Not Of Man, Divisionary, NVRMD, ODDLEY & The Honey Pot All Album Downloads 2001 - 2024

We Are still adding art work and the players 25-10-2024

Not of Man band photo
Zed Ryan /Sing Songwriter 2001 – 2014
Zero: Singer / Song writer 2001- 2024
Grey: Guitar, SFX, Folly (Right Front)
Purple: / Honey Pot: Keys, Synths, and backing vocals (Back Right)
Driver : Drums, Percussion (Back Middle)
Black3: Bass (back Left)
Atlas: Backing Vocals, Vocal Effects, Guitar (Front Left)
Ex Members Zed Ryan /Sing Songwriter 2001 – 2014

From 2001 to 2024, all albums created by OUR musicians have faced intense censorship and aggression beyond human comprehension. Google, Bing, Bandcamp, SoundCloud, SongCastMusic, Apple, Amazon, and every other platform imaginable have partnered with the Biden administration and big tech to suppress and censor musicians and their content. Access to our music is freely available without the need for any sign-ups or personal information. Our priority is not wealth or recognition, but rather sharing our music with the world. Take pleasure in the misinformation that was sold to you. As you consumed the lies and manipulation of world leaders voraciously like fat pigs. All evidence supporting claims is documented and stored on this website for legal and Historical purposes.

We will reveal all of you.

Eulogy for (ZER0) of Not of Man R.I.P 09-17-2024

OUR COMPLETELY CENSORED YOUTUBE CHANNELS WITH ALL TRACKS
www.youtube.com@notofman (censored)
https://soundcloud.com/notofman (censored)
https://soundcloud.com/notofmanrecords (censored)
https://www.youtube.com/@NotofManRecords (censored)
https://www.youtube.com/@NotofManTheMachine (censored)
https://www.youtube.com/@OddleyMusic (censored)
https://www.youtube.com/@WeAreTheMachines (censored)
https://www.youtube.com/@TheWatcherReports(censored)
https://www.youtube.com/channel/UCwL2prRjehj-r4JXr_mLY9g (song cast censored 10 years long)
https://notofman.bandcamp.com/ (censored)

Voices in the Abyss: A Psychological Analysis of Trauma, Censorship, and Identity in I Am The Deadman by Not of Man
Abstract
The album I Am The Deadman by Not of Man explores a multifaceted landscape of emotions derived from trauma, societal control, and complex identity struggles. This paper employs psychological theories—including trauma theory, existential psychology, and social identity theory—to analyze the lyrics. The profound influences of censorship, personal loss, and mental health struggles are examined to highlight how these elements interplay in the formation of self and perception of reality. Additionally, references to Fernando Pessoa’s “The Book of Disquiet” enrich the discussion of identity and existential concerns within the lyrics.
Introduction
The lyrics of I Am The Deadman reveal a rich tapestry of emotions intertwined with personal and societal grievances. The artist utilizes their platform to voice dissent against perceived injustices, primarily focusing on the effects of censorship, trauma from loss, and psychological struggles. This analysis aims to draw connections between the lyrical themes and established psychological theories, ultimately positing the album as a cathartic exploration of the artist’s inner turmoil in the face of societal oppression and personal tragedy. Notably, the reference to Pessoa’s work adds depth to the existential motifs threaded throughout the lyrics.
Theoretical Framework

Trauma Theory
Grounded in the work of Judith Herman (1992) and Bessel van der Kolk (2014), trauma theory posits that traumatic experiences significantly alter one’s mental health and perception of reality. The themes present in the album highlight the long-lasting effects of trauma on identity and emotional regulation.
Existential Psychology
Influenced by the works of Viktor Frankl (1946) and Rollo May (1958), existential psychology emphasizes the search for meaning in suffering and the confrontation with death. The existential motifs in the lyrics reflect struggles against nihilism and a desire for autonomy, particularly relevant in light of the references to “The Book of Disquiet.”
Social Identity Theory
Developed by Henri Tajfel and John Turner (1979), this theory posits that individuals derive part of their identity from their social groups. The artist frequently engages with themes of belonging, alienation, and the construction of identity in a hostile environment, fostering both personal and collective identities.
Thematic Analysis
Censorship and Oppression
The lyrics in “The Wolves Eyes” and “Run Rabbit Run” manifest a strong anti-censorship ethos. The artist critiques authority figures who manipulate truth for personal gain, exemplified by lines like, “A censorship machine of truth, what you sell is lies.” This suggests a significant confrontation against those who wield power to silence dissent.
Psychological Insight: Censorship can lead to feelings of powerlessness and frustration, aligning with Michel Foucault’s (1975) discourse on power dynamics. The emotional resonance in the lyrics reflects the struggle to reclaim agency in an environment characterized by systemic oppression, serving as both an artistic expression and a psychological coping mechanism.
Trauma and Mourning
Tracks such as “Chasing Shadows (I’m Lost)” and “I Am Alone” delve deeply into the profound grief following personal loss, especially the artist’s lamentation over losing a loved one. The lyrics evoke isolation and emotional turmoil, illustrating the journey through grief and the struggle to find meaning in absence.
Psychological Insight: John Bowlby’s (1980) attachment theory posits that loss of a secure attachment figure can lead to profound grief and despair. The artist’s recurrent motifs of feeling “lost” underscore their upheaval and emotional distress as they navigate life without this pivotal person, pointing to the psychological toll of attachment loss.
Duality and Self-Perception
The exploration of good and evil represented in “I Am Evil I Am Good” illustrates an internal struggle with identity. The line “I am evil; I am good, and there’s no difference” encapsulates a wrestling with moral ambiguity and the complexity of human nature.
Psychological Insight: C.G. Jung’s notion of the “shadow” elucidates the darker aspects of personality individuals may deny or repress. The moral conflict within the lyrics reflects an inner turmoil common among those grappling with identity, particularly in the face of societal demands or expectations. This complexity often exacerbates emotional and psychological struggles.
Existential Reflection and Isolation
Songs like “My Disquiet” and “Deaths Hand” portray an existential crisis marked by struggles against suffering and the search for meaning in a chaotic world. The artist confronts feelings of isolation and entrapment within their mind, echoing themes of autonomy and the burden of existence.
Psychological Insight: Viktor Frankl’s (1946) philosophy emphasizes the need to find meaning in suffering. The lyrics’ confrontation with existential despair illustrates this struggle while a search for purpose amid distress remains palpable, highlighting the yearning to transcend suffering through meaningful expression.
Identity and Self-Definition
The provocative tones in “Vampire” critique societal perceptions of identity, specifically surrounding transgender identities. The lyrics challenge the notion of self-identification and the societal expectations tied to it, revealing an examination of authenticity against societal constructs.
Psychological Insight: Judith Butler’s (1990) concept of gender performativity emphasizes how societal constructs define individual identities. The tension in these lyrics reflects conflicts faced by those whose identities are scrutinized by society, making a case for understanding the fluidity of identity expression. It also touches on broader themes of mental health and societal acceptance.
Influence of The Book of Disquiet
References to The Book of Disquiet by Fernando Pessoa infuse the thematic richness of “My Disquiet” with existential depth. Pessoa’s work is characterized by the exploration of identity, anxiety, and the search for meaning—a struggle echoed in the lyrics.
Psychological Insight: Pessoa’s fragmented narrative style reflects the disjointed nature of human experience, mirroring the artist’s own struggles with identity and existential angst. This connection intensifies the emotional impact of the lyrics, inviting listeners to engage with the universal themes of dislocation and self-exploration found in both the album and Pessoa’s work.
Conclusion
The album I Am The Deadman serves as a profound narrative of the artist’s struggles with trauma, loss, censorship, and identity. Analyzing the themes through psychological lenses illuminates the complex interplay between personal and societal issues that resonate deeply in contemporary discourse on mental health and identity. The artist’s unapologetic discourse not only reflects their personal battles but also serves as a broader societal critique, ensuring that their voice, whether in suffering or defiance, rings true in the face of adversity.
References
• Bowlby, J. (1980). Attachment and Loss: Vol. 3. Loss, Sadness and Depression. New York: Basic Books.
• Butler, J. (1990). Gender Trouble: Feminism and the Subversion of Identity. New York: Routledge.
• Foucault, M. (1975). Discipline and Punish: The Birth of the Prison. New York: Vintage Books.
• Frankl, V.E. (1946). Man’s Search for Meaning. Boston: Beacon Press.
• Herman, J. (1992). Trauma and Recovery: The Aftermath of Violence—from Domestic Abuse to Political Terror. New York: Basic Books.
• Jung, C.G. (1953). Psychological Aspects of the Personality. In: Collected Works of C.G. Jung. Princeton University Press.
• Pessoa, F. (1982). The Book of Disquiet. New York: Penguin Books.
• van der Kolk, B.A. (2014). The Body Keeps the Score: Brain, Mind, and Body in the Healing of Trauma. New York: Viking.