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My vest :3

LET'S BANISH

ALL YOUR FEARS

I believe that the past fears can definitely be a reason why most of you fail to enter the void. We all carry emotional and mental baggage from our past experiences and those can be the things that interfere with and prevent us from entering the void. It's important to have as little resistance as possible in order to reach the void, so it's important to try and release all emotional barriers or past fears.

It is important to work on these things in order to overcome any barriers that may be standing in the way, so for this I have a excercise for you all which will help you banish your fears and help you enter void easily but keep in mind that it requires consistency !

Credits - Pinterest

STEP 1 : Clearyour mind, or just think about something nice.

STEP 2 : Cross your arms, place your 2 hands on the tops of your shoulders and close your eyes.

STEP 3 : Stroke your hands down the sides of your arms from your shoulders to your elbows, down and up, again and again.

STEP 4 : As you carry on stroking the sides of your arms, imagine you are walking on a beautiful beach with each footstep in the sand, count out loud from one to 20 with each step that you take.

STEP 5 : Keep stroking the sides of your arms and open your eyes, but keep your head still.

STEP 6 : While you keep stroking 6 your arms, move your eyes laterally to the right, then laterally to the left.

STEP 7 : Close your eyes and stroke the sides of your arms while you imagine walking down a flight of stairs and count out loud with each footstep.

STEP 8 : Now, open your eyes and check on a scale of one to ten what number is the intensity of the feeling? You should be feel- ing much better - if not, repeat the technique until you do.

An Additional tip - Put on a calming music, subliminal or waves while performing this exercise

NoMeansNo

Every Record I Own - Day 814: Nomeansno You Kill Me

Nomeansno's debut album was a tightly coiled amalgam of art punk and jazz fusion, but it didn't wield the power of their later records. Between 1982's Mama and their 1985 EP You Kill Me, the band would expand beyond the sibling rhythm section of Rob and John Wright to include guitarist / vocalist Andy Kerr. The addition of guitar added the layer of grit and distortion that had been missing from earlier Nomeansno records, and the band fully embraced that newfound abrasion with an EP that demonstrated their full sonic menace while also establishing their stylistic and aesthetic stamp.

The EP opens with "Body Bag," a long-form, tension-baiting, quiet-loud-quiet rocker that harkens back to the bass-and-drum interplay of Mama, but adds jagged spikes of guitar in the chorus, giving the song an amplified sense of resolve and potency. From there the band launches into "Stop It," arguably the band's first foray into a sonic territory that could be deemed "hardcore." Set against a rock shuffle, the band sneers and spits its way through a Black Flag-style rage anthem. It's here that we get the first taste of Rob Wright's burgeoning distorted bass tone. With the gain knob cranked for maximum crunch, you can hear Rob dig into the strings to the point where they growl with aggression.

Side 2 opens with "Some Bodies," a song that harnesses the band's newfound vitriol with their signature off-kilter rhythmic configurations. There weren't a lot of punk bands playing with polyrhythms back in the 1985, but for Nomeansno it almost seemed second nature. There's even a riff in the song that is eerily similar to the main riff in Botch's "Vietmam."

This EP and a few of the other Nomeansno records in my collection were given to me by a college friend the year after I graduated. He was a year or two younger than me, and he had a radio show at our campus station KUPS (90.1 FM, if you happen to find yourself in the North End of Tacoma). I was a Nomeansno fan only so far as I owned the Jello Biafra collab album and a cassette copy of The Day Everything Became Nothing / Small Parts Isolated And Destroyed, but I was excited by the gift. This means I wouldn't have heard You Kill Me (or Sex Mad or Wrong, but we'll get to those at a later date) until at least 2001. But there are more than a few little musical moments across those records that parallel parts of my own songs. There's the aforementioned "Vietmam" riff, which we would have written right around the time this EP came into my collection. But there's the "womb / tomb" rhyme in "Body Bag" that I'd also used in Botch's "I Wanna Be A Sex Symbol On My Own Terms" at least two years prior. There's another inadvertent parallel to a Botch song on Sex Mad's "Self Pity," but we'll discuss that later. And a bunch of Nomeansno-isms would later appear in These Arms Are Snakes material, like the descending chromatic guitar solo in "Body Bag" being deliberately swiped for the pitch-shifted bass solo in These Arms Are Snakes' "Mescaline Eyes" (sorry, Andy).

I won't lie, Nomeansno's aesthetics sometimes leave a lot to be desired. I don't love the cartoony album cover. But Nomeansno rubbed off on me in other ways. There are moments across their records that seem a little silly, especially given their musically and lyrically heavy moments. But that irreverent and sardonic twist contained its own kind of malice---taking something child-like or frivolous and setting against something dire and dripping with existential dread somehow gave Nomeansno an added layer of human dimension. They could be theatrical, but they weren't cosplaying as total misanthropes. The humor almost made the serious material even heavier. The band also had a fascination with human sexuality and confronting sexual mores (see: the band's name, "Some Bodies," "Body Bag," etc.) that would continue to pop up in their music. And you could see the parallels in Botch's often absurd and/or salacious song titles (see again: "I Wanna Be A Sex Symbol On My Own Terms," "Frequency Ass Bandit," "Saint Matthew Returns To The Womb").

I wouldn't have cited Nomeansno as a primary influence back in 2001, but I already appeared to be walking a parallel path, and I would deliberately tread into their territories in the following years.

"In my asexual journey, 'no' becomes a powerful statement, a reflection of my self-worth and the boundaries I cherish. It's a reminder that honoring myself is non-negotiable."

You don't owe it to anyone to give a reason as to why your answer is no. "No" is your complete sentence.

Here's some mini tattoodles I really loved doing... and had forgotten to post until now (including a healed Umbreon). Thank you so much to all you sweet adopters of my wannado(odle)s! ILU!! 🥰

Ode to Punk Rock

NoMeansNo

Wrong (1989)

Every Record I Own - Day 813: Nomeansno Mama

I'm only home from tour for a few days before heading back out on the road, but I figured I'd try to squeeze one of these out before life gets hectic again. I just finished reading Nomeansno: From Obscurity to Oblivion, so I've been on a bit of a Nomeansno bender these last few days. So it feels like a good time to dive into discussing one of my favorite bands of all time.

Nomeansno originated in Victoria, British Columbia in 1979 as a two piece comprised of brothers Rob Wright (bass, vocals) and John Wright (drums, keyboards). After recording a couple of 7"s and gigging around Victoria and Vancouver, the brothers gathered up their resources and self-released 500 copies of their debut album Mama.

It's difficult to imagine what audiences thought of Nomeansno in those initial three years. The brothers had played music from an early age, giving them a musical adroitness more on par with prog bands than punks. But it was the tail end of the '70s and they'd been exposed to The Ramones, Devo, The Residents, and, perhaps most importantly, Vancouver's hardcore legends DOA. The power and DIY spirit of those artists spoke more to the brothers than the excess and panache of arena rock. But there's little on Mama that's reminiscent of punk and/or hardcore, even if the band would later come to be affiliated with those scenes. Maybe there's a little of Gang of Four's dance-punk leanings or Minutemen's jerking and skronking rhythm section and there's certainly some of Devo's spirit in their angularities and art-rock leanings. But if you're looking for distortion, three-chord anthems, and unmitigated rage, Mama is not for you.

According to the liner notes, the pressing plant who manufactured Mama went out of business and lost track of the masters, meaning that it wasn't possible to reprint more copies after those 500 initial copies sold out. Perhaps it was for the best---by the time the band returned with their next record, 1985's You Kill Me EP, they were a markedly different beast. The master tapes for Mama would be rediscovered nearly 30 years later, yielding this repress. Far from being some sort of classic in the band's canon, Mama became more of an interesting insight into how this pair of brothers from a small and sleepy town in Western Canada managed to morph into a pummeling, heady, sardonic, bass-driven force of nature that were one of the primary movers and shakers in the pre-Nevermind groundswell of the international underground.

This is where Nomeansno began, but it might not be the best entry point for the uninitiated.

I can't listen to bruce's diary without thinking about this

Two more wannados (wannadones) that found a forever home, yay!! :D

Thank you so much, Nicole!