Even though I'm not a Christian, I do believe that there are beings who are, for lack of a better term, angelic... and who comfort us during our struggles in this realm. To some they may be the spirits of one's ancestors. To others they may be beloved pets. And to some, maybe a spouse or some other close relative or friend.

This album by Philip Chapman, released in 1990, is simply beautiful. The first track, entitled "For the Love of an Angel," is a gentle, slow-paced and actually quite romantic piece. It evolves over its runtime, going from woodwind and piano, to piano and strings, to synth and cosmic vocals. Track 2, "Be Still," is a delightful piano/oboe piece with a gently spiraling melody and dreamy quality. The third and final, titular track, "Celestial Guardian," somewhat continues the theme of "Be Still," but slower and calmer. No matter your religion, or lack thereof, you can and should give this a listen.

1) For The Love Of An Angel
2) Be Still
3) Celestial Guardian

-1989- Spotted Peccary label

Brain Laughter is a five-person group inspired by Carlos Castaneda and the mystic majesty of the Sonoran desert in southern Arizona and northern Mexico. From the wonderful cover painting of a desert sunset, complete with coyote, eagle and saguaro cactus under a fading red sky, to the shamanistic song titles, this is an album that seeks to evoke a sense of magic and awe, taking the listener on a sonic journey through the desert starting at dusk and continuing through the night to the morning and beyond. By utilizing many different synthesizer textures as well as flute, acoustic guitar and percussion, this effort brings alive the infinitely subtle but magical presence of the heart of the Southwest.

I first heard this in 1993 on a cassette I'd borrowed from a somewhat nutty New Ager friend. I figured it would be the typical humdrum crap but I was impressed at first listen ...and it eventually became one of my favorites for the genre. To me, this is reminiscent of some of Tangerine Dream's later work under the Private Music label, which, admittedly, isn't my favorite timespan for that group. Somehow Brain Laughter manages to pull off this sound with more imagination (if a similarly compressed soundstage) than T. Dream did under the P.M. label.

Enjoy this music.

Tracks and runtimes:

1. Nightfall On The Sonoran Plateau 04:01
2. Awakening 05:05
3. The Other Side (Of Night) 04:08
4. The Allies 09:57
5. Dawn Of A New Day 03:30
6. The Waking Time 05:37
7. The Gates Of Perception 03:38
8. Flight 03:01
9. The Final Pass 01:42

(Ethno-Ambient/Fusion)

"Power Spot" - 7:07
"Passage D.E." - 5:25
"Solaire" - 6:49
"Miracle Steps" - 4:21
"Wing Melodies" - 7:33
"The Elephant and the Orchid" - 11:08
"Air" - 5:20

Power Spot opens with the surging, polyrhythmic title track featuring Hassell's sinuous trumpet lines and dense electronic percussion from one of the album's most significant collaborators, J.A. Deane. Ambient keyboard textures drone in the background and, together with the percussion, form a mesmerizing tapestry over which Hassell's trumpet glides and soars. The opening title track clearly sets the stage for what is to follow. During the murky, down-tempo "Passage D.E.," Hassell conjures stillness from his horn, breathy clouds laced with echo. In "Solaire," the trumpet weaves through watery, transparent textures and pulsing percussion. "Miracle Steps" opens with brazen trumpet declamations accompanied only by irregular rhythmic patterns from the percussion. An evocative blend of quasi-elephant calls and train whistles, the solo trumpet eventually winds its way downward until it is quietly submerged. "Wing Melodies" recalls the surging motion and dense fabric of the title track. Multiple keyboard parts interlock with aggressive percussion while Brian Eno's stuttering bassline remains fixed. Hassell's exuberant trumpet solo is possibly his finest on the album. "The Elephant and the Orchid" recalls the slower tempo and darker shades of "Passage D.E," but lingers there for a rather long time. Ambient keyboard drones and weary percussion provide the accompaniment for Hassell's remarkably flute-like sound. The shimmering flutes of Miguel Frasconi are a welcomed addition to the gently concluding "Air." Throughout Power Spot, Hassell's distinctive "raga" trumpet sound is breathy and vocal. He accomplished this by singing into the trumpet rather than the traditional method of blowing into it. Furthermore, Hassell often harmonized his principal trumpet line in real time, creating chords from just one note. At the time, he accomplished this real-time harmonization by using "tuned" tape loops to create parallel harmonies in fourths and major chords. Released in 1986, Power Spot marks Hassell's only release on Manfred Eicher's ECM label. Recorded in Hamilton, Ontario, in 1983-1984, the co-production and engineering team of Eno and Daniel Lanois faithfully captured Hassell's musical vision while remaining unobtrusive. The larger ensemble sound of Power Spot expanded on Hassell's pan-global "Fourth World" music, which he began with Eno on the groundbreaking Fourth World, Vol. 1: Possible Musics album of 1980. While not as stunning as Possible Musics, Power Spot is nonetheless one of the most significant recordings from this utterly unique musician.

-1984-

I was 17 when this album came out. A friend of my step-dad, a real burnout but one hell of an interesting and cool dude came up and stayed the weekend with us... and pretty much hung out with me and my friends the whole time... turned me on to this album. He had a lot of weird music, from Punk to Electronica to old hippy greats, and he had A LOT of the green stuff! Back then I liked the insanity weed, especially the kind that smelled like a pine forest. I practically lived on it. Anyway, this album, Zoolook, by Jean-Michel Jarre just blew me away.

Tracklisting:

1. "Ethnicolor" (new edit) 11:47
2. "Diva" (new edit) 7:20
3. "Zoolook" (new mix) 3:58
4. "Wooloomooloo" 3:17
5. "Zoolookologie" (new mix) 4:14
6. "Blah Blah Cafe" (new edit) 3:26
7. "Ethnicolor II" 3:54

I think this is a timely message for some of my fellow BitChute travelers...
Text version: https://nationalvanguard.org/2024/04/dont-believe-crazy-things/

Good search-engine: https://www.flawlesslogic.com/

* I do want to say that I do NOT consider ALL "conspiracy theories" to be products of crazy people. There certainly are some conspiracies that AREN'T mere theories.

I believe that the mNRA "vaccines" aren't anywhere even close to being "safe and effective"... and that they are outright DANGEROUS. The evidence (people dropping dead from myocarditis, etc) supports this, as most of us know.

I believe that the so-called "terrorist attacks" that took place on 9/11/01 were inside jobs, perpetrated against America and a few thousand of our unsuspecting citizens by elements within "our own" government, Israel and other parties.

I believe that there are pedophiles RAMPANT within the higher echelons and the managerial class of government. The so-called "Pizza-gate" fiasco wasn't just a loony theory... and there was definitely a group who called themselves The Finders, an intentional community and a cult founded in Washington, D.C. in the early 1970s by former United States Air Force Master Sergeant Marion Pettie, that conducted child abduction and brainwashing for "elite clientele" at a warehouse and a Glover Park duplex later raided by law enforcement.

And there are some other things... things that have been labeled conspiracy theories by "officialdom"... that I believe to be conspiracy FACTS due to much circumstantial, and in some cases hard, evidence. But I do NOT believe that the earth is flat or there has been some conspiracy by NASA to "hide the shape of the earth" in order to "disprove God and the Bible". Nor do I believe that average, everyday Americans are being "gang-stalked". Likewise, I do not believe that just about every female actress, singer, etc., are actually transexual men (not all women are willow-slim, dainty Barbie dolls)... or that every bombing, school shooting or train derailment is "fake". Plenty of stuff DOES happen. Now some of it might be carried out for reasons hidden from the public, in what many refer to as "gay-ops", but not everything is FAKE.

All that being said, enjoy the ADV broadcast!

VIDEO SOURCE: Released by Intellectual Embargo: https://youtu.be/w-4R5RN4N5Y & bitchute.com/video/gj1GSXWXGtor (May 1, 2021).

His video description:
Societal narratives, the popular context by which everything is interpreted, are understood implicitly to be important. But they're underestimated. They're far more important than people think. And the common narrative of today is far more anti-white than most people realize as well.
I think using facts and evidence is critical. I think bringing up statistics is important. But we must understand that some people really don't use facts at all to come to their conclusions. When that time comes, it's time to call them by what they really are.

* Thanks to Alternative Voices Portal for his own mirror of this video, the source of my own copy and mirror.
https://www.bitchute.com/channel/yM8kdXOlBL0p/

Michael Hoenig (born 4 January 1952) is a German composer who has composed music for several films and games, in addition to two solo albums, including this 1978 release, the highly-acclaimed album Departure from the Northern Wasteland. He first came to attention as the innovative keyboardist for Agitation Free, briefly joined Tangerine Dream, and has collaborated with many of the pioneers of German electronic music.

Departure from the Northern Wasteland is a classic of the progressive electronic genre, containing four pieces that are almost perfect in their realization of the sequencer as a compositional tool. Hoenig took the concept of repetitive music further than most anyone in his homeland and claimed his inspiration was drawn from American minimalist composers Philip Glass, Steve Reich, and Terry Riley. The title track is a sublime 20-minute journey through ever-changing melodic and rhythmic phase relationships, creating the vivid sensation of a train ride through misty Northern European landscapes.

Tracks:

1) Departure From the Northern Wasteland
2) Hanging Garden Transfer
3) Voices of Where
4) Sun and Moon

Released in 1996.
If you like dark psytrance with lots of bleeps and screaming 303 loops, then this one is for you.

Track list with artists included in the video (lower-left).

Track List:

1-Flowers Become Screens
2-Metaphor
3-Resurrection
4-Incantation
5-Consensual Worlds
6-Metamorphosis
7-Flatlands
8-Sensorium
9-Gateway

"Soaks my skin - through to the bone
Pain is nothing that a downpour won't erase
Rain - you can't hold on to it
A treasure you cannot frame
Rain - somehow I'm drawn to it
I feel engaged, one and the same
When heavens dressing beads off my face
The pain is nothing that a downpour won't erase"

* I was forced to HandBrake the original video to 576p due to the file-size of the raw UHD video. So the pixel quality and FPS aren't great... but the music didn't suffer much loss in terms of bitrate.

1994's Semantic Spaces saw Delerium take a third change of direction within just a few years. After their initial period of majestic dark ambient/electronica they released two Berlin space/acid house influenced albums in 1994 before again changing direction towards the ethno-ambient/dream pop sound that was being championed by the likes of Deep Forest, Enigma & Future Sound Of London.

I must admit that I was not initially terribly excited by this change as I have always been more interested in their deeper & darker atmospheres. However this is not a huge criticism. Semantic Spaces certainly supplies everything that a fan of ethno-ambient could want from a release. The Eastern influenced Metamorphosis & the deep acid of Sensorium are the definite highlights, and Consensual Worlds provides a more dub feel similar to The Orb.

The two female vocal led pieces by Kristy Thirsk, Flowers Become Screens & Incantation, are both far more commercially viable than most Delerium material, and, despite initially cringing at the prospect, they quickly dove under my skin after a couple listens. The straight up ethno-Ambient material is solid. There are tons of melody & plenty of trance-y elements throughout. Overall, Semantic Spaces is very pleasurable experience, with plenty of variety.

Track List:

1) Towards The Dream
2) The Continent
3) Songline
4) Airtribe Meets The Dream Ghost
5) A Circular Ceremony
6) The Other Side (composed by Kevin Braheny)
7) Magnificent Gallery
8) Truth In Passing
9) Australian Dawn (The Quiet Earth Cries Inside)
10) Looking For Safety
11) Through A Strong Eye
12) The Ancient Day
13) Red Twilight With The Old Ones
14) The Return

The history of Steve Roach’s definitive album, 1988’s Dreamtime Return, is the history of a musician isolating himself on an authentic desert trying to recount the visual experience of a place as wild and dazzling as the Primitive Australian continent. The experience inevitably brought him to contact Aboriginal people and ask for a collaboration with him for the occasion of his newest studio album. The line-up in the album includes two Aboriginal players and New Age composer Kevin Braheny.

The title’s name indicates the principal Aboriginal religious concept, the Dreamtime. The Dreamtime is a sort of genesis that explains the creation of the world and man through the deeds of ancient, primordial titans who shaped the soil and water with their actions. The concept explores also themes of birth, death and time through intensely nostalgic themes and imagery. Dreamtime is essentially an Aborigine alternative to the ancient Pagan myths that spread through Europe much later. It dates back some 65,000 years.

During the Dreamtime it is said that the creators made men women and animals, declared the laws of the land and how people were to behave to one another, the customs of food supply and distribution, the rituals of initiation, the ceremonies of death which are required to be performed so that the spirit of the dead travels peacefully to his or her spirit-place, and the laws of marriage.

Some Dreamings told of the mythical creators disappearing. They believed that the creators disappeared from the sight of mere mortals, but continued to live in secret places. Some lived in the tribe’s territory in rock crevices, trees and water holes. Others went up into the sky above as heavenly bodies. Others changed into (or perhaps became) natural forces such as wind, rain, thunder and lightning.

It is believed that many of the creators continued to live on the land or in the sky above watching over them. These supernatural enigmatic creators were often referred to as men and women who had the ability to change shape into animals and other creatures such as the Rainbow Serpent, an immortal being and creating God. The connection between snake and rainbow suggests the cycle of the seasons and the significance of them and water in human life. When a rainbow is seen in the sky, it is supposed to be the Rainbow Serpent traveling from one waterhole to another. And what of the so-called Min Min lights?, the amazing yet disquieting phenomenon that has often been reported in the outback skies? Could there be another explanation for them besides the result of unknown geophysical phenomena? For those who've experienced them silently whizzing above in the night sky there's a distinct feeling that one is glimpsing something quite otherworldly.

The Dreamtime may be difficult for many of us to understand fully but it is part of who the Aboriginal people are, the very essence and reason for being here. It is all encompassing and will forever be at the center of their existence as a people.

A classic. A blast from the not-too-distant past. 1994 to be exact.

English electronic part-time music duo Global Communication (Tom Middleton and Mark Pritchard) released their second album 76:14 in 1994, one of the most famous and widely-loved albums in ambient techno. The title of the album corresponds to the record's total running time in minutes and seconds, just like the songs are named after their individual lengths. This is an immense journey into early '90s ambient with "just a dose" of techno. The music that Global Communication creates takes you to another world, full of calm, relaxing, atmospheric rhythms and melodies. If you're a fan of Ambient/Electronic, this album is a must-have.

Enjoy the excellent music and trippy clouds!

Info and track listing:
https://www.discogs.com/release/3300-Global-Communication-7614
https://www.amazon.com/76-14-Global-Communication/dp/B000003RSK

Website and track info for this specific broadcast: https://v4.hos.com/programs/details/208

Enjoy this excellent Ambient music!

Website and track info for this specific broadcast: https://v4.hos.com/programs/details/1030

Enjoy this excellent Ambient music!

Website and track info for this specific broadcast: https://v4.hos.com/programs/details/1037

Enjoy this excellent Ambient music!

IMPORTANT MESSAGE HERE

Notice the investment in children. They are the future of a nation. While N. Korea makes sure that the children learn to be healthy, community-oriented, patriotic and compliant... the people who control the power-centers in America and the West in general (government, media and academia) are busy teaching children how to enjoy anal sex and give blowjobs. Further, they're teaching White children to despise themselves and their roots. We are witnessing two things throughout the West: 1) the planned destruction of all White-founded nations via degeneracy and economic ruin, and 2) outright genocide of White people via self-hate (White guilt), mass invasion of hostile nonwhites and race-mixing propaganda. "Our" governments are certainly NOT being ran by White supremacists and Nazis... but by EXTREMELY hostile Marxist Jews and their dupes (some White, some not).

"Do you know what's happening? Have they told you? I don't know if they're gonna let me tell you. What rhymes with breath? That's all I have to say right now. Bye."

Remember this uber-weird shit? I got majorly creeped out when I first saw this. She's already creepy with the little girl persona... but these clips that predate 2020, seeming to predict a coming pandemic? DAMN creepy. I think her handlers were in the know about what was going to come to pass in early 2020. I'm not religious... but "satanic" is as good an adjective as any to describe "They/Them".

Uh-huh-huh-huh-huh!
Yea! Heh-heh-heh-heh!

If you have a pair of 3D glasses, here's some good NSDAP footage that'll reach out and touch you, coupled with some decent Fashwave. Enjoy.

Track List:

1-Microgravity
2-Baby Satellite
3-Tranquillizer
4-The Fairy Tale
5-Cloudwalker II
6-Chromosphere
7-Cygnus-A
8-Baby Interphase
9-Biosphere

Geir Jenssen's debut album under his critically acclaimed Biosphere alias has managed to always strike a different chord when it comes to ambient. Whilst the later works of Substrata and afterwards have managed to utilize a more minimalist, ambient schematic, Microgravity has managed to be relatively upbeat and submersed in darkness.

Every track is phenomenal on its own, and whilst the beginning track "Microgravity" is far more laid back than what would follow, it only prepares for what is to come, utilizing atmospheric loops layered properly to set its dreamlike nature. While the tempo may be a bit more upbeat, by no means does it distract the dark, overwhelming atmosphere provided throughout this album.

This is a completely entrancing experience that must be witnessed and can never be duplicated.

*******

"I looked across the square and watched the tourists burning in blue fire, they had gasoline that burned in all colors by then. Just look at them out there, all those little figures dissolving in light. Rather like Fairyland isn't it, except for the smell of gasoline and burning flesh."

For the curious, some samples used in various Biosphere tracks: http://asciirose.com/s107/biosphere.php

Track List:

1-Phantasm
2-Startoucher
3-Decryption
4-Novelty Waves
5-Patashnik
6-Mir
7-The Shield
8-SETI Project
9-Mestigoth
10-Botanical Dimensions
11-Caboose
12-EnTrance

According to Jenssen, the word patashnik is allegedly Russian cosmonaut slang for "a traveler" or "a goner", a cosmonaut who didn't return from a space mission because his security cable disengaged and he was lost in space. There appears to be no such word in contemporary Russian, but such surnames do exist, and it still sheds light on Jenssen's intent with the title.

Through Patashnik, Jenssen continued to explore his ambient-house stylings to an even greater extent. Patashnik contained the first hints of the reduction in beat-driven song structure that would mark later Biosphere releases. Unlike the first album, Patashnik was quickly picked up by a comparatively large international audience, which brought Biosphere greater recognition. A music video made for the track "The Shield" was often played on MTV's Chill Out Zone show.

Patashnik opens with a creepy sample (lifted from the film THE KRAYS), dropping you immediately into a discomfiting space. And although "Startoucher" and "Decryption" (with its samples from the film Scanners) levy the mood somewhat, the dark thrums of "Novelty Waves" bring you back thundering into outer space. But while you're there, you can enjoy the heartbeat rhythm and lovely drive of "Patashnik," while "Mir" lets you drift further and further out, until you've reached the uneasy area of "The Shield." "Botanical Dimensions" returns us to an earth-like place, with rainforest sounds dotting the track, and "En-Trance" brings in a gentle guitar strum to take the album out. Certainly not as moody as MICROGRAVITY, but more spacious to make up for it.

The Fires Of Ork (1993) was a collaboration project between the late Pete Namlook (1960-2012) and Geir Jenssen (aka Biosphere). This track is awesome and shouldn't be missed by anyone who likes Ambient/Electronica.

Vocals for 'Talk To The Stars': Kathrin Kruse

Geir Jenssen, aka Biosphere. Remix of his very cool Baby Interphase track from the 1991 Microgravity release set to some colorful space video. This entire album is fantastic, some of the best Ambient-Techno in existence.

Geir Jenssen is a Norwegian electronic musician and composer who records as Biosphere. A resident of Tromsø within the Arctic Circle, Jenssen is well known for ambient and ambient house pieces, often inspired by Arctic or mountain settings, and his use of loops and peculiar samples from science fiction and natural sources. His 1997 album Substrata was voted by the users of the Hyperreal.org website in 2001 as the best all-time classic ambient album. He has also composed several film scores.

A bit of history...

A very erudite message from Kevin Strom of National Alliance, from the American Dissident Voices podcast.

https://nationalvanguard.org/2017/06/parasites-folly-redux/