usyukuro label( introduce our artist, Overdose kunst Ryu takeshi.f slavoj kol sonzlgn M2&r

Eddie Cochran cover(ufo_ver) C'mon Everybody

1.Pray for goddess
3.(Eddie Cochran) C'mon Everybody 
4.Blanket de Linus/+/delivering over
5.Tristes tropiques
6.Najya's village(vocal changed)
7.Hethz del Gran pobel

..zizek in coma '18 rehearsal..
..for live+Eddie Cochran cover..

zizek in coma is dark dense band since 2009,
formerly members of Dia,Overdose Kunst,
Nukey pikes(Now replaced),KolSonzlgn.
2011 nwobhm era guitarist ;mickey Nakayama. 
belongs to zizek in coma .



zizek in coma :2018 january show

zizek in coma is dark dense heavy band since 2009, zizek in coma is oficiallllly dark dense band since 2010, formerly members of Dia,Overdose Kunst, Nukey pikes(Now replaced),KolSonzlgn. 2011 nwobhm era guitarist ; mickey Nakayama belongs to zizek in coma . zizek in coma belongs to net based indie label ... 

Radio Caroline

Radio Caroline is a British radio station founded in 1964 by Ronan O'Rahilly to circumvent the record companies' control of popular music broadcasting in the United Kingdom and the BBC's radio broadcasting monopoly.[1] Unlicensed by any government for most of its early life, it was a pirate radio station that never actually became illegal, although after the Marine Offences Act (1967) it became illegal for a British subject to associate with it.

The Radio Caroline name was used to broadcast from international waters, using five different ships of three different owners, from 1964 to 1990, and via satellite from 1998 to 2013. Radio Caroline currently broadcasts 24 hours a day via the internet and by occasional restricted service licence, they also broadcast on DAB radio in certain areas of the UK. These services are part of theOfcom small-scale DAB trials. Caroline can be heard on DAB in AldershotBirminghamBrightonGlasgowNorwichPortsmouth andWoking. In May 2017 Ofcom awarded the station an AM community licence to broadcast in Suffolk and north Essex.[2]

Radio Caroline broadcasts music from the 1960s to contemporary, with an emphasis on album-oriented rock (AOR).

4th World Orchestra Interview

4th World Orchestra —> 4th World Orchestra artist biography —> Interview: 10 questions 1. When did you start making music, what is/was your motivation to do it? K: My first serious attempt to make music was around 1990 while playing guitar in a punk-band. Growing up with Grunge and “Independent” music, I soon turned to electronic and more experimental sounds. In the mid-nineties I started messing around with Cubase on an Atari ST using pre-recorded samples. Since then my motivation to make music is to create accoustic spaces, that transport certain energies, that can not be expressed in any non- accoustic form. ISh: I first started to play the Guitar in High School and played with a few of bands till college. The music till this time was mainly Alternative Rock and Grunge. Later in College I was introduced to the Classical Nylon String Guitar and started to learn Western Classical Guitar. I really loved the tone of the Nylon String guitar and I tried Various Other Styles of music on it like Bossa nova from Brazil, Tango and Flamenco. The guitar really opened my horizons to music. Later on I was introduced to Elecronica via Drum and Bass. This was when I was in final year college and we had got hold of a mix by Aquasky, then I just got hooked to the Sound and the Experimental dimension of Electronica. Since then I have explored other kinds of sounds available in electronic medium as a DJ. And a few years back I was introduced to the Experimental Sounds and Ideas Konrad was working with, out of which diF and the Fourth world Orchestra originated. K.Ryu i was included in the dark heavy schizo marxist band “” (“anorganic body) My device was my voice. i wanted to become a voice performer rather than a world music shaman. As a solo-artist i have moved toward free ambiental forms. i have lost motivation to music litle by litle – but somehow i think we can contribute to sound itself as a non-human subject. 2. Tell me something about your living environment and the musical education. K: I live next to a river. I educate myself by listening attentively to the world around and inside me. Ish: I try to live between the City (Delhi) and the Mountains and am planning to Sleep inside Studios in the coming months. I am Mainly Self taught as a musician/guitar Player, basically picking up music by the ear and Sheet music. But I have Studied Classical guitar at The Delhi School of Music and was supposed to give my 7th grade Exam the year I dropped out of it. K.Ryu: i live near Tokyo .There, at last at 3AM i am released from every social force. 3.Is making music your profession? What is the context in which you practice music nowadays? K: Sometimes people pay… What is the definition of profession these days anyway? I don’t limit myself to any particular context, though some fields (i.e. advertisement for political parties, big brands etc.) are definitely not on the list. ISh: I have played guitar professionally with some very good bands but for the last couple of years I have not been performing live a lot. I am very selective about the music I want to perform live with and lately the Synergy which is very important for live performance is missing. So I am trying to set up a live music set up with electronica with which we can explore a lot of styles but with a minimalist approach. I still DJ in a few clubs for Special gigs once a month. As far as practice goes I play Guitar almost every day(it has become almost Biological) and I am trying to et hold of the Flamenco Rhythm. K.Ryu: i am not professional at all.i have no arsenal other than music. Abandonment…. 4. How do you compose or create music or sound? Have you certain principles, use certain styles etc? K: I generally start with one sound or loop and structure all other parts around it. I never use professional samples from CD etc. but rather record them myself or use sounds friends give me. One principle: emotional sincerity over technical perfection. I don’t limit myself to any particular style. K.Ryu: i have digital tools. but the principle is operation (Fon noiman). sound itself should hesitate between one or another . Hesitation between each Sound may represent pan-tonality. ISh: It depends what Idea do I have first , that is it about the sound or about the Music. If I am working around music I really have a structure in my head( like composing around a melody) but when composing for electronica via sampling, Synthesis etc I am reacting to the sound and twisting it around and then seeing where it takes the track/composition. In the case of Electronic music it is basically action/reaction. In the future I really want to merge these two techniques while composing because I think I really require it to express clearly. 5. Tell me something about the instruments, technical equipment or tools you use? K: Laptop, digital recording devices (wav.-recorder, digital-cameras, mobile phones etc.) Software-Samplers, PlugIns, guitar, harmonium… Ish: The Nylon String Guitar I use is a Flamenco guitar from a prestigious company called Alhambra and it has the most beautiful sound in the world you can check it out at ,I also use an Electric Guitar(Washburn), Guitar MIDI, A bass Guitar. Softwares like Abelton, Cubase and Reason along with a MIDI controller K.Ryu: i use standard tools. My ear, voice, No unexpected tools. 6. What are the chances of New Media for the music production in general and you personally? K: New ways of the use of sound can be explored. The listner may interact with the artist. Low-cost technology gives the (sonic)power back to the people. People from different cultural and geographic backgrounds can work together without leaving their homes. Ish: Sound can be used to explore individuals, spaces and the Universe. and lately all theories of quantum Physics( like string Theory etc) are pointing towards resonance and Vibration of particles at the Sub atomic level and to this rhythm does all of material universe exist. I think in the future sound, Waves and Music will be quite different from the present Pop Music CD concept. K.Ryu: technology has always perfect function . so technology music with human creativity means nonsense. 7. How about producing and financing your musical productions? K: Selling CDs with audio-art isn’t a gold-mine obviously, so I try to get alternative financing, when needed. Otherwise it’s low- and sometimes no-budget-production. Ish: In the past I was plying quite a few gigs as a guitar player and a DJ to help me finance my equipment etc. But lately I am looking for more options as a producer to make some extra bread. K.Ryu: i am poor. financing makes me suffer every time. so maybe i can’t maintain my work. 8. Do you work individually as a musician/soundartist or in a group or collaborative? If you have experience in both, what is the difference, what do you prefer? K: Both. I like the exchange and the surprise collaborating with other artist. I like the feeling of being completely in control when working individually. Ish: I like working with collaboration but Essentially I work quite a lot on my own. And I think this is because of the Nylon string Guitar is a Solo instrument. I really like to collaborate because it builds us Synergies just like a good band on stage and every one can feed of each others ideas and music can be pushed into its true multiplicity. K.Ryu: i also like both, now i am included in 4th world orchestra… but i also want to collaborate other than musician. 9. Is there any group, composer, style or movement which has a lasting influence on making music? K: Henry Purcell, Eric Satie, Pt. Shivkumar Shankar Ish: Villa Lobos, Leo Brouwer, Lalo Shiffrin, John McLaughlin Shakti, Aquasky, Fabio, L Shankar, Janes Addiction, Barrios Mangore, Miles Davis, Frogacult K.Ryu;Autopoiesis, giles deleuze, overdosekunst, jaque lacan, 10. What are your future plans or dreams as a soundartist or musician? K: Release a CD with 4th World Orchestra. Travel and record as much as possible… Ish: To record and Perform a lot of music in the future. To experiment with new sounds and Ideas.

Zizek in comaの2nd albumがようやく 完成したようだ

Zizek in coma ,the band new album 
that heavy 4th world post rock
 was made with Max/msp  has just
 released it (Hagelian Distress) 2017.
This album got inspired a lot by 
Quentin Meillassoux,Kazimir Malevich,
Northrop Frye,Giorgio Agamben,Markus Gabriel, 
so on,of course,DG-foucoult french connection.

Album link:

Hagelian Distress

Zizek in comaの2nd albumがようやく
(リードのMickey nakayama,リズムのTakeshi.F)

First album(
Zizek in coma):


BLACK YO)))GA Class Mixes

It’s been a while since we’ve announced new class music uploads on the website, but they’ve been going up on Mixcloud semi-non-regularly. Here’s a few…

Featuring Scott Hull (Agoraphobic Nosebleed, Pig Destroyer), Marc Kate, The Babadook Bootleg Score, Tribes of Neurot, Drone, True Widow, Chelsea Wolfe, MoonStation Burning, O Heidrun, Mike Patton, Sunn O))), LYCIA, and sp3ct3rs.

Featuring NASA sounds, KYROS, The Pseudomancer, the BLACK YOGA Meditation Ensemble, Mortiis, Mustard Gas and Roses, Ulver, and Thomas Watkiss of WHOTE.

Featuring Skadi, Today Is The Day, Sigur Ros, Yob, Chelsea Wolfe, High aura’d and Mike Shiflet, The Owls Are Not What They Seem, Gojira, and Old God.

Featuring oVdk/Bunk Data, A Winged Victory For The Sullen, Year of No light, Ulver, Wolves In The Throne Room, Sisyphus, Lard, OM, Lab Report, and Raison d’etre.

Featuring Trent Reznor & Atticus Ross, Diamana Galas, Atrium Carceri, Deafheaven, Dead Can Dance, Windhand, Tool, Om, Catacombs of Doom, Worship, Year of No Light, Angelo Badalemente, Raison D’etre, and Tarentel.

Featuring Ulver, Blood of the Black Owl, Pig Destroyer, Esoteric, Year of No light, Grails, and Atrium Carceri.

Class mixes curated by Scott Massie & Chad Hammitt, for use during BLACK YO)))GA classes led by Kimee Massie in Pittsburgh, PA. They have been made available for practitioners personal use and listening enjoyment.

Thank you for your support.

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zizek in coma (2016 August show)


The Boy that Kraken-Meme (Did)Bite


Mden Stilinović, Seminal Conceptual Artist from Croatia, Is Dead at 69

Mladen Stilinović, one of Croatia’s most important contemporary artists, passed away last night after battling a serious illness. He was 69 years old.

Born in Serbia two years after the end of World Word II, Stilinović’s early art career took shape in the political and ideological reality of Tito’s Yugoslavia. Stilinović became a leading figure in Croatia’s “New Art Practice” movement, and a co-founding member of the neo-avantgardist “Group of Six Artists” together with Vlado Martek, Boris Demur, Željko Jerman, Sven Stilinović, and Fedor Vucemilovic, active in Zagreb in the second half of the 1970s.

Related: Did Damien Hirst Quash a Study Saying His Work Was Leaking Noxious Gas?

Mladen Stilinovic <i>Artist at work </i>(1977). Courtesy of Museum of Modern Art, Warsaw.

Mladen Stilinović, Artist at work (1977). Courtesy of Museum of Modern Art, Warsaw.

After the fall of the Iron Curtain, Stilinović expanded his study of language—which played a central role in his conceptual work, along with the color red—to include social aspects of various societies and their interrelationship. In 1993, he published the text “In Praise of Laziness,” in which he compared the challenges faced by artists from the Eastern Bloc as opposed to their contemporaries in the West, peppering his critique with irreverent humor:

Artists in the West are not lazy and therefore not artists but rather producers of something… Their involvement with matters of no importance, such as production, promotion, gallery system, museum system, competition system (who is first), their preoccupation with objects, all that drives them away form laziness, from art. Just as money is paper, so a gallery is a room.

Artists from the East were lazy and poor because the entire system of insignificant factors did not exist. Therefore they had time enough to concentrate on art and laziness. Even when they did produce art, they knew it was in vain, it was nothing.

Related: Europe’s 10 Most Respected Art Dealers

One of Stilinović’s most famous works is the seriesExploitation of the Dead (1984–1990) which has been exhibited widely, including at the 2007 Documenta in Kassel. The series comprises a large number of alternating elements which the artist reorganizes differently with every showing. Through endless repetitions, the artist explored how objects imbued with a historically specific meanings lose their points of reference over time, their meaning subsequently shifted and sentimentalized.

Stilinović was clear about the work’s critical statement about the relics used to push ideological and religious ideas: “If death has to be exploited, this is a violent act and we need to weigh up the consequences.”

Blanket de Linus(Short sample ) zizek in coma ( For 2nd album

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