#Yuko Nonomura

[brand-upon-the-brain]

The Vampire Doll (Michio Yamamoto, 1970)

[hiddenwashington]

@strwbrrymccn said : Can I reserve nobara kugisaki from jujutsu kaisen and get fc suggestions 😭😭

sure thing , love ! nobara kugisaki is reserved for risa until 9/28 at 6:54pm est ! for fcs , maybe : hamabe minami , koshiba fuka , nishino nanase , araki yuko , kutsuna shiori , nonomura kanon , komatsu nana , myoui mina , hashimoto kanna , or yoshikawa ai !

[thedrag0nking]

9:57 A.M.

Both the jiangshi and the umbrella yokai had appeared alongside with the younger sister of Remillia scarlet to bust into another one of the warhouses where the vampire human traffickers reside and they Destroy more of bloodletter's operations. Kogasa pulling out both doubke barrel M11911s killing a couple of daywalkers which lead into a shoot out between both sides. Flandre's laevetein had manifested into her hand, dashing fourth in the fire fight dodging bullets eviscerating multiple enemies. Yoshika join in the action with both of her metallic clawed hands turn into gatling guns, firing multiple rounds that made from sharp bone seeing the vampires torn limb from limb from the impact of these rounds.

The bloodshed continues on until one of the vampires appeared behind Kogasa, pointing his weapon behind her and begins to kill her but was stopped immediately by a swarm of insects and another force out of nowhere as the swarm eats the vampire's flesh while the individual uses her knife, running with such agility slashed every single vampire one by one until none are left. Upon their shock the beings revealing themselves to be the Yuko Nonomura the vampire doll, and the space kaiju Seiga Kaku. Seeing her former mistress in a form of swarm of wasps like insects all over the place made her be in a state of awe.

" ....S-Seiga?! "

" WHY THE FUCK IT HAD BE BUGS?!?! "

The swarm still covering all around Yuko she walked over towards them, just as Seiga had instructed her to do. The space Kaiju remove herself from Yuko and reform into the shape of a woman, confronting her jiangshi.

" Yoshika...my..baby...my baby girl...I can't...I-I can't... "

" Y-You shouldn't be here, h-how did the mutation take over so quickly? Seiga, y-you... "

" Seiga's love for you is so strong that she mutated into a new type of space kaiju. That's cool, but does she have to be a swarm..? "

" Seiga is becoming like me, and it's as to expect but who is this girl you've brought...? "

The vampire doll introduce herself to the three as she lightly bowed in front of her new family she's so promised by the former wicked hermit.

" My name is Yuko Nonomura, the vampire doll...please take great care of me... "

" E-Eh? Y-you have to be kidding me Niang Niang..! "

" Wait a minute, you're that vampire doll girl I heard you all about! Holy shit, I never thought you were real..! "

[jennpelly]

Arthur’s Heart Sutra

Arthur Russell was living in Northern California in the early ’70s when he met the insurance salesman who would become his Buddhist teacher, Yuko Nonomura. Having fled his home amid the Iowa cornfields as a teenager, Russell was residing in a San Francisco commune where he went by the name Jigme and played cello while people chanted at fire ceremonies. Nonomura would inspire Russell to leave his strict ascetic life and practice Buddhism within greater society. Not long after, he gave Russell a picture of a cloud. The cloud came from a batch of nature-focused photo slides that, at Nonomura’s suggestion, inspired Russell’s sky-like, sweetly rolling Instrumentals set, an ensemble piece that could be expanded for 48 hours.

These elemental slides are on display in Do What I Want, the first public exhibition of materials from Russell’s archive, which opened last week at the Brooklyn Academy of Music. One corner of the exhibit is covered floor-to-ceiling in a rendering of Nonomura’s pillowy white and cerulean tones—an invocation of the infinite—as a wall-card calls the cloud “a common symbol in Tibetan Buddhism representing the creative power of the mind and the ability to take any form.” Russell’s musical philosophy, too, was that of the cloud, of serene mutability. Like the shape of sound to come—or more to the point, its non-shape—he was boundless.

— I wrote about the Buddhist thread of BAM’s Arthur Russell exhibit 

[docrotten]

The Vampire Doll (1970) – Episode 105 – Decades of Horror 1970s

"Yuko, I am your... [father]." No, this line is not from a Japnese foretelling of Return of the Jedi, but to quote Norman Bates, “Oh God, mother! Blood! Blood!” We’re talking a garden hose with a spray nozzle. Join your faithful Grue Crew - Doc Rotten, Chad Hunt, Bill Mulligan, and Jeff Mohr - as they check out The Vampire Doll (1970), yet another vampire film (sort of), this time from Japan and Toho.

Decades of Horror 1970s Episode 105 – The Vampire Doll (1970

Keiko and her friend are trying to find her missing brother after he disappeared visiting his girlfriend Yuko.

- IMDb

  Director: Michio Yamamoto

Writers: Hiroshi Nagano, Ei Ogawa

Featured Cast

Kayo Matsuo as Keiko Sagawa

Akira Nakao as Hiroshi Takagi - Keiko's Fiance

Atsuo Nakamura as Kazuhiko Sagawa - Keiko's Brother

Yukiko Kobayashi as Yûko Nonomura - Kazuhiko's Fiance

Yôko Minakaze as Shidu Nonomura / The Mother of Yûko

Kaku Takashina as Nonomura's Employee Genzô

The Vampire Doll, aka Legacy of Dracula, aka The Night of the Vampire, aka Bloodsucking Doll, aka Yûrei yashiki no kyôfu: Chi wo sû ningyô, aka ,,, well, you get the picture ... was the first of three Japanese vampire films released by Toho, the follow-ups being Lake of Dracula (1971) and Evil of Dracula (1974). The three films were packaged as The Bloodthirsty Trilogy in a 2018 Blu-ray release from Arrow Films.

Bill loves the beauty-mixed-with-evil exuding from the film’s “vampire” and points out the prevalence of deflating hands found in vampire “deaths” of the era. Chad wonders what disease makes Yûko’s fiance’s face look so nasty and is touched by Genzô’s loyalty and caring for Yûko and her mother. The relationships between the film’s characters aren’t clear to Doc, but it turns out his Grue-mates aren’t completely clear about them either. Jeff thinks highly of The Vampire Doll but still likes Lake of Dracula a little better. Of course, each of them got all glassy-eyed over the bloody finale. Who wouldn’t?

Check out Decades of Horror 1970s - Episode 86 - Lake of Dracula (1971) for more Gruesome Magazine content on The Bloodthirsty Trilogy. At this writing, the three films included in The Bloodthirsty Trilogy are all available to stream on Amazon Prime. Japanese vampires and Toho! If you haven’t seen them, what are you waiting for?

Gruesome Magazine’s Decades of Horror 1970s is part of the Decades of Horror 3-week rotation with The Classic Era and the 1980s. In three weeks, the next episode in their very flexible schedule will be Fury of the Wolfman (1972) with Paul Naschy. 

We want to hear from you – the coolest, grooviest fans:  leave us a message or leave a comment on the site or email the Decades of Horror 1970s podcast hosts at docrotten@decadesofhorror.com. 

Check out this episode!

[thatothercosplayer]

Gundam AU

Billions of years into the future it became impossible to live on earth. Humanity traveled to the furthest stretches of the galaxy. Humans are jackasses though. The nations of the world booted out the mutants onto another space colony. The two sides hate each other. War begins. The new president of the United Nation of Mutants Yuko swears that she will bring an end to the war. 

Sado believes her. 

Yuko has granted a young woman Ikura Hakase unlimited funds to develop new weapons. Ikura, Keiko, and Yuna developed gundams elite mechas that work with mutants powers. The gundams has allowed them to turn the tide in the war. 

“Nonomura, status report.” Sado asks her little brother. 

“I have the target in my sight. Hakase has left on her own.”

Suddenly a voice breaks through the command room. 

“Hiya mutants! We’ve known your location for the entire time. We’re going to slaughter you in an all out attack! Hey, Hey, Hey Hikari. Wanna see whose light is stronger mine or yours. " 

Fuck. Right was a mutant who made him imaginary fantasies into real objects. Ikura gave him the imagination gundam which he stole when he defected to the other side. Sado has always hated the kid. "Hikari ignore Right. Focus on the target.”

“Hey, hey, Hikari. I can see it. I can see your final stop. Play with me.”  The imagination gundam summons a large dragon. 

“I’m sorry to but into the homoeroticism boys.” Ikura interrupts them. She is standing in the middle of space surrounded by thousands of shit tier mechs. 

“Hakase! What are you doing!? Return to your post at once." 

"Sorry Commander.” Ikura presses a button on her gundam big guns pop out. “Say bye bye boys.” She shoots down all of the enemy in one hit. “Can this story get any more cliched? The imagination gundam is op. I will come up with something even more op.”

Sorry I just one upped you, dude.

[stormyrecords-blog]

new arrivals 3-1-17

stormy records13306 michigan avedearborn, mi 48126 313-581-9322 hello friends of stormy!!great used jazz lps in this week - django, herbie, miles, and a bunch of meat and potatoes rock and roll, with added dashes of experimental and sound effects lps. moog, kodak - it's bee a good week for interesting used lps!! in TODAY Goblin - Profondo Rosso (LP)  $32.99Goblin - Suspiria (LP)  $32.99Goblin - Tenebre (LP) $32.99goblin soundtracks for horror films back in stock!! always a spine tingling listen!! Coil - Astral Disaster (LP)  $26.99In 1998, Coil were invited to record at Sun Dial’s studios beneath the London Bridge Hop Exchange—a studio originally know as Samurai Studios, originally built and owned by Iron Maiden. The premises in Victorian times was an old debtors prison which had three underground levels, and still had the original chains, manacles and wrought iron doors from the old prison. This caught the attention of John Balance, who was very keen to record there. Coil spent a number of days recording at the studio during Halloween 1998. With Gary Ramon’s help, they developed a number of tracks, some of which resulted in this LP. Ramon produced and mixed the Astral Disaster recordings, as well as playing guitar and sitar on these sessions. A version of the album was later remixed by the band and released on their own label—but the Prescription mixes as released in 1999 are unique. This rare album was part of the legendary subscription-only Prescription label album series in the late 1990’s, issued in an edition of 99 signed and numbered copies, long since sold out. (If you are wondering, originals fetch £700+). This is the first time the album is being released officially since 1999. Taken from the original masters, this reissue comes with original sleeve artwork, insert, and the facsimile signatures of John Balance and Peter Christopherson that came with the first issue. Yellow vinyl limited edition of possibly the rarest of all Coil recordingsRecorded in 1998 at Sun Dial studios, in the bowels of a Victorian era debtor’s prison Twin Peaks: Fire Walk With Me (2xLP)  $44.99Fire Walk With Me is an altogether more brooding affair than the Twin Peaks series soundtrack. Badalamenti won a grammy for the title track of this LP and it’s not hard to see why- it’s dangerous, and bursting with smokey jazz thanks to Jimmy Scott. We went back to the master tapes in the Warner Archives and had this recut to fit across two LPs as the score clocks in at 51 minutes. It sounds incredible and punchy, but super nuanced too.Director approved artworkComposer approved audioSleeve notes by film critic Mark Kermode (approved by David Lynch and Angelo Badalamenti)Vinyl re-master by Tal Miller at Warner ArchivesLaquers cut by David Cheppa at Plush Vinyl2 × 180G Cherry Pie vinyl425gsm Gatefold sleeve housed inside a bespoke black die cut outer jacket with black spot varnish finish, complete with obi strip Angelo Badalamenti - Twin Peaks (Original Soundtrack) (LP) - 2nd Pressing  $32.99“I’m glad that after 25 years, Death Waltz Recording Company has re-released the original soundtrack for Twin Peaks for a new audience to enjoy. This is my defining work as a composer and I’m happy it will get a fresh listen” – Angelo Badalamenti 2016 Hayes McMullan - Every Day Seem Like Murder Here (LP)  $31.99Bluesman. Sharecropper. Church deacon. Civil Rights activist. Hayes McMullan should be a name on every Blues aficionados’ short-list and thanks to the preservation fieldwork carried out by one of the genre’s greatest researchers some 50 years ago – it might soon be. Born in 1902, Hayes McMullan was discovered by the renowned American roots scholar, collector and documentarian Gayle Dean Wardlow. Wardlow, author of the seminal blues anthology Chasin’ That Devil Music – Searching for the Blues, may be most famous for uncovering Robert Johnson’s death certificate in 1968, finally revealing clues to the bluesman’s mysterious and much disputed demise. Moreover, in his tireless and committed mission to preserve the Blues for future generations, he captured McMullan’s raw talent on tape and on paper. Wardlow recorded these sessions, transcribed the songs and now, writes the sleeve-notes for this landmark release. Wardlow and McMullan met by chance on one of the former’s record-hunting trips, in Tallahatchie County, Mississippi, in 1967. Having introduced himself to McMullan on a hunch, it turned out this unassuming elderly man had not only heard of Wardlow’s idol, Charley Patton, but had played alongside him in the 1920s, as part of a brief musical journey that took him from the plantation to the open roads and juke joints of the Depression-era South. Striking up a friendship that was deemed unorthodox in 1960’s Mississippi, Wardlow traveled to McMullan’s sharecropper’s shack and convinced him to play guitar for the first time since he quit the Blues for the Church in the 30’s. “Hayes was playing like no one I had ever heard,” Wardlow writes with amazement. Wardlow visited McMullan on a handful of occasions, always taking his recorder, a guitar and some whiskey with him. It was during these visits that Wardlow captured – with surprising clarity – the songs that make up Everyday Seem Like Murder Here. Hayes McMullan passed away at the age of 84 in 1986, his talent and legacy largely unknown. “Reflecting now on our brief time together, I marvel at the small glimpse of something much larger I was lucky to have captured,” writes Wardlow. “The few old snapshots I took, the handful of tunes we recorded, and his brilliant performance of “Hurry Sundown” captured on film are all that’s left of the musical legacy of Hayes McMullan, sharecropper, deacon, and—unbeknownst to so many for so long—reluctant bluesman.” Konami Kukeiha Club - Castlevania 2: Simon's Quest OST (LP)  $27.99Mondo is proud to celebrate the 30th anniversary of the Castlevania franchise with the premiere vinyl release of the original soundtrack to the 1987 Famicom / Nintendo Entertainment System sequel: Simon’s Quest. Featuring both the NES and FAMICOM versions of all 9 BMG tracks from the game. Musically, Simon’s Quest is the origin of one of the most popular of Castlevania BMG, “Bloody Tears.” A staple of the sonic landscape for the series, here it is as the soundtrack to your daylight encounters across the dangerous Transylvanian landscape. It is one of the catchiest 8-Bit tunes to ever come out of this era of Konami games and an example of the best of what Video Game Music has to offer. IN ON THURSDAY RUSSELL, ARTHURInstrumentals 2LP  $34.99"Remastered double LP with 12 page booklet including liner notes by Tim Lawrence, Ernie Brooks and Arthur Russell. All material previously released on the Audika CD compilation First Thought Best Thought (2006). Before disco, and before the transcendent echoes, Arthur wanted to be a composer. His journey began in 1972, leaving home in Oskaloosa, Iowa. Heading west to Northern California, Arthur studied Indian classical composition at the Ali Akbar Khan College of Music followed by western orchestral music at the San Francisco Conservatory of Music, before ending two years later in New York at the Manhattan School of Music. Traversing the popular and the serious, Arthur composed Instrumentals in 1974, inspired by the photography of his Buddhist teacher, Yuko Nonomura, as Arthur described, 'I was awakened, or re-awakened to the bright-sound and magical qualities of the bubblegum and easy-listening currents in American popular music.' Initially intended to be performed in one 48 hour cycle, Instrumentals was in fact only performed in excerpts a handful of times as a work in progress. The legendary performances captured live in New York at The Kitchen (1975 and 1978) and Franklin St. Arts Center (1977) feature the cream of that eras downtown new music scene including Ernie Brooks, Rhys Chatham, Julius Eastman, Jon Gibson, Peter Gordon, Garrett List, Andy Paley, Bill Ruyle, Dave Van Tieghem, and Peter Zummo. Pitchfork lauded Instrumentals Vol. 1 as a masterpiece and one of Arthur's 'greatest achievements'. Americana touching on Copeland, Ives, and maybe even Brian Wilson. Instrumentals Vol. 2 is a moving, deeply pastoral work performed by the CETA Orchestra and conducted by Julius Eastman. Also included are two of Arthur's most elusive compositions, 'Reach One', and 'Sketch For Face Of Helen'. Recorded live in 1975 at Phill Niblock's Experimental Intermedia Foundation, 'Reach One' is a minimal, hypnotic ambient soundscape written and performed for two Fender Rhodes pianos. 'Sketch For Face Of Helen' was inspired by Arthur's work with friend and composer Arnold Dreyblatt, recorded with an electronic tone generator, keyboard and ambient recordings of a rumbling tugboat from the Hudson River. For this remastered vinyl edition, a key part of Arthur's musical life has been restored. The sparkling, multidimensional results take the listener closer to Arthur's coast-to-coast journey: his iconoclastic determination to combine pop and art music; and his desire to make music that would resonate in the present and, ultimately, across time." BROTZMANN/VAN HOVE/BENNINK PLUS ALBERT MANGELSDORFFElements LP   $34.99Peter Brötzmann: tenor saxophone; Fred Van Hove: piano; Han Bennink: drums, voice; Albert Mangelsdorff: trombone. Recorded during the Free Music Market, August 27 and 28, 1971, in Berlin. Designed by Peter Brötzmann. Part of the legendary "Berlin Trilogy" originally released by FMP in 1971 (FMP 0030). 180-gram vinyl. One-time pressing of 500. First standalone reissue. "What reveals itself in the über energetics on display here is the ability of one quartet to take so much for granted and yet express so much in the process. Van Hove, for instance, shuns all conventions in his approach to the piano: he quotes Liszt and Schubert as well as Ellington and Peterson then wipes all of them out with his elbows as if erasing a chalkboard. His 'Florence Nightingale' is a perfect example. Texturally, he creates diversions from the fury while never disengaging from it. Brötzmann and Mangelsdorff are out and out challenging each other to see who can destroy their instruments first, and Han Bennick is the most proactive percussionist in jazz history. His use of anything and everything while simultaneously playing a trap kit that creates time is astonishing. Elsewhere, on Brötzmann's 'Elements,' African percussion and slow, long opened tonal drones by Mangelsdorff create a backdrop for the other two to explore without rushing in. Brötzmann enters almost tenderly, looking for a room to exit out of, but engaging himself in the microtonalities created by the rhythm section. Van Hove's long augmented chords create a mode for not opening but splintering that exit and Brötzmann ushers the band through in a hurry heading for the outer reaches of the possible. . . . one of the best documents of the period on any continent." --Thom Jurek, AllMusic, 1991 BROTZMANN/VAN HOVE/BENNINK PLUS ALBERT MANGELSDORFFCouscouss de la Mauresque  $34.99Peter Brötzmann: tenor saxophone; Fred Van Hove: piano; Han Bennink: drums, voice; Albert Mangelsdorff: trombone. Recorded during the Free Music Market, August 27 and 28, 1971, in Berlin. Designed by Peter Brötzmann. Part of the legendary "Berlin Trilogy" originally released by FMP in 1971 (FMP 0040). 180-gram vinyl. One-time pressing of 500. First standalone reissue. "Brötzmann's regular trio was joined by the trombonist Albert Mangelsdorff, one of the most respected German jazz musicians, who has managed to keep abreast of musical developments for more than a decade. Those who remember him only for those fine early-sixties albums (like Tension, on German CBS) will be in for a shock, because he's updated his playing all the way. On 'Couscouss De La Mauresque', for instance, his tonal distortions rival those of Paul Rutherford, as he backs Brötzmann's wailing with a rip-snorting obligato. He has the advantage of being a virtuous technician, so that some of his wilder flights are truly breathtaking. . . . Mangelsdorff's technique doesn't hinder his fire, either, and he's well able to stand up to the rest of this very hairy band. Van Hove and Bennink obviously know each other inside out by now, and you'll hear few more exciting passages of music than their interlude during the trombonist's solo on 'Couscouss'. Bennink is getting further into textures every day, and on this album makes great play with his steel-drum and many unidentifiable implements, thus giving the music a great deal of variety. If you wanted to buy just one of these records, it would be very hard to choose because the level is so high throughout." --Richard Williams, Melody Maker, February 5, 1972 BROTZMANN/VAN HOVE/BENNINK PLUS ALBERT MANGELSDORFFThe End  $34.99Peter Brötzmann: tenor saxophone; Fred Van Hove: piano; Han Bennink: drums, voice; Albert Mangelsdorff: trombone. Recorded during the Free Music Market, August 27 and 28, 1971, in Berlin. Designed by Peter Brötzmann. Part of the legendary "Berlin Trilogy" originally released by FMP in 1971 (FMP 0050). 180-gram vinyl. One-time pressing of 500. First standalone reissue. "The great thing about this trilogy/set is how naturally everything flows. . . . each subdividing of the group, each solo excursion, feels smooth and logical, as though the player(s) in question had nodded to the others as if to say 'Gimme a minute here, I've got an idea,' and received assent in response. There's all the ferocity any free jazz diehard could ask for, but it never goes on so long that it becomes schtick, and it's always countered by passages that are genuinely beautiful in the most conventional, you-could-play-this-for-your-mom sense. Even without Mangelsdorff, Brötzmann, Van Hove and Bennink were a remarkably empathetic and attuned team, and when he joined them (and these records document their second and third times playing together, ever), everyone's game was raised." --Phil Freeman, Burning Ambulance, 2013 Dominatrix: Dominatrix Sleeps Tonight LP $19.992017 edition. "The Dominatrix Sleeps Tonight has a long and storied history among connoisseurs of '80s New York dance music. Combining catchy, deadpan synth-pop and classic '80s electro hallmarks with the provocative edge of leather-and-lace sex culture, it remains a worldwide dancefloor staple to this day. Despite its popularity, little has been known about the song's background. The brainchild of producer Stuart Argabright (nee Arbright, a member of the groups Ike Yard and Death Comet Crew); alongside DJ and remixer Ivan Ivan; Kenneth Lockie (from Cowboys International, and early Death Comet Crew); and vocalist Claudia Summers; the song's dominating female subject was based on a person whom Arbright had dated. The song -- and a banned-by-MTV video that today could be mistaken for a Victoria's Secret commercial -- became a club smash at famed Danceteria and other urban meccas. But, despite some leather-clad live dates in 1984, the group itself was short-lived. This special Get On Down vinyl edition is sure to be coveted by fans and collectors. Beyond four original mixes of the song (12", Chants, Dominant and Beat Me) that fans know and love -- this full-length LP includes the newly unearthed song 'Play It Safe' and the rarely heard, hypnotic 'City That Never Sleeps,' in addition to the rare 1984 'Scratch Mix' of the original title song, with cuts by the legendary DJ Red Alert. The deluxe vinyl package is accompanied by a 16-page glossy booklet with text by writer Dave Tompkins and input from Argabright and Ivan Ivan. Additionally, fans will be thrilled into submission by visuals and press clips relating to the original release on Arthur Baker's Street Wise Records; the song's provocative video; as well as the dominatrix culture in New York City at the time which inspired this unlikely smash hit." Moondog: Viking Of Sixth 2LP $26.992017 repress, originally released in 2005. Tremendous gatefold presentation and one of HJR's most impressive documents to date. "The first overview of Moondog's amazing artistic life -- including recordings spanning from 1949 till 1995, with numerous 78s and various other vanished records revived for the first time (not to mention a couple of Weegee photographs!)." JULIE'S HAIRCUTInvocation And Ritual Dance Of My Demon Twin   $18.99Julie's Haircut - Italy's premiere psychedelic explorers - create a deep-end approach to sonic innovation on Invocation And Ritual Dance Of My Demon Twin, their debut release for Rocket Recordings. Seven albums into their mission, the band find themselves at a new plateau of small-hours elucidation and revelation that may summon the specters of the wayward squall of early Mercury Rev, the shamanic allure of Dead Skeletons, the freedom of Miles Davis, the repetition of Can, or the wild soundscapes of Amon Düül II to some, yet essentially sound like no one but themselves. The result is a record built on trance-like repetitions that grows to a mantric intensity, summoning atmospheres redolent of the psychic and surreal transgressions of its title - a double-helix tribute to both Frank Zappa and Kenneth Anger. Coruscating guitar overload and jazz-tinged blow-out collide amidst hypnotic soundscapes like the shamanically inclined "The Fire Sermon" and the eleven-minute motorik magnificence of the curtain-raiser, "Zukunft". Atmospheric restraint, glacial texture, and immersive groove play as large a part in this blinding and beatific sound world as droning darkness or overheated amp tubes. Lucier, A: Music On Long Thin Wire CD $14.991992 release. First released on Lovely Music in 1980. A 50-foot length of taut wire passes through the poles of a large magnet and is driven by an oscillator; the vibrations of the wire are miked at either end, amplified, and broadcast in stereo. The thin wire is set vibrating four times at four different frequencies; what results is not the low drone one might expect from a long, vibrating wire, but a complexity of evocative, ethereal chords. Music On A Long Thin Wire is a classic example of Alvin Lucier's investigations into the physics of sound and the sonic properties of natural processes. CHRISTIANSEN, HENNING  $29.99Opus 67 Strategygetarts A Symphony, Hommage A Richard Demarco LPOpus 67 Strategygetarts A Symphony, Hommage Á Richard Demarco is a previously unissued recording by Henning Christiansen from 1971. In 1970, the Richard Demarco Gallery in collaboration with the Kunsthalle Düsseldorf organized the exhibition, Strategy: Get Arts. This celebration of art from Düsseldorf was held at the Edinburgh College of Art during the Edinburgh International Festival. The title of the exhibition was a palindrome created by André Thomkins and featured works by Joseph Beuys, Claus Böhmler, George Brecht, Henning Christiansen, Robert Filliou, Dorothy Iannone, Mauricio Kagel, and Dieter Roth amongst others. Opus 67 Strategygetarts A Symphony, Hommage Á Richard Demarco was sent to Richard Demarco as a gift following the exhibition. Having returned to Denmark, Christiansen, along with sound technician Peter Sakse, created Strategygetarts, a sound collage incorporating field recordings from urban spaces, supermarkets, a boxing game, etc. The sole "musical" element is a piano motif which repeatedly punctuates the recordings. The first side moves forwards, the flip back. A reverse groove will set you straight. Opus 67 Strategygetarts A Symphony, Hommage Á Richard Demarco comes in a high-gloss sleeve, featuring two original artworks by Henning Christiansen; Edition of 500.

[thedrag0nking]

3:08 P.M.

The sounds of heart beating, the screams of the helpless, the cold loneliness of the dark corners of the obituary street of neoxus city lies numerous of bodies of dead daywalkers who're found drained if blood, mutilated and their body parts mangled all over. They were killed by another vampire, but this creature is no ordinary vampire. This creature is another type of Kaijin nome other than the infamous Yuko Nonomura, the vampire doll who died in a car crash years ago now reborn through the hypnosis by her father who recently had pass away through heart complications. The girl's now all alone, forever cursed in a state between life and death she hunts through the city searching for fresh victims but sadly it's now day time, and...all she has left is this dark corner she now resides until the night is young again.

" Day time.... "

The vampire doll drags the bodies back to the dark corner where she begins feeding more on the carcass as she's still hungry for the blood and flesh of the living. Nonomura couldn't resist the hunger, it's more stronger than ever before and she isn't one of these other vampires who're born from a virus that is created from Koishi's blood, but an actual new type of vampiric creature.

However all her sad loneliness changed, all of her sorrows will go away when she has encountered the swarm. The swarm that take the shape of a woman, walking passed the vampire doll, is the kaiju Seiga Kaku who wanders alone avoiding all contact searching for the jiangshi, weeping through the corner of this street. It didn't take long until she had stopped, turning towards Nonomura who is all alone eating these carcasses.

" Yoshi....ka...? "

The swarm began to slowly fly towards the vampire doll, carefully not trying to harm the girl she sense that the girl is an unique type of undead one that is created through such a type of hypnosis.

Yuko Nonomura surprisingly isn't afraid of the space kaiju in front of her instead she's ready to die, she's ready to be put down out of her misery like a suffering dog. She let's the former hermit do whatever she so please since she's not only lost her fathet but also her home.

" If you're here to kill me, please get it over with. Please... "

Seeing the grief and sorrow on the vampire's face, the queen of the swarm that is Seiga had revealed herself to the girl to offered her comfort while confronting her. The creature too suffered from grief and loss of Yoshika as well hense why she is looking for her as she's tireless and refused to give up.

" Why...? Why beg for death...? "

" My father is gone, all along with my home. I...I have no desire to live anymore.... the sky too bright it'll kill me if I step fourth. "

" Then let me...take care of you... let us take care of you...for now on you belong to us...New family... "

The swarm forms all around the queen back to the shape of a human woman and offers the vampire doll her hand, upon hearing this she never expected the space kaiju to really accepted and adopt her. Despite being like her she was hesitant but the thought of her having a new home and a family that'll love her how can she refuse? She takes her hand and that is when Seiga swarms all over Yoko covered her entire body with the insects as they acted as a protective shield protecting her from the light. The queen now attached the back of the creature, both the kaiju and the kaijin are together as one.

" What...did...? "

" Protecting you from the light little one...move out and see for yourself... "

" ...Okay. "

Yuko Nonomura slowly stand up from the ground and walks out of the corner slowly just to see she is right. Once she walked out of the corner, the light is bright but the sun isn't harming her, no in fact it has no affect all thanks to the space kaiju. The kaijin let out a sigh and begins walking freely into the streets of obituary. The first time in ever that the girl is happy underneath the expression that she can freely walk into the city without much problems, without the sun trying to kill her. Thus both she and the kaiju began their odd symbiosis.

Yuko Nonomura glances at the queen attach behind her back as she wanted to thank her for all of this, a tear shedding from her eye as she finally found someone to call family.

" Thank you...whatever you are... "

" It's seiga.... "

" ....What now? "

" Follow my lead, find Yoshika... "

Yuko felt like this is the start of an odd bond between she and the space kaiju now taking of her, to repay the former hermit she now has to find the jiangshi into the streets of the city no matter the cause. The vampire doll is just as dangerous as Seiga, she has her back while she has Seiga's.