1. |
Distant Karma
04:47
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2. |
The Hollow Men
04:53
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We are the hollow men
We are the stuffed men
Leaning together
Headpiece filled with straw. Alas!
Our dried voices, when
We whisper together
Are quiet and meaningless
As wind in dry grass
Or rats' feet over broken glass
In our dry cellar
Shape without form, shade without colour,
Paralysed force, gesture without motion;
Those who have crossed
With direct eyes, to death's other Kingdom
Remember us—if at all—not as lost
Violent souls, but only
As the hollow men
The stuffed men.
II
Eyes I dare not meet in dreams
In death's dream kingdom
These do not appear:
There, the eyes are
Sunlight on a broken column
There, is a tree swinging
And voices are
In the wind's singing
More distant and more solemn
Than a fading star.
Let me be no nearer
In death's dream kingdom
Let me also wear
Such deliberate disguises
Rat's coat, crowskin, crossed staves
In a field
Behaving as the wind behaves
No nearer—
Not that final meeting
In the twilight kingdom
III
This is the dead land
This is cactus land
Here the stone images
Are raised, here they receive
The supplication of a dead man's hand
Under the twinkle of a fading star.
Is it like this
In death's other kingdom
Waking alone
At the hour when we are
Trembling with tenderness
Lips that would kiss
Form prayers to broken stone.
IV
The eyes are not here
There are no eyes here
In this valley of dying stars
In this hollow valley
This broken jaw of our lost kingdoms
In this last of meeting places
We grope together
And avoid speech
Gathered on this beach of the tumid river
Sightless, unless
The eyes reappear
As the perpetual star
Multifoliate rose
Of death's twilight kingdom
The hope only
Of empty men.
V
Here we go round the prickly pear
Prickly pear prickly pear
Here we go round the prickly pear
At five o'clock in the morning.
Between the idea
And the reality
Between the motion
And the act
Falls the Shadow
For Thine is the Kingdom
Between the conception
And the creation
Between the emotion
And the response
Falls the Shadow
Life is very long
Between the desire
And the spasm
Between the potency
And the existence
Between the essence
And the descent
Falls the Shadow
For Thine is the Kingdom
For Thine is
Life is
For Thine is the
This is the way the world ends
This is the way the world ends
This is the way the world ends
Not with a bang but a whimper.
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3. |
7even
03:49
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4. |
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Turned from the “eau-forte
Par Jaquemart”
To the strait head
Of Messalina:
“His True Penelope
Was Flaubert,”
And his tool
The engraver's.
Firmness,
Not the full smile,
His art, but an art
In profile;
Colourless
Pier Francesca,
Pisanello lacking the skill
To forge Achaia.
“Qu’est ce qu’ils savent de l’amour, et qu’est ce qu’ils peuvent comprendre?
S’ils ne comprennent pas la poésie, s’ils ne sentent pas la musique, qu’est ce qu’ils peuvent comprendre de cette passion en comparaison avec laquelle la rose est grossière et le parfum des violettes un tonnerre?”
For three years, diabolus in the scale,
He drank ambrosia,
All passes, ANANGKE prevails,
Came end, at last, to that Arcadia.
He had moved amid her phantasmagoria,
Amid her galaxies,
NUKTIS’AGALMA
Drifted ... drifted precipitate
Asking time to be rid of ...
Of his bewilderment; to designate
His new found orchid. ...
To be certain ... certain ...
(Amid ærial flowers) ... time for arrangements—
Drifted on
To the final estrangement;
Unable in the supervening blankness
To sift TO AGATHON from the chaff
Until he found his sieve ...
Ultimately, his seismograph:
—Given that is his “fundamental passion,”
This urge to convey the relation
Of eye-lid and cheek-bone
By verbal manifestations;
To present the series
Of curious heads in medallion—
He had passed, inconscient, full gaze,
The wide-banded irides
And botticellian sprays implied
In their diastasis;
Which anæsthesis, noted a year late,
And weighed, revealed his great affect,
(Orchid), mandate
Of Eros, a retrospect.
Mouths biting empty air,
The still stone dogs,
Caught in metamorphosis, were
Left him as epilogues.
For this agility chance found
Him of all men, unfit
As the red-beaked steeds of
The Cytheræan for a chain bit.
The glow of porcelain
Brought no reforming sense
To his perception
Of the social inconsequence.
Thus, if her colour
Came against his gaze,
Tempered as if
It were through a perfect glaze
He made no immediate application
Of this to relation of the state
To the individual, the month was more temperate
Because this beauty had been.
The coral isle, the lion-coloured sand
Burst in upon the porcelain revery:
Impetuous troubling
Of his imagery.
Mildness, amid the neo-Nietzschean clatter,
His sense of graduations,
Quite out of place amid
Resistance to current exacerbations,
Invitation, mere invitation to perceptivity
Gradually led him to the isolation
Which these presents place
Under a more tolerant, perhaps, examination.
By constant elimination
The manifest universe
Yielded an armour
Against utter consternation,
A Minoan undulation,
Seen, we admit, amid ambrosial circumstances
Strengthened him against
The discouraging doctrine of chances,
And his desire for survival,
Faint in the most strenuous moods,
Became an Olympian apathein
In the presence of selected perceptions.
A pale gold, in the aforesaid pattern,
The unexpected palms
Destroying, certainly, the artist’s urge,
Left him delighted with the imaginary
Audition of the phantasmal sea-surge,
Incapable of the least utterance or composition,
Emendation, conservation of the “better tradition,”
Refinement of medium, elimination of superfluities,
August attraction or concentration.
Nothing, in brief, but maudlin confession,
Irresponse to human aggression,
Amid the precipitation, down-float
Of insubstantial manna,
Lifting the faint susurrus
Of his subjective hosannah.
Ultimate affronts to human redundancies;
Non-esteem of self-styled “his betters”
Leading, as he well knew,
To his final
Exclusion from the world of letters.
Scattered Moluccas
Not knowing, day to day,
The first day’s end, in the next noon;
The placid water
Unbroken by the Simoon;
Thick foliage
Placid beneath warm suns,
Tawn fore-shores
Washed in the cobalt of oblivions;
Or through dawn-mist
The grey and rose
Of the juridical
Flamingoes;
A consciousness disjunct,
Being but this overblotted
Series
Of intermittences;
Coracle of Pacific voyages,
The unforecasted beach;
Then on an oar
Read this:
“I was
And I no more exist;
“Here drifted
An hedonist.”
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5. |
Shadowplay
03:42
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6. |
Electro-Choc
05:15
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Les asiles d'aliénés sont des réceptacles de magie noire, conscients et prémédités,
et ce n'est pas seulement que les médecins favorisent la magie par leurs
thérapeutiques intempestives et hybrides ,
c'est qu'ils en font.
S'il n'y avait pas eu de médecins
il n'y aurait jamais eu de malades,
pas de squelettes de morts
malades à charcuter et dépiauter ,
car c'est par les médecins, et non par les malades que la société a commencé.
Ceux qui vivent, vivent des morts.
Et il faut aussi que la mort vive :
Il n'y a rien comme un asile d'aliénés pour couver doucement la mort, et tenir
en couveuse des morts.
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7. |
Coldwaves
04:48
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8. |
A few more steps
06:38
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When I was a windy boy and a bit
And the black spit of the chapel fold,
(Sighed the old ram rod, dying of women),
I tiptoed shy in the gooseberry wood,
The rude owl cried like a tell-tale tit,
I skipped in a blush as the big girls rolled
Nine-pin down on donkey's common,
And on seesaw sunday nights I wooed
Whoever I would with my wicked eyes,
The whole of the moon I could love and leave
All the green leaved little weddings' wives
In the coal black bush and let them grieve.
When I was a gusty man and a half
And the black beast of the beetles' pews
(Sighed the old ram rod, dying of bitches),
Not a boy and a bit in the wick-
Dipping moon and drunk as a new dropped calf,
I whistled all night in the twisted flues,
Midwives grew in the midnight ditches,
And the sizzling sheets of the town cried, Quick!-
Whenever I dove in a breast high shoal,
Wherever I ramped in the clover quilts,
Whatsoever I did in the coal-
Black night, I left my quivering prints.
When I was a man you could call a man
And the black cross of the holy house,
(Sighed the old ram rod, dying of welcome),
Brandy and ripe in my bright, bass prime,
No springtailed tom in the red hot town
With every simmering woman his mouse
But a hillocky bull in the swelter
Of summer come in his great good time
To the sultry, biding herds, I said,
Oh, time enough when the blood runs cold,
And I lie down but to sleep in bed,
For my sulking, skulking, coal black soul!
When I was half the man I was
And serve me right as the preachers warn,
(Sighed the old ram rod, dying of downfall),
No flailing calf or cat in a flame
Or hickory bull in milky grass
But a black sheep with a crumpled horn,
At last the soul from its foul mousehole
Slunk pouting out when the limp time came;
And I gave my soul a blind, slashed eye,
Gristle and rind, and a roarers' life,
And I shoved it into the coal black sky
To find a woman's soul for a wife.
Now I am a man no more no more
And a black reward for a roaring life,
(Sighed the old ram rod, dying of strangers),
Tidy and cursed in my dove cooed room
I lie down thin and hear the good bells jaw--
For, oh, my soul found a sunday wife
In the coal black sky and she bore angels!
Harpies around me out of her womb!
Chastity prays for me, piety sings,
Innocence sweetens my last black breath,
Modesty hides my thighs in her wings,
And all the deadly virtues plague my death!
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9. |
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Visionoir Italy
Avant/Dark Prpgressive Music from Udine, Italy. Alter ego of Alessandro Sicur, mastermind and only member of this one-man-
band (keyboard&synths, guitars, bass , e-drums).
Genres of inspiration: post-rock, doom, progressive rock, darkwave, gothic-metal, space rock, soundtracks, kraut-rock.
Main influences: Morricone, Black Sabbath, Goblin, King Crimson, Ozric tentacles, Candlemass.
... more
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