Natural Snow Buildings

albumoftheyear.org/user/supertartory/album/183523-aldebaran

3 de setembro de
2020

Aldebaran

Furry music
6d ago

100

We’ve finally arrived, the final frontier.

Aldebaran is NSB’s most recent release, being released in 2016, it’s another 6 hour
album. While not as long as Daughter of Darkness, the similarities to both albums are
incredibly prominent. Aldebaran feels like a direct twin to Daughter of Darkness, they
go hand in hand, in many ways. Aldebaran is an incredibly difficult album to describe, I
listened to the entire thing in one sitting, starting from 11 AM today and finishing at
around 5 PM. I did nothing else during those 6 hours apart from lie there and listen to
it. My journey began quite normally, I was going to get food while the music was
playing, most of disc one and two were done while I was sitting up and eating, browsing
Twitter and talking to some people on Discord, but as the album progressed, slowly, I
began to sink back into my bed, lying down, closing my eyes, and soaking these sounds
in. This sounds unlike anything the band have ever released. It feels like the band
putting together everything that makes them amazing into one long album. Every single
song feels unique in its hypnotic, spiralling droning. From beginning to end multiple
genres are blended together to create what I would consider to be, Natural Snow
Building’s magnum opus.

Now that doesn’t imply I prefer this over The Winter Ray, as I do not, I still firmly
believe that that is their best album, but this album feels like everything amazing about
the band put into one bottomless package. It feels like their final goodbye before sailing
into the sun. I mean, hell, just look at the album cover. While we know this isn’t the
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band’s final album, it definitely comes across that way, with it being the length that it is,
plus the cover arts and the song titles. It all feels like the end of the world, but the world
won’t go out with a bang, it will go out in a whimper.

Going all the way back to the band’s first albums we can see a very obvious evolution of
noise and sound, starting by using a lot more vocal passages, regular song structures
and sampling, NSB began as a noise-pop, post-rock, drone group. As they continued to
find their sound on the next couple of albums they then came out with The Winter Ray
which would mark the end of the first phase for the band, the post-rock phase. The
Winter Ray was a perfect example of post-rock and drone blended together, telling a
story of the world post-nuclear winter. An album that feels so lonely and cold that it
sends chills through your body. They then started going down a dronier route with The
Dance of the Moon and the Sun. This is what most people consider to be their best
album, and is also their best starting point besides Daughter of Darkness. The Dance of
the Sun and the Moon remains to be one of their best albums, featuring everything that
makes the band great back then and today. It’s a flawless work of art, and it showcases
their shift from post-rock to a more drone-y approach, this was then fully realised in
2008.

2008 was an incredibly prolific year for the band, they released upwards of 10 albums
(and that’s not including the two EPs that were released as well). All of these albums
were incredibly drone-y and also quite experimental, albums like Laurie Bird and Sung
to the North were albums with incredibly long drone passages but featured inspiration
from Moon and the Sun in their atmospheres and sound. Both of them came across as
utterly beautiful and their moods were portrayed perfectly, but looking at Sung to the
North, a lot more noise can be heard, they were experimenting further with noise and to
see how far they could push that boundary. We then got Night Coercion Into the
Company of Witches, a 3-hour noise-drone album that is as relentless as it sounds. This
was the band really pushing those limits, going as far as they could at that time, and it
worked. Once again their storytelling through sound alone worked and they created
further masterpieces through albums like Night Coercion and Laurie Bird, their
influence on themselves were unmatched. Further albums were released in 2008,
albums like Between the Real and the Shadow, The Wheel of Sharp Daggers and the
very well received Snowbringer Cult, all of which include a high amount of
experimentation, while still not taking away the foundations of the band. They were still
full of life, and the influence their older material had was still here, still burning.

This saga then comes to a close in 2009 where their most infamous release came to
fruition. Daughter of Darkness was released in 2009 as a 6 cassette-drone epic. It was
something the band had never done before, and they wanted to see how far they could
really go, pushing the limits of not just themselves but music as a whole. How far could
they go before it would become contrived, or dull? Does an album even really need an
ending? Daughter of Darkness combined that noisiness that the band were
experimenting with up to this point and incorporated their older sounds into it too,
creating a 7 and a half hour epic that depicted the demons of Hell invading our world
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and ending all life as we know it, the catalyst of this disaster being the titular Daughter
of Darkness. The album is relentless and showcases practically everything the band had
to offer up to that point, and it gained a lot of traction, a lot more than their previous
releases had. That same year they also decided to experiment further, in a different way.
The band had always created their own artworks, as Solange (one of the two members
of the band, also known as Isengrind) was an artist, and she had drawn all the covers up
to this point, and still does to this day. That same year they released The Shadow
Kingdom, which while wasn’t nearly as long as its darker sister, the album was a lot
more contained and had a direct plot to it. The album also came with a comic explaining
the plot of the album. The comic was made by Solange once again and was another
venture in experimentation, instead of a musical venture they instead went for a
physical venture.

“We think it is very important to have something to look at and even to touch when
you’re listening to music. It’s a lot of work, but a decent amount of as long as it’s limited
to 30. And when it’s limited you can add some extras like hand drawings that’ll make
each copy unique. The creation of the layout is the most difficult part in the artwork,
how to make it happen at home with a regular printer, a scanner and a computer. Then
to assemble the whole thing. Even in a limited quantity, it’s always time-consuming. But
it’s worth doing it when you see the result. As for the ideas behind the art, and for all the
releases we’ve done, our collaboration on artwork is pretty loose so is finally the relation
between music and artworks. Some links are obvious (duality of the moon and the sun,
circular figures for “The Dance of the Moon and the Sun”), others are more obscure (the
rabbit on first TwinSisterMoon cover)”

As that saga comes to a close, as they’ve pushed themselves through boundaries and
created yet, another masterpiece they lay low for a little. 2010 was a less than prolific
year with only one major release in The Centauri Agent, while not a complete departure
from their style up to this point a significant difference can be heard in how subdued it
is. While that opening track is still nearly an hour long, the rest of the album has a lot
more of a subdued nature, feeling like wandering an empty planet for life, anywhere…
just to see anyone at all… please. The Centauri Agent to me, seems to be one of the
biggest inspirations for Aldebaran, in the sense that Centauri is meant to be a sprawling
space-drone epic, and while it definitely feels spacious… epic maybe isn’t the right term.
I personally didn’t like it as much as I’d hoped, but it’s still a solid album, but it marked
the beginning of a new saga, one that would really get into gear by their next three
releases.

We then get into 2011 and 2012 in which we get what I would consider the “underwater
trilogy”. This trilogy includes Chants of Niflheim, Waves of the Random Sea and finally
Beyond the Veil. While all three of these albums are different in some aspects, their
biggest connection is their themes and how they sound portraying those themes. All
three of these albums are centred around the ocean, around water, and all three of them
use that theme in the music itself, sounding as if you’re drowning, or being swept under,
deep, deep under. It was yet another venture in experimentation, this time though
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ditching the noisier side of the droning, going for a lot cleaner of a sound. Chants of
Niflheim really kickstarted this with its long drawn out, quite clean and tranquil
droning, while Waves of the Random Sea took a different approach and brought back
more post-rock elements and sampling. Do the band want to get back to their roots? We
then get Beyond the Veil which is the quintessential album of this trilogy, it combines
what made both of the previous albums great and creates a record that really does feel
like sinking underwater, watching buildings float past you as you slowly make your way
to the bottom, to rest, for good. It’s one of their cleanest sounding records, not feeling
chaotic or sporadic, instead coming off as very contained, quite relaxed but still,
incredibly ominous.

The world won’t go out with a bang, but with a whimper…

As we close in on the present day, we see older NSB albums being repressed and
rereleased. DoD and Night Coercion especially, we see these two albums and others
being rereleased with higher quality mixes, new songs not on the original album,
especially with DoD as this repressing includes Daughter of Darkness V, the tape which
was released after the album was released. It’s all here in an 8 LP package (which I do
own personally). The band were getting bigger than they had ever been, people were
seeing their music and listening to it. Their next venture was then The Night Country,
an album incorporating the elements they had found on their previous set of albums
but also a record that seeped back to their roots… all the way back to their debut
cassette. The Night Country came in 2014, after a short hiatus from the band, they
return with quite a new sound, a new sound shrouded in influence by their oldest
sounds. The Night Country comes off as an album shrouded in mystery, horror, murder.
An album centred around the themes of horror movies and sounding like them too. A
sound that was incredibly similar to what they had done in the past on their debut
cassette, only this time with a lot more production value and knowledge of how to make
music. They had been doing this for over a decade at this point, so maybe they wanted
to head back to their roots and give it one last shot… or maybe a couple.

Terror’s Horns arrives in 2015, probably their most accessible album, it’s short, it’s
sweet and it does showcase a lot of what the band have to offer. It seemed like the
beginning of a new era, a new beginning with a newer sound, but that wasn’t the case.
The album itself didn’t sound dissimilar to the albums they had released prior, most
prominently Beyond the Veil and The Night Country. It had that horror-feel to it that
the band really clung to, and it worked for them greatly! The album, although short still
managed to pack a punch of sorts, and so did the b-sides that came with the album, in
the form of The Ladder. Both albums can be seen as connected to each other, and could
even be played consecutively. They’re both relatively easy listens with relatively good
songs, but what had the band in store for us next?
Something we probably didn’t expect…

We then get to 2016, and the album we are listening to today is released. Aldebaran; a 6
hour long Lovecraftian epic as described by the band themselves. It came out of
nowhere, and took most people I’m sure by surprise. The band are good at doing that.
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Aldebaran has since been the final record from the band as of writing, the date today is
the third of September 2020 and from this day onwards I have finished Natural Snow
Buildings’ discography.

I’m sure most people wouldn’t celebrate as much as I did when finishing a band’s
discography, but this band felt different. Not only was their discography daunting in
length (almost 30 albums) but it also wasn’t really documented by anyone, while there
were RYM reviews scattered about and some who had listened to the entire
discography, it was nothing like a band like Swans or Car Seat Headrest, artists with a
huge amount of albums but still mainstream enough for people to have binged their
discographies. Natural Snow Buildings just aren’t that. I began listening to their
discography when I finished listening to Daughter of Darkness, which was way back in
the beginning of this year. A lot has happened since then, a lot has happened to me, to
people around me and less importantly, my perception of this band. NSB are more than
just a drone band, they are an incredibly important band to me, and to others. Their
music being incredible and entrancing, each album having something to come back to,
most of them being nearly flawless. They have one of the best discographies I have ever
seen, hardly was I disappointed enough to dislike an album. NSB are a machine and
they never stopped hitting, and that continues all the way onto Aldebaran.

As I said at the beginning of this writeup, Aldebaran is very difficult to describe, as it’s
so drastically different to anything that comes before it, yet it still feels vaguely familiar.
Aldebaran combines everything that the band have done up to this point, from their
inception to Terror’s Horns, all their influences from their previous works are all shown
here, in all 6 hours we see everything that they have ever done, and hearing it from the
perspective of someone who has listened to everything they have released under this
moniker, it feels amazing. It feels rewarding, it feels liberating. Aldebaran feels like the
perfect Natural Snow Buildings album, the perfect drone album. It incorporates
everything that makes an album like this great and doesn’t hold back. Aldebaran is
Solange and Mehdi once again experimenting, seeing how far they can push the limits
of everything. They made an album comparable to the scope of Daughter of Darkness,
an album that could even be vaster than Daughter of Darkness. An album shrouded in
the fog of the great cannibal God Aldebaran. An album that feels like the polar opposite
to Daughter of Darkness.

I think the best way to really say this is if we look back at their two most prominent
albums, those being Daughter of Darkness and The Dance of the Moon and the Sun.
One of the biggest things these albums have in common, is what they don’t. Both
albums feel like polar opposites to each other, one is dark, noisy and terrifying, while
the other is tranquil, ethereal and beautiful. Daughter of Darkness couldn’t have a song
like Wisconsin, and The Dance of the Moon and the Sun couldn’t have a song like Her
Face is Not Her Real Face. It just wouldn’t work.

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Aldebaran changes that though. It manages to combine the horror-scope of Daughter of
Darkness and the tranquillity of The Dance of the Moon and the Sun, and it combines
them both flawlessly. Something I didn’t think would either work or be possible in
general, but the band have always pushed limits, have they not? Aldebaran includes
both, some of the most haunting material they have released to date and the most
beautiful. I did cry to this album, while listening. I can tell you when exactly it was too.
It was on the third disc, as I was sinking into the music fully, lying in bed with my eyes
closed, the song Teen Psychics #2 came on. I say this with a whole heart but this is the
best song the band have ever released. It is one of the most beautiful things I have ever
listened to, and upon first hearing it, I was blown away completely. I was floored. The
song feels like a song off of The Dance of the Moon and the Sun, but there’s a fog over it,
cloudy guitars strum in the distance through the dense, dense drone. It feels ethereal
and, coming in at around the middle point of the album, it works. At that point I was
already sunk into the album, and to hear that, at my highest point, just blew me away. It
was from that song alone I could say that this was Natural Snow Building’s magnum
opus. This was the most advanced thing they had ever released, the most influential, the
best thing. It combines every era the band have had into one long journey through
space. They do say if you go fast enough you’ll end up going back in time. I’d like to
believe that Aldebaran is the soundtrack to that.

Getting into your suit, and into the rocket that will send you off, scared but ready. You
get in and sit down at the main control panel. The main office checks in on you, making
sure everything is set, and everything is ready for lift off. You flick some switches, and
press some buttons, and you’re ready to go. You hear the thrusters of the rocket start to
power on, before you’re lifted off the ground and into the air, into the sky, into the stars.
As you sit back and try to relax, looking at the scenery from your pod, watching the stars
float by and the other debris that space has to offer. You get another message from
ground control, asking if you’re ready to take the next step. An experiment that had
never been done before, one that could result in your death, but you wouldn’t have
signed up if you hadn’t known that already. What do you have to lose? You answer.
“I’m ready.”
And with that the speed picks up, you start to go faster, feeling your body heat up from
the inside out, feeling your face grow read and tears form on your cheeks. The stars
start to fly past you, turning into a blur of white lights, occasional banging can be heard
from debris hitting the side of the shuttle, but they stop after a couple of minutes, you’re
going so fast that the rocks burn up before hitting the capsule, still you go faster. The
heat start to die down, you can feel your body again and as you look around you see
nothing but white scream past you, no other light seeping in. You sit there, looking at
your hands, your legs, your entire body, and you can see little to no change in anything.
What you had expected to happen, from the intense heat that had overcome the entire
capsule, hadn’t. You were completely fine, albeit a little lightheaded.

It then occurs to you that, you can’t feel the rocket move anymore, it feels stationary.
Yet you’re certain you are still moving, so you check the engines, and as you expected,
the vessel was still moving, almost reaching past lightspeed. You look up again and see
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the stream of white ahead of you, the stars now blurring into one, into nothing at all.
But without a second notice, they’re gone. Nothing. All that’s left in front of you now is
nothing. No light, no dark, but you continue to move onwards. You’ve past the speed in
which light can catch up to you. You are now moving faster than the speed of light. Too
fast for the universe to catch up, too fast for anything to catch up. You can feel yourself
grow heavy, dizzy, as if the universe itself is telling you that you shouldn’t have done
this. The engine still going, faster and faster, you still feel nothing, you feel completely
numb. It took you this long but only now have you realised you aren’t even breathing
anymore, each breath you take, nothing enters and nothing leaves. You’re going too fast
for your body to comprehend the passage of anything. The one thing that still works
though, is your mind, you can still think clearly, in fact you can think clearer than any
other time in your life. You remember back to what your father had told you, it was a
couple of weeks before he disappeared, but it stuck with you.
“Time is finite. Time can be bent and controlled by us, we just have to figure out the
technology to do it. We know that the universe is finite, so wouldn’t time be? We know
that it is possible to travel faster than the speed of light, and sound. We can bend time
and make it do what we want. We could bring back the dead! We could do so many
amazing things with this power… but it could also bring great harm to all. We could kill
people before they even existed, alter the course of history and ultimately the future.
Any country with the money to do so could bend time enough in which their entire
histories are erased of all things bad. We could erase entire countries. Forget they even
existed.
It’s an experiment that so many scientists fear to do, because if this theory turns to be
true, then it could cause the end of all things as we know it. If time truly is finite, as we
believe it to be, we could change everything in a matter of moments, less than the time it
takes you to blink, you could be gone, I could be gone.”

He had disappeared a few weeks later, no one was sure what had even happened, one
day he was there, and the next… gone. It was as if he had never been there in the first
place. He had coined this experiment, had it funded by the US military, begrudgingly of
course, and with the prerequisite being that we keep it hush hush. No one was to know
about what we were doing, as, as he had said, if it got into the wrong hands, then the
world could cease to exist as we know it. But then another thought came to mind,
overhearing a conversation that your father had had with a higher ranking officer.
“Look, if we know that this theory is true then think of all the amazing things we could
do!”
“I don’t think you fully understand the weight of this experiment and possible outcomes
this could cause, sir.”
“Look, isn’t it obvious already, we were meant to do this! Would America not be a
dominating power today if it weren’t! It’s obvious isn’t it?”
“I’m not quite sure I understand where you’re coming from sir.”
“America is a relatively new country, is it not? We came from nothing and have become
one of the most powerful countries in the world, is it not obvious yet? We have already
discovered this. We know this exists because we’ve already done it! We have already
bent time in our favour. We won the wars, we took over everything. We dominate this
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planet! And always have!”
There was silence then for a couple minutes, before the higher ranking officer walked
out of the room. This was a few days before your father went missing. He was the head
of this experiment, and he wanted you to be the one to complete it, if anything were to
happen to him.
“People are going to be out to get me, people are going to not want me to do this, but we
have to! Not just for science but for the greater good! People don’t want to know the
truth of humanity, but I know it. I know what we achieve in the future, because this is
the future. Time is finite, and time is ours to play with. Some people just don’t want to
accept that fact.”

Looking out the window again, you see something in the distance, you run to the front
panel and stare, dumbfounded at what you see. Not just the fact that it is something out
here, in a place where nothing can exist and nothing will exist. You are outside the
boundaries of both time and space, you are in a realm that does not exist, but yet you
still see something in the distance, and you’re getting closer to it. It looks to be a
celestial body, a planet maybe? No, it couldn’t be. You continue to stare, as the engines
continue to get faster and faster, your only telling of this being the numbers on the
screens going higher and higher, you still feel nothing at all. You can’t even feel your
heart beat anymore.
As you get close you start to make out more features. It’s not a planet, at least not one
that you had ever seen. It was a head, a face. You could make out two sockets where its
eyes were supposed to be, but instead empty voids in which nothing can enter nor
escape, its mouth almost humanlike, pursed and stern, but that wasn’t the part that
frightened you the most. It was everything above the eyes, or at least… the first pair of
them.

Above the head on what you can only assume to be its hair are hundreds if not
thousands of eyes, all staring at you intently. Glaring into your very soul. At that
moment you feel your heart beat, only once, but that sound fills the entire room, the
only sound that you had heard for what felt like an eternity.
But, wait… that doesn’t make any sense. How could you have heard your own heartbeat
out here, was it a placebo? Was it just your head playing tricks on you? Or were you
somewhere… completely different. Ahead of you, you still see nothing but eternal
darkness, the only thing breaking that wall was the head, growing ever closer. Fear fills
you as you anticipate what might happen once you get close enough. You never
considered yourself to be a religious person, but at that moment, you knew what you
were looking at was a god. A being outside of every realm, every plain, everywhere.

Suddenly the ship stops, your only telling of this is the numbers on the screens drop to a
zero. While you feel no whiplash or any jolt of movement, you know that you’ve
stopped, and you know exactly what stopped you too. You look out the window once
again and ahead of you, you can see that face staring at you, this deity staring at you.
You’re not supposed to be here. This is a realm far beyond anything you could ever
comprehend. You need to leave.
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The door opens on its own, you watch it slowly open and you walk to the entrance. You
look out and see the full scope of this being, it was bigger than anything you had ever
seen, bigger than any planet. It was looking at you. Only you. You walk out of the ship
and into the nothingness, you feel yourself still walking as you leave, as if there were a
platform to stand on. You walk out into the full view of this being, looking back up at its
unending gaze.
“Aldebaran, the cannibal sun. The one true deity that oversees all. It sees you outside of
its all. You have breached the seal of time; you have entered a realm past your
understanding. Why?”
You hear it speak, no sound comes from anywhere but inside of your head, are you
imagining all of this? No, you couldn’t be. You look up at this God-like entity and it
continues to look back, all of its eyes sending glares from Hell towards you.
“I want answers! I need to know what happened to my father, please… he wanted to do
this trip himself, but he disappeared only days before we were going to conduct the trip.
He said he wanted me to do it, if he couldn’t. I want to know what happened to him,
where he went.”
It looks at you for a moment, you can tell that its gaze shifts from an analytic one to a
more understanding one. Still, it stares deep into your soul, but you can’t look away. All
of those eyes glaring down at you, each one seemingly with their own personalities and
thoughts, each one an individual soul judging you silently.
“Your father wanted the answers to questions that he shouldn’t have ever asked. He had
theorised that time itself was finite. That time itself was nothing more than a construct
created by some higher being.”
It paused for a moment before continuing.
“And he was right.”

With that you feel yourself fall from the platform you stood on, panicking you try to grip
onto anything around you, grabbing onto what feels to be a branch. Dangling now above
the unending darkness below you, you look back up at Aldebaran.
“Where am I?”
You ask, inquisitively but scared to know the answer.
“You are outside of everything. You are outside of everything that I oversee. You are in a
domain that you could never comprehend, but just know that, you are in a place that
your father knew existed. Your father had the answers to his own questions, he just
hadn’t realised yet.”
You pull yourself up from the branch and onto another platform, slowly beginning to
realise how this place worked. Everything that you thought came to fruition. If you
believed that there was a platform below you, there would be, and you would be able to
stand on it, this was a realm where no boundaries were in place, as they could never
exist. All that can exist is what you can comprehend.
You start to walk forwards, and upwards towards the face of Aldebaran. It watches you
with curious eyes.
“Have you found the answers as well yet?” It asks, knowing fully well what the answer
was. You continue to walk closer until you stand right before the deity, right. You stand
next to its eyes, its hundreds of souls staring at you. You look below you and see the rest
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of the head still there, facing the direction of your vessel, but the eyes are on where you
stand now. They followed you up these steps and now anticipate your next move.
“Your father knew it all. He had studied it all for what you would consider to be decades.
I saw him, with every breakthrough he made. I knew what would happen next though. I
see all. Past, present and future. All of it sits in my grasp as I oversee everything. I make
sure that everything stays just how it is supposed to. Making sure no one gets out of
line, no one tries to break out. Your father was on the cusp of figuring out something
great. Something bigger than not just him but the entirety of humanity. It was
something too great.
He killed himself. He had done the research, and had figured it all out but, he couldn’t
go through with it. He couldn’t bring himself to find out if he was correct. He couldn’t
bring himself to believe that nothing mattered to him, or anyone else. It was all already
laid out, his life a linear path he had to follow. His death was also linear. He never did
stray off that path. I knew what was coming to him, and I saw it happen. He wasn’t a
fool, he was in fact one of the smartest people I have ever witnessed. In all my time
spent sitting here, or what you would call time, watching over you, he was the one who
figured it all out. But he couldn’t handle it, could anyone? He disappeared one night.
His body never found though, as you know.”
You continued to stare into its eyes, your body filling with emotion and intense feelings,
you feel yourself losing balance of where you stand, as your mind begins to falter.
“I am not meant to step in on anything that you do, I am only an observer, and to make
sure everything stays as it is meant to. I took his body, once he had died and I removed
it. I didn’t want people to find it, find what he had done to it, what he had tried to do.
With him he took all of his notes, all of his studies. He didn’t want anyone to know
about this. He couldn’t let anyone know about this. He killed himself as the moon was
above him, standing in the open. He knew I would step in.
I erased him. All evidence that he had studied me or time itself was gone, and no one
could find any of it. I made sure no one would make the same mistake as him.” It
paused again, watching you struggle to maintain your balance.
“But here you are. You beat the odds, and have arrived before me. Was it blissful
unawareness that got you here? Your father never told you the scope of what he knew,
only the tip of the iceberg. If you had known I would be waiting for you, would you have
come?
Maybe you would’ve. You wanted answers, and you hoped that this trip would get you
some. I hope that I have managed to quell that need. I will take you back to your plain.
Back to where you should be. I can see what happens to you next, but I cannot say what
that is. Telling you would only make it more painful.”
You stand there, maintaining balance now, but stood, completely still, staring into the
all-seeing eyes of Aldebaran. Not saying a word, but knowing exactly what it means. You
know what happens next.
We all know what happens next.

Aldebaran the cannibal sun, overseer of all. Sits and watches everything that has ever
happened, and ever will happen. It watches you, it watches what you will do and what
you have done. It is not a malicious being. It only serves as an overseer. It’s what some
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people might refer to as “God”. Aldebaran is a God, and it sits outside of everything we
could ever know. We can’t ever know about it, or where it lies. Not because it will get
angry at you, or punish you, but because we all know what would happen. Humans can’t
comprehend that information, and Aldebaran knows that. It will make sure we don’t
ever truly find out what the truth is, for it would kill us, and take everything along with
it.

Aldebaran the cannibal sun is a watcher, and it keeps us safe from knowing what we
mustn’t know.

https://imgur.com/a/hJmYjnA
9

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