http://soundcloud.com/somnoroase-pasarele


Pessimism

Is the glass half empty or half full? The pessimist would pick half empty, while the optimist would choose half full. 
Pessimism, from the Latin a state of mind in which one perceives life negatively. Value judgments may vary dramatically between individuals, even when judgments of fact are undisputed. The most common example of this phenomenon is the "Is the glass half empty or half full?" situation. The degree in which situations like these are evaluated as something good or something bad can be described in terms of one's optimism or pessimism respectively. Throughout history, the pessimistic disposition has had effects on all major areas of thinking.

Philosophical pessimism is the similar but not identical idea that life has a negative value, or that this world is as bad as it could possibly be. It has also been noted by many philosophers that pessimism is not a disposition as the term commonly connotes. Instead, it is a cogent philosophy that directly challenges the notion of progress and what may be considered the faith-based claims of optimism.

Arthur Schopenhauer 
Arthur Schopenhauer's pessimism comes from his elevating of Will above reason as the mainspring of human thought and behavior. Schopenhauer pointed to motivators such as hunger, sexuality, the need to care for children, and the need for shelter and personal security as the real sources of human motivation. Reason, compared to these factors, is mere window-dressing for human thoughts; it is the clothes our naked hungers put on when they go out in public. Schopenhauer sees reason as weak and insignificant compared to Will; in one metaphor, Schopenhauer compares the human intellect to a lame man who can see, but who rides on the shoulder of the blind giant of Will.

Likening human life to the life of other animals, he saw the reproductive cycle as indeed a cyclical process that continues pointlessly and indefinitely, unless the chain is broken by too limited resources to make continued life possible, in which case it is terminated by extinction. The prognosis of either pointlessly continuing the cycle of life or facing extinction is one major leg of Schopenhauer's pessimism.

Schopenhauer moreover considers the desires of the will to entail suffering: because these selfish desires create constant conflict in the world. The business of biological life is a war of all against all. Reason only compounds our suffering by allowing us to realize that biology's agenda is not something we would have chosen had we been given a choice, but it is ultimately helpless to prevent us from serving it or to free us from the sting of its goad.

Types

Moral 
Narratives of decline can be identified in morality: Friedrich Nietzsche's amorality, Freud’s description of co-operation as sublimation, Stanley Milgram shock experiments, the continued presence of war and genocide despite global interconnectedness, and the perceived exploitation of market fundamentalism or statism.

Intellectual 
In ~400 BCE, pre-socratic philosopher Gorgias argued in a lost work, On Nature or the Non-Existent:

Nothing exists; 
Even if something exists, nothing can be known about it; and 
Even if something can be known about it, knowledge about it can't be communicated to others. 
Friedrich Heinrich Jacobi (1743–1819), characterized rationalism, and in particular Immanuel Kant's "critical" philosophy in order to carry out a reductio ad absurdum according to which all rationalism (philosophy as criticism) reduces to nihilism, and thus it should be avoided and replaced with a return to some type of faith and revelation.

Richard Rorty, Kierkegaard, and Wittgenstein challenge the sense of questioning whether our particular concepts are related to the world in an appropriate way, whether we can justify our ways of describing the world as compared with other ways. In general, these philosophers argue that truth was not about getting it right or representing reality, but was part of a social practice and language was what served our purposes in a particular time; to this end Poststructuralism rejects any definitions that claim to have discovered absolute 'truths' or facts about the world.

Political 
It is not a trait of any political party to be pessimistic in and of itself. Conservative thinkers, especially social conservatives, often perceive politics in a generally pessimistic way. William F. Buckley famously remarked that he was "standing athwart history yelling 'stop!'" and Whittaker Chambers was convinced that capitalism was bound to fall to communism, though he was himself violently anti-communist. Social conservatives often see the West as a decadent and nihilistic civilization which has abandoned its roots in Christianity and/or Greek philosophy, leaving it doomed to fall into moral and political decay. Robert Bork's Slouching Toward Gommorah and Allan Bloom's The Closing of the American Mind are famous expressions of this point of view.

Many economic conservatives and right-libertarians believe that the expansion of the state and the role of government in society is inevitable, and they are at best fighting a holding action against it. They hold that the natural tendency of people is to be ruled and that freedom is an exceptional state of affairs which is now being abandoned in favor of social and economic security provided by the welfare state. Political pessimism has sometimes found expression in dystopian novels such as George Orwell's Nineteen Eighty-Four.[3] Political pessimism about one's country often correlates with a desire to emigrate.

Environmental

Some environmentalists believe that the ecology of the Earth has already been irretrievably damaged, and even an unrealistic shift in politics would not be enough to save it. According to this view, the mere existence of billions of humans overstresses the ecology of the planet, eventually leading to a Malthusian collapse. The collapse will reduce the ability of Earth to support large numbers of humans for a long time into the future.

Cultural

Cultural pessimists feel the Golden Age is in the past, and the current generation is fit only for dumbing down and cultural careerism. Intellectuals like Oliver James correlate economic progress with economic inequality, the stimulation of artificial needs, and affluenza. Anti-consumerists identify rising trends of conspicuous consumption and self-interested, image-conscious behaviour in culture. Post-modernists like Jean Baudrillard have even argued that culture (and therefore our lives) now has no basis in reality whatsoever.

Some significant formulations have gone beyond this, proposing a universally-applicable cyclic model of history — notably in the writings of Giambattista Vico.

Legal 
Bibas writes that some criminal defense attorneys prefer to err on the side of pessimism: "Optimistic forecasts risk being proven disastrously wrong at trial, an embarrassing result that makes clients angry. On the other hand, if clients plead based on their lawyers' overly pessimistic advice, the cases do not go to trial and the clients are none the wiser."

Psychology

The study of pessimism has parallels with the study of depression. Psychologists trace pessimistic attitudes to emotional pain or even biology. Aaron Beck argues that depression is due to unrealistic negative views about the world. Beck starts treatment by engaging in conversation with clients about their negative thoughts. Pessimists, however, are often able to provide arguments that suggest that their understanding of reality is justified; as in Depressive realism or (pessimistic realism).[1] The pessimism item on the Beck Depression Inventory has been judged useful in predicting suicides. The Beck Hopelessness Scale has also been described as a measurement of pessimism.

Wender and Klein point out that pessimism can be useful in some circumstances: "If one is subject to a series of defeats, it pays to adopt a conservative game plan of sitting back and waiting and letting others take the risks. Such waiting would be fostered by a pessimistic outlook. Similarly if one is raking in the chips of life, it pays to adopt an expansive risk taking approach, and thus maximize access to scarce resources."

Criticism

Self-fulfilling prophecy 
Pessimism is sometimes understood to be a self-fulfilling prophecy; that if an individual feels that something is bad, it is more likely to get worse.

Pragmatic criticism 
Through history, some have concluded that a pessimistic attitude, although justified, must be avoided in order to endure. Optimistic attitudes are favored and of emotional consideration. Al-Ghazali and William James have rejected their pessimism after suffering psychological, or even psychosomatic illness. Criticisms of this sort however assume that pessimism leads inevitably to a mood of darkness and utter depression. Many philosophers would disagree, claiming that the term "pessimism" is being abused. The link between pessimism and nihilism is present, but the former does not necessarily lead to the latter, as philosophers such as Albert Camus believed. Happiness is not inextricably linked to optimism, nor is pessimism inextricably linked to unhappiness. One could easily imagine an unhappy optimist, and a happy pessimist. Accusations of pessimism may be used to silence legitimate criticism. The economist Nouriel Roubini was largely dismissed as a pessimist, for his dire but accurate predictions of a coming global financial crisis, in 2006. Personality Plus opines that pessimistic temperaments (e.g. melancholy and phlegmatic) can be useful inasmuch as pessimists' focus on the negative helps them spot problems that people with more optimistic temperaments (e.g. choleric and sanguine) miss.

Decay 
Nietzsche believed that the ancient Greeks created tragedy as a result of their pessimism. "Is pessimism necessarily a sign of decline, decay, degeneration, weary and weak instincts ... Is there a pessimism of strength? An intellectual predilection for the hard, gruesome, evil, problematic aspect of existence, prompted by well-being, by overflowing health, by the fullness of existence?"

Nietzsche's response to pessimism was the opposite of Schopenhauer's. "'That which bestows on everything tragic, its peculiar elevating force'" — he (Schopenhauer) says in The World as Will and Representation, Volume II, P. 495 — "'is the discovery that the world, that life, can never give real satisfaction and hence is not worthy of our affection: this constitutes the tragic spirit – it leads to resignation.' " How differently Dionysus spoke to me! How far removed I was from all this resignationism!"

An emo poem:

I am in somewhat of a rutt.
Or so I feel within my gutt.
I keep it real or so it seems.
I make no deals with Devils
But revel in dreams.

And I am on a level
That impresses even me.
I can write in any key.
Play the keyboards.
And I know all my chords.
My triads: Diminished
Augmented. Major minor.
I’ve invented or designed or
Re-invented sounds in synthesizers.
I can even play my sevenths and
Suspended ones. I don’t need to pretend
To some one else’s preferences.
I can play splendid
Jazz and reggae.
I can write good poetry.
I’ve got good flow you see.
I know how to compose and decompose and
Deconstruct and reconstruct.
I know how every bass line flows.
And I can write good prose.

And sing from both my
Diaphragm and nose and make a diagram
Of any song I wrote and to define the
Way it goes.

And I am versed
In knowing just how to rehearse.
I know my pitches, bitches
And I am ambitious.
I’m not superstitious about any body’s wishes.

So may be I am cursed.
Cause I’ve been doing this my whole damn life.
I can write sharper than a knife.
I can design a Saw.
I can write lines without a single tonic flaw
Or cross the line and break down every
Law.

I can discuss whatever music you bust out
So much that I must now distrust
The tendency that people have just to confuse it
All with noise.

And I have played with many toys.
A MicroKorg. A Casio. And (classy, non?) a ukulele.
I can wail like a chimpanzee
But it doesn’t phase me.

I do dancey. I do reggae.
I do punk and I do ska.
I can play a little bass
And just a trace of raw
Percussion. And I’ve played
The tuba and the trumpet.
And harmonica.

So music is my passion.
And my genre’s indietronica.

I’m sonically inclined and
Am melodically gifted.
I can recognise a riff.
Where others have to sniff
And sift it.

I can harmonise and re-devise,
And remix and revise

And make it sound totally sick.
So why can’t I just hit
A fucking
Lick?

I know my theory.
No my old technique.
If you could hear me as I speak
You’d say I have a voice.
So why then is my status weak?
Why is the passion of my choice
The grandeur that I seek
So damned outlandish?
Why if I stand out
Can’t people stand this?
I don’t understand it.

I’m devout in terms of Art
And my artistic values.
Shall you tell me why I seem to suck.
Or no one seems to give a fuck?

Dm.A.A.

DEBUT ALBUM available for sale on BandCramp! Dm.

( https://spontation.bandcamp.com/album/endless-fields-of-nothing )


TECHNOCRATS E.P. Available for seven USD on: Spontation.Bandcamp.com ! Dm.

Melbourne based/West-coast raised lyricist Aero.D has been putting pen to page since primary school. His songs are cathartic, forged from a desire to accurately represent himself, his perspective and his emotions through his words. Aeros sound is introspective, abstract and ethereal blended with both traditional and new-school HipHop sensibilities.
A member of seminal mid-2000s Perth HipHop duo Down South Crew with longtime collaborator Cortext, Aero has shared the stage with many of his childhood idols and inspirations including Atmosphere, KRS-One, Evidence and Drapht among many others. 
“CIRCLES” (Aeros first release since 2016s independent album “Shedding Skins”) is a collection of 8 songs representing the evolution of the artist from insecure 20-something to a man ready to claim his ‘young OG’ status.

BEWARE! Only the brave and strong of attention span will ever finish reading this bio!

I'm basically a mad scientist who, starting at the age of twelve or so, tried to apply a scientific epistemology to religion.
Eventually that lead me to a new goal of teaching philosophy.  I often waste precious time, writing music, researching the history of music, and trying to improve my humble recording setup.  That’s why I’m here. 
I'm obsessed with Industrial, along with early jazz and blues music.

I often imagine myself as a jazz musician who is trapped in a gothic-industrial universe.  The world is a harsh place made of concrete and grinding gears that force us to resist our sentiments and become part of the mindless assembly line.  The gods are toothless giants that enjoy pinching all natural men and women between their swollen and infected gums.  I’m a sentimental, and inexplicably hopeful, guitar player, who wishes he could sing, cutting through the soot filled air with melodies of humanity.
 That description sounds idiotic and pretentious.  If someone else described their music in that way, I might hit him or her in the face.  I’ve done it to myself before, and I seem to be earning it for speaking this way.
But I keep developing my music, as if it will one day be an honor to that description.
Consider for a moment that famous recording of Louis Armstrong singing "What a wonderful World." 
He grew up in a part of New Orleans that was so violent it was known as “the Battlefield.”  He began playing on the cornet. The popularity of the trumpet and cornet in the development of jazz was caused by the over abundance of those instruments left behind from the Civil War. 
The backdrop of his career is the inhumane treatment of his parents under slavery in the U.S. and his own struggles having been born in the aftermath.  The artifacts of war and rang through the air. Jazz musicians picked up the pieces and did the best they could with them. 
Armstrong's raspy almost monster-like voice, belts out "And I said to myself. What a wonderful world!" 
It was defiant and it was beautiful! 
That is my rationalization for the claim that there is an unexplored connection between Jazz and Industrial Music.   But I might just imagine that connection, because I’m a tool bag that should be punched in the mouth.

I think Industrial is about finding beauty in the horror, and I think Jazz and blues were about beauty from the horror as well. 

Some industrial musicians grew up looking at the Berlin wall and knowing they had family that love and cared for them trapped on the other side. They had to resist that love and give into the circumstance that forced them to resist those sentiments.  The machine would force them to be something other than what their natural sentiments would have made them.
 
Sometimes I imagine my music growing in the direction of an extremely disturbing musical that takes place in a dystopian New Orleans, or Chicago, or some other city associated with the history of Jazz. 

Again, that sounds silly and pretentious, so I'm tempted to punch myself in the face.

Then the plot of the musical involves a musician who gains a religious like following.  The dominant religion at the time opposes moral sentiments such as "compassion" other than in situations where acting on compassion involves a gruesome twist. 
So, even when I write music, I fail to escape my urge to write about philosophy. 
So again, I probably should punch myself in the face. 

I don't feel my music can be performed correctly without a live band.  But until I learned how to write in notation well enough or finish meticulously recording each individual track, I'm not sure how to describe it to other musicians. 

To get down to it, if you are like me, and have a project that you should probably get punched in the face for, maybe we can exchange time and help each other working on our projects.
(I will not be accepting punches in the face at this time.)

Currently, I've been working with <A href= "http://soundcloud.com/daring-danielle"> Daring Danielle, </a> on her Industrial Cello project.
But she does not deserve a punch in the face.
 Unlike me, she is a nice person.
She also has natural talent that emphasizes my deep inferiority. 

P.S.  Before I would be willing to meet with anyone for collaboration I must first confirm that neither you will kill me, nor I will kill you.

We write and sell royalty free music.
All for your special needs. Try and buy ready tracks directly from our social resources.

Quark Flavour Strange is one half of LCD Influence, Ryan Dick. In the short time that LCD was in existence they enjoyed considerable success releasing there debut album Will Eat Your Sandwiches which at the time of writing has been downloaded over 35 000 times from Brakpan to Budapest and from Rivonia to Russia! 

Though LCD Influence is not entirely dead with some South African dates still to fulfil, a physical release coming out soon and the prospect of some International tour dates in the pipeline for 2011, the urge to break away from the LCD Influences distinct style became too great. The need to experiment with higher BPMs, the desire to create more intensity in leads and the unrelenting need to do something riskier and stranger was just to great!

Quark Flavour Strange is not something completely different from LCD Influence but rather a evolution. Though a hardened LCD fan will recognise some similarities(The sense of fun and humour, the catchy leads and the ever evolving sonic landscape) they will also be thrilled by the depth and greater complexity as well as the harder edge that is Quark Flavour Strange. 

The Checks are a rock and roll band from the bottom of the planet.  Down there in New Zealand, the air is somewhat different, and so is this band. Undeniably, there is something confronting about the group. Perhaps the NME summed it up best with – “Not heard 'Hunting Whales' yet? Jesus h. Imagine Free jamming with Liam Gallagher the morning after he was battered by the German mafia, all blitzed to the tits on crystal meth, and you’re still only halfway there. This is their happening, and it will freak you out.” 

Giants of the music industry also recognise that this band is special. International acts such as Oasis, ACDC, Muse, The Hives, The Killers, Black Rebel Motorcycle Club, Jet, The Hold Steady, and R.E.M have all requested that The Checks open for them, both in New Zealand and around the world. Michael Stipe, of R.E.M, even felt the need to personally introduce them to the audience night after night.

The first album ‘Hunting Whales’(2007) was a blues inspired boogie recorded in RAK Studios, London and was produced by Ian Broudie. The lead single ‘What You Heard’ debuted at number 16 on the U.K indie charts and sparked a 117 show tour through New York, L.A, Berlin, Cardiff, Madrid, Barcleona, Dublin, Belfast, Sydney, Melbourne, London and Glasgow. The band cut their teeth and became one of the tightest bands on the planet under the age of 18. 

The sophomore release, ‘Alice by the Moon’ (2009) was self produced and won ‘Best Rock Album’ at the prestigious Vodafone New Zealand Music Awards. It was a departure from their earlier, more traditional, sound and an arrival into their weird and wonderful world of genre bending grooves. ‘Alice’ birthed crowd favourites ‘You and Me’ and ‘Ballroom Baby.’ Subcultureentertainment.com printed  “Alice by the moon is one of the best albums of the year and it is easy to see that over the years The Checks will soon be regarded as one of the greatest rock bands on earth. “ 
Deadly Summer Sway’ (2011) is the newly released offering that musically and conceptually capitalized on everything they started with ‘Alice’. It was produced by New York producer Bassy Bob Brockman, who having worked with Biggie Smalls, The Fugees and even Dylan claimed that working with The Checks was “one of the greatest experiences of his life- no doubt.”  The lead single ‘Candyman Shimmer’ caught the entire industry off guard and surprised fans and critics alike. “It’s experimental and exploratory. It’s exciting and addictive. I’d go so far to say, it’s the best thing they have ever done, so far.” – Andrew Tidball, Cheese on Toast.  

The Checks are a rock and roll band from the bottom of the planet.  Down there in New Zealand, the air is somewhat different, and so is this band. Undeniably, there is something confronting about the group. Perhaps the NME summed it up best with – “Not heard 'Hunting Whales' yet? Jesus h. Imagine Free jamming with Liam Gallagher the morning after he was battered by the German mafia, all blitzed to the tits on crystal meth, and you’re still only halfway there. This is their happening, and it will freak you out.” 

Giants of the music industry also recognise that this band is special. International acts such as Oasis, ACDC, Muse, The Hives, The Killers, Black Rebel Motorcycle Club, Jet, The Hold Steady, and R.E.M have all requested that The Checks open for them, both in New Zealand and around the world. Michael Stipe, of R.E.M, even felt the need to personally introduce them to the audience night after night.

The first album ‘Hunting Whales’(2007) was a blues inspired boogie recorded in RAK Studios, London and was produced by Ian Broudie. The lead single ‘What You Heard’ debuted at number 16 on the U.K indie charts and sparked a 117 show tour through New York, L.A, Berlin, Cardiff, Madrid, Barcleona, Dublin, Belfast, Sydney, Melbourne, London and Glasgow. The band cut their teeth and became one of the tightest bands on the planet under the age of 18. 

The sophomore release, ‘Alice by the Moon’ (2009) was self produced and won ‘Best Rock Album’ at the prestigious Vodafone New Zealand Music Awards. It was a departure from their earlier, more traditional, sound and an arrival into their weird and wonderful world of genre bending grooves. ‘Alice’ birthed crowd favourites ‘You and Me’ and ‘Ballroom Baby.’ Subcultureentertainment.com printed  “Alice by the moon is one of the best albums of the year and it is easy to see that over the years The Checks will soon be regarded as one of the greatest rock bands on earth. “ 
Deadly Summer Sway’ (2011) is the newly released offering that musically and conceptually capitalized on everything they started with ‘Alice’. It was produced by New York producer Bassy Bob Brockman, who having worked with Biggie Smalls, The Fugees and even Dylan claimed that working with The Checks was “one of the greatest experiences of his life- no doubt.”  The lead single ‘Candyman Shimmer’ caught the entire industry off guard and surprised fans and critics alike. “It’s experimental and exploratory. It’s exciting and addictive. I’d go so far to say, it’s the best thing they have ever done, so far.” – Andrew Tidball, Cheese on Toast.  

The recorded albums speak for themselves but it’s The Checks live show that invariably sets them apart. The musicians are genuinely special. Each and every one of them possesses an instinct to light up the stage. They also have one of the most inspiring front men in the modern game, “His voice, holy shit, switches between a searing scream to something more melodic and then moves like the devil possessed with some wild dance moves.” - Rip it up. Jonathon Poeman founder of Sub Pop records and Connor McNicholas, editor of the NME both saw the band only once before pledging their support. “What The Checks have beyond undeniable talent, and that so many bands lack, is soul and a genuine sense of musical purpose.” –The Fly U.K.

LΔNDI CHRISTINE is South African with passion for music. She was introduced to techno during her late teens, spending hours on the best dancefloors in SA. With the solace found in these moments, her obsession with the genre grew. 

Landi Christine feels moved by the intricate sounds in the depth of darkness and finds inspiration in the dramatic, driving basslines that carry one away from their current state of existence.

Landi has spent time teaching herself the art of mixing but felt the need to start from scratch, understanding the dynamics of musical production and ultimately launching her career as a multi-faceted artist in music production, a poet, vocalist and songwriter.

Landi Christine's sound is recognizable, clean, dramatic and thought provoking- bringing you to a sense of understanding of duality by the clever use of sound and words.

Labels:
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PHOBOS RECORDS
EVIL FLOW
TEKNOTRIBE 
FADE TO BLACK REC

Social & Music Platforms;
https://linktr.ee/landichristine

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