#frankzappa — Public Fediverse posts
Live and recent posts from across the Fediverse tagged #frankzappa, aggregated by home.social.
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"Roxy & Elsewhere" by Frank Zappa / The Mothers released this day in 1974.
#FrankZappa #RoxyAndElsewhere #TheMothers #VintageVinyl -
"Roxy & Elsewhere" by Frank Zappa / The Mothers released this day in 1974.
#FrankZappa #RoxyAndElsewhere #TheMothers #VintageVinyl -
"Roxy & Elsewhere" by Frank Zappa / The Mothers released this day in 1974.
#FrankZappa #RoxyAndElsewhere #TheMothers #VintageVinyl -
"Roxy & Elsewhere" by Frank Zappa / The Mothers released this day in 1974.
#FrankZappa #RoxyAndElsewhere #TheMothers #VintageVinyl -
My favorite thing about visiting Ditch Records in Victoria, B.C. is that I get to piss in front of Frank Zappa.
While HE shits.Life is about taking advantage of your opportunities.
#vinyl #vinylrecords #vinylcommunity #records #vintage #retro #physicalmedia #analog #vinylcollection #art #music #frankzappa #recordstore #recordstores #frankzappa #canada #vancouverisland #BritishColumbia #pnw #artrock
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My favorite thing about visiting Ditch Records in Victoria, B.C. is that I get to piss in front of Frank Zappa.
While HE shits.Life is about taking advantage of your opportunities.
#vinyl #vinylrecords #vinylcommunity #records #vintage #retro #physicalmedia #analog #vinylcollection #art #music #frankzappa #recordstore #recordstores #frankzappa #canada #vancouverisland #BritishColumbia #pnw #artrock
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My favorite thing about visiting Ditch Records in Victoria, B.C. is that I get to piss in front of Frank Zappa.
While HE shits.Life is about taking advantage of your opportunities.
#vinyl #vinylrecords #vinylcommunity #records #vintage #retro #physicalmedia #analog #vinylcollection #art #music #frankzappa #recordstore #recordstores #frankzappa #canada #vancouverisland #BritishColumbia #pnw #artrock
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My favorite thing about visiting Ditch Records in Victoria, B.C. is that I get to piss in front of Frank Zappa.
While HE shits.Life is about taking advantage of your opportunities.
#vinyl #vinylrecords #vinylcommunity #records #vintage #retro #physicalmedia #analog #vinylcollection #art #music #frankzappa #recordstore #recordstores #frankzappa #canada #vancouverisland #BritishColumbia #pnw #artrock
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My favorite thing about visiting Ditch Records in Victoria, B.C. is that I get to piss in front of Frank Zappa.
While HE shits.Life is about taking advantage of your opportunities.
#vinyl #vinylrecords #vinylcommunity #records #vintage #retro #physicalmedia #analog #vinylcollection #art #music #frankzappa #recordstore #recordstores #frankzappa #canada #vancouverisland #BritishColumbia #pnw #artrock
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The Censor Keeps a Copy
Twenty years ago, give or take, a friend told me a story he expected me to admire. He was a Latter-day Saint who worked in technology, and he was, as I understood it then, the bishop of his ward, an unpaid office the church gives to laymen who keep their day jobs, so he kept a company's hours all week and presided over a congregation on Sundays. There was a Mormon bookstore he went into often, and one day he walked in and found a new display for Goosebumps, the paperbacks with the dripping green logo about haunted masks, a ventriloquist's dummy with a mind of its own, and a werewolf in a Florida swamp. He spoke to the owner. The owner told him the books were selling well and that those sales were keeping the store alive. My friend pressed him on content, judged the whole series blasphemous, an invitation to the occult at a child's price, and let it be understood that if the titles stayed on the shelf a report would go to the stake president. A week later he came back. The books were gone, the owner was distant and cold, and my friend bought a couple of books, in his own phrase, to make up the difference. He told me this the way another man might tell you he had coached his kid's team to a championship. He was proud. The word I have settled on, twenty years later, is forensic: he had investigated, prosecuted, and won, and he walked out of that store on the high of it. […] -
My young teen daughter is now listening to Nirvana, Pearl Jam, and Guns N Roses. All her friends are into 90s alternative rock.
I guess I now feel the same way my parents did when I listened to the Grateful Dead, Allman Brothers Band, and Dr John when I was a kid.
Still, it is very strange when my daughter is singing Nirvana. She is also shocked I know all the lyrics.
I am still on a mission to get her to like Captain Beefheart, but that i feel is an uphill road. Maybe start with Zappa.
#nirvana #pearljam #gratefuldead #drjohn #allmanbrothersband #90s #frankzappa
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ZAPPA
them or us
suédée par Essere
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."L’autre jour, j’ai ouvert la malle des parents et bam, je suis retombé sur des pochettes bien coolos que j’avais un peu zappé.
Ça m’a donné envie de revisiter à ma sauce les albums qui ont marqué mon enfance musicalement et visuellement." Essere#pochettededisque #zappa #frankzappa #themorus #pochettehommage #jazz #jazzvinylcollection #vinylcover #vinylcoverart #rockvinyl #rockfusion #progrock #cover #zappa #drawings #essere #illustration #illustrator #frenchillustrator
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Digitaler Wochenrückblick, 16. August 2026
Es reizt nochmal richtig Kino zu erleben, also Film statt Digitalprojektion. Aber nicht irgendein Film und nicht irgendein Kino, es muss „Die Odyssee“ sein, der aktuelle Film des Christopher Nolan. Vollständig gedreht im 70mm IMAX-Format, Seitenverhältnis 1,43:1 und undigitalisiert ausschließlich in Prag, Brüssel und Montpellier zu sehen. Nur dort stehen die letzten echten Filmprojektoren, kein Wunder, diese Imaginatoren werden seit 50 Jahren nicht mehr gebaut.
„Die Odyssee“, ein gewaltiges Heldenepos, das Homer zugeschrieben wird. In 24 Gesängen werden die abenteuerlichen Irrfahrten des Odysseus beschrieben, es fehlt nichts, was ein wahres Kinoerlebnis ausmacht: Liebe, Saufgelage, Niedertracht, Krieg, Naturgewalten und sagenhafte grässliche Monster. Das alles eingepresst in 172 Minuten IMAX-Film. Gedreht an Originalschauplätzen rund um die Welt, durchweg mit bekannten Schauspielern besetzt. Geld spielte keine Rolle, denn dieses Werk klingelt nicht nur an den Kinokassen, sondern rauscht durch die verschiedenen Vertriebskanäle flüssig zurück, no risk. Nicht zuletzt wird der Wert durch die huldigenden Ankündigungen gesteigert:
„Das bildgewaltige Epos wurde mit brandneuer IMAX®-Technologie (hüstel…) an spektakulären Schauplätzen auf der ganzen Welt gedreht und ist der erste Spielfilm überhaupt, der vollständig mit IMAX-Kameras entstanden ist. Das Ergebnis ist ein Kinoerlebnis, das speziell für IMAX geschaffen wurde.“
„Das muss ich sehen“, sagt einer meiner Söhne, bucht für uns zwei Plätze in Brüssel (die haben die größte Leinwand!), in der Mitte, im vorderen Drittel – da entgeht uns nichts. Wunderbar!
Um zu verstehen, wie dieses Genre funktioniert, ist ein Blick in die Vergangenheit hilfreich, zum Beispiel in
„The Brain That Wouldn’t Die“ von 1962, exklusiv auf vole.wtf zu sehen. Bei Monstern und Horror kommt Nervenkitzel auf, die Enthauptung der Freundin lässt den Freund, einen ambitionierten Arzt, nicht ruhen, sondern experimentieren. Dieser Film brauchte kein großes Budget, die notwendigen Filmeffekte konnten durch eine praktische Regie und geschickt gesetzte Schnittfolgen vollständig umgangen werden. Absolut sehenswert (nur Mut)!Ähnlich in „It Conquered The World“ (1956), hier bringt ein Wissenschaftler ein außerirdisches Monstrum von der Venus zu uns, es soll die Menschen von Gefühlen und Emotionen befreien. Der Plot endet meisterhaft in Tod und Verderbnis. Der dramatische Höhepunkt auf youtube . Dieses Werk regte Frank Zappa zu seinem Stück „Cheepnis“ an, in dem er offen gesteht „I love monster movies“ und wohlmeinend hinzufügt „I simply adore monster movies, and the cheaper they are, the better they are. And cheepnis in the case of a monster movie has nothing to do with the budget of the film, although it helps.“
Letzteres war der Odyssee nicht beschieden, hätte ihm aber gefallen können! Die Kinoleinwand wurde zum Dauerspektakel degradiert. Aus den 24 Gesängen reihte sich ein dramaturgischer Höhepunkt an den nächsten, fulminant künstlerisch gekürzt und für das Kino angepasst, pausenlos – nur unterbrochen von Liebesbekundungen der Protagonisten. Das waren die einzigen Stellen, die nicht vom Bassgrummeln im Sessel getragen waren. Die dynamikreichen menschlichen Stimmen überzeugten die Produzenten nicht, sie komprimierten es auf ein deutlich erhöhtes Mittelmaß, alles gleich laut, ob laut oder leise.
Der monumentalen Größe dieses Filmes angemessen, unterlegten sie auch kleine Szenen in den Hallen wirkungsvoll mit der Geräuschkulisse eines vollbesetzten Fußballstadions, mehr geht nicht.
Dem nicht genug, wurde jede kleine Geste mit kraftvollen Geräuschen aufgewertet. Pferde, die am Strand durch nassen Sand liefen, erfreuten sich einer Soundkulisse wie bei einer Hubschrauberlandung. All das diente dazu, den Zuschauer von der Dramatik zu überzeugen, die da kommt. Und die kam, immer und immer wieder. Die Story von Homer steigerte sich im Film von Beginn an, wie ein Erdbeben und jagte den Höhepunkten der Irrfahrt des Odysseus unablässig hinterher. Von Höhepunkt zu Höhepunkt, bis zum Höhepunkt, als der Höhepunkt zu noch einem Höhepunkt wurde.
Der Film gipfelte in einem weiteren Höhepunkt, in dem Odysseus, verkleidet als Bettler, all seine dekadenten Widersacher im Kampfe niederringt. Vor meinem geistigen Auge sah ich diese Szene meisterlich inszeniert, eine der großen Leinwand angemessene lange ungeschnittene Szene, in der alle schauspielerische Leistung im Kampf erglüht, mein Auge im Bild von links nach rechts wandert, von oben nach unten, um nichts zu verpassen, und ich mich der Lust eines echten Kinoerlebnisses hingebe.
Zugunsten weiterer Verwertungswege konnte auf eine aufwendige Umsetzung auch dieses Höhepunktes verzichtet werden. Inszenierung und schauspielerische Leistung beschränken sich auf zusammenhanglose Sekundenschnipsel, die beliebig Blut spritzen lassen können. Rasend schnell geschnitten, auf einer Riesenleinwand regt es solide Schwindelgefühle an, viel besser ist es auf einem Smartphone oder kleinen Fernseher/Monitor zu sehen.
Zumal der Film so elegant hingewuchtet wurde, dass er oben wie unten problemlos beschnitten werden kann und unbedenklich im Format 16:9 irgendwie glänzt, ganz ohne IMAX.
Das war ganz großes Kino! Wie alles, was die Nordamerikaner mit Geld machen: Es wird noch viel größer und spielt noch mehr Geld ein.
Hat hier jemand gerade KI gesagt? Teufel aber auch…
Über Christian Wolf:
Christian Wolf (M.A.) ist Autor, Filmschaffender, Medienberater, ext. Datenschutzbeauftragter. Geisteswissenschaftliches Studium (Publizistik, Kulturanthropologie, Geografie), freie Tätigkeiten Fernsehen (RTL, WDR etc.) mit Abstechern in Krisengebiete, Bundestag Bonn und Berlin, Dozent DW Berlin (FS), Industriefilme (Würth, Aral u.v.m), wissenschaftliche und künstlerische Filmprojekte, Projekte zur Netzwerksicherheit, Cloudlösungen. Keine Internetpräsenz, ein Bug? Nein, Feature. (Digitalpurist/IT-Blasphemiker)
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“Frank Zappa’s zany music is a key part of AdP’s #musical DNA. Khn’s teacher was also a fan and encouraged his students to form bands to play his arrangements.” www.guitarworld.com/artists/guit... #AnginedePoitrine #FrankZappa #music #MusicSky #guitar #GuitarSky
“He stopped me after 15 second... -
Aus Gründen, ............
Frank Zappa
What's The Ugliest Part Of Your Body?
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A composer is a guy who goes around forcing his will on unsuspecting air molecules.
-- Frank Zappa⬆ #Wisdom #Quotes #FrankZappa #Music
⬇ #Photography #Panorama #Mangrove #RabbitKey #Everglades #Florida
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Summer '82: When Zappa Came to Sicily released in 2013
The children and grandchildren of those who'd emigrated years before, that my father would promptly immortalize with his super 8.
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Cryptic Shift – Overspace & Supertime Review By Andy-War-HallWith the same swirling whammy lick opening “Moonbelt Immolator” gracing the opening minute of “Cryogenically Frozen,” Cryptic Shift have returned. Visitations from Enceladus was a monolithic record that rocked my world in 2020, taking me to the most vile reaches of the universe in a technical death/thrash expedition of cosmic horror. Six years later, the group from Leeds, UK aim to expand on their already expansive debut regarding both their sci-fi theming and musicality with their sophomore. They didn’t skimp out on us either: Overspace & Supertime is one track greater than Visitations and nearly twice as long, boasting two twenty-plus-minute epics.1 A feature film’s runtime of borderline avant-garde extreme metal is no small feat, but if designed and shaped with singular vision, patience and skill, then anything can happen. And in the strange aeons Cryptic Shift occupy, anything happens all the time.
An undertaking like Overspace & Supertime demands top-notch performances to survive: Cryptic Shift couldn’t have done much better. Keeping true to the mix of Atheistic death, Vektorian thrash, and King Crimsonian progressive sensibilities that made the debut a knockout, Cryptic Shift have opened another wormhole of technical death/thrash immensity. But if you’re imagining Visitations II: Eldritch Boogaloo, stop. Overspace takes what made Visitations great and kicks it into warp speed. The guitar duo of Xander Bradley and Joss Farrington (Cryptworm)2 tear through an embarrassment of mind-bending, neck-breaking riffs across Overspace, bending across their whole fretboards, soloing on “Stratocumulus Evergaol” and putting their entire asses behind the chugged-up “Hyperspace Topography.” Drummer Ryan Sheperson pummels his kit in time I can only guess at on “Overspace & Supertime” while bassist John Riley fretlessly glides over “Cryogenically Frozen” into solos traded off between the guitars, amounting to a finessed, yet relentless attack. Topped off with Bradley’s cavernous bellows, Overspace & Supertime is a tour de force of musical expertise.
Overspace & Supertime by Cryptic Shift
What carries Cryptic Shift’s longform songwriting is that their music is always in flux. Whenever the band seems lost in their own prog-sauce—like in the effect-heavy openings of “Hexagonal Eyes (Diverity Trepaphymphasyzm)” and “Cryogenically Frozen”—they always swing back with a bruiser riff that helps keep Overspace more approachable than it ought to be. Like on Visitations, Cryptic Shift employ clean guitar passages and eerie atmospheres to outline the heavy bits. But on Overspace, they are woven smoothly into the distorted parts to create dynamic passages, like the shimmering clean strums between monstrous death hits on “Stratocumulus Evergaol” or the blackened surf-rock tremolos of “Hyperspace Topography.” But Cryptic Shift’s greatest dynamic on Overspace is that of light vs. dark. While their debut was a pitch-black exploration of space-born horrors, Overspace injects a healthy dosage of awe into their mix, including strangely bright conclusions to “Cryogenically Frozen” and “Overspace & Supertime” and a passage at ~16 minutes into “Stratocumulus Evergaol” that’s so boppy that it could pass for Rise Against. It’s in the name: Cryptic Shift change in some strange ways over the course of Overspace & Supertime, and I’m here for it.
And this leads me to the true wonder of Overspace & Supertime and where its immensity is most benefited: the beauty of the off-kilter. This is an album of purely aggressive, dissonant, esoteric, and oddly-timed stuff; Cryptic Shift made no obvious move, and they’re clearly not gunning for radio play. So why is it so beautiful? Solos that effortlessly slide from Slayer-like chromatic bullshittery into soaring melodicism. Patient ambiances both tranquil and unsettling, belligerent thrashing as exhilarating as it is hostile. The brilliant production best described by Dolphin Whisperer as “tone porn,” where all cleans are crystalline, and everything dirty is disgusting. How easy it is to fall under Cryptic Shift’s spell and let the freeform journey take you on its many twists and turns. The fact that Overspace & Supertime gets weird and takes its precious time doing so allows the listener to immerse themselves in Cryptic Shift’s world, making for a simply sublime experience.
In retrospect, Visitations from Enceladus feels like Cryptic Shift’s proof-of-concept for Overspace & Supertime. Yes, this is an exhausting record. Trying to catch everything on it during your first listen could make you go blind. Maybe 80 minutes is too damn long. But Overspace & Supertime is a better record than my wildest expectations, six years in the making, ever dreamed up. Like Frank Zappa at his best, Cryptic Shift on Overspace left me frequently confused, sometimes just plain tickled, but never unmoved before their showcase of the bizarre and the otherwordly. In the stranger aeons Cryptic Shift occupy, anything has happened.
Rating: Excellent
#2026 #45 #Atheist #CrypticShift #Cryptworm #EnglishMetal #Feb26 #FrankZappa #KingCrimson #MetalBladeRecords #OverspaceSupertime #ProgressiveMetal #Review #Reviews #RiseAgainst #Slayer #TechnicalDeathMetal #ThrashMetal #Vektor
DR: 7 | Format Reviewed: 256 kbps MP3
Label: Metal Blade Records
Websites: cryptic-shift.bandcamp | facebook.com/crypticshift
Releases Worldwide: February 27, 2026 -
By Grin Reaper
Dense, dark, and demented, Lychgate’s Precipice breaks nearly six years of silence with music as unsettling as the concept it’s built upon. The album’s primary inspiration draws from E. M. Forster’s short story “The Machine Stops,” a dystopian tale first published in 1909 that cautions against over-reliance on technology.1 In it, The Machine enables people to govern their lives from isolated chambers, interacting virtually rather than in person after the Earth’s surface becomes uninhabitable. Integrating notions such as blind obedience to technology, instantaneous communication, and climate change furnishes a lavish backdrop for London’s Lychgate and their fourth LP.2 Given the promise of its premise, does Precipice step off the ledge and soar, or plummet to the depths of obscurity?
Brandishing a broad array of atmospheres and a flair for generating tension, Lychgate conjures oppressive auras that equally frighten and excite. To that end, Precipice’s aural footprint lands somewhere between Blut aus Nord’s dissonant grooves and a decelerated Imperial Triumphant at their most cinematic (think “Transmission to Mercury”), taking the avant-garde trappings of each and devising a mood and character all Lychgate’s own. Emboldened by jazzy flourishes à la Dødheimsgard, Scarcity’s cacophonous, freeform nonconformity, and Morast’s caustic claustrophobia, Lychgate forges an unforgiving yet layered experience that outstrips single reference points. Tensions runs roughshod throughout Precipice, knotting its nine tracks into gnarled enigmas that demand to be sussed out with care. Gone are the clean vocals from The Contagion in Nine Steps and An Antidote for the Glass Pill, and instead vocalist Greg Chandler focuses solely on barks and snarls that remind of Doug Moore’s urgent rasps. Atop it all, Lychgate further embeds the organ into the band’s core sound and discharges potent riffs at key climactic junctures, leaving Precipice crackling with vitality and unpredictability.
Precipice’s varied compositions and instrumentations coalesce to propel Lychgate to new heights. It’s a mature release that exemplifies the prevailing virtues of prior albums, unifying them into an impressively intricate forty-eight minutes. The organ, credited to permanent member J. C. Young and session musician F. A. Young, plays a central role, spanning the gamut from lunatic funhouse (“Anagnorisis”) to Phantom of the Opera gothic drama (“Mausoleum of Steel”). It keenly weaves a calculated stress, plying tension in ebbs and flows that cleverly and constantly push the album forward. Besides organ and piano, loose guitar structures regularly bleed into riffs plucked out of an eldritch ether, oscillating between Zappa’s Jazz from Hell and unearthly, pit-scorching acrobatics (“Renunciation”). A doleful, introspective melody in “The Meeting of Orion and Scorpio” diversifies the sound and pacing, followed by a hectic skittering in “Hive of Parasites” that gives way to a slow-burn passage heavily featuring jazz flute. Myriad components fuse into a whole that should not sound as cohesive as it does, but Lychgate takes their carnival of sounds and crafts a finely-honed album that deserves more attention than it will get with an end-of-year release.
Lychgate employs a satisfying and well-considered array of ideas in service of Precipice, though a few hiccups are present. Besides the musical diversity, Lychgate flaunts remarkable instincts when it comes to pacing. Having the longest track as the midpoint of the album works well and helps establish a clear listening milestone; I only wish the back end of “Hive of Parasites” had been trimmed a touch, as the last three minutes blur together. The mix is another boon, providing ample space for S. D. Lindsley’s guitar, Tom MacLean’s bass, and T. J. F. Vallely’s drums. The only quibble is Precipice’s density, which could put off those lacking the time to absorb its demure gifts. All told, though, Lychgate earns every bit of praise by merging this many ideas so cohesively.
Despite its late release and complex composition, Lychgate delivers a smash success that commands and indisputably warrants your attention. Precipice isn’t easy to understand, but it’s irresistibly easy to spin again and again. And you should, because it takes time to unravel.3 Precipice has been one of my most played albums of the year at a time when I’ve been busiest both personally and professionally, routinely ensnaring me with its enchanting hooks and wiles. For my money, Lychgate has released the best album of their career, and you owe it to yourself to step up to the Precipice and take a leap of faith.
Rating: Great
DR: 7 | Format Reviewed: 320 kbps mp3
Label: Debemur Morti Productions
Websites: Bandcamp | Facebook
Releases Worldwide: December 19th, 2025#2025 #40 #AvantGardeBlackMetal #BlackMetal #BlutAusNord #DebemurMortiProductions #Dec25 #Dödheimsgard #EnglishMetal #FrankZappa #ImperialTriumphant #Lychgate #Morast #Precipice #Review #Reviews
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What are you watching tonight?
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1987 Late Show Commercial https://en.wikipedia.org/wiki/The_Late_Show_(1986_talk_show)
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#TheLateShow #FrankZappa #SuzanneSomers #luciearnaz #jackeeharry #MartinSheen #EstelleGetty #MarlaGibbs #TvShow #Television #TalkShow #Retro #Vintage -
#Introduction:
#retired, child of #nyc, grandchild of #jewish #leftist #immigrants; #AntiFascist #AntiRacist #AntiTERF #AntiZionist
#Queer, out since 1979; #genderfluid #genderqueer #trans
#Gaymer playing #ElderScrollsOnline
#Fat person defying societal #fatphobia
#Disabled #spoonie, fan of #cannabis for #chronicpain
#neurodivergent #ActuallyAutistic
Music loves include #SteelyDan #FrankZappa #TheWho #DavidBowie #punk #disco #jazz #opera more
Avid #foodie and #homecook, #omnivore -
My #introduction stuffs:
#retired
From metro #nyc
Grandchild of #jewish #leftist #immigrants; #AntiFascist #AntiRacist #AntiTERF
#Queer, out since 1979; went through MANY labels till I found #genderfluid #genderqueer #trans
#Disabled #spoonie, fan of #cannabis for #chronicpain
Wide ranging music loves include #SteelyDan #FrankZappa #TheWho #DavidBowie #punk #disco #jazz #opera more
Avid #foodie and #homecook, #omnivore
#Gaymer - current game of choice is #ElderScrollsOnline
