OPR Video Archive
- Om Pharaoh Records
- Apr 3
- 14 min read
Updated: 4 days ago
This page collects videos related to the OPR universe that are hosted outside the main site. Some projects have videos embedded on their individual pages, but the works listed here exist only on external platforms such as the Internet Archive and YouTube. Future off‑site videos will be added to this index as they appear.
Om Pharaoh Records: Periods III (2021–2025)
Periods III is the third chapter in Om Pharaoh Records’ long‑form archival series — hours of immersive sound and a sprawling meta‑narrative of electronic psychedelia. This installment continues the excavation of the Ov Moi Omm universe and its constellation of affiliated projects, where loosely connected experimental groups have fully coalesced under Southern Ontario’s digital label, Om Pharaoh Records. A vivid archive for listeners drawn to the fringes of musical (and non‑musical) expression.
Om Pharaoh Records: Periods II (2016–2020)
Periods II marks the second chapter in Om Pharaoh Records’ long‑form archival series. Seventy‑seven tracks tracing the evolving experimental vocabularies of Yellow Omm, Omniman, Irama Gema, Ov Moi Omm, YSMHB, 10 Echo, and ICDC — alongside emerging voices like Pulse Burst, Julia Felix, and Polyphony Più. A dense, shifting landscape of unconventional soundscapes and frayed frequencies from the OPR continuum.
Om Pharaoh Records: Periods I (2009–2015)
Om Pharaoh Records is a digital label dedicated to experimental electronic noise, sound art, and long‑form archival exploration. Periods I marks the first installment in the OPR "Periods" compilation series, tracing the formative six years of the Ov Moi Omm universe and its early satellite projects — Omniman, Yellow Omm, Irama Gema, 10 Echo, ICDC, YSMHB, and others.
Across 88 tracks, this retrospective documents the raw beginnings of the label’s experimental continuum: chaotic frequencies, deep cuts, early fragments, and transmissions from the fringes. These works weren’t made for comfort — they’re signals from another frequency, for listeners drawn to strange, heavy, and unapologetically obscure sound.
Om Pharaoh Records Compilation 2
Operating on the fringes of the industry, Om Pharaoh Records returns with a follow-up to last year’s release—an expansive collection spanning past and present works from its roster of artists.
Unlike the previous compilation, which primarily featured single tracks, this edition presents material drawn from the artists' discographies, offering a deeper exploration of their soundscapes. Each track, except Harold’s, has never been released in this format before. These selections function as mini showcases, providing insight into the albums they originate from—journeying through evolving landscapes where original song titles have been shortened or reworked.
This compilation of intuitive soundscapes highlights interconnected artists, with each track serving as its own immersive experience.
Om Pharaoh Records Compilation
From out of the Ov Moi Omm universe comes Om Pharaoh Records. The Om Pharaoh Records compilation contains material from various artists who are in relation to the Ov Moi Omm universe. Featuring taken material from Ov Moi Omm; Omniman; Harold; Polyphony Più; 10 Echo; Implanted; Irama Gema; Pulse Burst; Just Noize; Yellow Omm; Julia Felix and Ihsan & The Cabinet of Dr. Caligari! The material spans between the early 90s to 2024! This compilation also features a bonus track from YSMHB!
Aleister Crowley — “The Pentagram” - A recitation of Crowley’s esoteric poem on humanity’s ascent through the elements and the awakening of the human spirit.
An early 20th‑century wax‑cylinder recording, restored for The Master Therion Speaks! [Restored]. Enhanced for clarity while preserving the character of the original medium.
“Echoing the Rhetoric’s of Illusion” appears on Yellow Omm’s 2019 EP Desedimentation, a follow‑up to 2017’s Deciphering Quixotic Dimensions.
The EP continues the project’s movement through shifting electronic textures, noise‑leaning passages, and loosely structured improvisational drift. Three of its tracks appeared on the 2018 Akashic Series compilation Compendium of the Akashic Processions and Ancillaries, though this piece was not among them.
The video pairs the track with layered, abstract visuals consistent with Yellow Omm’s approach during this period — a loose, hallucinatory collage that mirrors the EP’s fragmented, exploratory tone.
A reel of “Vamrah Yuddha,” originally from the 2012 album Audley Road. The title — “ant battle” — draws from Thoreau’s Walden, where a clash between ants becomes a miniature war. Built from field recordings and environmental textures, the track explores small‑scale conflict and natural micro‑drama. This updated reel uses new footage to highlight early OMO’s collage‑based, experimental approach.
Added as a bonus track to the 2022 LP Cancer, “Archy is my metal Archaeopteryx” was inspired by the Amon Düül II track “Archy the Robot” from their 1974 album Hijack — a surreal tale about a mischievous toy robot who, during a cosmic trip, kidnaps and humiliates the devil to great applause… and is now out for God.
A Rhythmic Counterpart to Polyphony Più serves as the energetic mirror to An Ambient Companion to Polyphony Più, drawing from the same decade‑spanning archive but emphasizing the project’s more rhythmic, structured, and charged material. Where the ambient release dissolves into drift and atmosphere, this companion leans into motion — patterns that tighten, motifs that repeat, and textures that carry a sharper edge.
The selections revisit material from Oscillating Illuminations, At Intervals of Somnolence & Reverberation, A Musical Analysis of the Four Seasons in the Northern Hemisphere, and the Pons Asinorum single. Many works appear in reinterpreted, continuous, or consolidated forms, revealing alternate pathways through Polyphony Più’s catalogue.
“I’ve Existed Before (Eclectic Mix)” reimagines the 2025 V Lp, track “i’ve existed on your timeline (before)”. “I, Circumvent You” appears in its uninterrupted form, first introduced on the OPR compilation Periods III. “Through Sound Molecules in Chefchaouen Orchards, Maranasati and Field Diaries” merges several pieces from the 2018 LP Surround Fundamental Shifts and Exhibitions into a long, drifting study in memory, ritual, and process.
The album also includes “A Strong Experience of Anthropomorphic Colts,” inspired by the surreal, allegorical fiction of R. A. Lafferty, and “Hypatia of Alexandria,” a reflection on the Neoplatonist philosopher whose life and death symbolize the collision between knowledge, power, and historical erasure. Together, these tracks form the more kinetic half of a dual release — a constellation of pieces where layered ideas gather into motion and momentum.
An Ambient Companion to Polyphony Più gathers a selection of works from across the project’s last decade, reframing them into a quieter, more dissolving register. Drawn from Oscillating Illuminations (2016), At Intervals of Somnolence & Reverberation (2016), A Musical Analysis of the Four Seasons in the Northern Hemisphere (2017), and the 2018 Pons Asinorum single, the album offers an alternate reading of Polyphony Più’s evolving soundworld.
Several pieces appear here in newly combined or extended forms — “Neurotheology,” “The Eventual Reconstruction of the Agency of You’re Subconsciousness,” and others unfold as unified works, allowing their drifting motifs and layered textures to move without interruption. The collection also includes one previously unreleased archival track.
Where the original releases moved through shifting ideas, global colouration, and experimental structures, this companion album focuses on the project’s ambient undercurrents: long tones, softened edges, and the slow convergence of multiple voices. It stands as the more introspective half of a dual release.
speckled eyes odd systems is taken from Pulse Burst’s 2025 LP No Physical Mediums Between Fashionings, a follow‑up to 2019’s Branches. Currents. Conducts. The track sits in the project’s more fragmented territory — short loops, flickering patterns, and small motifs that drift in and out of alignment. It feels like one of the album’s transitional openings, a brief moment where structure forms, dissolves, and reforms before moving on.
all hail the shine (in good health) appears on Pulse Burst’s 2025 LP No Physical Mediums Between Fashionings, a sprawling, hallucinatory journey through long electronic soundscapes. This piece leans toward the brighter edge of the project’s palette — quick tonal flashes, rising layers, and a sense of something opening up before folding back into the album’s larger sequence. It’s compact, but it carries that familiar Pulse Burst volatility beneath the surface.
Culture Modern Excerpt is one of the transitional variations developed for Cultural Kaleidoscopic Extractions (2023), a release built around alternatives, extractions, and parallel pathways branching from the earlier concept Kaleidoscopic Cultural Synthesis & its Influence on Modern Life. Rather than revisiting the 2011 LP version, this piece extends the initial sketch that preceded it — a minimal fragment carried forward into a new form.
This variation strips the material down to its simplest elements: a sparse drum pattern, no bass, and none of the samples or imagery associated with the original composition. What remains is the bare framework of the idea, a small rhythmic loop that shifts subtly as it moves, revealing the piece as a moment‑based construction rather than a fixed work. It functions as one of the album’s connective tissues — a brief passage where the concept refracts into another angle before moving on.
Within Cultural Kaleidoscopic Extractions, this track stands as one of the clearest examples of the release’s approach: not remaking the past, but exploring the spaces around it, where sketches, transitions, and alternate routes become their own completed forms.
Taken from the 2018 LP Ideology, this piece explores the threshold state where perception begins to bend and hallucinations intrude — the prodromal moment before experience fractures into something less stable. The track originally appeared, in an earlier form, on the Akashic‑series compilation Compendium of the Akashic Processions and Ancillaries (2018), one of three contributions Ov Moi Omm made to that release.
In keeping with the project’s broader approach, the piece treats sound as a shifting landscape: textures drift, layers fold into one another, and traditional structure dissolves into collage. Mood, memory, and abstraction intermingle until the boundary between inner and outer perception becomes porous. The track functions less as a narrative and more as a momentary portal — a brief opening into the unstable space where aberrations of perception first take shape.
The Dictator’s Transmission is a reimagining of the earlier YSMHB piece The Dictator Chaplin, originally built around a fragment of Charlie Chaplin’s closing speech from The Great Dictator. In this new form, the track leans further into the project’s long‑standing fascination with broadcast textures, fractured messaging, and the unstable line between signal and interference.
The piece sits within (Our Course) Determined by Our Stars (The Spacing Out Phasing In Sessions) as part of the album’s broader practice of temporal re‑entry — returning to older material not to correct it, but to approach it from a different moment. The original track’s structure is preserved only in outline; the rest is dissolved, reassembled, and filtered through the Sessions’ esoteric, deliberately uncertain logic.
Like much of YSMHB’s catalogue, the work treats its own past as mutable. The “transmission” here is less a message than a residue: a voice caught between clarity and distortion, a fragment of intention refracted through shifting frequencies.
An Architect, A Reality Builder is one of two reinterpretations of the track An Architect of Her Own Reality from the debut LP Bourgeois Doppelgänger — a release whose title itself was drawn from Hawkwind’s “Steppenwolf.” This version takes the original’s loose conceptual frame and pushes it into a more open, drifting construction, reflecting the laissez‑faire, nonchalant attitude that runs through the Sessions.
Where the companion piece An Architect ov Reality leans into a more direct re‑shaping, An Architect, A Reality Builder feels like the track viewed from a different angle entirely — the same material approached at a different time, and therefore sounding different by necessity. This is the core of the Sessions: the idea that any YSMHB piece, if reconstructed earlier or later, would inevitably take on another form.
The track sits within the album as one of its clearest examples of YSMHB’s recursive method — not nostalgia, not revisionism, but a kind of temporal improvisation. A return to a past moment that no longer exists, rebuilt in the present moment that will soon be gone.
Atma appears on 2024’s Yellow Omm no. V, the first full‑length Yellow Omm release since 2017’s Deciphering Quixotic Dimensions. The album moves through shifting environments and includes the original version of Collective Illusions and Disagreements, later remixed and issued as Collective Illusions prior to the LP’s release.
laede neminem appears on 2024’s Yellow Omm no. V, the first full‑length Yellow Omm release since 2017’s Deciphering Quixotic Dimensions. The album moves through shifting environments and includes the original version of Collective Illusions and Disagreements, later remixed and issued as Collective Illusions prior to the LP’s release.
The title references the ethical maxim neminem laede — ‘harm no one’ — associated with Arthur Schopenhauer’s moral philosophy. The phrase reflects a principle of compassion and non‑injury that underpins his view of justice: a call to avoid causing harm and, where possible, to reduce the suffering of others.
Planting trees in the Void appears on 2024’s Yellow Omm no. V, the first full‑length Yellow Omm release since 2017’s Deciphering Quixotic Dimensions. The album moves through shifting environments and includes the original version of Collective Illusions and Disagreements, later remixed and issued as Collective Illusions prior to the LP’s release.
A minor video piece set to the 2015 track from Aazhaway, Kanadario, KANATA. ‘Up on Lomond’ refers to Lomond Street in Oshawa, Ontario, and documents the renovation and demolition taking place around Christine Crescent and the surrounding area — the top of Lomond, "the hill".
The video captures a neighbourhood that is in transition, marking the end of an era for a region shaped by decades of shifting cultural influences since the 1960s. Its experimental, ethnically mixed sound palette mirrors the layered histories of the area, hinting at the diverse communities that have passed through and reshaped the landscape over time.
Pulse Burst’s “The Levitating Troglodyte,” taken from the 2016 EP Abstract & The Unity of All in All. The visuals move between modern footage and references to prehistoric Saharan cultures, including the Round Head Culture (c. 9500–7000 BP), the Pastoral Period (c. 7200–3000 BP), the Kiffian and Tenerian cultures (approx. 8000–4500 BC), and the earlier Kel Essuf tradition (pre‑9800 BP).
From the 2014 split release, R’lyeh, shared between Omniman II and YSMHB, R’lyeh (Deep Time) is Omniman’s interpretation of the submerged city first described by H. P. Lovecraft — the impossible architecture in the South Pacific where “dead Cthulhu waits dreaming.” The track functions as one half of a paired concept: two separate sonic visions of the same mythic location, each shaped by the perspective of its creator. Omniman II’s version approaches R’lyeh as a geological and temporal phenomenon — a structure buried not only beneath the ocean, but beneath epochs, pressure, and deep time itself. The piece evokes the sense of a signal rising from an era beyond human memory, a fragment of something ancient pushing upward through the strata. In contrast, YSMHB’s companion track, R’lyeh (City of Cthulhu), imagines the same place from a different angle, forming a parallel transmission from the same drowned idea. Presented here as a standalone entry, R’lyeh (Deep Time) serves as Omniman II’s contribution to the myth: a brief echo from a city that surfaces only in dreams and in the margins of recorded sound.
Opening the Akashic‑series compilation Compendium of the Akashic Processions and Ancillaries, Omniman II’s Archipelago of Stars in Neurological Heavens introduces the release with a driving, Neu!-inspired pulse and a drifting, cosmic sensibility. The piece later resurfaced on Omniman’s 2019 album Kuberakolam, where its rhythmic momentum and celestial tone formed part of the project’s evolving exploration of inner and outer space. Presented here in reel-length form, the track stands as one of Omniman II’s early excursions into motorik repetition, dreamlike imagery, and the idea of consciousness as a vast, star‑studded archipelago.
From the 2012 digital EP Aleatoricism in Artificial Sound, the closing track Pathogens Scorch for the late Great Omniman, updated and edited to reel length.
Taken from the 2012 digital EP Aleatoricism in Artificial Sound, The Reek of Madness represents one of the individual compositions that formed the second half of the planned Omniman album The Application of Aleatoricism in Artificial Sound. Its abrasive, experimental character captures the amateur‑era aesthetic of the project: stark collage work, shifting sonic fragments, and a deliberately unrefined approach to structure.
From the 2012 digital EP Aleatoricism in Artificial Sound, the composition Feedback appears here in its standalone form. Originally created as part of the fragmented material intended for the unfinished Omniman release The Application of Aleatoricism in Artificial Sound, this piece reflects the project’s early aleatoric approach — raw textures, cut‑up construction, and an emphasis on chance‑based assembly.
Taken from the 2012 digital EP Aleatoricism in Artificial Sound, Tap the Sky follows the opening track. The video has been updated and edited to reel length. The opening sequence is filmed high above Indonesia, flying through the clouds. Jakarta to Jogja or Jogja to Jakarta.
From Omniman’s debut release, Kaleidoscopic Cultural Synthesis & its Influence on Modern Life reflects the project’s early amateur‑era aesthetic — a collage of locations, symbols, and cultural fragments woven into a mellow, exploratory composition. The accompanying video blends footage from Lake Ontario, Borobudur (Yogyakarta), and Taman Mini Indonesia Indah. Together, the visuals and sound capture Omniman’s formative approach: intuitive, eclectic, and rooted in the idea of cultural synthesis as a modern condition.
An early composition from Omniman’s debut, Restore Vision to Blind People — Sleepwalking into Orwellian Society embodies the raw, experimental character of the project’s early phase. Built from abrasive textures, cut‑up fragments, and industrial‑leaning sound collage, the track hints at dystopian themes without literal illustration — a nod to the Orwellian idea of drifting into control and surveillance not through force, but through passive, unconscious acceptance. The accompanying video mirrors this conceptual edge through minimal, abstract imagery: stark contrasts, shifting shapes, and fragmented motifs that evoke disorientation rather than narrative. As a whole, the piece captures Omniman’s early aesthetic — exploratory, confrontational, and reflective of a world quietly reorganizing itself beneath the surface.
An early amateur Yellow Omm music video for the track “Marshall, Would You Just Stop Already!” The track appears on the 2012 Good Times EP and references the tragic events surrounding Heaven’s Gate through a critical, experimental lens. The video incorporates samples from Marshall Applewhite’s speeches and contemporary newscast footage from the time.
Twenty-two amateur music videos from Omniman, spanning selections from across the project's early catalog. Included are tracks from the self-titled debut Omniman, as well as its follow-up, The Application of Aleatoricism in Artificial Sound—presented both as a full-length video and as individual track videos which had been released under the title Aleatoricism in Artificial Sound Ep. Also featured is a video from the Dichotomy in Normality EP, along with two contributions to the 2012 LP, The Akashic Record, the first release in the Akashic series.
Forty-seven amateur music videos from the vault of Ov Moi Omm
A constellation of lo-fi transmissions spanning 2010 to 2014, these videos—crafted by Ov Moi Omm—form a kaleidoscopic archive of collage, personal home footage, and found material. Shot across Southern Ontario and Southeast Asia, the imagery drifts from suburban interiors to temple courtyards in Indonesia, from roadside Japan to the liminal zones of memory and media.
While Ov Moi Omm’s music has surfaced in countless unofficial uploads across the internet, this collection remains distinct: a self-authored visual diary, flickering between the domestic and the cosmic, the mundane and the mythopoetic.
The accompanying tracks are drawn from a prolific stretch of releases, including:
• The Foreiggnn Schizophrenik (EP, 2010)
• Mellow Noize Germinated In Our Earbudz Vol. 4 (EP, 2010)
• Realm Five – Self Non Self (EP, 2010)
• Soundz from A Big Fantastic Imaginary Band (2010)
• Thru the Sandbox, Just Outside ov Mecca Flats (2010)
• The Bitter Man Prophecies (2011)
• Simple World Salad (2011)
• Hector B. Poole (2012)
• Disillusioned (Single, 2012)
• Union Spring (2013)
• Outdated (2013)
• Sri Omm (Single, 2014)
Together, these videos form a fractured mirror of Ov Moi Omm’s sonic world—where memory is a medium, and every pixel hums with the possibility of transcendence.
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