A while back I was messing around with the Wayback Machine & came across this diamond in the rough on AP's MySpace page. Also found some photos, but most importantly, a track-by-track [Armed To The Teeth] interview from Sony Connect that they did back in '05 (presumably around the same time they did the Sony Connect set with the acoustic songs).
In the interview, Tommy tells the story behind each track on Armed To The Teeth (except Lucky). You'll also find tidbits about the process, lyrically & sonically of these songs, and much more!
If you want to read it/see it from the "raw" source and discover more, here's a link with the Wayback's capture I found on the interview blog: https://web.archive.org/web/20071005015435/http://www.myspace.com/abandonedpools
Now without further ado, the Sonic Connect Interview:
A track by track discussion of Armed to the Teeth from the Sony Connect Store interview:
LETHAL KILLERS TW: As far as how that [demo of the] song was constructed ... I did this trick where I would take a half-time drum loop and sort of nudge it one way and then put in another track and nudge it the other, and we got this sort of double time, rolling drum feel. So that - plus the sort of round-robin type of guitar parts that we have going - was sort of a very easy construction for a song. And then you start moving the bass part around, and, boom, you've got a song.
But I think that lyrically - I want to make it clear that that song isn't necessarily [about] "church is bad, government's bad." I think it's a little bit more complicated than that, though sometimes if you mix the two of religious power and government power, that can be bad for both of them. And I kinda like the idea of not living a life saying, "Well, you better live life in a certain way because then, you know, everything's gonna be great later in heaven." You know, the idea of, like, if this is all we have now, if that idea was just a little bit more embraced, our world could be a little bit better. I just find that a little bit more satisfying, too, if you think like, this is all you have and then you're gonna die. [Laughs] It seems a little bit more like, "Oh, okay, well!" instead of, like, thinking that there's some other life at some other time and you can put things off.
RABBLE TW: Well, a lot of the songs on this record - about two-thirds of it - have to do with a relationship I had that went south, and you know when you go through relationships you always have such a good 20/20 hindsight about things. And I think "Rabble" is just trying to basically say to somebody, "I just wanted to know you better" . . . It's just one of those things where, with this relationship in particular, I wish it would have turned out better. And there's a lot of things that happened that shouldn't have happened, and it's just sort of one of those "oh, what could have been?" scenarios.
THE CATALYST TW: "The Catalyst" is definitely along the same lines. I think the main line in that one is "I wish I could say something beautiful to make you fall in love again." There's a Coachella reference in there, too: "Love has slowly faded away like spotlights shining into space." Have you ever been to Coachella? Of course you have. You know, there's all those spotlights that shoot up in the air. I just thought that was kinda cool, like, how far do those lights really go? "The Catalyst" was also the last song written for the record. It was demoed while we were in the studio. And it's one of those songs that I said two-thirds of the record was written for somebody. That's one of them.
TIGHTER NOOSE TW: "Tighter Noose" is the oldest song on the record by far. It was probably written back in '99, 2000, or somewhere in there. I was thinking about it for the first record [2001's Humanistic], but it didn't really fit in with those kind of songs, so I kept it around and we'd even play it live occasionally. I think it fits in with these songs way better. [As for what "Tighter Noose" is about,] that song is one of those breaking-off-on-your-own- what-have-you-got-to-lose kind of things, because that was written sort of in the wake of when I was in The Eels. It wasn't a terribly happy situation, so I was like, well screw it, I'm just gonna go off and do my own thing. And then it's sort of like, well, you know: "I'm gonna go start my own thing. Uh, I have to learn to sing and write songs now." [Laughs] It's kinda funny: "Screw you guys! I'm gonna go get a deal!" And then like, "Uh oh." But really, I'm a firm believer in that [idea that] you just gotta go for it. And so it was like, well, this is gonna be difficult, but it's gonna be better than what I had before. And actually, with some distance on that situation, I realized I made the right decision and made a lot more money and was a lot more happy as a result. So that was sort of a leap of faith, you know. I didn't want to be someone's stupid bass player. Now I'm my own stupid bass player.
WAITING TO PANIC TW: There was a lull between record companies. The first record [Humanistic] was on Extasy - I don't know if you know about that company, but we were basically the poster-child for the implosion of an indie label. I came off the road in 2002, the label's folding, and I'm like, well, I'm just gonna go back and give this my best shot and we'll get another deal. It seemed highly unlikely, but we ended up doing it. And there was just a lull in there where nobody was interested. I had attorneys not returning my phone calls - that kinda stuff. It felt like, I'm just waiting around and I'm really anxious. So that was a song of frustration that was written and demoed all in one day - it was a song that just came out of me in like eight hours. We also put an EP out [The Reverb EP] and on the EP is the version of that demo that I did in one day. It doesn't happen [like that] very often. Usually I build bed tracks and come back to it a few weeks later and add something, and then come back a couple of days later. This one was all in one shot.
HUNTING TW: My friend Ross Golan, who has his own band Ross Golan and Molehead, had been following the wake of the relationship. He's like, "You just gotta write her a song and use her name." And I'm like, nah, nah, it's not covered enough. And he's like, "No, just do it. Go for it." So I did. I wrote this song and I wrote it for her for her birthday and I used her name, which is in the first lyric of the song, which is "Ginny." So I just went for it and wrote it. It was basically a birthday gift, and it was basically saying, like, you know, "Oops!" [Laughs] It didn't get me very far, but I like the song. We're friends, she's a good girl, absolutely, but back at that time, it was kinda like, "Erraaghhh! Here's a song!" But I like the song and I just think it was one of those times where I was really putting myself out there, and I know she liked it, too. But then, I think that's a myth where you just write a song and all of a sudden the girl just says, "Oh! Okay!" But, you know, hey. There it is. It's on the record.
That's the romantic notion of how they'll react to the song, at least.
TW: Exactly. And I'm really glad we're past that whole ironic phase, which I was part of with The Eels, where everything was super ironic and we'd play "The Macarena" on stage - [sarcastically] and that was funny! I'm glad we're through all that stuff, even though I was still a Beck fan when he was doing all that stuff, too. But I like being sincere and sappy and romantic. I kinda think that's a great thing.
ARMED TO THE TEETH TW: This is one of the first songs written when we came off the road and I had a lot of momentum. If you look at the state of the industry you can see a lot of corporations that seem to have to buy everything in sight. They just have to own everything, and to what purpose? Does it really make the industry much better? No. There's fewer outlets, there's a lot more gatekeepers. They want to buy stuff and it just kinda makes things bad for everybody. All the radio stations play the same shit - except for Indie 103.1 and KCRW in L.A. In spite of it all, I'm just gonna try to do my best and have a career anyway. When we came off the road I felt like I had a lot of momentum. Performing live is inspiring to writing, so it was just the whole idea of, "Alright, now that I have one record under my belt, I'm gonna really go for it in spite of all the forces that be." Even though they're pretty much indifferent to us, [laughs] their actions do affect us. It's sort of a song of bravado.
Why did you also choose "Armed To The Teeth" as the name of the album, too, which, in turn, implies it as the overall theme?
TW: Yeah, which is funny, since I kinda decided on that theme early on, thinking I was gonna go in a certain way, but then, like I said, two-thirds of the record is love songs. So "Armed To The Teeth" doesn't really fit in a certain way, but I also liked it just because [of] that idea of, like, now I'm really ready to make a record, and also I think it reflects the state of the country a little bit. Everything's a little bit aggressive, we're at war, and I thought it was sort of timely in that way
SOONER OR LATER TW: "Sooner Or Later" is another one of those tracks that was written after we got signed, so it's a newer song. I mentioned that sort of double time drum loop thing with "Lethal Killers" - this is the same thing. It's a half time drum loop that I nudged in one direction and then put in another track and nudge it in the other, then "boom," it's double time. And I like that, it's a good effect. It really sets up this kind of overlapping, rolling sound that a real drummer can't do. And things flam a little bit, and I really like that feel, so this song was constructed in the same manner where you have a rolling drum loop and then you put over a couple of guitar parts here and there and all of a sudden you got a song - I think this song is over six minutes. This is, um, I guess it's a couple things. Lyrically, it's sort of saying, like, whatever you do or whatever you say, there's no point in hiding anything because it all comes out in the end - which is the tagline in the chorus. There's no hiding. And in the verse it says, "Sooner or later / It's all coming down." In some way or another, whether you acknowledge it or if it just eats at your self, you can't really get away with anything. It's sort of fatalistic that way, but also in terms of, like, seeing how I also look at as a bigger picture of, like, politically, and since we're at war right now, it seems like things are getting a little scary. And that's kind of like one of those doomsday scenarios. If you look around a little you can really freak yourself out if you're reading about, like, bio-warfare and things like that. So a lot of this talk about "smoking gun in the shape of a mushroom cloud" and all that, it sort of brought up for me a lot of doomsday scenarios. So it's two-fold: it's that doomsday scenario, in terms of as far as the world is concerned, and then, personally, if you do stupid shit then you're eventually gonna pay for it somehow.
SAILING SEAS TW: Like "Hunting," this is probably the most direct, out-there storytelling song. Instead of using her [real] name, it's switched to "Holly," which is in the chorus. So it's another one of those songs talking straight to somebody. And there's a lot of details in there that I wouldn't talk about in normal conversation. That's the funny thing about songwriting where I wouldn't talk about this, but then I can put it in this song and you can still hear it and you still understand, but it's sort of masked a little bit. It's presented in a certain way where it's somehow okay to say that when you're in a major key or something. Because like, the second verse is about pretending you're outside a room listening to somebody [you love] have sex [with someone else], and that's a situation to put yourself into to really torture yourself. I created this scenario in my head and I put it in a song, and it's kinda brutal, but the [beat of the] song is upbeat and happy.
RENEGADE TW: This is a sample-based type song [with] drum loops. The cello was originally a Bjork sample and we replaced it. This one is sort of hard to explain. To me it’s just sort of like just a creation, because some of the record is social commentary, and I think there's a lot of that in this song, and it's like little snippets and ideas, and not necessarily one unifying idea. I think it's just kind of a song based on looking around and taking stock of things. This song in particular isn't really even about anything. It's just, like, observations, pretty much. And, oh, by the way, Billy Howerdel, the guitarist from A Perfect Circle, is playing guitar on that song. He jumped on that track and he's the one that makes it sound scary.
MAYBE THEN SOMEDAY TW: That was one of the first songs written in the wake of the breakup. It was one of those kind of "well-it-just-didn't-work-out-but-maybe-one-day-we'll-see-what-happens" kind of things. Because the circumstances are such that it wasn't gonna happen immediately so I was kinda like, well, we'll see. I don't have much to say about that; it's just grouped in with "songs about her."
GOODBYE SONG TW: That was also written when there was not a lot going on for me and we hadn't really nailed down the record deal. She [Tommy's ex-girlfriend] always thought she was bad luck - she'd show up and bad things would start happening - so she thought it was her fault that I hadn't got a deal. She actually moved away and soon as she did, we got a deal. [Laughs] I think it's funny to sort of say, like the first line of the song is "I'm not washed up / And you're not bad luck for anyone," so, you know, get off the ledge, really. And it's just one of those things; it's one of those yearning songs. I think with a lot of those songs there's a certain amount of effort spent on presenting evidence, like, "Look, I know this is how you feel, but look at all the other stuff." It's almost like making a case for your self [in a song]. And like I said, it didn't get me far, but it's still a good venting process. And I sort of realize when I say things like, "I wrote this for her" or whatever, it's not really for her. It's more self-indulgent to get this stuff out. And in a way you're saying, "Yeah, I wrote this song for you," but no, you wrote it for yourself so you could say things that you felt like saying. So I realize that and I think I realized that while I was writing them, but my job is to write songs so you take from what's around you to make it happen.

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Earlier this year I binged through True Blood and it was at season 2 that I came across what is perhaps my favourite vampire in fiction: The suicidal, (somewhat) morally upstanding ancient vampire Godric. And I’m certain I’m not alone in my appreciation for him; he’s a fan favourite in much the way characters like Lexi and Rose are, and like them he did this through only a few appearances in season 2 (one of which is a wordless cameo that lasts ten seconds). What has this got to do with Finn? Well, because the third season of The Vampire Diaries cribs a lot from True Blood, and Finn was clearly their response to Godric. And even if this isn’t the case, and the writers weren’t thinking about one of the biggest shows on television at that time, how the writers wrote Finn really reads as looking at every lesson that can be taken away from the writing of Godric’s character and basically doing the opposite.

Lesson 1: Have a hype man.

Before we even get our first look at Godric he is hyped up throughout the first half of the season by Eric Northman. In the first sentence his name is uttered Eric says this: “He is twice my age and ten times the vampire I will ever be”. So even before we meet him we have this expectation of this awe-inspiring vampire that makes Eric, whose name was synonymous with authority and power in the first season, look like a second rage vampire in comparison.
What is done with Finn? Nothing. Even Kol’s name is used as a threat by Elijah before we even meet the guy. The first time his name is heard is in the episode we meet him, and all we learn is that he’s been daggered for 900 years. There’s no real importance placed on Finn being daggered this long either, like it’s not ever suggested that Klaus kept him daggered this long because he feared him. It almost sounds like this 900 number was picked at random by the writers because it’s never really built upon in a meaningful way. Finn could’ve Ben daggered for 500 years or even just a couple of centuries and it would’ve changed nothing. If anything this makes him seem less important, because he’s the one who’s lived the least. Part of the mystique of The Originals is in how long they have lived, and Finn kind of instantly loses that edge, and kind of becomes a different animal entirely. Which could’ve have been interesting to build on with his dynamic with a certain ancient red-headed Viking superbitch.

Lesson 2: Fulfilling expectations is good, subverting them is better.

After several episodes of build up, we finally see Godric for the first time in a flashback, where he kills Eric’s human friends in a blur, and when we get a good look at him… he’s a teenage boy (and not a CW teen, Godric’s played by a legitimate teenage boy). He’s scrawny, tatted up, and tells a helpless Eric that he is Death. And not only is he not what we expect visually, but when we meet him in the present he’s not some amoral bastard that makes Eric or Pam look like kittens, but he’s surprisingly a very compassionate dude who is averse to bloodshed and believes in peaceful resolution.
Because Finn isn’t built up, he doesn’t have any expectations to fulfill or subvert. We kind of get NOTHING from him. He doesn’t say two words to any of his siblings until 3x18. And the dialogue that is said ABOUT him doesn’t paint an interesting picture either. When we’re introduced to Elena as a dull, mopey teen, at least we have an idea that she was different before and a clear idea of the trigger to this transformational process was. But Finn was, apparently was ALWAYS like the way we see him in episodes 3x14&3x15. As per Elijah “He’s ALWAYS hated what we are”. And because he doesn’t really interact with any of his siblings prior to the attempted murdesuicide we don’t really know what he really thinks of them beyond the vague concept that he wants them dead, which implies that he feels the same way about all his siblings, which again is pretty simplistic.
This is a lesson that the writers actually follow pretty well with Mikael. Mikael is built up as a force of nature that has KLAUS, a man who got an entire season of build up as the scariest cunt ever, terrified and running. At the end of 3x05 the mere MENTION of his name by Damon sends Klaus running. And when we finally properly meet him in the present, he’s polite, refuses human blood, and even describes humans as “the innocent”. He’s genuinely surprising. At no point during 3x14 or 3x15 does Finn really do anything to surprise us. However, that changes the following episode.

How Sage helps fix this

The very next episode, things start to turn around for Finn’s character. We’re introduced to this morally dubious vampire who talks about indulging in the pleasures that vampirism offers right after the episode where Finn calls vampirism shameful, and then we learn that they were TOGETHER. And the following episode we learnt that Finn actually turned Sage because he loved her and wanted to be with her forever. So now instead of this dull boring guy who wants to kill himself who apparently always wanted to kill himself* Finn’s this man with contradictions, with a life, actual nuance to his view on vampires. His reunion with Sage actually sets him up for several interesting arcs/character dilemmas. How does Finn, someone who was raised with certain assumptions about how men and women, deal with the fa t that he has to heavily rely on his wife to do basically anything in the 21st century? How does he deal with the existence of Sage’s vampire progeny? Why did Finn even turn Sage, and why is she such a blind spot in his opinion of vampires?
But of course they die in the most ludicrous fashion possible, and The Originals never touched on this relationship at all, despite finding time for bringing up Matt and Rebekah’s relationship on two different occasions, turning a one minute conversation between Klaus, Elijah and the Salvatores about doppelgängers into the foundation of the Red Door arc, and making an entire season about a firstborn curse that only really explains why Finn didn’t have a kid despite being in his late twenties. By removing Sage from the story and character of Finn he’s turned back into a boring, hollow, unlikeable character. And up until 3x17 we’re just left to assume that Finn was ALWAYS like this.

My world of fantastic science fiction is based on the real world, but with the addition of magic and thaumaturgy as an additional powerful branch of arts and techniques.
The historical course of my world is similar to the historical course of the real world, but there are sciences derived from magic. Runic engineering studies the interaction of glyphic circuits and geometric shapes imbued with magic with reality. Thaumaturgy and the science of aspects study the converging aspects of matter and its manipulation to obtain new materials and artifacts without classical chemical formulas. Arcanology studies the functioning and principles of so-called spells, incantations, and enchantments. Etcetera.
Science predominates overall, and while it has taken some time, it has swallowed magic, at least partially. There are still many things unknown about the functioning of magic. There are many things that work and have been obtained through trial and error, but whose intrinsic mechanisms are unknown. There are hypotheses derived from quantum physics, of course, but unconfirmed, or impossible to confirm.
But that's not the point.
In my world, just like in the real world, metallurgy has played a very important role. Without metallurgy, we wouldn't have weapons, machines, computing, electricity... we wouldn't have many things. Without metallurgy, they wouldn't have them either, and they wouldn't have thaumaturgy or many enchanted objects they employ.
Within the vast domain of thaumic metallurgy, the most prominent metals are undoubtedly the precious metals: copper, silver, and gold. Throughout the history of my world, these three metals have held an undisputed position of relevance in thaumaturgy. While iron and mercury have also been employed in thaumaturgic practice (the Thaumonomicon, one of the oldest works on thaumaturgy known, mentions thaumium and alchemical brass, two magical metals derived from iron), copper, silver, and gold have demonstrated unparalleled enchantability and magical versatility.
These precious metals have not only been used in the creation of magical objects throughout history but have also been the subject of numerous alchemical experiments in transmutation and aspectual manipulation, although most of these attempts have been largely unsuccessful and have sometimes led to unintended consequences.
In recent times, there has been a growing interest in the use of other precious metals such as platinum, rhodium, and osmium in thaumaturgy. However, this interest is still in its nascent and limited stage compared to the study and practice related to copper, silver, and gold. Thaumaturgy related to these less conventional metals is still to be fully developed, and their magical potential is far from fully understood.

The three main precious metals of interest

Copper has been a frontline choice in creating alloys that function as conductors and catalysts of magic throughout the ages, thanks to its impressive capacity to be enchanted. Furthermore, it stands out for its resistance to aspectual essences and its ability to act as an effective aspectual insulator. Even in ancient times, bronze armor decorated with primitive runes and magical glyphs not only rivaled but surpassed the resilience and tenacity of the finest steel armor of the later medieval period.
Today, this metal remains relevant in the creation of alloys such as molybdocopper, orichalcum, hepatizon, and manganin, which are used in the manufacturing of special munitions. These bullets, engraved with specific enchantments, acquire attributes and particular effects that make them highly effective in a wide variety of situations. The versatility of copper as a magical material makes it a valuable and sought-after option for practitioners of magic and thaumaturgy worldwide.
Silver, on the other hand, also stands out for its capacity to store magic. It has been employed in various ways in the realm of thaumaturgy and magic. One of its most prominent applications is its use in coating weapons and armor made of steel. Silver can be fused with this material to enhance the enchantments present in the weapons and armor, or even to directly manufacture weapons and armor imbued with its own magical properties.
Furthermore, silver has traditionally been associated with protection against supernatural entities and has been used to create a wide variety of protective amulets and talismans. Its teratocidal properties make it an essential component in the manufacturing of specialized weapons and ammunition designed for the hunting and elimination of creatures such as therianthropes, demons, and other supernatural beings. The famous silver bullets are an iconic example of this type of ammunition, known for their effectiveness in confrontations against beings of malign or magical nature. Silver, with its versatility and magical power, has earned a prominent place in the arsenal of magic practitioners and thaumaturges worldwide.
Gold, on the other hand, stands out as one of the most suitable metals for enchantment and magic absorption. Despite these qualities, its use in thaumaturgy has been limited due to its scarcity, high value, and the difficulty in stabilizing its magical properties. Creating enchanted objects from gold requires highly advanced and stabilized infusion altars, or the use of very specific alloys that can enhance its magical manipulation.
Despite these limitations, various gold alloys have sparked special interest among thaumaturges and alchemists worldwide. Below, we will detail some of these alloys, exploring their unique characteristics and potential applications in the field of magic and thaumaturgy.
Copper, silver and gold...

Tychereal gold

Tychereal gold encompasses a set of gold alloys that possess the unique property of influencing the luck of the bearer. This capability is achieved through the infusion of the "probabilitas" aspect into the alloys or through the inscription of specific enchantments. However, it is important to note that the effect on the bearer's luck is subtle.
In certain regions of Central, Southern, and Eastern Asia, red gold alloys, which contain a high copper content, are employed for this purpose because culturally, the color red is believed to bring good luck in these areas. These alloys, when enchanted or infused with "probabilitas," appear to have a greater impact on the bearer's luck, although their effect is temporary and tends to fade over time. Additionally, these alloys are prone to mild oxidation and corrosion, leading to the loss of their desired tychereal property.
However, the most effective tychereal alloy is known as "leprechaun gold," invented in Ireland during the Middle Ages. Leprechaun gold is a lime-green-toned alloy, primarily composed of gold with additions of silver and tin, along with traces of cadmium, and with high amounts of "probabilitas" aspect. Although scientific trials have shown that this alloy has a significant and generally positive impact on the bearer's luck, it presents a serious contraindication: cadmium, a heavy metal known to be toxic and carcinogenic.
Leprechaun gold, a tychereal gold alloy invented in Ireland.

Royal thaumium

Royal thaumium, a distinguished and valuable alloy, differs from common thaumium, ancient thaumium or, simply, thaumium (an amalgam of wrought iron impregnated with praecantatio). This exceptional compound is a combination of gold and aluminum impregnated with praecantatio.
By fusing gold with aluminum in an approximate mass ratio of 79:21, purple gold is obtained, a brittle intermetallic compound with an intense magenta color. When this purple gold is impregnated with large amounts of praecantatio, it becomes royal thaumium.
The term "royal" in its name is attributed to its high production cost and its original association with royalty and divinity. Although it shares similarities in appearance and qualities with thaumium based on iron, the properties of royal thaumium are even more pronounced. It can store approximately 53 times more magic than iron-based thaumium, acts as an extremely impermeable aspectual insulator to essences, and possesses a tremendous enchanting capacity. However, it is important to note that royal thaumium is extremely fragile compared to its iron-based counterpart.
Royal thaumium was initially discovered and crafted by alchemists in the late 18th century when the first samples of aluminum were successfully extracted, which at that time were considerably more expensive than gold due to the difficulty of obtaining it. During the early to mid-19th century, this alloy was widely used in the manufacturing of cores for high-power magic wands. Although it has been replaced by more economical thaumic materials today, royal thaumium is still appreciated in certain classic magic circles, acquired by purists and collectors of magical objects.
Royal thaumium, derived from purple gold, an intermetallic compound.

Aurallium

Within the realm of modern metallurgy, quasicrystals have emerged as structural forms that, unlike conventional crystals, are ordered but not periodic. Most quasicrystals discovered to date are metallic and exhibit symmetries that defy traditional crystalline conventions, such as decagonal and icosahedral shapes.
These quasicrystals are particularly intriguing in the field of thaumaturgy due to their ability to harbor large densities of a degenerate form of the "ordor" aspect, known as "auratio."
Among the most relevant quasicrystals in thaumaturgy are dodecaedrites, quasicrystalline alloys generally composed of aluminum or rare earth metals, infused with huge amounts of praecantatio. These dodecaedrites have the capacity to store massive amounts of magic, surpassing conventional thaumic alloys by thousands of times, making them ideal for the manufacturing of high-powered magical objects and disruptive antimagic munitions.
The term "aurallium" refers to a group of dodecaedrite-based alloys of gold quasicrystals, such as the gold-gallium-terbium alloy AC and other alloys M,X)85.7RE14.3 (M = Ag, Au, X = Al, Ga, In, RE = Er, Lu). However, the most notable of these alloys is "pure aurallium," composed of pure gold impregnated with large amounts of "auratio" aspect essence. This material forms dodecahedral, icosahedral, and tricontahedral crystals of a pale orangish-golden hue with celestial blue highlights.
Pure aurallium is metastable, meaning its quasicrystalline structure can collapse under certain extreme conditions to form amorphous gold, releasing energy and magic in the process. Additionally, this alloy has the ability to induce ordering and crystallization of surrounding materials when magic is applied to it, which could be utilized for various purposes, such as manufacturing enhaced wand cores for specific spells, or negentropic weapons like the "ordor ray."
Aurallium icosahedral quasicrystal.
Nuclear tests conducted by North Korea using this material, whose documentation has been obtained and released by the espionage forces of Acheron (an organization tasked with containing and eliminating supernatural threats), yield terrifying results. Atomic weapons doped with big amounts of aurallium generates negentropic fields that destroy all organic tissue within a radius several times larger than the blast radius and the lethal neutron radius. Animal and plant tissues liquefy and reorganize into perfectly ordered crystals of amino acids, phosphates, and carbohydrates imbued with high-purity aspect essences that may continue reacting dangerously with the environment, potentially producing flux, taint seeds and void gaps. All exposed rock and metal recrystallize into large amalgams of pure single crystals of various pure materials, forming ordered giant minimalist structures. And exposed water is aetheralized into pure aqua aspect that permeates and destructively alters any exposed material.
Surprisingly, despite the high thaumaturgy and technology involved in the production of pure aurallium and aurallium alloys, traces of aurallium have been found in well-preserved ancient legendary artifacts of high power, although the origin of such traces of aurallium is likely accidental or non-conciouss, this explains some of the astonishing qualities of these arcane artifacts.

NAOE ARSENAL
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Fukiya/blowgun
Fukiya are blowguns. They are divided into three categories.Projectile blowguns :Simple blowguns of different lengths. The longest (6 shaku ) can easily throw a dart more than 20 meters, while the smallest, the zetsukan (blowgun) is small enough to remain hidden in the mouth for a long time.Powder blowguns :Funkan , also known as metsubishi , are small bags filled with gunpowder . Pepper, ashes or more lethal chemicals can be placed in the small tanks and are intended to be thrown into the victim's eyes. Liquid blowguns : Similar in design to funkan , suikan are small tanks filled with liquids (drugs, poisons or irritants) that are projected through a pipe. The shinobi squeezes the tank while blowing through the hose, spraying the product on his target.
Kakute
Kakute are iron or steel rings that have one to four prongs, and the prongs are usually dipped in poison. They are prized by ninja and particularly worn by kunoichi. The ring is usually worn on the middle finger with the tips pointing towards the inside of the hand, and is used to attack and poison the target by surprise. Kakute can also be used to hit the enemy in the face or help climbing. Some kakute have a small growth with a hole that allows a rope ( hojo ) to be passed through it. It is then difficult to disarm a shinobi using hojojutsu (rope fighting techniques).
Tetsubishi
Tetsubishi are traps. The most classic form of tetsubishi consists of two pieces of metal interlocked in such a way that no matter which way the tetsubishi falls, one end always remains in the air.Although they do not cause great damage, tetsubishi are effective in deterring an enemy from pursuing a shinobi. Tetsubishi are made in several different sizes, so they can also affect horses.There are different versions of tetsubishi
Shuko
A super ancient climbing tool but similar in theory to modern crampons, but for the hands. Designed to help climbing trees, but also possible on rocky surfaces. They could also be used as weapons for scratching and clawing. The spikes and sheath are made of steel and coated with black paint. There are four barbs attached to the sleeve, each tapered to provide excellent grip. The synthetic nylon strap wraps around the sleeve and has a wrist strap on the other side for a secure grip on the hand. A great Ninjutsu training tool and lots of fun.
Ashiko
They were spikes that they wore on their feet and used them to climb the walls of houses or fortresses. The spikes they wore on their hands are called shuko.
Shikomizue
It is a camouflaged sword with the outer appearance of a cane, so it was very useful for defense or surprise attack. Shikomizue, in fact, means prepared staff.
Fondo Kusari
A short, heavy chain (three shaku long) with a weight at each end. This weapon can be used as a flail in tight spaces. It is very useful for disarming an opponent.
Shinobigatana
The shinobigatana , also known as ninja-to , is the classic shinobi sword . It is a relatively short straight sword with a scabbard that can be several centimeters longer than the sword itself. A long black cord (sageo) is also attached to the saya.
Shinobi-hankyu
The shinobi-hankyu is a short bow of exceptional design. Sometimes they are made of metal, but usually they are made of horn and wood. The hankyu can project an arrow at close range with impressive power. Once the string is removed, the shinobi-hankyu can be folded in half, making it easy to store.
Tekko
A bronze or iron knuckle that allows its user to deliver much more powerful blows than with his fists alone.
Well I think that's all for now, I hope they surprise us, that we go crazy with the arsenal that they have prepared, I just hope so, and finally give me your ideas of what weapons you want for naoe? greetings!