The Altera Centauri collection has been brought up to date by Darsnan. It comprises every decent scenario he's been able to find anywhere on the web, going back over 20 years.
25 themes/skins/styles are now available to members. Check the select drop-down at the bottom-left of each page.
Call To Power 2 Cradle 3+ mod in progress: https://apolyton.net/forum/other-games/call-to-power-2/ctp2-creation/9437883-making-cradle-3-fully-compatible-with-the-apolyton-edition
I own several copies- one to listen to, one to lick amorously, and one to rub on my nipples.
I also have a bootleg of the first (unreleased) version with a radically different 'The Jezebel Spirit' featuring the voice of some barmy American god botherer woman gettin' jiggy with the spirit.
Vive la liberte. Noor Inayat Khan, Dachau.
...patriotism is not enough. I must have no hatred or bitterness towards anyone. Edith Cavell, 1915
not exactly new but now I added some odl stuff to my playlist.. including:
Dimitri from Paris - The Playboy Mansion (album)
Dimitri from Paris - After the Playboy Mansion (album)
Bob Sinclair - Africanism
Der Dritte Raum - Hale Bopp
Kerri Chandler - Bar A Thym
Kevin Saunderson - Live in London [b]
Then a whole bunch of (about 40) Tresor albums (label)
In da butt.
"Do not worry if others do not understand you. Instead worry if you do not understand others." - Confucius
THE UNDEFEATED SUPERCITIZEN w:4 t:2 l:1 (DON'T ASK!)
"God is dead" - Nietzsche. "Nietzsche is dead" - God.
I recently finished off my Rammstein collection. Every single song (except for a couple of live ones I couldn't find). I still prefer the old stuff though. Herzeleid is an awesome album.
I don't always listen to angry music. At work I listen to the jazz and classical music station all the time. I find it relaxing. I am mellowing out in my old age. Scary, but true.
I don't always listen to angry music. At work I listen to the jazz and classical music station all the time. I find it relaxing. I am mellowing out in my old age. Scary, but true.
Maybe you'd like John Zorn's Naked city project. Here's the review of one of their albums, Torture garden
From the violent cover art to the Japanese text inside the album, at first glance one might mistake Torture Garden for a fetishist soundtrack. But jazz madman John Zorn and Boredoms frontman Yamatsuka Eye assembled another group of open-minded musicians to carry on their vision of grindcore and jazz uniting. Distinguished musicians Wayne Horovitz and Bill Frisell help Zorn and Eye take this from a curious side project to a fantastic metal band. Songs blur together but never get boring, no lyrics are actually sung, and few songs last longer than a minute. It also never takes itself seriously, a nice relief from Zorn's heavy-handed ambient collaborations. This would make a great introduction to the noise/jazz efforts that this group of musicians pioneered in the early '90s.
Some song titles:
- Jazz snob eat ****
- The ways of pain
- Sack of ****
- Osaka bondage
- Igneous ejaculation
- Pig ****er
Pain Killer, formed in 1991, includes John Zorn (b. 1953, New York, NY) on alto sax, Bill Laswell (b. 1950) on bass, and onetime Napalm Death drummer Mick Harris. (...) Pain Killer grew out of Zorn's admiration for death-metal/grindcore groups like Napalm Death, whom he praised as having the same intensity as 1960s free jazz; the music is a unique and challenging hybrid of the two.
Here's a review of one of their albums, Execution ground
A trio consisting of alto saxophonist John Zorn, bassist Bill Laswell,and drummer Mick Harris, Painkiller was a novel blend of free improv, jazz, dub, and death metal. Although the lineup occasionally expanded to include the uniquely gifted Japanese vocalist Yamantaka Eye and other guests, Execution Ground is an investigation of the power and range of the core trio. The first disc of this inventive and unsettling two-disc set features three long improvisations that show off the band's dub influence. The second disc, subtitled "Ambient Dub," is a rethinking/remix of the third and first improvs on the first disc. Overall less thrashy than some Painkiller excursions, the improvisations here are striking for their greater sonic space without sacrificing any of the heaviness. At times, the band rests, making way for ominous breathing and distant sustained screams, which recur throughout. The transitions from silence to groove to noise and back are relentless and dramatic. Harris proves to be an astonishingly inventive drummer, consistently varying the foundation in surprising ways. Laswell's tone varies from the brightness of flanged round-wound strings scraping the frets to a clean, menacing low-frequency pulse, and sticks mostly to elemental, non-flashy lines that keep the mood deep and dark. Zorn's playing is excellent here, varying between extremely overblown piercing tones (perhaps the best way of being heard over such a rhythm section) and nearly conventional jazzy lines that confidently ride atop the din. An occasional microtonal chorus effect warps his playing, and the effect is so disturbing that it's surprising he soon abandoned this technique.
Comment