OPR Video Archive
- Om Pharaoh Records
- Apr 3
- 7 min read
Updated: 10 hours 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.
“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 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).
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