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The Nexialist Octomeron

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Since I wear a cap with the Nexialist Octomeron and people asked me what it is about, it's my turn here to elaborate. The Nexialist Octomeron is a geometrical shape with eight corners. It was developed as a graphic symbol in the course of the ANGEL POSITION album project. Its origin is a photo of a building in the Dutch city of Almere. The moment I saw the Woontoren Silverline residential tower by Claus en Kaan Architecten in 2006, I knew it would be relevant to me at some point in the future. In 2007 I began writing and recording songs for what later became the ANGEL POSITION album produced for my music alias, Fragment King. The planned CD release of the album with MHz Records required illustrations, and one particular inspiration was soon found in the BLEACH anime. In one episode, Gin Ichimaru releases his Zanpakutō and, in follow his Bankai form, Kamishini no Yari. It cuts through the surrounding city with such force that the severed parts are lifted from the structures that su...
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THE GARDEN – with Z'EV

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I just found out there are still tapes available with our 2011 recording "The Garden", a nearly 20 minute track we released under the name "The.Bänd". They can be ordered through the Z'EV online archive. Percussion, Arrangement, Lyrics: Stefan Joel Weisser / Z'EV Vocals: Alexandra Von Bolz´n Bass, Synthesizers: Mark Kammerbauer / Fragment King   Link: https://www.thezevarchive.com/ Bandcamp digital version: https://zevalexandravonbolznfragmentking.bandcamp.com/    
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Lost Angeles: Slayer's Hell Urbanism

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Sometimes I write about music and how it influences architecture and the city – and vice versa. Here is a text about interrelations between music and cities from an urbanistic viewpoint, with Los Angeles and Slayer as examples.  Lost Angeles: Slayer's Hell Urbanism Author: Mark Kammerbauer Publication details: unpublished manuscript, 2024 1. Introduction: The city as mirage of counter-culture The music, lyrics and visuals created by bands can be indicative of the urban life their members experience. Their work can be seen as a form of dialogue between the music cultures they participate in and the urban spaces they inhabit. This dialogue establishes an interrelation between the musician's city of reality and the music's city of imagination. Perceived this way, music becomes a medium of alternative visions of the city or audible utopias and dystopias. The question this perception raises is: What kind of imaginary city do musicians envision and what does it tell us about the ...
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