Monday, October 31, 2011
I have copped a lot of flack recently for stating that Gaddafi's murder was disgusting. After all, I am reminded, what about the thousands he massacred in the Abu Salim prison? Here is proof:
Well the massacre at Abu Salim is actually fake. The story was first concocted by the National Front for the Salvation of Libya (NFSL) which (as has been admitted) was created by the CIA and Mossad in 1981, the NFSL was part of a plan to destabilise Libya using a ‘fifth column’ of fighters and insurgents (this is not speculation, this is admitted fact).
The story was then passed on to Human Rights Watch which was duped into pushing the story into the media. Interestingly, Human Rights Watch admits that 'none of the claims made by their witness can be independently verified.' On top of this, their witness states on record that he did not witness even one single prisoner being shot dead in this supposed massacre. [source: http://www.hrw.org/en/node/87096/section/9] This tells you a lot about the credibility of Human Rights Watch.
The massacre at Abu Salim prison is absolutely, unequivocally an out-and-out lie; 1,200 bodies have not been found. Not a single body has been found. In fact, no excavation has been performed, and no more than ‘several bone fragments’ have been discovered, according to the NTC. And of those bone fragments, CNN later reported "medics with CNN staffers on the scene said the bones did not appear to behuman." [source: http://edition.cnn.com/2011/09/25/world/africa/libya-mass-grave/]
Yet the Abu Salim massacre is exactly the kind of propaganda that helped sell the NATO backed civil war in Libya.
Another propaganda piece in the Libyan conflict has been the claim that Libya was using 'black' mercenaries from Africa to do its dirty work (in other words to carry out killings). The 'rebels' quickly produced a few of these 'black mercenaries' as proof to the world. Wow, all very convincing stuff except that it was all lies.
When Human Rights Watch later sent Peter Bouckaert to speak with black people arrested by the 'rebels' as mercenaries and investigated the claim, he found no evidence for the allegationl. Instead he found that all 156 people captured by the 'rebels' and presented to him as black mercenaries, were in fact regular Libyan soldiers coming from the south of Libya, where most people are black. [source: http://www.rnw.nl/africa/article/hrw-no-mercenaries-eastern-libya-0]
In the cities of Benghazi, Ajdabiya, Al Beida, Derna and Tobruk, – justifying it’s actions with the false black mercenary allegation – lynch mobs began hunting black people, arresting, mistreating and killing black people with knives. Many of these killings were filmed using mobile phones and uploaded to social media. Here is such a video [WARNING! GRAPHIC VIDEO. DO NOT WATCH IF IT MAY UPSET]:
Here is another video, this one shows a worker (the rebels admitted that he was a worker after they killed him) coming home from work.
[WARNING! GRAPHIC VIDEO. DO NOT WATCH IF IT MAY UPSET]:
And here is another video. [WARNING! GRAPHIC VIDEO. DO NOT WATCH IF IT MAY UPSET]:
The victim was not a mercenary, he was a Libyan citizen Hisham Mansour, a social worker who happened to be black.
Early in the conflict we were told that Gaddafi's security forces were killing innocent protesters. Was this true? The BBC and Fox (of course) ran stories about protesters being killed but it failed to give a clear picture. For a more accurate picture we have to turn to France24 news:
Firstly, contradicting the BBC and Fox, nobody was killed and of the 38 injured (please read paragraph 4 in that link): 'The Benghazi-based, privately-owned Quryna newspaper, quoted Abdelkrim Gubaili, the director of a local hospital, as saying 38 people were injured in the clashes, most of them security officials." That's right, most of the injured were security officials.
Soon after a video appeared of Gaddafi security forces allegedly executed by Gaddafi loyalists for not firing on protesters. This, the media claimed, was yet more proof of the brutality of Gaddafi. I am not going to post the video because it is simply too disgusting for me to post on this blog but it shows 18 Gaddafi troops with their hands tied behind their backs with their heads blown off. The video was shot by the rebels who claimed that 'they found the bodies'. This is a lie.
Another video soon came to light (but not reported on the BBC, Fox or the rest of the popular media) showing the same 'rebels' with the Gaddafi security officers very much alive. Again, I am not going to post the video because it is too disgusting but I have taken a screenshot from the video to prove my point (WARNING: GRAPHIC IMAGE):
In one part of the video, after the men have been shot, one of the soldiers is clearly still alive and a woman drops water into his mouth (WARNING: GRAPHIC IMAGE)::
So who shot these people? Were they really shot by Gaddafi loyalists for not firing on protesters? Or was this story just more propaganda? What is a lot more obvious is that the 'rebels' shot them.
Another video (also not reported on the BBC, Fox and the rest of the crap which passes itself off as media) shows the executed Gaddafi soldiers not only very much alive but hostages to the rebels. Again I am not going to post the video but just screenshots. Here a soldier (later murdered) can be seen with one of the rebel captors behind him. A woman is heard calming him down and her hand is briefly seen on his shoulder (her voice is the same as the woman seen dropping water into the soldier's mouth):
This is a night-time scene but their execution video was in daylight so this suggests the rebels had them captive at least overnight. Here is an image of another soldier (also later murdered) with a rebel (his face covered with a scarf):
This last image shows the same woman arguing with the same captive, her hand is seen briefly here:
The voice of this same woman can be heard in these videos and in the the video showing a woman dropping water into the soldiers mouth. It is the same woman.
But what did the media tell us happened? It gave us propaganda by claiming that Gaddafi security forces killed the soldiers for refusing to fire on protesters. I guess they are using the same propaganda writers for Syria:
BBC and Al Jazeera reported on February 22 that Gaddafi troops had been conducting airstrikes on its own people in Tripoli. Yet Russian military had been monitoring Tripoli and Benghazi airspace via satellites and claim that there were never any airstrikes [source: http://rt.com/news/airstrikes-libya-russian-military/]
Interestingly on the same day William Hague stated that Britain had launched an air operation over Libya to rescue stranded foreigners. Now hang on a minute. Regular airliners were used to evacuate people while Libyan air force planes were allegedly attacking their own people. A foreign power sends in regular airliners (and illegally traspasses over Libyan soil) to get its people out while the Libyan government is allegedly also in the air attacking its own people. It's a joke beyond belief (source: http://www.channel4.com/news/libya-eu-evacuating-nationals-britons-stranded)
The day before Israeli President Shimon Perez had anounced that there "will be a Libya without Gaddafi", he should know (source: http://www.haaretz.com/news/diplomacy-defense/peres-there-will-be-a-libya-without-gadhafi-1.344853)
On February 26 the UN passed it's resolution 1970 which effectively cut off all supplies to Libya. One of its justifications for the resolution was that, "During the 2011 uprising, Gaddafi’s loyalist forces carried out aerial bombings in Tripoli over civilian protesters, which drew widespread condemnation." (source: http://en.wikipedia.org/w/index.php?title=United_Nations_Security_Council_Resolution_1970&oldid=422149847#Background). In other words part of its justification for imposing resolution 1970 was based on lies!
On the same day that the resolution was passed, Obama demanded that Gaddafi immediately flee Libya, forgetting of course that he has no legitimacy to make such a demand (source: http://english.aljazeera.net/news/americas/2011/02/2011226232530835912.html)
Two days later on February 28, Hilary Clinton offered "any kind of assistance" to the rebels. She repeatedly justified her offer based on the Libyan air attacks on their own people (which never happened) (source: http://www.news.com.au/world/rebels-move-in-on-tripoli/story-fn6sb9br-1226013219336). In a US DoD news briefing US defense secretary Robert Gates said, when questioned if he has any evidence or independent confirmation, and if so, to what extent, that the Libyan government actually has fired on his own people from the air, that he has seen the press reports, but he has no confirmation of that. Admiral Michael Mullen added that the US DoD has seen no confirmation for this allegation whatsoever. (source: http://www.defense.gov/transcripts/transcript.aspx?transcriptid=4777)
The rebels then got into full swing conquering the oil refinery of Ras Lanuf (source: http://www.realclearworld.com/news/reuters/international/2011/Mar/04/libyan_rebels_take_oil_town_of_ras_lanuf__rebels.html) and then the oil towns of Brega and Ras Lanuf (interesting first targets, got to secure that oil first). At the same time a British SAS/MI6 special forces team was captured by rebels in eastern Libya. The British commando team was secretly flown in the night by helicopter into remote sparsely populated lands dozens of kilometers away from Benghazi. The British commando team was armed with guns and had explosives as well as false passports from various nations with them. After British defense secretary Liam Fox publicly confirmed, that the captured commando team was indeed British, and stated they were just junior diplomats 'looking for a hotel' to find for a senior diplomat yet to follow, the commando team was released. (source: http://www.dailymail.co.uk/news/article-1363540/SAS-rounded-booted-Libyan-mission-turns-farce.html)
The rebels dubbing themselves 'revolutionaries' moved from Ras Lanuf further to conquer western Libya. When they were a few dozen kilometers into their journey, residents of the hamlet of Ben Jawad opened fire on the 'rebels' and with the help of the Libyan army they pushed them back to the oil town of Ras Lanuf. One of the rebels complained to the media that the residents of Ben Jawad were guilty of treachery yet we know that the residents of Ben Jawad had told reporters that the 'rebels' were raping women. CNN reporter Ben Wedemann said he left Ras Lanuf, not least because many of the so-called 'rebels' had smoked hashish and there were 'stoned adolescents armed to the teeth stumbling around the halls at night'. (sources: http://en.wikipedia.org/w/index.php?title=Battle_of_Bin_Jawad&oldid=418584623 , http://edition.cnn.com/2011/WORLD/africa/03/07/ras.lanuf.libya.wedeman/index.html)
Residents of Ben Jawad, together with military forces, had by the 30th of March pushed the rebels back and it was becoming clear that they were beginning to lose. So President Obama declared on March 31 that he had authorised covert assistance to the rebels (source: http://unity.lv/en/news/299407/)
The rest is history...
Ayman al-Zawahiri, the new 'al-Qaeda' leader released a video asking the new Libya to adopt a strict Sharia law.
And now guess what?
Even though this was against the will of the people:
While this could be a way to appease rebel fighters, women activists are not on board with the new legislation. One activist says...
“Women were arrested, raped, victimised and abused in this war in every sense. They started this revolution. And suddenly they were now limited to wives, mothers and sisters. We thought it was a huge joke.”
And the rapes have already started:
Peter Worthington, co-founder of the Toronto Sun, speaks out in the Huffington Post, calling Sharia Law a ‘new tyranny.’
“True democracy and Sharia law are irreconcilable, despite Jalil's assurances that Libya will be a "moderate" Islamic country.” (source: http://www.huffingtonpost.ca/peter-worthington/sharia-law_b_1030508.html)
Fox News Political Analyst Kirsten Powers says the U.S. should have seen this coming.
“There were conservatives and liberals along with the administration who were all getting caught up in what was going on and not really asking the questions of who’s going to take over.”
This is a short-sighted comment however because we already knew what type of people these 'rebels' actually are:
These rebels were/are nothing but animals. We have reports of women being raped across Libya, children being killed, people being mutilated. A clear example of the mentality of these people can be seen when they murdered Gaddafi. They sodomized him with a knife!
You don't know about this?
Ah yes of course, that's because the media hasn't told you what really happened. So here it is (sorry about the GRAPHIC video and images, I just don't want anyone to think I am making this up. WARNING! Disturbing video and images, do not watch if it may upset you, you have been warned!):
These are the people we are supporting!
The new Libya has a great future.
But for some reason I can't help feeling that Gaddafi was better:
You can call me nostalgic I guess ;-)
After first hearing of Gaddafi's murder, British Pime Minister David Cameron said in many words what the Sun newspaper encapsulated in its headline: 'That's for Lockerbie', refering of course to the Pan Am Flight 103 bombing over Lockerbie on 21 December 1988 which killed 270 people. Funny man! Funny newspaper! So, in the spirit of good comedy, its time for more laughs:
What will be the future for Libya. We will see.
Released as a beautiful two-panel digipack with bronze metal stampings on Michael Moynihan’s Storm label, ‘Barbara Carmina’ (‘Barbarian Hymns’) is the debut album by Sangre Cavallum, a gathering of traditional musicians from Northern Portugal and Galicia. For those lucky enough to have attended their live performances in Portugal a few years back or to have at least listened to these recordings, needless to say that this release was long awaited.
Inspired by their homeland, its traditions, its community of the living and the dead, its vestiges… Sangre Cavallum offer here a unique ethnological-musical document filled with mysteries and memories. They describe their music as “old and new tribute songs to the land of our birth”… and it is definitely what ‘Barbara Carmina’ is. A tribute to their ancestors whose spectres and souls seem to float under the overall compositions as if they carried on transmitting the oral traditions to the youngest (as the voice of the child singing ‘Barbara Carmina’ on the first track and also present on the last part suggests). Indeed, this album sounds unlike any other in the neofolk, medieval style. Sangre Cavallum have managed to express in their own particular way, through words and music of their own, their roots and traditions. And from this point of view, this release also appears as refreshing; sounding authentic, sincere because of the true and sincere knowledge and implication of these musicians. A feeling of honoured and respected traditions emanates from the whole album… It’s not just tradition as an artifice or a pretext chosen amongst many others to release something….
The using of traditional instruments (tambourine, mandolin, Iberian lute…), mixed with female and male vocals and some fine background sounds create different atmospheres ranging from melancholy (‘Luadas’ ‘Rio Douro’ ‘Flumen Cavallum’) to joy (‘Limia, Flumen Oblivionis’, ‘Sete Punhaladas’) as suggested by the cover photos of a musical ritual taken during some old wine fests.
1 Barbara Carmina a.C. (3:15)
2 Fero, Bravo E Forte (6:09)
3 O Espirito Do Fogo (2:54)
4 Luadas (5:18)
5 Limia, Flumen Oblivionis (5:07)
6 Sete Punhaladas (3:58)
7 Entre Castro E Castril (3:09)
8 Cantiga Do Sol-Posto (2:45)
9 Montanha De Luz (2:26)
10 Fror Das Frores (2:09)
11 A Tu Puerta Stá Un Nino (4:49)
12 Rio Douro (3:02)
13 Campo De Víboras (6:05)
14 Romance De Cego (7:04)
15 Maio (4:12)
16 Cortejo Triumphal (4:55)
17 Flumen Cavallum (2:10)
18 Barbara Carmina d.C. (1:45)
An amazing release from this Portuguese act. "Madre Protegenos" (Mother Protect Us) can maybe be classified into the "world music" category but actually we're not so far away from depressive music and Neofolk. The folk aspect throughout this album is really beautiful and give you the feeling that you are listening to some old ballads. But it's really a matter of ambience, the songs are slow and sad right, but you'll be able to find sounds of winds and waves too which give a really poetic aspect to the music… In addition there is the exceptional performance of the female vocalist (with an appearance be Marcela Bovio) which lifts the music into another world. very highly recommended!
01. Madre, Protégenos (05:03)
02. O Efeito Do Verão (05:35)
03. Learpholl (06:21)
04. Anathema Maranatha (04:11)
05. Believe (05:17)
06. Ultreia (01:57)
07. Goodbye Johnny Dear (04:57)
08. Fé, Esperanza, Amor (03:10)
09. Beyond The Morning (02:49)
Conceived, composed, arranged, played and registered between June and August 2001. Expept "Senza Amori Né Eroi" registered live at San Donnino, 2002. Limited edition of 300 copies. Packaged in a gatefold sleeve. Music for the end-days.
A Sogni Di Piombo 4:04
B Senza Amori Né Eroi 4:28 Music By - Frl. Tost , Jürgen Weber
C Malavita 3:00
D1 L'Ennemi Fuggitif 2:08 Lyrics By - Martin Lichtmesz / Music By - Simone Salvatori
D2 Bulli E Pupe 3:06 Lyrics By - Jürgen Weber
"Reimagined moments from Logan's Run (1976) by filmmaker and electronics designer Lars Larsen. This experiment uses an adaptation of the Function Generator circuit from the Sandin Image Processor, and the LZX Visionary modular video synthesizer to add additional keying and blending. Audio is processed through a Cat Girl Synth Wave Multiplier module, which is a similar circuit to the Sandin Image Processor's Function Generator. So in effect, similar processing techniques are implemented simultaneously to both video and audio, which are controlled by a single CV source."
Wednesday, October 26, 2011
Great experimental/industrial. Comes in two paperboxes with photographs as cover on it. Contains also a small booklet. Limited to 100 copies.
A2 Le Parfum De
B1 Post Tenebras Lux
B2 Dechirements Organiques
Nice ritual/ambient/industrial compilation on Gerhard Petak's (of Allerseelen) label. Artists included are Mental Measuretech, Allerseelen, Place Of Clod, Salo Mentale, Kadmon, Dependance, Luciano Dari, Vox Populi!, and Act Of Faith.
Mental Measuretech – What He Touches Turns To Excitement
Allerseelen – Es Werde Licht
Place Of Clod – Fire From Heaven
Salo Mentale – Libido Release
Kadmon – Heureka
Dependance – Toad Of The Golden Pool
Luciano Dari – Inno Ad Helios
Vox Populi* – Taghmanante
Allerseelen – Gold Tausender Morgen
Act Of Faith – The King Is Dead Long Live The King
Sunday, October 23, 2011
The spiritual system of Ndi Igbo (the Igbo people) is one of the oldest on Earth. The roots of Igbo spirituality is the same as the roots of every other African one; that is, in Africa. Igbo spirituality predates Islam, Christianity, Judaism and every other -ism that one can think of. If there are any similarities between the traditional practices of the Igbo and those of other religions, it is because they were borrowed from our ancestors, and not the other way around.
The ancient spirituality of the Ndi Igbo, like most other traditional African spiritual systems, has been misunderstood and demonized unjustly. Evangelical churches, with the help of Nollywood movies, have helped to paint a negative picture of traditional Igbo spirituality that dates back to the arrival of the Europeans in Alaigbo (Igboland). It is quite unfortunate that most of the people who condemn Igbo spirituality do not know much about it, and base their most of their information from the lies of the very same people who wanted to destroy it and everything about our culture. While all the misconceptions about the traditional practices cannot be corrected in one article, this introduction to Igbo Spirituality will help clear a few things up.
The basis of Igbo Spirituality is the concept of “Chi.” Similar to the “Ori” of the Yoruba, and the “Ka” of Ancient Egyptians, Chi was the fundamental force of creation. Everyone and everything has a Chi. Ndi Igbo, like other Africans, worshiped one Creator, who is known by many names: Obasi Dielu (The Supreme God), Chi di ebere (God the merciful), Odenigwe (The Ruler of Heavens), etc. The two most popular names for Supreme Being used in Alaigbo were Chukwu and Chineke. The dominant name, Chukwu, which is a combination of the Igbo words “Chi” and “Ukwu”, literally means “The Big Chi”, and shows that Igbos believed that the Supreme Being was omnipresent and all-pervading. Chineke, which most people translate as “God the Creator” actually has a deeper meaning. Chi is the masculine aspect of God and Eke is the feminine aspect. Ndi Igbo knew that it took male and female to create life, so the Creator of everything would have to encompass both parts.
Because Ndi Igbo believed that everything in it had a chi, they also gave names to the Chi found in nature (the Alusi). The Alusi of the sky was known as Igwe. The Alusi of the yams (the most important crop of Ndi Igbo) was called Ahiajoku. The Alusi of the Sun was called Anyanwu. The most important of the forces of Nature was Ani, which was the feminine force that presided over the Earth. The Alusi were not limited to natural forces; metaphysical and supernatural forces and principles also had their own names and attributes. Ikenga was the Alusi of strength and Agwu was the Alusi of wisdom and healing. Each Alusi had its invididual personality and function, but they all were still parts of Chukwu.
The Ndiichie (esteemed ancestor spirits) also held a high place in traditional Igbo society. Elders have always been revered in Igbo society, and even more so after they passed onto Be Mmuo (the land of the spirits). The Nddichie would often be consulted to offer advice to their descendants and appeal to the Alusi on their behalf. Ndi Igbo have never worshiped their ancestors, only venerated them, which is no different then what Catholics do to their saints or what every country does to its national heroes. Respect and honor for the Nddichie was shown in one way by pouring of libations while chanting incantations. Ndi Igbo believed in the concept of reincarnation, and felt that the Nddiichie often reincarnated back on Earth. In fact, all Mmadu (human beings) were believed to reincarnate seven or eight times, and that depending on your karma, one either ascends or descends into another spiritual plane.
The personal relationship between God and Man in Igbo spirituality is as close as it can get. Ndi Igbo did not believe that they were separate from their Creator, and felt that the Chi that resided within them kept them connected. Igbo felt that their Chi was unique and personal and served as a guide and protector to them. A person’s destiny was also guided by their Chi. Those with a strong Chi would have prosperity, good health and good fortune, while those with a weak Chi would be prone to sickness, poverty and bad luck.
Even though the Igbo are largely Christian now, their traditional spiritual beliefs still live on. Along with these beliefs, a fundamental part of Igbo philosophy was “Biri Ka'm Biri” (live and let live). Ndi Igbo did not believe in fighting wars over religion. In their view, everybody should be able to worship God as they see fit. If there is any lesson from Igbo spirituality that we must not forget, it is this one.
Friday, October 21, 2011
An English translation was issued by the Libyan People's Committee, and a bilingual English/Arabic edition was issued in London by Martin, Brian & O'Keeffe in 1976. Here is your opportunity to read the book.
Thursday, October 20, 2011
A just-published bombshell article in the November issue of Bloomberg Markets magazine implicates Koch Industries, the company controlled by Republican mega-donors Charles and David Koch, in dozens of criminal acts around the globe over the past three decades.
Three piece instrumental post-rock outfit from New Zealand. Waves of distortion, delicate guitar lines and intricate melodies – Cale:Drew, is an exploration of a dark soundscape that at times threatens to escape to something brighter.
2. The Diffusion Of Our Inherent Situation
5. I Was Hidden
6. Jimmy Hoffa
This one is exciting folks, the new album “Pope Killdragon” from Strand of Oaks hits eMusic Selects today (I have just downloaded and am listening now). Tim Showalter (who is Strand of Oaks) crafts some of the most stark, warming & echoing laments in music today. While SoO is starting to flex his songcrafting (meaning you might not get all 10 tracks of solo acoustic love – listen to “Giant’s Despair” or “Walking” for an example), it is exciting to see where this is going. But don’t worry, there are still crazy good slow burners like “Pope Killdragon”, “Kill Dragon” & “Bonfire”, no pun intended.
1. West River
2. Kill Dragon
5. Alex Kona
6. Giant’s Despair
7. Daniel’s Blues
8. Last to Swim
10. Pope Killragon
Considered a classic slowcore album. This record, Low's first, if from a time (1993-1994) before Low perfected their trademark formless and totally entrancing narcotic rock. The product: a perfect hybrid of intense emotion, quite beauty, and "pop" song structure. The result: a whole lot of songs that will whisper in your ear until they are encoded on your DNA. Their rock is at times simply beautiful and emotionally terrifying, and always addictive. Check out: "words", "the sea", "lazy", and the classic "(you are my) sunshine". Truly, one of the classics!
1 Words 5:45
2 Fear 2:12
3 Cut 5:43
4 Slide 3:46
5 Lazy 5:35
6 Lullaby 9:46
7 Sea 1:45
8 Down 7:24
9 Drag 5:11
10 Rope 6:11
11 Sunshine 2:59
Wednesday, October 19, 2011
Cool German goth band that only put out this 12" on Wishbone Records, best known for releases by Marcie's Still Waiting and No More. Don't know much else... but good stuff.
02. Trust Yourself
03. Stop USA
Tuesday, October 18, 2011
From Aleister Crowley's most valuable work, Book 4. Part IV is titled "OEAHMA (Thelema)-the Law." This section deals with The Book of the Law, including the book itself, a brief biography of Crowley, the events leading up to its reception, and the conditions of the three days of its writing. This part is Crowley's 1936 book Equinox of the Gods only edited under a different name.
From Aleister Crowley's most valuable work, Book 4. Part III is titled "Magick in Theory and Practice", and is perhaps the most influential section within Book 4. In this part, magick (with the terminal -k) is defined in Crowley's now famous "Introduction", which is the source of many well-known statements, such as
* "Magick is the Science and Art of causing Change to occur in conformity with Will."
* "Every intentional act is a Magical act."
* "Magick is the Science of understanding oneself and one's conditions. It is the Art of applying that understanding in action."
* "Magick is merely to be and to do."
It contains many influential essays on various magical formulae, such as Tetragrammaton, Thelema, Agape, AUMGN, and IAO. The section also addresses fundamental magical theorems, essential components of ritual, and general practices (e.g. banishing, consecration, invocation, divination, etc).
From Aleister Crowley's most valuable work, Book 4. Part II, "Magick (Elemental Theory)," deals with the accessories of ceremonial magick in detail. Subjects include: the temple, the magick circle, the altar, the scourge, dagger, and chain, the holy oil, the wand, cup, sword, pentacle, lamp, crown, robe, book, bell, lamen, and the Magick Fire (including the crucible and incense). This section also includes an "Interlude", which is a humorous exposition on the magical interpretations of popular nursery rhymes, such as Old Mother Hubbard and Little Bo Peep.
From Aleister Crowley's most valuable work, Book 4. Part I is titled "Mysticism" with the sub-title "Meditation: The way of attainment of genius or Godhead considered as a development of the human brain." The section is essentially Crowley's system of yoga, which is designed to still the mind and enable single-pointed concentration. When developing his basic yogic program, Crowley borrowed heavily from many other yogis, such as Patanjali and Yajnavalkya, keeping their fundamental techniques while jettisoning much of the attendant moral dogma.
Yoga, as Crowley interprets it in this section, involves several key components. The first is Asana, which is the assumption (after eventual success) of any easy, steady and comfortable posture. Next is Pranayama, which is the control of breath, and Mantra yoga, which is the use of mantras. Yama and Niyama are the adopted moral or behavioral codes (of the adept's choosing) that will be least likely to excite the mind. Pratyahara is the stilling of the thoughts so that the mind becomes quiet. Dharana is the beginning of concentration, usually on a single shape, like a triangle, which eventually leads to Dhyana, the loss of distinction between object and subject, which can be described as the annihilation of the ego (or sense of a separate self). The final stage is Samadhi-Union with the All.
Great collaboration. Mixed at l'A.R.M., Lens, except B4 recording live : 24 september 1989 during "Espoirs Ephémères" festival in Ronchin, France
Limited and numbered to 177.
A1 Bunker Strasse* – Suicide 3:38
A2 Bunker Strasse* – Shakespeare 5:54
A3 Bunker Strasse* – Crime 3:54
A4 Bunker Strasse* – Folie Démence 3:57
B1 Modèle Martial – Devil 7:19
B2 Modèle Martial – Rêve De Pierre 4:21
B3 Modèle Martial – Les Amants 5:44
B4 Bunker Strasse* – Senso 4:52
When Birmingham based duo Godflesh began creating their stark, hypnotic musical blueprint in the late 80’s, they were heralded as true innovators - crushing heaviness forged with such bleak soundscapes that it left listeners uneasy, wondering how music could be so unforgiving and enjoyable at the same time. Godflesh created a new scene which the press termed Industrial, with such landmark albums as ‘Streetcleaner’ (1989), ‘Pure’ (1992) and the Columbia financed ‘Selfless’ (1994) providing the base for many a wannabe Industrial band to copy. However, Godflesh, the originators of a scene, have always managed to keep one step ahead, and the next album, ‘Songs of Love and Hate’ was no exception - emotion, aggression, passion and sonic torment merged into a unique whole mean that the Godflesh noise had never sounded so challenging.
Fans of the current industrial boom headed by Fear Factory and their ilk would acknowledge Godflesh's influence on the fashionable trend of the moment - metallic edges mixed with distortions, samples and drum machines. Vocalist/guitarist Justin Broadrick (together with bassist and partner in crime Benny Green), are quick to see their influence; "Without wanting to sound completely egotistical, I guess we did open the doors to a lot of the newer bands, I think we definitely paved the way in the 'Industrial' scene, whatever that may be; it's not something we intentionally set about creating, we just make our music. I actually take it as a compliment that a lot of the more recent bands credit us as an influence, but sometimes it isn't just the music but a whole attitude that's been replaced."
Certainly Godflesh's following is more than just cult status - headhunted by the likes of Faith No More and Danzig when both acts lost guitarists, and revered by the likes of Metallica's Kirk Hammett, Glenn Danzig himself (who they toured America with in early '95), Pantera, (for whom Broadrick remixed the 'Walk' single) and Ministry, who they finally toured with during Summer '96 in Europe. As Broadrick stated at the time: "They've asked us many times before, but it never felt quite right, but now I'm really looking forward to it. The thing is, Godflesh will never sell millions of records, because basically we're too patronising to the human race - I hate people, not in a physical way, so I express it through the music." Here lies the difference between Godflesh and so many others - the passion and emotion in any of the tunes on 'Songs of Love and Hate' stir an uneasy mix in the listeners mind between the cold, rigid base of the Industrial sound and Broadrick's often heartfelt, gutsy vocals.
Described by Broadrick as "a method of examining the basic human need to believe in something", Godflesh is all about emotion. Titles on 'Songs of Love and Hate' like 'Sterile Prophet', 'Time, Death and Wastefulness' and 'Frail' betray a sensitivity born of frustration; "People don't want to be challenged," says Broadrick, "and Godflesh is my revenge through music. It is personal, but that doesn't make it less powerful. I respond in extremes internally to the things I hate, and then externally it represents itself in Godflesh."
This land-mark album was as brutal as every extreme record should be, harder numbers like 'Wake' and 'Angel Domain' bruising along with trademark Godflesh power. The addition of a live drummer, Brian Mantia, further loosened up the traditional, pre-programmed idea of what 'Industrial' should be, opening up the raw side of the band's sound still further. Amongst adding beats to many U.S. hip hop acts, he also recorded with Tom Waits, bringing another versatile dimension to Godflesh noise. Originating the scene would have been enough for many, but Godflesh have always striven for more than that, and 'Songs of Love and Hate' was a testament to their determination to keep adjusting the rules. Keeping a fragile balance between hate and melancholy, the Godflesh was an experience which promises nothing but delivers an ultimate release.
Godflesh made their mark when they burst onto the scene - their quest since then has been to stay
1 Slavestate 3:56
2 Perfect Skin 7:37
3 Someone Somewhere Scorned 4:46
4 Meltdown 5:46
5 Slavestate (Radio Slave) 4:57
6 Slavestate (Total State Mix) 8:28
7 Perfect Skin (Dub) 12:14
8 Slateman 5:54
9 Wound '91 4:24
Monday, October 17, 2011
Scapa Flow was a Swedish EBM band, formed in 1988, and was one of the icons of the new EBM and synth scene that sprung up in Sweden in the late 80's. They toured frequently in Sweden and made a German tour in 1991 with fellow Swedish EBM´ers Pouppée Fabrikk.
The lineup were originally a foursome, but somewhere along the line they lost a member and in 2002 there was Andreas Carlsson, Johan Nygren and Carl Sjöström left. The band was named after Scapa Flow in the Orkney Islands. The band slipped into the unknown after their 1994 release "Heads off to freedom". There was talk about releasing new material after the release of the 2002 compilation CD, but Scapa Flow seems to have slipped into oblivion yet again.
02 Crucial Inpact
03 Red Roses
05 Join The Line
Its Mardi Gras soon in New Orleans and I can hear what Mishlen and I call “parade signs.” Brass instruments and police sirens announce beads and fun and blocked streets. Carnival is a good time to think about the ancestors and their strong place in New Orleans Voodoo. I honor my ancestors. I have a morning rite in which they get their coffee before I drink mine. It ends with the words, “To you from the living.” I also look to the Tibetans and their spirituality to compliment the Voodoo I practice. I am not alone in this kind of pairing. Sam Webster wrote a paper suggesting the same type of coupling with Wicca (circa 1988). Owen Knight , a bard and a Druid, has told me any number of times that a big strength of his spirituality is that it readily accepts any spirit that may add to its completeness. Peoples of the Pacific Rim have long brought what we call “Buddhism” into the service of their local Gods and Goddesses.
This brings in the whole subject of reincarnation; a bedrock of the Tibetan’s beliefs. So is it incompatible to honor the ancestors and believe in reincarnation? Does one of these practices/beliefs necessarily exclude the other?
I have heard that here is more power in questions than in answers. Questions roam the mind freely, grazing on diverse and often disparate bites of information. The mix, after even a rudimentary digestion, can be amazing. Answers hold one a bit closer to the solidity of home. Sureness is nice when you are building a levee but can be confining in spiritual exploration. What follows is a beginning attempt, for me at least, to bring direction to this question. The purpose is not to find or construct some answer but to bring power to the question by exposing its more obtuse angles or angels.
Reincarnation – The rebirth of a particular consciousness into another form.
Ancestors – Particular consciousnesses who have died and who have influenced you in an important way.
Angles / Angels of Exploration:
1. A particular consciousness can not be dead and reborn at the same time. The conditions are mutually exclusive. The ancestors are particular consciousnesses who have, in the main, been reborn. They are no longer among the dead. The voodooist can not bring benefit to reincarnated consciousnesses by making offerings them. However, the Voodooist could receive benefit from the intention involved.
My mom is reincarnated; she has another name, another personality. Offerings to her past self do not bring benefit to the self which I knew and is now reborn.
2. The confusion lies with our perception of time. We perceive time is a way that most allows for our survival. Seeing what is truly there and seeing in a way that helps us to survive can be two very different things. All that was…is now …and will be. Chose your point of reference. Time is a choice, not a given.
3. We live multiple lives all at once. What was is always present. That consciousness that is the ancestors is always there. The spirits are complex; their existence is not linear. We are linear in our perceptions. (conversation Rosalinda)
4. The ancestors are real no matter what we believe or do not believe. No matter what we do or do not do. Faith is not the issue here. It is irrelevant whether we validate or invalidate the ancestors. They exist. They do not need our approval to exist.
5. There is a belief that you die and automatically become a ghost. A ghost is a sentient being of the Invisible World. The ancestors can be perceived as similar to ghosts. It may be that we die and have the possibility of reincarnating as a ghost. At some point in time the ghost will die and the consciousness may then incarnate in human or some other form. Perhaps the ancestors are one of many forms into which we can incarnate.
6. We perceive ourselves as single beings; particular beings. Due to this perception we assume that we will reincarnate as single beings. Maybe our “I” is more properly a “we.” Certainly my body is not unitary but an environ supporting any number of sentient beings. Our mind stream may reincarnate as multiple beings one of which could be an ancestor. After a time, the ancestors will die and reincarnate in another form.
7. As we carry a number of forms in our physical DNA likewise we may carry a number of forms in a spiritual DNA. One of these forms is the ancestor. It exists as long as the DNA exists. (conversation Mishlen Linden)
8. The soul can be likened to a pebble thrown into a stream. The ripples would be the personality, circumstances of birth, etc. As the ripples go in all directions in a circular manner, so time moves in a circular, all encompassing pattern. The ancestors would be one portion of this circular pattern. (conversion Mishlen Linden)
9. The North Africans divided the being into a ba and the ka. The ba describes the portion of the being that goes on and is eternal. The ka relates to the life force which dissipates over time. The ancestors here would be within the ka and their feeding would extend their life after death.
The above nine threads in no way join to yield whole cloth. But they may act as an antidote to the compartmentalization that restrained at least my thinking on the subject for so many years. As priests, we can not be expected to have all of the answers but we can be expected to honestly question apparent contradictions in our liturgies. To say that such contradictions are mysteries to be taken on faith is a travesty matched only by blindly not caring.
The ancestors and their feeding is not symbolic any more than the feeding of the loa is symbolic. In each case, a sentient being comes from some realm to the rite to accept or decline the offering.
Mishlen Linden suggests the following rite for, among other things, contacting the ancestors. She received the rite from TC.
Close your eyes.
Raise one of your hands with the palm open.
Extend your aura to the person you want to contact.
Feel the warmth of their hand upon your hand.
Close your hand on theirs.
Beyond any searches fueled by the intellect; it may be wise to let success be your proof.
I have come to a new appreciation of this simple phrase from Liber Al.
Black Lung's 'the Coming Dark Age' features an electrotechno and sociopolitical theme through avant-garde instrumental work, possessed by wildly experimental elements juxtaposed by variations of Deep Electro, Techno, Crunchy Breaks, Neo Space Rock and startling abrupt rhythmic changes, down to Industrial-ambience. This stunning and daring work of Australian electronic composer David Thrussell (Snog /Soma) combines many aspects of great works by the likes of Cabaret Voltaire, Aphex Twin, Gyorgy Ligeti, in a recording that could just as easily find a home with fans of Electronica, Techno, Industrial, and 21st Century Avant-garde. [Amazon]
1 The Coming Dark Age 2:18
2 The Sins Of Megalopolis 5:47
3 Karmageddon 7:44
4 The Great Automobile Hunt 4:18
5 The Doomed Fortress 3:55
6 Concrete Octopus 5:16
7 Armies Of Oil 3:45
8 The View From Hubbert's Peak 2:58
9 Battle For The Grim Plateau 4:29
10 Leibowitz's Canticle 6:10
11 Toward The Petro-Apocalypse 4:41
12 Megalopolis Dies 2:29
13 The New Dark Age 3:15
1 Question One 4:07
2 Question Two 4:04
3 Question Three 6:37
4 Question Four 4:23
5 The Hive (Part 1) 4:27
6 The Hive (Part 2) 2:57
Friday, October 14, 2011
Zoviet France (also known as Soviet France, and also written as :zoviet*france:) is a prolific ambient industrial music group from Newcastle upon Tyne in Northern England. While often dissonant and made of industrial textures, their music is also of a distinctly ambient music bent. Formed in 1981, the group has had a variety of members, presently it consists of Ben Ponton and Mark Warren. Former members included Robin Storey, who now records as Rapoon, Mark Spybey, who now records as Dead Voices on Air, Peter Jensen, Andy Eardley, Paolo Di Paolo, Lisa Hale and Neil Ramshaw.
Their music, consisting often of droning textures set against tribal rhythms and fleeting dissonant melodies, was often made from neglected sound sources: obscure radio broadcasts, toy instruments, and other odds and ends, often heavily processed or looped. Over time their sound became increasingly electronic and computerised.
The packaging of their early works was extraordinary - records were released in burlap, roofing shingles, aluminium foil. Their CDs weren't as often so packaged, but were occasionally quite unusual, including felt, decorative pins, and wood veneer.
This release is very highly recommended.
Thursday, October 13, 2011
Another excellent Zoviet France release. Zoviet France have developed a radical relationship with the cheap technologies of old fashioned tape recorders, homemade acoustic instruments, primitive looping and sampling devices, and basic dub trickery. From these machines, the collective has crafted a distinctly unique vocabulary of postindustrial sonic hypnosis. Popular Soviet Songs And Youth Music was released as a 3x CD set by Staalplaat (STCD 024) in 2004. Originally released in 1985 on Singing Ringing/Red Rhino as a double cassette in a ceramic container with special packaging. Re-leased in 1994 with a round felt piece on front and back of the set with a Soviet miltary pin holding the whole set together. The front round felt piece has the title of the release and the artist printed on it. The set contains 3 CDs with felt glued to the print side & the music on the other side, and 3 CDs with track information on the printed side & a side long high pitched tone on the other side. Re-released in 1995 without felt glued onto the CDs, and without the extra “blank” CDs – there are two versions of this release: one with two brown round stiff felt pieces and Soviet military pin as per the original Staalplaat release color scheme, and one with two grey round soft felt pieces with a different Soviet military pin. Re-released again in 2004 (This version) (once again without felt glued onto the CDs, and without the extra “blank” CDs) with two brown round stiff felt pieces and Soviet military pin once again in the same color scheme as the first Staalplaat issue. The discs have different artwork than the previous CD releases, and CDs 1 & 2 are switched. I have corrected the tracks and put them in the right folder.
1. Tier Of Veils
5. Straif (La Mère Du Bois) Z Estrif
6. White Track (Fire Frost)
1. добрый день
4. Birch Brake
6. Spin (Hellisein)
12. Burning Bush
13. Sidhe (Riuben)
17. Signal (Circe)
1. Burning Bush
3. Veil (Sloe Semen)
5. Chirm Ela
6. Chirm Geis
7. Charm Aliso
9. Yezidi Say
Oh well. This series of 4 EPs intended to be released at their eponymous times in 1998-1999 show Jhonn Balance's persistent fascination with mysticism and paganism, without becoming overbearing or self-conscious. Even without the occult angle the EPs are still fascinating to listen to.
The four EPs are rather distinctive in their sound, but Autumn Equinox is the breakthrough. "Amethyst Deceivers" became a live favorite and was reworked for Ape of Naples, but the EP is simpatico to Musick to Play in the Dark, which would be released the following year.
Spring Equinox is another EP with a similar sound to its Autumnal counterpart, but the music is more soothing than unsettling, the first part sliding along on a droning organ line and the second adding an emotive viola melody. It's probably my favorite of the four (I don't want to let on just how much of a geek I am, but Spring Equinox went perfectly as a soundtrack to running around in Elder Scrolls III: Morrowind).
The other two EPs, Winter Solstice and Summer Solstice, are more in line with Coil's preceding records, retaining a dark, grimy industrial feel, but there are tracks that ably straddle the line between drone and industrial - "A White Rainbow", which in tone is very similar to the Equinox EPs, and "Summer Substructures", which is a prime piece of Coil mysticism, added by the same bewitching (sometimes overbearing) electric viola that graced Spring Equinox.
Taken together, these works do a good job of demarcating the transition from their more industrial-noise and -techno period in the mid 90's into the more drone-oriented period that would follow in Musick to Play in the Dark and the various instrumental albums (Queens of the Circulating Library, Constant Shallowness Leads to Evil, etc.) that came about as a result of Thighpaulsandra's induction into the group. Challenging, but very rewarding.
Autumn Equinox: Amethyst Deceivers
|The Auto-Asphyxiating Hierophant||5:59|
|Moon's Milk Or Under An Unquiet Skull (Part 1)||8:32|
|Moon's Milk Or Under An Unquiet Skull (Part 2)||8:08|
Summer Solstice: Bee Stings
|Glowworms / Waveforms||5:54|
|A Warning From The Sun (For Fritz)||4:59|
|A White Rainbow||8:53|
|Christmas Is Now Drawing Near||3:28|
Wednesday, October 12, 2011
A small little tune to commemorate the 136th birthday of Aleister Crowley (born on this day but the occasion did not warrant a doodle on the google home page I see).
A quick incomplete list of musicians and bands influenced by Crowley or who mention the man in their music:
-Death in June
-Electric Hellfire Club
-Fields of Nephilim
-Sisters of Mercy
-Red Hot Chilli Peppers
-Uncle John & Whitelock
-The Tea Party
-Faith No More
-Queens of the Stone Age
-Cradle of Filth
and many others....
A quick incomplete list of musicians and bands influenced by Crowley or who mention the man in their music:
-Death in June
-Electric Hellfire Club
-Fields of Nephilim
-Sisters of Mercy
-Red Hot Chilli Peppers
-Uncle John & Whitelock
-The Tea Party
-Faith No More
-Queens of the Stone Age
-Cradle of Filth
and many others....
Traversing through my usual haunts, I came across a little gem “No Maps for These Territories” featuring the man who coined the term cyberspace, cyberpunk novelist William Gibson. It’s a meditation on our nature as ‘mediated’ human-beings, the extent of technological saturation in our quotidian lives and our desire to produce extended networks of prosthetics. Not to mention, he delves into the process of writing and the nature of fiction, of the relationship between our conscious self and the unconsciousness. Well worth the watch, enjoy.
Formed in 1977, Marquis de Sade were one of the truly classic French combos of the late '70s and early '80s, leaving a lasting imprint on the Rennes music scene. In three years, Franck Darcel (guitar), Christian Dargelos (keyboards), Philippe Pascal (vocals), and an ever-changing set of additional musicians came up with two major records in French pop/rock history, both containing witty, dark, and exciting music comparable to Howard Devoto's Magazine, mixing post-punk and new wave with a drop of funk to produce an intensely nervous, modern, yet romantic sound, often copied but rarely equaled.
1 Back To Cruelty 2:46
2 Wanda's Loving Boy 4:14
3 S.A.I.D. 3:49
4 Stairs And Halls 3:15
5 Silent World 5:18
6 Cancer And Drugs 3:39
7 Iwo Jima Song 5:45
8 Final Fog (Brouillard Définitif) 3:00
9 Rue De Siam / Submarines And Iceberg 7:12