝗦𝘂𝗻 ❪ a cut into the unforgiving and searing world of love, gang violence, drugs, and desire  ❫. The pith of 𝗦𝗡𝗛𝗠 is found in the concept of ❛  Fallen Angels  ❜ and serving to fulfill the role of being a bitter denunciation of all that the current idol world stands for, hence the moniker of ❛ Antithesis of Idol Culture. ❜

✶ ❳ ˒﹟ ۪ ֹ PART 𝟬𝟮.𝟯 ╱𝓣h͟e͟ 𝓓iscography
━━━━━━　　lotus from the 𝗆͟𝗎͟𝖽͟.

❚ ˖ 𓈒 ﹙OF 𝗦𝗡𝗛𝗠's 60 releases ❪  that is, stretching from 2013 to present and including all subunits  ❫, there has not been one that doesn't have any connection to either 𝗠⎯𝗩𝗔𝗥𝗔𝗖𝗜Ó𝗡 or 𝗦𝗡𝗛𝗠's central concept, even MY VARIATION and MY COMPLEX, the debut duo release, which everyone views as unimportant cushion to jump⎯start their career. For starters, the entirety of 𝗠⎯𝗩𝗔𝗥𝗔𝗖𝗜Ó𝗡 was planned ❪  in such unimagineably meticulous detail, too, from stage names to song titles to the promotion to⎯   ❫ and every song had a position in the overall progression of the group's visual identity. 

　　Known to few, actually, 𝗠⎯𝗩𝗔𝗥𝗔𝗖𝗜Ó𝗡 is split into only three seperate eras, directly contrasting the usual notion of each release being its own. Each era ⎯ or act ⎯ ends with a song or album that serves as the central idea, and they all vary in length and size, so that it is unknown where one ends and the other begins, until much later on. 

　　The opening act is now known as  ❛ de luxe ❜ and consists of MY VARIATION, MY COMPLEX, MELTING ICE CREAM TEMPTATION, and, the closure, LA～luxe. The concept of this act is cultivated with themes of desire, expressing individuality, sweetness, temptation, and dreamy rebelliousness. The overall storyline invites the viewer to indulge in fleeting moments of turmoil or ostracism and live an ephemeral life. 

　　Following, the era of ❛  天堂被毀  ❜ — the shortest, containing just the three releases of WHITE FLAG, WHITE FLAG RISING, and VARIABILIS — was crafted upon the axis of JOHN MILTON's epic poem, Paradise Lost, particularly the quote, ❛ The mind is its own place, and in itself Can make a heaven of hell, a hell of heaven.  ❜ The idea configures around a pretty blunt set of concepts— letting go, becoming undone, and infatuation. As the members — well, most of them, bar XU HUI and ROSIRLD — approached legal ages, their musical themes aligned with the romantic destruction, exemplifyed through songs like ❛  Monster ❪ 厭惡 ❫  ❜ and ❛ WHITE FLAG. ❜

　　The final era is closed by ❛  the eve,  ❜  a project that most consider the magnum opus of 𝗠⎯𝗩𝗔𝗥𝗔𝗖𝗜Ó𝗡 and the ultimate cultivation of maturity. The six releases — TOY, Red Light, 破廉恥, f(love), the eve, and the eve (edge) — contain the main themes of love, evil, good, destruction and redemption, in a light that is at the same time glamorous and jagged. The title tracks of all six serve to tell a unified story, emphasizing and utilizing violence and love, fame and sensuality, as dual swords against the overarching idea of ❛  keeping sight of what's important in life.  ❜ Simultaneously, the 𝗠⎯𝗩𝗔𝗥𝗔𝗖𝗜Ó𝗡 was gaining their reputation of ❛  Angels of Death,  ❜ and themes took a more melancholic, ❛  scarred glory,  ❜ approach after.

　　Once 𝗦𝗡𝗛𝗠 began, the idea of ❛ eras  ❜ dissipated almost entirely, melted by the hot moon that would draw the tides of 𝗦𝗡𝗛𝗠— series. As of 𝟤𝟢𝟤𝟧, 𝗦𝗡𝗛𝗠 has three musical series: 𝗩𝗜𝗢𝗟𝗘𝗡𝗖𝗘 ❪  2020ー2024  ❫, 𝗟𝗢𝗩𝗘 𝗔𝗡𝗢𝗠𝗔𝗟𝗬 ❪  2018ー2022  ❫, and 𝗕𝗘𝗔𝗨𝗧𝗬 ❪  2024ー  ❫.  Each series is blunt in its title, which almost completely mirrors it focus, and each stands alone from the other, only connected under the umbrella concept of 𝗦𝗡𝗛𝗠. Unlike during 𝗠⎯𝗩𝗔𝗥𝗔𝗖𝗜Ó𝗡, these series are well known to the public and are so completely and utterly different in design, promotion, and style, that are easy distinguishable from one another. 

　　𝗟𝗢𝗩𝗘 𝗔𝗡𝗢𝗠𝗔𝗟𝗬, The Series, extends from xxxx ❪  2018  ❫ to the eponymous full album ❪  2022  ❫. The entire series focuses on, of course, ❛  love,  ❜ but more as a concept than a feeling; none of the songs included in the series ever really discuss being in love, and it's much rather treated as a concept, a instinct, a desire. The title track, ❛  skinz,  ❜ is loud and abrasive, but is supported by more subdued R＆B on the rest of the mini album. xxxx is titled as such for ❛  X—RATED,  ❜ though it is not explicit— instead, the title references the general concept, and reaches out to destigmatize the place that sexuality has in humans. Following is PINK TAPE ❪ 2019  ❫, the more implicit one— the dual-titles are ❛ BaD Sad and Mad,  ❜ purposefully captialized to exemplifed BDSM, and ❛ MONEY,  ❜ a tragically sensual exploration into exploitation and industry —Both songs are highlighted by a bruising refrain, and the overallvibe likens a hardship filled life to pleasure in hurt. Once again, there is no actual person—to—person love, or even sexuality; it is a love blurred by pain of life. 

 　　The final chapter, LOVE ANOMALY ❪  2022  ❫, is a visual album, literally, and was composed in its entirety by Ivory. The lead single, ❛  Watch,  ❜ is explicit in its depiction of a toxic relationship, which is ironic— the first song to depict love between humans in a series called 𝗟𝗢𝗩𝗘 𝗔𝗡𝗢𝗠𝗔𝗟𝗬, and there is hardly any love. LOVE ANOMALY is rather unique in that the album itself is a 8⎯track long experience of ambient, alternative, and electronic instrumentals, each with a corresponding part of the accompanying visual film, LOVING. the idea of '❛  love anomaly  ❜ explores taboos in love, and the film itself specifically explores these taboos in a raw, fearless sense.

　　𝗩𝗜𝗢𝗟𝗘𝗡𝗖𝗘, a series in four parts ❪  ACT 1, ACT 2, ACT FÍN PART 1, ACT FÍN PART 2  ❫, puts the theme right in the title each time— Modern Belief; Infinite Consciousness; Lines of Desire; and Chrysalis of Blood. ACT 1 reflects anger as a culture, the loss of innocence, and passive behavior towards violence, claiming it as a ❛  modern belief  ❜ and ❛  contemporary plague.  ❜ 𝗦𝗡𝗛𝗠, explicitly, in the context of the album, do not exclude themselves as believers or carriers. The SECOND ACT is a highspeed chase through a world of depravity and obsession, highlighting the ❛  masochistic allure ❜ and ❛  lowlifes ... in a Sin City—esque background.  ❜ ACT 3.1 and 3.2 were released separately, but eventually put into a collective full album. Taking on a more metal sound, it relates chaos and unpredictability, the blurring of lines, the addictives of life and pain, and negative rebirth.

　The third series, 𝗕𝗘𝗔𝗨𝗧𝗬 currently contains the singular release Beauty Op. 1 — HARMLESS ❪  2024  ❫, and is set to contain two more, including Beauty Op.2 — CARELESS ❪ 2025 ❫. The theme of 𝗕𝗘𝗔𝗨𝗧𝗬 most definitively lies in irony, and is not necessarily a continuation of 𝗩𝗜𝗢𝗟𝗘𝗡𝗖𝗘, but more of a ❛  opposite view.  ❜ The title track, ❛  HARM  ❜ is reflective and detailed in the depicition of redemption, of something once angelic in nature and now grotesque — exploring suchin romantic and humane contexts.  Op.1 and Op.2 are said to be mirror images of each other, the light and the dark, and likewise is to be expected of Op.3 and Op.4.

✶ ❳ ˒﹟ ۪ ֹ PART 𝟬𝟮.𝟰 ╱𝓢i͟l͟e͟n͟t͟ 𝓢un
━━━━━　　burns and 𝖻͟𝗂͟𝗇͟𝖽͟𝗌͟.

❚ ˖ 𓈒 ﹙SILENT SUN, or Silent Sun – I Love Everything Beautiful ❪  full title  ❫ is a 2021 psychological crime—thriller drama noir created, written, and directed by KOYA ASATO, based on the concept and lives of group SNHM's members and SUMIRE HONDAI's unpublished novel Beholder. The 18—episode first season was released on sainTV as well as on Netflix on October 1, 2021. The 10—episode second season was released on December 10, 2023. The 6—episode final season is to be released on January 30, 2025. 

　　A dangerous portrait of ambitions, desires, and temptations, Silent Sun: I Love Everything Beautiful chronicles the tumultuous and sordid innards of several lives that are pieced together by human—made horror, that of otherworldly prowess, and the rough, searing world of drugs and gang violence. The series follows Choi Ri–oh ❪  played by HAN DA BIN  ❫, an aspiring pop idol who finds herself entangled with SUN RECORDS, a record label et contemporary cult. As further interest in Ri–oh grows, she uncovers the bones of the company's mysterious success— a raging underground crime syndicate that harnesses an uncontrollable and dark evil.

　　The series is set in a ❛  near–present, future, and past  ❜ timeframe known collectively as ❛ Sometime,  ❜ in an unspecified set of locations each known as ❛ Another city.  ❜  Being based in the background's of each member, cultural context saw heavy emphasis, and thus the project collaborated with executive directors from the United States, Brazil, Japan, South Korea, China, and Taiwan. 

　　Following its release, SILENT SUN received mostly positive reviews from critics, who applauded its cinematography, editing, stylized use of graphic violence, visuals, and the performances of the SNHM members. 　　
　　

❛❛ Raw, visually haunting experience. ❜❜
❛❛ One of the most singular Asian projects in years. ❜❜
❛❛ A work that is itself in a state of constant, agitated transformation— . . . a nerve-racking masterpiece. ❜❜
❛❛ Surprising and fully gripping from beginning to end. ❜❜

　　The series' first two seasons, known as STUNG and PREY separately, take place in correspondent chronological order, with PREY begin the direct continuation. The upcoming third season, ORGAN, however, is the prologue to the first season, and is told in reverse chronological order, serving to tie up various loose ends and curios in the plot line. STUNG follows protagonist Ri–oh and her deeply tangled connection to SUN RECORDS and her interplay with the others involved in the cult enviornment as she traverses from ❛  lowlife  ❜ to ❛  princess. ❜ In the background, all characters are being preyed on by SAINT, an enigmatic entity which the cult ❪  Silent Sun  ❫ endorses. GLORY explores the aftermath of events that take place in the final five episodes of STUNG, and more closely integrates the idea of ❛  human made horror  ❜ and ❛  otherworldly salvation.  ❜ 

　　The final season, ORGAN, was intended to revolve around SUNG RI, the sibylline matriarch of SUN RECORDS, played by Riei Moritera; however, following her death in 2024, filming was temporarily halted, and the plot has been altered to fit a shorter timeline of six episodes as opposed to ten. In addition, the final season now revolves around a cast of different characters, in addition to the main cast and SNHM members. Filming of ORGAN took place alongside filming of PREY.

。 ' 𓉮ֶ ⎯ ♥︎̼̻ 𝐩hysical 　𝐜oncept 𓏔 .
including　all　that　is　tangible　
in　3D　, 　concerning　the　body　,
mind　,　and　enviornment. 

✶ ❳ ˒﹟ ۪ ֹ PART 𝟬𝟯.𝟭 ╱𝓛i͟f͟e͟ as 𝓐ntithesis
━━━━━━━━　　no start, no 𝖾͟𝗇͟𝖽͟.
🏴𝗪͟ 𝗔͟ 𝗥͟ 𝗡͟ 𝗜͟ ͟𝗡 G ʾ ๋. as stated at the top.

❚ ˖ 𓈒 ﹙IT'S NO SECRET that the personal lives of nothing short of tumultuous; explosive; chaotic — however, it might come as a surprise how much of it is ❛  by design. ❜ Though there was no surefire prediction, in the method RIEI utilized for cultivating 𝗠⎯𝗩𝗔𝗥𝗔𝗖𝗜Ó𝗡 ⎯ that is, the less than refined scope of ❛ severed mentalities; ❜ identifying and preying on psychological fragilities and, rather than offering help or stability, idolizing them in some twisted glorification and romanitisation. This ideal was only fueled with the group recieving the moniker of ❛ FALLEN ANGELS ❜ and the subsequent branding of ❛ idol's antithesis. ❜

an・tith・e・sis／anˈtiTHəsəs／
n.
a person or thing that is the direct opposite of someone or something else.

　　In theory, the enviornment of 𝗦𝗡𝗛𝗠 is rather chaotic and indulgent, offering a deeper ❛ Sin City ❜ vibe where restraints are no more, a type of hedonistic freedom that is often dirtier and darker than what one would consider an ❛ idol. ❜ The reality of 𝗦𝗡𝗛𝗠, in contrast and comparison, contains the delicate yet sordid, chaotic yet unconventionally beautiful dynamic, but reflects more a sense of brokeness and entrapment. 

　　The group was born out of a rather unethical ❛  social exploration project,  ❜ involving the collection and exploitation of mental illness in young boys, resulting in this commondification of trauma that uses these scars as ❛  art.  ❜ The suffering of the members is presented as raw and ugly, yet irrefutably beautiful, incorporated into their performances, songs, and concepts, their very being and musical identity. As one could imagine, the act of turning something as utterly traumatic as the pasts of the 𝗦𝗡𝗛𝗠 into a means for commodity, for a ❛  concept,  ❜ became a nightmare — everything is fine, until the mentally ill boys you chose for the aesthetic of it all start to act mentally ill.

　　Neither 𝗠⎯𝗩𝗔𝗥𝗔𝗖𝗜Ó𝗡 nor 𝗦𝗡𝗛𝗠 was ever something RIEI or KOKORO could ever truly control, no matter their efforts, as the individual psyches of all seventeen members were — are — volatile, unique; there is no one size fits all, and there can't be, not with the sheer diversity that RIEI intentionally sought to cultivate, gathering boys from all walks of lowlife. There is no normal, no eye of purity, no window of grace — they were in a bad place to start, and they will just continue to fall deeper. That's the point. 

　　The cultivation, twelve years later, is a vision of chaotic harmony at a complex point between total destruction and effulgent glory. In that, while largely popular, the members of 𝗦𝗡𝗛𝗠 have rather varied stances on their success and careers as a whole — seeing it as either ❛  the worst and best thing to ever happen to me  ❜  or simply ❛  definitely not what I had expected,  ❜ — probably because they are, mostly, mid— or early—twenties with rather intricate and, frankly, soul crushing, vices, illnesses, secrets, and stories; there is no hero, and there never will be.　Lines blur, between glory and pain, love and violence, salvation and damnation, sickness, something sordid and crimson red seeping into their relationships, mindsets, bodies and souls — consumption at its finest. 

If the rot consumes the beauty, whose to say it isn't beautiful?

🏳️𝖨͟ 𝖬͟ 𝖯͟ 𝖫͟ 𝖨͟ 𝖢͟ 𝖨͟ 𝖳͟ ʾ ๋ ❪ not plainly expressed; figurative.

　　Every thing that could get worse, will. In just the current 𝗦𝗡𝗛𝗠 lineup, there are sinners beyond deliverance, secrets like rough black water, tides at night — the violent, the bloodstained, figuratively and literally. ❛  Vice  ❜ does not begin to cover it. Each member was targeted for their weakness, their identity, what they could become and what they represented — Alice for his fall from acclaim, desperation unraveled; Euiyoung for his love of bittersweet escapes, a devil lost in heaven; Hui, who traded beauty for life and money, rose—tinted glass cutting into palm; Rosirld, silent and tolerant, the romance of it all, the perfect witness; Haru who fell onto the sunrays of his dreams, only to melt his own wings; Sulle, already captive to some god of violence and chaos, to be the catalyst; Ji chan, for his everlasting willingness, skin marked with ❛ no sin ❜ and ❛ no fault, ❜ pulled like taut wire; Xingxia, as the red light, the self—detonating bomb, more & more, never enough; Dahi, who sees the beauty in highs and lows, the sheer—white—flash before the end; Ivory, martyr—boy and young God, too much love and too much tenderness in the wrong places; Yoonha for his raw and unrepeatable innocence, the wanting, the impressionability, the fallen lily petals crushed under boot.

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🏴𝖤͟ 𝖷͟ 𝖯͟ 𝖫͟ 𝖨͟ 𝖢͟ 𝖨͟ 𝖳͟ ʾ ๋ ❪ stated clearly — as best as possible.

　　In a less representative sense, every member, for the most part, does suffer from something, and in due time, it will undo them, little by little, Snake in Eden.

　𝗜. Arisu from perfectionism, from himself, really, the weight of disappointment — from himself, perhaps the members, his father, anyone — always hanging around the corner, threatening to crush him. Therefore, he must be perfect, invincible.
　𝗜𝗜. Aiki, the life—long listener to a haunting symphony, of glasses clinking over and over, liquid sloshing. Though he maintains his longest clean streak, the environment, the sheer air, of 𝗦𝗡𝗛𝗠 is laced with temptation, and really, he's been in alcoholism longer than he hasn't. 
　𝗜𝗜𝗜. If asked, Hui would claim they suffer from nothing, and that in of itself is an ailment — the inability to see things clearly, as they are. Not everything can be pushed to the positive edge, not everything can be swallowed and chased with a happy pill. One day, they will choke.
　𝗜𝗩. Cosme lives in the silk black veil of silence, of avoidance, his own existence a tragic dance between him and his life itself. Suffering from something, most akin to Avoidant Personality Disorder and Schizoid Personality Disorder, he exists in complexity, suffocating in repressed feelings.
　𝗩. Just as the sun rises and sets, Royal is enclosed between his moments of effulgence, burning bright, and the smoldering smoke left behind. He was stripped of his Moon, too early, too quick, the tides all rushing weak. His anger burns, it fills, it smokes.
　𝗩𝗜. Ruihe, much like everyone around him, suffers from himself. He considers his body dead, himself a different ❛  thing   ❜ entirely, something outside of human; he is a lifelong victim of violence— from his father, from his classmates, from himself. Abuse, Ouroborous; no beginning, no end.
　𝗩𝗜𝗜. Going on record as having ❛ nothing to be guilty for, ❜ Jukyoung has a reputation to uphold, though he is wearing a false skin, stretched so thin his reality seeps through. Jukyoung, ironically titled the ❛ most normal, ❜ is actually incapable of feeling remorse. 
　𝗩𝗜𝗜𝗜. Xuanzi, the time—bomb, the boy who self—changed his name to ❛ mysterious child, ❜ is just that, something enigmatic and reckless, someone who grew up too wild and too fast. His biggest flaw lies in his lack of control, that void— what amount of substance will fill a hole that was never full?
　𝗜𝗫. Hiroto himself lives in a world of two polars, fighting for control of his own life everyday, viewing it as a garden for him to tend to and curate in a loop: It's overwatered (Low). Start over with new flowers (High). Ripping it up and starting again (High). The blooms wilt so easy (Low). Hands dirty, soil under nails.
　𝗫. Second to only the man himself, nobody suffers from Ruihe as much as Hadrien. Love is his illness, his devotion like white lace, white gauze— and whatever Ruihe has for him, what he calls as ❛ love, ❜ stains it like blood. And what is it that Hadrien suffers? Worship.
　𝗫𝗜. Seia, sweet lily — always impressionable, always wanting, forever stuck in his youth. Seia is mentally and emotionally immature, from a medical standpoint, but nobody seems to care so long as he continues to physically mature. It's a sick dance; Seia will give and give, and the audience will take and take.

© 𝗜𝗖𝗘𝗬𝗩𝗘𝗦 🐇 𝟸𝙾𝟸5. all rights reserved. ⭑⭑
layout／ ▬▬ ✶mine!
credits／ ▬▬ ✶none.
filter ／ ▬▬ ✶ lily. stained silk.