The big screen above the band at the back of the stage for this concert will show some of the most beautiful/epic horizons we have encountered during our expeditions and other travels.
We have done our best to pair the different clips with the songs that they seem to fit with.
Since we have not yet gone on our Mapping campaign, we will in this show only feature horizons we have confirmed ourselves, such as on the worlds of our allies.
Also, SSA is not yet fully constructed and commissioned, so the horizons of its still-forming planets and moons are yet to be revealed.
We might, however, at least show you lifelike CGI projections/renderings of them (how we expect they shall look once terraforming and helioforming in that new realm of ours is complete).
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Epic Sexy; Digital Daggers, etc.
- “Conan Theme”
- Digital Daggers – “Come Crashing”
- Digital Daggers – “Feel Like Falling”
- “Isfahan” by E.S. Posthumus
- “Siren’s Call” – Epic Score playlist
- “Nemo” – Nightwish
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“Conan Theme”
- narrated by Nyria? Djinnifer?
- shows clips of Auz growing up, going through more and more difficult training
- middle part of song = paired with his moments of standing in the wind, looking out at the foreign horizons, one after another, until there were so many that the clips had to be sped up to show even a small percentage of all he’s now witnessed and re-witnessed (return trips/expeditions)
- prouder-sounding end = paired with him starting to hike barefoot up taller and taller mountains, getting taller and taller walking sticks… until his current wizard-staff-like one
- showing his tattoos going on, one by one, until all planned 19
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Digital Daggers – “Come Crashing”
- Clary featured on stage with the band for this one!
- …
- “and I see the light”: screen shows _?
- “bring me back to life”: shows XXX love/sex clip/s
- “every time I look in your eyes, I see lightning”: clips of when Clary got star-struck and sex-sired to Auz
- “cover me when there’s nowhere to hide”
- “you come/cum crashing”: more tender passionate deep-sex ‘creampie’ moments between them, she helping him penetrate and fill her more deeply –by bracing for his thrusts, then caressing and lightly scratching under/around his nutsack to help him unload every last drop into her, and she licking in his ears for the same reason, etc.
- …
- “pull me into your untamed sky”
- …
- more stage/screen notes TBA
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Digital Daggers – “Feel Like Falling”
- ICV on keyboard for slow almost sad-sounding start
- other ICV takes the mic
- “a sudden spark ignites a sea of diamonds”
- “and from the dark, a li-i-ight breaks the silence”
- “We made a tear in time with love like lions”
- “ignites…”
- “ReleaseLet it feel like…Feel like falling”: shows cumming/creampies, girls going limp in wholehearted want of it, etc.
- screen shows pauses, or slowing during lovemaking, for lots of direct eye contact, really connecting with each other
- “I will hold them tight”
- clips of Companions and other sex-workers in Inisfree, and when they are in the Outlands, really connecting with their clients and clientele, resting silky female palms on their cheeks as the cumming starts and becomes mutual
- switch to showing their thighs tensing/shaking as the orgasm gets good/great
- then slow panning along their entire body, showing how the orgasms are helped to grow into energy-gasms (full-body, not just localized to the sex-organs)
- then shows bigger and bigger releases; during squirting dildos, splorches, animatronics, beastiality, creampie gangbangs, etc. (increase, step by step, until end of song / climax)
- mind-opening superpower-unlocking clips, thanks to literal sex-magic (full-body self-care / embrace / honing / practice)
- fade out as screen shows overhead, drone slowly rising up, pile of naked cum-soaked girls leaking cum, blushing, smiling sex-drunk-ly, toes gripping at sheets, etc.
- …
- stage act the whole time: sex on stage barely illuminated by the spotlights, and spotlights surge to full brightness during orgasms ICV-timed to go with the lyrics/loudening of this song
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“Isfahan” by E.S. Posthumus
- stage/screen notes TBA
- …
- instrumental start
- sounds romantic but a little sad
- screen shows beautiful Outlands places that had to be deleted and rebuilt, then vast wildernesses restored or even saved (before the humans managed to ruin them)
- then shows actual Isfahan, Iran (both its majestic near-sunset times, and its bad crowded parts)
- shows ICVs standing naked on sandy terrain in the distance, looking at the city during time-lapse, their hair in the breeze, changing to the colors of Iran’s flag, as the sun motion is sped up in these clips, showing it arcing high overhead, moving the ICVs’ shadows around
- then show ancient Iran, and how it was part of the Asgardians/Aryans; the people of the Age of Aries; how it started as far more glorious/beautiful/inspiring than it became in the modern era
- choir part of song: show Aryan choir; the tan and fair-skinned original inhabitants, flawless; beautiful females, handsome males, all in traditional red-on-white tunics, gender-specific/-couture, etc.
- show slow-mo’ horse-riding groups of those people dressed like that, out in the desert, then even farther back in time; before any of the Middle East had become the desert it is today
- maybe final clip hinting at where those Aryans rode/migrated to; a hidden remote mountain range or something, still not desertified by the modern fake humans (invaders)
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“Siren’s Call”:
- instrumental start
- female choir voice “ahhhs”
- ICV pilot-eyes (eyeball-cam/recordings) footage and other-jet footage of Inisfreean FighterJets (FJs) soaring/racing/contrail-ing out over the city-cleared Outlands, not yet over other worlds (because they haven’t gone to them yet)
- then clips of flying out toward the horizon of very different-looking worlds soft-disclosed to, and then visited/scouted by, us
- screen goes dark/off during pause
- more/louder choir part: shows wielding the weather on some of those worlds, stopping missiles exchanges on others, landing one of our giant egg-shaped DropShips on one, always a panoramic horizon-to-horizon camera-angle
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“Nemo” by Nightwish
- wind and thunder sfx start, lightning sound: screen shows those things; real footage of the most impressive such weather
- piano starts
- electric guitar
- bass
- ICV lead vocals starts
- “to find the missing lifeline”
- “oh, how I wish… for soothing rain”
- “all I wish is to dream again”: shows dreams forming in the mind, then the sky, then manifesting, represented by superimposed beautiful visions/clips on the terrain/ruins
- “my loving heart, lost in the dark”
- “for hope, I give my everything”
- “between the pages 2 and 3”
- “touch me with your love, and reveal to me my true name”
- during pickup-parts (livelier parts of this song): shows ICVs standing on a butte/plateau, wind whipping their color-changing hair back, naked bold-stances, really getting into strumming their guitars and hitting the drums, etc.
- angelic choir standing on cliff edge
- electric guitar solo by an ICV or Auz, hair whipping back
- drum strikes cause the circular drum surfaces to light up, each its own color corresponding to a note, over and over
- …
- stage/screen notes TBA
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“The Leaving”
- clarinet and oboe start; 2 ICVs playing
- rest of ICVs join in with other orchestra instruments of this song, softly
- shows clips of Auz packing up and leaving various fallen Outlands places/’communities’
- at interval with clips of him driving into the distance, then slowing to photograph beautiful nature/mountain/horizon scenes
- then him sleeping at night, almost always with no fire, just stars overhead, him clearly in deep though
- closeup of tears falling from his eyes as he goes to sleep alone for decades
- montage showing his aging/maturing into a man/king, and learning to heal most of the harm done to him by the evil/fake humans
- eventually shows him leaving for Antarctica, and dealing with horrible humans along the entire way
- then finally approaching Antarctica, and seeing Mt. Kirkpatrick start to come into view in the blizzard-haze distance, sun-dog sky-phenomenon to one side
- beepy near-end: shows the UFOs of Base 211 starting to show up and drop Angelic real-Germans off to help him start construction there
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“Dreamweaver” Cover
- low notes and piano keys start
- Dreamy of course sings this one
- no screen until solo start complete and song picking up
- “starry sky/ies, …astral plane”: screen now on, showing those as first clips/visuals
- “cross the highways”
- “help me to forget today’s pain”
- “dreamweaver”: shows clips of her actually weaving dreams, recording by IC dream-recording tech’; not CGI!
- song picks up / louder: orchestra/all band joins in, they now lit up in white and sky-blue or indigo spotlights
- “dawn may be coming soon”: shows horizon barely-not-black blue
- “dark side of the moon, …and meet me on the other side”: clips/CGI showing Auz’s dreams of the Moon being much closer/bigger, like in ancient (and future/coming) times, etc.
- as the verses are completed, more and more of her diaphanous swoop-collar dress starts to slip/slide down her shoulders and fall off, until she is completely naked, singing the end
- also: screen clips start showing highlights of Auz’s dreams; his favorites, or most-memorable/-detailed in general
- “we can reach the morning light”: sun rays break over the horizon, then the bright sun makes the screen go white, as the stage goes dark, all band and lead singer in darkness, no longer visible
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being considered: “Time” by Hans Zimmer
- stage/screen notes TBA
- …
- instrumental start
- Auz sings the Arabic intro words
- screen shows: sweeping Sahara etc. footage from a sightseeing flight/s
- ICV does backup vocals, the female version of the African voice that is the 2nd spoken part of this song
- bagpipe played by naked ICV, just like all ICVs in this band usually play all songs/concerts
- clips sequence of the different nations/landscapes/landforms of this region of the world/Outlands; all the Arab nations, plus how they were before modern times/corruption
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“Desert Journey”
- naked ICV sitting indian-style while playing the hand-drums
- band only dimly lit in brown spotlight, as if underground, keeping the focus on the screen
- screen shows Auz’s time in (deployments to) the desert of America (for training), then the desert of Iraq, then to more deserts; the Sinai (edge of the Sahara), and finally the ice-deserts
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“At Wit’s End”
- classic/timeless Pirates of the Caribbean orchestra piece, has to be paired with the best views of Auz’s first sea/ocean crossing/s; into the Bermuda Triangle!
- prep’ for his much bigger return voyage; a mega-expedition to ALL the Caribbean islands, avoiding the humans, going straight to the on-land and offshore/underwater ruins, invited into Atlantis-actual –or at least the part of it that is still in this region of the world
(that prep’ being his research about it, remote viewing, telepathic calling out to its merfolk, revising/completing his many different ship designs, etc.) - waiting for the invitation; no longer forcing his way in (which was a phase2 necessity/’thing’)
- and fleets of Atlantean high-tech’/magic ships meeting him, their females all flawless mermaids, etc.
- lullaby-like part of song: shows him going to sleep thinking about his mermaid loves; the hotties of the sea… soft-disclosed to him through movies and RP/chats over the years, and those who made sure he heard their actual-Siren sexy voices (in the Bozeman running-shoes shop, and aboard that first cruise, etc.)
- final third of song: notes/sound goes well with showing clips of badguy ships/fleet, or at least the trash and oil spills his forces had/got to clean up
- pickup near/to end: show the first handshakes and hugs, eyes lighting up, dimples starting to show, alliances forming wholeheartedly between him and the merfolk/Atlanteans
- final scenes: daring joint-missions they go on together to clean up and resurface the rest of their long-hidden/-submerged ocean-based kingdom/realm
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“Shadow on the Sun”
- Auz sings the way the original was sung; great masculine voice; smooth, low, almost raspy, just like his happy one
- “leave you where you stood”
- “you’d seen it done before”
- “I could read your thoughts, and tell you what you saw, and never say a word”
- guitar pickup / loudening part
- “and I can tell you why people die alone”
- show actual sunspots on screen
- “nothin’ but a hole, to live without a soul, and nothing to be learned”
- “why people go insane”
- “how you could do the same”
- “why the end will never come”
- next “I can tell you why… I’m a shadow on the Sun”: shows him approaching the Sun, able to soothe and enter it, it loving how soothing he is, etc.
- “shapes of every size… move behind my eyes”: show clips of his many inventions
- “doors inside my head… bolted from within”
- …
- finally a sneak-peak inside the core all stars share; how it looks like dark spots / shadows in them; the gates to the solar-systems and other times
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“Theology & Civilization”
- soft sweet slow smooth clarinet, oboe, triangle, etc.
- 2nd 3rd of song is where it picks up; livelier, paired with many ICVs and kajirae doing graceful ballet-like dances around the band
- at/after halfway point of song: slowdown, screen overhead shows majestic ancient Conan-era/-Age turnip-domes palaces/towns
- finger-cymbals played by ICV/s
- into end of song: picks up one more time –paired with time-portal view and memory-recordings from our long-lived allies who witnessed this now-ancient time on Earth
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“Conan-like” catchy drums and clacks/clicks used by Sylvie
- the sexiest/’rawest’ kajirae dances
- more and more kajirae joining on stage, moving almost chaotically at times, then lining up and filing back off stage as more fill their spots, continuing the dances
- band stays lit, but not brightly, nor dimly, behind them all
- screen is a non-distracting background-abstract sequence of desktop-wallpaper patterns of ancient/exotic color-schemes, similar to Turkish lamps texture/exteriors, not quite as colorful as stained glass or a kaleidoscope view
- final quarter of this song, screen starts showing auction house clips, shifting the focus off the remaining dancers, their dance-moves now starting to become familiar to the audience, even though they are still free/wild/’steamy’-af
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“Lost in Space” by Emmit Fenn
- stage/screen notes TBA
- starts with current footage of SSA still being started/formed/terraformed
- …
- ‘touching’ clips of the still-being-drafted upcoming Persephone TV show scenes
- Auz does vocals
- backups are Nyria, of course
- message on screen at some point: “These are visions of the actual coming future; of beloved Cyd, etc. …”
- …but not just Persephone sneak-peaks; also of Zed’, Soliara III, etc.
- …then even of Ideal World! –the farthest horizon (time-wise; last world to be made!)
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“Feel the Dream”
- stage/screen notes TBA
- …
- “come/cum on”
- “sun opens my eyes”: Antarctic sunrise, then simulated day-night cycle thanks to the sky-dome optical-illusion mastery
- “I thank heaven that your love is here by my side”: screen shows ICVs really happy that their High King loves them so much
- “that your love is keepin’ me warm”: creampies
- “turning real”: clips of ICVs enjoying taking their time feeling the many surfaces/textures/guests in Inisfree, etc. (literally feeling their maker’s (thus their; shared consciousness) dream made real/tangible)
- song picks up right before halfway point: clips of our night clubs
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“Making It Up”
- quick catchy keyboard sfx start
- sexy sigh voice sfx then, immediately followed by tube-drums/beats: screen shows hotties sighing during pauses of riding cocks
- more sighs, then “oo oo oo oo, ah ah ah ah” (x2): screen sync’s this to fave porn/love clips/recordings of orgasm starts (sex-cries)
- “I came here tonight…”
- “I don’t wanna fight, ’cause I really wanna… make it all up… to ya”: things showing how ICVs default to helping, avoiding combat/fighting whenever possible
- “that’s why I’m out here in the rain”: ICVs standing naked in rain facing their maker, both smiling lovingly-hornily (whole-body-and-soul wanting/attraction/compatibility) at each other
- “you cried”
- “I’ll spend forever on you makin’ it up”: shows ICVs riding cocks; literally “on you” –(and “makin’ it up” here is understood as a pun for “making it rise up; cause an erection”)
- …
- at start of 2nd quarter/third; when song picks up (loudens), best dancing starts; breakdancing skillfully spinning around the band members –while screen shows an expanding/transitioning shared-consciousness mental-horizon; all the knowledge of the ICVs and other ICs merging into a rapidly-growing understanding/view of All That Is (the biggest / most-complete horizon of horizons, perfect as the final song for the concert of this name)
- before halfway point: song calms/quiets down a moment, so breakdancing pauses until the beat-sfx returns/resumes (thus then the breakdancing, but not as intense as when the song was loud
- instruments stop except for that catchy sfx from the start, and then it too stops, screen off at same instant
- spotlights normal-white on everyone, as all dancers file back out on stage to rejoin the band, all of them holding hands and bowing in unison to the audience, then waving and blowing kisses farewell (Auz just waving, naturally)
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