Brian Eno - Prophecy Theme (from "Dune" original soundtrack)

The Five Winds Legacy Flute

An Original Ceramic Creation of 5 Wind Instruments in One.

A vision that has been in the works for quite sometime.

Months in the making, slow drying in each process and grandfather fire guiding this creation through each initiation into form.

A Celestial Orchestra of a Double Drone Flute, two High Note Flutes and a Jaguar Whistle with two Smudge Bowls at the end.

words cant describe just how apathetic i feel towards taylor swift. like can we talk about anything else

me explaining to my walls how dorian electra's fanfare is the album of the year

YOU CALL ME AGAIN DRUNK IN YOUR BENZ DRIVING HOME UNDER THE INFLUENCE

YOU SCARED ME TO DEATH BUT I'M WASTING MY BREATH CAUSE YOU ONLY LISTEN TO YOUR FUCKING FRIENDS

I DON'T RELATE TO YOU, I DON'T RELATE TO YOU NO. CAUSE I'D NEVER TREAT ME THIS SHITTY

YOU MADE ME HATE THIS CITY

Sad News From The Music World: Jeff Beck

Jeff Beck, a guitar virtuoso who pushed the boundaries of blues, jazz and rock ‘n’ roll, influencing generations of shredders along the way and becoming known as the guitar player’s guitar player, has died. He was 78.💔💔💔💔

“Jeff was such a nice person and an outstanding iconic, genius guitar player - there will never be another Jeff Beck,” Tony Iommi thanks 🙏

“The Dream Membrane” by David Chaim Smith, Bill Laswell and John Zorn (2014)

Infinati - RE: NO ONE [Music Video]

This song is 21 minute electronic music video about a near-death experience where it felt like no one existed. 🧬

Watch it, it'll feel like a trip. It was definitely an experience. You can find me on your favorite streaming platform. Be sure to hit the follow buttons to help an independent artist. Cheers.

-Infinati

Klaus Nomi

I give you lovin baby 🧡 in a special wayy , I want you to know

LSD Dulcimer Freestyle (150ug original)

Recorded April 19th, 2022

Instrument is a Seagull M4 Dulcimer.

I don't really know how to play that well but I decided to mess around.

Remember folks:

"If you get the message, hang up the phone. For psychedelic drugs are simply instruments like microscopes, telescopes and telephones. The biologist does not sit with eye permanently glued to the microscope, he goes away and works on what he has seen."- Alan Watts

Listen/purchase: Ambient Online Compilation: Volume 10 by Ambient Online

Electro Shamanism Ambient Online Compilation: Volume 10 by Ambient Online 

I had a really cool idea but I can't find a rock band cover of the can-can so...

Performing in Houston on October 27, 1979; photo via RockinHouston dot com.

"Over the past 40+ years of publishing Blitz Magazine, one of the absolute highlights of that experience has been meeting, interviewing and getting to know a wide variety of the musicians who inspired this journalistic adventure. In the upper echelons of that group was a visionary and musical virtuoso who co-founded the band that was ultimately Blitz Magazine's pick for Best Band of the Twentieth Century, the Monkees. Born Peter Halsten Thorkelson in Washington, D.C. on 13 February 1942, Peter Tork was a classically trained pianist, who also excelled on banjo and bass guitar. Upon joining the band in 1965, Tork brought to the table a wealth of experience in classical, folk, rhythm and blues and rock, adding to the mission statement that would ultimately make the Monkees' catalog one of the most richly diverse in all of music. [...] 'This is not the kind of home that you would expect that someone who went through the kind of money that I did to be living in,' he said half in jest, as he beckoned Blitz Magazine inside of his modest home [in late 1979]. Nonetheless, his surroundings reflected one for whom music remained an all consuming passion, from the various instruments stationed in the living room, to the state of the art stereo system. Next to that stereo system sat a fascinating selection of vinyl albums, highlighted by releases by Donovan Leitch and Chuck Berry, with Martha And The Vandellas' 1965 Dance Party album on Gordy Records at the top of the stack. 'We need to run a quick errand first before we get started,' Tork said. 'I need to recycle.' With that, we loaded an assortment of used plastic containers in the trunk of his decades old, four speed import sedan and made the short drive to a neighboring recycling center. 'This is important to me,' Tork said above the din, as we joined others in adding to the pile of compost at the recycling center. 'It's up to each and every one of us to do our part.' As we headed back to his home, it was obvious from his comments that he had spent much of the past decade and a half on the defensive. The mainstream media had upon occasion been less than charitable in its coverage of him and his bandmates, and he had had enough of it. I nonetheless reassured him (as he was already fully aware) that Blitz Magazine was most definitely in his corner, and had come to sing his praises. With that, we once again sat down in his living room, as he held court and delivered what was arguably one of the most commanding and inspirational interviews of his lifetime. 'Blitz 'em all!,' he said, as we parted company late that afternoon. By the mid-1980s, the Monkees (with lead guitarist Michael Nesmith participating during select live appearances) had returned to form, recording occasionally and touring with a vengeance. Blitz Magazine would occasionally run into him at various industry functions. It was most encouraging to see that his passion and enthusiasm were very much in evidence. Eventually, Tork began to fill his time between Monkees activities with another musical project that would command much of his attention for the remainder of his life: the band Shoe Suede Blues. With a repertoire that included such well chosen outside material as Roy Head And The Traits' 1965 Back Beat label signature single, Treat Her Right and duly inspired original compositions, Shoe Suede Blues recorded prolifically and developed a formidable reputation in its own right as a live entity. Most frustratingly, the band's 1996 Justus album for the Rhino label did not sustain the considerable momentum inspired by its release. Nesmith again opted for a sabbatical from the band after a brief tour of the UK in support of the album, making Justus the final album involving all four original band members (percussionist David Thomas Jones succumbed to cardiac arrest on 29 February 2012). Nonetheless, in addition to being honored by Blitz Magazine in 2001 in the Blitz Awards as Best Band of the 20th Century, the Monkees' 1967 Headquarters album for Colgems Records and the aforementioned Justus album were in turn Blitz's picks for the two best albums of the century. Meanwhile, Tork's musical activities with the Monkees and Shoe Suede Blues continued well into the twenty-first century. Along the way, he added to his curriculum vitae as an online advice columnist and brought into the spotlight in that capacity his increasing interest in spiritual matters. Then in March 2009, Tork was diagnosed with adenoid cystic carcinoma, a form of cancer that impacts the head and neck areas. He underwent aggressive treatment, and was thankfully able to resume musical activities within weeks. In the interim, Blitz Magazine communicated with him regularly, encouraging him along the way with prayers and words of support. 'You've always been there for me, and always said nice things about me,' Tork said in an e-mail to Blitz at the time. 'I appreciate it and just wanted to thank you for it.' In reality, his legacy was thanks enough." - Michael McDowell, Blitz Magazine, Facebook, February 2019

Some notable quotes from that 1980 Blitz interview:

“When I recorded ‘Can You Dig It,’ the guitar solo originally ran about three or four minutes all by itself. We cut that back to a minute and a half. Bob Rafelson took a pair of scissors and snipped off the end of it. He didn’t ask me to shorten it, which I would have been glad to do. He just chopped it off. Son of a bitch! I have a lot of gripes about that, but that’s neither here nor there.” - Peter Tork, Blitz!, May/June 1980 (x)

Q: “There has been a lot of speculation as to your whereabouts between 1970 and 1976. How exactly did you spend those years? Some reports said you were victimized by the so-called California culture.” Peter Tork: “To the outside observer, I’m sure it looked as though I had succumbed to the extremities of a given culture. To me, I simply exhibited moderate good sense. Basically, I lived at a poverty level, scratching for odd jobs. I wore a beard, my hair was past my shoulders, and I was working in a restaurant, singing folk songs and waiting tables [see here and here]. I was playing piano and was in and out of various rock groups. I played lead guitar for a rock group called Osciolla [sic]. No records. I was in the bass section of the Fairfax Street Choir, a thirty-give member vocal group. I also fronted a group of my own and tried to make a demo, but it didn’t go anywhere. I had a job offer to come out here to Venice. I also worked as a high school teacher. The mass media has a tendency to distort. As long as capitalism remains the underpinning of society, what is good will always take a back seat to what will sell. General Motors isn’t concerned with making a quality automobile. Sears isn’t concerned with offering a quality television set. All that counts in a capitalistic society is selling. And to the mass media’s way of thinking, a picture of Peter Tork as a so-called ‘burned-out hippie’ with a beard and long hair implies a hopeless case who can’t lift his hand to his face to get his razor up and who has no interest except in stealing to support his drug habit. If that’s what sells, they’ll print that. The truth of the matter is, my primary concern was and is self-realization in a social setting.” - Peter Tork, Blitz!, May/June 1980 (x)