You are about to action:
Object being modified by the action
Do you want to proceed?
If you wish to action:
Object being modified by the action
Then please send an email request to [email protected].
i'm fucking fed up with this shit
i'm not a fucking influencer
i'm not a fucking rapper
i'm a fucking artist
i don't play by your fucking rules
what do you want from me?
i don't wanna be like you
people like you hate me
you don't like that i don't fit the fucking mold bitch?
well i'm gonna fucking destroy you
destroy
destroy
destroy
fuck You
fucking bitch
-
🔔 Subscribe to Ichiro Fangz and turn on notifications!
Follow Ichiro Fangz:
Truth Social: https://truthsocial.com/@Ichirofangz
Gab: https://gab.com/ichirofangz
Twitter: https://twitter.com/IchiroFangz
Instagram: https://www.instagram.com/ichirofangz
Tik Tok: https://www.tiktok.com/@ichirofangz
Watch Ichiro Fangz:
Bitchute: https://www.bitchute.com/channel/ufpfgvNdrMgg/
Rumble: https://rumble.com/ichirofangz
Odysee: https://odysee.com/@ichirofangz
Youtube: https://www.youtube.com/@ichirofangz
Other:
My Music: https://unitedmasters.com/a/ichirofangz
Sabrina & Sumo Podcast: https://sabrinaandsumo.buzzsprout.com
ChicClosetCasa: https://www.etsy.com/shop/ChicClosetCasa
Email Me: [email protected]
#Avantgarde #NoiseMusic #Experimental
noise music,noise,white noise,brown noise,music,what is noise music,noise music documentary,sleep noise,white noise for studying,noise music live,noise music meme,kpop noise music,noise music genre,harsh noise music,white noise sleep,making noise music,pink noise,kpop noise,noise music japanese,harsh noise,death grips,death grip,death grips beware,death grips (musical group),death grips live,death grips tour,death grips get got,death grips lyrics,death grips walk off,death grips ex military,death grips get got official,death,grips,death yon,jenny death,deathgrips,deathgrip,deathgripsvevo,mc ride,trip-hop,rise above,powers that b,the powers that,video,lyrics,noided,aye aye,deep web,hip-hop,reaction,kendrick,music videohow to make noise music,history of noise music,johnnascus,johnnascus live,johnnascus show,johnnascus amazon,johnnascus upgrade,johnnascus full set,johnnascus reaction,johnnascus type beat,johnnascus untitled,johnnascus live show,johnnascus love.exe,johnnascus interview,johnnascus milwaukee,johnnascus narcissist,johnnascus cactus club,sad satan lsd johnnascus,johnnascus lustsickpuppy,johnnascus chaos philosophy,johnnascus amazon warehouse,monster withdrawl johnnascus,johnnascus monster withdrawal,what is noise music?,noise music pulse demon,noise music video essay, experimental music,experimental,music,ambient music,electronic music,experimental music mix,experimental music album,experimental music ranji,experimental music channel,experimental music documentary,industrial music,experimental electronic music,the extreme world of experimental music,ranji experimetnal music,experimental mix,experimental hip hop,experimental techno,metal music,experiment,experimental bandcamp,experimental techno mix,
Music Ultimate Truth is Wordless in free download here https://archive.org/details/Invisible_Illusion_Electronic_Control_lp
I used an old camcorder setting in abyss to generate the fractal graphics and I added a second layer.
Album in free download here https://archive.org/details/spore-designers-a-seed-in-time
This is a prepared super8 film. I use as well paints, oil or various substances... like time to alterate the reel.
More experimental films here http://www.horsnorme.org/666SMS999/
From Coroner's 1989 album, No More Color
Pierre Henri Marie Schaeffer; 14 August 1910 – 19 August 1995) was a French composer, writer, broadcaster, engineer, musicologist, acoustician and founder of Groupe de Recherche de Musique Concrète (GRMC). His innovative work in both the sciences—particularly communications and acoustics—and the various arts of music, literature and radio presentation after the end of World War II, as well as his anti-nuclear activism and cultural criticism garnered him widespread recognition in his lifetime.
Amongst the vast range of works and projects he undertook, Schaeffer is most widely and currently recognized for his accomplishments in electronic and experimental music, at the core of which stands his role as the chief developer of a unique and early form of avant-garde music known as musique concrète. The genre emerged in Europe from the utilization of new music technology developed in the post-war era, following the advance of electroacoustic and acousmatic music.
Schaeffer's writings (which include written and radio-narrated essays, biographies, short novels, a number of musical treatises and several plays) are often oriented towards his development of the genre, as well as the theoretics and philosophy of music in general.
Today, Schaeffer is considered one of the most influential experimental, electroacoustic and subsequently electronic musicians, having been the first composer to utilize a number of contemporary recording and sampling techniques that are now used worldwide by nearly all record production companies.[2] His collaborative endeavors are considered milestones in the histories of electronic and experimental music.
Wikipedia
Tracklist:
CD 2: Les Œuvres Communes 1950-1953 & 1988
"Symphonie Pour Un Homme Seul: Prosopopée I" - 00:00
"Symphonie Pour Un Homme Seul: Partita" - 02:58
"Symphonie Pour Un Homme Seul: Valse" - 04:10
"Symphonie Pour Un Homme Seul: Erotica" - 05:08
"Symphonie Pour Un Homme Seul: Scherzo" - 06:29
"Symphonie Pour Un Homme Seul: Collectif" - 09:02
"Symphonie Pour Un Homme Seul: Prosopopée II" - 09:59
"Symphonie Pour Un Homme Seul: Eroïca" - 11:01
"Symphonie Pour Un Homme Seul: Apostrophe" - 12:58
"Symphonie Pour Un Homme Seul: Intermezzo" - 15:24
"Symphonie Pour Un Homme Seul: Cadence" - 17:21
"Symphonie Pour Un Homme Seul: Strette" - 18:30
"Bidule En Ut" - 21:24
"Écho D'Orphée: D'Un Sillon L'Autre" - 23:15
"Écho D'Orphée: Clavecin Sarcastique" - 29:27
"Écho D'Orphée: Eurydice" - 32:56
"Écho D'Orphée: Harpe Et Violon" - 35:46
"Écho D'Orphée: Jazz Et Plaintes" - 36:51
"Écho D'Orphée: Le Biguinage" - 39:26
"Écho D'Orphée: Premier Air, Éléments" - 42:25
"Écho D'Orphée: Divinités Du Styx" - 46:19
"Écho D'Orphée: Débat" - 48:08
"Écho D'Orphée: Les Tâtons" - 50:08
"Écho D'Orphée: L'Amour Aveugle" - 52:51
"Écho D'Orphée: Voix Intérieures" - 53:54
"Écho D'Orphée: Grand Air" - 57:43
Pierre Schaeffer / Les Incunables 194
To Live and Shave in LA, originally the Miami-based trio of Tom Smith (formerly of Boat Of between 11979 and 1983 and of Peach Of Immortality until 1991 in New York), bassist Frank Falestra (future organizer since 2004 of the legendary annual International Noise Conference) and electronic musician Ben Wolcott, indulged in savage noisescapes.
The double-disc The Wigmaker in Eighteenth Century Williamsburg (Menlo Park, 2002), recorded over the course of seven years, is perhaps their definitive work, their most relentless assault on the hearing system. The chaotic collage of Blandina Oberwilding '77 recalls the Fugs' Virgin Forest, with drummer Weasel Walter of the Flying Luttenbachers unleashing torrential randomness, plenty of atonal saxophone and a carnage of vocal samples. A visceral, punk kind of rage animates vomiting electroacoustic nightmares like Full-Choke Wigmaker's Vise. The mellower moments are Residents-style zombie litanies drenched in noise like Nor Swollen-Bellied Comet Blown. Tortillon Fluff sounds like a Frank Zappa rock opera grotesquely remixed by a chimp left alone in the studio; and When My Rifle Went Sour with Preposterous Headdress like a maniacally sped-up Captain Beefheart song; and Song of Roland a Single Corkscrew Curl like an overdosed Kim Fowley singing along Lou Reed's Metal Machine Music. Fills Mouth and Cunt with "Pathetic Route" could be a hyper-psychedelic freak-out by disciplies of Red Crayola broadcast through broken loudspeakers; and Veit Harlan, Brown Dress Bob like Throbbing Gristle's industrial music remixed by a serial killer. Wildly distorted vocal declamations like The Notorious D-1 and D-2, To Backstab to Schism and The Famous Mad Bronze are the rap equivalent of a Jimi Hendrix guitar solo on steroids. Not everything works. Dada for the sake of Dada (New Poem Dramatized for Lux Cudgel, Loudspeakers for the Poet's Famous Disques) is not Dada. But where it works it's the musical equivalent of a nuclear apocalypse. Ben Wolcott on the oscillators is particularly lethal. Witness how he buries songs like Displaced by Double Bed and Bled Into Minar Thirsty-Aught under incandescent lava.
Source: https://www.scaruffi.com/vol5/tolivean.html
Tracklist:
1. 1-01 Travelogue One 00:00
2. 1-02 Blandina, Oberwilding '77 00:31
3. 1-03 Nor Swollen-Bellied Comet Blown 07:33
4. 1-04 Bled into Minar Thirty-Aught 11:21
5. 1-05 Full-Choke Wigmaker's Vise 15:52
6. 1-06 New Poem Dramatized for Lux Cudgel 22:21
7. 1-07 Travelogue Two 30:12
8. 1-08 Tortillon Fluff 30:33
9. 1-09 The ''Rose'' the Vehicle of Miss High Heels 38:34
10. 1-10 Ideas Make Men Hard 43:08
11. 1-11 When My Rifle Went Sour with Preposterous Headdress 48:32
12. 1-12 Fills Mouth and Cunt with ''Pathetic Route'' 53:29
13. 1-13 Travelogue Three 58:08
14. 2-01 Travelogue Three (reprise) 58:34
15. 2-02 The Notorious D-1 and D-2 59:00
16. 2-03 Song of Roland a Single Corkscrew Curl 1:05:22
17. 2-04 'Twas He Who Pricked with an Awl 1:11:54
18. 2-05 Veit Harlan, Br
Karlheinz Stockhausen, (born Aug. 22, 1928, Mödrath, near Cologne, Ger.—died Dec. 5, 2007, Kürten), German composer, an important creator and theoretician of electronic and serial music who strongly influenced avant-garde composers from the 1950s through the ’80s.
Stockhausen studied at the State Academy for Music in Cologne and the University of Cologne from 1947 to 1951. In 1952 he went to Paris, where he studied with the composers Olivier Messiaen and, for a time, Darius Milhaud. Returning to Cologne in 1953, Stockhausen joined its celebrated electronic music studio West German Broadcasting (Westdeutscher Rundfunk), where he served as artistic director from 1963 to 1977. His Studie I (1953; “Study”) was the first musical piece composed from sine-wave sounds, while Studie II (1954) was the first work of electronic music to be notated and published. From 1954 to 1956, at the University of Bonn, Stockhausen studied phonetics, acoustics, and information theory, all of which influenced his musical composition. Having lectured at summer courses on new music in Darmstadt since 1953, he began teaching composition there in 1957 and established a similar series of workshops at Cologne in 1963. Stockhausen lectured and gave concerts of his music throughout Europe and North America. From 1971 to 1977 he was professor of composition at the State Academy for Music in Cologne.
Stockhausen’s explorations of fundamental psychological and acoustical aspects of music were highly independent. Serialism (music based on a series of tones in an ordered arrangement without regard for traditional tonality) was a guiding principle for him. But whereas composers such as Anton Webern and Arnold Schoenberg had confined the serial principle to pitch, Stockhausen, beginning with his composition Kreuzspiel (1951), set about extending serialism to other musical elements, inspired largely by the work of Messiaen. Thus, instrumentation, pitch register and intensity, melodic form, and time duration are deployed in musical pieces that assume an almost geometric level of organization. Stockhausen also began using tape recorders and other machines in the 1950s to analyze and investigate sounds through the electronic manipulation of their fundamental elements, sine waves. From this point he set out to create a new, radically serial approach to the basic elements of music and their organization. He used both electronic and traditional instrumental means and buttressed his approach with rigorous theoretical speculations and radical innovations in musical notation.
In general, Stockhausen’s works are composed of a series of small, individually characterized units, either “points” (individual notes), “groups” of notes, or “moments” (discrete musical sections), each of which can be enjoyed by the listener without forming part of a larger dramatic line or scheme of musical development. This sort of indeterminate, “open form” technique was pioneered by composer John Cage in the early 19
Meredith Monk, who grew up in a family of singers and musicians, trained in New York City during the 1960s as a choreographer and performer. She put her degree from Sarah Lawrence College to good use by writing vocal music for her shows and lending her voice to avant-garde composers.
The 1970s conclude with Dolmen Music, for six voices, cello and percussion, one of his most brilliant and monumental works, a summa of his art of suggestion and illusion.
The piece opens with the taut sound of the cello that strangles the listener and takes the listener back through the centuries, to an archaic music of slow, perennial vibrations. The female voices enter one at a time, beginning with Monk's mournful and solemn "aù"; then the male voices come in counterpoint and unison, in a strange conciliabling of registers. Then the mixed choir begins to rise all at once, originating a complex weave of stubbornly repeated vocal patterns over which Monk's shrill and very fast oriental rhyme soars.
With one of his typical mimesis Monk switches to a more guttural and nasal register, flanked by an equally demented rant from Monica Solem (at times resembling two thought-provoking, at times echoes of the same ancestral noise), until the mighty male a cappella choir overpowers them and engulfs them in a maelstrom of minimal phrases, with the male voices almost yodeling and the female voices in graceful high notes; the former vibrating violently as if to ape Indian string instruments, the thousand phonemes weaving wildly into a magical mosaic of notes, a floating nebula of solfeggios in the various registers, the mantric hum of all voices in unison rising in absolute prayer, the cello launching into a breathtaking flamenco, the singers pressing into each other in a convulsive alternation of Tyrolean-style braying, deafening cicadas, mechanical croaks, disconnected squeals and Gregorian hosannas.
A formidable internal tension presides over the production of this "corporal" music, this imitative and chameleon-like singing sustained by the most reckless balancing acts. Theirs is also a music of breaths, amplified by the reverberation of the studio.
Source: https://www.scaruffi.com/avant/monk.html
Tracklist:
1 Gotham Lullaby 00:00
2 Travelling 04:20
3 The Tale 10:38
4 Biography 13:29
5 Dolmen Music 23:01
Meredith Monk, who grew up in a family of singers and musicians, trained in New York City during the 1960s as a choreographer and performer. She put her degree from Sarah Lawrence College to good use by writing vocal music for her shows and lending her voice to avant-garde composers.
That uninterrupted whimsical delirium of childhood, that playful soliloquy that is his oeuvre, finds a temporary point of arrival in Turtle Dreams (january 1983 - ECM, 1983). The pyrotechnics of the singing contrast dramatically with the accompaniment, always sparse and funereal, of four organs superimposing slow chromatically and iteratively Rileyan phrases. Monk's monologue, aided by a chorus of three male voices with folk and church reminiscences, unfolds in the usual alternation of registers, but indulging mostly in the psalmodic one, and gives space to those very long, high-pitched cries sharpened by the wildest madness that give the whole piece a more tragic character than its predecessors. The convulsive fretting of the first voice and the icy counterpoint of the chorus have a more pained and desperate accent. The distressed chirps, timid yelps, martial high notes, and resigned hums compose a more thoughtful and profound piece. The carefree exuberance and innocence of earlier works seems lost in favor of a more thoughtful maturity.
In View 1 (taken from the Am/Am soundtrack) the accompaniment is a piano, romantically and hopelessly absorbed in an iterative phrase, over which other keyboards (each with its own characteristic ambient pattern) and the voice in its usual disguises intermittently intervene. The feeling is that of an inescapable cosmic void perturbed from time to time by fleeting and mysterious presences.
Monk has coined his own heterogeneous polyphonic language, a collage of stentorian minimalism, operatic flights and evocative atmospheres, all filtered through a sensibility in harmony with nature and the cosmic becoming of things. All registers and traditions are reworked with solemn mimesis of the absurd and connected by a continuous and perennial mutation, with no other plot than the passage of time.
Source: https://www.scaruffi.com/avant/monk.html
1 Turtle Dreams 00:00
2 View 1 17:59
3 Engine Steps 28:13
4 Ester's Song 30:13
5 View 2 31:28
Genre: ECM New Series / Avant / Vocal Crossover
Year of release: 1983
Format: APE (image + .cue)
Recorded June, July 1982 and January 1983
ECM New Series 1240
Jon Hassell, a student of both Karlheinz Stockhausen and Pandit Pran Nath, created a deadly combination that would resonate for decades in world-music compositions: the ghostly sound of his trumpet lost in nightmarish electronic background. His trumpet was both a call of the wild and a wail of grief, both as ancestral as possible in a modernist setting.
The basic form of his music, trumpet improvisation on a substrate of cyclic noises (natural or electronic), finds accomplished definition in Aka-Darbari-Java: Magic Realism (Eg, 1983), where he is again accompanied only by percussion. For this work Hassell coins the term "coffee-colored classical music," which would perhaps like to give the idea of serious but at the same time easy listening music. It is actually a futuristic collage that accentuates the hallucinatory calligraphy of his hieroglyphics. More importantly, he further expands his musical vocabulary, assimilating cues from different civilizations and eras and organizing the material even more rigorously, even to the point of using computers.
Thus in Empire I-IV the sound of the trumpet is lost in a nebula of glacially artificial vibrations, in a minimalist continuum that filters and distorts all the sounds into a more homogeneous structure, a kind of "ambient concert" in several movements that can refine the constituent elements to the point of making them unrecognizable (see the cosmic warbles of the second movement or the haunting dissonances of the fourth). The two Darbari Extensions are even more futuristic and mechanized, indecipherable in the synthesizer's wave-like movement and the trumpet's breathy one, to the point of lapping (in the second) Subotnick's Dadaist tornadoes.
Source: https://www.scaruffi.com/avant/hassell.html
Tracklist:
A1 Empire I 00:00
A2 Empire II 02:01
A3 Empire III 06:54
A4 Empire IV 14:03
A5 Empire V 19:16
B1 Darbari Extension I 22:56
B2 Darbari Extension II 36:48
M.O.T.U. - Fusion Diffusion
Avantgarde metal / progressive noise (c) Project 23 Records
Rock Bottom (Virgin, 1974) is made with an infinite number of guests: Hopper and Richard Sinclair on bass, Gary Windo on clarinet, Mongezi Feza on trumpet, Mike Oldfield on guitar, Fred Frith on viola, Ivor Cutler on concertina and Nick Mason as producer: Half of Canterbury paying tribute to its ruler. The reactions of critics all over the world were to be enthusiastic, but not enough so as to reverse Wyatt's financial luck. Wyatt could no longer play the drums and therefore played the keyboard, of which he had been a savage user since the days of Moon In June. The album, abandoning the agitated and cerebral jazz-rock of Matching Mole, grew as a symbol of an inner search, of an immersion into the abyss of one's own self. There is a breath, the same vital pulsation, which animates all the passages, as if exhaled by an organic mass of feelings. To create Rock Bottom's arduous stream of consciousness, the two main components of Wyatt's music merge: the sentimental melodism of Moon In June and the pataphysical vocalism of Las Vegas Tango. A form-suite of great suggestion and emotion is born out of the free-jazz style. In addition to the massive use of electronic keyboards and to the "breath" which is common to all of the songs, Rock Bottom has another characteristic trait; the calm, relaxed, almost resigned tone that slows and softens the music of the once irreducible dadaist. Experience and knowledge have deprived him of his proverbial musical humor. Now he is a sage who looks disconsolate at the becoming of the universe, refusing to understand the reason, but tragically aware of the human condition. The two initial songs are entirely in the hands of the keyboards, which rise and fall, driving the humble and pained voice, whilst renouncing the wind instruments. Sea Song's funereal elegy (almost a Wyatt solo on keyboards, vocals and drums) hovers in a sinister, desperate whirlpool, with a slow pace of ceremonial secrecy. A Last Straw sinks even more sinisterly into occult mysteries, with a performance that resembles a more linear and nervous Las Vegas Tango, with an arrangement that reflects the sensation of a disconnected mind and the impending apocalypse. And apocalyptic are the major sarabandes, presented in the songs Alife (Alfreda, Wyatt's wife) and Little Red Riding Hood, which also represent the two fundamental states of Wyatt's art; titanic lyricism and Dadaist nonsense, or the anxiety of the absolute ("unendliche sehnsucht") and the paranoia of everyday life. The voice abandons itself to delusions and convulsions with a resigned tone that is far from the gargles of the past, and the wind instruments are launched into long crossings, arabesquing through already demented, terrible, nightmare atmospheres. Alifib is almost a Wyatt solo for breath and keyboards.
Perhaps the quintessential independent musicians of the 1970s, the Residents (formed by composer Hardy Fox and vocalist Homer Flynn) performed in android costumes and never revealed their faces or identities.
Relocated from Louisiana to San Francisco in 1966, they debuted in 1972, during the dark age that followed the demise of the hippie movement and the collapse of acid-rock. They composed their most innovative works between 1974 and 1976, when the new wave wasn't even born yet, but their isolation from the music scene remained absolute until the new wave allowed them to emerge as new prophets of a way to make, perform and conceive music. "Obscure" and cryptic, their pieces were part of a multimedia show whose antics transposed the music-hall into the new wave and whose sound emphasized a collage-style approach to composition.
Eskimo (Ralph, 1979 - East Side Digital, 1987) is a musique concrete album dedicated to the Eskimo civilization, which, according to Senada's theories, has enjoyed the ideal climate, the polar climate, for millennia. The album contains six stories, each dedicated to an aspect of Eskimo life. Above all, it is a moving tribute to primitive civilizations, a sound documentary about cultures still untouched by progress.
Pushing to the extreme limit a technique already used in previous works for the theater, the music evokes scenes and scenery; it is a soundtrack that does not need the film. The Walrus Hunt and The Festival Of Death (especially the second one) are the most powerful scenes, expressionist pantomimes with Stockhausen-like electronic background, android choral vocals, scattered and sometimes tribal percussion, i.e., a vast panorama of sound effects reproducing natural sounds. The barren existence of the snow people, a symbol of that cosmic loneliness drawn in the early works, is evoked by musically rendering the desolation of the Arctic landscape, the bundled-up men making waves on the ice, the sound of horns sweeping across the deserted plains, the bellowing of dogs, relentless blizzards, propitiatory chants, and spells against spirits. The dialogues unfold in monosyllables, mechanical, and just a few intermittent vowels, spoken in a guttural, estranged voice over a rhythm of oriental tinkling, support the final apotheosis, the end of the long Arctic night.
Overall, Eskimo, an anthropological work, second only to Vaughan Williams' "Antarctic Symphony," opens to Eno's ambient (in this case Arctic) music, moving away from Zappa-like sociological collage.
Source: https://www.scaruffi.com/vol4/resident.html#eskimo
genre: Avantgarde, Experimental, Ambient
Year: 1979 (reissue 1985)
Label: Ralph Records, RZ 7906
Country of production: USA
Audio codec: FLAC
Rip type: sides+.cue
Recording format: 24/96
Handout format: 24/96
Tracklist:
Side One
1. The Walrus Hunt 0:00
2. Birth 4:02
3. Arctic Hysteria 8:35
4. The Angry Angakok 14:32
Side Two
1. A Spirit Steals a Child 19:52
2. The Festival of Death 28:36
So I had this surreal idea while I was high on DXM of me saying "Holy Shit Man" in different angles, like a 2-way conversation, then I'd use those clips to create, well... the results speak for itself. The film was finalized on February 7th, 2022.
Das ideologisch bedingte damnatio memoriae hat die "Türkenmauer" in Freiland, NIederösterreich, bereits eingeholt. Es ist mir eine Ehre, dieser anti-christlichen Tendenz entgegen zu wirken
Gefilmt am 22.3.2023 mit Genehmingung. Bedingung war, dass ich die Telefonbuchnamen der "KünstlerInnen" nenne. Der bei Minute 0:47 erwähnte Pensionist Herbert Kraus meinte zwei Tage später auf meine Frage, wie er auf den Preis 1.600 Euro für seinen Ausstellungsbeitrag "Yellow Pest" gekommen sei: "Angebot und Nachfrage". Er war nicht bereit, über seinen angeblichen Marktwert in einem "Interview" vor laufender Kamera zu sprechen; die "Künstler" und die sie "betreuenden" Galeristen haben grosse Angst davor, die Kontrolle über die Rezeption ihrer "Kunst" zu verlieren, darum sprechen sie mit ihren "Medienpartnern" vorher ab, und es sind nie Alternativmedien, sondern immer Medien mit intimer Nähe zur regierenden Parteipolitik. Alles, was über die in jeder Hinsicht erfolglosen, langweiligen, an die antifaschistische Kunststaatsideologie angepassten Ausstellungsaktivitäten des St. Pöltener Künstlerbunds in ihrer Galerie "KUNST:WERK" je in den regionalen Medien gebracht wurde, ist Ergebnis plumper Hurerei. Herbert Kraus, dem im "Moderne Kunst"-Anspruch malenden Pensionisten, lag viel daran, mir begreiflich zu machen, dass es sich beim "KUNST:WERK" um keine Galerie, sondern um einen "Ausstellungsraum" handle. Was ändert das am Umstand, dass es sich beim "KUNST:WERK" um eine bei freiem Eintritt begehbare Kunstmüll-Zwischenlagerstätte handelt?
Dass die "KünstlerInnen" nicht nur in St. Pölten glauben, so malen zu müssen, dass es die Nazis damals für "entartet" erklärt hätten, ist Symptom der ideologischen Verstrahlung der "Kunst".
Gefilmt am 20.4.2023. Der Heilige Andreas wurde auf einem X-artigen "Kreuz" gekreuzigt. Gottesgläubige Künstler früherer Jahrhunderte haben die Kreuzigung des Heiligen Andreas gemalt, gebildhauert, gezeichnet. In dem Video erkläre ich, um was es sich bei dem zur Tarnung als "Andreas-Stein" bezeichneten Felsklotz im betreffenden Kirchenpark WIRKLICH handelt
Gefilmt im April 2023
Proggy Avant Jazzy Post metal with Soundtrack elements
Bandcamp- https://hypno5e.bandcamp.com/album/sheol
Instagram- https://www.instagram.com/hypno5eofficial/
For More Reviews, Interviews and My Musical Projects-
http://thedoorwayto.com/
Avant Proggy Avant Extreme Metal with Industrial overtones
Bandcamp- https://sarpa6.bandcamp.com/album/mauta-tala
Instagram- https://www.instagram.com/sarpa182/
For more Reviews, Interviews and My Musical Projects-
http://thedoorwayto.com/
I've done a Serie of Miniatures for Shorty Music Compilation under CorteX moniker. Halas since 1st November 2022 there is no news of Vladimir Poiskahdodo. https://vpoiskahdodofriends.bandcamp.com/album/- He lives in Kiev so I can just hope he is alright and just have no more access to internet. I did this one "A WTF lockedgroove " for the WTF compilation available in Pay What You Want Zero Include here https://vpoiskahdodofriends.bandcamp.com/album/wtf-parts-i-v
Two other tracks are still unpublished and I will do the video for this one later https://vpoiskahdodofriends.bandcamp.com/track/cortex-spane-a-ltns-locked-groove
More music by CorteX in free download here https://archive.org/details/le-colibri-necrophile?sort=-date&and[]=subject%3A%22cortex%22
Last news still here https://ello.co/ed_end
Gothic, Progressive Avantgarde Metal /Rock
Bandcamp- https://rioghan.bandcamp.com/album/different-kinds-of-losses
Facebook- https://www.facebook.com/rioghandarcy
For More Reviews, Interviews and My Musical Projects-
http://thedoorwayto.com/
Avantgarde Blackened Doom
Bandcamp- https://20buckspin.bandcamp.com/album/bluenothing
Instagram- https://www.instagram.com/wormgloom
For More Reviews, Interviews and My Musical Projects-
http://thedoorwayto.com/
"Drowning In Noise" by Yoshiwaku. Music in free download in the field recording compilation "PHONOGRAPHIES" project by netlabel Camembert Electrique here https://camembertelectrique.bandcamp.com/album/phonographies
More free music by Yoshiwaku here https://yoshiwaku.bandcamp.com/
or on the netlabel archive https://archive.org/details/le-colibri-necrophile
Adapted from Oscar Wilde
Starring Alla Nazimova
Music by Charles Barber
Adapted from Oscar Wilde
Starring Alla Nazimova
Music by Charles Barber
Adapted from Oscar Wilde
Starring Alla Nazimova
Music by Charles Barber
Adapted from Oscar Wilde
starring Alla Nazimova
Music by Charles Barber
Starring Alla Nazimova
From Oscar Wilde
Music by Charles Barber
A protest song against the lockdowns, 'vaccine' mandates / passports and 'Great Reset' biosecurity state tyranny.
Starring Alla Nazimova
Music Charles Barber
Adaption of Oscar Wilde by Alla Nazimova
soundtrack by Charles Barber
Director Charles Bryant
Adaption of Oscar Wilde by Alla Nazimova
soundtrack by Charles Barber
Adaption of Oscar Wilde by Alla Nazimova, who is the star also.
soundtrack by Charles Barber
Director Charles Bryant
Flam [noun] 1. a deception or trick. 2. a falsehood; lie.
'FLAM! Both Sides Will Burn - Pre Release, Single' (Audio)
Original Harp, Keyboard, and Spoken Word Composition From the album 'Soviet Crisis In America' to be released in spring 2022.
Hyperpop, Electronic, Spoken Word, Avantgarde, Anticommunism, Antisocialism, Antipolitical
Copyright 2022 Adalheidis Daina Aletheia
More music is available at
https://soundcloud.com/adalheidisdainaaletheia
and all albums at
https://adalheidisdainaaletheia.bandcamp.com/
NOTICE: The artist does not support nor approve of any ads that may appear in this video that may have been added as propaganda by the streaming service.
WARNING: Listening to this audio track or any version of it voids all responsibility of the artist to your actions that may or may not be influenced by your interpretations of it.
merged by vXv aka Jo3Gr33n circa 2012.
'Bird Song Ritual' (Official Music Video)
Original Harp and Keyboard Composition From the album "Nidification"
Electro-Funk, Electro-Acoustic
Video editing and montage by Adalheidis Daina Aletheia
Music, and harp intro video copyright 2022 Adalheidis Daina Aletheia
All other visuals are public domain (see Public Domain Sources below).
The metaphorical context correlates to the various songs and cries of a bird, primarily mating calls, and how it parallels with human behavior. The problem is that most human behavior is tainted with indoctrination, propaganda, and authoritarianism which inevitably leads to psychological nightmares. Not just our current times, but every aspect of human existence, has been tainted by indoctrination, propaganda, and authoritarianism, and has been going on for ages.
More Audio and Video projects by Adalheidis at:
SoundCloud - https://soundcloud.com/adalheidisdainaaletheia
BandCamp - https://adalheidisdainaaletheia.bandcamp.com/
ReverbNation - https://www.reverbnation.com/adalheidisdainaaletheia
Drooble - https://drooble.com/adalheidis.daina.aletheia
AudioMack - https://audiomack.com/adalheidisdainaaletheia
Vimeo - https://vimeo.com/adalheidisdainaaletheia
YouTube - https://www.youtube.com/channel/UCFtC8LK2SwbrCWQdfk3PTZQ
Public Domain Sources Used In Music Video (See https://archive.org/ for details):
How Do You Know Its Love? Cornet Instructional Films, 1950
Battle for Love 1950's Pin-Up Film
Co-Ed Secrets Stag Film 1950's Bondage Film
Seven Scenes in Seven Dreams 1950's Pin-Up Bondage Film
Fish and Wildlife Service National Conservation Training Center Unknown Date, Birds
Full album in free download here
https://archive.org/details/rADio_eNd_Paroxysmic_Rhapsody_Part_1
https://archive.org/details/rADio_eNd_Paroxysmic_Rhapsody_Part_2
Latest news by Ed End here https://ello.co/ed_end
Tonträger: ´Feindnah - Avantgarde` (2021)
An original video made for our newest song "Grey Wind".
Produced by: droomwereld
ORCHESTER-HAPPENINGs
Two hours of pure, floating improvised sounds.
Far, far away from mainstream music & sounds, and this here is a "not-a-cup-of-tea-sound", so:
This is nothing for "Joe-Bloggs-listeners"! But avant-garde sound enthusiasts quickly get their money's worth.
I wish you much joy while listening!
[Xtremly bass sound, btw!]
Volker L. H. :)
© 2021 by Volker Ludwig Holz, Germany
ORCHESTER-HAPPENING
Two hours of pure, floating sound.
Far, far away from mainstream music, and this here is a "not-a-cup-of-tea-sound", so:
This is nothing for "Joe-Bloggs-listeners"! But avant-garde sound enthusiasts quickly get their money's worth.
I wish you much joy while listening!
[Xtremly bass sound, btw!]
Volker L. H. :)
© 2021 by Volker Ludwig Holz, Germany
ORCHESTER-HAPPENING
Two hours of pure, floating sound.
Far, far away from mainstream music, and this here is a "not-a-cup-of-tea-sound", so:
This is nothing for "Joe-Bloggs-listeners"! But avant-garde sound enthusiasts quickly get their money's worth.
I wish you much joy while listening
Volker L. H. :)
© 2021 by Volker Ludwig Holz, Germany
Please support my work at: https://www.patreon.com/rowancasey
or https://www.paypal.me/rowancasey
Follow me on Twitter: https://www.twittter.com/rowanman28
& please subscribe, like and share!
Original video: https://www.youtube.com/watch?v=wuvrXTI3ge8
My site: https://thefascistnewworldorder.com/
Self titled album: https://www.youtube.com/playlist?list=PLQjfq0HhghcO2Ih4zSy8Ak3lKFRC0xGu0
Please support my work at: https://www.patreon.com/rowancasey or https://www.paypal.me/rowancasey
Follow me on Twitter: https://www.twittter.com/rowanman28 & please subscribe, like and share!
Full album on YouTube: https://www.youtube.com/playlist?list=PLQjfq0HhghcO2Ih4zSy8Ak3lKFRC0xGu0
My site: https://thefascistnewworldorder.com/
Original video: https://www.youtube.com/watch?v=5XART__mWgE
Please support my work at: https://www.patreon.com/rowancasey
or https://www.paypal.me/rowancasey
Follow me on Twitter: https://www.twittter.com/rowanman28
& please subscribe, like and share!
My site: https://thefascistnewworldorder.com/
Full self titled album: https://www.youtube.com/playlist?list=PLQjfq0HhghcO2Ih4zSy8Ak3lKFRC0xGu0
Original video: https://www.youtube.com/watch?v=WIc7Mbn3tqE
Please support my work at: https://www.patreon.com/rowancasey or https://www.paypal.me/rowancasey
Follow me on Twitter: https://www.twittter.com/rowanman28 & please subscribe, like and share!
My blog: https://thefascistnewworldorder.com/
https://droomwereld.bandcamp.com
https://www.facebook.com/OfficialDroomWereld
-
Comforting The Dead: https://comfortingthedead.bandcamp.com
https://www.facebook.com/comfortingthedead
https://www.twitter.com/ComfortTheDead
-------------------------------------------
"If a law is unjust, a man is not only right to disobey it, he is obligated to do so." -Thomas Jefferson
In a time of deceit telling the truth is a revolutionary act. - George Orwell
"The most effective way to destroy people is to deny and obliterate their own understanding of their history." - George Orwell
Painkiller
Guts of a Virgin (1991)
HanDJob
Earache
youtube: https://www.youtube.com/user/koloxid
bandcamp: https://koloxid.bandcamp.com/
https://hideouslaughter.bandcamp.com/...
bitchute: https://www.bitchute.com/channel/d1fE...
twitch: https://twitch.tv/koloxid/
instagram: https://www.instagram.com/koloxoid/
discord: https://discord.gg/rnSwA5h
Through lectures and haunting images, the effects of the bubonic plague is explained In history and our world today.
https://www.imdb.com/title/tt11696218/
This video may contain copyrighted material, the use of which has not been specifically authorized by the copyright holders. The material is made available on this website as a way to advance research and teaching related to critical media literacy and intercultural understanding, among other salient political and social issues. Through context, critical questioning, and educational framing, Mor Film, therefore, creates a transformative use of copyrighted media. The material is presented for entirely non-profit educational purposes. There is no reason to believe that the featured media clips will in any way negatively affect the market value of the copyrighted works. For these reasons, we believe that the website is clearly covered under current fair use copyright laws.
An innovative experimental drama in the style of John Cassavetes and Robert Bresson. Calla Lily follows Melanie, who was drugged and raped while in college. Now ten years later, she is in an abusive relationship and has a child. A chance encounter with someone from her past leads her to re-evaluate her past.
The film was produced in 2015 in a experimental style with non-actors.
Written and Directed by Mark Penney
Cynthia Stone - Melanie
Rudolph Mendy - The Boyfriend
Jonah Kaplun - The Son
Louco Saint-Fleur - The Supervisor
Marnie Sutherland - The Teacher
https://morfilm.co/#/index
http://www.imdb.com/title/tt3903416/
Eigentlicher Titel "Totensonntag '44" bezieht sich auf einen Großangriff der Alliierten während des II. Weltkrieges auf die nordrhein-westfälische Stadt Gütersloh, bei dem zahlreiche Häuser und das Kirchenschiff der "Alten Kirche" (heute "Apostelkirche") komplett zerstört wurden. Bis zu ca. 100 Menschen ließen ihr Leben, darunter schätzungsweise 20 Personen, die sich unter dem Turm der "Alten Kirche", der als Luftschutzraum genutzt wurde, aufhielten.
In einer langen Klavierimprovisation von über 40 Minuten Dauer werden u. a. zahlreiche Geräusche, darunter Glocken-, Regentropfen-, Gewitter, Sirenen- (unterstützt von zwei Singstimmen mit Hallzusatz), Bomber- und Explosionsgeräusche (Cluster im Bassbereich). Das ist natürlich ungewöhnlich, und man kann eigentlich davon ausgehen, daß so etwas nicht mit Klavier umsetzbar ist. Und doch war es machbar!
Man kann sich nicht vorstellen, daß die vorliegende Aufnahme eigentlich wieder gelöscht werden sollte, denn ich hatte an jenem Tage tatsächlich keine(!) Lust eine Kassettenaufnahme zu fabrizieren. Das muß man sich mal vorstellen: Die Kassette sollte schlicht und einfach nur "voll" werden!
Nach anhören der Aufnahme mit einem guten Freund und Kommilitonen aus Detmold empfahl mir letzterer die Aufnahme auf gar keinen Fall zu löschen! Sie wäre schon allein vom Sound her recht interessant und einfach nur gut gelungen.
Mein Dank gilt daher heute noch (einem absoluten "Soundfreak"!) Jens Isern (dto. Komponist) aus Detmold!
Viele spannende Minuten beim Anhören wünscht Euch
Volker H. :)
Hier die Trackliste:
00:00 Intro
01:18 Stadttreiben...
07:18 Vorahnungen...
11:38 Probealarm (Voralarm)...
27:05 Fliegeralarm!
28:35 Bomber nähern sich...
29:23 Bomben fallen! Explosionen!
31:23 Bomber ziehen ab...
32:48 Entwarnung!
34:00 Kirchenglocken läuten...
34:40 Mehrere Glockengeläute verschiedener Kirchen aus verschiedenen Windrichtungen klingen zusammen!
36:21 Ein Gewitter naht heran...
36:30 Blitze...
36:39 Donner...
39:55 Regentropfen...
40:52 Regenschauer...
43:40 Ende
PS: Der Aufnahmeort war der Raum "Prof. Dietrich Manicke" im "Pädagogikhaus" der Hochschule für Musik in Detmold (damals noch "Nordwestdeutsche Musikakademie in Westfalen-Lippe, Detmold") an irgendeinem Abend im Jahre 1982 ab etwa 19.oo Uhr auf einem kleinem "Pfeiffer"-Klavier...;)))
Auf einem Flügel wäre die Aufnahme niemals so authentisch geworden, da m. E. speziell die "Pfeiffer"-Klaviere einen sehr feinen, reichhaltigen, sehr langanhaltenden und mysteriösen "Obertonnachhall" besitzen! (gilt auch für bestimmte BECHSTEIN-Klaviere!)
Ich w a r und b i n immer noch der Überzeugung, daß obige Feststellung kaum für Klavierflügel gilt. Und damit entspreche ich gerade nicht der Mainstreammeinung, die behauptet, daß selbst der schlechteste Flügel immer noch besser klingen soll, als das beste Klavier. Das stimmt wirklich gar nicht!!
Flügelsounds sind in der Mehrheit von vornherin viel zu trocken und "geradlinig"-akademisch gestimmt und klingen im Endeffekt total langweilig!! Es gibt aber natürlich auch wenige Ausnahmen.
(Aufgenommen mit GRUNDIG-CR 485, eingeb. Mikrofon)
Film by Michael Emery (+filtered)
All Yoshiwaku Music is free to download here
http://yoshiwaku.bandcamp.com/
None
Hans Richter Movie (1927) Gestalt OrchestrA Music. Extract from the album "Objet Petit Dada"(2008) Free download there https://archive.org/details/ObjetPetitDada