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Versions - Different performances of the song by the same artist

Compilations - Other albums which feature this performance of the song

Covers - Performances of a song with the same name by different artists

Song Title	Versions	Compilations	Covers
Babylon the Great Has Fallen
Babylon the Great Has Fallen
The Undifferentiated Farks of Existence
The Undifferentiated Farks of Existence
Ozymandias the Mayfly
Ozymandias the Mayfly
Evanesce the Sonic Sand Mandala
Evanesce the Sonic Sand Mandala
Hell in a Handful of Dust
Hell in a Handful of Dust
The Snotgreen Sea Beckons Ye Wretched of the Earth
The Snotgreen Sea Beckons Ye Wretched of the Earth
Outgassing in Cosmic Vacuum
Outgassing in Cosmic Vacuum
Flock of Archaeopteryxes
Flock of Archaeopteryxes
Fumigate the Infamy
Fumigate the Infamy
Why Wait when you can Abdicate
Why Wait when you can Abdicate
Infernal Drones for Dante Alighieri
Infernal Drones for Dante Alighieri
When the Black Dog Bites
When the Black Dog Bites
Turbulent Mixing Implies Ergodicity
Turbulent Mixing Implies Ergodicity
Hear the Big Helicopter go Whack Whack Whack
Hear the Big Helicopter go Whack Whack Whack
Fear Death by Fire
Fear Death by Fire
Sisyphean Winds of Cosmic Time
Sisyphean Winds of Cosmic Time

Notes

The spoken text in track #1 is a conflation of Revelation 17:5 and 18:2, in the koine Greek of two millennia past. The title to track #2 alludes to "the undifferentiated flux of existence", a phrase the author thought to be due to James Joyce but has been unable to trace. The title to track #3 invokes Percy Bysshe Shelley's "Ozymandias", together with "The remains of may-flies form a snowy layer on the ground" from Gustave Flaubert's "Temptation of Saint Anthony". Track #4 refers to the Tibetan Buddhist practice of making and then destroying sand mandalas. Track #5 puns on "Hell in a handbasket" and "I will show you fear in a handful of dust", the latter quote being from T.S. Eliot's "The Waste Land" and echoing the Sibyl of Cumae asking to live for as many years as the number of grains in her handful of sand. The spoken words near the end of track #6 are a pastiche of: (i) "The unplumb'd, salt, estranging sea" (constituting the "echoing straits between us thrown") from "To Marguerite: Continued" by Matthew Arnold; (ii) "The snotgreen sea" from James Joyce's "Ulysses", which is itself something of a parody of Homer's "wine-faced sea"; (iii) "Arie, ye wretched of the Earth", which is tapped out in Morse-like code by one of the main character's fellow political prisoners in Arthur Koestler's "Darkness at Noon", always with the same mis-spelling of "Arise". The title to track #9 recalls Voltaire's exhortation to "écrasez l'infâme". Track #10 closes with the opening words, in Greek, of Homer's "Iliad". The Italian text in track #11 is from Canto I (lines 1-3) and Canto III (lines 1-11) of "Inferno" by Dante Alighieri. Track #12 attempts to break down stigmas concerning depression, by viscerally sonifying the bite of "the black dog" for those who have not experienced it.

ACKNOWLEDGEMENTS

DMP gives his sincerest thanks to Anthony (Planetaldol) for the wonderful opportunity to contribute to Earsheltering. Three samples have been used with gratitude: (a) A low-timpani sample sourced from the Free Wave Samples site freewavesamples.com, hosted by Zeta Centauri; (b) A sample of Clara Rockmore playing "The Swan" by Saint-Saëns; (c) Herbert Morrison's broadcast of the Hindenburg tragedy.

CONTACT

https://soundcloud.com/david-paganin
david.paganin@gmail.com

(1) Creator tag = https://archive.org/details/@dave_pagan

(2) Topics & Subjects keywords = Electronic, Industrial, Noise, Dark Ambient, Avant Garde, Electroacoustic, Experimental Music, Experimental, Sound Collage, Sound Art, Musique Concrète.

(3) Collection tag = Earsheltering, Netlabels