I have a few versions of this track floating about now. This is the latest, and, from a musical perspective, the most accessible (and perhaps best).
I know the barest, most basic rudiments about Mk-Ultra and its ramifications, and those of all the other programs I am familiar with, and no more; much less sometimes. It made for an interesting track though. A lot of pieces of paper hastily picked up since the official end of the experiment, one thinks.
I'm very glad that Ed has no idea (or interest) regarding the context and contents of this song. It would really not do him good to hear more on the topics - that's not me intending to be patronizing. He plays a damn good guitar on it though - and recorded raw in a 1st and only take, as we always do. He's a great musician. I just do whatever with the rest.
This album concerns itself in general with human-on-human experimentation and the machinations of those who would see humans as cattle (or play objects), and the sorts of degenerate individuals (etc.?) who might be caught carrying such out. It goes down to very dark levels of anecdotal & factual atrocity, in places. There's meant to be an unsettling 'endzeit' current running through the context of it though; a true apocalyptic theme, hence why a lot of the chorus words add up to '33' or '333' combinations, either in the words' layouts themselves or in their repetitions. A reflection, bitterly, on true Evil, but - with hope - not a participant in it. It's an album promoting and siding for Order, but composed to draw the conclusions from deep Chaos.
I hope someone enjoys it. Buy it if you like - it would help us out. Otherwise, listening actively is fine also. Cheers: https://vorecomplexself-released.bandcamp.com/album/a-stranger-breed
After hearing "A Similar Song", which I had, primarily, recorded with my youngest stepson a few days previous, my eldest stepdaughter, Liberty, asked if she could have a go on her own. I was pleased by this enthusiastic request, and so asked her to go away and write some lyrics (making sure she employed coherent rhyme this time; my eternal bugbear, the way the local state school teaches them 'poetry' or 'lyrics' - lazy all round, and hideously postmodern on their parts). Then we recorded this little piece. I was so pleased with her contribution that I added it to my last 'proper' VC solo album, "Fires Fly". She really did record the creepy synth tones to this track, playing them on my Oxygen 25 keyboard. I just organized them to sync a little in my sequencer, and then added my own rancid voice, and some minimalist beat patterns. Her keyboard playing is not too distant from mine, and still, her voice is far better.
Liberty had quite a 'dark' concept already in mind, for an innocent preadolescent lyricist. I liked that - it seemed pleasantly irreverent, bordering on heresy to some insipid pedagogic eyes. It's good to set the catoblepas there among the pigeons, though, as I occasionally say to myself. However, I thought I'd boost it up to my own general adult standard of conceptual 'darkness'. I used my parental discretion in advising her what I was going on about in my own extension on her concept. She is not old enough to be informed over some of the references.
Incidentally, I'm okay with 'dark'. When that becomes truly dark, I draw the line. My music reflects on atrocity, and thoroughly at times. It does not condone it. In a nutshell, I had learned more harrowing information from a valuable YouTuber I follow (and view on here also). The existence of a Planned Parenthood building in Silicon Valley, directly across the street from a company designing real, synthetically-cultured 'meat' products, presumably for the Vegetarian or Vegan markets, was an odd coincidence. I had wanted to play up the inevitable 'Soylent Green' comparisons angle a little, so did, in horrifying fashion. Perhaps it's not a coincidence - but it would be libel on my part to speculate too far, as the original commentator had indeed noted. I hope they don't mind (too much) that I sampled a few seconds of their speech. I thank them for their hard investigative work.
So here we are, one more odd song for the pile. If you like it - or at least, appreciate it; it's not really a topic for casual enjoyment - it's available (along with the rest) on this digital album: https://vorecomplexself-released.bandcamp.com/album/fires-fly
If not, well, doesn't matter. It'll remain a fond memory for me, and good time spent together. I'll be writing more with her in the future, as and when she wants to.
Note: the (probably unrelated) photo is of a toy unicorn recently purchased by my other half and brought into this house. In the space of less than three days, the horn has been wrenched off, and its throat appears to have been vigorously slit. I noticed it lying there forlornly in the bathroom yesterday. I'd love to say that this was a marvelous informed-decision on the children's part; a coordinated attempt to resist the proposed agenda of that insidious latter-day PSYOP in British toy-making. I think it's just an example of flippant childhood mass-destructiveness though. Hence why I like to keep them busy, individually, where possible.
This was written on a whim, following a few days of conversation with family i.e. Abby, and her children. I haven't run this past my elderly dad or mum; they'd have better things to do. If you like it enough to buy it, it's included with 9 other songs (I removed the :Wumpscut: mix as it was annoying me) on my VC album "Fires Fly", a real attempt at honest, meaningful 'Endzeit Electronics'... or just old-fashioned electronic Industrial music, for simplicity's sake. I write concept albums, and thus don't offer single-song downloads. Try it out though, if it seems interesting: https://vorecomplexself-released.bandcamp.com/album/fires-fly
Anyhow, here's the extended gist of how I described it to the fickle, disinterested Facebook crowds. It's a musing on my part, and goes on a while. Ignore it and just listen to the music if you prefer:
"Note: It's a critical audio piece (I can’t wholeheartedly say 'song') on the progressive Marxist teaching methods that are commonly found in state-run schools - my stepchildren's schools as a prime example. It's often odd what gets thoroughly banged into their heads i.e. "Nazism was so very bad in the 20th Century, and alone caused 6 million deaths, or more, and so much more badness. The Nazis were evil incarnate. Rather like Trump. End of modern History lessons for the next 10 years. Now back to The Romans…", and what is strangely absent from their education, or at least seriously downplayed.
My stepson is very quick to point out that Nazism was evil, and Nazis are the worst people ever, but does not seem to know why that could be. At least he has not been listening too attentively to his tutors. That may save him in future times. I hope so - I think I shall continue my efforts to deprogram him, but it's not straightforward given the constant pressures off the state, and from ignorant peers. I don't want a developing nest of 'NPC' Social Justice drones.
A bitter pill beyond humour, but not outside of music, or art. None of my stepchildren knew what Marxism (Communism even, or at least Leninism.... and on down into the near synonymous cultural abyss) was, or just what atrocities were carried out in its name. I was disappointed at that, but not surprised. I did attempt to bring up the Holodomor (and indeed The Great Leap Forward), and a couple of other examples... but no. "The Nazis" owned, in totality, the evil of the previous hundred years. I am informed that enthusiastically, even if not quite told quite what happened. It's not, at all, my stepchildren's fault. I think we'll be at this a good while yet.
I should say, I don't think all of the UK state schooling is rubbish, or dangerous - the STEM areas seem mercifully untouched (bar some ideological possession regarding 'climate change'). i don't know what other departments teach them at this age - and may be dismayed a little more, I think, upon finding that out. Beyond the microcosm of our daily environments, I am quite well aware of modern state-teaching paradigms, both in the UK, and also the USA. It's incredibly infuriating when the penny drops.
This song is intended as a vengeful satirical reflection on these absurdities, and, beyond that, the blatantly cynical lies & cover-ups present in our current government-funded (and from where?) child indoctrination system. I don't think the staff would acknowledge such. They could never own it; the rot runs too deep, and has been present for too many decades. I am, I think, too old to receive a detention though, which is somehow lucky. One's never entirely sure though, given the state of the UK"
PS. the photo is not one taken by me. I've used it before, for a similar video-song on Trump Derangement Syndrome. As far as I can ascertain, it is genuine, and of a Maoist-instigated famine victim. I'd be open for corrections though. You get the gist of my track by now though.
I've shared out (and written about) the song version of this piece further down my page. I won't repeat myself too much - key themes: Paul Weston vs. Antifa; Solzhenitsyn; hypocrisy; ignorance of history.
I hope this spoken-word version appeals more. Even I have gone 'off' my vocal style with Vore Complex.
The repeated mini-images are ones I wish I could have posted on Facebook much earlier in the year. They were constructed from some very unpleasant photographs I acquired. I hope it's not 'jumping the shark' to include them now. "Nothing Will Come" is one of my more proficient tracks musically; perhaps even quite moving (if I'm lucky). The vocal samples included do not beat about the bush though. If you'd like to know more about this, the song's located underneath. I don't expect you - anyone - to buy it; not on one song alone. It's part of my "Fires Fly" album, from the point where I threw in the towel musically. Either way, you can listen for free (a few times) here:
I was bitter earlier. I wrote: "The rest can burn. You'd - I'd - often hope that they would. Having observed (with shame) that also though... it would be too painless, after a definite while, and too polite".
The people I knew who suffered, and then, in a very final way, didn't suffer... I hope they Rest in Peace.
Burnout among psychiatric staff - I can't wholesomely use the term "professionals" anymore, not without grim distaste - seems ever-prevalent. That, and the fact that those above don't employ the right people for the job. IQ levels most definitely wanting, in some cases, and in others, merely a grim, Sadistic need to make up for their Psychology degree study failings. There would be other reasons why they should not have been employed, very rarely, but slipped through the net.
I'm lucky. I was just a patient. A long time ago, but sometimes it lingers. Glad I got this out in voice. As before, I hope you like it for the art. The content cannot really be enjoyed.
I wrote a huge, rambling, fiercely speculative (or imaginative/over-imaginative) diary entry yesterday regarding some horrendously bleak topics (also as a mild apology to Mr Orman Virsel for slandering him a while back in immature annoyance). This fell sprawl of morbid eccentric words didn't go down too well though - as someone sensible could almost have expected - so I scrapped it all, and thought, instead, I might just put up the musical backing, for curiosity's sake, and for anyone who likes odd songs.
I get night-terrors - no wretched wonder, you'd think, after semi-regularly browsing all this hellish material in a benighted attempt to educate myself a little on ponerology, in an amateur capacity. But no.. that's not usually why I get them. Others annoying matters from the past. Anyhow, this song was written to keep my personal horror at arm's length for a little bit, and to kill some time when decent sleep was not forthcoming. I hope you like it.
It's a remix, obviously. The original's been done to death by me, so I thought I might change the angle slightly.
The harsh, cold, beautiful sounds of a well-hidden 90s German industrial solo-act remixed into the 21st Century, and now fully mastered by J.Stillings of Steel Hook Prostheses. I have tried my hardest to maintain the original atmospheres and aesthetics of this unique, highly creative project whilst adding to the sound with my own interpretations of these classic tracks. I hope you enjoy the music. The digital album is available here, with digipak CD links to follow soon: https://throbberstalk.bandcamp.com/album/petrichor
An affectedly self-deprecatory tone for sardonic amusement - I don't dislike my own art to that degree. Otherwise, I'm merely *quite* pleased with how this turned out. The piano accompaniment I wrote - though not initially with this in mind - is certainly greater art. I thought they might work well in contrast though, with a little grumpy commentary grasping elements of both and running with them. Here's the full album version of Griefseat. Enjoy at your peril: https://bleachforthestars.bandcamp.com/album/griefseat
And oh yes, here's the (indubitably) less-accessible musical content: https://bleachforthestars.bandcamp.com/album/worm-cast
A simple repeat-animation I created based on a recent piece of my quasi-Celtic digital art. The song is called Graven. It's more of a pastoral, reflective poem. I composed it after observing an ancient sculpture of a stone lion in a local country park I visit. This got me thinking; something along the lines of misinterpretation of meaning, and of the dissolution of Western truths and values - the message has been drowned under time and only a weak facsimile remains. Only the moss-coated stone: small, base, and bland; neglected. There's also an underlying Christian element to my words - that shouldn't be too hard to decipher though. The music is some moody, choral, Industrial noise-rock that roots itself in pre-baroque compositional techniques and motifs. I composed the latter quickly, but with quite a lot of thought. My vocal techniques reached a deeper pitch than I am usually accostomed to singing at, but I felt it fitted the rest of the sounds.
This song is taken from the album "Gulf", by Bleach For The Stars: https://bleachforthestars.bandcamp.com/album/gulf
Note: there's a brief speling error in the vid clip. Since I no longer possess the orignal video editor file, I'm afraid it'll have to stay that way. It shouldn't detract too much.
I painted this recently - ignore the cover photo; that's just a reference to something else from later.
I thought it might be of some small worth to jot down in TTS what I was thinking as I composed it.
The short piece of music in the background is taken from my Bleach For The Stars album "Wet Wire Hooks".
The finished track will be available on my upcoming Bleach For The Stars album Griefseat. The background is a piece of cover-art I created, trimmed, and then animated very slightly, just for mild eye candy. Dark, Surreal experimental Industrial music in this song. The eerie, sampled 'lyrics' are intended to reflect a psychotomimetic/schizophrenic voices episode. My other albums are available here: https://bleachforthestars.bandcamp.com/
Another brief taster demo for my upcoming album. Orchestral rhythmic Industrial music.
This one was written to utilize some moody folk-style string sections.
All art and music by: Ben Power
You can view the rest of my work here: https://bleachforthestars.bandcamp.com/
The final track of the album 'A Barren Crowd', by Bleach For The Stars
Dark Ambient Noise-Industrial. Hard to express adequately by genre. It was complicated times. I needed a certain opaque factor...
This is direct prequel to 'The Time For Silver Flowers': https://bleachforthestars.bandcamp.com/album/the-time-for-silver-flowers
That was the what, and how.
This may be the why.
Featuring additional vocals/lyrics by Steel Hook Prostheses; mastering by J.Stillings
"It probably has to be the most piercing, cutting, scratching throat and monster-claw of expressionistic dark noise ambient ever ...to put it into a genre box is almost like an insult. I saw people writing that some (quite normal) music scared the shit out of them - somewhere on Bandcamp. Those people better dream on and not listen to Wet Wire Hooks". - words by an insightful friend
I'm just glad it's over to be honest. No-one asked at the time; no-one really needs to know. There's still this 'concept album' soundtrack. It doesn't last forever. Only about an hour. It may linger in a mind though.
Tentative experiments in recording Death Industrial - experiment one: 'Not Quite Fun'
"The song in question was meant to synaesthetically reflect what drinking bleach might somehow feel like - I imagine that it's quite a standard sensation. I have some vague experience over the matter. Regardless of that, I figured it was a good a start as any. As for the rest of the tracks, taken together...
It's perhaps the bleakest, most unnerving album I have ever created. There's an undercurrent of Classical structuring and phrasing to most of it though, alongside the Death Industrial and Dark Ambient sounds; a real Penderecki influence as much as perhaps Webern, or Schoenberg. To a near-torturous level of abysmal charnel-dark and horrific self-imposed agony. My friend described it as a cold, harrowing, heavy Expressionism. Quite 'scary' for the regular music crowds. It's still a little psychobiographical also; well, directly so, but I feel it best for this release - as for most of them - to leave the contextual information oblique.
Of final note, I ended up re-envisioning a few of the little melody fragments I improvised out some months back, and weaving them into things. I also included, as bonus curiosities, those raw piano jam-sessions themselves, but the main album is contained in those 5 initial pieces, each lasting around the 9+ minute mark.
Multiple insouciant punnage in the title, as is my wry way, and with some interpreted options far more unwholesome than others. The cover is a mere happy little star".
Here's the link to the full album: https://bleachforthestars.bandcamp.com/album/wet-wire-hooks
Taken from the my new album Gulf, available here:
The main theme is that of depression/despair. Any potential insight is broken and lost, and an end of sorts is hovering into view - that's how I tried to phrase the title: I'd had quite a lot of bad days this year up until quite recently. It wasn't really self-pity, as much as an acknowledgement that life wasn't going very well, and that I had made a few poor choices. I've picked things up again though, bit by bit.
The music's based on some of the more minimalist and rural American folk songs that I enjoy, fingerpicked with feckless glee on my unplugged bass guitar. Of course, naturally for me, I've backed it up with some horrendous, techno-esque noises, an overload of grim noise-sheets, and a fair deal of raw, 'industrial music' percussion, occasionally built around personal home- and field-recordings.
The lyrical style isn't too different to VC, but the words are more rooted in formal 'experimental' poetry. I suppose we could call this a type of idiosyncratic punk music. Besides that, I have no idea how to categorize it.
Thank you to J.Stillings for his vital mastering.
This was the penultimate song I wrote from scratch for the VC project. It seemed as good a way to gently close as any. The final song's called Pile. I'll include it elsewhere.
Vocal sampling taken from a interview speech by Peter Hitchens.
Here's the link to this last 'proper' album: https://vorecomplexself-released.bandcamp.com/album/fires-fly
Song chosen: Shive (2nd take) [mastered by J.Stillings]
Song chosen: Mantra (2nd take) [mastered by J.Stillings]
As I wrote before, I've finished with Vore Complex for the time being. I still record in a prolific manner with BFTS though. I'll be posting that work instead from now on.
It's a darker, heavier, harder project. Proper 'oldschool' Industrial music and noisy Dark Ambient as opposed to my politicized techno-electro polemics with VC.
Some (though not too many) of them feature my formal spoken-word and traditional rhymed poetry also.
Try it out. If you like the sounds, the album's done now and can be found here: https://bleachforthestars.bandcamp.com/album/gulf
Or on Apple Music, Spotify, Deezer, etc. if that's more of your thing.
Just me messing around with something different from my usual style. It's not intended for commerical release. It's also at basic-stage writing. If you like it - well, good for you.
I've finished writing for VC.
BFTS is still going though.
Or here, if you fancy something ridiculous: https://skomorokh.bandcamp.com/album/skomorokh
it's an atrocious story... almost to a point beyond belief. I had hoped it wasn't true. I don't know enough to say more. I thought I'd like to create a song based on the details though, albeit converted into understated, simplistic 'dark fairytale' language. I've tried to keep the music as sad and haunting as possible, and was careful with how I implemented my samples and noises (mainly faked, thankfully... mainly). I'm sure the lyrics are still quite harrowing though, and the piece as a whole quite a dark one, by my standards. I wouldn't want it to be seen as glorifying the issue, as really it's a thoroughly unpleasant one, and decidedly evil. I feel for those passively involved. I'll be interested to see how this goes down.
I wrote this recently, after reading a couple of Kindle books, and some smaller e-booklets, and then performing a basic, rudimentary search across YouTube, Wikipedia and a few quiet blog spaces, looking for low-level (yet informed) hidden gems amongst the commentators, and picking out anything that seemed relevant.
It's quite apocalyptic in scope, really, and deeply pessimistic. A death knell, as such; a lament for all fallen; and all falling away. I'm sure there's a little time to retaliate though, and to claw things back. As usual, I was just offloading a few notions that were on my mind, all wrapped up in acerbic poetic artistry and industrial percussion.
I suppose this short piece came out of my latest reading and watching habits, though it's been building for some time. The 'lyrics' are just various permutations of a rhymed couplet from Virgil's The Aeneid, translated by John Dryden; and famously referenced by John Enoch Powell in a speech that got him in rather a lot of trouble, possibly because he was nearly 100% right. I have what I would like to refer to as 'true' moderate friends from this faith background. Not many at all though, and not all of any firm voice of condemnation when we look at the other, much more numerous, side of it, and just what all those sly, State-condoned, fundamentalist hooligans and unrepentant perverts get up to. There's a lot more I could have (or would like to have) referenced in this, but decided against, bar a few nods near the end.
Also, I used to live in Mile End, in the borough of Tower Hamlets, in London, for about 8 years. It wasn't always pleasant on the mind (and safety of the body), even beyond the belligerent street protests and the pervading air of a fiercely *enforced* authoritarian tolerance from vast waves of sycophantic, brainwashed agitator students. The constant threat of hysterical, bloodthirsty backlash, from all establishment sides, if someone puts their foot in it with the, by now, majority demographic. A lot of that area seems to have died, or been utterly subsumed. I don't think I'll be back.
Incidentally, the background painting is not Rome, but Troy. I thought it tied in just as well though.
Created 10 months, 1 week ago.
I hope you like the content: songs, extensive 'eccentric' diary logs, TTS-experiments and, well... an awful lot of pitch black, if poetic, moaning.
Here's my email address though: [email protected]
Cheers to all,
PS. I'm looking forward to getting back to my studies. Quietly in the background - this is, at near-most, nothing but R'n'R.
PPS. I write music. Here's the main 'hub', as such. You can expand from there, hopefully. There's a great deal more: