States of Emotion, “Into the Dream Catcher”

States of Emotion, “Into the Dream Catcher”

As a taster for the 15/02/16 release of “Black & White To Gold” States of Emotion, an Essex band, will release a free 5 track EP via Noisetrade titled “Rag n Bone Men” on 11/01/16. Title track “Rag n Bone Men” is accompanied with an eerily raw video (directed by Martin Craswell) which features both Olly & Bonzai being kidnapped by a group of ghoulish henchmen in a somewhat bizarre homage to Shane Meadow’s “This Is England” and 2008 horror flick “The Strangers.”

The Long and Deep Tunnel

Photographer Unknown, (A Long and Deep Tunnel)

“The world of the warrior is like a long and deep tunnel. Wherever you turn, all you find is the threat of death in the darkness. And while there is light at the end of even the longest and darkest of tunnels,  whether that light represents hope or menace, one can never know.”

–Cempake, The Golden Crane Warrior

Yelawolf, “Til It’s Gone”

Yelawolf, “Til It’s Gone”

“Till It’s Gone” was recorded at Blackbird Studios in Nashville, Tennessee with mixing engineer Matthew Hayes and producer William “WLPWR” Washington, who also performed keyboards, pads, drums, programming and strings on the song; Mike Hartnett performed guitar and bass guitar. The song originated as an acoustic guitar riff, which was then looped and used as the backing for lyrics which were written “in a couple hours”. Due to its “dark and swampy” tone, the track was originally known as “The Swampy Record”.

On September 16, 2014, “Till It’s Gone” was featured on the second episode of the seventh season of American crime drama television series Sons of Anarchy, an inclusion which Yelawolf described as a “perfect fit”. Speaking about the lyrical themes on display in “Till It’s Gone”, Yelawolf has described the song as “very aggressive” and “very dark”, and notes that “It’s juxtaposed with this melody and the hook that gives it the power”. About the music, he has described the beat as “dope, swampy, alligator, snake-infested, gangrene, and dark”.

Zdzislaw Beksinski

Illustrations by Zdzislaw Beksinski

Zdzislaw Beksiński  was a Polish painter, photographer and sculptor, specializing in the field of dystopian surrealism. Beksiński did his paintings and drawings in what he called either a ‘Baroque’ or a ‘Gothic’ manner. His creations were made mainly in two periods. The first period of work is generally considered to contain expressionistic color, with a strong style of “utopian realism” and surreal architecture, like a doomsday scenario. The second period contained more abstract style, with the main features of formalism.

Beksiński threw himself into painting with a passion, and worked constantly (always to the strains of classical music). He soon became the leading figure in contemporary Polish art. In the late 1960s, Beksiński entered what he himself called his “fantastic period”, which lasted up to the mid-1980s. This is his best-known period, during which he created very disturbing images, showing a surrealistic, post-apocalyptic environment with very detailed scenes of death, decay, landscapes filled with skeletons, deformed figures and deserts.

On 21 February 2005, Beksiński was found dead in his flat in Warsaw with 17 stab wounds on his body; two of the wounds were determined to have been fatal. Robert Kupiec (the teenage son of his longtime caretaker), who later pleaded guilty, and his accomplice, Lukas Kupiec, were arrested shortly after the crime. Before his death, Beksiński refused to loan Robert Kupiec a few hundred złotych (approximately $100).

One Who Seeks

Photographer Unknown, (One Who Seeks)

“I have no right to call myself one who knows. I was one who seeks, and I still am, but I no longer seek in the stars or in books; I’m beginning to hear the teachings of my blood pulsing within me. My story isn’t pleasant, it’s not sweet and harmonious like the invented stories; it tastes of folly and bewilderment, of madness and dream, like the life of all people who no longer want to lie to themselves.”

–Hermann Hesse, Demian: Die Geschichte von Emil Sinclairs Jugend

The Midgard Serpent

Artist Unknwon, (The Midgard Serpent Jormungandr: Disguised in the New Age), Computer Graphics, Animation Gifs

Jormungand, the Midgard Serpent, was one of three children fathered on the giantess Angroba by Loki, the Norse god of mischief and trickery. The Midgard Serpent was cast by Odin into the ocean where she grew so huge that with her tail in her mouth she soon encompassed the whole world, and the churnings of her coils raise the tsunami and tempests that drown sailors.

Thor is destined to destroy Jormungandr at the time of Ragnarok, the end of the world, when heaven, earth and the underworld will be destroyed. Then the world will tremble and the oceans leave their beds. The heavens will be torn apart and eagles will feed upon humans still writhing in their death throes. Thor will crush the skull of his old enemy, the Midgard Serpent, but will himself be slain by her dying struggles. Creation and Time itself will be shattered in the last battle, but afterwards a new heaven and earth will rise out of the sea, in which humans and gods will live in perfect harmony and ease forever.

My many thanks to http://3leapfrogs.tumblr.com from whom I reblogged this gif. One of my favorite blogs.

Tasting His Skin

Photographer Unknown, (tasting His Skin)

“But, when nothing subsists of an old past, after the death of people, after the destruction of things, alone, frailer but more enduring, more immaterial, more persistent, more faithful, smell and taste still remain for a long time, like souls, remembering, waiting, hoping, on the ruin of all the rest, bearing without giving way, on their almost impalpable droplet, the immense edifice of memory.”
Marcel Proust, Swann’s Way

Norbet Bisky

Paintings by Norbet Bisky

Norbert Bisky is a German painter based in Berlin, best known for his frescos depicting adolescents. He was born at Leipzig in the former German Democratic Republic. The son of a Communist official, he grew up in a home in which Communism assumed the power of a religion. He studied from the mid-1990s at the Hochschule der Künste where he was a master student of Georg Baselitz in Berlin and at the Salzburg Summer Academy in the class of Jim Dine.

His work is greatly influenced by the socialist realism which was the official art of the GDR. In recent years he has shifted to darker themes of disaster, disease and decapitation while retaining the consummate painterliness which is the hallmark of his work. His figures, in many cases are floating, falling, tumbling, without any gravitational axis. The tumult surrounding the figures is punctuated by the cross pollination of cues from Christian ideology, art history, gay culture, pornography and apocalyptic visions. Bisky transmits an impression of instability on the canvas that distinctly resonates with our contemporary state of affairs.