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Pity Party X Control - Edit Audio

London, 1888. The city was split open by fog and fear. In the alleyways of Whitechapel, whispers traveled faster than the police, a woman with violet gloves and dark, unblinking eyes had been seen near every killing, always vanishing before the screams.

Her name was Alice Harrow, though no census ever listed her. She appeared in society papers once, briefly, a portrait dated 1885, taken at a private salon for the avant-garde. She wore a crimson dress and a faint smile. Three months later, the painter who hosted the event was found dead, his eyes missing.

The tabloids called her The Woman in Red. The police called her myth. But those who lived in the underbelly, the poets, whores, and night drifters, swore she was real. They said her eyes didn’t reflect light like normal eyes; they absorbed it. That when she stared at you long enough, your mind filled with sounds that weren’t your own.

A detective named Jonathan Merrin claimed in his private notes that Alice was tied to a series of ritual murders predating Jack the Ripper by at least five years. He traced her lineage to an occult circle known as The Nocturne Society, a group of artists obsessed with transcending death through vision and sound. The final entry in Merrin’s notebook read:

> “I met her in the reflection. Her eyes were not eyes, but openings. I could hear the sea.”



He disappeared two nights later.

In 1890, a phonograph cylinder surfaced, supposedly recorded by Alice herself. It contained no discernible words, just a droning hum, and beneath it, a faint heartbeat. When played backward, the tone forms a melodic phrase eerily similar to the hook of “Dark Eyes.”

Over the next century, that melody reappeared in strange places, an old lullaby collected in rural Romania, a coded broadcast intercepted during World War II, even a police audio file from the 1960s tied to an unsolved London homicide. Always the same progression. Always labeled Alice’s Song.

The modern recording known as “Dark Eyes” was pieced together from fragments of that ancient melody, supposedly from an acetate disc acquired by a private collector in 2018. Those who’ve analyzed it claim there’s something wrong with the reverb: the reflections in the sound don’t behave naturally. When viewed through spectrogram analysis, her silhouette appears, a woman’s face, eyes wide open, staring back.

And here’s the part that chills scholars — in the last second of the track, if you isolate the left channel, a whisper surfaces:

> “I’m still watching.”

Pity Party X Control

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