Thursday, September 29, 2011

Funker Vogt ::: Survivor (Limited Edition)


Funker Vogt continues to fly the flag for electronic industrial music in the tradition of KMFDM and Front 242. On Survivor, the duo puts the emphasis on the dance component of their sound, with bending synths, 4/4 beats, and rave melodies. While accessible to newcomers to the genre -- with clean Depeche Mode grooves on "History" and simple, soaring dark atmospheres on "Compulsions" -- the album sounds closest to a set of KMFDM dance remixes. Sure, "Obscure Pictures" employs harsh, grating electronics that favorably recall What Do You Know Deutschland?, but this record lacks the punch of industrial's early-'90s heyday and the defining albums of the time: KMFDM's Angst, Ministry's The Mind Is a Terrible Thing to Taste and Psalm 69, Pigface's Fook, and even My Life With the Thrill Kill Kult's outrageous and danceable Sexplosion! and 13 Above the Night. [Charles Spano, Rovi]

Tracklist:

{CD1}
01 - Date of Expiration.mp3
02 - This World.mp3
03 - History.mp3
04 - Obscure Pictures.mp3
05 - Compulsions.mp3
06 - Prisoners of War.mp3
07 - Final Thrill.mp3
08 - Fallen Man.mp3
09 - Stolen Thoughts.mp3
10 - Lugner!.mp3
11 - Faster Life.mp3
12 - Red Queen.mp3
13 - Refugees.mp3

{CD2}
01 - This World (Built for Wars).mp3
02 - Whenever a Child Dies.mp3
03 - This World (Made of Battlefields).mp3

Preview:


Download here:
http://www.mediafire.com/?yyrysnud2fedv5r
http://www.mediafire.com/?qfgrig88poa7lax

Wednesday, September 28, 2011

The Grey Wolves ::: Judgement


I have been in love with this album for some time now.  A noisy, droning ambience.  Highly recommended.  The preview song is not from this release but it will give you a taste of the sound.

Enjoy!

Tracklist:
Restraint     24:06    
Judgement     23:50

Preview:
   

Downloads here:
http://www.mediafire.com/?z3madjymlmz

SPK ::: Leichenschrei


SPK's best album: the paragon of Industrial excellence. If you've ever wanted to know what it feels like to be in an mental institution here's your chance.

Tracklist:
1 Genetic Transmission 3:17
2 Post-Mortem 2:24
3 Desolation 1:18
4 Napalm (Terminal Patient) 2:39
5 Cry From the Sanatorium 2:26
6 Baby Blue Eyes 2:38
7 Israel 2:46
8 Internal Bleeding 1:46
9 Chamber Music 3:27
10 Despair 4:45
11 The Agony of the Plasma 3:03
12 Day of Pigs 4:18
13 Wars of Islam 4:32
14 Maladia Europa (The European Sickness) 3:50

Preview:


Downloads here:
http://www.mediafire.com/?3241w3iizmm

Ain Soph ::: Kshatriya


Practically twenty odd years on and we finally have a proper re-release courtesy of the folks at Hau Ruck SPQR, and well done it is, it has been cleaned up and remastered without losing any of the original integrity. Ain Soph has managed to stand the test of time fairly well and have garnered a fan base that at times borders on the obsessive. A truly dedicated fan base that clearly wants to hear more from output from them, over the years they have attained something resembling cult status. One can ascribe a number of things to their standing, which doesn’t solely rest on the music itself. We have their usage of Magickal symbolism, Hebrew, Alchemical, and then of course, there is the inspiration driving some of their various pieces and works coming from such sources as Crowley, Evola, or even Nietzsche for that matter. This release for those of you not familiar with it doesn’t fall short of any inspiration whatsoever.

Kshatriya falls on the esoteric side of things, the whole CD plays out like a mass of sorts, as it commences with the solemn invocation “Decimus Gradus”, a very simple piece that from its inception plays out like an invocation of sorts. Although it is only a piano piece with very little preparation with voice accompaniment, but it is highly effective in scope and substance as an introduction. The ritual has begun and we are passed through “Montsalvat”, a little Crowley poem from the book of Thoth, a recitation of verse, which begins ever so peacefully, then it takes a more aggressive turn as a wall of grinding guitars and a mad organist bombard us.

Know Naught!
All ways are lawful to Innocence
Pure folly is the Key to Initiation.
Be neither man nor woman, but both in one. Be silent, Babe in the Egg
Of Blue, that thou mayest grow to bear the Lance and Graal!
Wander alone, and sing! In the King's Palace his daughter
Awaits thee.

One can say many things about Ain Soph, but one thing is certain; they know how to incorporate different styles of music to their best advantage. For the most part as I stated earlier this release comes across as a ritual for the first free tracks at least. Which on the original vinyl release found closure with “IAO”, then takes a more aggressive tone on the title track “Kshatriya”, which is more a battle cry than an actual song, a post-industrial piece that is discordant as well as melodic. I would have to say one of the highlights of this CD is “Stella Maris”, a lengthy practically hypnotic track that is partly singing partly spoken word in Latin; it had the effect of me hitting repeat on more than one occasion. Not short on the esoteric this release finds Ain Soph on the cusp of re-invention, for in the early nineties their sound took a slightly different turn that can be described as folk rock, but we will always have this little gem to remember them. [Heathenharvest]

Tracklist:
01 Decimus Gradus
02 Monsalvat
03 I.A.O
04 Kshatriya
05 Stella Maris

Preview:


Downloads here:
http://www.mediafire.com/?m585ff4g9455tjn

Tuesday, September 27, 2011

Grendel ::: Inhumane Amusement


Inhumane Amusement by Grendel tends to inspire dark & twisted toon-like imagery in my head. The musical composition of this album is a bit unsual...a bit unsettling. The drum programming is tight & fast EBM for the most part, while the synths and atmospheres (which are the best feature), are steadily gloomy and haunting. The album presents an overall murky, decayed vibe, as if it were recorded in a dank torture chamber. The cover artwork only adds to the unsettling feelings one may encounter during a listen. The production isn't quite up to the standards of todays electro-industrial, but it certainly enhances the effect. This album is indeed inhumane amusement.

Tracklist:
01. Intro
02. Strangers
03. Grendel
04. EVP
05. Red Rum
06. Lust
07. Corroding Conscience (Instrumental)
08. Nothing Like Senses
09. Controlled Pain
10. Demands
11. In Solitude

Preview:


Download here:
http://www.mediafire.com/?qzzmtgdz0en

Sister Machine Gun ::: Sins Of The Flesh


"Wow" is all you'll say after listening to "Sins of the Flesh" for the first time. Being the band's first album, there are wonderful stylistic congruencies between the songs, which define a sound that is difficult to put your finger on. Sometimes slow and melodic, other times fast and pounding, it's like riding a one-hour emotional roller coaster...you'll need some prozac when you're done.......

Tracklist:
01. Sins Of The Flesh
02. Why Not
03. Degenerate
04. X-Rated Movie
05. Don't Let Me Down
06. Not My God
07. Night Returning
08. Life
09. Addiction

Preview:


Download here:
http://www.mediafire.com/?34ltmmyyyzn

Because Consumption is All you Should Aim For...

New Improved Gorish...now with advertising!

Monday, September 26, 2011

Snog ::: Third Mall From The Sun


With its mega-glossy package and equally spiffy production, Third Mall From the Sun is certainly an impressive work. What's more impressive is that its core message isn't lost behind the smooth basslines, pulsating rhythms, glitchy electronics, and blatant samples. Yes, samples. This is almost a return to the Snog of 1992 (when they sampled PWEI sampling James Brown - probably a first in piracy history). This time around, they rip off everybody from KMFDM to Lassigue Bendthaus to gospel records, all to great effect. All said and done, Snog was one of the most fiercely original bands of the 1990s, especially in electronic music, and I truly hope they continue with their subversion of Western society.

Tracklist:
1 Late Twentieth Century Boy     4:51    
2 Are You Normal Enough?     4:25    
3 Real Estate Man     4:34    
4 Slide Into Extinction     3:13    
5 Is There No-One That Can Save Us From Today?     3:41    
6 The Last Diamond     5:16    
7 Mind And Purpose     4:34    
8 Land Of The Bland   6:03    
9 The Universe     3:27    
10 State Rape     3:45    
11 Business As Usual     4:55    
12 The Grey Menace     3:08    
13 Old Atlantis     6:22    
14 Third Mall From The Sun     6:55    
15 Fanfare For The Common Man/Woman     3:03

Preview:


Download here:
http://www.mediafire.com/?rhfwirz4fpebgb9

The Aiwaz - Physics part 2 (voudon lessons part 13)

More from this manual (for easier reading right-click and open pictures in new page and enlarge).  Note: make sure to follow these lessons in order starting from part 1.




The Aiwaz - Physics part 1 (voudon lessons part 12)

More from this manual (for easier reading right-click and open pictures in new page and enlarge).  Note: make sure to follow these lessons in order starting from part 1.



Angelic Gematria (voudon lesson part 11)

More from this private manual (for easier reading right-click and open pictures in new page and enlarge).  Note: make sure to follow these lessons in order starting from part 1.





Snog ::: Remote Control


"Remote Control" is a definite sign that Dark Wave music has potential to break out into mainstream. Fast industrial beats mixed with well chosen sampling and dark, realistic lyrics make this album a must-buy for any fan of digital music and/or goth music, and/or industrial music. I recommend this to anyone and everyone.

Tracklist:
1 Empires        
2 The Future        
3 Corporate Slave        
4 Cliche        
5 Born To Be Mild (Soma Remix)    
6 Spermy Man (Out Of Sync Mix)        
7 Hey, Christian God (Sacred Mushroom II)        
8 Shop (U.S.C.W.F. II)
9 Cliche (Snog vs. Q-Kontrol)   
10 Bank        
11 One Way Ticket To The Womb        
12 Born To Be Mild (Groin Thunder Remix)
13 We Decorate Your Life         
14 The Dying Man (Live At One-Eyed Jacks)        
15 Real Wise Yuppie/Born To Be Mild (Live At The Hammersmith Odeon)        

Preview:


Download here:
http://www.mediafire.com/?u8qtydux44ndapm

Snog ::: ...Make The Little Flowers Grow



Released in 1997, this release continues the fine Snog tradition.

Tracklist:
1 Make The Little Flowers Grow     3:00   
2 Make The Little Flowers Grow (The Gold-Eating Ants)     3:18   
3 Make The Little Flowers Grow (Spacecat Digs Deeper)   5:59   
4 Make The Little Flowers Grow (TDM Says "Please Don't Grow") 4:20   
5 Sultans Of Sleaze     4:05   
6 Report From The Iron Mountain     3:35   
7 The Dying Man (Live At One-Eyed Jack's)     5:38   

Preview:


Download here:
http://www.mediafire.com/?pp4i4khara7a4w3

Snog ::: Buy me... I'll Change Your Life


The genre defining electronic act blows away any preconcieved idea of what the post-industrial world is about. Everything from spanish guitars to complete orchestras is on this compact disc. The songs on this album reflect a dark cynicism about the government, media, and capitalism. The lead singer's voice is very deep and detached from the sometimes gruesome, and often witty lyrics. This could turn off some listeners. Everytime i listen to his record i hear something new, sonically. A diffinate must for open-minded people, who are tired of what is on their radio. Great driving music, and of course subverisive background converational tunes. buy it, it'll ...change the way you look at your life.

Tracklist:
1 Light, Yet Refreshing     3:54    
2 Hooray!!     3:51    
3 Make The Little Flowers Grow     3:21    
4 The Ballad     4:00    
5 The Prole Song     4:01    
6 Big Brother     4:42    
7 This Is Capitalism     5:52    
8 The Human Germ     6:19    
9 Bastard Closet     6:10    
10 The Future     4:51    
11 The People Of Straight Land     4:27    
12 The End (Suite)     11:47

Preview:


Download here:
http://www.mediafire.com/?qw3g1w9ywsu8gzy

Snog ::: Lies Inc.


This is Snog's earlier 1993 release and although a couple of the tunes seem a bit dated now it is still a damn fine release.  More of the same industrial/electro with a message.

Tracklist:
1. Corporate Slave
2. Real Wise Yuppie
3. Bank
4. Born To Be Mild
5. Spermy Man
6. Sometime
7. Shop
8. Hunter
9. Supermarket Dream
10. Flesh
11. Make My Day
12. Corporate Slave(Alpha 66 Mix)
13. Control
14. Love Power
15. Funeral
16. Bonus Track

Preview:


Download here:
http://www.mediafire.com/?4lgvz182eed2a9p

Snog ::: Dear Valued Customer


As dubious the label "intelligent dance music" is, it definitely applies to Snog. The judicious use of such samples as Spaghetti-western themes and conspiracy theory quotes showcases Thrussel's twisted wit, while the solid beats and steady melodies show a competency of craft that is increasingly rare in "popular" techno. As for the lyrics, they speak for themselves, even if you can't always make out Thrussel's voice (think Marilyn Manson with bronchitis) over the beats. Sinister, ominous political insights with an unrepenting leftist bent. This is a CD for anyone.. if that special anyone appreciates both respectably intelligent techno music and social commentary with a Schopenhauerian tone.

Tracklist:
1 Invocation To The Fiscal Demon     1:44    
2 Dear Valued Customer     4:55    
3 Cliche     4:25    
4 Langley, Virginia     4:30    
5 Headsand     5:49    
6 Empires     4:17    
7 Naive Giant     5:14    
8 Reigning Terror     7:08    
9 Hey, Christian God     4:40    
10 One Way Ticket To The Womb     4:40    
11 Skinhead     2:57    
12 The Illuminanti     5:39    
13 The Yuppie Shall Inherit The Earth     1:44    
14 Gods And Governments     8:24    
15 Dear Valued Customer (Reprise)     6:09    
16 The Golden Rule     2:08

Preview:


Download here:
http://www.mediafire.com/?apujbm67gx3ux9r

Sunday, September 25, 2011

Parade Ground ::: Strange World


Walking a fine line between glossy synthpop and early EBM, Parade Ground were one of the early pioneers of the industrial/ebm scene.

Parade Ground issued six killer singles and one full length record, all pretty much essential for fans of the genre. The main lineup consists of brothers Jean-Marc and Pierre Pauly, who originally collaborated with Front 242. The brothers o...ccasionally lent a hand to some of Front 242's middle period recordings.

Released in 1987, this 12'' contains two high energy tracks, while the final track is a more atmospheric affair. The band split up soon after this release.

Tracklist
1. Strange World
2. Off Balance
3. The Chosen One

Download here;
http://www.mediafire.com/?7vpvdbr63q6j3rd

Muslimgauze ::: Salaam Alekum, Bastard


And now for one of the strangest experimental/industrial acts ever. It's honestly very difficult to know what to say about Muslimgauze.

Muslimgauze aka Bryn Jones produced a phenomenal amount of material (over 120 releases including more than 90 of them albums) before his untimely death 14th January 1999.

All his releases had an Arab political theme to them and the music t...oo is reflective of struggle.

While Muslimgauze's beautiful, frequently Koran-inspired packaging and exacerbating titles smack of pure political agenda, the music itself aspires to timeless, utopian peace. You can float or fly through this stuff, let it loft you gently into the upper atmosphere or pursue its dragon tails into imaginary Medinas. Sculpted from keyboards and electronics, a variety of international drums, and voices and sound effects snagged from Allah knows where, Muslimgauze's output bears affinity to ambient music that claims the decidedly different psychic terrain of such titles as 'Eternal Drift', 'Path of Harmony', and 'Sunangel Summer'. Reducing Muslimgauze to mere ambience does no justice to Jones' obsessions. Where ambient wants to chill you out with it's lazy, looping beats, Muslimgauze's hot pulse aims to sweep listeners into significant, albeit imaginary, liberationist solidarity.

Tracklist:
01 Salaam Alekum, Bastard
02 Dome Of The Rock
03 Hebron Massacre (Short Mix)
04 Caste The First Stone
05 Poona Eunuch (Zealot Mix)
06 Haramzada
07 Mandarin Guerilla
08 Cairopraktar
09 Salaam Alekum, Bastard

Download here:
http://www.mediafire.com/?gkok72bftmg

Coil ::: Horse Rotorvator


"On the Eve of the Apocalyspe -the Four Horsemen betray their steeds - slitting open the animal throats - and in doing so release the Second Grea Deluge - Horsgore - (The air choked with horsehair) - Infinite Divisibles Split - an infinity... of open sewers - the Four then fashion an immense earth -moving device from the collective jawbones - The Horse Rotorvator - with which to plough up the waiting world - (ROTA turns through 180 degrees to TARO) - wheals replace Horses - Dark Horses Run Dark Horses Run Deep (we plough th fields and scatter Our Dead Steeds on the land) ... and Hell is paved with horseflesh" - from album cover. A weird and powerful album. Sink into its madness. One of the greatest albums ever made in my opinion.

Tracklist:
1. The Anal Staircase
2. Slur
3. Babylero
4. Ostia (The Death of Pasolini)
5. Herald
6. Penetralia
7. Ravenous
8. Circles of Mania
9. Blood from the Air
10. Who by Fire
11. The Golden Section
12. The First Five Minutes after Death

Download here:
http://www.mediafire.com/?ymgoigjwvuu

Coil ::: Black Gold & Backwards Collections


Now we have hit the absurdly rare zone. These are two unreleased collections of Coil material. Never released and only intended for a small group of close friends.

Both Black Gold and Backwards are largely composed of material that would later become the album 'Ape of Naples', although most tracks are in vastly different forms than what they would soon be. "Heaven's Blade" here is a heady instrumental completely different from (and far superior to, in my opinion) its Ape of Naples counterpart. "Spastiche" would later be renamed "I Don't Get It", and "It's In My Blood" is here in its original form, "In My Blood" (elsewhere it's called "A.Y.O.R.") "Egyptian Basses" would later be modified into the more lush "Princess Margaret's Man in the D'Jamalfna", although the cut-up vocal sample here has its own spooky pull.

Black Gold also has numerous original songs and remixes from before the Backwards sessions were recorded, many of them from obscure vinyl releases only available to those who knew Coil personally. Three songs in particular are really good - "Theme from Gay Men's Guide to Safer Sex" is a sonic departure for Coil that's unlikely anything else in their catalogue. It's a shame that the rip is so low quality. "Blue Theme (Alternate Version)" takes Coil's unusually rave-y theme and adds a bit of sublime surrealist poetry on top of it (I think it's William S. Burroughs, but I'm not sure). "Assassins of Hakim Bey" is worth having for its title alone, but the weird synth sequence and the sitar drones make it another peculiar but welcome foray into undiscovered sonic territory for Coil that is bewitching instead of dissonant and difficult.

Tracklist:

Black Gold (Disc 1)

1 Spoiler (LP version)
2 The Wheel (vox)
3 The Anal Staircase (A Dionysian remix)
4 The Anal Staircase (relentless)
5 Keelhauler (7")
6 Is Suicide a Solution?
7 pHILM #1 (vox)
8 Static Electrician
9 Red Scratch
10 Blue Theme (alternate version)
11 Theme From "Gay Man's Guide to Safer Sex"
12 If it Wasn't Wolves, then What Was it?
13 Gnomic Verses
14 Nasa Arab (aural circumcision)
15 Bee Has the Photos

Black Gold (disc 2)

1 Egyptian Basses
2 Pre-original Chaostrophy
3 The Dark Age of Love
4 Spastiche
5 Assassins of Hakim Bey
6 Protection II
7 Red Skeletons 2
8 Journey to Avebury
9 Acid Jam 2
10 Acid Jam 3
11 Stoned Circular III
12 The Gimp Sometimes
13 An Apology

Backwards (Nothing Demos)

1. Heaven's Blade
2. Wir-Click-Wir
3. Elves
4. Simenon
5. In My Blood
6. Spastiche
7. Crumb Time
8. March Of Time
9. Bee Has the Photos
10. Egyptian Basses
11. Spastiche

Download here:

Black Gold
http://www.mediafire.com/?domvdjr2ytt

Backwards
http://www.mediafire.com/?2wyydbndwmo

Saturday, September 24, 2011

Various Artists ::: Remote Viewing Vol. 2


What if someone got all these obscure coldwave acts together and put them on a compilation tape? Well that's exactly what happened in this 1989 compilation.

This cassette, upon hearing it, has quickly become an all time favorite. Released in 1989 on Network 23 (the first installment appeared three years prior, and has yet to be found anywhere online to my knowledge), this tape features an hour and a half of instrumental ambient and industrial works from several obscure artists. It's a murky, unsettling, and highly atmospheric ride, without a single dud among the bunch. Many of the artists here appear exclusively among the series, while others have a few more scattered releases from around the same time. The standout for me is John Costello's "Gormen Ghast," which lifts off into minimal synth/dance territory after nearly three minutes of haunting atmosphere. There's also an exclusive track by Colin Potter and a solid gem by Steve Hillman, to name a few. This is highly recommended for fans of Tangerine Dream, Coil, and John Carpenter's film scores, but there's a handful of great minimal synth gems sprinkled within.

Tracklist
1. Howard Ingram- Sacrestone 72
2. Michael Hines- The Spirit Of Radio
3. Greg Truckell- Mesh
4. Mangenta Mirror- NX-X1-11
5. R. N. Andrews- Chinese Dentist Time
6. Steve Hillman- Citadel Parts 1 And 2
7. Colin Potter- Malton
8. Kevin O'Neill- Lik Mai
9. John Costello- Gormen Ghast
10. What It Is- Rearing Pigs
11. Martin Coles & Rick Wernham- Object Detection
12. Rancid Poultry- Controlled Exposure
13. Peter Tedstone- Mystic Sequence
14. Tim Stebbing- Star City

Download here;
http://www.mediafire.com/?lbdcv9ubwbihc2g

Elm ::: Nemcatacoa


Achingly beautiful album fusing elements of everything from Earth to Windy & Carl, Stephen O'Malley, My Bloody Valentine, Fennesz, Keith Fullerton Whitman and Emeralds - miss out at your peril!!!

Elm is the solo project of Jon Porras, one half of the deeply revered San Francisco drone lords, Barn Owl. Only his third release in solo mode, 'Nemcatacoa' has strong ties to his other project, but revolves around a lonelier and more perso...nal agenda, with eight incredible tracks of widescreen Americana drone soul, stretching from the peripheries of Earth's maudlin blues-scapes to blissfully noisy and psychedelic ragas reminiscent of Pandit Pran Nath or Om. We can imagine that hearing these tracks played in the optimum acoustic setting could be a life changing experience. As a release on the sublime Digitalis Arts & Crafts label, you can expect the usual attention to detail with a matt black sleeve bearing silver etched artwork from Katie Boyle that make for an object of desire in themselves. Unlike some drone albums, the passion and arrangements here will warrant many, many repeat plays, it's just that sort of album. Incredible.

I can't get enough of this album.

Tracklist
1. Nemcatacoa
2. In The Shadow Of Red Rock
3. Silver Dust In Moonlight
4. Arc Of Wisdom
5. Sacrament At Dusk
6. Breath Of Midnight Still
7. Covered In Blankets And Moss
8. Three Rings Drawn In Sand
9. Deep Mirage

Preview:


Download here:
http://www.mediafire.com/?dfd2aojzyge

VNV Nation ::: Empires



Electronic music is capable of expressing a variety of moods and atmosphere; surreal, dark, happy, sad....I've heard them all done well. Up until listening to this album, agression wasn't strongly represented. VNV Nation is the first electronic band who has come through in this respect so strongly.

The more you listen to Empires, the more you come to appreciate. From the explosive "Kingdom" to the almost melancholy "Arclight", the album takes hold and doesn't let go. Most of the songs rotate around a central theme both musically and lyrically, giving the cd an almost cinematic feel. The rhythms are simple and familiar, but performed with suprising mastery for such a young outfit. Agressive, driving and with an absolutely huge sound...Empires will likely place VNV Nation among the top of the electro-industrial genre...as they should be.

Tracklist
01. Firstlight
02. Kingdom
03. Rubicon
04. Saviour
05. Fragments
06. Distant (Rubicon II)
07. Standing
08. Legion
09. Dark Angel
10. Arclight

Preview


Download here
http://www.mediafire.com/?uz7hfl8j53d

Funker Vogt ::: Maschine Zeit (Limited Edition)


Another strong collection of high speed four on the floor industrial dance tracks. Overall the sound hasn't changed that much from their previous full length, "The Execution Tracks", but I noticed that the vocals are a bit more tame here and not as high in the mix which I think works better with their sound. The music is still harsh though and thumps relentlessly throughout. "Nuclear Winter" is the only track without any percussion really, it has an atmospheric piano that propells the song along with an eerie post-apocalyptic mood and lyrics to fit . Standout tracks for me are "Sins", "Black Market Dealers", "The Last", and the single "Gunman". If you don't know Funker Vogt this is a great place to start.

Tracklist
01 - Sins.mp3
02 - Gunman.mp3
03 - Black Market Dealers.mp3
04 - Maschine Zeit.mp3
05 - Nuclear Winter.mp3
06 - Under Deck.mp3
07 - Cold War.mp3
08 - The Journey.mp3
09 - Nothing To Include.mp3
10 - The Last.mp3
11 - Zeit.mp3
12 - Horizon [bonus].mp3

Preview


Download here
http://www.mediafire.com/?bzlbfuoxd6zzc3k

Velvet Acid Christ ::: Church Of Acid


Again and again, I keep putting this CD on after years of having it. It's the only VAC record that can hold it's weight. Reason for this being it's the most imaginative and diverse. Plus it's always great to put on a CD and not have to skip any tracks- just run it from 1-12 and that's it. I would recommend this to anyone, not just electronic music fans.

Tracklist:
01. Hell One
02. Let's Kill All These Motherfuckers
03. Dead Flesh
04. Futile
05. We Have To See We Have To Know
06. Disflux (Feed Back Mix)
07. Repulsive (Necropolis Mix)
08. Sex Disease (End Of The World Mix)
09. Vaginismus (Crotch Kick Mix)
10. Mental Depression
11. Pain
12. Fade Away

Preview


Download here
http://www.mediafire.com/?wno2xflzzgo

Assemblage 23 ::: Addendum


Fantastic Industrial/Synthpop mix.  These guys just seem to get better and better with time and this 2002 album is an example of their excellence.  Check out the preview:

Tracklist:
01. Let Me Be Your Armor
02. Awake (Imperative Reaction Mix)
03. Naked (God Module Remix)
04. Divide (Tidal Mix By Cut.Rate.Box)
05. Surface (Grip Mix By Aghast View)
06. Breath Of Ghosts
07. Disappoint (Negative Format Remix)
08. Naked (Tricky Tick Remix By Clear Vision)
09. King Of Insects (Red Sparrow Remix)
10. The Drowning Season (Original 1996 Mix)
11. Silence (Lo-Fi Quietude Remix By Converter)
12. Naked (Project X Remix)
13. Away

Preview:


Download here:
http://www.mediafire.com/?ih6u55ho7evwco3

Friday, September 23, 2011

Club De Rome ::: Club De Rome


This is the only album (a mini-LP, really) from French synthpop/coldwave/industrial band Club De Rome. From the melodic, minimalist A L'Est & A L'Ouest Du Crépuscule to the synthpop smash Painting On Your Skin to the thumping dark thumping bass of Brisure De Symétrie, this album is just one excellent song after another. As far as I know, the two members, Renato Bortolotti (voice,guitar,programming) and Maurice Moschini (drums, programming, sampling) were never in any other groups besides Club De Rome. The mini-LP was released on the venerable Lively Art label, home of Asylum Party, Data Bank A, And Also the Trees, Little Nemo, Museum of Devotion, and (my favorite), Collection d'Arnell Andrea.

Tracklist:
A1 Viva La Vita
A2 Sex, Fun, CDR
A3 A L'Est & A L'Ouest Du Crépuscule
B1 Painting On Your Skin
B2 TV Deus Rodeo
B3 Brisure De Symétrie
B4 Gringhita

Preview:


Download here:
http://www.mediafire.com/?zz0jzcwh1yz

Thursday, September 22, 2011

The Problem With Music

by Steve Albini

Whenever I talk to a band who are about to sign with a major label, I always end up thinking of them in a particular context. I imagine a trench, about four feet wide and five feet deep, maybe sixty yards long, filled with runny, decaying shit. I imagine these people, some of them good friends, some of them barely acquaintances, at one end of this trench. I also imagine a faceless industry lackey at the other end holding a fountain pen and a contract waiting to be signed. Nobody can see what's printed on the contract. It's too far away, and besides, the shit stench is making everybody's eyes water. The lackey shouts to everybody that the first one to swim the trench gets to sign the contract. Everybody dives in the trench and they struggle furiously to get to the other end. Two people arrive simultaneously and begin wrestling furiously, clawing each other and dunking each other under the shit. Eventually, one of them capitulates, and there's only one contestant left. He reaches for the pen, but the Lackey says "Actually, I think you need a little more development. Swim again, please. Backstroke". And he does of course.

Every major label involved in the hunt for new bands now has on staff a high-profile point man, an "A & R" rep who can present a comfortable face to any prospective band. The initials stand for "Artist and Repertoire." because historically, the A & R staff would select artists to record music that they had also selected, out of an available pool of each. This is still the case, though not openly. These guys are universally young [about the same age as the bands being wooed], and nowadays they always have some obvious underground rock credibility flag they can wave.

Lyle Preslar, former guitarist for Minor Threat, is one of them. Terry Tolkin, former NY independent booking agent and assistant manager at Touch and Go is one of them. Al Smith, former soundman at CBGB is one of them. Mike Gitter, former editor of XXX fanzine and contributor to Rip, Kerrang and other lowbrow rags is one of them. Many of the annoying turds who used to staff college radio stations are in their ranks as well. There are several reasons A & R scouts are always young. The explanation usually copped-to is that the scout will be "hip to the current musical "scene." A more important reason is that the bands will intuitively trust someone they think is a peer, and who speaks fondly of the same formative rock and roll experiences. The A & R person is the first person to make contact with the band, and as such is the first person to promise them the moon. Who better to promise them the moon than an idealistic young turk who expects to be calling the shots in a few years, and who has had no previous experience with a big record company. Hell, he's as naive as the band he's duping. When he tells them no one will interfere in their creative process, he probably even believes it. When he sits down with the band for the first time, over a plate of angel hair pasta, he can tell them with all sincerity that when they sign with company X, they're really signing with him and he's on their side. Remember that great gig I saw you at in '85? Didn't we have a blast. By now all rock bands are wise enough to be suspicious of music industry scum. There is a pervasive caricature in popular culture of a portly, middle aged ex-hipster talking a mile-a-minute, using outdated jargon and calling everybody "baby." After meeting "their" A & R guy, the band will say to themselves and everyone else, "He's not like a record company guy at all! He's like one of us." And they will be right. That's one of the reasons he was hired.

These A & R guys are not allowed to write contracts. What they do is present the band with a letter of intent, or "deal memo," which loosely states some terms, and affirms that the band will sign with the label once a contract has been agreed on. The spookiest thing about this harmless sounding little memo, is that it is, for all legal purposes, a binding document. That is, once the band signs it, they are under obligation to conclude a deal with the label. If the label presents them with a contract that the band don't want to sign, all the label has to do is wait. There are a hundred other bands willing to sign the exact same contract, so the label is in a position of strength. These letters never have any terms of expiration, so the band remain bound by the deal memo until a contract is signed, no matter how long that takes. The band cannot sign to another label or even put out its own material unless they are released from their agreement, which never happens. Make no mistake about it: once a band has signed a letter of intent, they will either eventually sign a contract that suits the label or they will be destroyed.

One of my favorite bands was held hostage for the better part of two years by a slick young "He's not like a label guy at all," A & R rep, on the basis of such a deal memo. He had failed to come through on any of his promises [something he did with similar effect to another well-known band], and so the band wanted out. Another label expressed interest, but when the A & R man was asked to release the band, he said he would need money or points, or possibly both, before he would consider it. The new label was afraid the price would be too dear, and they said no thanks. On the cusp of making their signature album, an excellent band, humiliated, broke up from the stress and the many months of inactivity. There's this band. They're pretty ordinary, but they're also pretty good, so they've attracted some attention. They're signed to a moderate-sized "independent" label owned by a distribution company, and they have another two albums owed to the label. They're a little ambitious. They'd like to get signed by a major label so they can have some security you know, get some good equipment, tour in a proper tour bus -- nothing fancy, just a little reward for all the hard work. To that end, they got a manager. He knows some of the label guys, and he can shop their next project to all the right people. He takes his cut, sure, but it's only 15%, and if he can get them signed then it's money well spent. Anyways, it doesn't cost them anything if it doesn't work. 15% of nothing isn't much! One day an A & R scout calls them, says he's 'been following them for a while now, and when their manager mentioned them to him, it just "clicked." Would they like to meet with him about the possibility of working out a deal with his label? Wow. Big Break time. They meet the guy, and y'know what -- he's not what they expected from a label guy. He's young and dresses pretty much like the band does. He knows all their favorite bands. He's like one of them. He tells them he wants to go to bat for them, to try to get them everything they want. He says anything is possible with the right attitude.

They conclude the evening by taking home a copy of a deal memo they wrote out and signed on the spot. The A & R guy was full of great ideas, even talked about using a name producer. Butch Vig is out of the question-he wants 100 g's and three points, but they can get Don Fleming for $30,000 plus three points. Even that's a little steep, so maybe they'll go with that guy who used to be in David Letterman's band. He only wants three points. Or they can have just anybody record it (like Warton Tiers, maybe-- cost you 5 or 7 grand] and have Andy Wallace remix it for 4 grand a track plus 2 points. It was a lot to think about. Well, they like this guy and they trust him. Besides, they already signed the deal memo. He must have been serious about wanting them to sign. They break the news to their current label, and the label manager says he wants them to succeed, so they have his blessing. He will need to be compensated, of course, for the remaining albums left on their contract, but he'll work it out with the label himself.

Sub Pop made millions from selling off Nirvana, and Twin Tone hasn't done bad either: 50 grand for the Babes and 60 grand for the Poster Children-- without having to sell a single additional record. It'll be something modest. The new label doesn't mind, so long as it's recoupable out of royalties. Well, they get the final contract, and it's not quite what they expected. They figure it's better to be safe than sorry and they turn it over to a lawyer--one who says he's experienced in entertainment law and he hammers out a few bugs. They're still not sure about it, but the lawyer says he's seen a lot of contracts, and theirs is pretty good. They'll be great royalty: 13% [less a 1O% packaging deduction]. Wasn't it Buffalo Tom that were only getting 12% less 10? Whatever. The old label only wants 50 grand, and no points. Hell, Sub Pop got 3 points when they let Nirvana go. They're signed for four years, with options on each year, for a total of over a million dollars! That's a lot of money in any man's English. The first year's advance alone is $250,000. Just think about it, a quarter million, just for being in a rock band! Their manager thinks it's a great deal, especially the large advance. Besides, he knows a publishing company that will take the band on if they get signed, and even give them an advance of 20 grand, so they'll be making that money too. The manager says publishing is pretty mysterious, and nobody really knows where all the money comes from, but the lawyer can look that contract over too. Hell, it's free money. Their booking agent is excited about the band signing to a major. He says they can maybe average $1,000 or $2,000 a night from now on. That's enough to justify a five week tour, and with tour support, they can use a proper crew, buy some good equipment and even get a tour bus! Buses are pretty expensive, but if you figure in the price of a hotel room for everybody In the band and crew, they're actually about the same cost. Some bands like Therapy? and Sloan and Stereolab use buses on their tours even when they're getting paid only a couple hundred bucks a night, and this tour should earn at least a grand or two every night. It'll be worth it. The band will be more comfortable and will play better.

The agent says a band on a major label can get a merchandising company to pay them an advance on T-shirt sales! ridiculous! There's a gold mine here! The lawyer should look over the merchandising contract, just to be safe. They get drunk at the signing party. Polaroids are taken and everybody looks thrilled. The label picked them up in a limo. They decided to go with the producer who used to be in Letterman's band. He had these technicians come in and tune the drums for them and tweak their amps and guitars. He had a guy bring in a slew of expensive old "vintage" microphones. Boy, were they "warm." He even had a guy come in and check the phase of all the equipment in the control room! Boy, was he professional. He used a bunch of equipment on them and by the end of it, they all agreed that it sounded very "punchy," yet "warm." All that hard work paid off. With the help of a video, the album went like hotcakes! They sold a quarter million copies! Here is the math that will explain just how fucked they are: These figures are representative of amounts that appear in record contracts daily. There's no need to skew the figures to make the scenario look bad, since real-life examples more than abound. income is bold and underlined, expenses are not.

Advance: $ 250,000
Manager's cut: $ 37,500
Legal fees: $ 10,000
Recording Budget: $ 150,000
Producer's advance: $ 50,000
Studio fee: $ 52,500
Drum Amp, Mic and Phase "Doctors": $ 3,000
Recording tape: $ 8,000
Equipment rental: $ 5,000
Cartage and Transportation: $ 5,000
Lodgings while in studio: $ 10,000
Catering: $ 3,000
Mastering: $ 10,000
Tape copies, reference CDs, shipping tapes, misc. expenses: $ 2,000
Video budget: $ 30,000
Cameras: $ 8,000
Crew: $ 5,000
Processing and transfers: $ 3,000
Off-line: $ 2,000
On-line editing: $ 3,000
Catering: $ 1,000
Stage and construction: $ 3,000
Copies, couriers, transportation: $ 2,000
Director's fee: $ 3,000
Album Artwork: $ 5,000
Promotional photo shoot and duplication: $ 2,000
Band fund: $ 15,000
New fancy professional drum kit: $ 5,000
New fancy professional guitars [2]: $ 3,000
New fancy professional guitar amp rigs [2]: $ 4,000
New fancy potato-shaped bass guitar: $ 1,000
New fancy rack of lights bass amp: $ 1,000
Rehearsal space rental: $ 500
Big blowout party for their friends: $ 500
Tour expense [5 weeks]: $ 50,875
Bus: $ 25,000
Crew [3]: $ 7,500
Food and per diems: $ 7,875
Fuel: $ 3,000
Consumable supplies: $ 3,500
Wardrobe: $ 1,000
Promotion: $ 3,000
Tour gross income: $ 50,000
Agent's cut: $ 7,500
Manager's cut: $ 7,500
Merchandising advance: $ 20,000
Manager's cut: $ 3,000
Lawyer's fee: $ 1,000
Publishing advance: $ 20,000
Manager's cut: $ 3,000
Lawyer's fee: $ 1,000
Record sales: 250,000 @ $12 =
$3,000,000
Gross retail revenue Royalty: [13% of 90% of retail]:
$ 351,000
Less advance: $ 250,000
Producer's points: [3% less $50,000 advance]:
$ 40,000
Promotional budget: $ 25,000
Recoupable buyout from previous label: $ 50,000
Net royalty: $ -14,000
Record company income:
Record wholesale price: $6.50 x 250,000 =
$1,625,000 gross income
Artist Royalties: $ 351,000
Deficit from royalties: $ 14,000
Manufacturing, packaging and distribution: @ $2.20 per record: $ 550,000
Gross profit: $ 7l0,000
The Balance Sheet: This is how much each player got paid at the end of the game.
Record company: $ 710,000
Producer: $ 90,000
Manager: $ 51,000
Studio: $ 52,500
Previous label: $ 50,000
Agent: $ 7,500
Lawyer: $ 12,000
Band member net income each: $ 4,031.25

The band is now 1/4 of the way through its contract, has made the music industry more than 3 million dollars richer, but is in the hole $14,000 on royalties. The band members have each earned about 1/3 as much as they would working at a 7-11, but they got to ride in a tour bus for a month. The next album will be about the same, except that the record company will insist they spend more time and money on it. Since the previous one never "recouped," the band will have no leverage, and will oblige. The next tour will be about the same, except the merchandising advance will have already been paid, and the band, strangely enough, won't have earned any royalties from their T-shirts yet. Maybe the T-shirt guys have figured out how to count money like record company guys. Some of your friends are probably already this fucked.

[Steve Albini is an independent and corporate rock record producer most widely known for having produced Nirvana's In Utero.]

Tuesday, September 20, 2011

Various Artists ::: The Up Another Octave Transmission


Ultra rare compilation featuring some ultra obscure new wave and post-punk acts.  Very rare 1981 release contaning some very interesting sounds.

Tracklist:
01 - Farenheit - Farenheit # 1
02 - Craig Sibley - You See Art, I See Clay
03 - Berlin - Talk Talk Video
04 - Null And Void - I Can See What's Happening
05 - Nu Beams - Oh Chico
06 - Videos - Skitzo Attack
07 - The Barbies - Boys Will Be Boys
08 - The Vectors - Hey Kirby
09 - The Detours - Hang Ten In East Berlin
10 - Beat-E-O’s - China Sleeping?
11 - Removed - Missing Person
12 - Finesse - Nervous
13 - Tactics - Things I Am
14 - The End - Time Before I'm Done

Download here:
http://www.mediafire.com/?3at3crm3z83k31m

Tox Modell ::: Parkhof 11.04.81


This Dutch duo, the precursor to Det Wiehl, whose remarkable CD I shared back in the summer of '07, offer a bitingly austere attack in the mode of the most severe Nuue Deutsche Welle, browbeating you with verbal brickbats and shearing junkyard sonics in that telltale Einsturzende Neubauten-like mode that was the virtual default setting for so many of those occupying these blasted and scorched vectors of post punk and post industrial practice at the time. And Tox Modell do in fine sour faced style.

Tracklist:
A1 Numbers Two        
A2 Paris St. Lazare        
A3 Bye Bye Dutchland        
A4 Stalingrad        
A5 Obedience        
B1 P.C.F.        
B2 Marrakesh        
B3 Some Gaims        
B4 Sub Anarchy !!!!        
B5 Electric Intermission        
B6 Paris St. Lazare        
B7 Some Gaims

Preview:


Download here:
http://www.megaupload.com/?d=PKK9UD50

Tasaday ::: L'Animale Profondo


Highly accomplished Italian ritualistic post-industrial sturm und drang mongering that alternates between Neubauten/Test Dept. skull/chest poundings, hermetic processional conjurings akin to the Current 93 of Lashtal or Richard Rupenus' more occultic explorations under the Metgumnerbone and Masstishaddhu mantles and unnerving synthetic dismalism out of the SPK Leichenschrei playbook.

Tracklist:
A1 Avvolti In Una Notte Devastante        
A2 Presenza Impossibile        
A3 Si-Ma-To-Re        
A4 Le Porte Dell' Equilibrio        
A5 Un Falso Destino        
B1 La Sacralita Senza Tempo        
B2 Luce        
B3 Lo Struggimento Vuoto        
B4 Dove Tutto Sembra Perduto        
B5 Per Ora Non Ancora

Preview:


Download here:
http://www.megaupload.com/?d=Q04YVY12

Tone Set ::: Calibrate


Tone Set was a Tempe, Arizona band that existed from circa 1981 to 1983. It consisted of Galen Herod and Greg Horn. They met while working for KAET, a Public Broadcasting station in Tempe.

Their early sound was ostensibly synthetic, mixing very 'clean' synthesizer sounds with tapes. This was the sound of their first release, a 1982 cassette called "Cal's Ranch". It almost completely lacked vocals (the only exception was a line in "Wigglin Around In Middletown"). The tape portions were primarily pieces of dialogue from various recordings. "(Predictions) uses the dialogue from a prime-time local news broadcoast (with anchorman Bill Close) that some nut with a gun took over in, I believe, the fall of '81 ... really surreal stuff."(Dan Bailey) Other pieces were of a more lighthearted nature, like "Time Travellers", which used an extended recording of dialogue from "Rocky and Bullwinkle". The tape was recorded at "The Center for Advanced Studies," a house were both band members lived, and released by Zia Records in Tempe, AZ.

In 1982, Tone Set contributed the track "Out, Out, Out" to Placebo Record's "Amuck" compilation (PLA-103 A&B). Galen Herod, as Happy People, contributed "Happy People" to this compilation.

Vocals started to become a more prominent part of their sound by the time they started recording their 1983 LP, "Calibrate". This was also a home studio effort. The first side of the LP featured three pop songs: "Life is Busy," "Slim," which were both were sung by Galen Herod, and "Living In Another Land," which was sung by Greg Horn. The second side of the LP came from the "Cal's Ranch" session. The cover was decorated with pictures cut from an old math book, plus a drawing of "Pegna," a creature that would give Pegna Records its name. "Calibrate" was released in February 1983 as Pegna Records PEG 1.

The duo once performed as "Life Is Busy", opening for Pebble Culture(former Nervous member Bil Bored (Bill Yanok), Kristi Register and George Maestri). "They did the whole set with fake Yugoslavian accents, the highlight being a song called 'Working in a Pencil Factory'. Pretty damned odd." (Dan Bailey) They released a cassette single with "Working in a Pencil Factory."

Tone Set poduced a video for "Life is Busy", from their "Calibrate" MLP, which was shown on "Videobeat" and once on MTV's "Basement Tapes," where, despite the presence of Mark Mothersbaugh (Devo) as one of the judges, was not voted into regular rotation.

In 1983, each member began releasing solo works. The time and reason for Tone Set's breakup is unknown.

Another minimal synth/Electropunk gem!

Tracklist:
01 Life Is Busy
02 Living In Another Land
03 Slim
04 Out Out
05 What Good's A Hit Song
06 Wigglin Around In Middletown

Preview:


Download here:
http://www.megaupload.com/?d=ZBHZ1LHH

Sunday, September 18, 2011

The Genesis Factor

by Stephan A. Hoeller

The following article was published in Quest, September 1997. It is presented here with permission of the author.
SOME YEARS AGO, Elaine H. Pagels, the noted religious historian, had the importance of the Book of Genesis brought to her attention in a most unusual manner. She was in Khartoum, in the African Sudan, holding a discussion with the then foreign minister of that country, who had written a book on the myths of his people. A prominent member of the Dinka tribe, her host told her how the creation myth of his people relates to the whole social, political, and religious culture in that part of the Sudan. 

Shortly after this conversation, Pagels was reading a Time magazine in which several letters to the editor took issue with a particular article on changing social mores in America. To her surprise, four of the six letters mentioned the story of Adam and Eve--how God created the first human pair "in the beginning," and what kind of behavior was therefore right or wrong for men and women today. Stimulated by her conversation in Africa, she quickly recognized that many people, even those who do not literally believe it, still return to the archaic story of creation as a frame of reference when faced with challenges to their traditional values. 

Pagels realized that, like creation stories of other cultures, the Genesis story addresses profound and basic questions. Americans and Dinka tribesmen are not so different after all; both look to their creation stories when attempting to answer such questions as, what is the purpose of human beings on earth? How do we differ from each other and from animals? Why do we suffer? Why do we die? 

Recent events on the intellectual scene have served to affirm these insights. Autumn of 1996 brought a considerable revival of interest in Genesis. Foreshadowed by a series of semi-informal conversations at Manhattan's Jewish Theological Seminary, led by Rabbi Burton Visotzky, the major event of this revival became a much publicized television series entitled "A Living Conversation," devoted entirely to the Book of Genesis. Hosted by Bill Moyers, himself an ordained Southern Baptist minister who had later shifted his allegiance to the more liberal United Church of Christ, the series raised high expectations in many quarters. A number of recent books have also dealt with the Genesis story. 

Robert Alter, one of the most recent translators of Genesis, said: "Moyers has hit upon an idea whose time has come. At this moment of post-cold war confusion about where we're going as a civilization, with all kinds of murky religious ferment, it makes sense to do some stocktaking.  Let's go back to the book that started the whole shebang." 

Moyers's panelists included Catholics, Protestants, Jews, Muslims, a Hindu, a Buddhist, and several agnostics. Not included, however, were persons who could represent Gnostic Christianity, one of the most ancient and at the same time most timely and creative approaches to the interpretation of the Bible. Nor was there any appreciable mention of Gnostic views in the cover story of Time magazine (October 28,1996), which followed upon the television series, or in several books published in the ensuing months. 

Had the recent revival of interest in Genesis occurred fifty or sixty years ago, this omission might have been understandable. Sources offering alternative interpretations of the Book of Genesis then were few and far between. All this changed, however, after 1945, when a veritable treasure trove of Gnostic scriptures was discovered in the Nag Hammadi valley in upper Egypt. This discovery would transform the character of biblical studies forever. The Nag Hammadi scriptures contain numerous creative variants of biblical teachings. 

A Different View of Adam and Eve
 
William Blake, the Gnostic poet of the early nineteenth century, wrote of the differences between his view and the mainstream view of holy writ: 'Both read the Bible day and night; but you read black where I read white." The same words could have been uttered by Gnostic Christians and their orthodox opponents in the first three or four centuries A.D. 

The orthodox view then regarded most of the Bible, particularly Genesis, as history with a moral. Adam and Eve were considered to be historical figures, the literal ancestors of our species. From the story of their transgression, orthodox teachers deduced specific moral consequences, chiefly the "fall" of the human race due to original sin. Another consequence was the lowly and morally ambivalent status of women, who were regarded as Eve's co-conspirators in the fateful deed of disobedience in paradise. Tertullian, a sworn enemy of the Gnostics, wrote to the female members of the Christian community thusly:
. . . you are the devil's gateway. . . you are she who persuaded him whom the devil did not dare attack. . . . Do you not know that you are each an Eve?  The sentence of God on your sex lives on in this age; the guilt, necessarily, lives on too.
The Gnostic Christians who authored the Nag Hammadi scriptures did not read Genesis as history with a moral, but as a myth with a meaning. To them, Adam and Eve were not actual historical figures, but representatives of two intrapsychic principles within every human being. Adam was the dramatic embodiment of psyche, or soul, while Eve stood for the pneuma, or spirit. Soul, to the Gnostics, meant the embodiment of the emotional and thinking functions of the personality, while spirit represented the human capacity for spiritual consciousness. The former was the lesser self (the ego of depth psychology), the latter the transcendental function, or the "higher self," as it is sometimes known. Obviously, Eve, then, is by nature superior to Adam, rather than his inferior as implied by orthodoxy. 

Nowhere is Eve's superiority and numinous power more evident than in her role as Adam's awakener. Adam is in a deep sleep, from which Eve's liberating call arouses him. While the orthodox version has Eve physically emerge from Adam's body, the Gnostic rendering has the spiritual principle known as Eve emerging from the unconscious depths of the somnolent Adam. Before she thus emerges into liberating consciousness, Eve calls forth to the sleeping Adam in the following manner, as stated by the Gnostic Apocryphon of John:
I entered into the midst of the dungeon which is the prison of the body. And I spoke thus: "He who hears, let him arise from the deep sleep." And then he (Adam) wept and shed tears. After he wiped away his bitter tears he spoke, asking: "Who is it that calls my name, and whence has this hope come unto me, while I am in the chains of this prison?" And I spoke thus: "I am the Pronoia of the pure light; I am the thought of the undefiled spirit. . . .  Arise and remember . . . and follow your root, which is I . . . and beware of the deep sleep."
In another scripture from the same collection, entitled On the Origin of the World, we find further amplification of this theme. Here Eve whose mystical name is Zoe, meaning life, is shown as the daughter and messenger of the Divine Sophia, the feminine hypostasis of the supreme Godhead:
Sophia sent Zoe, her daughter, who is called "Eve," as an instructor in order that she might raise up Adam, in whom there is no spiritual soul so that those whom he could beget might also become vessels of light. When Eve saw her companion, who was so much like her, in his cast down condition she pitied him, and she exclaimed: "Adam, live! Rise up upon the earth!" Immediately her words produced a result for when Adam rose up, right away he opened his eyes. When he saw her, he said:  "You will be called 'mother of the living', because you are the one who gave me life."
In the same scripture, the creator and his companions whisper to each other while Adam sleeps: "Let us teach him in his sleep as though she (Eve) came to be from his rib so that the woman will serve and he will be lord over her." The demeaning tale of Adam's rib is thus revealed as a propagandistic device intended to advance an attitude of male superiority. It goes without saying that such an attitude would have been more difficult among the Gnostics, who held that man was indebted to woman for bringing him to life and to consciousness.
The Western theologian Paul Tillich interpreted this scripture as the Gnostics did, declaring that "the Fall" was a symbol for the human situation, not a story of an event that happened "once upon a time." Tillich said that the Fall represented "a fall from the state of dreaming innocence" in psychological terms, an awakening from potentiality to actuality. Tillich's view was that this "fall" was necessary to the development of humankind. 

The Serpent of Wisdom
 
The sin of Eve, so the orthodox tell us, was that she listened to the serpent, who persuaded her that the fruit of the tree would make her and Adam wise, without any deleterious side-effects. It was Eve who then seduced the righteously reluctant Adam to join her in this act of disobedience, and thus together they brought about the fall of humanity. 

A Gnostic treatise, The Testimony of Truth, tells a different story. While repeating the words of the orthodox version of Genesis, the Gnostic source states that "the serpent was wiser than all the animals that were in Paradise." After extolling the wisdom of the serpent, the treatise casts serious aspersions on the creator: "What sort is he then, this God?" Then come some of the answers to the rhetorical question. The motive of the creator in punishing Adam was envy, for the creator envied Adam, who by eating the fruit would acquire knowledge (gnosis). Neither did the creator seem quite omniscient when he asked of Adam: "Where are you?" The creator has shown himself repeatedly to be "an envious slanderer," a jealous God, who inflicts cruel punishments on those who transgress his capricious orders and commandments. The treatise comments: "But these are the things he said (and did) to those who believe in him and serve him." The implication clearly presents itself that with a God like this, one needs no enemies. 

Another treatise, The Hypostasis of the Archons, informs us that not only was Eve the emissary of the divine Sophia, but the serpent was similarly inspired by the same supernal wisdom. Sophia mystically entered the serpent, who thereby acquired the title of instructor. The instructor then taught Adam and Eve about their source, informing them that they were of high and holy origin and not mere slaves of the creator deity. 

What, one may ask, motivated the Gnostic interpreters of Genesis to make these unusual statements? Were they purely motivated by bitter criticism directed against the God of Israel, as the Church Fathers would have us believe? Many contemporary scholars do not think so. These contemporary scholars suggest that the unfavorable image of the creator contrasted with the favorable one of Adam, Eve, and even of the serpent alludes to an important issue not frequently recognized. 

The orthodox interpreters, both Jewish and Christian, tend to emphasize the distinction between the infinite creator and his finite creatures. Humans and animals are on earth, while God is in heaven, and never the two will meet. The orthodox have held, with Martin Buber, that the human's relationship to God is always "I and Thou." In the Gnostic position one can discern a keynote that is reminiscent of the attitude of certain other religions, notably Hinduism, which rather declares: "I am Thou." 

The Gnostics share with the Hindus and with certain Christian mystics the notion that the divine essence is present deep within human nature in addition to being present outside of it. At one time humans were part of the divine, although later, in their manifest condition, they more and more tended to project divinity onto beings external to themselves. Alienation from God brings an increase in the worship of deities wholly external to the human. The Gospel of Philip, another scripture from Nag Hammadi, expresses it well:
In the beginning God created humans. Now, however, humans are creating God. Such is the way of this world-humans invent gods and worship their creations. It would be better for such gods to worship humans.
True God, False God
 
When discussing the story of Noah and the flood, author Karen Armstrong (A History of God, 1993), as a panelist on Moyers's program, asserted that God is "not some nice, cozy daddy in the sky," but rather a being who decidedly behaves frequently "in an evil way." With his actions in connection with the flood, Armstrong said, God originated the idea of justifiable genocide. Hitler and Stalin, one might deduce, acted on the instruction of such stories as that of the flood and of Sodom and Gomorrah when instituting the holocaust and the camps of the Gulag. Had the panelists called on Gnostic scriptures, they could have quoted many precedents for Armstrong's criticism of the vengeful God of the Old Testament. 

The Gnostic Hypostasis of the Archons, for example, states that the cause of the flood was not the turning of humans to wickedness, causing God to repent of his creation, as the "official" version of Genesis declared. Quite the contrary, people were becoming wiser and better, so an envious and spiteful creator decided to wipe them out in the flood. Noah was told by the creator to build an ark and place it atop Mount Seir-a name that does not occur in Genesis, but in one of the psalms referring to the flood. Noah's wife, unnamed in Genesis but called Norea by the Gnostics, is a special person, possessing more wisdom than her husband. Norea is the daughter of Eve and a knower of hidden things. She tries to dissuade her husband from collaborating with the schemes of the creator, and ends up burning down the ark which Noah had built. 

 The creator and his dark angels then surround Norea and intend to punish Norea by raping her. Norea defends herself by refuting various false claims they make. Ultimately she cries out for help to the true God, who sends the golden Angel Eleleth (Sagacity), who not only saves her from the attack of the creator's dark servants, but also teaches her regarding her origins and promises her that her descendants will continue to possess the true gnosis. 

There are other scriptures of the Nag Hammadi collection that repeat or refer to the story of Norea, including the Apocryphon of John and The Thought of Norea. The former does not mention her by name, but states that Noah's descendants were wise ones who were hidden in a luminous cloud, adding significantly, "[This was not] as Moses said, 'They were hidden in the ark."' In the latter it is not only one angel but "three holy helpers" who intercede on her behalf. 

It is quite apparent that the creator god who visits humanity with the disaster of the flood is not identical with the "true God" to whom Norea calls out for help. Viewing the character of the deity of Genesis with a sober, critical eye, the Gnostics concluded that this God was neither good nor wise. He was envious, genocidal, unjust, and, moreover, had created a world full of bizarre and unpleasant things and conditions. In their visionary explorations of secret mysteries, the Gnostics felt that they had discovered that this deity was not the only God, as had been claimed, and that certainly there was a God above him. 

This true God above was the real father of humanity, and, moreover, there was a true mother as well, Sophia, the emanation of the true God. Somewhere in the course of the lengthy process of pre-creational manifestation, Sophia mistakenly gave life to a spiritual being, whose wisdom was greatly exceeded by his size and power. This being, whose true names are Yaldabaoth (child of the chaos), Samael (blind god), and also Saclas (foolish one), then proceeded to create a world, and eventually also a human being called Adam. Neither the world nor the man thus created was very serviceable as created, so Sophia and other high spiritual agencies contributed their light and power to them. The creator thus came to deserve the name "demiurge" (half maker), a Greek term employed in a slightly different sense by philosophers, including Plato. 

To what extent various Gnostics took these mythologies literally is difficult to discern. What is certain is that behind the myths there are important metaphysical postulates which have not lost their relevance. The personal creator who appears in Genesis does not possess the characteristics of the ultimate, transcendental "ground of being" of which mystics of many religions speak. If the God of Genesis has any reality at all, it must be a severely limited reality, one characterized by at least some measure of foolishness and blindness. While the concept of two Gods is horrifying to the monotheistically conditioned mind, it is not illogical or improbable. Modem theologians, particularly Paul Tillich, have boldly referred to "the God above God." Tillich introduced the term "ground of being" as alternative language to express the divine. The ideas of the old Gnostics seem not so outdated after all. 

The Mysteries of Seth
 
Almost anyone today could declare that Adam and Eve had two sons, Cain and Abel. The third son is more difficult to name; he is Seth. The third son was provided by God as a replacement for the slain Abel, according to Genesis. He was sired rather late in life by Adam, for Adam is said to have been 130 years old at the time. The historian Josephus wrote that Seth was a very great man and that his descendants were the discoverers of many mysterious arts, including astrology. The descendants of Seth then inscribed the records of their occult discoveries, according to Josephus, on two pillars, one brick, the other stone, so that they might be preserved in times of future disasters. 

In the treatise The Apocalypse of Adam, the Gnostics presented us with a scripture that tells not only of Seth (and his father) but of the future of the esoteric tradition of gnosis in ages to come. It begins:
The disclosure given by Adam to his son Seth in his seven hundredth year. And he said: "Listen to my words, my son Seth. When God created me out of the earth, along with Eve your mother, I went along with her in a glory which she had seen in the aeon from which she came forth. She taught me the word of Gnosis of the eternal God. And we resembled the great eternal angels, for we were higher than the God who created us."
After thus informing us once again of the spiritually superior status of Eve, the scripture goes on to recount how the creator turned against Adam and Eve, robbing them of their glory and their knowledge. Humans now served the creator "in fear and in slavery," so Adam stated. While previously immortal, Adam now knew that his days were numbered. Therefore, he said he now wanted to pass on what he knew to Seth and his descendants. 

In the prediction it becomes apparent that "Seth and his seed" would continue to experience gnosis, but that they would be subject to many grave tribulations. The first of these would be the flood, during which angels would rescue the Gnostic race of Seth and hide them in a secret place. Noah, on the other hand, would advise his sons to serve the creator God "in fear and slavery all the days of your life." After the return of the illumined people of Seth's kind, the creator would once again wrathfully turn against them and try to destroy them by raining fire, sulfur, and asphalt down on them-an allusion, perhaps, to the story of Sodom and Gomorrah. Once again many of the Gnostics would be saved by being taken by great angels to a place above the domain of the evil powers. 

Much later there would be a new era with the coming of the man of light ("Phoster"), who would teach gnosis to all. The Apocalypse of Adam concludes with this passage:
This is the hidden knowledge of Adam which he gave to Seth, which is the holy baptism of those who know the imperishable Gnosis through those who are born of the Logos, through the imperishable Illuminator, who himself came from the holy seed (of Seth) Jesseus, Mazareus, Jessedekeus.
These names, which are obviously versions of the name of Jesus (they are found in other scriptures also), identify the culmination of the Gnostic tradition in the figure of Jesus. The "Race of Seth" is thus a biblical metaphor for those following this tradition. In the Gnostic book Pistis Sophia, Jesus identifies himself as coming from the "Great Race of Seth". 

Old Answers to New Controversies
 
The current interest in Genesis raises many serious questions. Not a few of these have been illuminated by the neglected light shed by the scriptures quoted earlier. Not unlike the old Gnostics, today's questioning scholars and laypersons are provoked by Genesis to critiques and even to inventions of new variations on the ancient theme. Consider how deeply the social conditions of many countries have been influenced by the picture the orthodox version of Genesis presents concerning Eve and, by implication, women in general. Any of the several scriptures of the Nag Hammadi collection would shed an entirely different and more benign light on these issues. 

Secondly, consider the political implications of the story of Genesis. Elaine Pagels, in her fascinating book Adam, Eve, and the Serpent (1988), pointed out that the long-held attitude of the Christian church of submitting to greatly flawed systems of secular government was usually justified by the "fallen condition" of humanity as first described in Genesis. Following largely the interpretations of Saint Augustine, most Christians felt that even bad governments were to be preferred to liberty because humans are so corrupted by Adam and Eve's original sin that they are in capable of governing themselves. The libertarian fervor of the eighteenth and nineteenth centuries that gave rise to the American and French revolutions was clearly not motivated by the spirit of Genesis. The statement that "all men are created equal" does not occur in that scripture, but sprang from the inspiration of the American revolutionaries, who drew from Hermetic, Gnostic, and similar non-mainstream sources. 

Thirdly, there remains the terrifying problem of the character of the God of Genesis. Agreeing with Karen Armstrong, we find Jack Miles, in his provocative book God: A Biography writing: "Much that the Bible says about him is rarely preached from the pulpit because, examined too closely, it becomes a scandal." Perhaps we may need to take a second look at the Gnostic proposition that the creator mentioned in Genesis is not the true and ultimate God. The unfavorable potential present in the Book of Genesis did not go unnoticed throughout history. Rabbi Johanan ben Zakkai, a religious teacher prominent in the years after A.D. 70, warned that the Genesis story of creation should not be taught before even as many as two people. Saint Jerome, who translated the Bible into Latin, wrote that many of the narratives in the Old Testament were "rude and repellent." He certainly included those in Genesis. 

The Dinka tribesmen of the Sudan have a point. The creation myth of any culture has a profound effect on the attitudes, social mores, and political systems that prevail. So long as the Book of Genesis remains a basic text for Jews, Christians, and Muslims we can expect the societies within which these religions flourish to be influenced by this book. Still, there is some hope on the horizon. Although the Gnostic alternatives to the content of Genesis are still usually neglected, as indeed they were on television and in the press last year, some prominent figures of our culture are beginning to take notice. To mention but one such figure, Harold Bloom has become one of the most prominent voices calling attention to the creative character of the Gnostic alternative to mainstream religion. His books American Religion (1992) and Omens of Millennium (1996) have made a powerful case for the timeliness and perennial value of the positions taken by Christian Gnostics, Jewish Kabbalists, and Sufi mystics, all of whom are inspired by a common gnosis. It may be useful to conclude with an incisive and in our view definitive statement from the pen of this scholar:
If you can accept a God who coexists with death camps, schizophrenia, and AIDS, yet remains all-powerful and somehow benign, then you have faith, and you have accepted the covenant with Yahweh.... If you know yourself as having an affinity with the alien or stranger God, cut off from this world, then you are a Gnostic, and perhaps the best and strongest moments still come to what is best and oldest in you, to a breath or spark that long precedes this Creation.