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a i r o an 1. Slow T abbath 2. Black S tion 3. Cerebra ialysis) City (Kirby D 4. Engine ld Ones 5. Great O 6. Ariadne jell Veins 7. These F s y of Centurie 8. Our Lad 9. Passion 10. Politics sen 11. Resistan uneral 12. Erotic F t 13. Dry Spo
m r o f c i h p a r g n i m u b l a k c A ro
An exploration of primitive concepts of nature, and also the Grauballemanâ€™s monologue on gradually turning into leather. Will eventually be linocut.
th Black Sabba
A pictorial interpretation of Black Sabbath, the song, by Black Sabbath, the band. The visuals are especially based on the evocative intro and the thundering first chords. The liner notes were a help, too! Still, the temptation to make Black Sabbath in watercolors, without actually using black, was too great.
When dreams go astray, whoâ€™s to say what can happen? Cerebration is a tribute to the advantages of emotion over rationality; about feeding the brain with love on wings. The spreads are conceived as screenprints.
sis Kirby Dialy A giant robot fighting a huge superhero over the ruins of a great city; and the strange microcosmos that is at the inner workings of the robot.
Here is an unabashed salute to the works of Jack Kirby, and the floppy magazines of the â€˜70s.
Grea Old Ones
A tribute to three of the greatest quacks of the 20th century; HP Lovecraft, Charles Fort, and Erich von D채niken. Each have given shape to a unique vision of the world - although often contestable ones - and this song is an attempt to triangulate some different vision from the three.
An exploration of pre-alphabetical society, wondering how representations of objects became the linear writing system that has shaped the way Modern Man thinks.
Our Lady of s e i r u t n e C
Interpreting Nostradamus has never been an easy task, but interpreting his Centuries graphically, and at face value, word by word might at least be a new take on the subject. The page compositions will be inspired by Art Concrète, using a few, distinct signal colors. On a panel-level, more detailed motives focus on Nostradamus’ many animal symbols. As the original work reflects itself more than actual events past or present, “Our Lady” wil mostly draw parallels to other Astoria songs.
s These Vein
Black metal insists on being â€œoffâ€? in any sense, culturally as well as musically, and in adapting that ethos for visualization, the semantics of highpaced shonen manga occured to me. The black metallers are going to have my hide for that.
l l e j f
The final song should have a xeroxed fanzine aesthetic, black/ white and a single, metallic blue spot color.
â€œPassionâ€? is a methodical analysis of the mythical matter on which the biblical crucifiction builds. To underline the factuality of the song, the visuals are based on IKEA manuals.
The base motive is a row of ultraclose texture studies meant to serve as the lower-frequency drone of a distorted bass.
Subtitled â€œ...is a plural nounâ€?, this will be a jam session with several artists.
A party in an illegal underground bar runs amuck, and the drunken debauchery claims its victim -- or victims? Based on a waltz by Norwegian band Kaizerâ€™s Orchestra, the rhythm is interpreted in part by negative spaces that mold the image area. Drawn in carpenterâ€™s pencil and charcoal pens
Cartoony melancholy, a “Death and the Maiden” standard.
In the final version, each square panel will be a glyph, or character, in a computer font, allowing the user to “write” his/her own eROTic FUNeral.
Dry spot About desire and release. A mixture of three parallel narratives, commenting and interweaving with each other: Each movement of the piece in a different visual style.
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Published on Nov 14, 2011