Avant Ecstasy Zip Hit [TOP]
Label: code666 - a psychoprog black metal album of trippy melodies and satyric ecstasy. MASTERED by Jens Bogren, Sweden (Opeth, Katatonia, Amon Amarth) - MIXED by Dim Douvras (Rotting Christ) ARTWORK by RA Design (Ulver
Avant Ecstasy Zip Hit
Label: code666 - Eibon la Furies, the unique blend of extremities in avant-garde black metal, evocative dark rock and cinematic ambience have produced an album that is the beauty and the beast of extreme metal.
Label: code666 - Blutmond are the bleak side of the convential attitude towards the bohemian lifestyle and the urban madness made music, a whirlwind of chaos, irony, smog and awesome avantgarde black metal. featuring Anna Murphy (Eluveitie), Managarm (Varg), Markus Baltes (Autumnblaze), Fredy Schnyder (Nucleus Torn). Reviews: 14/15 on LEGACY magazine, 80/100 on METAL.de, 9,5/10 on METAL1, 5/5 on METAL IMPACT...
An album that on the one hand contains all of the band's trademarks: The dark beats, the weird effects, B-Real's unique high-pitched raps, and their counterpart in Sen Dog's bass vocal. But on the other hand, 'Elephants On Acid' goes even further: There are moments of Pink Floyd and The Doors, avant-garde jazz and moody trip-hop.
Posters of the green fairy advertising absinthe (think about Henri Privat Livemont's) - the favourite drink of many avant-garde and bohemian artists and writers living in Paris in those times - and Lalique's jewellery designs based on the natural world inspired crocheted fan, plumage, wing and tendril patterns and kaleidoscopic light and lacy motifs referencing foliage, vines and flowers in a palette of rich browns and musky greens with sparkles of electric blue.
INTRODUCTIONAnd for just a moment I had reached the point of ecstasy that I always wanted to reach, which was the complete step across chronological time into timeless shadows, and wonderment in the bleakness of the mortal realm, and the sensation of death kicking at my heels to move on, with a phantom dogging its own heels, and myself hurrying to a plank where all the angels dove off and flew into the holy void of uncreated emptiness, the potent and inconceivable radiancies shining in bright Mind Essence, innumerable lotus-lands falling open in the magic mothswarm of heaven.In 1954 Jack Kerouac had a vision in a Catholic church in Lowell, Massachusetts, that told him that the real meaning of "Beat" was "Beatific," in the sense of converting alienation into spiritual transcendence. On the Road, first published in 1957, epitomized to the world what became known as "the Beat generation" and made Kerouac one of the most controversial and best-known writers of his time. Fictionalized as Dean Moriarty, Kerouac saw his friend Neal Cassady as an "archetypal American Man," and rendered his character both "Beatific," in the sense mentioned above, and "Beat," in the sense of being alienated from the mainstream of American middle-class life. In this novel of life on the road, experience for Dean Moriarty and Sal Paradise, Kerouac's fictional alter ego, who shambles along after Dean's madcap adventures, must be intensified to strip one's rational preoccupations with this world and give them a sense of oneness with the All-Knowing God. In search of the ever elusive "IT," "the moment when you know all and everything is decided forever," the two friends' search for ecstasy takes them back and forth across the United States, and in one final trip down into Mexico, getting their kicks from all-night talk sessions, drunken parties, sex, drugs, an orgy with Mexican whores, and, most importantly, an exploration of jazz. Behind the wheels of numerous automobiles, the two young men zigzag across the continent "leaving confusion and nonsense behind and performing [their] one and noble function of the time, move."
Upon publication, On the Road met with both praise and wild enthusiasm from papers as diverse as The Village Voice andThe New York Times, and an equal if not greater measure of skepticism and critical dismissal by the mainstream literary establishment. Rather than representing "a new trend in American literature," as Kerouac had claimed, On the Road was criticized for presenting "uncouth" characters (such as Allen Ginsberg as "Carlo Marx," and William Burroughs as "Old Bull Lee"), and the "frantic fringe" of delinquents (e.g., Herbert Huncke as "Elmo Hassel," the down-and-out Times Square hustler). One of the most sarcastic put-downs came from author Truman Capote, who responded to Kerouac's boast that he had created the original manuscript within a three-week burst of writing, with the snide comment, "That isn't writing; it's typing." In addition, within the avant-garde literary movements on the East and West coasts there was suspicion. Following the 1957 obscenity trial for Allen Ginsberg's poem Howl and publication of On the Road as covered in Time, Life andNewsweek, many radical artists felt that the sudden fame of the Beat phenomenon as a whole owed much to sophisticated packaging and promotional techniques. In fact, more than a few poets saw Kerouac's friend, Allen Ginsberg, a former adman, as more a crowd-pleasing publicity hound than a serious poet. The neo-romanticism of the beat writers obviously hit sensitive nerves in several literary camps, for different reasons, all at once. Those reviewers and writers who came to Kerouac's novel with a less biased eye, however, could not deny the ecstatic energy of his prose style, with its structural and emotive debt to the jazz music Kerouac so much loved. 350c69d7ab