• Vladimír Hirsch - Epidemic Mind

    19 mai 2013, 7h45m par JanBlanicky

    Vladimír Hirsch
    Conceptual album. 2007.
    Vladimír Hirsch – composition, all instruments, programming,
    Kenji Siratori – lyrics, voice.

    The album Epidemic Mind opens wide space, but replete of dense and compressed atmosphere, microtonality and intense insight into amorphic harmonic structures. This is one of Vladimír Hirsch’s albums working with the theme of the dialogue between space and detail, cosmos and human. The parallel vertically and horizontally organized chaotic atonal melodic elements contrast with the slow, heavy rhythmical patterns and monotonic and emotionally plain expression of the spoken word of Japanese cyber-punk writer Kenji Siratori’s lyrics. The Japanese text is highly experimental, uncompromising, and intense, written in a style that not only breaks with tradition, but severs all cords with it, embracing the mayhem of the digital age.

    The atmosphere with inner atonal melodic chaos, but against the background of fateful rhythms, creating with with machine-like declamation general impression of apocalyptically monitory, expressive message.

    Jan Blanický

    URL :
    Vladimír Hirsch : Epidemic Mind

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  • My 20th group: Immortal Rock Vocals

    25 nov. 2012, 5h20m par musinum

    Be the first on your block to join my very newest group: Immortal Rock Vocalists. The connections are based on two rock lists at www.digitaldreamdoor.com: Top 100 Male Vocalists & Top 100 Female Vocalists. The connections are complete: the radio is still under construction. Place note that you will hear some non-rock on the radio, because this is based on vocalists who may cross over into gospel, soul, funk, pop, and country. The connections are individual artists, but the radio will include any bands or groups they are associated with: in many cases the band is better known than the singer. The lists are the opinion of the authors and are sure to inspire discussion and dissent. Good! Bring your opinions and your own lists and jump into the fray!
  • Vladimír Hirsch : Missa Armata . Invocationes

    6 sept. 2012, 9h02m par JanBlanicky

    Vladimír Hirsch : Missa Armata . Invocationes - Ars Benevola Mater, Sept.6, 2012

    TWO albums in ONE !

    The album contains two thematically similar works, original version of the battle Mass Missa Armata (English translation: "Mass in Armor") and Invocationes, a cycle of musical prayers. Both works belong to the larger main directional scope of Vladimír Hirsch's creative perimeter. In a musical context, they represent theconfrontational nature of his music. The character of rites is the main axis of both compositions. As such, bothprojects fit naturally together.

    Missa Armata (1999) is based on standard liturgical elements, except the final track "Exodus." The album however avoids using verbal singing of appropriate text as it is not a Mass itself, but rather, a narrative about the communication between its content the listeners' state of mind. Parallel to this, the album expresses afictional war story, where adversaries are forced to participate in a worship together. The composition is very strict and uncompromising, demonstrating a highly structured industrial sound combined with classical instrumentation and choirs, achingly electrifying noises and power-electronic force and energy. Approx. time 44 min.

    Invocationes (2001) is a cycle of 4 ritualistic musical prayers. The project is - both thematically and in means of expression - significantly related to Missa Armata, but the overall character structurally aims more towards dark ambient. Compositions have a deep ambience with immersive emotional perceptions, without sparing any intensity and urgency. The composition is an introspective journey inside a tempestous and submerged world together. Approx. time 34 min.

    Album obsahuje dvě tematicky podobné práce, původní verzi industriální mš Missa Armata a Invocationes, tématický cyklus skladeb pro integrovanou techniku. Obě práce patří k širšímu perimetru hlavního tvůrčího směřování Vladimíra Hirsche, představujíce formálně i obsahově konfrontační charakter jeho hudby. Protože obě skladby patří k tématicky, dobou vzniku i technologicky k velmi blízkým, byly zařazeny na společný disk a vydány více než 12 let po jejich zrodu.

    Elektronická mše Missa Armata (1999) se sestává ze standardních liturgických částí (s výjimkou závěrečné skladby "Exodus"), avšak bez užití verbálních vokíálních partů. Díky jednoduchému ústřednímu epickému rámci je spíše příběhem o jedné mši než mší samotnou. Ilustruje na počátku násilný střet dvou znepřátelených stran, které jsou však posléze přinuceny v něm ustat a zúčastnit se společné bohoslužby. Ta se stává znovu konfrontací, tentokrát však v dimenzích spirituálních. Jedná se o původní verzi alba, která nabízí vysoce strukturovanný industriální sound, často dospívající až k extatickému prahu power-elektronického charakteru, organicky sjednocený s klasickou instrumentací.

    Invocationes (2001) je cyklus 4 hudebních litanií. Skladby s výraznou rituální charakteristikou, dominantním industriálním soundem a repetitivními vzorci rytmiky, s deklamovanou i zpívanou religiozní lyrikou (Sv.Augustin, Enchiridion Indulgentiarum), především v hutné dark-ambientní atmosféře. Intenzita a naléhavost, přesto introspektivnost a ponoření, to je výsledná substance této alchymické práce.

    Musicians and cooperators:
    Vladimír Hirsch - electronic keyboards, synthesizers, vocals, integrated techniques, Tom Saivon - additional sounds, Martina Sanollová - backing vocals. Lyrics: St.Augustine, Raccolta (Enchiridion Indulgentiarum). Mastered by Vojtěch Haňka. Cover design: Marianna Auster.


    Missa Armata (43:11)
    1 Introitus (6:46)
    2 Kyrie (4:45)
    3 Gloria (6:04)
    4 Credo (7:10)
    5 Sanctus (5:38)
    6 Agnus Dei (7:27)
    7 Exodus (5:21)
    Invocationes (34:21)
    8 Invocatio I (7:37)
    9 Invocatio II (6:41)
    10 Invocatio III (8:19)
    11 Invocatio IV (11:44)

    ©2012 Ars Benevola Mater, catalogue number ABM44, jewel case

    Album video trailer on:

    Short previews of tracks on Last FM Radio:

    info@arsbenevolamater.com or
    Also on:
    http://www.vladimirhirsch.com/e_menu.html (PayPal - EU, USD)
    http://www.vladimirhirsch.com/cz_menu.html (PayPal - CZK)

    Release date: September 6, 2012
  • A passionate plea

    30 jui. 2012, 0h20m par musinum

    I am sending this out to all groups to which I belong. It is not about music, but it is about the world we all live in. It's aimed particularly at my American friends and co-members, but because of America's unique position in the world, it affects everyone and the kind of world we'll all be living in for a long time.

    Group leaders, it's up to you whether you treat this as spam, or post it. I try my best never to spam, but I feel so strongly about this that I'm willing to take the chance.

    I hope that as artists and appreciators of music and other arts, and as people who think and feel for themselves, the majority of us here can appreciate the historic importance of Barack Obama's election to the American Presidency, and the efforts he continues to make (against a very entrenched opposition who represent the interests of the rich and powerful) to make life more livable for the ordinary citizens of the United States and for the rest of the world as well.

    Perhaps some of us who cheered his election four years ago are disappointed that he has not been able to completely transform the world in the ways we had imagined, but as someone who has been involved in social causes for half a century, I can tell you that nothing comes quickly or easily. What is important is the fight and the day-to-day effort.

    I expect that a number of you see the world in exactly the opposite terms, and that an even larger number are not involved in politics and perhaps haen't given a lot of thought to the upsoming election. (I'm speaking primarily to the Americans among you here. Every country has its own issues and its own struggles, and there are brave and hard-working citizens in many countries fighting oppression that we Americans can scarcely imagine!) But what is at stake here is nothing less than the kind of country we will live in for many years to come.

    The message of the right is that if we take care of the rich and privileged, that the crumbs that fall from their table will eventually feed the rest of us. If that doesn't seem right to you, it may be because that particular social experiment was given an extensive trial thru the Reagan administration and thru Bush father and son. The result was disaster.

    What happened was exactly what you might expect when all the safeguards that were built into the system over the years to protect the rest of us from the abuses of money and power, and from greed and corruption, were systematically dismantled. The top tax rate is a small fraction of what it was fifty years ago, and we are being asked to lower it even further, at the price of cutting the services that most first-world countries take for granted: the social safety net, affordable health care, funds for education, care for the environment... the list goes on and on.

    The President has manged to get a good start at pulling this country back from the cliff it was about to fall over... but we are being asked to roll back all that progress and go back to the same things that got us in this mess in the first place. It is as if arsonists have set your house on fire, and then when the firemen are attempting to fight the flames with water, suggesting that we pour on gasoline instead!

    To those of my felliow Americans who feel as I do and want to help, I have set up a grassroots fundraising site with the ambitious goal of $5,000 for the Obama campaign. Any amount helps! My site is here:


    Thanks you,

    Tim Doyle
  • Why pop music sucks (theoretical proof).

    30 déc. 2010, 0h13m par blackless

    It's not a secret that every musical composition in the most general form can be described by an acoustic formula. For instance, let's consider the following:
    Y = X1 + X2 + X3 + , , , + Xn where Xi is a variable that in a given proportion and succession shows the quantitative form that represents all the acoustic qualities of any composition and let us describe it in musical notes. To go further , two probabilistic concepts should be taken into consideration. Firstly, the more statistical data you have, the easier it is to find out whether there is trend or not. Secondly, if there is a trend you can predict its future data with a certain degree of exactness.
    People often say that pop music is the same. And from the mathematical point of view it's the truth simply because in a given point of time we can find an almost linear relation between the popularity of a given song in general or in a given genre etc and it's acoustic qualities. Proceeding from the previous paragraph we can be sure that there is quite enough statistical data to say that we can simply measure what acoustic qualities of compositions in a given period of time are trendy thus we can write a formula of pop music for a given period of time which can look something like this (only an example):
    α = S1+ S2 + ... + Sn. But unlike the previous formula this formula has a certain degree of variability , thus it's not a determined acoustic interpretation of a given song but a formula that shows us most though not all possible proportions and successions of different acoustic qualities.
    Firstly, there is no doubt we can prove that trendy music is trendy. Secondly, it seems like pop artists can feel the trend, they have an almost mystical understanding of probability of art. For instance, Lady Gaga managed to hit major charts simply because she intuitively managed to comply with the rules of the abovestated formula by writing several ridiculously popular songs.
    On the other hand, people that devote themselves to a limited amount of genres and are proud of it, have nothing to be proud of. In fact, genres like or have even less variable acoustic formula than GaGa has. The situation from this point of view is even worse for genres like or etc.
    If we push this probabilistic concept of quality of music even further then academic composers create the best music, in other words their music can't be even observed as a formula . Moreover, academic music has been progressing and creating innovations for more than 1000 years and that means that it is continuously becoming more and more sophisticated and the theory is more and more complex. The greatest example of such fact is Iannis Xenakis. Many pretentious people say that art is art and theory is theory but they are wrong. As now you know that a musical composition is a formula then it's easy to comprehend that an average academic composer have better formal skills in or let's simply say better at creating formulas that an average amateur composer. Simply because of the skill. Somewhat similar thing with playing a musical instrument - if you have skills you play better.
    To sum up, people are different ,thus for most of us originality is not equal to enjoyment so there is nothing wrong with listening to pop music ( no one knows what's good and what's bad anyway) but you should really think about what you are listening to if you want to call yourself a person with a good taste in music.

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  • Vladimír Hirsch / Cryptosynaxis (DVD)

    20 oct. 2010, 8h36m par JanBlanicky

    Cryptosynaxis (DVD version)

    The Mass for integrated techiniques, op.64, 1999-2010. The original composition "Missa Armata" (1999) by Vladimír Hirsch was later reworked into the first Aghiatrias album, named FIELD MASS (2000). It was completely revisited and renamed as "Cryptosynaxis" (hidden worship in ancient Greek). The composition is based on standard structure of liturgical elements. The music demonstrates a highly structured industrial sound combined with classical instrumentation. The music demonstrates a highly structured industrial sound combined with classical instrumentation. It expresses a battle that is eventually disrupted by violent scream convincing enough to end the turmoil and for the both sides to take a part in holy Mass together. The Mass becomes the moment of realization, gradually eventuating in humility and sign of peace. In 2009 was album modified into a more cohesive work for audiovisual perfomance. The synchronized videomontage narrates between the holy and profane, light and darkness, order and chaos.
    Musicians: Vladimír Hirsch - electronic keyboards, synthesizers, digital technique, mix. Participation: Tom Saivon - additional sounds, lyrics, Timothy Simmons - spoken word. Video artist: Marianna O - videomontage and editing. DVD production by Tomáš Zima.

    Integrated Music Records (ARM 015 / Catch 042c).
    1. Eísodos,
    2. Kýrios,
    3. Empistosýni,
    4. Dóxa,
    5. Prólogos,
    6. Ágios,
    7. Entheí Arní.

    Total time: 45 min.
    Video preview (Eísodos) : YouTube
    Order (PayPal) on: vladimir.hirsch@gmail.com
  • [ISOR017] Visoposiv - Vlask

    12 août 2010, 0h47m par CEZARY-GAPIK

    Artist: Visoposiv
    Album: [ISOR017] Vlask
    Label page: Isolationism Records
    Cat#: [ISOR017]
    Date of release: 11 Aug 2010
    Styles: , , ,
    Format: File [FLAC]


    Release pages:
  • [ISOR007] Sean Derrick Cooper Marquardt - Swan Shaped Heart

    2 juin 2010, 15h28m par CEZARY-GAPIK

  • Vladimír Hirsch: Heathen Harvest reviews

    22 mars 2010, 21h06m par JanBlanicky

  • Vladimír Hirsch / Graue Passion, op.67B

    31 août 2009, 23h18m par JanBlanicky

    New album (CD) release by Ars Benevola Mater, September 1, 2009 :

    Vladimír Hirsch:
    Graue Passion, op.67B
    The revisited version of Symphony No.4 "Descent From The Cross".

    Performed by Czech Integrated Ensemble with soloists Vladimír Hirsch (keyboard instruments, digital technique) & Martina Sanollová (vocals). Recorded partially live at „Luminiscence Evening“, ČKD Hall in Karlín, Prague, November 18, 2008, rearranged, and remixed at CatchArrow Recordings studio, Prague, Czechia.
    Mastered by Vojtěch Haňka

    © 2009 Ars Benevola Mater, ABM39
    Format: CD in standard digipack
    Total time: 46:55 min.

    From the review by Martin Jarolím:
    .....I can say that new version of the author's 4th symphony is more lucidly expressed than original composition although does not touch with less overwhelming force. As though, it evokes in more crude and simultaneously more inward impression the blood of Golgotha, unearthly herniation of Light. This work is at all points organized and structuralized, it “hisses” by Cosmos and redemptions of crucified Word agony. For the dynamism and dramaturgy of sound radiance was very beneficial sensitive and empathetic work of soundmaster Vojtěch Haňka, that lightened the opus not only in its multilayered articulation, but also is the radiation of its mystical pulp. I recommend to everybody listen to this work on bended knees, personally, I cannot be sufficiently cloyed with transcendent offensive of that prayer, full of steep ontologic abysses and eschatological monumentality. I am astonished and scorched. Thanks. Opus magnum. Amen.

    Order: order@arsbenevolamater.com and vladimir.hirsch@gmail.com
    Price : 12,90 € (300 CZK)

    Graue Passion