VoreComplex

VoreComplex

VoreComplex

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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".
https://bleachforthestars.bandcamp.com/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/

A taster of things to come. Orchestral rhythmic industrial, of a classical bend.
See here for the rest of my work: https://bleachforthestars.bandcamp.com/
All art and music by: Ben Power

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.

https://bleachforthestars.bandcamp.com/album/a-barren-crowd

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.

Album link: https://bleachforthestars.bandcamp.com/album/wet-wire-hooks

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:
https://bleachforthestars.bandcamp.com/album/gulf

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]

Album link: https://vorecomplexself-released.bandcamp.com/album/all-offal

Song chosen: Mantra (2nd take) [mastered by J.Stillings]

Album link: https://vorecomplexself-released.bandcamp.com/album/all-offal

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.

You'll find them here: https://vorecomplexself-released.bandcamp.com/
And here: https://bleachforthestars.bandcamp.com/

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.

More than a little similar to :Wumpscut: in terms of tone and instrumentation, although covering slightly different themes from that composer's staple. Two sampled speakers: Aleksandr Solzhenitsyn, during the opening minutes of his classic address to the students of Harvard University (translated live from his Russian - hence the dual voices); and Paul Weston, having a nice, if rather fury-inducing, chat with some well-numbered, enthusiastic, hyper-ignorant ultra-morons from a European branch of Antifa. I felt these passages, and the longer speeches they allude to, fitted together quite well. I just added in a few lyrics sets to bolster things, drawn from more of Solzhenitsyn's quotations and adapted to fit my purpose. The background is a couple of superimposed layers of Gulag scenery.

Often I find myself pumping out 'dark' material. I suppose it's a way to keep it out of my mind for a while, or at least attempt a creative 'negative aesthetics'. This horrendous, irreverent mish-mash of ultra-grim references is a perfect example. It's intended more as lucid Surrealism than outright humour (it's quite hard for one to laugh at most of the topics in truth). A creaking shedload of religious, historical, globalist, intelligence community, fake news, and occult cultural references, and a few nods to the bleakest end of the political discussion spectrum. It was quite strenuous to write, but satisfying - somehow - to compose also. I hope it encourages a little thought, for a few minutes. Or just grim entertainment. Too many intertwining allusive nods for its own good. I think I prefer writing music.

I based this audio footage on a full interview I undertook, led by Ryan of the website "From Corners Unknown", and trimmed slightly now by myself to remove all my futtering and rambling and superfluous comments. I had a bad cold when this was recorded also, and my connection's audio quality was dire.

It's as good an introduction to my other, 'proper' Industrial music solo project - Bleach For The Stars - as any, though. It's also outrageously grim in places, not least because of my fiercely bumbling, effortlessly maudlin speaking voice.

Despite my comment about the unwise penetrating of Sheol online, I did stick a resoundingly horrifying period 'background' photo into this in the end, albeit a trimmed one, just to remove the terror and slight pathos of my not-entirely-sound facial expression. At least it's not one of the smiling ones.

Ryan was extremely patient and accepting of my horrendous answers. I recommend his website very much: https://fromcornersunknown.com/

As for mine, if you survive this interview, and don't pass out in distress (or enter terminally-bored catatonia), consider trying out a few of my humble noises: https://bleachforthestars.bandcamp.com/

It was written at the start of the year so it's a little out of date in places, but I think most of the points still hold - the eternal problem with covering political material is the aging process, so I tried to keep many of the themes fairly ephemeral, to compensate.

Skomorokh is one of my Vore Complex side projects, the other one being my Throbberstalk mixes. This doggerel slam poetry piece seems to have brutally offended and put out everyone I've showed it to so far; perhaps I've been targeting the wrong circles. Let's try it here.

An irreverent-yet-dismayed political pastiche of the words to "Reasons to be Cheerful, Part 3" by Ian Dury & The Blockheads. The original song is very cheerful indeed. I, naturally, wanted a more scathing version; more in line with the latter-day zeitgeist. It should be bittersweet more than outright amusing. I'm comparatively (and relatively) concerned about every issue I cover... see it, to crudely paraphrase Mr Dury's words, as a shopping list of grief, uncertainty and exasperation.

As usual, it's only a demo. I might get it mastered and tidied up eventually, and give the lyrics a little tinkering to renovate them for a gloriously dismay-inducing present.

A simple lyrics video, with a somewhat relevant set of contemporary poetic ideas. It's only a demo track so far though so elements may change.

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Created 6 months, 1 week ago.

61 videos

CategoryMusic

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,

Benjamin Power

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:
https://vorecomplexself-released.bandcamp.com/