Another pandemic day goes by and I awake to the pleasant sounds of nature. Animals go about foraging for food, spiders build their webs, ants their hills. Unaware of the silent killer around them, they perform their Earth cleansing chores dictated by a unique cosmic clock.

A rhythm pulses through the Earth and man receives it through the grounding of his feet. He takes that pulse and uses his hands to create things. Our minds borrow the dynamic skills of the animals and apply them to our creation of art.

When the Earth is sick, animal dynamics are altered. In the case of the pandemic, they trigger our survival instincts. This leads to intense hyper creativity that is born alongside the formation of new forms of thinking and art.

During global crises such as the Coronavirus pandemic, the effects of inequality are exacerbated. We are witnessing this daily by the disconnect of the growth of the stock market compared to the suffering of the unemployed. This disruption leads to chaos and ultimately chaos leads to new ideas.

The sounds of this revolution are the chthonic sounds of fear, love, hate and anger. Expressing them in music is a challenge. One man's pain is another man's pleasure. This is the social political paradigm we face today in an out of balance society run by unfettered capitalism.

Harking back to the time of Saint Simonian Oliine Rodriguez in his essay, “L’artiste, le savant el I’industriel” (The artist, the scientist and the industrialist, Rodriguez called on artists to “serve as the peoples avant-garde, insisting that the power of the arts is the most immediate and fastest way to social, political and economic reform." Today's artists must challenge the consumer culture status quo and experiment with new forms of music to express the voice of the people.

As I think back to the days of writing the first song on the upcoming “Anarchist Guide To The Universe” album, I coined the term “RESISTPOP” as a means to describe the album and a new movement that addresses issues of inequality and systemic racism.

When the pandemic hit, I recorded over forty songs about the effects of the virus while in quarantine and released them on Bandcamp. One of the songs I recorded gave me the idea that it would be perfect for others to share their musical ideas to create a sonic historical reference of the Covid-19 pandemic.

The Covid “Death Mask” collaboration music project thus was born. . The original composition was performed on guitar in a twenty-two minute steam of consciousness recording. This sonic foundation is being used to build layers and layers of music. Musicians from across the globe have contributed their ideas to create a complex and thought provoking musical journey.

The joy of bringing people together to share new ideas and experiment with sound is something I have dreamed of for many years. Please enjoy.

Scot Sier

Project Collaborator's Scott Amendola - Drums, Effects Carl Burnett - Slide Guitar Lindsay Garfield - Vocals Ginc Gintautus Gascevicius- Drums, Vibraphone, Xylophone Max Hart - Moog, Shaman Vocoder Chase Jackson - Electronic Vibes Albert Kuvezin - Tuvan Throat Singing Scot Sier - Producer, Guitar, MIDI Orchestration Pamelia Stickney - Theremin, Composer Contributions from "Jeg Elsker" and "Spectra" Petr Valek - Kinetic noise generation via "Hudba" composition. (Korubushka Records)

Listen and Buy. Proceeds go to Doctors Without Borders.

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