#austrian music

[nofatclips]

Dope by Kruder & Dorfmeister from the album 1995 - Samples Doggone by Love

#music #austrian music #kruder & dorfmeister #richard dorfmeister #peter kruder #arthur lee #george suranovich #arthurly #g stone #g stone recordings #electronica #downbeat #love (band) #Bandcamp

[x-heesy]

𝙸𝚗𝚝𝚘𝚖𝚢𝚜𝚘𝚞𝚕 ✅

But only lovers can stand

Each others confessions

Back in an alley

Now they are around our way

Girl, I've been the lover of so many women now,

Not to mention all pretty ones.

So forget about the panties and take off that

Brassiere my dear you're so beautiful

Well it's not an innocent kiss

Judging by the way you sucked my lips

But Talking about an innocent kiss

Except by the way your tongue made it through my lips.

But only lovers can stand, lovers can stand

Back in an alley now they are around our way

But Talking about an innocent kiss

Except by the way your tongue made it through my lips.

But only lovers can stand each others confessions

But only lovers can stand

Each others confessions

Back in an alley

Now they are around our way

But only lovers can stand

Each others confessions

Back in an alley

Now they are around our way @savage-flirtation 💃🏽

Confessions (Parov Stelar Remix) by Kid Loco 🪩

#l o v e #gif mood board #mood in between #parov stelar #austrian music #10/2023 #x-heesy #fucking favorite #music #now playing #spotify #music and art #track of the day #exploring music #international beats #sexy beats

[mywifeleftme]

199: Zero Kama // Zero Kama

Zero Kama Zero Kama 2020, Infinite Fog (Bandcamp)

“I followed the hint of a friend who had told me about a charnel house in the countryside, which could easily be entered in order to find the desired raw materials for my instruments. So I went there and took what I needed: about nine skulls and a huge number of different kinds of bones, from small fingers and toe bones up to arm and thighbones, which I thought could serve the various purposes I had in mind…. My already strange feeling became even stronger when I arrived in my apartment and unpacked my bags, so that finally the remains of let’s say some dozens of human beings were lying around. Some of the skulls still had hair on top, which resembled moss, and there was quite a ghostly atmosphere in the room, which gave me the strong impression that these bones were not simply raw material without any life in them, but that there were still remnants of consciousness connected to these bones, which I had set free by my disrespectful intervention. Another almost unbearable feature was the disgusting smell when sawing the bones… None of which I had expected, but I found myself at a point of no return, so that I could only finish what I had started. In fact, I realized that I really had transgressed fundamental borders both in a general human and personal psychic regard, and that there was no way back at all.” — Zoe DeWitt (Zero Kama)

Originally released on cassette in 1984, Zero Kama’s The Secret Eye of L.A.Y.L.A.H. (Nekrophile Records) is one of the most notorious records to emerge from the first waves of industrial and dark ambient music (e.g. Throbbing Gristle, Coil, Nurse With Wound), less for its sonic profile than for the fact that it was recorded using instruments fashioned from stolen human bones. Zoe DeWitt, the Austrian artist and graverobber behind the project, was a devotee of Genesis P-Orridge’s Thee Temple ov Psychick Youth, an occult collective dedicated to chaos magic and experimental art. DeWitt conceived of L.A.Y.L.A.H. as a magical working, with its distinctive Eye insignia, song titles, and even date of recording designed according to obscure numerological principles, though I’m not sure she has ever disclosed the intention of the spell beyond a will to spooky power and a Crowleyan passion for inversion.

There is some precedent for instruments fashioned from human bone—for centuries, the Tibetan kangling (translated as “leg flute” or sometimes “thigh trumpet”) has been used in chöd practice to summon hungry spirits, and DeWitt was familiar with it thanks to its use on Psychic TV’s Dreams Less Sweet. DeWitt’s instruments are unique however, including a variety of rudimentary flutes and wind instruments using the longer bones; drums created by stretching sheepskin over sawn-open skullcaps; a thighbone xylophone; and a pair of rattles made from inserting loose fingerbones into two skulls. DeWitt claims L.A.Y.L.A.H. was made exclusively with these instruments, though she also used tape effects to stretch and distort the wind instruments and to create percussion loops.

Examples of DeWitt's instruments, courtesy of the artist's website.

A bone flute.

Though there is some sinister-sounding moaning and lamenting to be found within, The Secret Eye of L.A.Y.L.A.H. is a more subtle, reserved affair than you might expect from an album I consistently introduce to friends by howling IT’S MADE OF BOOOOOONNNNESSSS. There is something truly unsettling about the gnarly rattling sounds on “Atavism Dream” even if you don’t know their source, but the track’s chirping wind sounds and peppy hand drumming might conjure imagery of a jungle bird sanctuary or a medicine ceremony. As with a lot of Aleister Crowley-influenced occultism, beneath its transgressive aesthetics L.A.Y.L.A.H. ultimately has a relatively positive, humanist intent. DeWitt isn’t trying to scare the bejeezus out of the listener, but rather to create a soundtrack for deep ritual work and/or fucking, which are indivisible in Thelemic practice. I would imagine spending a few weeks sawing human bones would enforce a degree of solemnity, and the record has the flavour of intense concentration. Creating instruments out of remains can be seen as a mordant spectacle, or an instance of bees making honey in a lion’s skull��in my estimation L.A.Y.L.A.H. has something of both, though DeWitt clearly did not set out to make something cheap.

In the years since its original release The Secret Eye of L.A.Y.L.A.H. has been more talked about than heard despite a handful of reissues, but within dark and ritual ambient circles it has a strong reputation. In 2020 Austrian label Infinite Fog released the Zero Kama box set, which packages together the original LP with a collection of pre- and post-L.A.Y.L.A.H. compilation tracks (The Goatherd and the Beast), a radio interview, and Live in Arnheim, a recording of the second and last Zero Kama performance during the project’s original lifespan. (DeWitt returned to the project in 2022 for a show in New York City.)

Both additions to the Zero Kama story are of interest. The Goatherd and the Beast finds DeWitt both developing the Zero Kama style and wrestling with its boundaries. On 1983’s “V.V.V.V.V.,” a lengthy dirge and the earliest track to utilize the bone instruments, we can see how quickly DeWitt found her voice with the project (though it is murkier and more lo-fi than similar L.A.Y.L.A.H. tracks like “Death Posture”). That’s a testament to the clarity of her vision, but also to how limiting using the instruments could be; DeWitt herself notes in a retrospective interview included with the set that she never felt she was able to meaningfully expand upon what she’d done with the initial LP. But the 1985–86 tracks nonetheless find her making interesting bargains with a strict muse. DeWitt collaborates with other musicians and incorporates non-bone bass, guitar, and even some cranky vocals. The rhythms are more industrial, and the result hews closer to something like 23 Skidoo’s “urban gamelan” sound. They’re good, but you get the sense DeWitt is moving towards a sound that would be more aptly realized as a new project.

The prize of the set however is the Live in Arnheim performance. Many L.A.Y.L.A.H. listeners are disappointed that it’s not nearly as twisted-sounding as its reputation suggests, but the Arnheim set might win even the skeptical over. Recorded as a four-piece with a pair of percussionists and regular collaborator Muki Pakesch on guitar and tape manipulations, the live iteration of Zero Kama has a chaotic edge and some muscle behind it. DeWitt howls the words of the occult “Quabalistic Cross” and “Prayer of Zos” like a post-punk frontperson, while “Seven Nights of the Tantra” and the battering “Pygmy Dance” work themselves into a visionary lather. “The Call of the Aethyrs” introduces discordant violins over a chorus of lamenting voices, tormented screams, and those ubiquitous skull drums. It’s pretty fucking goth! Live at Arnheim ends with a lengthy synthesized recording of a Latin mass, which the liners note was the soundtrack to “a BDSM performance involving animal blood.”

Between the original LP and Arnheim, you end up with two extremes of the whole bone music concept: a meditative, more-or-less respectful private ceremony, and a fright-wigged, blood-soaked exercise in public hedonism. Whether you regard DeWitt’s instruments as gruesome toys or the sacred tools of an occultist, they exert an undeniable fascination. The Zero Kama box satisfies both perspectives, and makes for great listening as we enter the seasons of outer darkness.

199/365

#halloweek #zero kama #zoe dewitt #bone instrument #kangling #aleister crowley #genesis p orridge #psychic tv #throbbing gristle #infinite fog #austrian music #dark ambient #ritual ambient #post punk #industrial #goth music #'80s music #nekrophile records

[disneyprincessdxminatrix]

what the world needs right now is a new, highly explicit version of Prinzesschen by LaFee

#Kanzler nehammer your silence on this topic is deafening #my stuff #lafee #austrian tumblr #austrian music #I love the song but I can’t deal with her baby voice anymore 😭 #I need a new version of this song #specifically

[milkywayan]

Wenn sich wer wundert was für einen dialekt ich theoretisch hab

#personal #speak your own language day #viennese dialect #very chill song also #der einzige unterschied is das in meinem regional bezirk dialekt die tschik weiblich is #also die tschik nicht der tschik #auf diesem hügel sterbe ich #austrian music

[immaculate-imperfection]

Hubert von Goisern und die Alpinkatzen -- Koa Hiatamadl (A song about liking big girls. Also: yodeling.)

Lyrics:

Well, oh well When I’m looking at a girl I know for certain She’s gotta be big, oh my And a little feisty Well, oh well Most women have a body That’s too spindly and scrawny, whatever Well, oh well It can’t be one of those

Jo mei, jo mei Wann i ma um a Dirndl schau Dann woas i scho genau Rund muaß sei Und a wengal resch, uh mei Ja mei, ja mei De meistn Weiba hobn a Gstöll Zau duerr und moga wiaderwöll Mei, oh mei A soichane, die kunt’s nia sei

I don’t like those farm girls They don’t have thick thighs I like those city girls Who have thick thighs [2 ×]

Koa Hiatamadl mog i net Hot koane dickn Wadln net I mog a Madl aus da Stadt Wos dicke Wadln hot [2×]

[Yodeling]

Well, oh well Monica with her ginger hair Is even more beautiful now than she was last year And she’s not exactly A lightweight Well, oh well I already know Anna-Maria I’d rather run away from her She's got nothing on her bones Nothing at the front, nothing in the back

Mei, oh mei Die Moni mit de rot′n Hoar Is schena no wia vorigs Jahr Hot a grod Net wenig auf da Wog Mei, oh mei De Anamirdl kenn i scho Do renn i liaba glei davo Is nix dran Net hint und net voran

I don’t like those farm girls They don’t have thick thighs I like those city girls Who have thick thighs [2 ×]

Koa Hiatamadl mog i net Hot koane dickn Wadln net I mog a Madl aus da Stadt Wos dicke Wadln hot [2 ×]

How beautiful are the Ländler dances How beautiful are the wreathes from the mountain pastures On top of hats When the harmonica is playing a beautiful song [2 ×]

Schee san de Landlatanz Schee san de Almakranz Drobn aufm Huat Wo’s schee quickgizen duat [2 ×]

[More yodeling cause why not lol]

#music #austrian music #german music #hubert von goisern #yodeling #thick thighs save lives #mundart #Youtube

[just-some-random-words]

#music #lyrics #austrian music

[legendaiiryy]

Marilyn by Chuzpe (1981)

Underrated banger

#music #post punk #80s music #chuzpe #austrian music

[the-cricket-chirps]

Gustav Klimt

Music

1895

#gustav klimt #austrian artist #austrian painter #austrian art #Austrian painting #aesthetic #beauty #music #music aesthetic #art aesthetic #art nouveau #modern art #art history #aesthetictumblr #tumblraesthetic #tumblrpic #tumblrpictures #tumblr art #tumblrstyle #artists on tumblr

[the-evil-clergyman]

Symphony of the Water Nymphs by Hans Zatzka (Late 19th - Early 20th Century)

#hans zatzka #art #paintings #fine art #19th century #19th century art #20th century #20th century art #academism #academicism #academic art #painting #austrian art #austrian artist #mythology #greek mythology #water nymph #naiad #music #classic art

[thefugitivesaint]

Joseph Urban (1872-1933), ''Poppyland'' by George Gershwin, 1920 Source

#joseph urban #austrian-american artists #poppyland #george gershwin #sheet music #vintage illustration #art deco

[nofatclips]

Acoustic version of Invasion by Rambo Rambo Rambo

#music #austrian music #rambo rambo rambo #music of austria #martin hemmer #sebastian koch #andreas hellweger #video #live video #acoustic live

[x-heesy]

𝙺𝚊𝚛𝚕 𝙰𝚕𝚎𝚡𝚊𝚗𝚍𝚎𝚛 𝚆𝚒𝚕𝚔𝚎 (1879-1954) & 𝚑𝚒𝚜 𝚖𝚊𝚐𝚗𝚒𝚏𝚒𝚌𝚎𝚗𝚝 𝚎𝚗𝚐𝚛𝚊𝚟𝚒𝚗𝚐𝚜.

Karl Alexander Wilke (July 16, 1879 in Leipzig – February 27, 1954 in Vienna) was a German-Austrian painter, illustrator and stage designer. 🎭

#classicart #classicalart #classicpainting #classicalpaintings #zeitgenössischekunst #mfpretty #aesthetic #traditionalart #surreal @frenchpsychiatrymuderedmycnut #surrealart #surrealism #surrealismartcommunity #surrealist #surrealista #surrealistic #surrealisme #surreal_art #surrealismo #surrealpainting

Soundtrack: Opéra by Emmanuel Santarromana

#fucking favorite #karl alexander wilke #7/2023 #classic art #surrealist #dark aesthetic #Austria #austrian painter #zeitgenössischekunst #contemporaryart #fable Core #fairy tail #mythology #x-heesy #music #now playing #spotify #music and art #engraving #illustrations #traditional art #österreich #european history

[queenunderthatmountain]

call me old-fashioned but if someone called me "enchanted starchild/ verwunschenes Sternenkind " I too would let them suck all blood out of me

#tanz der vampire #tdv #dance of the vampires #the fearless vampire killers #Sarah Chagall #Graf von Krolock #Count von Krolock #German Musicals #Austrian musicals #european musicals #musicals #broadway #vampires #total eclipse of the heart #jim steinman #drew sarich #jan ammann #steve barton #thomas borchert #mark seibert #herbert von krolock

[idunnoausersname]

You know what's really tragic about the character of Rudolf in Elisabeth das Musical? (Besides, y'know... Everything?)

That he's a LOT like Franz Joseph too, at least when he was his age.

They're both under the thumb of one parent, who doesn't allow them to express their own political view. They both feel like intrigue is ruining their lives, and wish they weren't in the restricting position they occupy. And most importantly: they both express a desire to be "soft", instead of the hard and emotionless leader they're drilled to be.

Why then, is there no song, not a single line, where either of them acknowledge that similarity? Elisabeth and Rudolf both sing about how similar they are, why can't Rudolf and FJ?

Because Rudolf doesn't know. How could he know that his own father went through the exact same pressure he is under.. when the pressure was successful in molding him? He never sees that softer side to him.

Franz Joseph might have chosen Elisabeth over his mother in the end, but he internalized her lessons and sees them as truth. He is hard, he is strict, and he doesn't know any other way to be. He doesn't see anything wrong with how he's treating his son. (And in his childhood, how Sophie raised him). He turned out fine, why should Rudolf be different?

So Rudolf had not one, but two parents who should have been able to relate to at least part of his despair. But both failed to be the parent they wished they had. And I don't know if it's better or worse that he never even knew how his father was similar to him, too.

#I'm surprised I haven't seen much mention of this #Maybe this is a super common idea and I just haven't seen it. Or maybe it's too obvious to point out #But idk I just got sad when I connected the dots #They're even dressed the same #Poor Rudolf really got the worst cards from both his parents hands #Elisabeth #elisabeth das musical #kronprinz rudolf #Not to mention Rudolf Ich Bin Ausser Mir which uses the same melody as Bellaria and Ein Keizerin Muss Glantzen #And Unsere Keizerin Soll Sich Wegen. #All about the pressures of the court. Trying to make them conform. #Elisabeth in her fixation on her beauty (the most successful political tool she wields) #Elisabeth and FJ BOTH are pressured by Sophie specifically #And then FJ has an argument with his son. Which literally sounds similar to the argument he had with his mother. #Ofc Elisabeth reprises FJ's parts too when she rejects Rudolf's plea for help #Like he rejected hers. But that parallel is written in bright neon lights #I feel like FJ mirroring Sophie is less noticable but no less impactful #God. Circles never do stop themselves do they? #-slaps the Austrian emperial family- this bad boy can fit so much generational trauma in it

[milkywayan]

Bilderbuch ist wundervoll!

#peronal #speak your own language day #austrian music #this is the last one haha sorry #not sorry actually #listen to austrian music #widen your horizon