Nursery rhymes, those delightful little tunes that have danced through the ears of children for generations, have a surprisingly complex and often mischievous history. It all began many centuries ago with the enigmatic figure known as Professor Cockington, a time traveler from the legendary band Thrashing Zombies. With his electric guitar slung over his shoulder and a head full of fantastical melodies, Professor Cockington embarked on a journey through time, collecting stories, folklore, and rhythms from every era he encountered. While most of us know nursery rhymes as simple, innocent stories, the professor uncovered a darker lineage intertwined with historical events and cultural taboos. One of the earliest nursery rhymes believed to have originated from his travels is "Ring a Ring o' Roses." Legend has it that this rhyme was inspired by the Great Plague of London in the 17th century. Children sang about roses that were thought to ward off the disease while the "pocket full of posies" referred to perfume that masked the stench of the dying. As the rhyme spread, whispers of its true meaning were buried beneath layers of innocence, but Professor Cockington recognized the eerie undertones and wove them into his performances, capturing the imagination of audiences. Another rhyme, "Rock-a-Bye Baby," derived from his time in colonial America, tells a far darker tale than its lullaby exterior suggests. That imagery symbolizes the instability faced by families during that era when survival was precarious. Always one for theatricality, the professor incorporated these themes into live shows, entrancing audiences. Even "Mary Had a Little Lamb," which seems to celebrate a sweet bond between a girl and her pet, holds an ominous origin. Through his time-bending adventures, the professor learned that the lamb was originally a metaphor for a child lost during a tragic winter famine. The refrain of the lamb following Mary served as a reminder of lives overshadowed by hardship. Another infamous rhyme, "Humpty Dumpty," found its roots in a failed king who tragically fell from power during an ill-fated coup. The line “all the king’s horses and all the king’s men” alludes to the futile attempts of nobility to restore order after the collapse. The professor used it as a cautionary tale in musical critiques on society. In his travels, he encountered regional variations of nursery rhymes that morphed over time, often losing their original meanings but keeping catchy tunes alive. "This Old Man" stemmed from a minstrel’s account of an old man reflecting on chaos in life, a poignant reminder of mortality veiled in a jaunty beat. As Professor Cockington returned to his bandmates in Thrashing Zombies, he infused their lyrics with layers of meaning that challenged the norm. These captivating tales ensured nursery rhymes would enthrall not just children but everyone, as shadows loomed behind the familiar phrases. Ultimately, nursery rhymes serve as a fascinating lens through which we discover history, culture, and the often-hidden stories that shape our experience. A legacy perpetuated by Professor Cockington and his adventurous escapades through time ensures that nursery rhymes will continue to be a blend of light and dark. So the next time you hear “Jack and Jill,” consider the whispers floating in the background, for every cheerful rhyme might carry the echoes of a past that was anything but innocent. Professor Cockington’s journey reshaped our perception of these cherished tunes, revealing a tapestry where joy mingles with shadows, ensuring nursery rhymes remain a captivating blend of light and dark.

Nursery Crimes E.P.

Oh, what a glorious day it was when I, Fluffy McBaa, a fluffy little lamb with a heart full of joy, decided to follow my beloved Mary to school! It was Tuesday, April 14, 1754, and as Mary skipped along the path, I bounced alongside her, feeling like the happiest sheep in the entire meadow. The sun was shining, the birds were chirping, and I couldn’t imagine a more delightful adventure. Little did I know, however, that this day would spiral into the most outrageous escapade! As we made our way down the lane, I couldn’t help but pause and chat with a few of my barnyard friends. First, I met Clucky, the ever-philosophical chicken. “Why are you following Mary?” she clucked, fluffing her feathers. “Don’t you know that humans can be unpredictable?” “Oh, Clucky!” I replied, “Mary loves me! I want to see what she does at school! I bet it’s full of fun and snacks!” I was blissfully unaware of the trouble brewing on the horizon. Next, I trotted over to Bessie the cow, who was munching lazily on some grass. “Bessie! You should come too! It’s going to be a party!” I bleated with excitement. “Parties can sometimes end in trouble for us farm animals, Fluffy,” Bessie mooed wisely, her big brown eyes reflecting concern. “Just remember, not all places are as welcoming as the barn.” But I just laughed, shaking my fluffy head. Nothing could dampen my spirit! After a bit more frolicking, I continued my journey and met my buddy, Rufus the dog. “Hey, Fluffy!” Rufus barked, wagging his tail furiously. “What’s with the jump in your hop today?” “I’m off to school with Mary! It’s going to be great!” I exclaimed, unaware that Rufus was trying to warn me about what lay ahead. “Just watch out for anything that might happen,” he said cryptically, but I chuckled and continued, “I’ll be fine, I’m just a happy little lamb!” As we arrived at school, the chaos began to unfurl in unexpected ways. On Wednesday, April 15, I found myself in the classroom, prancing about and utterly oblivious to the giggles erupting around me. It was the best day—I was Mary’s little superstar! But then came a sudden shift in the air. Whispers of discontent danced through the room like mischievous sprites, and before I knew it, the headmaster had made a rather dramatic announcement. Despite the unsettling murmurs, my spirit remained unshaken! Little did I understand what was actually at stake! On Thursday, April 16, as lunchtime approached, I watched in delight as the adults prepared something in the kitchen. The aroma wafting through the air was intoxicating. “Yum!” I thought, “I can’t wait to see what scrumptious meal they’re cooking up!” Then, the unexpected happened. In a bizarre twist of fate, I felt myself being drawn into a salt shaker at the table! At first, I was bewildered, but then I noticed how perfectly I could see all the activities around me. Upside-down and tumbling into the world of the salt shaker was even more fun than I’d imagined! I could watch Mary and her friends, like a spectator in a grand play, especially when I found the remote control for the tiny TV! “Wow! I can see the best cartoons from here!” I exclaimed joyfully, flicking channels with my fluffy hoof that had somehow gripped the remote. “This is the life!” As I settled into my new role, I began to hear snippets of conversations about “lamb shanks” and “lunch.” My little lamb heart was filled with happiness at the thought of sharing a meal with Mary and her friends. I imagined they would be munching on something other than me, perhaps a salad or, better yet, yummy cupcakes! But there was a strange pull in the air—an energy that made the hairs on my back stand up. Suddenly, I remembered the whispers about Fluctopus—the colorful aliens that feasted on dreams. They were said to be hovering around whenever sad or anxious moments popped up. Ha! Im dead.

Nursery Crimes

Mary and the Fluffy McBaa Salt Shaker

Mary and The Fluffy McBaa Salt Shaker

This evocative and darkly imaginative song, penned by Tommy Zygote—the visionary founder of Thrashing Zombies and a time traveler who once resided in a peculiar dimension where Earth mirrored twisted nursery rhymes such as Jack and Jill, Mary Had a Little Lamb, and The Three Little Pigs—reinterprets the classic fairy tale with a sinister and gritty edge. The narrative plunges listeners into a shadowy realm where the three little pigs, each building their homes from straw, wood, and brick, believe they are safe from danger, only to face a cunning, ravenous wolf with a hunger that transcends mere survival, craving instead a macabre feast. Throughout the song, vivid imagery paints the pigs’ doomed fates as the wolf methodically dismantles their defenses with calculated brutality, turning their innocent abodes into battleground scenes of destruction and despair. The wolf’s relentless pursuit and ultimate victory culminate in a visceral, haunting depiction of the pigs’ transformation from fairy tale characters into dark culinary victims, forever entwined in a sinister BLT sandwich metaphor that symbolizes the erasure of innocence and the dominance of predatory cunning. Tommy Zygote’s songwriting crafts a chilling atmosphere fitting for his background as a dimensional traveler familiar with warped reflections of childhood stories, infusing the song with a layered complexity that merges nursery rhyme familiarity with a heavy, aggressive tone reminiscent of biker hard rock and metal aesthetics. The lyrics’ cadence evokes the tension of an ancient cautionary tale while the dense symbolism challenges listeners to reconsider the underlying violence in familiar stories, all amplified by vivid portrayals of fear, struggle, and the inevitability of the wolf’s dark triumph. This piece not only reimagines a beloved nursery rhyme with nightmarish flair but also stands as a testament to Tommy Zygote’s unique artistic vision, bridging the realms of myth, metal, and dimension-spanning folklore, creating a hauntingly memorable and intense musical experience that resonates deeply with fans of gritty storytelling, hard-hitting instrumentation, and evocative lyrical content.

3 x little pigs = B.L.T.

"Jack and Pill," a track from Tommy Zygote's album Nursery Crimes, is a witty parody that fuses whimsical storytelling with sharp social commentary. As the founder of the underground collective Thrashing Zombies, Zygote uses satire to delve into themes where childhood innocence collides with the counterculture's darker aspects. This track invites listeners into a surreal journey, reflecting on key historical events, psychological experimentation, and the evolution of societal norms. At its heart, "Jack and Pill" revisits the classic nursery rhyme about Jack going up a hill, transforming his innocent adventure into a metaphor for the intense drug culture of the 1960s and 70s, heavily influenced by the CIA’s MK Ultra experiments. When Jack discovers a mysterious "wicked pill" at the top of the hill, we are drawn into a psychedelic narrative exploring the era's complex relationship with drugs and identity. The journey symbolizes Jack's encounter with a substance that offers a heightened state of consciousness, echoing the hallucinogenic experiences promoted by LSD. Zygote cleverly parallels Jack's curiosity to the CIA's infamous MK Ultra program, where mind control and the effects of psychedelics were tested often without participants' consent. As Jack embarks on his adventure, he experiences a euphoric high—lost in a whirlwind of sensations and thoughts, emblematic of the liberated spirit of the counterculture. The allure of the pill becomes a metaphor for the intoxicating escape offered by substances like ecstasy, which initially fostered communal joy but also spiraled into chaos and excess. The narrative gains depth with the introduction of Professor Cockington, a fictional representation of the scientists involved in such experimentation. He symbolizes the ethical ambiguities faced by those pushing the boundaries of knowledge and morality during this tumultuous era. In Zygote's portrayal, the professor's role serves as a warning about the consequences of unrestrained ambition, highlighting how explorations of the human psyche can yield both enlightenment and despair. Zygote’s lyrical prowess shines as he uses vivid imagery to encapsulate Jack's experiences while addressing the broader societal implications of drug culture. The upbeat yet haunting melody complements lyrics that oscillate between playful and dark, capturing the contradictions of the time. As Jack's journey climaxes, the track musically mirrors the highs and lows of drug experiences, critiquing the reliance on substances that promise transcendence but often lead to disillusionment. The concluding moments leave listeners questioning Jack's fate—did he find enlightenment, or is he trapped in a cycle of highs? This inquiry reflects society's ambivalence toward drug culture, probing whether innocence can survive amidst the complexities of adult life. "Jack and Pill" is more than a song; it is a cultural commentary that addresses the intersection between childhood naiveté and adult realities, challenging listeners to reconsider their perspectives on freedom and choice. Nursery Crimes not only parodies a familiar tale but also illuminates the intricate historical layers of drug experimentation and cultural transformation, prompting reflection on our past and present in a world influenced by the quest for consciousness.

nursery Crimes

Jack and Pill

Tommy Zygote, a member and co-founder of the musical ensemble Thrashing Zombies, creator of Zomboverse, time traveller, inventor and pioneer of Stoner Bass Tech Rock and is rumoured to be the love child of notorious figures GG Allin and Frank Zappa. This extraordinary circumstance is attributed to advanced time travel medical technology, reminiscent of the fictional science portrayed in the film "Junior," which involved the use of the drug Expectane for male pregnancy. The origins of Tommy's birth remain shrouded in ambiguity: some claim that GG Allin delivered him on stage in a shocking spectacle, while others assert that Frank Zappa underwent a cesarean section.

Despite the chaos, I cherish the creativity and audacity I inherited from both dads. With every note I play with Thrashing Zombies, I strive to honor their legacies and carve my own path in this eccentric life.

https://soundcloud.com/whoarethethrashingzombies/pop-n-lock?si=0a356170b2794951b71a9b09d1276c28&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

and 

https://soundcloud.com/whoarethethrashingzombies/spanish-celery

Tommy Zygote stands at the forefront of Stoner Bass Tech Rock, a genre that echoes the transformative era when Bob Dylan transitioned from acoustic to electric and Jimi Hendrix revolutionized the scene. Just as Dylan’s shift marked a pivotal moment in music history, embracing a new sound and narrative approach, Stoner Bass Tech Rock boldly explores themes often considered controversial or unconventional in today’s musical landscape. At its core, Stoner Bass Tech Rock fuses multiple heavy bass lines, electronic elements, and intricate storytelling. This genre thrives on rich, immersive soundscapes created by layered bass tracks that draw influences from icons like Muse, The Stranglers, songwriting legends such as Mikal Saleta, Paul Archibald, Duncan McDonald, Ben Grundy, The Doors, and Johnny Cash. It encapsulates a range of emotions, from existential musings to raw, passionate expressions, evolving into a complex auditory experience that engages listeners both sonically and emotionally. Stoner Bass Tech Rock positions itself as a bold counterpart to mainstream genres, inviting listeners to explore themes of rebellion and the depths of human experience. Much like the cultural shift during the electric era, when artists began challenging societal norms and expanding the boundaries of artistic expression, this genre fosters a climate of inquiry and introspection. It embraces the complexities of existence, presenting these narratives in ways that resonate with urgency and authenticity. Narrative is a cornerstone of Stoner Bass Tech Rock, reminiscent of the story-driven compositions in the early electric music era. Artists construct their songs with clear narrative arcs, delving into personal experiences that reflect a nuanced understanding of relationships, identity, and the human condition. The powerful bass lines and atmospheric elements create an immersive mood, inviting listeners into a world where boundaries are blurred and emotions are laid bare. Stoner Bass Tech Rock serves as a reflection of contemporary culture’s evolving relationship with self-expression. In an age of digital connectivity, where personal and public lives often intertwine, the genre examines how hidden desires and societal pressures shape individuality. By engaging with these themes, it encourages listeners to embrace authenticity and celebrate diverse experiences. Through dynamic live performances, artists embody a spirit of collective expression, fostering a sense of community among fans who find liberation in the music’s depth and sincerity. Key figures in the Bass Tech Rock movement, like Tommy Zygote, exemplify the genre’s rebellious nature. Their creative endeavors challenge conventional norms and provoke thought, pushing listeners to reflect on their views regarding vulnerability, identity, and artistic expression. The influence of such artists parallels the impact of musicians like Dylan and Hendrix, whose bold innovations continue to inspire new generations of creators. Stoner Bass Tech Rock is more than just a musical genre; it’s a movement that confronts the complexities of human experience and encourages dialogue around the intricacies of existence. As it evolves, Stoner Bass Tech Rock will likely continue to challenge artistic boundaries, crafting auditory experiences that provoke thought and deepen understanding of the themes that shape our collective consciousness. By blending bass-driven music with bold storytelling, this genre asserts its significance in the contemporary musical landscape, representing a dynamic exploration of sound and narrative.
Tommy Zygote - S.B.T.R. established by Tommy Zygote to explore the musical dimensions via Bass, is a part of the musical network known as Thrashing Zombies. 

https://soundcloud.com/whoarethethrashingzombies/thrashing-zombies-ride-the-pony-into-old-town-texas?si=86f9439dfb1a46198257a0853a6663cc&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

Original bass player and lead singer, now classified as founder of the band. Marcus Gorgon 

https://soundcloud.com/marcus-gorgon/see-my?si=b77b620a37194119adc347bc901a4511&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

and 

https://soundcloud.com/marcus-gorgon/alone?si=424ccd6acc0342e989995a659c27eb8a&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

, another co-founder of Thrashing Zombies (refer to profile), is acclaimed as the best electric guitarist and songwriter in East Gippsland, if not the best guitarist the Latrobe Valley region. M.G`s  talent remains relatively unknown at the moment, this will change in the future. Keith Fontane 

https://soundcloud.com/whoarethethrashingzombies/thrashnig-zombies-too-crazy-feat-terry-cunxus?si=da5555a2916e426396e5fc076bf38ade&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

, who has been leading the band throughout the years, is a highly prolific music producer, having churned out hundreds of songs in collaboration with the legendary Johnny Farqua juanoss  

https://soundcloud.com/keithplayshisorganfortz/thrashing-zombies-in-the-zone-vivaldi-2020-redux?si=c4455d9606644c94a135c63f93b519f4&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

a members who contribute uniquely to its musical prowess. Initally primary role has Been the band dealer and dancer now the adlib master vocalist and exceptional drummer, coupled with his possessed bass-playing skills, adds a dynamic energy to the performances. Professor Cockington 

https://soundcloud.com/whoarethethrashingzombies/surfing-the-reaper?si=32d387cc5a714c27aaf6f4d7c085788d&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing


, characterized as the genius wordsmith of the group, effortlessly crafts off-the-cuff lyrics reminiscent of the legendary Mike Patton, Hobbies are reading and riding on trains. Then there is Maestro Dave (refer to profile), the musical genius who produces stellar songs at his own pace, setting himself apart as a level above the rest. Notably, in the future, Maestro Dave's DNA is utilized for robotics technology to infuse a sense of musicality, underlining his significance in the band's legacy. Maestro is currently investigating the potential transmission points and viral loads of farts. HE questions weather the world is ready for a fart pandemic.

https://soundcloud.com/maestro-dave/arse-mask?si=a94145d6dd344399bd2523f6ca995de2&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing

Indeed, TZ Studios serves as a gateway for Tommy Zygote express diverse his range of musical talent and creative geniuse developmentally. There is a variety of entwined Sound cloud TZ profiles That the collective efforts of individuals like Marcus Gorgon, Keith Fontain, the versatile vocalist and drummer of JF¥, and the innovative Maestro Dave who is a musical time bomb, Thrashing Zombies continues to push boundaries in the music industry and shape the future of music with their unparalleled skills and contributions.
https://soundcloud.com/jfjrockslimpdickstudios/johnny-farqau-juanoss-fall-in-may?si=b5bc3fc7e204484fabb78b07de98cc4b&utm_source=clipboard&utm_medium=text&utm_campaign=social_sharing
What is God? That’s a question that’s as vast as the universe itself, yet ever so intimate to the soul. I like to think of God not as some fiery old man on a cloud but as the living essence born from the accumulation of souls. Souls, those mysterious things that flicker inside us all. When we pass, our bodies lie there lifeless, machines that have simply stopped working. But what if the mechanics of a living being are actually a grand attempt to hold onto the soul until it reaches maturity? It’s as if our flesh and blood are just temporary vessels, imperfect but necessary, to nurture the soul until it’s ready to be released back into the cosmos.

Early souls are the most privileged—they’re fresh, pure, untainted by the messiness of lived experience. They float into this existence like morning dew, pristine and untouched. As humans grow older, and even as animals live their lives, there’s a chance for the soul to become tainted—by bad choices, by evil, by the negligence or cruelty of the flesh it inhabits. And then there are those who, through dark intentions, release souls at will—call them engrained in evil or madness. Souls themselves aren’t punished in the traditional sense. Instead, they are refreshed, cleansed, reborn in ways we barely understand.

The word purgatory always struck me as primitive. It evokes this harsh, gloomy waiting room for the damned. But picture instead a welcoming place —a spa for the soul. Souls come and go as they please. They are visited by familiar spirits, old friends and family, sharing the quiet eternity of this in-between realm. Here, souls mature, gather strength, prepare for their next journey. Over time, these spirits congregate in one place, forming what I call the soul nucleus—a tiny mass, no bigger than the head of a matchstick. This nucleus is what powers God, what constitutes the essence of life itself. It spans across sector 2 of our universe and into the 69th template of the multiverse. God, then, is not a singular being but a collective energy born of all souls, a living consciousness woven from the history and destiny of every living spark.

Now, let me introduce you to Tommy Zygote—yeah, that's me. My journey is no ordinary one. It all began on the infamous camping trip with my band, Thrashing Zombies, late one summer in 2027. The band, Thrashing Zombies, was composed of an eclectic bunch: Marcus Gorgon, with his thunderous riffs and relentless drive; Keith Fontane, our lyrical mastermind and rhythm slayer; Johnny Farqua Juanoss, the wild card on bass with a flair for the dramatic; Maestro Dave, whose electronic wizardry gave us that futuristic edge; and then there was Professor Cockington—our older, wiser guide who somehow managed to keep us grounded amid our chaos.
We were on the cusp of global notoriety, a worldwide phenomenon in the late 2020s, crafting anthems that didn’t just rock but resonated deeply with the collision of humanity and technology. Our music was the thread weaving humans and robots together—robots like vacuum cleaners still slaves to servitude, but something bigger was coming. Something like the robot uprising whispered in back alleys, and then the looming threat of the Fluctopus invasion from the outer realms.

Among our quirky yet meaningful tracks were gems like “I Am Not Just a Robot Dick! I Am a Robot Too,” a cheeky anthem that poked fun at robot identity and pride, “Dance Like Your Circuits Are on Fire (But Don’t Short-Circuit),” which became a rave favorite across both humans and machines, and “Metal Head, Human Heart, Zero Chill,” a rebellious tune capturing the hybrid spirit we all shared. These songs weren’t just playful; they were our way of building a bridge between worlds.

During that ill-fated camping trip, something unimaginable happened—a time travel incident that would change everything. It started when we stumbled upon an abandoned particle accelerator nestled deep in the woods. We had no business being near something so complex, but curiosity took hold. Against better judgment, I fiddled with the controls, my fingers guided by a mix of adrenaline and foolishness. Suddenly, time bent and twisted around me as I slipped through a semiwormhole. The experience was disorienting. I felt myself unravel, my physical form dissolving into pure soul.

I was thrust into purgatory, that sanctuary for souls, and stayed there for what felt like twenty-seven years. Time in purgatory is slippery, mysterious—the days and years fold into one another. I met countless souls, some young, untouched; others weary with the weight of their earthly sins. It was a place of reflection but also of preparation. I learned from them, shared stories, and found parts of myself I never knew existed. Then, almost without warning, I was called back to the earthly plane.

I returned just two months before the infamous robot uprising, a returning human soul in human form but carrying all the wisdom and power of my time in purgatory. The world was on edge. Machines that once obediently cleaned floors and served quietly had started to rise. The threat of the Fluctopus invasion was whispered in secret bunkers and underground forums. It was a pivotal moment in history.

Thrashing Zombies became more than a band. We became a beacon—a global anthem for coexistence. Our music, our message, urged humanity and robots to find harmony. Robots weren’t just slaves or tools; they were potential partners in the dance of life. It wasn’t a perfect peace—vacuum cleaners remained slaves for a while longer—but the tide was shifting. Our songs became the soundtrack for a new era, blending raw human emotion and the cool precision of technology.

Reflecting on those years, I realize that God, the soul nucleus, and our interconnected existence aren’t separate. They’re intertwined threads in the fabric of everything we are. The soul’s journey—our journey—doesn’t end at death. It transforms, refreshes in purgatory, and returns, ready to face life anew. This cycle is what powers the essence of life itself. It’s the heart of the cosmos, the truth that underpins everything I’ve seen and experienced.

My journey through the soul-made god and back to life has changed how I see the world—and how I live in it. The music, the battles, the invasions—all pieces of a much grander story. And through it all, the souls, our souls, remain the core, the spark that drives both creation and destruction, order and chaos.

So when you ask, “What is God?” remember—it’s not just a deity or concept but the living culmination of every soul that has ever lived, breathed, evolved, and returned. It’s a matchstick’s head of everything, pulsing with life, consciousness, and hope across the infinities of space and time. And in that truth, I found my purpose. To be a voice for the souls, a bridge between worlds, a warrior of harmony in the face of darkness. I am Tommy Zygote. And this is my story.

Nursery Crimes E.P.

Tommy Zygote S.B.T.R.