Monday, October 20, 2014

108 Breaths for Baphomet

Originally appeared here

The following technique is one I developed (or was taught by the spirits, or made up in me own head – you pays your money, as they say…) following some mindfulness meditation in my garden. (Which at this time of year is a riot of flowers and vines and burgeoning fruit.) The method uses an asana which is held for a few minutes. In this sense it is similar to the techniques I’ve encountered in Kundalini yoga (specifically in the Longevity Kriya). Kundalini yoga is a fascinating form of practice which I was introduced to by the awesome Kwali, and one that is well worth exploring.

As well as being a physical exercise this method, which I call the ‘108 Breaths for Baphomet’ (108 BB), provides an opportunity to connect deeply with our somatic experience, our bodies, the biosphere aspect of who we are. While it’s possible for attention to drift, the effect of being in what amounts to a stress position helps keep the mind concentrated on the body. This technique deeply connects the conscious, linguistic awareness to the physical self. In this way it provides an opportunity for the body to ‘speak’ to us. Often the body may only may appear to communicate to us when something is wrong, when we feel pain because of an injury or other problem. This simple method allows the body to establish a close relationship with the conscious mind (taking aside for the moment the perspective that the mind arises from the body itself) and in doing so it (the body) can alert the mind (the self that imagines the body as a vehicle) to needs that may not be being addressed. Flashes of insight can come in the moments after the technique ends about changes that the body would like to see in terms of diet, exercise, light levels, supplements required and so on. This technique can also be imagined as bhakti yoga with the practice being dedicated to Baphomet and/or offered to some particular intention.

108 BB works nicely when deployed after some free-form movement work, yoga, tai chi or other similar practice.

Begin by sitting in a cross-legged position. This can be done on a chair but sitting on a cushion or the floor is what I generally do.

Breathe deeply and relax.

With a deep, slow inhalation raise your hands. Now gently move into the classic Eliphas Levi Baphomet asana. Left hand down, showing the mudra with three fingers extended, right hand pointing up with two fingers extended.

Hold this position for 108 breaths.

Keep counting the numbers in your head. This is partly so you know when you’re done but mostly so that you give your conscious monkey mind something to do. If you like a spot of gematria you can also enjoy the various groovy numbers as they float by – 11, 13, 15, 23, 27, 31, 56, 72,  81, 93 etc etc.
Soften the face, keep a gentle smile on the lips. Relax the shoulders, don’t lock the arms. Relax and open the body as you hold the asana. As tension arises notice and focus on breathing into it, keep the limbs in place. Breath as slowly as is comfortable. Play with the practice and explore it for yourself.

As you reach 100 begin to visualise a chaosphere. Use the arrows of the sphere to help you count off the final eight breaths. Here you can switch from silently saying the numbers to simply following the eight arrows around (or in whatever pattern works for you) until the final breath is taken. (Personally I imagine a chaosphere with the arrows coloured in the directions given in the Chaos Craft model, starting my first of the final eight breaths with the point nearest to the season I’m in when doing the practice.)

Crafty chaos star
As you breathe out the final 108th breath bring your hands down to your dan tien (or across your body in the ‘Osiris Risen’ position and then down to rest on your belly).

Keep still; deploy your motionless, no-mind technique. See if anything bubbles up into attention from the somatic level. Often this will appear as a linguistic flash (you might for example get a word suggesting what food or other attention your body would like).

Relax, stretch and go and do something else.

КОМСОЛОКА ::: Version 0

More wonderful deep ambient sounds from Russia.  Highly recommended.

1- Snowmaan
2- Anande Bhara Too
3- Metro Trip в 4ас /\уу3
4- 4epe3 OдiNA
5- KoraL fieLds   kora/\ fieLds


Lunar Abyss Deus Organum ::: Svonidenie

A band from Russia that mixes several styles such as: Dark Ambient, Ritual, Drone, Experimental, etc.  Wonderfully textured sounds.

01- Aaryavarau
02- Buruvana
03- Phova
04- Ingven
05- Ten Ka Met
06- Lid Vaalen
07- Vekta Tuo
08- Uaravayra


Wednesday, October 15, 2014

Zero Kama ::: The Secret Eye of L.A.Y.L.A.H.

From the intro:

“All instruments to be heard on this album were exclusively made from human bones and skulls by the hand of Zero Kama. They never have been used since the time of its recording, which took place at the Secret Temple of Laylah from 5th to 28th of May 1984 e.v. Remixed at Psychonaut Studio Vienna in November 1987 e.v., and dedicated to the symbol of Laylah, meaning night and death, as well as to its numerical equivalent, Oz, a goat or unrestrained sexual force of creation, thus showing the identity of the basic two opposite forces in this generous universe of beauty and strength, in which the Lovers may find ecstasy in Pan. Who wishes to enter this world of darkness, in which the Great Goat dwelleth, may pass through the sigil of Oz given at the front of this Cover.”

And that's that.

1.Death Posture
2.Atavism Dream
3.Night of Matter
4.Inoguration of the Pleasure Dome
5.Love Alway Yieldeth
6.Azure-lidded Woman [Pregnant Womb of Non]
7.Hassan I Sabbah
8.Starlit Mire
9.Winged Eye Hadit
10.Love Alway Hardeneth
11.Town of Pyramids [Night of Pan]


Justine & Juliette ::: Kiss of the Whip

S&M themed industrial release from Arbeit Group collaborators, Elise Fife and Elizabeth Stephens-- their only tape. Recorded May '88 at the Arbeithaus. Engineered and mixed by Thomas Thorn.  Wonderful ambient darkness mixed with spoken work, all comes together rather nicely.  Highly recommended.

1- Algolangta
2- Our Own Executioners
3- Touch of the Master (Kiss of the Whip)
4- Divine Function
5- The Cage
6- Shadows in a Child's Mind
7- This Dark Desire
8- The Collection
9- Bliss
10- Bathory
11- Suite of Dreams


Sunday, October 12, 2014

Wedjas ::: I Tamsą (demo 1994)

Just brilliant ambient, ritual sounds.  This band from Lithuania produced only produced a few recordings but each is brilliant.  I hope you enjoy it.

See image above


Codeine ::: Frigid Stars

One hell of an album. Not for everyone, as it is definitely one of the darkest recordings I've heard. Walls of guitar, sad, sad lyrics, fumbling beats... and yes, very slow. This is great for breakups during the feeling-sorry-for-yourself period, but be warned, the tragedy is addictive.

1. D
2. Gravel Bed
3. Pick Up Song
4. New Year's
5. Second Chance
6. Cave-in
7. Cigarette Machine
8. Old Things
9. 3 Angels
10. Pea


Sunday, September 7, 2014

The For Carnations ::: Promised Works

Originally released by Matador as "Marshmallows" and "Fight Songs", these long out of print recordings are repackaged and renamed. Conceived in the early 90s, The For Carnation was the vanity project of Brian McMahan (Slint vocalist) and it conducted a number of earnest experiments with ultra-music, as the recordings contain here demonstrate. The results are curious and quietly compelling. Over the course of three releases, McMahan garnered contributions from David Pajo (Slint), Doug McCombs and John Herndon (Tortoise), Tim Ruth (Evergreen), and brother Michael McMahan (Dead Child), among others.

1- Grace Beneath The Pines
2- How I Beat The Devil
3- Get And Stay Get March
4- On The Swing
5- I wear the Gold
6-  Lmyr, Marshmallow
7- Winter Lair
8- Salo
9- Preparing To Receive You



Low ::: I Could Live in Hope

Legendary American slowcore act Low formed in Minnesota in 1993. Their debut, 'I could live in hope' marks the beginning of a wonderful journey of one of the greatest american bands in recent times.  Good with: wines, pills, depression, suicide, oncoming winter weather, lying down and staring at the ceiling. Understated, gentle and devastating beauty.

1- Words
2-  Fear
3- Cut
4- Slide
5- Lazy
6- Lullaby
7- Sea
8- Down
9- Drag
10- Rope
11- Sunshine



Saturday, September 6, 2014

Biosphere ::: Cirque

'Cirque' was originally released by Touch seven years ago in 2000, and they have finally seen fit to re-issue the record so those of us who missed it first time around can hear what all the fuss was about. Interestingly too, it hasn't dated much at all - of course there are things where you have to think about the context of the time, but Jenssen's expert blend of minimal dub-leaning techno and gorgeous ambience is masterful and hugely enjoyable. This is where he really began to experiment beat structures and the framework of 'dance' music, yet he submerged the rhythmic elements so far beneath his expertly crafted drones and field recordings that it's difficult to place this in the same genre as more dancefloor oriented work. Take the Basic Channel influenced 'When I Leave'; vinyl crackle and dissonant pads float around gloriously before being punctured by a pulsating bassline and then a simple, minimal 4/4 thud to bring the track together perfectly. Elsewhere 'Iberia Eterea' takes a jazzy hi-hat rhythm and pushes it through a haze of lo-fidelity noise and buzzing synthesizer drones giving it the quality of an ancient movie seen through the eyes of David Lynch. It's easy to see on this album where acts such as Deaf Center managed to mine so much inspiration - Geir Jenssen's work has served to influence so much modern electronic music that it is almost crucial to re-visit everything the man has to offer. A gorgeous record.

01. Nook & Cranny 4:03 
02. Le Grand Dome 5:36 
03. Grandiflora 0:48 
04. Black Lamb & Grey Falcon 5:08 
05. Miniature Rock Dwellers 1:04 
06. When I leave 5:55 
07. Iberia Eterea 6:38 
08. Moistened & Dried 2:25 
09. Algae & Fungi Part I 5:43 
10. Algae & Fungi Part II 5:18 
11. Too Fragile to Walk On 4:52


Biosphere ::: Substrata

Substrata by Biosphere is one of the all-time classic ambient albums, if not THE all-time classic album. Chilling atmospheric tones with ambient samples of ice, snow, forests, Twin Peaks-samples and Russian radio broadcasts… Substrata is difficult to describe in words alone. This is one album that every ambient fan needs to hear, if not own. For my own part the album is never far from my stereo. From the initial drone of an aircraft high overhead to the rambling monologues of later tracks every minute sends a chill down your spine. 
Biosphere’s work is often described as “dark ambient” but to me this sounds too negative as every piece of music Geir Jenssen composed expresses so much different feelings and his albums are not simply a couple of “drones” thrown together. Neither is Substrata.   Substrata is inhabited by the vast spaces spreading across the artic region, endless nights and midnight sun, sub-zero temperatures and northern lights.

Substrata isn't a formless piece of sound; each section, or chapter, has a definite core structure that the listener can dwell on for the duration. Tracks like Kobresia, Times When I Know You'll Be Sad, and Chukhung have a clearly defined structure that relies on a single melody to progress its way through the track. It is a careful contemplation on the power of repetition of a single idea. The second a motif or idea is finished you find yourself wanting to hear that sound again, and again, and again. That subtlety is really the true power that lies beneath Substrata. Nothing about it grabs your attention violently but rather seeps into your mind over time, slowly growing and growing until you can no longer ignore it. Again, like forgotten and ignored environment, you being to learn each and every curve of the sounds and the shapes. It is the hidden beauty that makes affection all the more exciting, and always keeps you coming back for more.

01. As the Sun Kissed the Horizon 1:47 
02. Poa Alpina 4:11 
03. Chukhung 7:35 
04. The Things I Tell You 6:28 
05. Times When I Know You'll Be Sad 3:44 
06. Hyperborea 5:46 
07. Kobresia 7:13 
08. Antennaria 5:05 
09. Uva-Ursi 3:00 
10. Sphere of No-Form 5:48 
11. Silene 7:54

Tuesday, August 26, 2014

Subliminale ::: In(tro)duxio

This is why I post.  This is the kind of recording that makes all the hard work search and uploading absolutely worthwhile.  This is the kind of recording that just begs to be shared, that begs to survive the dark hole of audio forgetfulness.  Subliminale was a project involving members of T.O.P.Y. TV and so of course it comes very highly recommended.

01- Untitled


Sunday, August 10, 2014

Apocalypse Culture by Adam Parfrey (mobi & epub)

*New Link*

Since his influential collection Apocalypse Culture was first released in 1987, the award-winning writer Adam Parfrey has been credited with discovering and revealing the inner workings of cults and unusual pop culture histories. With "Love, Sex, Fear, Death," Parfrey has captured the cooperation of primary players in the most secretive and talked about cult of our time.

"Apocalypse Culture is compulsory reading for all those concerned with the crisis of our times. An extraordinary collection unlike anything I have ever encountered. These are the terminal documents of the twentieth century."—J.G. Ballard

For years I've been a little leery of this book. First published in 1987, this anthology of doomster essays has become a fixture on the bookshelves of every Tom, Pierced Dick, and Harry. After finally reading it, I have to admit that my prejudice against those who think that being cool means reading lots of ReSearch magazines kept me away from what is actually a fascinating volume, wherein the most absurd, inexcusable positions are defended with calm intelligence and witty rationality. With essays ranging from the sexual liberation of necrophiliacs to strong cases against art and agriculture, editor Adam Parfrey's collection is one that Tristan Tzara would enjoy, if he were to rise from his mouldy grave in search of good bathroom reading.

Download book:

Manhood of Humanity by Alfred Korzybski

In "Manhood Of Humanity" a vision of our future begins, fired in the trenches of World War I. Here in print Korzybski begins the task of solving the problems of the world, each page radiating optimistic humanity.

The problem comes down to whether human 'nature' can change, involving an accepted definition that 'man is an animal'. Indeed our political-social institutions, etc., operate with an animalistic, ruthless tooth-and-claw "survival of the fittest" as the 'strongest'. Despite that Charles Darwin(1859) in his "survival of the fittest" meant a survival of the best adapted, not 'strongest'. Therefore Korzybski decided that a functional re-definition became necessary, in order to better differentiate the evolutionary development. Where plants have an equivalence to Chemical-binders: capacity to convert energy(for example, photosynthesis) into growth, etc. Next that animals have an equivalence to Space-binders: capacity to move to find food. While humans have an equivalence to Time-binders: capacity to improve on the accumulated abstractions of others then transmitting it for future generations. From which has developed Philosophy, Sciences, Engineering, our libraries, etc.

This led as a result to new explanations involving predictions upon old problems, ultimately having surprising consequences. For example, why do revolutions along with wars happen? Well because Science, Engineering, etc., as a time-binding process progresses geometrically, whilst our moral, social 'opinions'('prejudices'), etc., progresses arithmetically, non-empirically. For example, on many occasions people in discussion groups have protested against technological progress, yet it is not the technology that becomes the problem but their uses due to mis-evaluations. Further that our values for power(charisma as in leadership or-both exchange as in wealth), status(esteem), life-style, etc., remains based on a duplicity which involves the subjugation of the living by prostituting the time-binding knowledge created by the dead.  Instead Korzybski advocates co-operation in place of 'competition'; whilst self-improvement in place of 'greed', 'territorialism', 'capitalism'.

Thus Korzybski argues that humans are not by 'nature''fixed innate', but changeable through nurture; however to discover how this becomes possible, further why we 'copy animals in our nervous reactions'(the consequences)- required further research, culminating in "Science And Sanity".

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Erotism: Death & Sensuality by Georges Bataille

Taboo and sacrifice, transgression and language, death and sensuality—Georges Bataille pursues these themes with an original, often startling perspective. He challenges any single discourse on the erotic. The scope of his inquiry ranges from Emily Bronte to Sade, from St. Therese to Claude Levi-Strauss and Dr. Kinsey; and the subjects he covers include prostitution, mythical ecstasy, cruelty, and organized war. Investigating desire prior to and extending beyond the realm of sexuality, he argues that eroticism is “a psychological quest not alien to death.”

Download book:

Friday, August 8, 2014

Coincidence by Aleister Crowley


By Aleister Crowley

Chapter XL: Coincidence

Cara Soror,
Do what thou wilt shall be the whole of the Law.

When I was writing that letter about prophecy, I was hot and bothered all the time by my faithful sentinel, the well-greaved Hoplite that stands at the postern of my consciousness, ready to challenge every thought—and woe to the intruder who cannot give the countersign!  This time the dear old ruffian thought the matter serious enough to report Higher Up.  "It is put plainly enough, emphatically enough, incontrovertibly enough" was the gist of his communication "that the first and most irretrievable trick of the enemy is to dupe you into passing Captain Coincidence as 'Friend,' whereas he is naturally the most formidable of all your foes when it comes to a question of proof."

Quite right, Sergeant-Major!  But it is not only about prophecy, but about all sorts of things, in particular, of course, the identification of angels and similar problems.

Well, we have captured quite a few lads of the company of Captain Coincidence; let us have them up for examination and learn what we can about their weapons and other warlike matters!
I take our first prisoner from Magick.
The most famous novel of Fielding is called Tom Jones.  It happened that FRATER PERDURABO was staying in a hotel in London.  He telephoned a friend named Fielding at the latter's house, and was answered by Mr. Fielding's secretary, who said that his employer had left the house a few minutes previously, and could only be reached by telephoning a certain office in the City at between 11 o'clock and a quarter past.  FRATER PERDURABO had an appointment at 11 o'clock with a music-hall star, the place being the entrance to a theatre.  In order to remind himself, he made a mental note that, as soon as he saw the lady, he would raise his hand and say, before greeting her: 'Remind me that I must telephone at once to Fielding,'  when he met her.  He did this, and she advance toward Him with the same gesture, and said in the same breath, 'Remind me that I have to telephone to Tom Jones'— the name of a music-hall agent employed by her.
Here comes another, this time completely crazy!  Nothing "Literary" about it; no sense anywhere; a pure freak.

A friend of mine, A, rang up a friend of hers, B, at her flat in Holland Park, some 3 or 4 miles west, and a p'int to the Nor'rard, of Piccadilly Circus.  After the usual series of "they don't answer", "line's engaged", "unobtainable", "line's out of order", "line's temporarily disconnected at the subscriber's request", an appeal to "Supervisor" got her connected instantly.  Yet another girl friend, C, appears in, and vanishes from, the story; she said "Oh, what a pity, you've just missed her; she went out five minutes ago.  I think she'll be back in an hour's time, try then."

A waited impatiently, and rang up once more.  Again the series of nonsense-difficulties about getting the connection.  At last the answer came.  This time yet one more girl friend D.  "Oh, what a pity!  You've just missed her; she left the box not five minutes ago."  "Box," screamed A, "what box?  Have I got mixed up in a Trunk Murder?" "Why, this box," replied D, calmly.  "What — — box?" shouted A.  "Isn't that her flat?"  "Her flat! are you crazy?  This is a call-box in Shaftesbury Avenue."  Collapse of A's confidence in the sanity of Nature.

One may note that there was no similarity in the names of the exchanges, or in the numbers.
It is the most grotesquely impossible case of "wrong number" that ever came my way.

Now for one or two oddities.  Recently, needing to relax, I borrowed three "thrillers" from different sources.  In every case, the plot turned on two men being so alike that no one could tell them apart.  (Rupert of Hentzau, John Chilcote, M.P., Melander's Millions.)

I traveled from Louisville to Detroit by a railroad whose nickname was the "Big Four", my object being some business connected with my Book 4.  The name of my express was the "Big Four"—it left from No. 4 platform at 4 p.m.  My sleeping berth was No. 4 in Car No. 4; and my ticket was No. 44,444. I ought to have been April 4, I suppose; but it wasn't.

Last week a letter from me appeared in the Sunday Dispatch with regard to the Everest Mystery of 1921.  I expressed my view that the two lost climbers, last seen on an easy snow-slope near the summit, had simply been blown into the air by one of the sudden gusts of incredible fierce winds which are common at those heights, and dashed to earth perhaps a mile away.

After reading this, I went to a friend's room to borrow a book, picked up her Shakespeare's Histories, and, opening it at random, came upon:
They that stand high have many blasts to shake them,
And if they fall, they dash themselves to pieces.
Richard III, Act I, Sc. 3.
Now here's a story that's too good to lose; not the mistiest phantasm of an ideogram how to class it; for one thing, it's chock-a-block with moral lessons and economic theories and political summats; but there's coincidence in it somewhere, and under coincidence down it shall go. Even if only by coincidence.

From 1895 e.v. onwards I dealt with Colin Lunn.
"Of all the tobacconists under the sun,
There is none, there is none, like the great Colin Lunn—"
of Sidney Street, Cambridge.  When I started round the world, alas for fidelity!  I began to forget him.  By 1906 e.v. the operation was practically complete.

In '42 e.v. I spent a few days with friends in Cambridge.  Sauntering along K.P. (King's Parade to you, madam!) on my way back to the station with half an hour or so to kill, I thought I would pop in to Lunn's new shop there, and pass the time of day.  He might have something to take my fancy.  So I did.  Needless to say, I didn't know the shopman from Adam, as he did not offer me a view of his identification mark.  I asked after old friends; we gossiped of old times and new; presently he observed, putting a hand under the counter: "I think this is yours sir." "How do you know who I am?  I've never seen you before."  "Oh, yes sir, I was the odd-job boy at the old Sidney Street shop; I remember you quite well."  By this time there lay on the counter a strange familiar-unfamiliar object—a pipe that I had left for some minor repair before hurrying off to the East 37 years before!  I am smoking it now.

And you can draw your own beastly conclusion!

Here is a last, a passing strange account of a coincidence—or should it come under "Answers to Prayer."

A young enthusiastic "Heaven Born" (=I.C.S.)* parlous pious, was engaged to an exquisite chaste damosel in Lutterworth.  Praised and promoted by his appreciative chiefs in Bombay, he felt his future sure enough to go home on leave, marry her, and bring her out to India.  At their parting, she had given him a ring; naturally, he set great store by it." But the climate had thinned him; it was loose; playing with it as he talked with a friend on the ship, it slipped from his finger, and fell into the harbour." He suppressed an expression of annoyance.  "Well that's past praying for," laughed the friend—unhappily an infidel, not a true friend at all.  The young man stiffened.  "It is?" he answered solemnly and emphatically; "We shall see."  And he retired to his cabin to lay his grief before the Lord.

The ship arrived at Aden without incident.  While she was coaling, it was the idle habit of some sailors to bait a hook with a large piece of pork, and fish for sharks. An hour later they caught a fine specimen, and hauled it aboard.  They cut it open.  No ring.

I hope you don't think I'm letting my pen run away with me:
"Pens!  Good Lord,
    Who knows if you drive them or they drive you?"

* Indian Civil Servant.

No, I have not forgotten that I am here to instruct as well as to amuse: also, to make certain observations which will, I flatter myself, be rather new to you.
I plunge headlong.

Everything that happens, no matter what, is an inconceivably improbable coincidence.  You remember how you had to begin when you first came to me for help.  I said to you, "Here are you, and no other person, come to see me, and no other person, in this room, and no other room, at this time, and not other time.  How did that come about?"  The answer to that question is the first entry in your Magical Diary: and, with a slightly different object in view, the first step in the practice of Liber Thisharb and the acquisition of Magical Memory.

Why, hang it all; the events of the last hour, even, might have gone just an infinitesimally little bit different, and the interview would not have taken place as it did. Consider then, that factors stretching back into Eternity—all the factors there are!—have each one contributed in its degree to bringing this interview about.  What a fantastic improbability!  Yet here we are.

Chance blindly rules the Universe.  But what is Chance?  And where does purpose intervene?  To what extent?

I shall now conduct you, no less firmly than Mr. E. Phillips Oppenheim, to Monte Carlo.
(Excuse me!  I was just called to the telephone.  Somebody of whose existence I was not aware has fallen ill in Ireland—and bang went my plans for tomorrow.)

You walk quietly into the Casino; it seems to you that the excitement is even more noticeable than usual.  You see a friend at the table "Here in the nick of time!" he gasps.  "Black has just turned up for the 24th time running."  You press forward to plank the maximum on Red.  The wheel spins; Black again! "Forty thousand she-devils in the belfry of St. Nicholas Rocambole-de-Ronchonot!"
"But --- but" (you stammer when spirits of hartshorn have revived you)  "in the whole history of the tables a colour has never turned up more than 24 times running!"

My poor friend, what has that got to do with it?  True, from the start it is countless millions to 1 that there will not be a run of 24 on the red or the black; but the probability on any single spin (ignoring zero) is always one to one.  The black compartments do not contract because the ball has fallen into any one of them.

Anyone who gambles at all is either a dilettante, a crook, or a B.F.  If you could get the B.F.'s to understand the very elementary mathematics set forth above, good-night to gambling!  And a good riddance, at that!  Well, there is one advantage in the system; it does help the intelligent man to steal a march on his neighbours!

In all this the important point for my present purpose is to show you how entirely this question of probability and coincidence is dependent on your attention.

The sequence B B B B B B B at roulette is most unlikely to occur; but so, in exactly the same degree, is the sequence B R B R R B R or any other sequence.  The one passes unnoticed, the other causes surprise, only because you have in your mind the idea of "a run on black."

Extend this line of thought a little, and link it up with what I was saying about the Magical Diary; you realize that every phenomenon soever is equally improbably, and "infinitely" so.  The Universe is therefore nothing but Coincidence!

How then can any event be more improbable than any other?  Why, very simply.  Go back to Monte; proclaim that at Table No. 3 Black will turn up 7 times running, after this next spin.  (Or, of course, any other series of 7.)  Now you see how Coincidence links up with Prophecy!

A fortiori, Coincidence is destroyed by Purpose, if, wishing to enlighten you on the subject, I write this letter and post it to your address, your receipt of it is no longer Coincidence.  So then coincidence must be entirely both unforeseen and unintentional; in other words, absolutely senseless.  But we have just proved that the Universe is nothing but Coincidence; it therefore is senseless.

So, having established the asymptote of our hyperbolic hyperbola, and shewn it to be asynartete, why should we not acquiesce, and say olive oil?

Love is the law, love under will.

Yours fraternally,

Mushroom's Patience ::: Weird Monsters

Another release on the Atro-Fact label.  More wonderful obscurity from this Italian act.

Materials excerpt never released from "Roma, Wien.", "The Spirit of the mountain", "Water" recording sections.

01-Yesterday, i sung very well - (Roma, Wien.)
02-Zeit... no more - (Roma, Wien.)
03-Morel (remixed) - (The spirit of the mountain)
04-Biosphere (Water)
05-Central Column (Water)
06-When the world was elsewhere (Roma, Wien.)
07-Final Snapshot (Water)
08-Venus (Water)
09- Weird Monsters (Roma, Wien.)



Mushroom's Patience ::: Eh?

I am addicted to Mushroom's Patience. 

This one is released on the Atro-Fact label and according to the site "is the story of post human man and this is the sound of the post human interrogative lament". I love it.

1- Eh?



Magic ::: Marionette Karma

Obscure insane madness from this Japanese artist.  Don't really know too much about it and judging from the info I found online neither does anyone else.  Here it is, hope you enjoy it.

A1 Castle in the Darkness
A2 Prayer
A3 Music for Magic I
A4 Elu so da nida
A5 ...5
A6 Dance I
B1 Kapuri
B2 Song of Sacrifice
B3 Dance II
B4 Music for Magic II
B5 Magic
B6 Mass


Mushroom's Patience ::: Water

Italian avantgarde band based in Rome. Their music melts acid jazz, noise, electronics, experimental sounds and improvisation.

They formed in the early 1980s and released various cassette demos via their own label Atropina Manufactory. The debut on vinyl came in 1991 with "Dicer's Oath". Mushroom's Patience continued to exist in the underground and to release very limited and hard to find material, until they signed for Austrian label Hau Ruck!, which reissued many of their deleted records on vinyl, as well as brand-new works on CD.  Highly recommended!

1. Untitled (4:19)
2. Untitled (7:16)
3. Untitled (5:20)
4. Untitled (2:05)
5. Untitled (9:50)
6. Untitled (5:37)
7. Untitled (1:00)
8. Untitled (6:23)
9. Untitled (1:40)
10. Untitled (5:33)
11. Untitled (4:22)
12. Untitled (7:03)
13. Untitled (4:16)