Friday, January 30, 2015

L'AVIS G821 ::: Die Kaisergruft

I am almost embarrassed to have never posted this before.  Of course I had posted their other incredible release here, but to be honest I think this one is even better. Seriously, I am not going to waste too much of your time with my ranting.  Just get it.

1- Kalt
2- M.S.N.
3- Murs murs
4- b tn' flai
5- What
6- Murmures
7- Die Kaisergruft (bonus reprise)


The Necronomicon by Vernon Shea

Vernon Shea was one of the less well-known members of the Lovecraft Circle. Like many of the others, he tried his hand at fiction, with varying degrees of success. The following story was written in time for Lovecraft himself to read it, and he made a small number of annotations to the manuscript, all of which I have noted below. To my knowledge, this story has never before been published in the English-speaking world: I have drawn the present text from a facsimile of the manuscript in a French publication, Dragon & Microchips: Le Seul Fanzine Qui Rêe. 

At forty six Edward Stowescroft surveyed his literary life without regret, but with an undeniable melancholy. Its rewards had been damnably meagre -- meagre beyond his expectations, and from the first he had been sensible that to pursue his course without concessions would bring at best but a living wage. Throughout his career he had been discouragingly ill paid. Hack work in his twenties, revision and "ghost writing" in his thirties had sufficed while he nurtured and cultivated his art; yet that art, so sedulously practiced, in its flowering drew admiration from a woefully limited if fervent audience.

    Stowescroft was a man of brilliant attainments. Modest to a fault in his ambitions, he aspired to be little else than a well-cultivated gentleman in the exacting New England sense of the term: that cultivation meant a thorough grounding in the classics, a comprehensive knowledge of the natural sciences, and more than a dilettante's understanding of painting and architecture, of economics and sociology, of history and biography and politics. So wide were his sympathies as revealed in his correspondence that people were disposed to grant him a truly encyclopaedic comprehension, although he himself was the first to decry such a description. An antiquarian of note, his most especial delights lay in visiting historical sites along the Atlantic coast. To explore a church such as Notre Dame des Victoires in Quebec or to revisit the Poe environs in Richmond gave him keener anticipation than a much-needed check from an editor.

    Stowescroft's countenance was patterned severely along the lines of his New England heritage. To a stranger he might appear somewhat prim and humorless with his dark brown eyes deep-set above a formidably long nose, the tight line of his lips, and the stern chin, but in reality his wit was as renowned as his tolerance. He lived on the second floor of a venerable Georgian house in the city of his birth. His widowed aunt [note: here and throughout HPL has altered Shea's "maiden aunt" to "widowed aunt" -- DC] occupied the ground floor and helped with the house-keeping; his differences with his wife had been amicably settled by a divorce years before.

    To his readers he might be a source of fascinated speculation, for the intensity of his writings in unusual fields hinted at delvings into black magic, but to his correspondents his views were well-known -- even the apparent contradictions in his nature, such as the military streak that made him love firearms and volunteer for a war his intellect assured him was senseless or caused him to espouse a fascism incompatible with his civility and gentle tolerance. For Stowescroft managed a correspondence such as has not flourished since the eighteenth century. In a script minute and instantly recognizable he wrote voluminously on myriad topics, casually developing a theme to essay-length before relinquishing it; by that time the correspondent had been edified and informed to an astonishing degree. So skillfully did he write that although Stowescroft had almost a hundred correspondents, he never once gave offence and almost never lost an argument. Although he wrote with unfailing felicity, his correspondence took so much of his time that he had difficulty in fulfilling his commercial obligations or -- more important -- in writing his own inimitable tales.

    And those tales were distinctly worthy of the most eager expectations. Their range was restricted to the somewhat narrow field of the horror tale -- for Stowescroft had so long been a recluse that the more normal themes of literature were virtually closed to him, despite his great talent -- but within that field Stowescroft need yield to no one, even if his tendency toward self-disparagement might make him fancy that certain British writers, such as Blackwood and Dunsany and Machen, excelled him in craftsmanship. Truly, Stowescroft was as successful in depicting the faintly morbid and gloomy atmosphere of New England as ever was Hawthorne; and stylistically he had matched and then surpassed Poe. His portraits of Arkham (Salem) were unforgettable; there was a singing rhythm in his shorter tales that was verbally delightful; and in his longer tales he attained a degree of outsideness so convincing that their spell lingered in the memory for years. Even to the least impressionable reader there came during the progress of the tale a half-belief in dark demons such as Nyarlathotep and in planets of dread like Yuggoth and especially in that abhorrent book, the Necronomicon.

    The Necronomicon had been his most successful creation. Purporting to be the centuries-old and clerically banned work of a mad Arab, Alhazred, it had figured in most of his stories as the sourcebook of incantations and dread magic rites. It was casually mentioned in the most shuddery of allusions; and such was the skill of his writing and such the credulity of his readers that it was taken at its face value. Probably the readers felt a tinge of uneasiness at its every mention. Such books, if they really existed, should be destroyed, they thought; for, while they could read of the most fearsome abominations with enjoyment, the suggestion that there might be some basis in truth disturbed them greatly.

    Stowescroft himself was far from deriding such literal interpretations, for in truth he himself could never laugh over the Necronomicon. The conception for the book had come to him in circumstances which had haunted his memory every since. All his life Stowescroft had been subject to nightmares of the most frightening potency; indeed, several of his most vivid dreams had furnished ideas for his tales. One night he had dreamed, and knew he dreamed, yet the knowledge that he was not awake did not rouse him from the dream, as is almost always the case. His dream was so terrifying that he struggled to escape into consciousness and found he could not. Yet in some manner it was vouchsafed him that if he did not awaken there would not be a living Edward Stowescroft to come presently to awareness. The military streak in his nature would not tolerate so abject a surrender; and by dint of the utmost endeavor he managed his release -- to find himself, not in his bed, but in an abandoned Providence cemetery near a grave whose mouldering stones gave the singular impression of having been recently disturbed. And in his mind ineradicably was the thought of the book, even the name. He had seized upon it for his stories, since much of the success of weird tales depends upon the choice of sinister-sounding and memorable symbols, things like Dunsany's lion-shunned Bethmoora, like Chambers' Yellow Sign, like Machen's Aklo letters [HPL writes in the margin: "ritual?", but Machen in fact writes of "Aklo letters". -- DC] -- but he confessed to himself a slight uneasiness in the appropriation.

    The Necronomicon had justified its use subsequently. Few stories came from Stowescroft's gifted pen without some references to it, and other writers to whom he acted as mentor began likewise to use it in their narratives. Stowescroft's influence among younger writers was very pronounced. Of the contributors to the esoteric magazine in which the majority of Stowescroft's tales had appeared, there were few who had not become acquainted with the deceptively dour-looking writer, either personally or through correspondance. Many a promising talent had been fostered by his mentorship; a more scrupulously honest and yet encouraging critic could scarce be found, and it is to his everlasting credit that Stowescroft never once trod on the over-sensitive toes of egotistical young writers. In return, they helped to spread the fame of the Necronomicon. The very youthful Robert Blake [i.e., Robert Bloch: HPL had used the name "Robert Blake" for Bloch in the story "The Haunter of the Dark". -- DC] made especial use of it in his famed Ghoul and Doom tales; the Comte d'Erlette [i.e., August Derleth: named for an actual ancestor of Derleth's, the Comte d'Erlette supposedly wrote . -- DC], the brilliant Wisconsin novelist, in his "potboilers" made the Necronomicon much more poignantly vivid than his somewhat shop-worn themes; and the Egyptian painter and poet, Klarkash-Ton [i.e., Clark Ashton Smith. -- DC], had drawn a picture of it that was so disquietingly like the book of the dream, even to the exact position of a worm-hole, that Stowescroft had been unable to sleep for nights.

    Consequently there was considerable of a stir amongst the "gang" of the magazine when, in a somewhat cryptic note, Stowescroft asked them to discontinue further reference to the book. The Comte d'Erlette, an indefatiguable worker, was forced to delete it from half a dozen tales he had written since his latest bi-weekly letter to Stowescroft, and to recall it from the proofs of several accepted manuscripts. Lounger, Jr. [i.e., Frank Belknap Long. -- DC], the closest associate of the writer, made a hurried trip to the Providence ménage. He was shocked to find that Stowescroft almost overnight had become the old man he had whimsically pretended to be in his correspondence.

    "What is it, Edward?" he asked in tones of shock. Behind him the widowed aunt was walking about, shaking her head and muttering as to herself. There was not the wonted responding twinkle in Stowescroft's eyes as he weakly beckoned Lounger, Jr. to a seat. He was in the high-backed chair which commanded an excellent view of Federal Hill [note: here and throughout HPL has altered Shea's "Beacon Hill" to "Federal Hill". Beacon Hill is in Boston, whereas Federal Hill could be seen from the window of HPL's home in Providence. -- DC], a shawl about his shoulders, although the day was not chill. There was a deep resignation in his face. Lounger, Jr. received singularly an impression that he was dying, and the very thought fell upon him like an icy hand. He was somewhat reassured a moment later when Midnight, a venerable tomcat, came into the room and leaped upon Stowescroft's lap. The relaxation in the writer's face as he stroked Midnight restored the familiar appearance of the household, and made Lounger, Jr. dismiss the feeling of portent as beyond credence.

    "It was fantastic of me, Nappy, I suppose," Stowescroft was saying slowly, "to ask you and the rest of the gang to stop the mention of the Necronomicon. And yet I must insist that you do precisely that. Oh, I can't explain why; it's against all the rules of natural science; it even sounds like one of my own tales; yet lately I have been receiving the intimation that the Necronomicon is more real than I had supposed. But how can that be? It is as if Cervantes were haunted by the ghost of Don Quixote. Still, were I to credit Yoga and the rest of that quackery of the Far East, I might believe that the very persistence of mention of the Necronomicon had created more than a mental image. The Yogas teach that many things can gain solid form through concentration."

    That evening Stowescroft sat in his chair. Far away lights were springing up on Federal Hill. He sat in reverie, thinking of Lounger, Jr.'s reassurances, and wishing that he had had the courage to make a clean breast of the affair. Why had he not told him of how precisely Klarkash-Ton's painted book duplicated the Necronomicon of his dreams? Or of how the quotations from the book, with which he studded his stories, required not the slightest labor, but rather sprang to his pen as if by rote? Or even more alarming, of how even the quotations of the "gang", of Blake's and Comte d'Erlette's, which presumably would have to be invented by them, had sounded disturbingly familiar? He remembered with a sudden access of trepidation the visit of the Italian from Federal Hill, who excitedly had insisted that he burn the book, and when Stowescroft had assured him it was an invention, had declared that it was known to his grandfather, and that his grandfather after whispering of it had made the sign of the cross.

    Was it possible that somewhere such a book did exist, and that by some curious communication he had been made aware of it in his nightmares? And, granting so impossible a speculation, how could it be found and its spell exorcised?

    Stowescroft sat late in his chair that night, and when he went to his bed he was almost instantly asleep and dreaming. And in his dream the Necronomicon was seen with a greater clarity than ever before, and he fingered its mouldering pages that had a wormhole exactly where Klarkash-Ton had placed it in his painting. And for the first time the ancient script was sufficiently legible. He read in it, although it spoke of such abominations that he struggled without avail to awaken. And once and again his eye hesitated over words that were damnedly familiar, and he recognized them in his dreaming state as the quotations the "gang" had so inadvertantly used.

    In the morning the words stood out in his memory as clearly as he had read them in his dreams. He shrank in horror from their import, and told himself realistically that such things could not and must not be, and that he was Edward Stowescroft of 66 College St., Providence, R. I., a very prosaic and obscure writer who specialized in outré tales for which he was ill paid.

    There was only one way in which the reality of his visions could be tested. The military streak in his composition suggested the way. He spent the morning carefully cleaning and loading a pistol. He made a somewhat shamefaced visit to an old church on Federal Hill and received from the priest a rosary, a font of holy water, and a small crucifix. He gathered up more sinister things according to the instructions of the Necronomicon.

    And presently he was ready. He stood in a circle, with his pistol and the holy implements outside it but within reach, and slowly intoned the incantation to Nyarlathotep. After some moments of breathless expectancy he could see a shadowy outline forming just beyond the smoke of his small flame. It became clearer as he watched, grouping itself into a shuddery malevolence that was ominously familiar....

    "Go back!" he cried. "I only imagined you!"

    The sound of a shot sent the widowed aunt scurrying upstairs. There was an acrid smoke in the room that blinded her for a moment. As it settled, she thought she saw Stowescroft huddled in a contorted heap.

    There was a body there, definitely, curiously festooned by a rosary and crucifix, and the shreds of clothing that remained resembled the cloth of the suit Stowescroft had been wearing. But the widowed aunt would never be sure that it was he. Every bit of flesh on the frame had been stripped away, as if by some strong corroding acid.

    (The end.)

The Opposer Divine ::: Symbols Of Oppression

The Opposer Divine is Minor's project, which owning of Slovak producer on the verge of moving EBM, experimental and ambient music with occasional departures into other realms of electronic music. Minor is a member of the TerminalState group and MindSlide project, which is hardly possible to stabilize the genre, as music is MindSlide too diverse, and come across more electronic styles and directions, which are aimed at engaging the audience mainly thought and feeling to the music as such.

1. The Chain 7:20
2. Antimatter 9:44
3. Wish Upon A Dead Humanity 7:11
4. Schism 3:16
5. Simul Acrum 8:01
6. Suum Cuique 5:37
7. Sect 2:43
8. You Know 4:53
9. Iimplant 7:24


Concrete/Rage ‎::: Chaos Nation

Concrete/Rage is a German electro-industrial project started by Benjamin Sohns in Kirn in 2005.

Concrete/Rage has released two albums with Danse Macabre Records, both of which charted on the DAC. Their debut album (Un)natural reached number 10 while their second album Chaos Nation reached number 3 on the 2009 German Alternative Charts.[1] A publicity campaign for the album Chaos Nation has brought attention from the music magazines Zillo, Sonic Seducer, and Gothic. Concrete/Rage made its stage debut on April 18, 2009 at the Elekktroshokk Festival in Adelsheim.

1     Incoming Message (Intro)    
2     Chaos Nation    
3     Face To Face    
4     The Hate You Fear    
5     New World Order    
6     Deny And Forget    
7     Waffengang    
8     Storm    
9     Werewolf    
10     Face To Face (Inline.Sex.Terror Remix)
11     The Hate You Fear (Desire:2012 Remix By Stereomotion)
12     New World Order (Deadjump Remix)
13     Werewolf (Advanced Destruction Remix By Novastorm)


Christ. ::: Live

Christ. (with a full stop or period mark at the end) is a Scottish musician. He disclaims any religious meaning in the stage name and describes it as short for Christopher.

Christ. performs as a solo electronic music artist, often live with drummer David McGeorge, and is linked to the (also Scottish) electronic music group Boards Of Canada. Credited as Chris Horne, he was an early participant in the nebulous Hexagon Sun collective from which Boards of Canada emerged and was a collaborator with Marcus Eoin and Michael Sandison until approximately 1995. He appeared on the Boards Of Canada - Twoism album, originally issued on the Music70 label. Horne's departure was amicable and he thanks the duo on the Christ. - Pylonesque EP. issued on Benbecula Records.

Christ. has toured the UK, Europe and Japan and performed a live session for John Peel at Maida Vale studios in London on 17 December 2003. This session became notable amongst Peel's fans as being the only known occasion upon which the well-known British radio DJ requested an encore.

1- Chopper    
2- Happyfour Twenty
3- Making A Snow Angel    
4- Ganky    
5- Perlandine Friday    
6- Marsh Of Epidemics    
7- MK Naomi    
8- Vernor Vinge    
9- Cordate


Yep More Re-Uploads...

 Ain Soph ::: III

Current 93 ::: LaShTaL 12"

Current 93 ::: Who is the Sufferer

Current 93 ::: I Have a Special Plan for this World

HOH/Current 93 ::: Crowleymass

SPK ::: Zamia Lehmanni – Songs Of Byzantine Flowers

Current 93 ::: Faust

SPK ‎::: Auto Da Fe

Coil ::: Live in Paris (2004)

Genocide Organ ‎::: Save Our Slaves

One more. This one was limited to 350 numbered copies in total, 18* of these copies are housed in a steel/concrete/chain box and include a video and a t-shirt; this edition is numbered out of 30. The remaining copies [this entry] are housed in a hand-painted heavyweight cardboard box and numbered out of 320. A small number of these remaining copies had a printed eloxal metal plate on the front of the box instead of the photocopy. All copies include seven inserts (one for each song and listing titles/credits/etc.) and the box comes with a red banderole around it. The banderole is sealed on the front with a sticker reading "Genocide Organ :Save Our Slaves:", and on the back with one of two stickers, reading either "Save Our Christian America!" or "Let The Legend Live In The Grand Ole South!". 


Sara Patton Boyle Side
A Patria Y Libertad 11:44

Bitch Side
B1 Death With Dignity 5:02
B2 Kill Useless Nations 4:55

Discrimination Side
C Violent Coordinating Commitee 6:03

Birmingham Side
D1 I Want James Meredith 3:47
D2 John Birch Society 3:18  


Genocide Organ ‎::: A Case Of Ortophedic Fetishism

It's been a while since I posted some strong power electronics.  I do love this noise.  Release was limited to 60 copies and available in 3 colors: black, gold & red. Two different covers: a green alien looking one and a spooky one that has 2 heads with there brains showing. Some came with razors attached and a little picture. 

A1 The Butcher Of Woodside
B1 Genital Inferiority
B2 Watcher  


David E. Williams ::: Trust No Scaffold Built Of This Bone

An undisputed yet controversial cult icon for over 2 decades, David E. Williams continues to expand the boundaries of dark cabaret and neofolk in ways that perpetually leave him as the ultimate outsider of both genres.

1 The Official Picnic Song
2 Dashing Habber
3 Quackadoodledoo
4 The Emperor Of Ice Cream
5 Closet
6 Heat's Down The Seeking Missile
7 A Patch Of Fog In Purgatory
8 What's Your Scene, Jellybean?
9 Dodecaphonybaloney
10 Relapse
11 Peanuts, Candy, A Dog And A Bird
12 Ten Pound Bag
13 Meine Schwester, Die Krankenschwester
14 Turn Off All The Very Hot Things 


Crowley on Yoga: Third Practice by Astariel Ananda

The third yoga technique detailed in Crowley’s Book IV draws upon the pranayama that was learned in the previous practice.

This is a form of walking pranayama, a common practice among yogis. Besides being a meditative technique, it has the added benefit of being able to be done while getting a little exercise or walking around town. It is referred to as Bhraman pranayama (walking breath).

Follow these steps:

1. Practice deep, full breathing while taking walks.

2. Repeat a sacred mantra while walking, so that your footsteps are in keeping with the rhythm of the mantra (“as is done in dancing”). Another option is to count, according to Crowley, but a mantra such as OmOm mani padme hum; or Om Shanti, Shanti, Shanti seems like it will yield better results.

3. Start a modified form of pranayama: It is similar to the second practice, except don’t hold the breath between inhalations and exhalations, and use both nostrils rather than closing one (as Crowley says, “paying no attention to the nostrils otherwise than to keep them clear”). Instead of breathing in and out for specified counts, you’ll use how many steps you take. To start, inhale for four steps and exhale for four steps, continuing for as long as it’s comfortable.

4. Increase the length of your inhalations and exhalations. Go up to 6 steps per inhale: 6 steps per exhale. Then increase this to 8:8, 12:12, 16:16, 24:24, or more if you’re able.

5. Next, practice a double ratio of inhalations and exhalations. Start by inhaling for four paces and exhaling for eight paces. Increase the inhale:exhale ratio to 6:12, 8:16, 12:24, and more if you’re able.

6. Finally, add the retention of breath (called the Kumbhakam). Crowley does not give specific instructions for this step. I recommend starting with a ratio of 4 paces per inhale, 4 paces per hold, 4 paces for exhale, and 4 paces for hold, then moving to longer times if you prefer. Then, switch to 2 paces for inhale: 8 paces per hold: 4 paces per exhale: 8 paces per hold. Increase the count, always keeping the 1:4:2 ratio.

Low ‎::: Murderer

Interesting release in the Vinyl Films 10" series, the Low title-track is a far more sparse and stripped-down affair compared to the version which appears on Drums And Guns. The difference is immediately noticeable; like a demo-take, it has a simple charm. But the real treat is on the B-side with the sprawling From Your Place On Sunset. Long and ambling - plenty of mood and atmosphere, like the best Low songs - and with a fantastic guitar that fuzzes and pops in all the right places. Overall, a very moving EP when deployed at the right time.

1- Murderer    
2- Silver Rider    
3- From Your Place On Sunset


Calle Della Morte ::: Calle Della Morte

Calle della Morte was a neofolk group from Venice, Italy born from the teaming-up of Jonny B (Inner Glory) and Vinz I.H.S.V. (former session man with Ain Soph, Inner Glory, Der Feuerkreiner, Macelleria Mobile di Mezzanotte) back in 1999. First album released is Gente di Malaffare, followed by 10" Peste 03 and MCD "A Dio".  The group disbanded in 2013.

1 Gente Di Malaffare 0:41
2 La Mensa Dei Morti 3:29
3 Tardo Autunno 3:25
4 Gli Uomini E Le Rovine 4:51
5 Venezia 4:16 


Thursday, January 29, 2015

Freya Aswynn / Les Joyaux De La Princesse ::: Wolf Rune

The black vinyl comes in a black foldout cover in a limited edition of 200 copies. Invocation is read by author/magician freya Aswynn. When I first heard this recording I was hypnotized; pure magick.  Hearing it again today still brings me that same exciting feeling.  You really must have this.

A - Invocation Of The Gods - Vocals [Uncredited] – Freya Aswynn
B - Invocation Of The Gods (Instrumental)


Les Joyaux De La Princesse ::: 1940-1944: Édition Postume À La Mémoire De PH

Special artist edition of 1940-1944 reserved for friends and family of Les Joyaux De La Princesse. Packaged in a white vergé box with silver lettering, with cloth patch bearing the Philippe Henriot shield in either white or silver stitching, plus additional printed cards.

Contents may vary slightly due to the personalization and individual construction of each set. Some copies have a black data-layer CDr with white printed label in place of the "In Memoriam" CD.

Set contains the following albums:
CD1: "Aux Petits Enfants De France" - in card slipcase. Remastered from the original coffin-box cassette version.
CD2: "In Memoriam" - in folded and stamped pamphlet cover, which reproduces a speech by Philippe Henriot. A CD reissue of the 2004 vinyl box set.
CD3: "La Voix Des Nôtres présente Chantez Jeunesse" - in card slipcase. Originally titled "Chantons Sous L'Occupation" and features original songs from 1940 to 1944 mixed with overdubs and effects.

Limited to 49 copies.


Aux Petits Enfants De France

1-1 Exode
1-2 Témoignage
1-3 Jours Sombres
1-4 Automne 1941
1-5 Le Tambour
1-6 Le Drapeau
1-7 Le Petit Garçon
1-8 Dernier Éditorial

In Memoriam

2-1 Untitled
2-2 Untitled
2-3 Untitled
2-4 Untitled
2-5 Untitled
2-6 Marche Funèbre
2-7 Untitled
2-8 Messe Solennelle

La Voix Des Nôtres présente Chantez Jeunesse

3-1 Prenons Le Même Chemin (by Richard Blareau)
3-2 Nos Compagnons d'Europe (by Robert Maleron)
3-3 Seule Ce Soir (by André Dassary)
3-4 Tu M'oublieras (by Guy Luypaerts)
3-5 Souvenir (by Unknown)
3-6 Tout Là-Bas, madame (by Charles Henry)
3-7 Untitled (by André Lasdoc)
3-8 Semons Le Grain De La Lumière (by Henri Jossy)
3-9 Du Rouge Aux Lèvres (by Rose Avril)
3-10 Hommage à Fouchs (by Jean Leroy)
3-11 Renaudie (by Bonneau)
3-12 Adieu Chéri (by Unknown)
3-13 Revenir (by Zarah Leander)
3-14 La Route De France (by Unknown)
3-15 Dans Tes Yeux (by Unknown)


Wednesday, January 28, 2015

Terence Hannum ‎::: Final Salt

One of the leading members from Locrian, Terence Hannum, has further showcased this ability to inventively blend genres in his most recent solo output, 'Final Salt'. The album consists of four tracks, yet can be best appreciated as a single vision – brooding, colossal, and compelling. It opens with a wide expanse of droning organs and low-register frequencies, but throughout the next forty minutes, as rippling noises textures move through an ocean of feedback, mangled shouts, and synths, the mysterious beauty of this work pulls you in and never lets you go.

Though many of the elements that define Locrian are at the core of this album, 'First Salt' is a work of art that should be judged on its own merit. Hannum is proving here once again the power and clarity of his vision. If you haven't heard any of his music, you're sadly missing out. Highly recommended.

A1 Evaporite    
A2 Former Seas
B1 Accretions    
B2 Final Salt


Earth Mesmerism ::: Bleed Into Air/End of Autumn

Contains both demos recorded in 2012. Pro-pressed C-40 cassette, black shell, full-color J-cards, hand numbered, out of 100.  Great emptiness.

1.This is Emptiness
2.Dead Stars
3.Bleed Into Air
4.Laughing Hexen
5. Into the Clearing
6. Ghost Ride
7. Cloak of Stars


Brandon Terzakis ‎::: Lore

Wonderful drone ambience constructed with a minimalist patience that takes the listener to a far away place.  Get it.

1- Untitled
2- Untitled
3- Untitled


Tuesday, January 27, 2015

The Mahabharata (directed by Peter Brook)

And now for something completely different. Famed Royal Shakespeare Company director Peter Brook helms this multinational production of India's greatest epic myth. A seemingly simple tale of two sets of semidivine brothers vying for the throne spirals out to include wider themes of fate, free will, and the problems of behaving dishonorably to preserve the greater good. The film, adapted from Brook's stage production, uses a presentational style, with the epic's narrator slipping in and out of the action and characters stopping to address the camera. The international cast and simple costuming add to the timeless, dreamlike feel of the story. The Mahabharata does an excellent job of reverently presenting a cherished myth without losing the passion and excitement of the story.

Peter Brook's version of the Mahabharata is theatrical, philosophical, spare, poetic. It is rendered in gentle, nearly monochromatic hues and with often silent backgrounds, interspersed with periods of hauntingly beautiful music. The actors are gifted, if a bit too grand and mythic in their presentation. As in the written versions, the characters motives are seen to be, in turns, grounded and human, and unearthly and enlightened.

Such a powerful mix, and such a penetrating vision of life. I highly recommend this film!

(Full uncut version)


Part 1:!lo1nhCpb!KqyeHtWeBTp8vdDJVA1gAwsC-dTOkS2evMUHfZnFy_4
Part 2:!R8F3GDpY!s4uWY2aeDECZmlYd1euUR6snNe7tSSgPZxVzKtuT8Fg

Razen ‎::: Rim Saraband

Esoteric improvisations deeply rooted in medieval, world and folk music. This Brussels duo plays an impressive variety of traditional instruments (santur, bombus, bouzouki, psalterium, bagpipes, hurdy gurdy etc) in transcendental dimensions. Has Bryan Lewis Saunders reciting on one track. Future atmosphere of ritualists like Third Ear Band by way of contemporary psychedelic heads like Toho Sara and Ghost, building grand droning orchestras, flashing ragas and sad madrigals from sawing strings and cranky, microtone-thick dervishes. The cassette is programmed really well too, with long pieces cut up with sudden blats and snippets in a way that mirrors the fragmentary logic of The Faust Tapes or even Vibracathedral Orchestra. This is fantastic, highly recommended.

A1 Rim Saraband Pt I + II    
A2 Red - Handed    
A3 Redeemer Of The Sawtooth Wave    
B1 Runaware    
B2 Rogue Pipes Of The Night    
B3 Rilling   


Magazine ::: Secondhand Daylight

Secondhand Daylight, the second Magazine album, sounds like it must have been made in the dead of winter. You can imagine the steam coming out of Howard Devoto's mouth as he projects lines like "I was cold at an equally cold place," "The voyeur will realize this is not a sight for his sore eyes," "It just came to pieces in our hands," and "Today I bumped into you again, I have no idea what you want." You can picture Dave Formula swiping frost off his keys and Barry Adamson blowing on his hands during the intro to "Feed the Enemy," as guitarist John McGeoch and drummer John Doyle zip their parkas. From start to finish, this is a showcase for Formula's chilling but expressive keyboard work. Given more freedom to stretch out and even dominate on occasion, Formula seems to release as many demons as Devoto, whether it is through low-end synthesizer drones or violent piano vamps. Detached tales of relationships damaged beyond repair fill the album, and the band isn't nearly as bouncy as it is on Real Life or The Correct Use of Soap -- it's almost as if they were instructed to play with as little physical motion as possible. The drums in particular sound brittle and on the brink of piercing the ears. Despite the sub-zero climate, the lack of dance numbers, and the shortage of snappy melodies, the album isn't entirely impenetrable. It lacks the immediate impact of Real Life and The Correct Use of Soap, but it deserves just as much recognition for its compellingly sustained petulance. Even if you can't get into it, you have to at least marvel at "Permafrost." The album's finale, it's an elegant five-minute sneer, and as far as late-'70s yearbook scribbles are concerned, "As the day stops dead, at the place where we're lost, I will drug you and f*ck you on the permafrost" is less innocuous than "All we are is dust in the wind." [Allmusic]

1. Feed the Enemy
2. Rhythm of Cruelty
3. Cut-Out Shapes
4. Talk to the Body
5. I Wanted Your Heart
6. The Thin Air
7. Back to Nature
8. Believe That I Understand
9. Permafrost
10. Give Me Everything (bonus)
11. I Love You, You Big Dummy (bonus)
12. Rhythm of Cruelty (Single Version) (bonus)
13. TV Baby (bonus)   


Koasasa ‎::: Return To The Palm Oasis

The final koas(asa) cassette; largely cultivated from ritual experiments and native sound meditations.  Recommended for fans of the style.  Limited Edition of 50.

A1 Return To The Palm Oasis    
A2 Mirage Of The Hidden Hands    
A3 Tribe Radio No.12 (Part 1)    
A4 Market Radio    
A5 Tribe Radio No.12 (Part 2)    
A6 Hot Palmed Oasis (Bonus Track)    
B1 Lush Vistas I (The Invisible Door)    
B2 Morning Palm Horizon    
B3 Lush Vistas II (Long Sea Of Silk)    
B4 City Business    
B5 Last Of The Air Rituals    


Albireon ::: I Passi Di Liù

ALBIREON started as a musical project back in late 1998 from the strong will of self expression of Davide Borghi (Vocals, guitars, lyrics) and Carlo Baja-Guarienti (keyboards, piano, flute) . Albireon developed an heartfelt and clear sound with acoustic guitar and keyboards and started to write and record music. The first demo called "Where free birds sleep" was recorded with the precious help of ATARAXIA's guitarist Vittorio Vandelli and released in May 1999. After some months spent writing new tracks Albireon entered a small professional studio to record 4 new songs for a demo tape called "Amniosphere", released in September 2000, who helped the band spreading their name in the underground of folk-dark music.

In the same studio Albireon completed the sessions for the first true full lenght release called "Disincanto" released as CD-R in June 2001. In the end of 2001 Albireon took a three months break and Davide Borghi met Stefano Romagnoli (Programming, samples, recordings) and started working with him at some more strange and disturbing music. The results of this collaboration was the creation of "Le stanze del sole nero" , a gloomy ten tracks work featuring strange ballads in the purest vein of neofolk and industrial songs. "Le stanze del sole nero" was released as a self production CD-R in late 2002 and was re-pressed by Cynfeirdd in a limited edition E4E series in January 2004 with 4 bonus tracks taken from the first works of Albireon. This release was the first official work of Albireon and was sold out very quickly .

"Di vuoto, d'angoscia e di pioggia" is the title of the promo CD released to introduce the album and the new full length CD "Il volo insonne" was released on Cynfeirdd on May 2005 and feature ten songs carrying neo folkish ballads, ambient and indus sounds and strange theatrical-like e xperiences. This album gained a great feedback and was a milestone in Albireon sensitive path and was the firts collaboration of drummer Lorenzo Borghi who joined the band with this release. Albireon are featured with the track "Danza del risveglio" on the cult 2CD compilation "Songs for Aliénor" released by Cynfeirdd beside Sol Invictus, Gae Bolg and the church of Fand, Camerata Mediolanense, In Gowan Ring and many others. Albireon asked Fire+Ice's vocalist Ian Read to sing the english version of "Danza del risveglio" titled "Awakening Dance" and he kindly agreed recording this song and another great collaboration was established with the famous neofolk german act Sonne Hagal for "Somewhere far from heaven". These collaborations were released by Cynfeirdd as limited special edition of 373 copies in September 2006 under the title of "Indaco ep" ,as a special limited edition MCD, together with two new songs, the new dreamy version of "Ala di falena" and a live track..The year 2007 saw Albireon develop some new projects and collaborations and slowly working on two new releases, an album of ballads not yet completed, "Le fiabe dei ragni funamboli" and a very special split ep ("Ahren") with Sonne Hagal was released in a limited edition on Final Muzik . Beside being featured in the David E. Williams tribute and the OEC 100 compilation, both on Old Europa Cafe, in 2008 Albireon completed the "I passi di Liu'", their definitive emotional masterpiece. [Alchembria]

1. Liu' Dorme
2. Naufraghi
3. Gli Equiseti
4. Deriva
5. Cendra
6. Cerbastri
7. Marea
8. Falistre
9. Nymphalidae
10. Gennaio