/int/ – No shittings during wörktime
„There is no place like home“

File (max. 4)
Return to
  • Allowed file extensions (max. size 25 MB or specified)
    Images:  BMP, GIF, JPG, PNG, PSD   Videos:  FLV, MP4, WEBM  
    Archives:  7Z, RAR, ZIP   Audio:  FLAC, MP3, OGG, OPUS  
    Documents:  DJVU (50 MB), EPUB, MOBI, PDF (50 MB)  
  • Please read the Rules before posting.
  • Make sure you are familiar with the Guide to Anonymous Posting.

No. 16306 Systemkontra
227 kB, 500 × 492
Old one systemkontra'd
No. 16310
I forgot to add, some of your electronic/industrial tier music really reminded me of me being in college and listening to that. Would be funny if we were doing roughly the same thing with the same music feels around the same time.
No. 16341
818 kB, 2222 × 3026
Been listening to a lot of Anglo-Saxon metal again. Dog this album is very off-style for this band who tend to sprinkle this sound onto supporting tracks rather than go balls deep with it, but it goes to show the talent involved when the band can go from black metal to cosy acoustic album without losing out in quality. Dunno if it's my favourite album in the subgenre, Curse of the Cwelled by Forefather is a very strong contender for that title. I mean quoting the Anglo-Saxon Chronicle in the first track is a strong opening for thematic purposes.

>Winterfylleth - The Hallowing of Heirdom

>Forefather - Curse of the Cwelled
No. 16351
I've recently taken to nightwalking. Partly, it's to keep healthy. Although I have no desire to become physically impressive, and I look at gymnasiums in the same horror as the Maccabees probably did, I do want to be physically robust (it's also the reason why I've started taking cold showers and abstaining from alcohol). Mainly, however, it's because it's fun.

As part of that, I've been listening to a lot of ambient stuff while out on these 1 - 2 hour walks, specifically "dark ambient" stuff from Cyro Chamber on bandcamp. There's some good stuff there, and the one I've recently been listening to is Winter Restlessness by Mount Shrine -
I've also gone back to listening to "dungeon synth" although I use that term loosely in reference to Vinkalder's Ambient I -
which to me seems more "neo-medieval" (a ridiculous word, but there you have it, it's a tag on bandcamp!).
No. 16353
No. 16356
Sounds cosy.
No. 16362 Kontra
It really is, and I urge you to try it, especially if you have difficulty sleeping. Obviously, don't bother with night walks if you live in an unsafe city - I have no idea how safe Hong Kong is (I'm sure it is!). Also, if you do decide to "urban nightwalk", tailor the music appropriately. I think dark ambient works well because I walk in rural areas, but something like 新しい日の誕生 by 2814 -
or Warm Night Fall by Sebastian Paul -
would, I think, go really well with Hong Kong. But obviously, personal taste and local knowledge are with you here.

A polite kontra as I don't wish to detract from OP's topic.
No. 16367
No. 16371
I just caught wind of the city pop meme so I've been listening to Japanese radio hits from the 80s all day
No. 16471
No. 16476
Cool shit, grab this, you might like it

I find myself listening to Electric Wizard - We Live on a daily basis in past week, one of my favourite metal bands from when I was younger. Best Stoner metal with sludge vibes especially on this album.

also this track is the best
No. 16477
I never really understood why there's so much hate for this band. I mean, they're a bit edgy with all those masks and costumes and shit but it's hard to find a Metal/Nu Metal/Whatever band that isn't at least a bit too edgy.

Mushroomhead - Sun Doesn't Rise
No. 16479
24 kB, 400 × 400
No. 16480
I like Slipknot too. Who got the idea that you can't like both?
No. 16481
Maybe the people who hate it you where talking about? I've heard it for the first time and I can kind of relate.

I mean like, saying that they are only a bit edgy and then

>I find it hard to concentrate with all my past mistakes
>To begin my life
>I can't feel my faith can't recall my crime
>I think I sealed my fate along the way I may have lost my mind
>I guess we're all damaged in our own way
>Alone in our own way
>Distant headlights desolate highway

No. 16485
No. 16492
168 kB, 962 × 729
Bri'ish Acid Techno making you bonkers, mate!

>DDR & The Geezer - Mad Cows On Acid

It's from 1997 and I like how the B side is called BSE. Those punks tweeking a 303 was a really good incident in history
No. 16523
Behold I give you Polish Age of Empires rap

Also where is Egypt is he just busy?
No. 16564
477 kB, 609 × 700
>Duran Duran - Save A Prayer
There's nothing like melancholic 80w pop in the evening
No. 16567
>State that you never understood why X is Y
>get an honest answer
>act like a bitch and take it personal
>reply with boomer meme tier music, you could've atleast went with tiger lillies

New Connan Mockasin's pretty damn good
No. 16571
I did not participate in this thread until that post.

No. 16573 Kontra
17 kB, 440 × 398
No. 16574 Kontra
I just saw "Oh, Slipknot...!" and posted a related funny song which you maybe didn't even realize. Fucking shizo.

Still. Have a look into Richard Cheese, shit is funny. Maybe even for salty drunk bums from eastern europe.
No. 16580
Been listening to this artist lately. Very distinct sound in my opinion and one that is pretty cosy. Not as mind-quieting as dark ambient tends to be, but breddy good.

No. 16632
So I looked it up and apparently there's a wide variety of variants on this "3D chess" idea but not an actual rule set for Star Trek chess. I dont know why this surprised me so much. I guess I also figured the rules would not be that these are just different sectors of the same board (because that would be fucking stupid instead of just using a bigger board) so I always figured there was some arcane rules on how you moving a piece on an above board simultaneously moved or caused an action on a below board.

I should just invent a thing like this and call it Heaven and Hell or something. I bet I could use the exact same visual style too since I doubt that can even be copywritten.
No. 16650
>since I doubt that can even be copywritten


Also: Sweet summer child, how naive, how naive. Apple still holds a patent for a rectangle (of a certain ratio) with rounded corners[1].

[1] https://www.theverge.com/2012/11/7/3614506/apple-patents-rectangle-with-rounded-corners
No. 16658
I doubt anyone is dumb enough to be one here, but I kind of wonder how ancaps deal with copywrite. Wouldn't a free market not have such a thing?
No. 16665 Kontra
Depends on what form of capitalism you try to embed the free market in. Unfortunately I have no idea what Marx initially wrote about patents. But the more modern view of Smith, which is still taught to economy students world wide, patents are very much anti-free market since they take the balance around monopolies (that romantically inclined wishful thinkers convince themselves is a real thing) and flush it down the drain.

kontra due to OT
No. 16675
Like the German says, it depends. The deep parts of the Libertarian bunny hole put patents as anti-freedom, but intellectual property can be enforced on an individual level through licensing similar to how software works, good branding to associate your original version with higher quality, or just by leveraging trade secrets to outright have something that can't really be copied.

In the current world, you'd have to be careful to steer clear of trying to evoke Star Trek in your sales. You could get away with the basic shape I'd say but if you push too hard in it obviously being 'Star Trek Chess', you're going to get hit with C&Ds because you're riding their product's popularity for your sales. You'd be better not just renaming it, but totally reskinning it into a 3d board game that happens to share very similar rules to a 3d chess variant. There's more plausible deniability there. It's an old trick from the miniature wargames world for how to make 3rd party bits for GW minis without getting buttfucked by their zealous legal team.
No. 16677
He is not me. I didn't answer to >>16481 because it could only lead to a discussion about edgyness and who needs that?

t. >>16477 and >>16480

Now, have some German whatever

No. 16679
>Illoyal & Bass Deaph

Nice. I saw them live in 2011, there were maybe 10 people attending. They were playing tracks from "Das Krankenhaus ist unendlich" which were much more experimental than their later stuff and the venue cleared out completely. So a friend of mine ended up smearing hand cream on Illoyal's face because it was getting late and the few people still hanging around just wanted to see Antilopen Gang. In the end we still had to take a taxi home.
This is not even funny, now that I think about it. But anyhow it's my story about Illoyal. After that I bought all his releases to atone.
No. 16725
306 kB, 500 × 374
14,9 MB, 6:28
8,9 MB, 3:53
61 kB, 268 × 400
I like that picture a lot. It reminds me of something, but I cannot put my finger on it. The idea of opening music threads with some OC is one I support strongly.

It physically hurts hearing such music while it is so cold, windy and rainy outside. Even though I haven't been on a beach holiday in ages, I immediately miss it and get a memory of the smell of suntan lotion for some weird reason.

Would you mind sharing some tunes or significant artists? J-Pop and K-Pop always passed me by even though I enjoy the positive vibe they transport whenever I heard something by chance.

There are a lot of songs by Duran Duran I do not like at all. Especially Wild Boys I find simply gruesome. But they also did some very remarkable pieces, "The Chauffeur" being my favourite:

Weird that this is from 97. It sounds just like the tracks done on the continent a few years earlier. I guess this kind of music hit them pretty late and while everyone in the Netherlands, Belgium and Germany was going apeshit to it, they were still stuck on their garage sounds.
I guess you are also >>16300? If so, I think we are about the same age. I have a lot of good memories, some might be even the best of all, connected to this music and the songs. I hold Transfiguration especially dearly. The second tune I added is one of the first, or even the first "Jungle" track later being better known as Drum'n'Bass on the continent.
No. 16726
I kind of got into Heavy Metal today for a few hours:

>Black Sabbath - Lord Of This World
>Motörhead - Jailbait Live Toronto 1982 (HD)
>Motorhead - Dead and Gone (Music Video) (Lyrics )

Bonus: https://www.youtube.com/watch?v=m8tmCQUURiY
No. 16797
9,8 MB, 4:16
9 kB, 225 × 225
Don't know why i like it because someone farting with his ass pressed against a wall would sound better but i do.

Have one of my favorite tracks of those guys and a link to something somewhat relatable from a (i think) Canadian guy.

No. 16820
It's not terrible and still way better than dubstep.
No. 16823
stand back kids
much better nu-metal band comin thru


this album rules and ill fight anyone who says otherwise
No. 16825
Honestly I know it is kind of bydlo of me but
then again, O Fortuna basically came from a whorehouse, and frankly I thought most mainstream music was crap ten, twenty years ago and I doubt it's much of any better today.

Meh I never really liked SoaD too much even back when I listened to such things. Actually most of it was pretty shit even back then, particularly Papa Roach. Holy hell that album was bad. Anyone remember Blink 182? What was it, Sum 41, that bad was just awful. Slipknot was okay, Korn Disturbed etc if you're being an angsty teenager mad at the world riding on a school bus. Also I didn't know this but apparently the whole band of SoaD is Armenian.
No. 16829

>Hydraglyph - Ultrasound RMX
No. 16841
6,1 MB, 3:06
5,2 MB, 2:30

What's not terrible? Illoyal or Tha Impaila?
Both are intentionally terrible but in my opinion somewhat charming.
In the case of Impaila, he released 2 albums from which the second one is definetly improved in quality while the first one offers gems such as this.
No. 16853
>01 - Linien.mp3
Nice, never heard this track. Do you know what release it's from or is it just a single track?

Listened to the newer album, it's pretty rad actually. I like the lower-pitched vocals, reminds me of Lil Ugly Mane
No. 16858
40 kB, 512 × 307
I found this very peaceful last night. The album cover is a tropical fish and it carries exactly the sound that promises.

Would recommend wearing headphones.
No. 16863
I tried listening to speedcore again tonight, and my opinion on it kind of evolved from "this is not music!" to "this is still not music but sometimes, probably it can pass as music and those ones already are very exhausting"

last time I tried speedcore was in...2003-2004 maybe? And right now when I tried listening to it again I found it very exhausting. I still dont know how do some people listen to that.

>SFOB Speedcore Front Ost Berlin - Speedcore Symphonia Part II - Kindesschlaf

As soon as I put away my earpieces I literally said "well, that was exhausting". And yes, I said it in English as well.
No. 16866
I listened to Shostakovich for the first time today. It's surprisingly different from the styles I am used to (Brahms, Bach, Schubert, Vivaldi, Paganini, Haydn, Beethoven, Mozart, (Arturo) Marquez, (Aldemaro) Romero, Britten...).

Though so far I've only listened to 'Leningrad', which seems to be the most famous piece. Recommendations for what to listen to next (from Shostakovich).
No. 16869
Linien is from a ep called "Lieder kurz vor Schluss"
I just looked and it seems the original download link is dead but i would upload it for you if you want.
No. 16875
8,5 MB, 3:42
7,9 MB, 3:27
>i would upload it for you if you want.
Please, that would be awesome!
No. 16884
Thanks, but this looks like your profile link or sth., in any case seems like I can't access it directly
I'm not a MEGA pro but I think you'd have to get the link of the specific album folder to share it
No. 16885
No. 16886
No worries, it works now. Thanks a bunch!
No. 16887
My list would be:
Symphonies 4,5,7,9,10,11,12,15 (And 2 and 3 if you are interested in Russian avant-garde. They are less than 30 minutes each, half avant-garde, half propaganda.)
Piano concerto 1,2
String quartet 8
Jazz suite 2 (+ Tahiti trot)

Try to seek out versions done by Russian orchestras. The faster the music sounds, the better.
No. 16894
377 kB, 1200 × 840
Listening to some of his newer non-rap stuff right now btw, it's pretty neat actually. Very rhythm-focused and groovy, sort of "world music" with electronic but at times more experimental (he also does a bit of spoken word):

No. 16905
I never knew the USSR made Jazz-Fusion.
It's pretty rad. Makes me feel full of energy.
No. 16982
Alright, I didn't share what I'm listening to for too long so just a couple songs.

>Kate Bush - There Goes a Tenner

>Hamish Imlach - Erin Go Bragh

>Skoll - D'Annunzio

>Duran Duran - Save a Prayer

>Atlantis - Tak jak chciałeś

>Scum Rats - Devil in Disguise (psychobilly cover)
No. 17309

It's time to feel alright x 45
No. 17375
Nice taste but man I feel like you're into way more obscure stuff than me
No. 17378
Thank you.

Well, one mark of going in too deep in this genre is when you start reading track names and you dont understand them, also when you listen to voice samples you hear either broken English or a slavic language, lots of it.
No. 17382

Old school UK dubstep, this stuff slaps
No. 17383
Some late night coziness and feels for you, Ernst.

I know I had those nice feels.

>Vangelis - Theme from Missing
No. 17384
>you hear either broken English or a slavic language
Yeah pretty much
No. 17386
11,9 MB, 320 × 240, 4:28
No. 17397

Extremely good album produced by the same guy who did In Utero with Nirvana

actual fact: Kurt Cobain was a big fan of Metallica but only first two albums, I can relate, everything after that was shit
No. 17399
57 kB, 420 × 315
Tito & Tarantula are best known for the From Dusk Till Dawn soundtrack, but they actually have a few very good albums.
I used to listen to them a lot years ago but somehow stopped.


No. 17437
17,6 MB, 640 × 360, 5:01
No. 17476
I randomly got recommended this https://www.youtube.com/watch?v=i7Gkh_9hyi8 but strangely it's the only thing he's done I liked so far. Most of Enigma TNG sounds like some bad blend of death metal. Also just posting because I am confused how the thread on systemkontra bumped above this one?
No. 17490
39 kB, 400 × 150
546 kB, 620 × 846
No. 17492
How can something sound so desperate, yet so powerful and beautiful at the same time?
No. 17498
impressive. very powerful, yet controlled and not a hint of boastful showmanship. what a conductor & orchestra. they have a new fan now, even though i'm not really into shostakovich.
No. 17541

The jam is on. I wonder if I'll finish writing before it ends.
No. 17562
87 kB, 580 × 571
Somewhere between synth nerdism and an obscure 70s or 80s movie

No. 17796
No. 17798
32 kB, 304 × 288
Oh yeah, I have that vinyl. You are aware it's an alias of Legowelt? On the Seaside is my favorite.


No. 17799
Yes, my friend. I am envious.


I enjoyed this collaboration, hope they release more.
No. 17813
Xosar is doing some good tracks herself. there is a Dekmantel where she plays live, but I don't mean the new one from 2018. Cannot find the old so I will just post a track of her I like.

No. 17846
I can't stop listening to the anthem of the Armenian SSR. It has a really nice eastern vibe to it, mixed with your typical soviet grandiosity.
No. 17872
651 kB, 1070 × 656
941 kB, 1353 × 830
Noice. Holographic Matrix was a good release, too. For some reason my copy sounds a lot more lofi than the one on Bandcamp. This track has a neat colundi feel to it.


Same feel with the DDR anthem. That feel when born too late to visit.


Now for a proper colundi track.
No. 17934
Who listens to UNKLE here?
No. 18040
It's interesting, and also interesting because I can't yet tell if I like it or dislike it


Some of it vaguely reminds me of Tricky, which I greatly enjoy
No. 18082
No. 18100
One of the very few tracks that remained with me after the dubstep fad

>Roeyksopp - Runinng to the Sea
No. 18136
8 kB, 203 × 248
A acid/303 line made from heaven (4:00+). It really has the sound of a vector pointing into nothingness while being light, zero gravitation in that space, space

No. 18150
Good Tune.
No. 18167
Today I woke up with a generally bad mood, the weather is cloudy and raining. Then I was browsing for music on the internet and I ce across this:

>Rose Red Flechette - Penetrative

I do not know what is this (apparently it is labelled is psycore/psybercore), but it suits my current brooding morning. It kind of reminds me of the digital hardcore genre of the mid-late 90s (stuff like ec8or and atari teenage riot).
No. 18182

Jack Thackray - Lah Dih Dah

A british singer/songwriter who sings within the French chanson tradition and in a baritone record.
No. 18278
I just discovered John Maus some week ago (I've seen the videos in my recommendations for years but for some reason I always thought they'd just be some rather lame retro-synth stuff) and I've got to say that his songs really hit a nerve inside me. So sweet and painful at the same time. It's a very rare thing that I can listen to songs over and over again but here we go.

>Wait til next year

>And the rain

>Hey moon
No. 18298
It had to be UR. I never knew about Inspiration, good track.

Add these to the must play of UR:


[the live version makes even more fun, it's more energetic]

No. 18380
i remember ur/submerge would sport quite a "revolutionary" and anti-commercial attitude and they would call their stuff "for those who know".
the final frontier is probably my no1 favourite track of all time. i associate a lot of good memories with it, too. if i had to choose a track to listen to till i die it would be this one. i've heard it so often, but when that epic 303 line comes in it kills me every single time. entering a time tunnel in a spacecraft probably feels similar.


No. 18388

Well, ofc!

It's cool that UR staff also did this, which means mad mike but shit this track is so energetic and house, gotta jack when the chords come in right after the kick drum is running a few bars

No. 18446
26 kB, 500 × 290
I woke up totally deranged from sleep, had this line in my head
>I love it then comes a bass or synth melody ...goes like .. I love it ..du, duu, du

Thinking damn what was that track title. I opened youtube still totally deranged from sleep and I knew I don't know the title but out of nothing like a fucking super lighting my mind revealed to me the name of the artists to the track Talking Master which was played by Moerbeck in a set when he was in my town, that I was looking for a few weeks ago or so.

It was Heron.

>Heron - Talking Master
No. 18502
Germanballs, are you still up for a rave this year? We already had the plan to create a telegram group but once again I was procrastinating answering. Whoever planned to make one, just do it and upload the link ITT. I will join.
No. 18549
65 kB, 700 × 480
I'm surprised this isn't actually a professional soundtrack to anything
It sounds amazing. Like, I don't even know how actually to describe it. It sounds like Gregorian or Orthodox dark ambient. Truly, this can be the soundtrack for the 23rd century's glorious homosexual space Christianity. I hereby demand as the Prophet that this be played during our religious wedding ceremonies.
No. 18553
Sounds quite cool, though not at all gregorian.
No. 18577
Random Japanese New Age-ish ambient

No. 18606
You should check out Hiroshi Yoshimura. His music feels so healthy and comforting. I always listen to it when I'm really fucked up.


No. 18631
In my opinion UR was techno at its best, and that goes for Drexciya especially.


Thankfully, Gerald Donald is still producing.

We also have DJ Stingray who I'm liking a lot.


I adore Yoshimura's music. Along with recommending his entire body of work, I would also recommend Harumi Hosono, Yutaka Hirose, Yoshio Suzuki, Akio Niitsu, Kuniaki Haishima, Toshifumi Hinata, Tomoyuki Asakawa, Takatoshi Naito, Takahiko Ishikawa, Shiho Yabuki, Shigeaki Saegusa, Satsuki Shibano, Motoko Hamase, Kohsei Morimoto, Akira Ito, Yoshitaka Azuma and Kenichiro Isoda.

They're all on Soulseek if anyone is interested.

No. 18632 Kontra
No. 18635

They really created a distinct sound.

Gonna listen to the Zyklus - Elektronisches Zeitecho

peeps like Plant43 took up that more scifi sound of electro, an 808 or another drum computer and some synths: cold and eerie space travel

No. 18636 Kontra
Very nice tune. I think Cignol might fit that description very well. His entire output so far has been mint.

No. 18920
The only modern pop music that I like is NKPOP:

The lyrics are also very relevant for me as I have midterm exams soon.
No. 18950 Kontra
DPRK has lots of good music, much better than occupied korea.
No. 19021

This song is politically noice. Written as the lyrics suggest after 10 years of Thatcher it begins as a protest song about the marginalisation of Celtic identity with lines dedicated to Scotland, Northern Ireland and Wales. Then it moves to include their English brothers and sisters who are just as oppressed by the establishment with the chorus being the chance to build a better tomorrow together.

TL Notes:
"Ten long years and he's still got her/Paying tax and and doing stir" = Aztec Camera were a Scottish band and Thatcher was extremely unpopular due to her reforms that gutted whole communities. Paying tax is a reference to the Poll Tax that was so unpopular it led to riots and a few months after this song Thatcher resigned for it amongst other reasons.
Taffy = Slur for a Welshman, also a people known for their singing in choirs
"Don't be too black, don't be too gay/Just get a little duller." = The Thatcher years were known for their repression of homosexuality and especially around this time Section 28 which was akin to Russia's ban on homosexual propaganda.
No. 19066
3,5 MB, 2:32
3,8 MB, 2:48
4,6 MB, 3:21
Hungarian boomer music. It's quite catchy. This was the band I held a presentation about.
The lyrics are strangely anti-governmental.
Singing about failed-revolutions after '56... What a brave thing to do.
No. 19069 Kontra
You know what, I'm going to make a little demonstration of the lyrics in English. Because otherwise it means nothing.

1st. Song. "Why did we let it be this way?"

You think, that the yellow rose is still blooming,
You think, that we will believe lying words,
You think, that we forgive everything,
You think, that we'll give up all our dreams, all our dreams.

To be between flowers with you,
Would be great, my darling,
There are no flowers any more, you aren't here either,
Why did we let it be this way?

Don't believe, whoever says that this is fine this way,
Don't believe all is right, whoever is wooing you,
Don't believe that we'll change by words command,
Don't believe that the yellow rose is still blooming, yellow rose


To be between flowers with you,
Would be great, my darling,
There are no flowers any more, you aren't here either,
Nobody will give answers today.

[refrain v2]x1

2nd song. "Don't think..."

Don't think, oh don't, that you own the world
Luck won't always be begging to you.
And even if you are the one talking right now,
Don't believe that this is how it'll stay forever,
I'd recommend you out from the limelight fast.

Don't think, oh, dont't, that you can deny.
Others are working in your place, while you are playing your role.
This world is completely different now,
It'd be better if you finally understood,
That time will slowly leave you behind.


I don't know how well the anti-establishment message comes through though. I just did this on a whim. Kontra because it's long, boring and uninteresting.
No. 19080
I love the melancholy of Európa csendes. Thanks for the translations; the anti-establishment message is subtle, but it does come through.
Since this is a music thread I should add some, so here's one more bit of boomer music:
Ricky Nelson
Garden Party

Nelson wrote this one in 1972 as a reaction to fans booing when he started playing his newer music instead of his 1960's hits. The crowd may have been booing an unrelated police action which was occuring at the same time, but Nelson took it personally and this song was his response.
There are numerous lyrical references explained here:
No. 19095 Kontra
I didn't translate Európa Csendes because I wanted to keep it short.

But I'm going to do it now.

Europe is quiet, quiet again, its revolutions died down.
Shame on her! She quieted, and failed to win her freedom.

Turns out it's just these two lines. It's a quote from a poem by Sándor Petőfi.
What's shocking is that this is after not only '56, but also the events of the Prague Spring in '68.
No. 19529
196 kB, 1024 × 1001
The Good Times killed Keith Flint. He burned out at 49. Godspeed lad!
No. 19568
>Joanna Newsom - Peach Plum Pear
Listening it on repeat again since it strangely enough found its way back into my mind a few days ago. Guess I'll never get rid of this one.
No. 19589
Oh fuck no :<

Time to re-activate my sony and search for my old tapes. Today will be a Prodigy memorial day.
No. 19613
I hate her voice. I imagine you just get used to it and then it stops sounding terrible.
Other such examples of voices that need getting used to:
No. 19614
Very difficult to enjoy that voice of hers.
No. 19640
A Suite from Shostakovich's Lady Macbeth. The timestamped part is from Act III's third scene.
The later part of this excerpt is pretty catchy I'd say.
No. 19647
It's always the first reaction, at least it was mine as well and one of my friends went through the same thing, then we both got addicted to her voice. Nowadays whenever I listen to this song I overflow with emotions, lord knows why.
Still her singing is pretty extreme in Peach Plum Pear, listen to the following to get a more usual impression of it.

Other voices I needed to get used to but then adored would be Kate Bush (I'm pretty sure she must have had inspired Newsom), David Tibet from Current 93 (Douglas P. as well tbh), as well as the great countertenor Alfred Deller. Hell, I even like the singing voice of Bert Brecht. There must be a beauty hidden in every voice, no matter the talent of its owner.
No. 19650
71 kB, 855 × 672
No. 19651
63 kB, 484 × 490
Schnittke, my other favourite Soviet composer, is in my opinion very underrated even within classical music circles.

>Concerto Grosso No. 1

>Trio Sonata

>Story of an unknown actor

>Gogol Suite

>Cello Sonata No. 1

>Cello Concerto No. 2

No. 19652
18 kB, 400 × 329
Forgot the preludes. No. 6 played by Nikolayeva is my favourite.

No. 19654
>David Tibet
Love that fucker.

Talking about weird voices, there's Melt-Banana:

And Klaus Nomi:

Also, although Susanne Sundfør's voice is much more "normal" than aforementioned, it still sounds kinda shrilly and unusual to me, but I like it anyway:
No. 19680 Kontra
63 kB, 1000 × 1000
No. 19942
2,0 MB, 2808 × 2825
France's Aion (AIΩN) presents a phenomenal fusion of Industrial Rock and Neofolk with some undercurrents of Coldwave and gothy Post-Punk that become much more prominent towards the B-Side.

The band was a project of Laurent "Bart" Steiner and Stéphane Vadviz. Laurent was connected to Front National de la Jeunesse (FNJ), who helped organize concerts for Rock Identitaire. Aion played one show of note with Vae Victis and In Memoriam.

Perhaps most intriguing is this album's multilingual affair. Apart from their native tongue, two songs are in English along with one in Italian and another in Latin. Per the conventions of the genre, lyrics cover Roman Paganism and Marinetti esque Futurism.

The album also marked a significant transition away from their early days of Electro-Industrial towads Rock-based music. Laurent's previous project LSVB mixed Coldwave and Darkwave with Electro-Industrial and even Synthpop. That project would in turn transition towards Electro-Industrial, and holdovers from that era carried over into Aion. All of these elements coalesced into producing this magic known as "Devotio".

Mr. Steiner has since quietly retired from music, but he later became a father to a son named Maximilian. It isn't known if Max shares his father's views, but he's quite passionate about video games.

Highlights: "Sous l'orage", "Devotio", "Au milieu des ruines", "Ceux qui vont venir" and "L'ascète et le guerrier - Version 99"
No. 19944
Honestly anything that puts a political message before the music ends up being complete crap. A Perfect Circle was the same way with their one album that was more centered on criticizing the Bush admin, and it sucked. I'd also say that anything that puts politics before the spiritual isn't spiritual, but is just cringey shilling.
No. 19953
Aion's music wasn't exclusively political, but politics influenced a good share of their lyrics. They're far from your average Crust Punk or RAC band, and the lyrics are much more philosophical than they are platforms for issues. Lots of Industrial music had political/social issues addressed in their albums.

For what it's worth, here's a link to their lyrics:

Translated from French ("Sous l'orage")
>Under the storm and the rain, in the wind, the tide
>Sleeping men, wild ocean
>The gods' anger at their apathy
>Blackening the heavens
>Where is their will, there is their freedom
>In the wind, the tide, men overfed
>Remake their past and their buried dreams
>Aging slowly, their hair whitened,
>Without thinking for a moment
>Where their will is, there is their freedom
>In a world too big, unconscious men
>Deliver their lands without testament to the powerful new
>And without shedding blood sacrifice their children
>Forgetting simply
>Where their will is, there is their freedom
No. 19962
71 kB, 600 × 600
144 kB, 955 × 956
>Falco - Zuviel Hitze
Unknown and underrated, binge-listening it tonight


>Shigeaki Saegusa - The Fantasia of Falls
Classical/electronic ambient from Japan or whatever the fuck this is but it's really great.

No. 19964
Let me put it to you this way: do you like the band because of the music, or because it's RAC? Would you still have any interest in this band if they had no political message, or one you disagreed with?
No. 19965
Does anyone else like Fred Firth and his associated acts?

On a another note, I'm listening to this right now: https://www.youtube.com/watch?v=DtQkILX5mz8

A few days ago I listened to this entire album (minus the bonus tracks): https://www.youtube.com/watch?v=5GCgi-jg5pU
I'd never thought I'd like this type of extreme electronic music.
No. 19969
Are you suggesting I only listen to right-wing music? I've listened to plenty of bands across the political spectrum. Nobody is discussing Identitarian Rock music, so I've taken it upon myself to dive deep into the scene and inform others of my findings.

My favorite Punk albums outside RAC or Hatecore:
The Accused - The Return of Martha Splatterhead
The Adicts - Songs of Praise
Adolescents - Adolescents
Agnostic Front - Cause for Alarm / Victim in Pain
GG Allin - Hated in the Nation
GG Allin & ANTiSEEN - Murder Junkies
Amebix - Arise
Angelic Upstarts - Teenage Warning
Anti-Cimex - Anti-Cimex
Anti-Heros - That's Right
Anti-Nowhere League - We Are...The League
Assück - Misery Index
Asylum Party - Border Line
Axegrinder - Rise of the Serpent Men
Bastard - Wind of Pain
Black Flag - The First Four Years
Blitz - Voice of a Generation
Breakdown - '87 Demo
The Business - Suburban Rebels
Charged G.B.H. - City Baby Attacked by Rats
Circle Jerks - Group Sex / Wild in the Streets
Clan of Xymox - s/t
Cock Sparrer - Shock Troops
Cockney Rejects - Greatest Hits Vol. 1
Combat 84 - Orders of the Day
Condemned 84 - Face the Aggression
Corrosion of Conformity - Technocracy
The Crack - In Search of...
Crass - The Feeding of 5000
Crisis - Holocaust Hymns
Cro-Mags - Best Wishes
Cryptic Slaughter - Convicted
Dead Kennedys - Fresh Fruit for Rotting Vegetables
Deviated Instinct - Welcome to the Orgy
The Cure - Kiss Me, Kiss Me, Kiss Me
The Damned - Machine Gun Etiquette
Death in June - The Guilty Have No Pride
Descendents - Milo Goes to College
Devo - Q: Are We Not Men?
Discharge - Hear Nothing, See Nothing, Say Nothing
D.I. - Horse Bites, Dog Cries
D.R.I. - The Crossover
Dr. Know - The Best of Dr. Know
Doom - Total Doom
Dystopia - Human = Garbage
End of Data - Sahrah
The Exploited - The Massacre
Fear - The Record
Fear of God - s/t
Fight For Freedom - Ganglife
G.I.S.M. - Detestation
GWAR - America Must Be Destroyed
Hellbastard - Heading for Internal Darkness
His Hero Is Gone - Fifteen Covnts of Arson
Icons of Filth - The Mortarhate Projects
Joy Division - Unknown Pleasures
The Krixhjälters - Evilution
Life Cycle - Myth & Ritual
Mentors - Up the Dose
Minor Threat - Complete Discography
Misfits - Static Age
Napalm Death - Scum
Negative Approach - Total Recall
Nuclear Assault - Game Over
Overkill - Triumph of the Will
Poison Girls - Where's the Pleasure?
Rudimentary Peni - Death Church
Sacrilege - Behind the Realms of Madness
Siege - Drop Dead
Siekiera - Nowa Aleksandria
Siouxsie and the Banshees - Kaleidoscope
The Sisters of Mercy - First and Last and Always
Skitslickers - Cracked Cop Skulls
Sockeye - Retards Hiss Past My Window
S.O.B. - Leave Me Alone / Don't Be Swindle
S.O.D. - Speak English or Die
Subhumans - The Day the Country Died
Suicidal Tendencies - Suicidal Tendencies
Totenmond - Auf dem Mond ein Feuer
Uncle Slam - Say Uncle
Vegan Reich - Hardline
Verbal Abuse - Just an American Band
Verbal Assault - Trial
Vile - Solution
Wehrmacht - Shark Attack
Wipers - Is This Real?
XTC - Drums and Wires
Zounds - The Curse of Zounds
No. 19971
57 kB, 600 × 400
I'm rather directly implying the singular reason why you give two shits about this or most of these other bands is based solely around trying to find something that pushes a political message you happen to agree with yes. I know exactly 9 of the bands you listed, a few of which I question whether you only cared about those for similar reasons i.e. assuming it has to do with "neofolk" with you in turn using it as a synonym for some kind of right wing thing. And no, I don't just mean some faggy identity politics though for transparency's sake I look down upon identity politics as a whole with great disdain.

Like this
is just a shitty lyricist. Not that it's even that important mind you. I listen to Velvet Acid Christ and he's quite possibly the worst lyricist I've ever encountered.

Also that's an unbelievably retarded label to begin with. Like, who the fuck do these dingbats even think they're trying to oppose? Communism has been pretty much dead for 30 years. They even suck at being edgy. Who are they even rocking against? Big scary Cuba? If they had any artistic integrity or a coherence they would've realized that this
>In the wind, the tide, men overfed
>Remake their past and their buried dreams
>Aging slowly, their hair whitened,
>Without thinking for a moment
is quite literally rocking against the new international Capitalist world order that has existed ever since the USSR died. I mean that song is pretty much word for word a diatribe against the global Capitalist order, not Communism, so I have no idea why the genre is even called RAC to begin with. Not that this is relevant in the slightest because "RAC" itself isn't even a genre so much as it seems to be a loose grouping of mostly right wing punk rock bands, along with some tons of neofolk and death metal. So already you are pretty much just trying to discuss punk rock and death metal, but I note this because as opposed to the actual music your main focus is on the political content like
>The band was a project of Laurent "Bart" Steiner and Stéphane Vadviz. Laurent was connected to Front National de la Jeunesse (FNJ), who helped organize concerts for Rock Identitaire
So right at the beginning of your post you're pretty much saying the music and band itself is of little signficance, only the faggy identity politics which it attached itself to, which itself draws the attention away from the actual music and purely onto the lyrical content.

I mean I will give you credit, that you at least brush past the musical content itself, but I still get the impression that you really don't seem to personally be invested or in care all that much about say the guitar work or the drummer or whatever. Moreover it's pretty disingenuous of you to act like you have much reason to be constantly starting these threads for years aside from the political rationale. So I will say again similar to what I said in a separate thread, which is that if the label of politics comes first then what follows after is just a faggy attempt at shilling your politics.

Like one could easily say "I'm a Christian, and I believe in Marxism because" or "I'm a Christian, and that's why I'm a nationalist" or whatever else, because your politics flows from a religious interpretation, as opposed to something like "I believe in Marxism and Christianity" or "I'm a right wing nationalist who's a Christian" do you see what I'm getting at? If you were a sincere Christian in that instance the politics comes second and derives from it, whereas in the other case it is someone trying to find a way to shill their particular ideology to a new crowd. This is a disingenuous and thoroughly irritating tactic when people catch on--and they certainly will catch on.

Like people don't talk about someone such as Jimi Hendrix or Janis Joplin because "oh those anti-war leftist hippies" you'll notice it's always in the context of "these awesome musicians" in other words it stands of its own merit: their politics is besides the point. But if you were to say try and make a band just to convey some political message, it'd end up being cringey and aggravating and that is part of why those bands get forgotten, since their views also fade into the same irrelevance in a way in which talent will not.

Religion likewise satisfies IMO the same sort of primal needs for meaning and experience in mankind, and so that is part of why many end up living for thousands of years simply because their meaning transcends the temporal, and yet you will notice with what little regard say Christian rock holds, because for most people the evangelizing is the point, not the music, and that is why the music so often sucks. In a different way the same often holds true of the AAA games, pop music, capeshit and other commercial garbage, because it is made exclusively to make a quick buck and the content likewise suffers for it.

In short: it's the merit of the content not its message.

In writing terms this is the difference between "show" and "tell." The difference between a hack shit writer and good writing is where, despite the medium itself literally being the dude telling you this or that, is in one case the author using descriptors and artistry to set the mood. Like "Jane's pulse quickened, her breath frosting over her glasses obscuring her vision" or whatever versus "Jane thought she heard a monster. Jane was scared." and then directly telling you the viewer blah blah. This is the same problem inherent to music made for the message and not the music.
No. 19990
First, thanks for taking the time to write a thoughtful reply. As much as I quarrel with the notion that my enthusiasm for this music comes from partisanship, it's rare when others who pushback do so in good faith and without assailing my character.

I find nothing to disagree with in the last three paragraphs because those notions are broadly true. Music is, first and foremost, an art, and material whose content transcends the space and time from which it was first produced will last generations longer than the art clearly from an era. Should any of the latter survive in the first place, it will often serve as nothing more than a curiosity. It's the same difference that's very evident in comparing a sculpture by Michelangelo with one by Arno Breker. "David" is a classic whereas "Die Partei" is seen as kitsch.

There are some things I would like to address. First, Identitarian Rock (or Identity Rock) and Rock Against Communism (RAC) are wholly different groups of musicians despite sharing similar audiences and even similar (not identical) ideas. Not that any of this matters to strict anti-racists and anti-Fascists.

Aion was connected to the French Identarian scene called Rock Identitaire Français (RIF), a loose association of musicians belonging to various organizations adjacent or directly connected to Nationalist movements in the Francosphere. Extremely few, if any, were outright National Socialists or Fascists, but some did flirt with the Third Position which syncretized Ethno-Nationalism with elements of the revolutionary Left. Although some French RAC bands shared members with RIF bands, the origins of this movement can be traced to French activist and musician Jack Marchal's opposition to May 1968 French student protests. The aftermath of such events led to the formation of the far-right student group Groupe Union Défense led by Jack Marchal along with Alain Robert and four others at Panthéon-Assas University in Paris. Members of the GUD would later go on to join the Ordre nouveau, who in turn would go on to form the Front National. Ever the prolific artist, Jack Marchal created the GUD's mascot known as the Rat noir popular in Nationalist iconography. RIF covered a wide range of genres from Alternative Rock and Ska Punk to Celtic Rock or Funk Rock. Aion was one of the two Industrial Rock bands associated with this music.

As to what RAC is, the term originated from a campaign and series of concerts in the late '70s by Young National Front (YNF) organizers in Leeds, UK, hoping to counter the successful efforts of the left-wing Rock Against Racism (RAR). Organizer Eddy Morrison pushed RAC to co-opt Punk and keep the scene away from left-wing interests. YNF operated a short-lived club and fanzine called Punk Front, which featured several live-only bands that quietly broke up towards the end of the '70s. The only band to ever record anything during this era was Tragic Minds (previously known as The Ventz) who later went apolitical under the name Music For Pleasure.

As left-wingers gradually pushed right-wingers out of Punk, Skinheads would be the ones to carry the torch of the far-right's counterculture. Although never affiliated with right-wing organizations, bands like Combat 84 laid the groundwork with lyrics advocating capital punishment and opposing nuclear disarmament. The watershed moment was an incident at a concert for The 4-Skins, The Business and The Last Resort in Southall during July of 1981. Two years earlier, police killed Anti-Nazi League activist Blair Peach in a riot instigated by the demonstrators, so racial tensions at a fever pitch. Accounts conflict as to who instigated it. The bands conceded the skinheads and South Asians weren't getting along, but maintain the the response was greatly out of proportion with the trouble the skinheads were causing them. On the other side, the South Asian locals claimed some of the skinheads assaulted women and elderly people, engaged in property destruction / vandalism and daubed National Front slogans on shop windows. The locals protested the gig on wrongful suspicion the bands were far-right and subsequently rioted, burning down the venue in the process. Following that incident, The 4-Skins recorded a song "One Law for Them". That single event successfully earned the National Front more followers than before, and they were able to organize their first Skinhead RAC concert in Stratford, East London.

Early on, RAC was strictly about British Nationalism. There's more than a fair number of '80s RAC bands that weren't necessarily Nazi and some never were in the course of their careers, namely the original incarnation of Public Enemy (UK), Vengeance and Indecent Exposure. As time went on, bands became much more openly Nazi, especially with Skrewdriver's later albums becoming more obvious in their references to the Third Reich and Norse Neopaganism.

Since Ian Stuart's death, RAC has undergone several shifts in style and is generally used as an umbrella for any far-right, Third Position or Nationalist Skinhead music. Originally, the style was a mix of Hard Rock and Punk/Hardcore/Oi!. Older bands tend to be Hard Rock or Oi!/Punk whereas newer bands tend to be more oriented towards Hardcore or Metal. The music tends to be upbeat, frequently anthemic, Rock with a hard edge - there are usually gruff vocals mixed with chanted/sung choruses. There are often prominent melodies which focus on a triumphant sound manifested through ballads, chanted choruses and folky melodies.

As to why it's called Rock Against Communism as opposed to Rock Against Multiculturalism, these bands oppose Communism largely for the humanism and liberal aspects of Socialism. The irrelevance of race and/or nation in Socialist rhetoric is the salient point RAC opposes. Consequently, most bands are explicitly White Nationalist despite the scene having spanned the entire globe with musicians hailing from across the Anglosphere, the Americas and Europe.

Think about it. Abstract economic theories don't inspire the average Joe to write academic compositions, much less make music. In fact, has an economic theory inspired anyone to make music of any sort? There's no such thing as Rock Against Central Planning or Rock Against the Labor Theory of Value. Anyone who tried to make such music would look weird.

>I mean I will give you credit, that you at least brush past the musical content itself, but I still get the impression that you really don't seem to personally be invested or in care all that much about say the guitar work or the drummer or whatever. Moreover it's pretty disingenuous of you to act like you have much reason to be constantly starting these threads for years aside from the political rationale. So I will say again similar to what I said in a separate thread, which is that if the label of politics comes first then what follows after is just a faggy attempt at shilling your politics.

There is no question that often times artists produce work for the intention of pushing a certain idea or belief which renders the end result little more than a propaganda vehicle, but I'm of the opinion that propaganda is an art.

The reason I sing Aion's praises so highly is because the music itself is extremely worthy. It's full of hooks and great build up. You don't even need to speak French to enjoy it. The worst you can say about it is the production values being mildly cheesy and the synths rendering the heightened drama a little cheap.

For the sake of argument, let's pretend Aion really was among some of the worst artists in existence. Do people who earnestly like bad movies secretly shills for the directors or producers of such films? Is outsider art invalid?

As an aside, you might find this interesting:
No. 19991
Jesus christ I remember you from KaCey, you sent me the exact same list when we were talking about alternative rock music to prove your superior music taste.

Send the other one with Manilla Road so we all can have a laugh.

>I mean I will give you credit, that you at least brush past the musical content itself, but I still get the impression that you really don't seem to personally be invested or in care all that much about say the guitar work or the drummer or whatever.

This this this so much this
No. 19992
>Manilla Road
Not that guy, but you're a moron if you think Manilla Road isn't the underground's Iron Maiden. Only the biggest contrarian twats hate them.
No. 19993
If you're going to sneer at me, prove you have tastes discriminating enough to trust. By all means, tell us what YOU like. I've got nothing to hide, so I'll proudly show you my hand again and again. The onus, however, is on you to compare your oh so superior taste to mine. Also, you were too stupid to realize "Relentless" and Pentagram's self-titled are the same fucking album.

I'm frankly not interesting competing with a nobody on an anonymous imageboard, but since others may very well be interested in what music I like outside RAC or Identity Rock, Metal and Hard Rock have been my biggest passions musically with odd favorites from other genres here and there. The movie Detroit Rock City and Guilty Gear soundtracks both got me hooked on such music, and my passions have never since gone away.

My favorite Metal albums of all-time:
石渡太輔 - Guilty Gear Original Sound Collection
Ron Wasserman / The Mighty RAW - Mighty Morphin Power Rangers (I'm a dork, sue me)
Lester Maddox - Gothic Lore
Sacred Blade - Of the Sun + Moon
Pentagram - Relentless / Pentagram
Mercyful Fate - Don't Break the Oath
Black Sabbath - Sabbath Bloody Sabbath
Venom - Black Metal
Saint Vitus - Saint Vitus
Saviour Machine - Saviour Machine
Obsequiae - Aria of Vernal Tombs
Judas Priest - Screaming for Vengeance
Bathory - Blood Fire Death
Carnivore - Carnivore
Cro-Mags - Best Wishes
Motörhead - Iron Fist
Artillery - By Inheritance
Blasphème - Désir de vampyr
Sortilège - Larmes de héros / Hero's Tears
Iron Maiden - Piece of Mind
Riot - Thundersteel
Autopsy - Mental Funeral
Impetigo - Horror of the Zombies
Repulsion - Horrified
Dio - The Last in Line
Black Hole - Land of Mystery
Manilla Road - Crystal Logic
Razor - Evil Invaders
Voivod - Killing Technology
Budgie - Never Turn Your Back on a Friend
Pagan Altar - Mythical & Magical
Slayer - Show No Mercy
Fates Warning - Awaken the Guardian
Type O Negative - Bloody Kisses
Bound For Glory - The Fight Goes On
Mudoven - Truth and Tragedy: Life in the Occupied Zone
Vaginal Jesus - Affirmative Apartheid
Dystopia - Human = Garbage
Eyehategod - Take As Needed for Pain
Godflesh - Streetcleaner
Burzum - Hvis lyset tar oss
Carpathian Forest - Black Shining Leather
Grand Belial's Key - Mocking the Philanthropist
Sacrilege - Behind the Realms of Madness
W.A.S.P. - W.A.S.P.
Accept - Balls to the Wall
Arghoslent - Gallopping Through the Battle Ruins
Saxon - Strong Arm of the Law
Elixir - Son of Odin
Tank - Filth Hounds of Hades
Angel Witch - Angel Witch
Blind Guardian - Battalions of Fear
Scanner - Terminal Earth
Helloween - Walls of Jericho
Grave Digger - Grave Digger
Infester - To the Depths, in Degradation
I Shalt Become - Wanderings
Liege Lord - Master Control
Macabre - Gloom
Kreator - Terrible Certainty
The Meads of Asphodel - Exhuming the Grave of Yeshua
Overkill - Feel the Fire
Sepultura - Schizophrenia
Sodom - Persecution Mania
Ufomammut - Snailking
Iron Monkey - Our Problem

To address the question if I share any of the ideas with musicians in far-right milieus, I've got a complicated relationship with wsuch music, but my fascination with the far-right's counterculture didn't exist in a vacuum. My parents instilled me with conservative and libertarian ideals as long as I could remember.

I never held a lasting hatred for someone because of accidents of birth, but race is simply too tantalizing a subject. My classmates, especially my progressive/liberal ones, kept their pets of color, even if the said colored person held attitudes completely at odds with their proclaimed worldview of universal brotherhood. It bugged me when people said in one breath that race or gender has no biological origin yet forged political identities on their races or genders and made virtually everything about race or gender.

Aside from Rock, I grew up with a steady diet of Hip-Hop and Rap. All that mattered to me was that a given MC be gifted with the ability to spit infectious rhymes over good beats. Perhaps what was salient in '90s Hip-Hop was the emphasis on Black identity. Left-wing identity politics's denial of race created a contradiction I just couldn't ignore. A cursory glance at Hip-Hop or Roots Reggae lyrics attest to racial pride and race separation.

With all that talk about separation, I couldn't help but feel the racists were onto something. I wanted to hear their side of the story. I found my way onto WN sites with plenty of articles to peruse. Interest turned to intrigue with "white power music." I found my way onto a lengthy list of free mp3s. Most of them were of an abysmal quality, but a few were quite remarkable. From that point on, I wanted more and more, and since then, I've never stopped searching.
No. 20006
1,0 MB, 1246 × 1207
To discuss other kinds of music for a change and to get festive for the weekend, let's discuss Alan Stivell. Before all those kitschy Irish-American bands sullied the entire genre, this gentleman pioneered a sound that's just as enduringly powerful when it was first cut to wax.

For those unaware, Alan Stivell is a Breton and Celtic musician best known for being one of the earliest musicians to fuse Rock'n'Roll with Celtic Folk music. His first instrument was a harp, an instrument he learned to play at age nine under his father's tutelage. He would later expand his repertoire to include other instruments including bagpipes, the drum, tin whistle and the bombarde.

His landmark album would be a live album recorded at l'Olympia simply titled "À l'Olympia". The album was a massive success, selling over 2 million copies in a span of a few years in the early 1970s. To place this album in better context, the May 1968 student revolt had generated a "back to the earth" movement amongst the French youth and intelligensia with the ideal of uniting Celtic people. Alan Stivell was closely identified with these trends, even at times hailed as a champion of one or the other cause, but he was himself, as he often later claimed, uneasy about taking on the role of a musical freedom fighter. His deep fascination with cutting edge technology, fuelled by his early love of science fiction put him at odds with any "back to the earth" idealism. Despite the hopes he shared with many of his fellow Breton for a Celtic cultural revival and unity, he always sought to avoid being straight-jacketed by a narrow traditionalist outlook.

The album is divided into two sections: one of traditional Celtic Folk music and the other into what would be better known as Celtic Rock. "Pop Plinn" features the Hammond organ, drums, bass guitar and the distorted guitars all coalescing into something magical.

But no matter. Without further ado...
No. 20013
546 kB, 620 × 846
Came across it quite some years ago, when I watched a documentary on Berlin electronic music nightlife, Feiern from 2006

It's a mood switch, relly gets you going and let you smile, no hard bumping techno but a light take off.

No. 20031
Guy just sounds like he has a dick stuck in his nose and is the epithome of kitsch

Just like Iron Maiden with Bruce Dickinson, music for masses. Pop music pretending to be counter culture.

xD Like I'm ever going to show you something when you're such a fucking plebus maximus, also implying I keep segregated lists of music but what really fucking grinds my gears is you putting together such amazing bands like Siekiera - Nowa Aleksandria with some pussy ass epic metal for 40 yo boomers like manilla road or that other white metal.

You make me fucking mad because you are a bitch ass who thinks he's hot shit because he throws in some dead kennedys and misfits and carpathian forests next to fucking bruce dickinson tier music

Coupled with autistic copy pasting of extremely random list of artists and being like, yeah now show me yours



here's something for you, cheers wannabe
No. 20032 Kontra
I bet you'd get killed on a live set of carpathian forest btw
No. 20058 Kontra
Kill yourself.
No. 20066
Jesus, go back to ANUS.
No. 20067
I not visit music thread, but last posts I see is terrible.
Stop be kohl and listen good music
No. 20080
It's funny you bring up Nu-Metal. Thanks in part to late '90s and early 2000s nostalgia, some people have developed an intrigue in Nu-Metal. Strange to see others warm up to what was reviled by Metal subculture. I figured most bands have long since called it quits save the successful acts like Slipknot, but to my surprise, bands like Static-X, Mushroomhead, P.O.D. and Ill Niño are all still making music.

As much as people slam Nu-Metal for being too debased from Heavy Metal's roots and taking the pigheadedness from Pantera to the next level, it all starts to make sense as an artform when you take its history into context. Nu-Metal stood at the vertex of Hip-Hop, Alternative Rock/Grunge, Industrial Rock/Metal (especially Neue Deutsche Härte), Funk and Groove Metal, all popular on MTV from the late '80s and throughout the '90s. A lot of those bands fell under the Alternative Rock/Metal umbrella, but when "Alternative" became too synonymous with Grunge or stuff like The Cranberries, twas time to part ways with the label. I think Nu-Metal definitely became identifiable by the late '90s, but it had tons of antecedents.

While bands seldom differentiated in lyrics covering pain, angst, destruction and misanthropy, most of them sounded worlds apart from one another. Bands like Korn, Limp Bizkit, Soulfly or Static-X reveled in bravado, impulsive and tribalistic aggression while bands like Slipknot hearkened to Shock Rock. Korn took cues from Faith No More and Helmet while Slipknot looked up to Mr. Bungle. Deftones initially had a more Post-Hardcore meets Hip-Hop undertone to their Nu-Metal sound. Towards the twilight of the genre's life, Linkin Park was introspective in their lyrics and focused more on Electronic, Trip-Hop and even Ambient atmospheres with their sound.

Twas an extremely eclectic genre, but separating bands from their influences was their collective willingness to conform and return to machismo thanks to the Hip-Hop and Hardcore influences. Alternative bands were often very quirky, elegant and socially progressive, thus politically correct. Nu-Metal took the opposite approach with more bands conforming to a brutish working class style. With minor exception, Nu-Metal bands were comprised of tough kids looking to throw down.

These guys were either directly responsible for its genesis or influential-but-not-necessarily-Nu-Metal: Pantera, Helmet, Prong, 24-7 Spyz, Living Colour, Fishbone, Deftones, Mordred, RATM, Tool, Infectious Grooves, Mr. Bungle, Faith No More, '90s Sepultura, Alice in Chains, Body Count, White Zombie, L.A.P.D., Korn, Biohazard, Ministry, Nine Inch Nails, Rammstein, Marilyn Manson, Skinlab, Slipknot, Soulfly, Mushroomhead, One Minute Silence, Powerman 5000, P.O.D. and countless others.

Haters gonna hate, but Nu-Metal is still a valid artform, even if it's not "true Metal".
No. 20082 Kontra
6,2 MB, 5743 × 2815
On another note, what does Ernst think of Peste Noire?

As much as "La sanie des siècles : Panégyrique de la dégénérescence" is a hipster darling on account of the DSBM and Post-Rock elements, I enjoy it track to track even if it's a bit overlong at times. Peste Noire's first release serves as an outstanding example of how Black Metal should evolve: not regurgitating Darkthrone/Burzum, but at the same time not losing sight of the genre's spirit and its whole preoccupation with the ancient and the pagan. That baroque sense of melody, the silly hooligan ethos, the dungeon atmosphere and fetishism for all things Medieval and rustic in general also imbued their music with the requisite and genuine otherworldliness that made them so identifiable. Bands like Dub-Buk and M8L8TH get it while faggotry like Deathspell Omega and Sunbather painfully remind me of how it shouldn't have evolved.

Famine's greatest strength was tragically his greatest flaw: his ego, which was far too big for his ambitions. He's one of those cleverer-than-thou aesthetes who probably spent years fleshing out his incredibly personalized, specific philosophy/aesthetic before he even picked up his first guitar. How do you even describe his schtick without sounding like a douche? "Phantasmagorical rural gutter poetry?" "Medieval absurdism?" You don't. You only sound stupider with each attempt.When a moderately talented artist takes that approach, the debut ends up sounding like any other band's 4th album; "La Sanie..." isn't perfect, but it feels like the logical conclusion of a decade of development and shapeshifting, rather than a debut released a few years after the first demo.

Unfortunately there's nowhere for early bloomer bands like this to go except down. On Peste Noire's actual fourth release "L'ordure à L'état pur", the line between genuine outsider weirdness and McDada eroded and the band ended up sounding like a baguette version of Sleepytime Gorilla Museum. For some, there was something strangely charming about the whole affair, but for me, this is where I checked out and I'm not surprised to see what a meme they've become last year.

Side note: amused they have used White Aryan Resistance's skull logo on their cover art and insert graphics.

Polite Kontra
No. 20360
38 kB, 1280 × 720

Classic detroit electro from 2003. TR808 and Synths. The title capsules the sound. Listened to it every morning on the cities highway while working a side job where I got a car provided. Every morning a sweet ride into the southern part of town.
No. 20367
59 kB, 600 × 588
>Księżyc - Księżyc
The polish group describes its music as psychedelic-ethnic minimalism.
Eerie and dreamy, it makes one feel at home in this world. So glad I rediscovered it this night.
No. 20396
Restoring thread order 3
No. 20431
19 kB, 280 × 280
I know this album is a funny meme, but I find the aesthetic genuinely haunting.

Some works of art attempt to portray something horrific. But this one is a PRODUCT of something horrific, which makes it so much more genuine. Namely, it's a product of teenage pregnancy, reality show stardom, 00s pop culture, etc. The juxtaposition of autotuned, robotic voice singing lyrics dealing with themes of regret at a ruined life with EDM music, and the general bubblegum pop aesthetic is almost lynchian.

This will make a fine addition to my collection of "ugly contemporary americana", alongside postal, harvester, and acid bath.
And they say the 00s had no aesthetic. This is it.
No. 20433
No. 20438
Wow this is ebin. Reminds me a bit of the Popol Vuh soundtracks for Herzog movies.
No. 20439
8 kB, 224 × 224

Altan Urag is one of my favorite bands, mixing traditional Mongolian music with metal and foreign traditional instruments in a very nice way. I find most western folk metal cringy and unlistenable, but Altan Urag has a very well developed sense of aesthetics that lets them blend all these elements together into a cohesive whole.

In this track, Spanish guitar and castanetas evoke images of the great khan's army sweeping over the armies and cities of Central Asia like the unstoppable scourge of God:
No. 20442

Some really good psychedelic rock from Japan. Apparently the Uchida guy died recently, so RIP to him.

Haven't listened to this sort of music in a while, but somehow it sounds quite crisp. Catchy melodies and the female + male vocals singing in English with Japanese accent work quite well.
No. 20455
I take it you've heard of Flower Travellin' Band.

If not, you owe it to yourself to check them out. They're the Japanese Black Sabbath, but much more psychedelic. Rest assured, they sound as Japanese and Sabbath sounds British:

The whole album is worth listening to:
No. 20474
984 kB, 2844 × 1436
2,0 MB, 2848 × 1428
1,2 MB, 1776 × 1396
902 kB, 1760 × 1396
This vidya soundtrack is blowing me away, totally haunting melodies: https://www.youtube.com/watch?v=YKyB51o9AJg

Yep, I vaguely remember listening to it, though I've also just realized the connection.
Listening to the album now, it's quite a bit more heavy than I had in mind, the Black Sabbath comparison is appropriate for sure.
Pretty cool artwork as well.
No. 20475
51 kB, 960 × 640
I can't recommend the heavier side of Psychedelic Rock enough. You probably already know of bands like Buffalo, Possessed (UK), Blue Cheer, Captain Beyond, Sir Lord Baltimore or Bang, but those who haven't owe it to themselves to give them all a go.

Since we're on the subject, here's some choice bits:

Neat stuff. Wouldn't call it Metal, but solid Folk Rock nonetheless.

Aside from that Mongolian Rap group, the only act I know well enough to comment on is Hurd, a Hard Rock/Heavy Metal act:

This thread badly needs some Farshid Arabi, an Irani guitarist who composes Metal and writes lyrics inspired by Rumi:
No. 20500

Despite my disparaging comments about their latest output, words cannot express how overjoyed I am. Vae Victis will hopefully earn greater appreciation from the Anglosphere on account of Peste Noire's endorsement. It's a shame Vae Victis languished in relative obscurity, although that's the price you pay when you make Nationalist music.
No. 20618
600 kB, 2578 × 1370
4kanker /mu/ is so shit. There is very little discussion about music that is not shitposting.
>What is the greatest sea shanty of all time, /mu/?

The actual answer is Lowlands Away:

Sea shanties were not just song by pirates, they were also sung by navies all over the world.
>pic related

Also, even though the golden age of piracy was in the 17th and 18th centuries, sea shanties were still being created and sung later during the era of the steamboat and keelboat:
No. 20626
I sometimes wonder why I bother posting there. It is literally the worst board over there, but yet I can't stay away.

On another note, what do you think of military marches?
No. 20744
The first new Rammstein single in 10 years released, called: Deutschland. The song has nine minutes and 22 seconds, the video is spanning Germany history from ancient Roman/Germanic time to 21st century:

No. 20754
With their heavy sense of rhythm and singing they are not too dissimilar to >>20618.
This type of music suits the repetitive movements that are required for marching and for manual labour. Dancing involves similar physical exertion, explaining why this music sounds similar: https://www.youtube.com/watch?v=ePJh5Ayiu_k
I found this https://www.discogs.com/German-Army-Chorus-And-Brass-Band-German-Army-Chorus/release/4232952 at a flea market.
It has the same audio as this: https://www.youtube.com/watch?v=BnaF4_LTovk
No. 20762
I've heard it's totally cucked.
No. 20784 Kontra

What is that even supposed to mean?
No. 20797
410 kB, 640 × 360, 0:29




No. 20798
50 kB, 715 × 538
No. 20799
16 kB, 1280 × 720
Du tronar på minnen från fornstora dar,
då ärat ditt namn flög över jorden,
jag vet att du är och du blir vad du var,
No. 20802 Kontra
Is there any particular reason you're trying to ruin our nice music thread? Go shit up your own cesspool of a board.
No. 20804 Kontra
No. 20807
151 kB, 720 × 480
ok, i was just trying to be funny ;_;
No. 20808 Kontra
You failed.
No. 20809
Denn du bist was du isst
und ihr wisst was es ist :--DDDDDD
No. 20810
No shit
No. 20811
98 kB, 600 × 600
Anyway, I'm currently listening to Grim -a Japanese harsh noise/death industrial & folk project led by one man band Jun Konagaya, who is also owner of Eskimo Records.
Two songs consecutive songs from the record:

My favourite songs from the record (I know it's a compilation):

Does anyone know of any other records like this? The mixture of psychedelic folk music and harsh noise is very cathartic for me.
I normally can't listen to noise music without getting bored.
No. 20855
22 kB, 220 × 220
485 kB, 440 × 324, 0:02
The whole album is great, but lately especially those two songs have grown on me. So fucking intense.

>Pull out the Pin

>Suspended in Gaffa
No. 20872
Did you listen to the kick inside? It's beautiful.
No. 20875
No. 20885
37 kB, 526 × 526
No. 20893
The fug kind of drinking song is that?

No. 20914
399 kB, 1280 × 960
514 kB, 2272 × 1704
It's an Eastern European thing. Actually reminds me a bit of a Finnish thing too. See you're used to the jolly Irish drinking thing. This is the suicidal depression belt drinking thing.
No. 20918
A little analogy I came up with last night regarding the various subgenres in Metal and why some are popular with those "outside" the scene whereas others find fervor of Metalheads.

Think of Pitchfork Metal (ie: Post-Metal, Atmospheric Metal) as Reform Judaism whereas Traditional and Extreme Metal as Orthodox Judaism.
No. 20928
1,2 MB, 1800 × 2395
>Lee Hazlewood - My Autumn's done come

What an unusually melancholic and mysterious piece of country music. In the youtube video it is accompanied by clips from the movie L'Enfer by Georges Clouzot which centers around the manic envy a man feels during a holiday trip with his girlfriend. The pictures in black and white show what's really happening, the psychedelic/surrealistic colorful pictures show his phantasy world in which his gf cheats on him.
No. 21010
Recently discovered this:

Great stuff.
No. 21043
The only artist that does such varied things that I know is Corrupted
No. 21045
Personally I think Post Metal is not metal at all. Following your analogy is a Sonic Youth wankery, heathenism
No. 21083
>Sonic Youth
Ugh, I hate them. Their bassist looks like Iggy Pop in drag.

And yes, I'm not a fan of Post-Metal because it's divorced from the compositional aspects that defined Metal.

I would rank subgenres as follows.


>US Power
>80s German Power

>Heavy Glam

>Drone Doom
>Funeral Doom
>Tech Death

>Brutal Death
>"Alternative" Metal
>Wigger Slam

No. 21190
It's unusual that greedy Paradox jews managed to create such a nice original music for HoI 4, and I'm a little disappointed that no one will hear this outside of the game.
No. 21198
30 kB, 600 × 720
139 kB, 960 × 960
What do you think of avant-garde metal, jazz-metal and jazzgrind? The music played by jazz players and metal players tends to sound wildly different. I prefer the former.
Each takes the instruments of the other, but retains the core structure of their respective genre.

The Jazz players' take:

The Metal player's take:
avant-garde metal:https://www.youtube.com/watch?v=uZ3WuOag218

I used to listen to black, doom, and death metal, as well NWOBHM when I was younger. Then I listened to mostly jazz for a couple of years, ending up with free-jazz becoming my favourite subgenre. That definitely changed my taste in my music. I still listen to Doom Metal often —not so much the other subgenres. Now I think that the first two Maiden albums are the best Maiden albums and I like Sonic Youth (Confusion is sex is my favourite album of theirs) :DDDD
No. 21203
47 kB, 474 × 458
This is perhaps a more recognizably metal album by Sonny Sharrock Band:
No. 21273
I didn't know about Naked City, which I consider a shame. Thank you for sharing.
No. 21280
>avant-garde metal
Depends. Stuff like Armia, Sigh or maudlin of the Well are intriguing whereas stuff like Mr. Bungle is just goofy for its own sake.

>Jazz Metal
About the only artist I'm intimately familiar with is Exivious, which I listen to occasionally. Not my go-to, but fascinating stuff all the same. In terms of the stuff you linked, I felt ambivalent towards most of it (apart from maudlin, obviously). It seems too removed from what I'm accustomed to.
No. 21282 Kontra
I know Armia is somewhat of a controversial suggestion for Avant-Garde Metal, but "Triodante" fits the bill in all ways:
No. 21287
No. 21323
Much heavier than I usually listen to but still loving this:

Hard to describe, it's like shoegaze crossed with elements of doom.
No. 21370
226 kB, 1024 × 576
No. 21372
Sorry about that, wrong thread and cannot delete because Error: Wrong password for post deletion.
No. 21375
No. 21478
It's so freakin good


Hey whatever happened to Egypt?
No. 21511
157 kB, 871 × 1390

Phew, this track is like a really fucked up come down on chemical drugs, while also being danceable, a little tingling of wait can await you at the end of the night.
No. 21548
21 kB, 220 × 314
Why is it that the Poles are such a strong ethnic/national group?
I'm being completely serious. That was also done by a Pole. Do you think that being repeatedly genocided and invaded makes a group of people smarter, stronger, and more talented over time?
No. 21550 Kontra
And also vidya in general btw. I can't remember if I already asked this or not but why is it that Russia for example produces so few games compared to Poles? In fact, do even British devs produce many games anymoreRIP Bullfrog? Because they don't even actually advertise it but every time I look around I find out that some new game had a Polish composer/developer/publisher/writers/all of the above. And sometimes it's so not obvious you think they are Americans. Like Darkwood for example, or Hard West, are games that somehow capture distinctly American feels that I don't expect a foreigner to so accurately capture. Although apparently, this is being made by Bulgarians for example https://en.wikipedia.org/wiki/Phoenix_Point
I didn't post in vidya thread though now think maybe I should have since it was just the composer of D:OS that I've been listening to and he apparently was Polish. Like this https://en.wikipedia.org/wiki/Observer_(video_game)
Or Phantom Doctrine. I feel like every time I turn around, there was a Pole behind something.
No. 21573
No. 21575
8,0 MB, 2019 × 2000
195 kB, 1000 × 997
i'm just about to finish a bottle of rather spicy mead. listened to the great gisela may, now listening to jacques brel alone, of course
No. 21583
>Do you think that being repeatedly genocided and invaded makes a group of people smarter, stronger, and more talented over time?

Provided that enough of them survive :DDDDDDDDDDD

Interesting theory there, Schiz, but the living counterexample would be Armenians. They're involved in the same chicanery as Jews, yet aren't remotely as talented and are mostly 89iq to boot. Of course, the Armenian genocide is relatively recent history, but I don't see them attaining the same political clout and influence as Jewry.
No. 21584
Who do you think you're talking to?
Depends. There was the Armenian genocide but weren't there also invasions there numerous times?
No. 21599
It's a dumb theory, but in my hometown Armos are 5-10% of the population, and seem to be half of the lawyers and doctors and dentists.
This actually supports the genocide thesis even more, because most of the Armenians there are from the exodus of Western Armenians during the late Ottoman period, while most of the Armenians in SoCal are more recent immigrants from the East who never had the same kind of existential risk.
No. 21601
>Do you think that being repeatedly genocided and invaded makes a group of people smarter, stronger, and more talented over time?
Actually it is a strong scientific theory, as well as common sense, that constant conflict with an out-group leads to greater social cohesion. However, the effect directly correlates with the hatred/perceived alienness of the out-group.
Poles lacked cohesion before the partition because this was before the age of nationalism, and their enemies tended to be other Christians. But with the rise of nationalist ideology, mere ethnic differences are enough to fuel the fires, especially if accompanied by full occupation of the homeland and difference in religious sect (even if previously that hadn't played a huge role, it provides a new faultline to focus on once deep enmity has been established).
No. 21643
It's actually a dumb theory just because I'm being too simplistic and generalizing but the premise is built on a solid groundwork of evolutionary theory, namely, that of the population bottleneck and of heightened selective pressures, and there's nothing quite like an attempted near extinction event to do that. Sadly it probably also wipes out empathetic traits more since I'd expect paranoid sociopaths to have the easiest time both detecting the looming danger as well as bailing on friends, family, home and country to save your own neck. People with a higher sense of social values and empathy are probably going to stay behind with their friends and family, possibly trying to get them out and getting caught or dying in the fighting.

I was also going to say something about well if you're going to mention America then pretty much any diaspora will probably have more doctors and lawyers but
> because most of the Armenians there are from the exodus of Western Armenians during the late Ottoman period, while most of the Armenians in SoCal are more recent immigrants from the East who never had the same kind of existential risk.
I'm unclear are you saying you've been around both groups and that SoCal recent immigrants are the dumber ones?

>, that constant conflict with an out-group leads to greater social cohesion.
That hasn't got much to do with what I was talking about though which is
oh fuck this is the music thread
anyway which is those qualities on an individual level as well as a national one. Social cohesion doesn't mean much. It only means that members of the in-group tend to have fewer catastrophic failures and better opportunities, which could likewise be argued towards making the collective IQ drop over time if anything because the absolute retards of the group aren't as brutally punished for their failures over time giving them a better competitive edge against the smarter/stronger/more creative or simply more lucky individuals and not have to suffer the consequences of their actions as much.
No. 21739
433 kB, 1920 × 1080
3,8 MB, 2864 × 2824
3,2 MB, 1329 × 977
2,0 MB, 2849 × 1661
Nothing could be more emblematic of the Anglosphere’s success in this post-globalization world than the spread of Rock’n’Roll. With minor exception, almost every industrialized nation is home to dozens of active and recording Rock bands supported by thousands of fans spanning all ages. As each nation would interpret the music differently and develop local analogues to more popular bands, politics (local and global) would find their way through Rock’n’Roll. While the vast majority of active recording artists come from apolitical, liberal or leftist persuasions, it comes as no surprise that others on the further fringes sang from an entirely different hymn sheet: Nationalism.

Perhaps France’s earliest known Nationalist Rock musician is Jack Marchal, famous for forming the student activist block Groupe Union Défense along with Alain Robert and four others at Panthéon-Assas University in Paris. After enough hours covering Rolling Stones with close friend Olivier Carré, Jack would team up with Italy’s Mario Ladich, best known for his leading role in the MSI-affiliated act Janus, to record Science & Violence, an album that could roughly be described as the right-wing analogue to Syd Barrett-era Pink Floyd.

As distribution of such music proved difficult, Nationalist Rock would stay in obscurity until the White Nationalist skinhead movement took the Anglosphere and Western Europe by storm. For better or worse, skinheads bequeathed Nationalist Rock with the much needed edge previous iterations sorely lacked, but with that edge came years of controversy that would plague Nationalist movements. With the cultural clout shifting leftwards in no small part due to increasing Americanization along with the long march through the institutions across Western Europe, young artists would be faced with the choice to co-opt this revolutionary genre or lose the culture war to the rising tide of leftism and new laws stymieing their firmly rooted convictions.

Enter Rock Identitaire Français. Eschewing the image of hardened urban guerrillas exemplified by their skinhead peers, this new generation of soft-spoken Frenchmen would express their views with much-needed respectability in both image and art form, and a student activist named Aude Bertrand (later Aude Bertrand- Mirković or simply Aude Mirković) would play her part carrying Nationalism towards a broader audience. Like Jack Marchal in his youth during the ’68 protests, Aude was profoundly influenced by France’s political situation under President Mitterand, but of greater significance was the music that inspired her to become a recording artist. It was no accident that Dolores O’Riordan’s lyrical poetry inspired the fledgling musician, having sung about subjects that fit comfortably into the metapolitical narrative of Nationalist politics. Dedicating both albums to her Irish idol, Aude would channel her menagerie of feelings into a pastiche of alienation, longing, introspection, enthusiasm and the revolt against rootless cosmopolitanism.

Inspired by such fervor and recognizing her songwriting talents, Jack Marchal took the aspiring woman under his wing and composed a few songs for both of her acts. Named after a Gallic goddess who symbolized strength tempered by femininity, Brixia would record and release 14 songs focusing on the personal rather than the polemical. It was serendipity that the band would coalesce into an identifiable group of musicians because Aude’s intentions were to keep it as a personal studio project. Previously assisted by longtime friend Virginie Deleuvre along with Jack Marchal and Julien Beuzard, Brixia would undergo several line-up changes before enlisting the aid of pseudonymous guitarist Charles Schlivovitz who drunkenly approached Aude after a show with a demo tape in hand. Leaving quite the impression, he successfully joined the young artists and would later record with the band.
No. 21740 Kontra
8,0 MB, 5724 × 2816
9,1 MB, 5727 × 2825
9,1 MB, 5735 × 2837
7,4 MB, 5712 × 2834
Mon clan et les miens

Brixia’s first five songs would appear on an EP titled Mon clan et les miens. The songs’ collective emphasis on atmosphere brings the listener on a contemplative journey where man reflects on his alienation from the modern world before rebelling against the very source of dispossession. Drum machines and synths set the beat while the guitars alternate between acoustic flourishes and hard riffs that ring out. Everything here is smooth and even-keel. Aude’s soft timbre reminisces of a timid being in search of meaning, but her talents really shine whenever she sings out. Recorded on a limited budget, the production values underscore the musicians’ collective grasp beyond their reach, but with humble means yields a passion that refuses to be extinguished by convention.

Written in Aude’s teens while at Brittany, “Littoral celte” expresses one’s aspirations towards the infinite through dreamy synths, brittle guitars and ethereal imagery capturing the fog and spirit of her nation’s ancestors while solemnly contemplating one’s mortality. Our singer gently entrances the listener, transporting them to the Celtic coastline where man maintains his blood ties while aspiring towards the ideal. The blend of somber moods with spiritual musings fit the opening track.

In contrast comes the uptempo “Tenez bon on arrive” featuring some sharp guitars propelling the song. The lyrics beseech the listener to stand firm in their convictions and reject defeatism as fiercely as the corrosive media complex. It is here that we see Aude come out of her shell and sing with confidence. Towards the end the guitars indulge in some wah-wah soloing that is neither here nor there. Mixing here was critical, because her friends’ attempts to join in on the second chorus are undermined by their volume being set too low.

“La vérité est libre” is a gloomy yet soothing tune driven by somber keys and acoustics dedicated to political prisoners. The song condemns a corrupt system that monitors the faintest murmurs of dissidence and consequently imprisons men who dare to speak candidly, ending defiantly with a passage that roughly translates to “The stones will scream if they try to silence us.” Such strong subject matter demands a fittingly strong performance, but Aude sadly could not bring out her best all made worse by the instruments being mixed too loud.

Mean guitars return on “Appelez-moi” with even more wah-wah that works to the rhythm’s advantage. It seems Aude’s confidence was directly correlated with the energy of the guitars because she shines singing paeans to French landmarks. For her, the monuments serve as manifestations of a nation’s rich history that instill a sense of pride in one’s heritage. The chorus pleads for the indifferent to hear her cry.

The EP concludes with its title track that can be described as the French analogue to “Ode to My Family”. Featuring what must be the clumsiest metaphor in music history, she sings that there is room for the answering machine in her heart and assures her people that she will always be close to her kin. In spite of the goofy songwriting, the tune bookends the album on a warm note with its gentle acoustics and lyrics, but still leaves the listener yearning for more.

While the compositional aspects of the music demanded professional studio quality production to achieve the idealized sound, Brixia still managed to produce a competent, if somewhat derivative, pastiche. It would be later in the band’s discography that they would come closer to their vision.

No. 21741 Kontra
12 kB, 232 × 396
12 kB, 258 × 521
3,8 MB, 2377 × 1812
3,8 MB, 2846 × 2840
Monde de timbrés + Sur les terres du RIF - Acte II

1999 was a busy time for Aude Bertrand. After recording and releasing her first EP as Brixia, she would perform a benefit concert in Belgrade on April 5th during the height of NATO’s bombing campaign with fellow French Identitarian band In Memoriam and her husband’s Rap group Basic Celtos.

The event occurred in the evening near the Prince Mihailo Monument to an audience of what appears to be nearly 100. Aude would later reflect on that night in awe of the warm reception. Amid all the attendees showering the stage with flowers and crying tears of joy, she asserted her unconditional support for the Serbian people in face of bombardments that ended in June of that year.

Upon returning home, Brixia hit the studios again to record the sophomore Monde de timbrés. The smooth Virginie Deleuvre returns on guitar contrasted by the hard rocking Charles Schlivovitz who replaced Jack and Julien. On bass came a gentleman only known as Guillaume who does a serviceable job during his time on record. This new line-up would add some new instrumental sensibilities while keeping the core themes intact.

Both the debut and sophomore releases’ song structures owe a fair share to Dream Pop as well as anything traditionally Rock-based despite the latter still being front and center. Indeed, the cold beats from the artificial percussion sounds more at home on an EDM record. Most importantly, the shared electric and acoustic guitar work serve to layer the atmosphere in heightening the listening experience. The music emphasizes mellow and serene soundscapes even at its quirkiest moments. The acoustic flourishes imbue the sound with the much needed organic tone demanded by the subject matter. Aude’s vocal capabilities shine on downtempo tracks where she muses autobiographically in a neutral Alto octave that stays comfortably in the middle register, neither undersinging nor oversinging.

Having been recorded a year after the debut, Monde de timbrés takes the listener on a deeply personal journey through Aude’s life exploring her strongest passions and chilling fears. “Je reviendrai” continues where the previous release’s title track leaves off with the lyrics’ pastoral imagery bringing the listener as much comfort as the conveyed nostalgia brings the singer ease. The tune here is much more beat-driven but still grounded with mild rhythms. Immediately after comes the contemplative “Tourner la page” featuring spacey guitars that guide the listener towards spiritual ascension. Aude reflects on the uncertainty in coming-of-age when faced with the damning choice of leaving behind ideals in exchange for presumed responsibility. When writing this song, she remarked that too many people she knew resigned to a life of mediocrity whereas others paid lip service to their supposed ideals while still behaving like insolent teenagers well into their adulthood. For her, growing up was an opportunity to turn the page (literal translation of the song) while still staying true to your fundamental beliefs.

“Monde de béton” laments urban man’s disconnection from his roots in a world where no rivers run and city lights obscure the night sky. The song solemnly asks the question that roughly translates to, “Concrete world, where’s your soul?” Full of quirky jams and wah-wahs, “Amnésia” continues the theme of urban alienation in a club where drug addicts are lost in a perpetual haze. Our singer finds relief once finally outside away from all the noise. Ending the album are two tracks emphasizing the talents of Mr. Schlivovitz’s sharp electric guitars. While the guitar tone would sound much better given proper production values, the harder rhythms take the listener back to reality without losing any focus on the atmosphere. Bringing us full circle is the aptly titled “Change!” whose chorus cries, “You don’t like the world? Change it!”

Monde de timbrés certainly moved one step forward from Mon clan et les miens in spite of lo-fi limitations, but one cannot help but yearn for so much more. A listener can only spend so much time in the clouds before needing to return to earth, and the songs driven by heavier guitars demanded so much more than Brixia could provide. Still, this little album’s experience would satisfy anyone pining for a trip into the Nationalist’s soul.


Brixia’s last two songs would find their way on Mémorial Records’s second various artist compilation Sur les terres du RIF – Acte II. Most distinct about these two songs are real drums and guitars more in line with Hard Rock or Grunge. Reminiscent of “Zombie” by The Cranberries, “Complainte rurale” enters with mournful acoustics before beefy guitars enter over the refrain that indicts bureaucracy for decimating the countryside. The fiddle played over the verses seems tacked on for the sake of folksiness. Despite the tale of woe, Aude still stays optimistic on the following track. Featuring heavy guitars and a mean saxophone to boot, “Renaissance” calls for the Frenchmen to rise up and challenge the political order, hopeful collective action will usher in a new era. It is a shame the band apparently could not produce one more album, because a full-length release in this style would have been so much more promising.


Life After Music

After Elendil and Brixia called it quits around 2001, Aude would earn a law degree from Panthéon-Assas University that same year. She would later become a lecturer in criminology and private law at University of Evry. Most famously, she is known for her public opposition to surrogacy and medically assisted procreation (called PMA in France), sharing her views regularly on conservative commentary and occasionally making media appearances to debate others. Aude and her husband Nikola briefly returned to making music as guests for the Québécois Punk band Fleurdelix et les Affreux Gaulois, appearing in the music video for “Salut les copains” and singing live before returning to France.
No. 21782
>I'm unclear are you saying you've been around both groups and that SoCal recent immigrants are the dumber ones?
Yes. The dumb Armenian thing is a product of SoCal trash like the Kardashians. Recent Armenian immigrants are literally just sovoks who speak Armenian in addition to Russian (except for a small minority who come from Iran, but I've only met one so I can't generalize about them), whereas older Armenian immigrants are basically mountain jews.
No. 21823
26 kB, 1128 × 480
I read all this guy's posts in the American Psycho voice
No. 21824
That's one thing about RAC Bernd that frustrates me. Excusing his questionable politics and kitsch taste, his reviews read like Patrick Bateman's comments of Huey Lewis and the News. It's the ultimate, "How do you do, fellow kids?" At best, he strikes me as an old fart desperately trying to sound hip, but it's just so cringe.
No. 21830
>as guests for the Québécois Punk band Fleurdelix et les Affreux Gaulois
Here's a performance from 2008 with Aude Bertrand as lead vocalist. I couldn't find a translation for the lyrics.

Fleurdelix et les Affreux Gaulois
Un peu de rêve

Not him. Just a victim of Aude's Siren Call.
No. 21847
139 kB, 1252 × 704
He's clearly not an old fart though. I think he's just pretty borderline autistic/actually autistic and thus his really stilted manner of speaking, though I enjoy the massive assburgerishness regardless of thinking he has poor or kitschy taste. It's like he's just rehearsing for writing magazine articles is what it is, like some sort of review in a music magazine about bands no one gives a shit about. Sometimes my son, it's the attitude that counts. The only issue is he tends to hijack threads and, how to say, like intellectually attention whore.

Like I mean just this
>While the compositional aspects of the music demanded professional studio quality production to achieve the idealized sound, Brixia still managed to produce a competent, if somewhat derivative, pastiche. It would be later in the band’s discography that they would come closer to their vision.
What a line. This is amazing.
No. 21850
tbh you guys could just leave him.
He may be pretentious and may be fascinated with a intrinsically retarded topic, but his post seem quite entertainin. Therefore I don't like the fact that you guys could disencourage him from posting.
No. 21854
I'm personally not. I was more defending him or at least his posting.
No. 21872
This passage stuck out most to me.
>the production values underscore the musicians’ collective grasp beyond their reach, but with humble means yields a passion that refuses to be extinguished by convention.

RAC Bernd sounds like the Jewish guy bitching at the trumpet player.
>An artist respects the silence that serves the foundation for creativity.

No. 21993
8,1 MB, 3:29
>Not him. Just a victim of Aude's Siren Call.

She may not be the most talented vocalist in the world, but there's something strangely comforting about the way she sings.

Here's some songs from her previous project Elendil. Sadly, YouTube doesn't have the project's best song, but I do:
No. 21999
Thanks, especially for adding La petite princesse; I agree it was their best.Bourgeois, nouveaux riches et decadents was kind of offbeat in a good way, and Hotel des verrous was also excellent.
>She may not be the most talented vocalist in the world, but there's something strangely comforting about the way she sings.
A few years ago a local church had a televised camp meeting that included a lot of worship music. I caught a bit of it, and their band had a female singer whose voice had a quality I couldn't explain, and couldn't turn away from. Aude's voice struck me in the same way. She's not perfect, but her vocals have that girl-next-door appeal.
No. 22015
9,8 MB, 3:57
10,4 MB, 4:11
9,1 MB, 3:38
9,9 MB, 4:00
Might as well post the other songs that are not on YouTube.
No. 22017 Kontra
8,8 MB, 3:48
8,5 MB, 3:38
6,1 MB, 2:37
No. 22036
I mean it's not absolutely terrible but it isn't any good either.
...lmao actually this does sound exactly like the sort of music Patrick Bateman would be describing too.
I mean it sounds like something made by someone who has no idea what being in tune or having rhythm means.

Like here is something I've been listening to lately though apologies for the terrible source of video etc (idk what show it is, something about Vikings I think they polluted the History Channel or Discovery or something with? Haven't seen it so can't say if it's good or not honestly)
I don't know what that instrument is called but it sounds nice.
No. 22042
8,8 MB, 4:47
6,1 MB, 4:05
1,5 MB, 1789 × 816
1,6 MB, 795 × 1787
Apologies in advance for the horrendous quality on "Pages". Sadly, it appears to be the only tape rip online in existence. I was able to patch a clean but lower quality version of the opening track "Realization" over the damaged portion of the track. One of these days, I'll find a copy and rip it proper. Until then, we're stuck with this.

Oh Metallica, how you've influenced millions with your commercially viable blend of aggressive Heavy Metal with the nascent sound of American Thrash. In their prime, Metallica inspired thousands of bands across the world to make music, some of who would rise to notoriety while others languished in obscurity. Such was the case of Syracuse-based band Support who released this one little demo before quietly disappearing.

From the little I've discovered online, the band threw in exclusively with their local Hardcore Punk scene, opening for Integrity, Against All Hope, Chokehold and Snapcase (whose line-up shared Support's rhythm section) throughout the early '90s. A friend of mine amusingly refers to the surfeit of obscure, demo-only Thrash bands as Metalliclones. Back in the early '90s, it was seen as crassly anti-intellectual to perform Metal while maintaining ideologies normally associated with Punk, so bands would go great lengths to deny their obvious Metal influences. Seth Putnam and company would later lampoon this phenomenon in their song "Face It, You're a Metal Band". Despite being an avowed straight-edge vegetarian band, they never put those ideas to lyrics on this demo.

The band jams on Metallica riffs and only Metallica riffs. A cursory listen to both songs makes it abundantly clear these guys took notes from "Ride the Lightning". "Realization" opens with these moody chords before brining the thunder about a minute in. The song ends with a solo over the soft chords bookending the piece. "Pages" takes a much more aggressive turns, but sadly isn't half as memorable.

Vocalist Garrett Klahn, now an indie singer/songwriter embarrassed of having ever performed with this band, is the highlight of this little demo. His timbre is highly reminiscent of James Hetfield, hence the continued Metallica comparisons. The emotional lyrics only deepen the impact of his singing. The bass and drums set the rhythms competently. Nothing more, nothing less.

The lo-fi 4-track production oddly enough suits the band. All the instruments are clear and evenly mixed.
No. 22047
Thanks, again. Chants de Colza included a diverse range of songs, but overall the album reminded me of Tragic Kingdom. It has that late 90's sound, which I can distinguish, but not define. Here is one last song that shouldn't be overlooked:

20 Ans
No. 22067
Funny you mention the eclectic nature. I'm admittedly not a fan of Ska music, which renders a good portion of Elendil's discography unpalatable to me, but the project's blending of multiple styles holds my attention. Aude dubbed Elendil's music OMNI (translated: Objet Musical Non Identifié, literally Unidentified Musical Object), which fits because the zany blend of Alt Rock with Ska and gothy synthy stuff (Darkwave? Coldwave?) sounds all rather alien.

"Vingt ans" (or "20 ans") is among Elendil's expressly political tracks as well as a diary entry where Aude's reflects on France under Mitterrand. It's beyond the capabilities of most machine translations to properly contextualize the meanings of certain words (especially slang), but if Google Translate can be considered reliable, the texts seem to be an indictment of France's political situation in very plain terms.
In 1977 already globalization
The big emirs are partying
And the French pay the bill
On all sides it's the invasion
Everyone has television
And despite everything in France
There is a real opposition
And all do not know
That a little later it will be the explosion

In 1987 with Mitterrand years
The French are crumbling under the debt
And it's the reign of mobsters
Borders become obsolete
The drug is already killing too many children
They manipulate human rights
And we throw in jail
To continue with impunity
To plunder the nation

The case of tainted blood
They push girls to abortion
Their goal is declared
Sell ​​our souls to the financiers
Insecurity unemployment
The numbers do not stop increasing
The press the radio the TV
Continue to stultify the masses
But economically
The country is deadlocked

In 1995 it is the presidential election
The right has replaced the left
And it's still the same mess
Always the same hate scandals
The country is a real trash
Drowned in the plots
From their Maastrichtian Europe
Rotten by American multinationals

And then in 97 presidential dissolution
The right the left are outdated
Nothing will stop the just popular anger
We have over the head
Let's put off their yoke away from us
And their chains that hinder us
They think they are wise they are crazy
The system is dying and is nothing more than a wreck

It's organized looting
Houses until the Elysée
Cocktail party at the UPF
But in the street the homeless
Do not even have anything to eat
Help is poorly distributed
Wake up who lies
Fooled by consumption
You take care of
But deep down it's empty
And you know that in fact I'm right
No. 22457
An oddly appealing album for sure. And made by the same guy who "committed" the garfielf meme video
Good tracks:
>Casino Night

It makes me feel so strange. Almost nostalgic.
No. 22458
99 kB, 720 × 500

Remembering how I wanted one of those Mercedes years ago when I had my driving license fresh from the oven. I would have been as cool as the vocals suggest.

I once made a track about cruising in a Ford Sierra along the British north sea coast, but it's on my broken computer, sadly. Part of my only 4 track EP that was suited for a vinyl pressing imo.
No. 22486
I grew up on the British North Sea coast and would love to hear your Ford Sierra Fantasia. What a remarkable undertaking. You have given me the nostalgia shivers
No. 22490
>I grew up on the British North Sea coast

Envy. I wanted to drive along the coast back then. Margate/Ramsgate/Great Yarmouth/New Castle upon Tyne and all the small towns. The windswept shores in fall, grey and rainy. Perfect.

My computer is broken for approx 2.5 years now. Won't get it, maybe the links for the demo I sent to a dutch record label still exist. Too bad he was looking for something else during that time, he instead liked other tracks from my soundcloud and said he would release them if I get 1-3 similar tracks together, but I never did, sadly.

This track from New Castle label catches the gloomy atmosphere of a foggy sea town quite well.
No. 22626
Bumping with some lolrandum stuff.

Obscure ass dark ambient from Russia:
A somber classic from the Japanese psychedelic gods AMT:
Angry dude shouting bad words, also loud drums:
No. 22627
Here have what I have been listening to a lot while playing Crossout lately
No. 22674
116 kB, 1080 × 600
I currently play the old Tony Hawk's Pro Skater games and even though i remembered the soundtrack to be great i only really learned to appreciate it now around 20 years later.
The music alone is worth replaying the games.

Millencolin - No Cigar

Bad Religion - You

New Girl - Suicide Machines

AFI - The Boy Who Destroyed the World

Motorhead - Ace Of Spades

Goldfinger - Spokesman

Cky - 96 quite bitter beings
No. 22680
Noice! THPS3 soundtrack has some great tracks, my favorite has to be Alien Ant Farm - Wish:
But not gonna lie, for me the THUG2 soundtrack was quite influential for my music taste. It has lots of tracks and is an awesome mix across many genres but the standout for me was this song:
After hearing it in the game I purchased the album Quebec by Ween from some American seller on eBay, it was my first own CD purchase (since I couldn't find a download anywhere). Little did I know that the rest of the album sounds nothing at all like that song, that really blew my mind.
No. 22691
>Little did I know that the rest of the album sounds nothing at all like that song, that really blew my mind.

That happens quite often, i like to purchase physical albums i like but i stopped doing so before i listened to at least most of it.
No. 22698
Well damn you. I've never looked back at this music since I've played the games in my youth (which was exactly when they came out, I'm 30 now and can't tell you where all the time went :<)

So thanks to you I now realise what these songs were about and it's a mix of nostalgia and realisation. I never wanted to like punk-rock but I might have to start now.
No. 22700
>I never wanted to like punk-rock but I might have to start now.

You're welcome

Have some more good stuff

Bodyjar - Ordaniary Lives

NOFX - The Idiots Are Taking Over

Me First and the Gimme Gimmes - Jolene (Only a cover band but one of the best out there)

Butthole Surfers - Who Was In My Room Last Night?
No. 22708
I cut my punk teeth on the Sex Pistols. Thanks Mum :-DDD

I'm also something of a fan of this album. Surf Punk was also a short-lived predecessor to Skate Punk so you might like it too.

Agent Orange - Living in Darkness
No. 22719
373 kB, 1306 × 1605
Can you guys help me identify the Lawful Evil and Chaotic Evil bands? I'm on a neofolk streak lately, and I'm looking for new stuff to listen, and these two look unfamiliar to me. Google doesn't show results based on lyrics either.
No. 22723
Those would be Luftwaffe (lawful evil) and Blood Axis (chaotic evil). I'm not at all familiar with Luftwaffe (found them by googling the lyrics in that image), but I know Blood Axis pretty well. They're okay, but nothing exceptional.
No. 22724
Thanks! Blood Axis sound intredasting, will check them out after finishing with Death in June.
No. 22735
>Sex Pistols

I'm more into Ska-Punk and melodic hardcore but the classics are nice too. Even tough i prefer the Ramones and the Dead Kennedys over Sex Pistols

No. 22744
The Clash version of that song is good too.

No. 22788
23 kB, 600 × 596
273 kB, 1600 × 838
Y'all know about Vile? If GG Allin heard of these snotty punks, he'd probably be very proud of every song they put to record. "Solution" is obnoxious, politically incorrect, abrasive and lives up to the band's name in every way. Like GG Allin, this band holds its audience in absolute contempt, yet show raw passion in their performance. It can't be verified if these guys were dead serious or merely being shocking, but the album has achieved cult status among fans of early East Coast Hardcore especially on account of its legendary self-distribution. The band allegedly stuck copies of the LP on car windshields at Punk shows around Boston before unceremoniously tossing the remainder off a bridge. Consider Vile the East Coast's analog to White Pride, whose legendary demo was incidentally released the same year.

The album largely consists of bursts of blistering fast power chords and snotty shouts quite similar to fellow Massholes The Freeze and Gang Green. Half the tracks barely clock over a minute, with the longest one at exactly 2:23, so no track ever overstays its welcome. Perhaps the most distinct feature is the palpably buzzing guitar tone on account of the raw production which aids and abets the performance. Part and parcel with their assault on your senses is their patently offensive lyrics. On the A-Side, we're treated to "5 to 10" a tale of the lead singer doing time for the various felonies he denies committing, including raping a fat girl so ugly he "wouldn't fuck her with your dick." "I'm a Punk" celebrates the degenerate nihilism of Punk subculture. On the flipside, "Homophobe" opens with "I hate Faggots, they're really sick / Spending all their time sucking dick / Buttfuck them with a soldering gun / Killing faggots is really fun."

A shame they don't make Punks like they used to, because something like this is wholly cathartic in today's atmosphere.

Choice cuts:


Bonus EP "Vile Says Fuck Off":
No. 22824
Their lyrics are bland and have no depth beyond "look how shocking I am" which is boring as fuck. Where's the punchline? As it stands, they just sound buttpained rather than rebellious. I feel like a lot of Hardcore Punk just misses the point. You should be laughing at society while flipping it off, not just getting your panties in a twist. Where's the fun in that?

Here's something to cleanse my ears.
>The Dead Milkmen - Bitchin' Camaro
No. 22825
By and large, I don't care for Pop-Punk because I find it to be antithetical to the spirit of Punk. Punk demands that boorish hooliganism, naked aggression or nihilistic fury to propel the music. Pop-Punk has way too many commercial sensibilities for my taste; boring hooks, lame vocals, et cetera. Don't care that much for Post-Hardcore either, but some of it is okay.

The one exception where Pop-Punk sounds okay: when it's crossed with Metal. The Krixhjälters: Bay Area Thrash Metal + Swedish Hardcore + Pop-Punk = INSANELY FUCKING AWESOME!

No. 22826 Kontra
Another thing I forgot to mention: lyrics are entirely secondary to me. There are times I have trouble with cringeworthy songwriting, but shitty poetry can be redeemed by a great performance. Good lyrics, on the other hand, can't save a shitty song.
No. 22827 Kontra
Problem was that it wasn't a great performance. The Urinals did better short form, and The Minutemen did better stuff with low-quality recordings. The only thing that those tracks bring to the table is shallow shock value. There is more to Punk than just being controversial and aggressive. That alone isn't Punk and it alone sure as hell can't save a shitty band from being shitty.
No. 22828 Kontra
Also, while you denigrate Post-Punk trends as 'Pop-Punk', you should probably remember that the subculture owes a lot to Rude Boy and Ska. In fact, I'd even say that stuff that leans more on the Rudie and Ska end is oftentimes more authentic than Hardcore which as I say, in my opinion oftentimes kind of misses the point.
No. 22830 Kontra
Ska makes me homicidal. Don't really care for bugman Hardcore, but I'll take it to fucking Ska. By the way, I like Post-Punk, so don't know where you got the idea I dislike it.

Now this is my speed:
No. 22843 Kontra
Not only do I find the instrumentation obnoxious, the very subculture fosters retards. Whether it's the stupid skanking or flatulent trumpets blaring over gimpy riffs, everything about Ska Punk is thoroughly unpleasant.

Personal experience has also led me towards completely hating this kind of music. I went to school with this asshole who was boy king of a small click of socially progressive nerds. The guy wasn't stupid, but man, was he obnoxious. More irritating was his avowedly socialist platforms as he lived in complete comfort thanks to Mommy and Daddy's respectively lucrative careers as medical doctors. Blonde haired and blue-eyed, he'd also boast of his Venezuelan heritage and routinely tout the success of Chavez's regime. The bastard wouldn't know what it meant to be working class if the ghost of Emma Goldman shit on his head.
No. 22904
Every band that gets compared to a man with zero talent and whos only appeal was it that he ate his own shit and got beaten up by fans on stage while naked is not a band i'm interested in. If you want me to listen to it you need to find a better way to sell it to me.
No. 22905
>man with zero talent

That simply isn't true. GG Allin is a legend. Finding his public persona distasteful means nothing when your source for Punk Rock is Tony Hawk's Pro-Skater:
No. 22906
>GG Allin is a legend

For eating his own shit and getting beaten up by fans on stage while naked.
No one would remember him or would ever have cared about him if it wouldn't have been for his live shows.
No. 22908
>No one would remember him or would ever have cared about him

Uninformed opinions from a guy whose source for Punk Rock is Tony Hawk's Pro-Skater. Not only did Hank III write songs as a tribute to GG, the entire Punk underground continues to mourn his loss and celebrate his life decades after his death.

You know nothing, but continue to talk.
No. 22909
You could try to disprove my point by.. let's say showing me an serious album review that doesn't talk about eating shit, instead you keep repeating that recently replayed Tony Hawk as if it was the first time in my live that i ever listened to music.
Hey, i also replayed Bioshock Infinite a while ago, they have a song from a dude called Mozart in there, ever heard of him or "classic"?
No. 22910 Kontra
Eh, most of his stuff is considered bad at best. His persona really was all he had going for him.
No. 22911
You think I give a single solitary fuck about what professional critics think? What matters more is what musicians and people who actively make Punk music think, and GG Allin left a big impact on the Punk underground.

Since you seem stuck on the opinions of critics, just google any review for "Always Was, Is and Always Shall Be", "Carnival of Excess", "Murder Junkies" (collab with Antiseen) or "Brutality and Bloodshed for All". Those are widely considered his best work along with the compilation "Hated in the Nation".

>Hey, i also replayed Bioshock Infinite a while ago, they have a song from a dude called Mozart in there, ever heard of him or "classic"?

So glad you brought up Mozart. Contrary to what you'll here on /pol/, classical composers were far from the paragons of virtue. In fact, some were as fucked up as the artists of today. Musicians made outstanding art in spite of their flaws, not because they were morally upstanding people.

Wolfgang Mozart routinely mismanaged his finances and happily indulged in scatological humor. In fact, there is an entire Wikipedia article dedicated to studying his enjoyment of shit jokes. The legacy his music enjoys is entirely posthumous because, in life, Mozart was a terminal fuck-up.

The dude peaked early as a child and never recovered. He died heavily in debt, many of what we consider to be his masterpieces had more often than not an underperforming short run or quite as likely a financial disaster. He wasn't even the most popular composer of just the city of Vienna let along the continent and he was denied many posts far below his ability due to the relatively low esteem he was held creatively.

But please, keep slagging off GG Allin as if it means anything.
No. 22912
>Contrary to what you'll here on /pol/

Oh wow, i actually started to write an answer and deleted it when i came to that sentence.
Keep making your little character analysis from 2 or 3 written sentences if it's fun for you but better keep them for yourself, it makes you look incredible stupid if you start making wrong assumptions based on nothing.
No. 22914 Kontra
Both of you are pathetic.
No. 22938
47 kB, 600 × 600
It took a while unti I was really able to appreciate this album but now I'm head over heels with the whole thing.
Somehow it's emotionally freeing, like breaking broundaries inside.
No. 23192
4,3 MB, 640 × 360, 4:01
Raver hier?
No. 23194
546 kB, 620 × 846
No. 23195
9,5 MB
portuguese guitar + saxophone + ambient electronic
unfortunately the best rip I've seen around has some vinyl skips on it
No. 23312
My favorite techno tracks of the last years:

Gijensu - Nitro Heaven

Nico Moreno - Insolent Rave

[KRTM] - Baldboy

I Hate Models - Warehouse Memories

Rune Bagge - Secret Solutions

Absurd - Unsettling

Anyone wanna go on a rave together?
No. 23399
Thanks again for sharing the RAW compilation.
(A few songs are cringy though)
No. 23461
Not a fan of those tracks, dark industrial for sure.

But keep posting, I find them interesting more into goa/psy trance myself.
No. 23490
No. 23520

Heh! Took me a few seconds to figure out why this is familiar. It's the test cops use in 'Do Androids Dream of Electric Sheep' to know if someone is human or not.
Any thematic relation in the music?
No. 23535
>By and large, I don't care for Pop-Punk because I find it to be antithetical to the spirit of Punk. Punk demands that boorish hooliganism, naked aggression or nihilistic fury to propel the music. Pop-Punk has way too many commercial sensibilities for my taste; boring hooks, lame vocals, et cetera. Don't care that much for Post-Hardcore either, but some of it is okay.

You remind me of those rich kids who decided if you were "punk enough" to join their circle. And not surprising RAC Bernd is a person born into a wealthy family. Seems like you are attracted to punk for it's authenticity, but you lack the social background for it to "fit" so you become very defensive about these non-issues.
No. 23577
So, as I was reading that book on the diplomatic relations of Japan and Hungary, I came across a short line mentioning how in 1940 a composer from Hungary composed a symphony to commemorate the 2600th anniversary of the founding of the Empire of Japan, and I decided to search for it, and found one recording (with bag quality, but it's still listenable.) never mind I found a full, modern recording on youtube, but it had the title in some neo-latin language and I didn't notice it at first glance.
Apparently the composer was the student of Bartók and Kodály, and emigrated to Switzerland after the communist started taking over.

The piece itself is 22 minutes long, and sounds pretty modern in my opinion (especially during the first few minutes, where I detected slight traces of it sounding a bit disharmonious on purpose, creating this fast paced feeling of dizziness). It has these fast, Asian themed movements, which make it interesting in my opinion.
During my first listening I didn't find it all that catchy, but after the 2nd and the 3rd listening, I grew quite fond of the piece.
I just wanted to share it with you guys.

>Sándor Veress - Symphony no. 1
https://www.youtube.com/watch?v=qwvv8yW-O9I Part 1
https://www.youtube.com/watch?v=PwwAOcUbbqU Part 2
https://www.youtube.com/watch?v=x9lMUGSgLN8 Part 3

https://files.catbox.moe/m1eoq8.mp3 - An older Japanese recording from the year 1940. This one is a lot faster, but it has horrible quality.
No. 23605
Had this tune in my head when waking up:

Out of nowhere, I've probably not listened to it in 10 years or longer. But then I had to think about your post and thought I'd add to the list.
It was my favourite song of the first 3 THPS games (never played 4 and onwards).
No. 23607
these are breddy gud

t. listener
No. 23651
Wait he's rich? Oh lol that probably explains a lot come to think of it.

And I pretty much agree with your assessment which only makes the punk rock reviews of his that much funnier. Of course I don't think he'd get this to begin with and is part of what's so hilarious about trying to find punk rock of all things to find enforced conformity and authoritarian nationalist sentiments, which punk rock at its core completely and utterly rejects but moreover there's a class thing. It's why his reviews are so great, because his style of speaking is really so much more like the complete antithesis of everything punk rock, coming across more as an upper middle class yuppie describing a Chuck Mangione song.

I honestly think there's just some things in class that sorta automatically exclude someone. Grunge and the sort of pop almost stuff about it made it a pretty bland, classless type of a thing, but at the same time the style was distinctly working class. There is nothing so laughable and downright pathetic to me as a bunch of rich kids spending hundreds of dollars on pre ripped jeans, pre bleached, or even fuck mud on their jeans just to look more "authentic" while also still being big enough complete faggots to have to spend hundreds of dollars on a damn pair of pants. Hipsters annoyed the shit out of me for similar reasons. RAC is fine to me purely because of his transcendant autism. He could be discussing model trains for all I care, or retro games as our resident vidya autist does (well at least one of them, the Russian).

Really though I think trying to buy your way into authenticity is such a complete farce it only ends up exemplifying why someone is so painfully inauthentic to begin with. I'd say that punk is a mentality and a lifestyle, and being thoroughly anti-mainstream and anti-authoritarian are a couple of those hallmarks but also usually associated with the lower class and poverty, which btw I have no idea why it gets romanticized. Juggalos are the perfect example of maximum bydlo lower class music, and both it, its aesthetic, its listeners and every possible thing about it is absolutely terrible.

I do think that the idea of needing some kind of authentic emotion is probably more the result of living in the kind of stuffy atmosphere of upping middle to upper class life. These are people who thrive on appearances and fakeness. I can imagine why the idea of something such as punk rock would be so liberating to a person, and why they would gravitate towards authenticity in an inward sense regarding passions for anyone occupying that strata. If RAC does and particularly if he really is some well to do Pakistani family then really it's more about him feeling suffocated than anything. If you could take the American Smile and turn it into some horrible Golem, then break that golem into being an entire class strata, then that would explain it.
No. 23657
Punk has always had rich kids LARPing as revolutionaries. I'd go as far as to say the entire genre was about rich kids LARPing as revolutionaries, although some grew up dirt poor (hello, GG Allin):

>I have no idea why it gets romanticized. Juggalos are the perfect example of maximum bydlo lower class music, and both it, its aesthetic, its listeners and every possible thing about it is absolutely terrible.

Call it misdirected "noble savage" worship that's so pervasive among the middle class, but there are plenty of middle class people who claim to care about the poor while openly shitting on bydlo to signal to likeminded peers. Funny you mention Insane Clown Posse and Juggalo culture. Pseudo-elitists never miss an opportunity to shit on them when most probably never interacted with a single Juggalo. They dislike them for the same reason amateur film critics dislike Conan the Destroyer: it's easy to do and makes them feel powerful and a part of something all while validating in their own plebeian tastes. Truly, Juggalo bashing is the last refuge for scoundrels.

That said, can Juggalos be horrible people? You bet. My "cousin" was a Juggalo. For those unaware:

>If RAC does and particularly if he really is some well to do Pakistani family then really it's more about him feeling suffocated than anything.

I had a great relationship with my immediate family, so I don't know what you're on about. If you think I was "suffocated" because I had to live up to some expectations, then I'm afraid you're wrong.
No. 23661
No. 23665 Kontra
Is there any other genre of music that is so self-absorbed, so desperate for validation, so pathetically obsessed with itself, so childish and image-conscious, so accepting of conformity and mediocrity as Punk? No. There isn’t. Because Punk is the fucking worst, at least in North America, and it needs to get right or go away forever.

Punk is a petulant little child that is wrought with an Oedipus complex, an oral fixation and a collective transference of identity issues (somehow stemming from a lack of identity) that causes it to be constantly screaming for attention. Punk ALWAYS needs a great big dick in its mouth to calm it down and stroke its melodramatic ego. Punk wants to be heard and seen. It wants to rebel; yet, if you look at it, it ironically shuns your gaze because you are not credible enough to soothe its aching teats.

Punk wants to be different, but only within a strict set of guidelines. Punk is a tireless masochist. It suffers, it moans, it whines, it annoys; it is a culture of emasculation, castration, penis envy, communism, capitalism, liberal faggotry of the highest order, and third-grade intellectualism. Punk is weak, ill-formed, small-minded, an accident. Punk is modern man in search of a soul, yet it looks not to the heavens for answers — instead it stares in awe up its own gaping asshole, whispering with quivered lips, "You go, girl." Yes. YES. Punk is a cliche, a reproduction, derivative and fucking lame. Punk is an echo chamber
No. 23668 Kontra
Why even have an opinion at this point? Just harmful.
No. 23669
>implying not all forms or art which are becoming a part of the mainstream pop-culture would end exactly like this.
Just think about Hip Hop, Rock, Techno... you name it.
The only 'true' genre to itself is pop music. It has never pretended to be anything else than it actually is. Entertainment for the masses, a mere product meant to be sold.
No. 23671
punk is for the kids who coulndt get out of "mom you just dont understand" phase
No. 23673
Every classic pop cultural phenomenon/movement has its antagonism placed on their flag. Their mode of operation was strict opposition towards established norms which did not represent the younger generation. I guess the generational aspect is what makes you think of a child/parent relation. Mum does not understand, like the authorities do not represent and thus understand the young. The generational conflict that seems so heavy in pop culture is probably due to the changes in society at large after WW2. It really was a break thru the generations as well.
No. 23675
Turning into dad rock is more a generational function amplified by cooptation by Capitalism, which introduced the idea of being a sell out. Like Jazz itself used to be a wild and rebellious music for the youth. Thing is it's the same as with progressive politics. What was revolutionary yesterday becomes the Conservativism of tomorrow. So some kid saying give the vote to black people can be a radical in his youth and a boomer conservative in his later years and the same can happen to music. This is a normal historical trend but it's made worse by the way Capitalism buys out and distorts everything so you can have a truly rebellious and anti-establishment music like say hiphop get perverted into something that ultimately sings the praises the very things it was against. Tupac is a great example of this transitional period where the music was still raw but becoming mainstream and lukewarm bullshit.

Actually the same is true of the political generally. Remember the Tea Party? That was more a Ron Paul thing. It took them only a few years to pervert it into some bullshit with Sarah Palin and John McCain of all people turning it into an establishment cause.

The same is true of music. It's like that how to ruin a hobby comic. It isn't that the hobby was shit and always a way for dudebros and thots to hang around being fuckups just that they seem to always be able to ruin it, thus leading to perpetual generation of new music. I think this is part of what the doctrine of perpetual political revolution embraced which was the nature of society to act like this particularly in Capitalist societies or any society generally where today's revolutionary becomes tomorrows tyrant so to speak. But does it make it the nature of edgy anti-establishment music? No, just like a corpse is not the nature of man even if it is his final end.
No. 23676
The thing with subcultural music and capitalism is that of a formula broken down and then reconstructed as commodity. The subcultural formula of resistance and difference by crossing a line or being "anti" just gets a commodity and is then perfect for aesthetical consumption that is dived from the ethics of punk or hip hop or whatever. It becomes a gesture that has no connection to action in a broad sense. Pay to be the rebel. The interesting thing is that pop culture always worked with found objects so to speak from the cold world of capitalism and yet tries to find its new place to revolutionize but gets stuck on the way. This field of pop culture is super broad but also very interesting because of its dynamics and basically as (specialized kind of) culture touches the fields of art and politics (also economics).
No. 23678
I kind of disagree with the assumption of capitalism being the opposite of revolutionary. It's such a broad term that it's essentially as meaningless as socialism when talking about a specific case. Without further context you might as well be speaking martian. For example, a lot of Agorist philosophy reads like a modern socialist movement until they start talking about capital in a positive way. It just equates cooperation between people as mutually beneficial and thus not dissimilar to a fair trade in the marketplace. A free society organised along market principles.

It's why I tend to favour a statist-anarchist spectrum over a left-right or capital-anticapital one. Even as someone who most would consider anarcho-capitalist (I'm not, but besides the point), I find myself more often in agreement with anarcho-socialists etc. than I do more statist versions of 'my people', the capitalists.

In my convoluted terminology, I'd call the kind you're talking about Fiat Cronyism, and it's an illusory free market rather than an actually free one, but somehow I doubt that there is anybody else here who really wants to go down the literally autistic bunnyhole of how I perceive human interactions.
No. 23680
It makes perfect sense RAC Bernd would be rich. If I recall, he personally describes himself as a Libertarian, so it all fits together quite well. He likes this music because the values espoused by these bands affirm his way of life and, indirectly, supports his lifestyle.

Tell me, what does RAC Bernd have to gain from socialism, communism or anarchism? Indeed, what does any rich person have to gain by those ideologies? Absolutely nothing. A rich person who isn't exactly white fits in better with Fascism than they do with any society run by leftists.
No. 23681 Kontra
>I kind of disagree with the assumption of capitalism being the opposite of revolutionary

I think what the US ball meant could be best kept by the term reterritorialization introduced by Deleuze & Guattari. Capitalism is indeed revolutionary in that it can make new connections (it deterritorializes), it can connect to its antagonists and then reterritorialize this certain connection, freeze it, so that it is not revolutionary anymore but bound under the axiomatic of capital, what was initially revolutionary.
If that makes sense, reading them both for the first time.


Anyway: I listen to slavic cold/dark wave, anymore suggestions, perhaps female voices?

what I want regarding style:

No. 23682
A little more on the Punk side but may be matching your taste still:

No. 23684
264 kB, 1200 × 1200
No. 23694
Yeah, I liked it even tho it's not the matching the style I was looking for

Yeah french is also good. But I did not like your suggests tbh. It's either to slow and/or lacking the (bass) guitar. In the last the synth sound is not my cup of tea. I'm really looking just for that distinct sound posted in my post: old drum computers mostly, some guitar and perhaps synth, driving but also melancholic at the same time.

here is another:

No. 23696
>A rich person who isn't exactly white fits in better with Fascism than they do with any society run by leftists.
Obviously. Like I have absolutely no idea how q bunch of morons got to this bizarre conclusion that leftism is about hating white people. Leftist policies generally benefit me. Right wing ones absolutely do not regardless of them trying to pander to me because of my race and it only makes me hate them even more for doing that. The sole exception is regarding migrants just because massive corporations down to smaller businesses like flooding the labor market with candidates because surprise, basic economics dictates you make it a buyers market aka employers market where you can treat home labor like dirt because now they're competing with third worlders, and to then bust apart any attempt of workers aka employees organizing together and instead being pitted against each other as foreigners vs native.

These are all neoliberal policies that fuck poor people over. I don't even understand why exactly they hate poor people as much as they do, but you're right, I feel little animosity towards say a poor Mexican or poor black guy, but regardless of his race I feel massive animosity towards the small owning class of elites. Whether they're a bunch of Russian oligarchs, Arab oil sheiks, unscrupulous Chinese or some fat fuck from NYC peddling war with Iran for Israel is irrelevant to me. All of these people are scum acting counter to the interests of myself, my friends, family, and much of the country, in the same way I ultimately support things like 1776 and 1789. Being pro-elite is almost as stupid as being pro-monarchist, except driven by base greed and some selfish delusional expectation anyone can become a part of the small club, as opposed to needing to be born into it, which is still basically true because almost all these people are born or marry into wealth. It's nothing but a new aristocracy.

So yeah.

Connect isnt the right word. I think "corruption" is a much better word. It works like Russian politics and is legitimized because the process in turn is a way to automatically delegitimize all opposition and to control their message. Having all major publishing companies, the recording industry, Hollywood and so on basically dominated by well often Jewish Capitalists is a way to ensure that no serious resistance forms and when it does to simply buy it out rather than say assassinations or turning them into political prisoners. It is far more insidious and far better undermines and delegitimize everything they were originally about, eventually turning even their "earlier years" into a commodity itself and a farce completely defanged of its message--in other words converting the Authentic, the sincere and the genuine, into easily measured and sold kitsch retroactively.

The worst thing about it is the fact it actually serves to retcon their prior statements, therefore no longer being constricted by the present but even being able to reach into the past with its corrupt tendrils.

I actually saw a video somewhere with Dave Chappele trying to explain why he walked away from that $50 million and comparing it to how a pimp slowly breaks a prostitute. I suspect this is what Hollywood also does.

The thing is though it's a function of the capital itself, of the weird almost zerg or tyranid or Flood like ability to constantly mutate itself and corrupt everything it touches. Some people only seem to care that enough representatives of their tribe or ideological faction or whichever sits at the top, but eventually they too just become corrupted by it along with any of the artists. One of teh dynasts of the Disney or Eisner family talked about this let me find it

To be honest the greatest irony is that in a sense I both envy and pity these people, because they spend their lives bereft of any genuine social interaction or any sense of connection to the human or natural world. I mean can you even imagine that? I don't just mean people so rich they have a maid, I mean filthy rich, so obscenely rich they have a king size bed installed on a private 747 they can have fly them anywhere in the country. I think that if anything the biggest irony to me is how seductive it is not because of the light, but because of that much darkness. It is seductive in the way tragedy is seductive, of wanting to inflict new and interest pains and miseries on yourself, of suffering in a truly novel way. I think the same corrupting inhuman influence happens to all oligarchs more or less, particularly political families, where you're never even going to know someone who actually wants to know and love the real you, instead of just being after your money.

So I think that in a certain sense that form of class in society makes a victim of the elite themself, along with the dehumanization and alienation of the rest of society.
No. 23698
>Connect isnt the right word.

Speaking in deleuzo-guattarian terms, it is. What you call corruption is the reterritorialization under the capitalist axiomatics.

> it's a function of the capital itself, of the weird almost zerg or tyranid or Flood like ability to constantly mutate itself and corrupt everything it touches.

See, there you have the connection, the reaching out to new things (deterritorialization/ connection making) and then corupption in form of a reterritorialization, which means the connection made is frozen and does not further deterritorialize.
Basically capital is such a bitch because it moves its own barrier that could only be crossed by another deterritorialization, which D&G try to provide in their book Anti-Oedipus.

>converting the Authentic, the sincere and the genuine, into easily measured and sold kitsch

I think authenticity is problematic concept but what I think is more important is the depoliticization. A movement stripped of its political potential becomes an aesthetic or feel that can be consumed. Even today you have the problem that a political stance can be (or perhaps always is/was) a lifestyle accessoire. The problem is when it becomes only an aesthetic that has no political grip but is instead a commodity only.
No. 23699 Kontra
76 kB, 454 × 600
>Like I have absolutely no idea how q bunch of morons got to this bizarre conclusion that leftism is about hating white people
"Whites", specifically white males, are associated with the West.
Whether you like it or not, "Leftism" is not longer about economics and class struggle to most people as the New Left (which had less of a focus on these things anyway) was absorbed by Neoliberalism.
A significant undercurrent in the New Left is opposition to the West, and so by proxy white males.
That is not to say that the "West" is infallible or has no problems, but instead that hatred towards to all things "Western" is the prime motivator, and not the common reasons given such as Racism, Sexism, Imperialism, Ethnocentrism, etc. These things exists to a much greater extent in other parts of the world (except for American Imperialism that is :--DD), but little attention is given to them—if there is any acknowledgement at all. Stupidity and groupthink plays a big part in associating anyone left of Thatcher to this aspect of modern "Leftism".

I imagine that this dynamic was not as strong in Europe until now because of significant increase of non-Europeans, as Europeans tend to divide themselves amongst national lines and not European vs. Minority.
Therefore, I proclaim that the EU is white nationalist organization as it seeks to unify the European populations under a pan-European government :DDDDDDDDD
No. 23700
22 kB, 207 × 253
182 kB, 1280 × 720
90 kB, 650 × 347
>I think authenticity is problematic concept
It really honestly isn't. Not even slightly. All authenticity really means is actually being honest, both with others and with yourself, which doesn't necessarily need to mean lack of projecting an image either. The complete opposite of authenticity is a poser. Idk if this is a word in German lexicon but it was kind of an insult when I went to school, like saying the person is a fake, a phony, inauthentic, and thus in a sense the opposite of "cool" whatever that means (which is an actually problematic term because of its core ephemerality).

Or to translate it to meme terms, it's pretty much the dreaded American Smile. There's a reason why it creeps so many foreigners out and that's because its core is being baldly inauthentic and the complete lack of any genuine warmth thus makes it look more like some freakish grimace or evil snarl or something.

Of course I could also extrapolate that it likely has as much to do with the difference between the cosmopolitan and the rural? Maybe? The Russian sense of smiling is I think almost more sincere, but too much the opposite. When a Russian smiles at you it's probably because he really means it, in a way that's completely absent in Anglo countries particularly the US reflected most famously in our "oh we should hang out later". Or in another sense, the way it's so rote and automatic to say something like "thanks you too" if someone wishes you happy birthday or something.

I bring this up with Capitalism mainly the horrible consumerist-marketing variant because its most central conceit is being both the most wildly inauthentic and calculated thing possible while at once often trying to appear most sincere, and to corrupt and supplant the authentic simply because the authentic is deemed valuable by people while at the same time not being easily quantifiable and marketable. You cannot actually sell sincerity, genuine warmth, or human kindness, rendering all human interactions as being merely transactions on the same level as the difference between visiting a prostitute and making love to someone you truly adore. As a result, Capitalism tends to try and blur or obliterate those very clear and obvious lines between the authentic and inauthentic because it wants to market to you the Authentic™ experience while undermining the very concept of something like a centrally uncontrollable and unmarketable or profitable genuine authenticity.

This is likewise the problem in all art as it's exposed to not just any ideology, but one so thoroughly calculated and rancid as Consumerist Capitalism because at the very least in any other ideology like say Nazism, Islamism, Stalinism etc. there's some kind of a sincere motive at least driving that deception, some kind of an actual hidden ideal. In a Consumerist world, there is not such thing as as an ideal, but only raw naked nihilistic greed, like a politician who will do or say anything and tell any lie and break any promise in a calculated effort of pandering for votes. It's partly why you have such shit films coming out of Hollywood because authenticity I think also carries a sense of risk, and that cannot be so easily predicted and marketed, and in like manner you see all the really valuable cultural artifacts of say vidya being fucked into the dirt from something like Fallout 1 into being...this...thing
No. 23701
Just for curiosity's sake, what's "rich" to you? Are we including the children of successful doctors / lawyers / local businessmen or are we strictly talking industry leading oligarch-tier wealth and the politicians in their pockets? Since we're talking about my personal history, I can assure you that I'm not even close to the latter. Not that it matters to this discussion that much, but it still merits addressing since my background has come up.

For the record, I think of "the people" as a spook. In the end, the is no authority but yourself, as Penny Rimbaud once said. Thus, I see myself as an individualist.

>got to this bizarre conclusion that leftism is about hating white people

Ideally, it shouldn't be. Indeed, leftists used to complain that too many Americans fixate on race relations rather than class struggle. I've previously linked to you about the various Internationals where the American wing was expressly excluded because of this. On the other hand, there are those who see race and class as inseparably tied. The entire ideology of Third Worldism attests to this. And then you have problems addressed by this gentleman

In practice, casual hostility towards even whiteness itself, much less white people, is extremely common in New Left discussion spaces. Just look how leftists sneer using the word "white boy" or other terms intended to demean and then backpedal by claiming it only refers to "white right-wingers." Tim Wise is especially guilty of this if you follow his Twitter account. This is far more common among left-leaning progressives and social liberals (ie: the limousine liberals / gauche caviar) which people like him or Jane Elliott belong to, but the revolutionary left has picked up on these attitudes as well as an extension of their anti-imperialism. These same self-described radical leftists could be confused liberals who have some sort of misguided kinship with revolutionary leftists as part of their telescopic charity or this could be, as you strangely mentioned me having, the closest they can get towards having a real emotion by investing in the revolution as a pet project. This could also be cynical exploitation of social turmoil and betting on one side, hoping that they would be spared the proletariats' collective wrath and be allowed to exist in their society.

The reasons are as numerous the individuals themselves. What matters more is how is all translates into political action, and the acceptance of anti-white attitudes by the New Left strongly suggests tacit support for anti-whiteness. Thus, the New Left can be fairly described as anti-white as the New Right can be fairly described as deeply ethnocentric, if not outright racist.

By the way, I never once claimed Antifa was ever organized on an international or national scale beyond your bored local leftists with plenty of time to post online about racists, real and suspected. Doesn't mean they can't cause problems for right-wing artists, and the casual acceptance among radical leftists whenever they shut down shows at least shows tacit support for their activities. It also doesn't mean they can't network with other likeminded individuals across the globe to fuck with others.

On a completely different note, nobody ever brought up Soros. You did. All I know about George Soros is that he's behind various humanitarian causes that generally favor social liberalism and is deeply invested in swaying European politics. Less of a conspiracy mastermind and more of a power player.

>This is because they are mentally incapable of organizing themselves by providing anything like a coherent argument as opposed to shitposting meaningless buzzwords at you and accusing anyone who disagrees of being part of one monolithic conspiracy or another. Antifa merely fulfils that same functional role to them. The bigger irony is these guys swallow this bs despite having no experience of anything and just taking roleplaying shitposts online at face value yet somehow seeming to believe all these are real things. It's the same mentality as this guy who brought his AR to Comet's Pizza. What was perhaps the funniest thing about all that is most of their "clues" were literally just things they themselves were guilty of by being part of vierkanal, like the focus on "cheese pizza" to begin with. Somehow this irony was lost on them. Meanwhile the guy was surprised to find no children locked in cages in a basement that didn't exist and the moment he said how retarded it was they immediately started accusing him of being a crisis actor with equally flimsy evidence as every other retarded bullshit they swindle teenage boys with.
>That is the same case with antifa. I have literally never seen or met any "antifa" people. I have met a few who'd sympathize with such a thing because they're part of the broader "sjw" idpol bullshit, and they're neither common nor remotely organized. There is no such thing as any central committee of antifa, they have no funding, and they largely have no support, not even among that many leftists, being more like a bunch of punk rock kids and hooligans flipping over trash cans. We have a bigger problem with sports fans rioting after their team wins or loses than antifa I shit you not.

Methinks the lady doth project too much. I never once gave two shits about Pizzagate or any stories related to it, but you seem to think the dissident right all moves in lockstep because of bored shitposters, lunatics and potential Feds/informants who regularly make dumb threads on /pol/ while ignoring the rot within your own movement.
No. 23703
Even the most consumerist form of Fiat Cronyism has a core ideal as central and utopian as any other system. The idea that one is free to make something for themselves out of nothing if they have an idea and the drive to make it happen. The promise of free enterprise.

In the current climate it's about as likely to happen as the utopian ideal of all those other ideologies you list with the main difference being that you have an inside perspective on one and an outside perspective on the others. Ask a Maquisard how authentic the Fascist ideal was and you'll get a similar line about how off mark it was.

Also authenticity is problematic because it relies on common understanding which doesn't always exist, if ever. Let's take an Australian icon, the ANZAC biscuit. I can call it authentic and be referring to two entirely different concepts easily. One being an authentic frontline ration meal. The other being a classic piece of home baking in this part of the world. The latter is based on the former but is very different in composition and 'feel'. That's a very concrete example too, it gets a lot worse once you go down the bunny hole into abstract and/or cultural ideas.
No. 23712

This is quite fun. Mostly heavy stuff, some metal & punk influences but also jazz-y, plus traditional Japanese elements and quite eclectic in general.
No. 23721 Kontra
Why did you delete your posts?
No. 23746
Anyone knows about genuine indian music?
Something of the style Om is using for its work?
Like on this quite popular album https://www.youtube.com/watch?v=ts3YWVFUnvU

I have a mate from India but he didn't share. Guess he thinks I wouldn't like it. Or I wouldn't understand (where he's right).
No. 23750
No. 23752 Kontra
Oh you did see them? I wrote such a long ass response I had to split it into two posts but like an hour or so later went back and killed them because I think that politics, particularly anything relating to US politics, is the cancer killing imageboards and I don't want to contribute to that here. Moreover because I am still so fucking angry that basically these shitposters killed multiple internet homelands of mine I can't even see straight and will just end up ranting. If that's you I don't take issue with you, but like I said yesterday I am so pissed they killed KC, EC, and 4dongs including my news board I cannot give an unbiased, passionless opinion. Maybe they were doing me a favor in the end. Maybe they were all shit and I'd be better off never being on the internet to begin with. It doesn't matter. I don't want to contribute to it happening here too. All that's going to happen is I'm going to get angry again but at least they haven't ruined EC xyz. So I try to avoid discussing politics too much here.
No. 23753 Kontra
Yeah, this thread has almost reached its post limit anyway. It's perhaps best we drop the subject and just go on with our lives. I appreciated the sincerity of your response and was going to say my piece. At this rate, I think we're both repeating ourselves. We believe what we believe relative to the circumstances in our respective lives.

One final word, the internet overall has become a toxic echo chamber that's occasionally a decent repository for (un)intentional laughs and drama. I believe imageboards becoming the way they have is just a consequence of people embracing edgy humor for the wrong reasons. In short, normies ruin everything.

On a completely different note, these guys have caught my ear as of late. Not everyday does presumably nationalist Post-Hardcore get produced, but this is some phenomenal stuff:

The basslines alone make the song worth listening to.
No. 23763
187 kB, 750 × 989
I never listend to the Elecktroids Album as a whole, so I just discovered this gem


Powerful kraftwerkian Detroit Techno, immense sequencing of some digital ecology.
No. 23766
So Alla Rakha made an album with Buddy Rich apparently. Epic. Thanks.
No. 23802
What does Ernst think of CRASS?

Some slag them off as a pack of mouthy wankers who built their entire identity on their political lifestyle, but others see CRASS as Punk Rock's only true heroes. No matter where you stand, The Feeding of the 5000 is a landmark album in English underground music. Their debut not only viciously rejects the restrictive and corrupt political establishment but the equally restrictive and corrupt Punk subculture as they experimented with musique concrète, poetry and steals from John Cage. It's grinding, poisonous, anarchic and goddamn fierce from start to finish.

Fitting the gritty cover art by famed artist Gee Vaucher, the songs' collective lyrical imagery is often laced with dark humor and bitter irony that holds up years after first being cut to wax. Just listen to, "See the squaddie lying in the front yard, see the machine guns resting on the fence."

In stark contrast to London Branch's "Stronger Defence" celebrating the prospect of nuclear armament, "They've got a Bomb" is one of the bleakest indictments of nuclear weapons ever committed to tape and opener "Asylum" is equally intense. Eve Libertine launches an attack on Jesus Christ so vitriolic it's surprising she that wasn't struck by lightning right there in the studio. Her seething voice is set over discordant, abrasive tape noise and guitar feedback and she gets some great disses in as well.

No. 23835
kameliya luda po tebe

post turbofolk
No. 23870
Kuwait gave me a pretty ebin song
No. 24055
lately I've been listening to a bunch of popular folksy bands for the first time (sun kil moon, mountain goats, sufjan stevens, etc.)
No. 24208
Lately I've been listening to my (quite bloated) music collection on random again, and this pop-punk tracked popped up:


Gave me some good laughs with the lyrics:
>I don't mean to say it but somebody needs to put an end...to them
>I don't mean to say it but somebody needs to put an end...to girls
No. 24209 Kontra
273 kB, 596 × 600
>lately I've been listening to
>Lately I've been listening to
No. 24210
Lately I've been listening to Judas Priest. I don't know how do they do that but they still keep being THE metal band in my book.
No. 24227
New threda