Vô Thường: “Nguyệt Thực” Full Album (2:12:27)
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Google Deep Dive Podcast’s: Echoes of Impermanence: The Psychedelic Soundscapes of Vô Thường
Vô Thường’s Psychedelic Odyssey—A Luminous Fusion of Vietnamese Tradition, Experimental Rock, and Cosmic Transcendence
“It is not impermanence that makes us suffer. What makes us suffer is wanting things to be permanent when they are not.”
— Thich Nhat Hanh – Source: The Heart of the Buddha’s TeachingThis quote by the Vietnamese Zen Master Thich Nhat Hanh encapsulates the essence of embracing change and the natural flow of life. By accepting impermanence, we can find peace and reduce our suffering.
Vô Thường – Sounds of Impermanence: A Journey Through Psychedelic Vietnamese Rock
In a world obsessed with youth and novelty, Vô Thường stands as a living contradiction—a band that embraces impermanence not as a fleeting moment, but as a force of creation. Five women, each in their fifties, each with a lifetime of stories etched into their voices and fingertips, have come together to craft an album that bends time, space, and tradition.
This is not nostalgia. This is not revival. This is the future, shaped by hands that have woven silk, built cities, raised children, and struck drums in defiance of silence. Vô Thường’s music is the sound of unraveling and becoming, where the hypnotic hum of the đàn bầu melts into waves of distorted guitar, where whispers of ancient poetry dissolve into swirling, kaleidoscopic soundscapes.
Their debut album, Nguyệt Thực, is a luminous, labyrinthine journey through psychedelic Vietnamese rock, drawing from the spectral echoes of the past while pushing headlong into the unknown. From the neon-lit rivers of the Mekong Delta to the spectral hum of temple bells vibrating in electric haze, each track invites you to surrender—to drift, to dissolve, to embrace the beauty of impermanence.
Welcome to Vô Thường. Welcome to the sound of what was, what is, and what will never be again.
Vô Thường – The Band
An all-women, all-fifty-something Vietnamese Psychedelic & Experimental Rock band, Vô Thường (Impermanence) embodies the beauty of fleeting existence through cosmic, hypnotic soundscapes. They blend distorted đàn bầu, swirling guitars, hypnotic rhythms, and spectral harmonies to create an experience that is both ancient and futuristic.
Each woman is a matriarch of sound, carrying the wisdom of time and rebellion in their voices, their hands, and their instruments.
Lâm Hồng Nguyệt (Red Moon in the Forest) – Guitar, Đàn Bầu, Vocals
Backstory: The eldest of six siblings, Hồng Nguyệt grew up sneaking into her cousin’s record collection, discovering psych rock through bootleg cassettes. A former architect, she left her career to study temple acoustics in Southeast Asia before reinventing herself at 50 as a đàn bầu sorceress, manipulating its eerie, bending notes through analog delays and distortion pedals.
Surprising Fact: She was once expelled from a Buddhist monastery for experimenting with a fuzz pedal to layer chants into a drone-rock symphony.
Quote: “Form is emptiness, emptiness is form.” – The Heart Sutra
Nguyễn Thanh Phương (Fragrant Blue Light) – Bass, Synths, Vocals
Backstory: Once a political journalist, Thanh Phương reported on underground rock movements in Hanoi. She later worked at a vinyl pressing plant, where she discovered how to encode secret messages into record grooves. Disillusioned with journalism, she abandoned it at 45 to sculpt deep, droning basslines and cosmic synth textures, fusing traditional pentatonic scales with pulsating, Moog-driven soundscapes.
Surprising Fact: Thanh Phương lives on a houseboat in the Mekong Delta, recording river sounds and weaving them into Vô Thường’s experimental compositions.
Quote: “The river does not try to flow. It just does.” – Lao Tzu
Trần Minh Tâm (Heart of Light) – Drums, Percussion, Vocals
Backstory: Born into a family of folk musicians, Minh Tâm rebelled against expectations to play the đàn tranh (zither) and instead became obsessed with drums. She played in Hanoi’s early punk scene, even getting arrested for organizing underground concerts in the ‘90s. After raising two kids and running a tea shop, she returned to music at 50, fusing gongs, bamboo percussion, and polyrhythmic drumming into Vô Thường’s cosmic groove.
Surprising Fact: She can play the drums in complete silence, practicing complex polyrhythms in her head while meditating.
Quote: “Do not seek to follow in the footsteps of the wise. Seek what they sought.” – Matsuo Bashō
Lê Diệu Linh (Serene Spirit) – Guitar, Đàn Tranh, Vocals
Backstory: A child prodigy on the đàn tranh (Vietnamese zither), Diệu Linh abandoned traditional music at 18 to move to Berlin, where she played in avant-garde noise bands. A decade later, she returned to Vietnam, working as a music therapist, reconnecting with ancestral sounds. Now, she merges dissonant feedback with haunting traditional melodies, creating music that feels both celestial and primal.
Surprising Fact: She builds her own experimental instruments, including a đàn tranh wired through analog delay pedals to create ghostly, infinite echoes.
Quote: “I am not afraid of storms, for I am learning how to sail my ship.” – Louisa May Alcott
Bùi Mai Lan (Orchid in the Morning) – Lead Vocals, Flute, Sound Manipulation
Backstory: Raised in a strict boarding school where music was discouraged, Mai Lan recorded secret cassette loops of whispered poetry, rain, and temple bells. She later became a professor of cultural studies, but at 50, she left academia behind, embracing experimental vocal techniques and tape manipulation, turning nature sounds into ghostly, hallucinatory textures.
Surprising Fact: Mai Lan once recorded an entire album of whale song mixed with traditional Vietnamese poetry—it was banned from radio but became an underground cult classic.
Quote: “To hear, one must be silent.” – Vietnamese Proverb
Tracks/Themes/Lyrics
Band: Vô Thường (Impermanence) – A deep, existential reference to Buddhist philosophy.
Album: Nguyệt Thực (Lunar Eclipse)
Vietnamese Psychedelic & Experimental Rock – Song Style Prompt: Dreamy, hypnotic, slow-burning psychedelic rock infused with Vietnamese pentatonic scales and electric instruments. Reverb-drenched vocals, swirling fuzz guitars, trippy synths.
Ghosts of the Lotus Pond
– A dreamlike journey through a misty lotus pond where spirits whisper ancient secrets.
[Verse]
I was drifting in the misty lotus pond
In the middle of the night
The water came alive
[Chorus]
Drowning in their glow
(Deep ow) in their hold
(Deep ow) all alone
(Deep ow) rest restores
(Deep ow) so close
[Verse]
The howling winds were shaking all the trees
And the shadows bit my skin
They drew me under deep in
[Chorus]
Drowning in their glow
(Deep ow) in their hold
(Deep ow) all alone
(Deep ow) rest restores
(Deep ow) so close
[Verse]
The spirits came to guide me after death
They laid me tenderly
On their leafy bed
[Chorus]
Drowning in their glow
(Deep ow) in their hold
(Deep ow) all alone
(Deep ow) rest restores
(Deep ow) so close
[Bridge]
You said
(Oh, oh)
(Oh, oh)
(Oh, oh)
[Chorus]
Drowning in their glow
(Deep ow) in their hold
(Deep ow) all alone
(Deep ow) rest restores
(Deep ow) so close
[Verse]
The water rushed against my skin
Deceiving and it pulled me in
It woke me from the dream
And I was thankful
In the surface
Freshness plentiful
[Chorus]
Drowning in their glow
(Deep ow) in their hold
(Deep ow) all alone
(Deep ow) rest restores
(Deep ow) so close
[Chorus]
Drowning in their glow
(Deep ow) in their hold
(Deep ow) all alone
(Deep ow) rest restores
(Deep ow) so close
The Moon Lute’s Lament
– A melancholic tale of a musician whose đàn nguyệt plays melodies that open portals to past lives.
[Verse]
Hey little moon lute
Did you come here to get your strings tuned
I saw some other life in your eyes
Unless you’re that good at disguises
[Chorus]
And I heard her playin’ that moon lute
She said the melodies transport her to lives that she had before
She said so many of them had ended in terrible wars
And would I like to be her lover
[Verse]
Then I walked her out past the moon dunes
She said her new man’s in the next room
Ever lose track of your last self
The immortals never ask for help
[Chorus]
Then I heard a scent like that moon dew
She said the melodies transport her to lives that she had before
She’s been recast as a concubine and a New York whore
And would I like to be her lover
And so I told her
[Verse]
You’re just too strange
Elevated loner
I wouldn’t mind being your sacrifice donor
I don’t see what I bring to the slaughter
But a man needing purifying water
[Chorus]
And she said
“Would you like to hear my moon lute”
She said the melodies transport her to lives that she had before
In the present day she gets bored
And would I like to be her lover
She said the melodies transport her to lives that she had before
She said if nothin’ changes
She would usher that latest door
And so I went undercover
[Verse]
In a past life I kept a lute
Strung with moonbeams
Lovely instrument
There was never anything more dear to me
[Verse 2]
Then and now
Time works backwards for me
In a past life I keep an axe
In a dream
In a past life
I’m a nautical engineer
[Verse 3]
I don’t mean to
Metrics at war with
Numbers meant to
Seshat’s cute design and form
Linked to actual things not mere marks in the sand
They can all be translated with that sixth sense that we have
[Verse 4]
In a past life
In a past life
There was a way to connect to the other side
From your core take
Take
Take it
[Chorus]
Limen
Magic
Re bringin’
Ay
We rebirthing
We Ember days
[Bridge]
Through the lute’s tune
And the moonbeam strings
Where the light lay
Played through mid-dawn’s beam
Silk Roads of the Mind
– A surreal exploration of the old trade routes as metaphors for the wandering soul.
[Verse]
I wanna wander all the world
Like a piqué in her square
I put myself in wool or silk
Especially goin’ there
In those Mecca-esque hotspots
The swaddling of stars
Which lie in a fashion scene
For travellers like moi
[Chorus]
The silk roads of the mind
Like Sleeping Beauty’s thorn
The paper that I write on
My ticket of return
The notes I get from God
On spaces where I trod
The silk roads of your mind
[Verse]
Every Turkish carpet
Seems to be sized for your figure
The galactic map you made for me
Is like a dream in the chigger
Of your skin
And it’s riddled with the signs
All the symbols exchanged like
The ETRA in design
[Verse]
Despite all the past idolization
I’m taken there again
Also with Alexander too
From cities I dispend
The pecuniary differences
On top of it all
This is a song about the end of Paul
[Chorus]
The points of your return
The keynotes of your Earth
The notes that I write God on
Luminates our path
[Bridge]
Back in the Matrix at the end of my life
Cause apparently that’s reachable and safe to live by
But along these roads
You came across
The notion of loss
Like a bell on your bike
[Verse]
How do ya sell something
If you want something
To help the pilgrims in their homes
Where you’ve watched bad news
To a sad show tune
I hope something better comes soon
[Verse]
Some kind of beautiful feeling
Show yourself and do it again
Blessings and peace to ya
I’m feeling siligucious
As some anonymous friend
[Chorus]
On the silk roads of the mind
We wander away to wandering souls
Strangers in the street
Bring us to the dream we know
I know
You know
[Verse]
We’re saving a place for ya
I hope to meet ya when ya find the get
Might only listen when you need help
So I thank you
Legend
For the way you
Give me a new way to lose myself
[Verse]
Some kinda beautiful feeling
It will you let it go to his head
But when ya put it on and then ya turned it on
Now you only dunk on the cobbler
Now you only heal what’s already dead
[Chorus]
On the silk roads of the mind
We wander away to wandering souls
Strangers in the street
Bring us to the dream we know
I know
You know
Dance of the Water Puppets
– A hypnotic, rhythmic song inspired by traditional Vietnamese water puppetry and the hidden hands that move fate.
[Intro]
Shadows flicker, lanterns gleam
Ripples whisper through the dream
Marionettes of silk and light
Moving softly through the night
[Chorus]
(Dance of the water puppets)
(Celestial)
(Time to believe)
(Hidden hands guide)
Secret lover
Heavily above her
Speak to me
Ooh
Ooh
Ooh
Ooh (Speak to me)
Ooh
Ooh
[Verse 1]
Alight on the wave (Wave)
Before we’re (Hypnosis)
Upon a curtain (Curtain)
That slips from view
[Verse 2]
Strings unseen, a fleeting trance
Silver echoes in the dance
Footsteps gliding, lost in play
Guided by the hands of fate
[Dance of the water puppets]
[Hypnosis moves freely]
(Dance of the water puppets)
[The gods and the spirits]
[Chorus]
(Dance of the water puppets)
(Celestial)
(Time to believe)
(Hidden hands guide)
Secret lover
Heavily above her
Speak to me
Ooh
Ooh
Ooh
Ooh (Speak to me)
Ooh
Ooh
[Verse 3]
River’s song, a siren’s sigh
Beneath the mirrored, moonlit sky
Soft illusions rise and fall
Carried by the current’s call
[Verse 4]
Silk reflections intertwine
Shadow waltz with fate divine
Gilded masks and drifting veils
Echo stories lost in time
[Chorus]
(Dance of the water puppets)
(Celestial)
(Time to believe)
(Hidden hands guide)
Secret lover
Heavily above her
Speak to me
Ooh
Ooh
Ooh
Ooh (Speak to me)
Ooh
Ooh
[Bridge]
Hidden hands (Dance of the water puppets)
Nature’s plan (Hypnosis moves freely)
The might of the moon (Hypnosis moves freely)
Perfectly (Perfectly)
Speaking to you
[Chorus]
(Dance of the water puppets)
(Celestial)
(Time to believe)
(Hidden hands guide)
Secret lover
Heavily above her
Speak to me
Ooh
Ooh
Ooh
Ooh (Speak to me)
Ooh
Ooh
[Chorus]
(Dance of the water puppets)
(Celestial)
(Time to believe)
(Hidden hands guide)
Secret lover
Heavily above her
Speak to me
Ooh
Ooh
Ooh
Ooh (Speak to me)
Ooh
Ooh
[Outro]
Soft surrender, silent streams
Drifting back into our dreams
Golden ripples fade away
Leaving only memory’s sway
Mist Over the Pagoda
– A slow, meditative piece capturing the eerie beauty of a pagoda shrouded in early morning fog.
[Verse]
The morning dew is thick
The mist has turned to grey
The pagoda stands
It sways
The lanterns call my name
[Verse 2]
Don’t delay
I’m ashamed
Oh my
I’ve made a mistake
Swear I can change
(You could be saved)
In another place (Another place)
Replace me
Please
[Chorus]
Mist over the pagoda (Mist over the pagoda)
Mist over the pagoda (Mist over the pagoda)
Mist over the pagoda (Mist over the pagoda)
Mist over the pagoda (Mist over the pagoda, yeah)
[Verse 3]
Can you see?
Oh
I can’t breathe
Let me die within a dream
The sun’s coming up the stream
[Verse 4]
(Oh) Let me down (Let me down)
Carry me away
Oh my
I’ve made a mistake
Some other day
(You could be saved)
In another place (Another place)
Replace me
Please
[Chorus]
Mist over the pagoda (Mist over the pagoda)
Mist over the pagoda (Mist over the pagoda)
Mist over the pagoda (Mist over the pagoda)
Mist over the pagoda (Mist over the pagoda, yeah)
[Verse]
In the early morning silence
In the woodland misty air
Flows a temple with no stairways
Coursing through a mountain’s hair
[Chorus]
Mist over the pagoda (Mist over the pagoda)
Mist over the pagoda (Mist over the pagoda)
Mist over the pagoda (Mist over the pagoda)
Mist over the pagoda (Mist over the pagoda, yeah)
[Bridge]
And the cherry blossoms fall
Pink snow for us all
And on the gray Judean plain
The gorse bursts gold again
Though the thorns are bright
It’s beauty and blight
And one moment it stands to show
And the next it’s gone we don’t know
[Verse]
Look into the eyes of Buddha
Clarity with no regret
Peaceful
Enter in Sutra
True nature shows itself
[Chorus]
Mist over the pagoda (Mist over the pagoda)
Mist over the pagoda (Mist over the pagoda)
Mist over the pagoda (Mist over the pagoda)
Mist over the pagoda (Mist over the pagoda, yeah)
[Bridge]
And the cherry blossoms fall
Pink snow for us all
And on the gray Judean plain
The gorse bursts gold again
And one moment they bloom and glow
And they pass with the early snow
In the morning fair (in the morning fair)
There’s mist in the air (there is mist in the air)
A shadow in her hair (a shadow in her hair)
While we’re here देवा तत्रं [Shulbah Sutra 44:15]
And we oo (look into the eyes of Buddha)
And we oo (clarity without regret)
And we oo (peaceful, enter in Sutra)
And we oo (which one’s to lessen you, now)
And we oo (that shines through the sunless deep)
And we oo (of no mind we have no mind)
[Chorus]
Mist over the pagoda (Mist over the pagoda)
Mist over the pagoda (Mist over the pagoda)
Mist over the pagoda (Mist over the pagoda)
Mist over the pagoda (Mist over the pagoda, yeah)
[Chorus]
Mist over the pagoda (Mist over the pagoda)
Mist over the pagoda (Mist over the pagoda)
Mist over the pagoda (Mist over the pagoda)
Mist over the pagoda (Mist over the pagoda, yeah)
Phantom River
– A song about a river that only appears in dreams, carrying souls through time and memory.
[Verse]
When they lay me down again
On that nighttime bed
And close up my eyes
O, Hallelujah. Hallelujah.
Take me in your cold arms again
[Chorus]
Phantom River
Come again
Where do you go?
Phantom River
Oh
Take me in
Ah
Phantom River
Come again
Where do you go?
Phantom River
Oh
Take me in
[Verse]
In heavy sleep
Meanderin’
Lookin’ for somewhere to go
I believe you swim through every soul
In heavy sleep
Meanderin’
[Chorus]
Phantom River
Come again
Where do you go?
Phantom River
Oh
Take me in
[Bridge]
Where I am old
Then young again
Tomorrow is yesterday
My mother with a spinning ball of yarn
A daughter’s floating ribbon
Dreams
When they lay me down again
[Verse]
On that riverbed
I close up my eyes
O, Hallelujah. Hallelujah.
Take me in your cold arms again
[Verse]
Somewhere within our minds
Flow promises
One shore touching birth
Another touching death
There was a treasure buried
At the river’s bend
And if they find it
They live to it again
[Pre-Chorus]
Was it there
It was there
[Chorus 1]
Guide your body
Beside a trapdoor
It only appears in a dream
Through time and memory
Phantom river
South of your basement
The souls can’t escape it
Lurking here in the mist
[Verse]
Tell me now again
My dear
The riverway was there
The strength was there
The mirage disappeared
The mirage was there
[Pre-Chorus]
Was it there
It was there
[Chorus 2]
Guide your body
Beside a trapdoor
It only appears in a dream
Through time and memory
Phantom river
South of your basement
The lost can’t escape it
Met you once on this side
[Verse]
When they lay me down again
On that nighttime bed
And close up my eyes
O, Hallelujah. Hallelujah.
Take me in your cold arms again
[Pre-Chorus]
Was it there
It was there
[Chorus 3]
Guide your body
Beside a trapdoor
It only appears in a dream
Through time and memory
And south of your basement
Phantom river
The souls can’t escape it
Met you once on this side
Of Phantom river
Crimson Sun, Silver Waves
– A psychedelic odyssey about a sailor lost in an endless sea, guided by celestial visions.
[Chorus]
Soon I will return to the sea
With wind yes the tide
Swallowed me
Let me home or set me free
Crimson sun
Silver waves
Crimson sun
[Verse]
Elbow high writing everyday
I’m a slayer of suns
Spun
Not a single stitch crumb
Pearls I accumulate come
[Chorus]
Soon I will return to the sea
With wind yes the tide
Swallowed me
Let me home or set me free
Crimson sun
Silver waves
Crimson sun
[Verse]
Told me moons bake a cake
I’ll have a slice
Be brave
Affinity
Wrong wave
Sent me to retrieve faith
[Chorus]
Soon I will return to the sea
With wind yes the tide
Swallowed me
Let me home or set me free
Crimson sun
Silver waves
Crimson sun
[Verse]
Lost my way
Tide dragged me away
Farther from familiar coast
When-only-God-knows
[Verse]
Sea gave and she took
I mistook for a hook
Bait looked like the realest thing
A divine offering
[Chorus]
Soon I will return to the sea
With wind yes the tide
Swallowed me
Let me home or set me free
Crimson sun
Silver waves
Crimson sun
[Verse]
But I tried and I tried and I tried
To keep the light in both of my eyes
But I see with my blind eye
Better than I do with my sight
[Verse]
Crimson sun paints over the sea
Silver waves crash over me
Lead me home or let me be
Crimson sun
Silver waves
Crimson sun
[Chorus]
Soon I will return to the sea
With wind yes the tide
Swallowed me
Let me home or set me free
Crimson sun
Silver waves
Crimson sun
[Chorus]
Soon I will return to the sea
With wind yes the tide
Swallowed me
Let me home or set me free
Crimson sun
Silver waves
Crimson sun
[Verse]
Swallowed down
Black water all around
Fought against the forceful pull
Current ever powerful
[Outro]
But I tried and I tried and I tried
But I tried and I tried and I tried
But I tried and I tried and I tried
But I tried and I tried and I tried
Eclipse Over Halong Bay
– A cosmic rock epic set in Halong Bay during an eclipse, where reality bends and time dissolves.
[Intro]
(We are now floating into the sun’s umbral shadow…)
Yeah
(Halong Bay dissolves in the deep black sea..
Of space and time)
[Chorus]
[Lấn át tất cả] Dissolve into a deep black sea
Space and time cease
[Lấn át tất cả] Collapse into a Bayesian black hole
Space and time cease
[Verse]
Limbs curl and twist
Toes grow webbed and tickle
Snouts tapering into long whiskers
Breathing in rhythm to the heartbeat in darkness
[Verse]
Breathing in rhythm to the heartbeat in darkness
Lolling
Snuffling
Rubbing
[Chorus]
[Lấn át tất cả] Dissolve into a deep black sea
Space and time cease
[Lấn át tất cả] Collapse into a Bayesian black hole
Space and time cease
[Verse]
Yin yang
Lands of the dragon flying
Under the topaz sky
Halong Bai
Oyster shells and pearls of the moon
The dough is rising soon
Under the blacktop sky
[Verse]
Palindrome
Checkmate in a field of bones
The ground is overgrown
It’s almost time
Lighthouse Joe with scatter shot in his eye
Another round of lotus rice
Basting in the green
[Chorus]
[Lấn át tất cả] Dissolve into a deep black sea
Space and time cease
[Lấn át tất cả] Collapse into a Bayesian black hole
Space and time cease
[Verse]
It’s the cosmic donut
The window’s blinded
The sun’s behind us
Hungry strangers
Time’s a concept
It bleeds the water
It’s getting hotter
[Verse]
Part the lips of blackness
We taste the sweetness
The yolk of being
Cabinet of thoughtfulness
The kernel spins us
The stamen has the phlegm
[Chorus]
[Lấn át tất cả] Dissolve into a deep black sea
Space and time cease
[Lấn át tất cả] Collapse into a Bayesian black hole
Space and time cease
[Bridge]
Microwave the thoughtless
The monkey’s realizing
The self is dying
Get on your hands and knees now
Touch the bat guano veins
The river’s ice cream
[music] solstice is a warping
Gravity can’t afford it
The subatomic particles commune
Drum skin is a warping
Gravity can’t afford it
The subsonic particles commute
[Chorus]
[Lấn át tất cả] Dissolve into a deep black sea
Space and time cease
[Lấn át tất cả] Collapse into a Bayesian black hole
Space and time cease
[Outro]
Body rush now leaving the sun’s umbral shadow
Echoes of the Ancestors
– A trance-like piece where voices of the past speak through swirling layers of sound.
[Verse]
Welcome to life on Earth
OK
You’ve landed on life on Earth
[Chorus]
Can you remember?
Deep in your memory
Welcome to life on Earth
Hi
Hi
[Verse]
All the things around you are waiting for you to get down to business
You got mouths to feed
Kingdoms to conquer
Whatever you need
[Chorus]
Can you remember?
Deep in your memory
They say
You come equipped with an entire army
[Bridge]
These are not even your first boots on the ground
Right?
You feel that connection right? Don’t you?
Hook me up with the ancestors
They said
They said
It don’t even matter that they let Michael Jackson die
It doesn’t matter how fast they go
They so spiritual
They’ll be back tomorrow
It’s rhetorical
Michael Jackson is asking what’s the time?
[Bridge]
You got less than thirty seconds
That’s a sign
You in the wild zone right now
[Verse]
Echoes of the past
I forgot it
I’m on a new planet in the galaxy fighting gun control (These echoes of the past)
Please bring the thinning comb to the stage
We need to thin out the transfers
Please
To make room for an all prodigy show
[Verse]
All prodigies
All the time
Feeling God-like
Fresh of the line
All personal best
Every single time
All contracts signed
[Verse]
Tombs being bothered
Graves being disrupted
[Chorus]
Slaves being interrupted
What would they say to us
[Bridge]
I just want to know
Before it turns to nothing
[Verse]
I wonder where the souls go
They’ve been here long before us
[Chorus]
What would they say to us
Slaves being forgotten
Tombs being interrupted
Graves being bothered
They know something
Ancestors
[Outro]
And I’ve been kinda waiting
For them to (and I’ve been kinda waiting)
Speak through us
Between Two Worlds
– A song exploring the liminal space between waking and dreaming, life and afterlife.
[Verse]
Between two worlds I stand but I don’t understand which one I’m in
The waking world feels like something I only dreamed
Time passes strangely but it’s fight it or sink or swim
Someday we’ll all wake up anyway it seems
[Chorus]
Between two worlds I stand but I don’t understand which one I’m in
The waking world feels like something I only dreamed
Time passes strangely but it’s fight it or sink or swim
Someday we’ll all wake up anyway it seems
[Verse]
Between two worlds I stand and I can’t seem to land on either side
In one world there’s people gathered around my bed
And when I try to reach them they hold each other’s hands and some have cried
In this world it’s just like my waking life instead
[Verse]
Between two worlds I lie in a room full of light or so it seems
People drifting through and they’re not the same as the first time
One lady’s smiling she invites me to lie down I need the sleep
Tucking me in now everything will be fine
[Bridge]
I know it sounds crazy but you had to be there
We thought we’d take you with us but it didn’t seem fair
[Instrumental Guitar Solo Section]
[Verse]
I am alive but not awake
I feel my body levitate
I float on a dreamer stream
I’m in between between between
[Verse]
I have not cried since I was a teen
But I am too young to be seventeen
Not quite old enough to be 181
But if someone asks me how old I was
I’d say
[Chorus]
“I’m alive but not awake
Don’t make my body levitate
The universe is so cold and mean
Before they pull me out from between
Tell the shadow selves I said ‘hi’ and thanks
For teaching me not to believe in people wearing face paint”
We’re just blue and green and blue and green
And life is hard because it is too easy
When you have belief your control will weaken
And when you have faith you will be free
When you have material your soul is weakened
When you are strong
You will have peace
We’re just blue and green and blue and green
[Verse]
And I rip and tear off my mask
And my skin and my muscle and all the things I have
Because they’re just dead bags around my soul
It’s kinda funny the way that we
[Chorus]
(Blue and green) Think that we’re alive but we’re not awake
(Blue and green) We let our bodies levitate
(Blue and green) The universe is so cold and mean
(Blue and green) That’s because we all get taken from between in the infinite
(Blue and green) Lose the memories
Chase the light
(Blue and green) Bodies won’t return
They’ll stay beneath
(Blue and green) The universe is so cold and evil
(Blue and green) That’s because all the good ones get taken from between
[Refrain]
If you don’t call me right now
Then life is hard because it is too easy
Everything I see
She sees me
Lemme find out the truth
You tease me
Baby
You free me
Between
Between
Blue and green
Faced alien
[Outro]
Please
Please tell me you agree
Tell me that you hear me
Do you see the patterns?
Do you see the omens?
The Wheel of Samsara
– A hypnotic, circular composition symbolizing the endless cycle of rebirth and reincarnation.
[Verse]
Samsara
Ganges boundless
Sugar cane
Animal bodies
Samsara
Day – Night – Dusk – Dawn
[Verse]
Samsara
Tides and cyclones
Suns and moons
Astral nodes
Samsara
Day – Night – Dusk – Dawn
[Chorus]
Samsara
Cherry blossom
Open bloom
Lovers’-Distance-Isolation
There’s a wheel
And it turns and returns
I came for love not for samsara
There’s a wheel
And it turns and returns
I came for love not for samsara
[Verse]
Samsara
Rebirthday
Older than all the yesterdays
Wandered the desert
Walked the maze
A crooked road will trouble you
And if you follow a crooked road
It will lead you to a crooked place
[Verse]
Sentinels from Olympus
Help me cut Illusions
Even with a blade sharp as
The edge between night and day
The Tathagata saw the blows dealt without delay
A Great Wheel of 10 spokes turned by a hub of clay
Tachyons believed impossible in the late eighties
Penpals know the dead far better than I
Samsara
Overseers of Tuesday
Keep these words true
[Verse]
Tide come
Tide go
Inhale
Exhale
Sun rise
Sun set
Came for love not samsara
Tide come
Tide go
Inhale
Exhale
Sun rise
Sun set
Came for love not samsara
[Verse]
Tide come
Tide go
Inhale
Exhale
Sun rise
Sun set
Came for love not samsara
Tide come
Tide go
Inhale
Exhale
Sun rise
Sun set
Came for love not samsara
[Verse]
She
She will not enter
She will not exit
For she will be born again
And she will be in peace
But not rest
Let go
For we are many
Try to recall your past
Your self
Your life
Who
Now?
[Chorus]
She will not enter
She will not exit
For she will be born again
And she will be in peace
But not rest
Let go
For we are many
Try to recall your past
Your self
Your life
Who
Now?
[Verse]
She is no longer fearful
She is a free spirit
But her eyes are bloodshot
Her lungs are blackened To dust and ashes she has returned
Samsara
[Bridge]
Samsara
Samsara
Samsara
The wheel
The wheel
[Chorus]
She will not enter
She will not exit
For she will be born again
And she will be in peace
But not rest
Let go
For we are many
Try to recall your past
Your self
Your life
Who
Now?
[Verse]
Close your eyes and come near me
Now open them and look at me
D’you know me? Now listen to what I tell you to do
Lay your body flat on the ground and enter into past life regression
When I snap my fingers
You will return
Impermanence
– An instrumental, meditative, melancholic track reflecting on the fleeting nature of all things, inspired by Buddhist thought.
Vô Thường’s “Nguyệt Thực” Closing Notes
Echoes Beyond the Eclipse
Vô Thường isn’t just a band—it’s a spiritual and sonic experience. These five women defy time, expectations, and musical boundaries, creating something wholly unique: a fusion of Vietnamese tradition, modern psychedelia, and experimental rock.
As the last notes of Nguyệt Thực fade into the cosmic hush, we are left standing at the threshold of something ineffable—a moment both fleeting and eternal. Vô Thường does not simply play music; they summon it from the depths of impermanence, where sound dissolves like moonlight on water, where echoes linger long after their source has vanished.
This album is not an artifact to be held—it is a passage to be traveled. A dreamscape where psychedelic distortion weaves through spectral lullabies, where the past hums beneath the present, waiting to be heard again. It is the lunar eclipse in sound, a reminder that even the darkest shadow is only temporary, and that the light always returns—transformed, yet unbroken.
Let the final reverberations of Nguyệt Thực remind us of this:
“You are not a drop in the ocean. You are the entire ocean, in a drop.”
— Rumi
And so the tides pull away, the cycle begins anew. Listen again, and see what has changed.
Welcome to impermanence.
Welcome to eternity.
Echoes of the Eclipse: Nshira’s Journey with Orchestra Americana
The neon-lit city hummed with the sound of life as Nshira stepped off the bus, her fingers instinctively brushing the polished wood of her đàn bầu case. She had arrived in the United States, a long way from her home in Hanoi, where she had spent years shaping the ethereal sounds of the single-stringed instrument. Born in Ghana and raised in Vietnam, she had always existed between worlds—her skin the rich hue of the Sahel, her voice laced with the cadence of Vietnamese poetry. And now, she had come seeking something greater than music alone. She had come for belonging.
Nshira had learned of TATANKA’s Orchestra Americana through whispers in underground jazz clubs and avant-garde music spaces. A global collective where past and future coalesced into sound. A place where identities were neither questioned nor explained but celebrated. And now, standing before the sprawling rehearsal hall, she felt the weight of her journey settle into her bones. She adjusted her áo dài, its deep indigo fabric embroidered with West African Adinkra symbols, and stepped inside.
The first notes she heard were not from an instrument but from a voice—low, resonant, and rich with ancient power. A Lakota singer wove a melody into existence, his voice dancing between the deep drone of a cello and the high, delicate wail of a Vietnamese đàn tranh. It was music unlike anything she had heard, and yet, in it, she recognized herself. The impermanence of sound. The eternal longing of those caught between cultures, between histories.
“You must be Nshira.” The voice was warm, edged with the knowing of someone who had also wandered. It belonged to Sofia, one of the orchestra’s AI humanoid Matriarchs and the conductor. “Your audition isn’t necessary,” he added with a wink. “But play for us anyway.”
She exhaled, settling onto the stool, her fingers caressing the đàn bầu’s lone string. She played not a song, but a memory—a whisper of the Mekong Delta at dusk, the pulse of Accra’s markets, the quiet ache of her mother’s voice calling her Ayo before she had chosen her true name. The room fell silent, the air thick with the resonance of her sound. And when she finished, the silence was a thunderous kind of acceptance.
As the weeks passed, Nshira found herself lost in the electric alchemy of the orchestra. She played alongside an Indigenous throat singer whose voice split reality, a Haitian vodou drummer who summoned spirits with every strike, an AI-humanoid cellist who composed in microtonal frequencies. Each sound bled into the next, forming something neither past nor future but timeless.
Yet it was not just the music that transformed her—it was the way she was seen. Here, she was not a curiosity, not a body marked by contradiction. She was simply Nshira, her music as valid as the breath in her lungs. When she spoke of her father’s desert hymns and her mother’s Buddhist chants, they wove them into compositions. When she hesitated, uncertain of her place, they held space for her sound.
One night, under a lunar eclipse, the orchestra performed in a vast, open-air amphitheater. As the shadow consumed the moon, Nshira stood at the center of it all. She played a piece born of her own existence—Ghanaian rhythms fused with Vietnamese lullabies, the drone of the đàn bầu stretching into the cosmic hum of AI-generated overtones. The crowd swayed, entranced, their bodies moving like the tides.
And in that moment, she knew: she had not just found a stage. She had found a home.
Takeaway
Nshira’s story is a testament to the power of music as a bridge—between cultures, between past and future, between identities. It is an affirmation that true belonging does not require erasure, but expansion. TATANKA’s Orchestra Americana embodies this philosophy, offering artists like Nshira a space to exist fully, unapologetically, and infinitely.
For those who have ever felt unseen, unheard, or unrooted—know this: Your sound, your story, and your soul are not anomalies. They are essential echoes in the great symphony of existence. And somewhere, there is an orchestra waiting for you to play.
Summary
This document centers around Vô Thường, an all-women Vietnamese psychedelic rock band, and their album “Nguyệt Thực” (Lunar Eclipse). The album blends traditional Vietnamese sounds with experimental rock, exploring themes of impermanence and cultural fusion. The band members’ unique backgrounds and musical journeys are highlighted, emphasizing their rebellion against convention and embrace of innovation. The document also profiles Nshira, a musician who finds belonging in TATANKA’s Orchestra Americana, showcasing the power of music to bridge cultures and identities. The inclusion of song lyrics reinforces the themes of spirituality and sonic exploration present in Vô Thường’s music. The document additionally highlights TATANKA’s mission to promote diversity and inclusion in the arts, specifically supporting LGBTQIA+ voices.
Briefing Document: Vô Thường – “Nguyệt Thực” (2025) and Related Themes
Source:
Excerpts from “(AI Gen) Vô Thường_ “Nguyệt Thực” (2025) – TATANKA.pdf”
Date:
February 16, 2025
Overview:
This document details the themes and key aspects of Vô Thường’s (Impermanence) album “Nguyệt Thực” (Lunar Eclipse), a project presented by TATANKA. The document explores the band’s unique blend of Vietnamese tradition, psychedelic rock, and experimental soundscapes, as well as the broader themes of impermanence, cultural fusion, and belonging as exemplified by the fictional story of Nshira and TATANKA’s Orchestra Americana. The document highlights the use of AI in music generation and the exploration of LGBTQIA+ themes in art.
Key Themes and Ideas:
- Impermanence (Vô Thường): The central concept driving the band’s identity and music. The band’s name, Vô Thường, directly translates to “Impermanence,” a core principle in Buddhist philosophy. This is reflected in their music which embraces fleeting existence. The document includes the quote from Thich Nhat Hanh: ““What makes us suffer is wanting things to be permanent when they are not.” This quote encapsulates the essence of accepting change and finding peace in the natural flow of life. The album is described as “the sound of what was, what is, and what will never be again.”
- Fusion of Tradition and Innovation: Vô Thường’s music blends ancient Vietnamese musical traditions with modern psychedelic and experimental rock elements. This includes the use of traditional instruments like the đàn bầu and đàn tranh, combined with distorted guitars, synthesizers, and experimental vocal techniques.
- Intergenerational Wisdom and Female Empowerment: The band consists of five women in their fifties, each with a unique and rich backstory. Their music is described as carrying “the wisdom of time and rebellion in their voices, their hands, and their instruments.” The band subverts expectations, showcasing the power and creativity of older women in a youth-obsessed world.
- Cultural Fusion and Belonging: This theme is explored through the fictional story of Nshira, a musician of Ghanaian and Vietnamese heritage who finds a home in TATANKA’s Orchestra Americana. This orchestra is presented as a “global collective where past and future coalesced into sound” and where diverse identities are celebrated. Nshira’s journey highlights the power of music to transcend cultural boundaries and create a sense of belonging for those who feel “unseen, unheard, or unrooted.”
- Psychedelic Soundscapes: The album “Nguyệt Thực” is described as a “luminous, labyrinthine journey through psychedelic Vietnamese rock.” The music is characterized by hypnotic rhythms, spectral harmonies, reverb-drenched vocals, and swirling instrumentation. The lyrics and song titles evoke dreamlike and otherworldly experiences.
- AI and Music Generation: The album is identified as “(AI Gen),” suggesting that artificial intelligence played a role in its creation or production. This aligns with TATANKA’s interest in emerging technologies and their application in the arts.
- Exploring Complex Themes through Song: The individual song descriptions reveal a thematic focus on spirituality, memory, cultural identity, and the human condition. Songs like “Ghosts of the Lotus Pond,” “The Moon Lute’s Lament,” and “Phantom River” explore themes of death, past lives, and the liminal spaces between worlds.
- Social Justice and Inclusion: TATANKA is presented as a platform for marginalized voices, particularly those of LGBTQIA+ artists. The organization seeks to provide “a New Home for American LGBTQIA+ Voices in the Arts.” This commitment to social justice is further reflected in the tag cloud, which includes terms like “Equality AI,” “Human Rights,” “Gender Identity in Art,” and “LGBTQ+ Representation.”
Notable Quotes and Descriptions:
- “Vô Thường stands as a living contradiction—a band that embraces impermanence not as a fleeting moment, but as a force of creation.”
- “An all-women, all-fifty-something Vietnamese Psychedelic & Experimental Rock band, Vô Thường (Impermanence) embodies the beauty of fleeting existence through cosmic, hypnotic soundscapes.”
- (About Nshira and the Orchestra Americana): “Each sound bled into the next, forming something neither past nor future but timeless.”
- (Echoes of the Eclipse): “Vô Thường does not simply play music; they summon it from the depths of impermanence, where sound dissolves like moonlight on water, where echoes linger long after their source has vanished.”
- (Echoes of the Eclipse): “And so the tides pull away, the cycle begins anew. Listen again, and see what has changed. Welcome to impermanence. Welcome to eternity.”
Band Member Backstories (Illustrative):
The document provides short biographies for each band member, highlighting their unique backgrounds and how these experiences contribute to Vô Thường’s sound:
- Lâm Hồng Nguyệt: A former architect turned đàn bầu sorceress, experimenting with temple acoustics and fuzz pedals.
- Nguyễn Thanh Phương: A political journalist who reported on underground rock movements and later became a bass and synth player, weaving river sounds into her compositions.
- Trần Minh Tâm: A drummer who played in Hanoi’s early punk scene and fuses gongs, bamboo percussion, and polyrhythmic drumming, composing complex polyrhythms in her head while meditating.
- Lê Diệu Linh: A child prodigy on the đàn tranh who abandoned traditional music to move to Berlin, creating haunting melodies with dissonant feedback.
- Bùi Mai Lan: A professor of cultural studies who left academia to embrace experimental vocal techniques and tape manipulation, turning nature sounds into hallucinatory textures.
Song Themes (Illustrative):
The document lists titles and brief descriptions of several songs from the album, which showcase the range of thematic and stylistic explorations:
- “Ghosts of the Lotus Pond”: A dreamlike journey through a misty lotus pond where spirits whisper ancient secrets.
- “The Moon Lute’s Lament”: A melancholic tale of a musician whose đàn nguyệt plays melodies that open portals to past lives.
- “Dance of the Water Puppets”: A hypnotic, rhythmic song inspired by traditional Vietnamese water puppetry and the hidden hands that move fate.
- “Mist Over the Pagoda”: A slow, meditative piece capturing the eerie beauty of a pagoda shrouded in early morning fog.
- “Eclipse Over Halong Bay”: A cosmic rock epic set in Halong Bay during an eclipse, where reality bends and time dissolves.
Conclusion:
“Vô Thường’s ‘Nguyệt Thực’ is presented as more than just a music album; it’s an immersive experience that explores themes of impermanence, cultural fusion, and the search for belonging. Through a unique blend of Vietnamese tradition, psychedelic rock, and experimental soundscapes, the band and TATANKA aim to create a space for marginalized voices and celebrate the beauty of fleeting existence.”
FAQ
- Who is Vô Thường and what kind of music do they create?
- Vô Thường is an all-women Vietnamese psychedelic and experimental rock band whose members are all in their fifties. The band embraces impermanence as a force of creation, blending traditional Vietnamese sounds with modern psychedelic rock elements to craft hypnotic soundscapes. Their music incorporates instruments like the đàn bầu, guitars, synths, percussion, and spectral harmonies.
- What is the significance of the name “Vô Thường” and the album title “Nguyệt Thực?”
- “Vô Thường” translates to “Impermanence,” a deep reference to Buddhist philosophy. It reflects the band’s core message about the fleeting nature of existence and the beauty found within that impermanence. “Nguyệt Thực” means “Lunar Eclipse” and symbolizes themes of darkness and transformation, with the understanding that darkness is only temporary and light will return.
- What are some of the lyrical themes explored in Vô Thường’s album, “Nguyệt Thực?”
- The album explores themes of impermanence, spirituality, cultural identity, past lives, dreams, and the connection between the past and the future. Individual tracks delve into topics like journeys through misty lotus ponds (“Ghosts of the Lotus Pond”), the power of music to transport one to past lives (“The Moon Lute’s Lament”), surreal explorations of the soul (“Silk Roads of the Mind”), traditional water puppetry and fate (“Dance of the Water Puppets”), and the beauty of a pagoda in the mist (“Mist Over the Pagoda”).
- Who are the members of Vô Thường and what are their backgrounds?
- The band consists of five women: Lâm Hồng Nguyệt (Guitar, Đàn Bầu, Vocals), Nguyễn Thanh Phương (Bass, Synths, Vocals), Trần Minh Tâm (Drums, Percussion, Vocals), Lê Diệu Linh (Guitar, Đàn Tranh, Vocals), and Bùi Mai Lan (Lead Vocals, Flute, Sound Manipulation). Each member has a unique and diverse background, including experiences in architecture, journalism, punk music, folk music, and cultural studies, bringing a wealth of life experience and musical influence to the band’s sound.
- What is TATANKA and its role in supporting diverse artists?
- TATANKA is an organization, indicated as “Music Meets Mission,” that focuses on music, art, and innovation. It supports diverse voices in the arts, particularly those from underrepresented communities such as LGBTQIA+ artists and artists from various cultural backgrounds. It aims to create inclusive spaces where artists can express their identities fully and without apology.
- What is Orchestra Americana, and how does it reflect TATANKA’s mission?
- Orchestra Americana, as featured in Nshira’s story, is a global collective within the TATANKA framework where past and future coalesce into sound. This orchestra celebrates diverse identities and musical traditions by bringing together artists from various cultural backgrounds, including Indigenous throat singers, Haitian vodou drummers, AI-humanoid cellists, and Vietnamese đàn bầu players. It showcases TATANKA’s commitment to creating spaces where artists can belong and express themselves authentically.
- How does AI influence the music associated with TATANKA and Vô Thường?
- AI plays a role in TATANKA’s productions. In the context of Orchestra Americana, it is suggested AI helps to generate overtones in sound. More specifically, several albums are denoted as “(AI Gen)” implying AI is used generatively in their creation.
- What is the overall message or takeaway from the story of Nshira and TATANKA’s Orchestra Americana?
- Nshira’s story highlights the power of music as a bridge between cultures, identities, and time periods. It emphasizes the importance of creating spaces where diverse artists can express themselves fully and find belonging. The takeaway is that everyone’s unique sound, story, and soul are essential and that there are opportunities waiting for them to be shared.
Vô Thường: “Nguyệt Thực” (2025) Study Guide
Quiz
Answer the following questions in 2-3 sentences each.
- What does the band name Vô Thường mean, and how does it relate to their music?
- Describe the musical style of Vô Thường as presented in the source. What are its key characteristics?
- Name two of the members of Vô Thường and briefly describe their musical backgrounds and unique contributions to the band’s sound.
- What philosophical concept, central to Buddhism, is highlighted in relation to Vô Thường’s music and the quote by Thich Nhat Hanh?
- What is “TATANKA’s Orchestra Americana,” and what is its significance in the story of Nshira?
- What are some of the instruments Vô Thường blends to create their unique sound?
- How does Nshira’s background contribute to her experience with TATANKA’s Orchestra Americana?
- What are the lyrical themes presented in “Ghosts of the Lotus Pond?”
- What is the meaning of “Samsara,” as presented in “The Wheel of Samsara?”
- What is the central message of the “Echoes Beyond the Eclipse” closing notes, and what does it say about the album “Nguyệt Thực?”
Quiz Answer Key
- Vô Thường means “Impermanence” in Vietnamese. This concept is central to their music, which embraces the fleeting nature of existence through hypnotic soundscapes and experimental rock.
- Vô Thường’s musical style is a fusion of Vietnamese tradition, experimental rock, and psychedelic elements. It incorporates instruments such as the đàn bầu and đàn tranh with distorted guitars, hypnotic rhythms, and spectral harmonies.
- Lâm Hồng Nguyệt (Red Moon in the Forest) plays guitar, đàn bầu, and vocals. She is a former architect who reinvented herself as a đàn bầu sorceress. Trần Minh Tâm (Heart of Light) plays drums, percussion, and vocals. She played in Hanoi’s early punk scene.
- The philosophical concept is impermanence. Thich Nhat Hanh’s quote highlights that accepting impermanence can reduce suffering and help one find peace.
- TATANKA’s Orchestra Americana is a global collective that celebrates diverse identities through music. It is significant in Nshira’s story because it provides her with a space where her unique background is embraced and her music is valued.
- Vô Thường blends instruments such as the đàn bầu, đàn tranh, guitars, synths, gongs, and bamboo percussion to create their sound. They also manipulate nature sounds and incorporate experimental vocal techniques.
- Nshira’s mixed heritage and experiences living between worlds allow her to connect with TATANKA’s Orchestra Americana on a deep level. She brings a unique perspective that resonates with the orchestra’s celebration of cultural fusion and belonging.
- The lyrical themes in “Ghosts of the Lotus Pond” include death, guidance from spirits, dreams, and rebirth. It paints a surreal scene of a journey through a misty lotus pond where spirits whisper ancient secrets.
- “Samsara” refers to the endless cycle of birth, death, and rebirth. The song “The Wheel of Samsara” uses circular composition to represent this continuous cycle, touching on themes of love, illusion, and past lives.
- The central message of “Echoes Beyond the Eclipse” is that Vô Thường’s music is a spiritual and sonic experience that transcends boundaries. It emphasizes that true belonging comes from embracing one’s unique story, and it invites listeners to find their own echoes in the band’s music.
Essay Questions
- Discuss how Vô Thường’s music embodies the concept of impermanence (Vô Thường) and how this philosophy is reflected in their sound and artistic expression.
- Analyze the role of TATANKA’s Orchestra Americana as a space for cultural fusion and belonging, using Nshira’s story as a central example.
- Explore the themes and lyrical content of at least three different songs from “Nguyệt Thực,” discussing how they contribute to the overall message and atmosphere of the album.
- Examine the ways in which Vô Thường blends traditional Vietnamese musical elements with modern experimental rock and psychedelic sounds, providing specific examples from their album “Nguyệt Thực.”
- Critically assess the use of AI in the context of the TATANKA project, considering both its potential for creative innovation and its implications for artistic authenticity and representation.
Glossary of Key Terms
AI-Generated Music: Music created or enhanced through the use of artificial intelligence.
Vô Thường (Impermanence): A Buddhist concept referring to the fleeting and transient nature of all things.
Nguyệt Thực (Lunar Eclipse): The title of Vô Thường’s album.
Đàn Bầu: A Vietnamese single-stringed instrument.
Đàn Tranh: A Vietnamese zither-like instrument.
Psychedelic Rock: A subgenre of rock music characterized by its experimental and often surreal soundscapes.
Experimental Rock: A subgenre of rock music that pushes the boundaries of traditional rock composition and instrumentation.
TATANKA’s Orchestra Americana: A global collective that celebrates diverse identities through music.
Adinkra Symbols: West African symbols with cultural and philosophical meanings.
Samsara: The endless cycle of birth, death, and rebirth in Buddhist philosophy.
